Legendary US epic metal band Warlord was formed in 1981 by Mark Zonder and Bill Tsamis. Through the years (which included a couple of hiatuses) they released a few albums and did some tours – with the last album being released in 2013. Unfortunately, Bill Tsamis sadly passed away on May 13th, 2021 at the age of sixty.
Now revived, reclaimed and reprised, much like Lazarus, Warlord has risen again with a new album, entitled Free Spirit Soar. This new studio album is drummer Mark Zonder and lead singer Giles Lavery paying tribute to the musical heritage of Bill. They wanted to finish these pieces of music which already had started to be written, and they completed a very impressive lineup of musicians which includes Jimmy Waldo (keyboards/synthesizer), Eric Juris (guitars), and Phillip Bynoe (bass). A very cool component of the music is that they used the old guitar tracks that Bill had laid down, and incorporated them into this new recording. Meanwhile, Eric did the vast majority of the guitar work. As lead singer Giles Lavery told me, “We used Bills guitar tracks off the demos where possible. It’s fairly sporadic throughout the album, and it’s fair to say Eric did most of the heavy lifting. But he stayed very close to Bill’s guitar tracks. I mean really, he played them exactly as Bill played them.”
So, onto the album. There are several thoughts that come to mind about this album. The tracks are majestic, epic and glorious. Free Spirit Soar opens with a 7 minute 49 second opus – ‘Behold A Pale Horse,’ a mid tempo battle-cry of a song that sets the tone for the entire album. There is some great active drumming courtesy of Mark Zonder, while Jimmy Waldo’s keyboards are prominent throughout the album, which serves to give it a very regal sound and feel to it. Eric does a great job of playing Bill Tsamis’ guitar parts while adding his own talented flair to them, all the while bassist Phillip Bynoe holds down a tight and rhythmic low end, and Giles Lavery delivers an absolute fantastic job on lead vocals. He sings mainly with a mid-range voice in a responsible and respectful way to carry on the legend of Warlord. He mixes his vocal phrasing along with the harmonies he wrote for the album in a masterful way. What a great job Giles did on this album… not only singing, but also producing it!
There are two bonus CD-exclusive tracks. ‘The Watchman’ and ‘Twin’. The first of the two has an almost Celtic feel to it, with a smooth keyboard presence. It mixes in an acoustic guitar part that has an Irish folk song vibe to it. It’s a really cool track. The second of two tracks, ‘Twin’, is another keyboard-prominent song that has Giles Lavery utilizing a higher-register singing voice in parts and an excellent lead guitar solo. Another very good song. If you can get the CD, it’s worth it for these two exclusive tracks.
FINAL THOUGHTS Free Spirit Soar is an excellent album that carries the legend and style of Warlord, but done in today’s modern execution. Yes, a lot of this album is Bill Tsamis’ music, but this group had to bring these songs to life and give them their own identity. Bill’s legacy will continue forever, but these guys are all great players in their own right. I salute them. Brilliant job guys!
Free Spirit Soar will be released on May 10th via High Roller Records.ORDER HERE.
ALBUM REVIEW – HEAVY TEMPLE
Heavy Temple – Garden Of Heathens
Reviewed By: Denis Bridger
Review Score: 9.5
If you are familiar with Heavy Temple already, then I reckon you are ahead of the game. They look like they have just left Jerry Garcia’s place, and they play heavy, doom, psychedelic, rock ’n’ roll and they are back with there second full release Garden Of Heathens.
Heavy Temple are from Philadelphia and magicked their way into the land of psydoom on the Winter Solstice of 2012. They quickly built up pace on the local Philly scene and played with the likes of Corrosion Of Conformity, Mothership and such festivals as Doom Fest and Psycho Las Vegas.
Having heavily toured for their first two EPs, Heavy Temple and Chassit, Heavy Temple took time out in 2021 to record their first full album Lupi Amoris (Wolves Of Love) which was accepted with much love, and led to their work schedule becoming even fuller. A great album, so much bass and riff-magic and that magic voice, of course.
Now they are back with Garden Of Heathens and in the bio I have spotted a genre new to me (Desert Rock). My imagination can envisage what that may sound like: dry, dusty, windy, desolate, but that definitely doesn’t describe this album or this band. I have seen lots of videos filmed in desert-like places, so maybe that is it. Maybe it’s an asthetic thing. Here you will journey on a heavily doomed, psychedelic road that starts somewhere on Height Ashbury in ’67 and leads smack dab into the modern age (maybe stopping off somewhere in Scandinavia in the ‘80s).
Vocalist High Priestess Nighthawk’s lyrics on this record stem from the American dream. The relationship to metaphors aren’t what you might think, but are rather pretty personal. Only Nighthawk herself will ever know their true meaning.
Lets talk about the music…
How to start an album? How to pick that first song? Just like that, with a mega-massive bass that gives you a mini heart flutter, and then those almost erotic, soul-grabbing vocals from the High Priestess and drums that are almost hurting my ears (I’m wearing headphones). The mix is perfect. It’s well loud and it’s pretty awesome. Extreme Indifference to Life ‘ just broke my ears and the haunting vocals with that big sound, like Grace Slick just had a musical offspring with Kyuss.
HIRAETH This track dives straight in with more of that heavy bass and a driving riff. Nighthawk’s vocals really are very captivating and kinda remind me of early Judas Priest in places (the feel, not the music). The track builds and one cannot help but pull a ‘this is great’ painful rock face when you have heard something you know is brilliant. I don’t see Heavy Temple as the classic doom/stoner band. They have so much more going on, harking back to those heady psychedelic days of the very powerful, albeit, very short summer of love, but being very keen on making it a more up to date rock/jamming vibe. ‘Hiraeth’ is a ripper of a track and goes full throttle all the way. Great solo, too.
DEVINE INDESCRETION More killer riffs, drums, and bass. I can’t make it more simple, these guys have really found their groove and the production is excellent. The album was recorded at Animal Farm Studios and track three is a stand out track. There is something very Jefferson Airplane about this track. Maybe it’s the vocals. Grace Slick also had those haunting tones that made you want to jump down the hole with Alice.
The bass is really pushing everything forward on this track. There is some great, what sounds like just a jamming, off the cuff solo with a bit of a Jimmy Page chord change thing going on. I am listening to this and I am really enjoying all seven minutes that come with a changed tempo and vibe a couple of times. I feel like like I am at some mad 60s all nighter. What a way to end a track… you got me with that one. Just awesome!
HOUSE OF WORSHIP This song could be one of those metaphors that High Priestess Nighthawk speaks of. We may think this is about religion, but it seems that all may not be so obvious. ‘House Of Worship’ is an even heavier and, maybe, slower track, that’s a bit more in the doom vein. It really reminds me of Candlemass’ Epicus Doomicus Metallicus or maybe Messiah Marcolin’s singing style. I couldn’t be more impressed by the vocals to be honest. Really unique and beautiful. The drums really come to life on this track and they are so clear to the ear. There is a ripping solo and great bass work, and the tone is killer with reverb to the max, I suspect. Lots of darkness in this track and it’s heavy, heavy, heavy.
SNAKE OIL (AND OTHER REMEDIES) We are over the half way mark. A more mellow intro with very nice drums and riffs that are constant, while that bass has lost all the reverb and is cleaner but deeper than the deepest thing in the world. More of an up tempo bluesy classic rock n roll vibe going on with maybe a hint of Motörhead. Also, do I hear an organ? A great driving rhythm, excellent pounding rock music going on here with understated gritty guitar solos and more of the 60s psychedelic jamming thing. Good rocking’ and rollin’ sounds. Nothing not to like here, folks. Almost nine mins and the jams keep coming. On the live front they must be excellent. It feels like they could revive the all nighter psychedelic raves that the likes of the Grateful Dead and Pink Floyd used to do in ’67… definitely that vibe. It’s a banger.
THE GARDEN OF HEATHENS Although I rarely use Americanisms, the title track throws us a curveball (we play cricket in the UK, so no curveball, but anyway). I have being trying to think of an album title track that was an instrumental and I can’t, at least one that isn’t an instrumental album, anyway. I suppose there are some. Ideas on postcard please. So, yes, an instrumental, with a tinge of Alice In Chains‘ Jar Of Flies. Very relaxing after all that heavy psydoom.
JESUS WEPT Still bit of a grunge thing in my ears with screaming guitar, and back too the really dirty bass tone. I kept expecting Layne Stayley to start singing, which I think is something about the key of the song (Drop D tuning?). Not really that it sounds like an Alice In Chains song, but wouldn’t that be a compliment? When Nighthawk starts singing it’s got a really nasty but good, dirty, angry feel and is so full of belief and passion. By the end of the song, we’re at a much faster pace. I can just hear everything pounding and driving with such a force that my head is going to fall off, if it rocks anymore… and a slow down to finish. Phew! Fantastic.
PSYCHOMANTEUM Jimi Hendrix has entered the building, folks! Not quite, but it’s a little Jimi-esqe maybe? Then, out of the blue, I’m on a thrashing metal train travelling at a pretty quick pace with an instrumental that could be off Exodus’Bonded By Blood. The second half gets back on track with more of the doom. A good solid tune to finish on.
CONCLUSION Just feckin’ awesome, all killer, no filler. Great production, massive sound. That’s all I’m going to say. See them live, if you can. They are bound to ‘shake your foundations’!
Garden Of Heathens is out today (April 12th) via Magnetic Eye Records.
ALBUM REVIEW – MELVINS
Melvins – Tarantula Heart
Reviewed by: Georgina Strikakos
Review Score: 8
Melvins experiment with their songwriting on Tarantula Heart as they are one of the most legendary alternative rock bands out there. They have been active for quite a long time, and they also have inspired musicians who went on to define generations, including Kurt Cobain of Nirvana. Despite achieving widespread acclaim and success, Melvins never bowed down to any trend or market, and they continued to do exactly what they wanted to do over the years, and that is – creating uncompromising music that keeps pushing the limits. They will never blend in with the mainstream and that is why we love them.
The cult band has recently announced a new album named Tarantula Heart. The album was recorded, mixed, and produced by long time Melvins collaborator Toshi Kasai at The Sound of Sirens Studio in Los Angeles. The cool album cover art was created by Mackie Osborn.
This record features many special guests, which seems to be a new way for the Melvins to keep exploring ideas and expand their sound. Most notably, this new record features two drum kits, creating an even more exciting barrage of aggressive sounds and grooves.
Analyzing this album in the usual manner is somewhat challenging though due to its unique creation process, but I am going to do it! The opening track ‘Pain Equals Funny’ dominates a significant portion of the record, showcasing a structured and doom/psych-influenced sound. It’s a twisted masterpiece. It could even be considered a standalone piece of work. Following this, ‘Working the Ditch’ takes the next spot, lacking in melody but compensating with its solid structure that adheres to the typical conventions of a rock song.
The remainder of the album spirals into a bit of disarray with the track ‘She’s Got Strange Arms’, a standout song title for sure. This is where the album could potentially lose a listener, especially if it’s a new one as it leans more towards a heavy chorus and a barrage of beats rather than a traditional song structure. The same goes for the song ‘Smiler’.
One of the previously released singles from the album is titled ‘Allergic to Food’ and it feels like a great introduction to what people can expect from the aesthetics of this record overall. The free form guitar jam in the intro is reminiscent of something that Black Flag would’ve concocted during Greg Ginn’s most experimental period – the song hits hard with a unique form of controlled chaos, the kind that only Melvins are seemingly able to conjure up to such a high degree of freedom and aggression in their music.
Many of the songs on this record have more of a metal twist, also thanks to the contributions of drummer Roy Mayorga, known for his work with bands, like Ministry, Stone Sour and Soulfly among others. According to King Buzzo, the frontman of the group, another notable difference between Tarantula Heart and many other Melvin records is the creative approach. He previously explained that the band would normally hear the songs, learn the material, and then approach the recording studio. However, Tarantula Heart was different in the way the Melvins developed their jams into fully finished tracks, writing new music to fit the jams as they were being created.
CONCLUSION Tarantula Heart stands out as a testament to the band’s continual commitment when it comes to blending metal, punk, and experimental rock. The result is a mighty fusion of distorted guitars, pounding drums, and raw energy, which feels right at home with the rest of the Melvins discography.
When I’m looking for music for myself and for music to review, I’m always looking for something a little different, innovative, reminiscent of past musical loves, something completely off the wall or something that simply makes me go “hmmm” and makes me want to listen more. That is the case with Dvne. From the opening bars, I wan’t sure if this was my thing, but the riff was pretty captivating, so I continued to listen and wasn’t disappointed.
Dvne began life in Edinburg ( Scotland ) in 2013 and is the brainchild of Frenchman Victor Vicart and Scotsman Dudley Tait. Their music is descibed in the bio as post-metal/prog- sludge, but I shall leave that down to the listener to decide.
Voidkind is the second record on the mighty Metal Blade label and follows the much acclaimed first album Etemen Ænka, which I have to say is also a good record. If I review a new band, I generally listen to the back catalogue to get an overview of changes of sound and progress from a band. As such, I’d say that Voidkind follows in the vein of Etemen Ænka, but, there have been some obvious changes. Victor says “We still have the big nine-minute songs, but now we also have these more concise songs that still feel like us. We want people to immediately recognize the riff.” The sound on both albums is recognizable as the same band and there are a few memorable riffs, so I’d say that goal has been achieved. There has also been the addition of full-time keyboardist Maxime Keller, so a big change there.
‘Summa Blasphemia‘ is the opener and, to be honest, I don’t really go in for shouty, scream-y vocals. I do like a clear melodic singer but the opening riff hooked me and drove me forward, regardless of the vocals. When the singing changed to a more melodic style, it became more progressive and easier for my ears, but then the shouty vocals came in again. To be honest, the contrast works… maybe a few screams here and there are okay. I guess there was no going back now, as Dvne had me locked in for the duration.
‘Eleonora‘ again opens with a memorable riff and the feel is more of a traditional prog tune. At 8:34 minute mark, ‘Eleonora‘ stays true to the complex compositions that Dvne are already known for. You have the heavy parts that scream at you with blasting drums and bubbling bass, and then the contrast of the melodies, and then both at the same time. A solid tune, indeed.
There seems to be a theme going on here. At about half way though the song ‘Reaching For Telos‘ there is a breakdown and progressiveness that comes in once the heavier first-half has passed. I think the more melodic proggy parts are what kept me interested on the first listen, the more melodic proggy parts. The screams/shouty vocals are not so necessary for me as Victor Vicart’s vocals are pretty good, but if you like the really aggressive vocals, then it’s all good. Luckily for me, the riffs and general feel to the music is powerful and exciting, which has averted my ears during the screaming.
‘Reliquary‘ Is a very heavy track with parts that remind me of early Sepultura, but then you have some psychedelic rock about halfway through the track. At three quarters through, you have some melodies with heavy riffs. A lot to think about here. Dvne seem to have found the formula that works for them and they do what they do with confidence, brutality, and sensitivity.
Both track five, ‘Path of Dust‘ and track 7, ‘Path Of Ether‘, are ninety second ambient interludes, which makes me ask again: is there a concept album in here somewhere?
‘Sarmatæ‘ is the shortest of the main tracks at just four and a half minutes and is more prog based, allowing for Daniel Barter’s vocals to shine here. Maybe this track will be one of my faves as I listen more times. It kind of sits nicely between ‘Path Of dust’ and ‘Path Of Ether.‘
‘Abode Of The Perfect Soul‘ has a lot going on and has a little bit of a Puscifer/Tool feel in places (Puscifer is a band I’ve been getting into lately, so maybe that’s why it’s reminded me of Mr. Maynard James Keenan’s work). The last three tracks on this record are all epic, between seven and ten minutes. Victor’s wish to have recognizable riffs has definitely been achieved and the bass on this track is immense… or is it a synth? Hard to tell these days.
The penultimate track ‘Plērōma‘ (which has been released as a single) is probably a good choice for a single. It builds from synths with more reliably good guitar and gradually grows and grows into a really nice riff and vocals that are maybe the clearest on the record (if, like me, you like to understand lyrics). This is possibly the most accessible track for a new listener who may not like such heavy vocals, although there are still some growls between the melodies. Definitely a worthy entrance into the world of Dvne, if you are a newcomer.
And then, finally, ‘Cobalt Sun Necropolis‘, an epic ten minute track, leads with some great reverb guitar and has the feel of an album ending. This time the melodies are aplenty. The prog heart is open allowing for a scream here and there. This track builds and builds, maybe to a crescendo, an explosion, a full force, or maybe just a steady jaunt,. You’ll have to listen to find out. ‘Cobalt Sun Necropolis‘ feels like an encore song at a gig; it’s long and you want to see what’s coming next. The track finishes off the album nicely.
CONCLUSION Definitely a good record that will please prog folks and the heavier metal folks. I would say it is a step up from the last record but stays in the same vein. Dvne are consistent to say the least. From a personal point of view, I would like to be able to hear the lyrics a bit clearer. I would need the lyrics to know what is being sung, and I don’t know if it’s my ears or speakers, but I find hearing the keys or synths not so easy, but on the flip side, probably, if there weren’t keys, I would notice the difference. A good all round record that will please the fans and I have a feeling this album is going to be a real grower, so watch out.
Voidkind will available April 19th via Metal Blade Records. ORDER HERE. Check out Dvne on tour in The UK and Europe this summer.
