Archive for the ‘Rock’ Category

61IBNuh6dgL._SS500I don’t know if I am fully equipped to review this album really, but I have a really strong urge to add my praise to the pile. This feels like an important album. I don’t know if its just because I’ve been brainwashed into liking it by Hill & Beez from the That’s Not Metal Podcast I subscribe to, (Hey, it worked for Marmozetts!) or if its because of the positive reviews I see everywhere, or if it is just genuinely that impressive, but something about this record just really makes me sit up and think, hey, this is a big deal!

Creeper are a British band from the Punk side of things, and this is their major label debut full-length album. Interestingly you can buy it on Cassette should you want. It was released on Roadrunner Records this year (that’s 2017 if you read back on this in the future).

Musically, the album is a bit of an eclectic mish-mash of different styles. Just go look at the band’s Wikipedia page and see all the different genres its listed as; there’s stuff in there from Hardcore, Post-Hardcore, Goth Punk, Pop Punk and more, heck, one song is even described as Country. There’s talk of diverse influences from as far afield as The Cure, Meatloaf and Metallica, then there’s the interesting underlying concept-album story about a paranormal detective who goes missing and the weird viral marketing surrounding that which feels like Trent Rezonor’s Year Zero campaign. The band have stated they want to add flamboyance to Punk. Hey; I like Queen and The Offspring, but I never imagined a mixture of the two before, because that’s what my inexperienced brain conjures up when I hear that mission statement. Maybe I don’t own enough AFI albums?

There’s a lot to consider when you start paying closer attention to Eternity, In Your Arms. Hell; when I put the album on, the thing opens with an intro that would fit seamlessly onto any of Cradle Of Filth’s ’90s albums. Not even kidding. From there, I hear such a wide variety of things. The male singer is some bizzare mix of Glen Danzig, Davey Havock, Roddy Walker, Matt Skiba, Jim Lindberg and god knows who else. The chorus to ‘Black Rain’ sounds like the end of a Coheed & Cambria album, the ‘I’ve Been Cheatin Death For Years’ line and accompanying music from ‘Darling’ is the best Alkaline Trio rip-off I’ve ever heard, ‘Poison Pens’ has backing vocals that wouldn’t be out of place on a Sick Of It All album, but it also has this cool solemn mid-section that feels like Biffy Clyro when they’re being melancholic… or at least that bit on Gallows’ Grey Britain track ‘Graves’ with Biffy Clyro’s singer on it.

I mean; how do you even reviews this thing? ‘Misery’ isn’t the usual Pop-punk ballad, the tone is just differnt. ‘I Chose To Live’ isn’t the typical Horror Punk album closer. ‘Crickets’ sounds like the music on the sad montage in the middle of a film where someone’s marrigage is in trouble, y’know only its on this album instead. I think there’s a violin in there. The chorus of ‘Suzanne’ sounds like a completely different band to its middle eight with that whole ‘set the hostages free’ thing, and that again is so different to the verses, and the almost Hatebreed-esque build-ups where they scream ‘now’ over heavy music.

Then after that, the next song is this summery Alkaline Trio thing that could be in a late ’90s rom-com soundtrack during the verses, but with haunting, emotional and weird vocals elsewhere and an early Emo mid-section. Am I happy to be hiding with the boys? He crys off the very last line of the song like a singer songwriter from the Juno soundtrack. They do that a lot actually, change at the end. ‘Room 401’ starts off as a fun up-tempo skate punk number and ends like the acoustic bits off of Protest The Hero’s Kezia record. These song structures aint exactly basic. The band do a masterful job at taking the songs on unexpected journeys without sounding confused or ill-designed. They do a great job of adding extra instruments without

Hey, ‘Down Below’ sounds like Rancid, through a Jimmy Eat World filter… y’know until that chorus, that is more like Interpol or something. I know from interviews there’s also a My Chemical Romance influence. Oh hey, pianos. This got moody… I mean why even bother describing this? As I’ve said, I’m a bit ill-equipped.

This album might be a little outside my usual area of understanding. I mean; I’ve spent the rest of the month juggling between Edguy, Stratovarius and Blind Guardian. I bought it in a two-for-one deal with the new Kreator album. Maybe I don’t know whats going on exactly since I can’t trace it back through the usual routes like Accept to Rainbow to Deep Purple or whatever, but this album is awesome.

If like me you aren’t Mr. Punk and don’t have all the background knowledge, don’t let that stop you. This album is so good it would be an utter crime to miss out. There’s not one dud song, not one dodgy transition, not one questionable second. I don’t know how anyone wouldn’t like this, no matter what type of music they usually like. Y’know when something is just that good you have to stop and take notice? Its just so diverse, interesting, well constructed, charming. Those stop-start duhn-duhns in ‘Winnona’ make me want to get Creeper’s name in a heart tattoo. I mean, and then it sounds like bloody ‘Aces High’ for a second, then ‘Blood Red Summer’ the next, then ‘Everybody Knows You Cried Last Night’ for a further second. And what a lyric, ‘Its breaking me to see you so happy, I just want the worst for you, so selfish and so typical of me’ in like, the flipping happiest sounding song I’ve heard all year.

The album is over in about half an hour or so. You wouldn’t think it though. A creepy-cheesy intro, three affecting ballads and a dizzingly fun and fizzy eight songs that blend all the popular punk subgenres together. Occasionally way too heavy for the radio. Occasionally way too syrupy for the punk-police. Occasionally silly, Occasionally dead serious. A cool background story, interesting and intelligent lyrics. A brain teasing mixture of emotions. Vocal diversity the likes of which you don’t hear very often (Not even taking into account the differing genders of the two main singers). I mean, this album has a bit of everything.

It doesn’t have to be a puzzle either though. If you sit there and dissect it, its got depth for days. But if you want to switch off and put it on, its as instant as instant can be. I’ve rarely heard a band that can make something so immediate and yet so crafted at the same time. In the review I may have over-stated the baffling nature of its pool of influences, don’t let that make you think this isn’t just the catchiest damn thing going though. The complexity does not take away from the end product. Its not hard work. Playing ‘guess what band that section reminds me of’ is very fun but its just one small part of listening to the record. Its just genuinely lovable in and of itself.

My personal favourite track has to be ‘Suzanne’ followed closely by ‘Poison Pens’ and ‘Crickets.’ Followed by them all, because seriously, there’s not a wasted second on this disc! (or Cassette, if you prefer).

If you have any interest in good rock music, or like any of the bands I’ve alleged it sounds like then you really ought to check this out. I mean, to your ears it won’t sound like any of those bands anyway because I’m always getting told that my comparisons are a stretch. But what it will sound like, is a rollercoaster ride, a damn good time, something to think about and a lasting impression.

Get up on this!

I went to go see the  Scottish Indie rock band The Fratellis last night at Manchester Academy 2, on Monday 16th November 2015. It’s the second time I’ve caught the band live, a band I’ve been a fan of for almost a decade now. Some people sometimes seem to think of them as a one hit wonder since ‘Chelsea Dagger’ is so disproportionately more famous than any of their other singles (man, ‘Misteress Mable’ isn’t in adverts for beer or cars every year, is it?) but these hard working, consistent and very talented guys are far from one hit wonders, and each and every one of their albums has had a good chance of being my album of the year for that year.

I went to see them with my girlfriend, they’re one of the bands that we both enjoy, and had a lot better time than the last time I saw them because I didn’t have some weird 11 year old girl making fun of me for not looking happy enough this time, this time I looked very happy. We did have hooligans bouncing around drunkenly, almost squishing my girlfriend (it was one of the more violent shows I’ve been to with a non-Metal band) and causing me to buckle down and get the elbows out entering human shield mode (hey, good job I’m tall and into lifting) every time they played something off of their debut album Costello Music that caused the crowd to get overly active. It was quite a workout stopping and reversing the human tide over and over again, but very satisfying in a certain caveman-mind me-tarzan way.

The support band was The Crookes who were a similar sort of band, and very passionate and talented and seemed very good. There were two or three songs that got me thinking maybe I’ll check out their albums. I’d recommend them if you like this sort of music.

When The Fratellis hit the stage it was joyous, very fun indeed. They did a pretty representative set with a good mixture from all albums, not overlooking anything and giving particular focus to their debut which is reaching nostalgia age and their new album which they’re clearly proud of and into and it really shows. It was nice to see songs like ‘A Heady Tale’ and ‘Until She Saves My Soul’ from the middle two albums (my favourite two, personally) balanced against the obvious choices like ‘Henrietta’ and current single ‘Imposters (Little By Little).’

What I love about this band, and why I can listen to them when most indie bands don’t do much for me, is because they are such true musicians and so clearly love what they do and are grateful for any success. Its cool how much they’re doing it for themselves to… improvised guitar solos recalling Hendrix and Gilmour that have nothing to do with the albums just because it felt fun to play right now, changing up massive much loved songs like ‘Everybody Knows You Cried Last Night’ and more recent material like ‘We Need Medicine’ into a country music vein just because it would be fun… and when they play ‘Doginabag’ they played it with a swerve big stoner rock vibe you’d expect from Down or C.O.C, because clearly they’re just so into it. Surprise stand-out moment for me was a track from the new album, called ‘Me And The Devil’ which they just stormed out with this massive power you wouldn’t expect, huuuuuuge drums that sincerely recalled Bonham, with the lighting and the dynamics in volume and the energy in the room it was genuinely one of the best moments I’ve ever witnessed from a live band, and it wasn’t even one of my favourite songs from the new album before this. It was so stupidly good live… I can’t even explain how massive it was. The drummer, Mince Fratellis, hits so hard, so confidently and with such enthusiasm (well, what do you expect from a guy with massive Slayer and Metallica tattoos on each arm) that he really transcends the sort of radio indie thing… the guys a real artist. It’s a shame that the albums don’t convey the sheer umph (if they did though, the ‘normal people’ wouldn’t buy them though) because I’d love to drop some links to demonstrate what I mean… but you know that feeling when you see someone playing at the very edge of their limits and then just throwing in extra fills or cymbals and actually going past their own limits and it just creates a drive and power that is magical and better than precision… the power of hardcore punk without the sloppiness. Oh, its hard to describe… but I was transfixed. The effortlessly cool Jon and Barry are two of the most captivating guys in this genre, and I still barely looked at them all night… a touch of the Garry Powel or Matt Helders effect going on there… all eyes on the dynamo behind the kit! I don’t care what NME magazine might say.

Yes, a very good night, its brilliant when you can come home from seeing hit after hit after hit and still go, “hold on, they didn’t’ even play ‘Creepin Up The Back Stairs’ or ‘Mistress Mable’ or whatever other famous single” and leave completely and utterly satisfied. Deep cuts, new stuff, re-arranged classics,  tons of hits, and after ‘Chelsea Dagger’ had finished they didn’t even leave, but stayed to drop a surprise extra Dion cover… because I guess they’re musicians who like music and it just felt fun to them to do so…

What a band. I wish their audience was less of the hooligans and normals, but then I get squashed at Machine Head and Lamb Of God shows too, so I can’t blame it all on them being indie. Anyway, if you don’t know this band check em out (my favourite songs are ‘This Old Ghost Town’ and ‘My Friend John’ so I’d recommend those as your first entry point) and if you do like them, catch them live because they absolutely smash it!

Coheed & Cambria - The Color Before The Sun

Coheed & Cambria – The Color Before The Sun

The Color Before The Sun is the innovative American Prog/Punk/Rock/Metal hybrid band Coheed & Cambria’s eight full-length studio album, it was produced by the band and Jay Joyce (who also contributes some piano) and released in 2015.

That hybrid sound isn’t quite so pronounced this time around though. There’s nothing on here that’s as heavy as the band’s heaviest output, there’s nothing as progressive as the band’s most progressive moments, there’s nothing as fast as the band’s fastest moments. Nothing is so sugary or so lush as the band’s most grandiose ballads of yore. There’s no summery happy single. There’s no ‘Welcome Home’ or ‘No World For Tomorrow’ or ‘Domino The Destitute’ or ‘Sentry The Defiant’ type big smashing centrepiece either. Even Sanchez’s usually immensely emotional, evocative and expressive vocals are a bit more restrained. He’s usually singing about the most dramatic point in a character’s entire life, and Claudio can really make you feel that. Here he still has the talent and the signature style but the performance is a bit more held back, a foot off the gas pedal and less hair raising.

As an album; its very much Coheed on the ‘medium’ setting. As such, it took the album a bit longer to really click with me than usual… but click it did. I’ll admit, the very first time I heard this record in full I didn’t like it much and I could imagine it getting bad reviews from professional critics without the time to really let it sink in because of the fact its such a grower and it does take a bit of listening to reveal all its secrets and hidden depths. Its not even as if it’s a return to roots or going back to their early sound either because although its poppy and cheerful it doesn’t really sound much like Second Stage Turbine Blade either. It’s a bit more raw, honest, stripped back and realistic. The emotions are more human. If you’re willing to give it a chance, the quality’s absolutely there though.

The other big talking point about this record is that the lyrics are no longer conceptual or telling the Amory Wars story, but you’d be hard pressed to notice sometimes with all the mentioning of moons and planets and returning words and ideas the band always use like ‘home’ and ‘love’ etc. The band write about relationships, fatherhood, artistry and similar topics here, same as always in one way, just without the sci-fi angle. There’s some great memorable lines here, with ‘Ghosts,’ ‘Atlas’ and ‘The Audience’ being especially interesting.

The album also goes to town on lots of sing-along moments, there’s a real surplus of ‘woah ah ooooh’s and ‘da dada da’s. It seems like the band are compensating for the lack of power with pleasant smiley moments, and it works well. There’s also a few really sweet, enjoyable guitar lines that’ll stick in your head. Now, on top of that there are some seriously fun moments and memorable choruses; the opener ‘Island’ as well as the singles ‘Here To Mars’ and ‘You’ve Got Spirit, Kid’ in particular are all worth checking out. Another major highlight is the subtle and understated ballad ‘Ghost’ which has some different sounding vocals from Claudio.

Overall; this is a more mature, mid-paced, cohesive and restrained album from Coheed & Cambria. It isn’t as instant or dramatic or adventurous as some of the band’s back catalogue but it is enjoyable and it is worth your time. There’s just something very good about it, it is a real grower, its earthy and honest and it is just very well crafted and succinct with no filler and an absolute boatload of hooks. I recommend it to anyone who’s ever had an interest in the group.

Clutch – Psychic Warfare

Clutch have come a long, long way from their Hardcore roots, and if you do a side-by side comparison of the likes of the Pitchfork or Passive Restraints EPs, you’d scarcely imagine it is the same band. They’ve weaved their way from defining Stoner Rock, to becoming loose and jam focused, to exploring Blues territories. All the way through they’ve been inventive, impressive, consistent and a whole barrel of fun. Almost no band going can claim to have more charm, personality or dependability, and there’s barely been a group on this Earth with the same down to earth vibe and strong work-ethic for such a long, long time. I mean, what other band still has all the original members of its debut album’s line-up, ten albums later?

That’s Clutch for you. Always honest, always consistent and always excellent. They do what they want and they do it well and it always sounds good. With their previous album, 2013’s Earth Rocker, the band stripped away all the frills and delivered the most focused and electrifying performance possible, with arguably the most trim and electric collection of tunes to date. It was a damn good album, with a good direction for the band at that moment in time, and the press and the public stood up, took notice and started to realize just what an amazing band Clutch had been all along. Clutch concerts had bigger audiences, you see more people in the streets wearing Clutch shirts and Clutch get more mentions on podcasts and magazines and popular music websites than they have in a while. Altogether; a triumph, well deserved and long-earned, with no hint of compromise. The band’s public mindshare has gone up and down over the year but right now feels like a golden era.

Psychic Warfare now comes along, two years later in 2015, and follows the same formula. Clutch give a damn focused, lazer-beam version of their trademark sound, in a briefer, more succinct fashion than ever before. They speed up the tempos, they give an even sweatier more powerful performance, and they never compromise what makes them so good in the first place.

‘X-Ray Visions,’ ‘Sucker For The Witch,’ ‘Decapitation Blues’ and especially ‘Noble Savage’ are barrelling, fast-paced rockers. Hold on to something or the album might well knock you over. ‘A Quick Death In Texas’ is a funky ZZ Top-flavoured smile-inducer that recalls previous work like ‘DC Sound Attack’ in its funky midsection and ‘50,000 Unstoppable Watts’ in its uplifting chorus (and features amusing lyrics about a man in mortal peril after having seduced ZZ Top’s singer’s wife). Balance is achieved with the sublime ‘Our Lady Of Electric Light’ and ‘Son Of Virginia’ which recall the very best of the slow side of Clutch; think ‘Drink To The Dead,’ ‘The Face,’ ‘The Regulator’ and ‘Basket Of Eggs’ and you’re in the right territory… but damn, these two are particularly strong, evocative and entertaining. It doesn’t overdo the slow moments, it doesn’t overdo the instrumental noodling, and even with all the speed it isn’t repetitive or simplistic. It is a pretty perfect mixture that captures Clutch as they are in 2015 absolutely masterfully.

As always, the musicianship is otherworldly with some of the most subtly fantastic drums in the industry and bass and guitar lines that will stick in your head for years if history is anything to go by – no one’s showing off but everyone comes across like a virtuoso. Fallon’s superb vocals are as sharp as ever; full of story-selling conviction and passion as he screams, sings, bellows and worries his way through poplar music’s greatest lyrical adventures since Phil Lynott passed away. The man knows how to convey drama, that’s for sure! I want to single out a few choice lyrics every time I review a Clutch record, so stupendous are the band at creating memorable lines, but man, I’d just have the whole damn record’s lyrics down this time!

Album highlights? Every damn song! Don’t even bother with a tester. If you like the band, you’ll love this. Overall; If you like the band then you absolutely need this in your collection. If you don’t like the band then you’re seriously missing out on something special – maybe try again now and reevaluate. In any case; I don’t reckon it would be humanly possible for Clutch to have made a better album and I can’t imagine enjoying anything they could’ve come up with this time more. I know it goes against my Catholic upbringing, but I’m a sucker for this album.

Stone Temple Pilots – Tiny Music Songs From The Vatican Gift Shop

Tiny Music Songs From The Vatican Gift Shop was the third full length studio album by San Diego Grunge band Stone Temple Pilots. It was released in 1996 and produced by Brendan O’Brian. This third album continues their trend of not having two albums in a row sound much like each other. The first album was a weighty, almost Metallic mixture of Alice In Chains, Soundgarden and Pearl Jam’s styles, blended together. Their second was a moody, mid-paced, thoughtful record that embraced “Alternative” more than Grunge specifically. This third album is a breezy, summery album, with pleasant melodies, jangly psychedelic moments and a bit more speed than Purple had.

The album is almost in two halves, firstly of enjoyable, slightly heavy Rock songs with enough bite to satisfy but simple and easily digestible enough to be memorable and entertaining, and the rest is more laid back, mildly trippy music that evokes Gentle Giant’s less complex moments, or indeed The Beatles. It’s a very good mixture that balances well together and makes for a strong record overall. Experimental enough to sound fresh but grounded enough to give you what you want.

Highlights include ‘Tumble In The Rough,’ ‘Lady Picture Show’ and the famous ‘Trippin On A Hole In A Paper Heart’ …three tracks equally as strong and memorable as anything off the excellent debut Core, and as separate from the styles of other bands as anything on Purple. These sit alongside the likes of ‘Dead And Bloated’ and ‘Sex Type Thing’ as some of the most fun songs the band have released, but without losing the artsy identity the band found for themselves with tracks like ‘Silvergun Superman.’ A best of both worlds, if no stylistically then at least in terms of quality.

Overall; Tiny Music has all the benefits of pleasant disposable summery fun music, but with the talent and backing to make it last. If you like this band, or this sort of music, its an absolute must. Its probably the band’s most fun and easily accessible album and its absolutely worth your time. Don’t let the headlines or anything put you off. Don’t miss out!

Rishloo - Living As Ghosts With Buildings As Teeth

Rishloo – Living As Ghosts With Buildings As Teeth

Living As Ghosts With Buildings As Teeth is the crowd-funded reunion album from the incredible Seattle Progressive band Rishloo. Its their fourth full-length album overall and sees the band back together now that singer Andrew Mailloux has returned to the fold and the other bandmembers changed their separate crowd-funded new instrumental band The Ghost Apparatus back into Rishloo. Its been an interesting wait as a fan, but I won’t bury the lead… that wait was well worth it!

Consisting of just eight tracks with no intros, outros or hidden bonuses, this is the bands most succinct and concise offering to date, but you can file that under fat-free and lean rather than skimping on extras.

Stylistically; if you haven’t heard the band before, they are often compared to bands like Tool, A Perfect Circle, Coheed & Cambria, The Mars Volta, Porcupine Tree, Soen, Dredg, Fair To Midland, Jurojin, Cog, Karnivool, Circe, The Mayan Factor and others. No single comparison there really does justice to what you can actually expect, but if you understand the sort of common theme between all of those bands you can at least expect the right ballpark. On top of that, Rishloo are also constantly developing and evolving, and no two of their albums sound that much alike because they progress and change over time (while always retaining a certain core identity where you can still tell its them straight away) so even their own catalogue doesn’t necessarily train you for what to expect here. This album is stylistically a million miles from their 2004 debut Terras Fames, but in a way that makes sense and feels logical.

In that spirit, Living As Ghosts With Buildings As Teeth is no simple retreading of their back catalogue, nor any attempt to sound like someone else. On this album Rishloo sound like nobody but Rishloo. Even the previous Tool comparisons bounce limply off this album like wooden arrows off a tank. Hints is all you get, the rest is new. This record sees the band mix things up even more and explore different sounds, textures and combinations. Drew tries out new voices and styles he hasn’t used before, such as the deranged sounding heavy vocals in the middle of ‘Winslow.’ There are guitar styles a past fan wouldn’t expect. Things that only came up once on a previous album are given more time.

The rhythms are more disjointed and jarring. There’s even more playing in uncommon time signatures and switching between tempos; opener ‘The Great Rain Beatle’ is particularly jagged, its unhinged and yet hypnotic like some psychedelic nightmare and makes Mars Volta comparisons more understandable… its like the most jagged parts of ‘Scissorlips’ made into an entire song. So too is the jazzier single ‘Landmines’ in its heavier sections. Although that being said, towards the end from the guitar solo onwards that kicks into some beautiful, straightforward head-banging energy.

There are also more hints of classic ‘70s Progressive Rock here than there have been on previous albums, to the point where (deep and hidden) you get feelings of almost Tales Of Topographic Oceans era Yes sounds at some stages (such as the middle of ‘Dark Charade’), and the intro to ‘Salutations’ reminds me a little of Pink Floyd’s ‘Hey You’ and ‘Don’t Leave Me Now’ updated through some Radiohead and Deftones filters. There’s also five-second bursts of King Crimson influence all over the place in spidery Fripp-esque guitar runs crammed in there every now and again by the underrated Dave Gillet. None of it is overt though, its subtle, bubbling under the surface. Hints.

Its difficult to pick album highlights in such a well-crafted, concise and consistent body of work; ‘Dark Charade’ for example has THAT riff, and afterwards kicks off into an exciting build-up that feels like the sequel to ‘Downhill’ off of the previous record and ‘Dead Rope Machine’ is just so unique, its like every song has its own identity and something completely singular to offer. Gun-to-my-head I’d have to recommend that you check out ‘Winslow’ (which people who followed the whole Ghost Apparatus period might recognize) and ‘Just A Ride’ as your tester-songs to see whether or not you’d like the album. Jesse’s drums on those two are particularly excellent. ‘Just A Ride’ is the absolute perfect ending to this roller-coaster of an album and features the defining lyrics of this whole saga. That said, the whole thing works so well as a single journey that I almost feel bad picking favourites.

There are some things you can always count on Rishloo for; Firstly – interesting, poetic, provocative, intriguing lyrics. Secondly – powerful, emotional, evocative vocal performances. There’s also always interesting, spiraling, unexpected music that will defy initial expectations but feel ‘right’ once you’re used to it. Furthermore you can count on a certain arty air of mystique and most of all, quality songwriting depth that means you never get sick of the tracks, they just get better and better with each listen. Considering all these aspects, this new album is no exception to the rule, no misstep and no weak one in the set. This album has it all; whimsy, brooding, passion, intensity, subtlety, power, aggression, chilled out moments, virtuosic moments and scaled-back serve-the-song-not-the-player moments. Its got a strong sense of diversity yet feels like one cohesive whole throughout and a single journey (or ‘ride’) from start to glorious finish.

If you are a fan of the band then you unquestionably need this satisfying grower of an album. That may be a bit of a redundant sentiment but it’s the absolute truth; I know that if you are an existing fan of the band then you probably crowd funded The Ghost Apparatus or pre-ordered the record already and got rewarded with early access downloads, so recommending it to you seems like preaching to the choir… but if you haven’t checked out the band yet, or were waiting for the reviews then by all means please do give this a chance. This album is just as good as their previous work and if you give it enough spins to reveal its subtleties and hidden depths you will be greatly rewarded.

Oh, and if you enjoy it make sure to go back and check out the rest of their records too!

*** Side note: If you are a regular reader of this blog and generally agree with most of my taste in music, or like any of the comparison-bands, you can consider checking out this band as a personal favour to me. That’s how much I recommend them! ***

Rishloo, my favourite band in the world, (suitable for fans of Tool, Mars Volta, Porcupine Tree, Coheed & Cambria, Cog, Amplifier, The Dear Hunter, The Mayan Factor, Soen etc.), have released a new song from their long awaited reunion album Living As Ghosts With Buildings As Teeth. I am a keen kickstarter contributor to this album, I have a Vinyl of their previous album Feathergun up on my wall as decoration, and I advise all my readers to give them a listen.

I haven’t been as excited about new material since Queensryche got together with Todd La Torre, that’s how big a deal this is.

Official KCP recommendations: Listen to this, encourage it, give it lots of views, get into the band, buy all their albums, go see them live.