Papa Paul’s Groovy Reviews!

Church of the Cosmic Skull

All I can do is attempt to review the new album by Nottingham’s Church of The Cosmic Skull, because it completely blows me away. I consider 'Science Fiction’ (2018) one of the great rock 'n’ roll records. It’s on par with early Genesis and Van der Graaf Generator – two extremely deep progressive rock bands. Science Fiction is a multilayered amalgam of vintage prog and hard rock, and somehow stoner-doom, as well. Church of the Cosmic Skull has done exactly what Saint Vitus, Pentagram, Candlemass, and other early undergrounders did – they introduced a sound we thought only existed with Black Sabbath and pushed it beyond its boundaries into new terrain. Great doom and stoner records are still being made, but it doesn’t shock us anymore. Seemingly every extreme has been experimented with, that is until now. Church of the Cosmic Skull suprise us with a brand new approach, edging closer to full-on sixties-style pop. On the surface, you’ll hear a pleasing harmonic vibe, but underneath is an intensity of heavy music.

In 1969, I was eight years old and one of the biggest hits on the radio that year was “The Dawning of The Age of Aquarius.” I only knew music from my mom’s AM radio and I absolutely loved this song. The lyrics were pretty far out for the times. The vocal harmonies intrigued me. The music was mostly brass. The song was forever etched in my brain. Another song engraved in my brain was “Afternoon Delight” by the Starland Vocal Band, played continuously in 1976. Another catchy song full of vocal harmonies. The music was cheesy and bebopped along, but those harmonies were unforgettable. ABBA was the greatest selling pop band in the world at the time. Once again, it was the vocal harmonies that people went ape over. For the hard rockers among us, this music was anathema. It was all about Black Sabbath! Well, Church of the Cosmic Skull has promised to put the ABBA in sABBAth, and with Science Fiction they did.

Well welcome to the world of Science Fiction. The first album by Church of the Cosmic Skull took a similar approach to vocal harmony and overlaid it with a softer occult-stoner vibe. With Science Fiction, they’ve taken that sound sky high with songs that are more “radio-friendly,” music that is softer than the debut – positively mellow at times. Yet somehow, still a stoner rock album. The dark riffs and moody atmosphere provides a fitting contrast to the up-beat verses that’s likely to find you singing right along. The voice of the main singer, especially, contributes to this wonderful contrast, with the backing vocals having a similar feel to sixties bands. Oh, there are those times when he will remind you of Neil Diamond or Hall & Oates, but then out of nowhere you’ll get a bluesy Graveyard vibe (actually, the last Graveyard album experimented with some sixties pop now that I think of it). Another pop band that this reminds me of is the English rock band 10CC.

So you see, in Science Fiction, Church of the Cosmic Skull go extreme in the complete opposite direction of the early doom fathers. Full-blown pop harmonies are used, but in a way, I could have only dreamed of growing up in the late '60s and early '70s. If my friends and I rejected this popular music of the time, we did so because it was too commercial and mainstream and (most importantly) it didn’t really rock. With Church of the Cosmic Skull, I’ve been forced to reconsider my musical paradigm. Here we have memorable harmonies in the same style of yesteryear, married to some very interesting and intense progressive hard rock.

This will be on many best of '18 lists. Expect to see it as the album of the year, even, and a number of lists (maybe even mine). I’ll be playing the band’s second album, at least as much as their first (which still gets regular rotation on the daily playlist). This is one of those “deep” albums you need to keep spinning just to take it all in and pick up on the nuances.

Electric Lady

A couple years ago, I reviewed the album, 'Queen Of Electricity And Her Coming Kingdom’ by Beijing’s Electric Lady. I raved about the heavy acid guitars in vein of Hendrix and the vibrant Sir Lord Baltimore energy (they even cover one of their songs). Normally, I prefer studio recordings to live music, but the record before us may be an exception. The addition of new song or two only enhances the appeal. The guitar work is a must-hear, an outstanding example of late-sixties/early-seventies acid-style guitar play. A more contemporary band this reminds me of is Crafty Fuzz from Dublin. I’m still wowed by the fact that this band is from China and I look forward to hearing more from the heavy underground there.

Key Machine

The debut by Key Machine is called Revival. What a fitting title that is, a nod to the contemporary revival of the seventies sound, more commonly called retro rock. The best part of the retro scene is that it has cast a broad net over many styles. Key Machine play guitar-driven blues rock. Their style is not all that heavy, but it sure is good. In fact, I played this four-track EP three times in a row the first day I heard it. The only problem is that it’s too short (just under twenty minutes).

Key Machine, a duo from Ontario, play a style of seventies rock that wasn’t overly popular in its day. They reminded me of a band called Trapeze, especially their first album, 'Medusa’ (2017). In fact, it inspired me to play that album, an unheralded classic. I also hear elements of UFO and possibly some early Blue Öyster Cult. In an era of intense music, whether pounding, angry sludge or intensely heavy stoner rock, this should give a welcome variety to your music library. Revival is laid back. The grooves are there, but more dreamy and relaxed. I hesitate to use the word “mellow,” although it could be perceived that way by some of our readers. Certainly, this would not have been considered mellow in the seventies. This is high quality blues rock that should appeal to fans of Deep Purple.

You gotta love the digital age. I went to Bandcamp to play the Key Machine debut, because I’m addicted to it, and was pleasantly surprised to see nine songs instead of four! The five new songs only add to my delight in this album. The guitar jumps out at me now. Some of the new tracks reminded me of Steve Hillage, a progressive psychedelic guitarist of great renown in these circles. Now that I’m listening to a full album, I definitely notice the proggy side of Key Machine. This explains my desire for repeated listens. The music is deep. You won’t get bored with this one too quick. Fans of JIRM should definitely check them out.

Killer Boogie

Here’s some cream for your early morning coffee, shipped all the way from Italy. Acid Cream, to be precise, from Roman stoner-fuzz sensations, Killer Boogie! The trio of Gabriele Fiori (guitars, vocals), Luigi Costanzo (drums), and Nicola Cosentino (bass) are called Killer Boogie for good reason: they really do play killer boogie.

Boogie is a style of rock 'n’ roll that everyone who’s ever taken piano or guitar lessons will recognize. Those rocking chord progressions are among the first things you learn as a budding musician. Basically, boogie takes the basic blues and make 'em swing. You can trace its roots back to the '70s…the 1870s! It became the popular music of the 1920s and was the foundational to the big band hits of Benny Goodman, Tommy Dorsey, and Glenn Miller in the 1930s. Boogie-woogie reached its peak back in the late-sixties/early-seventies with the Rolling Stones, Grand Funk Railroad, Canned Heat, and the Doors…or did it? Not everyone today knows it by name, but you definitely recognize it when you hear it and bands like Killer Boogie, Mos Generator, Honeymoon Disease, and so many others are bringing it to a whole new generation.

This is the second album from Killer Boogie. 'Detroit’ (2015) was good, but the new record definitely shows maturity. Their overall sound can be described as “Detroit.” To old timers, that brings to mind legendary rockers from the area like MC5, Ted Nugent, and a slew of others who delivered loud, aggressive rock 'n’ roll, often (though not quite) leaning towards punk. On Acid Cream the boys bring a good dose of Detroit Rock City, adding a touch of modern psychedelia for good measure. The organ, which has once again become a staple of many bands, makes an appearance on a couple of these Killer Boogie tracks. Overall, it’s a similar vibe to the recent records by Svartanatt, Crypt Trip, Swamp Moth, and others we reviewed in these pages. They must all be partaking of the same water (or should I say…cream?). One thing is for certain: this retro wave shows no signs of slowing down.

The whole album is solid, but there are a couple of tracks in particular that stood out to me. “Am I Daeman” is a fine example of modern retro rock with an occult flavor. “Dino-Sour” a fun little number that’s a fine example of the Detroit sound. “Brother in Time” even gives us some of that punk attitude I alluded to, tapered by some solid riff 'n’ roll with a touch of the Hammond. My favorite song has to be “Black Widow” – also the longest at just over five minutes. It incorporates modern occultic stoner rock nicely into the Killer Boogie vibe permeating throughout.

Acid Cream is indeed fun, but make no mistake it is a serious rocker. I hope to catch these guys live someday, but seeing they hail from Italy, they would need a wave of success to carry them over on a world tour…so support these guys!

Painted Doll

Here’s an album that has been taking the heavy underground by storm and definitely by surprise. Painted Doll are a two-piece with one of the godfathers of extreme metal, Chris Reifert from the pioneering bands Autopsy and Death. His counterpart is Dave Hill, a familiar name in the comedy circuit and a darned good guitarist, too, playing in bands like Cobra Verde and Valley Lodge. I don’t know anything about his comedy routine, but I can tell you he does shreds on them guitars! Dave also nails the vocal style for this kind of music and Chris provides brings some serious game to the bass and drums.

I said from the outset that this took the scene by surprise because it was so unsuspected. The style is basically psychedelic pop music right out of the '60s and '70s, you know the kind of music defined by Sgt. Pepper’s Lonely Hearts Club Band, the 1967 platinum seller by The Beatles. Don’t tell me you never heard of it. This doesn’t really sound a whole lot like the Beatles, more like The Hollies or The Lemon Pipers, and a handful of bands you probably haven’t heard of. Truth be told, I only came to appreciate this style in the last few years and I really only like the most psychedelic of this genre. It was never heavy enough for me when I was a teen. There’s actually a whole scene out there currently playing this freakbeat music. The retro scene has expanded much deeper into the past, exploring sub-genres of sub-genres, taking rock all the way back to its roots and exploring every thread.

To their credit, Painted Doll has garnered the attention of an audience who might normally disregard this style of music. Because of the connection to death metal and its near universal claim, people have been checking the Painted Doll debut. Praise for this has been overwhelming, almost unanimous. The foundation of sixties psych-pop is the overall feel here. The vocals, harmonies, and melodies just ooze the vibe from this era. Nevertheless, there’s something more to its popularity and it’s not hard to figure it out: those searing guitar leads! Points of interest include the opening riff and harmonies, which are eerily similar to the chorus of “Don’t Fear The Reaper” by Blue Öyster Cult. Melodies are what dominate throughout, though, much as they did in the music of the mid-sixties. The last song is the heaviest, pushing us closer to the seventies sound.

If this intrigues you, there’s a bevy of bands out there waiting for you to discover. This is the best of the contemporary scene, in my opinion, but there are certainly other acts worth your earspace. Meanwhile, Painted Doll is so good it is easily end up taking prime real estate on my Heavy Best list. Certainly, it’s one of my most played albums so far this year. Those melodies are addictive, man. You’ve been warned. We’re barely half-way through 2018 and I expect many more killer releases, but I definitely see this in my top ten or higher at year’s end and I predict I’ll see it on other’s lists, too. It’s really that good, but be careful… this could be a gateway drug!

SVVAMP

Just in case you weren’t convinced that the retro scene was in full bloom, behold SVVAMP 2 – a more than worthy follow-up to SVVAMP’s outstanding debut. After a short intro, we are introduced to an extraordinary riff in the seventies tradition. The track is called “Queen” it’s one of those songs that would stop you in a bar mid-conversation when it started playing from the jukebox. I’ll go one further. This is one of those songs that’ll give you the courage to walk up and say hi to that hottie you’ve been eyeing at the bar. “Queen” has all the swagger of classics like “Mississippi Queen” by Mountain, “All Right Now” by Free, “Born To Be Wild” by Steppenwolf, “American Woman” by The Guess Who, and so on. It’s so good that I’m convinced if it was 40-50 years older, we would be counting is among the greats.

“The Wheel” is another hard rocker, in the same category as Queen. “Sunshine Street” follows with a more Beatles-esque vibe. The harmonies on this track would make it fit nicely on an Eagles album. “How Sweet It Would Be” has a pleasing groove with subtle guitar passages, what we called deep tracks back in the day – those high quality songs that didn’t have the polish or flare to be a radio hit, but the true fans thrived on them. I’m reminded especially of James Gang here.

Up next, “Hillside” and the riffs really pick up now. This one’s another headbanger, 1972-style, with early Skynyrd and James Gang vibes, underscored by some impressive guitar work. The seventh track is called “Surrender” and the synthesizer enters the picture, giving it a mid-seventies feel. It’s a good song, but seems a bit out of place in this company. “Out of Line” is a cool, funky number with southern fried riffs and persistent cymbals keeping time. Allman Brothers come to mind and, again, James Gang. I’m thinking these guys are Joe Walsh fans?

The penultimate song, “Blues Inside,” is less than two minutes, a softer acoustic track that sets up nicely for “Alligator” (debuted by Doomed & Stoned). It’s the heaviest song on the album and a great finisher that might be the favorite for many of our readers. It sounds modern, yet retains that retro flare we all love – another one of those deep tracks that would have been a little too intense for a single, back when radio ruled the world.

In a year of one unstoppable release after another, RidingEasy Records continues to satiate our appetite for heavy music with hit after hit, truly a choice album. It’s hard to beat the authenticity of the early seventies sound on SVVAMP 2 and definitely has a strong “Song of the Year” candidate in “Queen.”

Wedge

'Killing Tongue’ (2018) is the sophomore album by the Berlin trio Wedge. I feel I must comment on their first to adequately explain their second. Wedge’s 2014 debut was well received, though I didn’t initially jump on to buy it. I can’t think of an album I revisited as many times on Bandcamp without purchasing. Part of me loved it, but another part of me found it too dated, believe it or not. The fifties-style rock 'n’ roll was too straightforward, I thought, but I kept revisiting it. One day I went to play it again and it was gone. Man was I bummed out! It had definitely grown on me with time, but now that the band had signed to Heavy Psych Sounds, the initial digital release had been pulled. From then on, Wedge was the most anticipated record on my list, as I impatiently awaited the official drop date. Once released, it became my favorite.

Killing Tongue has the feeling of my favorite era of music: 1969 to 1974. Whereas the first album felt like 1967 or earlier, this new one has more of a 1969 or even 1970 vibe. I usually think of 1967 as crucial formative years for heavy psychedelic music, marked by early albums from The Yardbirds, Jimi Hendrix, The Doors, Pink Floyd, Jefferson Airplane, and more. It was also the year of Sgt. Pepper’s Lonely Hearts Club Band, which made psychedelia mainstream. For me, though 1969 was the pivotal year that gave birth to heavy metal. Black Sabbath and Led Zeppelin debuted that year and by 1970, the heavy metal scene was in full bore. The term acid rock replaced psychedelic as the choice descriptor for this harder, more intense sound. All you have to do to hear this transition is play Deep Purple’s Book of Taliesyn from 1968, and then play their Deep Purple In Rock album from 1970. It’s possibly the best example of the scene progressing.

So am I writing a review Wedge’s Killing Tongue or giving a history lesson? The answer is yes! You see, the first two albums by Wedge are so retro that they bring this era so vividly to my mind. The use of organ expanded in those few years after 1967 and the same is true on Killing Tongue. Wedge is authentic in their approach to the craft and a living documentary of the foundation of our current scene. Simply put, this is classic rock! Get this and experience history.

Willow Child

Willow Child is a spin-off of top-notch retro doom rockers Limestone Whale. This is the new project by guitarist Flo Ryan Kiss. Willow Child’s new full-length, 'Paradise & Nadir’ (2018) follows an excellent debut EP, 'Trip Down Memory Lane’ (2017) , developing the potential we encountered there and taking what I’ve dubbed female-fronted occultish blues rock (FFOBR) to new heights.

The band, based in Erlangen, Germany (near Nuremberg), has a far different sound than Limestone Whale. Willow Child is much more on a progressive rock adventure. You’ll notice, for instance, the greater prominence of the organ on Paradise & Nadir. While present on the EP, too, it this time gets equal billing with the band’s twin guitar attack. The result is a sound that marries Uriah Heep to Wishbone Ash, with vocals that call to mind Heart’s Ann Wilson. There are times when a riff will have you banging your head in midst of a fantastic array of melody and harmony.

Lyrically, Paradise & Nadir is a loose concept album in the spirit of similarly oriented mid-seventies recordings. While listening to the song “Red Wood,” I can’t help but think about legendary krautrockers Lucifer’s Friend, at least in the music. This song also appeared on the EP and comparing the two versions, you’ll understand my earlier statement about taking their sound to new heights. It’s amazing how important production is. A very good song becomes a classic in this version, largely owing to production (and the welcome addition of the aforementioned organ).

I actually believe Paradise and Nadir will be seen as one of those important albums that furthered the development of organ-driven, retro-sounding FFOBR. The record is so good I fully expect Willow Child to experience worldwide success and recognition owing to its release and circulation. Share widely!

Witchskull

Hailing from Australia’s capital city, Witchskull are back with a second album! If possible, it’s even better than their debut, 'The Vast Electric Dark’ (2016 - Ripple Music) . I struggle to classify this as “retro” with its fuzzed-drenched, riff-centric attack and screaming vocals. On the one hand, this is Stoner Rock 101 (young bands, start taking notes). On the other hand, there’s definitely something old school afoot here. The energy seems drawn from vintage Motörhead. The riffs and soloing are in league with Black Sabbath and Deep Purple. This album has the feel of Black Sabbath’s Born Again coupled with Motörhead’s Ace of Spades. Some songs slow down to the speed of the first four Sabbath albums. The vocals are unleashed with the passion of Ian Gillan or Ronnie James Dio, only delivered with the spark of Slayer. In fact, any of these songs would fit comfortably on Slayer’s Reign in Blood. The emotion throughout is urgency, bordering on desperation. Coven’s Will fills me with energy.

If I am pressed to find a weakness, it might be that the album is a bit monotonous, in that each song seems to have the same tone and intensity. Somehow, though, that’s also the strength of the album. When it’s over you’ll be thinking, “Already?“ Well, good thing they have that first album to play. Motörhead had much the same “weakness/strength” thing going on in their 20+ albums, but you won’t find me complaining. I call that AC/DC syndrome. It actually works for some bands, albeit rarely. Coven’s Will is another that will surely make my Heavy Best list, possibly as the heaviest of other albums in its company. I recommend this to stoners and metalheads of all ages.

Wytchgoat

Most of you probably have come to expect reviews of albums with a retro sound from me. I usually leave the sludge-doom, death-doom, and blackened-doom to the other contributors. However, Wytchgoat really got me pumped with their latest release. I almost made the mistake of passing this by, but something got hold of me. I’m not sure if it was the maniacal vocals that grabbed me first or those distorted, acid-drenched guitar leads. On first blush, it’s easy to think of this as a typical sludge band, which is not my normal listening pleasure. There are times when my mood finds me venturing into this sub-genre, but 'Kult of the Wytch Goat’ (2018) isn’t just another casual “mood” album for me – not when I find myself on the fourth listen within a week! The best part is it keeps sounding better with every spin.

This reminds me of a downtempo version of Leif Edling’s Doomsday Kingdom (which I reviewed here) and some will hear hints of Sleep’s Dopesmoker, as well, only with even more maniacal vocals. I don’t know much about the singer (the band hails from Virginia, but info at this point is scanty), so I can’t tell you what his stylistic orientation is, whether stoner, sludge, death or doom. Regardless, the singing actually works for me. Anything more or less “normal” would lessen the effectiveness of these songs. Let’s call them acid vocals, because they match the attitude of the acid guitar leads (perhaps he gargled battery acid before the recording). Besides that, there’s a definite touch of proto-metal, certainly proto-doom, a Sabbathian riff or two, and what it brings us is a happy marriage of the traditional and the novel. No wonder I’m digging on this!

Kult of the Wytch Goat is a hulk of a record that requires multiple listens to soak everything in. Each song has its own character and contributes something essential and unique to the album. Just when you think you have this thing figured out, something will marvel you. The last number, “Slug,” is certainly well named. It slimes along at the pace of a slow Saint Vitus song, accompanied by some Chandleresque leads, but again the vocals that stand out strongest. It kind of reminds me Scott Reagers on helium, recorded in lo-fi. Now if that doesn’t intrigue you, nothing will.

Zen Bison

Zen Bison is a new discovery for me. Their name led me to believe they would have a hard, stoner rock sound. After all, stoner bands tend to have an affinity for bison, buffalo, horses, elephants, mammoths, et al. The title 'Krautrocker’ (2018) hinted otherwise, so I hit play and instantly realized we had a true krautrock album on our hands. For those not up on the term krautrock, it’s a sub-genre that originated in the early-seventies to describe the sound coming out of the psychedelic scene in Germany. The sound ranged from hard rock and proto-metal to space rock and even proto-doom. Digging deep into their musical heritage, the Rostock five-piece deliver on both ends of the spectrum throughout this five-track, forty-minute album.

The first two songs are five-minute rockers, reminiscent of several classic German underground bands. The next two songs are ten-minute instrumental space jams. I’m not big into instrumentals, but these could even be longer. At no time does either song get boring or tedious. The closer, “Going Down,” is an old song by Memphis blueser Don Nix, famously covered by Jeff Beck. The Deep Purple Mark III line-up was fond of playing it live, too. Here, Zen Bison give “Going Down” the proto-doom treatment, with hard rock vocals and a space rock mid-section (at over ten minutes, there’s time to pull it off). Because of its heavy doomy riff, this could be our readers’ singular favorite. The whole album was recorded in a club as a live jam, so I’m hoping for a future studio album. The sky’s the limit for Zen Buffalo!