Saturday, 25 March 2017

Sparrowmilk - Articles Of Separation (Album Review)

Release date: February 15th 2017. Label: Kultland Recordings. Format: CD/DD

Articles Of Separation – Tracklisting

1.Mars in the 7th House 06:11
2.Western Reserve 05:40
3.Book of Armaments 08:43
4.Sons of Neptune 06:53
5.Black Night Satellite 08:14
6.Wolf Egg 08:28
7.Hollow Moon 09:41
8.Erie Depths 07:44
9.Teeth of the Hound 04:58


Tomasz Scull (drums)
Erin Corcoran (bass & sounds)
Joe Fortunato (guitar & sounds)


Sparrowmilk is comprised of members of Venomin James, Ancient Vvisdom and Doomstress. However these guys are purely an instrumental doom metal band with moments of psychedelic rock and sludge metal appearing on their epic debut album – Articles Of Separation

Sure the album maybe slightly overlong but if you're a fan of progressive instrumental doom metal then Sparrowmilk have a few surprises on this superb album. Most of the tracks follow the same pattern with the band performing progressive doom/sludge grooves with a few spaced out riffs appearing here and there.

The first few songs - Mars In The 7th House, Western Reserve, and Book Of Amendments – sees Sparrowmilk play their heavy thunderous riffs that have a grizzled feel to them. The instrumental work is brilliantly progressive at times as the band create some fantastic fuzzy psychedelic space rock moments.

Sparrowmilk have quite a talent for playing straight-forward heavy doom based rock to the more aggressive Sludge/Post-Metal style environments that appear on later parts of the album. Other great tracks to check out are: Sons Of Neptune, Wolf Egg, Hollow Moon and Erie Depths.

The production of the album is very good indeed as you can feel the doom and gloom atmospherics held on the album. It's cool that the band included Kent Stump (Wo Fat) to master the album. It gives the album an extra layer of Doom/Stoner Metal credibility.

Maybe the band could have left a couple songs off the album as it runs past the 65 minute mark. Though if you're in the mood for an exciting and action packed ride then this is the album for you. It's good to see Sparrowmilk have their own sound and are not copying from other instrumental bands within the Doom/Sludge/Stoner Metal scene.

Articles Of Separation is a must have album. No question. Check these guys out now.

Words by Steve Howe


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An Interview with MOTHERSLOTH

MotherSloth! What’s the name! Here in Russia we have a proverb about “mummy sloth” who makes one postpone their cases and lay back doing nothing. The Spanish power trio is pretty active indeed.

Moon Omen” is their second full-length release and it seen the light of day on March 3rd with the help of Argonauta Records. “Shadow Witch”, “Doomsday Cyborg”, “Moon Omen” are nice names for nice doom songs, isn’t it? Low and distorted riffs, melodic tunes and mammoth heaviness – these are the features of new MotherSloth.

They’re bulky, they’re psychedelic, they’re professionals who naturally deliver really cogent stuff. I had few questions to the band, and suddenly guys took a decision to answer as a whole band. Let me introduce you Oscar (drums), Dani (guitars, vocals) and Moline (bass)!

Salute MotherSloth! How are you? What's going on in your camp?

Oscar: Hello, we're fine, just started promoting our new album with a couple gigs in Spain, doing alright.

Dani: Yeah! Moon Omen is on the street fresh out of the oven!

Moline: Hi, there!

The thing I must ask you first is the origin of band's name, it sounds very Russian. We have a kind of proverb here about “mommy sloth”; so how did you figure out it?

Oscar: Nothing to do with Russia or proverbs, we just tried to find words related to the concepts of slow motion, laziness, and try to reflect that with a sound. Sloths are fun animals to watch by the way!

Dani: I’m going to look into that “mommy sloth” thing!

I remember how tight and solid the band did sound on “Moribund Star” debut. How long did that previous lineup members know each other?

Oscar: We started in 2008, but I reckon the sound is more a thing related to the fact that we did not want to add many spices to our recipe, we wanted it to be raw and heavy.

MotherSloth – Hazy Blur of Life

What did influence on your vision of how the band must sound? What are your main requirements to your own songs?

Oscar: We basically start from different points every time, not necessarily with an idea in mind, often we let the song take us somewhere, so there are not many rules to follow, as long as the result pleases us.

Dani: Lately, I imagine guitar riffs out of nowhere, and then months down the road, I start figuring out the indirect influences from where they might have come from. But I’m happy it’s not a thing about sounding like a certain band already out there.

Moline: Freedom. I guess it's better to just follow the song wherever it takes you.

It seems that you love distortion and different sound effects. What makes you pay so much attention to it?

Oscar: Actually, we started trying those sounds in the studio, our producer Adrian Hidalgo suggested we use them and we ended up adding those. The same for the bass guitar, we wanted it to literally blow your speakers. If we could add distortion to the drums, it would be there!

Dani: we want to add a gong to the live show, and already have a theremin going on as well.

Oscar: Haha, a gong!! That would be fun to play!

MotherSloth started as an almost absolutely instrumental band, there's just one track with vocals on “Moribund Star”. Now you have “Moon Omen”, and there are a lot of vocals! What happened?

Oscar: Not entirely true, our first studio work, was an EP called Hazy Blur of Life, check it out.
What happened was, the singer left us and we really wanted to continue, and not wait until another singer appeared so we started working on many songs we had that were instrumental. Luckily Dani joined in time to sing Dry Tears on our first LP.

Dani: I was a big fan before joining the band, I remember I went to see MotherSloth live in Madrid when I came back from living in Berlin and I recalled the band being so much better when it had a stable formation. I thought I could help by joining in and giving a stable voice to the project again, and it seems like it’s working so far!

You recorded this album with new bass-player Adrian Moline, how did this record session differ from the one you spent making “Moribund Star”?

Oscar: It was very different, our previous bass player Alex, was really a guitar player, so he did what he could. Before him, we had Ivan on bass, who recorded the song Death Flower for that album, and soon left the band. Adrian is an awesome bass player with a proper bassist feel and dexterity so it was an entirely different situation.

Your way to “Moon Omen” took almost 3 years, how did you spend this period? And do you have some completed tracks that weren’t included in the album?

Oscar: We started MotherSloth with the intention of recording one album per year. Unfortunately, this has not been possible to do in the practice although we had plenty of material to choose from. It has been basically a time of personnel changes and plans that had not been achieved. For this album, we had a couple of songs that were not completed, written by the previous guitarist, we simply decided not to use them and moved on from there.

Dani: MotherSloth has a demo archive larger than the Kilimanjaro, the only thing in the way of recording was the constant lineup change. But that’s cleared out of the way for good now, there will soon be a 4th album!

MotherSloth – Wish for Dawn

What did you want to express through this material both lyrically and technically?

Oscar: We wanted to go back to our musical roots. On Moribund Star we were in the middle of a journey, one that took us to desert sounds, stoner if you want to use a label. But in the past, we had more of a doom vibe, and I wanted to recuperate it.

Some of the lyrics are based on personal experiences, dreams, others are based on fantasy, we would love to be able create our own mythology with names, places and things like that. We had a concept for the album but we did not want it to be a conceptual album with linked songs. But we feel happy we have been able to express and suggest this concept musically, as some people had told us.

I just read a couple of reviews where it says our music has a Dario Argento vibe, you know, Italian horror films, perhaps all those elements that are present in your background as an artist start to slip in at a point and then you have a mix of influences , in our case, sci-fi, horror flicks, comics, literature. I guess those elements can also be felt in what we do.

What's the band's evolution on Moon Omen? How do you feel objective signs of your growth?

Dani: Well, a good sign of our growth is that we have Argonauta Records (Italy), Stone Groove Records (USA) and Voodoo Chamber Records (Germany) backing us up with our releases. And the album is selling from the US all the way to Japan and Australia. We’ve gotta keep it up!

Oscar: Another thing can be the fact that we now feel very comfortable working together and are able to take decisions quickly, in this year and the last one the band has been very active and we are ready to make a step forward into the next level.

How much of Spain is in your music?

Dani: Well, we love Spain, but it is hard to get your music out there over here, there are a lot of classic heavy metal fans, but for other metal styles the audience is a minority. In Moribund Star there was a clear Spanish influence, but I think Moon Omen has gone back to our American roots (USA, PerĂº).

Moline: There’s a growing underground Stoner scene around here. Lots of bands that make you trip and also shake your booty. That gives me hope that Doom is next!

Let’s resume – what are MotherSloth plans for 2017?

Oscar: Touring, in the summer we will finish writing our next album, we are already working on some ideas such as artwork and some songs are ready. Some of them will definitely be played in our upcoming shows.

This year will also see our first video clip, done also independently with the help of Cow Army prod, for the song Shadow Witch. We are happy with the results , and are thinking of doing another one. Visuals are a great way to express ideas and concepts too, something to add to our songs . It's the perfect element to enhance our music and make your trip complete.

Dani: Yeah! The 4th album in our minds and plans. We have gained a lot of momentum!

Moline: We want to play live and enjoy crafting new songs.

Words by Aleks Evdokimov and MotherSloth


MotherSloth - Moon Omen (Album Review)

Release date: March 03rd 2017. Label: Argonauta Records. Format: CD/DD

Moon Omen – Tracklisting

1.Shadow Witch 07:06
2.Once Human 05:50
3.The Firemill 07:20
4.Doomsday Cyborg 06:49
5.Wish For Dawn 06:55
6.Moon Omen 09:06


Oscar: drums
Daniel: voice / guitars
Moline: bass guitar


If you're expecting Moribund Star Part 2 then you're going to be extremely disappointed. As Moon Omen is a very different album from MotherSloth. It's a more progressive and experimental album compared to Moribund Star.

It's a brilliantly produced album. I can't deny that. It even has some intriguing and well executed concepts throughout the album. It's just that compared to Moribund Star which I'm a huge fan of, Moon Omen doesn't quite match up in terms of overall enjoyment. That's not too say it's a bad album. Far from it. It's a very good album indeed. I was expecting so much more.

If you're a fan of experimental and almost avant garde Doom/Sludge Metal then you will find much to enjoy here. MotherSloth do create stunning riffs on tracks such as Shadow Witch, Once Human and the awesome title track – Moon Omen.

The vocals are another highlight with Daniel showing his impressive vocal range throughout the album. I enjoyed the Alice In Chains grunge style theatrics that the band include on certain parts of the album. It seems that MotherSloth have taken influence from YOB and Pallbearer on this album as you can hear familiar sounds especially with guitars.

I can see why MotherSloth wanted to make a different album to Moribund Star. On that album you could see they were a forward thinking band who are willing to take risks with their music. Even if it meant losing some of their original fan-base. I'm still a fan and I admire their decision in making an album such as this. The album is already receiving it's fair share of praise. If this was the first time I heard MotherSloth then I would absolutely love this album. It's that I hold Moribund Star in such high regard that I can't stop comparing the two albums.

If you're a fan of Experimental Sludge/Doom Metal then you will no doubt enjoy this album. It's a brave and exciting album at times. Though I will be listening to Moribund Star more than Moon Omen. Though I have a feeling this is an album that I will be revisiting in the future and changing my mind about. Until then.......

Make your own decisions about Moon Omen.

Words by Steve Howe

Thanks to NeeCee Agency and Argonauta Records for the promo. Moon Omen is available to buy now from Argonauta Records on CD/DD


Thursday, 23 March 2017

Green Meteor - Consumed By A Dying Sun (Album Review)

Release date: April 21st 2017. Label: Argonauta Records. Format: CD/DD

Consumed By A Dying Sun – Tracklisting

01. Acute Emerald Elevation
02. Sleepless Lunar Dawn
03. In the Shadow of Saturn
04. Mirrored Parabola Theory
05. Consumed by a Dying Sun


Amy: Explorations of the 6 Degrees of Freedom
Leta: Celestial Summoning & 6th Level Sonic Complexities
Tony: Anti-Gravitational Percussive Reverberations Through Time Space Continuum
Algar: Anti-Cosmic Astral Verses & Journeys into the 4th Dimension


Another day and time for another release from Argonauta Records. This time with Green Meteor's debut album - Consumed By A Dying Sun. A band that play cosmic and spaced out Psychedelic Stoner/Sludge riffs. A band influenced by some of the most notable legendary bands of the last twenty to thirty years or so but with a more space rock edge.

Opening track - Acute Emerald Elevation - is a strong song to open the album with as it shows you the full picture of Green Meteor with heavy distorted SLEEP style riffs with a high amount of distortion being added at different parts of the song. The vocals adds different touch as I haven't heard many female led vocals within the Spaced Out Stoner Rock field. The psychedelic noises add a nice touch with the riffs and vocals building up to a heavy momentum. The lyrics aren't the most original you'll ever hear but they get the job done as Green Meteor providing a thrilling song to open the album with.

Second track - Sleepless Lunar Dawn - adds a spoken word soundclip that matches the out of world atmospherics the band are currently creating. This is perhaps the standout song on the album as Green Meteor create a barrage of fast paced riffs with the heavy guitars and drumming interacting almost perfectly with each other. The song lasts for ten minutes and you can't help but lose yourself in the epic spaced out riffs. The vocals impress yet again with a more confident approach compared to the opening track. The song offers its fair share of slow paced and fast paced riffs. Green Meteor impresses the most with the faster style of riffs as their music has a sense of urgency about them. The music becomes more focused as the band leaves the distorted noises behind.

Third track - In The Shadow Of Saturn - sees Green Meteor return to heavier distorted sound they opened the album with. This is a much more doomier and sludgier effort from the band. I don't know if it's just me but one part of the song sounds very familiar to Nirvana at times. Very good idea if this was intentional.

The final two tracks - Mirrored Parabola Theory and Consumed By A Dying Sun offers ten minutes of more psychedelic spaced out vibes with Consumed By A Dying Sun impressing the most. Mirrored Parabola Theory is perhaps the most straight forward Doom/Stoner Metal song on the album as Green Meteor opts for a Monster Magnet style delivery with their music though the vocals are slightly off key at times. Consumed By A Dying Sun has a more punk driven sound compared to the earlier songs. It's simple but so effective especially matched with the albums earlier sounds. A great song to end the album with.

The production of the album is good though there are a few parts where everything is too quiet at times. Other than that, Consumed By A Dying Sun is a loud, boisterous and thrilling album from start to finish. This will appeal to a wide range of fans within the Doom/Sludge/Stoner Metal community.

Words by Steve Howe

Thanks to NeeCee Agency for the promo. Consumed By A Dying Sun will be available to buy on CD/DD via Argonauta Records from April 21st 2017.


Wounded Giant - Vae Victis (Album Review)

Release date: April 01st 2017. Label: STB Records. Format: CD/DD/Vinyl

Vae Victus – Tracklisting

1.Vae Victis 09:30
2.Dysthiest 06:20
3.Immanentize The Eschaton (Jim Jones Instrumental) 04:43
4.Scum Of The Earth 07:03
5.The Room Of The Torch 07:36
6.Green Scar 06:09


Dylan A. Rogers. - Bassworshipper
Alex Bytnar. - Drumworshipper
Bobby James. -Riffworshipper


Wounded Giant make a welcome return after a lengthy four year absence from their debut album - Lightning Medicine. Sure they've released an EP's and split record but this time they've come back stronger than ever with their new album - Vae Victis. Newly signed to STB Records, the guys have not only teamed up with that awesome label but they have also called upon the talents of legendary producer Billy Anderson to produce their new album.

Vae Victis sees Wounded Giant create a more diverse and progressive sound heard on their debut album. Though fans of their debut album will be treated to some familiar sounds spliced throughout the album. Vae Victis has a more Melvins/Soundgarden influenced style of sound. It works as their familiar Doom/Stoner riffs hold everything together.

The opening title track is ten minutes of twisted and distorted noise rock driven sounds that owes a huge debt to The Melvins but it's still a song that sees Wounded Giant create their own sound. The song is quite political at times with sharp, bleak and social conscience lyrics adding quite a rebellious punk feel to Wounded Giant's sound. The song offers moments of heavy pounding sludge grooves and it's perhaps the albums standout track. The sound is very raw from the start but with Billy Anderson involved it still sounds superb.

Second track - Dysthiest - offers a more gloomy style of Doom/Stoner Rock with grungier sounds making a commanding appearance with the band offering another subtle take on the modern world. The heavy drumming and guitars are the main standout with the vocals not too far behind. You can hear elements of nineties style Noise Rock slowly playing in the background as the band move that little further away from the music they created on their debut album. This has song has a more world weary approach but fans of Doom and Stoner Metal can fully appreciate this track.

Third track - Immanentize The Eschaton - is the most gloomiest and depressing song on the album as Wounded Giant blend gloomy atmospherics with a touch of Occult Rock appearing with the cool organs playing throughout. The band adds heavier moments as the song progresses. Another standout track on the album. The song has a very minimal approach but the political message contained within the song that speaks major volumes.

The final three songs on the album - Scum Of The Earth, The Room Of The Torch and Green Scar carry on the political and social messages the band delivers but told through the power of Doom, Sludge and Stoner Metal. The atmosphere can be very experimental at times as Wounded Giant play a wide different style of sounds though remaining a true Doom/Sludge/Stoner Metal band. The vocals are once again sung with precise anger and that blends perfectly well with the heavy grungy sounds the band surrender themselves to.

The final three songs range from six to seven minutes in length. So expect moments of pure distorted heaviness and sonic experimentation.

Truth be told, it took me a long time to fully appreciate this album as my first listen it left me rather cold by the whole experience. I've only enjoyed it with multiple listens and listening closely to the lyrics that I started to fully appreciate what an epic and stunning album this really is. My final thoughts on Vae Victis are that Wounded Giant has exceeded themselves with this album. As it's a spellbinding take on all things Rock, Metal and everything in between.

Excellent and Highly Recommended.

Words by Steve Howe

Thanks to Jadd for the promo. Vae Victis will be available to buy on CD/DD/Vinyl via STB Records from April 01st 2017.


Tuesday, 21 March 2017

An Interview with Kevin Lawry

Kevin Lawry started his musical activity with doom metal outfit Crowned in Earth in 2008. His debut album “Visions of the Haunted” was an example of traditional doom metal with guest appearance of drummer Darin McCloskey (Pale Divine and more). The record was released by Shadow Kingdom in 2010, and was not bad for a debut effort.

Those who already knew Crowned in Earth were surprised with the sophomore album “A Vortex of Earthly Chimes” – this time Kevin had combined his visions of doom metal with progressive rock influences that made band’s sound lighter and more complex in the same time. So it was natural that after third record “Metempsychosis” Kevin got rid of the doom elements in his songs and went to explore progressive territories alone.

I got chance to speak with him about past and present of his artistic life.

Hi Kevin! How are you? What’s going on in Crowned in Earth camp?

Hi Aleksey. I’m well thanks and hope that you are too! Crowned In Earth hasn’t existed since around the summer 2015.

Indeed i was thinking that you decided to rename band due to the switch on another musical direction...

I decided to call it quits with CIE, after the not being able to put together a full UK line up to play shows. I became very disenchanted with the whole business for a while and took a step back. I began writing new music at the beginning of 2016 and the songs had a feel all of their own. Although there were elements of CIE in the songs, the newer compositions had a much different feel. As I was playing all the instruments on the album, I decided why not just release the album as a solo album! These new songs would eventually make up my ‘The Shadows Stole The Dawn’ album which was released at the end of last year.

Will you play all parts alone again or do you have any guest musicians in mind?

As on ‘The Shadows Stole The Dawn’, I’ll be playing all the instruments myself. I’m happier and more confident now as a songwriter and musician to play everything. It means I have greater control over getting the sounds I hear in my head recorded.

We spoke with you really long ago, it was soon after release of Crowned in Earth debut “Visions of the Haunted”. Back then you played maximally traditional doom, but then… what did happen when the time has come to record the second album?

I was becoming more musically confident which is why there was such a massive leap in quality from the traditional doom sound of ‘Visions…’and to the more progressive sounds on ‘A Vortex of Earthly Chimes’.

There weren’t much keyboards on “Visions of the Haunted”, but their role grown a lot with the second album, how did you learn to use it progressive manner?

This all comes back to becoming more musically confident and striving to keep my music moving forward. I don’t like to make the same album twice! Naturally, as the sounds I wanted to hear were becoming more cinematic my keyboard playing came into the mix more.

There are strong progressive rock influences in “A Vortex of Earthly Chimes” album, was it easy to attract the attention of Black Widow Records?

I can’t remember the exact series of events now as we’re talking about something that happened nearly five years ago! I remember I spoke to Massimo (BWR owner) before he’d even heard the album and he was very keen to work with CIE. Once he’d heard the album, he was very excited and enthusiastic towards my music. At the time, it seemed the best way forward to sign with BWR.

Crowned In Earth – Ride the Storm

You recorded “A Vortex” with Darin McCloskey, he lives in the States, how did you get in touch with him?

We were put in touch with one another by Tim who runs the Shadow Kingdom Records label before we record the ‘Visions album’. Darin and I worked perfectly on that album so I was very keen for us to work together on the follow up ‘A Vortex’ album. Bar the first demo, Darin played drums on all the CIE recordings. He’s awesome!

How was it natural for you to switch from riff-oriented slow music to more complex compositions with richer arrangements and harmonies?

It all happened very organically, it wasn’t as if I decided I’m not going to play doom anymore. I think I’d become bored with playing the same style for so long and my love of 60’s and 70’s music started to influence my writing more.

How was it to work over "A Vortex" in the studio? Was it really different when you recorded “Visions of the Haunted”? Complex music demands complex approach, right?

It’s difficult for me to remember all the details now. I actually remember it being quite easy to record because I was having such a fantastic time arranging all the different sections. It certainly took longer than ‘Visions…’ to record and mix because it had a lot more going on in the songs.

Your lyrics changed as well, what kind of feelings did you express on “A Vortex”?

I was unhappy with a lot of ‘Visions…’, when I listen back to it I find it a very difficult listen. I was an unhappy person when I wrote those songs and my mood shone through on those recordings! Ha ha! I think I was feeling more inspired when I wrote ‘A Vortex’ and lyrically the lyrics were a snap shot of my thoughts at the time.

And your mood became even better on Metempsychosis! Do you have an author who inspires you as a poet?

I was very cheerful, for me, on ‘Metempsychosis’! I was in a very good headspace and the bright and colourful new sounds on that album most certainly inspired the happier lyrics. ‘Although, on ‘The Shadows…’ I was back to my melancholic grumpy best! The lyrics for ‘Metempsychosis’ came to me when I was out walking the countryside with my dog. This is where I write most of my lyrics and hear ideas for new music in my head. I then end up rushing back to my studio to try and remember what my ideas were!! I don’t have any authors or poets that I can say I look to for inspiration. The rural landscapes of where I live have always provided me with the most inspiration.

Crowned In Earth – Morning Light

As I understand you released Crowned In Earth third album “Metempsychosis” on your own. Didn’t you search for a label this time? Did this way of publishing the album justify itself?

Metempsychosis’ was an ambitious project and I couldn’t find a label that wanted to release the album in a way which I liked. I am very strong minded when it comes to my music and if something doesn’t fit right with me, then it doesn’t happen. My biggest issue with record labels these days is the lack of promotion. I can’t understand why promotion seems to be completely left up to the bands these days. It’s laziness really. At the time, I thought ‘Metempsychosis’ was the best music I’d ever written and I wasn’t prepared to let a label waste it.

Two friends of mine which I knew through the underground music scene in the UK had set up their own PR company called Imperative PR. I knew I could trust their judgement with regards to the albums press etc and decided to put the album out myself and then let them take care of the PR side. It worked perfectly, as I sold more copies of ‘Metempsychosis’ than the previous albums because they put together a fantastic press campaign to support the album. Both of my previous Record labels did little to no press whatsoever for the other albums and I think they suffered because of it. The labels didn’t make the money they wanted (as we all know this is a money business now, it’s not about putting a record out just because you love it!) and the albums didn’t get as much coverage so never reached the potential audiences they could have.

How do you value Crowned In Earth development on this album? It looks like if you finally get rid of all doom metal elements and start moving forward right to progressive rock realms.

I don’t consider myself a doom musician anymore. However, I see it as a very important part of my musical past. When I was working on ‘A Vortex’ my favourite parts to play and write were the progressive sections of the songs. I decided to keep that excitement of new sounds developing and so the doom was gone on ‘Metempsychosis’. I believe you can literally hear the development of my music from ‘A Vision…’, ‘A Vortex…’ and then ‘Metempsychosis’

Kevin Lawry – Fracture

Did people get the changes in Crowned In Earth music? Or did you rather find new listeners with “Metempsychosis”?

I think people who liked my music enjoyed what I did with ‘Metempsychosis’. The feedback I received was generally all very positive. I gained a lot of new listeners too who were more put off by the heavier side to some of my older music. I just wish I could have had the chance to play those songs live!

What are your plans for 2017? Do you already have new record in your mind?

I’m actually in the early stages of putting a new album together. This will be my second solo recording. It’s going to be somewhere in between what I did with ‘The Shadows Stole The Dawn’ and the bigger more epic sounds of ‘Metempsychosis’. It’s aspiring to be an extremely energetic album with lots of interesting twists and turns. It’s definitely going to be a record for lovers of the golden era of 70’s progressive rock.

You’ll be able to keep up to date with everything at 

Words by Aleks Evdokimov and Kevin Lawry

BASK - Ramble Beyond (Album Review)

Release date: March 24th 2017. Label: This Charming Man Records (EU) / Self Aware Records (US). Format: CD/DD/Vinyl (Vinyl – due for release May 2017).

Ramble Beyond – Tracklisting

Asleep In the Orchard - 7:34
Mush! Carry Me Home -6:57
A Graceless Shuffle - 4:48
The Lonesome Sound - 6:39
Kindled Green - 5:45
In the Black Fir - 7:35

Band Members

Scott Middleton
Jesse Van Note
Ray Worth
Zeb Camp


Bask is a band with the competence and confidence to usher you into a warm, luminescent netherworld with their original style, incredible power and radiant beauty. This album has a farther reach and a more top grade quality than its predecessor, however it doesn’t stray far afield from the band’s sacred heart signature sound. This is a psychedelic hard rock tour through the great American highlands.

This album is never hard to grasp, owing to it’s hearty, polished sound with all the fixings. It reminded me of many warm summer days in the past when I would sit cozily in the backseat of my father’s dilapidated sedan and listen to old 8-tracks on it’s antique tape player...the discovery of splendour, delivered in stereo. The songs are as catchy as the common cold, yet divergent as a strain of influenza.

Asleep in the Orchard is a song of graceful resonances attributed to the lovely glide of elastic fingers along a tolerant fret board. The background is awash with ambient sounds, muscle bound bass and grandiloquent drums. The collective vocal delivery is analogous to pouring several different carafe-filled varieties of preheated maple syrup on eager awaiting waffle squares.

Mush! Carry Me Home is pure transference of energy. The instruments build a great fire as the clement singing rises higher and higher with angelic delight. This is a refreshing dip in a glazed reservoir of rejuvenation; a phenomenon reserved for the giant, mournful, mystical buffalo. This song is a tremendous accomplishment that is expressed in only a short brace of melodic minutes.

A Graceless Shuffle is a buoyant tune. It is an almost cheerful track with flavorings of an uppity and mighty chunk jam at about the halfway mark. The end has some real explosive chemistry with its conjoint lyrical and musical structure.

The Lonesome Sound incorporates guitars that tear you open and cauterize you at the same time. The drums offer quirkiness with a punch and the bass is as fluid as a serene waterfall. The vocals stir emotion and astonish your ears. This is pure harmonious acupuncture.

Kindled Green is a dramatic arrangement of distorted riffs and ever so gracious choral passages. Phosphor burns bright this substance excited through smoky mountain pine tree secretion.

In the Black Fir is a magnificent steed of a song comprised of calm guitar strums, easy leads, and low-level distortion. This stallion reaches its stride without a startle.

Bask is a band that makes a house a home. They reveal a memorable, familiar sound, with an open invitation to join in and form a meaningful relationship with them through a gift…that gift being their own brand of music. It is impossible to ignore this musical offering and, regardless of righteous support, they will remain embraced with their curiosity, avoid frustration and endure along the exultant continuum. 

This is some of the best material written by any band; evidenced through above average songwriting ability, a passionate, lyrical intelligence and heartfelt, musical talent. This is a remarkable demonstration of melodic genius created by a shrewd horde of big-footed giants…behold and bear witness to legends among villagers!

Words by Nick Palmisano

Thanks to This Charming Records for the promo. Ramble Beyond will be available to buy on CD/DD/Vinyl via This Charming Man Records (EU) and Self Aware Records (US) from March 24th 2017. Vinyl will be released on May 19th 2017.