Lets be forward here, the last thing the music industry needs is another guitar and electronic dynamic duo based out of New York City. That horse left the gate long ago, most of the time being performed with little to no substance, and usual served as a soundtrack to some Williamsburg loft meat market dance party that you got unwillingly dragged out to. So how is it that electronic producer Nicolas Jaar and guitarist Dave Harrington managed to catch my attention with their newest project Darkside? It turns out this twosome are all about creating and capturing brooding dark atmospherics on their newest self-titled ep.
The downtempo/minimalism of electronics through synth lines, tape loops, reverb layered vocals, and triggered drum patterns all compliment the funk inspired bass and guitar lines on this ep. This approach allows Darkside to deliver and captivate the listener with ethereal moods through their songwriting. It becomes easy to lose sight that this supposed to be a short introduction of a new artist, and you are instead transported into a sensual nocturnal world full of confidence and swagger. Although the ep is brief, it would be fascinating to see if Darkside could hold that same type of cerebral mysticism when it comes time to release a full-length effort.
Darkside’s “Self-Titled” ep shows promise to a genre that has gone through the ringer and leaves the listener with a craving for more. You can follow this artist through their Facebook, purchase this ep through Juno Records, or stream the entire ep below:
The first time I ever heard Gates is an amusing story in itself. It was about this time last year that the legendary post-hardcore/rock band Rival Schools (which I am a huge fan of) was doing a reunion tour with a string of more intimate dates at smaller venues. One of these venues was this shitty yet charming dive bar in New Brunswick, NJ called The Court Tavern where I have seen a slew of awesome bands perform before. So my girlfriend and I decided to make the trek down to the college town looking forward to a fun night ahead of us filled with great music, cheap drinks, and giant Grease Truck sandwiches.
We arrived and settled in by having a few pitchers of Rolling Rock, then made our way downstairs into the Venue past a very jaded and weathered troll of a doorman. Gates opened this show and totally blew me away with their unique sound and tightness for such a fledgling band. Rival Schools were supposed to take the stage shortly after, but waited a good thirty minutes for their singer to even arrive at the show. It was his birthday this particular night, and he had been busy celebrating while his band had been setting up to perform. He finally made his way through the crowd taking the stage inebriated out of his mind, and played one of the most disheartening sets I had ever seen. Here was this band that I was so excited to have an opportunity to see again, and before me stood this cocky drunken douchebag that was singing and playing guitar extremely sloppy and was receiving death glares from the rest of his embarrassed bandmates. About halfway through their set, my girlfriend grabbed my arm and said, “I’ll be upstairs” which I translated as, “Lets get the fuck out of here” and I couldn’t have agreed with her more.
On the car ride home, we both discussed how that show would’ve been a complete disaster if it hadn’t been for the opening band Gates. Once we arrived home, we downloaded their debut ep, “The Sun Will Rise and Lead Me Home” off of their website for free and were sold on the sincerity and great songwriting that came through the speakers. Gates is a band that plays a type of ambient/indie rock that can be compared to bands such as Explosions in the Sky or even Thursday’s earlier work, but show more influence from these artists than from mimicking them and create a trademark sound in the process that is entirely their own. Atmospheric and progressive guitar lines, driving low-end bass, precision drumming, and heartfelt vocals create a musical tapestry that sets the backdrop for this albums lyrical content told from the disposition of a broken man. The brevity of this ep leaves the listener craving more, and looking positively toward the bright future of this small band from New Jersey.
Gates “The Sun Will Rise and Lead Me Home” is a great reminder that Independent music is alive and well. You can follow this artist through their Facebook, purchase or download the entire record for free through their website, or listen to a track below:
Any time I hear the term “Supergroup”, it scares me. In so many instances, it ends up being comprised of musicians that have gained your respect through prior efforts, but now play in a regurgitated hollow sounding shit fest that rides out on a wave of watered down familiarity. Thank you All Pigs Must Die for not falling victim to this common musical atrocity, and for putting out “God Is War”, which is one of the most streamlined, no-nonsense, hate-fueled records to be released in 2011.
All Pigs Must Die is a hardcore/punk/metal/thrash band that consists of Kevin Baker (The Hope Conspiracy), Ben Koller (Converge), Adam Wentworth, and Matt Woods (Both known for their time spent in Bloodhorse). When listening to “God is War”, the listener can certainly hear the influence of the different acts this group came from, but it’s more important to focus on the direction this group is going toward. Relentless blast beats, buzz-saw distorted guitars, and filthy bass lines all help to support the harsh roared vocals showcasing lyrics that teeter between political bleakness, religious blasphemies, and the common underbelly of human nature. This freight train of ferocity is produced none other than genius hardcore/metal producer Kurt Ballou, who helps to expand the significant strengths of All Pigs Must Die’s unrelenting sound and vision of heaviness.
All Pigs Must Die’s “God Is War” is a brute force that hits with everything it has, and may knock the wind out of an unprepared listener. Consider yourself warned. You can follow this band through their Facebook, purchase this record through their Webstore, or listen to a track below:
Try to wrap your head around this: You’ve been in a metal band with your brother for twelve years. You’re pushing 30 years old. In theory, you should be well known and respected, but in actuality most people outside of your hometown don’t know who you are. You’ve put out the last few releases on your own label that you run in between your full-time job. You can’t keep a bass player in your line-up that sticks around for the long haul. All of these factors would be the white flag of surrender for any artist, but not Ken Mode. Instead, they wrote “Venerable” which is their best record to date and tour nonstop in support.
KEN Mode (An acronym which stands for Kill Everyone Now taken from a Henry Rollins biography), is rounded out by brothers Jesse and Shane Matthewson and currently Andrew LaCour (Also of the Florida band Khann). They are a three piece that play a blend of hardcore, sludge metal, and noise rock that is kind of a throwback hybrid of bands like The Jesus Lizard, Unsane, and Burnt By The Sun, but done with an interesting twist. Their newest record “Venerable”, builds off this solid core sound, but focuses on great structured songwriting and great production courtesy of Kurt Ballou (Well respected metal/hardcore producer and guitar player of legendary hardcore band Converge).
This record is a nonstop kick to the teeth from start to finish. Intricate and sludgy rhythmic guitar lines, menacing screamed vocals, extreme low-end bass lines, and ferocious drumming barrage the listener on “Venerable”, but are crafted with intelligence as well as brute force. The record does play around with the use of dynamics that help to build on the extremes that this record embodies, but doesn’t give too much time for the listener to stay down before it starts to pulverize again.
By the end of “Venerable”, Ken Mode is able to accomplish something every artists wishes. They have allowed the listener to ask themselves, “Who is this band, and what just happened?” You can follow this artist on their Facebook, purchase this album and listen to it in entirety on their Bandcamp, or listen to a track below:
Dubstep music is awful. I was going to build up to this, but I figured it would be more effective if I just came flat out and said it. I’m sick of these so-called “Producers” that create shitty over-processed “canned cheese” music. With that said, it should be no surprise that when I heard the buzz circling the 22 year old mastermind Dubstep/Songwriter James Blake, I was skeptical and slept on his “Self-Titled” release. I guess that was the older-jaded musician in me rearing its ugly head, but I’ll be the first to admit that I made a mistake.
The best part about James Blake is that he uses dubstep elements to help add extra layers to his soulful singer/songwriter foundation. He’s at his best on this record when the core of his songwriting is basic piano and vocal melodies that are electronically tampered with in a tasteful fashion. Tinny drum and bass, vocoder/auto-tuned vocal patterns, and synthesizer keyboard lines all contribute to the albums mood of loneliness, desperation, heartbreak, and despair.
I tip my hat at James Blake’s “Self-Titled” release, and hope that this release inspires more artists find other creative ways to showcase Dubstep. You can follow this artist on Facebook, purchase this album through Rough Trade, or listen to a track below.
As a music fan in general, the term “Post” attached to any genre annoys the hell out of me. In my opinion, it gets thrown around way too often and is kind of a lazy way to describe a sound that isn’t really accurate. I couldn’t begin to count the number of times I’ve been coaxed into listening to some lame artist that had an enormous sticker with this term glazed all over the cellophane wrapper of their record. The reason I’m bringing this up is because after hearing Ladder Devils new EP “Forget English”, many listeners will adhere that dirty word to their sound and doing so would be a huge mistake.
Ladder Devils are a Philadelphia based band that plays a blend of rock, hardcore, indie, and noisy punk. This may seem at first like a bunch of guys just banging away, but Ladder Devils have a knack for writing very structured songs that seem loose and rough around the edges. Interesting melodic guitar parts, fuzzed out bass lines, accented rhythmic drumming, and shouted vocal parts help to paint a clearer picture of an unusual rock band that adds a bit of piss and vinegar to their sound. “Forget English” is a great first step forward for a new band that isn’t afraid to ruffle a few feathers in the process.
Be sure not to lump Ladder Devils “Forget English” as another “run of the mill” release. You can follow them on Facebook, listen and download their entire record for free on their website, or listen to a track below.
As of late, music enthusiasts that have their ears low enough to the ground are starting to look towards Chicago as a bright beacon of hope. The Windy City currently harbors some of the most interesting unknowns that daily claw tooth and nail to be released from the city’s bowels. Soon enough, The Atlas Moth won’t have to worry about going unnoticed, because this bands newest offering “An Ache For The Distance” is another wonderful release that sheds even more light on Chicago’s rich underground music scene.
The Atlas Moth on first listen can commonly be interpreted as a hybrid of sludgy psychedelic doom metal. However when carefully examined, The Atlas Moth has more of a rhythm and blues foundation, separating them far from the pack of bands attempting this particular style. Another key point of their sound is the successful use of three guitar players. Typically, this approach tends to make a band sound disjointed, but in this case helps contribute to the atmospheric and distorted sounds on “An Ache For The Distance”. Elements such as clean sung vocals, doom growls, haunting shrieks, ambient synths, grooving bass lines, and laid back drumming are all essential in supporting the guitar driven concepts showcased on this record.
It should be no secret that Chicago’s The Atlas Moth has finally arrived on “An Ache For The Distance”. You can purchase this through their label Profound Lore, follow them on Facebook, listen to the entire record through their Bandcamp, or check out a track below:
Thank God for bands like Red Fang. With all the “holier than thou” artist worshipping nonsense that attaches its proverbial ugly head onto opinionated music listeners, it’s nice for a change to throw on a record like “Murder the Mountains” that just simply rocks with no analytical brain power required.
Red Fang play a sludgy style of “tongue in cheek” stoner metal/rock that tips its hat towards the 90’s grunge/metal scene (The Melvins and Queens of the Stone Age come to mind), but doesn’t take away from that particular genre or come off as retro to make a point. These are just four guys that are having a blast playing these songs and want you to crack open a few beers with your friends and join the party. The record is filled with fun memorable moments that contain distorted riff-heavy guitars, driving low-end bass and drums, and well-sung catchy vocals that trade off with scratchy yelled vocals. After a few listens of “Murder the Mountains”, it becomes impossible to not be charmed by what Red Fang are incorporating back into rock music.
It doesn’t take a brain surgeon to realize that “Murder the Mountains” is a nostalgic, yet entertaining innovative record that you will play over and over again. You can purchase this record through their label Relapse, follow them on Facebook, or check out a track below:
Being a New Jersey resident, if someone asked me to describe West Orange, New Jersey the first thought that pops into my head is Upper-Middle Class, Obnoxious Republican, Real House Wives of New Jersey wannabe’s. It would be the last place anyone would expect some of the most forward-thinking, hate-filled, gritty hip-hop to come out of, and yet I now proudly present to you- GDP.
This little shit may look like he just egged your house or got caught smoking in the boys room, but looks can certainly be deceiving. All throughout GDP’s “Useless Eaters” is snotty, yet witty observations about government corruption, corporate greed, drug addiction, and partying for social acceptance. Underneath these rants are dirty and grime filled bass and drum beats that add for the perfect backdrop for his lyrical content. One may say on first listen that GDP may be inspired by backpack rappers such as Aesop Rock or El-P, but there’s so much more going on here than that. Take the intelligence of the independent hip-hop scene, add the raw elements of legends such as The Wu-tang Clan and Mobb Deep, and the spirit of the DYI punk/hardcore scene and you may be somewhere in the ballpark.
GDP is onto something here, and it would be wise to give “Useless Eaters” a spin if you’re looking for a dose of hip-hop that’s exciting and just scratching under the surface. You can purchase this album through his label Run For Cover Records, listen to songs from this record on his Facebook, or check out a track below:
It is common fact that the best moments in life are always the most challenging to put into words. Anyone can relate to experiencing something so much grander than oneself that it captivates an individual in the best way possible. This overwhelming aura surrounds the newest Wild Beasts record “Smother” that both invites and entices the listener into a world that always seems just out of reach.
Throughout “Smother”, Wild Beasts showcase a fascinating blend of indie rock, art-rock, minimalism, and electronica that creates lush, surreal dreamscapes that are actually just pop songs in disguise. Wild Beasts also have two singers that trade off rolls. One has an extremely unique counter-tenor vocal, which he blends with high Falsetto, while the other is more of a baritone vocal with humanistic subtleties. Besides vocals, the members of Wild Beasts also trade off instrumentation and take different approaches to songwriting on “Smother”. The use of ambient guitars, electronic loops, piano and keyboard, and tasteful drumming shine through every track on this record, and create the dark moody backdrop for the mysterious lyrical content of lust, love, longing, and despair.
This record tends to be difficult to put your head around at first listen. Patience is a virtue however, as it slowly unravels and sinks into your subconscious with every spin. Each track becomes more full of life, and allows room to breath in the intellectual complexities that translate into familiar emotions the listener can grasp onto.
It would be a shame to not step into the gorgeous world that Wild Beasts have created on “Smother”. You can follow this artist on their Facebook, purchase this record through their label Domino Records, or listen to a track below:
Through past experiences, I have become quite hesitant when giving others advice. It has a nasty habit of oozing past my lips, reading like some contrived 89-cent hallmark card or bullshit fortune cookie message. However, one golden nugget of wisdom that I do hold dear and will share with you is this: “Once it’s over, it’s over folks. Never do a re-run.” With that being said, it makes perfect sense that Francis Mark (Ex From Autumn to Ashes/Ex Warship) decided when his other bands ran themselves into the ground, he would try something new and not look back. From beneath the rubble emerged Tidal Arms.
Tidal Arms is not the easiest band to pin down when describing their unique sound. There are elements of stoner rock, hardcore, metal, math-rock, post-hardcore, and indie rock all present on “The Sun Exploding”, but it never once seems as if the band is grabbing for straws. For a three piece, Tidal Arms have a great knack at creating dynamics that smoothly balance between lush atmospherics and abrasive intricately woven walls of sound. Reverb dribbled vocals, heavily distorted bass lines, tight knit drumming, and groove-oriented yet mathy guitar parts are all front and center here, but flow together in such a way that is a cut above many of this bands peers, past or present.
The best piece of advice I could give anyone is check out Tidal Arms “The Sun Exploding”. You can follow this group on Facebook, listen to the entire record and purchase it through their Bandcamp, or listen to a track below.
Versatility is a characteristic in musicians that I highly admire, but at times can be a difficult juggling act. However when done correctly, it is both pleasing for the listener and even more rewarding for the overly expressive artist. Take for example Mount Moriah, which is the brainchild of both Heather McEntire and Jenks Miller who are known for their individual takes on post-punk/indie rock (Bellafea) and psychedelic black metal (Horseback), but come together to create some of the most stripped-down folk music of the year on this self-titled release.
Now this is nothing new in terms of the crop of bands popping up that are riding this Americana-Roots music bandwagon, but something about the way Mount Moriah approaches their sound just makes it more believable than their peers. Between the melancholic vocal melodies of McEntire, to the twangy steel pedal guitar lines, the good ol’ country walking bass lines, and the gospel organ that is added as supportive layering never once question this record as non genuine. The authenticity of their songwriting is remarkable especially knowing their current and prior musical backgrounds. It never once sounds as an artists depiction of this style, but almost as if these two released these songs somewhere from the depths of their subconscious. The music has a lived-in quality to it, combined with catchy songwriting and great organic production making this an overall gem of an indie release.
When searching for believable, heartfelt independent alternative folk, one only has to look in the direction of Mount Moriah. You can follow them on their Facebook, listen to this entire record and purchase it through their Bandcamp, or listen to a track below:
A little advice for those of you that are about to experience this record; Find a comfortable spot, turn your phone off, lock the door, and completely clear your mind of any troubles the day has brought onto you. This is meant to be a musical journey, a discovery of self, a stripping away of your being. This isn’t from the same standpoint of some “wet behind the ears” 13 year old that just discovered black lights and marijuana. It’s just simply that Tycho’s “Dive” is by no means a passive listening experience.
In order to appreciate where this artist comes from musically, you first need to understand a little about the man himself. Scott Hansen (aka Tycho) is an ambient electronic music artist from San Francisco. He is also a well-respected graphic designer that creates art under the alias of Iso50. The artwork and music he envisions go hand in hand with each other and are extremely meticulous pieces of work. His attention to detail allows the listener a much more realistic experience that sets him apart from any “So Called DJ” that got a Macbook Pro for Christmas last year. By mixing samples and synth lines, but also with live drums, bass, and sprinkled ambient guitar parts, these songs turn into the perfect soundtrack for the not so alien desert landscape that the album artwork depicts.
Take an hour out of your day and unwind your mind and body with the electronic soundscapes of Tycho’s “Dive”. You can visit this artists website, purchase this record through merchline, follow him on facebook, or listen to a track from the album below:
Throughout the years, if there has been one band that has captured the spirit of what I love about independent music it would have to be Engineer. I’ve always admired how hard this band has worked and the sacrifices they have made as time passes. If every band had a mission statement, Engineer’s would read somewhere along the lines of, “We write awesome songs and play out as much as possible and really don’t try to follow trends or have time for your bullshit”. Unfortunately, they have become one of the most underrated bands playing this blend of technical hardcore, and it’s a damn shame because their newest album “Crooked Voices” is one of the best aggressive albums to be released in 2011.
I don’t know if it’s something in their bloodline (3 out of the 4 members are brothers), or if it’s just a mastery of their craft, but “Crooked Voices” comes off more than a bunch of guys that are just pissed off and upset. It’s almost as if somewhere between those interesting sludgy riffs, that beefed up low end, the calculated drumming, and the menacing yet sincere vocals you find a broken soul that is showcased in their sound. You can actually hear the years of disappointment coming through on each track of this record. This is a band that is just so fed up with their lives as artists, but trudge on anyway because it’s the only thing they care about, which makes for an exceptionally genuine listen.
This record also experiments with some moodier dynamics and even closes with a piano ballad that is more chilling than anything played on the entire record. The songs that play around more with these elements support the song structures when things get heavy again, and really showcase the growth of this bands songwriting abilities. I have followed this bands work for years, and if you love aggressive hardcore/metal with emotional substance, then you need “Crooked Voices” and the rest of this bands catalogue in your collection.
The first time I was introduced to Merrill Garbus’s music (aka Tune-Yards), it was under strange circumstances. After a long day at both our modest jobs, my girlfriend and I were extremely tired, hungry, and getting on each other’s last nerve. We were on our way to dinner and stuck in bumper-to-bumper traffic, and somewhere between the car horns and the useless bickering it was decided to put on some music. She had her ipod handy so I told her, “Whatever you want”. To match my white flag of surrender, she decided to put her ipod on random and we both sat in silence for a moment awaiting the unknown artist that would be played.
The sound of a softly strummed ukulele came over the car speakers, followed by a grimy hip-hop drum loop, and the beautiful voice of a jazz singer that was unidentifiable at first as male or female. As the song progressed, I sat there with my ears at a peaked interest. It wasn’t until about halfway through this song where the singer belts the line, “There is a freedom in violence that I don’t understand, and like I’ve never felt before!” that I leaned over and asked my girlfriend, “Who is this? She picked up her ipod and answered, “Tune-yards. The song is called Riotriot. I downloaded a bunch of music that sounded interesting the other day and haven’t had a chance to listen to this record yet.”
At that moment in time, it was an undiscussed mutual agreement to abort the original plan of random ipod selections and start this record from the beginning. We both stared wide-eyed at each other while we listened to the album unfold its interesting melting pot of African drum beats, Soulful melodies, cut up samples of vocals and drums, and funky saxophone jazz fusion. Over the top of this musical kitchen sink was a strange Janis Joplin esque female singer that had jazz and world music influences, painting female inspired imagery of sexual tension and violence. Somehow all of this made complete sense, and we both escaped to this strange land and forgot about every pitfall that our lives fell into for the remaining length of the car ride.
Tune-Yards “Whokill” is just that, an experience of highly intelligent escapism meant for anyone that has a sense of adventure. You can purchase her record through her label 4ad, or listen to a track from the record below:
For me there has always been a double-edge sword that goes along with most instrumental music. I love the interpretations and respect what most artists are doing, but boy do I ever hate their stereotypical fan base. Any of these concerts audiences read like a who’s who of elitist, Pitchfork worshipping, Brooklyn transplant hipster art school douche bags. I’m not trying to imply that everyone who enjoys this genre falls under this umbrella, but many that listen can’t even tell you the reason they’re listening in the first place. Enter Broughton’s Rules….
Everyone loves an Underdog, and “Bounty Hunter 1853” is just that. This is the band you never heard of that you wish you knew about a year ago. So what gives? Why is this considered the cream of the crop? What makes you the expert? Why does this band have the worst album artwork of all time?
School is now in session folks. Take the name alone Broughton’s Rules, which is a reference to Jack Broughton; a boxer in the 1700’s who is responsible for creating a set of rules that fighters could follow to ensure civility. If that alone isn’t the greatest metaphor for the sound this band encompasses, then I don’t know what is. Broughton’s Rules plays an intelligent blend of post rock, progressive, and ambient instrumental music that keeps your attention but never hits below the belt. There is singing occasionally, but with the intention of lending a creative brushstroke to this mostly instrumental masterpiece. Everything here is calculated, slow building, and never flashy just to lash out at a listener. This isn’t a band you grab at for singles; you listen to the entire record from start to finish.
Broughton’s Rules came to my attention because it features ex-members of the bands Don Caballero and Blunderbuss (Do your homework, especially with Don Caballero.) The caliber of musicianship alone here is enough to question any overindulged loop-pedal Explosions in the Sky rip-off band you’ve been raving about. As far as that album artwork is concerned, the old saying “never judge a book by its cover” comes to mind, and hits home immediately this records starts playing out of your stereo speakers. For my sake and Broughton’s Rules, give “Bounty Hunter 1853” a fighting chance.
You can order this record through their label Relapse Records. You can also stream this entire album at their bandcamp, or check out a song below:
Holy Fuck. Forget everything you know about the Mayan Calendar theory or the coming of the Rapture. There will be no flesh eating zombies or swarms of flying locusts. The sky will not fall and the earth will not crack open. It will just be Ulcerate playing their newest record “The Destroyers of All” with a smug look on their faces that screams, “We told you so”.
This record is straight up “End of the World” music: Death Metal at its Pinnacle. This band consists of technical players that write well thought out arrangements of extreme brutality. Dizzying guitar work, guttural vocal patterns, and insane blast beats are all present, but done in such a way that makes your hairs stand on end. The record also contains areas where it slows down to build atmosphere that matches the brooding mood displayed, but doesn’t waste much time reminding you that this is an Extreme Metal album and kicks the listener right back in the throat.
One thing that is very important to understand about this record is how well it grooves. Most technical metal has a tendency of having talented players shredding for no apparent reason other than to impress themselves. This record however, relies more on intricate grooves then shred sessions allowing the overall punch to feel more like being pummeled by a wrecking ball.
Also, this record has a fantastic organic feel to it. That is quite the daunting task considering the technicality displayed on “The Destroyers of All”. There is no over processed triggering effects that make this band sound inhuman. These are real people playing very detailed music that doesn’t come off as a pro tools Frankenstein monster. The real monster is constructed when the human elements of these players creates a sonic landscape making the record more convincing and terrifying.
If Ulcerate’s “The Destroyers of All” is the end of the world as we know it, then I feel fine. Check out their facebook page and order their newest record through their website.
Graveyard- Retro Rock Heroes or Hipster Revival Bullshit?
Over the last few years, there has been an abundance of rock revival acts that combined the best elements of 60’s and 70’s rock into their sound. On paper it sounds great, but most of the time it just turns into “Hey guys! I found my dads Led Zeppelin and Black Sabbath records and think we should go to my 2500 a month loft and record with a bunch of analog equipment we don’t know how to use very well!”
Graveyard is not this band.
It’s the year 2000 and the Swedish doom metal/stoner band Norrsken decide to call it a day. This band split into two different bands, Witchcraft and Graveyard. While Witchcraft stayed the course with more of a stoner/metal influence, Graveyard leaned more to the classic 60’s and 70’s rock that we mentioned earlier. However, even though their sound harkens back to a golden age of rock; they still can’t shake there metal tendencies. There are dark undertones all around this bands new album “Hinsigen Blues” even though their sound on first listen is bare bones boogie down rock n’ roll. There is a proficiency in there tone and playing that doesn’t come off as a bunch of slobs that just plugged in and are riding out the retro wave. There’s a confidence here, This isn’t this bands first rodeo. The lyrical content on this record covers the themes of hopelessness, escapism, and becoming jaded about the life you’re handed. Kind of reminds me of a bunch of guys in a metal band that got off to a rocky start and are looking for a new musical outlet. Lucky for the listener, the old habits die hard in a good way here, and add for an overall interesting twist on the Retro Rock genre.
You can check out Graveyard on Facebook and purchase this record through their label Nuclear Blast. You can also hear a single off their new record in the link below: