Guitarist and composer Quist, with his 2017 release ‘Trigger’, forced me out of wheelhouse and comfort-zone relative to the genres I am typically more comfortable with. And the thought of trying to write-up a review of this album intimidates me a little bit, admittedly. Because it is tremendously difficult for me to make references and comparisons to other acts. Quist’s approach to song-writing and guitar playing is unique to me, or at least distinctly different.
‘Dealer of the Gods’ that’s the recognizable name by the equally memorable duo ‘Satan’s Dealer’. And what a statement this album is! While I don’t know if I can call their material unique, it certainly is one of a kind. I typically try not to compare bands with or to each other, but Satan’s Dealer, to me, sounds like if Anthrax embarked on a Doom/Stoner album. Not the best of analogies, but just to give you a flavor.
Alea iacta est. A rather martial statement, but perfectly appropriate considering the profound impact this album had on me. Telekinetic Yeti and their 2017 debut release ‘Abominable’ has the potential to become a cornerstone in the heavy rock genre. I could and should probably end my review right here, because that pretty much sums it up.
The fact is, almost every day I get an email or find a notification online about a new band or album entering the scene. It’s hard to keep up especially if you have an open mind and feel genuinely happy about the fact that there is so much new great music coming your way on a regular basis.
I’ve been listening for the past two days to Sorrows Path and their most recent release (2014) Doom Philosophy. The band had approached me and while I had heard of the quintet from Greece before, I admittedly was completely unfamiliar with their material. At first glance, or first listen rather, I was immediately reminded of Candlemass and Doomicus Epicus Metallicus. I think the boys would concur that their music has its roots in acts like and alike the aforementioned.
Belzebong and their first full-length album Sonic Scapes & Weedy Grooves is a milestone record in the Doom/Stoner Rock genre. There is no doubt in my mind. This 2011 release by the quartet from Kielce, Poland is a power-packed, riff-laden and uncompromising testament to Belzebong’s authentic and unambiguous style and execution of their material.
This is not for everyone, I realize that. But to me, upstate NY based Doom slayers ‘Bastard Lord’ with their self-titled debut-album, is one of the best manifestos in the genre ever. Period.
Of course, statements like that are always highly subjective, ultimately it always comes down to personal preference rather than an unbiased assessment. That said, I stand by my words and I will explain in a little bit why I’m belaboring that point so much. Before I do that, though, let’s first focus on what ultimately matters most, namely the actual material on ‘Bastard Lord’.
It seems that Ric Bennett and his label Twin Earth Records are firing on all cylinders. And he now even got support from a family member, namely his wife Elisa Maria, who completes the trio ‘Stars That Move’ with her deliciously haunting lead vocals. We’ll talk about that a little bit later in more detail as we are going to take a much closer look at what you will find their 2016 release titled ‘No Riders’. Before we do that, let’s complete the staff roster: While Ric, as usual, is in charge of the guitars and Elisa Maria taking care of the Vox, Frank Sikes’s drumming is as solid and song-conducive as it has been in the past, like for instance on the self-titled ‘Starchild’ album we discussed a couple of weeks ago. He’s the kind of drummer you want in your band, that’s all I’m saying!