NOREiKA – EP Review: “BoXaRoX”

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NOREiKA is Peter Noreika, a singer/songwriter from rural western New York state, near Buffalo. He started out his music career as a guitarist for a few heavy metal bands, but eventually quit the business to become gainfully employed, get married and start a family. As is often the case, however, Noreika never lost the music bug, and after his young son one day asked him why he couldn’t stay home and play with him, he decided to make a change and get back to doing what he loved, which was writing songs and playing music. And though he still had a fondness for metal rock, his sensibilities now leaned more toward acoustic and folk rock.

Peter Noreika

Noreika released his debut EP METACOUSTiFOLK in 2015, and followed up a year later with Throw the Switch to Begin, which I reviewed almost exactly one year ago – and you can read here.  Now he returns with his third EP BoXaRoX, which dropped today, August 25. Departing from the fuller sound of his previous EPs, he strips down the music to the bare essentials of just guitar and vocals. When I asked about the unusual EP title BoXaRoX, Noreika explained that it was a possible band name he’d once considered years ago. When trying to come up with a name for the new EP, he remembered BoXaRoX and decided it was the perfect name for his mascot – a “beer-drinking, guitar-playing pterodactyl” – that he was using for his EP cover art. I think the cover art and title are both perfect!

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The first thing that strikes you about Noreika’s music is the fullness of the sound, given that it consists of only an acoustic guitar and his urgent vocals. This is immediately apparent with the opening track “Who’s Right.” He strums his guitar with an assertiveness that matches his powerful vocal delivery of lyrics about finding truth through honest communication:

I’m right, you’re right, Everybody come along 
Talk it on over and we’ll find out who is wrong 
I’m wrong, you’re wrong, Everybody sing this song 
Talk it on over and we’ll find out who is right.

“What Makes You Smile” is a positive, uplifting track about recognizing the little things that can bring joy and make life worth living – like a box of puppies and kittens.

Find your reason to give. You will see its the way to live 
There is a brighter side. Keep it up and you’ll hit your stride 
Think of things that warm your soul 
Puts a smile on your face and makes you whole 
Like a box, a box of puppies and kittens. 

Noreika makes an emotional plea for love and acceptance on the hard-hitting “Notice Me.” His fervent vocals are pretty intense on this track, as is his guitar playing.

Why don’t you notice me. Am I so hard to see 
Why don’t you notice me. I fade to black and disappear 
I’ve got so much to say to you. Believe me when I tell you that its all true 
Look in my eyes read between my lines. All of my love is for you.

The catchy “Shwoop Dibby Dibby” is a lighthearted ode to a loved one, in which he employs crazy words to describe the depths of his feelings for her:

Love comes round that’s more than real.
When I can’t define, or think of the line, I speak from the heart.
The silly words that I say, mean the world to me in every way 
Shwoop dibby dibby whoop baloo, Shmluega Magluega means I love you.

The nimble guitar riff on this track is terrific. In fact, Noreika’s guitar work on every track is outstanding, making his music a real pleasure to hear. So give this EP a listen and see for yourself!

Connect with Peter:  Website / Facebook / Twitter / Instagram

Stream his music:  Spotify / Reverbnation / Soundcloud

Purchase:  Bandcamp / iTunes / Amazon

SORRY ESCALATOR – Single Review: “Generation Winter/Streetcorner Absurdity”

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SRYESC artwork

I love discovering new indie bands who make interesting music that leaves a strong impression. And when they have a fun, quirky name like Sorry Escalator, it’s an even bigger treat. Originally from Middlesbrough but now based in Leeds, the UK band was created in 2012 when guitarist Ryan David Welsh and his drummer friend Sean Graham joined forces to become, as they state in their bio: “a noise-rock duo, playing odd shows to a room of around four people.  In the fall of 2013, the sound scientist Shaun Lockwood turned up to track lead guitar at a demo recording session above a bar in Middlesbrough, and he’s never left their side since. Their sound, originally comprised of swelling walls of noise, feedback and whispered vocals, slowly gained rigidity and more poppy elements started to seep into the sound. After several line up changes the band finalized its form, influenced by everything both ugly and beautiful about life and sound.”

Sorry Escalator

Sorry Escalator now consists of Ryan D. Welsh (Rhythm Guitar/Lead Vocals/Lyrics), Sean Graham (Drums), Shaun Lockwood (Lead Guitar/Backing Vocals) and Jamie Hogg (Bass). Their eclectic music style can be categorized as alternative psychedelia/shoegaze, along with elements of alt-punk, grunge and experimental rock. But whatever it’s called, what’s clear is that their sound is like no one else’s.

They released a self-titled debut EP in 2016, and this past April, released a double A-side single “Generation Winter / Street Corner Absurdity” through the new independent label Imagination Engine Records. The label also made the songs available on a limited edition cassette tape. Interestingly, both tracks are almost exactly the same length, at just a few seconds over five minutes.

“Generation Winter” immediately hooks you in with a nifty little bass riff before fuzzy shredded guitars take over, accompanied by Graham’s drums pounding out the hypnotic driving beat. The guitars are mesmerizing, giving the track a retro psychedelic surfer vibe, and I love the occasional bits of distorted guitar reverb. Welsh’s monotone vocals are somewhat overpowered by the music, making them difficult to understand at times, but they fit well with the overall psychedelic feel.

The biting lyrics speak to the current political situation in the UK, but can also be applied to the craziness going on in the U.S.:

Look out your window what do you see?
People frying up in their misery.
Your folk devils, they don’t wash with me.
Your politicised red herring. You spit out your bile,
We run a mile, your wry smile, so so so so fucking vile.

We are waiting ever so impatiently.
Weathering the storm till we can spread our wings.

You broadcast your insincerity.
Red top hacks, lobbyists and daylight thieves.
With their brown paper envelopes they rush to the bank.
Laughing, laughing cash in hand. Stay asleep in a fire.

We are waiting ever so impatiently.
Weathering the storm till we can spread our wings.

You fail to notice we are listening.
You fail to notice you are blistering.
It’s just a matter of time, just a matter of time, just a matter of time.

We are waiting ever so impatiently.
Weathering the storm till we can spread our wings.

Keep the curtains closed. Keep your kids at home.
Keep the curtains closed. Keep the kids at home.

Even more psychedelic is “Street Corner Absurdity,” with Lockwood’s crushing, reverb-heavy distorted guitar work being the dominant feature of this noisy track. Welsh’s jangly rhythm guitar and Hogg’s powerful bass add layers of sound to the mix, while Graham beats out the languid pace on the drums. The piercing guitar solo heard in the background that begins at around 2:55 and continues through to the end is terrific, adding emotional tension to the track. Welsh dreamily sings the lyrics about drug and alcohol addiction:

It’s a sign of the times, 
A daily prescription with no warning signs. 
You don’t question why you just sit and condone. 

As I walk down your street, 
Scripts and vodka bottles lie at my feet. Street corner absurdity, yeah it’s got to me. 

So tell me how things got this way? Forgotten now just like yesterday. Did you play by the rules? Or were you lead astray. 

Just take a look at yourself your throwing stones in your glass house. No thought to the madness while we burn out, yes, yet again. 

(Refrain) yeah I know 
(Refrain) but you, don’t.

Connect with Sorry Escalator:  Facebook / Instagram

Stream or purchase their music on Bandcamp

APOTHEON – EP Review: “Mechanically Consumed”

On By EclecticMusicLoverIn Reviews4 Comments

Mechanically Consumed EP

Hailing from the mile-high city of Denver, Colorado, indie band Apotheon plays some of the most complex and melodic death metal I’ve ever had the pleasure of hearing. Their music goes from face-melting one moment to captivating the next, sometimes within the same track. They create songs of incredible depth and intelligence, while still delivering bone-crushing riffs and brutal vocals that will satisfy the pickiest of death metal fans.

Formed in 2014, Apotheon is made up of five accomplished musicians – Reece Deeter (Vocals), Fernando del Valle (Guitar), Ian Burnside (Guitar), Ibrahim Jimenez (Bass) and Andrew Morris (Drums). All band members participate in writing the music, and the lyrics are written by Deeter. They released their debut four-track EP The Ascension in 2016, and in June of this year, dropped their second EP Mechanically Consumed.

Apotheon3

The EP is rather unconventional in that it contains four new tracks – one instrumental and three with vocals – plus instrumental versions of the three, for a total of seven tracks. But even with only four original tracks, the three with vocals are all of epic proportions, two of them running more than seven minutes in length. As a result, the EP feels more like a full album in scope.

The opening track “Premonition” is just that: a brief but powerful instrumental that serves as an introduction to the dynamic and multi-faceted music stylings of Apotheon, and sets the tone for the three monster tracks to come. A repeating circular riff is backed by shredded guitars, hammering bass and percussion. At the one and a half minute mark, the track slows down as moody synths are added that replicate a harpsichord, strings and a xylophone, among other instruments.

The track scarcely ends before we’re hit with the full-frontal assault of thunderous riffs, bass and drums of “Tyken’s Rift.” Deeter growls his way through the seven-minute track, screaming the lyrics that speak to mankind’s need to rid ourselves of all the artifice and bullshit we’ve bought into:

The human mind can only take so much.
Break the rift or be trapped.
An unnatural state, awake amongst the drained.
So strange, so restless. Wake. Repeat.

At song’s end, he wails “To break free, there must be release” as the instrumentals rise to a blazing crescendo.

The band’s skill at combining totally different rhythmic stylings into one song is beautifully demonstrated on “Mechanically Consumed.” The track starts off with a delicate synth and foreboding violin strokes, then suddenly erupts into a cacophony of wailing guitars, staccato breakdown riffs and Deeter’s screaming and guttural vocals. At the halfway mark, the track abruptly shifts to a melodic 50-second-long interlude, where keyboards, xylophone and percussion conjure up images of a macabre carnival ride, before death metal instrumentals and vocals return for the outro.

Shredded machine-gun riffs, explosive drums and bits of harpsichord dominate on the monumental “Flesh Machine.” Deeter fires off savage death metal growls at a jaw-dropping pace, a testament to his astonishing vocal dexterity and control. He screams the vivid lyrics about a life born not from a higher power, but from our own imagination:

An amalgamation of body parts lowered into the mold
The skeleton is slowly embedded, Installed, this is your vessel
Enter the flesh machine
Assembled, built around a luminous pilot
Light drowned by wet flesh
Senses activated. Nervous system brought to life
Spasms cause convulsions, vision online
An outside light source initiates birth
This is this is your life. Enter the flesh machine. Enter reality.

At 2:45 the tempo abruptly shifts into a soothing, dreamy soundscape of gentle guitars, percussion and sweeping synths. My take is that it symbolizes the hope of living the existence of our dreams. Then, just as quickly, at 3:38 it erupts into a barrage of machine-gun riffs, swirling guitars, battering-ram drums and Deeter’s brutal vocals admonishing us to take control of our own reality and create the life we yearn to have.

Connect with Apotheon:  Facebook / Twitter / Instagram

Stream their music:  Spotify / Soundcloud

Purchase:  Bandcamp / iTunes / Amazon

DEAD ON ARRIVAL – EP Review: “Chasing Tides”

On By EclecticMusicLoverIn Reviews2 Comments

It’s back to the UK to shine my spotlight on metal rock band Dead On Arrival. The Derbyshire four-piece was formed in 2011, and consists of Jack Dughan (Lead Vocals & Rhythm Guitar), Ben Calver (Lead Guitar & Backing Vocals), Connor Woodward (Bass) and George Lathbury (Drums). Drawing on influences from some of their favorite bands such as Metallica, Machine Head, Black Sabbath, Iron Maiden, Asking Alexandria and Bring Me The Horizon, the guys make aggressive rock that’s melodic, raw and in-your-face. As they state on their Facebook bio, “Our passion is to write, produce and release our own music and then play it live and LOUD.”

Dead on Arrival
Photo by Pete Key

Dead On Arrival released a full length debut album From the Ashes in 2016, and now return with a terrific EP Chasing Tides, which dropped on August 18. The EP delivers four scorching tracks that clearly demonstrate the band’s growth, both in songwriting and musicianship. Their song lyrics address themes of dysfunction and betrayal within ourselves, our relationships and our government leaders, and their ferocious instrumentals perfectly convey the strong feelings expressed in the lyrics.

Chasing Tides

“Vulture in the Waves,” released as a single in late 2016, kicks things off with an onslaught of shredded guitars, powerful throbbing bass and pounding drums – all hallmarks of the band’s hard-hitting sound. Dughan wails the lyrics that speak of someone wracked with guilt and tormented by his actions:

“Oh I’m the vulture in the waves
Chasing tides to escape my mistakes
Because I couldn’t live on
Knowing what I’ve done
And I hide in the shadows
It’s the only way to survive“

Hammering drums and blazing riffs continue unabated on the hard-driving “Inside” and “Corrupted World.” Calver’s shredded and distorted guitars are mind-blowing, and the bass so heavy I felt it in my core. On the latter track, Dughan implores, “This is a final call. We will stand tall and fight against this corruption.”

As if the first three tracks aren’t aggressive enough, the guys unleash their full sonic arsenal on the bombastic “Sickening Thing.” The frantic guitar riffs rain down like thunderbolts, and Lathbury attacks his drums like a wild beast, nearly blowing out the speakers – and my ear drums! Woodward lays down a face-melting bass line, and Dughans’ fiery vocals match the brutal music note for note. It’s my favorite of the four tracks, and really shows what these guys are capable of.

Connect with Dead on Arrival:  Facebook / Twitter / Instagram

Stream their music on  Spotify and purchase on iTunes

Top 20 Songs for August 20-26, 2017

On By EclecticMusicLoverIn Weekly Top 30's2 Comments

1. CAN I SIT NEXT TO YOU – Spoon (1)
2. THE SYSTEM ONLY DREAMS IN TOTAL DARKNESS – The National (2)
3. THE MAN – The Killers (4)
4. FEELS LIKE SUMMER – Weezer (5)
5. RUN – Foo Fighters (6)
6. HIGH – Sir Sly (3)
7. EVERYTHING NOW – Arcade Fire (8)
8. FEEL IT STILL – Portugal. The Man (7)
9. THE WAY YOU USED TO DO – Queens of the Stone Age (9)
10. HOLDING ON – The War on Drugs (14)
11. LIGHTS OUT – Royal Blood (11)
12. ONE OF US – New Politics (13)
13. THE NIGHT WE MET – Lord Huron (19)
14. DOING IT FOR THE MONEY – Foster the People (10)
15. SILENT SUN – Morning Fuzz (12)
16. COLD LITTLE HEART – Michael Kiwanuka (20)
17. DIG DOWN – Muse (18)
18. SONG #3 – Stone Sour (15)
19. J-BOY _ Phoenix (16)
20. DON’T TAKE THE MONEY – Bleachers (17)

UPRIGHT MAN – Album Review: “Upright Man”

On By EclecticMusicLoverIn Reviews4 Comments

Upright Man Cover blue

Upright Man is a New York City-based rock band who released their debut self-titled album yesterday August 18, 2017. And after just one listen through of Upright Man, I must unequivocally state that it’s magnificent. Poetic lyrics are paired with bold instrumentals and soaring harmonic vocals to create ten stellar tracks that elicit strong feelings for the listener (they certainly did for me). The album was flawlessly produced by Marc Copely (Roseanne Cash, B.B. King, Billy Squire) and Zev Katz (Jeff Beck, Hall & Oates, Aretha Franklin), and engineered by Bruce Sugar (Ringo Starr, Joe Walsh) at Avatar Studios and Sear Sound in NYC, and at Blackbird Studios in Nashville.

But the creative minds and musical talent behind all this fantastic music are Aidan Dolan (guitar/vocals), Nick Katz (bass/vocals), and Max Yassky (drums/percussion/backing vocals). The guys met while studying classical music composition at New York University, where they played together on various projects ranging from classical ensembles to rock bands. Their strong chemistry ultimately led them to form Upright Man. Influenced by some of their favorite bands like Pink Floyd, Radiohead, Crowded House, Little Feat, Led Zeppelin and XTC, they combine elements of alternative, psychedelic, roots rock and classic rock with complex harmonies and melodies to create their own unique sound.

Aidan explains, “Our different musical backgrounds make for an explosive chemical reaction that creates something none of us would have alone.” Nick adds, “We have an intense compulsion to write songs together, and do so constantly.” “Our goal is to write great songs, play genuine music and share it with the world,” says Max.

Upright Man

We’re introduced to Upright Man with the sweeping opening track “Elysia.” The song is melodic rock candy, with layered jangly guitars, sharp percussion, brilliant keyboards and captivating vocals. In fact, their colorful instrumentation and harmonic vocals are a defining element of the band’s wonderful sound, also beautifully demonstrated on the next track “Agorognostic.”

“Say What You Mean” really shows what these guys can do, with complex rhythmic change-ups that go from calm, strummed guitar one minute to fierce guitar riffs accompanied by a cascade of crashing cymbals the next. Aidan snarls: “Is it what you really want? Was it what you really want? Is it everything you want?/ Everybody cares what you think. But nobody cares what you think.”

The title track “Upright Man” is a terrific post-grunge rock song with a hypnotic beat, fantastic gritty riffs and Nick’s assertive buzzing bass. The guys’ vocals are in perfect harmony as they sing: “Cities built on soot and ash. Follow the fate of those who’ve past. It was the dream of an upright man to be loved. I fell down from the sky to become up on high.  Then Aidan wails: “So tell me why won’t you stand with me. Baby tell me you love me. I don’t need the truth. I just need you.” The down-tempo “Ecstasy” offers up moody synths and mellow vocals, punctuated by flourishes of electric guitar and crashing cymbals that reach a crescendo before ending in a reverb-heavy haze.

Keyboards take center stage on the stunning “Three Easy Pieces,” a standout track and my favorite on the album. The combination of lush piano, delicate synths, electric guitar, gentle percussion and the guys’ lovely harmonizing vocals are positively gorgeous, creating a dreamy soundscape. Aidan’s vocals are sublime as he sings: “The TV said I need a life. Ain’t I livin’ life? You can’t live on porcelain and wine. When you’re hungry you’ll find what you need.”

Another favorite is “Alaska,” a languid, rather melancholy song about searching for one’s place in the world, but not quite getting there: “Got a tattoo says ‘Alaska’ but I’ve never been. 20 questions I could ask you but I’ll never win. Oh I just get so cold. Hold me darling, deliver me from shivering.” As to now be an accepted fact, the instrumentals and vocals are mesmerizing.

The guys dial up the energy on “Designer Mind” and “Animals.” Both are great rock tracks with assertive percussion, strong, gravelly bass and dynamic, multi-textured guitar work. Album closer “Checked Out” delivers a captivating melody and incredible layered instrumentals, including keys, intricate guitars, crisp percussion, sweeping synths and Aidan’s smooth vocals. This is another standout track that proves without doubt that Upright Man is an exceptionally talented collective. They’ve got a brilliant debut album on their hands, and it should be in yours.

To learn more about Upright Man, check out their Website and social media: Facebook / Twitter / Instagram

Stream their music: Spotify / Soundcloud

Purchase: iTunes / Amazon

RADIO GALAKSY – Album Review: “Free Ride”

On By EclecticMusicLoverIn Reviews3 Comments

Free Ride

Radio Galaksy is a music collaborative originally founded by Danish composer, drummer and producer Søren Jensen in 2015. Jensen calls Radio Galaksy a “music constellation,” and after listening to their album Free Ride I would say that’s a perfect descriptor. As he explains: “Based on themes such as outer space, coincidences, film scores, time, and everyday life, the album Free Ride places itself as a concept album that allows things to happen just when they do.” The album was released at the end of November 2016.

Soren Jensen
Søren Jensen

Inspired by classic acts such as Pink Floyd, Bill Frisell, Kraftwerk, Ennio Morricone, Ry Cooder and Air, Radio Galaksy skillfully combines elements of alternative rock, jazz, blues, funk, reggae and electronica to create a distinctive and captivating sound. Jensen composed all six tracks in his own music lab, then enlisted the talents of several accomplished musicians, including bassist Viktor Krauss (who’s also played bass for Bill Frisell), guitarist Aske Jacoby, and keyboardist Christoffer Jespersen. Guest appearances were made by Jakob Dahn and Sara Broberg on vocals, Lis Wessberg on the trombone, Mikkel Schnettler on percussion and Dennis Flacheberg on guitar. Additional recordings were made by Marcus Toft at Moremax Studios.

Viktor Krauss
Viktor Krauss

Aske Jacoby
Aske Jacoby

Christoffer Jespersen
Christoffer Jespersen

Jazz and blues influences are strong on album opener “The Lottery.” With Jensen’s crisp, gentle percussion keeping time, Jacoby creates a sultry mood with his nimble, bluesy guitar work as he playfully flirts with the sublime tones of Jespersen’s keyboard and organ. Quirky jungle sounds employed in the bridge add a touch of mystery to the track.

The melodically complex “Elephant Swing” is a gorgeous composition, and one of my favorite tracks. While continuing with a jazzy theme, the track starts out with a strong hypnotic tempo that almost gives it an R&B feel, but with Jespersen’s lovely keyboards delivering an ethereal soundscape to the proceedings. Funky guitars float above a subtle bass line as all the elements come together to create an exceptionally pleasing sound. Spacey keyboards added later in the track create an otherworldly vibe, punctuated by funky, swirling guitar as the hypnotic beat continues.

The track immediately segues into “The Bike,” a languid, nine-minute-long track that feels like an extended chill jam session. Wessberg’s seductive trombone has a starring role here, complemented by perfectly executed instrumentals. As always, the guitar work is outstanding, as are the percussion, keyboards and bass.

Radio Galaksy channels Ennio Morricone (the famed and prolific composer of scores of film soundtracks such as The Good, the Bad and the Ugly, Cinema Paradiso and The Untouchables) on “Pangæa.” Named after the super continent from half a billion years ago, the track features a subtle reggae rhythm injected into a mellow beat, replete with beguiling piano keys, peppy organ and electric guitar strums in the deeper chords. The result is a mesmerizing tune that carries you away to another time and space – to Pangæa perhaps?

“Alone on Planet Earth” conjures up images of intergalactic travel with a mystical soundscape of dreamy keyboards, gentle percussion and a rather melancholy trombone. A layered mix of delicate and gritty guitar riffs add a discordant complexity to the track, as echoed spoken male and female vocals, provided by Jakob Dahn and Sara Broberg, add an extraterrestrial aura to the track: “You threw away the garbage from your past. You pack your bags, the darkness in your eyes expanded, and filled it with something vast. You wish that I would come along. I let go of gravity and second sons. And I don’t wanna run.”

The guys get deep into their groove on the fun and funky album closer “The Lottery Appendix.” The intricate guitar work is freaking amazing, nicely melding with the jazzy keyboards and deft percussion to create an infectious track that’s just too cool for words. Radio Galaksy are phenomenal musicians, and with Free Ride have crafted a brilliant album that keeps getting better with every listen.

To learn more about Radio Galaksy, check out their Website and follow on Facebook & Twitter

Stream their music:  Spotify / Soundcloud

Purchase it on iTunes

SERPERUS – EP Review: “Infernal Seasons”

On By EclecticMusicLoverIn ReviewsLeave a comment

I can’t seem to pull myself away from the UK, as here I am featuring yet another band from that island nation. There’s such a tremendous amount of musical talent based there, I could devote my blog entirely to UK artists. This time I shine my spotlight on Serperus, a Liverpool five-piece that plays aggressive and melodic heavy metal. Formed in 2014, the band consists of Joey Farrell (Vocals), Mark Coogan (Lead Guitar), Jono Walters (Rhythm Guitar), Mikey Smith (Bass) and Aaron May (Drums).

Serperus performing

They released their debut EP …with Pestilence in December 2016 to wide acclaim, and followed up with their sophomore EP Infernal Seasons this past May. Offering up six tracks of brutal, unrelenting thrash metal that address themes of authoritarian oppression, Infernal Seasons serves to further cement the solid reputation Serperus has established for themselves, and demonstrates the progression of their songwriting skills and technical experimentation.

Infernal Seasons

The title track “Infernal Seasons” sets the tone with an onslaught of wailing guitars and Smith’s buzz-saw bass lines, propelled by thunderous percussion, courtesy of May’s relentless attack on his drum kit. Coogan delivers blistering riffs while Farrell snarls the searing and topically relevant lyrics that speak of the destruction and cruelty perpetrated upon society by ruthless leaders: “A charade, a means to construct the plague. The infernal seasons, the results of tyranny. Mother nature, down to her last legs. Deliverance, for us as the non-believers. Twisting tongues of the prophet, forcing catastrophic opinions.”

Serperus dials up the speed setting on the frenetic “Divulge,” the first single released from the EP.  As the band explained to online magazine Pure Grain Audio, “‘Divulge’ is one of the fastest and most intricate songs, featuring lots of twists and turns throughout. It is our personal favourite to play live and it is perfect to showcase what [we’re] all about.” And they’re not exaggerating about the song being fast and intricate – this beast kicks ass! The scorching, rapid-fire riffs blast through the speakers from start to finish with no letup, calling to mind the epic Metallica song “Hardwired.”

“Into Ruin” opens with a mysterious intro of violin, xylophone, and piano before an assault of shredded guitars, hammering drums and crushing bass rain down like thunderbolts. This track’s a real head-banger, and once again our ears are treated to killer guitar solos, which continue unabated with “Deliverance Has Come.”  The song’s lyrics assert that mankind’s suffering will only be relieved by death. “Our fate is sealed. So choke on your last breath, as you sit and wait for the sweet release of death. Light begins to fade, humanity has failed, blinded by deceit, history repeats.”

Perhaps the most melodically complex track on the EP is “No Vindication,” a six and a half minute-long tour-de-force. The song starts off slowly, with strummed electric guitar and heavy bass, then a hypnotic drum beat enters the scene, accompanied by Farrell’s calm, echoed vocals. The intensity ramps up with aggressive, shredded guitars and pounding drums,  Farrell’s vocals rising in ferocity to match the brutal instrumentals. We’re then thrust headlong into the hard-hitting closing track “Spirit in Black.” Unrelenting riffs of distorted & shredded guitars are driven by jack-hammer percussion, making this track an adrenaline rush on steroids. When the guitars fade out with a final crash of the cymbal, all you can do is catch your breath.

Even though it contains only six tracks, Infernal Seasons runs over 30 minutes, as they’re all fairly long. That fact, combined with the high level of intensity throughout its entirety, make it feel more like an album than an EP. A minor criticism I have is that some of the tracks sound quite similar to one another, however, the quality of the instrumentals and compelling lyrics more than make up for it. Overall, it’s a great EP that delivers the thrash metal goods.

Connect with Serperus:  Facebook / Twitter / Instagram

Stream their music on Spotify and download for free on Bandcamp 

NEWFOUND STRANGERS – Single Review: “Take Me As I Am”

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Take Me As I Am

Newfound Strangers are the second rock band from Derby, UK that I’ve featured on this blog in little more than a week (the previous being These Wicked Rivers). Formed in 2016 by guitarists Chris Payne and Dave Kent, the band also includes bassist and vocalist Dan Shaw, and drummer Nathan Rose.  Drawing on influences from Country, Classic Rock, Indie and Alternative, and artists as varied as Springsteen to Snow Patrol, Queen to Queens of the Stone and Foreigner to Foo Fighters, they’ve struggled to place themselves into a box in terms of genre, so have settled on ‘Melodic Rock.’  Collectively, the guys have over 50 years of combined experience both in the studio and onstage.

Newfound Strangers performing

They released their debut EP Take Me As I Am in May of this year, and now follow up with a single “Take Me As I Am,” which just dropped on August 11. Interestingly, the single was not included on the EP.  The band explains: “We originally toyed with putting it on the EP and making it a title track, however we decided it warranted its own release. The message behind the naming is the song talks about staying true to who you are and sticking to your roots, which really epitomises who we are as a band, so we stuck with the title for the EP.”

“Take Me As I Am” is a gentle rock ballad with a country sensibility. A perfectly balanced mix of electric and acoustic guitars are nicely complemented by humming bass and crisp percussion, creating a track that’s incredibly pleasing and expertly crafted. With heartfelt emotion, Dan sings the lyrics addressing someone who accepts him for who he is, enabling him to feel comfortable in his own skin, and not having to pretend or act in a way that’s dishonest to gain their love or acceptance.

“I’ve tried so hard to tell you, but the words don’t come out right.
I’m just a man. I’m nothing more and nothing less.
I’m not your shining knight.
Its taken oh so long, just to feel like you could be mine.
I’ll keep on waiting til the moment’s gone. Now I’m waiting in line.
You’re the only one who’s seen deep inside me.
You’re only one who’s looked in my soul.
You’re the only one who sets my spirit free.
You’re the only one who takes me as I am.”

“Take Me As I Am” is a great song, and you can check out their other music on  Spotify / Soundcloud / YouTube

Connect with Newfound Strangers:  Website / Facebook / Twitter / Instagram

Purchase their music on  iTunes  or  Bandcamp

Top 20 Songs for August 13-19, 2017

On By EclecticMusicLoverIn Song Lists, Weekly Top 30'sLeave a comment

1. CAN I SIT NEXT TO YOU – Spoon (2)
2. THE SYSTEM ONLY DREAMS IN TOTAL DARKNESS – The National (1)
3. HIGH – Sir Sly (3)
4. THE MAN – The Killers (4)
5. FEELS LIKE SUMMER – Weezer (6)
6. RUN – Foo Fighters (7)
7. FEEL IT STILL – Portugal. The Man (5)
8. EVERYTHING NOW – Arcade Fire (8)
9. THE WAY YOU USED TO DO – Queens of the Stone Age (11)
10. DOING IT FOR THE MONEY – Foster the People (9)
11. LIGHTS OUT – Royal Blood (12)
12. SILENT SUN – Morning Fuzz (10)
13. ONE OF US – New Politics (14)
14. HOLDING ON – The War on Drugs (16)
15. SONG #3 – Stone Sour (17)
16. J-BOY – Phoenix (13)
17. DON’T TAKE THE MONEY – Bleachers (15)
18. DIG DOWN – Muse (18)
19. THE NIGHT WE MET – Lord Huron (19)
20. COLD LITTLE HEART – Michael Kiwanuka (20)