Saturday, 14 July 2018

RIPIS - Shadow Dies In Morning Light (Album Review)

Release date: June 22nd 2018. Label: Self Released. Format: DD

Shadow Dies In Morning LIght – Tracklisting

1.Burdened by Stone 09:57
2.Void 10:06
3.Water in the Basin 12:22
4.Shadow Dies in Morning Light 11:27


Asher Johnson - Guitar
Blake DeWitt - Bass / Vocals
Andy Hannaman - Drums


RIPIS are a band influenced by Doom Metal bands such as YOB and Pallbearer. However these guys add a touch of Sludge and Post-Metal darkness into the mix. The band has just released their epic new album Shadow Dies In Morning Light and it's quite a gloomy affair that is full of heavy progressive Psychedelic Doom Metal riffs.

Opening song - Burdened By Stone - is the first of four songs that run near or past the ten minute mark. The music is heavy with the band not wasting any time in playing a heavy sludge and post-metal groove. The vocals from Blake are not what you initially expect as they have a slight alternative/indie rock feel. This allows RIPIS to focus creating an environment that is highly volatile with loud doomy guitars being played at a slow pace. 

The whole tone and theme of the album can be quite depressing at times and RIPIS never shy away from touching upon on hard-hitting subjects. This allows the album to be one of the more personal offerings I've heard in some time. However that doesn't stop RIPIS managing to include uplifting riffs that elevates the listener above the darkness of the album.

Second song - Void - carries on the progressive journey but with a more remorseful approach. The song does start off really slowly with an Ambient/Post-Rock vibe. RIPIS play at their own pace on this song and it does take time for the song to fully come alive. The lyrics and vocals yet again are thoughtful, insightful and cut right to the bone. This song has an almost "Funeral Doom" quality to it.

This is where the album starts adding a more cinematic feel to it. As the whole flow of the album becomes bigger, grander and even theatrical at times. Maybe RIPIS could have held back on the emotional content at times but this is an album with an intense vision and RIPIS deserve credit for not changing course for the remainder of the album.

The final two songs - Water In The Basin and the excellent title track - carries on the gloomy atmospheric with RIPIS playing the albums heaviest moments. Shadow Dies In Morning Light on a technical level is almost near perfect. The instrumental work is flawless and technically brilliant. As RIPIS weave a dark magical tapestry that Pallbearer would be proud to call their own.

I hope RIPIS manage to build a momentum with this album so they can gain some well-deserved recognition within the Doom/Sludge Metal scene. Overall, Shadow Dies In Morning Light is an album that you cannot ignore. As this is a must have album. 

Words by Steve Howe

Thanks to RIPIS for the promo. Shadow Dies In Morning Light is available to buy now.


Aleks Evdokimov Interviews FUNERAL HORSE

Funeral Horse started its way in 2013, when a trio of friends took a decision to play some driving, heavy and low stuff. The first EP ‘Savage Audio Demons’ drawn the attention of Artificial Head Records who released next EP ‘Sinister Rites Of The Master’ (2014) and LP Divinity For The Wicked (2015).

The Power trio returns with new album ‘Psalms Of The Mourning’, the label describes new material as punk doom and it sounds damn good. What’s the hell is “punk doom”?

It seems we need the whole Funeral Horse crew here to sort it out, so let me introduce you Paul Bearer (guitars, vocals), Chris Bassett (drums) and Clint Rater (bass). Bring it on dudes!

Hi dudes! How are you? What's going on in Funeral Horse's bay?

Paul Bearer: Hey Aleks! Dude, we’re recovering from our most recent tour and catching up on things here at home. I have Chris and Clint here with me to join our conversation today too.

The band performs proper and tight stoner music, yet I've seen that you're also tagged as "punk doom". How do you see that?

Chris Bassett: While the first album can certainly be classified as Stoner, I’d say the past two records have deviated from that style quite a bit. Not sure if the Stoner Punk label fits either. If anyone feels the need to attach a Stoner tag to us, I suppose "Stoner Prog" might suffice. We, however, are quite content with the term ROCK.

Clint Rater: I feel the “Stoner” feel is gone now. I tune my bass to E standard and there isn’t any crazy fuzzed-out, overdriven wall of repetitive noise. We are much more inspired by 70’s rock, prog, jazz , and blues. In all honesty, I think it’s safe to say that we are not only tired of the “stoner/doom/sludge” label, but we’ve outgrown it as a band and in our personal tastes.

By the way, how do you see social roots of stoner? How did you reveal this spirit in you? 

Paul Bearer: Modern “stoner metal” can be traced back to the early 90s with albums by Sleep, Kyuss and The Melvins. I loved the way it directly clashed with the speed and fury of punk and metal at the time. Before that, you have obvious references such as early Sabbath or even Goblin with their experimental style of rock and ambiance. The spirit of stoner metal, to me, has always been rooted in American blues music… and that’s where Funeral Horse ultimately draws its influence.

There are many stoner bands in US and Old World as well, but don't you think that exclusively stoner is American phenomenon originally?

Paul Bearer: I find the phenomena deeply rooted in British blues and rock and it just evolved with each new band until it ultimately was born out of the California metal scene. 

Funeral Horse - Emperor Of All Maladies

You don’t sound (and you don’t look) as some newbies, do you have some musical background besides Funeral Horse?

Clint: Yeah. I play drums and write in another Artificial Head Records band called Jody Seabody and the Whirls.

Chris: I've been playing in bands for quite a number of years. A few different genres. Currently I play in a few "tribute" bands on the side (Pink Floyd, The Police) but Funeral Horse is my primary musical focus.

Paul: Back in the 90s, I was in a noise rock band called Tranquil. We released an album and did some touring in the northeast USA. I took a break after that and got back into music once I moved to Houston… which was about 12 years ago. Played in a few metal, punk and post-punk bands before finally starting Funeral Horse.

The third full-length album ‘Psalms For The Mourning’ was released just three weeks ago. What were your primal goals when you enter a studio? What was your master plan for a new album?

Paul: We knew that we needed to make a statement with this album as there was a lot going on in our personal lives, especially mine. I was going through a divorce, I lost two close friends to cancer, and I became this self-destructive mess. Funeral Horse was my only positive outlet, and even then – our gigs were rife with fucked up performances, antagonistic behavior towards the audience and I struggled with severe depression while touring. All of that had to come out. All of that had to be given a voice. So the master plan was to create a set of songs that would exercise these demons and give me a way to explain (at the very least to myself) what had happened.

Three years passed since the release of debut full-length ‘Divinity For The Wicked’. How do you value your progress on Psalms?

Paul: It’s a significant step forward in terms of song writing and our playing. We took our time on the production side to make sure the album had the feel and sound we wanted.

What are main features of Funeral Horse from your point of view? Through which equipment did you fulfill it working in the studio?

Paul: We mainly used whatever equipment would get the job done. Most the heavier songs on the album were recorded using a beat-up Japanese Esquire, a basic Fuzzface pedal and a tiny Fender Champ. Other times, I’m using a Les Paul into an old Mesa Boogie and sometimes I used a big old Gretsch hollowbody into a Marshall 18 watt. I got fancy on the song Divinity for the Wicked as I used a double neck (12/6) into Vox AC15 and a tube tape echo machine. Chris used Sabian cymbals and his Tama kit but sometimes he used the studio’s old Gretsch kit.

I gotta tell you though, Clint and I are not into pedals as we like to keep things simple – especially on stage. 

How serious were you in the studio? How much of improvisation was during the record session?

Clint: Personally, I was very focused on having a 50-50 blend of “clinical focus” and “loosey-goosey”.

Chris: For myself, I do very little improv when recording. I work out a part and really don't deviate much while recording. I enjoy the discipline of the studio. It's during the live setting that I like to loosen it up and perhaps add some more color.

Paul: Dude, I was serious as fuck. Sometimes I would walk out of the studio out of frustration and anger at myself for not getting a part done right. It was intense at times.

There’s ‘Evel Knieval Blues’ song on the album, it contains nice country tune, how did you come to an idea? And did your paths ever crossed with Moonbow? With what kind of bands do you usually share a stage?

Paul: With Evel Knievel Blues – I had been toying around with the idea of incorporating different styles into our song catalogue. We have several songs in our catalogue that stray from the traditional metal style because… well… that’s what we like to listen to. Cities of the Red Night, I Hear The Devil Calling Me, and A Bit of Weed are excellent examples of us playing around with different musical styles.

We have played a show with Moonbow when they came to Houston. Oh man… that was sooo long ago too. We usually get coupled with metal bands when we’re on the road or even at home. We prefer to play shows with bands that are quite different from us though as we like that kind of variety.

Funeral Horse – There Shall Be Vultures 

Funeral Horse is a trio, that seems to be a comfortable format for touring, when do you plan to hit the road and start to preach ‘Psalms’? 

Paul: Dude, we’re always hitting the road… that’s why it’s taken us so long to answer your interview questions!!!

Does being in the band grant you some therapeutic effect or something? What are positive and negative sides of being in Funeral Horse?

Clint: Absolutely. Music whether you are performing or simply listening is indeed therapeutic. After a performance there is a definite sense of satisfaction knowing you gave it your all and being able to play music you thoroughly enjoy alongside talented like-minded musicians. If there IS a negative it's trying to fall asleep later on with ringing ears.

Words by Aleks Evdokimov and Funeral Horse


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Radiant Knife - Science Fiction (Album Review)

Release date: August 08th 2018. Label: Self Released. Format: DD/Vinyl

Science Fiction – Tracklisting

1.Stereo Lords
2.Wasted Minds
3.All We Are Is All We Know
4.The Human Condition
6.Swarming Lights Surround You
7.Withered Hands
8.Suffer Under God


Stephen Sheppert - Guitar, Vocs, Keys
Greg Travasos - Drums


I remember hearing Radiant Knife's music in the past. As I recognised some of the themes and progressive ideas they used on their last album. Science Fiction follows the same progressive and heavy path as their last album. Though this album is more experimental and perhaps Doom/Sludge Metal orientated. The album doesn't shy away from blending quieter sounds to a heavier style of Doom/Sludge Metal.

The opening two songs of the album - Stereo Lords and Wasted Minds - offer a lot of different sounds that need time to fully digest. There is almost Torche-esque pop sensibility here but those vibes are very few and far between. As Radiant Knife always excel when the harsher and heavier riffs appear. There are only eight songs on the album running past the forty five minute mark. However the album feels longer and that's perhaps down to the more experimental themes and layers of music contained on some of the songs. Ambient Music is a big part of Radiant Knife's identity. As they like to experiment on almost every aspect of the album. The strongest has to be the vocals.

The vocals from Stephen do take influence from Devin Townsend or they have the same emotional feeling. Songs such as: All We Are Is All We Know, The Human Condition, Awakened and Swimming Lights Surround sees a forward thinking band with the lyrics being decidedly different compared to different bands within the Doom/Sludge Metal spectrum. If you enjoy the more complex lyrics and themes of Doom/Sludge Metal then Radiant Knife are on another level.

Science Fiction is one of the weirdest and psychedelic offerings I've heard this year. Next to Boss Keloid, Radiant Knife is merging real intelligence into the realm of Doom/Sludge Metal.

Truth be told I did find this album very hard to review at times. As there is perhaps too much going on when you first listen to the album. My advice is to listen to this album multiple times before making a final conclusion. As you could be missing out on understanding the whole journey of Science Fiction.

Radiant Knife manage to include elements of Grunge and Stoner Rock within the album.

The final two songs Withered Hands and Suffer Under God are the standout parts of the album with the band leading you on another progressive and surreal journey that packs quite an emotional punch.

Overall, Science Fiction is a rich and deeply rewarding album that undoubtedly demands your full attention.

Words by Steve Howe

Thanks to Curtis at Dewar PR for the promo. Science Fiction will be available to buy on DD from August 08th 2018 and Vinyl from August 15th 2018.


Wednesday, 11 July 2018

LOGGERHEAD - Depths (Album Review)

Release date: June 18th 2018. Label: Self Released. Format: DD

Depths – Tracklisting

1.Carcharodon 07:00
2.Spermaceti 04:07
3.Architeuthis 10:28
4.The Wretched Sea 10:05
5.Feeding Frenzy 04:53


Hayden Crawford - Guitars, Synths, Percussion, Vox, First Mate
Chris James - Bass, Percussion
Evan Sandy - Drums, Percussion
Caleb Elliot - Cello, Oarsman
Natalie Morrow - Ghost Vocals
Johnny Depth - Bellows and Caterwaulin'
JP White - Chaos Guitar
Adam Morrow - Purveyor of Chaos
Austin Motlow - Synths
Red Mouth - Ahab
Albert Rothstein - Harpooner
Jamie Sego - Oarsman


If there ever was an album that was so perfectly named then Loggerhead debut album – Depths – is probably that album. As this album is a Prog Rock/Metal odyssey combining Doom, Sludge, Stoner, Psych and Post-Whatever sounds. The album is a multi-layered sonic experience that takes influence from YOB, ISIS, Neurosis, Baroness and Mastodon but still having it’s own definitive sound.

Depths moves in so many different direction that I wouldn’t blame anyone feel lost in the many different progressive sounds found on the album. Look how many people were involved making this album and that gives you a brief glimpse on what to expect. Songs such as Carchardodon and Spermaceti set the mood with heavy Post-Doom rhythms and grizzled vocals from Hayden Crawford, who wrote this entire album and being involved with the production of the album.

Loggerhead have an experimental sensibility running throughout their album and that shows in the majority of the songs contained on the album. Loggerhead impress the most on the two 10 minute epic songs – Architeuthis and The Wretched Sea. As this is where the album adds an eerie and atmospheric post-rock feel. The band call their music “Nautical Stoner/Sludge Metal” and that is a very good description indeed.

The last time I heard an album similar to this was from Legend Of The Seagullmen. I know I will probably get criticised for this but I feel Loggerhead are the better band. As this doesn’t feel like a “supergroup/side-project” that Legend Of The Seagullmen does. Depths is an album that has an exciting narrative that draws you into their weird sounding and heavy nightmarish world.

Depths is a brilliantly entertaining progressive Sludge/Stoner Metal album that fans of ISIS and Neurosis cannot simply ignore. Loggerhead have released a FUCKING MONSTER with Depths and I want to hear more.

Words by Steve Howe


Red Sun Atacama - Licancabur (Album Review)

Release date: June 29th 2018. Label: More Fuzz Records. Format: CD/DD/Vinyl

Licancabur – Tracklisting

1.Atacama ((intro)) 00:36
2.The Gold 10:39
3.Red Queen 05:53
4.Cupid's Arrows 01:45
5.Drawers 04:27
6.Empire 11:59


R. : Drums/Powerhouse
C. : Bass-Vocals/Vibe
V. : Guitar/Magic


Red Sun Atacama debut album Licancabur is a dynamic mix of Desert Rock, Stoner, Psych, Fuzz and Garage Rock. The opening song - Intro - is a nicely played instrumental song which doesn't really offer much in the way of excitement. It could have easily been left off the album. Though Red Sun Atacama finally spring the album into life with the excellent second track - Gold. A constant heavy mix that draws the best parts of Kyuss and Truckfighters into one fast and heavy package.

The vocals have a cool retro Desert Rock feel. The production is very rough and ready but that's a good thing as this allows the band to play to their strengths. The music is always constantly engaging and never bores you for a second.

The heavy FUZZ sound does have the early sounds of Truckfighters running through its veins. The garage rock atmosphere at least allows Red Sun Atacama in treating the audience to fast-paced and heavy Desert Rock adventure. Songs such as Red Queen, Drawers and Empire is where Red Sun Atacama impresses the most as they start creating music on their own terms.

The lyrics are very direct and match the music superbly well. This is what you expect for an album such as this. Maybe the album could have done a couple of more songs just to make the album that little bit longer. As the album has a brisk thirty-five minute running time. However there is a lot of fun to be had. Especially when the Psychedelic Desert/Stoner Rock grooves takes centre stage and demands you take notice of the band.

Overall, Red Sun Atacama has created a superbly entertaining album that will leave you with a warm FUZZY feeling for a long time to come. If you're a fan of Kyuss and Truckfighters then Licancabur is the album for you.

Excellent and Highly Recommended.

Words by Steve Howe

Thanks to Tanguy at More Fuzz Records for sending a promo to review, Licancabur is available to buy on DD now. Vinyl will be released later this year via More Fuzz Records.


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Monday, 9 July 2018

An Interview With SONANCE

It’s been a long time since I’ve heard from UK Noise/Sludge Metal Riffsters – SONANCE. Two years have passed since they released their last record – MIRROR AND VIE 2.

If you haven’t heard of this great band then there sound can be very hard to explain. A mixture of pitch-black Post-Rock, Ambient, Doom and Sludge Metal sounds only gives you a brief glimpse of what the band actually does.

I’ve been a fan of SONANCE for about 5 years now. And I’m always excited when the band release a new record. I haven’t heard from the band in a long time. About 3 years have passed since I last interviewed them. Well it’s time to change all that. As I’m now interviewing BJC (Guitars) and Will (Guitars/Vocals) from the band.

Let’s see what the guys have been upto recently….

Hi guys. How are things with you today.

Will - Not bad, looking forward to rehearsal tonight.

BJC - Hot and indecisive. Moretti or gin?

So how are things with Sonance. Been a while since we last spoken. Almost three years.

Will - Good, yeah, too long! We have a new drummer which is working out great.

BJC - It feels like when it did right back near the start; writing songs is fun again and I've been playing more guitar and contributing some ideas.

What have you guys been upto since then.

Will - We've been working on new material, I have moved back to Bristol, so it's much easier to rehearse. Prior to that we were going months without seeing each other, only keeping up with demos via Whatsapp and Dropbox. We've more or less finished the first half of a new album, the second half is on the way.

BJC - As a band we've been quiet, played a few shows since three years ago - Temples Fest was great, RIP. Chino just had a baby. The usual stuff.

I heard you’ve recruited a new drummer. Can you give any more details.

Will - We've known Dave and played with him in other projects for 15 years or so, he was an obvious choice for a new drummer, so much so that we nearly overlooked him!

BJC – Yes sir. Dave played in Mea Culpa (look us up, KKKK) with Will and I for years! Chino even joined for a few shows so we're all familiar. We toured the country and mainland Europe in Dave's Astra. Jamie had had enough I think, I'm still not sure on the actual reason for leaving the band but I think it was the musical style and he felt like it was a demand he wasn't prepared to meet. All fair, understood. We decided to crack on and get a new drummer...we kept the ideas going and had a few in mind.

What does Dave bring to Sonance overall sound.

Will - He's 6'5" so has a lot of leverage in his limbs to beat the kit with, he really punches through the wall of noise.

BJC - I can see it in his face when it goes heavy that he loves it, and that's the main thing for me.

Are you guys preparing for a new EP, album or tour of some kind. Can you give any details.

Will - Working on finishing our next album, we're taking our time to work. There's a lot to be said with this material so we want to make sure it's coherent. It'll be our longest album to date. Joe Garcia (Portishead, Om) is engineering for us and I'm mixing, as per all previous records.

BJC - We have circa 7-8 songs written, some of which have already been recorded. So yeah we are. I'm still trying to work out where we are as a band, how we sound, why it works. But it does and I like it.

Have you still been performing regularly. Or things been quiet on that score as well.

Will - We've played a handful of gigs over the past three years. 3/4 of us our fathers now, so we're focusing more on studio stuff rather than playing out or touring (for now).

BJC - We're just trying to get the record finished. At least for now anyway - we've played many shit gigs in many shit bands. Once this is done we'll probably do a show at the Cube, because it's the best venue in the UK.

One of your last records was the split album with Torpor. How was the overall reaction to the record. Were you pleased with the response that record received.

Will - It was hard for us to reach a compromise as band in making that album. I think ultimately we should have worked towards an album on our own at that point and worked on separate material for the split. I still felt it was good, but it could have had a stronger identity.

BJC - We rushed into it. It was my idea and I'm happy to take the brunt of any criticism. That being said, it sounds amazing and 'Under and Under' is still one of my favourite songs.

Looking back would you change anything about it.

Will - Probably taken a couple more months to write three or more other tracks.

BJC - I'd have not recorded 'Capes'. If I'm being entirely honest, not to do the split at all. Nothing against Torpor, but I think we quickly learned that we aren't a "split" kind of band. Take that as arrogant or take it as you will, I think it's just a fact.

Do you prefer releasing split records with other bands or your own albums.

Will - We've only done the one split, so hard to say.

BJC - Own. Like Ghosts and Blackflower are really important to me. This new one will follow suit, trust me.

If you could be part of any band regardless of genre. Which band would that be and the reasons why.

Will - I'm happy doing exactly this. Sonance is my main creative outlet and as a band we have maximum freedom to explore whatever we want.

BJC - MORTICIAN - to kill posers

Thanks for doing this interview. Before you go do you have any words of wisdom to say to your fans.

Will - Thanks for sticking with us! New stuff on the way.

BJC - Ted Bundy was innocent.

Words by Steve Howe and SONANCE


Jack Harlon & The Dead Crows - HYMNS (Album Review)

Release date: July 06th 2018. Label: Self Released. Format: CD/DD/Vinyl

Hymns – Tracklisting

1.Los Plagas 04:12
2.Witchcraft 06:22
3.Ed Parsons 05:23
4.Byroad 03:23
5.Hyperplasia 05:07
6.John Becomes The Universe 06:41
7.Ghoul 04:17
8.No More Bastard Children 07:21


Jack Harlon 3,
Lightning Bolts Richardson
The Ghost Of Ed Parsons
One Giant Pig


I don't know why I thought originally Jack Harlon & The Dead Crows was a name for An Americana or Country & Western band. Then I listened to their new album - Hymns. And boy wasn't I impressed. As these guys are more closely associated with All Them Witches, GEEZER and Black Sabbath. As the music is a mix of Psych, Blues, Stoner Rock, Doom and heavy spaced out sounds. Put this altogether and you have one exciting blend of highly atmospheric rock and roll.

Opening track - Los Plagas - does have a slight Americana feel but that soon gives way to a heavy psychedelic blues rock sound with an intriguing "Sci-fi" premise. The lyrics are way out there at times but it's the music that holds your attention with the band playing a slow-paced sound. Then the whole mood of the album changes for the better with the dramatic "doomed" out sounds of second track - Witchcraft.

This song definitely owes a huge debt of gratitude to Black Sabbath but Jack Harlon & The Dead Crows soon settles down creating their own sound. The swirling psychedelic sounds even have the early swagger of All Them Witches but with a more robust and angrier attitude. The music does veer off into many different directions and maybe to jarring for some but there is a lot of fun to be had with this track.

The lyrics give Jack Harlon & The Dead Crows a decidedly creepy edge and the lyrics are probably one of the albums main strengths. As the band write some great lyrics that cut right to the bone. The music is the main highlight though with Jack Harlon & The Dead Crows never settling on a standard sound. Most of the songs on Hymns sound very different to each other and that's a very hard thing to pull off.

The heavy psychedelic doom atmosphere of the third track Ed Parsons is one of my favourite songs on the album. As the hazy and psychedelic riffs leave you wanting more. The song is very progressive and shows you how Jack Harlon & The Dead Crows is creating a different sound of their own. The production is handled superbly well. With the album flowing naturally and never losing focus.

The second half of the album sees Jack Harlon & The Dead Crows continue with their style of Psychedelic Doom and Spaced Out Stoner Rock on great songs such as: Hyperplasia, John Becomes The Universe and the excellent final song – No More Bastard Children.

Overall, Jack Harlon & The Dead Crows have created an exciting record that actually takes genuine creative risks and it becomes an even more rewarding listening experience as a result. If you're in the mood for a psychedelic and spaced out journey packed full of inventive ideas and heavy riffs then look no further as Jack Harlon & The Dead Crows are the real deal. Hymns is a must have album.

Words by Steve Howe


Sunday, 8 July 2018

Chubby Thunderous Bad Kush Masters - Come & Chutney (Album Review)

Release date: July 13th 2018. Label: Riff Rock Records. Format: CD/DD/Vinyl

Come & Chutney – Tracklisting

1.Doggy Bag Of Slurry
2.Krones Of The Kiln
3.Cojones Feos 05:31
4.Glue Ear
7.Döner Trump
8.Psychedelic Hallucinogenic Vagrancy


Mark Buckwell - Drums/Percussion
Will Hart - Bass
Owen Carty - Throat/Guitars


Chubby Thunderous Bad Kush Masters (CTBKM) debut album - Come & Chutney - is a heavy offering of Doom, Sludge and Stoner riffs that sees the band create a highly volatile and downright violent sound of their own. Though the album has a loving and addictive quality to it as well.

This isn't your standard Doom/Stoner Metal album with CTBKM building a loud volume of sound from the opening song – Doggy Bag Of Slurry. As you can see from the album cover and some of the song titles CTBKM have a warped sense of humour and this allows the band to have fun with their music. The song has some Torche and Red Fang style Sludge riffs but with an angrier punk edge. The droned out guitars have quite a hollow feel to them which sounds and feel more natural.

The song is quite progress with CTBKM playing long drawn out distorted riffs. The vocals from Owen are much unexpected. As I was expecting a cleaner style of vocals. Not the grizzled growls that Owen sings with almost pitch-perfect aggression. The opening song gives you a good impression on what to expect for the rest of the album. Huge sounding guitars with a classic Stoner Rock/Metal sensibility. The album does take influence from The Melvins at times. Especially with the self-depreciating humour contained within their lyrics.

Second song - Krones Of The Klin - is a more Doom Metal orientated affair with CTBKM playing a faster style of music. The vocals from Owen impress yet again. Though it's the music and spiky lyrics that make this song one of the standout tracks on the album.

Third track - Cojones Foes - has a more warped psychedelic rock feel with the music building to a more progressive approach. The lyrics are quite aggressive in places but that proves CTBKM can be very intimidating if the mood calls for it. The "fun" factor of the opening two songs can still be heard here however CTBKM venture further into violent Sludge based sounds. CTBKM carry on this aggressive style of music for the remainder of the album and it's a decision that pays off huge dividends for the band. As Come & Chutney becomes a more exciting album as a result.

Huge riffs combine with the expert songwriting the band manage to show off with mighty conviction on songs such as: Glue Ear, Gawdless and Döner Trump. Though it's the final track Psychedelic Hallucinogenic Vagrancy where CTBKM score top marks for creating the weirdest and standout track on the album. As CTBKM have called upon the services of their famous friends for this song. Chantal from VODUM makes an appearance and lends her spellbinding vocals on this track. Thom from Riddles and Gary from Ten Foot Wizard make an appearance as well.

The production on Come & Chutney is first rate as well and that's down to one of the best producers currently within the UK Sludge/Doom/Stoner Metal scene. Sam Thredder of Slabdragger fame makes sure that CTBKM sound incredible from the start. Plus I shouldn't forget Pedro Teixeira who mixed snd mastered the album as well. So brilliant joint effort from both Pedro and Sam.

Come & Chutney is a loud, vibrant and colourful album that allows CTBKM to impress on every level and perhaps even make a name for themselves with this huge sounding album.

Words by Steve Howe

Thanks to Lisa at Hold Tight PR for the promo. Come & Chutney will be available to buy on CD/DD/Vinyl via Riff Rock Records from July 13th 2018.