Certain genres that have deep roots in rock music like psychedelic rock, have the ability to make for really interesting and thoughtful music. Since 2013, Rochester-based King Buffalo, have been steadily delving into the unknown to create a sound that while in the heavier realm, pushes into the psychedelic world with great vigor.
Now, King Buffalo are about to embark on their seventh studio album, Doomsayer (out December 4th). Doomsayer looks to be an album that’s upfront, direct and riff-driven. The first song released “The Slick And The Dead,” is a lovely fuzzy song with crisp riffs, sharp rhythms and soaring vocals.
This far into their career, King Buffalo are on the right path of roaming. At first listen, you’d think this is a lost song from the 1970’s. Very much looking forward to what else King Buffalo has in store for us on Doomsayer!
The idea of oh, this album cover looks interesting, often leads to great discoveries. As a kid, I remember that feeling of seeing album covers that looked cool and being so intrigued by what those bands were. This day in age it’s still fun to do especially in stores but, most of the time it’s on your computer. The other day while catching up on a ton of music I hadn’t had the chance to listen to yet, I found the perfect album cover that peaked the interest that when played, listening felt just like that album cover.
Semuta, from Portland, Oregon, are making music that almost feels like you’re in a kaleidoscope. Their new album, Thoughtless/Dreamless (out October 09 on Accident Prone Records (is that a Jawbreaker reference?!?!) features their stunning title track. Clocking in at just under ten minutes (it’s basically two songs in one), “Thoughtless/Dreamless” is a song that transports you in the best way music can. The progressive elements evoke King Crimson type vibes with an atmospheric doom tonality that is reminiscent of Isis around Oceanic.
Now for the even more fun part that this is a duo! That’s right, guitarist/vocalist Benjamin Caragol and drummer Ben Stoller have crafted quite the album here. Recorded and mixed by Scott Evans (Neurosis, Kowloon Walled City) and mastered by Brad Boatright (Portrayal of Guilt, Torche), that on it’s own merit made me want to listen. And the end result from this is truly a work of art.
When the words conveyed in a song come to life in your mind as you listen it’s beyond a treat. Suddenly your mind goes into a different state and you get lost in it all. That’s what happens when you listen to These Killing Times, the new album from Emma Ruth Rundle.
The sheer poetic nature of the songs found on These Killing Times is drenched in dark yet beautiful imagery. The vocal delivery by Emma is cinematic and enchanting. Having this be a full band album too, makes everything more heightened. There’s a soundscape element across the entire album that engulfs you like ocean waves. Don’t let that fool you though as the sheen on top of the dark only goes to the depths of apocalyptic despair.
Each song tackles its own theme and through the melodies and arrangements, it’s all unlocked and unhinged. The confrontation can feel subtle and unsettling at the same time. While the release, though cathartic, really makes you feel and think about each aspect of the song. There’s not one thing on this album that doesn’t deliver what’s it’s meant to. Even with guest appearances from Gina Gleason (Baroness), George Clarke (Deafheaven), Bryan Funck (Thou) and Marissa Nadler, they are accents to further experience the idea of the whole. To go track by track or even highlight a few songs would be a disservice to your own reaction and feeling to this album.
Albums and art like this exist in a place that is honest and pure. This is exactly Emma Ruth Rundle in this moment come to life. The folk and post punk elements hit the right notes while the atmosphere and sonic dynamics push you into another realm. These Killing Times is a great representation of the world we live in today. Emma just makes you feel less alone in it.
The Pacific Northwest is an absolute haven for heavy music. The amount of sheer volume that bellows from the area is astounding. Which brings us to the latest single from sludge meets hardcore giants, Great Falls. “Nicotine In The Spine” is a blast of pummeling and noisy post metal. The songs features additional vocals by Peter Clement Lund, the late guitarist/vocalist of Danish band Kollapse. Great Falls will be releasing their new album, The Bite That Grows Up, on October 16 via Neurot Recordings.
Great Falls are one of those bands that have a sound that once you hear it, you want to turn up the volume. Not only that, as a trio, the power being emitted from guitarist/vocalist Demian Johnston, bassist Shane Mehling, and drummer/vocalist Nickolis Parks, will obliterate anything lying in its path!
Pre-Order Great Falls, The Bite That Grows Up HERE
In only a few more days as of this writing, Mastodon will be releasing their long awaited new album, Marrow Deep. Already two stellar songs have been released from the album in “Your Ghost Again” and “Snakes For Dinner.”
Now, “In The Ruins” has been let out of the gate and it’s definitely a deep one! The song is inspired by the devastating impact of Hurricane Helene and the havoc it wreaked upon Troy and his family. The catastrophic storm severely flooded their home and destroyed personal belongings, leading to a nearly two year period of displacement that coincided with the whole band navigating the passings of Brent and Brann’s mother Michele. Talk about inspiration. Jeez!
Artistic expression through poetry and music are so synonymous its second nature at this point. The ones that make truly unique and meaningful work always seem to evoke a very intrinsic feeling that washes over the listener. One such great example is Emma Ruth Rundle. Throughout her career, she’s consistently found a way to not only keep you intrigued but also makes you listen. In her upcoming new album, These Killing Times, Emma ushers in another dimension of her art. The latest single “Enough,” is epic and grabbing. There’s a whimsical twist that creates an incredible feeling within the song. The pulsating rhythms mixed with the nuanced melodic sensibility, makes this a great song.
We all have those bands we pay attention to. One of those you look forward to new music just to hear what directions they venture in. For the past couple of years, Machinekit has fast become a favorite of mine. They aren’t your typical electronic based band. Instead, Machinekit bends genres to create intriguing and interesting music.
Machinekit has released their first new single “Voyeurism” from their upcoming new EP, Body Without Organs (out August 3rd). “Voyeurism” is a track that has an electro/industrial vibe mixed with a stark minimalist aesthetic, making for a very intense listen.
When bands start to evolve past their origin point, most of the time it’s pretty interesting and shows real growth as songwriters. One band that I’ve had my ears tuned to since I heard them a few years back, have been subtlety showing that growth in their music. That band is Black Magnet.
Black Magnet have released some of the best modern industrial music in the last couple decades. And they’ve only been around for a handful of years. Their album Body Prophecy, is an unsung masterpiece. The follow up, Megamantra, is an all out audio assault of heavy and viciousness. That’s not to say each album didn’t have those outlier songs that hit at different elements and ideas. Which has led us to where we are now in the band’s evolution.
The mastermind behind all this is James Hammontree and on this new song, “Keep It Downtown,” the roots are still intact, only this time an alternative twist has been added to the mix. A move into post punk and more gothic undertones is now more prevalent in an exciting way. The Jesus and Mary Chain and David Bowie (you can hear his late 70’s Berlin era and early 80’s work in this) have been cited as inspirational examples into this new territory. I’d also put The Cure (Faith/Pronography era) into the fold too. “Keep It Downtown” has the grittiness of its origins with a swagger of these new distinct elements. Produced by Nick Rowe (who also co-produced Greg Puciato’s debut solo album, Child Soldier: Creators Of God, as well as being a member of the underrated, Bloodsimple), produced this song. This new collaboration between Black Magnet and Nick is something to keep your ears on!
Enjoy!
By: Brian Lacy
Black Magnet- Keep It Downtown:
Audioeclectica Interviews- James Hammontree of Black Magnet:
The idea of finding a band name that encapsulates the music is never easy. Luckily for Richard Patrick of Filter and Photographer and There Is No Us vocalist, Jim Louvau, A Place To Kill was not taken, as that is quite the band name to debut their new band. There’s an eerie feeling that resonates through the post industrial sound. By delving into EDM and its many sub genres, A Place To Kill has found its kill room.
Each song found on their debut EP, blends crushing electronics that hit at fun nuances, trap beat rhythms, and unadulterated dual vocals that alternate between seething aggression and controlled chaos. These are songs designed to hit hard, provoke, and challenge the status where electronic music can go. The songs themselves from “The Killing Field” through “Something Inside Of Me” explore intriguing themes of the world of today and the future of tomorrow. Through the screams, melodic undercurrents and other urgent vocals, these themes are conveyed in a manner that calls you to attention. Songs like “Jet Engine,” “What Feels Right,” and “Drown In A Sea Of Sorrow,” carve their own niche into the lyrical themes that accentuate the heavy distorted synths, deep grooves, and eerie atmosphere that amplifies the direct unease.
The duo of Richard and Jim is quite seamless. You can hear in this that both have a great contrast of styles and influences that makes A Place To Kill not the run of the mill/generic electronic project. There’s a great deal of potential where this can go and I’m quite intrigued by the possibilities.
The end of the world is closer than ever and having a soundtrack to accompany that feels right. A Place To Kill have made an EP does just that. And live is going to be absolutely crushing and have the crowd screaming and dancing to usher it all in.
When you hear an album or a song that sonically catches your ear first, you know that what you’re hearing is meticulously crafted. The was exactly what happened the moment, I heard Monolord’s song “You Bastard,” the first single from their long awaited new album, Neverending. Across forty minutes and only eight songs, Monolord, has taken doom/stoner metal into higher ground that will make your speakers excited.
The thing with doom metal is that it can be drawn out and go nowhere. Thankfully, Neverending is not one of those album. Instead, Monolord, makes quite the engaging album. The focus and sequencing of this album is remarkable. From the way “Iodine” kicks off the album, you know you are in for something more. “You Bastard” feels like it’s straight out of the 1970’s, the way the fuzziness sounds and plays out. “Inside A Collider” is a trip of a song. Plus the placement of it makes for an interesting turn. Then it’s back to the heavy with “Crystal Bridge” which, also hits with a left turn that’s just so perfect. “Oozing Wound” is a killer song with a bass riff that would make Justin Chancellor of Tool stunned. “The Masque” and “Invisible” are a 70’s burner for sure. So much so, that such a trip back, it might make your pants into bell bottoms. Closing out the album is “It’s Neverending.” This just might be the bands heaviest song to date. There’s epic qualities to this song that feel like they are pulled from the depths of doom.
As great as the album is, the other star is the production by Sylvia Massy. The way this album sounds is a triumph. Especially in an age where technology is heavily relied upon, going back to the well, sounds oh so right. The dynamics of each instrument, note, vocal, and subtle nuances are divine. This is truly one of the best sounding albums of the year. Sylvia is known for her work on early albums by Tool and System Of Down. And here, it’s brilliantly done by a seasoned professional who truly knows and understands what albums and real sounds truly sound like.
Do yourself a favor and carve out about an hour to sit with Neverending and let it just transport you back to the 1970’s but in a 2026 way. Albums like this will become sonic standards for the future. Especially when making this kind of music.
