Review : PSYCONAUTS – ‘Planet X’

Psyconauts- Planet X
Release date: 2012Mar03
Label: Ozium Records
Rating: 10/10

To be blunt here, I’ve struggled for months to find the inspiration to review. So many excellent releases and so little time. There are are a few albums that I refuse to let slip by. Case in point, Planet X from the Psyconauts out of Italy.  Immediately, I thought of Serpent Venom with a stronger lyrical focus on the Mayan 2012 controversy.   “Road to Nibiru” starts off with a beautiful echo effect that quickly transitions into soft, ethereal doom vibes laced with synth.  These effects combine to create a eerie, majestic soundscape that commands your attention. Four minutes in, they pay homage to Black Sabbath with riffs that would be at home on Sabbath Bloody Sabbath.

Continue reading

A BLACK SABBATH Reunion Tour without Bill Ward is an Unarguable Atrocity


I may be a little late to the burgeoning party, but sweet merciful fuck, am I glad to see the rally of support behind Bill Ward. To be fair… to me, anyway… I did recently highlight the man in my first rant about Black Sabbath. Plus, I probably voiced my disapproval while DJing once or twice.

Anyway, lots of great evidence has recently cropped up on 1,000,000 Black Sabbath fans say yes to Bill Ward—who have blazed from zero to over 20k Facebook fans in their first 24 hours—with a broad swath of fan photocaps, personal family letters, artist-friend endorsements, and kind words/posts from those running the Page (I’ve come up with the name Tony Conley of Rock Guitar Daily, but I’m not sure who else is involved).

What frustrates me about the whole situation is that it shouldn’t be an issue. This is an all-or-nothing deal here. Besides the fact that drummers have fundamental differences in terms of style and substance, the spiritual side will lack the most in Bill’s absence. I have never seen the transcendent “fifth member” quality in any band to the degree of Black Sabbath. How many groups out there bust out covers of classic Sab slabs? Surely, many of you have seen Ozzy kick out the jams over the years with different band members, yeah? And perhaps you were also lucky enough to catch Heaven & Hell before Dio died? Well, regardless of preference for the various incarnations, there’s something undeniably special behind the Butler-Iommi-Osbourne-Ward connection onstage—a feeling nigh-impossible to miss.

We don’t want something that’s pretty enjoyable; we want the genuine article. We don’t want 3/4 of the band that invented heavy metal; we want them all. You know they can make this work. Complicated though it may be, money can always be shifted around, and is so fucking unimportant in the grand scheme. This could be their last tour, and I’ll be damned if it’s not truly complete. I will not personally attend without everyone present and accounted for; all real fans should likewise boycott. Do you agree or not? Would you attend a show yourself? Who would be the best replacement for Ward, and who would be outright unacceptable? (You know, if you had to choose… gun to your head.)

Lastly, in terms of pure logic, if you believe that the original members of Black Sabbath are Bill Ward, Ozzy Osbourne, Geezer Butler, and Tony Iommi—and a definition of ‘reunion’ is: “a gathering of the members of a group who have been separated”—then an reunion as originally promised would necessitate all four Brummies. Should they sally forth with Ozzy’s skinsman Tommy Clufetos, they must rename the act, or risk lying to our angry faces and empty wallets.

~MetalMattLongo

What Stays on MetalMattLongo's iPod

As Metal Director/DJ at WRUV, plus owner of this website, I get sent a metric shit ton of new music every year. I was once able to house my entire MP3 collection on a 160 GB iPod Classic, but as the inevitable digital shift progressed, my virtual library grew exponentially. For a time,  just all of my Metal (including new stuff) lived on the 160 gig …but then it died. The 64 GB iPod Touch became the most attractive option as a better overall tool for my needs, albeit at the sacrifice of ~100 GB in potential storage. So I had a decision to make:  what would now live on this iPod?

My inbox influx only expands. And in the Metal world these days (especially with radio) the average promotion cycle of a new album is 3-4 months—if not less. So my ‘Recent Adds’ and ‘Recenter Adds’ playlists would obviously make the cut during the albums’ “new” periods for review purposes, but I wanted some perennial favorites in there, too; a man cannot live on new music alone. So here is the initial list of 85 artists who never leave my iPod. It may be amended in the future.

~MetalMattLongo


A.L. Lloyd & Ewan MacColl
Alice in Chains
Alive & Well
Anaal Nathrakh
Arsis
Baroness
Bathory (added 2012Feb23)
The Beatles
Black Sabbath
Blind Melon
Carcass
Carnival in Coal
Clutch
Cormorant
Crooked Still
Cynic
The Damned Things
Death
Deftones
Dethklok
Elysian Fields
Faith No More
Fall of Efrafa
Fantômas
Frank Zappa
The Fucking Champs
George Carlin
Ghost
Glyder
Hammers of Misfortune
Hank Williams
Isis
Johnny Cash
Junius
Karl Sanders
Killing Joke
The Kinks
Kylesa
Kyuss
Led Zeppelin
Lesbian
Lovage
Mad Season
Made Out of Babies
Mastodon
Megadeth
Melvins
Mercyful Fate
Meshuggah
Metallica
Michael Jackson
Minibosses
Motörhead
Mr. Bungle
Necrophagist
Neurosis
Nile
Nirvana
Om
Opeth
Pearl Jam
Peeping Tom
Pin Up Went Down
Queens of the Stone Age
Rasputina
Regina Spektor
Slayer
Sleep
Sly and The Family Stone
Strapping Young Lad
The Sword
Syd Barrett
T.Rex
TesseracT
Testament
Thin Lizzy
Tom Waits
Tomahawk
Tool
uneXpect
Voivod
Volbeat
Ween
Yat-Kha
YOB
ZZ Top

BLACK SABBATH versus DROWNING POOL …Wait, Why?

Yeah, this clearly needed to happen. Also, looks like SOMEONE just lost a little credibility in my eyes!

Don’t any of you goddamned heathens listen to Black Sabbath anymore? I was driving home late and happened upon “War Pigs” — a.k.a. one of their six salvos that still receives regular radio play. I got transfixed by the music, as always, and just took a second to ponder, Hey, isn’t that something? That’s impressive, right? This song I’ve heard at least 10,000 times in my life still has the power to captivate. Bill Ward — a.k.a. the reason jazz belongs in metal — brilliantly drives the tune, which you could listen to three times for every subtle instrumental bit between he, Geezer and Tony. Yet the reins are in Ozzy’s hands as he wails the words we all know by heart, and sing back live every time. If you don’t know the words (or worse, do know them and stay silent), kindly leave, learn and return.

Did the next band on ballsthewire102.3highvoltagerockballs measure up? No, Drowning Pool, you did not. So how come? Isn’t their name spooky and badass enough? Were they not on WWF Forceable Entry? Actually, I got it. You know what it is—really?  Their name has a sense of finitude, and confusing finitude at that. A “drowning pool” always struck me as a thing with a purpose. Thus, a literal pool for drowning people. I don’t have or want or need one, so I can’t relate to the fucking band on that core level, you know what I mean? And speaking of names—regardless of merit, sometimes shit gets a little too nerdy (Spock’s Beard), hard to pronounce (Rwake), fanciful (Fairyland), pretentious (Thought Industry), or absurdly/overtly offensive (any of the 40+ Anal______ bands). So yeah… to coin the phrase just sung on my recent run through the discog: “Why should we even care?”. When you talk “black sabbath” — shoot, that could be conjuring demons, burying loved ones, attending Southern Baptist revivals, anything can happen. That has a sense of infinitiude. Also, isn’t the name satisfying to say? Those nice short A’s, the assonance, the fact that your face forces a smile; all equal awesome. But Drowning Pool sounds awfully close to ‘brown stool’, and actually, are there any good uses of the ‘-ool’ sound? Unless you’re Ghoul or Tool, it won’t work. Karnivool barely skates by, but I still feel silly when I name them aloud.

Whoa… okay, reel it back. Little tangental there.

I was gonna talk about the heavy Christian themes in Master of Reality, especially considering 2011 marks its 40-year anniversary, but Cosmo Lee beat me to it back in July. (Ps&btw, I was both psyched and intrigued that the one song he included was “Lord of This World” by Helmet, a band whose covers I have defended before.) MoR is part of the second Sabbath quadrant (you can group the Ozzy years in equal fourths—possibly more on that in the future); I am listening to the latter half of that quadrant, my favorite: Black Sabbath Vol. 4. By far the most diverse, it still maintains cohesion while never succumbing to grandiose trappings. I, however, will get a bit verbose. It includes (in order) stark stories of maturation; boisterous liberation; contemplative longing; tasteful sonic experiments; adventurous acid trips; pitiless remorse for addiction; disillusioning dissertations; Iommi’s finest, most complete instrumental; another take on relationships that encourages reconciliation; and the empowering, confrontational conclusion, with the heaviest riff on Vol.4, maybe even the heaviest of any Sabbath album. It’s not the best album to introduce the band (Black Sabbath, or especially Paranoid hold that distinction) but it’s the one that sticks strongest over the years.

Admittedly, this is more of a rant (note the new Category), and I intend to complete a proper analysis for the ‘Archetype‘ series. Here’s a link to We Sold Our Soul for Rock ‘n’ Roll, the best-of album that got the ball rolling for me, and really made me want to explore the back catalogue. I wonder if I take the band for granted, because I can’t imagine Metal without them, but the way some of the new kids sound, you wonder what has crept in and what stays on the sidelines. Well, I hope you goddamned heathens listen to Black Sabbath — because however much you like them now, they’re still more important than you give them credit for.

~MetalMattLongo

Review : SERPENT VENOM – "Carnal Altar"

Serpent Venom - Carnal Altar
Release: 2011May31 (UK) / 2011Aug09 (US)
Label: The Church Within
Rating: 4.5/5

Serpent Venom slithers across the pond from the United Kingdom, containing former members of doom bands that are unknown to the casual fan. That is, unless you’re familiar with Gaz Ricketts of Sloth, who handles vocal duties. I stumbled upon Carnal Altar by chance and just had to add my two cents. The hypnotic album art is a throwback to the early 1970s and would be at home on a LP or Stereo 8 cover (look it up, young ‘uns!).

The “Carnal Altar” welcomes all those who dare enter with a signature that is dripping with a sound that takes the sinister approach of fellow countrymen Electric Wizard and Black Sabbath and takes it to the extreme, mixing in a touch of Saint Vitus. It is the soundtrack to a crude human sacrifice, complete with sexual overtones. “Blood of the Serpents” sends enough chills up and down my spine to cause hypothermia.

Since I always struggle with lyrics, I decided to look for a poem to describe “Four Walls of Solitude“, which sounds conspiciously like the actual lyrics for this track. I will let you decide. Here’s an excerpt: “Surrounded by these four walls / Dying alone without any calls / You don’t understand that’s just so rude / So I’ll sit, here in solitude”. [Yeah, I'd say that's fairly blatant—ed.] The track itself is a definite homage to the Lord of Doom himself, Tony Iommi, especially in the second half. “Conjuration” offers up much of the same, as it treads this familiar territory.

“Devilshire”  is more in the vein of early Electric Wizard, with plenty of thick, plodding riffs while “The Outside” closes things off on a more sinister note.  I do feel that Carnal Altar falls flat within the last three tracks. While they are entertaining, they show the unwillingness of Serpent Venom to expand upon the sound of the title track and “Four Walls of Solitude”. Regardless, this is still a very strong doom debut and it would be a shame if it were overlooked by releases from better-known bands.

FCC:
Try:  1, 2, 3, 6

01. Carnal Altar
02. Blood of the Serpents
03. Four Walls of Solitude
04. Conjuration
05. Under The Compass
06. Devilshire
07. The Outsider

~Brad Barratt

Review : PENTAGRAM- "Last Rites"

Pentagram - Last Rites
Release: 2011Apr12 (US)
Label: Metal Blade Records
Rating: 4.5/5

As a fan of Pentagram, I was stoked to learn about this release, their first since 2004′s Show ‘Em How. If you’re not familiar with Pentagram, they are a pioneering predecessor that helped mold Saint Vitus (in the late 70s and 80s), Kyuss (in the late 80s and 90s), and The Devil’s Blood in this new century. Last Rites is especially unique because it contains unused demos/rehearsals that have been updated for a modern audience. Although, judging by the first spin, I’m certain that mainman Bobby Liebling never really left the hazy 70s.

Several tracks stand out, starting with “Treat Me Right”—a wicked twist between stoner rock and grunge that makes me wonder if I’m actually listening to early Soundgarden. “Into The Ground” drives deep in the brain, with some tasty fucking licks and a soundscape that transports you back to the band’s 1971 inception. “8″ truly shows off the band’s infamous wizardry, and likewise, “Nothing Left” is a sinister, plodding plethora of chunky, fuzzy doom.

But “Horseman” nearly took my head off, and if it was the b-side to the 1972 single “Be Forewarned” (instead of “Lazy Lady”), this band would be on the same legendary wavelength as Black Sabbath.  Last Rites is an extraordinary effort from Pentagram that will please both fans of their older material and all the bands mentioned herein, who owe the venerable Virginians a debt of infernal gratitude.

FCC: Clean
Try: 1, 3, 4, 911

01. Treat Me Right
02. Call The Man
03. Into The Ground
04. 8
05. Everything’s Turning Into Night
06. Windmills and Chimes
07. American Dream
08. Walk In The Blue Light
09. Horseman
10. Death In First Person
11. Nothing Left
12. All Your Sins (reprise)

~Brad Barratt