New York Music Daily

No New Abnormal

Category: rock music

Saluting Lavishly Orchestral European Metal Cult Favorites Royal Hunt

Not to flog a dead horse, but more bands should make live albums. Swedish band Royal Hunt made a massive double live one, sarcastically titled Wasted Time, for their 25th anniversary back in 2016 and validated their reputation as road warriors. If epic drama, gothic imagery, and melodic metal with classical flourishes are your thing, crank this beast. It’s one long album – every song seems to be about eight minutes – and it’s streaming at Spotify.

What’s most impressive is how ornate and orchestral this music is: they don’t really strip much of anything down from their lavish studio productions. A rattle from Andreas Passmark’s bass, a few bursts from Andre Andersen’s string synth, a couple of Jonas Larsen minor-key guitar chords, a few baroque spirals…and the band launch into their classical-metal instrumental Martial Arts. Before you know it, they segue into the galloping River of Pain with its flangey twin guitars, surreallistically icy keyboard flourishes and tantalizingly sunbaked blues.

This take of One Minute Left to Live is part grand guignol Mozart, a little Viking chant and a lot of Iron Maiden. Take the distortion off the guitar but leave the wah-wah, get Habo Johansson’s drums to chill and suddenly Army of Slaves becomes a Donna Summer disco-pop hit with a dude (that’s DC Cooper) on the mic.

So far the band haven’t taken a break as they segue into Lies, a surreal mashup of AC/DC, speedmetal and the baroque. They finally do before the album’s title track, a new wave pop song on steroids.

Likewise, there’s an oldschool soul ballad bleeding through the crunch and roar of Heart on a Platter.

The doublebass drum really gets a workout in Flight; but first they kick this Trans-Siberian Orchestra-ish sprint off with a rockabilly shuffle. And just when May You Never Walk Alone seems like it’s going to be a power ballad, the guitars and string synth kick in and take it doublespeed.

The album’s best song, Until the Day, appears toward the end of the show: with its funereal piano, it’s the closest thing to Pink Floyd here. By now, the concert has hit a peak and the band keep it going with the phantasmagorical Half Past Loneliness. The accusatory anthem Message to God makes a good segue from there.

They encore with a comfortable take of the catchy early 80s-style Stranded and close the show in a similar vein with A Life to Die For. Some people will hear this and roll their eyes at this relic from the days when there were big record labels who spared no detail in recording stuff like this…but that’s their loss.

Haunting, Epic Grandeur From the Grimly Mighty Katla

The cover image of Icelandic art-rock band Katla’s new album Allt þetta helvítis myrkur (All This Hellacious Darkness), streaming at Bandcamp, shows a hooded man standing between a huge snowdrift and what could either be a snowed-in bridge, or the skeleton frame of some kind of industrial building. Either way, this haunting song cycle is one of the most darkly gorgeous releases of the year.

To the less familiar, Icelandic folk music has an especially enigmatic, otherworldly quality since some of it veers in and out of traditional western scales. Einar Thorberg Gu∂mundsson’s ominously drifting synthesized orchestration and layers of burning guitars rise and fall over drummer Gu∂mundur Óli Pálmason’s slow, funereal sway. The music here typically follows an arc that has more to do with classical music than any kind of traditional pop verse/chorus pattern. Most of the songs segue into each other. The lyrics are in Icelandic: smartly, the record comes with a lyric sheet.

Gu∂mundsson eventually enters with an angst-fueled intensity over gritty guitar distortion in the opening track, Ást orðum ofar (seemingly a love song), eventually segueing into the slow, enveloping, grim Villuljós (Error Light), a gracefully elegaic, fingerpicked folk riff looping in the distance. The sway grows toward a conflagration as Gu∂mundsson’s guitars pick up and spiral around. There’s a lull for a ticking loop and brooding orchestration, then the music slowly makes its way toward sheer horror in theinstrumental Likfundur a Solheimasandi, a simple funereal drumbeat adrift in the vastness.

Sálarsvefn (Sleep of the Soul) is also a dirge, forlorn belltone guitar over smoldering, anthemic minor-key changes; finally, it hits a gusty peak with the doublebass drum going full tilt in the background. 

A creepy music box-like synth riff kicks off Vergangur, a glacial, disquieting blend of ancient-sounding Icelandic folk themes, peak-era early 80s Iron Maiden, noisy Finnish punk in a Sielun Veljet vein and macabre, droning psychedelia.

Hvítamyrkur (Dark Light) has a somber cello solo amidst desolation, a searingly marching drive and a gorgeous, woundedly ornate guitar solo. The duo finally pick up the pace with an elegant gallop in Húsavíkur-Jón, gathering force from a serpentine drive toward crushing majesty.

The album’s ttle track is an art-rock masterpiece, a twelve-minute snowstorm epic that rises from a surprisingly delicate, Chopinesque intro through dissociative nubulosity and grimly triumphant turbulence. This trek through the wasteland doesn’t seem to end well.

The moment when the nocturnal pastorale that introduces the fifteen-minute Svartnætti (Dead of Night) comes as a shock. From there they sway through a smoldering pagan folk anthem and variations. Ironically, even with the symphonic coda, it’s the simplest and most straightforward song here. A lock for one of the best albums of 2021.

A Smart, Darkly Lyrical, Catchy New Album From Kristy Hinds

Kristy Hinds is not a pretender. She is the real deal. The New Mexico chanteuse has a voice that can be sassy one moment, pillowy the next, with a sophisticated command of jazz phrasing and an irrepressible sense of humor. Which you pretty much need to have, if your axe is the ukulele. But as a songwriter, Hinds’ mini-movies are more serious and substantial, and tinged with noir menace, than you usually hear plinked out on that little instrument. Alongside other members of the uke demimonde, Bliss Blood is the obvious comparison. Hinds has a new short album, Strange Religion streaming at Soundcloud.

The opening track, Miss Morocco is a catchy, slinky cha-cha with the kind of double entendres that Hinds has a knack for, i.e. this femme fatale and would-be starlet “killed him with a head shot.” Track two, She Told Someone, has a funky Rhodes piano bounce behind Hinds’ vengeful narrative about speaking truth to power after a grim Metoo moment: that’s Robert Muller at the keys, with Claudio Tolousse on guitar and Arnaldo Acosta on drums. Samantha Harris and Colin Deuble share bass duties on the record.

The closing diptych, Burn or Drown and Drive begins as a reggae tune: “A daily sacrifice is needed to keep the mice in bullets – my car outside is loaded,” Hinds relates.

While you’re at Hinds’ Soundcloud page, check out the live tracks: flying without a net, she’s arguably even more dynamic onstage than she is in the studio. Hinds’ next gig will be a weekly 9 PM Friday night residency at Old Town Farm Bike-in Coffee, 949 Montoya St NW in Albuquerque as soon as they reopen next month.

Celebrate the End of an Ugly World with Brent Amaker and the Rodeo’s Protest Songs

Everybody’s favorite tongue-in-cheek baritone C&W crooner, Brent Amaker, has a new ep Ugly World, with his band the Rodeo streaming at Spotify. His protest songs speak for billions of people around the globe. How do you write a hit song? Make it a broadside about everybody’s least favorite bully.

You probably know the big hit, Dump Trump:

He has his head up his own butt…
Dude loves himself so much he’ll take us down for a buck
This tv star is a hack
I want my country back

It’s a solid piece of retro tunesmithing, too – that machete-chord guitar outro is spot-on.

The rest of the record is just as relevant. The title track is a spaghetti western tune with a bunch of amusing musical quotes and a long, incendiary guitar solo. Amaker would love a beer, but the bars are closed: things just get uglier and uglier in this lockdown hell!

He sticks with a loping southwestern gothic groove for Soldier, an unexpectedly subtle number that manages to be sympathetic to the battlescarred dude while not missing the implications of what people this damaged do if they’re running the show. Amaker closes with  New Rodeo Anthem. a stadium-friendly (or corral-friendly) singalong. You know that when the lockdown is over and Amaker is back on the road, he and the band are going to break this one out for the encores.

Now, some of you regular readers might be wondering why, after salivating over the prospect of a Trump impeachment week after week a year ago, this blog went totally silent on the Presidential election. Did New York Music Daily secretly go over to the dark side and endorse Trump?

No. But if anybody thinks Biden is an improvement, they’re living in a dream world. In many respects Biden is Trump with a smiley face – or wearing a muzzle with a smiley face on it. Trump was surrounded by a bunch of cheap snatch-and-grab thugs, but Biden’s people are far more sinister. The Trump crowd simply wanted to loot the treasury and make a quick getaway. Biden’s people have an agenda: permanent lockdown. The New Abnormal. We are going to have to be twice as dedicated to noncompliance as we’ve been the past year in order to get rid of it. And this blog believes we can. Stay strong because the next four years are going to be hell. But we’re going to win this thing.

A Hilarious Powerpop Party Record From the Airport 77s

The Airport 77s write very funny, very catchy, perfectly retro late 70s style powerpop songs. If this was the year that the cheesy movie the band took their name from came out, they would rule the airwaves – and that’s a compliment. And their jokes extend beyond the lyrics to the music as well. In a year where so few rock acts have been releasing records, their debut album Rotation – streaming at Bandcamp – is a blast of fresh air.

The first track is Christine’s Coming Over, about a girl who won’t settle for scrubs – so the dude in the song has to frantically borrow a vacuum cleaner. And his choice of makeout music is spot-on for 1977! The band – frontman/bassist Chuck Dolan, guitarist Andy Sullivan and drummer John Kelly – nail all the requisite late 70s tropes. Brisk 2/4 beat, muted guitar downstrokes keeping time, twin guitar solo, the works.

When You’re Kissing On Me (Do You Think of James McAvoy) is a snidely funny scenario we all know too well: your crush just can’t get over theirs, with embarrassing results. The band hit a burning, minor-key, reggae-inflected groove with Shannon Speaks – it seems to be about a girl in a coma who has some kind of secret.

With its “whiskey/frisky” rhymes and devious innuendos, Wild Love comes across as the Romantics on steroids. The guitar quotes in All the Way, beginning with a smartly chosen Pink Floyd riff, are priceless, and match the lyrics. Their cover of Girl of My Dreams is more four-on-the-floor than the Bram Tchaikovsky original.

Strutting along on Dolan’s catchy bassline, Bad Mom! is the funniest track on the album: this horrible parent lets her kids play with water pistols! And she’s been known to sneak a smoke every now and then! The group make you wait til the second verse of the final cut, Make It Happen before they drop a couple of their best jokes on you. Killer party record all the way through.

Surreal Eclecticism From Nicolas Jacquot

One of the most entertainingly strange albums to come over the transom here in the past several months is Nicolas Jacquot’s Ordered Ordinaries, streaming at Bandcamp. There’s ambient music, and spoken word, and a pervasive surrealism on a rare level, a step beyond anything seen here in ages. An ability to speak Hungarian and French is a big plus if you want to understand this – to the extent that it can be understood.

Introduced by keening, whistling violin harmonics, the first track is a synthesized woman’s voice reading an Aristotle-inspired excerpt from William Blake’s The Marriage of Heaven and Hell concerning a poet and an angel – in French, in the archaic passé simple tense. Beyond the flamboyant, mushroomy imagery, it’s a reminder how little we actually encounter in the original language. Seriously: did you read the Iliad in Greek, or The Trial in Czech?

The album’s second track, Pomp For the Devil has a catchy yet hypnotic dichotomy between growly shards of guitar and looming, orchestral electronics: imagine if Eno had produced the first Velvets album.

There’s a similar, loopy contrast in the brief voicescape Good Morning. The album’s best and most epic track is the skeletal, distantly disquieting Basil of Salern, Hervé Boghossian ‘s gritty guitar chordlets bristling with cheap amp distortion over a staggered percussion loop.

Track five, Viki is a brooding Hungarian spoken-word piece by poet Rita Görözdi. pondering a possible journey of no return over a dissociative synth pastiche. She reprises the story at the end of the album in a condensed version for French speakers

The album’s most epic piece is the almost eighteen-minute diptych Happy Christmas, opening with a Grey Angel’s Death Song guitar-and-loops instrumental and then morphing into a desolately drifting spacescape.

Tantalizingly Heavy Freebies from Riding Easy Records

In 2021, record labels are like video stores were twenty years ago. Riding Easy Records are the rare label who have managed to carve out a successful niche – in all things heavy. Stoner boogie, doom metal, psychedelia, biker rock, they’ve got you covered. Their Xmas 2020 mixtape – a free download at Bandcamp – is an obvious ploy to get you to stock up on their vinyl. And practically everything they put out is worth owning on vinyl, as this playlist confirms.

There’s an insane amount of music here, seventeen tracks. Some of these acts are well known, others less so, and many have received coverage here. Take the Goners, who mash up psychedelic garage rock with metal riffs and whose album Good Mourning recently got the thumbs-up. They’re represented by the album’s most bizarre track, Down and Out, a blend of Ventures and early Iron Maiden with a spacy interlude for horns. Go figure.

Here Lies Man, an Antibalas spinoff who metalize Afrobeat, open the mix with I Told You (You Shall Die), a killer minor-key number that could be a heavier Budos Band with a mellotron. Lake, by Spelljammer, has brisk fuzz-and-wah bookending the surprisingly slinky sludge in between. Warish‘s hammering Say to Please looks back to Queens of the Stone Age, while Deathchant‘s Holy Roller is a surreal mashup of heavy 70s boogie, screamo and hip-hop.

Alator’s Lost and Never Found has vintage Sabbath gloom and catchiness, plus a cool funeral organ solo. Biker rock band the Death Wheelers earned a good Halloween month review with their latest album, whose title track is the chugging faux-bikesploitation theme Divine Filth. Death Is Coming, by R.I.P., is a more 70s-oriented throwback to Bon Scott-era AC/DC and Judas Priest.

Hellfire‘s Victims moves forward in time about seven or eight years to the new wave of British heavy metal and Iron Maiden, whose catchiest, poppiest side they emulate. Headbang, by Rapid Tears, and the Mopptops’ Our lives are pretty standard-issue Nuggets garage nostalgia at slightly higher volume

The ersatz Hendrix of Randy Holden’s Blue My Mind appears on the reissue of the former Blue Cheer guitarist’s extremely rare 1970 vinyl debut, Population II. First State Bank’s lysergically multitracked Mr. Sun and Debb Johnson’s politically volatile heavy soul single Dancing in the Ruin are also 70s rarities digitized and resurrected on the latest volume in the popular Brown Acid compilation series – they’re up to eleven now, just like Spinal Tap. And Gypsy, by Indianapolis psychedelic band Ice, is the strangest rediscovery here, a bizarre riff-rock tune with hints of the Moody Blues and the Move. Riding Easy Records reissued their lone, similarly surreal 1970 album, The Ice Age, last June.

Thomas V. Jager, frontman of Monolord, contributes The Bitter End, a lo-fi gothic ballad evoking a well-known Animals hit. The album’s final cut seems to be a stoner joke: no spoilers. Download and enjoy.

Almost a Year Later, a Sofia Talvik Song From the First Days of the Lockdown Still Resonates

Conventional wisdom is that if you play music from outside your native idiom, you pretty much have to be better than the natives to get any cred. Swedish Americana ongwriter Sofia Talvik is. She was finishing up a tour in Winnsboro, Texas when the lockdown came crushing down. Nine momths later, where are we? This delicate, distantly chilling song, Meanwhile in Winnsboro, ponders that same question. “You forgot all the luxury you’ve got as you brace for the end of the world,” is a recurrent theme. Now we know where it went: into the pockets of Amazon and the rest of the lockdowners.

Starkly Haunting, Richly Orchestral Metal From Volur

Volur’s music is stark yet orchestral, relentlessly gloomy yet adrenalizing. They sound like no other band in the world, blending black metal, Nordic folk and psychedelic 70s art-rock. The trio have the starkness of early ELO, the theatrics of Peter Gabriel-era Genesis, guy/girl harmonies and grimly mythological lyrics that unwind slowly over terse, purposeful drums and layers of stygian bass. The lead instruments are Lucas Gadke’s bass and Laura C. Bates’ violin, creating a persistently raw, haunting presence no matter how ornate the overdubs grow. They like long songs. Pretty much everything on their killer new album Death Cult – streaming at Bandcamp – is in the eight to twelve minute range.

This is one of those records that’s best experienced as a whole, lying on the floor with a good pair of headphones. The group open hypnotically with Inviolate Grove, rising slowly to a plaintively orchestral sway, hitting a wounded, anthemic riff and then cutting loose with drummer Justin Ruppel’s tricky, math-y rhythm and a thicket of machete picking.

The violin hits a searing peak as the second track, Dead Moon gathers force with a slow, steady, heroic theme, Bates’ avenger-spirit vocals roaring eerily in the depths of the mix. The album’s mightiest epic is the title cut, starting with a menacing tritone and a morose string interlude that could be Bartok. Migthty peaks and muted moments with what sounds like throat-singing by dead monks paired against nimbly melodic bass eventually descend into shrieking disintegration, only to return with a vengeance. The violin solo afterward will rip a hole in your skull.

An artfully arranged baroque chorale, a harrowingly circling action film theme of sorts and scorching wah-wah bass all figure into the closing number, Reverend Queen. We need more bands as fearlessly individualistic and unpredictably interesting as Volur.

Lush, Thoughtful, String-Driven, Vastly Eclectic Tunesmithing From Alice Zawadzki

Singer/multi-instrumentalist Alice Zawadzki writes distinctive, individualistic songs that blend jazz, chamber pop, western classical sounds and occasional Korean influences. Her songs are on the slow side and typically take awhile to unwind. She likes atmospherics, has a mystical side and writes pensive, generally optimistic lyrics. Her lush, dynamically shifting album Within You is a World of Spring hit the web about a year and a half ago and is streaming at Spotify.

It opens with the title track, a blustery Asian flourish from the string section – Simmy Singh snd Laura Senior on violins, Lucy Nolan on viola  and Peggy Nolan on cello – quickly giving way to Zawadzki’s terse, modally vamping piano. It’s the missing link betwen Ghost in the Machine-era Police and Hissing of Summer Lawns-era Joni Mitchell. Rob Luft’s guitar adds enigmatic sear to the mix; bassist Misha Mullov-Abbado and drummer Fred Thomas take over the dancing drive from there. In her leaping, energetic soprano, Zawadzki sings this soaring encouragement to leave the dark side behind.

She goes even further up the scale, spare piano over lingering atmospherics in the second track, Gods Children, finally picking up with a spacious guitar solo over a slow, anthemic drive.

“Superior Virtue was my protection, and I could gaze over the abyss all day without falling,” she intones over the drone of the strings and the occasional piano flourish in the third track, Nolan’s viola soaring plaintively over a twinkling, balletesque pulse as the song gathers steam.

Zawadzki sings the bouncy love song Es Verdad expressively in Spanish, Thomas on tenor banjo throughout a surreal mashup of bluegrass and 1970s nueva cancion. The otherworldly melismas of Hyelim Kim’s Korean taegum flute to introduce The Woods, a mystical nighttime spoken-word forest tableau that builds to a twinkling waltz.

Keeper is the most straight-up rock anthem here, with triumphant, gospel-infused harmonies, a resonant guitar solo, dancing bass where least expected over steady Pink Floydian piano chords. Witchy strings come together over a trip-hop beat after an introduction that’s painful at high volume in Twisty Moon, a surreal mashup of soukous and circus rock. Zawadzki closes this fascinating and stunningly original album with O Mi Amore, a balmy ballad infused with spiky banjo accents.