Drums Are For Parades - Master

Het Gentse Drums Are For Parades liet zich in 2009 voor het eerst opmerken met de EP ‘Artificial Sacrificial Darkness in the Temple of the Damned’. Tijdens zijn intense liveshows blies het bebaarde triumviraat zijn toehoorders omver met een overrompelende mix van heavy metal, hardcore, punk en noise rock. Nauwelijks een jaar later ligt hun eerste langspeler ‘Master’ in de rekken, opnieuw een stevige muilpeer waarop de groep zijn muzikale grenzen verlegt.

Was ‘Artificial Sacrificial Darkness in the Temple of the Damned’ vooral luid en heftig, dan voegt ‘Master’ een nieuwe dimensie toe aan het verwoestende totaalgeluid van Drums Are For Parades. De instrumentale opener ‘The Law’ grossiert opnieuw in schedeldoorborende gitaarschichten en monumentaal slagwerk, maar wordt aangedikt met een uitgekiend strijkersarrangement dat het nummer laat baden in epische grandeur.

‘The Beast’, met een gastbijdrage van Younes Faltakh (The Hickey Underworld), overgiet gewapend betonnen riffs en frenetieke drums met demonische vocalen en onheilspellende vioolklanken. Het monsterlijk groovende ‘Boy Was In the Death Room’ is behalve een headbanger pur sang tevens een uitgekiend mini-epos waar scheurende gitaren en dissonante strijkers een waar titanengevecht houden. Saxofonist Jorgen Munkeby (Shining) mag dan weer volledig los gehen in het cryptisch getitelde ‘Opium Den Idiot Check’, wat resulteert in een fascinerende crossover tussen doom metal en free jazz.

Met ‘Master’ mag Drums Are For Parades definitief meespelen met de grote jongens: de plaat giet zijn verpulverende metalen furie in gelaagde songstructuren en uitgekiende arrangementen die niet om een dubbele bodem verlegen zitten. Niemand minder dan Chris Goss, frontman van Masters of Reality en algemeen beschouwd als de grondlegger van het stonerrockgenre, is al uitgesproken fan. De verovering van de rest van de wereld kan beginnen.

1. The Law (03:13)
2. I'm Not Who You Think We Are (03:09)
3. The Beast (02:19)
4. Another Kind of Bad (02:29)
5. Boys Was in the Death Room (04:55)
6. Opium Den Idiot Check (03:32)
7. I'm the Princess, You're the Woods (02:56)
8. Gold (02:22)
9. Hello Pedestrian (04:21)
10. A Salesman's Pen (04:02)

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Solace - A.D.

There's a moment when anticipation is bested by apathy, and A.D., the long-gestating third full-length by New Jersey's Solace, crossed from one to the other sometime last year. I can't speak for anyone else, but the news that it was finally being released wasn't so much greeted with "Hot damn, it's about time!" as it was "God damn, it's about time."..
Not surprisingly, the blame lays almost entirely with the band (although a modicum falls on Small Stone Records' doorstep, who operated under the mistaken assumption that this opus would be released shortly after signing the group in late 2007 and therefore promoted it in a perpetual cycle of "coming soon"). They are, after all, perennial underdogs in an endless fight against themselves.

Since the group is its own worst enemy - I could easily spend a paragraph or two detailing how adept they are at sabotaging their best interests - that makes the success of A.D. all the more welcome. Sure, it may have taken them seven years and more than the usual share of turnover (bassist Rob Hultz was replaced by Black NASA's Duane Hutter, who was in turn replaced by Hultz; drummer Kenny Lund left the band sometime in 2008, which led to original drummer Keith Ackerman's return), but A.D. sounds like the work of a band that knows exactly what it wants and will stop at nothing to reach that goal.

Not as immediately accessible as the "Fuck you, we're not dead" salvo that was The Black Black, AD is almost recklessly dense, a labyrinth display of everything Solace has to offer (by comparison, The Black Black's three originals perfectly exemplified the best of what the band brought to the table). Even when comparing the final mastered version of opener "The Disillusioned Prophet" against its rough mix from last year, there's so much going on within that track's seven minutes and three seconds, it's practically a new song. We're talking layers upon layers of guitar, countered by an equally absurd amount of vocals.

But here's the catch - despite the obvious studio-centric slant and their penchant for adding more to more, A.D. never topples under the weight of the band's grand aspirations. The songs, whether the Hessian metal aggression of "Disillusioned Prophet" and "The Immortal, the Dead and the Nothing," the more traditional doom of "Za Gamman" and "The Eyes of the Vulture," or the breakneck hardcore of "Skull of the Head of a Man" (a lesser companion to "Cement Stitches," but still a vicious throat puncher), are decidedly and distinctly Solace. They've always been credited as being as guitarists' band, and while there are plenty of riffs and solos (and hey, even more solos) to back up that assertion, that's not giving enough credit to singer Jason, who manages to justify the entirety of his extended time in the studio with the vocal line that kicks in around two minutes and 45 seconds into "Down South Dog." Moments like that - and there are plenty of them throughout the album - are what elevates Solace above the fray. There's an unmistakable talent for composition displayed on A.D., one that more often than not transcends the genre and serves as a benchmark of quality songwriting. Every song isn't exceptional (for example, the main riff to "Borrowed Immunity" is a bit too clunky), but every song has a praise worth moment (the ending to "Borrowed Immunity" makes up for its shortcomings).

It may have taken too damn long for A.D. to see the light of day, but there's no denying it delivers everything you'd expect from a Solace album and then some. It is the sum of everything we've heard from them multiplied by the promise of what they can be. Highly recommended.

01 - The Disillusioned Prophet
02 - The Immortal, The Dead and The No
03 - Six Year Trainwreck
04 - Za Gamman
05 - Borrowed Immunity
06 - Down South Dog
07 - The Eyes of The Vulture
08 - The Skull of The Head of a Man
09 - From Below

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Lagwagon - Live In A Dive

This cd has some of the best lagwagon stuff ever made. Just simple and fun punkrock. They put 22 songs on the cd so you get a lot for your money compared to most cds. If you've never had a lagwagon cd and want a good sample of all their best stuff this is what you would want to listen to.

1. "Alien 8" – 3:08
2. "Violins" – 2:43
3. "Messengers" – 2:29
4. "Never Stops" – 3:41
5. "Sick" – 2:53
6. "Island Of Shame" – 2:30
7. "Give It Back" – 2:43
8. "Making Friends" – 2:54
9. "After You My Friend" – 2:26
10. "Razor Burn" – 2:45
11. "Falling Apart" – 3:04
12. "Sleep" – 3:07
13. "Mister Bap" – 0:40 (previously unreleased)
14. "Beer Goggles" – 3:36
15. "The Chemist" – 3:02 (previously unreleased)
16. "Coconut" – 1:57 (previously unreleased)
17. "May 16th" – 3:03
18. "Bombs Away" – 3:43
19. "Back One Out" – 3:03
20. "Burn" – 3:33
21. "Coffee And Cigarettes" – 2:57
22. "Stokin' The Neighbors" – 3:16

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QOTSA - Rated R (10 year anniversary edition, disc 2)

Amazing that this all time classic is already 10 years old. I don't think this album needs much of an introduction anymore, as every self-respecting rock fan should have this one at home.

But for this 10th anniversary, the album was rereleased with some extra goodies on a second disc: all B-sides + a previously unreleased live performance at Reading 2000.

Download link for this interesting second disc here below!!!

And happy birthday!!!

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Gallows - Grey Brittain

When Frank Carter speaks, screams and sings, he doesn’t bullshit. With his band, Gallows, the heavily tattooed geezer has spent the past few years in a spin of magazine hype, critical acclaim and blistering live performances (sometimes with all but the drummer ending up in the crowd). Their debut, 2006’s Orchestra of Wolves, may have placed the band’s foot in the door of international hardcore, but it’s now time for the band’s sophomore, Grey Britain, to kick the door down and trash everything in sight. This is no second album slump by any stretch of the imagination. Grey Britain takes every positive attribute one associates with Gallows as a band, broadens its horizons and establishes a full progression upon it – literally to the point that it’s scary.

If the above quote hasn’t entirely assisted you in grasping Grey Britain’s concept, you’ll be swiftly be pointed in the right direction the second Carter cracks open his lips and commences his tirade. “We have no fear! We have no pity! We hate you! We hate this city!”, he sneers cynically on “London is the Reason”, before chanting those very words in gang vocals. The lyrics continue in a similarly anarchic tone throughout the record, centralising around the demise of the world around us (in particular, the band’s native U.K.). “We are the rats and we run this town”, explains Carter in “London…”s opening lyrics, before commanding “If the horses don’t drink, drown them in the water” on “The Vulture (Acts I & II)” and “Drag your crosses through the ground!” on “Death Voices” (which itself alludes to the coming of the Four Horsemen). The role that Frank’s lyrics plays in Grey Britain appears to be one of a ringleader, calling to arms anyone who is revolted by the way things are. One could even argue that Grey Britain stands as the first aggressively political record of the post-Bush era. There’s certainly enough lyrically to support such a statement.

The rest of the band sound just as merciless and volatile through their instruments, without resorting entirely to down-tuned chugging, or even lapsing into the generic “aggressive white boy” guitar and drums attack that plagues so much hardcore that strives for legitimacy. Everything from the duelling guitar licks of Steph Carter and Lags Barnard to Lee Barratt’s tight, militant drumming emphasises the lyrical convictions and statements. Take the chameleonic shift from Act I to Act II of “The Vulture” as a prime example. The former introduces itself with echoing acoustic guitar and Frank quietly (and – shockingly enough – very capably) singing the disturbing lyrics. The latter completely transforms into a chaotic, distorted thrash, with the vocals becoming tortured, desperate screams. The lyrics remain the same in both acts, but the emotions conveyed could not vary any further.

Whilst the band is as solid as ever, it’s the little musical differences in comparison to Orchestra of Wolves that boosts the record’s soundscape. From the sinister intro of “The Riverbank” to the sweeping outro of “Crucif*cks”, the album’s underbelly is spattered with subtle, haunting orchestration, piano-led interludes and sounds that could have been taken from any London backstreet (siren wails, pig squeals, muted screams etc) that add to the album’s bleakness in a daringly theatrical fashion. It may not seem noteworthy, but in the context of Grey Britain it amalgamates the sound of the album with its daunting themes and concept.

Gallows, as a band, have become less raw (which some may see as a drawback), but have become far more cohesive and focused in the process- which is, really, difficult to see as anything but beneficial. The quintet has established a persona that doesn’t give a shit about you, your government or NME’s cool list. This is an apocalyptic, relentless and uncompromising portrayal of where we stand in the world, and just what's gone wrong. No gimmicks, no transparency, no Obama coattails- just straight up hardcore punk with a new sense of purpose.

The Riverbank
London Is The Reason
Leeches
Black Eyes
I Dread The Night
Death Voices
The Vulture (Acts I & II)
The Riverbed
The Great Forgiver
Graves
Queensberry Rules
Misery
Crucifucks

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The Hickey Underworld - s/t

Debut album from an excellent Belgian band, formed in 2005 and named after a track by legends Nation Of Ulysses, The Hickey Underworld sound more Scandanavian than European with regards to their metallic tinged brand of punk rock. All sharp edges and gritty guitar fuzz, unexpectedly morish melodies roll out from dark, bass-filled corners, their less-is-more, uncluttered dynamic allowing each song space to develop with truly explosive results. Lyrically astute, this band manage to capture real emotion without emo posturing. It’s raw, it’s dark, it’s honest and ultimately, it’s weirdly fucking beautiful.

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Canned Heat - Live at the Topanga Corral

Wow! Is this only my first entry this year?

Blimey.

Anyway, in order to wish you all a Happy New Year here's a nice chunk of good raw bluesy stuff.

1. "Bullfrog Blues" (Canned Heat) - 7:21
2. "Sweet Sixteen" (Joe Josea, B.B. King) - 10:57
3. "I'd Rather Be the Devil" (Elmore James, Robert Johnson) - 5:10
4. "Dust My Broom" (Elmore James, Robert Johnson) - 5:46
5. "I Wish You Would" (Billy Boy Arnold) - 8:03
6. "It Hurts Me Too" (Hudson Whittaker) - 9:08

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Fu Manchu - Signs Of Infinite Power

Southern California’s Fu Manchu began creating heavy, psychedelic-tinged rock in 1990. Fast Forward to 2009 and their latest record, “Signs of Infinite Power”. Delivering their characteristically sounding heavy fuzz riffs they once again return to fry your brain with the band digging deep and finding new ways of proving that they are still forefront in the stoner rocker camp, this side of the Mojave Desert.

They seem to have put their generically uninspiring album, “Start the Machine” behind them and they’ve also knocked out their comeback album, “We Must Obey”, now they are back into their comfort zone doing what they do best.

I wouldn’t go as far as saying that they are now complacent as they have cranked the amps up to 11 as their track ‘Steel Beast Defeated’ makes sure to prove that this old dog still has a bite and snarl ready to rival the youngest of pups. If youre a Manchu fan, you will not be disappointed.

Highly recommended!

1. Bionic Astronautics
2. Steel.Beast.Defeated
3. Against The Ground
4. Webfoot Witch Hat
5. El busta
6. Signs of Infinite Power
7. Eyes x 10
8. Gargantuan March
9. Take It Away
10. One Step Too Far

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I had the honour of seeing the Pixies for a second time around yesterday evening. You were also able to order their concert of that night on CD, which is a pretty cool concept I think. So I did, and here's the result. A very recent live show with the band in top form and in very high audio quality!

Enjoy!

1. Intro (Un chien andalou)
2. Dancing The Manta Ray
3. Weird At My School
4. Bailey's Walk
5. Manta Ray
6. Debaser
7. Tame
8. Wave Of Mutilation
9. I Bleed
10. Here Comes Your Man
11. Dead
12. Monkey Gone To Heaven
13. Mr. Grieves
14. Crackity Jones
15. La La Love You
16. No. 13 Baby
17. There Goes My Gun
18. Hey
19. Silver
20. Gouge Away
21. Wave Of Mutilation (UK Surf)
22. Into The White
23. U-Mass
24. Vamos
25. Gigantic
26. Where Is My Mind?

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Cherry Choke - Cherry Choke

Guitarist/vocalist Mat Bethancourt, also of Josiah and The Kings of Frog Island, now joins bassist/backing vocalist Gregg Hunt and drummer Dan Lockton in Cherry Choke, a garage rocking power trio whose self-titled debut album revels in its simplicity and rootsy flavor.

Split even on CD into sides one and two, Cherry Choke offers ten straightforward tracks wherein the fuzzy tone that’s come to be expected from Bethancourt in Josiah and The Kings of Frog Island mostly takes a back seat to a cleaner type of distortion akin to the ’70s-inspired indie that’s dominated the party rock ideal for the better part of this decade. If I said Cherry Choke takes inspiration from Hendrix, The Stooges, MC5 and T-Rex, it would be the same as saying “they play garage rock,” but there it is.

There are some hits and some misses throughout the album, but the memorable “Ride My Black Balloon,” at track three, is the first real showing of Cherry Choke at their best. Somewhat less frantic than “She Turns Me On” and “The Lie,” which come right before it, the repetition of the title line drills it into your head so that you start repeating it, mantra-like, without even realizing. Though “Reflections in Black” is both more distorted and more aggressive, “Ride My Black Balloon” still remains the strongest number on the side one. The short psychedelic instrumental “Jezebel” helps to divide Cherry Choke and set the tone for the album’s broader-reaching second half.

Side two begins with “Cheetah,” which fits well alongside side one’s more forthright cuts, but it’s with “I Can See the Girls Grow,” with a further back vocal from Bethancourt and a deeper guitar sound — one that still bounces along at a fairly good clip — that Cherry Choke commences its expansion. The last three tracks, beginning with the most Hendrixian “The Need,” are unmistakably the highlights of the record. “The Need” balances the fuzz with the swagger and is the first real instance since “Ride My Black Balloon” in which Cherry Choke’s songwriting seems to be in focus. While other tracks have a frivolous, spontaneous, jammed-out appeal, there’s no denying the solo in “The Need” is well constructed and immaculately executed. Leading into the faster “In My Mind” and instrumental closer “Fridays in June,” the album’s close presents its brightest moments.

Cherry Choke has enough of Bethancourt’s s t y l e and sound to please fans of his previous work, but pushes in a direction altogether different. Nonetheless, they are an organic-sounding trio with Hunt and Lockton offering much in the way of striking classic rock rhythms and a couple genuinely remarkable tracks on their debut, well suited to whatever outdoor chicanery you might be getting up to this summer.

1. She Turns Me on
2. The Lie
3. Ride My Black Balloon
4. Reflections in Black
5. Jezebel
6. Cheetah
7. I Can See the Girls Grow
8. The Need
9. In My Mind
10. Fridays in June

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Big Business - Mind The Drift

After two albums as a bass-and-drums duo, Big Business has added a guitarist, Toshi Kasai, for its third release, "Mind the Drift." The group's two original members have quite a pedigree on the noise-rock circuit: Bassist-singer Jared Warren (ex-Karp) and drummer Coady Willis (ex-Murder City Devils) have supplemented the rhythm section for Seattle grunge band the Melvins since 2006.

In Big Business, Warren always used to play his bass like a guitar, adding tremendous power and volume to Willis's thunderous percussion. The addition of a guitar has surprisingly softened the group's sludgy sound but only a little bit. On "Gold and Final," Warren's typical howl has relaxed to a bellow, and Kasai's guitar work makes those dexterous bass lines less audible.

It's like they've become more of a rock group and less of a metal band. Warren's booming bass is still there (it's particularly audible on the roaring "Cats, Mice"), but the spotlight has shifted to guitar. Kasai's squealing guitar flourishes supplement the boisterous low tones of "I Got It Online," while the staggering energy of "Found Art" shows a cohesive new three-instrument sound.

Over its nearly nine-minute duration, the album closer "Theme From Big Business" changes from a pulsing drone to a heavy-rock melody to a faint guitar murmur. The shape-shifting shows that although Big Business might not have ironed out all the kinks in its new sound, it certainly hasn't lost its noisy edge. It is all a bit different though.

1. Found Art - 3:34
2. Gold and Final - 3:32
3. Cats, Mice. - 3:52
4. I Got It Online - 3:59
5. The Drift - 3:40
6. Ayes Have It - 4:17
7. Cold Lunch - 3:33
8. Theme From Big Business II - 8:43

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Viking Skull - Doom, Gloom, Heartache and Whiskey

Brawling, ugly biker, art rock-metal might be an oxymoron in some universes but not, thankfully, in ours. And if the description might be a bit flowery it's still fairly accurate for Viking Skull, who on their third album, Doom Gloom Heartache & Whisky, are clearly dedicated to that most noble of goals: riffs that collapse skulls and hooks that roar with swagger. (Given the title, this is truly a stellar example of truth in advertising.) Not to mention solos, because that's what this kind of music best requires, thus the excellent break on "Start a War" -- not merely in the heroic mode but the everything-drops-out-except-for-a-dying-burst follow-through. While the template established doesn't really change much at all for the rest of the album -- a notable exception being the acoustic guitar start on "Shot Down" a handy break for breath -- it's a formula handled well and the band collectively know how to deliver the material. The lead singer's ear for good shout-alongs intriguingly tempered by a tendency to disappear into the mix a bit -- he's not commanding the vocals, more urging the music on with them. Any number of subtle nods to classic hard rock and metal abound (and sometimes unsubtle nods, as with the wink-and-nudge reworking of "Iron Man" on "In Hell," but Viking Skull are a band that knows its history and is out to have a lot of fun with it -- which they do.

1. "Start a War" - 3:15
2. "Doom, Gloom, Heartache & Whiskey" - 4:47
3. "In Hell" - 4:25
4. "Hair of the Dog" - 2:52
5. "Shot Down" - 4:06
6. "Double or Quits" - 3:14
7. "In for the Kill" - 3:01
8. "19 Swords" - 4:51
9. "Drink" - 6:41

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Faith No More Live @ Download Festival

After their blistering Pukkelpop show last month I feel compelled to share this recent live show with you guys.

Great audio this one.

They haven't lost it at all!

I will let you discover the setlist! ;-)

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Orange Goblin / Alabama Thunderpussy Split

Some time ago everybody! Sorry for that...

Here's a good one to get started again with anyway! Bob those heads!

01 Orange Goblin - Freelance Fiend (Leaf Hound Cover)
02 Alabama Thunderpussy - Can't Feel Nothing (Captain Beyond Cover)

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Pawnshop - Cruise O Matic

Rock'n'roll!!!!! Raw and dirty… as I prefer! It's the first time that I listened to a Pawnshop record (yes… I've missed Aloha From Saturn and still haven't heard it… I'm sorry…) and I'm really amazed listening to their powerful rock'n'roll aggression. The album is not very original, but it sounds really good and run fast from the first track to the last one. The opening songs Blissed Out / Mean Machine / Las Vegas are really three kickin' ass episodes based on incisive guitar riffs, catchy chorus (listen to Mean Machine!) and wonderful distortions, simply the perfect example of how have to sound a stoner'n'roll album and of how sound the whole work of the band! Somewhere the phantom of Kyuss appear as a warm light, for example in the good Thailand or in the tripping Living Zombie (the slowest and more psychedelic track of the CD, that grow until the furious ending part), but this would be just a compliment to the band, that revisit the magic of the stoner fathers with great results. The dusty sound of the title track than take a look back to the seventies, smelling of diesel and smoke. A great work! One of the best Beard Of Stars production, suggested to all the rock'n'roll maniacs and to the Kyuss fanatics.

Blissed Out
Mean Machine
Las Vegas
Space Cadillacs
Coma Cluster
Thailand
Baby Bitch
Cruise 'o' Matic
Year of Pleasure
Living Zombie

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Therapy? - Live in Brussels at the AB 2004

This live bootleg is a more recent one. Unfortunately this is a radio broadcast, so you have the Studio Brussel jingles in between which is a bit of a shame. Apart from that this is another great recording!

Church Of Noise
Unbeliever
Rise Up (Make Yourself Well)
Die Like A Motherfucker
If It Kills Me
This Ship Is Sinking
Nowhere
Isolation
Die Laughing
Perish The Thought
Rust
Polar Bear
Innocent X
Teethgrinder
Potato Junkie
Screamager (Jazzy Version)
Animal Bones
Epilepsy
Long Distance
Knives
Screamager

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Therapy? - Live in Firenze '94

Stop It You’re Killing Me
Trigger Inside
Potato Junkie
Auto Surgery
Die Laughing
Totally Random Man
Accelerator
Hellbelly
Halfway Down The Stairs (A.A. Milne)
Unbeliever
Teethgrinder
Brainsaw
Femtex
Turn
Isolation
Knives
Screamager
Nausea
Nowhere
Iron Man (Black Sabbath)
Opal Mantra
Me Vs. You
Lunacy Booth

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Therapy? - Sound City '94

It's Therapy? time! After posting the earlier two outstanding debut EP's, I have now managed to get my hands on some bootlegs with fantastic audio quality.

Stop It, You’re Killing Me
Trigger Inside

Die Laughing

Femtex

Turn

Unbeliever

Isolation

Knives

Screamager

Nowhere

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Steak Number Eight - When The Candle Dies Out

Steak Number Eight are a promising Belgian band, which they emphasized by winning the Humo's Rock Rally (a talent contest organised by a Belgian magazine, and no it is completely different from the standard Idol contests or whatever). These guys have been influenced by all the right bands, and you can clearly hear them on this record. I'm thinking about Isis, Do Make Say Think, Pelican, Neurosis and other delicious references.

So what's so special about these guys then? Well, listen to the power and the conviction on this record. Listen to how they allow their listeners a breather from time to time, and then drop another bombsheel on your head just when you've recuperated. And most of all: the oldest member in this band is eightteen. The singer Brent Vanneste is actually only 16, but man does his grunt blow me away every time again. I once saw these guys live, and it was absolutely amazing...

True, there is a lot of work still ahead and progress to be made to find their own way, but taking into account the age of these kids and the fact that this is their very first album (which they produced on a mere laptop in their bedroom), you can only gawk and be impressed.

Check it out and be overwhelmed!!!

1. The Sea Is Dying 09:17
2. My Hero 04:40
3. The Holy Truth 03:56
4. On The Other Side 03:45
5. Falling Out Of A Dream 04:02
6. Blood On Our Hands 07:28
7. After You 13:12

http://www.mediafire.com/download.php?zzjryytm2gd

Graveyard - s/t

Is it me or was Norrsken a creative hotbed for Swedish retro rock? The members of that almost-was band have resurfaced in Witchcraft (Magnus Pelander), Dead Man (Kristoffer Sjödahl), and Graveyard (Joakim Nilsson, Rikard Edlund).While the three share commonalities – namely an uncanny ability to play 70's rock as if they're from that era – they also manage to not sound exactly like each other. Graveyard, the latest to release a debut, is a kindred spirit to the more established Witchcraft but hews closer to classic rock than Pentagram-inspired doom. Buffalo's a name that's frequently thrown out there, and I can definitely see a comparison between Graveyard and Volcanic Rock.What that means is this debut is quality stuff. True to their name, the four-piece (along with Nilsson on guitar and vocals and Edlund on bass, there's Alex Sjöberg on drums and Jonatan Ramm on guitar and vocals) is plenty dark, heady psychedelia filtered through a prism of gloomy riffs and bittersweet melodies. Seven of the nine songs have Nilsson singing, and his Chris Cornell-like wail lend a sense of urgency. That, along with some seriously involved playing, are what makes “Evil Ways,” “Lost in Confusion,” “Don't Take Us for Fools,” and “Satan's Finest” such great, memorable tracks.Graveyard's off to an auspicious start. With any luck, they'll obtain the same measure success as Witchcraft and be heard from for years to come. Recommended.

1. Evil Ways
2. Thin Line
3. Lost In Confusion
4. Don't Take Us For Fools
5. Blue Soul
6. Submarine Blues
7. As The Years Pass By, The Hours Bend
8. Right Is Wrong
9. Satan's Finest

With thanks to heavycomet for the last three entries!

http://rapidshare.com/files/181391156/heavycomet_grave_.rar

password: http://heavycomet.blogspot.com/