Tuesday, December 6, 2022

Whatever Happened To... Psychedelic Witchcraft

Time for another entry in my series of columns about bands that seem to either vanish off the face of the earth or that we haven’t heard from in a long time. Today I’ll be discussing a psychedelic/occult rock quartet that I love which hails from Italy: Psychedelic Witchcraft. Formed in 2015 and fronted by the lovely and charismatic Virginia Monti, Psychedelic Witchcraft first came to my attention in 2018 via their first LP released in 2016, The Vision, on the Soulseller Records label. I instantly gravitated towards their retro, occult rock blend of music and got their two first EPs repurposed into the 2017 compilation Magick Rites and Spells, also from Soulseller Records. They put out another album that year, Sound of The Wind, through French label Listenable Records. That record had the band playing an edgier, more modern sound while wearing their old school roots on their sleeves. And that was the last album we got from Psychedelic Witchcraft.

They disbanded in 2018, but in the meantime, Virginia went on to front another heavy psych/occult band by the name of Dead Witches and sang on their first album, Ouija, in 2017 before exiting the band before the release of their second album in 2019. She also released a solo 3-song EP in November 2018 titled Neyah, but as far as Psychedelic Witchcraft goes, they were scheduled to get back together in 2020 for a Metal/Stoner/Doom music festival when the pandemic hit but nothing came to fruition. The last post the band has on its Facebook page dates back to October 2020, so it would appear that they’ve disbanded once again. Hopefully we’ll hear from Virginia Monti or the band as a whole sometime in 2023. They were only active for a brief period of time but, man, did they ever shine! In the meantime, if you’ve never heard of Psychedelic Witchcraft and are curious, you can sample their music at the links below and check out this cool video for their song “Rising on the Edge” on YouTube.

Psychedelic Witchcraft on Bandcamp: https://psychedelicwitchcraft.bandcamp.com/music

SoulSeller Records’ Psychedelic Witchcraft BC Page: https://soulsellerrecords.bandcamp.com/album/the-vision-2

Listenable Records’ Psychedelic Witchcraft BC Page: https://listenable-records.bandcamp.com/album/sound-of-the-wind

Psychedelic Witchcraft on Facebook: https://www.facebook.com/PsychedelicWitchcraft

Psychedelic Witchcraft on Instagram: https://www.instagram.com/psychedelicwitchcraft/ 

Friday, December 2, 2022

Bandcamp Friday Bids Farewell to 2022!

The final Bandcamp Friday of the year is here! By now you know the drill: Bandcamp waives its revenue share and all the money goes directly to the artists and labels for a full 24 hours. For one last time in 2022, here are my top five picks for the occasion.

First off, after close to 40 years in the game, Swedish doom legends Candlemass return with their latest album, Sweet Evil Sun. I’m here to tell you that they haven’t lost a step. You can pick up that bad boy right here.

Second, Canuck doom metal/space rock trio Eye of Doom have released their first LP, The Sapient, and it’s an absolute album of the year contender. You can read my thoughts on it here and grab the album here.

Third, my personal discovery of the month, Running Maiden, put out their first EP, an awesome throwback to the glory days of NWOBHM. You can read what I thought about it here and this is a band to keep an eye on in 2023. Feast your ears on their self-titled debut here.

Fourth, one of my favourite duos of the past five years, VAZUM, recently released a new single with two bonus tracks titled The Precious Ones. As usual, it’s a stellar bunch of songs and you should definitely pick it up over here.

Fifth, to round out my picks, Titanosaur’s fantastic No One Home EP will be landing in our galaxy on December 9th. You can read my musings about it here and get your copy over here; this one’s a must for your year-end shopping list.

And that’s all she wrote, folks! 2022 has come and is pretty much gone. Dig in and support the bands and labels that have given us another phenomenal year of music. There’s no telling when Bandcamp Friday will return, but if I were to take a guess, I’d say sometime next spring. Until next time, enjoy the music! 

Monday, November 28, 2022

Raised on FM Radio

I grew up in Montreal, Québec in Canada in the eighties and FM radio ruled the land. It shaped my tastes in music and was responsible for my love of rock ‘n’ roll and metal. I can’t imagine discovering bands from the seventies like Led Zeppelin, Pink Floyd, Blue Oyster Cult, Thin Lizzy, Deep Purple and countless others if it weren’t for FM radio. And if we’re going to be specific, our local rock station, CHOM 97.7 FM, Montreal’s Home for Classic Rock and the Spirit of Rock in Montreal was my station that I listened to for hours on end every week. Back in its heyday, shows like the “‘70s at Seven” and particularly “The Overnight Show”, which I spent a lot of time tuning in to while in college, singlehandedly gave me an education in all things rock ‘n’ roll. I used to call the station so often for song requests at any time of day on any given day that most of the DJs recognized my voice and knew it was me as soon as I said “Hello.” I used to call in to win movie and concert tickets, participating in sometimes obscure music trivia questions (without the help of the Internet/Google to provide answers), and I won a ton of times. I was a loyal CHOM listener but in the mid-eighties, I was also into Rap and Pop music and I’d listen to the two big French language FM stations, CKOI 96.9 FM and CKMF 94.3 FM, mostly on weekends during their countdowns. I’d have the local newspaper in one hand with the list of the Top 30 songs and my other hand on the red “record” button on my ghetto blaster to make 60-minute or 90-minute tapes of all my favourite songs. Ah, those were the days. You had to work hard for your songs and you prayed the DJ wouldn’t interrupt them by talking over them or cut them off short while you were recording.

Sure, going to the record store was also a good place to discover new music and bands from the ‘50s, ‘60s, and ‘70s along with the current ‘80s and later ‘90s music, but this was a time before listening booths and you couldn’t sample say, an old David Bowie or Bruce Springsteen album unless you purchased it. The newer generations, meaning every kid born in the Internet Age, don’t know how difficult and at the same time how pleasurable and rewarding it was to have to go out there and seek out new music and bands to listen to. It’s easy to take for granted nowadays how accessible music is from streaming services and online stores, YouTube and the plethora of apps and ways to get music, but back then, stumbling upon a band you’d never heard of that rocked your world was something truly special. FM radio is still around, of course, but it’s not the same. I, for one, only experience it when traveling long distance in a car and turning on the radio out of curiosity to take a break from the vast music library on my cellphone. I listen to the radio an average of an hour every couple of years or so. Gone are the days where DJs were local celebrities and radio stations could be heard broadcasting their tunes at barbecues and pool parties in the summer. It’s like everything else with the world, things change and evolve, and eventually disappear, I guess. It’s just fun sometimes to reminisce about those years that I’m forever thankful for that were my gateway to an infinite world of music. Thank you, FM radio! 

Sunday, November 27, 2022

New Release Fatigue

We live in a great era for music. At the touch of a few keystrokes, the Internet opens up myriads of options to listen and acquire music. Whether you’re into physical formats like vinyl and CDs, or prefer to stream your tunes via Spotify and Apple Music, or if like me, you prefer to download your music as MP3 files through Bandcamp and iTunes, there’s something for everyone. That being said, there’s also more music than ever before being offered to us. It’s a double-edged sword for bands and artists: on one hand their music is easily accessible, but on the other hand, their EP or LP can easily get lost in the sea of releases. Trying to sift through the staggering amount of weekly releases can become a bit tiring these days. It’s what’s commonly known as “new release fatigue” and I’ve got a pretty bad case of it. On Metal Twitter, my place of choice to hang out to discuss and discover music, folks seem to love acquiring stacks of new music, whatever the format may be, every week. I think I’m in the minority who feels that it’s just too much music over time and I’d rather have less.

Let me explain. I’ve been running this blog for a little over two years now and it’s made me discover some of my favourite bands of recent years. I’ve interacted with many purveyors of music and it’s always a lot of fun. It also comes with some perks of having access to a lot of free music before it’s released to the general public and that too, is a ton of fun. I receive lots of review submissions on a monthly basis, so that as well is a source of new music. The thing is, I feel like I’ve been spreading myself thin more and more as the months went by this year. How can you fully appreciate an album if you constantly consume new records, one after the other, akin to chain smoking? I see some people’s posts on Twitter, for instance, and I can’t wrap my head around the idea of picking up anywhere between five to a dozen new albums every week! Honestly, how many times will they actually spin this “new” record over the next few months? Not only that, but financially, that’s got to add up at the end of the year. I’ve made it a point to diminish my intake of new music in the last couple of months and will continue to do so in the future. Whether it be for reviewing purposes or for my personal pleasure, I just don’t have the time nor the money to support all the good bands out there. I’m a minimalist, so while I seldom buy physical albums (an average of two or three CDs a year at the most), I practice minimalism digitally as well. I tend to only keep albums that I absolutely love otherwise I’ll just hold on to one or two songs from it and make compilations with strictly the cream of the crop.

Remember the days when we were young and buying tapes or CDs was a special thing and you had to save up your allowance/minimum wage job/part-time job to afford buying that precious album from a band you really got into? That’s what I miss. Back when I could tell you the song titles of any of my albums, where I would know my favourite songs by heart and every album had a special meaning to me. Nowadays, it all seems to get lost somehow. Too much of a good thing, as they say. I wanna go back to consuming less new music and appreciating and listening to the albums I do own/buy/receive more so that they can become those gems that I cherish over time. As usual, I’m probably in the minority and this is most likely the unpopular opinion, but I’ve noticed in the past two months that I’ve enjoyed spending more time with my “new” albums a lot more when I don’t try to sample a lot of the stuff that’s available at the salad bar. Going forward, I’ll be writing much less musings columns, but what I’ll talk about will be albums that have left their mark on me, the special kind of records that you wanna listen to for a lifetime and take with you wherever you go. I’ll continue to shine a spotlight on up-and-coming bands and do my best to support new talent, but I’ll focus on a smaller sample. Less is more. Quality over quantity. How do you feel about the weekly onslaught of music being offered through the various platforms? I’d love to hear/read your thoughts here in the comments section or at my Twitter account. 

Saturday, November 19, 2022

A Conversation with ExpiatoriA

Time for another conversation with a band. Today we travel to Genoa, Italy to chat with ExpiatoriA, a 6-piece doom metal band. I recently reviewed their debut LP, Shadows, which came out on November 4th.

Harbinger of D.O.O.M.: Congratulations on the new record! It seems to have been quite the journey to make it to Shadows. The obvious question is why did it take 35 years to release your first LP?

ExpiatoriA: This is a long story full of twists. If I told you in detail, two days in a row would not be enough. In summary I can say that between the second half of the ‘90s and the first decade of the 2000s there was a forced stop due to the exit of the first historic singer Massimo Cottica (who moved to Ireland) and the consequent difficulty in finding a worthy replacement. Once back on the scene, ExpiatoriA were held back by excessive stalling and getting lost in a thousand discussions even for the most trivial decisions by some members of the band. Now that these people have been removed, ExpiatoriA has surrounded itself with proactive, open-minded musicians, on the same wavelength as to the sound direction to take, and really involved in the project. The rest came very naturally.

Harbinger of D.O.O.M.: The album is clearly rooted in old school doom and metal, but features only new compositions. Was there a temptation to record old songs that had never been released before, maybe update them a bit? Why did you decide to go entirely for brand-new songs?

ExpiatoriA: Since the first moment in which the band regrouped in the current lineup, the decision was made to restore the original intent that moved the first steps of ExpiatoriA. Over the years the sound has taken on a very thrash-oriented vein, albeit tinged with darkness; so the decision to abjure all the old compositions and churn out new material much more in tune with the doom and dark metal direction came quite spontaneously (and also logically) for us.

Harbinger of D.O.O.M.: The band has gone through many different lineups over the years. What brought this current lineup together? Did you know all know each other before? It feels like a strong lineup composed of musicians taken from well-known bands joining forces.

ExpiatoriA: We have all been friends for a long time and the esteem for each other, as musicians, has always been high. It was very natural to join forces to give ExpiatoriA the status they have always deserved.

Harbinger of D.O.O.M.: Being part of a six-piece band can’t always be easy, it’s a lot of cooks in the kitchen. How do you approach song writing/writing music? Does everyone have a say in which direction to take with a particular song?

ExpiatoriA: Generally, the main ideas for composing new songs come from the two guitarists Massimo Malachina and Edoardo Napoli, then during the arrangement each of us has the right to intervene in the improvement of the original raw material. Among us there are no cravings for protagonism that no one is offended if their idea is rejected by the majority. The lyrics are an exclusive prerogative of myself (David Krieg, vocals).

Harbinger of D.O.O.M.: What are your touring plans? Do you plan to perform shows outside of Europe?

ExpiatoriA: First of all, we are making contacts and forging many alliances with promoters and bands from other regions of our country to plan a series of dates around Italy. We already have some possible requests for some European dates. We want to grow and spread our music and our show slowly but steadily: we don't want to overdo it but we don't want to sit on our laurels either.

Harbinger of D.O.O.M.: Thank you for your time! Is there anything else you’d like to say to your listeners/future fans?

ExpiatoriA: Thanks to Harbinger of D.O.O.M. for this interview. Let me just say: join our Sabbath wherever we may be playing and enjoy our music as you descend into darkness with us.

ExpiatoriA’s Official Website

ExpiatoriA on Bandcamp

ExpiatoriA on Facebook

ExpiatoriA on Instagram

ExpiatoriA on YouTube 

Thursday, November 17, 2022

Musings: Running Maiden - Running Maiden

Running Maiden is a female-fronted three-piece heavy metal band from Switzerland. Their self-titled EP was released as a surprise earlier this week, but the cassette tape version will be out on January 27th, 2023 via the ever-growing and excellent metal label Dying Victims Productions.

I am thrilled about this EP! If old school ‘80s metal and NWOBHM is your thing, this album will hit the spot and then some. Featuring Alexa on vocals and bass, Manuel on drums, and Ramon on guitars, Running Maiden sings about legends of old and the occult. With a sound that fits right between Iron Maiden (the band’s name is a dead giveaway, I know) and early ‘80s Belgian speed metal band Acid (check them out if you’re not familiar with that band, they’re fantastic), they deliver four breathtaking anthems that’ll have you convinced this is a long-lost metal gem from the ‘80s. “Bazaar of Evil” gets the ball rolling with its guitar assault and bass & drum revolt. Raise your fist and shout! It’s followed by the title track, “Running Maiden”, a bass-driven tune with a fiery guitar solo. The penultimate track is the infectious “Vengeance (It’s What They Deserve)”, which happens to be my favourite of the lot. It’s got a great sing-along chorus and channels both Maiden and Acid with stunning results. The pace slows down just a bit to culminate with “Set Me Free”, but make no mistake, this is another killer track ending with a superb guitar solo.

Running Maiden is one of the most exciting bands to come out of Dying Victims Productions’ stable this year and that’s saying a lot since they’ve put out many of 2022’s best metal albums. This 4-track EP is phenomenal from top to bottom and I just can’t stop listening to it! This NWOTHM renaissance that’s going on as of late is exhilarating and we are all lucky that Running Maiden is here to take part and maybe even take over. Their self-titled debut comes highly recommended from your friendly Harbinger of D.O.O.M.

Dying Victims Productions’ Bandcamp page for Running Maiden: https://dyingvictimsproductions.bandcamp.com/album/running-maiden-s-t 

Wednesday, November 16, 2022

Musings: DoctoR DooM - A Shadow Called Danger

DoctoR DooM returns after seven years of being away! The French quartet will release their much-anticipated follow-up to 2015’s This Seed We Have Sown on vinyl through Black Farm Records on November 18th and on CD and digital via Ripple Music on January 20th, 2023. The new LP is titled A Shadow Called Danger and it’s every bit as groovy and retro as their first outing.

For the uninitiated, DoctoR DooM isn’t a doom metal band; they’re more of a ‘70s hard rock, prog & blues with a touch of proto-metal kind of band. It makes for a unique blend of music. The LP opens with “Come Back to Yourself” which at first made me feel like it would be a perfect fit as a song on the Kill Bill soundtracks. DoctoR DooM’s guitar chugging is catchy and reminiscent of Ann and Nancy Wilson’s Heart at times. “What They Are Trying to Sell” was the first single that came out at the end of 2021 and I’ve heard it so many times that it’s already a classic song for me. I might be biased due to my familiarity with it, but it’s my favourite track of the album, with its proto-doom elements and throbbing bassline. “Ride On” is a terrific easy-going tune followed by “Connected by the Worst” which has riffs-a-plenty and is a delicious slice of classic rock with lengthy instrumental sections. “Hollow” is a cool rocker that’s deeply rooted in ‘70s rock. “The Rich and the Poor” is a beauty of a song with splendid guitar playing and a solid rhythm section to give us great rock ‘n’ roll. “In This Town” is the second single, some proto and some prog with some help from an organ to deliver a majestic 7-plus minute track that is mostly instrumental and a highlight of the record. We then move on to a beautiful, slower-paced instrumental titled “Sarabande” to take us out.

No such thing as the sophomore slump for DoctoR DooM, folks. This is an album that goes down easy like a cold beer on a hot summer day. Overall, A Shadow Called Danger is a laid-back album, very much in the vein of its gorgeous cover art: calm with a hint of danger always lurking on the horizon. Fans of Witchcraft and Graveyard will particularly appreciate this record.

DoctoR DooM on Bandcamp: https://doctordoom.bandcamp.com/

DoctoR DooM on Vinyl via Black Farm Records: https://blackfarmrecords.bigcartel.com/product/doctor-doom-a-shadow-called-danger

DoctoR DooM on CD and Digital via Ripple Music: https://ripplemusic.bandcamp.com/album/a-shadow-called-danger 

Monday, November 14, 2022

Musings: Eye of Doom – The Sapient

I love it when a great Canadian band releases an album that’s right up my alley. Such is the case with Vancouver’s Eye of Doom and their newly released The Sapient. Why aren’t there more space doom records like this one? The Sapient is a concept album in the same vein as the trio’s outstanding 2020 EP, Curse of the Pharaoh. Buckle up, this is gonna be one hell of a trip!

This is an album where the cover art is a precise depiction of what awaits the listener inside. And what gorgeous art it is! Evocative of Kubrick’s 2001: A Space Odyssey, a lone cosmonaut stands before a monolith as cold, ominous outer space surrounds him. The structure of The Sapient reminded me of Pink Floyd’s Wish You Were Here; that album is bookended by “Shine On You Crazy Diamond (Part I-V)” and “Shine On You Crazy Diamond (Part VI-IX)” with three songs sandwiched in the middle. Aside from the 2-minute intro, The Sapient follows the same configuration, with “Eye of Doom Part I” and “Eye of Doom Part II” bookending the three songs in the middle. After the sounds of space turmoil that is the intro of “224.7”, we are treated to the crushing doom of “Eye of Doom Part I”. This song is epic in all meanings of the word. Thick and heavy, largely instrumental with a guitar solo from the depths of the cosmos, this is space doom at its best. “Dead Void” follows and it may well be the doomiest track of the record with despair-filled lyrics and ethereal vocals. “Return to Descension” has an aura of malevolence, melodic killer guitars, stellar intergalactic bass, intricate lyrics, and is heavier than a mammoth. It’s my personal favourite on an album of favourites. The title track, “The Sapient”, starts off slow, hypnotic, then bursts like a supernova. It has a certain otherworldly, meditative vibe. Close your eyes and let yourself drift away. The cosmonaut’s journey comes to an end with “Eye of Doom Part II”, a powerful, psychedelic, proggy delight that sounds quite dissimilar to Part I.

Wow. This album will blow your mind. You’ll need to catch your breath after listening to it. And it gets exponentially better on subsequent spins. One of the top three doom albums of 2022 and an absolute must for year-end best albums lists. The Sapient’s lengthier tracks never wear out their welcome; every riff, lick, and solo fits perfectly within the grand design of the record. It’s got Sabbath worship for fans of old school doom and sounds innovative with its diversity of spacey prog doom. Spellbinding vocals, merciless guitars, a pulsating rhythm section, complex lyrics: everything here is done to perfection. Eye of Doom are bound to reach the stars with this masterful album. Pick up The Sapient as soon as you can!

Eye of Doom on Bandcamp: https://eyeofdoom.bandcamp.com/album/the-sapient 

Sunday, November 13, 2022

Musings: Kajgūn – FZ22

Kajgūn is a psychedelic jazz metal band that plays improvised music. I reviewed their debut album Daogoad back in January and they return with a live album, FZ22, featuring five brand new compositions. The quartet plays each piece of music only once, so what you get here is a set of fusion jazz metal instrumentals performed at the Fekete Zaj Festival in August of 2022 that have never been heard before or since.

Once again, the track titles aren’t real words (to my knowledge, anyway), but serve to identify the compositions that are played. The production value of this concert is top notch and the band shows once again that they are highly skilled musicians. We get a wide array of instruments to paint many pictures throughout the 58-minute runtime such as guitars, fretless bass, drums, saxophone, wind instruments, synths, theremin (I love that instrument!), and e-violin. “Noum Afrah” gets the show going, evoking mysterious, smoky rooms. It tends to drag a bit, running close to 14 minutes. “Toraam Oshaam” follows, a subtler track with prog elements where the sax is at the forefront. “Borollo” is quieter, it builds slowly and the lineup plays more in unison than on the previous two numbers. The penultimate piece, “Koatakane”, runs at 16 minutes and really felt like it overstayed its welcome by the end. I guess that’s where the improvised nature of what Kajgūn does tends to be a double-edged sword: an extended jam that just goes on for too long. Then again, improvisation oftentimes leads to creating magic and allows room to be daring in its approach. For my part, I just found that this track lost steam the longer it went on. The show comes to an end with “Prawu Yraad”, the shortest tune, clocking in at 6 minutes. Here the band sounds tighter and plays with more urgency. It’s my favorite track of the LP.

I must admit that for me, this album left less of an impression than Daogoad did. I don’t know if it’s because the novelty factor of merging jazz and metal that the previous record had (for me at least) has worn off, but I didn’t enjoy it as much. I also think that sometimes the large number of instruments can be a detriment to the songs. Sometimes less is more and having too many instruments can prevent the music from breathing. Don’t get me wrong, FZ22 is a good record and those who appreciate improvised jam sessions or lengthy jazz and/or metal performances will undoubtedly get a kick out of this album. Mileage may vary. I also believe that witnessing this concert in person would’ve heightened its enjoyment. A video of the full show will also be released and I have a feeling that watching the musicians play these compositions in a live setting will be a more rewarding experience than simply having the audio. In the end, while I find this album to be less focused than the previous one, it remains a feat to be able to put on a raw, spontaneous performance in front of an audience time and time again. In any case, check it out and judge for yourself; it’ll be out on November 26th.

Kajgūn on Bandcamp: https://kajgun.bandcamp.com/music 

Saturday, November 12, 2022

Musings: Titanosaur – No One Home

On December 9th, the mighty Titanosaur will unleash a new EP, his second album this year: No One Home. Titanosaur is the brainchild of one-man army Geoff Saavedra. The man does it all so convincingly that you can easily be fooled into thinking that you’re listening to a three or four-piece band. Not only that, but as if two albums in the same calendar year weren’t enough, Titanosaur’s been featured on many compilations and projects throughout the year. From contributions on The Swamp Records’ Support Ukrainian Refugees in Poland with the relentless track “Stand Up”, to awesome covers of Motorhead (“Bomber”) and The Misfits (“I Turned into a Martian”), and even an appearance on the Harbinger of D.O.O.M.’s Doom Comes Knocking compilation with a revamped version of his classic “Escape Velocity”, Titanosaur is super prolific and has left his stamp all over 2022. So, what can you expect from No One Home? Let’s dig in, shall we?

From the get-go, you can tell this is a very personal album for Geoff. If you follow Titanosaur on social media, then you know he’s battling health issues and music gives him courage and is a conduit for him to express his emotions and apprehensions. Kudos to him for always keeping his head high and raging forward. This album has heart, a lot of heart, and it elevates the finished product immensely. The title track, “No One Home”, starts off slow with a throbbing bassline, picking up speed along the way in true Titanosaur fashion. This is one of his best songs ever, in my humble opinion. “Eater of Death” was the first single and it’s easy to see why. If you’re on Metal Twitter, then I can’t imagine you wouldn’t be familiar with it. It’s a kick-ass, take-your-life kind of song, catchy as hell, and again very personal. “My Words Are Apocalypse” has got a really cool rhythm and is what I like to refer to as a head-bobbing tune. It’s impossible to listen to this song and sit still without getting physically involved. “The Spaces Between” is a definite highlight of the EP, one of those songs that immerse you into their fabric. Plus, it’s got one of Geoff’s most creative videos that he made for it. Add videographer/filmmaker/editor to the list of many hats he wears. Titanosaur’s videos are always fun to watch and this one is top-tier. Check it out on YouTube. “This Isn’t How” comes on with its pounding drums, towering vocals, and tone of looming danger to transition to the closing track, a superb acoustic version of “Eater of Death” with keys to add an extra layer. It’s a terrific arrangement that gives the original song a run for its money. When you strip down a song of all its bells and whistles and it sounds even better, then you know you’ve got something special.

In February, Titanosaur gave us the excellent Absence of Universe and to book-end the year, No One Home will land in December. Of the two, I’d give the slight edge to No One Home as my personal favorite. This 6-track collection is flawless. Although, if I had to nitpick, I’d wish he’d included the Eater of Death B-side, “The Time is Now”, as a seventh track. That song features a killer guitar solo and I’m quite fond of it, but I digress. As it stands, if you’re into heavy metal and sludge metal, this album’s a strong candidate to wind up on year-end best albums lists. Titanosaur continues to be a force to be reckoned with, cultivating a distinct guitar sound, unmistakable vocals, and good times guaranteed.

Titanosaur on Bandcamp: https://titanosaur1.bandcamp.com/