A Conversation with IKITAN

It's time for another conversation to shine the spotlight on a new and up-and-coming band. Today we shoot the breeze with Italian post-rock/stoner/progressive trio, IKITAN, consisting of Luca “Nash” Nasciuti on guitars, Frik Et on bass, and Enrico Meloni on drums and cowbell.

Harbinger of D.O.O.M.: Thank you for taking the time to chat with me. How are you guys doing? I’ve been curious about the name of the band: IKITAN. It’s a catchy, one-word name described on your Bandcamp page as the God of the sound of the stones (the angry figure seen on the Twenty-Twenty album’s artwork). Is it based on a mythological god or legend of some kind or is it something you invented? What’s the story behind it?

IKITAN: IKITAN was chosen by Luca, our guitarist, who was fascinated by its meaning, found on the Italian Wikipedia page of the “Aztec gods”. According to whoever wrote that page, IKITAN is the god of the sound of the stones. It fits perfectly the idea he and Frik Et had in mind for our music, and the moment we got together and started playing it made so much sense. There’s also a nice little pun there: stones and stoner, of course, as we love stoner rock. And also stoned, although we don’t smoke!

So we’ve been playing for months with this whole IKITAN concept in mind, we prepared the album cover (thanks Luca Marcenaro!) and everything… Some days before the actual release date, we found out this was not true! Or at least not verified. We even wrote to a university professor who is the go-to expert in pre-Colombian cultures, only to find out that IKITAN is nowhere to be found! The power of unverified Wikipedia sources… But who cares: we love the concept, it’s an inspiration for us, and we’ll stick to it!

Harbinger of D.O.O.M.: The band was formed in 2019. Did you guys know each other beforehand? How did you come together?

IKITAN: IKITAN was born in September 2019 when Luca replied to an adv Enrico posted on a local musicians’ Facebook group, and the band started jamming one week after.

It must be noted that Luca and Frik Et have been friends for ages and have played together for over 10 years years and so they were looking for a new drummer for their new adventure.

Fun fact: the three of us played at a local gig back in 2010: Luca and Fri Et were already in the same band then, and Enrico, playing in another band, bought a demo from them (which he still proudly owns).

Harbinger of D.O.O.M.: Twenty-Twenty, the studio album and its live counterpart, is an intense, epic instrumental which flows so naturally, as if it were improvised in one take, yet is well constructed and elaborate. Was it your intention to perform a twenty minute instrumental from the get-go or did it evolve from a shorter piece at first? What was the process that led to the end result?

IKITAN: Our debut EP is titled “Twenty-Twenty” and it was released on 20th November 2020. This album was conceived as a longer song which includes different parts, or “Chapters”, as we like to call them, that are somehow linked among them. We can’t call it a “suite” because some of the formal elements are probably missing, but the idea somehow comes from the post-rock and prog worlds, which are a great influence for us.

By the end of spring of 2020, we had enough material to put together three different songs and, considering the overall situation caused by COVID, we said: “It’s our chance to put the word ‘end’ to this first part of the story of the band, nobody knows what’s gonna happen next, so we want to set this moment in stone” or, well… on a CD.

These three songs were somehow linked among them and at one point we also started thinking about just releasing the album as one only song and debut with a one-track EP. It was all very random and things clicked one after the other quite surprisingly.

Even though the ideas and riffs were all born during jam sessions, the end result is very much planned, meaning that we spent a few weeks working on these three songs only, making sure they had meaningful connections, the whole thing was interesting to listen to (you know, not so many repetitions of the same thing and the likes) and we could add a few extra special sounds and effects here and there.

Recording everything that we play in our rehearsal room certainly helps: we go back to what we’ve jammed the previous times, refining and listening to stuff constantly, and once we’re happy with something, we develop it fully until it becomes a song… or parts of a song LOL.

Eventually, the song lasts 20 minutes and 20 seconds. The album is titled “Twenty-Twenty”. It was released on Friday 20th November 2020. A lot of 20s!

To make our project even more special and our efforts truly worthwhile, we released the CD as a limited-edition digipack with a free poster and a sticker. The artwork was curated by Luca Marcenaro who did an awesome job.

Also, we’re very happy about the final result sound-wise: our guitarist Luca Nash is also a sound engineer and a music producer in his “real” life, the whole album (except for the drums, recorded at Mattia Cominotto’s Greenfog Studio in Genoa, one of the most renowned in Italy when it comes to rock music) was recorded at his private studio so we could do things at our pace and in a stress-free environment.

Harbinger of D.O.O.M.: You’re working on your first full-length album. Will it be an entirely instrumental album? What can we expect from you and when are you planning on unleashing it to the world?

IKITAN: Yes, the album will be instrumental but we don’t have a set date yet. It’s very likely that the new songs won’t be as gigantic as 20-minute “suites” anymore, we’re working towards something more direct and riffalicious but in pure IKITAN style. We still like not to stick to a particular genre and not setting any boundaries, so there will be some surprises.

The album will include something like 8-10 songs and these are bits and pieces of all the rehearsals (even bits that were left out of Twenty-Twenty) we’ve been recording since day 1, when we met to jam for the first time together.

Right now we’re still jamming and also developing some parts of older jams into full songs. We’ve been recording every single note we’ve improvised and now we’re letting the songs and improvisations guide us towards the next IKITAN album. Stay tuned!

Harbinger of D.O.O.M.: Your majestic session at Forte Geremia last June was your first live gig as IKITAN. Have you guys played live elsewhere in other bands before that or as IKITAN since then?

Luca: Forte Geremia was indeed the first time we played live together outside the rehearsal room! Since we met, we had no opportunities to play live due to the Covid pandemic. Before IKITAN, Frik Et and I had played together in other bands but we played a slightly different style of music. We have played together since 2007 I guess.

Frik: As already said, Geremia, was the first gig we did as IKITAN. A challenging experience for the weather conditions (mainly due to strong wind and low temperatures!), but a very exciting one as well. I’ve known Luca for ages and as he said we’ve played together in the last years before forming IKITAN too.

Enrico: My first gig was at the age of 12, when with my cousin (it’s always an elder cousin’s fault!) and two friends went on stage between other bands and played two songs by Elio e Le Storie Tese without having ever rehearsed them before! We just knew them, went on stage, and nailed (?) them. This attitude is still with me, as improvisation and spontaneity are one of IKITAN’s trademarks.

After that, I’ve played with other metal, rock and funk bands both in Sardinia and in Genoa, as well as a short adventure with London-based hard rock band Dirty Mary, when we played venues such as The Big Red and The Alley Cat (both RIP). I love being on stage and I can’t wait to perform with IKITAN!

Harbinger of D.O.O.M.: Thank you for answering my questions and I wish IKITAN a long life. I’m eagerly looking forward to hearing your upcoming album!

Photographs by Gezabel Perotti

IKITAN's Official Website

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10,000 Years - II

Concept albums seem to be all the rage these days and I’m enjoying this trend quite a bit as I’m a big fan of them. Swedish sludge metal/doom/stoner rock band 10,000 Years has taken the concept album to the next level and are making a series of concept albums following a specific storyline. The trio unleashes their first full-length album, II, a continuation of their first self-titled EP which was released in July of 2020.

A little bit of a disclaimer to begin. Those familiar with this blog know that I don’t listen to, nor do I review anything with harsh/extreme vocals. Maybe it’s just because I’m growing into a softie in my old age (or just becoming a grumpy old fart) or that this sort of music just isn’t my cup of tea, but I was on the fence at first about reviewing this album. By no means does it go the route of extreme metal or non-stop growling/yelling, although the vocals do tend to be less traditional and there is a bit of screaming going on throughout, but not enough to make me pass up this album. And neither should you because 10,000 Years’ new record is a damn fine album that should be widely heard.

It’s the continuing story from the previous EP of an exploration vessel which goes by the name of “Albatross” and its mission to explore nearby galaxies. The musical journey tells of the ship’s first foray into space and what happens when the crew accidentally travels through a wormhole, ending up in a neighboring dimension populated by ancient gods and giant beings, ruled by the Green King. The new album picks up exactly where the EP ended. How cool is that? I won’t go into details about the storyline for II as I’ll let the listeners discover it for themselves as they sample the album. After a blistering 30-second opening instrumental, we are taken to the “Gargantuan Forest”, a slower track full of psychedelic atmosphere. Here you’ll get what I mean by the screaming aspect of the vocals. And you know what? I can’t imagine this song being sung any other way! It fits perfectly as it chugs along. “Spinosaurus” follows and picks up the pace, with strong thrash metal tendencies. “The Mooseriders” is one of my favorites, firing on all cylinders and displaying the band’s musical chops. “Angel Eyes” isn’t a ballad as one might wonder judging by its title; it’s another good cut, expanding on the band’s brand of sludge/doom/thrash metal. “March of the Ancient Queen” is a powerful song serving as a shift in the story. Track number 7, “Prehuman Walls”, is the sludgiest of the bunch and one I really dig. It leads us straight into the final song, the pièce de résistance and the strongest track of the album, in my humble opinion (definitely my favorite). “Dark Side of the Earth” starts off slow and climaxes into melodic fury, sounding epic at times, as it should, as the story comes to a close … for now. I’m sure we’ll get to hear more about the Albatross’ adventures on the next album (III perhaps?).

10,000 Years have crafted a massive, crushing album with II. The music is powerful and nothing short of remarkable. The best way I can describe this album in a nutshell is that it’s a cross between stoner icons Sleep and thrash metal legends Slayer. If you don’t mind less traditional vocals every now and then or if thrash metal/harsher sounding metal is your thing, then you’re bound to have a hell of a good time with this record.

10,000 Years’s Bandcamp page: https://10000years.bandcamp.com/

Bandcamp Friday

Bandcamp Friday is back! The beloved day where Bandcamp waives its revenue share and all the money goes directly to the artists/labels is upon us again! No doubt you’ve got a few albums/songs on your list to pick up, but if you’re looking for some inexpensive suggestions to support as many artists as possible, here are five quick ones for you from your friendly Harbinger of D.O.O.M.

First off, VAZUM, a deathgaze/alternative duo who released a stellar album a few weeks ago have a brand new “name your price” single out titled “Votive” off of their upcoming October remix album. You can pick it up here. I had a lengthy conversation with them which you can read here. Seriously, this band isn’t getting the attention it deserves; they are amazing and you should definitely lend them your ears!

Second, I’ve been in the mood for instrumentals lately and a band I just found out about this morning, IKITAN, released a stunning 20-minute live instrumental simply titled Twenty Twenty Live at Forte Geremia back in June. You can grab it as a “name your price” EP on Bandcamp and if you want to witness how the magic was done, head over to YouTube for a front row seat of the performance.

Third, while we’re on the theme of instrumentals, a one-man band who’s been garnering a lot of attention in the past couple of months, Mothman and the Thunderbirds, released an EP with instrumental versions of his debut full length, Into the Hollow, which I reviewed on the blog a while back. These tracks breathe new life into those songs and are a great addition to your music library for just a buck on Bandcamp!

Fourth, another instrumental album that must be mentioned is the mighty Ripple Music’s re-release of pioneering stoner rock band Yawning Man’s classic debut album, Rock Formations. If you’re into desert rock, space rock, and surf music, then this is a match made in heaven! If you haven’t heard this 16-year old album yet, then now is as good a time as any to discover it. It sounds as fresh as the day it was first released. You can grab a copy of it on Bandcamp, hot off the presses.

And fifth, if you’d like something more along the lines of prog rock with actual lyrics, what is in my humble opinion an album-of-the-year contender, you can get Sleep Moscow’s sophomore album, Of the Sun, that was released last week and which I reviewed a couple of days ago here. You can also pick up that gem over at Bandcamp.

I hope you enjoy this #BandcampFriday and that your loot will satisfy your music cravings. I know the bands and artists will be grateful for your support on this fun and special day. Till next time, happy listening!

Sleep Moscow - Of the Sun

Sleep Moscow, unlike what the band name suggests, do not hail from Russia; they are a Swedish alternative/prog rock band. Their sophomore album, Of the Sun, has just been released on Majestic Mountain Records and it’s a thing of beauty. It is at once spellbinding and serene, a concept album about a cosmonaut leaving a dying earth and everything behind for something bigger.

Retro is quite the ideal word to describe this mood-driven, 39-minute, 9-song musical journey into outer space. From the opening instrumental track, “Home”, segueing into the instantly memorable “Light Will Meet Us”, the music here dazzles. Echoes of Pink Floyd, ghosts of late ‘70s/early ‘80s modular synthesizers are in full display and bring a magical genuineness to the proceedings. The third track, “Gift of Life”, gives the impression that we are immersed in a comfortable bubble without a care in the world. The piano-centric title track follows with delicate splendor. Singer Arvid Hällagård’s ethereal vocals effortlessly take us far away from this plane of existence throughout the album. He’s accompanied by a plethora of dreamy strings, soothing piano, and gentle electronic noises. The above-mentioned strings are at the forefront in the superbly heartbreaking instrumental “Memories“. Next up, “Far Beyond Gone”, is quite possibly my favorite song in an album of favorites. It is ageless and feels like you’ve always known this song, like an old childhood friend. “Alone” is a gorgeous, restrained song with a guest female vocalist for the second half of the song. The last two songs, “Facing the Clouds” and “You Are Over”, constitute a perfect one-two punch to end this remarkable expedition; multi-layered and hypnotic, lingering in your head long after the music stops.

This is another must-have album, folks. With more than half of the year behind us, 2021 has to be one of the strongest years in recent memory for indie doom/stoner/metal/psych/prog music. The Sleep Moscow trio is a force to be reckoned with and have crafted an absolute masterpiece with Of the Sun. This record has immense replay value and I think it’s safe to assume that it will only get better on subsequent spins and is likely to age like the finest of wines.

Sleep Moscow’s Bandcamp page: https://sleepmoscow.bandcamp.com/releases

Black Sabbath in Montreal - 50 Years Ago

Fifty years ago today, Black Sabbath played a gig in my hometown of Montreal, Quebec, Canada for the very first time. The date was Friday, July 16th, 1971 at Place des Nations. I wish I could’ve been there, but I was three years away from being born! The four blokes from Birmingham, England—namely guitarist Tony Iommi, singer Ozzy Osbourne, bassist Geezer Butler, and drummer Bill Ward—would go on to become the godfathers of Doom and Heavy Metal.

As you can see in the above-pictured flyer for the show, tickets were a measly two dollars! What a steal, even back in the day, to see Sabbath perform live at the peak of their game! There’s very little info on the show circulating online, but I was able to track down a few photos and while I couldn’t get my hands on the night’s setlist, I found the next best thing: the setlist for the following gig two nights later at Borough of York Stadium in Toronto, Ontario, Canada. It’s very likely that the songs they played on that night and the order in which they played them was similar or identical to that of the concert in Toronto. The setlist was as follows:

1. N.I.B.
2. War Pigs
3. Sweet Leaf
4. Black Sabbath
5. Iron Man
6. Embryo
7. Children of the Grave
8. Wicked World
9. Orchid
10. Guitar Solo (with Wicked World reprise)
11. Paranoid

     Encore:

12. Fairies Wear Boots

The show was part of the tour to support their upcoming third studio album, Master of Reality, which was to be released five days later, on Tuesday, July 21st, 1971. It has gone on to become one of their most beloved albums—and my personal favourite Sabbath record—with such classics as “Sweet Leaf” and “Children of the Grave”. What a career and an influence that still resonates to this day Black Sabbath has had! They will forever remain one of my top three favourite bands of all-time.

Photos and flyer courtesy of Les Archives de la Ville de Montréal © 1971.

Inner Missing - Deluge

Initially formed in 2008 under the moniker “Odium” and hailing from St. Petersburg in Russia, Doom Metal/Gothic/Darkwave duo Inner Missing have just released their eighth studio album, Deluge, on the Inverse Records label. The album’s gorgeous sleeve is full of mystery and is a great snapshot of what lies inside said album: a dark and beautiful musical journey. The Russian duo consists of Sigmund on vocals and guitars, and Melaer on bass and keyboards.

I didn’t know what to expect on my first spin of Deluge, but by the time I was done, I knew I had stumbled upon something special. I won’t be doing a track by track review since this record plays more like a concept album where the eight songs form a whole that feels like one continuous piece divided into different sections. It’s also the kind of album that I will listen to entirely in one sitting going forward, much like the way I do when I put on Pink Floyd’s Dark Side of the Moon or Wish You Were Here.

The first song, “In the Haze”, really sets up the entire record: a slower-paced, melodic gothic doom metal excursion for the ears. The cover art could be an inspiration to imagine yourself traveling through space aboard a majestic vessel to the sound of piano and guitar-driven melodies, with hints of prog rock cascading throughout the various songs. It’s a poetic and relaxing album, yet at the same time it’s invigorating and full of energy. Deluge was conceived in 2020 at the height of the pandemic and explores themes of uncertainty, dismay, longing, and even hope. The fourth track titled “Locusts” is a proggy instrumental bridging the second half of the album. The sixth cut is the title track, “Deluge”, a song about the weight and burden of memories and remembrance. Number seven, “Elegy”, is a beautifully melancholic piano song with synths. The final track, “Grodek”, is the only non-English song of the album (in German) which surprised me—since the band is Russian, I would’ve expected it to be sung in Russian. If I can trust Google’s German to English translation, it’s about the hard-earned victory of the heroes. Nonetheless, it’s a fitting way to close out the album.

Deluge is a polished album from a seasoned duo of musicians that features harmonious vocals, a continuing wave of guitars and keyboards linking the songs together to shape a gloomy yet quiet atmosphere with infinite replay value. If you’re looking for a different kind of Doom record, something to put on during a drive at night (or on your next trip to space), this 44-minute melodious expedition is bound to quench your desires. Inner Missing have crafted a truly great record that gets my highest recommendation.

Inner Missing’s Bandcamp page: https://innermissing.bandcamp.com/

A Conversation with VAZUM

It’s been quite a while since we had an interview/conversation on the blog. I meant to do them more often but got sidetracked a few times earlier this year. I’m back on track now and will do my best to have interesting guests, whether it’s bands or labels. Whenever I come across a band that has a unique voice, I want to know more about them and this time around, it’s a Deathgaze duo by the name of VAZUM. They’ve just released a new album titled V+ this past Friday and it’s their most accomplished record yet, in my opinion. Seriously, folks, this is one of the finest albums I’ve heard this year thus far. Not only that, but I highly recommend checking out their videos on YouTube as they complement their music perfectly. At the bottom of this conversation, you’ll find links to all their social media and platforms they’re on if you feel like exploring their catalogue and supporting them.

Harbinger of D.O.O.M.: Today we’re sitting to chat with Zach Pliska, founding member and singer/guitarist/drummer along with Emily Sturm, singer/bassist of the deathgaze duo VAZUM. Congratulations on the release of your brand new album, V+. VAZUM has only been around for a few years, but you’ve been very prolific in terms of musical output. Can you tell us, in a nutshell, how the band has evolved to the stage where it’s at now as a duo?

Zach: Previously I played drums in probably a dozen different bands, so it was important to me that I form a band for VAZUM shows. I didn’t want to be a solo act, even though I recorded the first album solo. I recruited some of my friends but had a difficult time with drummers. We went through a handful of drummers. I even played drums and sang for some shows. Then my bandmates started losing interest, their level of commitment just wasn’t really there. And that’s around the time I met Emily. Me and Emily were friends first, then we started playing music together. By the time the pandemic hit my previous band members had faded out and it was just me and Emily.

Emily: I had been in bands previously but decided to focus on creating jewelry and running my own business. I kept a lot of songs and ideas filed away for a while. When I met Zach it seemed he was focused on his own music, but once we realized how similar our tastes and backgrounds were we began working on ideas. It was obvious we had chemistry. Jamming was fun, easy and inspiring and music quickly became a priority again.

Harbinger of D.O.O.M.: V+ is an amalgam of diverse musical genres and influences; we can hear echoes of Bauhaus, The Cure, Joy Division, and I can even detect hints of Siouxsie and the Banshees at times. You’ve even done a terrific rendition of one of my all-time favorite Bauhaus songs, “She’s in Parties”, on your 2019 album Variant. What would you say are the main influences that have contributed to shape your sound?

Zach: I spent my teen years obsessed with some of the 90’s rock bands like Smashing Pumpkins and Soundgarden. That style of guitar playing and drumming is very important to me. I studied jazz in college which threw me for a loop but opened me up to a whole other world. And also showed me the discipline needed to learn and master an instrument. It wasn’t until later that I got into 80’s bands like Depeche Mode and Bauhaus. In 2018 I signed VAZUM up for a local Halloween cover show and we did a Bauhaus set. Trying to cop the Peter Murphy singing style really opened my eyes to a different vocal approach. Previously I was trying to do a more 90’s voice which I have decided to stray from. Currently I’m much more interested in a David Bowie vocal sound. And I’m still discovering a lot of 80’s goth, deathrock and industrial music which Emily has introduced me to.

Emily: I moved to LA when I was ten years old and listened to the radio station KROQ which introduced me to artists like Gary Numan and Echo and the Bunnymen. My first concert was Adam Ant. Once I started going to clubs I fell in love with Christian Death. The deathrock scene had a profound impact on me and I’ve always wanted to do something similar musically. I like things that are intense and dissonant. 

Harbinger of D.O.O.M.: You’ve also released a Halloween concept album, Rated V, where half the album consisted of songs and the second half was dark ambient instrumental tracks. Those instrumentals were incredibly atmospheric and spooky. Is that something you’d like to explore further in the future, doing maybe a complete album of instrumentals or perhaps horror movie scores?

Zach: Yes, we plan to continue exploring ambient and instrumental music. I could see us even going into a progressive rock direction a bit. The possibilities are endless and Rated V was a good starting point for us.

Emily: Absolutely, we’re just getting our feet wet. We have a lot of different concepts and ideas for more Halloween-themed stuff.

Harbinger of D.O.O.M.: Videos are an integral part of VAZUM. Emily’s background in the visual arts has no doubt been an important addition to the aesthetic of the band’s visually-striking videos. The song “Loved 2 Death” is a strong example of that, providing a deliciously eerie cemetery shoot that serves as a backdrop to the music. You guys are obviously horror movie fans; is making short films or delving more in depth into the cinematic aspect of the business something you’d have an interest in?

Zach: I’ve always associated visuals with the music I listen to. And it was important to create an aesthetic as well as a sound from the get-go. I grew up watching MTV and music videos are essential to me. Emily has taken our look and videos to another level.

Emily: I never thought I’d have the technology available for filming and editing videos that I do now on my phone. There was definitely a learning curve with the apps I use. But now that we have a grasp of our tools, we will only continue creating more video content. I’m a huge film buff. My favorite movies include Suspiria, The Thing, and Beyond the Black Rainbow. I’ve studied many films and have been obsessed with film making my whole life. Now I have an opportunity to put everything I absorbed to use.

Harbinger of D.O.O.M.: In my opinion, the best way to fully experience a band is to see them perform live on a stage with a crowd. Have you missed playing live gigs during the pandemic? Have you started playing in front of audiences again now that things are slowly going back to normal?

Zach: We haven’t played any live shows since the pandemic began but we’re starting to put our plans into motion. We want to tour and perform outside of Michigan. I haven’t missed playing live very much because I had been doing it for years mostly as a drummer and it became very routine. The break from shows gave me the opportunity to focus on recording and learn more about producing and engineering. 

Emily: Our live show is very important to us and we are constantly working to make it more engaging. I had only played a few shows with VAZUM before the pandemic. Now we have a completely different set-up and sound for playing live which we are excited to unveil. 

Harbinger of D.O.O.M.: I want to thank you for taking the time to chat with us today and I wish you much-deserved success with V+. Is there anything you’d like to add for people who aren’t familiar with your music or the deathgaze/shoegaze genres in general?

Zach: Thanks for talking with us and listening to our music. We really appreciate it. Ultimately we are trying to push rock music forward. There’s a lot of stagnation with scenes and genres. People are hung up on the past and some bands simply settle for a familiar sound because it has proven to be successful. I think there is still an undiscovered sound out there that people haven’t tapped into. Deathgaze is a new genre and it hasn’t been defined. We are going to show what it means to be a deathgaze band. We are going to define the genre and create our own algorithm. 

Emily: We enjoyed speaking with you, the questions were very thoughtful. Thank you for giving new and obscure bands like ourselves a chance to speak our minds.

All photographs by VAZUM 

VAZUM on Bandcamp

VAZUM on Facebook

VAZUM on Twitter

VAZUM on Spotify

VAZUM on YouTube

VAZUM on Instagram

KISS - Off the Soundboard: Tokyo 2001

Let’s get one thing out of the way: KISS is my favorite band of all-time. Then, now, and they always will be. There’s a certain magic and mystique about the comic book look/vibe and genuine rock n’ roll sound they have that I will never tire of. I have so many fond memories of listening to them growing up in the late ‘70s, throughout the ‘80s and ‘90s, listening to them on tape and CD, seeing their various incarnations and lineups live on stage and on VHS/DVD/Blu-ray at different junctures of my life, from being a kid to a full-grown man. I have KISS CDs, DVDs, toys, comic books, books, T-shirts, collectibles, and all that good stuff. As much of a huge Black Sabbath and Pink Floyd fan that I am, KISS will forever be my desert island band, my go-to if I only had to pick one band to listen to for the rest of my days.

That being said, I haven’t been excited for a good number of years to see them either in concert or to buy anything they’ve released. I didn’t even go see them for their “End of the Road Tour” at either of the two stops they made in my town back in 2019. Paul Stanley, as much as I love him, doesn’t have the pipes he once had. And rightfully so—the man is 69 years old and has been singing for the vast majority of his life almost on a daily basis. My favorite band member has always been Ace Frehley, followed closely by Paul Stanley. I never cared for Peter Criss as a drummer; to me, Eric Singer—their drummer for the past 20 years—is my favorite of the three drummers they’ve had over the years (I really liked Eric Carr as well). As I said, I haven’t been looking forward to anything KISS-related in a while—that is, until word spread around that they were going to start releasing a series of official bootlegs of some vintage concerts, titled Off the Soundboard. When it was announced that the first release would be of their 2001 Tokyo show featuring an as-of-yet officially undocumented lineup of Paul Stanley, Gene Simmons, Ace Frehley, and Eric Singer, I was absolutely stoked! This lineup only existed for about 14 months and has got to be in my top three lineups to hear KISS play live. Add to that the fact that we’re getting a full concert, no studio overdubs and polish-up jobs the way the Alive releases were given, giving us KISS at their raw best, and you’ve got yourself the potential for something truly special. And special it is, my friends; this 2 CD/3 LP/Digital release is a bona fide gem!

Let’s go back in time a bit and explain what led to this lineup for those of you who lost track of who was in KISS at that time. Back in 1996, the original KISS lineup (Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss) reunited during a special MTV Unplugged. From that point forward, KISS put the makeup back on and went on tour for almost two years. In 1998 they recorded and released Psycho Circus, their first album of new material with the original band since 1980. Then began the Farewell Tour—every band/artist does one and it’s never really the end; case in point, they’re doing another final tour 20 years later! Anyhow, in January 2001 of this Farewell Tour, Peter Criss leaves the band. Eric Singer, who’d been with KISS since 1991 until the reformed original lineup, returns behind the drums. So now we have a very cool lineup which is what we have on this fantastic live double CD/triple LP. This lineup would only last until March 2002 when this time it would be Ace who would depart to be replaced by Tommy Thayer (who also happens to be KISS’s current lead guitarist). Strangely enough, Peter Criss would return briefly for KISS Symphony: Alive IV in Melbourne, Australia only to quit after a little over a year for good this time. The current lineup of KISS with Paul Stanley on vocals/rhythm guitar, Gene Simmons on vocals/bass, Tommy Thayer on lead guitar/vocals, and Eric Singer on drums/vocals is the longest running lineup and have been playing together since February 2004.

I won’t be doing a track by track review; instead I’ll point out what were the highlights of the album for me and talk about the setlist a bit. The band is in rare form and plays very tight together, Ace is on fire with his guitar solos, and this is back when Paul still had that iconic voice of his and could pull off his magic on the mic. “Alright, Tokyo! You wanted the best, you got the best. The hottest band in the world: KISS!” With these words, the fiery concert of March 13th, 2001 in the Tokyo Dome begins. They kick it off with a high energy version of “Detroit Rock City”. It’s followed by superb renditions of “Deuce” and ‘Shout It Out Loud”, two staples of classic KISS. Next up is a stellar performance of Ace’s “Talk To Me”, which is awesome to hear Ace on vocals on a song that just isn’t the same when Tommy Thayer sings it (or when KISS does it at all these days since it’s an Ace song). We’re treated to decent to amazing versions of classics like “I Love It Loud”, “Firehouse”, “Do You Love Me”, “Calling Dr. Love”, to a particularly solid rendition of “Heaven’s on Fire”—a fun song to hear Ace play on since he wasn’t on the 1984 Animalize album from which it comes from. We get a standard performance of “Let Me Go, Rock ‘n’ Roll” followed by a killer “Shock Me” with Ace on vocals again, segueing into a fantastic 10-minute guitar solo; truly one of the highlights of the album. Disk one ends with the excellent “Psycho Circus”, which to me always fits really well alongside their ‘70s material and sounds awesome here. 

Disk two starts with a really fun performance of “Lick It Up”, another cool song to hear Ace do his guitar thing on since he didn’t play on its studio counterpart, followed by a bit of a boring Gene solo—maybe it’s just me but I never find his solos particularly interesting unless I have visuals to go along with them or that I’m actually in the crowd at a show. “God of Thunder” is pretty great, sounding ominous as ever, followed by Eric Singer banging the drums for a solo. Peter Criss was never as powerful or imposing a presence as Eric Singer on the drums, in my personal opinion. Then we get to “Cold Gin”, one of my top three favorite KISS songs of all-time, and it’s a fantastic, live reference version we’re treated to here. It’s followed up by an equally phenomenal interpretation of “100,000 Years”. And the hits keep on coming with “Love Gun”, probably my fave KISS track of them all, with Paul’s usual flying to get up close with the crowd. Next up is a very special treat in the form of “I Still Love You”, from 1982’s Creatures of the Night (one of their top three albums in my humble opinion). This is a song that’s rarely performed live and it’s done here stripped, with only Paul singing and playing guitar by himself. It’s not the full song either, but it’s just perfect the way it is. It segues into the always brilliant “Black Diamond”, with Eric Singer doing a terrific job on vocals. The show winds down with a stellar performance of “I Was Made for Lovin’ You”, a song still hated by many hardcore KISS fans, but one that I’ve cherished since I first heard it when I was a wee boy of six years old. Things wrap up as usual with “Rock and Roll All Nite”, which honestly, I could care less if I never heard it again. They do a good job of it, but at this point, to me this song is the only song that’s been played too many times, whether it’s used for TV commercials, in movies, when KISS performs at events or are guests on TV shows; it’s overkill. I wish they’d have shelved it for a while and unearthed it after a number of years.

The verdict, as you can already tell if you’ve read this far, speaks for itself: this is one of the all-time best live releases from KISS and a must-own album if you consider yourself a KISS fan in any way, shape or form. It ranks up there with the first Alive, as blasphemous as some of you might think me for saying this. Look, it’s a fantastic lineup, they’re on fire, the song selection is diverse with some nice little-heard gems squeezed into the setlist, and it’s a full-length concert, warts and all. In terms of bootlegs, for those of you who collect such things, it’s on the level of the outstanding New Zealand 1980 boot taken from the final night of the Unmasked Tour. In terms of official releases, this show is a very good portrait of an almost undocumented era of KISS and just as important in the scheme of things as, say, their Dodger Stadium show of Halloween 1998 (another bootleg I’d love to see released officially, although the video version appears in full on the third KISSology DVD set). I’ll be revisiting this album quite often in the days/weeks/years to come and I’m eagerly awaiting the announcement of the next volume in the Off the Soundboard series.

Visit KISS’s Off the Soundboard Shop

Eric Stangeland - Wake Up

It’s the year 2021 and Grunge is making a comeback! Eric Stangeland’s third album—his first for ToneMark Sounds—is a nice blend of Grunge, Hard Rock, and Metal. Titled Wake Up, the record is heavily influenced by the grunge sounds of the ‘90s, going for a fresh take on the beloved alternative subgenre. It isn’t so much a solo album as a dozen musicians contribute eclectic styles to the mix, similar to what Santana and Slash did on their solo albums with a plethora of guest singers/musicians. The end result is very rewarding.

Wake Up is first and foremost a very personal album, and a concept record at that. It’s introspective, dark, moody, and uplifting at the same time. Featuring both male and female vocalists, a wide variety of musical arrangements (even some rap thrown in for good measure), it’s also a platform for Eric to showcase his guitar chops and proficiency as a lyricist. The album is divided into two halves: the first half is heavier and louder, while the second half is quieter and moodier.

Things kick off with the gloomy “Sky Glazed Over”, featuring Jes Phipps on vocals. This tune has a great chugging riff throughout and is a perfect tone-setter for the album. “Falling Away” is faster and gloomier and has Mark Moots as guest vocalist, with Eric Stangeland scorching the earth with his fiery guitar. The third cut, “Head’s in a Fog”, has a cool Alice in Chains vibe and Gus Caba’s vocals are eerily reminiscent of Rob Zombie’s. It also features Stevi Cooper rapping to add some flavor to the tune. I really dig this song! Next up is “Don’t Make Me Go”, a very catchy alternative track sung by Katie Keller channeling Mother Love Bone, which is actually referenced in a spoken word part by Joy Stark in the latter section of the song. It’s followed up with “Not a Dream, Not Reality”, with Mark Earnest on vocals and a fine display of Eric doing a killer guitar solo. On to the mellower second half of the album, we have the dreamy “Gravity” with the lovely Lisa McQuiston taking over vocal duties. The slower tempo continues with “When Can I Leave?!”, a superb instrumental guitar track that I wish were longer. It segues into “No Matter What”, a standout song on this great album, a kind of a rock ballad, featuring another female vocalist in the talented Brittany Maggert. We go back to a heavier groove for “Holding Hands in Silence”, a solid rock song with terrific guitar play which has vocalist Mark Moots returning on the mic. The album comes to a close on a softer note with the acoustic “For You”, which incidentally is the only song on the record that Eric sings; it’s split with a brief, sort of hidden instrumental track titled “For Ed” which provides the perfect finishing touch to end this beautiful record.

Eric Stangeland’s Wake Up is an amazing collaborative effort from both a musical and lyrical standpoint. It showcases a broad array of sonic influences, predominantly grungy, that echo Alice in Chains, Soundgarden, and ‘80s-inspired guitar solos, all the while presenting the listener with lyrics that will make you ponder and inspire you to keep fighting and moving forward if you’re going through hard times. After four spins so far, this record keeps getting better and better with every listen—a telltale sign of a fine album. This one’s a keeper, folks; show Eric some love and pick up a copy today!

Eric Stangeland’s Bandcamp page: https://ericstangeland.bandcamp.com/

Wytch - Exordium

Welcome to the ceremony. We will be discussing Sweden’s heavy rock/occult rock band Wytch and their debut album, Exordium. Some albums resonate with you instantly and leave a lasting impact. Exordium is one such album. It fires on all cylinders and delivers the goods in spades, my friends. As part of the Ripple Music label—quite probably the finest purveyor of heavy/stoner/doom music out there—the expectations were high for this release, and this female-fronted outfit doesn’t disappoint in the slightest.

Initially called Aska, this quintet fronted by the uniquely haunting Johanna Lundberg on lead vocals, renamed itself Wytch following the release of an EP in 2017. It’s a cool band name but their songs are less occult than you would expect from a band called Wytch. Nevertheless, don’t judge a band by its name as they are all skilled musicians and can hang with the best of them. It’s been stated a lot about this album, but it needs to be reiterated: Wytch’s brand of rock is a perfect fusion of Fleetwood Mac and Black Sabbath in their prime with a blues rock edge. An absolute delight to this listener’s ears!

This 39-minute, 8 song ceremony begins with “Black Hole”, with an infectious opening riff and its sing-along chorus; a real standout track on the album. Things slow down a notch for the next song, “Savior”, a more contemplative tune, with yet another catchy chorus. The album seems to follow a pattern of alternating between a fast song followed by a slower one, and so on and so forth, giving the record a good balance. “Savior” is meticulously crafted and proves to be just as solid as the opening cut. “Evil Heart” is a gloomier song with pulse-pounding rhythms, fast-paced, and fun. “Blood” slows things down and has got a retro bluesy vibe. Next up is “Warrior”; this one has a take-no-prisoners attitude, high energy, and provides a good showcase for the drummer. “Rebel” is a gem of a song and my second favorite on the record. It’s another slower-paced track which erupts at one point, a kind of ballad with teeth as they used to be called back in the day. The chanting of “Now is the time to rise, Lord of flies” will find its way into your brain and stick there. “Break You Down” is more of a reverse ballad, if there is such a thing. It’s melodic, catchy, distorted, and memorable, with some awesome guitar playing. The album closer, “You”, is my absolute favorite song on this superb record. It’s music to drive to on a desert highway wearing shades with the windows rolled down going way faster than the speed limit. The very definition of a classic rock tune.

Wytch’s Exordium is in my opinion a strong contender for album of the year thus far. I’d also go as far as say that it’s potentially Ripple Music’s best album released in 2021, and that’s saying a lot. Ripple have had a phenomenal year up to now in terms of bands and albums they’ve put out—maybe their best ever—and show no sign of slowing down. I’ve heard a lot of their output, but to me, Wytch takes the crown as the finest record of the year, five months into 2021. Do yourself a favor and add this record/digital album to your collection ASAP!

Ripple Music’s Wytch Bandcamp page: https://ripplemusic.bandcamp.com/album/exordium