Chybucca Sounds

Release Date: Out now.

Record Label: Independent.

Earth Burnt Black practise what they preach: Harrowing Catharsis, the Colorado quartet’s debut is, as its cover art suggests, rather bleak.

According to the band’s online biography, Earth Burnt Black is: “an amalgam of sound that is never content to repeat itself.” Like most people who read this, the obvious question is: How does a band that straddles the blurry lines of progressive-sludge and black-metal dirges, not repeat itself? The answer is: they don’t.

Despite this, Harrowing Catharsis is certainly an enigma. The appropriately named prelude to ‘The March’ (‘Intro’) is rife with guttural howls, before bursting into dynamic, uplifting prog; the likes of which are sure to draw similarities with Swedish metal darling’s Opeth; before a timely, tuned-down twist, takes the listener back to Satan’s lair.

Like Opeth, Earth Burnt Black is a forward-thinking band: combining the intensity of death-metal with the abandonment of prog-rock; however, despite this being only their first release, the boys from Colorado are at a crossroads: More prog, less metal? More metal, less prog?

Release Date: Out now.

Record Label: Sulatron Records.

Press releases do one of two things: Either they provide factual content, that can’t be found after a quick, Google search; or they contain meaningless, nonsensical bravado.

Now, while the lengthy, A4 sheet, that accompanies Vibravoid’s sixth studio album is inevitably the latter; there’s a single statement that rings true: “Gravity Zero proves psychedelic-rock music, to be alive and well.”

In fact, without Vibravoid the genre could be dead altogether. Since 2009, the Germans have given the world: two live albums, an extended E.P. and Minddrugs: a six-track release that includes an ambitious cover of Pink Floyd’s ‘Set the Controls for the Heart of the Sun’. Gravity Zero, the group’s first full-length offering of the year, is the apotheosis of what Vibravoid can do as a power trio: Namely, dreamy layered grooves, with mystical vocals, and occasional wild-eyed freak-outs.

While musically sound, the impressionable acid-dodgers try to be a little more ‘out there’ in comparison to the rest of their peers – their website proves this – and while this does little to hinder the band’s overall image; it does affect the albums lyrical content; spewing out gems such as: “flower-power is the only solution” and “take a ride on good vibrations” – which is great if you’re having bad acid flashbacks, and your calendar is telling you that its 1968; but for those of us in 2012? Not so.

Release Date: Out now.

Record Label: Go Down Records.

Despite showing glimpses of occasional experimentation; Autumn’s Rain’s debut stays firmly rooted in pop-rock territory.

A young, fashionable trio from Venice; the band’s biography pretty much writes itself; but, with this in mind, you can’t help feeling that this collection of tracks is a missed opportunity. ‘Tannannann’, the album’s ballsy opener, merges controlled ‘70s grooves with high-octave grunge – and even Chili Peppers funk – with blistering intent.

Unfortunately, this is where the excitement ends; as apart from occasional blasts of vintage, galloping riffs and cymbal-crashing euphoria (‘Too Loud’ and ‘Piove’) the remaining eight tracks veer aimlessly into FM-radio territory: self-directed hollers, complete with uninspiring melodies; the likes of which have been present on Foo Fighters albums (sorry, Dave), for the best part of a decade.

Release Date: Out now.

Record Label: Kornalcielo-Area Pirata.

As the Italian rock revolution continues to avalanche; the quantity to quality ratio is inevitably going to increase. How long will it be before an exciting, in-your-face ensemble, rejects the sweet leaf, in favour of chest-beating, rock ‘n’ roll?

Sporting a sound that’s one part Hellacopters, one part Turbonegro, and a tiny part Motorhead, the Homebreakers create music that would sound right at home in a packed, sweaty environment. Brash, cocky and ballsy, Heroes of Tearsvalley contains all the subject matter that you would expect from angry, working-class punks: Isolation and frustration.

In fact, you only have to take one look at the album’s track titles to see a recurring theme, as: ‘Rape Me’, ‘She Rocks’ and ‘So Lil’ So Bitch’ is one-of-the-same – albeit in separate three-minute bursts – while ‘Playstation Generation’ highlights the shortcomings of their nation’s youth: “Can’t understand the youth of today/ They’ll sell their souls just for a dime,” – with vocalist Raffa Martino, bridging the gap between rebellious bravado and level-headed experience.

As you’ve probably already guessed; this record isn’t going to change your life; however, for the 40 minutes that it’s on your stereo; the Homebreakers will make you feel like a giddy, 16-year-old kid, who has just discovered their father’s record collection for the first time.

Release Date: Out now.

Record Label: Fakto Records.

The tagline that accompanies Naughty Mouse is an interesting one: ‘We’re the 1%. We’re stoner-rock.’

Now, where the band got these figures from is a mystery, however, what is clear, is that stoner-rock certainly accounts for a lot more than just 1% of rock’s integral DNA – you only have to look at the likes of: Clutch, Down and Kyuss to dispel this offhand statement.

So, back to the job in hand: Naughty Mouse, a French-speaking five-piece from Belgium, rarely drifts away from the fuzzy, jam-band roots of their aforementioned heroes; as the combination of windswept slide-guitars and competent chugging, evokes a drowsy listening experience, that is almost a direct nod, to the spirit and warmth, of the Coachella Valley.

Despite doing nothing to dispel the critics, who take great pleasure in ripping apart the desert-stoner-rock genre, as nothing more than: “repetitive, half-assed Kyuss-worshipping,” Staring at the Sun is a symbolic release for Belgium – and the Netherlands’ – thriving-club scene; as you only have to look at the line-up for last summer’s ‘Stoner Rockfest’ in Brussels – where Naughty Mouse were third on the bill, behind Horses on Fire and Ramon Zarate – to see that “half-assed Kyuss-worshipping,” is more than just a passing fad.

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Release Date: Out now.

Record Label: Independent.

With a cult following throughout Europe, and a ‘Heroes of Tomorrow’ nomination from Metal Hammer; Traveller on Midway has a lot to live up.

So, does the German’s debut live up to its billing? Well, sort of. The best way to describe this release is by directing quoting the band’s biography: “earthy stoner-rock-meets-powerful, melodic grunge.” Harkening back to a time when these closely-knit genres were bed-mates, the album’s distinctive ‘90s feel is unavoidable; as is its probable place on FM radio playlists.

Thus, Guideline isn’t revolutionary: drawing on a decade’s worth of rebellion, that isn’t their own; however, despite this, they’re no less potent for it; slicing-out head-nodding riffs and fist-pumping choruses with metallic accuracy. While a ‘Heroes of Tomorrow’ nomination is – no pun intended – a little previous to say the least, there is certainly the potential for worldwide acclaim: Despite a lack of individuality.

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Release Date: Out now.

Record Label: Sulatron Records.

There’s not much information out there about Seid: A mysterious ensemble, whose debut was so far overlooked; that only the select few were able to indulge in its cosmic delights.

In a recurring theme; it has been left to Sulatron Records supremo, Dave Schmidt, to rescue these talented misfits from the undergrowth. Having survived green-fingered obscurity, the band and their “fellow spacemen” – I kid you not – are preparing to celebrate the 10th anniversary of Among the Monster Flowers Again, next month.

Like their outlandish label mates, Seid has perfected the art of being wild and abstract in the confines of space, without sounding dated. Sure, there are plenty of airy synths and laser blasts, but there is also full-on ambience – that’s before you start floating to subtle sitar vibes. Elsewhere, Jørgen Kosmos is also convincing in his role of navigator; steering his crew through the turbulence of: anger, madness and sorrow with relative ease. The only thing monstrous about this release is its ambition.

Release Date: Out now.

Record Label: Red House Recordings.

The first thing that strikes you about Temple of Deimos is their incredible knack for mimicking the robot-rock guitar noodling of Josh Homme and Co.

In fact, the Genoa four-piece do it so well, that it is hard to listen to their debut, without the aforementioned desert torchbearers, seeping into your thought process. For instance: ‘It’s Beautiful When I Die’ is a unison slog, complete with multi-tracked vocal harmonies; while ‘Fields of Berries’ is the Italian cousin of ‘Misfit Love’.

Unfortunately – or, fortunately, depending on your love for Homme – the comparisons continue throughout the rest of the album; as ‘More Heavy For a Big Tornado’ is eerily similar to the gothic plodding of ‘Someone’s in the Wolf’, as guitarist Fabio Speranza immerses himself in ethereal guitar jerks and single-note jabs, to the delight of his freewheeling rhythm section.

Comparisons aside – and there’re many – this 12-track release does contain many positives; tight musicianship, radio-friendly singles; the proto-metal perkiness of ‘Super Transistor’ being one; as well as a solid foundation to build upon – even if it isn’t exactly their own.

Release Date: Out now.

Record Label: Go Down Records.

Volcano Heat has lofty ambitions. Together since the summer of 2007, the Italian trio describes their live shows as the “real deal rock experience.”

So, with this in mind, Vive Le Rock! – The band’s full-length debut – should, in theory, contain all the high-voltage zest and vigour of rock‘n’roll’s glorious past in 11 bite size chunks: well, not quite. On first inspection, Volcano Heat does everything right: timeless, gritty artwork that speaks to fretwork lovers of all ages, while casually name-checking the likes of: Iggy and the Stooges as influences.

What this assortment of garage-punk nuggets lacks, however, is individually; each song acting as tribute to their idols, without inserting their own ideas into this melting pot of musical heritage – the band’s shambolic cover of ‘Come Together’ is living proof of this. All in all, Volcano Heat’s inflated ego is nothing more than hot air.

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