REVIEW: BLACK MOTH [CONDEMNED TO HOPE]

★★★

REVIEW:

BLACK MOTH

CONDEMNED TO HOPE

NEW HEAVY SOUNDS

BY ERIK SUGG

The world of heavy music has seen no recent shortage of good bands with female singers, often ranging from the pagan witches, to the thrift shop hippies, to the hypersexual, and even the masculine, “tougher than men”-types. Every style has the perfect fit regardless of the varying degrees of womanliness, and it’s clear that the heavy music world not only embraces women singers, but women in general. This constantly challenges that ages-old misconception that metal and heavy rock are for “dudes only.” Blood Ceremony, Witch Mountain, Kylesa, Royal Thunder, Jex Thoth, The Devil’s Blood... The list goes on and on. Black Moth, from Leeds, England, is one of the latest groups to feature a front lady whose vocal prowess could send most men whining back to their pub seat. Their follow-up to 2012’s “The Killing Jar” will drop in September of this year. If the response from their recent European tour with Uncle Acid & the Deadbeats is any indication, all signs are pointing to the upcoming “Condemned to Hope” as a record that will be cranked up and rocked out on both sides of the Atlantic.

REVIEW: BLUES PILLS [SELF-TITLED]

REVIEW:

BLUES PILLS

SELF-TITLED

NUCLEAR BLAST RECORDS

BY ERIK SUGG

 Oh, Sweden. Cold, Scandinavian country of the northern hemisphere known for its socialism, potted herring, beautiful women, and its friendly, near-timid, residents whenever they’re not shooting their prime minister. Sweden is also known for music–well written and well executed music, often rivaling seminal musical countries like the United States and England. Whether it’s classic Swedish prog groups like November or Kebnekaise, death metal bands like Entombed or At the Gates, retro garage rock like the Hellacopters and The Hives, or the current wave of doom traditionalists like Graveyard and Witchcraft, it’s doubtful you’ll find a music lover who doesn’t celebrate at least one Swedish group in their catalog. Besides, everyone has a secret soft spot for Abba, right?

Blues Pills is the latest talent to blast out of Sweden and into our collective orbit, (although the band technically features members from all over the globe). The band emerged in 2011 and immediately took the European festival scene by storm with their good looks, their flowing locks, and their ‘69-era Fleetwood Mac-infused sound. If you’re reading these words, rolling your eyes and groaning, “Just what need… ANOTHER Swedish retro band,” just stop there. These soulful, psychedelic blues rockers will make you eat those words. Blues Pills is inventive and authentic, and is sure to blaze through seas of mediocrity and apathy to shine like the stars these incredibly young musicians were born to be. Their self titled debut, courtesy of Nuclear Blast, may very well be one of the best releases of 2014.

REVIEW: JOHN GARCIA [SELF-TITLED]

★★★★

REVIEW:

JOHN GARCIA

SELF-TITLED

NAPALM RECORDS

BY ERIK SUGG

John Garcia is one of those musicians whose name should probably be heard much more often.  He’s certainly no stranger to lovers of heavy music, but outside the desert rock realm where John reigns supreme, you’d be hard pressed to find everyday rock and rollers who mention his name with any regularity. He’s got a hell of an impressive resume and has made many great records while collaborating with a vast array of musicians. But if all John Garcia had ever done was sing on one lone Kyuss record, he’d still be worthy of all his praise. That’s because his singing is that good. He’s a once in a generation sort of talent whose voice can make a mediocre band great, but all of John’s bands have been far from mediocre.



Kyuss caught on during a time when the flamboyant flash of hair metal had long since been decimated by the Pacific Northwestern roar of bands like Nirvana and the Melvins. Folks who were into heavier music got their ears used to the honey-gargling screams of singers like Kurt Cobain, or the nasally whine of alt-rockers like Billy Corgan. With the exception of a few celebrated vocalists like Ian Astbury, Chris Cornell and Glenn Danzig, it seemed the classic rock singing style that had evolved from the ‘70s was going to the wayside. The age of irony was coming fast, and that style was too serious for the college rock crowd. Even metalheads were beginning to pass over the soulful in favor of the guttural. And then the circus came to town. Kyuss hit the scene and managed to blow minds with their fuzzed out, low-end rumble, but the fiery, Gillan-esque howl of John Garcia propelled the band’s power deep into the stratosphere. Their influence on heavy music cannot be overstated. Grunge was no longer the go-to sound for hard rockers. All of the sudden everyone, everywhere wanted vintage gear, detuned guitars, and a singer that sounded like John Garcia.