Live Album Reviews: Blues Pills v Zodiac

This week sees blues rock aficionados Zodiac and Blues Pills both release an album of live material. The former have their Road Tapes, Vol. 1 for sale whilst Blues Pills have the simply-named Blues Pills Live for your delectation.

If you fancy a journey into your soul and psyche then the bell-bottomed, warm retro melange of Blues Pills should certainly do the job. Their live recording is the feistier, fresher and stronger of the two. Naturally, it is taken is from their performance at the Freak Valley Festival in Germany, run by their friend Jens Helde, the man responsible for giving them their name.



Bursting with energy it kicks off with a glorious, spine-tingling rendition of “High-Class Woman” before heading on into the heart of the material from their debut self-titled album – the remainder comes from their few EP releases. The production is full and meaty – vocalist Elin Larsen gives your ears a good work-out whilst the great lumbering bottom line tickles your toes. Somewhere in the middle of their set, they settle down and begin to extend tracks like “Black Smoke” and the superb “Dig In” with honeyed, bluesy jams. The focus of the crowd turns here to Larson to help them through and by throwing a few vocal sweeps and crescendos in, she manages to hold their attention as plenty of appaluse, wolf-whistles and howls of joy fly back at her.

Zodiac, rather, take that classic Stateside rock n’ roll template yet give it a contemporary feel by infusing elements of pop, funk and blues. Their Road Tapes release is well-knitted together and comes from parts of their 2014 Fall Tour. With three albums-worth of material to sift through, only 4 of the 10 tracks come from their latest release.

What they do tracklist makes their “set” feel a little sluggish although a quiet crowd don’t help their cause. Sadly, they miss out their pièce de résistance, “Sonic Child”, but they do reach for their trusty Neil Young cover, “Cortez The Killer” and the groove-laden “A Bit Of Devil”. The recording is also a little muddy in places, but the twin guitar attack of Nick van Delft and Stephen Gall stand out nicely. Certainly, the groove of “Diamond Shoes”, the shape-shifting beauty of “A Penny And A Dead Horse” and the 15-minute jammed-out “Coming Home” give this enough variety to warrant your attention.



For those intending to splash the cash, I’d recommend buying Blues Pills Live, leaving Road Tapes by the verge and getting a piece of Zodiac’s mind-blowing third album, 2014’s Sonic Child instead.

Also online @ Ave Noctum = http://www.avenoctum.com/2015/04/live-albums-blues-pills-v-zodiac-nuclear-blast-napalm-records/

Album Review: Zatokrev – The Bat, The Wheel And A Long Road To Nowhere

This quartet from Basel, Switzerland have been plugging away with their low-slung dramatics since 2003, and this constitutes their third long-player; this time with a new “fixed” line-up. The fact it’s getting a release on the revered Candlelight label proves just how well-received their early efforts have been. They describe their music as from the “sludge apocalypse” genre, which is an effective way of saying you touch most bases without actually nailing yourself to any one flagpole. Naturally, as an obsessive hack, I’ll try and guide you through their hellishly vast, genre-hopping sound as best I can.

Opening this can of worms, you’re first hit by the morphing, battering miasma of “Goddamn Lights”, which introduces you to their heady world of opposing tones. Here, disembodied screaming is blasted over rambling ambience which some might refer to as progressive hardcore, others as burbling doom meets screamo. Honestly, neither description seems wholly suitable, but it will set you in mind of the type of painful agony that bands like Amia Venera Landscape, The Elijah and Devil Sold His Soul peddle. Then, the necrophobic lyrics of “9″ and the pent-up rage of “The Bat” point you in the direction of something much nastier; the Ihsahn-esque vocal howl, ritual drum patter and crushing strings cosy up to more of a pounding, black metal sludge.

Moving on still further to the howling stoner crush of “Medium” and its slower-paced brother “The Wheel”. The former bookends itself with the fist-throwing chorus but, in the middle, wastes our time by dicking around with a full six minutes of disjointed, self-indulgent experimentation; swathes of nothing but endlessly morphing, crescendos of tuneless white noise. There’s even a plodding, cleanly chanted “Angels Of Cross”, replete with a set of incessant chord strikes that are allowed to echo until they disappear, as they attempt to present yet another side of themselves and a kind of textured, psychedelic doom.

There’s forever the sense that a little refinement here and there could bring the hour-long running time down to something a little more digestible. There’s also the question of accessibility – the album would appeal to a much wider fanbase if it wasn’t for all that left-field string-scraping and ear-folding feedback. That kind of material is only going to appeal to those with a more eclectic ear. Of course, when they do put on their weeding gloves, even if just to break up their tracks or dial into a simpler rhythmic structure they become something else entirely. For those highlights, head to “Rodeo With Snakes”; a heavy-lidded, mescaline and blues-infused screamer – fans of The Plight will love it – and the two-parter “Feel The Fire”. That one burns up just the right amount of hardcore pound and weaving, plucked lead from “Part 1″ before it’s dumped off as a sparser, less intense smouldering pile for “Part Two” to angrily sift through.

Zatokrev’s …Long Road To Nowhere is a hugely enjoyable, yet exhaustive and exhausting route to journey down – certainly prepare to experience both some sublime and ridiculous destinations en route.

Also online (with extras) @ Ave Noctum = http://www.avenoctum.com/2012/08/zatokrev-the-bat-candlelight/