SILENT AGREEMENT are a foursome of musicians that since their live debut in 2018 have made quite an impact on their local hard rock scene in Germany. Their performances have given the band a reputation of being a very energetic live act, and after having achieved this highly valued merit the band entered the studio to record the EP that we're having a closer look at today.
Very little information was given to me about the band themselves, apart from links and production info, but we'll focus on the main feature itself; the music.
SILENT AGREEMENT's first addition to their discography is an EP that sounds like the band has found a lot of inspiration from their genre's 70's era. Albeit their expression is a dirty and unpolished one, "From the Amusement Park" has received a modern and powerful production treatment.
The three tracks on the band's first studio effort are loaded with riffs that often prove that less is more. For instance, the riff that is the basis of the opening track "Solid" is far from the most innovative of riffs, but serves in all its simplicity as a powerful momentum that gives the track a heavy, almost stoner-like drive. Simple, but effective.
"Dream World" and "Judas" are more upbeat than the opening track, and the introductory riff on the former is a treat you don't want to miss. The chorus is one that stays in the back of your head long after you played it, and the instrumental middle section is a curious little anti climax in a song like this. "Judas" has a bit of a funky approach that comes as a bit of a surprise, but nevertheless an interesting feature on a track that concludes the nearly twelve minutes of music on SILENT AGREEMENT's debut EP.
★★★★★★★☆☆☆
Tracklist:
1. Solid*
2. Dream World*
3. Judas
*Added to the Subterranean Noise - 2020 playlist on Spotify. Line up: Roman Erken - vocals Michael Enders - guitar Lukas Krenzer - bass Ben Mathe - drums
From the Molise region in southern Italy comes a three piece ensemble that has played together since 2017. The nucleus of what was to later become BS BONE took shape after Vyper (bass/vocals) and Steve Grind (guitar) decided they wanted to blast the dust from their amps, and started working on riffs with the intention of creating new, original material.
Eventually, BS BONE became a reality after the addition of drummer Leo, and the band recorded a four track demo during the summer of 2019. This very demo is today's subject for review here on the Subterranean Noise blog, so let's have a look, shall we?
"I Don't Give a Fuck" is the welcoming title of the opening track, and it starts off nicely with a riff that has a raw, dirty and catchy Motörheadish drive. The rhythm section joins the game with an almost funky, midtempo groove that immediately sends this listener's thoughts back to Rage Against the Machine in their early days. A good, consistent choice for an opening track, and it holds nothing back on showing the attitude that these three Italian dudes have.
"99 Lions in a Cage" takes the band in a slightly different direction. The guitars seem very inspired by Queens of the Stone Age, Foo Fighters and even Iron Maiden. More melodic than the opener, but an interesting track that proves that BS BONE in terms of style certainly appear quite versatile.
This writer's personal favorite is "Dysfunctional Souls", a furious little bastard of a track that brings the band back into their punky raw mode, making "99 Lions in a Cage" seem like a ballad in comparison. A suitable reference could be Suicidal Tendencies, and their "Join the Army" album from 1987.
The demo concludes with the slightly heavier "Rant", filled to the brink with powerful riffs and pounding drums. A wah-wah seasoned chorus riff gives this closing track a Black Sabbath/Kyuss type of vibe, thus making it a worthy ending of BS BONE's first introduction.
The only thing I am struggling with are the vocals. They very quickly get rather tiresome, and (for this writer's personal taste) put quite a damper on the material overall. Nevertheless, I am looking forward to hearing how these songs, and hopefully many more, will sound in a cleaner production. That being said, "Inside Insanity" sounds fairly decent for a demo. It was recorded and produced by the band themselves, and I would say they did a good job shaping it into the product it became.
★★★★★★☆☆☆☆
Tracklist:
1. I Don't Give a Fuck
2. 99 Lions in a Cage*
3. Dysfunctional Souls*
4. Rant
ON THE SUN (USA)
"Solar Savior"
(Solar Savior Records)
Release date: June 27th 2019
Genre: Stoner rock, classic rock
Links: BandCamp Spotify
Chicago based ON THE SUN is a fairly new four piece group of stoner rockers, formed in 2018, but the basis was founded by Derek Ault (vocals) and guitarist Jay Septoski. After completing the line up with bassist Fred Nettnin and drummer Matt Torossi, the band found the stability they needed to start writing and recording their debut EP.
Inspired by Kyuss and Black Sabbath, the six tracks on "Solar Savior" are well within the fuzzy standards of classic stoner rock, and sound the way Soundgarden probably would do if they played on Sleep's gear.
"On the Sun" is as epic and heavy as stoner rock can be, and "Everyone" is more uptempo, with an opening riff that has a catchy Aerosmithic drive. "Fully Krausened" is the more melodic single choice, and "Paper is the Devil!" has a Ramones/Motorhead like simplicity that turns it into a bit of a highlight for this writer. "Mind Eraser" is dark and fuzzy, and slightly more downbeat than the rest of the tracks. "Narrow Mind" is the sixth and closing track, and features the same drive that "Everyone" had, making it a worthy conclusion to a thoroughly massive debut from ON THE SUN.
★★★★★★★★☆☆
1. On the Sun
2. Everyone
3. Fully Krausened
4. Paper is the Devil!
5. Mind Eraser
6. Narrow Mind
ON THE SUN:
Derek Ault - vocals
Fred Nettnin -bass
Jay Septoski -guitar
Matt Torossi - drums and percussion
From the lowlands of Denmark, where the highest natural point peaks merely 171 meters above ground level, comes an ensemble that has been around since 2012. REDWOLVES was formed in Copenhagen, where they became part of a community that shared their affection for classic heavy rock, as well as the multiple Scandinavian bands that appeared during the first decade in this milennium. Bands like The Hellacopters, Gluecifer and Turbonegro are mandatory mentions when we're looking back, and REDWOLVES leave us no doubt where their expression has its roots.
Their debut arrived in 2016, in the shape of the independently released four track EP "Walking Roads", which had a slightly more direct sound than what they have on the full length that is under consideration in this review. The EP has a punklike rawness that for example Turbonegro is well known for, but it also showed strong indications that they were more than "just" a hard rock n' roll band.
"Future Becomes Past" is the title of their brand new full length album, and it is a bit of a complex album. A lot of the thematics in the lyrics are based on frustration and anger after an episode where singer Rasmus Cundell was assaulted, not long after the band had begun writing material for the album. Arguably this must have affected not only the lyrical content, but in musical terms too.
The album consists of eight tracks, where the first four are relatively up-tempo and have a more positive vibe. "Plutocracy" is the opening track that starts with a riff that wouldn't sound out of place on any The Who album. The first thing you notice is the dirty and slightly distorted sound, but if there is any genre that suits this kind of production, it is this one. The album has an analogue sound that gives the material that wonderful warm sound, and it suits the band perfectly.
"Rigid Generation" is another fetching and catchy tune, and along with "The Abyss" it contributes to giving the album a highly energetic start. "Fenris" was released as a single in April, and I am starting to suspect that Pete Townsend is a huge inspiration to Pete Townsend. The song is another catchy track, and you can find the link to the music video in the album details further up in this review.
We're halfway through the album, and at this point the band decides to slow things down a bit. "The Pioneer" is a seven minute track that starts off in a more quiet manner than the first four, and the band allow themselves to experiment a little more. They create great instrumental soundscapes with only their basic instruments, thus confirming that "less is more". Quite modest all the way through when it comes to tempo, and slightly darker than the previous tracks, but "The Pioneer" gives you the first taste of a different side of the band. And it most definitely is a sweet one.
"Voyagers" is another epic piece, and if "The Pioneer" was an experience, this track takes you on a full sonic journey that won't stop until the clockworks reach 9:17. Everything fits here, from those tasty and gorgeous ambient guitars that are mixed down low in the center channel during the intro, through the slow and carefully structured build up to the climax towards the end of the track. "Voyagers" is a journey on its own, and in my ears the absolute strongest piece on the album.
After the same clean intro that started off "Voyagers" also concludes it, REDWOLVES return to more familiar form with "Farthest from Heaven". More washy cymbals and chord based riffs, but with blast beats (!), just for variation. Not the first thing you'd expect, right?
"Temple of Dreams" is more midtempo based, with heavy rhythms and a bit more stoner like feel throughout the track. The stoner element is never absent from the other tracks either, but it's never a strong enough part of the band's music to really turn them into a stoner band.
In conclusion, REDWOLVES have accomplished to make an album that is both catchy and gripping, and yet it allows the listener to drift into different variations of moods along the way. "Future Becomes Past" is a fine addition to the Scandinavian rock n' roll scene, and while daring to experiment and evolve into being more than just a traditional hard rock act, REDWOLVES is a band that should not go on unnoticed.
EGONAUT (Sweden)
"Omens"
(Bastard Sounds Records)
Release date: May 24th 2019
Genre: Melodic hard rock, stoner rock
Links: Facebook Spotify Instagram Website
EGONAUT are a powerful ensemble in quintet form from Borås, Sweden. Initially a punk oriented band, but over the years they have evolved from punk to stoner and hard rock, into what they themselves call a "supersonic doom n' roll institution". They released their first album "Electric" in 2011, "Mount Egonaut" in 2013, and after their third album "Deluminati" came out in 2015, they realized there was a line up change needed. Emil Kyrk entered the band in 2016, and his first album with EGONAUT was 2017's "The Omega", a conceptual album where they tell the story about a seeker, who is trying to find his place in the modern world. Curious as I am I had a brief listen on one of the major streaming platforms, and it was quite a pleasurable discovery.
The band have built up quite a reputation as a live act as well, and have been on tour and doing gigs all over Europe. Sadly, as far as my research goes, they have not visited their closest neighbor in the west yet, but hopefully this can become a reality eventually.
However, EGONAUT have been writing material since "The Omega" too, and their most recent addition to their discography is "Omens", released on Bastard Sounds Records.
After the first couple of listens, this is not quite as hard hitting as what I heard on "The Omega", but it is still a deliciously powerful and massive display of Swedish hard rock. The stoner influence is absolutely present, but I feel the structure is more direct and rooted in the hard rock genre. The opening riff is capturing with a catchy drive, and when the organ comes in and adds that sexy, tasty, dirty 70's vibe to it all, it is apparent that these Swedes had my doctor's order delivered exactly as I needed it.
Kyrk has a powerful voice that fits perfect to EGONAUT's music. In some places he reminds me of Jorn Lande, especially when he reaches the high vibrato. At the same time he has the fierceness of Tom Gabriel Warrior, and when it's placed in a warm and lush mix with all the other components in EGONAUT, be sure you get a fine Swedish blend.
★★★★★★★★☆☆
EGONAUT is:
Emil Kyrk - vocals
Fredrik Jordanius - guitars
Dennis Zielinski - keyboards
Mikael Bielinski - bass
Markus Johansson - drums
