Admission, the new album by Torche

Posted on September 15, 2019 by thesonicsofa

Admission was released on July 12th, by Relapse Records

Torche is a four-piece heavy metal band from from Miami, Florida. Their music is characterized by heavy riffs and catchy, harmonic vocals. The band formed in 2004 and have released five full lengths and four EPs. Original members include Steve Brooks on guitar and vocals, Jonathan Nuñez who switched from bass to guitar duties in 2016, and Rick Smith on drums. The group was also joined in 2016 by bass player, Eric Hernandez, who made his first recording with the band on the new album, Admission.

“an absolute juggernaut”

Released by Relapse Records (known for producing such bands as Baroness and High on Fire) on July 12, Admission is the fifth album by Torche, following Restarter in Feb, 2015. The band released several singles during the weeks counting down to the new release, as well as new media content such as a music video for Admission, and a videologue look inside the studio. The album can be bought on standard black vinyl, CD, cassette, or digital download on their Bandcamp page. Also, check out the band’s website for even more merch, tour info, and information about the band.

The entire album is an absolute juggernaut. The songs tend to be shorter than other bands in the genre, but the abbreviated quality makes the album more listenable, and perhaps will leave the listener wanting more, or at the very least, repeat listens. The bass and guitar tones are magnificent, tuned low and overdriven. Melodic vocals harmonize over the hypnotic riffs, and the drums hold the entire album down, with pounding, creative beats. Heavy, distorted riffs fluidly meld with catchy, “pop” sensibilities in the way that only Torche has done for the past 15 years.

From Here opens the album, pounding eardrums with its relentless force and high energy. Other fast-paced headbangers on the album include What Was, with almost subsonic bass notes and creative drumming, and Extremes of Consciousness, which plods forward with driving guitars, and complementing fuzzy bass.

Among some of the poppier songs on the album are Slide, Times Missing, Admission and Changes Come. Slide has intensly catchy riffs and vocal harmonies, yet still finds the opportunity to explore some progressive off-time sections later in the song. Times Missing slows things down with a simpler chord progression and incredible vocal harmonies over the droning guitars and slick musical turnarounds. A poppy beat on Admission propels the song forward, and the lyrics are more contemplative and self-reflecting. Changes Come, the album’s closer, wraps the album up with an incredibly uplifting tone amidst phasing guitars.

“almost impossibly slow and heavy”

Some of the slowest, heaviest moments on the album are toward the end of the album, with the back to back songs On the Wire, and Infierno. On the Wire combines doom-like riffs, with stark, high-pitched guitar harmonies. Infierno is an almost impossibly slow and heavy track, which will test your subwoofers to the limit.

Other notable tracks on the album are Submission and Reminder. Submission has amazingly melodic vocals, with crashing cymbals and trance like repetition of the riff, reaching a fever pitch at the end. Beatles-esque vocal harmonies, paired with swinging, heavy riffs, abound on Reminder.

Torche has once again proven that they can release music which is both incredibly heavy as well as incredibly listenable, while staying consistent with the sound of the band’s previous albums. Admission is an intense musical journey, and listeners will find more beauty in the details with each listen. Make sure to listen to the album all the way through to fully appreciate the arrangement and balanced quality of the LP as a whole.

Tour dates

Sept. 16 The Olympic Venue – Boise, ID

Sept. 17 Diabolical Records – Salt Lake City, UT

Sept. 18 Larimer Lounge – Denver, CO

Sept. 20 Zanzabar – Louisville, KY

Sept. 21 Heavy Mountain Fest – Asheville, NC

Sept. 22 The Wilbury – Tallahassee, FL

Sept. 23 The Atlantic – Gainesville, FL

Nov. 1 FEST – Gainesville, FL

Nov. 9 Levitation 2019 – Austin, TX

“Weightless Waters,” the third EP by Finnish band, King of None

Posted on September 9, 2019 by thesonicsofa

Weightless Waters, the third EP by Helsinki’s King of None

King of None is a hard-rock band from Helsinki, Finland. They produce riffy hard rock, with plenty of stoner and prog-rock elements. From the remnants of previous projects, the band was formed by vocalist Miiro Kärki, guitarist Aleksi Kärkkäinen, drummer Patrick Enckell, bassist Juho Aarnio, and guitarist Juha Pääkkö. The group has produced three EPs: the self-titled King of None in 2015, 2016’s Trouble by the Score, and most recently, 2019’s Weightless Waters.

Weightless Waters, released on April 28, 2019, is composed of six heavy songs. It’s a high energy ride that is arguably their most polished, mature EP to date. The songs range from four and a half to seven minutes. Each song is crisp and tight and it’s a headbanging, hard rock ride from start to finish.. The artwork was produced by musician and artist, Petri Lampela. The album is available for sale on Bandcamp and is also available for streaming on Spotify and YouTube.

Throughout the album, the vocals are melodic with aggressive, occasionally growly touches. Always on pitch, they pair well with the groovy, crunchy compositions. Thematically, the lyrics cover a number of topics. Starbirling and Desolator contain sci-fi elements as well as some hints at self-examination and perhaps absurdism. Worlds Collide and the opener, Words of Mine, seem to be more introspective, with the latter even tipping the hat to Carly Simon’s You’re so Vain. Frog Palace and Yellow Snake King contain fantasy-like lyrics, more typical to stoner rock.

Musically, the entire album is very tight. The guitars are heavy and over driven. There are some great wah pedal riffs, like on Yellow Snake King, as well as some creative double guitar leads, notably in Worlds Collide. Heavy walls of guitars will blow you away, like the fantastically slow and heavy intro to Desolator, but they prove in the same song that they are able to explore softer, more subtle moments, with psychedelic tinges.

The drums and bass are always locked together, like a tight, rhythmic force. The bass sounds heavy and chunky, and can be heard really well on the opening of Yellow Snake King. The drums are relentless, shuffling along with a constant barrage of fluid beats and drum fills, including lots of double kick-pedal work. There’s some nice use of a china cymbal and some intricate drum work on Frog Palace, as well as some really shuffly grooves throughout the album.

King of None have proven once again that they can produce some awesomely fast paced, intricate hard rock. Weightless Waters is an EP that will reward repeat listens, and should be in your music rotation. Support the group by purchasing the EP on Bandcamp today and check out their track, Desolator, below.

Circus Cannon releases new heavy psych EP, Ashmedai

Posted on August 25, 2019 by thesonicsofa

Hailing from London, Circus Cannon is a powerful four-piece heavy-psych band. The band honed their sound while rehearsing in unused buildings, and ended up producing a sound that is both unique and eclectic. They seem to draw from powerful influences, but produce a sound that is unique and which adds diversity to the genre. The band’s newest independent release, Ashmedai, came out on July 4th, and is available for free or “name your price” on Bandcamp.

Ashmedai is the latest in the band’s quadrilogy of EPs, all of which demonstrate the band’s ability to create both interesting vocal driven and instrumental music. Ashmedai contains four songs, each very different from each other, but tied together by the common threads of riffs, trippy guitar leads, heavy bass, and pounding drums. The EP also features plenty of cool change-ups, heavy distortion, and an experimental flavor, sharing a vein with notable veterans like Dead Meadow.

Frog King (4:49) is the instrumental first-track. The wah pedal features heavily and the song has several tight change-ups that keep it rocking. Dynamic guitar leads and a dialed in rhythm section make this a solid opener, and the intensity and heaviness of the ending sound amazing.

The second track, Yes Yes Yes Yes (4:56), is proabably the EP’s most structured song. It starts right in with a riffy groove before the vocals make their first appearance. The vocals, though shaky at times, are very melodic and gave me some slight Nazareth vibes. The instrumental outro is mellow, with a nice, understated guitar lead.

Goblin (3:09) is one of the most experimental tracks on the EP, with a trippy opening, and an interesting drum beat that plays off of both the bass and guitar, which are employing different time signatures. This section is satisfyingly interrupted by a heavy section that unifies all of the instruments, before falling back into the multi-rhythmic groove for the finisher.

Wendigo (4:49) finishes up the EP solidly. The heavily distorted vocals sound great, forming out of phasing guitars, with each taking turns supplying the melody. The bass stands out heavily in a good way, holding down the song while the guitars explore the sonic space. The song wraps up with some tasty drum fills interspersed throughout a syncopated finish.

Ashmedai is a solid release that rewards repeat listens and draws you in with its complex sounds and arrangements. Remember to download it for free on Bandcamp or support the band by naming your price. If you’re in the London area, check out the band at a free show on September 13th at The Underdog, performing with Trevors Head and Dead Yeti.