Wytch, Exordium (Ripple Music 2021)

The debut album from Sweden’s Wytch is a rugged and dynamic statement of intent burgeoning with both straight-forward and clandestine perambulations.

Formed in 2017 as Aska, the band released an EP under that name and then switched to Wytch for their first long-player, Exordium. The musicians have performed with numerous other bands over the years, including Vintersorg. The roster is Simon Lundström (bass), Fredrik Nilsson (drums), Niklas Viklund (guitars), Mattias Marklund (guitars), and Johanna Lundberg (vocals).

There are eight tracks on the album. Each song is set up with a clever and catchy hook that the song develops around. It is a bluesy heavy psych sound defined by those rummaging guitar parts and Johanna Lundberg’s unforgettable, haunting voice. The zippy lead breaks are sometimes pepperpot shots and at other times are languid and insinuating. Sturdy bass and drum lines free the voice and guitars to crossover each other while simultaneously self-actualizing therewith, engendering a synergistic construct. It all sounds effortless but of course it couldn’t be. Music like this is rare.

Stand-out tracks for me are the pairings of expansive “Blood” with “Evil Heart” and doomy “Break You Down” with “You.” That’s half the set, isn’t it – I’m not really narrowing it down much. The thing is when you first hear any song on the album it immediately draws you in and holds onto you with a mystical spell that may or may not be sinister. It is not like a Siren song but instead it is more like the snowfall that awakens the intrepid journeyers in The Wizard Of Oz. It just doesn’t make any sense to stop listening. Recommended.

You can get Exordium right now. Look over the options at Ripple Music’s store or on Bandcamp.


Bandcamp, https://ripplemusic.bandcamp.com/album/exordium

Facebook, https://www.facebook.com/people/Wytch-Band/100063579726744/

Ripple Music, https://ripplemusic.bigcartel.com/product/wytch-exordium-limited-digipak-cd

Wytch, Exordium (Ripple Music 2021)

Dirty Honey, The Dirty Honey Album (2021)

The long-awaited debut album from Los Angeles blues-rock band Dirty Honey is out this week.

Marc LaBelle (vocals), John Notto (guitars), Justin Smolian (bass), and Corey Coverstone (drums) are Dirty Honey, a 1970s-influenced hard rock band that blends blues stylings seamlessly into their music. I saw them live several times in 2019 and the show they put on was always a highlight of any music festival.

The band has previously released an EP in 2019, and two of the singles from it were big hits, “Rolling 7s” and “When I’m Gone.” They find a way in every song to get your attention, sometimes with a big front and sometimes with a subtle insinuation. Every track’s a keeper and they all make you feel like being outside and living life whether the story the song tells is raucous or sad.

The first single off the new album is “California Dreamin’” and it is a goodtime rocker with catchy hooks and a great lead break. Opening the album as it does, it’s your first pass at LaBelle’s voice and it is at once lyrical and forceful, insistent and understanding. All the pieces of the band match up in rare ways that create consistent appeal to rock fans across a wide range of inclinations.

Other favorites of mine include “Tied Up” and “No Warning” because of the rhythm and the way elements land – all the separate parts can be heard on their own and when your brain puts them all together there is synergy. Of the eight songs on the album, seven of are up-tempo, straight-ahead rock songs. The closer is “Another Last Time” and while it is a little more on the somber side than the others, it has a big lead break and it is a powerful send-off for the set. I’d be glad to hear all of these songs live and I hope we get the chance to do that later this year. Recommended.

The Dirty Honey Album is out on Friday, April 23rd. Get your summer started early – music and merch can be found at the link below.

Live photo by Wayne Edwards, 2019 Sonic Temple Festival.


Dirty Honey Website, https://www.dirtyhoney.com/

Facebook, https://www.facebook.com/DirtyHoneyMusic/

Dirty Honey, The Dirty Honey Album (2021)

The Electric Mud, Burn The Ships review (Small Stone Records 2020)

Florida Heavy Blues instigators The Electric Mud return with more high voltage swamp metal on Burn The Ships.

The debut album of The Electric Mud came out two years ago, Bull Gator. It is bluesy, guitar-driven Southern stoner rock. Listening to it does bring up thoughts of that first Molly Hatchet album, but The Electric Mud is heavier and presses the lurking power of their music harder. The title track tells us “I’m the mighty jaws of an ancient god,” and a little later in the same song, “I’m the crooked old hand of death itself.” The songs are smooth and muscular. A very impressive debut.

The band is Constantine Grim (guitar), Pierson Whicker (drums), Peter Kolter (vocals and guitar), and Tommy Scott (bass). All four are from Florida, and have an abiding respect for the rock music tradition from the South (Allman Brothers, Lynyrd Skynyrd, and the like) as well as the classic metal roots of icons like the origin band, Black Sabbath. Their music is not a simple combination of latent elements of famous bands, however. They have taken their influences and inspirations and melded them with their abilities and art to fashion a lasting instrument of collective resonance.

The new album cranks up the speed and depth a notch, creating an even bigger wake than the earlier release. “The First Murder On Mars” is the opener (and the single you can hear now). It starts the set out fast and sharp, with stabbing guitars and crisp drumming. “Stone Hands” switches to a heavier hammer, and “Reptile” swings them both at the same time. “A Greater Evil” is a the cool evening breeze that blows through your open car window  and then darkens as the sun goes down. The triplet of “Call The Judge,” “Priestess,” and “Good Monster” is thirteen minutes of trouncing bliss – it takes you away from whatever was in your head before. I keep hitting these three over and over. “Ledbelly” is an amazing display of percussion, and “Terrestrial Birds” starts out as a lullaby until the guitar starts singing the blues and telling you a story that won’t let you sleep. This in an incredible album that will reach across to a wide array of heavy music fans. Highly recommended.

Burn The Ships CDs, vinyl, and downloads are available from Small Stone Records through Bandcamp (and elsewhere) beginning this Friday, September 25. You know how it works: the download is there forever but the hardcopies can go fast, especially the vinyl. Listen to Bull Gator on Spotify now. If you like it, consider a preorder if you want some of that orange vinyl.








The Electric Mud, Burn The Ships review (Small Stone Records 2020)

Pimmit Hills, Heathens & Prophets review (2020)

The members of King Giant changed the band’s name to Pimmit Hills after David Kolwalski left in 2017. The first release from the newly-named band is an EP titled Heathens & Prophets.

Under the earlier name, the band released three full-length albums, an EP and a demo. That is a lot of music, and an impressive legacy for King Giant. The current band is David Hammerly (vocals), Keith Brooks (drums), Todd Ingram (guitar), and Floyd Lee Walters III (bass). They are playing a bluesy Southern Rock with a Desert Rock mysticism and melancholy. I’ve read them compared to early ZZ Top and there is a hint of that fuzz in there, but the music of Pimmit Hills is darker and more serious – and there is a clear difference between the local flavor of guitar-heavy music in Texas and in Virginia. Compared to King Giant, the new music is consistent with the earlier work but more earthy, I’d say.

Heathens & Prophets might technically be an EP but with four 7-minute songs it’s a full meal. A crisp solo guitar lick cracks the set open with “Baby Blue Eyes.” Hammerly’s husky voice puts a precise picture in your head of the story he tells: “You look at me with sadness / I look at you with regret.” O man, that’s a punch in the gut. “Ginger” fades in on a peppy drum beat and growing guitar feedback to set up a song about murder. “Lost River” has a swampy warble and backing keyboards that give it a solemn fullness. The lead break has both a somberness and a ruthlessness to it. “Beautiful Sadness” wraps the set up with a fierce bluntness, and seems more like the end of Side 1 than the last song on the album.

Out this Friday, September 18, you can find Heathens & Prophets in the digital everywhere. I am hoping it will pop up on Spotify so I can follow them there. These four songs are just part of the album the band was working on when the pandemic put the slows to the world. They have continued to write more material and will release it when recording becomes practicable. I can’t wait to hear the other songs, too. Recommended.

Band photo by Shane Gardner.





Pimmit Hills, Heathens & Prophets review (2020)