Category: Heavy Metal

Video by William Ruben Helms

New Video: JOVM Mainstays WINDHAND Release a Roger Corman-Influenced Video for Pummeling Dirge “Red Cloud”

Throughout the past few years of the site’s eight-plus year history, I’ve written quite a bit about the  Richmond, Virginia-based doom metal band WINDHAND, and as you may recall, the band which is currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums) can trace their origins back to 2009. Within a year of their formation, they released a two-track self-recorded CD that quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath. Building upon a growing profile, their 2012 self-titled debut became an underground hit and sold out multiple vinyl pressings within a few months. 

Released in 2013 through Relapse Records, the Northern Virginia-based band’s critically applauded sophomore album Soma received praise from Stereogum, Spin, LA Weekly, Revolver, Invisible Oranges, MetalSucks, Metal Injection, Rolling Stone and NPR — with Pitchfork naming the album as one of the third best metal releases of the year. Adding to a breakthrough year, the band spend the bulk of 2013 and 2014 touring North American, the European Union and Australia supporting Soma with Sleep, High on Fire, Dead Meadow and Kvelertak — and they made stops on the international festival circuit with sets at Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest. 
2015’s Jack Endino-produced, third full-length album, Grief’s Infernal Flower managed to further cement their reputation for crafting sludgy, murky, punishing power chord-based dirges. Released earlier this month, WINDHAND’s fourth, full-length album Eternal Return finds the band continuing their collaboration with renowned producer Jack Endino — and the album thematically is centered around observations and reflections on life’s ups and downs, joys and sorrows, beginnings and ends. Between Grief’s Infernal Flower and their recently released album, the members of the band welcomed the births of children, experienced a number of lineup changes and mourned an unexpected and tragic death. And unsurprisingly, as a result, the album’s material and the sequential order of its song are the direct result of those experiences — while sonically, the band crafts material that balances heavy and brooding dirges with psychedelic and meditative passages.  Album single “Grey Gardens” was part of an early batch of album singles that were among the heaviest batches of material they recorded — and while being a thunderous and slow-burning dirge, the single finds the band’s sound and approach subtly moving towards Screaming Life/Foppand Badmotorfinger-era Soundgarden, complete with a lysergic bridge. “Red Cloud,” Eternal Return’s latest single continues in a similar vein as its predecessor as it’s a heavy and psychedelic dirge, centered by some explosive guitar work, rumbling low end, thundering drumming, Dorthia Cottrell’s smoky vocals and an anthemic hook; but unlike it’s predecessor there’s a sense of foreboding doom at its core. 

Directed and animated by Zev Deans, the recently released video  features a seamless blend of live-action and animated scenery, as it follows a washed-up and hopelessly incompetent warlock and imbecilic and hunch-backed henchman as they try to kidnap The Scarlet Woman. Visually, the video is reportedly a homage to the horror films of the early 1960s, specifically Roger Corman’s Edgar Allan Poe series — and naturally, it’s perfect for the Halloween season. 

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release an MC5 Meet Jimi Hendrix-like Single from The Seventh Brown Acid Compilation

Over the past few years, I’ve written quite a bit about Permanent Records’ and RidingEasy Records ongoing collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid. And as you may recall, each individual edition of the compilation is centered around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes regarding the previous editions of the compilations “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Naturally, by having the original artists participate as much as possible in the compilation process, it can give the artists and their songs, a real, second chance at the attention and success that they originally missed. Additionally, these songs can help fill in the larger picture of what was going on in and around the underground music scenes during the 60s and 70s. Following the critical and commercial success of its first six volumes, RidingEasy Records and Permanent Records’ seventh volume of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Seventh Trip is slated for release on Halloween, continuing what I hope will be a bi-yearly tradition. Much like the preceding editions, the seventh continues Barressi’s and Hall’s exhaustive, painstaking research and curation that has fond them digging ever so deeper in to the well of hard rock, psych rock and proto-metal from the 60s and 70s. Much like its predecessors, the seventh edition features songs from predominantly American bands — although there’s the inclusion of material from a French band and a Swedish band. You’ll remember that I wrote about s C.T. Pilfherhogg’s 1973 bluesy stomp “You Haul,” a single that brings Deep Purple, Uriah Heep and Iron Butterfly‘s “In A Gadda Da Vida” but with Echoplex-effected laughs to give the song a maniacal vibe; however, the album’s first single is a virtually unknown Oklahoma band, fronted by Rod McClure while still in high school — and the remarkably self-assured  MC5 meets Are You Experienced?-era Jimi Hendrix-like “Peace of Mind” is a bluesy and anthemic ripper centered by propulsive drum fills and some explosive guitar work, making it the perfect song for speeding on the highway. 

Video by William Ruben Helms

New Video: Kings of Spade Release Semi-Autobiographical Visuals for “Strange Bird”

Comprised of founding members Kasi “KC” Nunes (vocals) Matt Kato (drums) and Jasio Savio (guitar) with Tim Corker (bass), Ken Lykes (keys) and DJ Packo, the Honolulu, HI-based sextet Kings Of Spade can trace their origins back to when Nunes,  a self-described “somber, closeted queer kid, who felt soul and blues music,” was bartending at Honolulu’s Anna Bananas and was pulled up on the stage to sing. “They started playing ‘Sweet Child O’Mine,” Nunes says in press notes.  “I started singing and was like ‘Hey, I sound pretty good.”

Interestingly, Jasio Savio frequently sat in with the bar’s house band. “He wasn’t old enough to drink,” Nunes recalls. “But he would start and rip these Johnny Cash tunes.” As the story goes, they were both impressed by each other. “You feel this energy when she sings,” Savio says. “My first thought was ‘Damn, she’s going to be famous.’” Nunes approached Savio and suggested they start a band. They recruited Matt Kato, a local punk rock drummer and played with a revolving door of bassists until they found Tim Corker. As a quartet that played power chord-based blues riff rock, they didn’t find their hometown to be very receptive to their sound — although Nunes took it upon herself to book club shows that featured the band alongside local DJs, artists and other bands. After amassing a decent local following, the band relocated to Southern California in 2006 to chase their dreams. But as Nunes and Kato quickly found out, the big city isn’t very welcoming; in fact, they were barely scraping by — and they were forced to sell their blood for cash. “Everyone at the clinic looked down-on-their-luck,” Nunes remembers. “I was hooked up to a plasma machine, reading the self-help books. This was the lowest point in my life.”

After three years of crushing let-downs and disappointment, Nunes, Savio and Kato quit their jobs and gave up their shared apartment in preparation for a lengthy tour that was just booked by their new manager; however, he disappeared once they figured out that there wasn’t an actual tour. They returned home to Hawaii, and ironically enough, upon their return, they finally began to have much better fortune. Several years later, the band played at SXSW, where former Headbanger’s Ball host and MTV VJ Riki Rachtman caught them — and after catching them, he booked them to play a show commemorating the 30th anniversary of his old metal club, The Cathouse, best known for giving rise to Guns N’ Roses. Around the same time, they met Sue Damon, the ex-wife of The Beach Boys‘ Mike Love. “She was a huge supporter of ours, bought us a new drum set. She was a total free spirit, who could party all of us under under the table. She ended up passing away. But all of us have her initials tattooed on us.”

The band’s self-titled Dave Cobb-produced full-length was recorded in Nashville over the course of two weeks.  “He produced a band I like, Rival Sons, which had this old-school sound with modern energy—like, analog-tape soul built into it,” Jesse says, admiringly. t Album single “Bottom’s Up,” was a swaggering and stomping bluesy ripper and party anthem inspired by their late friend and patron Sue Damon, and their own experiences partying ridiculously hard that sounds as though it were influenced by Highway to Hell-era AC/DC, Electric Blue Watermelon-era North Mississippi All Stars and The Black Keys — all while further cementing their reputation for boozy, power chord centered, riff-based rock. Released in time for National Coming Out Day, the album’s latest single “Strange Bird,” is a anthemic song centered around Led Zeppelin-like power chords and Nunes’ own experiences coming out, that proudly says “go out there and march to the beat of your own drum because life is short!” May this song be a call for arms for anyone, who’s struggling to find themselves in an unforgiving world. As Nunes says in press notes about the song, “‘Strange Bird’ is my big queer anthem – a song about being true to who your are no matter what it costs. It’s about self-love and growing into a person who is proud to be different. I always tell my coming out story before we play this song at a live show. It starts off so tragic I end up going back in the closet until way later in life. The beauty is coming around so far that I can tell the story on stage in front of a crowd of people cheering me on for it. After every show there is always people who share their own strange bird stories with me. That connection is everything. It’s why I play music and love being in a band.”

Directed by Vincent Ricafort, the recently released video draws from Nunes’ own experience as a young person,  feeling forced to hide who she really was, before finding the courage to defiantly and proudly be the person she needs to be, finding herself and making connections through music.  Additionally, the video suggests that music has always been a way for the strange and uncompromisingly individual to find comfort, as well. 

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release a Bluesy Stomper off Their Seventh Brown Acid Compilation

Now, if you’ve been frequenting this site over the past few years, you’d likely be extremely familiar with Permanent Records’ and RidingEasy Records collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid. Each individual edition of the compilation is centered around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes regarding the previous editions of the compilations “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Naturally, by having the original artists participate as much as possible in the compilation process, it can give the artists and their songs, a real, second chance at the attention and success that they originally missed. Additionally, these songs can help fill in the larger picture of what was going on in and around the underground music scenes during the 60s and 70s. Following the critical and commercial success of its first six volumes, RidingEasy Records and Permanent Records’ sixth volume of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Seventh Trip is slated for an October 31, 2018 release continuing what I hope will be a bi-yearly tradition. Much like the preceding editions, the seventh continues Barressi’s and Hall’s exhaustive, painstaking research and curation that has fond them digging ever so deeper in to the well of hard rock, psych rock and proto-metal from the 60s and 70s. Interestingly enough, Youngstown, Ohio was a hotbed for these 45s and for a town of about 150,000, an overwhelming majority of the 45s Barressi and Hall found were by bands who hailed from there — and much like the predecessors, the seventh edition features songs from mostly American bands, although there’s the inclusion of a French band and a Swedish band to round it all out. 

Brown Acid: The Seventh Trip’s latest single is C.T. Pilfherhogg’s 1973 bluesy stomp “You Haul,” a single that brings Deep Purple, Uriah Heep and Iron Butterfly’s “In A Gadda Da Vida” but with Echoplex-effected laughs to give the song a maniacal vibe, centered around arpeggiated organs, enormous power keys and a hard rocking hook. During their day, the band was touted as “Southwest Virginia’s Finest Boogie Band” but from this single, the band kicked ass and took names. 

Single Review by William Ruben Helms

Comprised of founding members Kasi “KC” Nunes (vocals) Matt Kato (drums) and Jasio Savio (guitar) with Tim Corker (bass), Ken Lykes (keys) and DJ Packo, the Honolulu, HI-based sextet Kings Of Spade can trace their origins back to when Nunes,  a self-described “somber, closeted queer kid, who felt soul and blues music,” was bartending at Honolulu’s Anna Bananas and was pulled up on the stage to sing. “They started playing ‘Sweet Child O’Mine,” Nunes says in press notes.  “I started singing and was like ‘Hey, I sound pretty good.”
Interestingly, Jasio Savio frequently sat in with the bar’s house band. “He wasn’t old enough to drink,” Nunes recalls. “But he would start and rip these Johnny Cash tunes.” As the story goes, they were both impressed by each other. “You feel this energy when she sings,” Savio says. “My first thought was ‘Damn, she’s going to be famous.’” Nunes approached Savio and suggested they start a band. They recruited Matt Kato, a local punk rock drummer and played with a revolving door of bassists until they found Tim Corker. As a quartet that played power chord-based blues riff rock, they didn’t find their hometown to be very receptive to their sound — although Nunes took it upon herself to book club shows that featured the band alongside local DJs, artists and other bands. After amassing a decent local following, the band relocated to Southern California in 2006 to chase their dreams. But as Nunes and Kato quickly found out, the big city isn’t very welcoming; in fact, they were barely scarping by — and they were forced to sell their blood for cash. “Everyone at the clinic looked down-on-their-luck,” Nunes remembers. “I was hooked up to a plasma machine, reading the self-help books. This was the lowest point in my life.”
After three years of crushing let-downs and disappointment, Nunes, Savio and Kato quit their jobs and gave up their shared apartment in preparation for a lengthy tour that was just booked by their new manager; however, he disappeared once they figured out that there wasn’t an actual tour. They returned home to Hawaii, and ironically enough, upon their return, they finally began to have much better fortune. Several years later, the band played at SXSW, where former Headbanger’s Ball host and MTV VJ Riki Rachtman caught them — and after catching them, he booked them to play a show commemorating the 30th anniversary of his old metal club, The Cathouse, best known for giving rise to Guns N’ Roses. Around the same time, they met Sue Damon, the ex-wife of The Beach Boys‘ Mike Love. “She was a huge supporter of ours, bought us a new drum set. She was a total free spirit, who could party all of us under under the table. She ended up passing away. But all of us have her initials tattooed on us.”
The band’s self-titled Dave Cobb-produced full-length was recorded in Nashville over the course of two weeks.  “He produced a band I like, Rival Sons, which had this old-school sound with modern energy—like, analog-tape soul built into it,” Jesse says, admiringly. Now, as you may recall, I wrote about album single “Bottom’s Up,” a swaggering and stomping bluesy ripper and party anthem inspired by their late friend and patron
Sue Damon, and their own experiences partying ridiculously hard that sounds as though it were influenced by Highway to Hell-era AC/DC, Electric Blue Watermelon-era North Mississippi All Stars and The Black Keys — all while further cementing their reputation for boozy, power chord centered, riff-based rock. Released in time for National Coming Out Day, the album’s latest single “Strange Bird,” is a anthemic song centered around Led Zeppelin-like power chords and Nunes’ own experiences coming out, that proudly says “go out there and march to the beat of your own drum because life is short!” May this song be a call for arms for anyone, who’s struggling to find themselves in an unforgiving world.

 

Video by William Ruben Helms

New Video: The Ass Kicking Visuals for Electric Citizen’s “Hide It In The Night”

With the release of 2014’s full-length debut Sateen, the Cincinnati, OH-based quartet Electric Citizen, currently comprised of husband and wife duo, Laura Dolan (vocals) and Ross Dolan (guitar), along with Nick Vogelpohl (bass) and Nate Wagner (drums), received attention across the blogosphere and elsewhere for a sound that owes a debt to Led Zeppelin, Black Sabbath, early 70s Rush and others. Building upon a growing profile, the band went on a busy schedule of touring both nationally and internationally with several renowned acts, including Fu Manchu, Wolfmother, The Budos Band, and Pentagram. The quartet’s critically applauded sophomore effort, 2016’s Higher Time found the band expanding upon their sound, as they were crafting muscular and anthemic hooks around prog rock-like structures but while retaining the conciseness of its predecessor. Additionally, the band’s sophomore album found Laura Dolan stepping up into more of a traditional frontperson role, which was reflected during the tour to support Higher Time as she strutted, stomped and swaggered across the stage with a larger-than-life confidence.

The band’s third, full-length effort Helltown was released through RidingEasy Records last month, and the album derives its name from the neighborhood in which the bandmembers live, practices and where the album was written, recorded and mixed. Now more prosaically known as Northside, Helltown earned its name in the early 1800s. thanks to a reputation for the rowdy taverns frequented by the neighborhood’s factory workers and immigrants. And while being an ode to the band’s neighborhood and its buried past, the album is also a decided return to form, employing a much grittier sound that in some way recalls their debut. Additionally, the album finds the band returning to their original lineup. As the band’s Laura Dolan says in press notes, “In many ways this album is a realignment to the first,” Laura says. “We experimented a lot on the second album, some of which we learned we didn’t like.”

“Hide It In The Night,” Helltown‘s first single is centered around Black Sabbath and Led Zeppelin power chords, thundering drumming, arena rock friendly hooks and Laura Dolan’s rock star belter vocals — and while heavily indebted to its influences, the track will further cement the Cincinnati-based band’s reputation for tough, gritty, power chord rippers with an anthemic, larger-than-life feel. Further emphasizing the gritty vibe of the song, the recently released video is centered around a brutal, winner-take-all street fight that the members of the band watch with a insouciant cool.

Video by William Ruben Helms

New Video: JOVM Mainstays Stonefield Returns with a Decidedly Psych Rock-Inspired New Single

Over the past year or so, I’ve written quite a bit about the Darraweit Guim, Australia-based sibling psych rock quartet Stonefield, and as you’d recall the Australian band comprised of Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass) began playing together when they were extremely young — the youngest member was seven while the oldest was 15. And as the story goes, the eldest sister Amy recorded their first song “Foreign Lover” for a school project, and then reportedly entered the song into Triple J’s national, unsigned band competition for youngsters Unearthed High as an afterthought. Much to her and her sisters’ surprise, the band wound up winning the contest, and within an incredibly short period of time after their Unearthed High win, the Findlay sisters had two singles receiving regular airplay on Australian radio and an invitation to play at Glastonbury Festival.

Since their attention-grabbing Unearthed High win, the Australian sibling quartet has been incredibly prolific as they’ve written, recorded and released two EPs, their self-titled full-length debut, their sophomore album As Above So Below and their third album Far From Earth through King Gizzard and the Lizard Wizard’s Flightless Records earlier this year. Stonefield is currently on a North American tour to support both their recently released 7 inch and their third album that will include stops at Desert Daze, Toronto’s Night Owl Fest, Mexico City’s Hipnosis Festival and a special NYC area show at Baby’s All Right to celebrate the release of the “Through the Storm” 7 inch, a single that finds the Australian sibling and and JOVM mainstays cementing their reputation as one of the world’s hardest bands, while pushing their sound towards a new direction — doom metal with hints of 60s psych rock in a way that brings Black Sabbath, Soundgarden and Alice in Chains to mind.

Interestingly, Far From Earth’s latest single “In The Eve” is  slow-burning, hypnotizing song that may arguably be the most decidedly 60s psych rock-inspired song centered around a propulsive and sinuous bass line, shimmering guitar lines, Amy Findlay’s ethereal vocals and a gently unfurling yet song structure — and sonically speaking, the song brings to mind JOVM mainstays Sleepy Sun, Secret Colours, and Elephant Stone but with a clean yet sensual sheen. The recently released video is equally hypnotic while visually drawing from 60s psych rock as it features the Findlay Sisters dressed entirely in white, wandering in a prototypically British field — and in some way it hints at some menacing ritual about to go down.

Single Review by William Ruben Helms

New Audio: Honolulu’s Kings of Spade Release an Anthemic Party Ripper

Comprised of founding members Kasi “KC” Nunes (vocals) Matt Kato (drums) and Jasio Savio (guitar) with Tim Corker (bass), Ken Lykes (keys) and DJ Packo, the Honolulu, HI-based sextet Kings of Spade can trace their origins back to when Nunes,  a self-described “somber, closeted queer kid, who felt soul and blues music,” was bartending at Honolulu’s Anna Bananas and was pulled up on the stage to sing. “They started playing ‘Sweet Child O’Mine,” Nunes says in press notes.  “I started singing and was like ‘Hey, I sound pretty good.”

Interestingly, Jasio Savio frequently sat in with the bar’s house band. “He wasn’t old enough to drink,” Nunes recalls. “But he would start and rip these Johnny Cash tunes.” As the story goes, they were both impressed by each other. “You feel this energy when she sings,” Savio says. “My first thought was ‘Damn, she’s going to be famous.'” As the story goes Nunes approached Savio and suggested they start a band. They recruited Matt Kato, a local punk rock drummer and played with a revolving door of bassists until they found Tim Corker. As a quartet that played power chord-based blues riff rock, they didn’t find their hometown to be very receptive to their sound — although Nunes took it upon herself to book club shows that featured the band alongside local DJs, artists and other bands. After amassing a decent local following, the band relocated to Southern California in 2006 to chase their dreams. But as Nunes and Kato quickly found out, the big city isn’t very welcoming; in fact, they were barely scarping by — and they were forced to sell their blood for cash. “Everyone at the clinic looked down-on-their-luck,” Nunes remembers. “I was hooked up to a plasma machine, reading the self-help books. This was the lowest point in my life.”

After three years of crushing let-downs and disappointment, Nunes, Savio and Kato quit their jobs and gave up their shared apartment in preparation for a lengthy tour that was just booked by their new manager; however, he disappeared once they figured out that there wasn’t an actual tour. They returned home to Hawaii, and ironically enough, upon their return, they finally fell into some good fortune. Several years later, the band played at SXSW, where former Headbanger’s Ball host and MTV VJ Riki Rachtman caught them — and after catching them, he booked them to play a show commemorating the 30th anniversary of his old metal club, The Cathouse, best known for giving rise to Guns N’ Roses. Around the same time, they met Sue Damon, the ex-wife of The Beach Boys’ Mike Love. “She was a huge supporter of ours, bought us a new drum set. She was a total free spirit, who could party all of us under under the table. She ended up passing away. But all of us have her initials tattooed on us.”

Interestingly, the band’s self-titled Dave Cobb-produced full-length was recorded in Nashville over the course of two weeks.  “He produced a band I like, Rival Sons, which had this old-school sound with modern energy—like, analog-tape soul built into it,” Jesse says, admiringly. Interestingly, the album’s latest single, the swaggering and stomping, bluesy  ripper “Bottom’s Up” is raucous, party anthem that’s inspired by their late friend and patron Sue Damon, and their own experiences partying ridiculously hard that sounds as though it were influenced by Highway to Hell-era AC/DC, Electric Blue Watermelon-era North Mississippi All Stars and The Black Keys — all while further cementing their reputation for boozy, power chord centered, riff-based rock. 

Single Review by William Ruben Helms

New Audio: Electric Citizen Releases a Black Sabbath-like New Single

With the release of 2014’s full-length debut Sateen, the Cincinnati, OH-based quartet Electric Citizen, currently comprised of husband and wife duo, Laura Dolan (vocals) and Ross Dolan (guitar), along with Nick Vogelpohl (bass) and Nate Wagner (drums), received attention across the blogosphere and elsewhere for a sound that’s indebted to Led Zeppelin, Black Sabbath, early 70s Rush and others. Building upon a growing profile, the band went on a busy schedule of touring both nationally and internationally with several renowned acts, including Fu Manchu, Wolfmother, The Budos Band, and Pentagram.

The Cincinnati heavy psych rock/heavy metal quartet’s sophomore effort, 2016’s sophomore effort Higher Time found the band expanding upon their sound, as they were crafting muscular and anthemic hooks around prog rock-like structures — within concise songs that typically clocked in at around 3 minutes or so. Additionally, the album found the band’s Lauran Dolan stepping up into more of a frontperson role, which was reflected in their live shows to support their sophomore effort, as she strutted, stomped and swaggered with a larger-than-life confidence. And unsurprisingly, the album was released to massive critical applause from the likes of Consequence of Sound, who placed it on their 20 Most Anticipated Albums of 2016.

Slated for a September 28, 2018 release through RidingEasy Records, Electric Citizen’s forthcoming, third full-length effort Helltown derives its name from the neighborhood in which the members of the band live, practices and where the album was written recorded and mixed. Although now more prosaically known as Northside, Helltown earned its name in the early 1800s. thanks to a reputation for the rowdy taverns frequented by the neighborhood’s factory workers and immigrants. And while being an ode to the band’s neighborhood and its buried past, the album reportedly is a sonic return to form with the band employing a grittier sound along the lines of their 2014 debut. Adding upon the overall homecoming theme, the band returns to their original lineup. As the band’s Laura Dolan says in press notes, “In many ways this album is a realignment to the first,” Laura says. “We experimented a lot on the second album, some of which we learned we didn’t like.”

“Hide It In The Night,” Helltown‘s first single is centered around Black Sabbath and Led Zeppelin power chords, thundering drumming, arena rock friendly hooks and Laura Dolan’s rock star belter vocals — and while heavily indebted to its influences, the track will further cement the Cincinnati-based band’s reputation for tough, gritty, power chord rippers with an anthemic, larger-than-life feel. Interestingly, the album’s latest single “New Earth” is centered around a blistering, bluesy power chord riff, thundering drumming, arena rock-friendly hooks, and Dolan belting her lungs out. Arguably, the song is one of the most straightforward, riff-centered Black Sabbath-like singles they’ve released in some time time. It’s a certifiable headbanger that’s perfect for drinking way too much in your local bar or while catching them live.