Tag: Black Sabbath

New Video: Dunham Records Release a Funky Single from Charles Bradley’s Posthumous “Black Velvet”

Throughout the bulk of this site’s 8 plus year history, I’ve written a lot about the Charles Bradley, the late, Brooklyn-based soul singer and JOVM mainstay who led a remarkable life, overcoming difficult and overwhelming adversity achieve success and international acclaim late in his life, thanks in part to the release of the documentary Charles Bradley: Soul of America, three full-length albums 2011’s No Time For Dreaming, 2013’s Victim of Love and 2016’s Changes, and a powerful, heartfelt live show.  Interestingly, Bradley throughout his relatively short recording career wound up playing a larger-than-life role in pop culture; Bradley was a prominent figure in the Daptone Records live documentary, Living on Soul filmed during the Daptone Records Soul Revue shows back in 2014 at the legendary Apollo Theater; performed on Netflix’s Luke Cage; was the singing voice of Minstrel Krampus on American Dad; and he had tracks featured on a number of films and TV shows, including the title tracks for Netflix’s Big Mouth, HBO’s Barry and more.

And honestly, although those successes came late in his life, none of them should be surprising because what drew so many fans, critics and others towards him was the fact that understood that the great pain and tribulations of his life were a cry for  universal love, brotherhood and empathy. He preached it passionately and constantly — and as many would say, it seemed that he believed that if he loved harder, more passionately, and just more — if we all just loved each other a bit more — we could make the world a much better place. Certainly, in a seemingly dark and cynical world in which humanity is inching towards its annihilation, we could use more Charles Bradleys, more Sharon Joneses, too.

November 5, 2018 would have been Charles Bradley’s 70th birthday and in celebration of the man, his life and his music, Dunham Records will posthumously release his fourth and final album Black Velvet on November 9, 2018.  Featuring 10 tracks lovingly curated by his friends, bandmates and family, the album chronologically spans Bradley’s recording career — but instead of a greatest hits-like anthology or a rehashing of say, several different versions of known and beloved songs, the album focuses on deeper, mostly unreleased cuts recorded during the sessions from each of Bradley’s three albums. The album will include highly sought-after and beloved covers including his takes on Nirvana‘s “Stay Away,” Neil Young‘s “Heart of Gold,” Rodriguez‘s “I’ll Slip Away,” and an alternate full-band electric version of “Victim of Love,” among others.

Of course, in many ways, the album documents the friendship and collaboration shared between Bradley and longtime collaborator, producer and co-writer Tommy Brenneck. As Brenneck explains, Black Velvet‘s first single “I Feel A Change” was recorded during the Victim of Love sessions. “Horns and organ were recorded later adding a haunting beauty to the otherwise a cappella intro. The lyrics are 100% Charles. Personal yet abstract. Directly from the heart. He truly loved the expression ‘going through changes’ and this was a few years before we would record our rendition of Sabbath‘s ‘Changes‘ with the Budos. Sadly Charles never got to hear the finished version of this beautiful song.”

“I Feel a Change” is classic Charles Bradley — the Screaming Eagle of Soul’s imitable vocals passionately expressing desire, frustration and heartache within a turn of a phrase, pleading in a deeply confessional fashion to you. Of course, Bradley’s vocals are paired with a slow-burning, sensual arrangement that feels eerily spectral yet urgent and necessary. The album’s second single “Luv Jones” is arguably the funkiest and most ecstatic track on Black Velvet, a track centered by an explosive horn line, a propulsive rhythm section, burst of organs and Bradley’s vocals crooning about love and needing his love in that old school fashion. Certainly, in light of the fact that we often live in such a dark, cynical and place, we need more sweet, good natured love songs. The man may not be with us but his spirit is forcefully vital and with us, just when we need it the most. Long live Charles Edward Bradley, y’all! Long live Charles Edward Bradley!

To celebrate Charles Bradley’s life and music, a number of Charles Bradley-themed murals will be painted in a number of cities across the world and the recently released accompanying video features a mural painted by Joe Miller in Chicago shot in time-lapse. 

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.

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.

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.

New Video: Dunham Records Releases Slow-Burning and Heartfelt Single from Posthumously Released Final Charles Bradley Album

Throughout a significant portion of this site’s 8 year history, I’ve written quite a bit about JOVM mainstay, Charles Bradley, the late, Brooklyn-based soul singer, who led a remarkable life, overcoming difficult and at times unimaginable adversity to achieve success and international acclaim late in his life — thanks in part to the release of documentary Charles Bradley: Soul of America, three full-length albums 2011’s No Time For Dreaming, 2013’s Victim of Love and 2016’s Changes, and a powerful, heartfelt live show.  Interestingly throughout his short recording career, Bradley wound up playing a larger than life role in pop culture: Bradley was a prominent figure in the Daptone Records live documentary, Living on Soul filmed during the Daptone Records Soul Revue shows back in 2014 at the legendary Apollo Theater; performed on Netflix’s Luke Cage; was the signing voice of Minstrel Krampus on American Dad; and he had tracks featured on a number of films and TV shows, including the title tracks for Netflix’s Big Mouth, HBO’s Barry and more.

And honestly, although those successes came late in his life, none of them should be surprising because what drew so many fans, critics and others towards him was the fact that understood that the great pain and tribulations of his life were a cry for  universal love, brotherhood and empathy. He preached it passionately and constantly — and as many would say, it seemed that he believed that if he loved harder, more passionately, and just more — if we all just loved each other a bit more — we could make the world a much better place. Certainly, in a seemingly dark and cynical world in which humanity is inching towards its annihilation, we could use more Charles Bradleys, more Sharon Joneses, too.

November 5, 2018 would have been Charles Bradley’s 70th birthday and in celebration of the man, his life and his music, Dunham Records will posthumously release his fourth and final album Black Velvet on November 9, 2018.  Featuring 10 tracks lovingly curated by his friends, bandmates and family, the album chronologically spans Bradley’s recording career — but instead of a greatest hits-like anthology or a rehashing of say, several different versions of known and beloved songs, the album focuses on deeper, mostly unreleased cuts recorded during the sessions from each of Bradley’s three albums. The album will include highly sought-after and beloved covers including his takes on Nirvana’s “Stay Away,” Neil Young’s “Heart of Gold,” Rodriguez’s “I’ll Slip Away,” and an alternate full-band electric version of “Victim of Love,” among others.

Of course, in many ways, the album documents the friendship and collaboration shared between Bradley and longtime collaborator, producer and co-writer Tommy Brenneck. As Brenneck explains, Black Velvet’s first single “I Feel A Change” was recorded during the Victim of Love sessions. “Horns and organ were recorded later adding a haunting beauty to the otherwise a cappella intro. The lyrics are 100% Charles. Personal yet abstract. Directly from the heart. He truly loved the expression ‘going through changes’ and this was a few years before we would record our rendition of Sabbath’s ‘Changes’ with the Budos. Sadly Charles never got to hear the finished version of this beautiful song.”

“I Feel a Change” is classic Charles Bradley — the Screaming Eagle of Soul’s imitable vocals passionately expressing desire, frustration and heartache within a turn of a phrase, pleading in a deeply confessional fashion to you. Of course, Bradley’s vocals are paired with a slow-burning, sensual arrangement that feels eerily spectral yet urgent and necessary. The man may not be with us but his spirit is forcefully vital and with us, just when we need it the most. Long live Charles Edward Bradley, y’all! Long live Charles Edward Bradley!

Directed by Jeff Broadway and Cory Bailey, the directorial and production team behind Living on Soul, the recently released video for “I Feel A Change” is centered around intimate behind the scenes footage of Bradley in speechless awe in an old European church, sewing his elaborate costumes, recording in the studio and performing on stage. The video captures the great soul singer in the fullness of his life and talent and is a powerful reminder of someone who radiated love and goodness to any and all comers.

 

New Video: JOVM Mainstays Stonefield Return with a Grunge Inspired Face Melter

Last year, I wrote quite a bit about the Darraweit Guim, Australia-based sibling psych rock quartet Stonefield, comprised of Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass). Now, as you may recall, the siblings began playing together when they were quite young — with the youngest being seven and the oldest being 15. And as the story goes, the band’s elder member 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.

During that same period, the sibling quartet has been incredibly prolific as they’ve released two EPs, their self-titled full-length debut, their sophomore effort As Above So Below, a handful of singles, and their third album Far From Earth through King Gizzard and the Lizard Wizard’s  Flightless Records earlier this year. The band will be making a North American tour 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, which coincidentally is the album’s latest single, as well. Interestingly, the single finds the Australian sibling band and JOVM mainstays cementing their reputation as one of the world’s hardest bands — while gently pushing their sound towards doom metal and psych rock, thanks to pummeling drumming, scuzzy down-tuned power chords, and a soaring and ethereal bridge. To my ears, the band sounds as though they’re actively channeling both Black Sabbath and 90s grunge — in particular, Soundgarden and Alice in Chains. 

Directed and shot by Jenna Putnam, the recently released video is centered around footage from Stonefield’s Los Angeles area residency at The Bootleg Theater, during their last North American tour. 

New Audio: Swedish Doom Metal Act Alastor Releases an Anthemic and Expansive Single

With the release of 2017’s 3-song debut album Black Magic through Twin Earth Records and the Blood on Satan’s Claw EP, the mysterious Swedish doom metal quartet Alastor, comprised of Dharma Gheddon (vocals, bass, acoustic guitar, organ), Lucy Ferian (lead guitar, acoustic guitar, organ), Terry Fying (guitar) and Levi Athan (drums) quickly received attention for crafting a heavy and doom-filled sound that harkened to when the genre was primarily played by and listened by rebels, oculists, lurkers and depraved weirdos that’s centered around enormous, distortion-fed power chords, thundering drumming and expansive song structures.

Building upon their growing profile, the members of the Swedish doom metal act went into the studio with engineer Magnus Sorensen to record their forthcoming album, Slave to the Grave, which RidingEasy Records will fittingly release on Halloween — and as the band’s Lucy Fenian explains, is ” . . . an album that circles around the concept of death. It’s about death in both its spiritual and personal meaning — how death is a part of our everyday life. How it affects our thoughts and actions, How some of us spend our entire life in fear of death, while some seek it. But no matter how you live your life and no matter what you achieve here on this Earth. You are still just a slave to the grave.”  The album’s anthemic yet murky title track and latest single “Slave to the Grave” is centered around enormous power chords, thundering and propulsive drumming, severely down-turned bass, arena rock friendly hooks and an expansive song structure that helps evoke Black Sabbath and others.

New Audio: Introducing the Arena Rock Friendly Blues Rock of The Blue Stones

Comprised of high school friends Tarek Jafer (vocals, guitar) and Justin Tessier (drums, percussion, backing vocals), the up-and-coming alt rock duo The Blue Stones can trace their origins to when the duo, who had attended college together decided that they should start a musical project together. While being among an increasing number of blues-tinged rock duos including The Black Keys, The White Stripes, Royal Blood, and others, the duo cite Led Zeppelin, Black Sabbath, Jimi Hendrix, The Stooges, MC5, Alice Cooper, MUTEMATH, My Morning Jacket, Jay-Z, Kanye West, J. Cole, Muddy Waters, Howlin’ Wolf and B.B. King as influences on their overall sound and aesthetic.

Jafar and Tessier spent seven years honing and perfecting their sound, during which they wrote and recorded an independently released EP. As the duo’s Tarek Jafar says in press notes, “It takes a lot to be a success. You have to stay proud and focused.” Building upon several years of hard work and dedication, the duo’s full-length debut Black Holes is slated for an October 26, 2018 release — and the album, which will feature “Rolling With The Punches,” a single that has received placements on USA Network’s Suits, Showtime’s Shameless and ESPN’s Monday Night Football and the attention-grabbing lead single “Black Holes,” which has amassed 8 million streams, will further cement the duo’s growing profile for  playing blues rock that as the duo’s Justin Tessier says is “lean, raw, tight, without a wasted note.” Thematically, the album as Jafar explains is “. . . about being a young adult and entering the real world from a sheltered environment, like college. Feeling torn between taking the secure path or doing something that might be riskier but you’re passionate about . . . following what you love as opposed to sticking to the straight and narrow.”

Over course of the year playing across the national festival circuit with stops at Carolina Rebellion with MUSE and Queens of the Stone Age, Northern Invasion, Winnetka Music Festival and Bonnaroo Festival. Interestingly, Black Holes’ third and latest single is the sultry and anthemic “Be My Fire,” which sonically is indebted to The Black Keys, Jimi Hendrix, North Mississippi All Stars as its built around enormous power chords, thundering drumming and arena rock friendly hooks — but while being centered around an urgent and plaintive yearning for someone, just out of reach. The song possesses a compelling name-taking and ass-kicking, swaggering bombast underpinned with a sincerity and earnestness. 

New Video: JOVM Mainstays WINDHAND Return with 90s Grunge Take on Doom Metal

Over the past few years, 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), the Northern Virginia-based metal act formed back in 2009 — and by the following year, 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.

2013 saw WINDHAND sign to Relapse Records, who released their sophomore album Soma to critical 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 members of the Richmond, VA-based doom metal band had spent the bulk of 2013 and 2014 touring North America, the European Union, and Australia with Sleep, High on Fire, Dead Meadow and Kvelertak, as well as the festival circuit, wth appearances 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 featured album singles Crypt Key.” and “Two Urns” which managed to further cement their reputation for crafting sludgy, murky, punishing and downtempo dirges. Slated for an October 5, 2018 release, the Richmond, VA-based doom metal act’s forthcoming Jack Endino-produced Eternal Return is reportedly an observation and reflection of life’s ups and downs, joys and sorrows and beginnings and ends. Between 2015’s Grief’s Infernal Flower and their forthcoming album, the members of the band welcomed new life, experienced a number of lineup changes and mourned unexpected and tragic death — and as a result, the album’s material and the sequential order of its songs are the direct result of those experiences. Sonically, the album also finds the band growing artistically with the material balancing heavy, psychedelic and meditative, and in a way that have drawn early comparisons to Soundgarden, an act known for stretching genre boundaries.

Eternal Return’s latest 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/Fopp and Badmotorfinger-era Soundgarden, complete with a lysergic bridge. Directed by Jordan Vance, the recently released video for “Grey Gardens” features some trippy and murky stock footage that evokes a foreboding sense of dread at its core.