Sunn O)))

Sunn 0)))
Monoliths and Dimensions
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When it comes to Sunn 0))), we usually know what we are getting even before the first notes of the albums transpire. These kings of black-cloaked drone play heavy music and do so in two fashions, very slow and extremely loud. On nearly every recording, Greg Anderson and Stephen O'Malley unleash a sub-sonic attack on the eardrums with notes so low that we, as mere mortals, never knew they existed, that is until the fillings in our back molars rattle loose and our heads throb from the reverberation. Though not every one's cup of tea, Sunn 0))) has developed a very strong following that spans across the spectrum from lovers of heavy rock and metal, to noise, to experimental jazz nerds.
With their new album and seventh release, Monoliths and Dimensions, Anderson and O'Malley expand the Sunn 0))) sound and add more dimensions to the overall picture with the addition of strings, brass, and vocal arrangements. Not that they are changing much about their sound or getting soft on us however, because this is most definitely a Sunn 0))) album in all its glory, complete with a massive sound and dark overtones. Opening the album up in great form, "Agartha" features the classic Anderson and O'Malley calling card: down-tuned chords that seem to last for an eternity and are best consumed at an extremely high volume setting. This foreboding tale of the legendary city that lies at the Earth's core, features Hungarian vocalist Attila Csihar with a primal monologue that seems to be evoking some sort of prophecy from the old world that will open a direct vortex to this Land of the Living Gods. Csihar, who has worked with such black metal greats as Tormentor and Mayhem, brings forth a guttural and damn right creepy vocal performance throughout the entire album that makes Vincent Price seem like a Sunday school teacher and is highly appropriate for the dark imagery being painted by both Anderson and O'Malley. "Big Church" could easily be a long lost gem straight out of the Omen or 2001: A Space Odessy soundtrack repertoire, and features Earth's Dylan Carlson on guitar, a Viennese women's choir, and composer Eyvid Kang with brass and string arrangements, all of which add their own crucial layer to the mix. Despite several guests on this album, Kang seems to have the biggest contribution, with his string and brass work that sets Monoliths and Dimensions apart from the rest of the Sunn 0))) catalog.
This album is both brutal and beautiful; heavy as hell and scary as shit. It is the perfect accompaniment for a stormy night, a dark drive in the country, and a night alone with only candles burning. A word to the wise, however: when listening to Monoliths and Dimensions, don't let your mind play tricks on you, for it is only an album and the sounds you are hearing emit only from your speakers. Or do they? -Andrew Bryant

Scott H Biram

Scott H. Biram
Something's Wrong/Lost Forever
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The Reverend Scott H. Biram can do no wrong in my book. Like any good parishioner, I will follow the good Reverend's lead in all things, from consuming my communion of whiskey and biscuits, not taking shit off of anyone who comes my way, and knowing that the good Lord, Jesus loves me just the way that I am. Like most who take Biram's word as the gospel, any and everything that he has released musically stands the test of time and constantly remains at an arm-length, ready to be consumed when and wherever the spirit moves me. Something's Wrong/Lost Forever, the newest testament in the gospel of Scott H. Biram, is just what the doctor ordered, the best of both worlds, conjuring the bombastic boot-stomp and the drunken heartbreak in all of us.
At face value, what is most impressive for a mere passerby is that, like everything he does, Scott pretty much handles it all on this album, from writing, to singing, engineering, producing, stomping, and hollering. This indeed makes the album all his own, the exact portrait that he wishes to convey in the exact way he wants, whether it be slapping us in the face or lending a friendly ear and warm glass of bourbon. Something's Wrong/Lost Forever is a much more laid back Scott Biram than what we have seen in the recent past, almost returning to the days of Preachin' and Hollerin'. Not that he has gone soft on us, no sir. It's just that there seems to be much more of an emphasis placed on the craft of songwriting, along with his overall grit and raw emotion. These songs include the laid back "Still Drunk, Still Crazy, Still Blue" and "Wildside" on which Biram seems to be channeling more of a Hank Williams feel than ever with more twang and drawl than you can shake a stick at. These tracks are plumb pretty at times, sad at others, and make you want to drown your sorrows at the bottom of the bottle. Once the sacrament has been consumed, there are plenty of rowdy moments on the album to get the blood flowing a bit faster, including "Judgement Day" where Biram preaches the gospel in his own twisted way and "I Feel Good" on which Van Campbell and John Wesley Myers of the Black Diamond Heavies add their own flair and burn the whole damn barn down in the process. Ending the album in the absolute perfect manner, Scott H. Biram shows his true blues and gospel roots and raises the spirits by giving an a capella rendition of Leadbelly's "Go Down Ol' Hannah", showing more soul than most R&B singers combined.
All in all, another great album by the man, the myth, the legend that is known as Scott H. Biram. His music brings together blues, rock, gospel, all in a punkass manner that appeals to an extremely broad variety of individuals, that are ever growing in number and variety even as we speak. I see this new album as propelling him into the league in which he belongs, especially in the circles that hold Hank Williams III in such a high regard. And make no mistake about it, Scott H. Biram is most definitely an outlaw whose music goes far above and beyond reflecting just that. - Andrew Bryant

Trainwreck Riders

Trainwreck Riders
The Perch
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From the get-go, I thought that I had the Trainwreck Riders pegged. With the descriptors of country and rock, I was sure that they were going to be a more modern version of a Parsons Burrito Byrds conglomerate, yet I couldn't have been more wrong. Hearing their music for the first time threw me an instant curve ball, probably because I was expecting to hear upbeat shuffles with quirky pedal steel lines and instead was dished out a serving that was a bit more rock than roll. Hailing from San Francisco, the Trainwreck Riders consist of vocalist and guitarist Pete Frauenfelder, Andrew Kerwin on drums, and his brother Steve on lead guitar and vocals.
For the most part, this album is a modern cowpunk record that brings to mind obvious influences from this genre including the Meat Puppets and the Mekons. Part rock, but never over the top, the Trainwreck Riders are a pretty safe, middle-of-the-road bet that never gets too out of control on the volume and tempo end of things. Not a face-melter at all mind you, The Perch, though chocked full of momentary lapses with Dobro, lap steel, and fiddle, can best be described as an alternative country rock album with a sound that is highly similar to that of Built to Spill and Modest Mouse. Highlights include"Don't You Know", a track with an extremely laid back tempo that could seamlessly be added to any Modest Mouse record and "Chug Along", a soft, acoustic song complete with resonator guitar, brushes on the snare drum, and a warm, summer evening feel that makes you just want to put your feet up on the back porch and watch the sun go down.
Though not what I expected at first, the Trainwreck Riders have delivered an album that is perfect for the warm weather that is upon us. The Perch is yet another point chalked up in the plus column for Alive Records and I am sure that we will more from the Trainwreck boys hopefully soon.-Andrew Bryant

Wayne Hancock-Viper of Melody

Wayne Hancock
Viper of Melody
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Like any good Southerner, there are a few things that I have no shame in taking a shine to. One being whiskey, the second is wearing cowboy boots year round, and the third is good country music. I am not talking about CMT, Nashville FM, or pop country. I am talking about the real deal country music that makes you want to throw on your cowboy hat and Sunday finest, grab your gal and head to the nearest honky tonk for a night of cold beer, two-stepping, and everything in between. Thank God there are still a few good souls still making a racket that has the twang, attitude, and gumption to still be considered true country music, artists who are keeping the sound and genre alive for those of us who prefer things the way they once were. A legend in the alternative world of country and rockabilly music, if there is such a thing, is Wayne "The Train" Hancock keeps the true country spirit alive with others including Hank Williams III. Hancock's newest album, Viper of Melody, is indeed some of the sweetest sounding music this year that will keep the toes tapping and glasses full.
Described as the "world's finest purveyor of juke joint swing", the album proves that he is indeed just that. This album swings its ass off and would it damn near impossible for anyone to sit still during a listen, especially in a juke joint. Vipers of Melody is the perfect backdrop for sitting belly up to the bar in dim lit room, illuminated only by the neon beer signs and swirling jukebox lights, and enjoying only the finest of frosty beverages with your best gal or gals. The music on this album is not "outlaw country" per say, but most definitely the music of outlaws. This music swings, Texas swings that is, and is not jazz by any stretch of the imagination. Mix in the perfect amount of blues and rockabilly influence and there you have the noise of The Train. If I had to sum up Hancock's sound with Viper's of Melody, I would have to say it sounds like Hank Williams Sr. fronting a paired down version of Bob Wills' Texas Playboys. The Train's voice has the perfect amount of twang and old-time grit to bring to mind the aforementioned godfather in country music in addition to other legends including Jimmie Rogers. Every song on Vipers of Melody except one was penned by Hancock himself and further proves his greatness in the songwriting arena. These are songs of good times and bad, heartbreak and hell-raising all bundled into one package that is surely to be one of 2009's greatest releases. Highlights for me include the boogie-woogie of "Jump the Blues" and "Freight Train Boogie", and the weeping steel lines and heartbreak of Jimmy Campbell's "Midnight Stars and You."
Do yourself a favor and get this record. -Andrew Bryant

Radio Moscow-Brain Cycles

Radio Moscow
Brain Cycles
purchase this album here

Ah, remember a day when rock and roll was in its prime and just plain sounded the way it should; a day when guitars weighed a ton, hair was long, and the amps had knobs that were as big as pie plates. This was a day when you could still hear the hiss of the 2 inch tape on albums and bands could venture to the heavy end of the spectrum and not scare off the good spirited masses who were merely looking for a new album to throw on the turntables, space out, and expand both their mind and musical pallets. Fortunately for us, there are still musicians out there who abide by these creeds of the late 60's and early 70's, and could easily be considered contemporaries of their heroes, keeping great rock and roll alive in a world in which the majority of popular music has gone to shit. Hailing from Ames, Iowa of all places, Radio Moscow is one of these bands that does things right, from playing through vintage gear and joining forces with Alive Records, a label that can do no wrong in my book. Their newest album out of the oven, Brain Cycles, is a step above their 2007 debut with a greater confidence in both song-writing and musicianship.
I might be beating a dead horse by comparing Radio Moscow to Hendrix, however there is no denying the obvious influence that this music has on this album, from the guitar leads, tones, and effect choices. At the same time, Brain Cycles reminds me a great deal of other behemoths from back in the day including Cream, Blue Cheer, and the Groundhogs. Front man and guitarist Parker Griggs comes from a school of thought in which fuzz and wah are kings and the guitars are loud. Its a good thing too, because this young man has massive chops and an ear for the way rock and roll songs should be written. Chalk another one up in Griggs' column for his percussive work on the album, playing all of the drum parts himself. This leads me to the question, what can't he play? No kidding, there are hundreds of artists out there that would kill to have drum sounds like this, part Mitch Mitchell, part Carmine Appice. On the low end of things, Zach Anderson's bass lines are prime, tasteful, and in the pocket, perfectly complementing the guitar and drum work at hand. Brain Cycles is all about the driving riffs and psychedelic swells that will make the brain swim, swirl with an Are You Experienced? production quality. In fact I would almost require it to ingest Brain Cycles via a great pair of headphones.
Let's raise our glasses once again to Alive Records for bringing another of this year's best to the listeners. And most definitely hats off to the Radio Moscow boys for tapping into something that was in or added to the water back in the days when rock and roll was all about throwing on the cans, lighting some incense, and freeing ones mind. -Andrew Bryan

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Black Math Horseman

Black Math Horseman
Wyllt
purchase this album here

As a fan of all that is considered throwback, psychedelic, doom, and stoner metal and just about everything in between, I usually jump at the chance to give a listen to anything that certain record labels have to offer. These aforementioned labels include Rise Above, Candlelight, MeteorCity, and most recently, Tee Pee Records. I have always loved the majority of the Tee Pee artist roster: everyone from Alive to Witch, Sleep, Entrance, and of course Graveyard, whose debut was my album of the year for 2008. Lately, it seems that Tee Pee, along with Alive Records, has had the golden touch, producing some of the best rock and roll that the world has to offer including Los Angeles quartet, Black Math Horseman who just released their debut album, Wyllt, joining elements of doom, psychedelic, and space rock in a dark cloak amongst a heavy haze.
Wyllt gets started with an extremely relaxed pace, with "Tyrant", an opening track that would be the perfect sound accompaniment for an opium den. All kidding aside, this song makes your head swim and your innards feel all warm with a hypnotic groove and guitars that swirl, swell, and snake around the droney, smokey vocals of frontwoman and bassist Sera Timms, who sounds to me at times like a melding of young Grace Slick and the clean vocals of Kylesa's Laura Pleasants. In many ways, Black Math Horseman reminds me of a much more laid back, doomier Kylesa in that they have a strong, but not cliche female voice leading the charge, they both can freak out psychedelically without getting too monotonous or obnoxious, and they pay close attention to the dynamics of their songs at hand, making the album flow for an easy listen. For the majority of the album, the pace remains constant, never straying too much from their calm, but massive sound. This sound is achieved by maintaining riff-oriented grooves established by Timms' bass and the heavy, almost tribal drumming of Sasha Popvic, joined together with the layered and dynmaic guitar work of Bryan Tulao and Ian Berry. This music is extremely delicate and beautiful at times, transending into tritone-based, Sabbath-influenced doom riffs, and returning back to the drones and swells that eventually dwindle to nothing.
Many, including myself, are having a difficult time categorizing Black Math Horseman. Are they psychelic rock? Are they doom metal? Whatever the case may be, they have achieved a highly distintive and addictive sound that caught the ears at Tee Pee records, the concert-goers at the 2009 South by Southwest Music Conference, and soon the world. -Andrew Bryant