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Novacrow – Look At Me Now

Posted in Review with tags alt rock, Horror, Look at me now, Mick Birchall, Novacrow, self release, UK Underground on 24th September 2022 by Mickelrath

Novacrow
Look At Me Now
Alt. Rock, Hard Rock, Alt. Metal
Released: 30th September 2022
Self Released

Well, it’s certainly been a while since I’ve written about Novacrow. Since I first heard about them, I’ve always thought that their music is special. Their unique mix of alternative rock horror-core, industrial and stoner rock makes for an enjoyable listening experience. Basically, if you like Black Moth but think it could do with more Arthur Brown and Alice Cooper influences, then Novacrow might be a band you would want to listen to. Their new album Look At Me Now is an absolute hoot of a record with fun catchy hooks, playful lyricism and creative production choices that stand far above any previous releases. I can’t tell you how much I’ve been waiting for an album like this again. Music that takes extreme pleasure in being entertaining without being bogged down in its own themes or concepts. It’s like the musical version of a B-movie. Fun, engaging and memorable.

Genuinely, I think this album is in a whole other ballpark compared to previous albums. Novacrow has really done something with this album. The album hits all areas of the rock and metal genres and still comes out as one cohesive whole. I mean they’ve always been a playful band, dipping their toes into elements of horrorcore and coming up with weird concepts like “Fever Swamp” and “Fight The Horde”. Yet, this album feels like it stands heads and shoulders above them. For a starter, they’ve clearly tightened up their production. The instrumentation sounds absolutely amazing. All the musical elements blend so well together. The ominous guitars, the booming bass and drums and the vocals make such an impact. It all feels so glorious. Even the moments where the growled vocals come in, it feels like a natural extension of the songs. I especially like the electronic elements that twinkle and sparkle all over the tracks. Giving the music that literal extra character.

But Mick… What about the lyrics and songwriting? Yeah, they absolutely nail that too. You see Novacrow are an atmosphere-driven band. So, if the atmosphere feels like a bad Halloween dug trip, I think they would call that mission accomplished. I think the songs work in their own little bubble to as they have a really good knack for writing catchy hooks and riffs that will get stuck in your head. Songs like “Medusa Medusa” and “It’s Alive” are certainly strong contenders for the best tracks on the album if you’re looking for straight-up solid rock songs. However, they have made some more, shall we say, out-there songs that are just flat-out fascinating to listen to. “Frankenfiiine” fits this a lot more, with its 60s-inspired groove that feels like it’s out of the jam-band era.

Needless to say, I absolutely loved this album. It feels so good to have new music from Novacrow. Their brand of unique insanity is just what is needed in a sea of bands that are either trying too hard to sound like their idols or just sound like everything else on rock radio. Not them though, they are just being them. Which I really admire. So if you want something a little out there but still well within the confines of hard rock, this is an album worth checking out at least once.

9/10

Mick Birchall

Morguenstern – Sepulchral Burden

Posted in Review with tags dark metal, GlobMetal Records, Gothic Metal, Horror, Morguenstern on 2nd February 2014 by Pieni

Morguenstern
“Sepulchral Burden”
Dark/gothic metal
Released on 22^nd January 2014
Via GlobMetal Records

Morguenstern is a Russian dark/gothic metal band – in lack of a better genre. Despite the English title, they sing in their native language, but don’t let that discourage you (in case you don’t speak Russian, that is). Even if you can’t sing along properly, you’ll admit that it suits the music: horror is the lyrical theme (“zombies, vampires and cemeteries”, says the press release) and Morgana sounds quite creepy and ominous when singing in Russian.

She’s also in charge of the keyboards, to which she adds that same level of creepiness – you feel like you’re watching one of those black & white horror movies, where an ugly monster is about to snarl at you from the shadows – but sometimes those keys also take you to a more industrial atmosphere, although still in a dark way. Like “Последний путь” (last journey) or “Кровь” (blood), songs that I can totally imagine a bunch of goths dancing to.

“Идем со мной” is one of the most somber tracks, so I guess the “come with me” which the title means isn’t a very nice ride. The song itself, though, is one of the best.

“Sepulchral Burden” has several guest singers, the highlight being the title-track “Тяжесть могильная” with Alex Raymar from Desert. “До свидания” (farewell) is my second choice, but I’m not sure who the male vocals belong to.

All in all, I believe whoever has a thing for music which would play at an Adams Familiy party – meaning sinister but brisk at the same time – should try this out.

4 / 5

Renata “Pieni” Lino

Theatres Des Vampires – Moonlight Waltz [2011]

Posted in Review with tags Album, Arts, Black Metal, Carmilla, Gothic Metal, Guitar, Horror, Lord Vampyr, Metal, Moonlight, Music, Sheridan Le Fanu, Snowy Shaw, Sonya Scarlet, Stringed, Symphonic Metal, Theatres Des Vampires, Vampire, Vampire Metal on 9th June 2011 by Nico Solheim-Davidson, the North Sea Poet

Band: Theatres Des Vampires
Album: Moonlight Waltz
Release year: 2011
Genre: Gothic Metal/Vampire Metal

Italian Gothic Metal quintet “Theatres Des Vampires” are back with their newest studio release “Moonlight Waltz” which features an array of guests including Snowy Shaw [Therion], Cadaveria [Opera IX] and Marco Benevento [The Foreshadowing].

The eerie keyboard intro of “Keeper Of Secrets” begins the album, which is soon accompanied by Sonya’s vocals and a dark strings section. The track increases in pace and heaviness with the introduction of the guitars and drums. Sonya’s vocals sound very hypnotic and grim. Snowy’s vocals bring an extra touch of Gothic feeling to the track. The keyboard sections are brilliantly composed. This track certainly keeps the attention of the listener, making for an immense intro track. “Fly Away” is the second track of the album. The intro has a very symphonic metal sound, due to the combination of melodic guitar riffs and keyboards. As can be expected of any TDV track, the vocals bring a certain eeriness to the music. The keyboard sections bring a very dramatic sound to the track, whilst the guitar riffs keep the metal element of the track alive. The drums seem lighter compared to the previous track however.

The title track, “Moonlight Waltz” is next beginning with a soothing piano and strings introduction. When the vocals and drums occur, the track begins to sound like a ballad, adding a very unique touch to the album. The soft guitar riffs are beautifully composed, allowing this track to live up to it’s title. The acoustic guitar towards the end of the track brings it to a wonderful yet sorrowful finish. The fourth track, “Carmilla” takes its name from the short story of a lesbian vampire by the same name written by “Sheridan Le Fanu”. The first section of the track sounds epic and dramatic. The vocals add to the dramatic effect of the track, while the guitars keep a raw energy flowing through the track. The strings solo is unexpected but makes this track so much more enjoyable. This track has certainly added a new level of beauty to the already great story of Carmilla. Next is “Sangue”, beginning with a synth intro which is soon joined by an aggressive riff. The vocals sound very ghastly and the drums sound powerful. The male vocals add another element of aggression to the track, sounding almost like death metal grunts.

The cover of Mecano’s “Figlio della Luna”, follows after composed mainly of keyboards, strings and vocals. Sonya’s vocals sound amazing alongside the keyboards. The use of guitars and drums adds a very TDV sound to this cover. Next is “Black Madonna”, beginning with hypnotic, almost-siren like vocals and an acoustic riff. About half a minute in, the track turns heavier and more symphonic. The use of acoustic guitars is quite frequent throughout the track, making it one of the more lighter tracks of the album. The keyboard sections are outstanding. “Illusion” is next, with a simple yet beautiful keyboard intro. The keyboard medley turns more melodic when the drums begin to be played, which work well with the keyboard. The guitars soon make themselves heard, bringing a more rockier sound to the track. The guitar riff gradually becomes heavier for a while before stopping for a short break before returning with an epic solo.

“Le Grand Guignol” featuring Cadaveria is next already bring the level of heaviness up a notch. The use of screams improves the track, whilst the drum work is intelligently composed. There are some obvious industrial elements and influences which can be heard on this track, just like with some of the previous tracks. “Obsession” is next. The intro is very industrial sounding,. Like the intro, the vocals and drums have an industrial sound to them, which work strangely well with the string sections. There is a use of operatic styled vocals as well which makes the track more dramatic and intense. The only down side to this track is the lack of guitars. The second to last track, “The Gates Of Hades” is next, which like some of the previous tracks begins very eerily though the guitars soon remedy this alongside the string sections. There seems to be more emphasis on the keyboard medleys on this track, whilst not a bad thing, it may not be approved of by some. There is a slight use of Latin lyrics on this track as well, bringing a very Gothic atmosphere with them. The final track “Medousa” begins with a slight industrial sound, combined with some creepy whispered vocals. The guitars and keyboards can soon be heard. The guitars and drums are intelligently composed on this track, combining both heaviness and brilliant musicianship. There is a brutal use of double bass drums on the track, which makes it a perfect end to a brilliant album. The keyboard sections certainly bring a calm to the storm of metal that is heard on this final track, especially with the outro medley.

With a mixture of symphonic, Gothic and industrial elements, this is certainly a most enjoyable album. Everything seems to fit together so well and it’s good to see that Sonya’s vocals are still on top form. This is a must have album for old and new Theatres Des Vampires fans alike. One can only wonder how they will top this album.

4.5/5

Nico Davidson