DEWAR PR is a PR company based out of Ontario, Canada, run by CEO Curtis Dewar. Specialising in all that is hard and heavy within the music industry, Dewar champions all of the underground genres such as sludge, stoner rock and other sub-divisions of heavy metal, allowing them the platform and opportunity to reach out to new set of ears worldwide. You may already be familiar with a couple of their clients through my recent 'My Wreckord Collection feature', but if you really want a taste of what Dewar has to offer, then look no further.

“Dewar PR Presents” is a brand new, FREE TO DOWNLOAD sampler compilation album, consisting of seventeen tracks by seventeen different artists, showcasing the variety of metal you can find within their catalogue of bands. Whether you like the groove-heavy hypnotic drones of sludge lords FALSE GODS….the traditional sound of old school thrashers TOMMY CONCRETE, the classic, sensual darkness of Gothic rockers HER DESPAIR, or even the sweet vocal harmonies of DUST PROPHET, there is sure to be something for you over the course of this record. Curtis himself says;

“I’m pleased to release the latest in our series of compilations! This is the fifth year of Dewar PR being in operation and I’m excited to have the chance to work with great new bands.  Download the compilation and support (with money) any of the bands that you enjoy! If you’d like more information on promoting your next release with Dewar PR, please email me at [email protected]!”

Follow the link below to download the sampler…did I mention it’s fucking FREE?!?! Get on it!

Track List:
1] FALSE GODS – “They Who Speak To The Lost”
2] OWL MAKER – “Witches”
3] TOMMY CONCRETE –“Leith Punk Flat”
4] HER DESPAIR – “Blaspheme With Me”
5] GORM – “Beyond Black Rainbow”
6] CHAOS SYNOPSIS – “Sixteen Scourges”
7] ALICEISSLEEPING – “Scary Mary”
8] RITUAL EARTH – “Solar Ecstasy”
9] DEATH ON FIRE – “Witch Hunter (Remix)”
10] VESSEL – “The Dreaming”
11] BLESSED BLACK – “Stormbringer”
12] STUMP TAIL DOLLY – “Regret”
13] ALLFATHER – “By Sword By Famine By Plague”
14] DUST PROPHET – “The Big Lie”
15] ARCHARUS – “Erebor”
16] RIFT – “Lift To Ash”
17] DESERT KINGDOM – “Unleash All Hell”

'My Wreckord Collection' is becoming an interesting little feature...we've gone from an underground death metal masterclass, to lashings of thrash and now...in our third installment, we're going for something totally different yet again. Today we're going to be putting the spotlight on Mike Cummings of West Chester Pennsylvania stoner rockers BACKWOODS PAYBACK, who last year released their newest album "Future Slum", to find out what it is about NEIL YOUNG he loves so much...

“I sat down to write a bit about my record collection but, it seemed a bit overwhelming at the time. So many records, so many artists, so many genres; so many formats! I decided to hone in on the one artist that may have influenced me the most and that, would be NEIL YOUNG. I was turned onto “Harvest” before I was 10 years old; it was one of my mom’s favourite records and in constant rotation at the house growing up. Something about the fragility of his voice made me stop whatever I was doing whenever it came across the speakers. Then getting older and understanding the words he was singing, I realized just how powerful that soft voice actually was. As I got older and started digging through crates for my own record collection I was blown away by the sheer VOLUME of records Neil Young had (And continues to) put out. A folk record, a psych record, a “punk” record, a noise record, a synth record…he never stops! And when you think you caught up to him, he is already onto the next sound. It’s inspiring, it’s refreshing, and at times it’s FRUSTRATING (Which is a good thing in my opinion!).”

“I have managed to find just about his entire catalogue on vinyl through the years. Some get listened to more than others…some have only been spun once. Some (The ditch trilogy of “Time Fades Away”, “On The Beach” and “Tonight’s The Night”) get played weekly at the house. These records shaped who I am. They make me feel strong, they make me feel small. They guide me through tough times and they sing with me in happier ones. I am not sure who or even what I would be, had I not heard THAT voice all those years ago, coming through my mom’s little turntable stereo in the living room…”

ps…

“When it comes to embarrassing records, I don’t think I have one. Sure there’s a TON of stuff I dig on that a LOT of people think is goofy (IE: SUGAR RAY  - “Lemonade and Brownies”!) but I am not ashamed of any of them. I think they make us who we are. EMBRACE THE AWKWARD!”

Now, if you’re from the UK then you are BOUND to know someone, who, when you merely mention the Polish, that will go all South Park on your ass and start shouting “Dey terk er jerbs!!”…but we’re not here to highlight immigration fearing UKIP voting redneck folk, no, we’re here to talk music, and today’s band just happens to be from Warsaw, Poland; Let me introduce you to THE FREUDERS. The four-piece (Consisting of vocalist / guitarist Tymon Adamczky, guitarist Olek Adamski, drummer Jacek Lodi Piatkowski and bassist /programmer Maciek Witkowski) got in touch with me via email and asked me to check out their newest EP by the name of “Omniform”…the tracks have been described as being 4 atoms, distances apart but ready to collide together to exude the powerful force that is this EP, emanating in a metaphorical black hole, sucking you in to the music. That’s a pretty bold statement! Where did they produce this; the fucking Hadron Collider? Let’s check it out…

The EP opens up with “Rhino” and just like the hulking animal itself the idea is that it charges at you with its duel socio-political message of combating terrorism and the idea of lady justice; the government’s that live vicariously through her via means of war and conflict…an incredibly deep track that musically takes on a morose, grunge-fuelled post-rock tone channelling influences such as AFGHAN WHIGS. Mostly spoken word, but thankfully it does come to life for the chorus salvaging something at least from a listening perspective; it’s a decent start. “Alter Ego” follows up and it’s like a constant battle between warring split personalities, like Tymon is speaking of the allowed consumption of his one side by the other, almost singing to himself, but again, aside from an bold yet fuzzy, classic-rock guitar solo at the tracks climax it’s still just another slow, monotonous offering for the most part.

“Brotherhood” continues this approach with another sluggish, grunge-based, mostly spoken work piece, only offering slight melody with the brief chorus…slightly droning, even layering what sounds like whale-song inspired instrumentation within the latter half of the track, allowing for a somewhat shoegaze experience but it still feels and sounds lazy, before closing track “Shipwreck” takes you on a nihilistic journey through the zombified mind of a sailor going through the motions at sea…fed up of his Captain’s seemingly endless quest, the voyage at sea becoming bleak, the repetition pushing him to almost breaking point…the mantra of “we sink – we drown” the only thought seemingly keeping him going, veering off at the end like he secretly wishes to end his existence in the cold sea below. With the grunge elements still driving the music there’s also subtle prog influences here too and at points you can hear the bands appreciation of TOOL creeping through, giving us the EP’s only other notable point of interest really.

Mind you with that said it, doesn’t take away from the fact that, overall, the seventeen minutes of music that makes up this EP is arguably some of the dreariest you’ll likely hear all year…even instrumentally, aside from a few interesting guitar licks and ideas, it’s just a really lacklustre listen, both uneventful and unexciting. They may share a name with Sigmund Freud, historically possibly the world’s foremost leading name in neurology and psychoanalytic research, but even he would struggle to find motivation here, sadly this EP really is that boring. [3]

Formed in Seattle, Washington back in 1987, ALICE IN CHAINS would go on to become one of the ‘Big Four’ of the game-changer we refer to as grunge. Alongside SOUNDGARDEN, PEARL JAM and of course, NIRVANA, they pushed alternative music ever further into the mainstream and affected pop-culture in ways polar opposite to the glam rock era they oh so miserably replaced. Far more stripped back, raw and emotive; the audience could identify with them as opposed to the sheer shock value and flamboyance of glam, and what they lacked in sass, they made up for in song writing. While the movement was for the most part short lived as music and tastes evolved (And not to mention Kurt Cobain French kissing a shotgun) the more successful of these bands would continue on and 2018 see’s AIC release the brand new album “Rainier Fog”…actually only their SIXTH studio album in 30 years! Grab your umbrella’s folks…this is gonna’ be a wet one…but let’s check it out…

The album opens up with “The One You Know”…which is a blatant lie because this is the first time I’ve listened to the album and I’m not psychic! I jest…it opens up with a series of short, sharp guitar chords, repeated like some really lackluster Norman Bates parody. Seriously it just half-asses it’s way along with about as much momentum as a bout of constipation…the chorus has a decent groove and the guitar solo salvages something at least, but this a poor opener, it’s one I NOW know but also one I want to forget…moving on. The title track does at least have decent rhythm and it’s riffs do have a certain hook to them, which coupled with the tracks key changes make for a more fluid listen I’ll give it that, but what IS rainier fog? You don’t see the weather man warn you about that special rainy fog…of course it’s fucking wet otherwise it’d be smoke! It is in fact a nod to Mount Rainier, a volcano overlooking Seattle, and the aforementioned cities music scene which appropriately erupted like a volcano in the early 90’s…fitting, both then and now, as like a volcano the genre is thankfully dormant.

Further notable points on the album are sadly sparse as AIC are hardly the most energetic bunch…”Fly” opts for a far lighter approach with its melodious guitar tone and almost indie-esque post-rock feel; it’s simplicity and harmony allowing for one of the records more enjoyable listens. “Maybe” and similarly “Never Fade” do utilise far catchier choruses for the most part, the latter having a little more grit and attitude to it throughout but it hardly gets your blood pumping, and this is arguably the best track on offer here! The rest of the album sadly makes you feel not only as miserable as you do when it IS raining, but there’s a leak in your roof to boot, plus your toilet has flooded. “Drone” does exactly what it says on the tin and drones on like it’s even bored of itself…it actually musically sums up grunge in one damning swoop, utterly boring stuff this, while closing track “All I Am”, the longest track on offer, just feels completely drawn out and needlessly time consuming. I’ll tell you this much, All I am, personally, is fed up, and I’m glad this is the last track.

Now, I’ll be fair and as impartial as I can be…vocally Jerry Cantrell, as far as clean vocalists in rock and metal go, does have a distinct and iconic sound; he’s crafted the style to his own and he knows how to carry a song…likewise with the musicianship; yes there are some solid riffs utilised here and you can’t fault the band for their prowess as song writers…but there’s only so far that can go when the song’s themselves are so utterly depressing. Alice has been in chains for 30 years now and for some reason she’s still being kept alive; reasons which frankly elude me…and truth be told she’s brought nothing new or interesting to the table with this one sadly. [4]

Omne trium perfectum…no, before you ask I’ve not been to Hogwarts and that isn’t a spell for perfectly cooked three-egg omelettes…but it is in fact the Latin for ‘the rule of three’. As the saying goes, the best things come in three’s, at least that’s the common conception anyway, and what better way to explore this, than the trusty trilogy…let’s look at some examples. There’s the pioneering “Carnosaur”, that so heavily influenced “Jurassic Park” to the point that came out just FOUR WEEKS later, so inspired was Spielberg…there’s the “Star Wars” prequels with the phenomenal Jar Jar Binks…and then there’s “Jackass”, which has some of the strongest story telling ever put to the big screen. What’s that? I’m being facetious? Me?

The point I’m trying to make is that for everything that’s good in the world, it’ll have an opposite, and that sometimes three isn’t necessarily always the magic number (Even one in some cases), and to explore this further today we’ll be looking at NINE INCH NAILS and the new mini-album “Bad Witch”. Front man Trent Reznor initially started messing around with some ideas back in 2016 which later became the EP “Not The Actual Events”, which was a decent extended play that followed “Hesitation Marks” really quite well thematically as a stand-alone slab of bonus NIN…but he went on to reveal it was to be the first of  trilogy. This was soon followed up by 2017’s “Add Violence” which despite starting strong, soon found itself going further down the electro-prog rabbit hole, before we wound up in there here and now. All that’s left to find out now is, on a scale of one to ten (One being Sabrina and ten being Gruntilda) how bad IS the witch?

We open up positively, and more importantly promisingly, with “Shit Mirror” and we’re instantly met with the gritty, grainy, riff-heavy bitterness that we’ve come to love from Reznor; his tortured vocals iconic as ever, while the clap-along percussion provides an up-beat tempo, yet it also harbours an almost QUEENS OF THE STONE AGE type bluesy, stoner rock vibe, subtly layered within…until a brief pause, before the track ends irritatingly on a loop, ultimately spoiling all initial momentum. “Ahead Of Ourselves” opts for a more pulsing, droning, drum ‘n’ bass approach…before slowly ascending into an almost, aggrotech barrage…combining Reznor’s penchant for the industrial with more jungle elements, before the instrumental “Play The Goddamned Part” takes us on a journey of disorientating, progressive jazz-infused electronica…the psychedelic jam-session rich in distortion and the use of brass is on the verge of haunting as it relentlessly pierces your ears.

This continues with “God Break Down The Door” and while it retains certain drum ‘n’ bass elements it also contains certain qualities found in DAVID BOWIE’s “Blackstar”…albeit more up-tempo. The tone, the vibe, the almost trance-like nature of its delivery, backed up with those soft jazz influences, it almost finds itself bridging the two all the while remaining entirely separate concepts and entities. “I’m Not From This World” is another instrumental that works on the gradual build; appropriately sounding much like a score from a sci-fi movie, you could easily imagine being stalked along the decks of a space station to this before getting brutally skull-fucked by an alien…before closing track “Over And Out” brings us back down to Earth with its long, drawn-out, sweeping dreamscapes. So how bad is this witch? Upon first listen, it’s an uncomfortable and frustrating wall of noise and ideas mangled into a 30 minute record, and although repeat listens do draw out its nuances, this is more of an art-rock piece that needs your undivided attention, as oppose to an album with choice cuts. On that scale of 1 to 10, I wouldn’t go as far as Gruntilda, but I certainly wouldn’t need to think twice about dropping a house on this son of a witch and stealing her ruby slippers…[4]

The UK music scene in the 90’s was an interesting place to be it has to be said…less of an exotic cocktail and more of a dirty pint if anything. At one end of the spectrum we had a rising popularity in girl/boy bands, spearheaded by the likes of SPICE GIRLS and TAKE THAT…at the other end we had the dawn of a new era of darkness by means of the freshly malformed CRADLE OF FILTH and MY DYING BRIDE, and somewhere in the middle of it all, MR. BLOBBY managed a Christmas number 1, I shit you not. The main talking point however was always Britpop, which was of course famously established by the war between BLUR and OASIS, but at the turn of the century when tastes all changed, bands either sank or swam…Blur front-man Damon Albarn however didn’t just swim, he evolved, grew legs, left the pond and changed the concept of performance art as we knew it…he created GORILLAZ.

Consisting of fictional members 2-D, Murdoc, Noodle and Russel, the “group” existed entirely in animated cartoon form and was spawned from Albarn’s growing appreciation for electronic and world hip-hop music, and they made their breakthrough in 2001 via their self-titled debut album and the mega hit “Clint Eastwood”, never looking back, only growing in success with further singles along the road like “Dare” and “Feel Good Inc.” until their eventual hiatus. 2017 saw them return with 26-track behemoth “Humanz” but 2018 sees them back already with the follow up album “The Now Now”…the question is, is it the good good?

We open up with the album’s lead single “Humility” which features famed jazz-guitarist George Benson and what we’ve got is a quirky little, low-fi synth pop piece…laid back in approach combining ambient funk and subtle reggae influences for a very fresh, Summery vibe. This is backed up by the music video, inspired by the Santa Monica lifestyle; carefree and easy-going, and it speaks of the inner struggles of failed romance and yearning, though not entirely serious with Jack Black doing, well, Jack Black things. It’s an OK start…follow up track “Tranz” however is a completely different kettle of fish. Whilst simple in structure and approach it’s got a definite, retro electronic tone musically combining the simplicity of KRAFTWERK and the edgier, darker tones of DEPECHE MODE, all the while utilising some really catchy pop hooks and it works wonderfully, this is easily an album highlight.

Sadly however, highlights over these 11 tracks exist in much the same way Harambe does; i.e. he doesn’t, not anymore anyway (RIP you majestic beast). “One Percent” harbours soft synth melodies that wouldn’t feel out of place in a scene from “Stranger Things”, while “Lake Zurich” is another up-beat, primarily disco / funk-driven instrumental for the most part and it has to be said, on the track “Hollywood”, it’s always good to hear a bit of SNOOP DOGG (Even though the guy will work with almost anyone, refer to my old COREY FELDMAN review for that)…the rest of the album however sadly lacks any real sort of momentum. “Idaho” is structured very much like a dreamscape which would not only put you to sleep, but the sheep you were counting too. “Fire Flies” strikes me as purely ironic and cruel as I’ve literally just reviewed an OWL CITY album and this track actually makes me miss that, before closing track “Souk Eye” rounds things up with some more dreary pop. Damon Albarn is a talented song writer and creator, that’s not in question, but there were days he used to write with a sense of positivity and fun, with more LIFE…lately this project sounds like he’s either half asleep or stoned, or both…honestly, take the W’s off of the album title and it’ll be more appropriate. [3]

When they initially formed in the early 80’s, North Carolina’s Raleigh rockers CORROSION OF CONFORMITY were very much influenced by the big hitters in the hardcore punk scene, with the likes of BLACK FLAG and MINOR THREAT being among the bands that inspired them, but over the years, they’ve somewhat mellowed into a more stoner based syndicate as they’ve gotten older, and despite their seemingly revolving door policy for members, the original core line up of Woody Weatherman, Mike Dean, Reed Mullin and a returning Pepper Keenan have come together once again in early 2018 to deliver “No Cross No Crown”, their tenth studio album…having accepted these terms and conditions, let’s check it out.

The album gets underway with “Novus Deus” which roughly translates as “Revived God” which ties in nicely with the album title conceptually…the track itself is merely an intro at just under a minute and a half but it’s sludgy, doom-inspired tones echo early BLACK SABBATH efforts…there’s a coarseness to it and it builds up nice and slowly to first track proper “The Luddite”. The transition is a smooth one as it blends in almost immediately, picking up the pace considerably; the southern metal style prominent throughout, rich in groove but it’s got a heaviness to it within its riffs that sets it apart from most southern inspired bands. Lead single “Cast The First Stone” is much more energetic slab of music it has to be said…with its thrashing, up-tempo approach it’s a lot more comparable to their earlier work, with its ballsy, no fucks given attitude, in ways fans of GWAR could easily appreciate this one, an album highlight.

Speaking of highlights, we can’t ignore the similarly up-beat rip-ride of a track “Forgive Me”…with the stoner influences shining through a fine dose of hard rock, coupled with some truly infectious hooks and guitar licks, it’s a wonderfully enjoyable track and provides the albums peak. Highlights don’t necessarily mean bouncy and energetic mind you, as the band prove on the title track…a chilling slab of doom-inspired despair with a social/political pot-shot at the west, while “Nothing Left To Say” incorporates an emotive, soul-based tone, fully embracing southern blues heritage. The main faults with this album, if any really, are interludes…there are three of them, taking the whole track listing up to fifteen in total and, really there’s absolutely no need. “No Cross” comes across as filler from a low-budget horror movie score, “Matre’s Diem” or, “Mother’s Day” is a random little acoustic instrumental and “Sacred Isolation” is again, no more than filler. Overall though the rest of the tracks make up a decent stoner-rock record, and COC are showing no signs of corrosion after all this time. [7]