#wishboneash — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #wishboneash, aggregated by home.social.
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2026 Hey Siri Songs - Day 172
"Hey Siri. Play Sometime World by Wishbone Ash."
#Nite #HomePod #Music #WishboneAsh
Apple Music: https://music.apple.com/gb/album/sometime-world/1440504883?i=1440504886
Spotify: https://open.spotify.com/track/1Vd8d6wNpm7KWfTuNPVOHJ
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2026 Hey Siri Songs - Day 172
"Hey Siri. Play Sometime World by Wishbone Ash."
#Nite #HomePod #Music #WishboneAsh
Apple Music: https://music.apple.com/gb/album/sometime-world/1440504883?i=1440504886
Spotify: https://open.spotify.com/track/1Vd8d6wNpm7KWfTuNPVOHJ
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Ted Tocks Covers - Year 9 - Day 45
Come On
Updated from May 10,2018
Bookending a 63 year run of singles released by The Rolling Stones.
From ‘Come On’ to ‘In the Stars/Rough and Twisted’.
#ChuckBerry #TheRollingStones #MickJagger #KeithRichards #RonWood #WishboneAsh #JoeJackson
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Ted Tocks Covers - Year 9 - Day 45
Come On
Updated from May 10,2018
Bookending a 63 year run of singles released by The Rolling Stones.
From ‘Come On’ to ‘In the Stars/Rough and Twisted’.
#ChuckBerry #TheRollingStones #MickJagger #KeithRichards #RonWood #WishboneAsh #JoeJackson
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Ted Tocks Covers - Year 9 - Day 45
Come On
Updated from May 10,2018
Bookending a 63 year run of singles released by The Rolling Stones.
From ‘Come On’ to ‘In the Stars/Rough and Twisted’.
#ChuckBerry #TheRollingStones #MickJagger #KeithRichards #RonWood #WishboneAsh #JoeJackson
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MONDAY MATINEE MUSIC VIDEO “We’re Alive” by Kris Ryder a.k.a. Chris Andrews https://www.youtube.com/watch?v=tZ2XeA-0gPE
#alive #krisryder #chrisandrews #kokomo #reggae #newwave #powerpop #philpalmer #beachboys #buggles #menatwork #johnnyjblair #sheenaeaston #aha #christopherneil #queen #dominicbugatti #frankmusker #wishboneash #direstraits #davidessex #ericclapton
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MONDAY MATINEE MUSIC VIDEO “We’re Alive” by Kris Ryder a.k.a. Chris Andrews https://www.youtube.com/watch?v=tZ2XeA-0gPE
#alive #krisryder #chrisandrews #kokomo #reggae #newwave #powerpop #philpalmer #beachboys #buggles #menatwork #johnnyjblair #sheenaeaston #aha #christopherneil #queen #dominicbugatti #frankmusker #wishboneash #direstraits #davidessex #ericclapton
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Argus
April 28, 1972. Andy Powell and Ted Turner's twin lead guitars. Life was never the same again. That "prog folk-rock" sound and the blending of medieval lyrics combined with those twin lead guitars still make a head swim. #wishboneash #argus #70srock #rock #rockmusic #music #musicsky #musiciansky #andypowell #folkrock #hardrock #progreock #tedturner
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Argus
April 28, 1972. Andy Powell and Ted Turner's twin lead guitars. Life was never the same again. That "prog folk-rock" sound and the blending of medieval lyrics combined with those twin lead guitars still make a head swim. #wishboneash #argus #70srock #rock #rockmusic #music #musicsky #musiciansky #andypowell #folkrock #hardrock #progreock #tedturner
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Happy birthday, Andy Powell …
The founding member of the band most influential in the "twin lead guitar movement" is celebrating his 76th today. Turn it up. #AndyPowell #birthday #WishboneAsh #70srock #80srock #classicrock #progrock #andypowell #birthday #wishboneash #70srock #rock #rockmusic #70smusic #music #musicsky #musiciansky #classicrock #guitargods
http://robinbannks.com/2026/02/19/happy-birthday-andy-powell/
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Happy birthday, Andy Powell …
The founding member of the band most influential in the "twin lead guitar movement" is celebrating his 76th today. Turn it up. #AndyPowell #birthday #WishboneAsh #70srock #80srock #classicrock #progrock #andypowell #birthday #wishboneash #70srock #rock #rockmusic #70smusic #music #musicsky #musiciansky #classicrock #guitargods
http://robinbannks.com/2026/02/19/happy-birthday-andy-powell/
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WISHBONE ASH
Harmonie Bonn, Dienstag, 20. Januar um 20:00 MEZ
Die britische Rockband Wishbone Ash kommt im Januar 2026 nach Bonn. Seit den frühen 1970er-Jahren prägt die Band mit ihrem unverwechselbaren Twin-Lead-Gitarrensound die internationale Rockgeschichte. Alben wie Argus machten Wishbone Ash zu einer der einflussreichsten Formationen zwischen Classic Rock, Progressive Rock und Blues.
Am Dienstag, 20. Januar 2026, gastiert die Band in der Harmonie in Bonn. Das Konzert verspricht eine Mischung aus Klassikern und neueren Titeln – virtuos gespielt und mit viel Spielfreude präsentiert.
INFOS UND TICKETS ZUM KONZERT
Artist: Wishbone Ash - 20 Uhr
Datum: Dienstag, 20. Januar 2026
Location: Harmonie, Frongasse 28–30, 53121 BonnTickets sind bei bonnticket.de oder bei allen bekannten Vorverkaufsstellen erhältlich.
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Wishbone Ash's eponymous album.
The debut album of one of the early 70s' iconic bands, one of the first bands I saw live.
The extended guitar solos of Ash and similar bands have long since gone out of fashion, but are still enjoyed by old fogeys like me.
Two versions of the band are still touring, led by Andy Powell and Martin Turner respectively. -
Ladies and gentlemen, Wishbone Ash.
December 4, 1970 ~ The debut album from Wishbone Ash. Wishbone Ash was opening for Deep Purple in early 1970 when Andy Powell walked in on a Deep Purple soundcheck, plugged in his guitar and started jamming with Ritchie Blackmore. Blackmore told the MCA Records rep after the show they should sign the damn band. Listen to the debut album from Wishbone Ash on Amazon Music ... #wishboneash #70srock #andypowell #classicrock #deeppurple…
http://robinbannks.com/2025/12/04/december-4-1970-the-debut-album-from-wishbone/
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Released today 4th December 1970
#AlbumOfTheDay #70s #WishboneAsh #music -
Released today 4th December 1970
#AlbumOfTheDay #70s #WishboneAsh #music -
2025 Hey Siri Songs - Day 253
"Hey Siri. Play The King Will Come by Wishbone Ash"
#Nite #HomePod #Music #WishboneAsh
Apple Music: https://music.apple.com/gb/album/the-king-will-come/1440504883?i=1440504889
Spotify: https://open.spotify.com/track/2Lathi1zVEUYJtnyp8BkUW
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2025 Hey Siri Songs - Day 253
"Hey Siri. Play The King Will Come by Wishbone Ash"
#Nite #HomePod #Music #WishboneAsh
Apple Music: https://music.apple.com/gb/album/the-king-will-come/1440504883?i=1440504889
Spotify: https://open.spotify.com/track/2Lathi1zVEUYJtnyp8BkUW
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New old Wishbone Ash live album released this week. Those guitar tones. Including the bass 🥰
Live at the Capital Theatre, January 19, 1974 - Wishbone Ash
Apple Music: https://music.apple.com/gb/album/live-at-the-capitol-theater-january-19-1974/1831497352
Spotify: https://open.spotify.com/album/7ddlbKXvyjnyjArIwu8LnH
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New old Wishbone Ash live album released this week. Those guitar tones. Including the bass 🥰
Live at the Capital Theatre, January 19, 1974 - Wishbone Ash
Apple Music: https://music.apple.com/gb/album/live-at-the-capitol-theater-january-19-1974/1831497352
Spotify: https://open.spotify.com/album/7ddlbKXvyjnyjArIwu8LnH
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https://www.europesays.com/uk/289375/ Phantom Spell – Heather & Hearth Review #2025 #4.0 #BlackSites #Camel #CruzDelSurMusic #Entertainment #Heather&Hearth #IronMaiden #Jul25 #Kansas #ManillaRoad #music #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #UK #UnitedKingdom #WishboneAsh
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Phantom Spell – Heather & Hearth Review
During the 16 years that AMG has been a thing, I have criticized the trend of reaching back…
#NewsBeep #News #Music #2025 #4.0 #BlackSites #Camel #CruzDelSurMusic #Entertainment #Heather&Hearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #UK #UnitedKingdom #WishboneAsh
https://www.newsbeep.com/uk/21168/ -
Phantom Spell – Heather & Hearth Review
By Angry Metal Guy
During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.
Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.
Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.
But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4
Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.
This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.
Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh
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Phantom Spell – Heather & Hearth Review
By Angry Metal Guy
During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.
Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.
Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.
But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4
Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.
This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.
Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh
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Phantom Spell – Heather & Hearth Review
By Angry Metal Guy
During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.
Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.
Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.
But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4
Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.
This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.
Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh
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Phantom Spell – Heather & Hearth Review
By Angry Metal Guy
During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.
Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.
Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.
But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4
Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.
This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.
Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh
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Phantom Spell – Heather & Hearth Review
By Angry Metal Guy
During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.
Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.
Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.
But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4
Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.
This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.
Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh
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New #review today: "#TheFërtilityCült is a Finnish band founded in 2008 which has been compared to #BlackSabbath, #KingCrimson, #WishboneAsh, and #ElectricWizard. Now six years after their fourth album, they have released their fifth, A Song of Anger, and the first on #BlackWidowRecords." #ExposeOnline #ProgressiveRock #FërtilityCült http://expose.org/index.php/articles/display/the-fertility-cult-a-song-of-anger-6.html
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New #review today: "#TheFërtilityCült is a Finnish band founded in 2008 which has been compared to #BlackSabbath, #KingCrimson, #WishboneAsh, and #ElectricWizard. Now six years after their fourth album, they have released their fifth, A Song of Anger, and the first on #BlackWidowRecords." #ExposeOnline #ProgressiveRock #FërtilityCült http://expose.org/index.php/articles/display/the-fertility-cult-a-song-of-anger-6.html
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New #review today: "#TheFërtilityCült is a Finnish band founded in 2008 which has been compared to #BlackSabbath, #KingCrimson, #WishboneAsh, and #ElectricWizard. Now six years after their fourth album, they have released their fifth, A Song of Anger, and the first on #BlackWidowRecords." #ExposeOnline #ProgressiveRock #FërtilityCült http://expose.org/index.php/articles/display/the-fertility-cult-a-song-of-anger-6.html
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New #review today: "#TheFërtilityCült is a Finnish band founded in 2008 which has been compared to #BlackSabbath, #KingCrimson, #WishboneAsh, and #ElectricWizard. Now six years after their fourth album, they have released their fifth, A Song of Anger, and the first on #BlackWidowRecords." #ExposeOnline #ProgressiveRock #FërtilityCült http://expose.org/index.php/articles/display/the-fertility-cult-a-song-of-anger-6.html
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New #review today: "#TheFërtilityCült is a Finnish band founded in 2008 which has been compared to #BlackSabbath, #KingCrimson, #WishboneAsh, and #ElectricWizard. Now six years after their fourth album, they have released their fifth, A Song of Anger, and the first on #BlackWidowRecords." #ExposeOnline #ProgressiveRock #FërtilityCült http://expose.org/index.php/articles/display/the-fertility-cult-a-song-of-anger-6.html
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Argus
April 28, 1972. Andy Powell and Ted Turner's twin lead guitars. Life was never the same again. Listen to Argus by Wishbone Ash on Amazon Music ... #wishboneash #argus #70srock #rock #rockmusic #music #musicsky #musiciansky #andypowell #folkrock #hardrock #progreock #tedturner
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Wishbone Ash Grubu Hakkında Bilinmesi Gerekenler
#wishboneash #prog #progrock #rock
https://los-endos.com/wishbone-ash-grubu-hakkinda-bilinmesi-gerekenler/
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Wishbone Ash Grubu Hakkında Bilinmesi Gerekenler
#wishboneash #prog #progrock #rock
https://los-endos.com/wishbone-ash-grubu-hakkinda-bilinmesi-gerekenler/
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#MorningCoffeeAlbum with a jam Doughnut!
Argus by Wishbone Ash.
The album which defines Wishbone Ash for most fans. Both current iterations of the band, led by Andy Powell and Martin Turner respectively, have toured in recent years doing play throughs of the album.
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#MorningCoffeeAlbum with a jam Doughnut!
Argus by Wishbone Ash.
The album which defines Wishbone Ash for most fans. Both current iterations of the band, led by Andy Powell and Martin Turner respectively, have toured in recent years doing play throughs of the album.
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Surprisingly, I was not the only woman my age at the #WishboneAsh concert today :'-D
Also there was a really cute elderly woman next to me who managed to raised the age average even a bit. She brought her son(?) who pretty much fit the crowd ^^'
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Surprisingly, I was not the only woman my age at the #WishboneAsh concert today :'-D
Also there was a really cute elderly woman next to me who managed to raised the age average even a bit. She brought her son(?) who pretty much fit the crowd ^^'
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A nice find. When I was putting away Number The Brave, the #WishboneAsh album I bought earlier this week and played this morning, I noticed something inside the cover. I gave the cover a shake, and this fell out.
It has no value, but I love the idea that someone probably bought my copy of the album at this gig. -
A nice find. When I was putting away Number The Brave, the #WishboneAsh album I bought earlier this week and played this morning, I noticed something inside the cover. I gave the cover a shake, and this fell out.
It has no value, but I love the idea that someone probably bought my copy of the album at this gig. -
Number The Brave - Wishbone Ash
Having been a major fan of the band's first three albums in my youth, I found Wishbone 4 and There's The Rub a little disappointing, and stopped buying their albums.
However, this album was listed at a price I couldn't resist, and I am pleasantly surprised. Their 11th studio album, and first without founding member, bassist Martin Turner, it has a more funky feel than the early records. -
Number The Brave - Wishbone Ash
Having been a major fan of the band's first three albums in my youth, I found Wishbone 4 and There's The Rub a little disappointing, and stopped buying their albums.
However, this album was listed at a price I couldn't resist, and I am pleasantly surprised. Their 11th studio album, and first without founding member, bassist Martin Turner, it has a more funky feel than the early records. -
Wishbone Ash - At The BBC 1970-1988
#rock #prog #progrock #wishboneash -
Wishbone Ash - At The BBC 1970-1988
#rock #prog #progrock #wishboneash -
:megaphone: DEMNÄCHST!
*Zusammenfassung 24.01. bis 24.02. für BerlinAny Given Day und The Narrator
24.01.2025 Potsdam / WaschhausMotionless in White
24.01.2025 Berlin / ColumbiahalleMutabor
24.01.2025 Berlin / MaayaNorthern Lite
24.01.2025 Berlin / LidoUncle Acid & The Deadbeats
24.01.2025 Berlin / HeimathafenDeath Cult 69
25.01.2025 Berlin / Urban SpreeHaven & Death Cult 69, Chaver
25.01.2025 BerlinHaven, Death Cult 69 und Chaver
25.01.2025 Berlin / Urban SpreeUncle Acid & the deadbeats
25.01.2025 Berlin / HeimathafenCus Berlin
26.01.2025 BerlinWishbone Ash
26.01.2025 Berlin / Quasimodo#AnyGivenDay #Berlin #Columbiahalle #CusBerlin #DeathCult69 #Haven #HavenDeathCult69 #Heimathafen #Lido #Maaya #MotionlessInWhite #Mutabor #NorthernLite #NothingWorks #Potsdam #Quasimodo #Reset #UncleAcidTheDeadbeats #UrbanSpree #Waschhaus #WishboneAsh #SteelFeed #SteelFeedSoon
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#MorningCoffeeAlbum with a pastry!
Live Dates - Wishbone Ash
Their fifth album, and last with the original lineup until 1987
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#MorningCoffeeAlbum with a pastry!
Live Dates - Wishbone Ash
Their fifth album, and last with the original lineup until 1987
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Grendel’s Sÿster – Katabasis into the Abaton [Things You Might Have Missed 2024]
By Angry Metal Guy
Grendel’s Sÿster’s Katabasis into the Abaton (out August 30th, 2024 from Sur Del Cruz Music [Bandcamp]) caught me off guard. Unlike other members of the Angry Metal Guy staff—such as the venerable, self-aware ape suit they call Druhm who’s just one death away from actually running this show if anything should happen to me—I am not a sucker for just anything that sounds old. Such things do not remind me of my wasted youth, and thus do not earn nostalgia points.1 I was, therefore, thoroughly surprised that, upon listening to Grendel’s Sÿster vicariously through an ill-fated n00b review, I fucking loved it. Billed as “epic metal”—a sound that ranges between “Man do we love Bathory” and, apparently, Grendel’s Sÿster—this German four-piece drops metal that reeks of patchouli and “Atomkraft? Nein, Danke!” to surprising effect. The core of Grendel’s Sÿster’s sound is the combination of fuzzy guitars, bubbly p-bass, and boxy drums into something that will undoubtedly call to mind the ’70s hard rock of your choice: Wishbone Ash, Jethro Tull, Thin Lizzy or nostalgia merchants like Gygax. You know the comps; blend guitar-driven rock with folksy vibes and you have Grendel’s Sÿster nailed down (pretty much).
What differentiates Grendel’s Sÿster from other nostalgiacore acts is twofold: first, unusually catchy hooks (“The Plight of the Sorcerer,” both the start-and-stop intro riff and the gorgeous outro or “Rose Arbor” in its classic gallop and simple melody), and second—and more importantly—is vocalist Caro’s unique voice and delivery. Rather than sounding like a classic metal vocalist, Caro’s approach feels like punk. This punky feel results from her unaffected—that is, forceful and clean with no vibrato—delivery, where she sometimes seems like she’s almost barking melodies in a clear Oxford-via-Stuttgart accent in English. Over catchy, short, and energetic songs, Caro gives Grendel’s Sÿster an edge that vocally evokes X-Ray Spex or Elastica and—when mixed with the folky tendencies in songs like the aforementioned “Rose Arbor”—Flogging Molly. Caro navigates folk (“Golden Key [Won’t Fit]”), metalesque vocal choirs (“Night Owl’s Beak”), and something more dour and ominous (“The Fire That Lights Itself”) with aplomb. But she is at her best when giving unexpected attitude over Grand Magus riffs (“Cosmogeny”).
Katabasis into the Abaton taken as a whole combines energetic performances with unique writing—and an old-school, live feel that works for some, but won’t work for others—but that got under my skin almost immediately. Crazily, I’ve been back to this album repeatedly and can’t seem to quit it. Check the Bandcamp and you’ll get both a German and English version. I can’t decide which I like better, but I do like this record a lot but can’t be trusted to write TYMHMs anymore. This is at least a very good record by my reckoning and should appeal to both folk metal dorks and classic rock/metal retrodorks.2 Give Grendel’s Sÿster its due, this is a damned fine debut album.
Tracks to Check Out: ”Cosmogeny,” “The Plight of the Sorcerer,” “The Fire That Lights Itself” – but really, there isn’t a weak track on here.
#2024 #Aug24 #CruzDelSurMusic #Elastica #FloggingMolly #GrandMagus #GrendelSSÿster #Gygax #HeavyMetal #JethroTull #KatabasisIntoTheAbaton #ThinLizzy #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TradMetal #WishboneAsh #XRaySpex
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Grendel’s Sÿster – Katabasis into the Abaton [Things You Might Have Missed 2024]
By Angry Metal Guy
Grendel’s Sÿster’s Katabasis into the Abaton (out August 30th, 2024 from Sur Del Cruz Music [Bandcamp]) caught me off guard. Unlike other members of the Angry Metal Guy staff—such as the venerable, self-aware ape suit they call Druhm who’s just one death away from actually running this show if anything should happen to me—I am not a sucker for just anything that sounds old. Such things do not remind me of my wasted youth, and thus do not earn nostalgia points.1 I was, therefore, thoroughly surprised that, upon listening to Grendel’s Sÿster vicariously through an ill-fated n00b review, I fucking loved it. Billed as “epic metal”—a sound that ranges between “Man do we love Bathory” and, apparently, Grendel’s Sÿster—this German four-piece drops metal that reeks of patchouli and “Atomkraft? Nein, Danke!” to surprising effect. The core of Grendel’s Sÿster’s sound is the combination of fuzzy guitars, bubbly p-bass, and boxy drums into something that will undoubtedly call to mind the ’70s hard rock of your choice: Wishbone Ash, Jethro Tull, Thin Lizzy or nostalgia merchants like Gygax. You know the comps; blend guitar-driven rock with folksy vibes and you have Grendel’s Sÿster nailed down (pretty much).
What differentiates Grendel’s Sÿster from other nostalgiacore acts is twofold: first, unusually catchy hooks (“The Plight of the Sorcerer,” both the start-and-stop intro riff and the gorgeous outro or “Rose Arbor” in its classic gallop and simple melody), and second—and more importantly—is vocalist Caro’s unique voice and delivery. Rather than sounding like a classic metal vocalist, Caro’s approach feels like punk. This punky feel results from her unaffected—that is, forceful and clean with no vibrato—delivery, where she sometimes seems like she’s almost barking melodies in a clear Oxford-via-Stuttgart accent in English. Over catchy, short, and energetic songs, Caro gives Grendel’s Sÿster an edge that vocally evokes X-Ray Spex or Elastica and—when mixed with the folky tendencies in songs like the aforementioned “Rose Arbor”—Flogging Molly. Caro navigates folk (“Golden Key [Won’t Fit]”), metalesque vocal choirs (“Night Owl’s Beak”), and something more dour and ominous (“The Fire That Lights Itself”) with aplomb. But she is at her best when giving unexpected attitude over Grand Magus riffs (“Cosmogeny”).
Katabasis into the Abaton taken as a whole combines energetic performances with unique writing—and an old-school, live feel that works for some, but won’t work for others—but that got under my skin almost immediately. Crazily, I’ve been back to this album repeatedly and can’t seem to quit it. Check the Bandcamp and you’ll get both a German and English version. I can’t decide which I like better, but I do like this record a lot but can’t be trusted to write TYMHMs anymore. This is at least a very good record by my reckoning and should appeal to both folk metal dorks and classic rock/metal retrodorks.2 Give Grendel’s Sÿster its due, this is a damned fine debut album.
Tracks to Check Out: ”Cosmogeny,” “The Plight of the Sorcerer,” “The Fire That Lights Itself” – but really, there isn’t a weak track on here.
#2024 #Aug24 #CruzDelSurMusic #Elastica #FloggingMolly #GrandMagus #GrendelSSÿster #Gygax #HeavyMetal #JethroTull #KatabasisIntoTheAbaton #ThinLizzy #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TradMetal #WishboneAsh #XRaySpex