Binding the senses in grooves which show no restrain or mercy in their insatiable temptation and plying that slavery with riffs which voraciously gnaw and smother all before them, Ancient Astronauts the new album from Scottish metallers Holy Mountain, is an unstoppable juggernaut of sound and intensity. It is a heavyweight antagonist merging stoner and doom metal into a suffocating tsunami of intense and exhaustive sounds, but one which veins and sears it all with at times corrosive but always incendiary magnetic grooves and melodic causticity. It is quite simply an encounter which lovers of the riff will devour with greed.
Holy Mountain, its name taken from the Alejandro Jodorowsky’s 1973 movie La Montana Sagrada, was formed in 2009 as an improvisational duo by guitarist/vocalist Andy McGlone and drummer Pete Flett. Two years after emerging, the Glasgow band enlisted bassist Allan Stewart and went almost straight into the creation of debut release Earth Measures. The mini album found its release in the May of 2012 welcomed by strong responses and acclaim, a reaction sure to be replicated and taken to greater levels by its impressive successor. Recorded with producer Paul Savage (Mogwai, Franz Ferdinand), Ancient Astronauts is a giant leap if not for mankind certainly for Holy Mountain as they explore all the qualities unveiled on their previous release far more intensively and inventively whilst casting new wild and expansive endeavours.
LV-42666 brings the journey into view, cruising in on a sonic breeze before stroking the imagination rigorously with thrashing rhythms, 
rapacious riffs, and addictive grooves; rogue vocals adding to the celestial mystery and adventure. As urgent as it is heavy, the track strides boldly as sinews bare their muscular appetite and melodies seduce ears with the guile and irresistible lures of a wanton temptress. There is also an unmistakable psychedelic pop romp to the encounter which only accelerates its submission of the senses and passions.
The following Luftwizard instantly brings a darker and heavier suasion but again it is lit by scorching melodies and also this time vocal harmonies which flirt and tempt the imagination as potently as the sounds. The voice of McGlone is fed through a Roland Space Chorus across the album bringing a spatial quality to his tones and the general air of songs, something equally inspired by the majestic pungency of accompanying keys. The thick imposing riffs of the song provide a deep texture to the affair which almost groans in its intensity and rapacious wrapping of the sonic maelstrom within. It is a masterful adventure guiding the listener through a union of dark and light, a mutual rather than combative merger but one with plenty of imposing shadows to its exultant fire.
The title track comes up next exploring cavernous sceneries with doom bred prowling riffery and rhythmic provocation whilst short but virulent grooves lance the thick smothering air, their strikes beacons through the appealing murkiness as the song heads into an explosive contagion which bursts out with urgency and sonic radiance. The track touches the darkest depths and brightest highs in tone leaving the senses exhausted and rewarded by the riveting ascent, their recovery given no respite as Star Kings from a rhythmic draw swiftly courted by a highly tempting bass stroll, feeds another strenuous passage of ravenous riffs and fuzz surfaced enterprise. The vocals are a little further forward and carry stronger clarity within the tempest of sound, though they still feel pleasingly immersed in the overall flood of the experience rather than being an overlying presence riding the waves. It is an aspect which is as potent and important as the riffs and rhythms in making the album the immense proposition it is, they and the ridiculously contagious toxins which the band also casts into the creative rabidity.
Not necessarily the best track, so hard to choose one, but a definite favourite here is Tokyo which comes next. A bestial vicious voice and growl to the riffs drives the track initially whilst the bass with its throaty appeal makes the good guy in the confrontation, its smiling grooves the temper to the predacious guitar grizzle and the trigger to the flirtatious sonic temptation and boisterous vocals which revel in the overwhelming devilry of the track. It is a siren of a song which is matched by Gift Giver, the danger which usually accompanies such a tempting and arguably missing in its predecessor, an open stalking at the start of the song. Its slow pacing is soon ignited as riffs escape their shackles, a punkish urgency taking over whilst the drums hold a little restraint in attack if not power. It continues to switch between extremes bringing a scintillating and unpredictable soundscape to play with and explore, a post punk severity adding its taunts from time to time in the lulls between unbridled sonic blazes. The instrumental is riff heaven and groove manna thrown into an aural alchemy and corruption to bask in.
The album is completed by firstly the seventies seeded psychedelically enhanced 100 Years A Day and lastly the smouldering expanse of Hollow Hill which alone encapsulates all you need to know about Holy Mountain in sound, skill, and imagination, as well as influences with a range of twists and enterprise which pull up references to Black Sabbath, Deep Purple, and Electric Wizard, ones you can apply to the whole of the album even with its distinct presence. Ancient Astronauts is a magisterial slab of psychedelic rock/metal and Holy Mountain a band poised to stake their claim for a seat on the top table of the genre we suggest.
Ancient Astronauts is available now through Chemikal Underground digitally and on limited edition vinyl.
http://www.holymountainband.co.uk/
9/10
RingMaster 17/04/2014
Copyright RingMaster: MyFreeCopyright
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the opening track Hangman, the band unveils a superbly textured and provocatively spices weave of styles and flavours ranging from seventies heavy metal and psychedelic rock to stoner and doom as well as a stirring progressive encrusted spicery. As the first song proves it is a riveting and refreshing concoction which hits the sweet spot time and time again. Song one instantly has attention at its will with eagerly coaxing rhythms framing expressive and inventive guitar suggestiveness. It is a heavy and melodically infused invitation which losing a little of its grip when relaxing into a less surprising stride, though it soon regains its potency with the outstanding vocals of Gonzalez. His voice soars and roars simultaneously, complementing and driving the sounds around him whilst his guitar, as the rhythms of Garcia, tie up any lingering doubts with anthemic arms. As confirmed by all songs, there is never a moment to assume you know the destination of a track, a thrilling jazz/funk like salsa of Latin rhythmic temptation and melodic seduction tripping up expectations towards the middle of the first song before excellent guitar craft entwines ears and thoughts.
Brock, guitarist Kieran Gallagher, bassist Dean Gordon, and drummer Rikki Smith. Across their time they have also have built a strong reputation for their live performances, lighting up venues around Scotland such as the Liquid Rooms, Classic Grand, King Tuts, and Cabaret Voltaire. Their next aim is to infiltrate the rest of the country and with the likes of Got It Memorized in their armoury you feel it should be a done deal in stretching their presence and fanbase.
entrance through the brief Invitation. Its atmosphere is soaked in warning whilst a seductive female teases and lays bait to expose the weakness of man. The track is pushed aside by the following Perverse Media, riffs and rhythms immediately ascending upon the ears with a voracious hunger and combative urgency. The vocals of Forrest are equally as confrontational making for a strong and solid start, but it is just an initial lure which is soon given to greater appeal by ravenous grooves and scything twists of adventure. The track turns into a formidable predator, an aggressor which teases and intimidates throughout leaving appetite and pleasure ablaze.
released album steals the passions instantly through its opening title track, the entrance of the song through a wonderfully nagging lure of jagged repetitious riffs immediate magnetism especially with the subsequent fall of heavy rhythms and dark throated bass strikes. The additional emerging web of melodic temptation only steals a richer intrigue before the proposition unleashes a charge of thrash bred voracity. The track surges with sinews flailing air and intent ravaging senses whilst vocally Gibson parades a strong and varied display which matches the equally eventful and resourceful narrative of the song. It is an impressive invitation into the album, guitars a fluid colour of imagination and craft across a canvas of hungry rhythms and riffing which highlights further the eloquence, raw power, and striking invention of the offering.
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Directed by Deborah Louise Robinson, the Wienerworld released film also brings a rare and honest glimpse into the world of heavy metal, uniting those on and before the stage in a sinew clad rampage of passion drenched, fire bred metal. From the opening slice of the Asomvel track Full Moon Dog followed by their live performance of Stone Cold Stare, the film thrusts the viewer into live madness and back-stage tomfoolery. Across 83 minutes the likes of Orange Goblin, Mercenary, and of course Asomvel, amongst a great many, recall with relish their times and adventures with Winter to interviewer Rob Webb whilst Toby Craven-Griffiths takes his microphone into the fans for similarly celebratory anecdotes, proving that the man was one of us and a personal friend with so many of the attendees. Smiles and mischief are never absent from playing in front of the camera either, and not all alcohol fuelled, as people throw themselves into the show to eagerly relate their own individual meetings and ventures with Winter.
which is soon thrust aside by persistent rhythms, hungry riffs and rising melodic atmospheres bred by the keys. The strong start is soon accentuated by the rich tones of Rauch, the singer continuing to impress with more potency as the album progresses. The repetitive eager prowl of the song is the strongest bait of all, which the vocals and guitars swing from with confidence and enterprise. It is not the most dramatic start to a release, or a song which lingers that long after its departure but certainly it makes for an infection clad welcoming which is vivaciously matched by the next up Supersonic Speed. The second song bounds in on a rhythmic stomp which continues to invite as guitars and keys expel their weave of sonic and melodic temptation, whilst emerging grooves to its second half alongside a flaming solo coax the track to another contagious level.
Me unleashes its fury upon ears and senses. It is a tremendous ravishing which gnaws and smothers the senses as the insidious hardcore squalls and toxic growls of Brinker, aided by those of Stafflage, prey on the psyche. Entwining less intensive moments for brief respite within the voracious tempest, the song shows the imagination and craft of the band, their spirals of sonic endeavour catching the eye within a rhythmic provocation and passionate causticity driving the attack. It is an outstanding start raising great hopes and anticipation for the rest of the release.