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Ty Segall ist ein Tausendsassa der Rockmusik. Für Ende August kündigt er ein neues Album an: „Love Rudiments“. Wieder wagt er sich damit in neue musikalische Gewässer, es wird nämlich ein Instrumental-Album. Die ausgekoppelte Single „The Dance“ gibt vorab einen Einblick in seine wie gewohnt ungewöhnliche Herangehensweise.

#DerSongDesTages #Fuzz #LoveRudiments #Popfilter #PsychedlicRock #SongDesTages #TheDance #TySegall #TySegallNeuesAlbum #PopfilterDerSongDesTages

detektor.fm/musik/popfilter-ty

Uncle Acid and the Deadbeats – Nell’ Ora Blu Review

By Iceberg

Nell’ Ora Blu, or “the blue hour,” is a love letter to Italian cinema, particularly the Poliziotteschi (crime) and Giallo (horror) styles. While Uncle Acid and the Deadbeats are famously a four-piece fuzzy psych-rock band, the vast majority of this record was conceived, written, and performed by main brain Kevin Starrs. This is by and large an instrumental, soundtrack-adjacent album, though there are tracks on here that will remind fans it’s still Uncle Acid and the Deadbeats (“La vipera,” “Solo la morte ti ammanetta”). Starrs’ story centers on corruption and revenge; a morally bankrupt businessman entangled in a plot of deception and murder by the very townsfolk he’s been abusing. The concept is solid enough, and the music and voice talent resembles an authentic ’70s soundtrack. But the proof is in the pudding, can the whopping 78 minutes of NellOra Blu deliver a rewarding listening experience as well as an ambitious artistic statement?

NellOra Blu’s tracks can be divided into three categories: voice-overs that propel the plot, instrumentals that set the scene, and more standard psych-rock tracks that emphasize a certain mood or motivation. The music itself evokes throwback Italian cinema without directly sounding like its major contributors, although I hear echoes of Ennio Morricone and Angelo Badalamenti throughout. Warbly, creeping synths form the backbone of many pieces, with simplistic half-ballroom, half-stoner drum patterns thumping over a pleasantly perceptible grooving bassline. I give a lot of credit to Starrs for incorporating as many different timbres and instruments as he did into this record; NellOra Blu is a labor of love and well outside the wheelhouse for the songwriter. But writing an album masquerading as a film soundtrack—or as Starrs says a radio play—brings with it its own challenges.

The voice-over tracks of NellOra Blu—all in Italian, much like their titles—shine brightest, hewing closest to the pulpy narrative and providing much-needed context to the shifting tones of the music (speaking Italian would help a lot here). Securing top voice-over talent—industry titans Franco Nero and Edwige Fenech—was a priority for Starrs, and I’ll admit tracks like “Giustizia di strada – Lavora fino alla morte” and “La bara resterà chiusa” pair their dialogue and foreboding atmosphere masterfully. The big plot beats work best; the genesis of the murder plot (“Giustizia di strada – Lavora fino alla morte), the heavy breathing phone call (“Tortura al telefona”) and the violent climactic act itself (“L’omicidio”). Starrs’ music naturally merges with the plot in these tracks, and the listener is swept up in the drama of the pulsing synths and slippery grooves. Taken on their own these exposition-heavy tracks could make a solid, smaller collection, but they co-exist along with other songs that threaten to drag the album past its natural lifespan.


As the beginning of NellOra Blu passes and the album settles in it becomes apparent this is ideal mood or background music, but poses a challenge for focused listening. The opening third of the album moves quickly with plenty of voice-over, but the one-two punch of “Il tesoro di Sardegna” and “Nell’ora blu,” with their combined 11 minutes of downtempo musings, disperses the suspense of the previous tracks. The lengthy, meandering center of the record doesn’t really pick up again until the end of “Il gatto morto,” where the events of the premeditated murder begin and the music—and story—regains prior energy. The other glaring—and potentially deal-breaking—issue here is the language barrier. I was lucky enough to have a story summary provided to me by the band, but I don’t know if this will be made available to the public. YMMV on this point, but knowing the outline of the story pulls the listener in and orients them with the music as it unfolds. Just as a film would feel half-full without its music, the score here feels less than without the illustration of the story to aid the listener (I envy my Italian-speaking readers, this album should come much easier for you).

This was a difficult album to review and score, if only because Uncle Acid and the Deadbeats presented me with such an outside-the-box album. Ultimately I feel NellOra Blu is a successful—if overextended—excursion into a sound world not often heard in these halls. Fans of the band and of throwback film music should set aside some time to check this out, and hopefully be able to secure a synopsis. As for me I can see myself, some six months down the line, dealing with an inconsolable newborn and turning to the smoky, slinky sounds of NellOra Blu to find some measure of respite and release.

Rating: 3.0/5.0
DR: Stream | Format Reviewed: Stream
Label: Rise Above Records
Websites: facebook.com | uncleacidband.com
Releases Worldwide: May 10, 2024

#2024 #30 #AngeloBadalamenti #EnglishMetal #EnnioMorricone #FilmScore #May24 #NellOraBlu #PsychedlicRock #Review #Reviews #RiseAboveRecords #StonerMetal #StonerRock #UncleAcidAndTheDeadbeats

Angry Metal Guy · Uncle Acid and the Deadbeats - Nell' Ora Blu Review | Angry Metal GuyA review of Nell' Ora Blu by Uncle Acid and the Deadbeats, released worldwide via Rise Above Records on May 10, 2024.

Kólga – Black Tides Review

By Iceberg

Texas-based Kólga bill themselves as a “blackened surf rock collective.” With a descriptor like that, and an album cover like THAT, there’s no way I could pass up on seeing what lurked beneath the Lizard People pool. Boasting members from a boatload of bands from across the spectrum (Dead to a Dying World, Cleric, Tyrannosorceress, Sabbath Assembly, to name a few) this is Kólga’s first stab at a full-length: and barely at that, running at a lithe 27 minutes. But if the band calls it an LP, then an LP it is, and a review it receives. Unsure if I’ll get Dick Dale in corpsepaint or Euronymous in board shorts, I let the churning waves of the opening seconds of Black Tides wash over my frozen skin.

Blackened surf-rock is certainly a facet of Black Tides, but it doesn’t paint the whole picture. The idiosyncrasies of surf-rock do indeed form the floor of the album: lightly distorted tremolo melodies, and that classic double-tap snare drum pattern. The blackened portion of the album is confined mainly to lo-fi cavernous vocals (“Space Beach Massacre,” “Squall of Cthulu”) and some heavier, more distorted passages that feel a little more Black Sabbath than black metal (“Tethis,” “The Kraken”). Much of this album would be better described as bad-trip surf rock, with shades of the psych-revivalist The Black Angels or even the theatrics of Alice Cooper. It’s also important to point out that this is predominately an instrumental album, though the band has a formidable treasure chest of timbres and textures on hand to keep the sound from stagnating (plenty of synth pads, auxiliary percussion like guiro and tambourine, a theremin, and even a waterphone, an instrument I’ve certainly heard before but never seen in action).

It’s this diverse palette of sound, along with a slavish adherence to their tongue-in-cheek concept, that gives Black Tides it’s je ne sais quois. Black metal and surf rock share more DNA than you may think, thanks to the prevalence of tremolo melodic guitar lines and fast single-stroke fills down the drumkit. Guitarists Jason Mullins and James Magruder do an admirable job of making me believe I’m in Surfin’-USA-gone-wrong with creepy laid-back numbers (“Squall of Cthulu,” “Endless Bummer”) and more maniacally driven ones reminiscent of a Quentin Tarantino soundtrack (“Riptide,” “The Kraken”). The vocals—by Mullins as well—revel in their role as a caricature of second-wave black metal (“Space Beach Massacre,” “The Kraken”), or a de-tuned acid trip narrative (“Squall of Cthulu,” “Tethis”). The band feels at ease in their performance, playing it a bit fast and loose with the timing, but not so much that it sounds like a jam session. And with the aforementioned lean run time, Black Tides manages to leave an impression without wearing out that inherent weirdness.


While Kólga aim to revel in their monster mash-up of a style, not everything on Black Tides has me buying what they’re selling. While bookends “Space Beach Massacre” and “The Kraken” make me believe the band is serious about Scandinavian Surf, the interior of the record strays from the thesis. Other tracks feel pulled from 70’s doom (“Tethis”) psychedelic rock (“Squall of Cthulu”) or straight surf rock (a sagging three-song run of “Riptide”-“Is This Real?”). These pieces are by no means poorly executed, but the divergence from the original genre pitch feels like the band threw everything at a wall to see what would stick, making for a listening that feels more unfocused than confident. The mix also feels a hair thrown together, with the drums—cymbals especially—feeling less crisp and seated than the rest of the instruments. I commend Mullins for committing to the bit with his vocal performance, and while I enjoy his Davy-Jones-on-LSD voiceover in “Squall of Cthulu,” the clean singing at the end of “Is This Real?” is strained and beginning to replace parody with cringe.

Gripes aside, Black Tides manages to provide a wacky, whimsical, yet under-baked detour from the more self-serious sides of metal. While I’d like to see the collective create a more cohesive and focused sound for future records, I can envision myself using a few of these tracks as background for Halloween or other mind-enhancing get-togethers. The band seems to have had fun making this record, and I hope they return to the project to make it bigger, bolder, and weirder. Now to find out the going rate for used waterphones on Ebay…

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ottis Media Records | Bandcamp
Websites: facebook.com | Bandcamp
Releases Worldwide: March 29, 2024

#25 #2024 #AliceCooper #AmericanMetal #BlackMetal #BlackSabbath #BlackTides #Cleric #DeadToADyingWorld #DickDaleAndTheDelTones #Kólga #Mar24 #OttisMediaRecords #PsychedlicRock #Review #Reviews #SabbathAssembly #SurfRock #TheBlackAngels #Tyrannosorceress