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Bandcamp[Release date 17.12.21]
Any band that describes itself as: “We are stranger than fiction, more intense than realism…” immediately has my attention, if only for a Kurt Vonnegut take on rock music.
Eyes Of Albion actually formed in 2018 and ‘Temple Noise’ is their second release which has only recently benefiting from some long overdue PR.
The 5 track EP is a well crafted, but intense mix of hard, stoner, psychedelic and at times prog rock.
This is band with the vision, creativity and musical ability to push retro rock influences into a new and exciting template
The band wears its influences on its sleeve from Zeppelin to AC/DC with hints of psychedelia and always with enough heft to remind us of say Monster Magnet.
Everything is built on a beefy undertow that anchors mellifluous grooves and bone crunching riffs.
Their sonic presence is built on a raft of solid rock influences such as Zeppelin, Sabbath, Floyd, Purple and even Hawkwind.
They are powered by the powerful rhythm section of kick ass drummer Andy Mullins and the svelte bass lines of Johnny Muzz, who bring understated swagger and push them into the heavier Stoner Rock feel of bands like Kyuss.
Eyes of Albion’s musically evoke their own name. The ‘Eyes’ suggest a restless exploration of their musical horizons, while ‘Albion’ hints at a historical English legacy, in this case a durable rock legacy.
The band explores riff driven rock (stoner, classic and psychedelic rock) with a bluesy and fleeting folk into prog influence, tempered by a modal Easter flavour.
They set out their stall with the booming power chords and AC/DC style strut of ‘Fake Messiah’. Refreshingly they broaden their focus within the confines of the same song to incorporate psychedelic nuances.
They do so via Robert Kemp’s initial sludgy solo which he then transforms into Dave Gilmour territory, before a bone crunching finish.
Then there’s the 8 minute long ‘Moroccan Rain’ which features Eastern style bv’s, tabla’s and repeated thin toned guitar motif in sharp contrast to the enveloping wall of sound.
A tempo change then leads into an overarching Floydian sweep, in which they incorporate drone, stoner, proggy and Eastern elements.
Vocalist David Clinton has the range and power to effortless tackle the quiet-to-loud dynamics and he phrases with authority as the band rocks hard. Kemp’s piercing riffs are then counterweighted by the kind use of enveloping tones King Gizzard fans are familiar with.
Then there’s the psychedelic gleam of the Ozrics meets Gong, Hillage and even Dead Meadow, while they groove like King Buffalo!
‘Swirling Vortex’ musically mirrors its title, as it opens with a gently thumbed bass and acoustic reminiscent of early Hawkwind, until a powerful drum break sets up a bass led groove.
The band quickly hits its stride on a lilting rock track with an organic feel. The repeated drop-down to a pulsing bass line evokes the “Swirl” of the title, before Kemp adds slashed riffs.
‘Desert Wanderings’ is built round a stop-time gnawing riff, topped by a perfect vocal and an ascending chorus that could be Zeppelin.
Kemp’s intricate solo draws us back into a final resolving chorus and a perfunctory finish. This is rock music at its best.
There’s a palpable Sabbath and latter day Stoner influence and growling tone on the closing ‘Seventh Circle’, which is the recycled title track of their previous EP.
It comes with portentous lyrics which perfectly match Kemp’s early distorted and later outer wordly tone, achieved by what sounds like bowed guitar strings and eerie bv’s.
The more you play this EP the more it reveals. ‘Temple Noise’ has real contemporary crossover rock appeal. The 5 tracks are played with passion, feel, intensity and innovation.
The band rises above cliché to transcend genres and forge their own style, which in the very best traditions of rock music is a mix of head banging familiarity and ground breaking originality.
The ‘Eyes’ have it! ****
Review by Pete Feenstra
Featured Artist: JOSH TAERK
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