California’s Sunnydales might just represent the ultimate collision of Ramones influenced pop punk and retro pop culture. This three piece band take a well worn musical blueprint and apply their love of Joey and Johnny with a bigger love of 90s television hit Buffy The Vampire Slayer. You might think such a concept might be good for one release, but this second EP (released in May 2019) is every bit as good as their debut from the previous year.
Creating a sound they’ve dubbed “Munstercore”, Dickie Devil and the Deviants create music that takes a hefty dose of rockabilly and punk, a decent amount of surf rock and just enough sass to create perfect additions to your Halloween themed playlists. Their 2020 digital release offers a couple of numbers which resurrect fond memories of the early 80s and of classic psychobilly fare, but with a dash of Necromantix toughness and some good pop culture thrown in for good measure.
In September 2020, Zakk Sabbath released their long-awaited ‘Vertigo’ album, on which legendary guitarist Zakk Wylde and friends recreated the Black Sabbath debut as faithfully as possible. Everything was well played, but with the band taking such a traditional stance, there were moments where you’d wonder why you’d ever choose to listen to it over the original recording. There were a couple of tracks of great interest, however, such as ‘Wicked World’ where the band loosened their grip on self-imposed authenticity and added more of their own flair and ‘N.I.B.’ which proved that Zakk Wylde plus and indestructible riff will often result in something great. The album was well received by fans, and despite any misgivings about long-term interest, it was important that the band got a studio recording under their collective belt after working the live circuit for so many years.
Europe’s love of progressive music has been well documented. The Italian record buying market was one of the only territories to take to Genesis before 1973 and The Netherlands’ own mark on the psych and prog genres became legendary thanks to bands like Ekseption, Trace and omnipresent yodellers Focus. Greece bore Aphrodite’s Child which, in turn, gave the world the talents of Vangelis, while the Germans’ own brand of progressive music took a much more experimental turn with Krautrock. Despite being fairly marginal from a commercial, both Kraftwerk and Tangerine Dream were taken to heart by a broad spectrum of UK record buyers in the 70s.
Despite so many different progressive subgenres breaking into the album charts from and wide, the Scandinavian contingent got far less of a look in. Sweden’s Kaipa latterly became one of the best known exports thanks to Roine Stolt’s later success with The Flower Kings and Anglagaard were loved by a few die hards, but outside of John Peel’s influence, Scandinavian prog never really found a true champion in the 60s and 70s or scored any genuine chart action.
A rattle; a cranking sound that suggests revving; muted guitar sounds set against an ominous quiet… At the outset of this EP from fusion musician James Basdanis, things start so disjointedly they give no obvious clue as to where the music will go. After a little more gearing up, Basdanis turns out a few jazzy guitar notes in a melody that strongly suggests a Mediterranean slant, but this isn’t obviously something a world music buff might gravitate towards. Nor is it especially “jazz” in the most traditional sense, but certainly takes in elements of both. Hearing it for the first time, the slow, unfolding melody suggests something from the Frank Gambale back-cat mangled with glee by a Les Claypool project.