The Father of Serpents is a six headed beast comprised from members of various Serbian extreme metal bands. The combination of their talents hoped to recreate the sounds of classic doom with a melodic death metal edge, taking the mantle from established bands like (early) Paradise Lost, (early) My Dying Bride and Cathedral. It doesn’t take too long after hitting the play button on their 2017 release ‘Age of Damnation’ before it’s obvious that the vision they’d hoped for has been reproduced in a spectacular fashion.
Jennie Vee’s second solo EP ‘Die Alone’ was a masterpiece of retro cool. Taking elements from The Cranes, The Cure, Lush and early Echo & The Bunnymen, the release was a superb homage to everything that was brilliant about 4AD and electro-goth from the early 90s. [Read a review of the EP here.]
In the three years since that release, the one-time Tuuli frontwoman has been incredibly busy. She’s recorded a full length album, played with Courtney Love and supported Echo & The Bunnymen and Manic Street Preachers. Earlier in 2007, she also landed the job as bassist with Josh Homme’s Eagles of Death Metal.
Jennie Vee’s second solo EP ‘Die Alone’ was a masterpiece of retro cool. Taking elements from The Cranes, The Cure and early Echo & The Bunnymen, the release was a superb homage to everything that was brilliant about 4AD and electro-goth from the early 90s. [Read a review of the EP here.]
“Breathe out, breathe in…it’s time for the circus to reel you all in” exclaims King Colobus frontman Stewart MacPherson during ‘Tits & Teeth’ – very much a contender the most interesting track on the Devon-based band’s self titled EP release. Acting as part of the main hook, his unsettling request seems at odds with the old stage maxim at first, but it’s that unflinching contrast that makes the track so appealing. There’s nothing flippant about this performance; no greasepaint masking the true emotions. Nor is there anything nothing disposable about the surrounding heavy riffs or swathes of fuzz that drive the band’s sound. Here, perhaps more than ever, the band put across their musical intents with the most clarity. With a combination of stoner rock grooves, dark vocals and alt-rock leanings, these guys have solid foundations.
“Welcome to our faceless lives” implores The Foreign Resort’s frontman Mikkel Jacobsen during ‘Suburban Depression’, a neo-gothic, downbeat look at the dark side of the modern world. Set to music conjured through a remoulded sonic image of the 80s and released as a standalone track via the Danish band’s Soundcloud account, this is both the perfect introduction to The Foreign Resort for unfamiliar ears and an equally perfect homage to the sounds of some thirty years previous. The recycled sounds of a Peter Hook-esque bassline placed against the measured rhythmic pacing of The Cure’s classic ‘A Forest’ forge ahead, as the tale of “your own private hell” unfolds. With the repeated refrain and suggestion that “everybody’s empty now” being bandied around with sheer abandon, some may experience knee-jerk feelings that the track itself is depressing, but nothing could be farther from the truth. There’s a sense of knowing within this band’s gothic throwback of a sound. As the track builds, never ever shifting from the basic rhythm – pulsing, pulsing – and the guitars increase, the bass holds firm and despite the familiarity, The Foreign Resort strike musical gold.
It’s not a fluke, either.