Reviews – Page 6 – 7th Level Music

Review: John Also Bennett – Ston Elaióna

Take some flute, add synthesizers, mix them with early morning sun bouncing off the Partheon in Athens, Greece, and have it served up by a former noise rocker. What do you get? Ston Elaióna, a beautiful ambient album from John Also Bennett.

I’m not sure how to describe this album, or even if I should. It’s something best experienced. The opening title track is like falling into a dream. “Gecko Pads” is inspired by a lizard Bennett saw on the wall of his apartment studio. “Hailstorm” mixes soft synths and flute with the quiet ticks of the titular storm Bennett recorded in Athens.

“A Handful of Olives” almost ventures into drone music with its long synth notes, but Bennett’s flute turns the song into a lovely stroll through a grove. “Sacred House” refers to the home of the Oracle of Dodoni (as does the mist-like track “Oracle” later on the record) and sounds like a record played by a ghost. Heck, “Seikilos Epitaph” is a composition found carved on an ancient pillar (the oldest known complete musical composition to exist).

“First Lament” is a song Bennett has been performing for years in different forms. Here it’s like something you’d hear drifting over a mountain path as you approach a temple you’ve been climbing toward for days. “Easter Daydream” is, I think, the only song on the album with percussion…and that is a field recording of a church bell across the street from Bennett’s apartment during Holy Week. Finally, if you buy a physical copy of the record, you also get “Lonely Melody.” Remember that ghost playing a record earlier? Well, now he’s doing spectral tidying of the haunted house to keep his mind off the fact that no one comes around to listen to his spooky records.

Again, it’s better to experience all of this than to read about it. Grab a copy of it, sit with it, and let it drift around and through you.

Keep your mind open.

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[Thanks to Cody at Terrorbird Media.]

Review: Birds of Nazca – Pangaea

I don’t know how two people – Guillaume – guitar and Romauld – drums of Birds of Nazca can make so much sound, but they do it on their new album Pangaea…which is somehow heavier than their last (Héliolite).

As you can guess by the album’s cover, it blends desert and cosmic rock and has gravity-defying and / or crushing riffs throughout it. The theme of the album is that each track refers to and is inspired by a different place, landscape, or (I suspect) energy vortex of the Earth.

Beginning with “Batagaïka” (the name of the infamous melting permafrost crater in Siberia), BON explore a place on Earth and in our minds that is withering away to expose things we’ve long buried or have been hidden. Guillaume’s multi-layered guitar chords are like a giant stretching after a long slumber while Romauld harness the sound of cracking firmament.

“Gang Rinpoché,” also known as Mount Kailash” in China, is one of the tallest mountains in the world and perhaps the one with the most spiritual significance to at least three different religions: Buddhism, Hinduism, and Jainism. The mountain is believed to be the connection between heaven and earth and no one has ever reached its summit. Climbing it is strictly forbidden by the Chinese government and anyone who has tried has failed. That doesn’t stop BON from creating a mountain-heavy track dedicated to it and its mystery, however.

“Racetrack Playa” is in Death Valley, California. It’s a dry lake bed where rocks can move during the winter (thanks to ice and wind) for several, if not dozens, of meters and leave “racetracks” in the land. Appropriately, BON stomps the gas pedal and takes off across the salty flats while it sounds like they’re being chased by a post-apocalyptic biker gang armed with chainsaws.

We next travel to Russia and near the Ural Mountains to see “Man Pupu Nyor” (“Little Mountain of the Gods”) – the weird and somewhat spooky rock formations that might be warriors frozen in time. BON makes it feel like those huge warriors are breaking free of their rocky tombs and knocking the rust off their axes in preparation for battle.

The birds fly over to South America and the Andes Mountains for a visit to “Incahuasi” – a mountain that borders Argentina and Chile. I don’t recommend playing this if you’re ascending it. You might cause an avalanche because Romauld’s drums alone sometimes sound like tons of ice roaring toward you.

The album ends with the title track (which itself ends in birdsong) – a reference to the “supercontinent” that existed over 200 million years ago and consisted of most of the land masses we know today. It’s mind-blowing to consider how (relatively) close all the places BON have named on this album used to be to each other until great cataclysms divided them.

It’s the same with people, and I think that’s the underlying message of the album. We all used to be neighbors. We all had sacred connections to spaces and knew Mother Nature could crush us in an instant, so we had to take care of her. We still do. We still can. Put on this album and get to work.

Keep your mind open.

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[Merci á Birds of Nazca!]

Review: No Joy – Bugland

Jasamine White-Gluz got out of the city to make Bugland, the newest No Joy album, experimenting and collaborating with Fire-Toolz (AKA Angel Marcloid) for an record that is difficult to categorize, but why should we even bother to try? Why not just sit back and enjoy it?

Starting with electronic bloops, bleeps, and beats, “Garbage Dream House” gets things off to a weird, wonderful start – mixing buzzing guitar chords with synths and processed drums while White-Gluz’s voice bounces off the back wall at some points and nuzzles your ear the next. The title track crunches and munches like an early Garbage track and White-Gluz’s reverb-soaked vocals practically lift you off the floor.

“Bits” has more 90s electro-rock vibes to it, practically begging you to blast it on your headphones as you hit the mid-mark of your treadmill workout. “Save the Lobsters” is based on a true story of White-Gluz smashing open lobster traps washed up on beaches so she could get the creatures back into the ocean. Her vocals are often drenched in distortion or echo effects, seemingly putting you under the water with the freed animals.

“My Crud Princess” not only has a great title, but also a sparkling energy bursting through the slightly sludgy (cruddy?) drum beats. “Bather in the Bloodcells” reminds me of My Bloody Valentine if they turned down the volume a bit and covered Elastica.

“I Hate That I Forget What You Look Like” is a stunner about grief that, for some us, is all too relatable. The snappy drums and synths grow like a mind almost spiraling into panic, but catching itself just before toppling into madness. The psychedelic closer, “Jelly Meadow Bright” is almost eight minutes of trippy bliss, nearly fading out halfway through it and then returning with a wild saxophone-led acid-jazz / industrial freak-out.

Again, I’m not sure how to describe Bugland…apart from it being one of the best releases of 2025 so far.

Keep your mind open.

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[Thanks to Tom at Terrorbird Media!]

Rewind Review: Goat – Seu Sangue EP (2023)

Goat‘s Seu Sangue EP is a collection of four remixes from their Oh Death album and one new track. It came about after the surprise release of Oh Death, which reminded everyone of how good Goat is and had producers and DJ clamoring to remix several (if not all) tracks from it.

Seu Sangue is the result, starting with the funky and snappy 12″ Extended Dance Mix of “Under No Nation” by John Mark Lapham. The “Shit & Shine Rework” of “Do the Dance” is jagged and weird, and Sonic Boom‘s Party Mix of “Soon You Die” somehow makes the song even fuzzier and grimier. I wish it were double the length – just under three minutes isn’t enough for this much madness.

Marlene Ribeiro remixes “Remind Yourself” with extra hand percussion for a funky instrumental. The new track is the title track, mixing acoustic guitar and what sounds like a Mellotron with seagull cries and reverb-loaded vocals for a meditative experience that is perfect for a sunset or when you’re about to make a potentially life-changing decision (and, really, aren’t all of them life-changing?).

Keep your mind open.

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Rewind Review: DJ Zinc – Crackhouse Vol. 3 (2023)

Are you looking for another full album of house and techno bangers? Well, DJ Zinc has you covered with Crackhouse Vol. 3.

The opening moments of “Conditioning” (with Chris Lorenzo) are designed to get you jumping. “That Sound” is a stand-out, building to a thumping floor-filler. “Close My Eyes” is classic house music, mixing fun beats with lovely vocals. “Amergency” dives back into straight-up jungle madness.

“Everywhere” blends the two into jungle-house with looped gospel-like vocals and popping boba bass to keep you caffeinated and on a sugar rush. Kamakaze joins Zinc for “What I’m On” – a head-swirling jungle track that makes the room feel like it’s spinning. “When I” brings us back to soulful house music. “Dollars” practically turns on the strobe lights for you with its bright synth riffs.

“Goldin” adds vocals from President T to the party, bringing in a rough edge to Zinc’s booming beats. Ever helps Zinc close out the mix with the sweaty breakbeat cut, “For My People” that leaves you out of breath by the end. It feels over too soon, as most good raves do.

Keep your mind open.

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Review: Dog Lips – Danger Forward

As soon as Quinn Flanigan‘s bass opens “Brain Feeder” on Dog Lips‘ second album, Danger Forward, you know you’re in for a good time. The song, and all the others on the record, is a no-nonsense rocker that has you pumping your fist in the air, banging your head, or shoving people out of the way (at least in your fantasies).

“Who Knows” is a warped post-punk (the guitars from Griffin Ritzo and Owen Shepcaro!) gem. “I Am” staggers around the room like it’s had a few pints and is getting treacherously close to starting a brawl. The whole band sounds like they’re playing in a fuzzed-out blizzard on “Gush.”

“Voicemail Bomb Threat” is a great call-and-response punk track with Tim Graff having a great time behind his drum kit. As wild as that is, “Human Hybrid” is even wilder. The title track reminds me of some of IDLES‘ cuts with its smashing guitars and drums and half-growled, half-sang vocals.

Then, “The Reason” slides into the room looking and sounding like the coolest thing in the place. It has a bit of a gothic touch to it and Ritzo’s vocals are almost buried in reverb. It shows that Dog Lips could make an entire psych-rock record if they wanted. “Last Ride” turns the volume and anger back up for one last assault that leaves you out of breath.

There is danger on Danger Forward. The danger is that it might cause you to start a mosh pit in your cubicle farm, the pub, the elevator, or anywhere else. Get in and hold on when you play it.

Keep your mind open.

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[Thanks to Ksu from Discipline PR!]

Review: Mordbear (self-titled EP)

I have no idea where Mordbear got their name. Is it a riff on “Mordor,” the dark land of Sauron from The Lord of the Rings books? Is it a combination of “Mordred,” the incestuous son of King Arthur and sorceress Morgan Le Fey and “bear?” Was “Murderbear” too clunky, or the name of an upcoming Aslyum Studios film?

I don’t know, but all three possibilities work for the massive doom sound of the band’s self-titled EP.

Starting off with “Like the Dead,” the EP pulls you in (down?) right away with Nico Martinez‘s sludgy bass and Tyler Balthaser‘s trippy and somewhat menacing guitar riffs. The song was inspired by a conversation Balthaser had with a veterinarian who ended up talking about a coming zombie apocalypse that he believed will begin in southern California.

“A Mirror with a Sea of Flames” was inspired by Tom Wolfe‘s famous book The Electric Kool-Aid Acid Test and goes full stoner metal as Erik Larson hammers out thudding heartbeat drums that seem determined to flatten everything around them. “The Alchemist” is a song / warning about the dangers of capitalism.

Much like the cover image of a faceless family enjoying a picnic while a giant ghost bear hovers over them, the EP has a sense of impending doom to it – as any good doom record should. It will be interesting to see and hear where Mordbear goes from here.

Keep your mind open.

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[Thanks to Dan from Discipline PR!]

Rewind Review: Kid Loco – Kid Loco Presents French Funk Experience (2010)

A compilation of twenty-two French disco and funk tracks from the 1970? Yes, please.

Kid Loco Presents French Funk Experience is loaded with gems you’d swear you heard in an obscure late night movie or while racing through a European airport – and a lot of these tracks are “library music” made for television and film. Take Bernard Estardy‘s killer “Gang Train” from 1972. The synth grooves are from 2072 and the drums are so tight you’d swear they were laid down by a drum machine and not a live human being…yet they are. Résonance‘s “OK Chicago” (1973) is loaded with sampled sirens, police radio chatter, and machine gun ricochets.

P.A. Dahan and Mat Camison break out the handclaps and the Hammond B-3 on “Pepper Drums” (1976). Estardy (who is all over this compilation either with his solo material or working with other artists) returns on the Doobie / Allman Brothers-like funk rocker “Vertigo Leitmotiv” from 1970. Trumpeter and band leader Pierre Dutour shows off his skill on 1974’s “Jungle Trumpet.”

Manu Dibango‘s “Africadelic” (1973) is a thrilling rush, and Pierre-Alain Dahan returns with Slim Pezin on the jaw-dropping, booty-shaking “Electronic Mutation” from 1976. Alain Goraguer‘s “Course de Ten” from 1973 wocka-wocka guitar riffs and “Le Baron” Estardy’s “Bongo Ring” from 1975 is, go figure, full of great hand percussion sounds. Sauveur Mallia, who played bass on Sid Vicious‘ cover of “My Way” no less, brings “All the Bass” and all the funk on this cut from 1979.

Speaking of bass, check out 1970’s “Indian Pop Bass” by Guy Pedersen with all it’s fat bass slaps, weird psych-flute notes, and prog-rock beats. The horn section on Big Jullien & His All Star‘s “Wake the Monster” from 1969 will knock you off your feet. Dahan and Camison’s “Long Playing Time” from 1976 has guitar in it that would make Steely Dan envious. Bernard Lubat‘s organ riffs on 1976’s “Aubergine Time” are outstanding. Ludovic Decosne and Pierre Daubresse‘s “Gloaming” from 1970 is delightfully fun and belongs in a Euro sex-comedy (if it’s not already in one).

Claude Engel gets all trippy with his guitar on the long version of “Belle Gueuse (A)” from 1972. The electric piano and bass on Raymond Guiot‘s “Basse Duetino” (1976) is so groovy you could almost put a turntable needle on it. André Ceccarelli‘s “Funk Number 2” (1970) is a perfect track for strutting / strolling at the club, and “Rythmiques Number 2” (1971) by Dahan is a quick beat drop you’ll want to sample in everything.

Tonio Rubio‘s “Red Medium” (1973) has slick guitar work, and even slicker organ grooves, throughout it. The prolific (over 10,000 tracks to his credit) Estardy comes back one more time for “Riviera Express” from 1973. The organ riffs on it are sometimes funky, sometimes freaky, and sometimes frightening. The compilation ends with 1973’s “Pepper Box” by The Peppers – who consist of Camison on keys, Dahan on drums, and Rubio on guitar. It’s a blast, full of great synth blasts, handclaps, and disco funk. Play it at every party.

This whole compilation is a great time and will cheer you up. You can’t help but groove to it. Blast it through your earbuds as you walk through Paris or down to the nearest boulangerie.

Keep your mind open.

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Live: King Gizzard and The Lizard Wizard and the Chicago Symphony Orchestra – August 06, 2025 – Ravinia – Highland Park, IL

It’s always a good time when you get to see King Gizzard and The Lizard Wizard live, and seeing them with the Chicago Symphony Orchestra at Ravinia was high on my list this year. I bought lawn tickets as soon as they were available.

As usual, the line for KGATLW merch was long, but it moved well thanks to helpful Ravinia staff keeping things organized there.

The area where we sat didn’t have a direct line view of the stage, but there were plenty of monitors to see the action, and the sound quality was outstanding. It was the best I’d heard King Gizz sound in a long while. All praise to the sound engineers there.

The show was split into two sets, the first being the band and the orchestra playing the new album, Phantom Island, in its entirety. I have no idea how much time each orchestra on this tour in their respective cities gets to rehearse these wild psych-rock songs, but the Chicago Symphony nailed it and were having a great time. “Spacesick” was a particular highlight, and “Grow Wings and Fly” metamorphosed into a stunning jam-rock version of “Theia” that gave the orchestra enough time to take a break, eat a sandwich, answer some text messages, and practically drive to the post office and back before the second set.

The second set was a mix of tunes from older albums that were redone with orchestral arrangements, including an epic version of “Crumbling Castle,” a fun, swinging version of “This Thing,” and even two of their thrash metal cuts – “Mars for the Rich” and “Dragon.” The show ended with a great version of “Iron Lung,” which appears to have become a live show favorite. The weirdest part of the show? Seeing lead singer Stu Mackenzie with short hair.

Seeing this felt as weird as seeing the Osees’ John Dwyer wearing pants.

KGATLW don’t have too many of these orchestral shows left on this U.S. tour, and their “Field of Visions” festival in Colorado is about to begin with the whole thing being streamed live on YouTube. Don’t miss either.

Keep your mind open.

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Rewind Review: Vacation (self-titled) (2011)

Vacation‘s self-titled album is a wild one and chock-full of wild guitar, crazy drumming, roaring bass, punk attitude, and gritty garage-rock chaos.

“Fake It” is a ripper about imposter syndrome (“Well, you’d better be straight if you’re calling the shots, or you better fake it when you get to the top.”). Evan Wolff‘s bass on “Better Days” is so heavy that it feels like it’s going to knock down the walls. “Pile Up” seems to be about getting satisfaction when long-overdue karma catches up with someone. It’s as wild as a car crash, whereas “Try Harder” is almost an acoustic blues track with its subject matter and pace.

Don’t worry if that track puzzles you, because “Bleach Buzz” picks up the mania again and we’re bouncing around the dingy club and crashing into people and things in the process. If that track doesn’t induce a mosh pit, then “Co-Workers” certainly will. Peyton Copes goes bonkers with his guitar on it, practically causing an electrical overload. “People Watching” is almost an area rock anthem about regret and one of the biggest tracks on the record.

“Cop Knock” is about bullies and the disguises they barely keep up (if at all) to hide their inadequacies. “Golden Handcuffs” is a salute to blue collar workers breaking their backs and ankles to provide for their families. “Christopher Columbus Was Not a Hero” takes a hard look at the miseries of suburbia. “Sun and Moon (Wasted)” is, believe it or not, a love song, as is “Talk with Yer Hands” – which seems to be about craving a human connection instead of a cyber one (“You know we’ve got the infection when we’re dying to stay connected. You know we show no affection when we dwell in other dimensions.”).

“Cellophane” is a short one about adapting to change in a relationship (or about prescription meds…or both), and the closer, “Misbehavin'” is a call to a lover to engage in some fun trouble so as to create lifelong memories together. It’s a sweet way to end a loud, raucous record.

Vacation were recommended to me by Screaming Females, and I can see why. Both bands write and play loud, wild songs about the strange maze of relationships across the board. The band has been through a couple lineup changes since 2011, but this is a good ground-level entry point for them.

Keep your mind open.

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