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[Album Review] Royal Thunder ‘CVI’

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Hailing from Atlanta, Georgia, the four-piece Royal Thunder, together since 2007, cut their teeth with an EP released in late 2009 and several tours alongside Kylesa, Wovenhand. Birds Of Avalon, and many more. Now they are back with their first full-length album CVI, an album that proudly shows their Southern heritage. But does it hit as hard as they wish or does it fall flat? Find out below.

Opening with “Parsonz Curse”, which clocks in at over seven minutes, the album already demands your attention. It’s an unassuming opening, one that left me in doubt. But as the song progressed, so to did my interest increase. The song kept adding intensity and aggression, becoming more and more interesting and engaging. It was only after listening to several more songs did I realize that this song is the perfect opener, gently leading the listener in rather than bashing them over the head.

The album continues to get better and better with each following track. Some personal favorites of mine were “Shake And Shift”, which features some thick, chunky guitar riffs. It was also in this song that I realized that singer Miny Parsonz sounds like a stronger, angrier, more intense Gwen Stefani.

Another track I thoroughly enjoyed was “Blue”, which begins the first few minutes as an instrumental. The instruments play beautifully off of each other, wonderful melodies shining out of the sludgy stoner rock riffage. Clocking in at nine-and-a-half minutes, this song takes its time, building layer upon layer, including some beautiful vocal harmonies towards the middle.

Then there is “South Of Somewhere”, which I felt was the best track on the album. Beginning with wind chimes and gongs, there is something decidedly eerie and haunting about this song. When the guitars and vocals come in, this spookiness is only amplified.

Production-wise, CVI is raw and dirty, just the way it should be. If this album had a clean, polished air about it, it would have lost a great deal of its impact. Rather, by leaving some amplifier hum, cymbal sizzle, and tempo changes, this album feels like something that I would listen to and then shower immediately afterwards, not regretting a single moment.

The Final Word: Royal Thunder’s CVI begins as a heavily southern sludge rock/metal album and progresses into something bigger, something much more sinister. To be perfectly frank, it is a Southern sludge masterpiece. Consider this band firmly placed on my map of artists I need to watch very closely.

Got any thoughts/questions/concerns for Jonny B.? Shoot him a message on Twitter!

Managing editor/music guy/social media fella of Bloody-Disgusting

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“He Walks By Night” – Listen to a Brand New John Carpenter Song NOW!

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John Carpenter music

It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.

“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…

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