Old Blood has released a new album on Metal Assault Records. It’s titled Acid Doom. But first, for those not yet familiar with the band in question, a bit o’ background.
Old Blood is a Los Angeles-based band. The current band roster features new, successful addition Lynx (vocals), Cole Donovan Gunner (guitar), Diesel (drums), J.F. Stone (keyboards), and Octopus (bass).
The band’s tuneful trademark has evolved over the years. It is currently a boisterous blend of multiple music genres including heavy psych, blues, classical, doom, jazz, and rock.
This is the band’s second release. The disc includes 9 tracks. It’s a bit wilder than their self-titled, premiere platter which dropped four years ago. But in a great group growth is essential.
Track by Track
The album opens on “Lake Bottom (Totem Pole).” The song is tight enough to be reminiscent of the material on their debut disc and yet obviously new thanks to the powerful vocals from new vocalist Lynx. It sets the tone for what is still to come and contains lyrics by Kate Harmon.
The second selection is “Bridge To Nowhere.” Note the retro keyboard sound here. It’s dark and brooding and the music is vaguely reminiscent of more obscure material by The Doors.
“Veinscraper” is the first single, so to speak, as the band has previously teased expectant fans with this tune. Again, musically, the material harkens back to their original sound. It features a noteworthy shredding guitar solar too.
Additionally, Lynx’s vocals take on a subtle Pat Benatar-like sound at some point here. Maybe it’s the production values or maybe it’s just me. Whatever the case, it works. This track is perhaps the best choice for college radio and new listeners complete with pounding, driving percussion, and heavy bass work.
Of course, the disc’s first real outlier could be the next number, “Heavy Water.” It has an acoustic intro which adds almost a slight alt-folk feel to it. This one’s soundtrack-ready. Thanks in part to the later guitar solo, it’s also apparently an early fave of both fans and critics alike.
“Formosa Lodge” is an instrumental album interlude that sounds like it’s straight out of an old-time speakeasy. Twist it in production and this brief bit would have fit quite well on The Residents’ The Commercial Album.
“Slothgod” is another early fave of critics and fans alike. While the group’s performance remains solid this one might be a bit overshadowed by other tracks and underappreciated by critics too.
“Orbit” is another example of what this act can do. It not only has a film noir soundtrack feel to it but it provides a great showcase for the new songstress’ vocals quite well. The song has its own little identity that is nigh subtly insistent.
“Pentahead” follows here. This track provides ample added evidence that while the band has gone through some changes their audio efforts remain steady and solid. While this is a new song, there is something somehow familiar to it that draws the listener into it.
The album endnote is “429.” It’s a strong closing cut and provides the last example of the musicianship behind the moody theatrics as they race home running all the orange lights. Some might claim it borders on being indulgent but it also adeptly avoids being musically masturbatory. The band’s rocking out. So shut your pie hole, get in, and get ready for this one final trip.
Overall . . .
With a running time of almost 43 minutes, the album reveals a variety of influences and, of course, introduces us to new member Lynx. The overall musicianship is also exceptional and a subtle underground feel and the previously-mentioned diverse influences have taken this new release beyond their original audio offering. While the material was written to last, it is also obvious that they not only wanted to please their hardcore fans who have been waiting too long for this CD but to interest a new audience as well. So check out Acid Doom by Old Blood because it’s a real “Veinscraper.”