FOREIGN REVIEWS OF SMOKE IRON PLUNDER, PART 2: FINLAND

INFERNO METAL BLOG
LINK TO ORIGINAL POST

This would have been heard by the "speed doom". Clear.

The definition is not quite from the wind, because the band's veils and velvet are pretty funny in time. Replacing sludge, old-fashioned doom, NWoBHM going, speed metal, crossover and a little progey with a bang-free pilot. The sky and the sound of Hazzard's Curse rise far in the smoke.

However, there is absolutely no original San Francisco fanatics, especially in the guitars of the Mastodon Leviathian album, but still with a more traditional handset.

The songs contain almost continuous rhythmic adventure, and especially the drum and bass work brings to mind the old DBC and the homecoming Deep Turtle. The album has a very organic sound sound that would be called a buddy by a friend of a more productive sound. Maybe you drink, but the over-clinical expenditure may not work at all.

After the first listening session, the feeling was mostly irritated, the other began to get to the carts and the third one was almost fun. There are so many layers in the songs that saturation is not a threat immediately.

Translated from the Finnish by Google

FOREIGN REVIEWS OF SMOKE IRON PLUNDER, PART 1: SPAIN

METAL BROTHERS BLOG: SPAIN
LINK TO ORIGINAL REVIEW

Hazzard's Cure is a band formed in San Francisco in 2009. In 2011 they released their first full length and have done other things shorter to reach this second album. I especially liked the sound they get and the atmosphere they recreate, but let's tell a little in detail.

Master of Heathens is a theme with harsh and guttural voices, but combining it with a good rhythm of heavy stoner, it is a very cool song, with a rhythmic base rich in nuances, a single brief and end of story.

An Offering has a start of doom stoner, the voices game is spectacular, dirty and torn, very caveman but give your music a sense of essence and transcendence really interesting. It reminds me in the base of its sound to the mythical Manilla Road of the first times, with a thick and dark sound, leaving then with an acceleration to all put. It is the good conjugation of atmospheric elements of black metal with the sound of heavy and doom which makes their subjects have a special meaning.

Hewn in Sunder is a heavy doom track but with a less rough, cleaner voice and psychedelic guitars in between, a cut to Angel Witch, Tank.

No Hope has a start of doom black metal, very good atmosphere and excellent rhythmic work. Eye to the change of rhythm in the middle of the subject of this cut that is really annihilating, in Saint Vitus roll or a very dark Holocaust, like auction a single of seventy flavor that goes like ring to the finger, and the disk that keeps growing at times.

Siren's Wail is a dirty and dark heavy cut, a half time with a very atmospheric but excessively brief, we take it off when we were savoring the honey on the very lips, a shame that they have not lengthened a little more.


War Pipe is a very classic heavy rock nwobhm, an instrumental theme with a very vivid rhythm, not without cane and attitude, it is worth putting the ear.

Gracious Host introduces a variant in the sound regarding what we had heard so far, since this is a heavy metal cut but with the garnish of a grind touch on the guitars and a sound influenced by punk, it is stimulating in everything case.


The disc is short, but without waste, and you know what the wise proverb says. This Is Hell puts the colophon with the most worked song of the whole album. Heavy doom with a very rough and repeated riff. It is a less dark cut, with certain true metal airs, with a very long instrumental beginning, liking, but when the voices enter, they give more aggressiveness to the subject. The cut is completed with a second part where they step on the accelerator and they play guitar performance, demonstrating that they are able to make simple subjects with atmospheric predominance but also more technical cuts. A good work of these Americans, a record of those with a special flavor, that escapes the predominant sound, with its own label that is said, and that today is more than meritorious.

Rating: 7.75 / 10

Translated from the Spanish by Google

A NEW REVIEW OF "SMOKE IRON PLUNDER"

FROM "HEAD-BANGER REVIEWS"

You just hear a band’s sound and just think about how fucking much stuff is going on in the music itself? Bands like Whispered and Inter Arma truly take that to another level with their music and actually make it work somehow. And bands like that make me think when I’m going to find another one like them who can do so much and do it well. As it turns out, that time is right now and that fucking band is Hazzard’s Cure from the renowned Bay Area.

If I could just lean on another metal website for just a moment, Echoes and Dust called the sound that Hazzard’s Cure “speed doom”. Apparently, that’s a thing now? Sounds a little contradicting if you ask, but fuck me in the Alps if it isn’t an extremely apt phrase. But the brand spankin’ new record of “Smoke Iron Plunder” is so much more than those two words, though. Hazzard’s Cure manages to glean an absolute fuck ton from multiple metal sub-genres including (but absolutely not limited to) black, stoner, doom, and even sludge metal to create something is very close to the definition of an absolute mind fuck. “Smoke Iron Plunder” is a quick, unrelenting, and diverse album that does not even begin to back off on its unbelievable onslaught. The vocals are where things truly go up a notch, for they’re just so fucking vicious and a constant attack on your hearing that it’s impossible to deny the immeasurable power they bring to the table, and how well they help tie “Smoke Iron Plunder” together in the end. The record is just so monumental and apparently comes from a band that is at the forefront of this speed doom style that’s a thing all of a sudden, but damn if I’m complaining! Hazzard’s Cure is a brilliant breath of fresh air that as someone who constantly searches for something even half decent to listen to, “Smoke Iron Plunder” is a bright light in the darkness, albeit a very dastardly and menacing presence.

As if there weren’t enough crazy sub-genres out there with pirate and samurai metal to name but two, now we get speed doom in a very tasty and extremely foreign entity that is Hazzard’s Cure. “Smoke Iron  Plunder” is not anything for the uninitiated and is something to be experienced only by those who truly do want to know what it’s like to have the lines of any sort of genre classification blurred to a previously unfathomable point.

ORIGINAL ARTICLE HERE

INTERVIEW ON INVISIBLE ORANGES

INTERVIEW IN IT'S ORIGINAL CONTEXT HERE

The phrase “super group” is a funny one. It implies that the members of a band have served in world-class acts, or are notably stellar musicians. Outside of their home region of the Bay Area, Hazzard’s Cure are virtual unknowns. Small fish in a giant pond. When you find yourself within the twin metropolitan powerhouses of Oakland and San Francisco, Hazzard’s Cure are a truly mighty force to be reckoned with, made up of some of the most skilled and experienced musicians that the bay has to offer. These guys have served (or continue to serve) stints in local standouts such as Floating Goat, Badr Vogu, Walken and Ovvl. Now, Hazzard’s Cure is another notch on their hacked-up belts.
On Saturday, September 29, I caught up with drummer Clint Baechle, bassist Shane Bergman, guitarist Chris Corona and his co-axeman Leo Buckley for a quick chat about their genre-defying style of metal, their histories in the local scene and their two excellent releases: their self-titled full-length and The Ugly, a knockout EP that is bolstered by a stunning guest performance from ex-Ludicra vocalist Laurie Sue Shanaman.

—Avinash Mittur

2012 LIVE REVIEW FROM "HESH THE BAY"

"The drummer of Hazzard’s Cure, who looks like Steve Buscemi at Altamont Speedway, took the stage and immediately blasted out a sheet of Lombardo-meets-Phil-Taylor D-beats and furious tom fills while his bandmates were picking up a couple of worn Les Pauls and an ancient green Rickenbacker bass with its strap button duct taped on. There followed a brief moment of Marshall-stack amp buzz while they looked at each other and the sound tech. Then they launched into a set that moved with equal comfort between three camps: bellowing stoner metal, crawling dooms riffs, and a hyperspeed blast/tremolo sound that nods toward black metal but always returns to a groove. Their drummer, Clint, plays open-handed with a ferocity that you’ve got to see to believe. He broke his snare head after the second song of their set. When their appeal to borrow a replacement went temporarily unheeded by the other bands, bassist Shane encouraged him to “just dig around back there and see what you find, dude…it’s like shopping!” With vocal duties split fairly evenly between both guitars and the bass, they’re a fun band to watch, but constant time changes make moshing difficult. Their lyrical themes can’t be beat. After one particularly crushing number bassist Shane explained, “That song was about mountains. All the songs are about mountains. Or drugs or death.” In summary, if you live on the West Coast, you should see this band. They shred."

FULL ARTICLE HERE