In this week’s Under The Radar, we’re hitting 88 mph with 1.21 gigawatts of power as we take a look into some more traditional metal and rock acts with Nightbitch and Purson.
Nightbitch, Peculiar Worship single
Nightbitch have been kicking around the Connecticut scene for three years now and every time I see them there’s more and more people in the crowd. The occult sleaze power trio first featured celebrated vocalist Phil Swanson (Hour of 13, Atlantean Kodex, Vestal Claret, and more), but is now rounded out by Chris Taylor (Kingdom of Sorrow) pulling double duty behind the kit with a microphone in front of his face.
Peculiar Worship is a cassette single (dorks) featuring the title track and “Blind Men and Occult Forces” — a cover by Italian progressive doom band Black Hole.
Peculiar Worship sees Ryan Adams (Ipsissimus), (a.k.a.; The Goat on this site), combine his John Christ and Randy Rhoads idolatry from the first riff on. The lyrics deal with the typical BDSM/kink theme the band goes for, but puts a spin on it here as it pertains to femdom and using the male body as a vessel to consecrate a woman’s needs and desires. Chris reaches into his upper register a bit more here than other songs and the results are equally satisfying to the ears as it is the images wrought by the lyrics.
“Blind Men and Occult Forces” is a damn fine cover and even more invigorating than the fuzzy original. These dudes have quite a knack for covers as their take on Deep Purple’s “Into The Fire” off the Chainmaker EP is another exercise in perfection.
Nightbitch write music strictly for those whose leather accessories aren’t reserved just for heavy metal shows. This is the kind of music you fuck to in 100 degree heat; the kind that encourages mutual masturbation with your lady in the passenger seat — her hand working your rod, your hand shifting into high gear on your hotrod.
Purson, The Circle and the Blue Door
This is the be all, end all of retro occult rock. Purson (I have no idea what’s going on with that band name) do what most ’70s retro occult acts forget to do, which is to not only worship the 70s, but a little bit of the ’60s as well. You know, the bands those ’70s guys were influenced by.
Influences include Bulbous Creation, Icecross, Black Widow, Crow, and Coven, but they’ll get lumped in with newer bands like The Devils’ Blood, Blood Ceremony, Jess and the Ancient Ones, and Jex Thoth. There’s a theme running with those modern bands if you haven’t caught it.
The album production is pristine and perfect in capturing the 70s, much like Graveyard have an affinity for doing. The riff-oriented rockers like “Spiderwood Farm” and “Well Spoiled Machine” feature tambourine and a gypsy atmosphere, while slow and moody songs like “Tempest and the Tide” and “Tragic Catastrophe” evoke more of a drug-hazed trance.
The flow and pace of the album is well-timed and truly deserves to be heard on record to get the feel when having to flip sides.