Chris Bishop and Crobot sit precariously on the fault lines of some of the 21st century’s most dominant trends. They are unabashedly retro-rock stars serving up pounding hunks of groove-laden riffage, tinged with hints of psychedelia and plenty of prog/proto-metal expansiveness. Something Supernatural quite simply stopped Guitar Planet in its tracks: it’s rare to hear a debut album that is both so assured (cocksure in fact) and masterfully orchestrated.
“The Necromancer” might play like slick arena rock but it holds the listener in sway to a maelstrom of crashing waves as one smooth rolling, but choppily insistent groove cascades into the next. Chris Bishop displays a remarkable knack for retaining a savage jaggedness to his playing while burying his audience beneath great slabs of solid stone. By intricately toeing the line between such familiar sounds - pinching the best bits from their every influence - Crobot manage to sound like classicists and pioneers, riding each spiralling riff for all its worth.
Enter Shikari renew their archly political assault while expanding their sonic horizons on The Mindsweep.
Brutish, brazen and ungodly satisfying, Royal Blood rode a barrage of chugging bass grooves all the way to the top of the charts in 2014.
Opeth may preach exclusively to the converted, but to overlook the Swedes’ staggeringly consistent brilliance is foolhardy.
Soothing and sorrow-laden in equal measure, Lost In The Dream by The War On Drugs left Guitar Planet speechless.
Guitar Planet has had a love/hate relationship with Slash since Velvet Revolver split, but it remains impossible to deny his freewheeling riffs and slippery solos.