Lucid Sins are an old-school leaning hard-rock group, laying down a heavy riff, casting dramatic, mystik vocals over the top and riding it out. There is even a Medusa cover on Occultation. 12” vinyl in a limited edtion of 500 copies, with exclusive sleeve art from excellent author Alasdair Gray. On Totem Cat Records.
LP on Totem Cat Records. Edition of 500 copies.
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We live in a world of pretty intermediate rock, so hearing something fall on either the soft side (yo, Destroyer) or the hard side is a bit much (or not enough, or not Just Right The Way It Is enough). Enter heavy (or heavy-of-a-different-generation heavy) crew Lucid Sins, who at least enter the game with the intention of calling back to the metal lites of Black Sabbath and the more traditional but lamer to actually cite rock bands of their ilk. At times, ‘Occultation’ veers towards a more specifically psychedelic strand of ‘70s rock, and there it finds its best moments, enjoying the lightness and bubblegum attitude of good riffs and silky grooves. Basically, if you want to be enticed by ‘Occultation’, skip the first track and treat the second as its opener.
Those songs that dig themselves deep into riff-shaped holes work their magic best, with the towering choral vocals of “In the Darkest Hour” staying wordless to let a solo take us down its several windy roads. The wobbling guitar of the record’s title track combines with an almost proggy vocal harmony on a tune of minor riff technicalities to rival Gentle Giant and Dire Straits at the same time. It can be strangely beautiful stuff, at times, so I’ll tolerate and maybe even dig it. Good work, Sins.
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