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Exclusive Premiere: CORTEZ Streams “Faulty Authors” Single From ‘Sell The Future’ [Album Review]

Article By: Leanne Ridgeway, Owner/Editor The Boston, Massachusetts heavily stoner rock / metal quintet CORTEZ recently announced their upcoming third album ‘Sell The Future,‘ due out later this month on Ripple Music. Today seems an ideal day to unshackle their new single, “Faulty Authors.“ This latest track is the third to be set free of […]



Article By: Leanne Ridgeway, Owner/Editor

The Boston, Massachusetts heavily stoner rock / metal quintet CORTEZ recently announced their upcoming third albumSell The Future,‘ due out later this month on Ripple Music. Today seems an ideal day to unshackle their new single, “Faulty Authors.

This latest track is the third to be set free of its current confinement within this album’s absurdly gratifying full play-through. With release date set for October 23rd, ‘Sell the Future‘ is eight beautifully structured, melodic songs packed with a level of barely contained rage that would border on frightening if it weren’t the year 2020.

Songwriting has never been turf that CORTEZ lacked any traction in, be it their first EP in 2007, their 2012 full-length debut ‘Cortez,’ the 7″ Split with Borracho in 2014 (where I arrived unfashionably late to the Cortez party), 2017’s sophomore album ‘The Depths Below,’ or their most recent ‘Chapter 9‘ split release with Wasted Theory for Ripple Music‘s ‘Second Coming Of Heavy’ series.

The upcoming album ‘Sell The Future,‘ with its starkly beautiful cover art by Timur Khabirov, was recorded and engineered by Benny Grotto at Mad Oak Studios and features some guest vocals by Jess Collins (of Set Fire / Mellow Bravo). The album is a furious expression of motivated dissent.

As a whole, the music of CORTEZ gathers the peak phrasings from the essential promises that several heavy music genres offer – the clarity of classic hard rock, the weighted darkness of doom metal, and the iridescence of heavy stoner psych – and fuses them in such hauntingly distinctive ways that you can’t simply coin it as catchy melodies or memorable riffs. The compositions of each individual song are their own passionate union of ruthlessly shattering rhythms and crossfire guitar work that enhance rather than compete, with the vocals draped across the top of it all to sway with almost heartbreaking emotional range.

The five-man crew of vocalist Matt Harrington, guitarists Scott O’Dowd and Alasdair Swan, bassist and backing vocalist Jay Furlo, and drummer Alexei Rodriguez barely allow you an inhale to prepare before immediately generating galloping fist-throws in album opener “No Escape,” then take the pace down with a seamless flow into the despairingly agitated wailing of “Sell The Future” and back straight upright into the breakneck craze of “Look At You.

Stopping here at the halfway point, let CORTEZ cradle you into their bluesy raft that starts you off on a glide into gently rolling waves of inspiration (or provocation… or both) with today’s premiering track “Faulty Authors,” streaming here:

Both the title track “Sell The Future” and the first single “Look At You” are streaming via Bandcamp below. I’ll refrain from any specific take on the second half of the record and leave it all to your listening pleasure upon release later this month, but suffice to say it’s as much of a repeater as the first half. The final song, “Beyond,” being especially poignant.

Cover artwork by: Timur Khabirov


01. No Escape
02. Sell The Future
03. Look At You
04. Faulty Authors
05. Deceivers
06. Sharpen The Spear
07. Vanishing Point
08. Beyond

With the unbridled attitude of a band who care less about your expectations than they do about writing kick-ass, drive-fast, dynamic, hugely-grooved, hugely melodic, and expansive tunes, CORTEZ arrive at their third album with a well-earned sense of freedom in their approach. It isn’t about what style they play or the genre niche you want to fit them in — the future is fast, the future is sharp, and the future has already been sold, baby, so you missed your shot. Better luck next time.

CORTEZ have always embodied an underdog spirit, and now have pushed themselves even further with ‘Sell the Future.‘ Whatever the days ahead might bring, they stand ready. October 23rd brings this release from Ripple Music and is available to order in the following formats:

– Rare Test Press vinyl
– Worldwide Edition Classic Black Vinyl LP
– Limited Edition Colored Vinyl LP (150 copies)
– CD (via Salt Of The Earth Records)
– Digital download and streaming

VINYL: Ripple MusicNorth America | Europe

CD: Salt Of The Earth Records Webstore


Matt Harrington – Vocals
Scott O’Dowd – Guitar
Alasdair Swan – Guitar
Jay Furlo – Bass, Vocals
Alexei Rodriguez – Drums

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2020, Audio Stream, Bandcamp, Cortez, Cover Art, Doom, Exclusive Premiere, Heavy Metal, Heavy Rock, Mad Oak, Massachusetts, Music Review, Official Video, Premiere, Review, Ripple Music, Salt Of The Earth Records, Set Fire, SoundCloud, Stoner Rock, Timur Khabirov


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The Struts master the classic rock arts on third album Strange Days

An instant rock-down classic from The Struts on third album Strange Days (as long as you ignore the title track and Robbie Williams)




In the realm of classic rock, authenticity is everything. There’s a very thin line between homage and pastiche, particularly when it comes to pomp-rock and glam-metal, to which our cultural radars are laser-tuned. The likes of Queen, Def Leppard and AC/DC might be struck through with a rich seam of humour, but when emulating them any hint of tongue approaching cheek sets off The Darkness alarms. 

This genre is appreciative of tribute, but wary of mockery. Derby’s The Struts judged the balance sufficiently well to become a minor US rock sensation with their first two albums, Everybody Wants and Young & Dangerous

Their hints of a modern synthetic tone and contemporary beat are in keeping with the commercial gloss of much of 80s hair-rock, but their 2018 remix of Body Talks featuring Kesha revealed a more cynical crossover eye.

Our advice is to forget the title track exists, start the album on the second track, the glam AC/DC All Dressed Up (With Nowhere To Go), and enjoy a record of instant, solid-gold riff-rock classics. 

Air-punchers abound, steeped in roadhouse gristle, steamy tales of women sexed and lost, and the sort of multi-tracked chant choruses that saw a million tiger skin legging-wearing heroes narrowly escape death by pyro in 1986. Leppard’s Joe Elliott and Phil Collen even show up in person on stomp rocker I Hate How Much I Want You. Authenticity restored.

The Struts have clearly mastered the classic rock arts, be they glam-metal (You Love Me) or roots Americana (the sublime, grainy Burn It Down, all lolloping guitars and bar-room piano). 

Luke Spiller has a massive monster truck voice, and guitarist Adam Slack can make his solos sound like construction workers doing Cirque de Soleil stunts from their cranes. 

Where they transcend homage, though, is in welcoming the influence of their guest stars: The Strokes’ Albert Hammond Jr. helps turn Another Hit Of Showmanship, a smart rewrite of the fame-as-drug metaphor, into a new-wave surf smash, while Tom Morello steals the show with a voodoo-rock turn on Wild Child, dripping seditious sleaze. And that’s how you silence the Darkness alarms.


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Tyler Bryant & The Shakedown’s Pressure is a true coming of age

Backed into a corner in the fourth round, Tyler Bryant & The Shakedown come out fighting on Pressure




Recorded in his basement under lockdown, with the band down to a three-piece (Tyler Bryant played bass himself), this album could have been lowkey. 

But no. It began as one song – the upbeat Crazy Days – recorded in response to the pandemic flipping the world upside-down, grew into an EP, and emerged as a fully-fledged fourth album. 

By turns heavy (Pressure and Fuel), bluesy (the barbed-wire slide-filled Hitchhiker) and funky (Wildside), its palette of styles is richer than on previous records.

Okay, Automatic echoes early Aerosmith, Misery follows Nazareth’s take on Woody Guthrie’s Vigilante Man… but even the bluesy Loner and the T Bone Burnett-style acoustic Coastin’ sound fresh. 

Three songs feature Bryant’s wife Rebecca Lovell (of roots-rock duo Larkin Poe) on vocals, and Blackberry Smoke’s Charlie Starr sings on Holdin’ My Breath, but it peaks with the poignant, soul-searching beauty of Like The Old Me. Bryant has truly come of age with this record.


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The spirit of rock’n’roll lives on with Tommy Lee’s Andro, if not its music

Expecting Shout At Devil? Better look away from Tommy Lee’s Andro now




This record will have many Mötley Crüe fans screaming in terror. Because anyone expecting Looks That Kill or Kickstart My Heart is in the wrong hallway. 

Lee has never done the obvious on his solo albums, and Andro is no different, with hardly a trace of the hard rock with which he made his name. 

Instead he mixes rap, Afrobeat, electronica, pop and dance, and in a way that really works. Let’s be honest, were it not for his name there’s no way this album would even be considered for review in Classic Rock

And apart from a respectful cover of Prince’s When You Were Mine there’s little that links this Tommy Lee to the Tommy Lee behind the Crüe kit. But that’s the point.

Working with rappers and like-minded vocalists, he has created music that deserves everyone to put aside prejudice and listen.


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