It is unashamedly retro, but certainly still relevant in 2016.

Formed in 1999 as a side-project for some of the members of Swedish band Dozer, Greenleaf has now become the main focus for everyone involved. The line-up has changed constantly from one release to the next with the exception of guitarist Tommi Holappa who is also the principal song-writer. 'Rise Above The Meadow' is Greenleaf's sixth full-length album and their debut for Napalm Records.

Opening track 'A Million Fireflies' arrives amidst a barrage of drums and some very big Black Sabbath style ('Paranoid' era) riffs. The Psychedelic edge to the vocals and the fuzz-box effects are like an acid trip through your parent's record collection, yet the focus is still essentially on melody-driven music; 'Funeral Pyre' and 'Howl' continue the trend. The riffs are big and at the heart of each song, with Sebastian Olsson's drums weaving in and out, keeping the time and filling the spaces with some cool patterns and a forceful intent.

The song structures have a Progressive quality that brings Jethro Tull to mind, whilst lead-singer Arvid Jonsson sounds uncannily like Jim Morrison at times, thus emphasising the overall retro feel. 'Golden Throne' (current single) has a thumping beat and is a mini anthem that dances along like a Queens Of The Stone Age tribute; part one of 'Levitate And Bow' caresses and soothes, before part two hammers home the hook – guitars and drums again to the fore. This is the longest song on the album (over seven minutes) and highlights the Greenleaf creative mantra really well. Producer Karl Daniel Liden lets the music do the talking and for all intent and purpose, 'Rise...' could have been recorded live in the studio.

Greenleaf's brand of "Stoner" Rock comes across well in the live environment (I have witnessed this first hand) and though I haven't heard any of the previous five albums I am reliably informed this is their best so far. 'Rise Above The Meadow' comes dressed in a pair of denim flares and a cheese-cloth shirt, with a twelve inch doobie in each hand. It is unashamedly retro, but certainly still relevant in 2016.

Dave Bott