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The Misery Men Premiere “Cat With Nine Lives” Video from Devillusion

Posted in Bootleg Theater, Reviews on September 10th, 2021 by JJ Koczan

the misery men corey lewis rob wrong jeff larson sam henry

Portland, Oregon’s The Misery Men are set to release their third album, Devillusion, on Oct. 1 through Desert Records. It is a record that immediately wants some context, first for its homage to Chris “Snow Bud” Newman in the covers “Cat With Nine Lives” (premiering below) and “The Reaper.” Those tracks are by Newman-inclusive outfits Napalm Beach and Snow Bud and the Flower People and they appear here following Newman‘s death earlier this Spring and include different players from Portland’s underground than appear on the rest of Devillusion, save of course for The Misery Men founder Corey G. Lewis (vocals, rhythm guitar) and lead guitarist Rob Wrong, whom one might recognize from Witch Mountain or his work in The Skull circa 2019. Wrong also produced the album, with Lewis, at his newly established Wrong Way Recording Studio, though it’s easy enough to think that Billy Frickin’ Anderson, who plays bass, had some opinions to share in that regard as well, his engine-ear work being the stuff of legend at this point. Blah blah NeurosisSleepAcid King, and if you need more names than that — you don’t — there are a million of ’em, right up to The Misery Men‘s 2020 album, Doomtopia (discussed here). While we’re talking about legends, Tad Doyle (TAD, Brothers of the Sonic Cloth) mastered.

The band proper, as opposed to the band doing the Newman tributes, is rounded out by Breath drummer Ian Caton, who also plays in the more meditative outfit Breathe, labelmates to The Misery Men on Desert Records. The mission here, which believe it or not given the swath of information above is stripped-down, digging to the roots of grunge where it turned from punk and noise to something thicker, groovier, and ultimately more its own. The Misery Men — LewisWrongAnderson and Caton — cap Devillusion with a cover of PJ Harvey‘s “To Bring You My Love” to emphasize the point, but it’s right there from the early, gritty chug of “Devil’s Balls” onward into the howl-laced “Werewolf” and the more decidedly punk “Iron Front,” sleek-but-lumbering riffs offset by Wrong‘s scorcher solos topped with Lewis‘ throaty delivery. In overall sound, the eight-song/38-minute course of Devillusion is lean and raw, suited to the style the band is leaning into, but as side B hits the brakes following “The Reaper” and plods out “Tardigrades” ahead of the more explosive “Nirüth,” which Cobain‘s out its ending lines as it invariably must, the procession of ideas is by no means disjointed. There’s a lot going on, one way or the other.

If you find that you’re somewhat overwhelmed by the fact that The Misery Men play out two of their eight inclusions here as a different lineup, or that you’re unfamiliar with Newman‘s work and concerned you might be missing something as regards hearing Devillusion, do what I do: put it on. The simple truth of the matter is that whether it’s the swing and swagger of “Cat With Nine Lives” taking hold after the “we don’t tolerate scum” reaffirmation of “Iron Front,” or the drawling, swirling conjurations of “To Bring You My Love” at the finish, The Misery Men make it easy on the listener. Riffs, grooves, guts. Whoever’s involved, when, where and why, the songs come together around Lewis‘ gruff vocals and around the baseline purpose of heavy, sludge-minded rock. The dive just happens to go deeper as well.

You can hear “Cat With Nine Lives” on the player below and watch the accompanying, shenanigans-laced video. What follows thereafter is info from Lewis about Devillusion, the process of making it and the reasoning why. It’s a lot, but if you didn’t like words, what are you still doing reading this?

Please enjoy:

The Misery Men, “Cat With Nine Lives” official video premiere

“I started writing Devillusion at the beginning of the Pandemic. 16 months of bloodletting 5 songs and 3 covers later we have an album. It was a therapeutic writing process to say the least. Inspired by the “Grunge” influencers in the PNW like Napalm Beach, Dead Moon, The Wipers, that definitely impacted TAD, Nirvana, Alice In Chains, Screaming Trees, Soundgarden, etc. I wanted to pay homage to the folks who laid the foundation and paved the path that we walk down. I’m humbled and grateful daily that I have found a vortex that aligns with my frequencies to allow me through great collaboration to tap into the ether, transmutating a Rock n’ Roll album I feel proud to be a part of and co-produce with Rob Wrong. We all had a good time making this album. It’s been challenging but ever rewarding.

I had asked Chris Newman to collaborate on something, maybe lay down a solo or harmonize on a song or write something together, and at first he was very interested and excited once he recovered from surgery. Unfortunately his health took a turn for the worse and Chris passed May 5th 2021. So Rob and I decided we needed to honor him and record a couple songs. We contacted Sam Henry (Napalm Beach, The Wipers, Jenny Don’t and the Spurs) to play drums and it just made sense to have Kelly Halliburton (Dead Moon, Pierced Arrows, Jenny Don’t and the Spurs) to play bass. We also recruited Jeffrey Larson (Lucky 13’s, Misfortunes of Mr Teal) to play rhythm guitar along with Rob Wrong on lead, plus me just on vocals. We recorded “Cat With Nine Lives” by Napalm Beach and The Reaper by Snow Bud and the Flower People. Both songs were Chris Newman songs, that turned out pretty damn good! Hell, we didn’t even practice together before we recorded. :)

Again I recruited Billy Anderson to play bass again on this album, because beyond his ability of musicianship and his legendary enginear status he’s also a pleasure to be around. Hilarious, kind, and smarter than your average Neanderthal bassist. Ha! He also studied anthropology so he knows a thing or two about humans. Not to mention he played a Baseball growing up, so I figured he must really know what he’s doing with basses. Oh and he’s the master of Pun!

Once again Ian Caton of Breath is playing drums on this album. Talk about a Beast Of Burden, what an absolute animal! He usually doesn’t have a problem playing any style or tempo and is able to tap into the ether with ease!

Of course Rob Wrong once again delivers some of the best solos he’s ever played. Not only that but he doubled the rhythm to give this album the full collective collaboration. I’m humbled to work with him and call him a best friend. It’s been a ton of fun making two albums with him at Wrong Way Recording.

Again I got Ben House to make some incredible artwork! It’s beyond expectations and couldn’t have been happier with the results!

Devillusion was also mastered by TAD, not to mention inspired by him as well. I originally wanted to call the album Devil’s Balls, but after watching the TAD documentary and the scene where he showed his mom the album and she said something like, “Tad you’re smiling…Tad God’s Balls? But Tad you have such a great smile.” :) Nevertheless, we have a song called Devil’s Balls and Werewolf that we’re most definitely influenced by some Tad. I’m forever grateful for his existence.“ – Corey Lewis, The Misery Men

Side A:
Devil’s Balls 4:28
Werewolf 5:29
Iron Front 5:43
Cat With Nine Lives 4:34

Side B:
The Reaper 2:52
Tardigrades 5:34
Nirürth 4:22
To Bring You My Love 5:59

Recorded at Wrong Way Recording (c)2021
Produced by Corey G Lewis & Rob Wrong

Mixed by Rob Wrong
Mastered by Tad Doyle at Witch Ape Studios

All songs written by Corey G Lewis
Except
To Bring You My Love written by PJ Harvey
The Reaper by Snowbud & The Flower People (Written by Chris Newman & Nathan Jorg)
Cat With 9 Lives by Napalm Beach (Written by Chris Newman)

Personnel:
Corey G Lewis: Vocal, Rhythm
Rob Wrong: Rhythm & Lead
Billy Anderson: Bass
Ian Caton: Drums

Special Guest Performances as The Slughs tribute to Chris Newman on: The Reaper & Cat With 9 Lives
Sam Henry: Drums
Kelly Halliburton: Bass
Rob Wrong: Lead & Rhythm
Jeffrey Larson: Rhythm
Corey G Lewis: Vocals

This album is dedicated to the Master of the Wu Chris Newman aka Snow Bud / Pugsley! We miss you!

The Misery Men on Facebook

The Misery Men in Instagram

The Misery Men on Bandcamp

Desert Records on Facebook

Desert Records on Instagram

Desert Records on Bandcamp

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The Misery Men Set Oct. 1 Release for Devillusion

Posted in Whathaveyou on August 30th, 2021 by JJ Koczan

the misery men corey lewis rob wrong jeff larson sam henry

Portland, Oregon’s The Misery Men will release their third full-length, titled Devillusion, on Oct. 1. Going by the story as told by founding guitarist/vocalist Corey G. Lewis, it seems like maybe the bad missed the point of social distancing. I kid, of course, but still, there are a plethora of guest appearances throughout the impending Desert Records offering, which follows behind last year’s Doomtopia and 2019’s Deathspiration (review here) in both the heavy and portmanteau departments. Oh you didn’t know there’s a portmanteau department? Fourth floor. Or was it flourth?

You’re welcome.

Preorders for Devillusion are up now through Bandcamp and there are two songs on there streaming and a video besides, all of which you’ll find below ready for your media consumption. By all means, have at it.

From the PR wire and Bandcamp combined:

the misery men devillusion

The Misery Men have gone all out on their third studio album, ‘Devillusion’. Due out on Desert Records on October 1st, 2021.

The band’s mastermind, Corey Lewis, pulled together a Pacific Northwest cast of all-star musicians.

“I started writing Devillusion at the beginning of the Pandemic. 16 months of bloodletting 5 songs and 3 covers later we have an album. It was a therapeutic writing process to say the least. Inspired by the “Grunge” influencers in the PNW like Napalm Beach, Dead Moon, The Wipers, that definitely impacted TAD, Nirvana, Alice In Chains, Screaming Trees, Soundgarden, etc. I wanted to pay homage to the folks who laid the foundation and paved the path that we walk down. I’m humbled and grateful daily that I have found a vortex that aligns with my frequencies to allow me through great collaboration to tap into the ether, transmutating a Rock n’ Roll album I feel proud to be a part of and co-produce with Rob Wrong. We all had a good time making this album. It’s been challenging but ever rewarding.

I had asked Chris Newman to collaborate on something, maybe lay down a solo or harmonize on a song or write something together, and at first he was very interested and excited once he recovered from surgery. Unfortunately his health took a turn for the worse and Chris passed May 5th 2021. So Rob and I decided we needed to honor him and record a couple songs. We contacted Sam Henry (Napalm Beach, The Wipers, Jenny Don’t and the Spurs) to play drums and it just made sense to have Kelly Halliburton (Dead Moon, Pierced Arrows, Jenny Don’t and the Spurs) to play bass. We also recruited Jeffrey Larson (Lucky 13’s, Misfortunes of Mr Teal) to play rhythm guitar along with Rob Wrong on lead, plus me just on vocals. We recorded Cat With Nine Lives by Napalm Beach and The Reaper by Snow Bud and the Flower People. Both songs were Chris Newman songs, that turned out pretty damn good! Hell we didn’t even practice together before we recorded. :)

Again I recruited Billy Anderson to play bass again on this album, because beyond his ability of musicianship and his legendary enginear status he’s also a pleasure to be around. Hilarious, kind, and smarter than your average Neanderthal bassist. Ha! He also studied anthropology so he knows a thing or two about humans. Not to mention he played a Baseball growing up, so I figured he must really know what he’s doing with basses. Oh and he’s the master of Pun!

Once again Ian Caton of Breath is playing drums on this album. Talk about a Beast Of Burden, what an absolute animal! He usually doesn’t have a problem playing any style or tempo and is able to tap into the ether with ease!

Of course Rob Wrong once again delivers some of the best solos he’s ever played. Not only that but he doubled the rhythm to give this album the full collective collaboration. I’m humbled to work with him and call him a best friend. It’s been a ton of fun making two albums with him at Wrong Way Recording.

Again I got Ben House to make some incredible artwork! It’s beyond expectations and couldn’t have been happier with the results!

Devillusion was also mastered by TAD, not to mention inspired by him as well. I originally wanted to call the album Devil’s Balls, but after watching the TAD documentary and the scene where he showed his mom the album and she said something like, “Tad you’re smiling… Tad God’s Balls? But Tad you have such a great smile.” :) Nevertheless, we have a song called Devil’s Balls and Werewolf that we’re most definitely influenced by some Tad. I’m forever grateful for his existence.“ – Corey Lewis, The Misery Men

Recorded & Mixed by: Rob Wrong at Wrong Way Recording

Mastered by Tad Doyle at Witch Ape Studio

All songs written by Corey G Lewis
Except To Bring You My Love written by PJ Harvey
The Reaper by Snowbud & The Flower People (Written by Chris Newman & Nathan Jorg)
Cat With 9 Lives by Napalm Beach (Written by Chris Newman)

Side A:
Devil’s Balls 4:28
Werewolf 5:29
Iron Front 5:43
Cat With Nine Lives 4:34

Side B:
The Reaper 2:52
Tardigrades 5:34
Nirürth 4:22
To Bring You My Love 5:59

Personnel:
Corey G Lewis: Vocal, Rhythm
Rob Wrong: Rhythm & Lead
Billy Anderson: Bass
Ian Caton: Drums

Special Guest Performances as
The Slughs tribute to Chris Newman on: The Reaper & Cat With 9 Lives
Sam Henry: Drums
Kelly Halliburton: Bass
Rob Wrong: Lead & Rhythm
Jeffrey Larson: Rhythm
Corey G Lewis: Vocals

https://www.facebook.com/themiserymen
https://www.instagram.com/themiserymen/
https://themiserymen.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

The Misery Men, “Tardigrades” official video

The Misery Men, Devillusion (2021)

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The Misery Men: Doomtopia LP Available to Preorder

Posted in Whathaveyou on September 2nd, 2020 by JJ Koczan

Last I looked there were 58 copies of Doomtopia left available for preorder ahead of the album’s upcoming official vinyl release. They will, one assumes, be gone in short order if they aren’t already. The second full-length from Portland, Oregon’s The Misery Men is seeing issue through Desert Records, which, yes, is well aware that Portland is nowhere near the desert. Some things transcend landscape, and you know Desert Records is all about the expanded definition anyway, so the four-song long-player — which earns through vibe its “Type O Negative green” vinyl coloration — is plenty at home one way or the other.

The band self-released Doomtopia digitally on April 20, because of course, so you can stream the full thing now at the bottom of this post. Seems only to be an enticement to order the vinyl version, if the green itself wasn’t.

The label posted the following:

the misery men doomtopia

The Misery Men – Doomtopia – Desert Records

Desert Records has teamed up with The Misery Men for a very special VINYL LP release.

The alliance with the Pacific Northwest has been forged.

Hailing from Portland, OR and led by my longtime friend Corey G Lewis, THE MISERY MEN are a very unique band with some badass personnel.

“Doomtopia” the 2nd album by the Doom/Grunge band was recorded by ROB WRONG of Witch Mountain and was mastered by BILLY ANDERSON, the legendary engineer for such bands as Sleep, (the) Melvins, High On Fire, Neurosis, Witch Mountain, Acid King.

100 extremely Limited Edition Vinyl LP’s will be pressed in “Type O Negative Green”!

Click this link to listen to the album, see the vinyl photos, and pre-order your copy: https://www.diggersfactory.com/vinyl/230729/the-misery-men-doomtopia

Catalog number: DSRT420

Tracklisting:
1. Lion’s Head 11:34
2. Houdini’s Eyes 08:52
3. Meg Mucklebones 10:32
4. Vampires 05:21

The Misery Men:
Rhythm Guitar Vocals: Corey G Lewis
Bass: Steven O’Kelly
Drums: Ian Caton
Lead: Rob Wrong (Lion’s Head, Houdini’s Eyes, Meg Mucklebones)
Bass: Billy Anderson (Lion’s Head, 2nd half of Houdini’s Eyes)

https://www.facebook.com/themiserymen
https://www.instagram.com/themiserymen/
https://themiserymen.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

The Misery Men, Doomtopia (2020)

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Quarterly Review: Kungens Män, PFUND, Crystal Spiders, The Misery Men, Hubris, Woorms, Melody Fields, Oreyeon, Mammoth Grove, Crimson Devils

Posted in Reviews on March 19th, 2019 by JJ Koczan

quarterly-review-spring-2019

I used to be pretty artsy and write poetry. Let’s give it a shot:

There was an old man who wore no-toe shoes.
He said, I’mma go do 60 reviews.
He was out of his head,
Should’ve gone back to bed,
But he loves him some dirty psych blues.

Years from now, when I link back to this post for a “(review here)”-type scenario, I’m going to see that and I’ll still think it’s funny. The planet’s dying. I’d say a bit of silly is more than called for.

Quarterly Review #11-20:

Kungens Män, Chef

kungens man chef

Krautrockers, assemble! Or, you know, whatever krautrockers do — I assume it involves homemade spacecraft that, yes, absolutely fly. Perhaps one of these days I’ll ask Stockholm’s Kungens Män, whose latest outing for Riot Season, simply titled Chef, is an outbound delight of psych-infused progressivism. Beginning with the opening throb of “Fyrkantig Böjelse” and moving into the volume swells, steady drum line and wandering guitar that starts “Öppen För Stängda Dörrar” on side A, its four extended tracks craft otherworldly textures through a meld of organic instrumental flow and waves of synth, the second cut building to a tense wash of distortion all the while keeping that hypnotic march. The two corresponding 10-minute-plus cuts on side B waste no time in offering cosmic boogie in “Män Med Medel” with a more active rhythmic flow, and closer “Eftertankens Blanka Krankhet” — longer than the opener by one second at 11:24 — fades in on meditative guitar and explores a serene minimalism that only underscores the all around joy of the album.

Kungens Man on Thee Facebooks

Riot Season Records webstore

 

PFUND, PFUND

pfund pfund

The self-titled, self-released debut full-length from Kiel, Germany’s PFUND arrives and departs with a guesting horn section, and while that inevitably adds a bit of grandeur to the proceedings, the bulk of the outing is dedicated to straightforward, semi-metallic heavy rock, held to ground even in the seven-minute “Spaceman” by a considered sense of structure and an earthy drum sound that draws the songs together, whether it’s the classic riff rock in “Sea of Life” or the moodier sway in the earlier “Lost in Rome.” Dual guitars effectively multiply the impact, and the vocals showcase a nascent sense of melody that one imagines will only continue to grow as the band moves forward. At nine songs and 44 minutes, it shows some breadth and nuance in “Exhaustion” and “Paranoia,” the former tapping into an edge of progressive metal, but the primary impact comes from PFUND‘s heft of groove and how it blends with a rawer edge to their production. The Kyuss-referencing centerpiece here might be called “Imbalance,” but that’s hardly representative of what surrounds, horns and all.

PFUND on Thee Facebooks

PFUND on Bandcamp

 

Crystal Spiders, Demo

crystal spiders demo

Three songs, 11 minutes and three distinct vibes from the aptly-titled Demo demo of North Carolinian three-piece Crystal Spiders. On “Tigerlily,” “Flamethrower” and “Devil’s Resolve,” the trio of bassist/vocalist Brenna Leath (also Lightning Born), guitarist/vocalist Mike Deloatch and drummer/backing vocalist Tradd Yancey careen from bluesy spaciousness to hard-driving catchiness and end up — because why not? — in repeating cult-sludge chants, “Come to the devil’s resolve!” like Black Widow trying to lure people to the sabbat, except shouting. If the purpose of a demo is for a new band to try different methods of working and thereby take a first step in discovering their sound, Crystal Spiders are well on their way, and for what it’s worth, there isn’t anything within their scope as they present it that doesn’t work for them. There are edges to smooth out, of course, but that too is a part of the process starting here.

Crystal Spiders on Thee Facebooks

Crystal Spiders on Bandcamp

 

The Misery Men, Deathspiration

The Misery Men Deathspiration

If you’d asked, depending on which part of Deathspiration was on, I’d probably have called The Misery Men a bass/drum duo, but nope, that’s guitar. Tonally one is reminded of At Devil Dirt from Chile, but the Portland, Oregon, two-piece of vocalist/guitarist Corey G. Lewis and drummer Steve Jones are entirely more barebones in their craft, eschewing digital involvement of any sort in the recording or mixing process and sounding duly raw as a result throughout the subtle earworm of “C.W. Sughrue” and the lumbering “Harness the Darkness.” The subsequent “Night Creeps In” brings a Northwestern noise payoff to quiet/loud trades and the near-10-minute closer “Stoned to Death,” well, it seems to meet an end befitting its title, to say the least. As their stated intent was to capture the most organic version of their sound possible, and made a point of working toward that ideal in their recording, one could hardly fault them for the results of that process. They wanted something human-sounding. They got it.

The Misery Men on Thee Facebooks

The Misery Men on Bandcamp

 

Hubris, EP #II Live

hubris ep ii live

Some — not all — of what one needs to know about HubrisEP #II Live is right there in the title. Indeed, it’s their second EP. Indeed, it was recorded live. And indeed, like using a ‘#’ sign with a Roman numeral, there’s something about the way the three included songs from the Toulouse, France-based outfit sound that’s just a little bit off-kilter from what you might expect. “Zugzwang” (7:19), “Tergo” (19:58) and “Biotilus” (27:04) are arranged shortest to longest, and while the opener starts off like Queens of the Stone Age on an Eastern-tinged psychedelic bender, the lengthy jams that follow — the first of them with a fervent drum punctuation, the second a gradual intertwining of synth and guitar with hardly any percussion at all until after its 22nd minute. The instrumental flow that ensues from there is almost like a hidden bonus track, at least until they Hubris get to minute 26 and the whole thing explodes in crash and plod. The underlying message, of course, is that if you think you’re safe at any point, you’re not.

Hubris on Thee Facebooks

Hubris on Bandcamp

 

Woorms, Slake

woorms slake

Lumbering fuckall pervades the debut full-length, Slake, from Baton Rouge, Louisiana, sludgers Woorms — also stylized all-caps — which incorporates past singles “Find a Meal Find a Bed Find a God” and “Mouth is a Wound” amid the sample/noise barrage of “Our Lady of Perpetually Shitfaced” and the willfully brash “Racist Kevin” that follows. There’s an edge of Melvinsian chug to the proceedings, but Woorms‘ take, though presented in finished compositions, comes across as almost nihilistic rather than making a show of its experimentalism. That is, they’re trying to say they don’t give a fuck, and in listening, they make it kind of easy to believe, but there’s still something about the cohesiveness of “Veni Vidi Fucki” and “Rice Crispy” and the saved-the-best-nod-for-last finale “Sore Afraid” that undercuts the notion even while making the listening experience all the more pummeling, and from the intro “Corpse Corps” through “Urine Trouble Now”‘s echoing shouts and the closer’s unmitigated stomp, there’s still plenty of exploration being done.

WOORMS on Thee Facebooks

WOORMS on Bandcamp

 

Oreyeon, Ode to Oblivion

Oreyeon Ode to Oblivion

Rebranded since their 2016 debut, Builders of Cosmos (discussed here), from their more phonetically intuitive original moniker, Orion, Italy’s Oreyeon issue a cosmically expansive spacescape follow-up in their six-song/40-minute sophomore outing, Ode to Oblivion, also their first release through Heavy Psych Sounds. Echoing vocals pervade “Big Surprise” after the introductory “T.I.O.” and “Trudging to Vacuity” establish the wide-cast mix and anti-grav rhythmic density, and the nine-minute side A finale title-track runs mostly-instrumental circles around most of what I’d usually call “prog” only after it lays down a sleek hook in the first couple minutes. After “Big Surprise,” the 8:45 “The Ones” trades volume back and forth but finds its breadth at about the sixth minute as the dramatic lead turns on a dime to desert rock thrust en route to wherever the hell it goes next. Honestly, after that moment, everything’s gravy, but Oreyeon lay it on thick with closer “Starship Pusher” and never neglect melody in the face of nod. Worth a deeper dig if you get the chance.

Oreyeon on Thee Facebooks

Heavy Psych Sounds website

 

Melody Fields, Melody Fields

melody fields melody fields

Sometimes you hear a record and it’s like the band is doing you a favor by existing. To that, thanks Melody Fields. The Gothenburg psych troupe lace their lysergic flow with folkish harmonies and an open sensibility on their self-titled debut that comes coupled with enough tonal presence to still consider them heavy not that it matters. They break out the sax on “Morning Sun” to welcome effect, and the sun continues to shine through “Liberty” and the garage-buzzing “Run” before “Rain Man” turns water droplets into keyboard notes and Beatlesian — think “Rain” — voice arrangements atop soothing instrumental drift, every bit the centerpiece and an excellent precursor to the acoustic-based “Fire” and the 10-minute “Trädgränsen,” which is the crowning achievement of this self-titled debut, which, if I’d been hip to it in time, would’ve made both the 2018 best albums and best debuts list. They cap with a reprise of “Morning Sun” and underscore the solid foundation beneath the molten beauty of their work throughout. To ask for another album seems greedy, but I will anyway. More, please.

Melody Fields on Thee Facebooks

Sound Effect Records website

 

Mammoth Grove, Slow Burn

mammoth grove slow burn

Okay, look, enough screwing around. It’s time for someone to sign Mammoth Grove. The Calgary natives have been putting out quality heavy psych rock since their 2011 self-titled debut (review here), and their latest long-player, the four-song Slow Burn is a righteous amalgam of peace-thru-rock that lives up to its freewheeling vibes in “Seasons” after the methodical opener “Valleys” and rolls out a bit of melodic ’70s biker rock bliss in “Black Meadow” before the side-B-consuming “Gloria” (18:42) asks early if you’re ready to go and then goes like gone, gone, gone, and gone further. Given the analog mindset involved and the heart on display throughout, there’s something fitting about it being pressed up in an edition of 100 hand-screenprinted LPs and 100 CDs likewise, but the more people who could hear it, the merrier, so yeah, some label or other needs to step up and make that happen, and I dare you to listen to the solo that hits past the 14-minute mark in “Gloria” and tell me otherwise. Dare you.

Mammoth Grove on Thee Facebooks

Mammoth Grove on Bandcamp

 

Crimson Devils, A Taste for Blood

crimson devils a taste for blood

Since pared down to a trio from the four-piece incarnation they present here, Austin’s Crimson Devils first released their debut, A Taste for Blood, in 2017, but gave it a vinyl revisit last year and it’s little mystery why. The record comprises 11 sharply-composed tracks of Small Stone-style heavy rock, taking cues from Sasquatch in modern-via-classic modus, picking and choosing elements of ’70s and ’90s rock to conjure formidable groove and engaging hooks. There’s considerable swagger and weight in “They Get It,” and while opener “Dead and Gone” seems to show an influence in its vocal patterning from Elder, as the album unfolds, it’s more about the blast of “Captain Walker” or the penultimate “Nothing to Claim” and the straight-ahead vibes of “Bad News Blues” and “No Action” than anything so outwardly prog. There’s plenty to dig in the rock-for-rockers mindset, and it’s the kind of offering that should probably come with an octane rating. However such things are measured, safe to say it would not be low.

Crimson Devils on Thee Facebooks

Crimson Devils on Bandcamp

 

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