Posted in Whathaveyou on May 16th, 2023 by JJ Koczan
The first bands for Truckfighters Fuzz Festival #4 have been announced, and in addition to the Swedish fuzzlords themselves — whose self-description below is hilarious in a “you know who we are, it’s our festival, damnit, do we really need to tell you about ourselves?” kind of way — they’re bringing in Khan from Australia, Kaiser from Finland, Valley of the Sun from the US Midwest, and Swedish natives Dark Ocean Circle and Tidal Wave. Set for this November, the two-day event will take place at Debaser and the adjacent Bar Brooklyn in Stockholm, right down the block from the fancy Italian restaurant and down the hill from the angry hot dog guy, to whom I hope they give tickets this year in order to cheer him up. Poor dude was feeling it when I was there this past December. Hard.
They’ll add more bands between now and the Nov. 10 kickoff (that’s my sister’s birthday), but the reach is already notable, even if Khan were going to be on the road in Europe anyhow. Valley of the Sun are overseas now from their Ohio home-base, and knowing they’ll return in the Fall, perhaps hitting Fuzz Festival #4 on the tail end of their own continental run, is good news for them and for anyone who gets to see them, as they are among the finer fuzzrock ambassadors the States currently has to offer. They’re not, but they most certainly should be funded by the federal government to serve in that capacity.
More to come, and I said as much on social media, but having gone once, I’d return to Truckfighters Fuzz Festival in a heartbeat. It was a blast for more than just the two-day deluge of distortion and riffs.
Check it:
Finally! The Fuzzfestival is back! What a festival we will have this year (as always)! Just grab the early bird ticket NOW for the suberp price of 666SEK
Well, we play fuzzy, progressive, hardrock… Just see it and embrace it. May the fuzz be with you!
VALLEY OF THE SUN (USA)
For the last decade,Valley of the Sun have lit up stagesacross Europe and North America, dropped three albums of high-octane rock ’n roll and won over thousands of loyal fanatics along the way. Now, they have their sights set on world domination with their most stunning album to date,The Chariot, coming summer 2022 on Ripple Music and Fuzzorama Records. A dynamic flurry of top-volumeriffage, soaring melodies and furious rhythms served up Cincinnati-style with a cold beer on the side. Check out the record today and get on board, and you’ll see why everything’s more dazzling in the Valley of the Sun.
KHAN (AUSTRALIA)
“Khan meld hazy psychedelia and heavy stoner riffs with a penchant for progressive rhythms and almost dirge-like, industrial-scale crescendos. The songs are lyrically evocative, exuding a sense of despondency and melancholy. Vocally, their songs waver from ethereal falsetto and hypnotic crooning to impassioned wailing punctuated by occasional guttural screams. The Australian trio released their third album ‘Creatures’ in February 2023 through Full Contact Safari Records and are returning for their second tour of Europe to promote the new album.”
KAISER (FI)
Kaiser is a northern desert storm, the master of doomy dunes and hi-octaned with fuzzy tunes. This three headed snake gave birth to their debut ’1st Sound’ in 2018. After that they’ve spread the fuzz across the ocean and beyond European highways. Now finally, it’s time for Sweden to get fuzzed. Prepare yourselves…
DARK OCEAN CIRCLE
Dark Ocean Circle is a four-piece band from Stockholm, Sweden. We play music in the heavier genres such as stoner, doom, heavyrock and psychedelic rock. We like to float a bit between genres and not get stuck in just one. We just released our debut album and it moves from punky stoner to doom and 70´s hardrock to heavy rock.
TIDAL WAVE
They released their debutalbum ”Blueberry Muffin” early in December 2019. It got recognised both by fans and blogs all over the world really fast. Tidal wave from Sundsvall in Sweden creates music that according to one of the biggest musimagazines ”Swedenrock magazine” is stonercoloured hardrock with a touch of all that where Seatlle grunge in the 90’s. With the new record “The Lord Knows” out early 2023 they are ready to spread their music even more.
Posted in Reviews on April 10th, 2023 by JJ Koczan
Welcome to the Spring 2023 Quarterly Review. Between today and next Tuesday, a total of 70 records will be covered with a follow-up week slated for May bringing that to 120. Rest assured, it’ll be plenty. If you’re reading this, I feel safe assuming you know the deal: 10 albums per day from front to back, ranging in style, geography, type of release — album, EP, singles even, etc. — and the level of hype and profile surrounding. The Quarterly Review is always a massive undertaking, but I’ve never done one and regretted it later, and looking at what’s coming up across the next seven days, there are more than few records featured that are already on my ongoing best of 2023 list. So please, keep an eye and ear out, and hopefully you’ll also find something new that speaks to you.
We begin.
Quarterly Review #1-10:
ISAAK, Hey
Last heard from as regards LPs with 2015’s Serominize (review here) and marking 10 years since their 2013 debut under the name, The Longer the Beard the Harder the Sound (review here), Genoa-based heavy rockers ISAAK return with the simply-titled Hey and encapsulate the heads-up fuzz energy that’s always been at the core of their approach. Vocalist Giacomo H. Boeddu has hints of Danzig in “OBG” and the swing-shoving “Sleepwalker” later on, but whether it’s the centerpiece Wipers cover “Over the Edge,” the rolling “Dormhouse” that follows, or the melodic highlight “Rotten” that precedes, the entire band feel cohesive and mature in their purposeful songwriting. They’re labelmates and sonic kin to Texas’ Duel, but less bombastic, with a knife infomercial opening their awaited third record before the title-track and “OBG” begin to build the momentum that carries the band through their varied material, spacious on “Except,” consuming in the apex of “Fake it Till You Make It,” but engaging throughout in groove and structure.
With doom in their collective heart and riffs to spare, UK doom metal traditionalists Iron Void roll out a weighted 44 minutes across the nine songs of their fourth full-length, IV, seeming to rail against pandemic-era restrictions in “Grave Dance” and tech culture in “Slave One” while “Pandora’s Box” rocks out Sabbathian amid the sundry anxieties of our age. Iron Void have been around for 25 years as of 2023 — like a British Orodruin or trad-doom more generally, they’ve been undervalued for most of that time — and their songwriting earns the judgmental crankiness of its perspective, but each half of the LP gets a rousing closer in “Blind Dead” and “Last Rites,” and Iron Void doom out like there’s no tomorrow even on the airier “She” because, as we’ve seen in the varying apocalypses since the band put out 2018’s Excalibur (review here), there might not be. So much the better to dive into the hook of “Living on the Earth” or the grittier “Lords of the Wasteland,” the metal-of-yore sensibility tapping into early NWOBHM without going full-Maiden. Kind of a mixed bag, it might take a few listens to sink in, but IV shows the enduring strengths of Iron Void and is clearly meant more for those repeat visits than some kind of cloying immediacy. An album to be lived with and doomed with.
An offering of thickened, massive lava-flow sludge, plodding doom and atmospheric severity, Dread Witch‘s self-released (not for long, one suspects) first long-player, Tower of the Severed Serpent, announces a significant arrival on the part of the onslaught-prone Danish outfit, who recorded as a trio, play live as a five-piece and likely need at least that many people to convey the density of a song like the opener/longest track (immediate points) “The Tower,” the eight minutes of which are emblematic of the force of execution with which the band delivers the rest of what follows, runtimes situated longest to shortest across the near-caustic chug of “Serpent God,” the Celtic Frost-y declarations and mega-riff ethos of “Leech,” the play between key-led minimalism and all-out stomp on “Wormtongue” and the earlier-feeling noise intensity of “Into the Crypt” before the more purely ambient but still heavy instrumental “Severed” wraps, conveying weight of emotion to complement the tonal tectonics prior. Bordering on the extreme and clearly enjoying the crush that doing so affords them, Dread Witch make more of a crater than an impression and would be outright barbaric were their sound not so methodical in immersing the audience. Pro sound, loaded with potential, heavy as shit; these are the makings of a welcome debut.
Next-generation heavy fuzz purveyed with particular glee, Tidal Wave seem to explore the very reaches they conjure through verses and choruses on their eight-song Ripple Music label debut (second LP overall behind 2019’s Blueberry Muffin), The Lord Knows, and they make the going fun throughout the 41-minute outing, finding the shuffle in the shove of “Robbero Bobbero” while honing classic desert idolatry on “Lizard King” and “End of the Line” at the outset. What a relief it is to know that heavy rock and roll won’t die with the aging-out of so many of its Gen-X and Millennial purveyors, and as Tidal Wave step forward with the low-end semi-metal roll of “Pentagram” and the grander spaces of “By Order of the King” before “Purple Bird” returns to the sands and “Thorsakir” meets that on an open field of battle, it seems the last word has not been said on Tidal Wave in terms of aesthetic. They’ve got time to continue to push deeper into their craft — and maybe that will or won’t result in their settling on one path or another — but the range of moods on The Lord Knows suits them well, and without pretense or overblown ceremony the Sundsvall four-piece bring together elements of classic heavy rock and metal while claiming a persona that can move back and forth between them. Kind of the ideal for a younger band.
Persistently weird in the mold of Arthur Brown with unpredictability as a defining feature, Guided Meditation Doomjazz may mostly be a cathartic salve for founding bassist, vocalist, experimentalist, etc.-ist Blaise the Seeker, but that hardly makes the expression any less valid. Expect arrives as a five-song EP, ready to meander in the take-the-moniker-literally “Collapse in Dignity” and the fuzz-drenched slow-plod finisher “Sit in Surrender” — watery psychedelic guitar weaving overhead like a cloud you can reshape with your mind — that devolves into drone and noise, but not unstructured and not without intention behind even its most out-there moments. The bluesy sway of “The Mind is Divided” follows the howling scene-setting of the titular opener, while “Stream of Crystal Water” narrates its verse over crunchier riffing before the sung chorus-of-sorts, the overarching dug-in sensibility conveying some essence of what seems despite a prolific spate of releases to be an experience intended for a live setting, with all the one-on-one mind-expansion and arthouse performance that inevitably coincides with it. Still, with a rough-feeling production, Expect carries a breadth that makes communing with it that much easier. Go on, dare to get lost for a little while. See where you end up.
II is the vocalized follow-up to Cancervo‘s 2021 debut, 1 (review here), and finds the formerly-instrumental Lombardy, Italy, three-piece delving further into the doomed aspects of the initial offering with a greater clarity on “Arera,” “Herdsman of Grem” and “The Cult of Armentarga,” letting some of the psychedelia of the first record go while maintaining enough of an atmosphere to be hypnotic as the vocals follow the marching rhythm as the latter track moves into its midsection or the rhythmic chains in the subsequent “Devil’s Coffin” (an instrumental) lock step with the snare in a floating, loosely-Eastern-scaled break before the bigger-sounding end. Between “Devil’s Coffin” and the feedback-prone also-instrumental “Zambla” ahead of 8:43 closer “Zambel’s Goat” — on which the vocals return in a first-half of subdued guitar-led doomjamming prior to the burst moment at 4:49 — II goes deeper as it plays through and is made whole by its meditative feel, some semblance of head-trip cult doom running alongside, but if it’s a cult it’s one with its own mythology. Not where one expected them to go after 1, but that’s what makes it exciting, and that they lay claim to arrangement flourish, chanting vocals and slogging tempos as they do bodes well for future exploration.
So heavy it crashed my laptop. Twice. The second full-length from Mumbai post-metallers Dirge is a self-titled four-songer that culls psychedelia from tonal tectonics, not contrasting the two but finding depth in the ways they can interact. Mixed by Sanford Parker, the longer-form pieces comprise a single entirety without seeming to have been written as one long track, the harsh vocals of Tabish Khidir adding urgency to the guitar work of Ashish Dharkar and Varun Patil (the latter also backing vocals) as bassist Harshad Bhagwat and drummer Aryaman Chatterji underscore and punctuate the chugging procession of opener “Condemned” that’s offset if not countermanded by its quieter stretch. If you’re looking for your “Stones From the Sky”-moment as regards riffing, it’s in the 12-minute second cut, “Malignant,” the bleak triumph of which spills over in scream-topped angularity into “Grief” (despite a stop) while the latter feels all the more massive for its comedown moments. In another context, closer “Hollow” might be funeral doom, but it’s gorgeous either way, and it fits with the other three tracks in terms of its interior claustrophobia and thoughtful aggression. They’re largely playing toward genre tenets, but Dirge‘s gravity in doing so is undeniable, and the space they create is likewise dark and inviting, if not for my own tech.
Witch Ripper‘s sophomore LP and Magnetic Eye label-debut, The Flight After the Fall, touches on anthemic prog rock and metal with heavy-toned flourish and plenty of righteous burl in cuts like “Madness and Ritual Solitude” and the early verses of “The Obsidian Forge,” though the can-sing vocals of guitarists Chad Fox and Curtis Parker and bassist Brian Kim — drummer Joe Eck doesn’t get a mic but has plenty to do anyhow — are able to push that centerpiece and the rest of what surrounds over into the epic at a measure’s notice. Or not, which only makes Witch Ripper more dynamic en route to the 16:45 sprawling finish of “Everlasting in Retrograde Parts 1 and 2,” picking up from the lyrics of the leadoff “Enter the Loop” to put emphasis on the considered nature of the release as a whole, which is a showcase of ambition in songwriting as much as performance of said songs, conceptual reach and moments of sheer pummel. It’s been well hyped, and by the time “Icarus Equation” soars into its last chorus without its wings melting, it’s easy to hear why in the fullness of its progressive heft and melodic theatricality. It’s not a minor undertaking at 47 minutes, but it wouldn’t be a minor undertaking if it was half that, given the vastness of Witch Ripper‘s sound. Be ready to travel with it.
In stated narrative conversation with the Arabic influence on Spanish and greater Western European (read: white) culture, specifically in this case as regards the work of Persian philosopher Ibn Sina, Parisian self-releasing three-piece Pelegrin follow-up 2019’s Al-Mahruqa (review here) with the expansive six songs of Ways of Avicenna, with guitarist/vocalist François Roze de Gracia, bassist/backing vocalist Jason Recoing and drummer/percussionist Antoine Ebel working decisively to create a feeling of space not so much in terms of the actual band in the room, but of an ancient night sky on songs like “Madrassa” and the rolling heavy prog solo drama of the later “Mystical Appear,” shades of doom and psychedelia pervasive around the central riff-led constructions, the folkish middles of “Thunderstorm” and “Reach for the Sun” and the acoustic two-minute “Disgrace” a preface to the patient manner in which the trio feel their way into the final build of closer “Forsaken Land.” I’m neither a historical scholar nor a philosopher, and thankfully the album doesn’t require you to be, but Pelegrin could so easily tip over into the kind of cartoonish cultural appropriation that one finds among certain other sects of European psychedelia, and they simply don’t. Whether the music speaks to you or not, appreciate that.
Lush but not overblown, Argentinian instrumentalists Black Sky Giant fluidly and gorgeously bring together psychedelia and post-rock on their third album, Primigenian, distinguishing their six-song/31-minute brevity with an overarching progressive style that brings an evocative feel whether it’s to the guitar solos in “At the Gates” or the subsequent kick propulsion of “Stardust” — which does seem to have singing, though one can barely make out what if anything is actually being said — as from the denser tonality of the opening title-track, they go on to unfurl the spiritual-uplift of “The Great Hall,” fading into a cosmic boogie on the relatively brief “Sonic Thoughts” as they, like so many, would seem to have encountered SLIFT‘s Ummon sometime in the last two years. Doesn’t matter; it’s just a piece of the puzzle here and the shortest track, sitting as it does on the precipice of capper “The Foundational Found Tapes,” which plays out like amalgamated parts of what might’ve been other works, intermittently drummed and universally ambient, as though to point out the inherently incomplete nature of human-written histories. They fade out that last piece after seeming to put said tapes into a player of some sort (vague samples surrounding) and ending with an especially dream-toned movement. I wouldn’t dare speculate what it all means, but I think we might be the ancient progenitors in question. Fair enough. If this is what’s found by whatever species is next dominant on this planet — I hope they do better at it than humans have — we could do far worse for representation.
Posted in Whathaveyou on November 10th, 2022 by JJ Koczan
In the first single from Tidal Wave‘s second long-player, The Lord Knows — or doesn’t, if you look at the album art below — you can almost hear a pendulum swinging as a new generation of acts goes to ground in terms of digging into the roots of modern heavy rock in terms of tone and structure, the progressivism of the mid-’10s evaporating to some degree as the impulse toward retroism turns toward aughts-era heavy instead, now 20 years gone. That’s convenient narrative as a generalization, I’ll readily admit, but there’s evidence to support that movement, especially in Scandinavia, and one can see something similar unfolding across an international push toward “true metal,” meaning older-school, though that’s pretty far from where we’re at stylistically here. “End of the Line,” the single streaming at the bottom of this post, is a rock song and heralds a rock album. Hell, I’m down for a revival.
I didn’t catch Tidal Wave‘s 2019 debut Blueberry Muffin, but, uh, it sounds delicious? I’ll get there. In the meantime, their upcoming long-player will see issue early next year with the significant endorsement of Ripple Music, as the PR wire confirms here:
TIDAL WAVE sign to Ripple Music for new album release; first single “End Of The Line” available now!
Swedish stoner and fuzz rock newcomers TIDAL WAVE join the Ripple Music roster for the release of their sophomore album “The Lord Knows”, to be issued on January 20th. Listen to a first track with the first single “End Of The Line” now!
The Sundsvall-based stoner rock merchants are about to hit all households strong with a deluge of raucous fuzzy anthems, as they just signed to Californian powerhouse Ripple Music for the release of their anticipated sophomore album “The Lord Knows”! As they left their stamp on the Swedish stoner rock scene with their 2019 debut album “Blueberry Muffin”, the talented four-piece returns with an impressive and memorable collection of songs that aims to fill each air particle with fire, fuzz and power. From the rip-roaring and cathartic force of “Robbero Bobbero” to the stadium-worthy hooks of “Purple Bird”, TIDAL WAVE delivers the ultimate blend of in-your-face stoner rock and classic heavy bravura with epic solos for ages, and mind-blowing vocals from frontman Alexander ‘Sunkan’ Sundqvist.
“The Lord Knows” will be issued in various vinyl editions, CD digipack and digital on January 20th, 2023, with preorders available now through Ripple Music.
TIDAL WAVE “The Lord Knows” Out January 20th on Ripple Music
Tracklisting: 1. Lizard King 2. End of the Line 3. Marijuana Trench 4. Pentagram 5. Robbero Bobbero 6. By Order of the King 7. Purple Bird 8. Thorsakir
Tidal Wave is a Swedish heavy rock band that revels in the power of the riff. They’ve been crafting music together since 2019, drawing from a fertile wellspring of influences including classic bands like Black Sabbath, Nirvana, and Audioslave. Their raucous and finely crafted brand of stoner rock has garnered hundreds of thousands of Spotify streams and now a deal with Ripple Music promises to push them to the next level. The band is gearing up for the follow-up to their 2019 debut album “Blueberry Muffin”, to be issued in early 2023.
TIDAL WAVE is: Alexander ‘Sunkan’ Sundqvist – Vocals Jesper ‘Jerpo’ Sjödin – Guitar Adam ‘Aden’ Nordin – Bass Rasmus ‘Raz’ Sundberg – Drums
The new Hypertonus video starts out with a warning for those with sensitivity to flashing lights or sudden shifts in visual stimuli, and that’s a warning worth heeding if you’re prone to seizures or headaches as a result of changes in light, color, and so on. It hasn’t been all that long since the Bremen, Germany, instrumental three-piece gave us an interactive glimpse of the Harbor Inn 360° Session in which they took part by premiering a clip for “Phantasmagoria” (posted here) from their earlier-2017 self-released debut album, Tidal Wave (review here), but just a month later they’re following-up that video with a new one for the song “H.E.D.E.R.A.” that seems to come from the same source. Hey, if you’ve got it, use it.
Like “Phantasmagoria” before it, “H.E.D.E.R.A.” — an acronym for… oh wait, sorry, I have no idea what it’s an acronym for — bends the line between heavy rock and psychedelia. One can hear post-rocking airiness in the guitar of Patrick Büch, but the groove of bassist Arne Staats and drummer Hannes Christen is earthier and laden with a crunch that complements the leads rather than contrasts. As was the case throughout Tidal Wave, Hypertonus set themselves up for consideration as a progressive outfit whose style may just be in an early developmental stage in comparison to what they might go on to accomplish, but nonetheless already shows them with a pointed intention toward individuality that, hopefully, will underpin subsequent releases as well as it does the first full-length.
“H.E.D.E.R.A.” doesn’t have the same clickable interactivity as had “Phantasmagoria,” but is distinguished through its camera shifts and lighting effects for something of a different feel. In either case, it serves well to demonstrate the burgeoning nuance of Hypertonus‘ approach, and whether you can actually watch the video or not without it overwhelming your senses — that’s not me knocking anyone with that kind of sensitivity at all; I often get immediate headaches from flashing lights and find it’s simply too much for me, especially in videos and also in the case of this one — the live performance of the track, which checks in at just under six minutes long, is easily worth that minimal investment of your time.
They promise more clips to come from this session, so when I see what’s next, I’ll do my best to keep up. Till then, please enjoy:
Hypertonus, “H.E.D.E.R.A.” Harbor Inn Session
This is HYPERTONUS, an instrumental three-piece hailing from Bremen, Germany, playing their track ‘H.E.D.E.R.A.’ at the Harbor Inn Studios Bremen.
This is the second part of our ‘Harbor Inn Sessions 360°’ – there’s more to be released soon!
Plenty of bands give a look at their studio or rehearsal spaces in their videos these days. It’s kind of the standard procedure if a group needs a clip for a song; get a friend or two or — if they’ve got access to some resources — an actual director, a couple cameras, maybe a GoPro or something like that, editing software, and blamo. Video accomplished. Some are legitimately well made, others just get the job done, but few offer the kind of comprehensive glimpse at the creative process that German instrumentalist trio Hypertonus bring to their clip for “Phantasmagoria,” which lets those viewing it have a 360°, click-ably interactive view of the funk-informed Bremen-based outfit as they perform the closing jam of their self-released 2017 full-length debut, Tidal Wave (review here).
That is to say, by clicking on the little directional arrows in the upper left corner of the video embed — not to draw your eye away from the text here, but I’d actually recommend you go full-screen for this endeavor — you can actually spin and rotate the camera vertically and horizontally as guitarist Patrick Büch, bassist Arne Staats and drummer Hannes Christen jam out the song. They’re not the first to do this kind of thing, but it’s awesome. The three of them are gathered around in a circle, and whether you want to look at the lighting on the ceiling or the pedals on the floor or the tv monitor where the 360° filming apparatus — if you’ve ever seen one, it’s like a big ball of cameras; both expensive- and fun-looking — is showing the band to themselves as they play. It’s called a Harbor Inn Session, and “Phantasmagoria” is well suited to it at an exploratory eight minutes long, giving Hypertonus plenty of time to flesh out the material and the audience plenty of time to explore the space in which they’re doing so.
Hypertonus have a few local dates in Germany coming up over the course of July and August, and you’ll find those under the video, along with more background on the band, but I hope you’ll take the time to really dig into the “Phantasmagoria” clip as well, since it’s an enjoyable way for a band to present the song and something you don’t run into every day in the standard trio-in-room fare.
However much actual playing around with it you do, please enjoy:
Hypertonus, “Phantasmagoria” official video
Instrumental music between experimental, jazzrock and funk with the run to nearly insane sounds – that’s what HYPERTONUS is about.
These three men from Bremen, Germany are a thrilling group having a wide range with rough sounds that will knock you down – but also a beautiful soundscape which will lend you a helping hand to stand up again.
In March 2017 they released their debut TIDAL WAVE, followed by a tour through Germany and Netherlands sharing the stage with bands like Toundra, 1000mods and Mother’s Cake.
Hypertonus is: Hannes Christen (drums) Arne Staats (bass) Patrick Büch (guitar)
Next dates: 14.07. – Bremerhaven – Rock Center Festival 29.07. – Bremen – Dümpeldoom Festival 18.08. – Bremen – Überseefestival Warm-Up 25.08. – Berlin – Mensch Meier
We’re only slightly overdue for a batch of adds to The Obelisk Radio. I need to start setting a reminder or something. By the time this post goes up, my hope is that we’ll actually be off the backup server and back on the full or at least mostly-full playlist. It’s been a long road, as the terrible opening theme to Star Trek: Enterprise once said, but I think Slevin has it ready to roll, and there’s still some rebuilding to do, but I think it can be an ongoing thing working on the new hard drive. We’ve worn the crap out of that backup playlist. It would be nice to not have to use it for a while. Fingers crossed, anyhow.
Whichever server these files wind up on, they’ll be joining some playlist as soon as humanly possible. Let’s do the rundown in the meantime.
The Obelisk Radio Adds for May 22, 2017:
Big Kizz, Eye on You
Some who take on the debut single from Swedish trio Big Kizz will find the band reminiscent of some of the rawer moments of long-running Danish garage-psych rockers Baby Woodrose, but for many, an additional draw to the three-track/eight-minute offering (delivered via Tee Pee Records) will be the lineup, which features bassist John Hoyles (Spiders, ex-Witchcraft), guitarist/vocalist Pontus Westerman (also of Lady Banana), and perhaps most notably, drummer Axel Sjöberg in his first recorded appearance after splitting with Graveyard. Turns out he’s still a fantastic drummer. His play in leadoff cut “Eye on You” and the push he brings to “Baby Boy” and the closing Roky Erickson cover “White Faces” will surely lead some to relate Big Kizz to Sjöberg‘s former outfit, if only in their earliest going (which was also on Tee Pee, remember), but the truth is the trio show themselves to be on a different trip throughout Eye on You, as they bring the aforementioned garage stylization forward amid classic boogie and, particularly in “Baby Boy,” nod toward mid-’60s psychedelia in a quick but fluid bridge. The Roky Erickson cover could hardly be more fitting, handclaps and all, but it’s the sense of movement in the two originals that shows the most potential here as Big Kizz seem to set their eyes on establishing their dynamic and building from there. Will be interested to hear what they do with the context of a full-length and if some of the psych in “Eye on You” and “Baby Boy” is relegated to flourish or if it comes to the fore as they develop, but they’re off to a rousing start.
Devotees and pilgrims of longform psychedelia will no doubt and should rejoice at Dust (on Cardinal Fuzz), the maybe-second long-player from Perth, Australia, five-piece Mt. Mountain, which from its 17-minute titular opener and longest track (immediate points) unfolds a ritual of superior immersion and conscious trance inducement. Over the course of four songs/37 minutes total, Mt. Mountain unfold a sprawl reportedly intended to capture the atmosphere of the Australian Outback — and maybe they get there, I don’t know; I’ve never been — but either way, the balance of repetition and depth in “Floating Eyes” and the shimmer of the nine-minute “Kokoti” speak to a varied ecosystem that, indeed, one might get lost in, never to return. Mellotron, organ, djembe and percussion play a central role in the overarching sense of mind-expansion along with the guitar, bass, vocals, drums, etc., but it’s the combination of elements, the variety between tracks — they’re jam-based, but distinct songs, to be sure — that really stands Dust apart from much of drift-minded modern heavy psych. One advises patience with the drones of the opener and the cautious first steps that the fading in percussion seems to be taking, as the rewards are considerable when it comes to the front-to-back experience Mt. Mountain offer, which is stark, striking, marked by underlying threat and casts a feeling of the infinite that no doubt was the very intent behind its making.
Self-released in a six-panel digipak with decidedly grim artwork courtesy of Dominic Sohor, Green is the third full-length from Leicestershire, UK, heavy rockers Mage. Last heard from with 2014’s Last Orders (review here), they retain the blend of heavy rock groove and metallic aggression that’s become their signature sound, and continue the march forward in finding a space between post-Down/Orange Goblin dude-rockery and doomlier fare. Vocalist Tom blends harsh growls and a cleaner approach on opener “Nowhere to Nothing” and the later “Primitive Drive” while mostly avoiding sounding like Phil Anselmo, and as guitarist Woody, bassist Mark and drummer Andy dig into the slower roll of “Eclipse King,” Mage seem to hit the mark they’re shooting for in terms of style and songcraft. The centerpiece title-track has a little more head-bob to its central progression — and then there’s that wah; always fun — but they’re right to mess around with the proportion of stylistic elements throughout to add variety, and the 10-minute closer “Vultures Mass” does well in taking the punch of “Nowhere to Nothing” and “Heroic Elegy” at the album’s start and pushing it outward into a satisfying apex. Straightforward in its intent, given a sense of mass via a recording job at Skyhammer Studios and executed with a clean conscience, Green is the work of a band who know what they want from their sound and know how to make it happen, which, thankfully, they do in these tracks.
Tidal Wave is the self-issued debut full-length from German instrumentalist three-piece Hypertonus, and it lands some six years after the band first got together, preceded by a semi-eponymous 2013 EP, HPRTNS. If the more-than-half-a-decade stretch seems like a while for a group to get to their first long-player, it might be, but one suspects the Bremen-based troupe comprised of guitarist Patrick Büch, bassist Arne Staats and drummer Hannes Christen spent a significant amount of that time in the jam room developing their sound, because what they cast over this nine-track/45-minute outing is a keen progressivism and chemistry that feels not at all happenstance. With shifts into and out of technically-minded parts that seem to be driven by Staats‘ bass, Hypertonus reportedly tracked Tidal Wave live, and I have no reason not to believe it, particularly given the eight-minute closer “Phantasmagoria (Improvisation Jam),” which departs from the quick psych-meditation of “Aeropause” and the almost jazzy rhythms and post-rock guitar of “Expect the Sky Below” to bring the band’s style even more to life for the listener to take on. It’s a heady release, and some of the changes come across as willfully choppy — playing with expectation in a “now we’re over here!” kind of way — but there’s a marked sense of accomplishment throughout that’s nothing if not well earned.
Pressed to gorgeous-sounding vinyl by White Dwarf Records last November, the five-track instrumental Holy Smoke is the debut LP from Naples, Italy, jammers Lee Van Cleef, and aside from its righteously striking cover art, one finds primary impressions in the gotta-hear-it bass tone of Pietro Trinità La Tegola, the molten lysergism in Marco Adamo‘s guitar and the grounding-but-not-too-grounding effectiveness of drummer Guido Minervini in anchoring a jam like the 13-minute “Banshee,” which takes the best lessons of groups like Germany’s Electric Moon and Portugal’s Black Bombaim and brings them to methodical, engagingly rumbling fruition. Nod persists through the more uptempo, Tee Pee Records-style centerpiece “Hell Malo,” but the three-piece seem even more comfortable dug into the post-Sleep riffing of the subsequent “Mah?na,” finishing that track with a standout wash of a guitar lead ahead of the brighter-feeling closer “Towelie,” which underscores an otherworldly vibe that turns out to have been in Holy Smoke all along. Lee Van Cleef have already followed Holy Smoke up with a single titled “Everyone Should Kill an Old Hippy” (discussed here) — it’s worth noting that this album starts with “Heckle Yuppies,” so they’re not fans of them either — and one can’t imagine it will be long before they answer back with another full-length offering. The question is how they’ll ultimately distinguish themselves from the crowded European jam-based heavy psych underground, but there’s nothing in these tracks to give the impression they can’t or won’t do so as they continue to grow.
