Acid Mammoth Premiere “Fuzzorgasm (Keep on Screaming)” Video; Supersonic Megafauna Collision Out April 5

acid mammoth supersonic megafauna collision

Dug-in Athenian riffchuckers Acid Mammoth are set to issue their fourth LP, Supersonic Megafauna Collision, on April 5 through Heavy Psych Sounds. It arrives three years after their duly rolling 2021 offering, Caravan (review here), and feels no less self-aware in highlighting its elephantine nature, a largesse of sound that begins in the opening title-track — catchy, doomed but not necessarily miserable, more reveling in the worship of volume and tone, a nodding testimony — and follows where the smoke goes throughout its six-track/41-minute entirety.

And if you’re expecting me to drop a reference here to that smoke leading to the Riff-Filled Land, well, I guess that’s reasonable enough. But don’t let that take away from the fact that Acid Mammoth have been declaring their brand of stoner-doom dogma since their 2017 self-titled debut caught the attention of Heavy Psych Sounds in the first place. And along with the over-the-top, heavy-speaking-to-heavy title underscoring the latest outing’s aural heft in language the genre-converted should have no trouble understanding — that is, it feels like one is supposed to look at Supersonic Megafauna Collision and/or the Branca Studio cover that adorns it and rightly anticipate being flattened by the proceedings — the overarching crush that gets a bit more down and dirty in “Fuzzorgasm (Keep on Screaming)” (video premiering below) becomes not a downer slog, but instead a vital celebration of its own motion.

This is an aspect of the work the band themselves acknowledge in the PR wire info below — thinking specifically of “all that enthusiasm and excitement,” etc. — and part of it might just be down to that the record, with the exceptions of 11:53 closer “Tusko’s Last Trip” and the trade-volume-for-hypnosis “One with the Void” (4:35) before it, keeps its songs to about six minutes in length, keeps its energy high, and feels in its bulk specifically composed to be played live. Through the title cut, “Fuzzorgasm (Keep on Screaming),” the Electric Wizardly slough of “Garden of Bones” on which Marios Louvaris seems to keep the momentum going in part by peppering in double-kick amid the tempo comedown riffery, and “Atomic Shaman,” which leads off side B in what feels like direct complement to the catchiness that began in “Supersonic Megafauna Collision,” Acid Mammoth dare to bring vibrancy to a style of doom that in the hands of many outfits in Europe and elsewhere has a hard time acid mammothgetting out of the way of its own misery. Among the many other things Acid Mammoth accomplish on Supersonic Megafauna Collision, they make it fun to play in the mud.

The vocals of Chris Babalis, Jr., which are Sabbath-rooted but have never wanted for their own character in that — Babalis on guitar/vocals and Louvis on drums make up half the returning lineup with guitarist Chris Babalis, Sr. and bassist Dimosthenis Varikos are another piece of what carries that fervor through to the listener. This is true even as one waits for the volume burst in “One With the Void” that doesn’t actually arrive until after the riff of “Tusko’s Last Trip” enacts its own build, and as infectious as the earlier pieces are in their choruses and brighter mood, it’s the vocals that provide consistency as the second half of the record departs from “Atomic Shaman” into the last two songs, fostering tension in “One With the Void” that “Tusko’s Last Trip” pays off in its outbound march and the gritty low end that leaves space for lead guitar to cut through before and after they set up and execute the concluding, jammier procession, an especially scorching solo over brash plod that could probably have just kept going all day like that providing the album’s final statement before the quick fade brings it down.

While consistent in tone, “Tusko’s Last Trip” is purposeful in delivering on the trope of a harder-hitting, broader-in-scope capstone, and it ends up hitting its mark — not unexpectedly, considering it’s Acid Mammoth‘s fourth full-length — in a way that also calls out the clarity of big-riff-party intent throughout Supersonic Megafauna Collision‘s early going. And yet, if they wrote it for Caravan, it would’ve been a completely different song three years ago. The band have never sounded tighter than they do in these songs, and while that’s part of the appeal, they neglect neither the atmospheric scope nor the raw impact crucial to engaging the audience whose passion for the form they so readily share. All of these elements, plus melody, chemistry, aesthetic and craft, align just right to let Supersonic Megafauna Collision present a fresh take to those with ears willing to hear it. Whatever else they do or don’t do from here, they’ve captured a moment.

Enjoy the clip for “Fuzzorgasm (Keep on Screaming)” — which is mostly safe for work, if that helps? — below, followed by some words from the band on it and more from the PR wire:

Acid Mammoth, “Fuzzorgasm (Keep on Screaming)” video premiere

Acid Mammoth on “Fuzzorgasm (Keep on Screaming)”:

“Fuzzorgasm (Keep on Screaming)” is the third track of our upcoming new album ‘Supersonic Megafauna Collision’. It is a witchy track, filled with fuzzy riffs and an unholy atmosphere. Debauchery is taking place in the wickedest of covens, with smoke and blood transcending your soul. Join the coven and relish its serpentine bliss!”


About their upcoming fourth studio album “Supersonic Megafauna Collision”, vocalist and guitarist Chris Babalis Jr. says: “While the previous album was composed and recorded during a state of total COVID lockdown in 2020, our new album was composed and recorded after the world had gotten back to a new state of normalcy after we had toured and played shows all over Europe, and all that enthusiasm and excitement we gathered while touring was put into this new album. We wanted to record a heavy and explosive album with lots of fuzz, that retains what made our sound great in our previous releases but take it a few steps further, and that’s exactly what we did. The album starts as a celebration of all things fuzzy with the title track, and it just gets darker and darker as the album progresses, until it concludes in complete and utter heartbreak with the song “Tusko’s Last Trip”, telling the heart-wrenching real story of Tusko, an elephant who was murdered as a result of cruel human experimentation.”

“Supersonic Megafauna Collision” was recorded, mixed, and mastered at Descent Studio, with drums recorded at Ritual Studios. The artwork was created by Branca Studio.

SA 27/04/2024 IT TORINO – Blah Blah
SU 28/04/2024 *** OPEN SLOT ***
MO 29/04/2024 ES BARCELONA – Razzmatazz 3
TU 30/04/2024 ES MADRID – Wurlitzer Ballroom
WE 01/05/2024 ES PORTUGALETE – Sala Groove
TH 02/05/2024 FR MARSEILLE – Le Molotov
FR 03/05/2024 FR CHAMBERY – Brin de Zinc
SA 04/05/2024 CH ALTDORF – Vogelsang
SU 05/05/2024 IT BOLOGNA – TBA
MO 06/05/2024 IT *** OPEN SLOT ***
TU 07/05/2024 IT *** OPEN SLOT ***

1. Supersonic Megafauna Collision (6:38)
2. Fuzzorgasm (Keep on Screaming) (6:12)
3. Garden of Bones (6:28)
4. Atomic Shaman (6:12)
5. One With the Void (4:35)
6. Tusko’s Last Trip (11:53)

Chris Babalis Jr. – Vocals, Guitars
Chris Babalis Sr. – Guitars
Dimosthenis Varikos – Bass
Marios Louvaris – Drums

Acid Mammoth, Supersonic Megafauna Collision (2024)

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