Posted in Whathaveyou on August 15th, 2025 by JJ Koczan
A litany of familiar names playing a litany of familiar tunes, Spaceship Landing: A Tribute to Kyuss is a fairly straightforward concept. Rather than the Magnetic Eye-style ‘redux’ model, the compilation of mostly European bands put together at the behest of Witching Buzz follows the oldschool pattern of more ‘greatest hits’-style selections. I don’t know how many of these songs are exclusive or not, but from Fuzz Evil and Abel Blood to Rhino and King Howl, it’s an assemblage 20-strong put together to honor the band largely credited with defining desert rock for the rest of us mortals out here on the scorched earth.
So like I said, an easy enough concept to grasp. Slated for a Halloween release. The PR wire has it like this:
Spaceship Landing: A Tribute to KYUSS
Release Date and Cover Art Unveiled
A Global Homage to the Godfathers of Desert Rock
The legacy of KYUSS – the pioneers of desert rock and the spiritual fathers of stoner metal – echoes endlessly across generations and continents. Now, over two decades after their final ride into the sonic sunset, a legion of underground bands unites to pay respect in a massive, fuzz-drenched tribute.
“Spaceship Landing: A Tribute to KYUSS” will be released October 31, 2025 by Witching Buzz and features 21 bands from across the globe, each offering a thunderous reimagining of a KYUSS classic. This is not just a tribute – it’s a worldwide celebration of riff worship, sand-blasted psych, and raw desert energy.
Full Tracklist: Amammoth (Australia) – Son of a Bitch Mörkekraft (Norway) – Writhe Sonic Wolves (Italy) – Thumb Rhino (Italy) – Green Machine Gurnslinger (Jersey) – Molten Universe Void Cruiser (Finland) – 50 Million Year Trip (Downside Up) King Howl (Italy) – Freedom Run Rainbow Bridge (Italy) – Apothecaries’ Weight Fuzz Evil (USA) – Supa Scoopa and Mighty Scoop 3 Wheeler Band (Mexico) – 100° DoctoR DooM (France) – Space Cadet Poste 942 (France) – Demon Cleaner ISAAK (Italy) – Odyssey Folwark (Italy) – Whitewater Abel Blood (USA) – Caterpillar March Epic Down (Germany) – Hurricane Loose Sutures (Italy) – One Inch Man Wet Cactus (Spain) – Phototropic Wolfnaut (Norway) – El Rodeo Mercure (France) – Size Queen
With each band offering their own sonic twist while honoring the spirit of KYUSS, Spaceship Landing is a must-listen for desert dwellers, fuzz fanatics, and anyone who’s ever felt the low-end rumble of the California sandstorms in their soul.
Raise your amps. Board the spaceship. KYUSS lives.
Posted in Whathaveyou on August 7th, 2025 by JJ Koczan
Arizona’s Fuzz Evil will join up with Ohio denizens Valley of the Sun as the Sierra Vista four-piece continue to support their March 2025 outing, Smear Merchants (review here). They were out in May — that’s Fuzz Evil; Valley of the Sun are generally also ‘out’ somewhere, I just want to be clear about whom I’m speaking — on a West Coast run to herald the record’s arrival, but where that tour went as far north as Oregon, Washington and Idaho, these five shows keep it pretty regional in terms of geography.
But good shows is good shows and these will be those. As noted, you’ll see Valley of the Sun are part of the stellar lineup for this year’s Ripplefest Texas. Oh, to dream I was putting that sentence in first instead of second person. A sincere wrist-over-my-forehead “alas” later, life rolls on with characteristically cruel indifference.
My own daydreams aside, here are some things that are actually happening for the people undertaking them. Courtesy of the PR wire:
Fuzz Evil to Support Valley of the Sun Through Southwest Following Ripplefest Texas
Southwest heavy psych rockers Fuzz Evil are hitting the road this fall in support of Valley of the Sun, joining the Ohio-based stoner rock veterans for a short but heavy-hitting run across the American Southwest.
The tour launches the week after Valley of the Sun’s highly anticipated appearance at Ripplefest Texas this September, bringing together these two underground acts for a string of dates filled with fuzz-drenched riffs, thunderous grooves, and pure desert energy.
With both bands known for delivering loud, immersive, and riff-forward performances, fans can expect no-frills, full-throttle rock shows in intimate venues throughout the region.
Tour Dates 9.24- Rockhouse Bar and Grill – El Paso Texas 9.25- Pc’s Lounge- Sierra Vista, Arizona 9.26- CV Collective- Coachella California 9.27- The Dive- Las Vegas, Nevada 9.28- Permanant Records, Los Angeles California
Fuzz Evil is: Vocals & Guitar: Wayne Rudell Bass & Backing Vocals: Joseph Rudell Baritone Guitars: Preston Jennings Drums: Cajun Adams
Posted in audiObelisk on July 17th, 2025 by JJ Koczan
Arizona heavy rock and rollers Fuzz Evil are releasing a live version of “The Black Dread” July 18, which is tomorrow. The reliable, melodic three-piece from Sierra Vista recorded the track this past Feb. 11 as Fuzz Evil supported Pentagram, who were rolling through on tour. As ever, Wayne and Joey Rudell know what they’re about. The song originally comes from their 2016 self-titled debut (review here) — they made a video for it in 2017, posted here — and from the mellower-vibing studio version, they’ve extrapolated a different song. “The Black Dread” hits harder, which isn’t the most surprising thing in the universe for a live track, but has seen its trajectory shift as well.
The present incarnation of Fuzz Evil, with Joey on bass and backing vocals and Wayne on vocals and guitar, as ever, with baritone guitarist Preston Jennings and drummer Cajun Adams released the band’s latest studio offering, Smear Merchants (review here), earlier this year. Since the original “Black Dread” — minus the ‘the’ — was recorded as trio, there are inherent differences, but the studio version also has a line of organ running through it and stretches up toward seven minutes. The live one trims that to a little over five, and while preserving the psychedelic aspect early, builds it to a ready-to-close-the-set blowout with the keys, solo and underlying rhythm all pushing to the same crescendo. Fuzz Evil have always had their sound under control. They’ve always been songwriters. That comes through in the live version of “The Black Dread” too, but clearly for them it’s more about the joy of the performance, and that comes through here too.
I don’t know if there’s a live record coming, or if the full set from the Pentagram show was even captured, but even if “The Black Dread (Live)” is a standalone, gonna-wind-up-as-a-bonus-track-some-day one-off, it says something about the growth of the band over their time thus far, and like their own progression, the song has become something new while staying true to its foundation in heavy desert vibes and ultra-solid craft. Sounds like it was a killer gig.
“The Black Dread (Live)” premieres below, followed by more info from the PR wire:
Fuzz Evil, “The Black Dread (Live)” track premiere
FUZZ EVIL UNLEASHES “THE BLACK DREAD (LIVE)” – RECORDED OPENING FOR DOOM LEGENDS PENTAGRAM AT 191 TOOLE
SIERRA VISTA, AZ – Arizona’s borderland heavy rockers Fuzz Evil are proud to announce the release of their explosive new live single “The Black Dread (Live)” on July 18th. Captured during their powerful support slot for the legendary Pentagram at 191 Toole in Tucson, this live version of the fan-favorite track from their debut record brings a new level of raw energy, layered soundscapes, and vintage doom ambiance.
Frontman Wayne Rudell shares the excitement behind the release:
“I have always wanted to capture the live version of ‘The Black Dread.’ It has such a different energy live as a four-piece. Preston adds so much with his effects. You can really hear all the layers he adds. I used to love listening to old live bootlegs of Jimi Hendrix concerts. You got to hear different interpretations of timeless songs you thought you knew. I wanted to capture something similar here with the Black Dread”
Originally released on their self-titled debut, “The Black Dread” has become a cornerstone of Fuzz Evil’s live shows, known for its heavy riffs, psychedelic undertones, and thunderous grooves. This new live recording offers fans a visceral and immersive experience of the band’s expanded live lineup, showcasing the synergy that makes them a standout in the modern stoner and doom scene.
Fuzz Evil has steadily built a reputation for their gritty desert rock sound and raw, powerful live performances, and this release is a bold reminder of the bands relentless pursuit to be undeniable.
“The Black Dread (Live)” will be available on all major streaming platforms July 18th.
Follow Fuzz Evil for more upcoming releases and tour dates.
Fuzz Evil is: Vocals & Guitar: Wayne Rudell Bass & Backing Vocals: Joseph Rudell Baritone Guitars: Preston Jennings Drums: Cajun Adams
Posted in Whathaveyou on April 2nd, 2025 by JJ Koczan
Arizona-based heavy rock and rollers Fuzz Evil are funky-fresh off the release last month of their new album, Smear Merchants (review here), on Desert Records. The four-piece led by the brotherly team of Wayne and Joey Rudell will support their latest outing on a West Coast tour starting May 17 after a couple local shows earlier in the month.
They’ll hit the Pacific Northwest for stops in Portland and Tacoma and swing through Boise en route to share the stage with The Otolith in Salt Lake City, which is a banger show and not a combination of bands you would intuitively put on a bill but a bit of upfront rock and some crush will probably go well toether. It’d be two bands I want to see, at least. So, efficient in that way.
Dates follow as per the PR wire:
Fuzz Evil Embarks on West Coast Tour to Support Smear Merchants!
Arizona heavy psych rockers Fuzz Evil are hitting the road for a West Coast tour from May 18-24 in support of their new album, Smear Merchants, which dropped on March 21. Known for their fuzz-drenched riffs and raw desert energy, Fuzz Evil is bringing their explosive live show to venues across the coast.
A highlight of the run includes a special night in Salt Lake City on May 23 at Urban Lounge, where they’ll join their labelmates The Otolith for a crushing, can’t-miss performance.
Stay tuned for full tour dates and get ready for a sonic onslaught as Fuzz Evil spreads the fuzz!
Fuzz Evil – Smear Merchants West Coast Tour 05.02 Tucson AZ 191 Toole 05.10 Sierra Vista AZ PC’s Lounge 05.17 Oceanside CA Pourhouse Brewery 05.18 Los Angeles CA The Redwood 05.19 Yuba City CA Hooligans 05.20 Portland OR Dante’s 05.21 Tacoma WA The Valley 05.22 Boise ID Realms 05.23 Salt Lake City UT Urban Lounge w/ The Otolith 05.24 Phoenix AZ Yucca Tap Room
Fuzz Evil is: Vocals & Guitar: Wayne Rudell Bass & Backing Vocals: Joseph Rudell Baritone Guitars: Preston Jennings Drums: Cajun Adams
Posted in audiObelisk on January 17th, 2025 by JJ Koczan
Arizona heavy rockers Fuzz Evil — led as ever by guitarist/vocalist Wayne Rudell and bassist/vocalist Joey Rudell — will release their fourth album, Smear Merchants, on March 21 through Desert Records. And more than two months is early for a review of the thing, admittedly, but I’m not sure I can let this post go live without telling you it’s the best and farthest-reaching work the band have done. In the 10-plus years since their first split 7″ (review here), the Rudell brothers have steered through a number of sonic shifts, trying out ideas in persona and style. The preceding 2023 outing, New Blood (review here), pushed their prior good-times desert-style aesthetic forth with a bit more of an edge, and as the revamped four-piece of Wayne, Joey, baritone guitarist Preston Jennings and drummer Cajun Adams take off on the 10-song/45-minute plunge, they sound like they’ve thrown off some of the shackles of writing to genre and are a freer in their expression. It would seem Fuzz Evil have hit the point of bring able to let their music become whatever the hell they think it wants to be.
Considering they’ve been skillful songwriters all along, Smear Merchants comes across like an organic arrival at a moment of realization and self-reflection. It gets darker than one might think of as ‘refreshing,’ but it is the most individual they’ve sounded. Some of it is outwardly aggressive, more than the band has been before, as with the screams in the charged “Wanderer’s Wake” and some of it is quieter and more hypnotic. Those who got down to the dancey side of New Blood might be surprised at the noisy aural context “Smear Merchants” (premiering below) sets for the album that shares its name with its wailing-wah solo and tonal crunch.
But the brash punker thrust in the first half of the two-minute “Sermons of the Defiant” (where the repeated line sounds like, “I wanna fight the pope, I wanna fight the pope,” and if it’s not that, I’m not sure I want to know) just prior and the uptick in scope for the subsequent eight-minute sprawl of “Progression of the Black Sun”, languid swing hinting at doom in its twists and use of organ, but unmistakably desert-born, paint a more complex picture. And in truth, that’s the story of the whole record: it’s a more complex picture of who you thought Fuzz Evil were as a band. They’re still heavy, they’re still writing memorable pieces like the aforementioned “Wanderer’s Wake,” which picks up from the 17-second intro “The Fraile Mourning of Eternity” — weightier in its title than acoustic strum, but fair enough — and gives over to the shorter instrumental blast “Doomsayer’s Lament,” setting up a back-and-forth that plays out into the shuffling highlight “The Juice is Loosh,” the aforementioned “Sermons of the Defiant” and the title-track across side A with “Progression of the Black Sun” waiting to immerse the listener after the (perhaps virtual) LP platter flip.
The longest cut on Smear Merchants is a highlight as well for what it encompasses while still shining through with purpose for its comparatively extended run, but Fuzz Evil aren’t finished yet, and they flesh out side B with the ultra-hooky “Starlight Grave” and “How to Vibe Alone,” the latter of which brings a marked focus on fuzzal density and a right-on grooving lead and sludgy shouts later on, echoing back to “Wanderer’s Wake,” giving the record a sense of symmetry, and still leaving room for one final turn toward the unexpected with the patient drone intro that picks up from the residual crashes of “How to Vibe Alone” and moves fluidly into the instrumental finale “Whispers From the Abyss.” This last inclusion makes its way to a last nod, but for the first 3:45 of its total 5:11, it explores a guitar-effects drone, and so gives one more new look from Fuzz Evil before they turn their audience back over to the real world with no less intent than they started out in “The Fraile Mourning of Eternity” at the start.
…Well, so much for not reviewing it. I knew that was gonna happen.
Maybe you skipped to the audio here. Enough blah blah, give me the song. Fair.
What you really need to know, even two months ahead of the release, is that Fuzz Evil have found something new in this material and set themselves to exploring it with the same vitality they’ve always brought to their work. Take a listen to “Smear Merchants” on the player below and I think you’ll agree that defying expectation suits them quite well.
A quote and PR wire info follow. Please enjoy:
Fuzz Evil on Smear Merchants:
“This album is a journey, designed to be experienced in one sitting, with each track seamlessly transitioning into the next through wild time-signature shifts, key changes, and an intricate use of effects that add a whole new dimension to our sound.”
“Smear Merchants” is the title track of Fuzz Evil’s 4th studio record “Smear Merchants” to be released on March 21st, 2025 on Desert Records. The band evolves their music each record and with “Smear Merchants” it will be their take on more doom metal/stoner.
Smear Merchants marks a transformative moment for Fuzz Evil. Expanding from a 3-piece to a 4-piece lineup, the band’s sound is bigger, heavier, and more dynamic than ever before. Written, recorded, and produced entirely DIY, this album gave Fuzz Evil the freedom to push boundaries and experiment—and it shows. Every riff, transition, and effect reflects the band’s uncompromising vision and creative exploration.
While staying true to their signature driving energy, Smear Merchants ventures into bold new territory. Preston Jennings’ love for ambient textures and psychedelic soundscapes adds depth and atmosphere, while Kenneth “Cajun” Adam’s screaming vocals introduce a raw intensity that amplifies the band’s doom/metal elements. Together, these additions create a powerful blend of storytelling, instrumental exploration, and crushing riffs that redefine what Fuzz Evil can do.
From hypnotic breakdowns to blistering highs, Smear Merchants captures the full spectrum of sound, layered with effects that pull listeners deeper into the experience. This is Fuzz Evil at their most ambitious and innovative, delivering an album meant to take you on an unforgettable sonic journey. Experience the raw creativity and limitless energy of Smear Merchants, where DIY ingenuity meets heavy, transformative soundscapes.
Fuzz Evil is: Vocals & Guitar: Wayne Rudell Bass & Backing Vocals: Joseph Rudell Baritone Guitars: Preston Jennings Drums: Cajun Adams
Posted in Whathaveyou on May 1st, 2024 by JJ Koczan
What do we know about Arizona’s Fuzz Evil? They’re songwriters. No matter what the Sierra Vista-based troupe led by brothers Joey and Wayne Rudell get up to on a given release — whether it’s their new single “Wanderer’s Wake” below, issued ahead of their Desert Records label-debut, Smear Merchants, or the 2023 full-length that preceded it, New Blood (review here), or anything else they’ve done over the eight years since their 2016 self-titled debut (review here) — they have songs. They’ve never been an overly self-indulgent band, never left their audience behind, and their catalog is that much stronger for it.
Even as they pivot to heavier fare with “Wanderer’s Wake” and introduce the lineup they revealed in January alongside their cover of The Cars‘ “Just What I Needed” (speaking of songwriters…), the song remains the priority, and that’s also what lets them pull off the dive into gruff vocals and harder-hitting tones without losing the plot. It’s a less friendly sound on the surface, but still very much Fuzz Evil in the underlying groove and structure. I would say it meets the stated intention toward more of a stoner-doomed feel, and not that I wasn’t already keeping an eye for Smear Merchants — not sure if it’s an EP or LP at this point, but it’s a title, which is more than you sometimes get — but I hear all the more reason to do so in the single’s sub-five-minute stretch.
TL;DR: New Fuzz Evil track mixes it up with a little bit o’ nasty to go around. Dig it:
“Wanderer’s Wake” is the first single from Fuzz Evil’s fourth studio record “Smear Merchants” to be released in late 2024 on Desert Records.
“We are always trying to evolve our music each record and with “Smear Merchants” it will be our take on more doom metal/stoner.” -FUZZ EVIL
As purveyors of chug-heavy, fuzz-laden riffs, this heavy rock ensemble unleashes a monolithic fuzzpocalypse that reverberates through your ears and straight to your soul. With raw, gritty Fuzz and unique tones, FUZZ EVIL combines baritone fuzz, extraordinary riffs, and heavy bass tones to create a sound that’s as soulful as it is earth-shattering.
To stay updated on Fuzz Evil’s latest releases and upcoming shows, follow them on handles here:https://linktr.ee/fuzzevil
Song written by Fuzz Evil Song Recorded, Produced, and Mixed by: Joseph Rudell Art by: Joseph Rudell
Fuzz Evil is: Vocals & Guitar: Wayne Rudell Bass & Backing Vocals: Joseph Rudell Baritone Guitars: Preston Jennings Drums: Cajun Adams
Posted in Whathaveyou on January 9th, 2024 by JJ Koczan
Not so terribly far removed from the Sept. 2023 release of their latest full-length, New Blood (review here), Sierra Vista, Arizona’s Fuzz Evil would seem to have answered the call for some themselves. Founded by brothers Joey Rudell and Wayne Rudell, the band have welcomed Cajun Adam, who is at least their fourth drummer, and multi-instrumentalist/guitarist Preston Jenning, who’ll make their debut with the now-a-four-piece band on the new EP, Smear Merchants. When’s that out? I don’t know, but they covered The Cars‘ “Just What I Needed” — and I’m sorry for getting the song stuck in your head just by mentioning the title, Ric Ocasek‘s magnum opus of catchy is infectious — and that’s a fun nugget to go on for today.
Looking at the below, I’m not actually sure “Just What I Needed” will show up on the EP, either, but I guess we’ll find out sometime in the coming months. Until then, the cover tune and the stream of New Blood are down at the bottom there and you can read more from the PR wire in the blue text.
Enjoy:
Fuzz Evil Expands Sonic Horizon as a Four-Piece Band with New Single and EP Release
Fuzz Evil, the powerhouse three-piece known for their infectious blend of doom and stoner rock, is set to kick off 2024 with a bang. On January 5, the band will drop their latest single, a cover of The Cars’ classic hit “Just What I Needed,” available on all major streaming platforms. This marks a thrilling departure from their signature sound and showcases the band’s versatility.
Following the single release, Fuzz Evil will treat fans to a brand new EP titled “Smear Merchants,” an eagerly anticipated follow-up to their 2023 ,”New Blood ” album. “Smear Merchants” is poised to captivate listeners with its immersive sonic experience, delving deeper into the realms of doom and stoner rock. Serving as a sister record to their self-titled release in 2016, this EP promises to deliver a fresh perspective on Fuzz Evil’s evolving musical journey.
In 2023, Fuzz Evil expanded their sonic horizons by adding two new talented members to their lineup, further enriching their musical tapestry. Preston Jenning, a versatile multi-instrumentalist, joined the band to lend his skills on guitar, baritone, and synth duties. His musical prowess is expected to add new dimensions to Fuzz Evil’s evolving sound. Cajun Adam, the newest addition on drums, brings a rhythmic intensity that complements the band’s dynamic energy.
Fuzz Evil has built a solid reputation in the rock scene, and “Smear Merchants” is poised to be a milestone in their discography. Fans can look forward to a sonic journey that transcends boundaries, blending the familiar with the unexpected.
To stay updated on Fuzz Evil’s latest releases and upcoming shows, follow them on handles here:https://linktr.ee/fuzzevil
Posted in Reviews on November 27th, 2023 by JJ Koczan
Don’t ask me if the ‘quarter’ in question is Fall or Winter, and I’m still planning another QR probably in early January or even December if I can sneak it, but I was able to sneak this week in while no one was looking at the calendar — mostly, that is, while I wasn’t filling said calendar with other stuff — and I decided to make it happen. I even used the ol’ Bing AI to make a header image for it. I was tired of all the no-color etchings. It’s been a decade of that at this point. I’ll try this for a bit and see how I feel about it. The kind of thing that matters pretty much only to me.
This might go to 70, but for right now it’s 50 releases Monday to Friday starting today, 10 per day. I know the drill. You know the drill. Let’s get it going.
Quarterly Review #1-10:
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Negative Reaction, Zero Minus Infinity
Holy fucking shit this rips. You want sludge? Call the masters. There are two generations of bands out there right now trying to tap into the kind of slow and ultra-heavy disaffection — not to mention the guitar tone — of Negative Reaction, and yet, no hype whatsoever. This record didn’t come to me from some high-level public relations concern. It came from Kenny Bones, who founded Negative Reaction over 30 years ago in Long Island (he and thus the band are based in West Virginia now) and whose perpetual themes between crushing depression and the odd bit of Star Wars-franchised space opera have rarely sounded more intentionally grueling. Across six songs and a mood-altering 46 minutes, Bones, bassist KJ and drummer Brian Alien bludgeon with rawness and volume-worship weight that, frankly, is the kind of thing riff-dudes on social media should be tripping over themselves to be first to sing its praises, the lurch in “Back From the Sands” feeling sincere in its unconscious rifference (that’s a reference you make with a riff) to Saint Vitus‘ “Born Too Late,” and maybe Negative Reaction were, or maybe they were born too early, or whatever, but it’s not like they’ve been a fit at any point in the last 30-plus years — cheeky horror riff chugging in “Space Hunter,” all-out fuckall-punker blast in “I’ll Have Another” before the 13-minute flute-laced (yes, Bones is on it) cosmic doom finish of “Welcome to Infinity,” etc., reaffirming square-peg status — because while there’s an awful lot of sludge out there, there’s only ever been one Negative Reaction. Bones‘ and company’s angry adventures, righteous and dense in sound, continue unabated.
Arizona brothers Wayne and Joey Rudell return with New Blood, the first Fuzz Evil full-length since High on You (review here) in 2018, and make up for lost time with 53 minutes of new material across 13 songs from the post-Queens of the Stone Age rock at the outset in “Suit Coffin” to the slow, almost Peter Gabriel-style progressivism of “Littlest Nemo,” the nighttime balladry of “Gullible’s Travel” or the disco groove of “Keep on Living.” Those three are tucked at the end, but Fuzz Evil telegraph new ideas and departures early in “My Own Blood” and even the speedier “Run Away,” with its hints of metal, pulls to the side from “Souveneers,” the hooky “G.U.M.O.C.O.,” a cut like “Heavy Glow” (premiered here) finding some middle ground between attitude-laced desert rock and the expansions thereupon of some New Blood‘s tracks. Shout to “We’ve Seen it All” as the hidden gem. All Fuzz Evil have ever wanted is to write songs and maybe make someone — perhaps even you — dance at a show. With the obvious sweat and soul put into New Blood, a little boogieing doesn’t seem like too much to ask.
A second full-length from Serbia’s Cardinal Point, Man or Island asks its central question — are you a man or an island — in the leadoff title-track. I’m not sure what being one or the other delineates, but masculinity would seem to be preferred judging by the Down-style riffing of “Stray Dog” or the heavy-like-1991 “Right ‘n’ Ready,” which feels like it was written for the stage, whether or not it actually was. “Sunrise” borders on hard country with its uber-dudeliness, but closer “This Chest” offers tighter-twisting, Lo-Pan-style riffing to cap. The tracks are pointedly straightforward, making no pretense about where the band is coming from or what they want to be doing as players. The grooves swing big and the choruses are delivered with force. You wouldn’t call it groundbreaking, but the Vranje-based four-piece aren’t trying to revolutionize heavy so much as to speak to various among those traditions that birthed it. They succeed in that here, and in making the results their own.
Voices far more expert than mine have given pinpointed analyses of Vlimmer‘s goth-as-emotive-vehicle, semi-electronic, sometimes-heavy post-punk, New Dark Wave, etc., stylistic reach as relates to the Berlin-based solo artist’s latest full-length, Zerschöpfung, but hearing The Cure in “Makks” and “Fatalideal” taken to a place of progressive extrapolation on “Platzwort” and to hear the Author & Punisher-informed slow industrial churn of the penultimate “Todesangst” become the backdrop for a dreamy vocal like Tears for Fears if they stayed up all night scribbling in their notebook because they had so much to say. Vlimmer (né Alexander Leonard Donat) has had a productive run since the first numbered EPs started showing up circa 2015, and Zerschöpfung feels like a summation of the style he’s established as his own, able to speak to various sides of underground and outsider musics without either losing itself in the emotionalism of the songs or sublimating identity to genre.
Dutch sludge metallers No Gods No Masters may seem monolithic at first on their second full-length, the self-released Torment, but the post-metallic dynamics in the atmospheric guitar on lead cut “Into Exile” puts the lie to the supposition. Not that there isn’t plenty of extreme crush to go around in “Into Exile” and the four songs that follow — second track “Towering Waves” and closer “End” on either side of the 10-minute mark, “Such Vim and Vigor” and “A God Among the Waste” shorter like “Into Exile” in a five-to-six-minute range — as the band move from crawling ambience to consuming, scream-topped ultra-doom, leave bruises with elbows thrown before the big slowdown in “Such Vim and Vigor” and tear ass regardless of tempo through the finale, and while they never quite let go of the extremity of their purpose, neither do they forget that their purpose is more than extremity. Torment sounds punishing superficially — certainly the title gives a hint that all is not sunshine and puppies — but a deeper listen is met by the richness of No Gods No Masters‘ approach.
Italian psych rockers Ananda Mida are joined by a host of guests throughout their third full-length, Reconciler, including a return appearance from German singer-songwriter Conny Ochs on the extended heavy psych blueser “Swamp Thing” (14:52) and the four-part finale “Doom and the Medicine Man (Pt. V-VIII)” (22:09), which draws a thread through the history of prog and acid rocks, kraut and space applying no less to the 12-minute “Lucifer’s Wind” as to the surf-riffing “Reconciling” after — the latter gets a reprise on platter two of the 83-minute 2LP — as Ananda Mida dig deep into the shining thrust in the early verses of “Never Surrender” that give over to thoughtful jamming in the song’s second half, finding proto-metallic resolve in “Following the Light” before reconciling “Reconciling (Reprise)” and unfurling “Doom and the Medicine Man” like the lost ’70s coke-rock epic it may well be in some other universe, complete with the acoustic postscript. It’s two records’ worth of ambitious, and it’s two records’ worth of record. This is exploratory on a stylistic level. Searching.
Lumbering out of El Paso, Texas (where folks know what salsa should taste like), with seven tracks across a 23-minute debut EP, Ojo Malo follow a Sabbathian course of harder-edged doom, thick in its groove through “Crow Man” after the “Intro” and speedier with an almost nu-metal crunch in “Charon the Ferryman.” There’s Clutch and C.O.C. influences in the riffing, but there are tougher elements too, a tension that wouldn’t have been out of place 28 years ago on a Prong record, and the swing in “Black Trip Lord” has an undercurrent of aggression that comes forward in its chugging second half. The penultimate “Grim Greefo Rising” offers more in terms of melody after its riffy buildup, and “Executioner” reveals the Judas Priest that’s been in the band’s collective heart all the while. Bookended with manipulated sounds from the recordings in “Intro” and “Outro,” Black Light Fever Tripping sounds exactly like it doesn’t have time for your bullshit so get your gear off stage now and don’t break down your cymbals up there or it’s fucking on.
Druid Fluids — aka Adelaide, Australia’s Jamie Andrew, plus a few friends on drums, piano, and so on — inhabits a few different personae out of psychedelic historalia throughout Then, Now, Again & Again, finding favorites in The Beatles in “Flutter By,” “Into Me I See” (both with sitar), and “Layers” while peopling other songs specifically with elements drawn from David Bowie and the solo work of Lennon and McCartney, all of which feels like fair game for the meticulously-arranged 11-song collection. “Sour’s Happy Fantasy” offers sci-fi fuzz grandeur, while “Timeline” is otherworldly in all but the central strum holding it to the ground — a singularly satisfying melody — and “Out of Phase” swaggers in like Andrew knows he was born in the wrong time. He might’ve been, but he seems to have past, present and future covered either way in this material, some of which was reportedly written when he was a teenager but which has no doubt grown more expansive in the intervening years.
The years between their 2017 self-titled three-songer EP and the forthcoming 11-track debut full-length, Saturn V, would seem to have found Philly heavy rockers Gibbous Moon refining their approach in terms of craft and process. “Blue Shelby” has a turn on guitar like Dire Straits as vocalist Noelle Felipe (also bass) drops references to Scarface in “Blue Shelby” and brings due classicism to Mauro Felipe‘s guitar on “Ayadda.” That song, as well as “Everything” and closer “Peacemaker,” tie the EP to the LP, but Noelle, Mauro and drummer Michael Mosley are unquestionably more confident in their delivery, whether it’s the bass in the open reaches of “Sine Wave” or the of-course-it’s-speed-rock “Follow that Car” and its punker counterpart “Armadillo.” Space rock is a factor in “Indivisible,” and “Inflamed” is almost rockabilly in its tense verse, but wherever Gibbous Moon go, their steps are as sure as the material itself is solid. I’m not sure when this is actually out, if it’s 2023 or 2024, but heads up on it.
Arranged shortest to longest between the ah-oo-oo-ah-ah hookiness of “Sucker’s Disease” (3:03), the nodder rollout of “Daughters of the Sun” (5:47) and the reach into psych-blues jamming in “Goddess Land” (7:03), Mother Magnetic‘s self-titled three-song EP is the first public offering from the Brisbane four-piece of vocalist Rox, guitarist James, bassist Tim and drummer Danny, and right into the later reaches of the last of those tracks, the band’s intentions feel strongly declarative in establishing their melodic reach, an Iommi-circa-’81 take on riffmaking, and a classic boozy swagger to the vocals to match. There was a time, 15-20 years ago, when demos like this ruled the land and were handed to you, burned onto archaic CD-Rs, in the vain hope you might play them in your car on the way home from the show. To not do so in this case would be inadvisable. There’s potential in the songwriting, yes, but also on a performance level, for growth as individuals and as a group, and considering where Mother Magnetic are starting in terms of chemistry, that’s all the more an exciting prospect.
