Seaward is the fourth album from Cecina, Italy’s Mr. Bison, and unquestionably the most progressive. Issued through Subsound Records and Ripple Music, the seven-track/39-minute collection brings together songs based around the a narrative of the sea itself, drawing on mythology about the creation of the Tuscan Archipelago as seven pearls broken off a necklace by Aphrodite — those love goddesses, so clumsy — falling into the water and making the islands. Good fun, and a nice linkup for a record from the Italian coast with seven songs on it, but Seaward reaches broader in terms of its actual subject matter and storytelling, as the three-piece of guitarist/vocalists Matteo Barsacchi and Matteo Sciocchetto and drummer/noisemaker/vocalist Matteo D’Ignazi engage not only myths and ancient stories — “Oudeis” translating to “no one” or “nobody” from Greek, but referring also to Odysseus — but look out over the waters of the Tyrrhenian Sea in the opening title-track, “I’m the Storm” and the penultimate “Underwater.”

Should it be any surprise that the album flows? That it’s immersive? No. It’s about water. It damn well better flow and be immersive. But the scope of Seaward is a considerable shift from where the trio could be found in terms of aesthetics even two years ago. Their 2018 offering, Holy Oak (review here), certainly had its proggier moments, but carried them amid a tonal warmth born of heavy psychedelic impulse, and their roots in playing more straight-ahead, uptempo, post-Truckfighters heavy rock on their first two records, 2016’s Asteroid and 2012’s We’ll Be Brief, were still evident in some of the material. Seaward is a rock album, to be sure, but as the band showed earlier in 2020 on their split with Spacetrucker (review here), they are pushing toward a cleaner-toned flourish, perhaps less driven directly toward warmth of tone but distinctly broader in melody and more accomplished-sounding on the whole. Since Barsacchi — the lone remaining founder of the band — brought in Sciocchetto and D’Ignazi on Asteroid, the band would seem to have been pushing in this direction, but there’s little mistaking the proggy intent in these tracks.

Certainly, Mr. Bison aren’t the only group who’ve embarked on more complex structures and methods over the last few years — heavy rock as a whole has moved in this direction, fueled in no small part by the work of Elder and a few others — but there’s an underlying classic sensibility too in Seaward, and “Seaward,” the song, still opens with a mighty roller of a riff once it kicks in from the quiet introduction. The title-track may or may not have been composed for the purpose of leading off the LP, but it’s definitely suited for it, hitting into its verse before the three-minute mark as Mr. Bison find nuance between the ’70s style of heavy prog — Captain Beyond, et al — and modern heavy execution. But it’s the focus on melody that’s most striking, and the fact that while individual songs have gotten longer on the whole — Holy Oak had two tracks over seven minutes and Seaward has one in “I’m the Storm” (7:40), but that’s the longest song the band have made and the average of the surrounding cuts is higher — the band have managed to keep their songwriting sensibility intact.

Second cut “From the Abyss” emphasizes this, fluidly picking up from the end of “Seaward” with a shorter, more straightforward run on a short linear course, with a memorable chorus and instrumental thrust, giving way to vocals and lush guitar deceptive in its nuance for how peaceful it sounds. The final surge feels a bit manic in comparison, but they still manage to bring it down in time to end the song for a smooth transition into “I’m the Storm,” which brings a thicker chug as it might be expected to do, but coats it too in melody, pushing the distortion lower in the mix so that it’s part of the overall affect rather than entirely consuming, though the final echoing shout of the title line brings to mind Stoned Jesus‘ “I’m the Mountain” just the same. The residual drift marks the end of side A, and “I’m the Storm” is no less suited in its place than was “Seaward” at the outset, but the 6:45 “Oudeis,” introduced by organ in the spirit of Celeste and other classic Italian prog, is a special advent as the centerpiece of the tracklisting as well.

Scorching guitar, high-energy lead vocals that shift into harmony as the song moves into its midsection, and a proggy shuffle to accompany, “Oudeis” is clearly intended as a focal point example of Mr. Bison‘s sonic evolution — a show-piece, if there were shows — and it leads into side B with the sense that not only have the band taken on this sonic growth, but they’ve brought it to bear with the necessary control and mastery. As with “From the Abyss,” “The Sacrifice” follows “Oudeis” with a more forward motion, but the multiple layers of vocals, continued organ line and tension in the guitar and drums builds toward what’s arguably Seaward‘s most satisfying payoff. It’s ironic that it should come on the shortest track, but the vitality on display speaks for itself. With the subtle shift of an atmospheric intro, “Underwater” returns to more patient fare, but remains somewhat angular in its groove, coming apart later as its core strum leads the way out toward closer “The Curse.”

Saving room for one last push, Mr. Bison bring their watery proceedings to a close with “The Curse,” and in so doing offer one final linear build, perhaps the album’s most direct up to that point. A layer of guitar solo floats airily over the central riff, giving ambience to an earlier chug complementary to that of “I’m the Storm,” and the song’s ending, cut after a verse, feels somewhat sudden but leaves little more one might ask that isn’t delivered. The same is true of Seaward as a whole. Mr. Bison bring vitality to sonic progressivism in such a way as to distinguish themselves from their many peers of similar intent, and it is the energy of their material, as well as the theme, that allows them to tie together heavy rock and progadelia with such grace and class. Where their course might ultimately bring them has only become more of a mystery with this turn, but they’re only more exciting an act for that, and for the richness of craft they harness here.

Mr. Bison, Seaward (2020)

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For all I know, Arrested Development never even aired in Italy, but I don’t think I’ve seen the word ‘seaward’ since then without thinking of Michael Bluth going “Get rid of the ‘Seaward,'” meaning a boat, and having his mother respond, “I’ll leave when I’m good and ready.” Get it? c-word? seaward? It was a very cleverly written show.

And again, one that I have no idea if the members of Mr. Bison have ever seen it. Just because the Italian heavy psych rockers make one pop-cultural reference — their moniker — doesn’t mean they’re doing so all the time. And their quote in the PR wire below seems to be deeper dug into coming from somewhere else anyhow that, even if they have seen it, the association is still different. Yes folks, they’re talking about the sea.

Opening title-track is streaming now, so have at it at the bottom here. Preorders are up through Subsound Records and Ripple Music:

Heavy Psych Rockers, MR. BISON, reveal album details and share first single from upcoming record!

“Seaward” to be released October 16th via Subsound Records and Ripple Music

Heavy Psych and Blues Rock trio, MR. BISON, has announced the upcoming release of their brand new, full length album titled “Seaward”, which will be seeing the light of day on October 16th via Subsound Records and Ripple Music. Being influenced by acts such as Captain Beyond, Jimi Hendrix and the more recent Motorpsycho, the band from Cecina, Italy, creates a wild trip and unique musical journey, packed with psychedelia and virtuosic fuzz deliriums. Following their critically acclaimed recent record, “Holy Oak” (2018), “Seaward” will see MR. BISON to continue their path of expressive melodies and high- voltage grooves that you cannot escape.

Today, MR. BISON have unleashed a first appetizer before their highly anticipated, new album will be served this Fall! Listen to “Seaward”, the first single and title track taken from the upcoming output, streaming now via the band’s Bandcamp at THIS LOCATION

Furthermore and with the following words, the band gives a deep insight about what their new record is all about:

“Curious to explore the world of progressive, and the vocal harmonic solutions of the Golden Era like Crosby Still Nash, King Crimson, Pink Floyd, we decided to forge the new album ‘SEAWARD’. It’s a CONCEPT album that draws inspiration from the sea and from the legend of the 7 pearls of the Tyrrhenian Sea and as an imaginary horizon. It’s developed in 7 songs as a reference to the 7 pearls of the Tyrrhenian, arrating myths closely related to the sea, from the magic of the Sirens and the sacrifice of Andromeda to the heroic adventures of Ulysses and the ruthless curse of Scylla. 7 like Aphrodite’s pearls and the number of days in each moon phase, which affects the tides and the mood of each individual who, during magical moments of solitude and reflection, finds refuge in the horizon and in the wonderful echo of the vibrations of this majestic expanse of water.”

Tracklist reads as follows:

1. Seaward
2. From The Abyss
3. I’m The Storm
4. Oudeis
5. The Sacrifice
6. Underwater
7. The Curse

“Seaward” is the culmination of a full year’s hard labor and was recorded by Matteo Barsacchi and mixed/mastered at “Audio Design Recordings” by producer Jordan Andreen (Earthless, Sacri Monti). This record is arguably the most blazing, powerful and eclectic album by MR. BISON yet.

“Seaward” will be coming out on October 16th via Subsound Records and Ripple Music and is now available for pre-order RIGHT HERE

The project is realized with the support of MiBACT and SIAE, as part of the initiative “Per Chi Crea”

MR.BISON are:
Matteo Barsacchi – Guitar / Vocals
Matteo Sciocchetto – Guitar / Vocals
Matteo D’Ignazi – Drums / Sound Effects / Vocals

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Mr. Bison, Seaward (2020)

On a level of ambition, a series of split releases is second perhaps only to a series of compilations in terms of the massive amount of work that is involved in coordination. Most ‘Vol. 1’-type outings do not get to ‘Vol. 2.’ An exception to this rule was Ripple Music‘s The Second Coming of Heavy, which, though its title wanted for generational context (the heavy ’10s were at least the third coming), was a deeply admirable 10-installment series that brought bands into the Ripple fold who otherwise wouldn’t have gotten the exposure while staying tied together through artwork as well as the titular presentation. It allowed the label to expand its reach and had a curated, carefully-picked sensibility behind it.

Those 10 offerings were not haphazard. Ripple would hope to bring the same mindset to Turned to Stone, a new series that essentially picks up where The Second Coming of Heavy left off. I guess they’re gluttons for punishment when it comes to logistics? There’s no end-figure stated for Turned to Stone so far as I know — that is, they haven’t said “10 and done” as they did with the prior series — but however far it ends up going, its first installment, the full and somewhat cumbersome title of which is Ripple Music Presents: Turned to Stone Chapter 1 – Mr. Bison & Spacetrucker: Enter Galactic Wasteland, already crosses continental borders in bringing together its component acts.

From Pisa, Italy, come the trio Mr. Bison, whose moniker continues to immediately touch of Gen-X nostalgia for the lost hours of my youth playing Street Fighter II, and from St. Louis, Missouri, the three-piece Spacetrucker, whose three tracks run across side B in deceptively atmospheric fashion. The two bands are complementary in some ways, contrasting in others, but one suspects that’s the idea, and like most landscapes described as a wasteland, one finds the LP’s 38-minute run not at all void of life, but a vital ecosystem of heavy rock and roll that helps to demonstrate just how multifaceted the genre has become.

Mr. Bison don’t make it through the seven-minute “The Grace of Time” before they break out the organ and work in elements of psychedelia and classic prog — and that’s just fine. There are shades of Golden Void in the dramatic arrival of organ amid the guitar, bass and drums, but I wouldn’t call the all-Matteo lineup of guitarist/vocalists Matteo Barsacchi and Matteo Sciocchetto and drummer Matteo D’Ignazi overly derivative. Rather, the drift they inject into moments like the opening stretches of “The Stranger” and “Oracle Prophecy,” which builds as it moves forward, receding in the middle only to surge again at the conclusion in not-unforeseeable but still exciting and progressive fashion.

Their 2018 album, Holy Oak (review here), was like-minded in its somewhat deceptive approach, appearing simpler on the surface than it actually was, and as Barsacchi and Sciocchetto arrange vocals here, layering solos and effects all the while to create a sense of swirl as “Oracle Prophecy” comes to a head, the impression is that the band have obviously continued to solidify and become more assured of their approach. This creative next step is, of course, the ideal, though I don’t actually know how long ago the songs were recorded.

Either way, that Mr. Bison would leave one feeling like the band is making forward progress is, indeed, forward progress, and as their three inclusions are longer than those of Spacetrucker by about four minutes, running 21 minutes, their time only seems to be well-spent in setting up an atmosphere and flow. Listening digitally, this flow is immediately, strikingly contrasted by the shift in production value to Spacetrucker‘s three tracks, which are rawer and more directly fuzz-driven. Guitarist/vocalist Mike Owen, bassist/vocalist Rob Wagoner and drummer/multipadder Del Toro present a ready charge in the five-and-a-half-minute “Nosedive,” eschewing the proggier aspects of their side A counterparts in favor of a more direct attack.

That’s not to say that “Nosedive” or the subsequent instrumental “Distant Earth,” which is the longest track on the release at 7:56, don’t have a sense of atmosphere, just that said atmosphere is more based around the sheer punch of what they do. And when the low-end on “Distant Earth” kicks in there’s no shortage of punch to be had. “Distant Earth” resolves itself in some prog-metal-style chugging completed by a chiming bell, and then moves into a solo before rounding out in similar rhythmic terrain, an impressive more-than-jam that’s fluid if less sonically lush than some of what appeared on the split’s first half. Spacetrucker round out with the shorter “King Cheeto,” an early-Fu Manchu-style fuzz punker that revives some of the more aggressive thrust of “Nosedive” and finishes in a satisfying rush of noise and cut momentum. If that’s what being turned to stone sounds like, then so be it.

In terms of what ties the two bands together, aside from the basic umbrella of “heavy” that is horoscope-vague enough to be applicable on all counts, there’s an undercurrent of stylistic depth shared by Spacetrucker and Mr. Bison that comes through in different contexts, but is there just the same. Spacetrucker are not unaffected by Truckfighters-esque energy, but like Mr. Bison before them, they seem to be engaged in the project of internalizing their influences in order to craft their own sound from them.

In that case, the sheer thrust and rawness of production works for them, standing them out from Mr. Bison and adding to their own take, which doesn’t necessarily shy away from aggression. As Ripple Music stares down the prospect of this new series, one wonders just what will emerge from Turned to Stone. Standing astride The Second Coming of Heavy helped the label become among the foremost purveyors of American underground heavy rock and found them increasingly branching out in aesthetic. If Turned to Stone furthers that mission, it can only be considered a worthy cause.

[Clarification: The digital version of the release lists Mr. Bison as the first band, where on vinyl it’s Spacetrucker on side A. Apologies for any confusion this causes.]

Spacetrucker & Mr. Bison, Turned to Stone Chapter 1 – Enter Galactic Wasteland (2020)

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I’ve been hearing word kicking around for a while that Ripple Music wanted to continue doing a series of splits after the conclusion of The Second Coming of Heavy, which wrapped up with its 10th and final installment this year, and the realization of that promise woulds seem to be taking shape in Turned to Stone. The first “chapter” — a theme continued from the prior series — is titled Enter Galactic Wasteland, and will feature Italy’s Mr. Bison and St. Louis’ Spacetrucker teamed up for a 12″. It was previously announced when Mr. Bison signed to Ripple earlier this year, but more details have now emerged, including the Jan. 17 release date and the cover art by none other than David Paul Seymour, whose work continues to be stunning in technique and use of color. Dude just gets it.

Interestingly, there won’t be preorders for Turned to Stone Chapter 1: Enter Galactic Wasteland, thereby making the onsale-moment something more of an event for those purchasing — the label advises “watch your clocks,” and that’s probably fair enough, if how fast the The Second Coming of Heavy LPs seemed to sell out. With so much focus these days on getting preorders up and in as a part of the promotion of upcoming records though, it’s a noteworthy shift in method. I’m curious to see if and how it works.

From Ripple‘s social medias:

So many people are bummed that The Second Coming of Heavy split series has finished and have been asking me what’s next?

This!

Brace yourselves, as we get set to release the first chapter of our new ongoing 12” split series “Turned To Stone” Over a year in the planning, Chapter 1: Enter Galactic Wasteland features brand new sides from MR.BISON and Spacetrucker! Art by the ever amazing David Paul Seymour

It’s out January 17th, 2020. No preorders, so watch your clocks. Time of sale to be announced.

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Cortez & Wasted Theory, The Second Coming of Heavy: Chapter 9 (2018)

Look, I’m a gentleman of a certain age, so I remember the first time I encountered the character who in the US version was called M. Bison in Street Fighter II. He whipped my ass. I got mine in the end, and so on through the Turbo, Hyper and sundry other editions of the game, but the threat from M. Bison never dissipated. As such, even now when I see Mr. Bison — the name given to the character everywhere else — coming to the US to play Planet Desert Rock Weekend this month and announcing they’ve been signed to Ripple Music, there’s a decent sense of threat in my mind. Watch out for Mr. Bison because if you’re not ready they’ll whip your ass.

Maybe that’s true and maybe not. Their 2018 outing, Holy Oak (review here), had a more complex agenda, much to its credit, and a broader sonic reach suited the band. Apparently well enough to catch the ear of Ripple, which is saying something. Planet Desert Rock Weekend won’t be their first time in the States, but it feels celebratory nonetheless as they move forward toward their next LP and it’s revealed they’ll take part in Ripple‘s new Turn to Stone split series, following up on the wildly successful The Second Coming of Heavy 10-part excursion.

Good stuff all around. I like a feelgood story, so here’s one:

Mr Bison Sign To Ripple Music, Record New Album and Prepare to Storm the Stage at Planet Desert Rock Weekend in Las Vegas

Preparing to deliver on the promise of their 2018 album Holy Oak, heavy psychedelic trio Mr Bison has signed with US purveyors of riff-heaviness, Ripple Music, to bring the band’s latest mesmerizing slab of acid jamming to the world.

MR. BISON, formed by Matteo Barsacchi (Guitar/Vocal), Matteo Sciocchetto (Guitar/Vocal), and Matteo D’Ignazi (Drum/Sound Effect/Vocal) established themselves as one of the most exciting combos in the heavy psych underground. After We’ll Be Brief and the critically acclaimed Asteroid , their singular assault on heavy, distorted blues couldn’t help but be noticed. A U.S.A tour soon followed then dozens of gigs in the Italian peninsula, opening for the likes of DANKO JONES, RED FANG, MONDO GENERATOR, KARMA TO BURN, MY SLEEPING KARMA, and many more. Following a sold out European tour, the trio raged back with the critically-hailed HOLY OAK.

Now it’s time for the next step. Signing to Ripple Music, the band keeps its unusual lineup, two guitars, drums and . . . no bass! In other hands this set up could be a disaster, but in the capable hands of these maestros, the two guitars together create a massive wall of sound where you won’t even notice the absence of bass. First coming out with a 12″ side of vinyl for the new Ripple Music Split LP Series, “Turn to Stone” where they share vinyl with US space rockers Spacetrucker, a new full-length will follow in 2020.

Imagine being in an overloaded black van on the roads of the Big South, playing nothing but early 70’s legendary acts like the almighty Capt Beyond, Orang-Utan mixed with one of the most powerful band of our days, Motorpsycho. And that’s Mr Bison. A refreshingly uplifting blast of gutsy, 70s-inspired stoner rock, played with passion and high energy that puts the power back into the classic power-trio formula.

About the new songs, Matteo D’Ignazi says, “The new songs are a concentration of stoner rock and psychedelic moments, dilated atmospheres that alternate with monolithic riffs. We are proud to be part of the Ripple family, one of the labels that has produced dozens of albums that we have always treasured! Being part of it now is a dream come true.”

Look for “Turn to Stone” the new split series to hit the streets early late 2019/early 2020. And be sure to catch Mr Bison live as they hit the stage at Planet Desert Rock Weekend in Las Vegas.

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For Tickets:

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Mr. Bison, Holy Oak (2018)

John Gist, who is the gentleman behind the promotional company Vegas Rock Revolution and the Planet Desert Rock Weekend festival getting ready to hold its second edition this May, has passion to spare. Passion enough to spread around and have plenty leftover. There’s a little bit of that guy-who-runs-a-fest urgency about him as well — as one would hope for such an event to be successful — but he’s someone who knows his rock and wants everyone else to know it too. The primary driver is passion.

Planet Desert Rock Weekend 2 ups its predecessor this past November in terms of ambition. With a third headliner still to be announced, Gist will bring John Garcia back for a headlining spot and see the other go to Radio Moscow, who will play the first night at Count’s Vamp’d. In addition to this, he’s already got four — one, two, three, four — European bands on the bill in the form of Mr. Bison, Kaiser, Monsternaut and Green Desert Water, and to my knowledge none have played the US before. That’s a significant risk from a booking standpoint — those are good bands, but recall it took Truckfighters half a decade of laying groundwork for their first US tour — but there may indeed be more import acts added as well, since one way or the other, the lineup isn’t done.

Passion rarely is.

Info and links:

The time is near to start announcing Vegas Rock Revolution’s Planet Desert Rock Weekend 2 for May 16-19….

Desert legend John Garcia and 17 bands from all over the country …..very tightly selected lineups to showcase top bands from the long storied history of rock of heavy rock melded with hot younger acts. Oh yeah and cannabis is legal in Vegas !

The Lineup for Planet Desert Rock Weekend v2 so far is:
John Garcia and the Band of Gold — Friday
Radio Moscow — Thurs at Count’s Vamp’d
Nebula
Black Water Rising
Ape Machine Thurs at Count’s Vamp’d
The Watchers – Friday
Red Stone Souls
Sundrifter
RIFFLORD
Shotgun Sawyer
Jason Walker and the Majestic 12

European Showcase Bands:
MR.BISON
Kaiser
Monsternaut
Green Desert Water

Presale Tickets for just $20 for first 100 fans!
https://www.eventbrite.com/e/planet-desert-rock-weekend-v2-radio-moscow-tickets-55384782375

Only 300 tickets will be sold to this intimate show in one of the most premier rock clubs in the country. Count’s Vamp’d is owned by Danny “The Count” Koker from Counting Cars on the History Channel. All rock all the time and very good food also. Unique cool environment!

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John Garcia and the Band of Gold, Live at Planet Desert Rock Weekend, Nov. 2018

[Click here to stream Holy Oak by Mr. Bison in full. Album is out May 25 on Subsound Records.]

The number of dudes in Mr. Bison? Three. The number of those same dudes named Matteo? Three. The number album their new one, Holy Oak is in their discography? Three. The number of bassists who appear on that same record? None. Number of times you’re going to be responsible for knowing these numbers? Zero, because by the time the Pisa-based sans-bass three-piece of guitarist/vocalists Matteo Barsacchi, Matteo Sciocchetto and drummer/vocalist Matteo D’Ignazi are about two songs in — to the total nine; because numbers — the sweet fuzz, classic style fuzz and periodic excursions into psychedelic space are going to melt the math away anyhow.

Mr. Bison, who release Holy Oak as their second offering through Subsound Records behind 2016’s Asteroid, hone in on the pivotal spirit of modern desert rock. There’s some element of push in songs like “Heavy Rain,” but they’re just as likely to spend their time spreading out an open atmosphere. Consider European acts of lore like Sgt. Sunshine and Lowrider, fellow Italians OJM, or American bands like Solace for a cut like “Earth Breath,” or even up and coming practitioners like Steak. Mr. Bison belong to this category of purveyors. Their third album is mature and aware of the moves it’s making between louder, more driving material and its more subdued places, and the Matteos effectively play different sides off each other both within songs — the 7:30 centerpiece title-track walks by and waves — and in the transition between them as well.

Like many acts who operate without a bass, their claim is that the guitar tones make up for it. And true enough, any band can tune lower to make up for the lacking thicker strings if they’re so inclined, but to think of the legacy of great heavy rock loadbearers — from Geezer Butler through Scott Reeder and so on — and it would seem to be not even so much the tone as the dynamic they’re denying themselves. They compensate by weaving different guitar parts in and around each other, and in so doing craft something that, admittedly, is more their own than it would be if they were a simple guitar/bass/drum configuration. Some of it is a familiar lead/rhythm dynamic, but “The Bark” operates tonally like a battle of dueling Hendrixes, and the results make for a legitimately exciting listen.

This is something that a band three records in can do much more effectively than a band making their debut, but it’s admirable nonetheless, and from the mid-paced groove of opener “Roots” and the blown-out shuffle swagger of “Sacred Deal” — there may not be any bass, but I’d swear I hear an organ — onward, Mr. Bison retain fervent control over their transitions and the fluidity of Holy Oak as a whole. At 46 minutes, it does not feel like a minor undertaking, but neither is it redundant, as “Heavy Rain” breathes ambient life into the initial salvo and “Earth Breath” contrasts with more straightforward edge and riffing. The appropriate metaphor would be to say these two sides are doing battle, but it’s more like they’re both fighting toward the same end than fighting each other. In the post-Black Rainbows sphere of Italian heavy, Mr. Bison make a place for themselves alongside acts like Tuna de Tierra, who take the established tenets of various forms of heavy and pull them together in varying balances in order to best serve their songwriting.

True, one could easily argue that “Red Sun,” from name, to riff, to its forward punkish rhythm, is probably direct Kyuss tribute, but consider that it arrives after the Golden Void-esque “The Bark” and the boogie-laden “The Wave” and the context becomes a bit broader than a band from Italy trying to sound like a band from California. It also precedes seven-minute closer “Beyond the Edge,” and where one might expect Mr. Bison to simply switch back into the psychedelia-as-primary modus of the earlier title-track, they instead hold to a blend of funkified start-stop fuzz and scorching lead, a gritty, Radio Moscow-style blues vocal laid overtop that leads to an extended but still mostly earthbound jam.

That is to say, the band doesn’t just have a couple of set methods of songwriting and swap one out for the other. Of course this works to the benefit overall of Holy Oak, which caps with a repetitive and duly hypnotic progression while also bringing back vocals to keep the song grounded even at its most “out there” moment, which is a pretty fair analog to the entirety of the record. I’m not sure I’d call myself 100 percent on board with the zero-bass philosophy, but there’s no question that for Mr. Bison, the numbers add up. Their sound is fluid and engaging and their songwriting is varied enough that indeed they leave nothing wanting for dynamic. Many elements of what they do will be familiar to those experienced with the genre, but it’s in how they’re melded that Mr. Bison make their statement, and they make it loudly.

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Hailing from the northern side of Italy’s western coastline, it’s little wonder that Cecina trio Mr. Bison are looking to have a good time. The upbeat heavy rockers will release their second album, Asteroid, via Subsound Records on March 18, and it will serve as the foll0w-up to the band’s 2012 debut, We’ll be Brief, which showed some clear influence from modern fuzz à la Truckfighters — who at this point should be charging royalties to the Italian Ministry of Culture — and a clear readiness not to take itself too serious in songs like “Grocery Store” and “R&R Cobra.”

If there’s any shame in Mr. Bison moving beyond that record and toward the new release, it’s that they didn’t make a video for “Grocery Store” from the debut, which featured the chorus, “I go to the grocery store,” and seem ripe for some visual representation. Perhaps even of someone going to the grocery store. A missed opportunity, but four years after issuing their first LP — they also had an EP out in 2011 called We Don’t Like Love Songs that, like the debut, is available as a free download from their Bandcamp — it’s probably time for them to roll on one way or another.

Since their last time out, the band has apparently dropped the bass in favor of a dual-guitar approach. The PR wire brings confirmation of that as well as the preorder link for Asteroid, which you’ll find under the artwork below:

Subsound Records is thrilled to announce the signing of the italian stoner rockers MR.BISON

The long awaited album “ASTEROID” will come out worldwide on March 18th 2016, powered by a new double guitar line up balancing the absence of bass with a wall of sound result of home made splitted triple amplifiers.

Artwork by acclaimed designer Luca Solo Macello. “ASTEROID” will hit the stores in Cd and Lp formats

Pre-Orders Here: http://subsoundrecords.bigcartel.com/artist/mr-bison

www.facebook.com/mrbisonband
www.subsoundrecords.it

Mr. Bison, We’ll be Brief (2012)