Posted in Whathaveyou on September 2nd, 2021 by JJ Koczan
Of course, associated names like Slabdragger, Uncle Acid and the Deadbeats and Telepathy are going to draw eyes to Suffolk, UK’s Toom — also stylized all-caps: TOOM — and fair enough. The 2007-2010 three-piece no question has gone on to do some cool stuff. One that caught my eye as well though was Shrine 69, an apparently short-lived continuation of the partnership between Toom bassist Justin Smith and guitarist Teddy James Driscoll that I just happened to catch live at Desertfest London in 2012 (review here). They were pretty cool as I recall. I think I might still have a CD around somewhere. I have a couple Uncle Acid and Slabdragger records too, for what it’s worth. Ha.
Toom never had a release out during their time, but Behold the Basilisk was tracked over the course of an evening in 2010 and is set to see issue through APF Records on Oct. 1.
The PR wire has the story to tell:
APF RECORDS TO RELEASE TOOM’S ‘BEHOLD THE BASILISK’ EP
OUT 1ST OCTOBER / LISTEN TO ‘MANDARK’ NOW
Back in 2007 three long-haired teenage stoner doom fans naturally drifted towards each other in the depths of rural Suffolk. Hoping to avoid drowning in the sea of mediocre-metalcore and emo-misery that surrounded them, Teddy-James Driscoll, Jus Smith and Jack Newnham formed TOOM. This band was a short-lived and unproductive beast, but a beast nonetheless; a heavy, growling, riff-laden beast.
TOOM drew influence from Sleep, Iron Monkey, Mastodon, High on Fire, Acid King, Floor and Black Sabbath. In the months before the trio parted ways, they entered SAE Studios in London and in a single night recorded a monstrously heavy EP titled ‘Behold The Basilisk’. It was never released.
Following TOOMs messy divorce, Justin and Ted went on to form a band called Shrine 69 while Jack kept busy with his other project Meadows.
Since then, the members have joined or started a few other bands worthy of note. Ted went on to join Telepathy and has recently formed Cobra Lucha; Justin found fame with psych-rockers Purson and is currently a member of Uncle Acid and the Deadbeats, whilst Jack went on to form Old Man Lizard and join the mighty Slabdragger. Commenting on the EP Jack states, “For us this release is a time capsule back to a long weekend, just over a decade ago. January 2010; one of the last months of a band we had formed as teenagers. It was the coldest January since the mid-80s and on the night we recorded it was -8° overnight in London, meaning that even the canals just outside the studio had totally frozen.
We smashed out all the tracks in one evening, at the studio which was part of the Uni our friend Jason (who recorded us) was studying at. I recall we had to dodge the security guards to crash in the studio overnight. The next day, we had rehearsals for a show, the day after that, at the legendary Crobar in Soho. My memory of that evening is a blur, but apparently it involved us getting a bus full of people getting kicked off of the bus because we managed to break the doors, Christ knows how.
We also ended up at the opening party for the, now equally legendary, Black Heart and at some point in the night Ted, our guitarist, got headbutted outside a corner shop. Exciting times.”
APF Records will be releasing TOOM’s EP for the first time on 1st October. Four massive tracks from the archives which have stood the test of time, and represent a time capsule of the nascent UK sludge / stoner / doom scene.
Posted in Reviews on December 11th, 2018 by JJ Koczan
I had to think long and hard just now about what day it is. It’s Tuesday. — See how confident I was in saying that? A mask for insecurity, as always.
Anyway, the QR continues today with 10 more records and a pretty solid mix of whatnot. Some of this I’ve written about before here, but basically want to have another shot at the records themselves, so as we wind down 2018, it seems like the time to do that is now. As always, I hope you find something you dig. Seems pretty likely, frankly. If you go the entire 100 records with nothing but a “meh” to show for it, the problem isn’t likely to be the records. Not trying to insinuate anything, I’m just saying. 100 records is a lot. 10 records is a lot. And that’s what we’re doing today, so let’s get going.
Quarterly Review #61-70:
Blood of the Sun, Blood’s Thicker than Love
Drummer Henry Vasquez (also Saint Vitus) returns to his ultra-Texan heavy rock roots with Blood of the Sun‘s first album in six years, Blood’s Thicker than Love (on Listenable). Driven by his own fervent rhythmic push, the six-song collection is given further classic heavy vibe through the prominent organ/keyboard work of Dave Gryder. Oh, and also the riffs from newcomer guitarists Wyatt Burton and Alex Johnson. Oh, and also bassist Roger “Kip” Yma‘s quick turns on bass. Oh, and also Sean Vargas‘ vocals. So yeah, pretty much the whole damn thing is classic uptempo heavy boogie, produced modern but making no mistake about where its heart lies. Vargas‘ voice has a pre-metal swagger that helps define tracks like “Livin’ for the Night” and the capper “Blood of the Road,” and while the follow-up to 2012’s Burning on the Wings of Desire (review here) is enough to make one wistful for the days when their contemporaries in Dixie Witch once also roamed the land, Blood of the Sun make classic rock their own and give it a vibrancy that’s nothing if not a show of love, regardless of how thick that may be.
Unremitting. Unrelenting. Unforgiving. Whatever else one might say about New Jersey death/doombringers Evoken, it better start with the prefix “un-.” The negativity runs through the 60 minutes of their latest work, Hypnagogia (on Profound Lore), and one would expect no less than the ultra-mournful crush of “To Feign Ebullience” or the buzzing, resonant disdain of “Valorous Consternation,” the string sounds playing such a large role in crafting both the melodies and the relentless nature of their lung-deflating atmosphere. They may only break into speedier sections on rare occasion, but there’s no way to listen to Hypnagogia and call it anything other than extreme metal. It’s so cast down and so grinding that it not only conveys mood but affects it. Evoken are masters of the form, of course, and while Hypnagogia is their first full-length since 2012’s Atra Mors (review here), their history spans more than a quarter-century and time seems only to have made their miseries plunge even deeper.
In part, the gift that Argentinian trio IAH give with their aptly-titled second outing, II — following their 2017 self-titled debut EP (review here) — is to allow their parts to flesh out naturally across the six-song/38-minute span, so that even as second cut “HH” turns to more weighted chug, that in turn evolves into something no less spacious than the drift brought to bear in the second half of the later “La Niña del Rayo,” which makes its way ultimately through similar interplay. This back and forth is exceptionally smooth throughout II, as the instrumental outfit blend heavy psychedelia and progressive metal with an unflinching cohesion of their songwriting. The longest inclusion is the penultimate “Pri” at 7:35, which caps with massive start-stops en route to closer “Sheut,” which serves as one last showcase of the cosmic doom dynamic burgeoning in the band’s sound, as much ready to depart the earth as leave impact craters on it.
The band who a short time later would evolve into Unorthodox, Asylum have long stood as a testament to the enduring power of Maryland doom. 3-3-88 is the second official issue of their material Shadow Kingdom has stood behind, following 2008’s reissue of 1985’s The Earth is the Insane Asylum of the Universe (review here), and it’s no less a document of the classic metal that’s still very much the foundation of what Maryland doom is. From the Sabbathian opening of “World in Trouble” and the later “Psyche World” to the kind of feeling-out-the-riff happening in “Funk 69” and the concluding instrumental “Unorthodox,” there’s a rawness to the sound that suits it well in the spirit of Pentagram‘s First Daze Here, but even in barebones form, Asylum‘s doomly vibes brook no bullshit and weed out the feint of heart. Straightforward working-class doom grit stripped to its essentials. Hard to ask for anything more when you actually hear it.
Merlin, Dank Souls and Dark Weed: A Live Experience
Kansas City doom rockers Merlin expanded to a six-piece early in 2018, and Dank Souls and Dark Weed: A Live Experience, as the title hints, captures this form of the band on stage. They’re playing a hometown gig at the Riot Room, and from the nodding groove that opens with “Abyss” from this year’s The Wizard (review here) to the extended reaches of a 19-minute take on “Tales of the Wasteland” that’s actually shorter than the studio version from 2016’s Electric Children (review here), the band explore reaches that are vast with a patience befitting their quickly-earned veteran status. The recording is remarkably clear and allows for the wash of “The Wizard Suite” to be discernible in its progressive rollout, and as they close with “Night Creep” from the 2016 LP, their energy comes through no less prevalent than the distortion driving it forward. The crowd are right to holler.
Touching on garage-doom influences, Montreal three-piece The Hazytones effectively sleek into the groove of “The Great Illusion” on their second Ripple LP, II: Monarchs of Oblivion, finding a balance between swing, melody and heft that pushes beyond the seemingly-requisite Uncle Acid influence to a place that isn’t shy about working in crisp tones or unabashed vocal harmonies. The title-track is a two-parter, and touches on theatrics-sans-pretense in the first piece while dedicating the second to following a central riff well worthy of the attention they give it toward a galloping solo finish. Opener “Empty Space” sets a creper vibe, and by the time they’re down to finishing out with the “Hole in the Sky”-style riff of “The Hand that Feeds,” that sensibility is reaffirmed as an essential component of The Hazytones‘ aesthetic. Whether it’s the chugging “Hell” or the way-blown-out “The Beast,” they hold firm to that central purpose and work with it to effect a sound that one can hear becoming their own all the more.
Three albums in, Dortmund’s Daily Thompson indeed sound Thirsty — or maybe it’s hungry, but either way, the Dortmund trio’s MIG Music offering captures a tight presentation based around nonetheless natural energy born of their time on tour, as the three-piece of guitarist/vocalist Danny Zaremba, bassist Mercedes, and drummer Stefan Mengel touch on Spidergawd-style classic heavy rock strut with “Brown Mountain Lights” and make their way through the semi-acoustic drift of “Stone Rose” and toward the later roll of “River Haze” with a trail of hooks behind them. Songwriting is central to what they do, but while Thirsty isn’t a minor undertaking at a CD-era reminiscent 10 songs/53 minutes, the band offer a chemistry between them and a fullness of sound that allows them to play to different sides of their approach, be it the fuzz-blues of “Gone Child” or the final summation “Spit out the Crap” that seems to shove all the more to its cymbal-wash finish. The title Thirsty brings to mind connotations of need, but Daily Thompson sound like they’ve got it all taken care of.
A strong enough current of noise rock runs beneath Old Man Lizard‘s True Misery (on Wasted State) that leadoff track “Shark Attack” is enough to remind of Akimbo‘s Jersey Shores, and in under two minutes, the subsequent “Snakes” ties that into crawling-paced doom riffery such that the lumbering “Tree of Te?ne?re?” opens like the gaping jaws of some deep-sea trench. From there it unfolds a bit more uptempo than one might initially think, but it shows how fluidly Old Man Lizard shift from one impulse to the other. Accordingly, True Misery plays out with familiar-enough tones put to deceptively subtle and unpredictable purposes, making one-two highlights of the eight-minute back-to-backers “Cursed Ocean, Relentless Sea” and “Misery is Miserable” — which says it all, really — ahead of the finale, well titled “Return to Earth.” A better band than people know, Old Man Lizard bring a progressive touch to what from many others would just be sludge riffing — a bit of Elder on that closer — and manage to do so without losing touch with the righteousness of their groove. True Misery takes a couple listens to sink in, but well earns those and more besides.
Tuskar‘s second offering through Riff Rock Records arrives titled for its three songs, “The Tide,” “Beneath” and “The Wall,” and comprises three tracks of largesse-minded sludge, burying its shouted vocals beneath mountainous low end. The Tide, Beneath, The Wall sets itself up through noisy churn and a roll that’s somehow misanthropic at the same time it seems well geared to have an entire bar headbanging. Either way, the feedback-worship in “The Wall” — sure enough a massive thing to slam into — makes a fitting end to the 20-minute release that seems to run so much longer, as “The Tide” and “Beneath” each set forth a grueling sprawl of malevolence that touches on the chaos to come without ever fully giving away what’s in store for the finale. At the same time this assault is cast, there’s an atmosphere to the proceedings as well such that Tuskar aren’t simply bludgeoning for the sake of bludgeonry, but finding a place for themselves within that in order to develop their attack. They do that successfully here and sound well up to the inevitable task before them of a debut full-length.
I just about never do this, but I’m gonna go ahead and make the call: Space Coke‘s L’Appel du Vide is going to get picked up for a vinyl release in 2019. I don’t know who, how or when, but it’s basically a lock. The Columbia, South Carolina, organ-laced four-piece play classic-as-now heavy rock with right-on songcraft and a hard-hitting presentation that’s begging for some label with ears to hear it and press it to the platter it deserves. Be it the molten unfolding of the title-track or the fuzz-swirl of “Thelemic Ritual” or the cosmic stretch of “Kali Ma,” they’re locked in to a degree that utterly defies the notion that this is their first record, and from the vocal-effects smash in “Lucid Dream” and the samples laid over-top of “Interlude,” there’s never really a sense of where Space Coke — extra kudos for the Cheech & Chong reference — might go next, and yet their sound is cohesive, directed, and well aware of exactly what it’s doing and what it wants to do. Never a guarantee of anything in this world, but with Space Coke‘s take on modern stoner sprawl, I’d be amazed if someone didn’t grab this in the New Year, if not before. Eyes peeled on the PR wire for the announcement.
Posted in Whathaveyou on October 15th, 2018 by JJ Koczan
Suffolk, UK, three-piece Old Man Lizard appeared earlier this year at Desertfest London, and if you don’t believe me, just look at the column bifurcating the video at the bottom of this post. If that ain’t The Underworld in Camden Town, then it’s nowhere on this planet. Obstructed view notwithstanding, the trio look to have had a good time bringing their quirky, heavy sludge to the fdfdest, and they’ll no doubt do the same with the release of True Misery, the details of which have been newly unveiled along with preorders ahead of a Nov. 30 arrival. Late in the year, but anything with a song called “Misery is Miserable” is welcome by me. See also, the triple-exclamatory “Snakes!!!” As in, multiple of snake. I dig it.
Release is through Wasted State Records, and details on the thing come from the PR wire like so:
OLD MAN LIZARD TO RELEASE BRAND NEW ALBUM!
‘True Misery’ Coming November 30th 2018 On Wasted State Records!
Inspired by the rural surroundings of their native Suffolk, OLD MAN LIZARD have been belting out their unique brand of stoner and sludge since 2011. The UK based power trio have proven themselves in the heavy rock scene, delivering a memorable live show alongside the likes of Elder, Conan or Fatso Jetson to name just a few. Slots at Desertfest Belgium, Hard Rock Hell – Doom vs Stoner, Desertfest London or a headline tour all over Europe have established OLD MAN LIZARD as a staple of the current stoner scene.
Their official releases have been highly praised by fans and critics alike and include their self-titled debut with Heavy Psych Sounds Records, ‘Lone Wolf vs Brown Bear’ (2014, Wickerman Recordings) as well as a split 7” with Earthmass on Big Riff Records. After years in the making, Jack Newnham (also in Slabdragger and Meadows), Gav Senior and Dan Beales have returned to the studio to record their third full length album titled ‘True Misery’. Set to be released by Wasted State Records, the album will be coming out on November 30th 2018!
Says the band: “It’s been three years since our last release and we are totally psyched to finally be unleashing “True Misery” via Wasted State Records soon! This album is a choice selection of material written over the last 5 years, covering a broad spectrum of influences while staying true to our sound; the overall feel of the album has been captured perfectly in the artwork, by “Sick” Mike Dicken. We had an absolute blast recording with the super-talented and eternally-patient Jason Frye (Century Audio and Harrowed) and we were lucky enough to have bluegrass hero, Pete Allen, drop in for a session and lay down some fiddle! Expect heavy, expect tone, EXPECT RIFFS!”
Just recently, OLD MAN LIZARD have announced the artwork and tracklist for ‘True Misery’:
The tracklist will read as follows: 1. Shark Attack 2. Snakes!!! 3. Tree of Ténéré 4. The Adventures Of Rupert Biggins 5. Trees Fall Down 6. Cursed Ocean, Relentless Sea 7. Misery Is Miserable 8. Return To Earth
Coming November 30th 2018 as CD, Vinyl and Digital Download, these brutal tales and banging riffs are vital listening for fans of Elder, Baroness, Kyuss, Harvey Milk and Taint! Pre-orders of ‘True Misery’ are now available at: www.wastedstate.com
Old Man Lizard is: Jack Newham – Guitar & Vocals Gav Senior – Bass Dan Beales – Drums
Posted in Reviews on January 7th, 2016 by JJ Koczan
This, I suppose, is where things get interesting. As I normally would’ve been putting these reviews together, my laptop decided it had apparently had too much of riffs and decided to unceremoniously shit the bed. Naturally, this is a bummer of considerable proportion. As to what it means to the rest of this Quarterly Review, I guess we’ll find out over the next two days. For now I’m using an old machine of The Patient Mrs.‘ which, among other charms, has no battery in it and can only run when plugged in. Hope that cable doesn’t come loose. A goodly portion of the music I was going to review in this and tomorrow’s batch, of course, is on my busted, hopefully-soon-to-be-repaired laptop, but with Bandcamps and the fact that it’s not my first time hearing any of these records, I should be able to get by. Still, an element of adventure. Unexpected and shitty. Whether it’s repair or replace, I do not anticipate it will be a cheap fix, so I’ll relieve stress the best way I know how, which is by reviewing 10 albums in a row.
Quarterly Review #31-40:
Saviours, Palace of Vision
Strange to think of the decade that has passed since Oakland dual-guitar four-piece Saviours offered up their first EP, Warship, and yet it’s difficult to imagine the sphere of underground heavy rock without them. Particularly on the West Coast, their skate-thrash-meets-thick-grooves has had a marked influence, and their fifth full-length, 2015’s Palace of Vision (also their debut on Listenable Records), affirms their hard-driving take on classic metal even as “Flesh of Fire” and “Cursed Night” show an acute melodic awareness, the latter in doom-caked guitars and a rolling groove that, for many bands, would be enough to base their entire sound. For Saviours, it answers the gallop of the prior “The Beast Remains” and precedes 6:38 closer “The Seeker,” a vast departure from how raw they once were, but another example of the righteousness that has held steady throughout their growth. They’re an easy band to take for granted, mostly because they’re so damn reliable.
The solo debut from underrated vocalist/guitarist Dave Heumann from likewise underrated Baltimore fuzz-folkers Arbouretum, Here in the Deep (on Thrill Jockey) basks in a glow of ’70s singer-songwriter intent, but tends to surprise with just how much is going on at any given moment. A solo album in name, it’s by no means minimal, even though it sometimes veers into guy-and-guitar methods, as on the sweet instrumental “Leaves Underfoot.” Elsewhere, arrangements of strings, drums, acoustic and electric guitars create a rich variety of mood and depth of mix, wistful on “Ides of Summer” and “Here in the Deep,” joyous on “Greenwood Side” and the pointedly psych-folk “Holly King on a Hill.” The seven-minute penultimate “Ends of the Earth” is as close as Heumann – who’s joined by a swath of players throughout, including the rest of Arbouretum on this track– comes to his main outfit stylistically, but by then the context is so much Here in the Deep‘s own and between that and the sonic clarity permeated all the while, it just becomes one more turn on an album that makes difficult ones seem effortless. Heumann remains a more accomplished songwriter than people know.
Between their underlying currents of grunge in the guitar, metal in the drums and an air of Foo Fighters in the vocals (“Blues in You”), Massachusetts trio The Dead Nobodies are up front about their ’90s influence. The 10-track, Tad Doyle-mixed/mastered The Wake is their third album behind 2014’s Return of the Tide and 2012’s Ride in with Death, and some of the material has been released by the band before on demos and other short offerings. Still, there’s an air of cohesion to the melodies that surface in “Somatic Complaints,” “Pancakes” and the later “Joel Returns.” Self-released on CD, the album eschews the trappings of genre – or at least of subgenre – for the most part and takes a more overarching approach to not-quite-metal, but what they’re doing seems to work for them, so I’m not inclined to argue. More hard rock than heavy rock for those inclined to split hairs, but accessible enough anyway.
Making their debut on Heavy Psych Sounds, UK-based Old Man Lizard revisit a 2012 EP with what’s become their self-titled sophomore full-length. All the tracks from that five-song outing are included here, the order adjusted, and two more are added on in the closing duo “Craniopagus Parasiticus” and “A Gruesome Mess,” and what I don’t know is if the entire album was re-recorded, or it’s the old recording with two new songs tacked on, or all of it was recorded prior to the release of Old Man Lizard‘s 2014 debut LP, Lone Wolf vs. Brown Bear. It matters mostly because Old Man Lizard is good, and it’s a question of which came first to see how their progression is playing out, whether the techishred of “El Doctor” is the latest step or a first. Either way, the band skillfully brings together twanging riffs, neo-prog post-Mastodon crush and a swing that brings to mind the scope of Elder circa Dead Roots Stirring, sounding even more patient on the aforementioned “Craniopagus Parasiticus” than anything before it. If I continue to have questions about the release, the quality isn’t one of them.
An instrumental three-piece based in Hildesheim, Germany, Kalamata make their message pretty plain in the seven tracks of their debut album, You (originally released in 2014, with vinyl new from Pink Tank Records), which line up to form the sentence, “You have to die soon mother fucker.” The music is somewhat less aggressive, Peter Jaun leading the trio with open-spaced riffs as Maik Blümke fills those spaces — see “Have” — with an engaging rumble and drummer Olly Opitz holds tension until the gradual payoff hits. Never an easy thing for a band whose sound is by necessity based on dynamic to make a debut, but Kalamata pull off You without a second thought, making the centerpiece, “Die,” a highlight of classic semi-desert heavy rock that unfolds a patient linear build that leaves closer “Fucker” the task of rolling out the record’s largest nod. No doubt this material would make more of an impact live, but particularly on repeat listens, the depth of tone comes across well and the trio match their aggression to a crisp delivery.
Italy’s futuristically named Unimother 27 – which sounds like the futurebot that raised some dystopian antihero protagonist of a novel/film franchise; I’m sure it’s a reference I’m too ignorant to know – is populated only by multi-instrumentalist and sometimes-vocalist Piero Ranalli. Ranalli, who also plays bass in Insider with his brother, Marco, progs out hard on the solo-project’s fourth full-length and first in eight years, Frozen Information (on Pineal Gland Lab). One expects a certain amount of indulgence on an album of keyboard-laden krautrock explorations, and “Clear Light Healing” certainly delivers on that, but from the opening “Moksha (to Huxley)” through the closing pair of “Hymn to the Hidden God” and “Brief Moments of Eternity,” which features an extended if vague spoken word from Ranalli, Frozen Information remains immersive and, with its quiet, maybe-programmed drums, hypnotic across its span. It is enduringly and endearingly weird, and experimental in a genuine way that most could only hope to be.
The wah that shows up in the second half of “Tad” on Toronto instrumental trio Electric Magma‘s seventh full-length, Silverball, has a distinct mark of Clutchitude to it, but the band owe more to the Fu Manchu pastiche of trad heavy fuzz. Karma to Burn are a name that comes to mind out of necessity more than direct comparison, but the three-piece of guitarist Tim Reesor, drummer Neil Lukewich-Pheaton and bassist Tryg Smith aren’t quite so straightforward, “The Oscillator” tossing a Sleep-style riff into its middle and the later “Sidebar” finding itself on funkier ground altogether. The eight-track/32-minute release seems to set pinball as its central theme, starting with the intro “Silverball” and ending with the harmonica’d “Multiball,” but more than that, they’re preaching a riff-led gospel that the converted should have no trouble getting on board with, the band putting up no pretenses as to doing anything more than having a good time.
Portland, Oregon’s Mane of the Cur would seem to be making a reboot with the three-song Three of Cups EP, some shuffling of lineup establishing them as vocalist Melynda Amann, guitarist Shawn Mentzer, bassist Cory DeCaire, keyboardist “Nasty” Nate Baisch and drummer Blaine Burnham (ex-Lamprey). The five-piece outfit are quick to establish themselves somewhere between classic doom and cult rock, but while Three of Cups doesn’t have the most elaborate production I’ve heard this week, it seems to avoid a lot of the ’70s traditionalism that much of the style embraces so wholeheartedly. That’s not to say the gradually-deconstructed “Kiss of Neptune,” the lightly progressive “Prehistoric Bitch” and the noddingly ethereal “Foolish are Magic” don’t sound natural, just that they don’t sound like it’s 1972. This is to their credit, ultimately, since it only helps Three of Cups give a more individual impression overall, which can’t hurt leading to whatever the band decides to do next.
Polish instrumentalists Major Kong oversaw a vinyl release of their 2012 debut, Doom for the Black Sun (review here), in 2014 on Transubstans, but they’re once again working under their own banner for the four-song Galactic Cannibalism, a 24-minute (or thereabouts) riffpusher that’s set its controls for the heart of oblivion and is happy to tone-crush anything in its path. Guitarist Misiek, bassist Domel and drummer Bolek also released a split with Dopelord in 2015 on which the EP’s closer, “Magnetar,” also appeared, but Galactic Cannibalism has them all on their own, and unsurprisingly they nail it. They’re not doing anything outlandish stylistically, but they effectively conjure and capture big riffs and big nod, varying pace between “Supercluster,” “Diabolic Mind Control” and the mega-chugging “Morlock” to give a sense of flow, but keeping in mind the next plus-sized groove, which seems always to be right around the corner. With two full-lengths out, I’m a little surprised they went for a shorter release rather than a third album, but they make it hard to argue.
Lithuanian two-piece Hellhookah make their debut with the full-length Endless Serpents, a seven-track/35-minute collection of tracks that’s shy neither about showcasing its influences — it caps with a cover of Saint Vitus’ “Born too Late,” for example — nor about rolling molasses-thick grooves one into the next. Recording as guitarist/bassist/vocalist Arnas and drummer Gintare, they meter out dense tonality and traditional formulations in the mission-setting title-track, which follows the somewhat quicker opener “A Storm in the Hidden World.” Rhythmically, they add some shuffle to “No Brakes,” “The Overman’s Eye” and even the midsection of “The Way,” which is the longest cut here at 6:34 and presumably the end of what would be a vinyl side A, but the core sensibility and atmosphere of doom is maintained throughout, and as the instrumental “Free Fall” leads into that aforementioned take on “Born too Late,” there’s no doubt as to where Hellhookah’s heart lies. Formative and raw it may be, but Endless Serpents hits its marks as the beginning of the band’s progression.
Posted in Whathaveyou on May 19th, 2015 by JJ Koczan
Suffolk, UK, trio Old Man Lizard have signed to Heavy Psych Sounds and will release their sophomore, self-titled full-length through the Italian label this fall. Their debut, Lone Wolf vs. Brown Bear, arrived in Sept. 2014 after a demo, a debut EP, a single and a split with Earthmass and found the band merging sludge, hardcore punk, twanging guitar and bruiser Southern heavy to raise blisters across a nine-track span. In addition to the new album, they’ll be touring with Black Rainbows for five shows in the UK next month.
The PR wire tells it like it is:
HEAVY PSYCH SOUNDS Records is stoked to announce the signing of a new awesome band ***OLD MAN LIZARD*** (UK)
Formed in 2011, Suffolk sludge/stoner outfit Old Man Lizard are Jack Newnham, Gav Senior and Dan Beales.
They sounds like Kyuss, Baroness, Earth, Mastodon and Sleep all in one band!
Shared the stage with bands as Dead Meadow, Dopethrone, Conan plus a mini UK tour with Black Rainbows begin of June 2015, they already toured their country several times, and invited at Desert Fest Belgium and Hard Rock Hell.
Heavy Psych Sounds Records is going to release their second, selftitled album. Six brand new songs slow doomy melodic stoner tunes.
Out mid september 2015 in vinyl, ltd vinyl, cd and digital
Black Rainbows & Old Man Lizard UK tour: Thursday 4th June – Bristol, Stag & Hounds Friday 5th June – Northampton, Labour Club Saturday 6th June – Oxford, The Wheatsheaf Sunday 7th June – Basingstoke, The Sanctuary Monday 8th June – London, The Macbeth
Bio: Formed in Autumn 2011, Old Man Lizard wasted no time in recording and self-releasing a five track EP showcasing their uniquely heavy and majestic sound. Complete with beautiful artwork from Michael Dicken, the EP quickly gathered attention and critical praise leading to a slew of invitations to play venues all over the country – from converted churches to the legendary Underworld, London.
In their short time as a band, Old Man Lizard have shared stages with seminal bands Dead Meadow, Arabrot, and Honky to name just a few, and have already been booked to play alongside heavyweights Conan and Dopethrone this year. Made up of Jack Newnham (also of Meadows – Superfi Records, Head of Crom Records), Gav Senior, and Dan Beales; Old Man Lizard are a power trio in the same vein as Cream or Blue Cheer, but the influences of contemporary bands from Taint to Yawning Man set Old Man Lizard apart from the often crowded and unvaried sludge and stoner scenes. Not content to retread the same old tired ground, Old Man Lizard make exciting and original heavy music without compromising the art of the riff.
