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April 17, 2014
ORYXDunes of droning hypnotic sludge from the deserts of Las Cruces, NM.
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April 14, 2014
MAMMOTH STORMPlodding, tar-lathered metal-fed groove doom from Sweden.
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April 8, 2014
LADY FLINT Explosive stoner blues rock duo from Marselle, France.
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April 7, 2014
KING DEAD Doomy psyche-tinged spaghetti western sludge from PA.
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April 2, 2014
GROGGYBlues-obsessed fuzzy garage rock duo from Omsk, Russia.
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March 31, 2014
THE SILENT LOWMelodic, hard-hitting, attitude-driven stoner rock from Denmark.
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March 25, 2014
GRAILPsychedelic punk with a southern demonic desert groove out of Texas.
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March 24, 2014
LORD OF GIANTSincere, lumbering, 70's influenced heavy rock from Germany.
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March 19, 2014
WOVOKA Intense yet melodic, brutal gut-twisting post-metal sludge from LA.
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March 16, 2014
Torpedo riffs, hazy grooves and cosmic stoner sleaze from Portland.
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March 13, 2014
Toxic, heavy southern groove metal attitude from Brazil.
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March 11, 2014
Somber, shoegazing post-metal sludge from Columbus, Ohio.
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March 10, 2014
Cosmic, gravity-defying stoner fuzziness from Sydney, Australia
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March 6, 2014
Fuzz-filled, snail-paced riff-praising doom from Denver, CO.
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March 5, 2014
Polish doom band with female vocals is a fuzz worshippers dream
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March 4, 2014
Sleazy, fat and dirty stoner metal riffs from down under.
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March 2, 2014
Newly formed 70's inspired stoner doom band from Brazil.
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Feb. 27, 2014
Expansive psychedelics and dusty grooves from Austria.
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Feb. 25, 2014
Fuzzed-out heavy desert grooves from Catania, Italy.
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Feb. 24, 2014
Get stuck in some sludgey stoner groove from South Carolina. facebook- bandcamp
Feb. 20, 2014
Heavy lightning in a bottle stoner boogie groove from Sweden. facebook- bandcamp
Feb. 19, 2014
Stirring progressive ambient doom from Bath, UK
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Feb. 17, 2014
Intense instrumental sludgefuzz from these Guernsey blokes. facebook- bandcamp
Feb. 15, 2014
Swirling hypnotic heavy psychedelic rock from St. Petersburg, Russia. facebook- bandcamp
Feb. 10, 2014
Sultry and somber jazz-laden ambient doom from Genoa, Italy.
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Feb. 8, 2014
Late 60's early 70's influenced heavy psychedelic rock from London.
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Feb. 5, 2014
Death/Doom/Thrash from the mean streets of Adelaide, Australia.
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Feb. 4, 2014
Doomy apocalyptic instrumental Sludge from Istanbul, Turkey.
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Feb. 2, 2014
Spell-binding all-female occult doom from Ljubljana,Slovenia.
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Feb. 1, 2014
Heavy heartfelt psychedelic jams from Heidelberg, Germany.
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Jan. 30, 2014
Riff Heavy Stoner Doom with Southern grit from Athens, Greece
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Jan. 27, 2014
Chest collapsing progressive heaviness from Ventura, CA
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Jan. 25, 2014
Genre-defying atmospheric mood music from Tampere, Finland. facebook- bandcamp
Jan. 23, 2014
Freaked-out psychedelic space rock from Gothenburg, Sweden. facebook- bandcamp
Jan. 22, 2014
Swamp-infested grooves and fuzzy desert riffs from Portland,Oregon.
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Jan. 21, 2014
BORDEL INFERNO Gritty heavy rock, solid riffs from Rio de Janiero.
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Jan. 20, 2014
OVERLORD Melodic groove-oriented Heavy Rock from Oxford.
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Jan. 19, 2014
A DAY AS WOLVES Garage-rock inspired bluesy fuzz and roll from Alberta, Canada. Eh! facebook- bandcamp
Jan. 18,2014
NAKED BROWN Hard-hitting Polish heavy rock in the vein of Clutch and Motorhead.
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Jan. 17, 2014
Smoke obsessed Stoner Doom from Slovenia. Free demo.
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Sunday, August 28, 2011

Sunday Sludge: Red Fang - "Murder the Mountains"

For my birthday, I wanted just two things: plenty of beer and plenty of LOUD. It's hard for me to crack open a PBR silo before I've rubbed my eyes into focus, but I had no problem putting on Red Fang's Murder the Mountains and waiting for the sun to ruin everything. You're not gonna find sludge on each of the album's ten tracks, but there's enough here to carry you through summer's end and get you ready to burn leaves as you scrape the tar from dad's filthy, moldy trashcans.

As far as sludge goes, Murder the Mountains may prove to be more accessible than we've grown used to. Balancing sludge with fuzz is nothing new, but doing so with an end product that keeps listeners from hitting "Eject" is no easy task. These ten tracks shift rhythms, styles, and influences so much, you could only assume the band is on meth. Well, finding a happy medium of Hamm's, High Life, and Tecate served these four Pacific Northwesterners well; they're able to transcend limitations and write songs you'll be using to get yourself laid.

You may immediately detect the influence of Melvins on Malverde, as the pacing and vocals are drop-heavy and sludgy without being too smelly. I can't imagine where lyrics like "I've been dyin' with the unclean people" have their inspiration, but they're enough to remove your pre-conceptions. Rumbling, plodding bass lose their spotlight to a metallic guitar that lifts and abruptly brings us back to Earth.

The clearest audition for Seth's Sunday Sludge lies in Throw Up, pairing sweaty toil with lazy, low-fi chops that construct the album's marquee hymn. Rolling, despondent, dusty... the track gives the finger to cacti and shifts to an up-tempo, machine-gun stumble. The sludge returns, but sirens and red flags stagger to the marriage of doom-drop and spooky gurgling fade-out. Number Thirteen begins with sub-cellar groove bass under soaring licks. Sludge undertones excel and grow proficient just under the disc's best vocals AND lyrics. Things get real interesting as the pot boils, buzzes, and commands your respect. Before a deliberate, understood, and effective fade, we're told "You're my everything." Sounds simple? I can't believe that.

The deliberate, Orange-Goblin-spat Into the Eye grinds, slows the album, and stays just pissed enough to hang around instead of driving home. The riffs, hovering above a deliberate and efficient sludge rhythm, punctuate the track with just enough filth to plod its way through wet leaves and embrace the sun's rays, though after coming up for air you'll immediately return to the pollution welcome by the song's opening.

Wires hops on a pogo-stick and denies our requests for oxygen, maintaining a fuzz groove that bounces between sequoias. A choppy, burly, static-laden buzz welcomes a channeling of Josh Homme, deliberate and almost choir-boyish in mood. You can almost hear an elevator cable snapping and sending four or five assholes to their deaths between doomish drops and a kick drum that makes friends with rattlesnakes for a spooky walk over crusty autumn leaves. The song is one of the album's highlights, with vocals totally contrasting those displayed on Malverde.

The bookend of the album's fuzz is captured on The Undertow, a low, slow trip through temperate drums and cosmic hassle. Placid vocals get flirtatious with the cosmos, relenting just in time to keep the track from pushing forward and screaming. Space-guitar warble lets things get out of control for just a moment before the chaos needs to be curbed.

Abandoning discussions on sludge and fuzz, we welcome the album's changing paces. Hank is Dead and Dirt Wizard maintain buzz without making you feel like you need a nap after Thanksgiving feast. The first finds a dusty pharaoh embracing Western culture and bathing in mud. He may discover Kyuss here as well, though he'll cut the track short, get high on space-guitar, and rape the cosmos with little regard for simulacra.

Dirt Wizard
is the album's booziest three-minutes, sounding like a barrel-roll down a muddy hill. The vocals return to Buzz Osborne-style, though a steady stoner groove draws our hands into a quick-paced, haunting melody that slices past descending vocals. Slap a puddle, pick mud from your fingernails, and smack your four-eyed neighbor.

Painted Parade is nothing if not loaded with incredible drumwork. Paced by lightning and curbed by dispassionate grind, the track grasps titanium to break up rotting logs and blister untouched skin. John Sherman just might deserve a break after hitting these skins. Buy him a beer and shut your mouth, should you catch this track live. Human Herd holds the cleanest vocals on the album, not to mention the slick production and drive. Ambitious and steady, the stoner buzz lingers as we learn "We'll find a way to make you lie."

I felt like doing whatever the hell I wanted. I figured a band who did the same deserved to be highlighted. Red Fang have a clear understanding of the importance of balance; let's balance songwriting with life-writing, musicianship with fun. I can listen to Murder the Mountains and hear well over a dozen of my most rewarding life experiences without actually hearing about them on the news. Perhaps you can find the time to discover this album, avoid getting arrested, and smile with friends like you know something the rest of the world doesn't. Feels good, huh?

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Thanks, fellas...

1 comment:

  1. One of my absolute favorite albums, ever. hands down. Buzzy, thunderous, with that beautiful, full with a touch of grind bass.


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