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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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Thursday, March 15, 2012

Album Review -Mangoo-Nevermind

As evidenced by many of the album reviews and band offerings here on heavyplanet.net, as well as the wonderful podcasts and the newly established heavyplanet radio, a predominant number of stoner, sludge, and doom metal comes from Eastern Europe and the Scandinavian countries. There is such a rich and varied amount of top quality music produced in that part of the world it would likely take several weeks, or months, to get through the vast majority of the best of it all, which is a great thing when you stop and consider it.

Forged in that climate of abounding stoner and sludge of superb quality comes Mangoo, a band hailing out of Turku, Finland, that is rising and could soon take a place near the top of the metal heap. Mangoo is staking their claim to be among the best of the bands from that hoary corner of the globe with their second full length album, “Neverland”, the first from the superb label Small Stone Records.

“Neverland” does an amazing job of both exhibiting the requisite characteristics of stoner, fuzz, and psychadelia while having created an eclectic collection of disparation, songs that differ in tone and melody by a considerable degree, one from another, making up this unique and wonderful whole, an album offering of surprising depth and quality, rich in distortion, varied in melody, slick and powerful in delivery, intelligent in the intricate craft of each song, displaying those qualities throughout the entire compilation.

After a brief intro, Mangoo jumps right into a pschedelic number of incredible quality, a piece that haunts and overwhelms in an ethereal onslaught of trippy, heart pounding music that carries you off into a netherworld where time and space are ruled by the high energy emotion of Mangoo’s vocalist, Pickles, who, with his muscular and skilled vocals takes you on a cool and astonishing journey of grinding, groovy, and intense sound along with his and bandmate Mattarn’s guitars, as well as the hard driving and insistent bass of Igor, the super cool sounds that can only be prescribed to Nikky’s keys, all modulated by the piercing, deliberate rhythms of Teemu’s drums.

The next tune, “Deathmint”, can be more closely associated with so many cool and wonderful rock standards from the 70s or from the more recent resurgence of true rock associated with the stoner rock bands and fuzz monsters of the past couple of decades. But here Mangoo manages to imprint their own unique quality to the music with interesting sounds that dance in and out of their heart pounding, ass kicking riffs and hooks, all tied together with the strong, clear, powerful vocals of their lead singer, and made wonderful by terrific, well played guitar work.

“Diamond in the Rough” is heavy on the keyboard, sounding like some crazy kazoo mutation that perfectly complements the jaunty, fun tempo and full bore guitar work on this tune. Igor gets to stretch out a bit with a faster, more boisterous bass rhythm than what is usually used to temper most down fuzzed songs, while Pickles again reaches a vocal level that is pleasing and fitting, never coming up short when high, or bland when deep.

The beginning of “You” plays like a ballad, something we’ve all heard a thousand times before, while enjoying the best of what those past rock acts have offered. The start of the song showcases Pickles’ burly and melodious output as the sole instrument of effort before a wonderful wall of fuzz is unleashed, fleshing out the song as a wonderful example of what a power ballad can sound like when ensconced in the primal and proper genre of stoner rock. Mangoo firmly establishes here that they truly know how to make this sound work at the highest, most accomplished level.

Next up we are treated to another standard rock offering with “Lose Yourself”, a song that may have come from the glory years associated with Aerosmith and Zeppelin, or the later eras between QOTSA and Roadsaw, while being imprinted with some super groovy riffs, melodious hooks, and solos combining guitars and keyboards into something exclusive and unrivaled in quality, tone, intent, and power. This song is unique and familiar at the same time, intricate and catchy, fun to listen to, satisfying in its delivery.

Mangoo Logo in My Photos by

Mangoo throws in a quirky little interlude by Nikky and his keyboards before kicking into high gear with the powerful, ass kicking “You, Robot”. Here the fuzz is full and fine, the tempo quick and toothsome, the instrumentation unyielding in its delivery and assault, with Pickles driving it all forward on powerful vocals that lead into the delivery of an all out onslaught from the rest of the these Finnish fiends. This is a tremendous song that delivers a knockout in the early rounds.

The tone set by “You, Robot” continues with “Moom”, where the experience is fast, furious, fun, and fascinating. Mangoo are in full swing here, giving it all and enjoying the process, feeling the power surge forth from the expert manipulation of their metal medium.

“Painted Black” is another power ballad, where Pickles again showcases the raw dexterity of a voice that can deliver at the extremes as well as in the meaty middle where he is rich in ability and pleasing in quality, adept at working his voice around the notes, hitting what he needs to hit with vocal dexterity, meshing it all together until it becomes a beacon lighting the way for his piercing guitar solo at the end of this soaring track.

“Hooks” is a haunting, powerful, melodious offering of huge, distorted, mashing guitars that begin as another ballad of sorts but eventually detonates into a wonderful duel between the two guitars and the bass that has to be heard to be believed. Not that technically any records are broken, or new ground uncovered, which works to the song’s favor in my opinion, instead delivering something deep and full, powerful and unyielding, rich, satisfying, and unexpected if not ground breaking.

The next song is as surprising and out of context as a song can possibly be . . . at least for me and my, what I believe to be, normal expectations for a stoner album that has heretofore delivered nothing but high quality metal music. We are treated to just a second shy of a minute of . . . old country blue grass style music in the track titled “Home”. The fact that it’s out of context and yet still played with skill and enthusiasm, and the fact that I do have a place set aside within my musical preferences for bluegrass from years past and memories long gone, lends itself to actually enjoying this quirky and unexpected interlude, that, just as with all tracks on this album, is rendered with ability, class, enthusiasm, and quality.

The album closes out with “Datzun”, perhaps the epitome of what Mangoo has to offer, belting out those tremendous, delightful vocals, blaring the fuzz to satisfaction, driving hard with the drums and bass, intertwined with the ever present and quiriky keyboards that add to the delight and signature of Mangoo’s superb music, setting an established tone for choice hooks and riffs, powerful and muscular in tone, skilled, unique, and admirable in effort and ability.

Over the past few years Small Stone Records has established itself as THE source for obtaining CDs or vinyl of many of the highest quality metal artists the industry has to offer. They represent many up and coming bands, most of which have not yet been established in the mainstream, so don't necessarily get to be rock bands full time, aren't recognizable by large sections of the paying public, and don't always have their music playing on your local radio station, which typically is accepted as a sign of success, along with the monetary rewards that accompany widespread notoriety. But there is one unique identifier for these groups that establishes them as having 'made it'. If they have been signed by Small Stone Records you can rest assured they are one of the absolute best rock bands you are likely to find cranking out stoner, sludge, doom, or psychedelic tunes of the highest quality. And of the available bands from Small Stone Records comes one of their newest signings, Mangoo, who rises to the absolute top of the heap of great and wonderful stoner rock bands. And with Mangoo’s first Small Stone release, “Neverland”, is delivered an album worthy of purchase, worthy of inclusion in any consideration for upcoming awards, and with any luck, or if it just happens to catch the right ear, maybe worthy of widespread notoriety and all the trappings that come with it.

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