Today's Atomic Split is one of my favorite kind of reviews to post, a rarity that happens only occasionally throughout the year. The albums featured today are seriously massive in volume, weight, and intent. Their purpose is to annihilate your senses with sound and atmosphere, unleashing the full might of their rock and roll arsenals to accomplish their noble mission. Each band's assault, while wielding similar weaponry, bears the sui generis battleplan of each. Rock writ this large, in the bold, shining strokes of stoner metal, has the sole purpose of decimating the deeply rooted, firmly entrenched tentacles of mendacious complacence, foes proven vile, ruthless, and indefatigable in their domination of imagination. Today they get overwhelmed by the sonic forces of stoner metal extraordinaire.
MEXICOMA - "MEXICOMA"
Rock just does not get bolder, brawnier, or more muscular than "Mexicoma". But that's just the beginning. The entire magnitude of what this Swedish berserker has wrought goes far beyond the supernova explosion of their guitars triumvirate, aeons past the muscular, adept vocals, and blistering rhythm instruments, even outdistancing melodies wrought from genius of the hook, for they have combined their unending abilities with a presence and attitude unparalleled by all save a trifling few rock artists of either century. I make a bold claim, though not nearly as brash as these titans of reverberation make with fury of sound alone. Bear witness, spin it up, test the depth and range of your personal amplification, and brace for something primal and spiritual, delivered in the familiar package of stoner rock.
Mexicoma counts six members in its ranks, which in a rock band could spell discordance, but works to perfection for this bold troupe.
Magnus Olsson - vocals
Olle Sjölund - guitar
Peter Norstedt - guitar
Charlie Dahl - bass
Nicklas Viberg - guitar
Oskar Melander - drums
From the opening tracks of "5.27", "Pray", and "Relentless" an avalanche of thick, lush melody crushes your senses, potently marshaled by Olsson's completory vocals in assuasive setup and delivery fashion, and while there is a branching out on "Bright Black Day" with a more upbeat demeanor and on "Omega Doom" with a haunting psychedelic odyssey, the established mega riffs and dominating vocals of the opening tracks remain present here as well in similar soft, soft, hard fashion.
The original release of "Mexicoma" in digital format was 2010, but its cause celebre for 2013 is a vinyl release of the original EP plus a cover of the old blues song "John the Revelator", originally part of their second EP release, "Supervoid".
"Mexicoma" is a special album, just as Mexicoma is a special band. It's easy to get lost in the masses in a place like Sweden where rock and roll is prolific and rock bands numerous, but rising to the top in a sonic wave of gargantuan proportions comes this masterful second coming of stoner rock bliss.
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SADA - 'ALL HAIL THE BEEFLORDS"
The story behind "All Hail the Beeflords" is just plain cool, albeit heartwarming and invigorating as well. SADA were on the verge of the known around 7 years ago, playing all over London and surrounding areas, making massive impressions on all who were fortunate to experience the gargantuan wall of guitars upon which the band makes their assault on all listeners, and preparing for their initial album release. For reasons unknown to most the album never materialized and SADA appeared to fade into the sunset. Fortunately they left behind a sound signature so monstrous as to transcend time, impressing upon a couple of rock label entrepreneurs whose fledgling rock foray was in need of something special to add to the small but notable stable of rock bands already signed to the newly formed Stargun Music. Ross and Jeremy of Stargun sought out the members of SADA, dusted off the album that had been prepared for an earlier release, and have now put it out in the world under the Stargun Music label. Rock fans who know truly great music will certainly be ecstatic and beholden for the rescue mission, because the rescue works both ways as listeners and lovers of the big booming retro rock of the past are offered up this gigantic side of stoner rock beef.
The sound SADA produces is simply phenomenal - in scope, in delivery, in quality, in pleasure, in volume, and in magnitude. The twin guitars of Mike Danton and Forrest Taft are hurricane force blasts of sheer power, targeting sensory overload of aural pleasure zones. The forceful vocals of Mason Storm accompany the meaty riff layers of dual sonic destruction, just as Storm's bass produces heavy rumblings of mammoth sound. Drums on "All Hail the Beeflords" are nothing short of magnificent, exhibiting an energy and force that sets a gargantuan pace and power.
The package for the album includes 11 mind blowing tracks of a level of metal rarely achieved. The sound is neither pure stoner nor retro seventies to nineties metal, but rather a multiform sound with qualities of all but displaying its own signature clamor and roar beset by innate quality and dextrous capacity.
The opening track "Self Inflicted Crown" makes an immediate statement of the power and fury of enjoyment to be had on the album. There is no letup on "Weak of Days" and "Dirty Rat". The band has fun with the title track before returning to form on "Roebenger Seamist" and "Natural Woman". Changing tone with the near acoustic "_" the band displays a more mainstream side to their musicianship, delivering a beautifully rendered ballad. The album closes with four more ass kicking stoner metal tunes, the last an incredible cover of "Devil Woman".
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