Showing posts with label Sasquatch. Show all posts
Showing posts with label Sasquatch. Show all posts
Thursday, June 22, 2017
Album Review: SASQUATCH - "MANEUVERS"
Alright! The fifth album from one of rock's unsung practitioners has been released. Any spin through any one of the, now five, albums put out by the Los Angeles retro/stoner rock trio Sasquatch will provide opioid level euphoria through a delivery system of dense metal and decibel distension, packaged in razor sharp hooks and monumental melodies. This is the case with the first song on the first album through to the last song on the latest album, the freshly available "MANEUVERS".
The musicians that recorded "MANEUVERS" include:
Keith Gibbs - guitar, vocals
Jason Casanova - bass
Craig Riggs - drums
Where's Rick Ferrante, the longtime drummer for the band, you ask? He's very much still a part of Sasquatch. How could he not be? He's been there from the inception, providing a quality of rhythm drumwork rarely matched this side of Ginger Baker. Craig Riggs, himself an accomplished drummer, as well as vocalist, for the stoner rock legends Roadsaw and supergroup Kind, has been tasked with the skin-thumping duties on #5 as Sasquatch launch their campaign through Europe in support of the new album. Many, if not most, of the gifted musicians that ply their wares in the underground world of stoner/fuzz rock, do so outside of their regular job work schedules, so making extended forays away from those jobs isn't always possible. Rick, though, has other venues lined up for his phenomenal skills, both as a full-time member of The Ultra Electric Mega Galactic and playing live venues with the up and coming underground superstars Aboleth (is that an oxymoron - underground superstar?)
"MANEUVERS" consist of 8 intensely amplified tracks of thick, syrupy mega-fuzz in which Keith Gibbs' wonderfully mellifluous vocals match perfectly his sledge hammer heavy riffs and ozone searing solos, where Jason Casanova's bass is forcefully wielded, relentless in muscular ferocity, and Craig Riggs' steady rhythms sting and pound in incessant brilliance. The overall tone is a soulful resonance, somber, edgy, and nostalgic, unyielding in its sheer power.
"Rational Woman" kicks off the show with gargantuan raggedness, beautifully laid down in primal tempo, showcasing Gibbs' rich, powerfully melancholy vocals. "More Than You'll Ever Be" is steady and relentless, advancing in magnetic forcefulness. "Destroyer" demonstrates the raw might of haunting tonality. "Bringing Me Down" is reminiscent of early Sasquatch songs in sentiment and style, a welcome memory for some, a fresh introduction into past glory for others. Funky and on fire, "Just Couldn't Stand the Weather" brandishes a unique melody and style, a departure that doesn't stray too far from the path marked 'Sasquatch', but is populated by some intriguing mutations, riff creatures at once familiar and uncanny. "Drown All the Evidence" is Americana, magnified, amplified, and wracked through with distortions of flagrant pleasure, punctuated by elegantly ragged, bruising solos. "Anyway" is a psychedelic charmer, a brightly colored panacea, recharging batteries in color and brilliance. The closer is the massive and melancholy "Window Pain". The blue pain and gray fog atmosphere of this song is punctuated by the rare use of keyboards, highlighting the feeling of loss and a damaged soul. Solos reminiscent of Ernie Isley rip through the gray morass in sharp, keen doses.
Overall this album delivers a massive load of essential feels. The music is nostalgic and new, familiar because it's crafted by masters of more than a decade of accomplishment, as well as fresh in a package of nascent material that expounds on a proven formula without a hint of staleness. It's a sound that hearkens back to the last decade when stoner rock was still new and Sasquatch were new kids on the block. The guitars come in every satisfying form, distorting the edges, and burning the center, tapping into those primal cords that run central to us all. Gibbs' vocals are solid, full of heft and strength, and forging soulful connections over and again. Fierceness and joy, the hallmarks of those who love the weapons they wield, are on perfect display through Casanova's masterful, subterranean riffs. And Riggs steps into what would normally be a massive void, shouldering expectations and delivering brilliance with his consummate rhythmic execution.
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Monday, January 6, 2014
Toby's Top Ten of 2013
Well what do you know? Here we are back at the beginning yet again…a new year. And you know what that means, right? Well around here, it means that it's a time for celebration and discovery. As each member of our staff takes a look back at the vast, eclectic, and truly incredible output of fine tuneage that was released in 2013, you'll likely spot something that was not previously on your musical radar. If not, then perhaps we'll jog your memory and re-introduce you to an album that you'd unknowingly forgotten. At the very least, maybe we'll just piss you off as you vehemently disagree with our "best of" selections and wonder how the fuck we managed to leave Kvelertak off the list?!? Regardless, I can assure you that within our ranks, we'll cover the entire spectrum of heavy music, from spaced out psychedelia to fuzzed out grooves and from swamp-stomp rhythms to the blackest of doom. So get your pencil and paper ready, because what follows are the 10 records that polluted my ears the most in 2013. Happy New Year.
10 Queens of the Stone Age - …Like Clockwork
I don't profess to know the details behind the legal battle (or threat of one) that went down between Joshua Homme and his former bandmates from Kyuss over the latter's use of the name last year while touring as Kyuss Lives!. I will however admit that my perception of the issue was that it seemed to be a rather unnecessary affair, especially for someone of Homme's stature. Because of all that, I'll be honest and say that I really didn't want to like this album. So perhaps that fact alone should tell you all you need to know about …Like Clockwork, given that it still managed to make its way into my top 10 list. Right from the start with the album opener "Keep Your Eyes Peeled", it's evident that Mr. Homme and company have regained a measure of the quirkiness that made albums like Rated R and Songs for the Deaf the classics that they've become. And while I'll still maintain that the band was better off when Homme's "too cool for school" demeanor could be compared alongside the batshit crazy antics of Nick Oliveri and the haunting earnestness of Mark Lanegan (both of whom make brief vocal appearances on this album), there's just no denying that tracks like "I Sat by the Ocean" and "If I Had a Tail" are among some of the best that QOTSA have ever written. So I'll admit, …Like Clockwork was a triumphant return for what is arguably stoner rock's biggest star and it's an album well deserving of a place on this list.
09 Lullwater - Self Titled
Apparently this Athens, Georgia based band was so enamored with the history and aura surrounding the early 90's Seattle grunge movement, they packed up their shit and moved across the country to record this at the famed London Bridges Studio where Soundgarden recorded Louder Than Love, Alice in Chains made Dirt and Pearl Jam created a little record by the name of Ten. The result was an album that not only showcases those Pacific Northwest influences, but also maintains a strong foothold in the Southern alternative rock scene of their own home state. Combine the bluesy emotion of Drivin' n' Cryin' with the feedback and dissonance of Nirvana and you have Lullwater. That duality, which can be heard on tracks like "The Dream" and "A Plane", is what makes this self-titled release such an interesting listen, and it's why I couldn't get enough of it in 2013.
08 Borracho - Oculus
Back in the fall of 2012, we asked Borracho to headline our Heavy Planet CMJ Showcase in the Big Apple and they were more than happy to oblige. Much to our surprise however, the Washington DC based band showed up to the event without their vocalist and proceeded to rumble through a (mostly) instrumental set of thunderous riffs and bowel rumbling grooves. Little did we know at the time that what we were actually hearing in that grimy New York City basement were the beginnings of what would become Oculus. Now a year later, with the band having officially "restructured" as a three-piece, with guitarist Steve Fisher taking over vocal duties, the band sounds even tighter than they did on their 2011 debut Splitting Sky…and if you've heard that masterpiece, you know that's saying something. Furthermore, with the addition of little embellishments like the haunting feminine vocal that hovers over the album opener "Empty" or the organ that seems hidden amidst the riffs in "Know the Score", Borracho have managed to add a sense of depth to their arsenal on this sophomore release. With only four actual songs (along with the eerie segue "Eye"), this is an album that is meant to be taken as a singular musical movement. As such, I'd suggest you hear it in its entirety and see for yourself why it made it's way into my top 10 of 2013.
07 Deville - Hydra
I kind of think the cover shot on this one says all that you need to know about what's to be found within. Swedish stoner rockers Deville dropped all pretense on Hydra and got straight to the fucking point. No extended buildups, no ten minute jam sessions and no filler…this my friends is a rock album. With heavy doses of meaty riffs (check out "The Knife" and "Let it Go"), catchy choruses (see "In Vain") and those all important guitar solos stuck in just the right places ("Over the Edge"), this is an album that I could not put down in 2013. There are a lot of bands who may have a similar sound and style to the straight forward stoner rock approach that Deville employ, but very few who can lay down eleven equally infectious tracks in a single album. For that reason, I made sure to reserve Hydra a well earned place amongst my top LPs of the year.
I kind of think the cover shot on this one says all that you need to know about what's to be found within. Swedish stoner rockers Deville dropped all pretense on Hydra and got straight to the fucking point. No extended buildups, no ten minute jam sessions and no filler…this my friends is a rock album. With heavy doses of meaty riffs (check out "The Knife" and "Let it Go"), catchy choruses (see "In Vain") and those all important guitar solos stuck in just the right places ("Over the Edge"), this is an album that I could not put down in 2013. There are a lot of bands who may have a similar sound and style to the straight forward stoner rock approach that Deville employ, but very few who can lay down eleven equally infectious tracks in a single album. For that reason, I made sure to reserve Hydra a well earned place amongst my top LPs of the year.
06 Kings Destroy - A Time of Hunting
Apparently made up of members from various New York hardcore acts who came together with a combined vision to slow shit down, Brooklyn's Kings Destroy were definitely onto something with A Time of Hunting. The band incorporates a steady, bruising attack with enough melody and emotion (particularly from vocalist Steve Murphy) to warrant the invention of a new sub-genre that I'd call alt-doom. Head bobbing grooves, crawling tempos and searing guitar solos collide with vocals that transition seamlessly from mid to high range, at times calling to mind the late, great Layne Staley (see "Shattered Pattern"). But it's the band's ability to diversify and veer away from the monotony of a simple chug-a-lug doom approach that places A Time of Hunting on this list. "Blood of Recompense" could easily be dubbed a stoner rock classic and even manages to introduce psychedelic elements into the mix via the guitar work. And the album closing "Turul" is quite simply a mind-fuck with it's bouncy, dare-I-say, System of a Down like bridge. No…classifying Kings Destroy as "just" a doom band would be a disservice to them, because they're quite obviously much more than that. For that reason, I found A Time of Hunting well deserving of this spot on my top 10 of 2013.
05 Vista Chino - Peace
There really isn't much that needs to be said about Vista Chino (formerly Kyuss Lives!), but I'll say a few words anyway. For starters, Peace doesn't come off sounding like a rehash of past glories, but instead feels like a new start. In fact, despite the way it happened (see my writeup on …Like Clockwork above) I'm glad to see John Garcia, Brant Bjork and Bruno Fevery adopt a new moniker and get moving on the next chapter in their already impressive musical legacy (Nick Oliveri played bass on the album, but has unfortunately, since left the band). Having said that, I'd be remiss if I didn't point out that the signature fuzz and desert grooves associated with Kyuss are here in spades, which is an obvious reason for Peace having a spot on this list. Tracks like "Dargona Dragona" and the epic suite "Planets 1 & 2", the latter of which features vocals from both Bjork and Garcia, are quite simply…bad-fucking-ass. And speaking of Bjork, who is the primary songwriter in this band, I totally dug songs like "Adara" and "Barcelonian" which just oozed that cool vibe we've come to expect from his multitude of non-Kyuss related projects. But ultimately, the reason that Peace is one of my top 10 albums of 2013 is because it represents the sum of four equally impressive parts that need to be making music together. The soulful vocals of John Garcia, the jazzy fills and resonant crashes from Brant Bjork, the fuzzy tones of Oliveri's bass and the meaty riffs from Bruno Fevery belong together and hopefully Peace is just the beginning. Also, where else can you hear John Garcia croon "I'm gonna stroke my 'stache"? Nuff said.
There really isn't much that needs to be said about Vista Chino (formerly Kyuss Lives!), but I'll say a few words anyway. For starters, Peace doesn't come off sounding like a rehash of past glories, but instead feels like a new start. In fact, despite the way it happened (see my writeup on …Like Clockwork above) I'm glad to see John Garcia, Brant Bjork and Bruno Fevery adopt a new moniker and get moving on the next chapter in their already impressive musical legacy (Nick Oliveri played bass on the album, but has unfortunately, since left the band). Having said that, I'd be remiss if I didn't point out that the signature fuzz and desert grooves associated with Kyuss are here in spades, which is an obvious reason for Peace having a spot on this list. Tracks like "Dargona Dragona" and the epic suite "Planets 1 & 2", the latter of which features vocals from both Bjork and Garcia, are quite simply…bad-fucking-ass. And speaking of Bjork, who is the primary songwriter in this band, I totally dug songs like "Adara" and "Barcelonian" which just oozed that cool vibe we've come to expect from his multitude of non-Kyuss related projects. But ultimately, the reason that Peace is one of my top 10 albums of 2013 is because it represents the sum of four equally impressive parts that need to be making music together. The soulful vocals of John Garcia, the jazzy fills and resonant crashes from Brant Bjork, the fuzzy tones of Oliveri's bass and the meaty riffs from Bruno Fevery belong together and hopefully Peace is just the beginning. Also, where else can you hear John Garcia croon "I'm gonna stroke my 'stache"? Nuff said.
04 Sasquatch - IV
Sasquatch made the quintessential "driving record" when they made IV. With power chords layered on top of more power chords, a devastatingly thunderous rhythm section and truly soulful vocals slathered right on top of it all, these nine tracks just demanded that you twist the volume knob to the right and slam the gas pedal to the floor. Want a sample? Check out the first three tracks, which are as solid an opening barrage as I can recall from any album in recent memory. From the blitzkrieg opener "The Message" to the dissonant harmony of "Eye of the Storm" (possibly my favorite song of the year from this or any album) to the bluesy Hendrix worship of "Sweet Lady", these three tracks will give you a solid idea of the heavy fuzz that lies ahead. IV is quite simply an onslaught from this veteran power trio and I reached for it time and again in 2013.
Sasquatch made the quintessential "driving record" when they made IV. With power chords layered on top of more power chords, a devastatingly thunderous rhythm section and truly soulful vocals slathered right on top of it all, these nine tracks just demanded that you twist the volume knob to the right and slam the gas pedal to the floor. Want a sample? Check out the first three tracks, which are as solid an opening barrage as I can recall from any album in recent memory. From the blitzkrieg opener "The Message" to the dissonant harmony of "Eye of the Storm" (possibly my favorite song of the year from this or any album) to the bluesy Hendrix worship of "Sweet Lady", these three tracks will give you a solid idea of the heavy fuzz that lies ahead. IV is quite simply an onslaught from this veteran power trio and I reached for it time and again in 2013.
03 Clutch - Earth Rocker
This one almost seems too easy. In fact, I probably don't even need to say anything about Clutch's Earth Rocker because my guess is that if you're reading this site and you haven't already heard it, then you must not be interested. On this, their tenth studio album, these veterans of the trade revved up the riff machine and went back to the future…so to speak. What I mean to say is that besides the bluesy ballad "Gone Cold" (which is waaay fucking cool), the band seemingly abandoned the road they'd been heading down since…well, "Gravel Road" closed out 2005's Robot Hive/Exodus, veering instead into the much more straightforward rock n' roll territory we last heard on 2001's Pure Rock Fury. It's all here people. Neil Fallon's barking vocal attack is stronger than ever, as is his lyrical prowess, which is unmatched in this or any other genre in my humble opinion. Tim Sult brings the riffs in yet another virtuosic performance. And the rhythm section of Dan Maines and Jean-Paul Gaster remains the best in the business. Give a listen to the album's title track with it's spacey intro, killer groove and raw intensity. And if you happen to be a fan of the bluesier side of Clutch, fear not, there's still plenty of harmonica to be found on "D.C. Sound Attack!". It's just that the heavier, faster cuts make up the majority of this opus, and while tracks like "Crucial Velocity" and "Oh, Isabella" stand out as examples of the album's direction, there's honestly not a bad one to be found in this bunch. Earth Rocker was a welcome return to a golden era in the impressive history of one of the greatest bands of all time, and for that reason alone, it deserves a spot in my top 10.
02 Supervoid - Filaments
I knew very little about Pittsburgh's Supervoid prior to seeing them live in their home digs last spring, but it was that very set that started them down the path of landing on this list. When the band took the stage, I was totally mesmerized by their progressive song structures and their mastery of subtlety and nuance as they bobbed and weaved from stoner rock fuzz into crushing metal passages. Combining harmony with dissonance, this five piece understands the power of the buildup as they develop songs using quiet, introspective musicianship before pummeling your eardrums with gargantuan riffs and monstrous fucking vocals…just listen to "Arcane Groves" for the love of God. Needless to say, I was counting the days until the release of Supervoid's debut LP in October and once I got my hands on it, I was not disappointed. Far different than anything else released in 2013, Filaments lived up to the promise I heard that night in the Steel City with songs like "Coat of Luminous" and "Braymerian: War Elephant" which highlight the polarity of the band's attack. Give a listen to "Ladders" which features a clean vocal style…and please understand, this motherfucker can sing…over shimmering guitars and an ever evolving rhythm. Or check out the juggernaut stomp of "Wake of the Smoke Jumper" which pairs oh so well with its guttural growls, before shifting gears to become a pseudo black metal number with the addition of a high pitched backing vocal. So yeah, Filaments had a little bit of everything that we love here at Heavy Planet, but at the end of the day, it was Supervoid's ability to mesh all of those components into such a cohesive final product that puts this album so far up my list of the top 10 albums of 2013. Don't miss out on this one.
I knew very little about Pittsburgh's Supervoid prior to seeing them live in their home digs last spring, but it was that very set that started them down the path of landing on this list. When the band took the stage, I was totally mesmerized by their progressive song structures and their mastery of subtlety and nuance as they bobbed and weaved from stoner rock fuzz into crushing metal passages. Combining harmony with dissonance, this five piece understands the power of the buildup as they develop songs using quiet, introspective musicianship before pummeling your eardrums with gargantuan riffs and monstrous fucking vocals…just listen to "Arcane Groves" for the love of God. Needless to say, I was counting the days until the release of Supervoid's debut LP in October and once I got my hands on it, I was not disappointed. Far different than anything else released in 2013, Filaments lived up to the promise I heard that night in the Steel City with songs like "Coat of Luminous" and "Braymerian: War Elephant" which highlight the polarity of the band's attack. Give a listen to "Ladders" which features a clean vocal style…and please understand, this motherfucker can sing…over shimmering guitars and an ever evolving rhythm. Or check out the juggernaut stomp of "Wake of the Smoke Jumper" which pairs oh so well with its guttural growls, before shifting gears to become a pseudo black metal number with the addition of a high pitched backing vocal. So yeah, Filaments had a little bit of everything that we love here at Heavy Planet, but at the end of the day, it was Supervoid's ability to mesh all of those components into such a cohesive final product that puts this album so far up my list of the top 10 albums of 2013. Don't miss out on this one.
01 ASG - Blood Drive
And that brings me to my top pick for 2013. Now ASG aren't exactly a new band on the scene, having come up as a sort of East Coast answer to Fu Manchu back in the early 00's. Rising from the ranks of the surf and skate crowd in their native Wrightsville Beach, North Carolina, the band garnered a respectable amount of success as their music got hand picked for "Viva La Bam" and other TV shows of that ilk. But aside from a split release (with Black Tusk) about four years ago, it's been since 2007's Win Us Over that we saw a full length album from the band. Well I'm here to tell you that this ain't your daddy's ASG. Blood Drive is of course loaded with tasty hooks, but you should also understand that these are sophisticated compositions. Spin the excellent album opener "Avalanche" and listen as the band hammers out a huge stoner riff and then builds on it with psychedelic effects and vocalist Jason Shi's insistent bellow and otherworldly lyrics. Or check out "Castlestorm" where they amp up the intensity and the pace as Shi unleashes a roar that'll have hairs standing on the back of your neck. And so what if "Earthwalk" is an obvious homage to Jane's Addiction, can you honestly tell me that's a bad thing? Listen to the intricate acoustic guitar that opens "Children's Music" before the band tears into another trance inducing groove. These songs have depth and as you make your way through Blood Drive, you'll hear a band that is weaving a tapestry of psychedelic stoner rock that won't soon be forgotten. Simply put, I wore this album out last year and continue to do so to this day. For that reason, ASG's Blood Drive is my top album of 2013.
And that brings me to my top pick for 2013. Now ASG aren't exactly a new band on the scene, having come up as a sort of East Coast answer to Fu Manchu back in the early 00's. Rising from the ranks of the surf and skate crowd in their native Wrightsville Beach, North Carolina, the band garnered a respectable amount of success as their music got hand picked for "Viva La Bam" and other TV shows of that ilk. But aside from a split release (with Black Tusk) about four years ago, it's been since 2007's Win Us Over that we saw a full length album from the band. Well I'm here to tell you that this ain't your daddy's ASG. Blood Drive is of course loaded with tasty hooks, but you should also understand that these are sophisticated compositions. Spin the excellent album opener "Avalanche" and listen as the band hammers out a huge stoner riff and then builds on it with psychedelic effects and vocalist Jason Shi's insistent bellow and otherworldly lyrics. Or check out "Castlestorm" where they amp up the intensity and the pace as Shi unleashes a roar that'll have hairs standing on the back of your neck. And so what if "Earthwalk" is an obvious homage to Jane's Addiction, can you honestly tell me that's a bad thing? Listen to the intricate acoustic guitar that opens "Children's Music" before the band tears into another trance inducing groove. These songs have depth and as you make your way through Blood Drive, you'll hear a band that is weaving a tapestry of psychedelic stoner rock that won't soon be forgotten. Simply put, I wore this album out last year and continue to do so to this day. For that reason, ASG's Blood Drive is my top album of 2013.
Tuesday, December 3, 2013
SASQUATCH: The Heavy Planet Interview
Noted monster rockers Sasquatch, having just released their monstrous fourth album, "IV", have also taken the time to answer a couple of questions we posed to them about the album, their standing in the rock world, the overall state of rock from their viewpoint, their likes, their dislikes, what motivates them, and what they see the future holding for themselves and the band. With their responses this rock trio reveal a huge passion for what they do as well as a conspicuous ability and bearing in how they apply themselves to their chosen passion. Take some time, if you will, and get to know Keith, Cas, and Rick just a little bit and see what you might take away from having gotten to know just a piece of who these consummate rockers truly are. I open the questions with a reference to the song "Money", about an acquaintance who borrows a few bucks in an ongoing one sided relationship in which there is only one giver and one taker, a serious situation to be sure, but I had hoped to make light of it somewhat as an opening salvo, if you will. I was curious how they might respond to this question, and just as with their music, just as with the responses to the entire interview, they didn't only not disappoint, they tended to go the extra mile, because they can and, I suspect, they choose to. It speaks a lot to who they are. Ladies and Gentlemen . . . Keith Gibbs, Rick Ferrante, Jason Casanova . . . the incomparable Sasquatch:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
HP: Okay, I want to get the easy one out of the way first . . . can I borrow some money? Hah!
Keith: Sure, how much do you need?
Cas: Here at the First Bank of Sasquatch, we provide hassle-free short-term loans to all of our customers. No paperwork, no red-tape. You tell us what you need, and you’ll have cash in hand within minutes. Interest runs at about 20% per week and there’s no need to worry about receiving bills or sending in payments. We will have some nice men stop by your residence, remind you when payment is due, and they can even collect while on site. Think of all of the money you’ll save on stamps!
HP: Do you have any feedback yet on how well “IV” is selling out there in the world?
Rick: So far, pretty good. Small Stone would have more info though on how sales are doing. Getting a lot of thumbs-up so far. This is more of a direct approach. A “meat & potatoes” record if you will. People seem to like it; some miss the acoustic stuff and/or the intro-outro things we would do on some of the other records.
Cas: Rick misses the intro-outro things we do on some of our other records.
HP: How is the touring schedule for "IV" shaping up? Is it a difficult process to get one together?
Keith: We are talking to some European booking agents at the moment and hopefully we'll be touring sometime in April/May 2014. Touring the US is another animal. We would love to do it but getting guarantees is difficult since we usually book it ourselves.
Cas: Yeah, the US is tough. Demand and supply isn’t quite tipping in our favor. Can you make some calls and fix that for us? Great, thanks.
HP: Have you progressed enough in developing the tour to know who might tour with you, if anyone? Is there any chance of touring with a more well-known band? There is no one out there that plays better rock than you, but there are plenty of bands that are more widely recognized. Opening for some of those bands might garner a wider zone of interest from those folks who love meaningful rock. That's just me blabbering. Do you have an opinion on that sort of thing?
Keith: There are a few names being thrown around for Europe: UEMG (Ed Mundell’s solo project, Ultra Electric Mega Galactic, reviewed on Heavy Planet here: http://www.heavyplanet.net/2013/04/nuclear-dogs-atomic-split-ultra.html) and House Of Broken Promises, but nothing set in stone at the moment. We would love to go out on bigger tours as well but no takers as of yet. You would think it would be easier after four albums.
Cas: It’s a whole different ball game in terms of touring in the big leagues. From what I’ve seen and heard, it’s becoming more common practice that bands or their labels are buying on to these larger tour packages. Once again, “pay-to-play” rears its ugly head in a different fashion. Sorry, Debbie Downer moment.
HP: You guys have been together a decade now, and have released 4 very important albums (even if most of the world doesn’t realize it yet). How different was the process for writing the music on the first album from that on the last?
Keith: Very different. I had been a bit of a control freak on the first two, but now with the addition of Cas, I've let go of that. Rick and Cas both have great ideas, whether it be riffs or arrangements, so it's much easier to let go of total control. And I think that is very apparent if you listen to the progression of the songwriting on the last two albums especially.
Cas: I don’t really do anything. It must be the beard. Or Rick’s aftershave.
HP: Keith, can you describe to us a little bit of that process for creating songs? Do you start with the music, the lyrics, some combination of both?
Keith: It always starts with just a collection of riffs that I have in my head, then I bring it to the fellas and we arrange it together for the most part. As far as the lyrics, I've had a lot of ups and downs in the past five or so years and I draw everything from that. It's been a rough ride. My daughter, Riley, is a huge source of inspiration and she's also the greatest.
Cas: The writing part of it seems to be second nature for Keith. I just bring beer and watch the magic happen.
HP: Has it become more of a struggle over the years to write new songs, or do you feel like there is a pretty deep well there?
Keith: The well is very deep when it comes to riffs, thankfully; I have been lucky in that respect. There have been spaces of writer's block but that is usually because of drama in my own personal life.
HP: You mentioned Cas and Rick are now very involved in the writing process. As talented as they are as musicians I can only imagine they have a lot of deep understanding of song structure. Can you elaborate on what they bring to the table just a bit?
Keith: Rick and Cas are great when it comes to that. They each have different backgrounds in musical tastes so that really helps a lot. Rick loves old school Rock & Blues as well as Jazz, Psych, & Prog, but he is rooted there. Cas comes from more of an indie standpoint, which helps us to stay away from writing music to make money (as opposed to keeping our integrity). He also loves the old school stuff. I’m somewhere in the middle. Cas and I both love 80's thrash metal!
Cas: Keith brings the riffs. Rick then likes to get into the nuts and bolts of the songs as they come together; any and all aspects involved with the structuring, gear, and/or recording approach. The two of them get the songs to a point where it’s practically complete by the time I come in and add my parts.
HP: Keith mentioned some inspirational sources, how about for Rick and Cas, where do you typically find your inspiration? Is writing a song something in which you have to flex a lot of mental muscle, or do the songs come somewhat easily? Or is it perhaps something in between?
Rick: Usually from a personal event or experience for the most part. Current & past world events maybe a bit as well.
HP: “IV” contains some incredibly well written music, both lyrically and melodically. I'm thinking specifically of "Eye of the Storm", "Corner", and "Drawing Flies". The thing that is inspiring to a fan like me is how fresh your music sounds, especially considering you've been cranking songs out for at least a decade. Is it a conscious effort on your part to create a specific sound or a certain feel for any of an album's songs? Do you struggle at all with trying to find a freshness in what you write?
Keith: We just write what comes out. I have kinda taken that AC/DC approach where I don't care what is going on around me musically, we just stick to our guns.
Cas: Yeah, there’s no real magic secret or concerted effort in the writing approach. It’s quite basic and to-the-point. It ends up typically being, “Oh, that’s a cool riff. Let’s make a song of that with that other cool riff.” Boom. Song done.
HP: Tell me a little about your playing, each of you. Has anything changed for you physically in the way you approach playing these days, whether it be for the studio or for a show. As you've aged a bit, has it had an effect on your ability to manipulate your instruments, whether positively or negatively? Do you guys find you have to warm up a little more these days before taking the stage or is the opposite effect where you've become so proficient at playing it's now second nature?
Cas: I can probably speak for all of us in that we have to warm up the fingers, stretch a bit, and get the pee break in right before set time. I think it’s important to go through the pre-show motions at any age, but it’s especially important now that we’re old fucks. My knees don’t function quite as well as they once did. The tinnitus also seems to be getting worse as I age, so I am trying to learn how to play on stage with earplugs. I tend to rip them out frequently because I want to hear everything at full volume. Yeah, I’m a dumbass.
HP: Similarly, Keith, how have the years treated your vocal chords and your ability to sing in the all out full throated way you do for Sasquatch? John Garcia recently stated that age has not diminished his ability to sing like it seems to do for most frontmen, so I was wondering what your experience has been in that regard.
Keith: It's pretty much second nature, at least for me. We've never had a grueling touring schedule so things like tendinitis or vocal issues have never been a problem. I’m happy and sad about that because we would love to tour 6 months of the year, but I think it helps keep our longevity.
HP: What does the future hold for Sasquatch? Do you see yourselves making music for another decade or more (I hope)?
Keith: Sasquatch will keep putting our albums as long as we are able to do so. I'm pretty sure I can speak for the guys when I say that our number one passion in life is music.
HP: Your music is usually placed within the genre of 'stoner' rock, for better or worse. What are your thoughts on that aspect of the underground rock world? What are your thoughts on the state of rock and roll right now where thousands of extremely gifted bands and musicians remain deeply obscure, labeled as stoner, doom, high desert, fuzz rockers, but get little to no airtime or notoriety? How do you feel about the more popular rock artists currently garnering air time, bands like Foo Fighters, Black Keys, Godsmack, Nickelback, Disturbed, or whoever is out there these days? Any of them making music that is worth the time to listen to?
Keith: I would have to defer to the guys for that question. I really don't listen to anything current, it's just a personal choice. Bands like old Traffic, Blind Faith, Zeppelin, Floyd, any seventies bands are what I draw from. Cas keeps up with what is going on, you should see his CD collection, it's fucking massive! As far as the Stoner rock tag…it doesn't really apply. I think of us currently as a rock band with some elements of stoner rock. We are strictly alcohol driven these days. Ha!
Cas: Tough questions. No clear answers quite yet. There have always been those bands, genres, scenes that haven’t gotten the notoriety they deserve, and I don’t think that has really changed since I’ve been a wee lad. I do think that the playing field has leveled out a bit more with the digital age and what some consider to be the fall of the “majors”. The opportunities are still in flux though. Many of the bands (us included) are trying to figure out how to really embrace and take advantage of the technology and Internet-driven advancements. On one hand, our music is freely available to anyone that wants to steal it. On the other hand, if it weren’t for the youtubes, facebooks, and even myspaces of ten years ago, Sasquatch wouldn’t have the kind of global exposure that we do now. Hell, a majority of our online store traffic comes from Europe, but we’ve even been getting some decent response from places deep in South America, Australia, as well as South Africa. Kind of wild when you think about it. To answer your question about popular rock… yeah, there is mainstream stuff I like just as much as the next guy. Soundgarden falls on the top of that list. I also have a lot of respect for what Grohl and Homme have done to make a career of it. Same goes with the Black Keys. That other stuff you mentioned is a bunch of rubbish though.
HP: When you're alone, each of you, what tunes are you spinning in your car, your office, etc.? How about when you're together, either touring or in the studio perhaps, what do you listen to as a gaggle of musicians. Is it a gaggle? A horde? A pride? I'm not sure.
Rick: Gaggle! My iPod will have anything from Frank Zappa, Budgie, Mahogany Rush, Mahavishnu Orchestra, Funkadelic, Monster Magnet, Killing Joke, The Cult, The Guess Who, pre American label Loudness, Rory Gallagher, Steve Earle, Eric Johnson, Tony Williams Lifetime, Robin Trower…pretty diverse. We also dig our fellow Small Stone bands as well. We will take turns & throw on whatever: Cas? Keith?
Cas: When the three of us are touring in the van, there tends to be a lot of Stern and random comedy shows on Sirius. Otherwise, it’s driver’s choice. In the office, I tend to listen to mellower stuff. Exotica, jazz, classical. Something that doesn’t distract. Ya know, like a Red Red Meat or Martin Denny record hits the spot. On the commute, it’s rock time, and there are a variety of bands I started listening to in the early 90s that still stay in rotation on my mp3 player. I can spin a Barkmarket, Quicksand, or Shiner record, for instance, and it still sounds as fresh to me as the day it came out. We’re also lucky in that one doesn’t have to look much further from the label for good stuff to pass the time. Try cranking Mellow Bravo’s “Ridin” while you’re on the freeway next time. I had it on yesterday morning. It’s great for bobbing and weaving in and out of traffic going 80.
HP: What was the last album that stopped you in your tracks and made you take notice?
Rick: I like the new Killing Joke record MMXI as well as the new Clutch.
Cas: Re-Voltaire.
HP: Each of you have had experiences playing in other projects or for other artists, just as you've had guest artists on your own albums, notably Small Stone Head Honcho Scott Hamilton of Luder and Gozu's Marc Gaffney on "IV". Are there any other projects or supergroups coming up, such as when Rick played drums for The Ultra Electric Mega Galactic and on which Keith had a guest spot? As fans of all three of you guys, as a group and as individual musicians, I'm sure I'm not alone in wanting to hear whatever you produce, either as the monster group Sasquatch, as guest musicians for other bands, or perhaps as members of the trend of super groups that pop up from time to time.
Keith: Sasquatch is my baby and I really don't have that much interest in doing anything else right now except just guest spots. Hope that doesn't make me sound like a dick, it's just the truth. Cas is playing with our friends in Behold! The Monolith and I think he really enjoys it since they are much different than what Sasquatch does.
Cas: Yeah, I’m now splitting my time with Behold! The Monolith here in LA. We’ve known those guys for awhile (I think Keith and Chase have been bros for about 10 years), and I’ve been a fan of the band since Sasquatch had first played with them a couple of years back in Reno. This past Spring they lost Kevin (their frontman, bass player, and all around good dude) in a fatal car accident one week before they were set to leave on their first US tour. It’s been really tough on the guys, but after speaking with Kevin’s girlfriend and family, they decided to continue on. Anyway, I started jamming with them maybe in August just as they were getting back into it. It’s sort of a hybrid between sludgier doom, and fast-paced metal, something that I haven’t done since my early college days. It’s quite different musically than Sasquatch, so there’s a good balance between the two bands.
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So, there you have it, a little insight into three mammoth rockers, masters of the riff, who live for their music, are clever, gifted, and insightful, and conduct themselves with humor and wit. They are well matched as a threesome, each bringing a wealth of ability and heart to the music they make, and we, as their fans, are better off for it, even if, for them, it's a not insignificant struggle. Passion trumps strife, strife inspires art, we reap the rewards with the incomparable "IV".
facebook . . bandcamp . . website
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HP: Okay, I want to get the easy one out of the way first . . . can I borrow some money? Hah!
Keith: Sure, how much do you need?
Cas: Here at the First Bank of Sasquatch, we provide hassle-free short-term loans to all of our customers. No paperwork, no red-tape. You tell us what you need, and you’ll have cash in hand within minutes. Interest runs at about 20% per week and there’s no need to worry about receiving bills or sending in payments. We will have some nice men stop by your residence, remind you when payment is due, and they can even collect while on site. Think of all of the money you’ll save on stamps!
HP: Do you have any feedback yet on how well “IV” is selling out there in the world?
Rick: So far, pretty good. Small Stone would have more info though on how sales are doing. Getting a lot of thumbs-up so far. This is more of a direct approach. A “meat & potatoes” record if you will. People seem to like it; some miss the acoustic stuff and/or the intro-outro things we would do on some of the other records.
Cas: Rick misses the intro-outro things we do on some of our other records.
HP: How is the touring schedule for "IV" shaping up? Is it a difficult process to get one together?
Keith: We are talking to some European booking agents at the moment and hopefully we'll be touring sometime in April/May 2014. Touring the US is another animal. We would love to do it but getting guarantees is difficult since we usually book it ourselves.
Cas: Yeah, the US is tough. Demand and supply isn’t quite tipping in our favor. Can you make some calls and fix that for us? Great, thanks.
HP: Have you progressed enough in developing the tour to know who might tour with you, if anyone? Is there any chance of touring with a more well-known band? There is no one out there that plays better rock than you, but there are plenty of bands that are more widely recognized. Opening for some of those bands might garner a wider zone of interest from those folks who love meaningful rock. That's just me blabbering. Do you have an opinion on that sort of thing?
Keith: There are a few names being thrown around for Europe: UEMG (Ed Mundell’s solo project, Ultra Electric Mega Galactic, reviewed on Heavy Planet here: http://www.heavyplanet.net/2013/04/nuclear-dogs-atomic-split-ultra.html) and House Of Broken Promises, but nothing set in stone at the moment. We would love to go out on bigger tours as well but no takers as of yet. You would think it would be easier after four albums.
Cas: It’s a whole different ball game in terms of touring in the big leagues. From what I’ve seen and heard, it’s becoming more common practice that bands or their labels are buying on to these larger tour packages. Once again, “pay-to-play” rears its ugly head in a different fashion. Sorry, Debbie Downer moment.
HP: You guys have been together a decade now, and have released 4 very important albums (even if most of the world doesn’t realize it yet). How different was the process for writing the music on the first album from that on the last?
Keith: Very different. I had been a bit of a control freak on the first two, but now with the addition of Cas, I've let go of that. Rick and Cas both have great ideas, whether it be riffs or arrangements, so it's much easier to let go of total control. And I think that is very apparent if you listen to the progression of the songwriting on the last two albums especially.
Cas: I don’t really do anything. It must be the beard. Or Rick’s aftershave.
HP: Keith, can you describe to us a little bit of that process for creating songs? Do you start with the music, the lyrics, some combination of both?
Keith: It always starts with just a collection of riffs that I have in my head, then I bring it to the fellas and we arrange it together for the most part. As far as the lyrics, I've had a lot of ups and downs in the past five or so years and I draw everything from that. It's been a rough ride. My daughter, Riley, is a huge source of inspiration and she's also the greatest.
Cas: The writing part of it seems to be second nature for Keith. I just bring beer and watch the magic happen.
HP: Has it become more of a struggle over the years to write new songs, or do you feel like there is a pretty deep well there?
Keith: The well is very deep when it comes to riffs, thankfully; I have been lucky in that respect. There have been spaces of writer's block but that is usually because of drama in my own personal life.
HP: You mentioned Cas and Rick are now very involved in the writing process. As talented as they are as musicians I can only imagine they have a lot of deep understanding of song structure. Can you elaborate on what they bring to the table just a bit?
Keith: Rick and Cas are great when it comes to that. They each have different backgrounds in musical tastes so that really helps a lot. Rick loves old school Rock & Blues as well as Jazz, Psych, & Prog, but he is rooted there. Cas comes from more of an indie standpoint, which helps us to stay away from writing music to make money (as opposed to keeping our integrity). He also loves the old school stuff. I’m somewhere in the middle. Cas and I both love 80's thrash metal!
Cas: Keith brings the riffs. Rick then likes to get into the nuts and bolts of the songs as they come together; any and all aspects involved with the structuring, gear, and/or recording approach. The two of them get the songs to a point where it’s practically complete by the time I come in and add my parts.
HP: Keith mentioned some inspirational sources, how about for Rick and Cas, where do you typically find your inspiration? Is writing a song something in which you have to flex a lot of mental muscle, or do the songs come somewhat easily? Or is it perhaps something in between?
Rick: Usually from a personal event or experience for the most part. Current & past world events maybe a bit as well.
HP: “IV” contains some incredibly well written music, both lyrically and melodically. I'm thinking specifically of "Eye of the Storm", "Corner", and "Drawing Flies". The thing that is inspiring to a fan like me is how fresh your music sounds, especially considering you've been cranking songs out for at least a decade. Is it a conscious effort on your part to create a specific sound or a certain feel for any of an album's songs? Do you struggle at all with trying to find a freshness in what you write?
Keith: We just write what comes out. I have kinda taken that AC/DC approach where I don't care what is going on around me musically, we just stick to our guns.
Cas: Yeah, there’s no real magic secret or concerted effort in the writing approach. It’s quite basic and to-the-point. It ends up typically being, “Oh, that’s a cool riff. Let’s make a song of that with that other cool riff.” Boom. Song done.
HP: Tell me a little about your playing, each of you. Has anything changed for you physically in the way you approach playing these days, whether it be for the studio or for a show. As you've aged a bit, has it had an effect on your ability to manipulate your instruments, whether positively or negatively? Do you guys find you have to warm up a little more these days before taking the stage or is the opposite effect where you've become so proficient at playing it's now second nature?
Cas: I can probably speak for all of us in that we have to warm up the fingers, stretch a bit, and get the pee break in right before set time. I think it’s important to go through the pre-show motions at any age, but it’s especially important now that we’re old fucks. My knees don’t function quite as well as they once did. The tinnitus also seems to be getting worse as I age, so I am trying to learn how to play on stage with earplugs. I tend to rip them out frequently because I want to hear everything at full volume. Yeah, I’m a dumbass.
HP: Similarly, Keith, how have the years treated your vocal chords and your ability to sing in the all out full throated way you do for Sasquatch? John Garcia recently stated that age has not diminished his ability to sing like it seems to do for most frontmen, so I was wondering what your experience has been in that regard.
Keith: It's pretty much second nature, at least for me. We've never had a grueling touring schedule so things like tendinitis or vocal issues have never been a problem. I’m happy and sad about that because we would love to tour 6 months of the year, but I think it helps keep our longevity.
HP: What does the future hold for Sasquatch? Do you see yourselves making music for another decade or more (I hope)?
Keith: Sasquatch will keep putting our albums as long as we are able to do so. I'm pretty sure I can speak for the guys when I say that our number one passion in life is music.
HP: Your music is usually placed within the genre of 'stoner' rock, for better or worse. What are your thoughts on that aspect of the underground rock world? What are your thoughts on the state of rock and roll right now where thousands of extremely gifted bands and musicians remain deeply obscure, labeled as stoner, doom, high desert, fuzz rockers, but get little to no airtime or notoriety? How do you feel about the more popular rock artists currently garnering air time, bands like Foo Fighters, Black Keys, Godsmack, Nickelback, Disturbed, or whoever is out there these days? Any of them making music that is worth the time to listen to?
Keith: I would have to defer to the guys for that question. I really don't listen to anything current, it's just a personal choice. Bands like old Traffic, Blind Faith, Zeppelin, Floyd, any seventies bands are what I draw from. Cas keeps up with what is going on, you should see his CD collection, it's fucking massive! As far as the Stoner rock tag…it doesn't really apply. I think of us currently as a rock band with some elements of stoner rock. We are strictly alcohol driven these days. Ha!
Cas: Tough questions. No clear answers quite yet. There have always been those bands, genres, scenes that haven’t gotten the notoriety they deserve, and I don’t think that has really changed since I’ve been a wee lad. I do think that the playing field has leveled out a bit more with the digital age and what some consider to be the fall of the “majors”. The opportunities are still in flux though. Many of the bands (us included) are trying to figure out how to really embrace and take advantage of the technology and Internet-driven advancements. On one hand, our music is freely available to anyone that wants to steal it. On the other hand, if it weren’t for the youtubes, facebooks, and even myspaces of ten years ago, Sasquatch wouldn’t have the kind of global exposure that we do now. Hell, a majority of our online store traffic comes from Europe, but we’ve even been getting some decent response from places deep in South America, Australia, as well as South Africa. Kind of wild when you think about it. To answer your question about popular rock… yeah, there is mainstream stuff I like just as much as the next guy. Soundgarden falls on the top of that list. I also have a lot of respect for what Grohl and Homme have done to make a career of it. Same goes with the Black Keys. That other stuff you mentioned is a bunch of rubbish though.
HP: When you're alone, each of you, what tunes are you spinning in your car, your office, etc.? How about when you're together, either touring or in the studio perhaps, what do you listen to as a gaggle of musicians. Is it a gaggle? A horde? A pride? I'm not sure.
Rick: Gaggle! My iPod will have anything from Frank Zappa, Budgie, Mahogany Rush, Mahavishnu Orchestra, Funkadelic, Monster Magnet, Killing Joke, The Cult, The Guess Who, pre American label Loudness, Rory Gallagher, Steve Earle, Eric Johnson, Tony Williams Lifetime, Robin Trower…pretty diverse. We also dig our fellow Small Stone bands as well. We will take turns & throw on whatever: Cas? Keith?
Cas: When the three of us are touring in the van, there tends to be a lot of Stern and random comedy shows on Sirius. Otherwise, it’s driver’s choice. In the office, I tend to listen to mellower stuff. Exotica, jazz, classical. Something that doesn’t distract. Ya know, like a Red Red Meat or Martin Denny record hits the spot. On the commute, it’s rock time, and there are a variety of bands I started listening to in the early 90s that still stay in rotation on my mp3 player. I can spin a Barkmarket, Quicksand, or Shiner record, for instance, and it still sounds as fresh to me as the day it came out. We’re also lucky in that one doesn’t have to look much further from the label for good stuff to pass the time. Try cranking Mellow Bravo’s “Ridin” while you’re on the freeway next time. I had it on yesterday morning. It’s great for bobbing and weaving in and out of traffic going 80.
HP: What was the last album that stopped you in your tracks and made you take notice?
Rick: I like the new Killing Joke record MMXI as well as the new Clutch.
Cas: Re-Voltaire.
HP: Each of you have had experiences playing in other projects or for other artists, just as you've had guest artists on your own albums, notably Small Stone Head Honcho Scott Hamilton of Luder and Gozu's Marc Gaffney on "IV". Are there any other projects or supergroups coming up, such as when Rick played drums for The Ultra Electric Mega Galactic and on which Keith had a guest spot? As fans of all three of you guys, as a group and as individual musicians, I'm sure I'm not alone in wanting to hear whatever you produce, either as the monster group Sasquatch, as guest musicians for other bands, or perhaps as members of the trend of super groups that pop up from time to time.
Keith: Sasquatch is my baby and I really don't have that much interest in doing anything else right now except just guest spots. Hope that doesn't make me sound like a dick, it's just the truth. Cas is playing with our friends in Behold! The Monolith and I think he really enjoys it since they are much different than what Sasquatch does.
Cas: Yeah, I’m now splitting my time with Behold! The Monolith here in LA. We’ve known those guys for awhile (I think Keith and Chase have been bros for about 10 years), and I’ve been a fan of the band since Sasquatch had first played with them a couple of years back in Reno. This past Spring they lost Kevin (their frontman, bass player, and all around good dude) in a fatal car accident one week before they were set to leave on their first US tour. It’s been really tough on the guys, but after speaking with Kevin’s girlfriend and family, they decided to continue on. Anyway, I started jamming with them maybe in August just as they were getting back into it. It’s sort of a hybrid between sludgier doom, and fast-paced metal, something that I haven’t done since my early college days. It’s quite different musically than Sasquatch, so there’s a good balance between the two bands.
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So, there you have it, a little insight into three mammoth rockers, masters of the riff, who live for their music, are clever, gifted, and insightful, and conduct themselves with humor and wit. They are well matched as a threesome, each bringing a wealth of ability and heart to the music they make, and we, as their fans, are better off for it, even if, for them, it's a not insignificant struggle. Passion trumps strife, strife inspires art, we reap the rewards with the incomparable "IV".
facebook . . bandcamp . . website
Tuesday, April 30, 2013
Heavy Planet Interview - Rock and Roll Artist Extraordinaire Alex von Wieding
At the end of 2012 when making my list of Top 20 albums there was a characteristic of the list that stood out for me. Granted, as an amateur artist myself, in every sense of the word, I have always admired the great art on album covers and live show posters from such awesome ink slingers as Brian Mercer and Chris Hitchman, among others. One artist, though, who seemed to stand alone with his approach to technique, style, and imaginative storytelling has been Alex von Wieding. He has been incredibly prolific as well, which when combined with the quality of work he creates is quite impressive. Alex has painted album covers for a large number of stoner and doom albums and other genres of rock over the past several years. In 2012 he was as prolific as ever. Of my Top 20 albums no fewer than 5 of them had covers by Mr. von Wieding. Between my own artistic yearnings and appreciation, the prolific output by Alex, and his incredible creations I decided to name him artist of the year in my year end article as a small tribute.
As it turns out Alex does a lot of work for the artists aligned with a number of the record labels who focus on delivering quality stoner / doom / retro / psychedelic / retro rock to the yearning, fuzz loving masses. One of those record labels is Stargun Music who have just begun to get started in this underground rock and roll world, celebrating their first anniversary this week with Heavy Planet as you surely have noticed with the interview posted yesterday on this site. Since Alex does so much work for them, is an artistic force in this low tuned and heavy world, and is an interesting person of note full of passion for his work and for the music it represents, we are presenting an interview of him below, as conducted by Jeremy of Stargun Records.
Jeremy: Hey Alex thanks for sparing the time to talk today on behalf of Heavy Planet as part of Stargun Music's one year anniversary.
Alex: Hey there.
Jeremy: I know you are very busy finishing album artwork for SADA and tons of other projects so lets cut to the chase - when you're not doing work for awesome bands like Karma To Burn, Enos, Wo Fat and the aforementioned SADA - what music do you normally listen to?
Alex: Oh, that would most currently be the new Clutch record - "Earth Rocker", and I also just bought the new BRMC and Free Fall... apart from that, I've been listening to a bunch of electronika and soundtracks again as of late. Stuff like Tangerine Dream, Harald Grosskopf, Zombi, Majeure, Steve Moore... but also Endless Boogie (Long Island is awesome!), Camera, Barn Owl, Electric Orange, Imaad Wasif, It's Not Night- It's Space... oh, and while I'm at it: Organic Is Orgasmic. You guys should really check them out. Great stuff. As for the soundtracks, the current heavy rotation includes "The Hitcher" soundtrack (the original one, can never go wrong with that), "Tron Legacy", "Darksiders 2", and others.
Jeremy: Any favourite or stand out albums from last year?:
Alex: Hm, hard to say. Apart from those I did the art for (I love each of them equally), let's see... I really listened the hell out of Camera's self titled debut, Majeure's "Solar Maximum", Steve Moore's "Light Echoes" and the latest Rival Sons album, "Head Down", which I also forgot above, since it's spinning in the car every few days... haha.
Jeremy: How did you get your start in doing album artwork? Were you approached or did you offer your services to a band or label?
Alex: Apart from the fact that I'd been toying with doing album artwork for a while, but never did it for any real bands up to that point, it in fact was the re-releases of Monster Magnet's "Spine Of God" and "25... TAB" around 2005, 2006. And it was also funny, because by that time, Monster Magnet were one of my favorite bands, and when I read somewhere that there would be re-issues coming out, and then never saw any artwork for them anywhere, I kept asking myself, "Well, what would my personal interpretation look like?". And I just simply started doing them. By the time I was done, and there was still no re-issue artwork showing up anywhere, I thought, why not publish them on the MM forum? And so I did. Not only did the folks there love them, a few days later, I got a call from SPV, the label that was doing the re-issues, and they were asking me if I would be into making them the official ones. It really was like a dream come true. Haha. After that, it's all of the above. I hit up bands I dig and find inspiring, and I would love to do art for, and the other way around.
Jeremy: As if creating awesome artwork wasn't enough, your own band Larman Clamor also has an album out on Small Stone Records. What's the story there?
Alex: Well, Larman Clamor started out as a two-piece with a buddy of mine who hit the road, getting busy with other things, after the first EP was finished. But still having so many ideas on the shelf, I kicked myself in the butt and continued on my own. I never wanted Larman Clamor to be "that band of that artwork guy" from the start though. I thought I had something cool going there, and wanted to have it stand on its own feet. So there soon was "Altars To Turn Blood" as a release via CDBaby, having my name only in tiny, tiny letters on there in the artwork, well hidden. Haha. When I had the second album, "Frogs", all wrapped up, and it sounded pretty legit, I thought, why not ask Scott (Hamilton, Small Stone Records) if he would be into putting it out? The worst thing that could've happened would've been a "Nope", and since Larman Clamor was (and is) a hobby of mine, I also wouldn't have had a problem with that. In fact, I was copping out of asking Scott for quite some time, haha. But when he was like "Sure, let's do it!", man, I was happy. So, that would be the story summed up, I guess.
Jeremy: I was thrilled when Heavy Planet named you and your work for the Enos album "All Too Human" as the best artist and best album artwork of 2012 in their year review. Can you explain to a mere mortal like me how the process works and how your mind works from the stages of listening to an album to creating the final artwork?
Alex: Haha! Dude, was I speechless when I read that! I even failed to see it when I was reading that news for the first time, ha! The process is pretty easy - though also partly secret for myself, as I don't know what exactly happens at some point, when the images keep hitting me... Basically, when there's no "must have" concept for the art, or even a big "?", I'm just sitting back with the album on headphones in a darkened room, maybe having browsed through the lyrics before that, and then just enjoying the music with my eyes closed, my sketchbook beside me, seeing what happens on surfing the aether. So there's those concept sketches coming out, which can be both design-ideas or stuff for paintings / illustrations. Those I send to the band and the label, seeing if they make their arm hair stand up or not. Usually, I have a pretty nice hitting quota with this kind of method, as a lot of bands were like "Dude! That's perfect! We never even thought of this!" (Wo Fat's "Black Code" and Enos' "All Too Human" are among those, by the way). I guess I'm lucky (Nuclear Dog's note: Or simply damn good!) and thankful for that gift. But it also can be a conceptual idea or even a song from a band that's just 'tickling my tastebuds' so to speak - activating the vision-machine. So, after the sketches have been given a greenlight, I'm doing detailing on those ideas, see what works design-wise and such (do I want to do a wrap-around painting and such? If so, does it fit the subject?), then starting to paint. Sometimes I'm sending work-in-progress previews to the band and/or the label, but usually, once I'm on the right path, the artworks kind of paint themselves. Then, it's a little fine tuning here and there on the design-parts, logos etc., and voilà - done.
Jeremy: Do you have any personal favourite album covers from your work over the last few years? Anything that you are particularly proud of or any work that was the most fun to do?
Alex: Oh, there were so many, but let's see, Tia Carrera's "Cosmic Priestess" is one of my favorites, because not only did I do it for the band years before the album came out - they also named the album after the painting, which is awesome. ÖfÖ AM's "The Beast Within" is also one I keep fishing out of the shelf, just because I painted that one from scratch to finish on one day, and it's still having that "special feeling" to it. The artwork for Wo Fat's albums are always fun, as well as the ones for Karma To Burn (though those tend to be pretty rushy and stressful at times, due to overlooked deadlines... ahem... I'm looking at you, Rich! ), and though the portal-parts details on the Enos one were a pain in the ass at some point, I just loved the idea of a space portal made out of junk so much that the fun kind of kicked the stress out of the window. Aside from that, the painting for the vinyl edition of "Frogs" was a blast. Outsmarting my own mind, seeing if I could paint the little something that was hiding there beyond the lyrics and between the lines... that was fun. And I guess it turned out pretty well... and daaaark. Haha.
Jeremy: Lastly, Alex, you have been very kind in signing a copy of the All Too Human vinyl for Heavy Planet to give away in competition as part of Stargun Music's first year anniversary. Would you like to give a shout out or any thanks to anyone?
Alex: I think I'll have to be a little general here, since it's too many bands and people that I'd love to name, so: Thanks to all of you out there who keep doing that badass music that keeps inspiring the hell out of me! And of course, there's one to the labels that keep hitting me up with awesome stuff! By this, thanks to Scott at Small Stone Records, Steffen and Thorsten at High Roller Records and not to forget you, Jeremy, and Ross at Stargun Music! It's a pleasure to work with you! Thanks for digging what I do!
Jeremy: Just keep up the good work! Thanks for your time!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
So there you have it straight from the Maestro's lips. One point not touched upon in the interview that I have subsequently discovered in short discussions with Alex is that the medium he uses is a bitmap software such as PhotoShop, PhotoPaint, or GIMP. I don't know which product he uses, but his awesome paintings, that look as though they would smear if you touched one, was created on a computer. To me, an old school wannabe, that is quite impressive. To most of you, though, it may be what you would expect in a digital world. It's proof again that digital tools can enhance the world we live in, for in this case it allows a brilliant imagination such as Alex' to be quite prolific without wasted efforts from more organic mediums. To highlight his process, below is a jpg file of the steps he took when creating "All Too Human". All too cool.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
As a salute to Alex' work and to Heavy Planets' loyal readers we are offering a special giveaway to commemorate this milestone. To the first person who can name the 5 albums in Nuclear Dog's Top 20 Albums of 2012 (here) that were painted by Alex von Wieding we will send to you a signed vinyl copy of Enos' "All Too Human", signed by the cover artist himself. For the next 5 who get the list correctly we will send to you a copy of Stargun Music's awesome compilation CD "Sonic Titans", which has an incredible cover by Alex as well.
Please send your responses along with your name and postal mailing address to the following email:
gunnerkee19@gmail.com
Please take the time to enjoy Larman Clamor's "Frogs", an incredible romp of stoner psychedelic fun and imagination. Is there anything Alex can't do artistically? And do it exceptionally well?
As it turns out Alex does a lot of work for the artists aligned with a number of the record labels who focus on delivering quality stoner / doom / retro / psychedelic / retro rock to the yearning, fuzz loving masses. One of those record labels is Stargun Music who have just begun to get started in this underground rock and roll world, celebrating their first anniversary this week with Heavy Planet as you surely have noticed with the interview posted yesterday on this site. Since Alex does so much work for them, is an artistic force in this low tuned and heavy world, and is an interesting person of note full of passion for his work and for the music it represents, we are presenting an interview of him below, as conducted by Jeremy of Stargun Records.
Cover art for "Sonic Titans"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Jeremy: Hey Alex thanks for sparing the time to talk today on behalf of Heavy Planet as part of Stargun Music's one year anniversary.
Alex: Hey there.
Jeremy: I know you are very busy finishing album artwork for SADA and tons of other projects so lets cut to the chase - when you're not doing work for awesome bands like Karma To Burn, Enos, Wo Fat and the aforementioned SADA - what music do you normally listen to?
Alex: Oh, that would most currently be the new Clutch record - "Earth Rocker", and I also just bought the new BRMC and Free Fall... apart from that, I've been listening to a bunch of electronika and soundtracks again as of late. Stuff like Tangerine Dream, Harald Grosskopf, Zombi, Majeure, Steve Moore... but also Endless Boogie (Long Island is awesome!), Camera, Barn Owl, Electric Orange, Imaad Wasif, It's Not Night- It's Space... oh, and while I'm at it: Organic Is Orgasmic. You guys should really check them out. Great stuff. As for the soundtracks, the current heavy rotation includes "The Hitcher" soundtrack (the original one, can never go wrong with that), "Tron Legacy", "Darksiders 2", and others.
Jeremy: Any favourite or stand out albums from last year?:
Alex: Hm, hard to say. Apart from those I did the art for (I love each of them equally), let's see... I really listened the hell out of Camera's self titled debut, Majeure's "Solar Maximum", Steve Moore's "Light Echoes" and the latest Rival Sons album, "Head Down", which I also forgot above, since it's spinning in the car every few days... haha.
Jeremy: How did you get your start in doing album artwork? Were you approached or did you offer your services to a band or label?
Alex: Apart from the fact that I'd been toying with doing album artwork for a while, but never did it for any real bands up to that point, it in fact was the re-releases of Monster Magnet's "Spine Of God" and "25... TAB" around 2005, 2006. And it was also funny, because by that time, Monster Magnet were one of my favorite bands, and when I read somewhere that there would be re-issues coming out, and then never saw any artwork for them anywhere, I kept asking myself, "Well, what would my personal interpretation look like?". And I just simply started doing them. By the time I was done, and there was still no re-issue artwork showing up anywhere, I thought, why not publish them on the MM forum? And so I did. Not only did the folks there love them, a few days later, I got a call from SPV, the label that was doing the re-issues, and they were asking me if I would be into making them the official ones. It really was like a dream come true. Haha. After that, it's all of the above. I hit up bands I dig and find inspiring, and I would love to do art for, and the other way around.
Jeremy: As if creating awesome artwork wasn't enough, your own band Larman Clamor also has an album out on Small Stone Records. What's the story there?
Alex: Well, Larman Clamor started out as a two-piece with a buddy of mine who hit the road, getting busy with other things, after the first EP was finished. But still having so many ideas on the shelf, I kicked myself in the butt and continued on my own. I never wanted Larman Clamor to be "that band of that artwork guy" from the start though. I thought I had something cool going there, and wanted to have it stand on its own feet. So there soon was "Altars To Turn Blood" as a release via CDBaby, having my name only in tiny, tiny letters on there in the artwork, well hidden. Haha. When I had the second album, "Frogs", all wrapped up, and it sounded pretty legit, I thought, why not ask Scott (Hamilton, Small Stone Records) if he would be into putting it out? The worst thing that could've happened would've been a "Nope", and since Larman Clamor was (and is) a hobby of mine, I also wouldn't have had a problem with that. In fact, I was copping out of asking Scott for quite some time, haha. But when he was like "Sure, let's do it!", man, I was happy. So, that would be the story summed up, I guess.
Jeremy: I was thrilled when Heavy Planet named you and your work for the Enos album "All Too Human" as the best artist and best album artwork of 2012 in their year review. Can you explain to a mere mortal like me how the process works and how your mind works from the stages of listening to an album to creating the final artwork?
Alex: Haha! Dude, was I speechless when I read that! I even failed to see it when I was reading that news for the first time, ha! The process is pretty easy - though also partly secret for myself, as I don't know what exactly happens at some point, when the images keep hitting me... Basically, when there's no "must have" concept for the art, or even a big "?", I'm just sitting back with the album on headphones in a darkened room, maybe having browsed through the lyrics before that, and then just enjoying the music with my eyes closed, my sketchbook beside me, seeing what happens on surfing the aether. So there's those concept sketches coming out, which can be both design-ideas or stuff for paintings / illustrations. Those I send to the band and the label, seeing if they make their arm hair stand up or not. Usually, I have a pretty nice hitting quota with this kind of method, as a lot of bands were like "Dude! That's perfect! We never even thought of this!" (Wo Fat's "Black Code" and Enos' "All Too Human" are among those, by the way). I guess I'm lucky (Nuclear Dog's note: Or simply damn good!) and thankful for that gift. But it also can be a conceptual idea or even a song from a band that's just 'tickling my tastebuds' so to speak - activating the vision-machine. So, after the sketches have been given a greenlight, I'm doing detailing on those ideas, see what works design-wise and such (do I want to do a wrap-around painting and such? If so, does it fit the subject?), then starting to paint. Sometimes I'm sending work-in-progress previews to the band and/or the label, but usually, once I'm on the right path, the artworks kind of paint themselves. Then, it's a little fine tuning here and there on the design-parts, logos etc., and voilà - done.
Jeremy: Do you have any personal favourite album covers from your work over the last few years? Anything that you are particularly proud of or any work that was the most fun to do?
Alex: Oh, there were so many, but let's see, Tia Carrera's "Cosmic Priestess" is one of my favorites, because not only did I do it for the band years before the album came out - they also named the album after the painting, which is awesome. ÖfÖ AM's "The Beast Within" is also one I keep fishing out of the shelf, just because I painted that one from scratch to finish on one day, and it's still having that "special feeling" to it. The artwork for Wo Fat's albums are always fun, as well as the ones for Karma To Burn (though those tend to be pretty rushy and stressful at times, due to overlooked deadlines... ahem... I'm looking at you, Rich! ), and though the portal-parts details on the Enos one were a pain in the ass at some point, I just loved the idea of a space portal made out of junk so much that the fun kind of kicked the stress out of the window. Aside from that, the painting for the vinyl edition of "Frogs" was a blast. Outsmarting my own mind, seeing if I could paint the little something that was hiding there beyond the lyrics and between the lines... that was fun. And I guess it turned out pretty well... and daaaark. Haha.
Jeremy: Lastly, Alex, you have been very kind in signing a copy of the All Too Human vinyl for Heavy Planet to give away in competition as part of Stargun Music's first year anniversary. Would you like to give a shout out or any thanks to anyone?
Alex: I think I'll have to be a little general here, since it's too many bands and people that I'd love to name, so: Thanks to all of you out there who keep doing that badass music that keeps inspiring the hell out of me! And of course, there's one to the labels that keep hitting me up with awesome stuff! By this, thanks to Scott at Small Stone Records, Steffen and Thorsten at High Roller Records and not to forget you, Jeremy, and Ross at Stargun Music! It's a pleasure to work with you! Thanks for digging what I do!
Jeremy: Just keep up the good work! Thanks for your time!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
So there you have it straight from the Maestro's lips. One point not touched upon in the interview that I have subsequently discovered in short discussions with Alex is that the medium he uses is a bitmap software such as PhotoShop, PhotoPaint, or GIMP. I don't know which product he uses, but his awesome paintings, that look as though they would smear if you touched one, was created on a computer. To me, an old school wannabe, that is quite impressive. To most of you, though, it may be what you would expect in a digital world. It's proof again that digital tools can enhance the world we live in, for in this case it allows a brilliant imagination such as Alex' to be quite prolific without wasted efforts from more organic mediums. To highlight his process, below is a jpg file of the steps he took when creating "All Too Human". All too cool.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
As a salute to Alex' work and to Heavy Planets' loyal readers we are offering a special giveaway to commemorate this milestone. To the first person who can name the 5 albums in Nuclear Dog's Top 20 Albums of 2012 (here) that were painted by Alex von Wieding we will send to you a signed vinyl copy of Enos' "All Too Human", signed by the cover artist himself. For the next 5 who get the list correctly we will send to you a copy of Stargun Music's awesome compilation CD "Sonic Titans", which has an incredible cover by Alex as well.
Please send your responses along with your name and postal mailing address to the following email:
gunnerkee19@gmail.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Please take the time to enjoy Larman Clamor's "Frogs", an incredible romp of stoner psychedelic fun and imagination. Is there anything Alex can't do artistically? And do it exceptionally well?
Saturday, April 13, 2013
Nuclear Dog's Atomic Split: The Ultra Electric Mega Galactic - "The Ultra Electric Mega Galactic" / Electric Taurus - "Veneralia"
There is a direct connection between one band from last week's Atomic Split and one band from this week's version, but that direct connection is not necessarily the style of music. Aside from that you will need a spare oxygen tank this week as we trip fast and far through the universe, and while the vehicle is mandatorily psychedelic in nature, whether you use fuel that has a smoky exhaust or whether you simply let the music be your guide, you are likely to be breathless through long quixotic stretches of this quantum quest, quickly quenchable with dispatches of pure oxygen. Enjoy the musical journey folks. It's a trip.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE ULTRA ELECTRIC MEGA GALACTIC - "THE ULTRA ELECTRIC MEGA GALACTIC"
This album could be considered as a gift of sorts, a gift to lovers and long time followers of stoner rock, psych rock, retro rock, 70s rock, the kind of rock that matters. UEMG are a supergroup comprised of:
Ed Mundell (Monster Magnet, The Atomic Bitchwax) - guitars
Collyn McCoy (Trash Titan, Otep) - bass
Rick Ferrante (Sasquatch) - drums
There is a lot to glean from those 3 lines. Ed Mundell is as well known in the stoner rock world as a rocker can be, having been a significant, intrinsic part of both Monster Magnet and The Atomic Bitchwax. His ability to play his chosen instrument is phenomenal and breathtaking, to say the least, and his influences on both his former bands was integral to their most musically prolific periods. That is not a coincidence. Collyn McCoy formerly of Otep and currently of Trash Titan (that name sounds incredibly familiar, where have I heard it before?) is a whole lot more than a bass player in a rock band, currently laying down monstrous, phenomenal sounds for 2 functioning bands. Rick Ferrante . . . he's the drummer for Sasquatch - you know, SASQUATCH!, a band of gargantuan sound and ability, driven ferociously from the back by the organic and seamless ease of Rick's rhythmic underpinnings. An obvious omission from those 3 lines, too, is the lack of a vocalist, signifying the instrumental bent of this album, something in my experience that tends to lead to an immense and satisfying listening experience. When the music itself has to grab and keep the interest of the listener most stoner rock musicians tend to muster up some mighty tasty tunes. This album is certainly no exception.
The band's story is familiar. Three musicians who found themselves in each other's company and in need of playing at a time when there were no pressing commitments from elsewhere began a musical journey together, a journey that perhaps started out slowly, cautiously, jamming together, playing in small venues in and around the area in which they live, growing together musically into something they could call their own until one day they found they had created something unique, and phenomenal, and noteworthy. Judging by feedback from the crowds, from the people around them, and from their own keen ears they concluded they really should share it with the world. And so they have. Thank you, gentlemen, for this musical gift.
The best way to hear these songs, of course, would be at a live venue. I have not had that privilege, and quite likely never will. From there the closer you can get to live sounds the better off you'll be, but even if all you can muster is to hear this stuff in mp3 format you will still quite likely be blown away by the intricacies and richness of what UEMG have created. It is certainly the kind of album that grabs you hard the first time through and only gets better with each spin through.
Two interesting tidbits about the album are, first, the opening track in which the introduction is a passage written and spoken specifically for the album by the author Harlan Ellison. Cool. And, second, a guest spot on the opening musical track, track #2, by Ferrante's bandmate from Sasquatch, Keith Gibbs. Again, cool.
"Exploration Team", as mentioned, has Gibbs' distinct guitar riffs melding perfectly with the incredible deliveries of UEMG's regular members. The overall feel for the song is fun and light. It's not really light by any stretch, but the enjoyment these guys express while playing, along with the pleasures as a listener, combines with the tempo for entertainment and wonder. As with each song on this album there are hundreds of pieces, parts, snippets, riffs, licks, fills, rolls, what have you that all blend together to create masterpiece after masterpiece. To a trained and experienced ear there is likely to be a dozen spins through the songs to catch what they have crafted in full. For someone who just knows he's hearing greatness, I look forward to dozens of spins of my own.
"Get Off My World!" has a slower tempo and an impeccable fuzz rate, if you will. I think it's fair to say that Mundell's blistering guitar work is the focal point on this song, but McCoy's bass and Ferrante's drums are still ever present and powerful, nonetheless.
"7000 Years Through Time" is like a huge, beautiful, laserbeam solo from beginning to end, which makes sense given the sole writing credits for it go to Mr. Mundell. Its follow on tune, "The Third Eye" is a crispy, crackling twelve minute romp that allows plenty of time for each member to play to the audience with relish, glee, and not a little bit of ferocity, all held in perfect check and doled out expertly in textures and waves that will leave you gasping in the vacuums left behind.
"Rockets Aren't Cheap Enough" . . . it's as much fun as you can have with guitars and drums, I'd be willing to bet.
"The Man With a Thousand Names" is a new kind of fun on the album, infused with sitar infusing this trip to the outer reaches with an Eastern flavor.
"Hello to Oblivion" seems at first to not have distinguishing markers as pronounced as its brethren, but going through it more than once reveals some wicked bass riffs and powerful Bonham style drumwork to go with the multi-layered riffs and rills that permeate the richly textured song.
The album closes out with the trippiest leg of the journey with "In The Atmosphere Factory". The strings, as usual, are multi-faceted and diverse, manipulated here for a surreal experience that flows in and around the steady, primal tempo set down by the song's rhythm. It's a carefully chosen and perfectly played closer.
This album, which is more than likely a mere representative sample of what these songs sound like in a live environment, still will get serious consideration for Top Ten/Twenty lists throughout the rock world at year's end, I have no doubt.
facebook /\ bandcamp /\ website /\ reverbnation
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ELECTRIC TAURUS - "VENERALIA"
Dublin Ireland is the home for this three piece stoner/psych band who have crafted an incredible journey of volume and fuzz with their debut EP "Veneralia". Initially formed in 2010 and having gone through some of the typical growing pains of new bands, by the time they had solidified the lineup and had written some superb music they were comprised of the following members:
James Lynch - Bass
Matt Casciani - Guitar, Vocals
Mauro Frison - Drums
The music was good enough for Italian indie record label Moonlight Records to sign the band and put out this excellent EP. With influences coming heavily from the great rock music of the 60s and 70s, both popular and more from an underground origin, as well as the second coming of rock during the 90s with grunge and stoner/desert sounds, Electric Taurus have managed to create their own unique stoner rock sound that has a distinctive psychedelic flair, making for a nice unique trip through the musical cosmos powered by low tuned, heavy engines, and melodic imagination.
Even though the album is considered an EP, due to its 'meager' 6 tracks, I suppose, it does not skimp on total volume, delivering nearly 50 minutes of quality music.
The opener is "Mountains", a great introduction to the quality on display, with lots of crackling, crunching fuzz, big booming bass, and a melody that is distinctive and memorable. A haunting bridge between the opening minutes of the song and the outro is rich in atmosphere and the vocal stylings of Casciani.
"A New Moon" blasts off with a classic stoner guitar sound comprised of differing riff layers that blend perfectly with strong, dynamic drums to engage the listener immediately into the music. The focal point throughout the song is the music, as opposed to the vocals, which are relegated to a distant yearning call from somewhere deep in the reaches of space. This vehicle of fuzz moves rapidly through space and time on an epic stoner/psych journey.
"Mescalina If At the Edge Of the Earth" is a long playing trippy delight, unfolding cautiously and deliberately until it reaches midpoint where the booster rockets that were heretofore idle kick in with a mighty churn of chaotic rhythm and power, comprised of equal parts guitar riff fuel, liquid drum rolls, and bass tone explosions, as they burn through the final stages of the song with unimaginable power and carefully controlled ignition.
"Two Gods Caput Algol" is more of a throwback to 70s rock reminiscent of early Aerosmith, Cream, or Hendrix. The melody is measured, purposely allowing for the vocals to express power and emotion in tandem with the guitar's mega riffs. The song never relies on one musical idea repeated several times, instead introducing change ups and variances that make it thoroughly intriguing and enjoyable.
"Prelude to the Madness" is another throwback to an earlier sound, but significantly different to the previous track. While it has elements of sounds from forty year old rock it combines that with segments that are slightly reminiscent to grunge era music with a punkish flair. The trippy and far out is never out of the equation, though, making its way in among the feel good rock of the 70s and the torturous glee of the 90s. This eclectic take is, again, quite interesting and entertaining. You never get the feeling anything is done for the sake of it, but instead is cleverly measured and delivered in perfect doses of rock era mashups.
The album closes with "Magic Eye" and an ear for distortion at its low tuned finest accompanied by raw, ragged, redolent riffs of rigor and enthusiasm.
facebook /\ record label /\ bandcamp /\ reverbnation /\ website
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE ULTRA ELECTRIC MEGA GALACTIC - "THE ULTRA ELECTRIC MEGA GALACTIC"
This album could be considered as a gift of sorts, a gift to lovers and long time followers of stoner rock, psych rock, retro rock, 70s rock, the kind of rock that matters. UEMG are a supergroup comprised of:
Ed Mundell (Monster Magnet, The Atomic Bitchwax) - guitars
Collyn McCoy (Trash Titan, Otep) - bass
Rick Ferrante (Sasquatch) - drums
There is a lot to glean from those 3 lines. Ed Mundell is as well known in the stoner rock world as a rocker can be, having been a significant, intrinsic part of both Monster Magnet and The Atomic Bitchwax. His ability to play his chosen instrument is phenomenal and breathtaking, to say the least, and his influences on both his former bands was integral to their most musically prolific periods. That is not a coincidence. Collyn McCoy formerly of Otep and currently of Trash Titan (that name sounds incredibly familiar, where have I heard it before?) is a whole lot more than a bass player in a rock band, currently laying down monstrous, phenomenal sounds for 2 functioning bands. Rick Ferrante . . . he's the drummer for Sasquatch - you know, SASQUATCH!, a band of gargantuan sound and ability, driven ferociously from the back by the organic and seamless ease of Rick's rhythmic underpinnings. An obvious omission from those 3 lines, too, is the lack of a vocalist, signifying the instrumental bent of this album, something in my experience that tends to lead to an immense and satisfying listening experience. When the music itself has to grab and keep the interest of the listener most stoner rock musicians tend to muster up some mighty tasty tunes. This album is certainly no exception.
The band's story is familiar. Three musicians who found themselves in each other's company and in need of playing at a time when there were no pressing commitments from elsewhere began a musical journey together, a journey that perhaps started out slowly, cautiously, jamming together, playing in small venues in and around the area in which they live, growing together musically into something they could call their own until one day they found they had created something unique, and phenomenal, and noteworthy. Judging by feedback from the crowds, from the people around them, and from their own keen ears they concluded they really should share it with the world. And so they have. Thank you, gentlemen, for this musical gift.
The best way to hear these songs, of course, would be at a live venue. I have not had that privilege, and quite likely never will. From there the closer you can get to live sounds the better off you'll be, but even if all you can muster is to hear this stuff in mp3 format you will still quite likely be blown away by the intricacies and richness of what UEMG have created. It is certainly the kind of album that grabs you hard the first time through and only gets better with each spin through.
Two interesting tidbits about the album are, first, the opening track in which the introduction is a passage written and spoken specifically for the album by the author Harlan Ellison. Cool. And, second, a guest spot on the opening musical track, track #2, by Ferrante's bandmate from Sasquatch, Keith Gibbs. Again, cool.
"Exploration Team", as mentioned, has Gibbs' distinct guitar riffs melding perfectly with the incredible deliveries of UEMG's regular members. The overall feel for the song is fun and light. It's not really light by any stretch, but the enjoyment these guys express while playing, along with the pleasures as a listener, combines with the tempo for entertainment and wonder. As with each song on this album there are hundreds of pieces, parts, snippets, riffs, licks, fills, rolls, what have you that all blend together to create masterpiece after masterpiece. To a trained and experienced ear there is likely to be a dozen spins through the songs to catch what they have crafted in full. For someone who just knows he's hearing greatness, I look forward to dozens of spins of my own.
"Get Off My World!" has a slower tempo and an impeccable fuzz rate, if you will. I think it's fair to say that Mundell's blistering guitar work is the focal point on this song, but McCoy's bass and Ferrante's drums are still ever present and powerful, nonetheless.
"7000 Years Through Time" is like a huge, beautiful, laserbeam solo from beginning to end, which makes sense given the sole writing credits for it go to Mr. Mundell. Its follow on tune, "The Third Eye" is a crispy, crackling twelve minute romp that allows plenty of time for each member to play to the audience with relish, glee, and not a little bit of ferocity, all held in perfect check and doled out expertly in textures and waves that will leave you gasping in the vacuums left behind.
"Rockets Aren't Cheap Enough" . . . it's as much fun as you can have with guitars and drums, I'd be willing to bet.
"The Man With a Thousand Names" is a new kind of fun on the album, infused with sitar infusing this trip to the outer reaches with an Eastern flavor.
"Hello to Oblivion" seems at first to not have distinguishing markers as pronounced as its brethren, but going through it more than once reveals some wicked bass riffs and powerful Bonham style drumwork to go with the multi-layered riffs and rills that permeate the richly textured song.
The album closes out with the trippiest leg of the journey with "In The Atmosphere Factory". The strings, as usual, are multi-faceted and diverse, manipulated here for a surreal experience that flows in and around the steady, primal tempo set down by the song's rhythm. It's a carefully chosen and perfectly played closer.
This album, which is more than likely a mere representative sample of what these songs sound like in a live environment, still will get serious consideration for Top Ten/Twenty lists throughout the rock world at year's end, I have no doubt.
facebook /\ bandcamp /\ website /\ reverbnation
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Dublin Ireland is the home for this three piece stoner/psych band who have crafted an incredible journey of volume and fuzz with their debut EP "Veneralia". Initially formed in 2010 and having gone through some of the typical growing pains of new bands, by the time they had solidified the lineup and had written some superb music they were comprised of the following members:
James Lynch - Bass
Matt Casciani - Guitar, Vocals
Mauro Frison - Drums
The music was good enough for Italian indie record label Moonlight Records to sign the band and put out this excellent EP. With influences coming heavily from the great rock music of the 60s and 70s, both popular and more from an underground origin, as well as the second coming of rock during the 90s with grunge and stoner/desert sounds, Electric Taurus have managed to create their own unique stoner rock sound that has a distinctive psychedelic flair, making for a nice unique trip through the musical cosmos powered by low tuned, heavy engines, and melodic imagination.
Even though the album is considered an EP, due to its 'meager' 6 tracks, I suppose, it does not skimp on total volume, delivering nearly 50 minutes of quality music.
The opener is "Mountains", a great introduction to the quality on display, with lots of crackling, crunching fuzz, big booming bass, and a melody that is distinctive and memorable. A haunting bridge between the opening minutes of the song and the outro is rich in atmosphere and the vocal stylings of Casciani.
"A New Moon" blasts off with a classic stoner guitar sound comprised of differing riff layers that blend perfectly with strong, dynamic drums to engage the listener immediately into the music. The focal point throughout the song is the music, as opposed to the vocals, which are relegated to a distant yearning call from somewhere deep in the reaches of space. This vehicle of fuzz moves rapidly through space and time on an epic stoner/psych journey.
"Mescalina If At the Edge Of the Earth" is a long playing trippy delight, unfolding cautiously and deliberately until it reaches midpoint where the booster rockets that were heretofore idle kick in with a mighty churn of chaotic rhythm and power, comprised of equal parts guitar riff fuel, liquid drum rolls, and bass tone explosions, as they burn through the final stages of the song with unimaginable power and carefully controlled ignition.
"Two Gods Caput Algol" is more of a throwback to 70s rock reminiscent of early Aerosmith, Cream, or Hendrix. The melody is measured, purposely allowing for the vocals to express power and emotion in tandem with the guitar's mega riffs. The song never relies on one musical idea repeated several times, instead introducing change ups and variances that make it thoroughly intriguing and enjoyable.
"Prelude to the Madness" is another throwback to an earlier sound, but significantly different to the previous track. While it has elements of sounds from forty year old rock it combines that with segments that are slightly reminiscent to grunge era music with a punkish flair. The trippy and far out is never out of the equation, though, making its way in among the feel good rock of the 70s and the torturous glee of the 90s. This eclectic take is, again, quite interesting and entertaining. You never get the feeling anything is done for the sake of it, but instead is cleverly measured and delivered in perfect doses of rock era mashups.
The album closes with "Magic Eye" and an ear for distortion at its low tuned finest accompanied by raw, ragged, redolent riffs of rigor and enthusiasm.
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Tuesday, September 18, 2012
New Band To Burn One To: JESSIE DELUXE
Heavy Planet Presents . . . JESSIE DELUXE!
Band Bio:
Jessie Deluxe describes her sound as heavy, melodic rock. Her songwriting is dynamic and powerful, featuring choruses that "lift you high in the air and then smash you back down into the ground". This is 'in your face' rock n roll that conjures up the grittiness of P.J. Harvey and the sex appeal of Elvis, all the while adding her own unique edge.
This fiery front woman packs an authoritative punch live with her amazing voice. As she shreds on her Flying V, she commands the audience with the conviction of a rock icon. It is no surprise this L.A. based band has become well known for high energy shows and electric performances.
As for her background, Jessie has garnered the attention of various producers such as David Rowntree (Blur), Dave Jerden (Jane's Addiction, Poe), and Geza X (Sonic Youth). Her influences range from Hendrix, David Bowie, Annie Lennox, to NIN.
Thoughts:
Jessie is a driven rocker who without a doubt plays a deluxe brand of rock n roll. Big guitar, big vocals, high energy, and classic rock sounds that harken to garage, grrrl power, grunge, stoner, and sixties rock, bundling it all up in her own high voltage overture and dynamite presence. She has enlisted the mighty bass services of Sasquatch's Cas, who will only heighten the sound of the great songs Jessie writes as well as complement her nimble, lightning bolt guitar licks. Jessie Deluxe is currently writing and recording, as well as touring, so they are looking to release something new early in the coming year. The new release is bound to be a gunpowder keg of dynamite rock, but in order to satisfy an appetite of in your face riffage and on fire metal mayhem that unleashes a ton of energy, fury, and fun sink your teeth in the meantime into Vol. I, available on Jessie Deluxe's website.
((( website || facebook || myspace || twitter )))
Band Bio:
Jessie Deluxe describes her sound as heavy, melodic rock. Her songwriting is dynamic and powerful, featuring choruses that "lift you high in the air and then smash you back down into the ground". This is 'in your face' rock n roll that conjures up the grittiness of P.J. Harvey and the sex appeal of Elvis, all the while adding her own unique edge.
This fiery front woman packs an authoritative punch live with her amazing voice. As she shreds on her Flying V, she commands the audience with the conviction of a rock icon. It is no surprise this L.A. based band has become well known for high energy shows and electric performances.
As for her background, Jessie has garnered the attention of various producers such as David Rowntree (Blur), Dave Jerden (Jane's Addiction, Poe), and Geza X (Sonic Youth). Her influences range from Hendrix, David Bowie, Annie Lennox, to NIN.
Thoughts:
Jessie is a driven rocker who without a doubt plays a deluxe brand of rock n roll. Big guitar, big vocals, high energy, and classic rock sounds that harken to garage, grrrl power, grunge, stoner, and sixties rock, bundling it all up in her own high voltage overture and dynamite presence. She has enlisted the mighty bass services of Sasquatch's Cas, who will only heighten the sound of the great songs Jessie writes as well as complement her nimble, lightning bolt guitar licks. Jessie Deluxe is currently writing and recording, as well as touring, so they are looking to release something new early in the coming year. The new release is bound to be a gunpowder keg of dynamite rock, but in order to satisfy an appetite of in your face riffage and on fire metal mayhem that unleashes a ton of energy, fury, and fun sink your teeth in the meantime into Vol. I, available on Jessie Deluxe's website.
((( website || facebook || myspace || twitter )))
Thursday, December 30, 2010
Heavy Planet's Top 20 of 2010: #10 to #6
#10. Gozu-Locust Season (Small Stone)
Here is a band that just surprised the absolute shit out of me. As I was perusing the Small Stone records website, I came across Gozu and figured I'd give them a listen, and man am I glad I did. The tunes are not only catchy but chug along with that warm and fuzzy stoner rock groove. Think of a heavier version of Queens of the Stone Age but with a better singer (sorry not a big fan of Josh Homme's vocals). Listen. Repeat. Listen. Repeat...
What others had to say:
Gary Suarez. MetalSucks.net
"No matter how you feel about the Kyuss reunion under the Kyuss Lives moniker, I hope it has at least rekindled your interest in that heavy desert rock the boys used to make for us. Fortunately, Small Stone Recordings has been carrying the flame while the rest of you have been trendhopping like a bunch of bitches. (How’s that blackened deathgrind re-thrash emocore working for ya?) And as with last year’s revelation House Of Broken Promises, the label has given us another rare hunk of hard rockin’ gold in Gozu." Read more...
The Editor, The Dreaded Press
"OK, hold everything – I’ve just discovered what happened to the band that Queens Of the Stone Age somehow (and rather disappointingly) avoided turning into. They’re called Gozu, they’re on the perpetually reliable Small Stone Records, and their new album Locust Season is riffomatic fast-drivin’ music with a splash of dumb pop sensibilities and its tongue just a little in its cheek." Read more...
Listen
--------------------------------------------------------------------------------------------------------
#09. Sasquatch-III (Small Stone)
This is where the homage to Small Stone Records ends. This label released some magnificent releases this past year. The last four albums exemplify how truly great and important this independent label has become. I think that this band just keeps getting better after each release.
What others had to say:
KK, CosmicLava.com
"With every new album, Los Angeles' power trio SASQUATCH are getting better. Well, that phrase sounds flat and empty, but it's indeed the case. At least, for my taste. This does not mean, however, that I think that the band had a bad start with their first two albums. Since the beginning it was obvious that they have the decisive potential to perform powerful riff-driven heavy rock which will be remembered for a longer period. Of course here, nothing new will be invented, but that doesn't matter as long as the tracks are packed with solid hooklines and crunchy riffs, and, boy, are SASQUATCH good at it! Their third record aptly named 'III' is a hard rocking, fuzzed-out titan which contains some of their best tracks and shows quite clearly that SASQUATCH has grown together into a strong unit over the last nine years. It is a consistent, powerful album that hits really hard at gut level." Read more...
Ollie, The SleepingShaman.com
"Now, if the mythical Bigfoot, or Sasquatch with whom this band shares its name were to listen to music you can bet your ass that the big hairy bastard would kick back with a few beers and listen to big hairy bastards like Sasquatch!!!
Now, many people would say that rock and roll isn't big or clever, and there are an equal number of people that would claim that that is exactly what makes it so fucking awesome in the first place!!! The finest rock and roll bands have made careers of keeping it simple and not messing with a winning formula…AC/DC, Motorhead, the Stones…etc. If they have ever tried to mess with the formula they've invariably come unstuck and produced a turd pile bigger than old Bigfoot would be capable of!!! Sasquatch understand that to be effective rock and roll needs to be simple, powerful, fundamental and primal and so take the fuzzy grooves of stoner and mix it all up with a greasy 70's blues vibe that aims straight for the heart and the crotch." Read more...
Listen
--------------------------------------------------------------------------------------------------------
#08. Lonely Kamel-Blues For the Dead (Transubstans Records)
This album was a very pleasant surprise. I received it for review and passed it along to Zac. After reading his review I decided to take a listen myself. This is a great album. Very classic rock feel with amazing riff heavy blues guitar. A hidden gem.
What others had to say:
Zac Boda
"Blues for the Dead." and "Lonely Kamel." I really had no idea what to expect upon first listen. I wasn't blown away by the cover art; which I know may be odd, but cover art is an important part of the whole experience for me. I decided to head over to the bands myspace page and see Oslo, Norway. Nice, I have an obession with Scandinavia. First, I must say the artwork grew on me after the first listen. This is excellent! I hear thick and groovy blues rock. This album is solid. The majority of these tunes are 4 out of 5 with "Stick With Your Plan" being the stand out song. This song has a slow and steady intro and just jams at approximately 1:45! Some of the grooves in this track just bring the vision of a lovely woman's hips swinging! For me, everything just melts together and flows through you, and it feels damn good. If you are looking for some groovy, blues influenced, hard rock, this is the album for you."
ZeeZee, MyGlobalMind.com
"BLUES FOR THE DEAD is certainly an interesting album, and one that I quite enjoyed. Who it will directly appeal to however is something I’m still not too sure of. Musically LONELY KAMEL certainly have their own distinct sound, which is made up by a combination of classic blues rock/psychedelica and the more modern style of stoner rock/desert rock. Which in essence means that they sound like a combination of HENDRIX, CREAM and GREATFUL DEAD with some CLUTCH, WOLFMOTHER and KYUSS mixed in." Read more...
Listen
--------------------------------------------------------------------------------------------------------
#07. Dusted Angel-Earth Sick Mind (Mankind Records)
By looking at the cover you would think that this would be pretty lame, to the contrary! What hides inside is a truly great mix of classic metal, doom, stoner and a bit of psychedelia. If you have not heard this release then you most certainly should.
What others had to say:
Craig Hartranft, DangerDog.com
"If you've ever wondered what Hawkwind may have sounded like if Lemmy stayed, went to lead vocals, and the band stayed on its psychedelic, neo-stoner, path, then you might have California's Dusted Angel and their first full length disc Earth Sick Mind. But that's mostly pure speculation on my part. Dusted Angel borrows heavily from the whole classic heavy metal motif and add equal doses of stoner rock and doom metal, with a glimmer of madcap psychedelic. There's enough images, inspiration and nuances from Queens of the Stone Age, Kyuss, Black Sabbath and, maybe, some Helmet. I think you get the sonic picture." Read more...
Paul, TheSleepingShaman.com
"Maaaaaan, that Clifford Dinsmore dude sure gets around! From Bl'ast, to Spaceboy, to the criminally underrated Gargantula, and now on to Dusted Angel, he has been yelling up a storm since 1982!! Jeeeeez, it's a wonder the guy has an vocal chords left!!
Thankfully for Clifford's Otolaryngologist (look it up smart guy!), the guy has a lot more room to breathe in Dusted Angel than in the furious hardcore of Bl'ast or the claustrophobic drugscapes of Spaceboy and Gargantula. Clifford's vocals here are certainly more restrained than in any of his previous outfits, but still intense and on-the-money. It's more of a throaty howl here than the full-on gonzo attack of Bl'ast or Spaceboy, but anything harsh would NOT suit the more straightforward, 'listener friendly' sounds of 'Earth Sick Mind'. Dusted Angel refer to themselves as 'Doom Rock', and I guess that is as apt a description as any. Too upbeat and rockin' to be Doom, yet too intense to be Stoner Rock, I guess 'Doom Rock' is what they are!" Read more...
Listen
--------------------------------------------------------------------------------------------------------
#06. Black Tusk-Taste the Sin (Relapse Records)
I really started to get into this band after seeing them open for Stoner Rock legends Fu Manchu. They played a blistering set and I loved the energy of the band. It looks like Georgia is becoming the hot bed for some great bands of late. Compared to luminaries such as Mastodon and Baroness, Black Tusk stamps their unique take on the ever so crushing mix of Southern-fried hardcore sludge metal.
What others had to say:
Grayson Currin, Pitchfork.com
"The single, substantive frill of Taste the Sin, the excellent Relapse debut album by Savannah, Ga., metal trio Black Tusk, comes as the final track begins. "Well, hell, World War II gave us the ball point pen," says the actor Charles Tyner in a monologue excerpted from his hilarious role as the militant Uncle Victor in the 1971 film Harold and Maude. With tales of war and murder, and his well-decorated uniform, he brings the lugubrious teen Harold to some uncomfortable intersection of euphoria and orgasm. "I say get the krauts on the other side of the fence where they belong. Let's get back to the kind of enemy worth killing." Read more...
Evan Roper, TheNewReview.net
"Savannah is a small southern town that time forgot. Isolated in antiquity and surrounded by swamp and a lot of nothing, next to nowhere, the setting provides an interesting context for a heavy metal music scene. Bands like Kylesa, Baroness and Black Tusk have sprung up out of the Georgia marsh to gain a surprising amount of influence and recognition considering their small town roots.
Make no mistake; while Black Tusk carries the distinct sounds of their Savannah folk heritage, they are very much their own band with their own sound. Kylesa wander in psychedelic aural landscapes and Baroness pushes forward with much more progressive musings in their song structure, but Black Tusk is perfectly content to smash through their own path, with thick and bottom-heavy, punchy riffs. More aggressive and more direct than their swamp sharing brothers and sisters, Black Tusk displays punk sensibilities much like punk-sludge pioneers Eyehategod and Buzzoven. The European version of the album includes a cover of Buzzoven’s “Toe Fry” which solidifies the influence of the late sludge band on Black Tusk. If you are lucky enough to get the version of the album with “Toe Fry” included, it closes the album nicely." Read more...
Listen
Read #20-#16 here.
Read #15-#11 here.
Here is a band that just surprised the absolute shit out of me. As I was perusing the Small Stone records website, I came across Gozu and figured I'd give them a listen, and man am I glad I did. The tunes are not only catchy but chug along with that warm and fuzzy stoner rock groove. Think of a heavier version of Queens of the Stone Age but with a better singer (sorry not a big fan of Josh Homme's vocals). Listen. Repeat. Listen. Repeat...
What others had to say:
Gary Suarez. MetalSucks.net
"No matter how you feel about the Kyuss reunion under the Kyuss Lives moniker, I hope it has at least rekindled your interest in that heavy desert rock the boys used to make for us. Fortunately, Small Stone Recordings has been carrying the flame while the rest of you have been trendhopping like a bunch of bitches. (How’s that blackened deathgrind re-thrash emocore working for ya?) And as with last year’s revelation House Of Broken Promises, the label has given us another rare hunk of hard rockin’ gold in Gozu." Read more...
The Editor, The Dreaded Press
"OK, hold everything – I’ve just discovered what happened to the band that Queens Of the Stone Age somehow (and rather disappointingly) avoided turning into. They’re called Gozu, they’re on the perpetually reliable Small Stone Records, and their new album Locust Season is riffomatic fast-drivin’ music with a splash of dumb pop sensibilities and its tongue just a little in its cheek." Read more...
Listen
--------------------------------------------------------------------------------------------------------
#09. Sasquatch-III (Small Stone)
This is where the homage to Small Stone Records ends. This label released some magnificent releases this past year. The last four albums exemplify how truly great and important this independent label has become. I think that this band just keeps getting better after each release.
What others had to say:
KK, CosmicLava.com
"With every new album, Los Angeles' power trio SASQUATCH are getting better. Well, that phrase sounds flat and empty, but it's indeed the case. At least, for my taste. This does not mean, however, that I think that the band had a bad start with their first two albums. Since the beginning it was obvious that they have the decisive potential to perform powerful riff-driven heavy rock which will be remembered for a longer period. Of course here, nothing new will be invented, but that doesn't matter as long as the tracks are packed with solid hooklines and crunchy riffs, and, boy, are SASQUATCH good at it! Their third record aptly named 'III' is a hard rocking, fuzzed-out titan which contains some of their best tracks and shows quite clearly that SASQUATCH has grown together into a strong unit over the last nine years. It is a consistent, powerful album that hits really hard at gut level." Read more...
Ollie, The SleepingShaman.com
"Now, if the mythical Bigfoot, or Sasquatch with whom this band shares its name were to listen to music you can bet your ass that the big hairy bastard would kick back with a few beers and listen to big hairy bastards like Sasquatch!!!
Now, many people would say that rock and roll isn't big or clever, and there are an equal number of people that would claim that that is exactly what makes it so fucking awesome in the first place!!! The finest rock and roll bands have made careers of keeping it simple and not messing with a winning formula…AC/DC, Motorhead, the Stones…etc. If they have ever tried to mess with the formula they've invariably come unstuck and produced a turd pile bigger than old Bigfoot would be capable of!!! Sasquatch understand that to be effective rock and roll needs to be simple, powerful, fundamental and primal and so take the fuzzy grooves of stoner and mix it all up with a greasy 70's blues vibe that aims straight for the heart and the crotch." Read more...
Listen
--------------------------------------------------------------------------------------------------------
#08. Lonely Kamel-Blues For the Dead (Transubstans Records)
This album was a very pleasant surprise. I received it for review and passed it along to Zac. After reading his review I decided to take a listen myself. This is a great album. Very classic rock feel with amazing riff heavy blues guitar. A hidden gem.
What others had to say:
Zac Boda
"Blues for the Dead." and "Lonely Kamel." I really had no idea what to expect upon first listen. I wasn't blown away by the cover art; which I know may be odd, but cover art is an important part of the whole experience for me. I decided to head over to the bands myspace page and see Oslo, Norway. Nice, I have an obession with Scandinavia. First, I must say the artwork grew on me after the first listen. This is excellent! I hear thick and groovy blues rock. This album is solid. The majority of these tunes are 4 out of 5 with "Stick With Your Plan" being the stand out song. This song has a slow and steady intro and just jams at approximately 1:45! Some of the grooves in this track just bring the vision of a lovely woman's hips swinging! For me, everything just melts together and flows through you, and it feels damn good. If you are looking for some groovy, blues influenced, hard rock, this is the album for you."
ZeeZee, MyGlobalMind.com
"BLUES FOR THE DEAD is certainly an interesting album, and one that I quite enjoyed. Who it will directly appeal to however is something I’m still not too sure of. Musically LONELY KAMEL certainly have their own distinct sound, which is made up by a combination of classic blues rock/psychedelica and the more modern style of stoner rock/desert rock. Which in essence means that they sound like a combination of HENDRIX, CREAM and GREATFUL DEAD with some CLUTCH, WOLFMOTHER and KYUSS mixed in." Read more...
Listen
--------------------------------------------------------------------------------------------------------
#07. Dusted Angel-Earth Sick Mind (Mankind Records)
By looking at the cover you would think that this would be pretty lame, to the contrary! What hides inside is a truly great mix of classic metal, doom, stoner and a bit of psychedelia. If you have not heard this release then you most certainly should.
What others had to say:
Craig Hartranft, DangerDog.com
"If you've ever wondered what Hawkwind may have sounded like if Lemmy stayed, went to lead vocals, and the band stayed on its psychedelic, neo-stoner, path, then you might have California's Dusted Angel and their first full length disc Earth Sick Mind. But that's mostly pure speculation on my part. Dusted Angel borrows heavily from the whole classic heavy metal motif and add equal doses of stoner rock and doom metal, with a glimmer of madcap psychedelic. There's enough images, inspiration and nuances from Queens of the Stone Age, Kyuss, Black Sabbath and, maybe, some Helmet. I think you get the sonic picture." Read more...
Paul, TheSleepingShaman.com
"Maaaaaan, that Clifford Dinsmore dude sure gets around! From Bl'ast, to Spaceboy, to the criminally underrated Gargantula, and now on to Dusted Angel, he has been yelling up a storm since 1982!! Jeeeeez, it's a wonder the guy has an vocal chords left!!
Thankfully for Clifford's Otolaryngologist (look it up smart guy!), the guy has a lot more room to breathe in Dusted Angel than in the furious hardcore of Bl'ast or the claustrophobic drugscapes of Spaceboy and Gargantula. Clifford's vocals here are certainly more restrained than in any of his previous outfits, but still intense and on-the-money. It's more of a throaty howl here than the full-on gonzo attack of Bl'ast or Spaceboy, but anything harsh would NOT suit the more straightforward, 'listener friendly' sounds of 'Earth Sick Mind'. Dusted Angel refer to themselves as 'Doom Rock', and I guess that is as apt a description as any. Too upbeat and rockin' to be Doom, yet too intense to be Stoner Rock, I guess 'Doom Rock' is what they are!" Read more...
Listen
--------------------------------------------------------------------------------------------------------
#06. Black Tusk-Taste the Sin (Relapse Records)
I really started to get into this band after seeing them open for Stoner Rock legends Fu Manchu. They played a blistering set and I loved the energy of the band. It looks like Georgia is becoming the hot bed for some great bands of late. Compared to luminaries such as Mastodon and Baroness, Black Tusk stamps their unique take on the ever so crushing mix of Southern-fried hardcore sludge metal.
What others had to say:
Grayson Currin, Pitchfork.com
"The single, substantive frill of Taste the Sin, the excellent Relapse debut album by Savannah, Ga., metal trio Black Tusk, comes as the final track begins. "Well, hell, World War II gave us the ball point pen," says the actor Charles Tyner in a monologue excerpted from his hilarious role as the militant Uncle Victor in the 1971 film Harold and Maude. With tales of war and murder, and his well-decorated uniform, he brings the lugubrious teen Harold to some uncomfortable intersection of euphoria and orgasm. "I say get the krauts on the other side of the fence where they belong. Let's get back to the kind of enemy worth killing." Read more...
Evan Roper, TheNewReview.net
"Savannah is a small southern town that time forgot. Isolated in antiquity and surrounded by swamp and a lot of nothing, next to nowhere, the setting provides an interesting context for a heavy metal music scene. Bands like Kylesa, Baroness and Black Tusk have sprung up out of the Georgia marsh to gain a surprising amount of influence and recognition considering their small town roots.
Make no mistake; while Black Tusk carries the distinct sounds of their Savannah folk heritage, they are very much their own band with their own sound. Kylesa wander in psychedelic aural landscapes and Baroness pushes forward with much more progressive musings in their song structure, but Black Tusk is perfectly content to smash through their own path, with thick and bottom-heavy, punchy riffs. More aggressive and more direct than their swamp sharing brothers and sisters, Black Tusk displays punk sensibilities much like punk-sludge pioneers Eyehategod and Buzzoven. The European version of the album includes a cover of Buzzoven’s “Toe Fry” which solidifies the influence of the late sludge band on Black Tusk. If you are lucky enough to get the version of the album with “Toe Fry” included, it closes the album nicely." Read more...
Listen
Read #20-#16 here.
Read #15-#11 here.
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