Showing posts with label Switzerland. Show all posts
Showing posts with label Switzerland. Show all posts
Monday, July 10, 2017
Quick Hit: HEY SATAN - "HEY SATAN"
Trios kick ass much of the time. There's just no getting around it. The Lausanne, Switzerland trio Hey Satan kick ass from a number of angles on their debut eponymous release. To begin with this album RAWKS, and rocks hard. It's meant to be played loudly, and to be enjoyed completely. The music will absolutely flow through you like some dark, demonic doomspell. There are ten tracks on this inaugural LP and not one of them misses a cloven-hoofed step. Each is spellbinding with magical melodic imagination, a feat of epic proportions, and none of them are carbon copies of neither themselves nor of any stoner metal legends, providing ten dark, dewy songs on which to guzzle and savor. The stoner/doom influences are obvious as the gargantuan guitars reign supreme with riffs of deepness and distortion as well as searing, soaring solo runs, but obvious homages are rare as this trio's grand abilities forge their own armored merchandise of dark and hefty metal. Vocals provide a searing focal point with a superb rawness and range brilliantly matched to the music. Overall this is one hell of a debut, a memorable and savage romp that should solidify a place in end of year retrospections.
bandcamp <{}> facebook
Friday, April 21, 2017
QUICK HIT: Carson- "Three Point Split"
This might not be what you would call standard stoner rock, but what is quite evident with this 4 song EP is that a meaty fuzz generator cranks out plenty of rough and ready riffage wrapped in and around some tasty melodies loaded with juicy hooks. Carson have managed to blend an alt-rock vibe with the power and satisfaction of edgy, crunchy riffs. This is the kind of music that keeps you spinning through the tracklist both to enjoy the sounds you know are there and to perchance discover any toothsome nuance not yet revealed.
"Three Point Split" comes on the heels of Carson's earlier 2017 LP release, "Drown the Witness", a 7 song power trip of wit and grit. So, all spun, this three-piece Swiss band have given us a memorable, fuzz-infused, melodic experience.
bandcamp || facebook || website
Wednesday, December 2, 2015
Song of the Day-Marant-"Kathy's Trophy"
"Kathy's Trophy" is taken off of the band's new full-length release "High Octane Diesel". Full head-on stoner rock with a no-nonsense attitude is what this band is all about. This song's hard-driving rhythm, gassed-up groove and supercharged fuzz are meant to be played at a loud volume. So what are you waiting for? For more information, please check out the following links: Facebook | Bandcamp
Thursday, April 30, 2015
New Band To Burn One To: Mountain Eater
Coming from Switzerland’s Le Chaux De Fonds, Mountain
Eater offer every part of 90’s induced stoner and grunge into one neat bundle
of sonic rawness that is both nostalgic and exciting to hear. With Raoul’s
vocals falling somewhere between a John Garcia/Eddie Vedder hybrid, the
influences of the band come screaming out, featuring most bands all stoners
hold in high praise, the band still manage to carve out a section of the stoner
music scene of their own. The production is very raw, but there’s enough present
on the newly released Mountain Eater First EP to show that this could well be a
band with something special up their sleeves on future releases. The EP is full
of down-tuned low fuzzy riffs with heavy stoner hazed tunes, all enwrapped
around solid song-writing. The future is exciting for Mountain Eater.
Sunday, August 17, 2014
Sunday Silence: Snarf - "Klabat"
The hits just kept coming this week. Some would drum up the ridiculous superstition of death coming in threes, but a fourth hit a bit harder in my narrow, heavy corner of the human experience. Robin Williams caved to depression, Lauren Bacall's rough voice went silent, and the incredibly influential bad-ass that was Jay Adams suffered a quick halt to a fast life. Learning of a band you love hanging it up for good can be a fucking downer, but circumstances rarely match those of Swiss droners Snarf when it comes to sudden, unexpected loss.
Following the loss of their frontman Chris, Snarf have declared themselves to no longer exist. Their final, staggering dose of droning sludge was mixed and mastered just before tragedy struck, effectively rendering Klabat Snarf's swan song, a bittersweet adieu for a under-appreciated trio just hitting their stride. Here's one epic track swelling to thirty-three minutes, twisting and shape-shifting, leveling with hovered sustain despite brisk, bold, and busy delivery.
The sheer volume of emerging layers is numbing, leaving behind sterile static in favor of slugging riffs that meander and teeter. The whole of the track buzzes with eerie reverb, recalling the best droning moments of Snarf's previous triumphs. But the prevalence of nightmarish doom is a heavy-handed pronouncement of mastery. Innumerable slow-burning disturbances under tight drones evoke slight, distant spooks that leave listeners in cold shudder.
We could dissect the track into movements, but I simply don't have the vocabulary to do them justice. Scraped vocals bark with malevolence, entering a sonic cemetery and seamlessly transitioning toward deliberate, haunting chants. Klabat is at times wholly primitive, at others thoroughly disheartening. Snarf are patient, the dominant doom crunches are slow with agony, and the overall unpredictability marries unearthed stratum slabs to raise questions that the band, unfortunately, will never be able to answer.
This record hits so deep. On its own, the track smolders and frightens with incredible scope and character. The broad sweep of soundscapes and nightmarish curveballs set apart both this record and this band. To think this is the last Heavy Planet will hear from Snarf is a drag, sure. But the ardor and care exercised in the crafting of these sounds should be noted above any tragedy. Sit with this and allow Klabat's tides to direct your emotions. You'll get there.
Saturday, March 23, 2013
Nuclear Dog's Atomic Split: The Black Widow's Project - "Heavy Heart" / Half Gramme of Soma - "Half Gramme of Soma"
What's the cliché? Something about strapping yourself in because you are in for the ride of your life? Yeah, that's as good as any. Geneva, Switzerland is where the first set of fuzzbombs are carefully packaged before ignition and blastoff. Athens, Greece is the source for the second set of high octane combustibles. We've often gotten great fireworks from Greece and at least once from Switzerland, so this is no anomaly, but a trend of the most exciting kind, where distortion, talent, volume, passion, and melody are blended into tightly wrapped packages bursting with explosive potential. So, ladies and gentlemen, ye who venture into the realms and domains presented daily by Heavy Planet in order to visit the deviantly deft denizens and their concoctions . . . strap yourselves in and prepare for blast off!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE BLACK WIDOW'S PROJECT - "HEAVY HEART"
The Black Widow's Project is a three piece band from Geneva, Switzerland. "Heavy Heart" is their second offering, the first under the current lineup of:
Al Castro - Vocals, Guitar
Raph Legend - Bass
Mathieu Sink - Drums
Formed recently in 2010 the band quickly released their first EP, "Benefit of the Doubt", which garnered a ton of interest due to its huge, intelligent songs. After going through a bass player change with Raph recently joining the group, this small band with the big sound have now released their second collection of original fuzzbombs, but this time in the form of a full length record, crammed to overflowing with 14 stoner/retro rock originals.
The fuzz is huge on this album, as is the creativeness. The songs are well written and well executed, which makes for an incredibly enjoyable experience. Add to it the passion, the obvious and intense exertion in unfolding each creation in perfect time, and you get a special album.
The influences come from decades of great rock music, and influences beyond. You can hear sounds similar to hundreds of songs and rock bands down through the decades, but similarity doesn't mean replication. The song writing here for both music and lyrics is exceptional. The tapestries created are tight, bright, and satisfying. Each song is woven through with a myriad sounds from guitar, bass, drums, and vocals that make for the kind of album you can listen to a hundred times and pick out different and various pieces that go together to make a wholly satisfying whole on each of the fourteen offerings of "Heavy Heart". I don't hear one song sounding much like the next, while the sound for all remain uniquely that of The Black Widow's Project. Play any one song alone and you would know it was their creation. Listen through the whole album and you will be deeply engaged for each of the fourteen due to the uniqueness of each. That is rare and welcome ability, especially when it comes to rock music.
My favorite songs, something easier said than decided upon because I truly love them all, would include the following:
It's hard to beat the opener. It sets the tone most times for the rest of an album and on "Heavy Heart" that's exactly what happens. A lone guitar, distortion tuned to proper fuzz levels, kicks off the song on a brief intro that gives the listener the perfect indication of what's to follow, both for this song and for this album. Once "Ha Ha Ha Uh" kicks in you're in the stratosphere flying fast and high. The tempo is quick, the riffs are plentiful and varied, the bass is energetic and powerful, and the drums do the job of both driving the song's rhythm and adding to it's interest with stick fills and drum riffs that intrigue and satisfy. Alongside the amazing guitar work on this song is the equally amazing vocals. The raspy passion of Castro's belting of the lyrics falls just shy of amazing. He hits the proper tone with this rock and role vocal blast, never yelling as so many vocalists do, and certainly not quite singing in a prim, proper manner, which we would not want. He hits it just right, matching the tone and intensity of the instrumental portions of the song.
"Ain't Gonna Tell You Lies". To start with, who in Geneva, Switzerland says 'ain't'. We certainly do here in Oklahoma. But that's not why I like this song. I like the simple guitar strum opening with Castro singing in normal pitch, revealing that when he's not stretched to the max he still has a beautiful voice. A solo precursor within this song is a bass so low, so huge, it has to have been played by heavy rock moving machinery. The song is steady and simple, and somehow strikes a satisfying chord deep within.
"We Have to Be Free" is a beautiful song, plain and simple. It has a bluesy feel to it throughout as it goes back and forth between calm control, ignition, and fuzzbomb explosions. Moving through the various feels and tempos makes this one of the more intriguing songs on the album. The incredible execution by all three members playing their four instruments simply adds to the maximum pleasure. This is an addicting song that will have you longing for the next time through the album to hear it again.
"Spirits" is a spare, haunting song of incredible beauty that still manages to fuzz out around the edges.
The closer, "Innerwar", is one of the best of the bunch, along with the opener. These guys know how to open, and then how to close. "Innerwar" sounds like something from a concept album, obviously telling a story that's part of a larger whole, while remaining true to the single tale within. The ballad-like feel of the first few minutes of the song leads into a trippy, almost psychotic journey where the instruments lightly touch upon the sounds that play heavily upon your listening psyche, slowing building with textures of new riffs and subdued vocals.
EXCLUSIVE STREAM
facebook || bandcamp || website || reverbnation || domino media
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
HALF GRAMME OF SOMA - "HALF GRAMME OF SOMA"
There is a HUGE contingent of stoner/retro rock from Greece, much of it from Athens. It's a large city, so why not, but it still seems as though an inordinate amount . . . which is a good thing . . . of underground rock n' roll calls Athens its home. Add to the list this tremendously gifted, rockin' band, Half Gramme of Soma, hereafter referred to as HGoS (almost hogs, almost ghost, defintely rock n' roll).
It's amazing to me when bands come from Europe how much the vocals can sound as if the singer is from down the road somewhere here in the U.S., and HGoS is no exception. I have no idea how much effort they have had to put into their studio performances to accomplish this sound, but it certainly gets my attention. Not nearly as much as their beautiful music screams for notice, though. The starting point for any band associated with the underground sound of stoner/doom/retro rock are the heavy, low tuned, fuzzed out guitars. It's what sets them apart from the no-riff uber-raff on the radio. HGoS is no exception here either. The guitars are pure meth and adrenaline mixed with . . . well, why not mix it with SOMA . . . creating an instantly satisfying warmth throughout your body, charging up your metal receptors, and creating a condition of pure party atmosphere pleasure, whether listening alone in your car, or cranking it up at a booze fueled end of the week celebration, or anything in between.
HGoS band members include:
John V. - Vocals
Alexandros K. - Guitars
Takis A. - Guitars
Nick G. - Bass
Uncle Jim - Drums
HGoS, having formed recently in 2011 and having honed their craft in the various live venues in and around Athens, manages to deliver high quality sound on all parts and pieces of their instrumentation. John V. has a great set of rock pipes, using them to great effect throughout the album. The twin guitar assault of Alex K. and Takis A. are effective, effusive, and effing awesome. Nick G. has somehow strung his bass to the heavy machines used in building tunnels through mountains, and Uncle Jim knows how to impeccably navigate the skins through the heavy maze of riffs from the 3 guitars by using just a pair of wooden sticks. Most of all, the fivesome know how to slap a song together in such a way as to make it memorable, exciting, enticing, and dripping with anticipation, all by mainly making clever and satisfying melodies, songs that not only rock, but bring a sort of fuzzy funk that fits perfectly with the low tuned, distorted bazooka blast emanations of the various string sources. While most stoner/retro bands draw heavily either from the great era of the 70s or the grunge and high desert eras of the 90s, HGoS seem also to have thrown in a sound that hearkens to the new wave sound of the 80s, which makes for a very intriguing metal sound, something that almost feels like they've solved the puzzle that existed on too much 80s so called rock. . . adding the big, fuzzy sound of stoner rock guitar.
This self titled album is their first foray into studio production and contains 9 melodic creations layered thickly with fuzzy metal shavings, crafted in such a way as to be most enjoyable when the amperage is set to ultra high levels and you have room enough to violently move about the room.
"Burn Your Shadows" opens with a funky guitar ditty that leads into the opening hooks and riffs that are slightly reminiscent of the B-52s or The Cure, except with a much heavier, beefier sound, especially when the instrumentation is isolated for several incredible minutes.
"Feed Your Hell" opens in a measured pace that leads into a more up-tempo refrain. John V.'s vocals lend a ballad like quality to the song as the twin guitars provide both a heavy undercurrent of deep, dark riffs plus a more penetrating and insistent interlude. The music here is telling a story, one that isn't all light and sunshine, but replete with dank, musty revelations.
"Secret of the Fox" is a partner piece to its predecessor above. It's steady, unyielding tempo is full of various textures of twisted metal licks and fills riding on an undercurrent of heavy bass, and narrated with melancholy, haunting vocals.
After several songs of deep, dark melancholia comes a song that is a masterpiece of tempo, melody, and listening enjoyment in "Dead End". I am not a master of culling out the lyrics to a song, so while the title would seem to convey failure in the journey of whomever is travelling through these songs, the atmosphere of the music seems to convey the opposite. A quicker pace, insistent and deadly drumwork, and metal rending guitar riffs accompany dual vocals on this song, providing the listener with an intriguing melody infused with heavy textures and bigger than life substance.
Immediately following is an incredibly haunting piece, "Wings Rusted Away", that allows for instrumental isolation to an extent, allowing the listener to go one on one with the huge guitars and whipcord drums. Vocals are magnified as well, as the melancholy of the tune intensely permeates throughout your body, taking over, inducing a trance-like state akin to a natural endorphin rush.
Melancholia and haunting melodies close out the album with "Under a Malign Star", where HGoS make sure to go out with a universe deafening explosion of metal distortion and amplification.
facebook || bandcamp || twitter || soundcloud || reverbnation
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE BLACK WIDOW'S PROJECT - "HEAVY HEART"
The Black Widow's Project is a three piece band from Geneva, Switzerland. "Heavy Heart" is their second offering, the first under the current lineup of:
Al Castro - Vocals, Guitar
Raph Legend - Bass
Mathieu Sink - Drums
Formed recently in 2010 the band quickly released their first EP, "Benefit of the Doubt", which garnered a ton of interest due to its huge, intelligent songs. After going through a bass player change with Raph recently joining the group, this small band with the big sound have now released their second collection of original fuzzbombs, but this time in the form of a full length record, crammed to overflowing with 14 stoner/retro rock originals.
The fuzz is huge on this album, as is the creativeness. The songs are well written and well executed, which makes for an incredibly enjoyable experience. Add to it the passion, the obvious and intense exertion in unfolding each creation in perfect time, and you get a special album.
The influences come from decades of great rock music, and influences beyond. You can hear sounds similar to hundreds of songs and rock bands down through the decades, but similarity doesn't mean replication. The song writing here for both music and lyrics is exceptional. The tapestries created are tight, bright, and satisfying. Each song is woven through with a myriad sounds from guitar, bass, drums, and vocals that make for the kind of album you can listen to a hundred times and pick out different and various pieces that go together to make a wholly satisfying whole on each of the fourteen offerings of "Heavy Heart". I don't hear one song sounding much like the next, while the sound for all remain uniquely that of The Black Widow's Project. Play any one song alone and you would know it was their creation. Listen through the whole album and you will be deeply engaged for each of the fourteen due to the uniqueness of each. That is rare and welcome ability, especially when it comes to rock music.
My favorite songs, something easier said than decided upon because I truly love them all, would include the following:
It's hard to beat the opener. It sets the tone most times for the rest of an album and on "Heavy Heart" that's exactly what happens. A lone guitar, distortion tuned to proper fuzz levels, kicks off the song on a brief intro that gives the listener the perfect indication of what's to follow, both for this song and for this album. Once "Ha Ha Ha Uh" kicks in you're in the stratosphere flying fast and high. The tempo is quick, the riffs are plentiful and varied, the bass is energetic and powerful, and the drums do the job of both driving the song's rhythm and adding to it's interest with stick fills and drum riffs that intrigue and satisfy. Alongside the amazing guitar work on this song is the equally amazing vocals. The raspy passion of Castro's belting of the lyrics falls just shy of amazing. He hits the proper tone with this rock and role vocal blast, never yelling as so many vocalists do, and certainly not quite singing in a prim, proper manner, which we would not want. He hits it just right, matching the tone and intensity of the instrumental portions of the song.
"Ain't Gonna Tell You Lies". To start with, who in Geneva, Switzerland says 'ain't'. We certainly do here in Oklahoma. But that's not why I like this song. I like the simple guitar strum opening with Castro singing in normal pitch, revealing that when he's not stretched to the max he still has a beautiful voice. A solo precursor within this song is a bass so low, so huge, it has to have been played by heavy rock moving machinery. The song is steady and simple, and somehow strikes a satisfying chord deep within.
"We Have to Be Free" is a beautiful song, plain and simple. It has a bluesy feel to it throughout as it goes back and forth between calm control, ignition, and fuzzbomb explosions. Moving through the various feels and tempos makes this one of the more intriguing songs on the album. The incredible execution by all three members playing their four instruments simply adds to the maximum pleasure. This is an addicting song that will have you longing for the next time through the album to hear it again.
"Spirits" is a spare, haunting song of incredible beauty that still manages to fuzz out around the edges.
The closer, "Innerwar", is one of the best of the bunch, along with the opener. These guys know how to open, and then how to close. "Innerwar" sounds like something from a concept album, obviously telling a story that's part of a larger whole, while remaining true to the single tale within. The ballad-like feel of the first few minutes of the song leads into a trippy, almost psychotic journey where the instruments lightly touch upon the sounds that play heavily upon your listening psyche, slowing building with textures of new riffs and subdued vocals.
EXCLUSIVE STREAM
facebook || bandcamp || website || reverbnation || domino media
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
HALF GRAMME OF SOMA - "HALF GRAMME OF SOMA"
There is a HUGE contingent of stoner/retro rock from Greece, much of it from Athens. It's a large city, so why not, but it still seems as though an inordinate amount . . . which is a good thing . . . of underground rock n' roll calls Athens its home. Add to the list this tremendously gifted, rockin' band, Half Gramme of Soma, hereafter referred to as HGoS (almost hogs, almost ghost, defintely rock n' roll).
It's amazing to me when bands come from Europe how much the vocals can sound as if the singer is from down the road somewhere here in the U.S., and HGoS is no exception. I have no idea how much effort they have had to put into their studio performances to accomplish this sound, but it certainly gets my attention. Not nearly as much as their beautiful music screams for notice, though. The starting point for any band associated with the underground sound of stoner/doom/retro rock are the heavy, low tuned, fuzzed out guitars. It's what sets them apart from the no-riff uber-raff on the radio. HGoS is no exception here either. The guitars are pure meth and adrenaline mixed with . . . well, why not mix it with SOMA . . . creating an instantly satisfying warmth throughout your body, charging up your metal receptors, and creating a condition of pure party atmosphere pleasure, whether listening alone in your car, or cranking it up at a booze fueled end of the week celebration, or anything in between.
HGoS band members include:
John V. - Vocals
Alexandros K. - Guitars
Takis A. - Guitars
Nick G. - Bass
Uncle Jim - Drums
HGoS, having formed recently in 2011 and having honed their craft in the various live venues in and around Athens, manages to deliver high quality sound on all parts and pieces of their instrumentation. John V. has a great set of rock pipes, using them to great effect throughout the album. The twin guitar assault of Alex K. and Takis A. are effective, effusive, and effing awesome. Nick G. has somehow strung his bass to the heavy machines used in building tunnels through mountains, and Uncle Jim knows how to impeccably navigate the skins through the heavy maze of riffs from the 3 guitars by using just a pair of wooden sticks. Most of all, the fivesome know how to slap a song together in such a way as to make it memorable, exciting, enticing, and dripping with anticipation, all by mainly making clever and satisfying melodies, songs that not only rock, but bring a sort of fuzzy funk that fits perfectly with the low tuned, distorted bazooka blast emanations of the various string sources. While most stoner/retro bands draw heavily either from the great era of the 70s or the grunge and high desert eras of the 90s, HGoS seem also to have thrown in a sound that hearkens to the new wave sound of the 80s, which makes for a very intriguing metal sound, something that almost feels like they've solved the puzzle that existed on too much 80s so called rock. . . adding the big, fuzzy sound of stoner rock guitar.
This self titled album is their first foray into studio production and contains 9 melodic creations layered thickly with fuzzy metal shavings, crafted in such a way as to be most enjoyable when the amperage is set to ultra high levels and you have room enough to violently move about the room.
"Burn Your Shadows" opens with a funky guitar ditty that leads into the opening hooks and riffs that are slightly reminiscent of the B-52s or The Cure, except with a much heavier, beefier sound, especially when the instrumentation is isolated for several incredible minutes.
"Feed Your Hell" opens in a measured pace that leads into a more up-tempo refrain. John V.'s vocals lend a ballad like quality to the song as the twin guitars provide both a heavy undercurrent of deep, dark riffs plus a more penetrating and insistent interlude. The music here is telling a story, one that isn't all light and sunshine, but replete with dank, musty revelations.
"Secret of the Fox" is a partner piece to its predecessor above. It's steady, unyielding tempo is full of various textures of twisted metal licks and fills riding on an undercurrent of heavy bass, and narrated with melancholy, haunting vocals.
After several songs of deep, dark melancholia comes a song that is a masterpiece of tempo, melody, and listening enjoyment in "Dead End". I am not a master of culling out the lyrics to a song, so while the title would seem to convey failure in the journey of whomever is travelling through these songs, the atmosphere of the music seems to convey the opposite. A quicker pace, insistent and deadly drumwork, and metal rending guitar riffs accompany dual vocals on this song, providing the listener with an intriguing melody infused with heavy textures and bigger than life substance.
Immediately following is an incredibly haunting piece, "Wings Rusted Away", that allows for instrumental isolation to an extent, allowing the listener to go one on one with the huge guitars and whipcord drums. Vocals are magnified as well, as the melancholy of the tune intensely permeates throughout your body, taking over, inducing a trance-like state akin to a natural endorphin rush.
Melancholia and haunting melodies close out the album with "Under a Malign Star", where HGoS make sure to go out with a universe deafening explosion of metal distortion and amplification.
facebook || bandcamp || twitter || soundcloud || reverbnation
Saturday, August 25, 2012
FEUERZEUG: The Heavy Planet Interview
Last week on HeavyPlanet.net I had the
pleasure of reviewing the album “Dead Wahines and Tsunamis” from the Swiss band
Feuerzeug. It is an album I find refreshing, exciting, intriguing, satisfying,
and singular. In a musical genre that is inundated with hundreds of artists worldwide
producing music almost daily, much of it quite good, and a large amount of it
damn tasty, as can be witnessed every single day on HeavyPlanet, Feuerzeug have
managed to create something that rises quickly to the top of the pile, if you
will, offering up an album bursting to the brim with songs of the highest
quality. Not to mention, this album has 13 separate tracks, each and every one
a small masterpiece in and of itself, not one of which could be considered
filler. This is a feat rare in achievement throughout the history of rock, and
this little known 4 piece band from Switzerland have managed to pull it off . .
. twice. Yes, so, even though their first album, “Drive Fast and Crash!” didn’t
make the review list back in 2009, it, like its successor, is a large album
with a large sound, ambitious in scope and magnificent in delivery.
As you’ll see in the interview, Feuerzeug tend
to go beyond the standard blues, metal, grunge, and high desert influences
commonly heard with many underground metal acts. This, combined with an
incredible talent for song structure, and of course the underpinnings of
stoner/doom/psych rock that make this style of music so satisfying in the first
place are what make these four musicians from the center of Europe interesting
and unique. They were gracious enough to answer my questions and were quite
enthusiastic about the whole process. After you learn a little bit about these
guys, please don’t hesistate to check out their latest masterpiece, “Dead
Wahines and Tsunamis” available from the link at the end of this review.
Band members are
listed as:
David Denega (David Van Neeg) - guitar, lead vocals
Marc Cappalletti - drums, backing vocals
Esteban (Steve) Wolfensberger (von Wolfsburg) - guitars, effects
Terry Pinhard - bass
David was gracious enough to provide the
responses.
HP: Are you guys currently on the road?
David: Well,
honestly...no, because producing this album took so much time due to several
external factors that we're now concentrating on promoting it the best we can.
HP: What is the touring situation for Feuerzeug now that the album has been released?
HP: What is the touring situation for Feuerzeug now that the album has been released?
David: We're working
on a European tour for 2013. For sure we will play in Spain, Italy, Switzerland
and Germany because we have friends in several stoner bands there and the
audience was awesome! The next step is to play in Eastern European countries
such as Poland (where my roots are), Hungary, Slovakia and so on because the
concert audience goes completely crazy when international bands play there and
we like intense concerts and electric audiences.
HP: Describe some of the crowds you have played in front of?
David: We always have
a crazy man coming on stage and stage-diving at each concert, which I think
means that the crowd likes us. Seriously, there are two kinds of audience at
our concerts. Those who are there to po-go and are completely drunk because
they heard that our music is energetic and they want to expulse their
"one-week-shitty-work-frustrations", and those who are there because
they are more interested in the mix we've managed to create between our
different musical influences.
HP: What was your favorite venue?
David: I think that it
was in Bilbao, Spain. We played in a very small bar there and the stage had
been removed to have more place for concert goers... so we pushed everything
against the wall and played in the middle of the crowd. This became such an
intense concert, everybody was screaming, jumping, and touching us during the
whole concert, it was like the end of the video-clip of Nirvana's "Smells
Like Teen Spirit". A great moment!!!
HP: Any plans or opportunities to come to the U.S. and play?
HP: Any plans or opportunities to come to the U.S. and play?
David: In fact we
would like to find a serious record label to release our album in the US but
there are so many suckers in this movement that it's difficult to find someone
we can trust. In Europe it's ok because I have my own label/booking agency, but
for the US and Japan there is hard work we still have to do yet! So, if
someone's interested in releasing our album, contact us! We could play in
California via our contacts there but it won't have any serious effects on the
future of the band.
HP: There is a huge stoner/doom presence in Europe, with dozens of high quality groups creating a LOT of great music. Do you find this an advantage? Or, is it perhaps daunting due to so much competition?
David: Well, as I
entered in the stoner movement I was astonished that a lot of bands I loved
were European, and that made a snap in my head. I understood that due to many
different cultures in Europe we maybe had an adantage by mixing our origins and
languages in a style of music that I find is one of the most open, musically
speaking. We speak French, have a German bandname, and we sing in English. We have
played with bands such as Truckfighters from Sweden or Monkey3 from Switzerland,
both of which are good friends of ours, and even bands coming from Serbia that
have an oriental touch to their music. All of them inspire us everytime we
create a new song, so it's an advantage for sure.
HP: In the bio on Reverbnation it states the
unlikeliness of these 4 guys coming together to form a band, much less a stoner
band, due to the disparity in musical backgrounds of each of the members. Can
you give us an idea of the varying backgrounds of each member?
David: Steve loves
music in general, so he has played in several different bands, even a tropical
music band. Terry is a big metal fan, and he also loves Rage Against the
Machine. Marc is a basic punk fan. He still plays in a ska-punk band called
Huge Puppies. I'm a big grunge fan, so that's why sometimes you can hear a Kurt
like voice on some of the songs. We all love music in general, I mean we will
never refuse to listen to a song because it's not a metal song, or because it's
a minimal electro song. We're all really open about music, with that same point
of view in creating a song. On the next album, for example, we put some Hammond
keybord on one song. We want to explore and play with unusual sonorities on our
music. We hate bands who take no fucking risks with their music.
HP: Who handles song writing duties? How about lyrics?
Can you describe the typical process for writing a song?
David: Steve and I
always have a good combination. I mean one of us will bring a part of a song
and the other one will easily stick what he may have been working on in his
pocket for later. Everything at the beginning is very spontaneous. It must be
energetic and make you want to crush your guitar. If it has that type of energy
and vibe then we begin to rearrange things and work on details. After that we
have a huge advantage with our excellent bass player, Terry, who always has a sort
of naive approach when it comes to our music and our band. He always does the
right thing at the right moment to push the band forward. Finally, Marc is a
virtuous drummer, not selfish at all. I mean, Steve and I will say "Hey
let's try this" and Marc does it. If it sounds good then it's approved and
he plays it, if not we continue to search for a good groove together.
HP: I understand there have been some big life changes
for a band member or two, such as babies?
David: Yep, Steve and
I got married and he has a beautiful boy he named Darrell, in memory to
Pantera's Dimebag.
HP: Tell me about the name of the band, Feuerzeug. What does it mean, both literally and figuratively/symbolically? Why was it chosen?
HP: Tell me about the name of the band, Feuerzeug. What does it mean, both literally and figuratively/symbolically? Why was it chosen?
David: Feuerzeug
means ‘the lighter’ in German. We chose this name after deciding to look for a
new one from our previous band name, Tesla Intoxicates, which was too long and
meaningless. But with Feuerzeug we loved the idea of burning every limit we
had. By this I mean, musically by mixing different influences, and
pschycologically by believing that even if we are a small country in the world
we have our place in the international stoner community.
HP: Tell me about the status of employment of everyone. Who works second and third jobs to support their families, who is able to live off the proceeds from album sales and tour profits? Do you rely upon merch at your venues to bring in extra income, or does it cost more than you make, typically?
HP: Tell me about the status of employment of everyone. Who works second and third jobs to support their families, who is able to live off the proceeds from album sales and tour profits? Do you rely upon merch at your venues to bring in extra income, or does it cost more than you make, typically?
David: We all have
jobs because we would have to tour 7 months a year to be able to live on just
our music. In addition to our regular jobs we produce, mix and masterize the
music ourselves in order to have total control on what we do, how we do it, and
when we do it. With no producer nor manager the first european tour was
entirely booked by myself via my label Ishii Kamikazi, which has been renamed
SuperChevelle.B.A. We need freedom and we only use trusted friends in different
labels to distribute our records.
HP: What does the future hold for Feuerzeug? Will you be able to make more records in the future? Do you ever foresee the band becoming successful in such a way that no one has to sustain a day job?
HP: What does the future hold for Feuerzeug? Will you be able to make more records in the future? Do you ever foresee the band becoming successful in such a way that no one has to sustain a day job?
David: We're working
on a third album which is going to be even more ambitious than the previous
one. We'll see what will happen. If success is here, ok. For us, we of course always
want to live with and for our music. If not, we don't care so much because we
have so many different projects we are working on (graphic designs, other
bands, families and friends) that we already love our lives. To be professional
musicians would only be a kind of utopia we have had since we were kids.
There you have it,
folks. They’re young, they love life, they love music, but more importantly,
they know how to make it. Here’s to hoping to make a lot of it for years to
come, something with which we can help by purchasing their sweet new album at:
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Plus, check out this killer video with an alternative version to the song “Evel Knievel Has Kissed the Devil”
Plus, check out this killer video with an alternative version to the song “Evel Knievel Has Kissed the Devil”
Saturday, August 18, 2012
Album Review - Feuerzeug: Dead Wahines and Tsunamis
13 songs. That’s a lot of songs. That’s how many there are on Feuerzeug’s latest album, the May release of “Dead Wahines & Tsunamis”. How many of those 13 songs would you think, coming from a presently little known 4 piece rock band from Switzerland, would be worth listening to more than one time through? For those songs that happen to pass the initial audible audit, how many do you think would be worthy of additional playtime because they were enjoyable enough, intriguing enough, to warrant it? How many would you expect to then be listened to over and over again so as to catch all the nuanced, clever riffs, rolls, and solos that are tightly packed throughout each individual contribution? How about the intelligent and in depth lyrics, do they engender infinite rewinds in an effort to understand what the singer’s lush and full bodied vocals are dispensing? How many of these baker’s dozen would you think are a cut above your ordinary run of the mill stoner/doom tunes, perhaps offering influences and additions from other musical styles and genres that embellish the great low fuzz instead of detract from it? What percentage of this sizeable amalgamation of stoner/psych formulations truly belong in the LP collection of “Dead Wahines & Tsunamis”, available on iTunes, Amazon, and online? The complete and immutable answer is 100%, every goddamned one of them. Each and every one of these thirteen offerings are songs within the pale, so to speak. They are songs that are instantly recognizable as a cut above, as top shelf. They are the type of songs that only get better, more appreciated with each listen. You find yourself discovering something new on subsequent listens, whether it be the first week after you’ve purchased it, 6 months down the road, or, I’ll warrant, 10 years hence, placing this particular album collection alongside the likes of such standards as . . . yes, I’m going to trot it out . . . Kyuss’ “Blues for the Red Sun”, Aerosmith’s first four, Metallica’s “Master of Puppets”, Black Sabbath’s “Master of Reality”, Egypt’s self-titled EP . . . pick your favorite all time albums, slide them to the right a notch, and place a copy of this most excellent edition beside that esteemed group.
Man, the pressure to produce 13 songs of substance had to be somewhat daunting, but these guys seem to take it in stride. It’s a little like Messi or Kobe needing to bring their A game each time out because they know the opposition has brought theirs, but it turns out not to be a problem because the combination of skill and talent, honed from years of finger blistering work and an imagination of clarity and insight. Somehow this collection of Swiss rockers are able to hone in on such high quality sound, over and over again, providing tunes that are bursting at the seams with fun, soul, and sheer listenable joy. Even if you go back an album, to their first LP, “Drive Fast & Crash”, you’ll experience the same phenomena, except with a miserly 12, not 13, beautifully rendered, fully crafted melodies that rock your face off!
At first listen a couple of things jump out at you: these . . . songs . . . ROCK . . . HARD . . and the vocals are nothing short of tremendous. For me, the vocals play a key role in the overall quality of the music. Vocals don’t have to be genetically superior, or of broadway musical quality, but when they are, it tends to place the music on an upper shelf. Who can discount the athletic, driving vocals of Kyuss’ John Garcia, Ozzy’s unique and incredible sound on those early albums, Keith Gibbs’ throaty, hefty, brutal vocals for Sasquatch, Dave Wyndorf’s beautifully adept timbre on Monster Magnet’s monster tunes? David van Neeg provides more than simple serviceable singing on this album, he belts them out with force and fury, finesse and panache, striking chords and notes in perfect execution and timbre, matching the quality of his output to that of the music upon which it rides. He never struggles, never strays from the essence of a song, always delivering exactly what fits, what matches, what’s required. Hell, the guy can flat out sing - high, low, fast, slow, clear, meaty, beefy, big, and / or bouncy.
Listed as the band members who are assigned the guitar are the heretofore mentioned David van Neeg and Esteban (Steve) Wolfensberger. Hah. These two do more than just play the guitar on these . . . did I mention there are 13 . . . songs. What they have laid down is magic, pure and simple. There is definitely a display of inestimable talent, deftness, and athleticism, on each song, not to mention perhaps tens of thousands of hours of practice, because regardless of talent level, skill comes only from rote execution, and the skill level on display with “Dead Wahines & Tsunamis” is as inestimable as the talent level. In essence, these 2 guitarists play music that provides instant gratification as well as continual and sustained pay off.
Lest we forget, Terry Pinhard, on bass, is not to be outdone by his counterparts. Skill, talent, imagination, all there, evident in the ferocious thumping and driving of his heavy strings, interspersed with imaginative rolls of funkalisciousness. Marc Cappaletti brings it all home with his assignment on drums. Some assignment; Mr. Cappaletti plays with relish and flare, with an adroit execution of imagination to match anything his frontmen can produce
“Cyclops Will Be Beheaded” kicks off the lucky set of 13. Fast and loud, heavy on skillful drums, it will have you stomping the floor at breath stealing pace. Low and fast guitar riding on top of driving, thumping bass, punctuated by a distortion in vocal delivery, all of it punching its way through to a closing flourish of guitar riffage.
“Landkreuzer” is another up tempo piece that displays the signature stoner guitar sound at the outset in a unique and imaginative rendition of guitar virtuosity, wrapped up in a blistering drum production and concrete busting bass rhythms. This song smoothly glides into its successor, “Evel Knievel Has Kissed the Devil” where the funkiest riffs on the album are on full display, riding right along with heavy, low, and loud guitar chords of stoner characteristic, as well as some truly blistering guitar solos that are worth the price of admission, to say the least. This is one of my favorite songs on an album full of favorites.
“I’ll Scratch Until I Bleed a Flood”, with its super cool title, is a super cool song, again infusing a little funk into the stoner signature sound, somehow fusing the familiar with the foreign and making it truly interesting and enjoyable. Another favorite. It’s just deliciously funky and fuzzy.
“Nightroghostcar” is up next. Up tempo and brutal, pounding its way along a concrete seam that is loosened and demolished along the way by the non stop attack from heavy stoner sledgehammering along with laserbeam solos of pure heat.
“Fusion Van” is loud, heavy, distorted and fuzzy, rolling up into a freight train tempo that barrels its way down the tracks at breakneck speed, leaving no prisoners behind.
“Cruising the Desert”, Part 1 & Part 2 provides a haunting rendition that initially is delivered in a similarl heavy and breathtaking style already displayed on previous songs, and segues into a nice, melancholy guitar solo rendition.
“Release the Kraken” starts deceptively slow, deliberate in delivery, heavy on distortion and left jab punctuation from the drums, slowly building to a magnificent crescendo.
“Kometa” is deliberate and measured in delivery, moving along at a steady pace through standard stoner sounds that are somehow new and fresh, before winding up slowly into a resounding and thunderous crash.
“Lieuplorodon VS Giant Orthocone” moves through many imaginative riffs and renditions, delivering an impressive array of solos, vocals, segues, and stoner standards. This song is imagination at its best, coupled with a fresh execution of the familiar.
“Magma, Lava, and Burned Karma”, another favorite, uses a somewhat familiar style with slow, slow, fast in execution for much of the song, but not strictly adhering to any preset method for delivery, instead seeking out its own path through comfortable territory.
The closer is the title track, “Dead Wahines and Tsunamis” and could be considered the highlight of the album. The delivery here is more insistent, perhaps a shade more serious while never losing its ability for fun and ferocious joy. The vocals on display here are exquisite, as are all the guitar renditions within solos as well as high octane riff delivery throughout. The drumwork is never muted, nor out of control, and the bass provides a huge warm blanket of low fuzz to wrap it all up. Skill and imagination are on full display on this track, closing out a wonderful album in wonderful style.
These little known gentlemen from Switzerland may never get the instant recognition that comes to some, never to all, but they most assuredly will gain boatloads of accolades from anyone or any entity that has the privilege and the pleasure of listening through these thirteen exquisite songs at least once. But the challenge is stopping at only once because they are so incredibly compelling, so incredibly well done that they, and you, will find that several subsequent playbacks are required to satiate the appetite generated from the initial listening.
||| web site || facebook || myspace || reverbnation |||
Man, the pressure to produce 13 songs of substance had to be somewhat daunting, but these guys seem to take it in stride. It’s a little like Messi or Kobe needing to bring their A game each time out because they know the opposition has brought theirs, but it turns out not to be a problem because the combination of skill and talent, honed from years of finger blistering work and an imagination of clarity and insight. Somehow this collection of Swiss rockers are able to hone in on such high quality sound, over and over again, providing tunes that are bursting at the seams with fun, soul, and sheer listenable joy. Even if you go back an album, to their first LP, “Drive Fast & Crash”, you’ll experience the same phenomena, except with a miserly 12, not 13, beautifully rendered, fully crafted melodies that rock your face off!
At first listen a couple of things jump out at you: these . . . songs . . . ROCK . . . HARD . . and the vocals are nothing short of tremendous. For me, the vocals play a key role in the overall quality of the music. Vocals don’t have to be genetically superior, or of broadway musical quality, but when they are, it tends to place the music on an upper shelf. Who can discount the athletic, driving vocals of Kyuss’ John Garcia, Ozzy’s unique and incredible sound on those early albums, Keith Gibbs’ throaty, hefty, brutal vocals for Sasquatch, Dave Wyndorf’s beautifully adept timbre on Monster Magnet’s monster tunes? David van Neeg provides more than simple serviceable singing on this album, he belts them out with force and fury, finesse and panache, striking chords and notes in perfect execution and timbre, matching the quality of his output to that of the music upon which it rides. He never struggles, never strays from the essence of a song, always delivering exactly what fits, what matches, what’s required. Hell, the guy can flat out sing - high, low, fast, slow, clear, meaty, beefy, big, and / or bouncy.
Listed as the band members who are assigned the guitar are the heretofore mentioned David van Neeg and Esteban (Steve) Wolfensberger. Hah. These two do more than just play the guitar on these . . . did I mention there are 13 . . . songs. What they have laid down is magic, pure and simple. There is definitely a display of inestimable talent, deftness, and athleticism, on each song, not to mention perhaps tens of thousands of hours of practice, because regardless of talent level, skill comes only from rote execution, and the skill level on display with “Dead Wahines & Tsunamis” is as inestimable as the talent level. In essence, these 2 guitarists play music that provides instant gratification as well as continual and sustained pay off.
Lest we forget, Terry Pinhard, on bass, is not to be outdone by his counterparts. Skill, talent, imagination, all there, evident in the ferocious thumping and driving of his heavy strings, interspersed with imaginative rolls of funkalisciousness. Marc Cappaletti brings it all home with his assignment on drums. Some assignment; Mr. Cappaletti plays with relish and flare, with an adroit execution of imagination to match anything his frontmen can produce
“Cyclops Will Be Beheaded” kicks off the lucky set of 13. Fast and loud, heavy on skillful drums, it will have you stomping the floor at breath stealing pace. Low and fast guitar riding on top of driving, thumping bass, punctuated by a distortion in vocal delivery, all of it punching its way through to a closing flourish of guitar riffage.
“Landkreuzer” is another up tempo piece that displays the signature stoner guitar sound at the outset in a unique and imaginative rendition of guitar virtuosity, wrapped up in a blistering drum production and concrete busting bass rhythms. This song smoothly glides into its successor, “Evel Knievel Has Kissed the Devil” where the funkiest riffs on the album are on full display, riding right along with heavy, low, and loud guitar chords of stoner characteristic, as well as some truly blistering guitar solos that are worth the price of admission, to say the least. This is one of my favorite songs on an album full of favorites.
“I’ll Scratch Until I Bleed a Flood”, with its super cool title, is a super cool song, again infusing a little funk into the stoner signature sound, somehow fusing the familiar with the foreign and making it truly interesting and enjoyable. Another favorite. It’s just deliciously funky and fuzzy.
“Nightroghostcar” is up next. Up tempo and brutal, pounding its way along a concrete seam that is loosened and demolished along the way by the non stop attack from heavy stoner sledgehammering along with laserbeam solos of pure heat.
“Fusion Van” is loud, heavy, distorted and fuzzy, rolling up into a freight train tempo that barrels its way down the tracks at breakneck speed, leaving no prisoners behind.
“Cruising the Desert”, Part 1 & Part 2 provides a haunting rendition that initially is delivered in a similarl heavy and breathtaking style already displayed on previous songs, and segues into a nice, melancholy guitar solo rendition.
“Release the Kraken” starts deceptively slow, deliberate in delivery, heavy on distortion and left jab punctuation from the drums, slowly building to a magnificent crescendo.
“Kometa” is deliberate and measured in delivery, moving along at a steady pace through standard stoner sounds that are somehow new and fresh, before winding up slowly into a resounding and thunderous crash.
“Lieuplorodon VS Giant Orthocone” moves through many imaginative riffs and renditions, delivering an impressive array of solos, vocals, segues, and stoner standards. This song is imagination at its best, coupled with a fresh execution of the familiar.
“Magma, Lava, and Burned Karma”, another favorite, uses a somewhat familiar style with slow, slow, fast in execution for much of the song, but not strictly adhering to any preset method for delivery, instead seeking out its own path through comfortable territory.
The closer is the title track, “Dead Wahines and Tsunamis” and could be considered the highlight of the album. The delivery here is more insistent, perhaps a shade more serious while never losing its ability for fun and ferocious joy. The vocals on display here are exquisite, as are all the guitar renditions within solos as well as high octane riff delivery throughout. The drumwork is never muted, nor out of control, and the bass provides a huge warm blanket of low fuzz to wrap it all up. Skill and imagination are on full display on this track, closing out a wonderful album in wonderful style.
These little known gentlemen from Switzerland may never get the instant recognition that comes to some, never to all, but they most assuredly will gain boatloads of accolades from anyone or any entity that has the privilege and the pleasure of listening through these thirteen exquisite songs at least once. But the challenge is stopping at only once because they are so incredibly compelling, so incredibly well done that they, and you, will find that several subsequent playbacks are required to satiate the appetite generated from the initial listening.
||| web site || facebook || myspace || reverbnation |||
Sunday, July 22, 2012
Sunday Sludge: shEver - "Rituals"
Next time I volunteer for anything, I need to gather more details. Sure, I'll work the beer garden! The assumption is that I'll see familiar faces, get a free t-shirt, and throw back some swiped tall-boys. I didn't know some dickhead would be onstage with a sock in his pants, belting out Tim McGraw parodies. So of course, this morning's Sunday Sludge required some patient, atmospheric doom dusted with female aggression.
Switzerland's shEver aren't new to this. Eight years of the exhausting do-it-yourself approach is longer than most could endure. A little patience pays off, though. And Rituals, their first album on Jerusalem's TOTALRUST label, is a showcase of patient, gradually-constructed sludge/doom hatred. Filled with enough piss and vinegar to wither your black heart, these six tracks enter a trance and bulldoze rhythms until you're delirious with fatigue and giddy with malevolence.
From the onset of Ritual of Chaos, shEver's sound is one of haunting, unsettling grind. Slow guitar plucks challenge the pop and hiss of a nearby campfire until riffs enter and bully the backdrop. The doom slowly flows into your settlement, while whispers and growls create a formidable and captivating vocal tandem. It's a surprising enticement, like the Sirens beckoning Odysseus. Jessica's riffs chop to a steady gear of destructive restraint until this opener concludes with hollowed haunts barbing the muddy terrain.
Delirio is crafted in the vein of the classic sludge-doom crawl, complete with a hollow toilet-gurgle. Rolling and riffing through a tortoise cadence, there's a blood-trail being left behind. The quiet and lilted tempo is brief, giving way to grinding buzz-saw mystery shrouded in a canopy of trees. Nadine's low-end clubs beasts in a remarkably accessible drudge. Subdued but pained, the song draws out the demons. The ascent to crunchy grind burns through ritualistic chants of anguish, steadily snuffing out itself. This is nasty stuff.
Serenity allows for a cool, somber scarring of Sarah's drum taps to begin Je Suis Nee. Sludge drops and stuns the tranquility, swirling into doomed bliss. Slow, patient, and ominous, the repetitive "BONG" is cloaked in wool and utterly hypnotic. Tempos hover and scan the field for prey, while the mirrored vocal is gorgeously disturbing. shEver are just hitting their
The buzz leads right into Souls Colliding, a perfect follow-up to Je Suis Nee. Jessica hits a cool, shallow-wading strum while the band's timing and restraint are brilliantly married. We're slowly lulled into the cobblestone creep that every doom-o-phile falls in love with. Guitars carve through the wall of sound, while the pained growl is symptomatic of the track's awesome patience. A mid-tempo sludge roll emerges, Nadine's bass crashes to the cellar, and the marriage of melodic, drawn-out rhythms and riffs plunge southward. The slow, Persian collapse is one the album's brightest spots.
Persistent and unrelenting is (You Are) The Mirror, a sludgy doom stagger that shaves bone with an organized sustenance. The priestess vocal parallels the plodding rhythm until a tarred and feathered slow-motion sickness has listeners rocking back and forth. Pensive and boiled-down, the highs and lows are fully realized on this grinding shit-pit. The soggy buzz of approaching rain begins the album's closer, That He Na Te. The agonizing pacing and cultish hillside vocals employ an expanding thump with painstaking poise. The emerging back-scratching growls, choppy guitar stutter, and primal drums make for Rituals' fitting final chapter.
That a doom-metal band composed of four Swiss enchantresses can teach listeners a thing or two about taking their time is a marvel in its own right. That they make it sound so paradoxically soothing and evil is an exercise in mastery. There's a mythos doom bands strive for, at times coming off dark to the point of being unapproachable or majestic to the point of being campy. shEver strike a balance carved neatly into their own corner. Their craft didn't rely on trickery or sleight-of-hand. They simply let things simmer a while.
Tuesday, August 30, 2011
New Band To Burn One To (Morning Buzz): SNARF
SNARF is today's "NEW BAND TO BURN ONE TO" Morning Buzz...
Bio:
Psychedelic journeys since 2003: ear breaking riffs, buzzy annoying bass lines and heavy drum patterns. SNARF are 3.
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Bio:
Psychedelic journeys since 2003: ear breaking riffs, buzzy annoying bass lines and heavy drum patterns. SNARF are 3.
"These three dudes from Switzerland simply known as Snarf play slowwww..., sleepy, lethargic music that will not wake you up anytime soon. Interesting stops and starts, a lot of cymbal work and a warm fuzzy bass line are used to set the mood. Eerie touches of doom are complimented by spooky effects and a chilling twangy guitar. Soft lazy vocals add to the tripped out murkiness."The band has generously given permission to download their latest EP at the link below.
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