Monday Morning Mixtape V2-Weed, Wizards and Witches

Click on the cassette tape to play mixtape.

Sunday Smoke: Leather Lung - "Reap What You Sow"

Some things need to be experienced without distraction. Isn't that what Kyuss instructed? If you're gonna smoke yourself stupid, the perfect sidecar is the grimiest, steadiest stoner-sludge within arm's reach. But more important is to isolate the experience with decent headphones. After all, do you really want your mom coming downstairs, interrupting your session to complain about that racket?

Speaking of your mom, she looks great on the cover of Leather Lung's Reap What You Sow. Four New Englanders, five smokey cruisers, and twenty-seven minutes are all you need to make today lazy, hazy, and stickier than your stepdad's backseat. And it's okay if you don't wanna share.

A familiar stoner fuzz permeates the album, immediately evident on Burning Out. The opener rips with riffs and heavy hits, repeatedly parting the basement haze with fuzz licks that lift us into another atmosphere. Mike's vocal is little else but shards and splinters, spit hot and angry. But these rueful reflections can hardly pull you away from a Sunday sit down with your shadiest pals. The quick follow-up Green Bitch is stoner-punk sneer with a staggering gait, set off by Ben's potholed path. As we struggle for balance, Zach's blistering licks steady our hand. But these lungs are filling up and these eyes have grown heavy, bro.

An all-out embrace of loser-dom follows on the album's back end. Stone by Stone bruises behind heady buzz and riffs accumulate upon themselves. In short, the thickness is gonna coat your throat before lulling you with a cool, indian-circle sense of comfort. Don't get too cozy, though... "Third eye opens, two eyes close"? We're smoked silly and burnt into oblivion. Jesse's bass plucks introduce Moth to the Flame, offering a complete vocal tandem that juxtaposes itself. As a sandstorm develops, Leather Lung lift the tempo and swallow everything in sight. The slow to a sludgy stumble is as sticky as it is heavy. The transition to the closing Repack/Relight is swampy and strangely cathartic, snagging spacey elements to aggravate the swell. Screeches offer a bit of unease, but a slow strip of excess counters buzz-backed thumps as we ultimately, finally fall to a knee.

Leather Lung see no need to justify the fog. The bake is why you wake, so fuck the nickel and dime façade. Start to finish, Reap What You Sow sifts for stems and seeds, enveloping listeners with a viscous hybrid of low-slung, low-freuqency Acapulco Gold. Heshers generally have no shortage of free time. But rarely do they make such good use of it as with these five nugs.

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Sunday Sludge: Weedsnake - "Live Session"

I paid full attention through three years of Spanish and still retain only the most ridiculous framework of a language native to nearly a third of the population my day job introduces. Pocket translators take a tourist only so far, but they're sufficient in translating stoner metal lyrics. Plenty can get lost in translation, but lamenting broken relationships and singing pot's high praises is a universal language of hesh and haze.

You'd expect such a smoky perspective to limit the merits any one-take live recording, but Mexico City's Weedsnake bang out an eighteen-minute smog session that may be one track or six, depending on how unzipped you are. Careening between swampy stutter-stomps and breakneck dust-ups, its clear this stoner-sludge quartet either found their moment of clarity or smoked themselves sober; you may have trouble believing this was a one-off toss of buds and buzz.

Exploring the sounds as one long track puts Weedsnake's sound in a more progressive and dichotomous key. They seem to have more time to develop their slow sludge lumber than they were offered on previous releases, 2011's self-titled debut and 2012's split with Morelia's Akûma. Rhythms shift frequently, hitting all gears seamlessly between torrid tip-overs and filthy dirge.What's consistent is the band's commitment to exploring depths, heights, and every crack in the structure.

The slow-rolling opening echoes of EYEHATEGOD are met with stoner ease and quickly interrupted by white-knuckled frontseat finger-fucks, all held tightly wound by exceptional use of tempo. When chug and churn collect enough cymbal dust, high gears blister and Erick's bark grows more urgent. Listeners will have little time to make out what he's saying, let alone what it really means. You won't be allowed to nod off and tune out. Not yet, probably not ever. The pace always lifts and this live offering is alarmingly caffeinated for stoner-sludge weed metal.

Etziel's guitar is given free reign to wander and warp, crafting a balance with the dirt-caked chops. The backwoods drag between splintered trees is littered with fuzzy snaggers, numbing and distracting from the tense, frenetic moments of thrashing sludge. When you hear Weedsnake pulling themselves from the chaotic romp, you'll find yourself sinking under a slow storm of spraying shit.

The shifts in pace make for a good time here. Live music lends itself to a bit more groove, and these muddy moments swing like pierced udders with an almost doom-y malevolence. The despondent meters are buried by trippy buzzsaw distortion, and the psychedelic space-metal whispers flicker enough to make us squint even tighter. Weedsnake don't offer much explanation, but who the fuck wants it? Why ruin a good time with analysis and interpretation? From floor to ceiling, from sticky swamp to dry desert wind... it's all here in one toke. Er, take.

For fans of: Godhunter, Crowbar, Belzebong
Pair with: Chillwave Double IPA, Great Lakes Brewing Co.

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Sunday Sludge: Ladybird

Better late than never? The landlord won't let you get away with that shit, man. He also can't stand all the complaining from your neighbors upstairs. The knocks couldn't disrupt your weed coma, he can't collect, and the fuzz from below ain't exactly keepin' Bruce's feet warm. I spent a bit too much time livin' the high life and now it's just me and a few dusty records sorting out ends and pieces.

2013 is gone, but look what just fell outta my pocket. Phoenix trio Ladybird released a pair of puffed-out albums that display their range and their hazy focus. It took damn near a half-year, but I was... uh, busy. Offering spacey psych on Spliff & Wesson and hillbilly doom on Tombstoned, Ladybird may be the most prolific riff-wringing band you haven't heard. I hope you brought snacks; ah, Saladitos! Perfecto.

I wasn't sure where to start, and it probably doesn't matter. Spliff & Wesson is the tandem's cosmic haze, echoing with pans and warbles for twenty-four minutes of long drags. Numbness creeps in and your ears are gonna itch from the collected fuzz, progressively lumbering upward and outward. The growl revealed between shrill, spiking stalagmite licks rips with malevolence, so when you flip the cassette to Nossew & Ffilps, you'd better make sure the balance of your buzz doesn't rest on paranoia. Yes, you knew this would happen. Ladybird eliminated the dirty work for us and flipped their psychedelic stoner-doom square on its ass. And it's awesome.  

When you're ready to come down, have a seat with Tombstoned's Intro, a bayou-plucked reprieve that's wholly misleading. Five and a half clicks is hardly enough time to clean up, but it's reflective, soothing, and clear by comparison. Weedy doom rolls in on Papers, crashing through your trailer wall like a jilted lover after uncovering the truth. The drone tapestry shakes with every interruptive riff, and Ladybird strike hard and often. Repetitive, reverberative riffage introduces the crushing No Reason, a blow after blow punishment for the glutton. There's even an astral nod to S&W, glowing through bed sheet window treatments until the furry beast returns. Ending your trip with the twenty-two minute Marble Orchard may be the best or worst decision you'll make today. Doom landmines are promised at every step, so steady your stare and tread lightly.

You're gonna have fun with these releases. You'll discover occasional parallels, and Ladybird's divergent paths hardly pose a red pill/blue pill dilemma. Shit, take 'em both. Just know your limits and don't test them. If you've got the time, you'll have fun tackling both Spliff & Wesson and Tombstoned on a Sunday drive. And if you've lost your steam, put Ladybird's leftovers in the fridge and enjoy them tomorrow. Heavy Planet honors and showcases stoner rock, doom metal, sludge metal, and psychedelia. Sounds like Ladybird fucking nailed it!

For fans of: Weedeater, Sleep, Salem's Pot
Pair with: Raison D'Etre, Dogfish Head Craft Brewery

Facebook | S&W Bandcamp | 'Stoned Bandcamp

Live review - Loserpalooza 13 with Sonance, Spider Kitten, Ghast, Atomck, Pohl, Homoh.

Here's something a little different from me today. I was lucky enough to attend a show last Saturday put on by one of the fine gentleman from the mighty Spider Kitten, a band that is fast rising in the UK heavy scene and who have previously received a very favorable review here on Heavy Planet for their album "Cougar Club."

This was the third annual Loserpalooza event held in Cardiff, the capitol city of Wales, put on to showcase some of the cream of the crop of doom, sludge and black metal bands hailing from the South West of the UK and the line up of bands on the night chosen by the event organizer and guitarist Chi from Spider Kitten was of a highly impressive standard with each band playing excellent sets to a venue packed full of appreciative doom metal heads.    

                             

Things kicked off fairly early with HOMOH taking the stage with an already busy venue of adoring fans and new converts. Complete with singer/guitarist Gareth with his faced daubed in black face paint, HOMOH tore through a disgustingly filthy set of sludge in a similar style as EYEHATEGOD. They played some older tracks from their "DEMOH EP" with a few new ones played which showed an interesting development in their sound which seemed more raw and stripped down than their previous work but was no less eye gouging and brain fucking. Despite the guitarist having problems with his guitar strap he fared very well indeed and proceeded to bash out riffs with his axe raised aloft in true black sludge heroisms. I was very impressed with HOMOH's live set as they are a band with a great stage presence and with new recordings in the pipe line and reworkings of tracks from their DEMOH EP, HOMOH are sure to be a band that will make a lasting mark on the sludge metal scene everywhere.

HOMOH

HOMOH BANDCAMP

After a short break for toots and refills of ale it was time for Pohl from Bristol UK to impress the rapidly growing crowd of hungry doom and sludge lovers. Previously a 2 piece they now have a bassist which, although they were already heavy with a gargantuan sound, he is a welcome addition to the band. Pohl's set was tight and full of fast paced and incendiary drumming with fat riffs and song structures that brought to my mind Big Business and The Melvins. Pohl never fail to impress and by the end of their set everyone in attendance was fully fired up and eager for the next priests of heavy to step up and preach the gospel of riff.

POHL BANDCAMP

Atomck were up next and this 3 piece ripped through a set of fierce and face melting grindcore and powerful noise with a very energetic vocalist utilizing much of the venue and even climbing onto the bar to shout harsh howls and guttural screams into the mic. Atomck are firm favorites in the South West metal scene and have played numerous gigs over the years and it shows. They are fast, noisy, aggressive, heavy and down right fucking balls kicking loud. I felt pretty exhausted by the end of their set but there was no way I was going to bail half way through the night so after a couple more ales and a few tokes I was feeling well enough oiled to hang around to witness the inevitable storm of doom lined up for the rest of the evening.

ATOMCK BANDCAMP

Ghast soon followed with a set of the doomiest of doom and furiously blistering black metal. It was a blend that worked very well and had everyone present nodding their heads in metal appreciation. This 3 piece from Swansea, Wales, know black metal as well as they do doom and blend the 2 genres seamlessly. Ghast looked very at home on stage and played a range of tracks that kept me interested and wanting to hear more by the time their slot was up. The crowd loved every second and showed their appreciation with loud roars, claps and whistles, satisfied that Ghast's chapter in the Loserpalooza book was firmly scribed and will not be forgotten any time soon.

GHAST FACEBOOK

Another short break for booze, buds and banter and then it was time for Spider Kitten to blast out their pleasingly heavy and slow and low doom with a set consisting of tracks that I have not heard from them before and none that appeared on their previous release "Cougar Club" so it was an honor to hear the tracks before they are put to record. Spider Kitten's sound has moved on somewhat from their last release with some tracks having long atmospheric and minimal moments of experimental doom that reminded me a little of Harvey Milk's work and sometimes The Melvins but the inimitable Spider Kitten sound and their dark bluesy vibes were still very much there. Their set was ground shaking and brain crushingly heavy and their riffs mouth watering and mesmerizing and had everyone, myself especially, captivated by the vast waves of low end and the high precision drumming from drummer Chris West (ex bassist of Taint). With nearly every member of the band taking their turn to sing vocals, Spider Kitten are a band that work together in an almost darkly spiritual unison with doom riffs so expertly executed it is no wonder that Spider Kitten are turning many heads in the UK doom scene their way right now. Big things are coming for this band and I and many others are very excited to hear what they have in store for us next.

SPIDER KITTEN

SPIDER KITTEN BANDCAMP

Finally it was time for Bristol born Sonance to step up to the wood and they proceeded to lay everyone flat on their backs with a set that was blinding in its creativity and mind blowing in its execution. Their doom is as heart felt as any of the bands that played on the night and with members on the floor and level with the tightly gathered crowd of maniacal doom brains it was like a 60's happening but with more hair and more black and more swearing. One guitarist at the end of their set crouched down with his guitar on the floor while he teased out beautifully chaotic noise and the rest of the band joined him in evoking a monolithic wall of doom that caused red eyes and tears of heavy joy in all. There is a post metal tinge to their sound but for the most part they were doom and sludge all the way with the doom surge only being broken by moments of deeply atmospheric and introspective drone wanderings until the spine folding explosion of doom and sludge lay a final waste to an already wasted crowd.

SONANCE

SONANCE

SONANCE BANDCAMP

Loserpalooza is a truly brilliant one day annual banquet of heavy music which any of our readers would appreciate and enjoy and with such a high quality of bands chosen for the show, the south west of the UK proves itself to be a veritable hotbed of amazing doom/sludge/post and black metal bands made up from many of the metal warriors that dwell in this particular corner of England and Wales.

Here, wrap you ears around this compilation put together by Spider Kitten guitar and vocalist and Loserpalooza organizer Chi to hear what I'm talking about.

Thanks and hails to all bands and all those involved in putting on an unforgettable night of true doom worship.

Sunday Sludge: BongCauldron

Having some trouble waking up this morning? Shit, tell me about it. I struggle to find the link between independence and watching your friends get flat-faced and belligerent, but that doesn't mean I won't participate. We cut England's umbilical cord and what remains is a fleshy stump of excess and confusion. You have to wonder how many uncles and neighbors wake up on July 5th and thank America for the pounding in their heads. But a four-day bender? Even our town drunk has more sense.

Lucky for us, the relationship we ugly Americans have with the motherland has been long repaired and we can share back-and-forth our finest meats and cheeses. Kippers and mutton sound great, sure. But the thought of salted meat did little to sway me from repeatedly playing BongCauldron's Pissed Up. An appetizer of sorts, the track does more to rouse the hunger than bed 'er down. The band have an EP in the works, so we'll need a few pints to quell the pangs.

But let's talk about Pissed Up. The immediate stomp and screech roll-out is as groovy as it is torturous, while the shifting rhythms lay to waste any hope of sitting still. Thick with filth and echoing a blues structure a la Eyehategod, BongCauldron roll out a soiled carpet only to bludgeon their own guests. The abrasive sludge mentality is full-tilt here, while the fuzz has a numbing component that's both the cause of and solution to your unpinned burning sensation. There's really no relent on the track, evidenced by the introductory sustain, the incessant crash of cymbals, and the Lemmy-channeled vocal that's a brick-toothed snarl in your ear. The closing seconds are straight-up slow-motion sickness, fists in the air and cocks in your soup.

For the time being, there's a glimmer of despair in the form of BongCauldron's youtube page. The doomy, drudging stagger of Gimp Jig is a slow spin into delta-infused insanity. Emerging from the swamp only long enough to spit acid at your feet, the expansive passages allow the rhythms to drown at their own pace. Clouds circle and threaten, and the buzz buries any calm whisper. These thirteen minutes knock on every door, melting more than a pinch of soothing southern guitar into a hearty stew of blood and rocks.

Whatever drips from BongCauldron's beards promises to maintain the filth and the fury, growling on the backs of a teaser single and strong live reviews. There's an undeniable weed-sludge shuffle that clings to every note, but the blues influence and deliberate execution warrant a separation from the band's contemporaries. All listeners can do is hope these guys get this fucking record out before we all starve. And hey, Pissed Up is a free bandcamp download. Set the table, dear.

Facebook | Bandcamp | YouTube | Super Hot Records

New Band To Burn One To: BOTTLECAP

BAND BIO:

Bottlecap plays "juicy, in-your-face rock with a touch of ADHD." They do it hard, they do it funny, and they are chewing the stage floor like there's no freaking tomorrow.

Bottlecap was formed in Gothenburg in the fall of 2008 by The Three Musketeers: Johan Reiman, Gustav Pahlsson, and Marcus Nilsson. After two years filled with live shows and podium finishes in contests around the Gothenburg area, the band had found their genre and sharpened their live performances like deadly knives. It was time for the next step. During the fall of 2011,the single "Mind Box" was released and it was followed-up by a three-week tour of Sweden.

With a backpack full of new material, Bottlecap started working on their debut album in February 2012. After several months of hard (but satisfying) work, the self-titled album was released on vinyl and CD in the fall of 2012 by Muther Music.

With a hysterical amount of energy, Bottlecap delivers a ruthless live experience that leaves audiences kicking and screaming for more. Time and time again.

THOUGHTS:

Whether you're 17 or 77, these Swedes are gonna make you feel old. Bottlecap burn clean and bluesy on Set Me On Fire and keep tight hold of your balls throughout the ten remaining tracks. This sound could've been recorded in a seedy campus kitchen as you knock over beer cans. The layered cat-call vocals perfectly complement the gruff lead, while the fuzzy, furry Zeppelin-esque Shake My Hand is pluck/plod dynamite. Balancing clean guitars with psych-fuzz chewiness, this is one jammy sleepover cruiser, breaking buzzing stoner madness with low basslines and trailer-park guitars. 

You'll find elements of smoky garage fuzz, but the puddle-sizzles capture the band at their juiciest. And Bottlecap have struck fucking gold with Wretches, likely the greatest third-gear stoner "whoo-woo" track laid to tape. Forget the ins and outs of songcraft and metal scapegoats, these Swedes have discovered a formula more enjoyable than any words any asshole could lay down as he tells you what's good and what's not. Hit the skins, hit that shit, and hit play. Bottlecap's youthful exuberance is here to crack you out of your straight life and get the knees jumpin'.

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Album Review : High on Fire - De Vermis Mysteriis

From the plains of the deepest hash-induced journey to the unseen, to the unsightly poison of ancient and forbidden battlefields, the band treading deepest into the true guts of hazy mind-wrenching sludgei-ness since the late 90s, High on fire returned this year with followup to their stunning 2010 affair Snakes For the Divine. The record that rose from the ashes of the people crippled by the afformentioned riff-fest was built for those not pleased with its predecessor's cleaner production. De Vermis Mysteriis, is the newest effort in HoF's warpath of barrel chested riff affairs. Sporting a titular reference to H.P Lovecraft, and a back story regarding Jesus' hypothetical twin brother / time travel, as well as production values courtesy of metal juggernaut Kurt Ballou- this record takes on more of Blessed Black Wings' territory with ferocious uptempo monstrosities and a bare bass heavy production style. And it's freaking LOUD. I know. I blasted it out my 600w PA system in my old apartment complex. Needless to say I'm no longer allowed residence there ... Thats what I call METAL!

1. "Serums of Liao" - Right off the bat with the Lovecraft references, the album opens on a twisting surreal tirade of classic HoF riffs and battering-ram status drums. The vicious throbbing verse riffs are adorned by a major sounding chorus with Matt Pike roaring out deranged throaty beastliness all the way through. A quick triplet feel dominates the tune. Spicy!

2. "Bloody Knuckles" - This is the track bleeds upfront with spaced out well placed burning before launching into the fury that evokes some of the energy captured on Snakes. It's dirty, it's mean sounding, and its percussive. The song romps on before getting to a frantic-solo. Than comes the thrash, the band is showing their Slaytanic colors here- and it's damn good - Des Kensel's drums are tight as the anus of a pissed off monkey. Brutality!

3."Fertile Green" - The first sigle released. Tribal war drums herald the of pillaging your town, your home, and your females. Than it gets angry - pounding out snare hits on all 4 beats hardcore style with swirling cavities where the lyrics reside. The most violent tribute to the pot plant you've heard in a long while- this one pounds out before coming to an anthemic pulsing bridge instructing the sacred rituals of cannabis to commence. It continues with aggressive thrash style rhythms until the end.

4. "Madness of An Architect"- A lurking doom tribulation - this one evokes the really early stuff with lo-fi guitar squeeling to summon the beast from under Pike's nails. Remember The Art of Self-Defense? So do I and so do they. This one screams till the end with slow pungent exercises that are sure to keep that head bobbing in place. 

5. "Samsara"- The oddball instrumental. A bit of wailing with help from Kurt. Fun, short and intriguing but it's on the filler end of things compared to the instrumentals we were handed on Death is this Communion.

6. "Spiritual Rites" - Deathy and assertive - This one compares to other pounding HoF tunes. Quick and terrifying - tremolo picked lines are this song. One of the faster tunes on the record, definitely for you Slayer fans reading.

7. "King of Days" - This is where i'm biased. MY FAVORITE TUNE on this record. Matt's terrifying melodic vocals fit in perfectly over a destructive and bewildering doom riff. Hallowing howls and reverb'd guitars act as hooks in-between lines and evoke the death march. The Chorus uses tense low end to round it out and interspliced easily-hummed guitar lines hit before going back into the main riff. This tune features a ferocious bass solo from Jeff Matz by the end before roaring into a tribal harmonized guitar finale. A meteoric and awesome display of the band's songwriting prowess- evoking the likes of "Bastard Samurai" and "10,000 years."

8."De Vermis Mysteriis" - The namesake and another more focused sludge tune. This one is another where Des shines and just pours syncopated tribal drumbeats over everything. Pay close attention to the rhythmic exchanges between instrumentalists in this one.

9. "Romulus and Remus"- A hefty war elephant. A poisonous riff fills this tune with Rome's founding referenced lyrically - also sporting one of Matt's more melodic and well-phrased solos. He experiments with his toggle switch as well as his general Iommi-inspired wailing and keeps the pace of the solo till the end.

10."Warhorn" - A stark depiction of the Civil war complete with dissonatant haunting wallops to the mouth. This one experiments with more space as Pike plays sparsely through choruses. Still writhing with slow almost bongzilla-inspired clout, HoF trudges out with a clean and slow ending.

This album is a mixed bag. It's got that same vivacious production quality we've seen them gravitate towards in the past as well as some new tricks. It approaches sludgier territory with some of the tracks, fast paced, whirring, and jarring tunes that just mess with your senses. Personally I love the more doom influenced tracks, but this band definitely has something for everyone. Damn shame they were out of commission do to rehabilitation this summer- but i'm sure the minute Pike gets out, some serious face-ripping will occur.

Top albums of 2012? Most likely!

Instruction Manual for the Apocalypse? Possibly

Guaranteed to make your unaccustomed-to-metal-girlfriend shit bricks? 100 Percent.

High on Fire is 

Matthew Pike - Guitars/Vocals

Jeff Matz - Bass

Des Kencel - Drums

((facebook l website l youtube ))

New Feature On Heavy Planet-"Classic Band To Burn One To"

I have decided to start running a new feature on Heavy Planet called "Classic Band To Burn One To". Every week I will feature a Classic Rock band from the sixties, seventies or eighties that I deem either influential, obscure, or just plain badass. The first band to take honors is WEED (how ironic,huh?).

The only release by German act, WEED, plays a special role among the more obscure Krautrock acts from the seventies. The unconventional music produced by WEED has to be seen within the context of the German music scene of that time, still looking for its own identity and experimenting with a diversity of curious stylistic directions. Weed...! , the album, was originally released in 1971 and had been described by the British press as a mix of Guru Guru and The Status Quo. Of more interest to collectors alike, WEED features Uriah Heep keyboardist Ken Hensley on vocals, keyboards and guitars. Some believe that Hensley wrote all the songs on the album, but for whatever reason did not want to be credited for doing so.

Track Listing:

01. Sweet Morning Light
02. Lonely Ship
03. My Dream
04. Slowin' Down
05. Before I Die
06. Weed

Band:

Ken Hensley-Vocals, Guitar, Keyboards
Peet Becker-Drums
Reinhold Spiegelfeld-Bass Guitar
Bernd Hohmann-Flute
Werner Monka-Guitar
Rainer Schnelle-Keyboards

The album was remastered on CD and lavishly packaged in digipak format with all original artwork and new liner notes on July 3, 2006 on Brain/SPV Records. If interested, you can purchase this CD here.