Album Review: STEAK - "NO GOD TO SAVE"

STEAK have assiduously become a staple of underground fuzz, having previously released quintessential stoner/psychedelic hard rock albums in 2012, '13, and '15. Now, having signed with Ripple Music, they have released another full length album of ten thundering, riotous rock melodies that once again showcase the musical brilliance and deep-tuned craftsmanship of this Warrior Island battery of four preeminent metal artisans. "NO GOD TO SAVE" has allowed STEAK to bring to the fans of stoner rock, of fuzz-fueled, low-tuned loudness, a collection of songs that completely appease the most hooked addicts with hooks of amplified fervor.

STEAK are a brilliant group of metalheads, rendering songs that do much more than relay a particular sound quality. They certainly are adept at creating and playing extraordinary hard rock music that is rich in low tones and euphoric amplified distortion, music that combines clean, razor-sharp riffs with serrated edge keenness and a mammoth aural presence. But they are also adept at doing so over melodies of near genius, crafting songs that instantly excite while embedding snares of long term memory that will haunt its victims for years to come, songs such as "Overthrow", "Clones" "Living Like a Rat", and "Mountain".

"NO GOD TO SAVE" not only showcases their variety of fuzzy metal music, but does so in perfect harmony of their extraordinary vocalist, Kip, who is impeccably matched to their brand of heavy with his deep, mellifluous vocal tones that easily scale the highest peaks the music requires without ever resorting to any sort of rebel yell, guttural utterance, or falsetto flippancy, as well as complementing the band's six-string slinger Reece's samurai brilliance, or without ever overpowering the mighty drubbing of Cam's bass magnificence, or never overshadowing the wielder of wood, slayer of skin, drummer Sammy's stickwork.

When you look at the legacy STEAK have begun to build you can see this London clan possesses something as special as any metal band around, regardless of attempts at genre identification. They struggle like everyone else in the underground world of heavy rock, but have managed to advance their music, and hence, their careers, when doing so is never ordained. They now are part of Ripple Records, which in itself is a mark of accomplishment, and they have already given us an unerring library of amplified addiction. With "NO GOD TO SAVE" they have bestowed upon us one of 2017's preeminent heavy metal, hard rock, stoner rock albums, proving they are poised to become the legends their burgeoning legacy reveals them to be.

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Nuclear Dog's Atomic Split: Hollow Leg - "Abysmal" / Brimstone Coven - "II"

We are in the midst of an exceptional year in which an abundant and bountiful release of great music spanning the stoner/doom/psychedelic and retro/blues rock genres is suddenly available for our spiritual pleasures. Nothing in the universe deeply stirs the soul like great rock music, and this is a time of great spiritual satisfaction. Over the course of the next several days I hope to introduce to you those albums that have managed to potentiate the spiritual metal receptors of my soul in order they may do the same for you. I begin with two albums of disparate sound, made by members of not dissimilar experience, in which both have managed to create exceptional and timeless metal music.
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 HOLLOW LEG - ABYSMAL 

 For their earlier release in 2010 of "Instinct" the North Florida band Hollow Leg were the twosome of Brent Lynch on strings and vocals and Tim Creter on drums, but for their new release, "Abysmal", they have expanded their ranks to a foursome adding Tom Crowther on bass and Scott Angelecos on vocals. The result is a massive tapestry of unique and intense metal, weaving together intricate, intelligent threads that form a thoroughly mature sound that likely derives from rock sources old and new, but resounds with a fresh and gifted cacophony of their own creation, establishing a signature sound that becomes instantly recognizable while remaining fresh and exciting, delivering immense metal gratification. The guitars of Crowther, Angelecos, and Lynch are low and massive, pile driving incessantly in a major infusion of metal analgesic. Creter's drumwork is spectacular in anabolic rhythm. Perhaps the crown jewel is Angelecos' vocals, manipiulating a rough and ragged voice that thankfully falls way short of cookie cutter growling and instead is crystal clear in its ragged butcher block intensity. Add to all this the brilliant melodies that underlie the dark and gritty riff-letting and you have a contender for Top Ten of 2013, as well as a lifetime 'go to' album. The title track starts the album off by setting a deep dark metal atmosphere. There is not a step backward on any track down the line from there. All are notable. My favorites are "Ride to Ruin" and "Lord Annihilation".

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BRIMSTONE COVEN -II

This album is a metal groovefest of the highest caliber, with songs that follow no strict structural formulas for either retro or stoner sensibilities yet manage to incorporate just enough low tuned doominess and psychedelic blues vapor that the music fits nicely on the playlists of the Followers of the Fuzz. Hailing from Wheeling, West Virginia the foursome of "Big John" Williams on vocals, Corey Roth on guitar, Andrew D'Cagna on bass, and Dan Hercules on drums make up the epic and soon to be timeless rock band Brimstone Coven. They have managed to release two superb albums in the span of  eighteen months or so, adeptly carving out a special niche for their clever, soulful, and powerful music. There is no skimping on meaty, beefy bass and guitar work anywhere on the plethora of ten solid tracks as D'Cagna and Roth fire off low tuned and mesmerizing riff volleys in steady portion throughout the album, often overlaid by searing, scorching solo conjurings from Roth that permeate straight to the essence of the listener's fuzzy soul. When taking Williams' spellbinding vocal tapestries into account the bewitching nature of Brimstone Coven's music is in full effect.

The trick with modern metal of any genre is typically going to be how to manage the use of derivations from six decades of essential heaviness and still be able to form your own unique sound. Only the clever and gifted stand a chance of creating anything of significance over and above masterful execution of instrumentation. Brimstone Coven are proving to be artists of keenness, insight, and imagination. What they have put on offer with "II" is a haunting, rollicking display of deep, profound, and acutely riveting metal amalgamations.

My favorite track is "The Black Door", an entirely unique sound that casts a woolly and inescapable spell. "The Grave" brings forth dark spirits of bloody sabbaths past in a witches brew of heavy broth and searing solo chunks. The closer is mighty and fierce in musical breadth, once again conjuring spellbinding incantations of stygian riffs, deep, dark, relentless drumwork, and mesmerizing harmonies of ethereal vocals.

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Nuclear Dog's Atomic Review: Sasquatch - IV

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Like any musical genre Stoner Rock has its giants, those gifted artists and exceptional bands that produce a product easily recognizable as superior in many ways. The second half of 2013 will witness some of those giants - known giants, up and coming giants, and obscure giants of an obscure genre - releasing new and heavily anticipated music. One of those Stoner Rock giants, in the minds of fan and critic alike, is in the top two or three currently active bands, and could very well retain that lofty status once their music has been consigned to history. This is a band recognized far and wide for the quality of original fuzz it has produced over the course of a decade and change, sporting music of gargantuan riffs and melodic song structures, consisting of a three man line up that has seen only one member change over that time. It is a line up consisting of all-pro rockers, supremely talented, motivated, and passionate to their fuzzy metal cores.

I am talking, of course, about the behemoth band Sasquatch, who have recently released their fourth album on Small Stone Records, aptly and succinctly titled "IV", following after the timeless "III" of 2010, the jaw dropping "II" of 2006, and 2004's self titled notice of arrival.

The lineup for Sasquatch includes the newest member, Jason Casanova, who has been with the band now since just prior to the release of their monster third album. He has not only seamlessly fit in, but has perhaps brought a higher level of intensity and musicianship by wielding his bass like a wild-eyed, claymore brandishing berserker, full of fury, passion, and, above all, skill.

Providing tectonic reverberations is the timeless Rick Ferrante, equally ferocious in his impeccable wood on skin pummelings, perpetuating the same excellence as has been demonstrated on all previous releases, and providing timeless and unmatchable continuity throughout the band's legacy of fuzz.

Providing the meat, the origin, and the monster riffs that define Sasquatch is the incomparable Keith Gibbs, a bona fide artistic giant, whose song writing skills and masterful six string manipulations are powered by his unique musical gifts and a heart as big as the hairy beast for which the band is named. Add to that vocals of perfect pitch and power and you have an artist of exceptional chops.

"IV" has been heavily anticipated, with a festering fervor brewing through the three year gap since their last album was released, an album that was highly, and rightly acclaimed as a hallmark achievement of supreme musicianship and quality. That kind of success, along with the sustained success over three great albums in a decade, breeds both anticipation and apprehension. Anticipation for what surely will be another superb rendering. Apprehension for sustained quality, perhaps. We expect lightning to strike yet again. But there is always that little kernel of . . . not doubt necessarily, because there is no reason to doubt it . . . trepidation, maybe, that our good fortune with the Sasquatch lottery might run out on this ticket.

So, what is the verdict for the fourth album from a bonifide Stoner Rock giant? In a word, magnificent. Talent in all areas meets passion in the same, generating a cascading onslaught of gargantuan, heavy, beefy, fuzzy riffs, beats, hooks, and melody. THIS is what you want a stoner rock album to be, an intoxicating experience of sound that permeates through every pore and infiltrates to every cell, leaving you lusting for an immediate repeat injection.

One of the coolest aspects of Sasquatch's music is that none of it feels calculated beyond the simple intent of playing what they've made, which, given their immense talents in songsmithing and song execution becomes an intensely enjoyable experience, especially when played loud, and, for my preferences, up close and personal through high quality headphones.

Many of the songs on "IV" represent growth for the band as they explore new paths just outside the boundaries they set on the first three albums. They do not deviate from their strengths so much as develop new muscles of deep stoner fuzz that build upon that strong foundation. The album, though, also contains a smattering of tried and true Sasquatch tunes, so take heart those who fear change. It's an album with the best of all worlds, standard tracks that deliver that comfortable old fuzzy cardigan, songs with fresh direction generating excitement and deep energetic release, and songs that are signature Sasquatch capable of sliding into I, II, or III, as well as giving IV that deep blues rock grounding for which this threesome is known.

"I've Got a Message" opens the album with energy and fun, delivering a song that's a little like a steamroller barrelling full force just out of control down a steep San Francisco boulevard.

Next up is "Eye of the Storm", a tour de force in radioactive output and exposed nerves, in which the band veers away a bit from what has been their signature style without abandoning any part of their tried and true sound. If anything, the tandem strings of Gibbs and Cas deliver larger caliber munitions in a cacophony spray of distorted ecstasy driven relentlessly forward by Ferrante's feral roar of lumber on skin. This song is heavy with anguish and pain, intentional or not, with gargantuan heart and unimaginable skill providing one of the most satisfying tracks of the year from any and all rock sources.

What follows next is a series of songs that demonstrate for the fourth time in a decade the brilliance and thrill of the blues rock riddled, distorted, fuzzy riff rages of one of rock's most talented threesomes, who both go a far piece to define a genre while rumbling loud and long within its own craggy niche. From "Sweet Lady" to "Me and You" are five sagas of anguish, betrayal, and pain as relayed through fuzz boxes and high caliber amplifiers in the employ of a trio of warlocks of distortion. Joining in on "Smoke Signal" are Mr. Small Stone, Scott Hamilton on guitar, and Gozu's Marc Gaffney on vocals, slathering juicy relish onto what was already a juicy, meaty morsel of soul stomping sound.

The penultimate track, "Corner", is a brilliant uptempo full speed tank ride, straight ahead, powerful, constructed and executed to perfection. The only knock on this song might be it's too short! Of course, it's the perfect length, I just hated to hear it drop to silence after a frenetic 3 minutes. Sasquatch more than make up for it on the closer, "Drawing Flies", an eminate slow burn of unyielding intensity that bores its way through to the very core of the listener's tribal origins, striking a long lying primal chord with harmonic perfection.

The threesome of Sasquatch each demonstrate the highest levels of musicianship and craft on this album, especially in service of low tuned and slow burning musical intensity. Gibbs' guitar is power and brilliance, mining the depths of blues fueled fuzz with passion and grace. Casanova is a marvel of booming reverberations dexterously executed. Ferrante yields a smooth, effortless, yet vigorous prowess with his virtuoso performance on drums. Gibbs, too, is a master singer whose vocal instrument is exceptional on every note, every nuance, and every inflection. All is blended together and perfectly executed in the service of inventive, perceptive, and resourceful song writing. This is an album of note, perhaps made all the more so when considering it's the fourth in line of exceptional releases, a position that for many would expose a threadbare vein of artistic provender, but for this band, instead, reveals new direction, incredible passion, and songs for the ages.
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Nuclear Dog's Atomic Split: Luder - "Adelphophagia" / Elvis Deluxe - "The Story So Far"

I know it's been awhile. You know, life. Part and parcel of the responsibilities of life require paying the pimp for services rendered, and decades of rendering those services yield physical breakdowns of the sort to stymie your abilities. Regardless, the responsibilities remain, leaving little time for soul replenishment via cherished activities, such as writing about the wonderful, awe inspiring world of stoner metal. But, enough small blocks of time banded together today yield just enough opportunity to introduce to you two fine new albums of stoner bliss.
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LUDER - "ADELPHOPHAGIA"

What happens when the intense full throttle sound of  Five Horse Johnson's lead guitarist, who loves blues and classic rock, Novadriver's heavy hitting drummer, who loves hard and heavy rock, Small Stone Record's head honcho, who loves the classic sounds of The Who and The Cult, and Slot's dulcet toned vocalist, who loves the mellow sounds of indie rock get together to form a band? The short answer is Luder. Go a bit deeper and the response is an intriguing, unique, deep, soulful blend of styles that yields a sound that surprisingly satisfies a craving you might not have known you had.

One of my all time favorite things is the sound of that wonderful, soul stirring, stoner guitar riff, the kind employed on many great albums by some of the genre's best known and most accomplished artists such as Truckfighters, Dozer, Summoner, Steak, and Kyuss, just to name about half a percent. It is an incredible, vibrant guitar riff and plays well in every setting in which I've ever heard it. I've often wondered how applying that riff style to mellower rock or songs that are perhaps more poppish in nature might improve their sound. With Luder and their latest release "Adelphophagia" my curiosity has been assuaged, and then some. Does it work? HELL, YEAH!!! it works. "Adelphophagia"'s songs are exciting and invigorating, due both to the unique blend of sound and style as well as to the musical talents on full display in each of the piece parts of the band's members.

Luder have been making music for quite a while, hearkening back to 2006 as a culmination of efforts to honor the band Slot, who had lost their guitarist and main creative force, Billy Rivkin, just a few years earlier. Small Stone Records first released Slot's music in 2006. That release stirred 2 of Slot's remaining members, vocalist and bassist Sue Lott and drummer Eddie Alterman, and  Five Horse Johnson's guitarist Phil Dürr as well as Small Stone Record's Scott Hamilton, also on guitar, to play Slot's music at SXSW in the spring of 2007. Afterward, the feeling they could, and should, create a fresh style of rock music led to the official formation of Luder and a changing of the guard at drums in which Eddie was replaced by Novadriver's Eric Miller. Soon 2009's "Sonoluminescence" was released, and now "Adelphophagia".

Dürr's guitar charges out of the gate straight away on the opener "Never Liked You" in a prelude of the sonic bursts he has peppered throughout the song. In much the same way Lott flexes big bass muscle in antipodal display to her soothing and confident vocals. The drumwork rides a wave of clearly defined execution, never simply underpinning the more obvious guitarwork. Listening to the varied and brilliant pieces on display here gives you an immediate sense of just how incredibly gifted these musicians are.

In second position is "Astrolabe", a song of psychedelic tendencies, richly layered with compelling and dexterous instrumentation. And again, despite the high powered lead guitar riff hammer of Phil Dürr, the biggest guns might just be from the same person who lays out the sweet sounding vocals as she practically lays waste with her booming, athletic bass licks.

Sublime stoner fuzz accentuated with enveloping avalanche blitzes propel "One Eye" on an engrossing journey, followed by "Heartfelt" with its almost strident riffage encompassed in rich, deep, blended psychedelic tones.

"Ask the Sky" gives Lott a chance to shine even more than usual with her rich, measured vocals, turning on a sublime and haunting charm that stands out as the focal point for the accompanying melody, while the haunting quality of "You Try It" shifts slightly to the dueling guitars of Dürr and Hamilton.

The melody and music of "Dirge" is a tight and powerfully executed anthem of haunting beauty.

A change of pace awaits on "I'm Afraid of Americans", a funky and fun exhibition that throws some unusual sounds into the mix while making it all work effortlessly and seamlessly.

The closer is the slow burning "Remember What I Said". Whether or not you remember what I said today or not doesn't matter so much as remembering the sustained immersion and profound experience of this unique and wonderful album.







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ELVIS DELUXE - "THE STORY SO FAR"

This band from Warsaw, Poland should be considered grizzled veterans of the stoner rock scene having lasted this long from inception in 2003. They seem to be gaining steam as they course along the fuzzy paths of underground metal both in album frequency and musical quality. Forming in 2003 they didn't release their first album, "Lazy", until 2007, followed up after another 4 year elapse with the highly acclaimed "Favourite State of Mind" in 2011. But only 2 years have transpired since and now comes "The Story So Far" ( a promising title of more to come, perhaps ).

Elvis Deluxe have always displayed a knack for the hook and melody of Kyuss-like stoner rock with a garage rock strain, but with this latest release there is a depth and dexterity not always matched on the earlier albums. Having said that, 3 of the songs on this album are from the very early days and feature the original guitarist, Mechu, who had left Elvis Deluxe soon after the release of  "Favourite State of Mind". The band did not lose any of its new found momentum, however, and have added a new guitarist who plays on the newest tracks of "The Story So Far".

Current band members include:

Bert Trust - Guitar
Bolek - Guitar
Miko - Drums
Ziemba - Bass / Vocals

"The Story So Far" wastes no time establishing itself as a contender. Out of the gate we are treated to "Yourgodfreed", an eight minute immersion into a measured hypnotic atmosphere that permeates and elevates as it carries you along in its fuzzy hooks and psychedelic connotations.

The style changes up significantly on "No Reason" and "Dark Lovers" in which recognizable stoner riffs are executed in an almost atypical and intriguing manner, while playing enjoyable hooks of pop sensibilities, yet never abandoning the booming riffs and low tuned megablasts of hallmark stoner rock.

"Face It" demonstrates that rare accomplishment of blending bigger than life stoner fuzz riffs with beautiful melody and a memorable hook, punctuated by a closing salvo of naval proportions.

"Something to Hide", "Out of Life", and "The Hope" are all massive onslaughts of measured sound, blasting loud and deep while under strict control.

Elvis Deluxe closes out with a cover of the Stooges' "Search and Destroy", doing more than a credible impression of the classic song by throwing in signature stoner riffs throughout, giving it an incredible and enjoyable sound.

"The Story So Far" immediately goes on the 'Best of Lists' for many stoner rock lovers, myself included. While it faces stiff competition in the coming months from stoner rock royalty and some very heavily anticipated albums, this signature album from Poland's premier metal band is exceptional whether on its own or in the company of other albums of similar stature, so when the curtains close and the dust settles on 2013 there will definitely be a light shining squarely on the brilliance of "The Story So Far".









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Nuclear Dog's Atomic Split: Midryasi - "Black, Blue & Violet" / Peacemaker - "Cult .45"

Today is disparate day. Two albums that haven't got a whole lot in common, but what they do have in common is the most vital part of what they do. Both bands employ unmuffled, big engine guitars in creating decibel shattering music. One strips most parts bare and then polishes those up to present clean, tight, raw stoner doom metal that is no frills, no holds barred, fist pumping power. The other constructs multi-faceted melodies on top of clear and precise stoner riffs, crafting an intricate experience that easily engages you in an experience of passionate sound. Each band has their unique approach, and each succeed in a great way. I love it when such disparate means produce unique, eternal quality.
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MIDRYASI - "BLACK, BLUE & VIOLET

Midryasi are a veteran stoner/doom/psych band, hailing from Varese, Italy, originally formed in 2002, from which point they have worked their way up in the underground metal world through incremental milestones that attest to their diligence and perseverance as well as their innate ability to create superbly brilliant music. "Black, Blue & Violet" joins "Corridors" as the bands full length LPs, the latter having been unleashed on the music world in 2009 and the former recently released at the beginning of the present year.

Band members:

Convulsion - Throat, Bass
Paul P. - Guitars
Udz - Keys
Sappah - Drums

Sometimes it can be challenging to classify some of the bands or albums that find their way to Heavy Planet, with hundreds of them crossing the blurred, fuzzy lines between genres. Is it stoner rock? Is it doom metal? Is it psychedelica? Is it retro/classic/vintage rock, blues metal? There are infinite combinations, all of them exciting and deeply gratifying to the fans of down tuned, heavy distortion. Midryasi, perhaps, have developed a new cross genre, something, if not completely original, at least quite rare. I would call it stoner opera.

The song structures, melodies, and hooks present on this dark album of fantastic realms are not wholly derivative, but could likely be traced or compared to some of the better known concept albums of the 70s and beyond in architecture and atmosphere. What sets it wholly apart is its penchant for down tuned fuzzery on  vast regions of its quality sound, setting a hook of a different sort to work in conjunction with the brilliantly clever musical barbs found throughout the music.

As with any concept album, the fun is in exploring over and over the telling of the tale, both musically and lyrically, discovering new and different revelations, avenues, hidden recesses, and unforeseen flashes of inspiration and insight upon each telling. The craftsmanship on these songs is such that the strength of the music grows with each musical trek.

Two interesting tidbits, one about the band, one on the album. Midryasi is derived from the scientific term midriasis, describing the dilation of the eyes pupils, something most of us know a bit about, I'd wager. Track six on "Black, Blue & Violet" is titled "Nuclear Dog" and is a total coincidence. I had already listened to and loved the album before studying the track titles and song lyrics, which is when I made my exciting discovery. "Nuclear Dog" is not my favorite track on the album, that honor goes to "Hole of the Saturday Night", a fuzz laden monstrosity of epic, soaring proportions.

Head on over to bandcamp and begin an epic, enduring adventure on this extraordinary stoner rock opera.





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PEACEMAKER - "CULT .45"

This album first came across the Heavy Planet desk as a demo back in 2012 and stirred considerable excitement at the time. Now that the full 8 track LP has been released the quality first experienced back then has carried through to the album entire. This is meat and potatoes stoner / doom music, none finer, none heavier, none more satisfying than what this foursome from London have to offer, with a sound that is at once clean and ragged. Ragged by design as fuzz and distortion are carefully, passionately, unleashed for maximum effect, clean in studio delivery as there is absolutely nothing out of balance or out of place on any portion of the album. Professionalism is always welcome, especially when it come to your favorite listening pleasures.

Band Members:

Al Osta - Vocals
Al Lawson - Bass / Wizard
Sam Taylor - Guitar
Rich Maw - Drums

Big huge, rolling riffs of gargantuan proportions are propagated regularly throughout this album in measured and melodic method, driving deep through to the molten magma core of your soul, sparking primal urges both fierce and pleasurable. The riffs and rolls of guitar and bass play off one another in harmony and dissent, creating exquisite chaos that is tempered by the bludgeoning force of unyielding drumwork and overseen with master strokes of rough hewn vocals. There is a palpable magnetism and dynamic fury on this album that raises hackles and sets the listener on a razor's edge of brilliance and force.

Opening with the megadoom "The Siberian Problem", a song that sets the tone perfectly for much of what's to follow, and the ensuing assault of "Follow the Rats", a forceful and measured onslaught of reverberation resplendent with doom hooks and gargantuan riffs, Peacemaker set a perfect tone for "Cult .45".

On the heels of "Follow the Rats" is yet another riff leviathan of perfectly measured doom melody, "Dead Man's Keys". "Soul Cheater" is a blitzkrieg battalion of low tuned machinery mounting an onslaught of speed and blistering riffs. "Journey of the Faithful" and "Sorrow Trip" round out the album's excellent soul searing stormclouds of foreboding and arousal.

One of the excellent hallmarks of Peacemaker's music, as heavy and downtuned as it may be, is their ability to craft fine melodies, wonderous hooks, and catchy patches in much of their songwriting. They display their ability in a small, but significant way on the short tracks "Mane of Serpents" and "Grey Sky", interceding the brilliant darkness on the majority of the album with the dolorous and mournful light of this sweet, ebony pair.





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Nuclear Dog's Atomic Split: Estoner - "The Stump Will Rise" / Motherslug - "Motherslug"

The Stoner Rock world is chock full of magnificent, electrifying music that bests anything, ANYTHING, played in mainstream forums. It amazes me that none of the publications I read, whether online or in print, seem to be aware of what goes on in the world of low tuned fuzz. Queens of the Stone Age gets prominent billing for an album that is a shadow of anything Kyuss ever produced save, perhaps, their initial release. Black Sabbath returns after several decades with a worthy effort that has everything but perhaps the heart of what once was, heart that now reverberates throughout the Stoner Rock world with bands that have taken up the mantle, trying desperately on one hand to achieve what the Black Sabbaths of the world have already achieved while simultaneously achieving what those aging bands no longer can. Heart is the key, and hunger is the driving force. Without hunger heart can't live. Without heart, hunger is absent. Perhaps the music we review on Heavy Planet reaches a small and passionate audience, one whose nearly matches that of the architects of the sound we crave, but I believe we have keyed into the absolute best music alternating current has to offer. If mainstream hasn't clued in on that fact . . . well, then they're relegated to listening to the Kanyes and Lumineers on offer, and pity to them, I guess. I'll take Estoner and Motherslug, today's featured Stoner Rock generators, any day, any time. I'm thankful it's there to take.
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ESTONER - "THE STUMP WILL RISE"

Okay, I'm late to the party on this album. It was released in October of 2012 and I have only recently become aware of its dulcet tones. Hah! Dulcet tones. Yes, but in a low, fuzzed out, distorted, shredded scrap metal sort of way! Estoner grind and slice through thick slabs of iron and steel with twin guitar shredders and a vocalist for the ages.

Hailing from Talinn, Estonia  band members include:

Corey Tomlins - Vocals
Ralf Vinkler - Guitar
Kristian Vallikivi - Guitar
Jaanus Luka - Bass
Anton Veeremets - Drums

Estoner became a full band in 2011 and spent months on the road honing their sound. A mini release of 3 songs during that time quickly sold out and gave the band impetus to create this septet of massive, deep metal melodies of psychedelic tendencies.

The sound Estoner have created is brilliant and unique. They employ a superfecta of unique, spine chilling vocals, multi shredding twin guitars that lay down the thick, jagged  pile of metal tapestries, brilliantly crafted melodies chock full of sharp steel hooks, unfolding and engrossing story lines, and engrossing rhythms.

The album opens with the superb "Greenseeker", a perfect representative of all that's great with "The Stump Will Rise", nearly 9 minutes in length, heavy, low, and deliberate, and showcasing both melody and Tomlins' unique, haunting vocals. Nowhere on the album is the mammoth driving power of Luka's bass more present than on track 2, "Meet the Abyss". "Darth Vader Has a Hangover" opens with an incredible duet of synchronized stoner rumble and a serene, almost acoustic treatment that morphs quickly into sheer power and monstrous driving riffs in an ode to the timeless space cowboy classic. "Stump" is an incredibly intriguing mix of deliberate driving power, and wild, nearly incongruous sounds dashing in, out, and around the methodical onslaught of the master melody. "Level 5 Wizard", as you might expect, takes a more ethereal, spiritual journey, while never leaving behind the heavy machinery on an extended trip of color and emotion, while "LSD Vampyr" continues the smoky, hazy journey of metallic fuzz, neither song to be outdone by the mega trippy, ultra shaggy "Mindweasels".

This album is one of a kind and if you are a fan of the fuzz and an appreciator of metal melody, as well as relishing singular vocals, you should find this album a cut above most. I regret not finding this jewel last year because it most certainly would have made my top 20 end of year list. It's the kind of album that gets better each time you listen to it, and sounds better with high quality headphones cranked up beyond what is healthy for these old rock and roll ears.





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MOTHERSLUG - "MOTHERSLUG"

Whenever I see that a band is a five piece I tend to get excited because most of the time it means dual guitars, which is certainly the case once again today with Motherslug. Guitars are what set the great music of the Stoner/Doom/Psychedelic world apart from all others because guitar is used to perfect effect much of the time, cranking out low, loud riff rhythms while shredding the dark energy of the universe with searing light beams of power and brilliance. Motherslug do that in spades, as they say. The guitars permeate to the core, to the very essence of existence in this powerful half hour experience.

Motherslug hail from Melbourne, Australia, having formed very recently in 2012 with what began as a mutual admiration of the music of Kyuss by

Ferg - Rhythm Guitar
Nick - Drums

who began jamming together and discovering a propensity for the low end heaviness of stoner rock, and so decided to add to the mix

Matt - Lead Guitar

who brought incredible depth and dexterity. It took some time for the fledgling band to find

Cyn - Bass

to round out the instrumental sound. It took several months more to find the right fit for the final instrument, but then along came

Cam - Vocals

a unique and perfectly matched talent whose vocal abilities are supreme and immediately evident when you first listen to Motherslug play. While his pipes are reminiscent of many of rock's great wordthrashers it retains its own unique and incredible sound.

This is a band that displays it all in their songs, and while the starting point for them is this self titled 4 track EP, it is very much massive in content and quality, providing riveting and explosive low end brilliance.

The opening track, "Symptoms (of the Human Race)" hearkens back to classic sounds of seventies metal as well as evoking the nimble melodies of high desert masters of the nineties and beyond. "Rollin'" carries the gargantuan sound forward with a classic blues rock theme married beautifully to massive metal riffs and licks of gargantuan proportions, overwrought with spacey, haunting laser beam solos. The deliberate, "Devils Rise" is a slow rolling river of sound forcing its current of monstrosities to carry you along until you succumb to its dark depths, while "Space Man" lives up to its billing with a psychedelic din that sits squarely on top of your chest threatening to interrupt the natural rhythms within with an intruding enormity of decibel distortion, leaving your only recourse to yield to the mercies and vagaries of its low tuned capriciousness.

"Motherslug" hits the mark dead center with their maiden release, providing a worthy collection of massive stoner melodies. I look very much forward to their first full length album, but I also simply look forward to once again spinning this beauty up once again.





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Nuclear Dog's Atomic Split: Deaf Proof - "Beyond the Orange Door Demo" / Steak - "Corned Beef Colossus"

Heavy Planet. Purveyors of the finest stoner rock . . . that's what we claim, that's what I love listening to the most, as do a gazillion of you guys, and that's what I love posting on Heavy Planet on those occasions a pure stoner album is available for our listening pleasure. Today is such a day, ladies and gents, as I present, not one, but two albums, one that has been lying around for a short while, apparently a victim of the cracks through which it had fallen, and, two, a hot, fresh slice of succulent distortion, hot off the bricks of the stoner rock kitchens.
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DEAF PROOF - "BEYOND THE ORANGE DOOR DEMO"

Deaf Proof are a band struggling to maintain a consistent line up, and until they do an official studio release may never be forthcoming. The band members who have been steadfast from the band's inception in 2006 have remained locked in  on their goal and their mission of making and playing that sweet stoner sound. Through a significant number of lineup changes they have managed to release 2 demo EPs, the second of which was released just this past April after having been recorded between 2009 and 2012. Some might look at that and see a lack of coordination and coherency from the band located in Freiburg, Germany. I disagree. I see a core membership that hasn't wavered in their love and devotion for the music they create, pushing forward through trials and tribulations until what we have before us is a six track EP of a superior sonic quality, belying the disjointed process taken in its development.

The current lineup for Deaf Proof is:

J. Fredo - Vocals and Guitar
JP - Bass
Pedro - Drums

The sound is big, bold, heavy, low, and classic. Crisp and colorful psychedelic overtones are employed throughout the album blending perfectly with the vibrant distortion of Deaf Proof's recognizable yet singular sound. Guitars are ferocious and mighty in an all out onslaught of sound, with forays into masterful strokes of precision and guile. Drums prove to be nimble and adept at providing massive undertones along with delicate accompaniment. The bass matches the gargantuan six string sound with underpinnings of massive layers of concrete and stone pilings, electrically charged and pulsing in mammoth rhythms of unparalleled athleticism. Vocals round out the sound with an edgy rasp of power and focus, nimble in execution as it provides the perfect colossal complement to the driving riffage of towering stoner rock guitars.

This is the type of album, although only six songs in length, that provides quality on each song. It is a difficult task to single out any as best in show as each delivers a memorable, indelible experience for the starving adherents of stoner and psychedelic metal who partake of its heavy, fuzzy goodness. "Hellride" kicks off the journey with a song that provides a signature for that wonderful stoner rock sound as well as for this incredible agent for that sound. "Girls'n'Guns" has a riff hook that will sear itself into your permanent memory stores, unlocking primal satisfaction while "My Reflection" closes out the EP with an unrelenting, explosive demolition of a deep, dense stoner rock quarry.


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STEAK - "CORNED BEEF COLOSSUS"

2012's "Disastronaut" brought the fuzz in a big way and set up a lot of anticipation for Steak's follow up, "Corned Beef Colossus", released just over a week ago. As with the earlier album, the new one is an EP, consisting of 5 songs, so no full length album just yet. It doesn't matter because they make it count on those they do create and share, and for that I am thankful. The tone on "Corned Beef Colossus" is massive, dark, utterly serious, telling of pain, suffering, and strife. This dark alley quartet from London wrap you up in a smothering, heavy blanket of sodden wool, dripping with pungent juices and visceral secretions before laying waste with the razor sharp weaponry employed by the wild-eyed, enthusiastic members of the band, who include:

Kippa - Vocals
Cam - 3 String Bass
Reece - Guitar
Sammy - Drums

The primary sound from Steak is the guitar, as it is with all great bands that make their way onto Heavy Planet. Steak do not disappoint with the sheer volume and mass of six string distortion throughout "Corned Beef Colossus", ramming it straight ahead, relentless in intent, devoted in effort, constantly expanding, invariably collapsing, alive in its neverending cycles of growth and decay, accompanied by brightness and clarity on solos and riff snippets of emphasis and accentuation, carried along on psychedelic chariots of brilliance and moxie, the whole tended by an overseer of vocal preeminence and prodigious power, manifest in providing a jagged razor's edge of forbidden pleasure and fleeting ecstasy.

The EP flows seamlessly from "Black Milk" through to "Acid Dave", the technical opener and closer, but could easily be placed on a neverending loop where there would be no beginning, and certainly no end, only the primal satisfaction of exquisite reverberation feeding the constantly starving stoner nodes of your musical desires.

Steak have grown considerably from "Disastronaut" to "Corned Beef Colossus". The latter is dense and deep, intelligent and aesthetic, tightly woven from frazzled fibers of well worn resonance, presenting a pattern of brilliance while simultaneously providing a deep, intense, sustained warmth and fulfillment.





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Album Review: Mojave Desert Rebels - "High Class Clown"

As a listener, as a fan, what is the epitome of rock n' roll? What does a band have to possess, develop, or deliver to be at the height of . . . not greatness in the sense of fame and fortune, but greatness in terms of music recorded. Kyuss reached that level without ever achieving the fame and subsequent fortune they so richly deserved, and the stoner/doom world is littered with similar examples - Dozer, Truckfighters, Fu Manchu, Sasquatch, Brain Police - many that will jump instantly to your mind if not to mine. So, what is it these underground, unsung rock n' roll heroes deliver that makes them so special? Simply put, great music, but great music consisting of parts that stand alone as crafted impeccably, and that then come together as a phenomenal experience. Parts that are made up of agile, athletic drumwork, pulse pounding bass guitar, vocals of devilish delight, melodies that hook you so hard you nearly bleed, and above all, guitar made with the stuff of the cosmos, pure and brilliant and intrinsic to our very soul. Today's band, on their debut EP release, have managed to not only manufacture music in a similar fashion, with superlative individual performances playing masterful melodies blended into what will surely be for many fans of this pure form of rock a memorable and monumental experience to be cherished for years to come, but to add one more component to the mix that sends it over the top in pure reverberated bliss - excitement. Mojave Desert Rebels, to benignly state what will become obvious after listening to their album, enjoy what they do to a very high degree. This makes for a total rock experience that can only be surpassed in a live environment. Put on your tennies and keep your whiplash brace handy as you plug this hi test music in and spin all dials as far to the right as they will go. (Settle down, it's just a poor metaphor, not meant to be taken literally).
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MOJAVE DESERT REBELS - "HIGH CLASS CLOWN"

Hailing from Copenhagen, Denmark, and having only been together since 2011, the foursome of Mojave Desert Rebels have managed to leapfrog to the forefront of enjoyable rock music with their initial studio release of the EP "High Class Clown"

The members are:

Martin Bentø - Vocals
Morten Bernstorf Hansen - Guitar
Andreas Bütow Pröll - Drums
Guillaume Blanjean - Bass


These guys take their cues from classic heavy hitters such as Led Zeppelin and ZZ Top as well as genre giants Kyuss, implicit in the name of their band. While the influences certainly exist, they have taken the tools learned and developed their own unique method of carving up the ether with distortion and fuzz, slicing through with a fierceness and joy rarely noticed in a band. "High Class Clown" is the home to four raunchy, rockin', four minute forays where excitement and ability blend for an unforgettable experience.

The EP kicks off with "Village in the Sands", a seemingly pleasant ditty that opens with an enjoyable melody of agreeable delivery that has a slight smolder at first perhaps going unnoticed in the totality of the music and not becoming immediately or fully apparent, never having a true switch, instead simply building in intensity until by the time the solo is unleashed, almost 2 minutes in, an all out blitz of emotion, volume, and distortion is in full bore ear plug mode. This is the introduction to Bentø's vocals, a powerful tool in the massive instrumental battery of these proxy desert rockers.

The title track is next up and unlike its predecessor starts off with a show of might. Hansen and Bentø showcase their muscle in slow flexion while Blanjean and Pröll drive it all forward in measured and powerful deliveries of rhythmic domination throughout the first half, all brilliantly in control of a tapestry of hot burning fuses that eventually reach the payload where a big bang of brilliance and expanding magnitude is unleashed. The payoff is a second half that evolves into an exquisite display of interwined brilliance and monstrous musicianship.

"Enemies on Fire" exquisitely opens with Bentø's plaintive wail of aching beauty that is soon taken up by riff, lick, hook, and fill from dynamic deliveries of deep instrumental distortion running through an escalating atmospheric ascension toward an incomparable crescendo of brilliance and domination.

"Towers of the Skies" rolls out heavy machinery topped by napalm delivery systems. Blanjean's basswork here is incredible - deep, nimble, and unyielding as the stanchion upon which Bentø and Hansen propel heat seeking missiles in a spreading arc of white hot brilliance and Pröll maintains a radius of staccato discharge. As this fuzz destroyer advances the intensity increases in a slow burning buildup of ferocity and proficiency until maximum output is reached at climax.

Not listed on the album but included as a YouTube video below is "The Desert Song", a slightly different, bluesier, equally intense and brilliant song. Check it out along with the EP on Bandcamp, Reverbnation, or Soundcloud.

I think you will be hard pressed to find much in the world of rock this year that delivers on as many musical levels as "High Class Clown" while also demonstrating  sheer pleasure and enjoyment in delivery. It is a brilliant debut from a band that is likely destined for some level of notoriety if longevity can become one more hallmark of the band.







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Album Review: Mother Mars - "Steam Machine Museum"

Back in 2011 Mother Mars released the solid stoner rock album "Fossil Fuel Blues", an hour of heavy rock tunes that displayed ample evidence of significant contributions to the stoner world. They are back in 2013 with another 60 minutes of low tuned pleasure with "Steam Machine Museum", demonstrating significant progress in intensity, imagination, and pleasure in execution, in essence the main qualities achieved by only the finest, most gifted of rock musicians.

Band members include:

Paul Attard - Bass, Guitar

Frank Attard - Drums

Matthew Allen - Guitar, Vocals

Mother Mars hail from Sydney, Australia where heavy rock is no stranger. Beyond that not much background is available on these guys, which simply means they have decided, directly or indirectly, to let their music do their talking for them, and talking is not quite the right term to use for the weight of musical communication levied by these fuzz wizards of distortion. Loud insistence, intense recognition? These guys get your attention with the music they've laid down on their latest release.

Mother Mars delve heavily into loud, low riffs of wall busting riffage, meted out over long, immersible psychedelic overtones that transport you quickly and deeply away from the daily loud dimensions of existence and into a place where distortion and sound wrap you up in a thick, frayed leather cocoon of crackling fuzz, exuding warmth and rapture. This hour is an hour of sheer delight, fret not.

The focus of this trip of enormous proportions is the vehicle upon which you go, as opposed to cookie cutter melodies of sameness and safety. The guitar is the spiritual medium by which we plunge headlong through a vortex of noiseful bliss.

"Down the Line" sets the tone coming in low, and loud, as layers of sound are progressively introduced throughout the length of this energetic romp down reverb river. The vocals are never the focal point, providing only an element of ethereal engagement. "Low Frequent C's" is an instrumental revelation, roaring mightily in sheer stoner rock power that never wanes through 11 minutes of eloquent aggression. "Terra Australis" seethes with unbridled power, smoldering in increasing intensity for most of its eight minute duration, ending with an up tempo Easter egg of indelible intensity.

The price of admission is delivered on 2 marquee deliveries with "Spacegirl" and "War of the Gods", a full 30 minutes between them, chock full of prime musical meatiness with fuzz laden psychedelic gravy. The imaginative execution on these 2 songs is sublime, rendering an atmosphere of splendid enjoyment through big, bold, brain bashing, bombshells of sound and fury. While "Spacegirl" is the beautiful, mysterious prom date taking you on a night to firsts and revelation, "War of the Gods" is the huge, hairy beast lurking just beyond the shadows, eliciting unbridled excitement and danger as you chase it through dark and hairy surroundings.

This is a solid and immensely indulgent album by any measure, a standard bearer for stoner rock, for fuzz filled heavy music, for imagination, and for impeccable execution through occupational enjoyment.

The digital download at Bandcamp includes 8 tracks. If the CD is ordered an additional 2 tracks are part of the bargain.


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Nuclear Dog's Atomic Split - Mamont - "Passing Through the Mastery Door" / Atlantic Valley - "Mammoth"

Today, Followers of the Fuzz, we present to you for your listening pleasure 2 bands who wield the fuzz the way Thor wields Mjolnir, or Conan his broadword, or The Sword Saint, Miyamoto Musashi, his katana and wakazashi, not with reckless abandon, but with the epitome of skill, grace, power, and intent. These guys strike for the ultimate outcome, which in the case of the music is to deliver the killing blow of pure stoner rock awesomeness. This isn't to say you won't hear elements of other styles as well, but make no mistake, the power and the fury today are stoner fuzz at its finest.
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MAMONT - "PASSING THROUGH THE MASTERY DOOR"

Mamont hail from Nyköping, Sweden, a small town south of Stockholm. Members include:

Karl Adolffson - guitar, vocals
Jonathan Wårdsäter - guitar
VictorWårdsäter - bass
Jimmy Karlsson - drums

"Passing Through the Mastery Door" is their first LP, although they have previously released an excellent self titled EP in 2011. While today we are promoting the latest LP released late in 2012, it is quite interesting to listen to both the 3 track EP and the later 8 track LP. The Mamont musical stamp is present on both, to be sure, in terms of song structure. These guys write beautiful stoner rock music, intelligent, fun, and exciting, all rare qualities when it comes to manufacturing notes, times, rhythms, patterns, etc. But the best part of listening to both the earlier EP and the newer LP is going from the exquisite songs from the 3 track release and discovering exponential growth in the song writing and delivery on the 8 song release. It's quite phenomenal, something of a pleasant surprise, something that generates excitement, appreciation, and admiration. Whatever it was these guys did to come up with the much fuzzier, more distorted, higher energy music laid down in conjunction with superb, stellar melodies on the LP is quite refreshing and deserves a full measure of thanks for anyone who thrives on listening to this rare breed of sound. Yes, we hear a LOT of great music, both old and new, on an almost daily basis, but to hear impeccably intelligent stoner rock is rare and to be treasured.

There is a story in "Passing Through the Mastery Door" according to the band's bio. The journey to discovering that story by listening through it over and over should be quite enjoyable indeed. I can't pretend to have unlocked the tale as of yet, so the best I can do is focus on the rapture of the sound.

"Mammuten" is the starting point where no time is wasted in unleashing the lumbering beast of fuzz upon an audience perhaps brimming with anticipation. Slow and purposeful, the huge low tuned guitar trudges forth soon to be accompanied by the signature stoner riffs reminiscent of much earlier stoner sounds found in Dozer or Truckfigthters. Ever so exquisitely and deliberately the song morphs into a psychedelic melange of distortion and guile before giving way to its successor "Jag Sår Ett Frö", carrying straight through on the fuzz carpet of distortion introduced in the opener. The hazy, psychedelic atmosphere carries forward as well with a haunting vocal that soon unleashes our first exposure to the raspy edged lyric delivery that can only be described as perfectly matching this heavy, deep pile music.

Full dose exposure to the vocals occurs on Track 3, "Creatures", where there may be as many as a half dozen beasts unleashed, if you count the dueling, snarling guitar riffs, undercurrents of richter scale bass, boulder crushing drumwork, and the aforementioned stylings of Mamont's vocal delivery via lead vocalist Karl Adolfsson, as all come together to tell the tale of the evil demons central to the tale.

Between "Blind Man (Part III)" and "Satan's Fasoner" we are treated to stoner rock of exceptional quality, with gargantuan waves of fuzz and cheese grater vocals extraordinaire, none perhaps more exquisite than "The Secret of the Owl" with its barely controlled urgency and  breathless delivery.

This is a rare stoner rock gem that unfortunately slipped through the cracks of my new release tracking system this past September/October. When I go back I see clearly that I had it marked as well above average, meaning in line for quick review. For some reason it got missed until now. But, better now than not at all, and while it may have missed out on end of year 'Best Of' lists, it certainly will get played over and over for years to come as often, if not more, than many of those albums that did make the list.




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ATLANTIC VALLEY - "MAMMOTH"

Atlantic Valley are a Spanish 4 piece stoner rock band hailing from Vigo, Galicia. This is a group of musicians who are just getting warmed up when it comes to producing rock music. They were the winners of a local band contest that spurred them toward recording and releasing their first EP, which, with 6 songs, is of sufficient length to satisfy that deep down craving for meaty, beefy, delicious fuzz. One of the hallmarks of the EP is the lyrics are both in Spanish and English, depending on the song, which does not detract from the slick melodies this new band of four have conjured around their low tuned and wonderfully overdriven delivery.

Band members:

Simón Nicolás - Drums
Angel Pèrez - Bass
Alexandre Alonso - Vocals
Marcus Domato - Guitars, Backing Vocals

Bright and insistent fuzz riffs greet us on the opening track, "Summered Cold Office", with lyrics on the opener in English. The vocals are well suited to the music, never yelling the sound, but singing with a raspy deftness entirely suited to this heavy brand of rock. The tempo is upbeat and energetic for the opening minutes before the song segues into something more deliberate and purposeful for the closing minutes.

"Irreal" opens with a gigantic stoner riff that accompanies the Spanish lyrics and perfectly weighted vocals. Large and low the song is steadfast in its delivery throughout, steady in tempo, and sturdy in the blending of sound.

"Van Scape" kicks the tempo up a couple of notches from its forerunner, laying out heavily distorted licks undercut by immense bass riffs and insistent drum punches. Edgy and distant, the vocals completely complement the music.

"Loia" has an extended, memorable opening, placing much of the onus of the music on adept and agile drumwork, a theme that carries throughout this song of haunting eloquence and brutal delivery.

"Doom Exequo" has elements of stoner punk infused throughout the length of this superb melody. The shackles are dropped for an all out blitzkrieg onslaught from fuzz strings and raspy edged vocals, as well as Olympian drums and mountain devouring bass.

"Titan" brings in a psychedelic element to the band's stoner sound before giving way to their punkish traits once again. These are elements simply used as vehicles for delivery of deep pile fuzz along massive waves of distortion.

This is more than a valiant initial effort from an up and coming stoner rock band, for, despite the unpolished edges, it delivers 6 quality songs heavy in low, overdriven tones, well written melodies, and deftly delivered by gifted and motivated musicians. This album is that rare case where everything works all the time. I am certain you will enjoy this freshman effort immensely and, like me, look forward to their next release and its accompanying growth.





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New Band To Burn One To: LIQUID SILK

HEAVY PLANET presents . . . LIQUID SILK!

BAND BIO:

Liquid Silk are a heavy rock faction from Berlin who deliver real grooverock, peppered with a lot of stoner, blues, and psychedelic rock. The whole thing is served with a sound that originates from 70s heavy rock and has been optimally influenced by the stoner rock band Kyuss.

Liquid Silk transport you to a time when the streets were still dusty, delivering a real desert sound. 

Some songs remind you of good ol' rock music, e.g. The Doors, Free, and The Who. Other strong influences are Led Zeppelin, Clutch, Graveyard, and Black Sabbath. 

To put it simply, Liquid Silk make 70s-retro-stoner-blues-psychedelic rock with a desert groove. 

Band Members:

Andolin Sonnen - Drums

Dennis Hempfing - Lead Guitar

Georg Michael - Vocals, Guitar

Roman Vigdortchic - Bass

THOUGHTS:

Liquid Silk have created a beautiful version and rendition of stoner rock on their self titled debut EP. The stand out features are at least three. Georg Michael's vocals are unique and perfectly suited to their music, as well as to the stoner rock sound altogether. It has a deep and agile quality that grabs you during softer moments as well as moments of high energy and emotion. The overall Liquid Silk sound is perfect stoner/desert rock with loud, fuzz filled guitars cranking out innumerable riffs and licks in a beautifully deep and low tuned quality, displaying a perfectly executed level of distortion and tempo. The 4 songs of this EP are well written, full of melody that would have sounded right at home on a Kyuss album. These are not the only positive qualities to be found on the record as bass and drums display intrigue and satisfaction in perfectly complementing the two guitars, while the overall sound of the band as a whole, richly textured and brilliantly executed, delivers a new and unique stoner rock compilation that is at once familiar and new. 

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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.
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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.




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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.





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