Band Submission: Domboshawa-Psychedelic Rock From Stockholm, Sweden

Band Name: Domboshawa
Genre: Psychedelic
Location: Stockholm, Sweden
Brief Bio/Description: Psychedelic Space Rock from the North
Band Members: Anders Broström
Links: Facebook | Soundcloud | Spotify

Band Submission: Mystical Communication Service-Psychedelic Rock From Germany

Artwork by Stefanie Barz

Band Name: Mystical Communication Service
Genre: Psychedelic Rock
Location: Germany
Brief Bio/Description: Mystical Communication Service are a Berlin-based music project fronted by the fictional Yanez Di Mompracem, backed by a collection of eccentric and well-travelled band mates from all corners of the globe. The band is an amalgamation of wayward drifters and modern-day mystics, uniting to play their distinctive style of psychedelic and experimental rock.

Their sound oscillates between intricate blues-driven solos, creating a sense of ancient and emotive storytelling, and rhythmic explorations of unfamiliar yet alluring states of mind. Listening to Mystical Communication Service represents an enchanted excursion into a nomadic world, where the concepts of sanity and self-awareness fade away. The band creates an ethereal soundscape, leaving you adrift in a haze of desire and dream-like apparitions.

In late January 2014 the band released their first studio album entitled “Gypsy Spirit”, a mini album which has garnered a vast amount of praise and positive reviews from the online community and press beyond.

Band Members:
Yanez Pasqualin (Lead Vocals and Guitar)
Gerald Moises Pasqualin ( Drums & Percussion)
Diego Sposito Cozzi (Bass)
Yair Karelic (Lead guitar)
Kiyoshi Fujikawa (Djembe)
Links: Soundcloud | Facebook

Band Submission: Vessel-Heavy Stoner Rock / Psychedelic Rock From Melbourne Australia

Band Name: Vessel
Genre: Heavy Stoner Rock / Psychedelic Rock
Location: Melbourne Australia
Brief Bio/Description: Vessel is a solo project which utilizes the help of friends and session musicians to complete it's sound. Starting out as a bunch of songs left over from previous bands and collaborations, Vessel has morphed into a fat and fuzzy psychedelic metal machine with the release of sophomore album "Nostalgia".
Band Members:
Jordan Forster - Guitarist and songwriter.
Links: Bandcamp | Facebook

Fuzz Self Titled Review

It's been a long couple weeks of playing catch-up with school work and prepping for exams. Luckily, I've been able to spend a lot of time getting familiar with some of this years awesome releases, albeit from behind a textbook. I've also been squandering a lot of potential study nights at local metal shows, but that's about what I expect from myself. Bluesy riffs also happen to be my favorite subject, and arguably the most important one. One of the bluesier releases I've been spending an exceptional amount of time enjoying is San Francisco psych-rockers Fuzz self titled debut.

True to it's name, Fuzz is laden with furry guitars and fat, numbing bass lines. While the album is particularly striking on the first spin, it certainly leaves a lot to be discovered for future listens as well. Drummer and vocalist Ty Segall is no stranger to the genre, and has made his high-pitched, punky vocals a trademark of many solo tracks and albums. On Fuzz, Segall's vocals combined with heavy psychedelic grooves are reminiscent of Tweak Bird and, at points, Les Claypool. Some tracks on the other hand, play up the trio's punky, proto-metal vibe and are easy to compare to retro rock legends like Iggy Pop or MC5.

Album opener “Earthen Gate” leads you very gently into the frantic, nasally "Sleigh Ride” which reflects the mood of most of the album. “What's In My Head?” may be the most interesting song on the album. Slow, thumpy and harmonic verses give way to a giant, crunchy and aesthetically poppy chorus. The track is extremely raw and spacious sounding; never leaving you with the emptiness of overly-clean guitars or doctored drum tracks. The album as a whole is very punchy and natural, which is really something to be desired when listening to a good psych-rock album.

From "Hazemaze" on, Fuzz power through the rest of the album; marrying familiarly sludgy riffs with a feel that's all their own. Fuzz is, put simply, Rock n' Roll done right. The 8-track LP never has a dull moment and stays consistently catchy throughout. The record has a certain sentimental feel as well. I'm sure that in years to come, I'll find the unmarked copy I burned for the car stashed away somewhere and pop it in. I can only hope that all this shitty exam week stress doesn't come flooding back to me.

Fuzz is out now and can be purchased from In The Red Records

Favorite Tracks: Loose Sutures, Raise, What's In My Head?

 Facebook / Album Stream (Youtube)

New Band To Burn One To: PAISSANO

HEAVY PLANET presents...PAISSANO!

BAND BIO:

Paissano es una banda de Ituzaingó zona Oeste de Bs. As, Argentina.
Formada en 2009 por Pablo, Mariano, Lucas, y Gustavo. Con un Rock pesado, stoner, psicodélico y unos toques grunge, fueron mezclando bases sólidas, con riff potentes, violentos y sumamente efectivos.

Biografía en Inglés, amigo:

Paissano is a band from Ituzaingó, West area of Buenos Aires, Argentina.

Formed in 2009 by Pablo, Mariano, Lucas, and Gustavo. With heavy rock, stoner, psychedelic, and grunge touches we're mixing solid foundations with powerful riffs; violent and highly effective.

THOUGHTS:

"How 'bout a little fuzz, Scarecrow? These four Argentinians slap it on thick and immerse listeners in layers of desert sand and cinquefoil clouds of smoke via riffs, repetition, and long-drawn grooves. Stoner sensibilities evolve into trippy guitar tautologies and swampy stompers with the smoothest of transitions and the haziest of influences. Opening on the quick-footed dune bugger La Previa Imaginacion a la Explosion, Paissano keep tight hold on the stick shift as Cerveza Quilmes saturates the backseat. The buzz balances the smooth crunch from start to finish, while tracks like Ali Baba and the sludge-soaked Vienen Marchando hold as much stomp as they do swagger. These ten songs spit enough dusty clout to make you forget that you don't know a lick o' Spanish. Check out Paissano's bandcamp page and set the dial to eleven. Oh, and this self-titled is hardly their first rodeo. Dig back into their catalog and hit the road. ¡Este sonido es sabroso!"

((Bandcamp | Facebook | Pure Volume))

LP Review - The Inner Sanctum by The Cosmic Dead

Having previously been reviewed on Heavy Planet back in 2011 as a "New Band To Burn One To" for their self titled album, there was no way I was going to let The Cosmic Dead's latest psychedelic beast "Inner Sanctum" slip through our fingers.

Born in the tough, cold city of Glasgow, Scotland, UK; The Cosmic Dead drop an album of 4 masterful psychedelic jams reminiscent of the best hypnotic wig-outs of the legendary Hawkwind and the likes of Neu and Amon Düül II. The Cosmic Dead play a mix of heavy psychedelic spacerock, Krautrock and experimental audio trips in a unique way that only a British psych band can do. I put this down to the particularly ancient and potent strain of Psilocybe Semilanceata that can be found growing in abundance on the fields and mountains of the UK and The Cosmic Dead's trance inducing mind transferals are a perfect soundtrack to the shamanic ritual partakings traditional to certain tribes of this land during the autumn/fall months. Whilst listening to this album I was flashed back to the last shroom season here and wished I had chosen to listen to The Cosmic Dead when I was lying horizontal on my couch, staring at a kaleidoscopic multi-colored and rippling ceiling, wide eyed and dribbling down my chin as I journeyed to the subconscious realms of weirdness. I certainly won't be forgetting The Cosmic Dead during this years shroom season.

The album takes off with "Gustav Björnstrand" which is an ode to a rather obscure Swedish physicist from what I can tell and of whom I can find very little information other than that he doesn't watch TV or read newspapers and believes we are currently living in an Orwellian nightmare. I can't argue with that and I join him in his rejection of main stream news and entertainment. I haven't owned a TV in years and have a great loathing for the British tabloids in particular. But I digress...the opening of this track does not start with a long introspective ambient space-out as one would expect from a band like The Cosmic Dead, but instead launches straight into a thick psychedelic jam with a hypnotic bass line and drifting trippy guitars and tight drumming that drives the track along on it's journey into the inner realms. After a few minutes there is an echoed voice of some narrative by an unknown maverick of the mind. Is this Gustav Björnstrand speaking? I'd like to know what's being said. The track evolves and builds as it drifts with easy style along the space highway sending shards of bright purple and yellow to twist and splinter my mind in its wake. The psyche-out continues to build throughout until our first destination is reached and we are firmly set within the mind expanded dimensions laid out by these sonic psychonauts from Scotland.

The journey then continues as we move ever further into psychotropic frequencies with "The Mass of Betelguese" and a quiet rising up the spine of pure psychedelic energy that then fills the space between your ears with a soothing massage of floaty guitar effects and laid back bass riffs and sparse percussion. This blissful drifting of meditative sound builds to illuminating crescendos and gently tripping drops of hallucinations for over 20 minutes in dazzlingly beautified and colourful spacerock played at it's very best. Your mind is wrenched open and in pours a myriad of visions the likes of which can only be experienced with huge doses of hallucinogens or 25 years of dedicated yogic practice while living in a tree dressed only in a loin cloth. The track ends with with an ecstatic breakthrough to even further in/out dimensions that The Cosmic Dead travelled to in this albums opener.

In the third stage of our grand mind trip with The Cosmic Dead we enter the "Inner Sanctum" and another 20 minute mind bender of trance inducing vibrations in the form of simple rhythms, all encompassing swathes of spacey guitars and hypnotic bass jamming building slowly but very surely towards a wild eyed and flailing arms freak out as the pace of the track builds leaving a throng of long haired and half naked space cadets writhing around in ecstatic bliss within a vast hazy meadow of many coloured flowers under a multi-bejeweled and deep purple night's sky.

The Cosmic Dead end their 4 stanzas of psychedelic instrumental poetry with "Hello, SATAN" which takes us into the darker occult realms but here does not lie evil and horror even though this track is as doomy as The Cosmic Dead go on this album. Dear reader, I know you do not come here for lessons on occult symbolism but I feel it is worth mentioning briefly that Satan is not necessarily the harbinger of spiritual destruction and the king of the fiery pits as so belovedly believed by those of the christian faith. Indeed, Satan could be understood on one level to symbolise the masculine generative force of nature, a modern form of the horny goat legged Pan and in Tarot lore the Phallus as the lingham to the yoni or the 1 to compliment the 0. This I feel is where The Cosmic Dead are going with this reference to Satan but I may be over presumptuous in my interpretation of the track. Nevertheless the initial doomyness of this track, which to me sounds more humbly somber than doomy; is left behind 6 minutes in to enter another psychedelic void of wonder and colourful waves of glowing visions but the solemnity is not broken throughout this journey from the darkness so beautiful. The spirit is raised up as the sounds evolve as a twisting and twirling mass of emotions bring one to higher levels of understanding beyond the sticks and stones of the mundane universe. It is not all sweetness and light within or without, but a balance of positive and negative, the ying and the yang, + and -, Α and Ω, as above so below.

To put it simply, this album shows that The Cosmic Dead are truly the one of the best heavy psych bands in the UK, if not this entire rock we call planet Earth that floats through space. They are currently in the last half of their current European tour so if they happen to be playing near you then go and see them, loaded up with a huge dose of the hallucinogen of your choice of course but if for whatever reason you can't make it then go buy their album now released by Evil Hoodoo on a limited edition pea green cassette in a handmade cotton sleeve. Very tasty.

FACEBOOK  // BANDCAMP // EVIL HOODOO

LP Review- Crane by Les Indiens

 

      After offering up the tune Ed on the epic Heavy Planet compilation, Bong Hits From the Astral Basement, Quebec's Les Indiens are back with an awesome collection of psychedelic stoner rock. Said new album, Crane, is a swirling collection of riffy guitars and keys, inspired by the tunes and spirit of the First Nation's music and myths. I think.

      The album starts off with Boucane, a riffy ditty accented by keys that circle and swirl like a stalking hawk.  Next up is Crane which starts off on the low end end of the cosmic spectrum, all throbbing bass and crashing cymbals. Soon the guitar brings the rhythm section in line and we're off. Creve-Coeur is next up and starts off soft and weird, soon building and turning itself into a chest thumping dirge.  Desert de glace straddles the doom/stoner divide, but soon finds its place as a soft stoner tune, never wallowing in doom's dark places. Mieux en prison comes next and offers the albums most memorable riff. Love Machine has an English title and is the most "normal" song on the album, with a verse chorus verse structure that's warbled over a heavy riff and urgent drumming. It closes an excellent album with a sticky chorus dominated by the song's title. Or maybe that particular lyric stuck in my head on account of it being the only one in my native tongue. 

     The vocals are clean and offered in French, but the groove is universal. I couldn't make out the lyrics. I don't speak or read French, but the great thing about music, especially the heavy groovy music offered up by sites such as Heavy Planet is the feeling the tunes elicit inside ya. It is amazing what can be conveyed with just a stack of amps, guitars, bass, and drum. And maybe some keys. But just some. Don't over do the keys. 

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Double Review: Dapunksportif & The Quartet of Woah!

Dapunksportif – Fast Changing World

2012 was a great year for music in Portugal with new bands coming into scene and others confirming their position. Dapunksportif are one of those bands. They are a rock due hailing from Peniche, a small city in the center of Portugal near the Atlantic Ocean.

“Fast Changing World” is now their third album, following up to their successful releases “Ready! Set! Go!” and “Electric Tube Riot”. In the past they were constantly compared to bands like Queens of the Stone Age and Kyuss but now they have matured and blended those influences into their own style. They have definitely gained their own identity with this new release.

What we can notice in these 42 minutes is a great combination of strong rhythms, heavy bass lines and great guitar work (the riffs!). Basically it is just good ‘ol Rock ‘n Roll! Special guest drummers Marco Jung, Ze Carlos, Pedro Cação (Pigs in Mud), Johnny Dynamite (Murdering Tripping Blues), David Canhoto (ex Mister Lizard) and Samuel Palitos (A Naifa / Censurados / Ladrхes do Tempo) give different dynamics to each song with their special touch. Some songs are more bouncy (“Lazy Human Being”, “Illusionary Individuality”, others more groovy and danceable (“Hunting on the Dancefloor”), others fast paced resulting in a very well balanced album.

This is a very fun album to listen to, especially if you are a fan of good ‘ol Rock ‘n Roll without the clichés and that kind of stuff. It’s honest and in your face. Try listening to it loud while enjoying a nice car ride to the middle of nowhere. I recommend it.

http://www.myspace.com/dapunksportif

http://www.reverbnation.com/dapunksportif

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The Quartet of Woah! – Ultrabomb

The Quartet of Woah! is one of the newcomers of 2012 and also one of the biggest surprises. Born in 2010, The Quartet of Woah! is a band formed by members of other Portuguese bands such as LunaSeaSane, Melange, Nicorette, Blasted Mechanism, Zorg and Philharmonic Weed. They took their musical influences to build a unique genre of rock with heavy influence from the 70’s and 80’s.

“Ultrabomb” is a concept album inspired by “La Ultrabomba”, a children’s book written by the Spanish authors Mário Lodi and I.Sedazzari in 1974. It is about political and social criticism held in a fictional universe. This book ended up being banned in most European countries as well as Argentina.

The record tells us the story of Master Lever, a man who was driven by his thirst of power and greed.

This is a true musical journey. Diversity is the word here. It is such as sweet mix of stoner rock riffs, psychedelic jams, keyboards, a little pinch of Queen here and there, progressive and jazzy segments… There is a hell of a lot going on but in fact each song flows perfectly into the next one.

It is not really fair to point out or highlight any of the thirteen songs that are part of this album. It only makes sense when you listen to it as a whole and I do recommend you to do so. Over and over again. It is addicting.

As I said before, “Ultrabomb” is one of the biggest surprises of 2012 and one of the bands to keep an eye on in the future. It is a pleasure to listen to records like this one.

www.facebook.com/thequartetofwoah

www.myspace.com/thequartetofwoah

soundcloud.com/thequartetofwoah

Nuclear Dog's Atomic Split: Reverence - "When Darkness Calls" / Barbara & Los Rotos Del Rock

If you read my posts regularly you know I like disparity, or at least disparity within the good stuff, and Heavy Planet only plays the good stuff. Today I feature something that is a bit of a departure for me, but it is a sound that has enjoyed a mini resurgence recently in the underground community, a sound that was prevalent three decades ago, just before rock imploded upon itself giving birth to grunge and what became stoner rock. But before that demise was an incredible metal brand of rock that for years stirred the soul, and soared through the universe on a beam of pure rock energy. Today we get to soar through the cosmos again. In addition, we travel all the way to Santiago, Chile for some scrumptious and fun mega fuzz, bringing a fresh and brutal take on the power and force of music from a grittier, almost lethal side.

REVERENCE - "When Darkness Calls"

Forming in 2010 but hearkening back to past metal glory days, the power metal band Reverence was founded in Detroit, Michigan, bringing together veterans of past metal groups into one incredible, indelible musical force and providing a rare opportunity to experience this exceptional, soul blistering music. Placing mega guitarist and songwriter Bryan Holland (Tokyo Blade / Arrest) in with fellow songwriter and vocalist extraordinaire Todd Michael Hall (Burning Starr) and fellow campaigners Steve 'Doc Killdrums' Wacholz (Savatage / Crimson Glory) on drums, Ned Meloni (Burning Starr / Funny Money) on bass, and killer guitarist Pete Rossi (Sanxtion / Overland) caused the stars to align, igniting a supernova, stellar explosion of unimaginable sound.

The music on this album goes beyond just paying homage to an era of metal music, though. It is well crafted in all aspects and facets, presenting a rare and exceptional opportunity for enjoyment of a unique and wonderful metal style. With the incredible lineup of musicians in this band you can expect exceptional execution, but exceptional is too weak a descriptive. The guitars are blistering and fierce, the drums are relentless and true, the bass huge, powerful, and unrelenting in its onslaught of subterranean reverberations. Above it all are two things: first is the rare and striking vocals of Hall, whose mastery of execution is not just best suited for this neon bright music, but perhaps is the result of karmic goodness in which his 4 octave voice is able to strive toward its unlimited potential; and second is the song structure, the writing of eleven power metal melodies that never nears the mundane, but instead soars high and far in a cosmic spray of canorous might and mastery. The rhythms, tempo, hooks, and overall structure are pleasing and satisfying, generating immense anticipation from one song to the next and never disappointing in its captivating endeavor.

The title track starts off the album and gives great insight into what's in store on ten succeeding power tracks. It begins with an intro that sets the immediate tone, but wastes little time in cranking up the voltage on twin guitars of power and tempo, accompanied by earth shattering vocals of athletic trancendency. 

The opening guitar on "Phantom Road" is sheer might and electromagnetism, beautifully leading into a tightly tempoed signature onslaught of fury and dexterity where the solos soar and blister and the riffs are unyielding.

My favorite song on the album is "Gatekeeper". It provides a morphine rush of warmness in delivery tempo, as if it were a scarcely contained beast straining to rip through a frayed and diminishing restraint in order to burst forth in incomparable ferocity. 

"Monster" is . . . well, it's perfectly titled. Powerful, beautiful, unrelenting in melody, overflowing with riff and solo, bursting at the seams in metal exhilaration. 

"After the Leaves Have Fallen" is the album's power ballad, it's cathartic release of emotion, opening up the opportunity for Hall to express himself with range, power, and incredible precision.

All in all, a remarkable and rare compilation of power metal that isn't simply a celebration of times gone by, but is instead, as much of the music on Heavy Planet tends to be, a furtherance of a metal musical style that was too abruptly cut short in production by the brutal whims of fate and fancy, but deserves to still be played by those who were seemingly born with the keenest of ears to this particular brand, to still be heard by the multitudes of those familiar and those who may discover, to be enjoyed a whole host who might otherwise be deprived. To fiercely hang on to a type of music that is obviously loved and revered by the members of the aptly named Reverence, to create music at an almost unachievable level, displaying immense skill, but an even more incredible ferocity of execution, is a rare and true gift and opportunity to relish something that has not always been available for such enjoyment.

((( facebook || website || reverbnation )))

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BARBARA & LOS ROTOS DEL ROCK

The Hobos of Rock and their frontwoman Barbara hail from Santiago, Chile. It is quite obvious right away when listening to their high energy, power driven music they are children of the fuzz, the scions of distortion, the progeny of full out stoner rock.

They waste no time injecting the listener with the warm rush of fuzz on the opening track, "Tu No Sabes Quien Soy" (You Do Not Know Who I Am), and the truth is right there for us to see - we do not know who they are, but as with many, many great and wonderful bands that get featured on Heavy Planet from all over the globe, we don't know who they are until we do. Today we get to learn a little bit about these Chilean rockers, at least the parts that pertain to their thrilling brand of stoner rock.

Barbara and her gang of Hobos like to present themselves as bloodthirsty and ruthless gangsters, dispensing vigilante justice to all who oppose them. Band members include:

Bárbara González - Vocals
Christian Spencer - Guitar
Cesar Garcés - Bass
Critóbal Pancheco - Drums

I do believe, though, that I see in each and every one of these direct and deadly rockers a tongue planted firmly in their respective cheeks. Without knowing much about them, it would seem they have a penchant for the violent because it breeds a similar feel to the angst and energy of their music. There's not much that's nice and sweet about their songs, songs that are pure rage, incandescent fury, and an unbridled, unrivaled fierceness of joy. They exude sheer pleasure in the dispensation of their music, enjoying the expression of power and might, radiating with a sheer potentcy of rock and roll.

Following on the nuclear powered opener is another compelling gem, "Masticare Tu Corazon" (Eat/Chew Your Heart) with its ninja attack title hook and all out background party in which the Hobos apparently are enjoying what, maybe, is the actual eating of a heart? This song is an all out ass kicker, with a Spartan phalanx assault coming down through the tiny thin wires of my ear buds. I've not quite experienced anything like it.

"Banzai" carries through with the same attacking rhythm as its predecessors, providing fierce guitars, bass, and drums, but "Mala Hierba" (Bad Weed) deviates a bit with more of a melodic haunt, while never relinquishing on the power distortion and fuzz riffs that provide the main staple of their signature sound.

Barbara & Lot Rotos Del Rock take on one of rock's great songs, "Satisfaction" (Satisfacción), giving it their personal touch of an all out blitzkrieg, panzer attack, onslaught of sound and fury, loading up the assault rifle guitars and gatling gun vocals  and blasting away until there's nothing but dust and grins remaining to account for the event. In other words, they do an exceptional job with the song by sticking to its basic sound, while managing to play it in their own inimitable style, making it an enjoyable and exhilarating experience, the same experience the rest of this jewel of an album provides.









((( facebook || bandcamp || last.fm || myspace || soundcloud || reverbnation )))

Stallone: The Heavy Planet Interview

October 30th was the official release date for Stallone's "American Baby", an album we were pleased and excited to review a month previously to the release on September 28th. The excitement came first from learning MonstrO's laser beam axe wielder Juan Montoya was pulling double duty and again taking on the lead guitar role for his 'side job', the new band Stallone. It turns out all members of Stallone have other gigs as musicians in addition to this one. The thing about Stallone is they play sans vocals, something a significant number of Stoner/Doom/Sludge/Psych bands are wont to do. Those instrumental bands all tend to lay down music that is deeply compelling, a sheer joy to experience, and Stallone's debut is no exception. They play hugely and intensely and brilliantly, laying out a multitude of razor tinged riffs that generate a deep and sludgy fuzz, stitched together with a bright laser tapestry of quality sound that propels you along on wings of distortion and intensity.

Heavy planet breathlessly caught up to ultra busy and uber gifted Juan Montoya and C.J. Ridings for a few questions about the affairs of this newly formed rock force:

HP: "American Baby" was just released this past week on October 30th. Do you have any indication what type of interest or reception this album will generate?

Juan: This album has plenty of high energy and creativeness for everyone. It is oozing with riffs. It just depends on how we can get it into people's hands.

HP: Stallone are an instrumental band, no one sings. Who were/are your main instrumental influences, especially those from the Stoner/Doom world?

Juan: The older Black Sabbath instrumentals were unique and very odd and were a big influence. I would say years of listening to Aphex Twin, Trans Am, and John Zorn's Naked City would have been my biggest influences.

HP: Because Stallone are an instrumental band do you feel the songs have to be more interesting, or contain more meat, so to speak, than more traditional songs like those from Juan's other band, MonstrO?

Juan: Good question. As long as there is memorable melody guiding the song, that's what people are going to be moved by. For example, the bell intro to Rush's "YYZ".

HP: Who handles song writing duties for Stallone? How collaborative is the process?

Juan:  We all come in with ideas and throw them into the stew. But it's great when we all get the ball rolling together. We've been lucky to finish some of our best songs in three runs.

HP:  Is the primary method for spreading the word about "American Baby" through touring and live shows?

Juan: Hell yeah! Our show is a must see. Even though we play at high speeds the 'rock show' is there. No standing around looking at our fretboards. We are going to jump on your table, take a swig of your beer, take a quick toke, all while shredding our jams. Haha!

HP: How much do the stoner/doom blog sites such as Heavy Planet and Soda Shop help in getting the word out to the true rock lovers that will enjoy this music?

Juan: The word gets out there, but the bands have to do the leg work. Try to release live vids. People have to get a whiff of your live energy.

HP:  Does anyone other than Juan have a second playing gig?

Juan: All three of my band bros from Stallone are in a band named Big Jesus. They are currently looking for a singer/guitarist. Evan is playing drums on tour with Royal Thunder, who are supporting a new record out on Relapse Records.

HP: Juan, how would you describe the experiences and differences of playing in two bands simultaneously?

Juan: So far it's been working out without too much headache. When MonstO takes breaks from touring I go back to the practice room and keep the creative juices flowing. I barely sleep. I'm at a time in my life where it's Ride or Die, as a good friend put it. I'm involved in both band's artwork, as well as writing, and collaborating on many projects. The only thing that suffers is my home life. It's difficult to be a good boyfriend when your heart is into the arts.

HP: What is Stallone's touring future? Any plans to hit the road in the near future? Have you been touring at all, or just playing locally in Atlanta and surrounding areas?

Juan:  With Stallone we are looking for a booking agent. I want to take the group to Europe, the U.K., and Japan. My mates have to see the wonders of the world as it inspires the soul, leading to great music in the long run.

HP:  CJ has a side gig as a music recorder. He did the mixing for the song "Beyond" on "American Baby". Are there other tracks on the album you mixed?

CJ: Yeah, I actually mixed the whole album. I sat in my room and got all the tracks to a place I thought was close and then we all sat together as a band and did some final tweeks.

HP: How is the recording gig going? Are bands beginning to recognize your work and send music your way?

CJ: I'm starting to get a heavier flow of recording work, little by little. It's all word of mouth, so like a new band, it takes time to get out there. I cut my teeth in my first bands in the Atlanta hardcore/punk scene, so that's who I record a lot, because it's who I know, but I've been getting a few projects from Alabama bands and even as far out as Pittsburgh. I imagine I'll always be working with mostly heavy bands, but I'm starting to get my share of other genres as well, which I love.

So, there you have it folks, a brief glimpse into the glamorous life of the hard working members of Stallone, who quite obviously put in a ton of effort into what they do, and love every bit of the process. "American Baby" is their debut and will rock your face off, but hopefully it'll grow back in time for any subsequent releases from these new and exciting purveyors of Stoner/Doom riffage.




((( facebook || bandcamp || revolver )))

New Band To Burn One To: DEADWEIGHT

HEAVY PLANET presents...DEADWEIGHT!

BAND BIO:

Born in a wind tunnel, Deadweight has been Chooglin' for quite some time. Exploring the inner workings of Rock and Roll, and Pabst cans, they have found what they believe to be the ultimate formula for a pint of steady rock brew. With our monolithic guitars, caveman drums, blitzkrieg bass, apothecary vocals, and our keynilgus, we will help you free your body and mind.

THOUGHTS:

"The new EP from Oklahoma band Deadweight is a fusion of sixties-inspired psychedelic rock and seventies-inspired blues rock albeit with a modern spin. The first track "Lady" has a Black Crowes influence while fourth track "Silver Buckle" has that haunting Doors inspired sound. The vocals are amazing and are well-suited for both styles. The organ adds that creepiness factor to the songs giving it that backwoods swamp feel as the pounding rhythm and wailing guitar rips mammoth solos as the the songs intensify. The band ends things on a high note with the heavy-blues romp of "Gannymead". This EP is chock full of influences and styles which leads to the question...which direction does the band intend on taking their music? I for one would be very interested in hearing. For now I will just enjoy this EP over and over again"

((facebook|bandcamp))

New Band To Burn One To: The KAMALS

HEAVY PLANET presents... THE KAMALS!

BAND BIO:

The Kamals are a 5-piece rock n' soul band hailing from Oklahoma City, OK. They are comprised of a group of close friends all with strong musical backgrounds. The idea of the group actually coming together wasn't realized until some casual jamming between recording sessions at Old Dog Records around August of 2011. Seeing as how all members were highly experienced playings shows and writing music in other outfits (not to mention they have been jamming together for over 5 years), they decided to pool their resources together and try something new. With everyone having nearly the same base influences and a collective idea of what they wanted to do, it wasn't hard for the group to come up with a diversified set they could play live, playing with the likes of The Trading Co., The Black Jack Gypsys, Jonathon Tyler and the Northern Lights, and Bright Light Social Hour. River Myers, Trey Allen, Zak Kaczka, Loren Williams, and Brad Nance are still recording and writing their own material, with a debut E.P. released in February, and continue to play live shows in and around the OKC metro area.

THOUGHTS:

"Ah man, dig that freakin' groove! I feel like I am in a seventies flashback right now. The Kamals lay down some mean seventies heavy psychedelic rock. With screaming solos, pounding hammond organs and far-out sound effects the band welcomes you with the killer vibe of "Tell Me". The band then takes you down a 15-plus minute path of acoustic-driven country rock on "Hands in the Water". Next up is the twangy-stomp of  "Happy E". The EP closes with the psychedelic fuzz and beauty of "Between the Tides". The music gets into your blood and reaches into your soul. Check these cats out and chuck a buck for this demo. Cool stuff!"

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NUCLEAR DOG'S ATOMIC SPLIT: WO FAT / NIGHTSTALKER

Today Heavy Planet introduces a new feature, Nuclear Dog's Atomic Split, a feature in the same vein as Zac's Double Dose, bringing you more of the new, ass kickin' music HP provides for discovery and enjoyment. Today's debut features albums from one of Rock's premier labels, Small Stone Records. Both bands featured come to Small Stone after having released previous recordings on other labels. Both bands bring a world of experience and know how to a style of rock that leans toward the genius that permeated seventies rock. One band is an old favorite, well known in the world of stoner/doom/psych rock, the other band perhaps relatively unknown until hopefully now. Old or new, known or unknown, the bands represented by Small Stone Records always deliver the goods, in rock n roll spades, and today is no exception. So, please enjoy this debut presentation of Nuclear Dog's Atomic Split, featuring Wo Fat and Nightstalker.

Wo Fat - The Black Code

Wo Fat have delivered a new album, "The Black Code" on their new label, Small Stone Records, that demonstrates a rare ability to produce a musical collection that is both familiar and fresh, an accomplishment that occurs seldomly when bands and artists begin to issue music beyond their first few releases. Wo Fat have now released 4 superb albums, all of them maintaining the loud and low seventies sound characterized by their favorite influences, Black Sabbath, ZZ Top, and Jimi Hendrix. The accomplished threesome from Austin, Texas loudly demonstrate their own special brand of stoner/doom/psych rock while generating tons of low fuzz distortion, combining for as great an experience as you can ask for on a heavy stoner/doom/psych offering. Check out the opening track "Lost Highway", which opens with a jeet kune do jab of stoner riffage right between the eyes and only builds from there. Or enjoy the psychedelic journey of "Sleep of the Black Lotus", which burns slowly, hotly, consistently down the mile long trek of its tightly packed fuse.

You will recognize the brilliance of Wo Fat on "The Black Code" while enjoying the fresh set of songs they have conjured up through the haze and smoke of their Hill Country hoodoo. The CD release is scheduled for November 13. The digital version is available now.

Band Members:
Kent Stump - Guitar, Vox, Fender Rhodes
Tim Wilson - Bass
Michael Walter - Baterie Mastodonica, Vox

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NightStalker - Dead Rock Commando

Nightstalker are a great addition to the Small Stone selection of simply great rock and roll. The rock they deliver is a consummation of their many years playing, the skill levels they’ve developed during that time in both instrument execution and song construction, and the apparent joy they continue to experience in creating some of the coolest rock music available on the planet. The CD has just become available, releasing on August 28th.


One of Small Stone Record’s newest signings is Nightstalker, but this band has been around for a long time, since 1989 in fact. Hailing from Greece these guys have played with numerous rock bands, both known and perhaps not so well known. They are veterans of 6 album releases, including the latest on Small Stone Records, “Dead Rock Commandos”, which can be classified as a flat out masterpiece of cleverly crafted rock that explodes at the same time with re-entry intensity. Lots of loud and heavy guitar laid down on tnt laden bass and drums, all wrapped in melodies that lend themselves perfectly to guitar heavy  rock. Each song is capped off by the brilliant and gifted vocals of Argy, the lead singer, who clearly relishes his ability and the opportunity to belt out the finely crafted songs on this album. The title track displays the adept, aggressive, and athletic style of Nightstalker, delivering a near perfect execution of what rock should be: enjoying and exhilarating. The opening track, “Go Get Some” is an all out guitar offensive with melodic underpinnings, while “The Boogieman Plan” delivers perhaps the most energetic track on the album, a relentless jab, cross, jab assault that comes close to providing a knock out punch of guitar force and fury.





Band Members:
Argy: Vocals
Andreas Lagios: Bass
Tolis Motsios: Guitars
Dinos Roulos: Drums

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In one fell swoop Small Stone Records have managed to deliver two candidates for album of the year with Wo Fat’s “The Black Code” and Nightstalker’s “Dead Rock Commandos”, two albums that will likely be enjoyed by those of us that love the good kind of rock n’ roll for years to come.

Album Review - Assemble Head in Sunburst Sound - Manzanita

The ancestral home of the psychedelic movement is no place other than ole' Frisco. The jived-out mind-mucking sounds which have boiled from its bay have ranged from the swirling free-wheeling rock of Jefferson Airplane, to the crusty down-to-earth brutality of several very notable thrash groups.

Today we're going to focus on a new record from a lesser-known but very wigged-out San Fransisco band named The Assemble Head in Sunburst Sound. Their new record Manzanita continues to press that trippy spirit into our minds- as the band has been doing since their inception in in the early 2000s.

1. "LA Sacrifice" - A groovy tune that seems to have spliced The Airplane's DNA with that of MC5. A droning groovy riff permeates the tune, but of course- a delicious slicing of organ is thrown in there to capture that old school vibe. A foot-stomping how-to on mid-sixties psychedelia.

2. "(Gone) 'Round the Corner" - It starts off as a jivin countryish tune with shimmering guitar tones and delicious harmonies. It kicks into some overdrive and acts like a rocker before turning back to the smooth clean tones- and than reverting again before drifting into a slower jam. This band kind of captures a shoegazey indie tone by the end.

3. "Blue Wire" - Echoed-vocals layered on a repeating minor riff- this one is oozing soul. It drifts in between grooving mellow rock until culminating into a fuzzed out guitar solo by the middle. It takes out with some cutting rhodes tones in between verses before shooting up into a calmed down effects-laden space-outro. These cats groove out into the beyond - with some great basswork and rippling delayed guitar sounds!

4. "Sunshine"- This one plays out like a melodramatic classic rock song. A deep consistent riff controls the structure save the choruses - which are chock full of harmonized vocals before whirring into a good guitar solo before

5. "Ghost String"- This tune evokes the desert with spooky over-reverbed vocals and funky surf-rock style guitar. There is a definitive 90s sound overlooking this one - it's almost pearl-jam-ish in a way.

6. "Slithery Thing"- A heaping glob of acoustic interplay with jarring vocals to top it. Similar to the previous tone but the folk overtones of this group are showing more. This one has some tasty lyrics and tasty licks- the lead guitar dotes the background

7. "Green Meadown Slowdown" - FLUTE! These guys do dig on the contright notions of former psychedelia- but there's a reason for that. It sounds great! Another Neil Youngish- number, it grooves on with sporadic flute interplay and powerful simple grooves.

8. "The Flume"- This tune has the markings of a staple with rolling oddness for lyrics and a Who-style swagger. The longing and yearning vocals sort of begs the heartbreak and morose beauty that the aforementioned group could offe.

9. "Low Island Blues"- A driving rocker with an anthemic underpinnings. A nah-nah-nah chorus encapsulates the hook and the tune jams for a while with heavy organ and guitar work. A bit bluesy, a but it has that punchy early-punk spirit.

This is a record for anyone who likes the nostalgic tones of the 60s, those acting as Classic Rock standard bearers, and those who like damn good hooks. It's punchy, its spunky, its rock and roll in one of its purest forms. Do yourself a favor and crank it- as it should be!

The Assemble Head in Sunburst Sound is:

Michael Lardis

Jefferson Marshall

Camilla Saufley

Charlie Saufley

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ALBUM REVIEW: KADAVAR

Crisp. Clean. Clear. Words not usually associated with the music of the stoner psych/rock genre where noise and distortion are badges of pride and identity, but I feel compelled to use them nonetheless when describing this latest addition to stoner rock greatness, Kadavar, on their self-titled initial album offering, simply because the music is crystal clear in delivery, whether it be the photon-beam guitar riffs of the album’s exquisite solos, the hard-thumping rock n’ roll engine of the bass guitar, or the pitch perfect punch of the drums. The sound is immaculate, clean as cotton, lending itself perfectly to artistry at its best from this band of Berlin rockers.

Kadavar’s music is descendent from strong rock lineage, with genealogy lines snaking their way through the past four plus decades of the world’s best music, including early pioneers of heavier tones, quality purveyors of grunge and metal, as well as recognized leaders of stoner/psych rock past and present. What these Teutonic trip meisters have accomplished on their debut offering is nothing short of phenomenal. The music is clear and crisp while still delivering truckloads of loud and low that blends perfectly with razor sharp solos that slice right through your brain before you know you’ve been musically assaulted. In addition they’ve managed to deliver music at once familiar in its stylings of psychedelic rock gone over to the dark side of doom and fuzz, but unique in its own very clever and superbly crafted wielding of the weapons of heavy metal. In short, Kadavar know how to make a song, know how to produce a song, and know how to execute a song so that it is effortless for the listener to enjoy the dissection of their minds with slices from Kadavar’s debut.

The members of Kadavar are:

Wolf Lindemann - Vocals, Guitar
Mamut - Rivoli Bass
Tiger - Drums

The album opens with “All Our Thoughts”, demonstrating both the crispness of the instrumentation and some signature stoner/fuzz sounds on a scorching intro. When Wolf’s vocals come in it becomes quickly apparent that the music is of the highest quality, something unique and rare. ‘Thoughts’ delivers a steady jam of low, slow fuzz until the point in the procedure where the scalpel-sharp solos of Wolf’s guitar slices through with a clean, clear cut of sonic fury.

“Black Sun” is six minutes of fun, funky riffs overlaying an extended display of measured musical muscle. The refrain is subdued but powerful in its relentless delivery, while the solo guitar work again delivers a powerful slice of electrical discharge as if it had been stored in a flux capacitor of fuzz.

Kadavar continues the trend set on the first two tracks by deliberately delivering a steady dose of stoner brilliance on “Forgotten Past”, which is a long, tenacious exhibition of the threesome’s inspiration in executing their four instruments with inventive dexterity.

The opening riffs on “Goddess of Dawn” are beautiful stoner classic sounds used to encompass a psychedelic tale of magic and mist that in the end delivers on exquisite music in the guitar solos as well as a display of muscular authority from the Rivoli bass.

The pace picks up for “Creature of the Demon” as the Rivoli again gets exercised and again delivers beautiful tone and quality sound. This time Tiger gets to let loose in sections with rapid and agile tattoos that are strident and tribal in delivery. This song moves through a multitude of variation in the structure and delivery of its various parts, creating a wonderful patchwork of brilliant song playing.

The album closes out with “Purple Sage”, whose intro is certainly psychedelic in nature, leading into eight plus minutes of sheer fun and adventure. There’s a lot going on in this one, all of it wonderful to behold, none of it fully gleaned upon first try. It’s an epic way to close out an album with a truly epic track.

Overall this album is a worthy addition to any stoner rock library, demonstrating great skill in concept, in design, and in delivery. Kadavar are quality musicians and gifted artists whose entry into the arena of rock in the corner of stoner/psych music is more than a welcome addition, but a much appreciated shot of pure cosmic adrenaline.

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New Band To Burn One To: THE WITCHES DRUM

Heavy Planet presents today's "New Band To Burn One To" . . . The Witches Drum!

Band Bio:

Since their formation in 2009, Cardiff band The Witches Drum – vocals (Matt Fry), guitar (Joel McCauley), guitar (Mike Lancaster), bass (Owen Griffiths), and drums (Stephen Jones) – have fast become the Heavy Rock Spectacular for diehard followers of psychedelic noise.

Having threatened to release an EP for some time now Future Kings Of An Empty Throne is the group’s first official release on the band’s own imprint, Levitation Records. Recorded by Fudge Wilson (Exit International) at Sound Space Studios, over four tracks the band swallow influences and choke alchemy out of crowd rousing concoctions. From Beefheartian barks (‘Watch The Freaks Lose It’), tripped out San Fran jams (‘Filthy Closets’) and chugging Led Zep rock it’s a heady mix of ’73 era British blues and West Coast stoner doom. Primordial, loud and the aural embodiment of sleazy rock ‘n’ roll.

As anyone who has witnessed their frenzied shows will testify, their reputation precedes them. A regular fixture on the local South Wales scene playing live alongside the likes of Thorun, Zinc Bukowski and Johnny Cage And The Voodoo Groove, front man Matt Fry’s glowering reptilian presence and the group’s embrace of long forgotten sounds (think Blue Cheer, Sir Lord Baltimore, Josefus et al) is truly something to behold. Like a crazed collision of Arthur Brown theatrics and weighty Electric Wizard vibrations, they’ve electrified believers with big riffs and unforgettable shows. Most memorably at Cardiff’s annual Sŵn Festival, with a storming set and weekend closer.

Thoughts:


The Witches Drum bring a raucous rock n' roll party on "Future Kings of an Empty Throne", with some very cool and funky rhythms that never hold back on the loud and the heavy while seeming to bend both space and time as they trip through the moods and the melodies of these four sensational tracks. While the songs are nuanced with many incredible layers of style and delivery, they will at any time come right out and slap you upside the head with sledgehammer blows and flamethrower fireballs. The opening track, "Watch the Freaks Lose It" is an astonishing concoction of fun and fury, with melody, heart, and riffage aplenty. When the band kicks into high gear the solos scorch with arc welder intensity, the bass like the unyielding fury of commercial sledgehammers, accompanied by large gauge drum beat blasts of gattling gun tempo, all wrapped up in clear, deep, rich vocals that complete the paisley clad package. But they never stay under the heavy too long, superbly moving into multi-layered and colorful psychedelic renditions of uber-cool wickedness, gracefully and expertly blending the seemingly disparate styles into unbelievably fantastic and melodious renditions of something unique and superb. 


The digital album is currently available on bandcamp. The CDs will be shipping in early September.


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