Quick Trip: ORANGE SUNSHINE - "HOMO ERECTUS"

A stunning blend of great late 60s, early 70s style psych-rock with heavy stoner fuzz sensibilities has been captured on this nearly 2 decade old album by Orange Sunshine. Listening to it is sort of a double deja vu by going back to the band's early days of the new century where they brilliantly captured the sound of 4 decades prior, the decades of flower power, of tripping on mind altering pharmaceuticals and mind blowing heavy rock, the decades of musical captivation and discovery.

The music on this album has an almost magical immersive quality to it, whether you lock yourself into your mancave and test the limits of your speakers, lock yourself out from your surroundings with headphones, or utilize your car's bluetooth functionality on that long roadtrip, you will quickly find that even without the help of pharmaceuticals your mind is expanding in pleasurable and exciting ways. The spells cast on this album are rendered with mystical guitar work that colorfully penetrates to a pulsing primal core, led by vocals that use that great breakout quality of rock vocalists of the era and accompanied by a superior, groovy beat of drums, and rapturously cool bass bonanza.

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New Band to Burn One To: PUSSYCAT AND THE DIRTY JOHNSONS

Directly from the sandy beaches and hot sun of...London, England...comes a raunchy, bawdy, in your face trio of rockers who deliver a high energy brand of rockabilly retro skate surf punk fuzz. The wailing, confrontational, all out vocals of frontwoman Puss Johnson (She's going to have to marry a Hampton, I think) are reminiscent of Sleater-Kinney's incredible Corinne Tucker. The dual guitars of Johnson and lead riff-meister Dirty Jake are a colossal sonic concoction of blistering be-bop and monstrous, memorable melodies. Filfy Antz drives it all forward in breakneck crescendo and perilous climax. This trio isn't climbing into any typical box of the usual fuzz labels, but the retro punk vibe is loud, raucous, and diabolically fun.

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Quick Hit: THE ELECTRIC SHAKES - "ELECTROHYPNOSIS"

Europe gives us a TON of great underground rock bands that run the gamut of styles we lump into stoner/doom/psychedelic/desert/retro/blues rock (even the genre lump is sizeable), and the UK is no exception. The trio The Electric Shakes, out of Bournemouth, are another of an impressive group of UK fuzz monsters.

Most trios are set up as one member doing double duty as the vocalist in addition to playing an instrument, but one impressive aspect of The Electric Shakes, in addition to their awesome fucking moniker, is that each brandisher of a musical apparatus performs vocal duties as well. The more vocals the better, whether it's a sharing of song leads, furnishing backup service, or in harmony, and these guys sweep all obligations.

The music they make is infectious, rawking, and fun. It's heavy on the riff and quick on the tempo. The drums are virulent and catchy, engaging head and hips in a dance of infectious rhythm. Monstrous basswork bolsters the heaviness of tracks that otherwise rocket and zoom in gravity defying exhilaration. The guitar brings all the highlights expected of excellence and quality, with a colossal fuzz enclosure punctuated by searing, soaring solos. The songs themselves are melodic masterpieces of amalgamated rock standards with traits of punk, stoner, garage, blues, and 70s era rock. The Electric Shakes' approach to music is a brilliant combination of those great rock sounds of past and present without any direct reflection of one legend over another, which allows them to forge something exciting and new and wholly their own.

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New Band To Burn One To: COBRAJAB - "COBRAJAB"

Doom is the tenor of the day, with psychedelic bracing, stoner overtones, and profligate subterranean darkness, emanating from the capital of wholesome goodness, Oklahoma City, Oklahoma.

Cobrajab, a foursome of visionary metalheads who, despite a 'just getting off the ground' presence online, have managed to produce and release an EP and an LP in the past two years, both of which are collections of magnificent riffage amalgamations. An unstoppable, steady force of deeply toned reverberation trudges unerringly, inexorably forward, opening pathways of psychedelic excursions of brilliance, as well as energetic bouts of stepped up fuzzery along the way, but never wavering from the melodic miasma of mighty metal machinations this band has so brilliantly conjured in their spells of doomweave. Their music is engaging, at times hypnotic, at others primal and spiritual, providing instant gratification while forging memorable long-term memory positions in the minds of DOOM aficionados.

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Quick Hit: SIMPLE JACK - "BRAND NEW EYE"

Stoner Punk? That's the label I'd give Simple Jack's music, perhaps. As with all labels, though, it never tells the complete, or even correct story. Simple Jack's music isn't punk necessarily. It is brash and bold and unpredictable in its familiarity. Or maybe it's familiar in its unpredictability. The music is massive, with colossal guitars that riff and burn in grand stoner metal style on songs that carry incredibly clever melodies that are never sweet but always clean. Vocals are athletic and perfectly strained, adding a rapturous element to the whole. Subterranean rumble, like quarry explosions, emanate from the muscular bass riffage while the drums are immense, nimble, and deeply engaging of their own accord while still providing complementary assistance to each track

The cinematic image that comes to my mind is grainy black and white with a single Samurai slashing and dancing his way through a horde of challengers. The instrument is sharp and shiny and supremely deadly in the hands of its brash yet masterful wielder who eschews the traditional killing methods for his own lethal style.

Simple Jack are something new, something unique, something out of the standard mold yet still delivering the appropriate weighty sound as well as the important rush of primal triggers. They're raw yet precise, ragged but clever, and a whole lot of fun.

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Quick Hit: CORTEZ - "THE DEPTHS BELOW"

Veteran Boston rockers Cortez have advanced their long, high caliber legacy with a new, full length LP, their third album since inception back in 2006. This latest album by the quintet is a testament to their longevity as it provides some of the best tracks they've yet produced, music of the highest stoner metal caliber offered up over the past 11 years.

"The Depths Below" run a distinctive gamut of loud party fun, melodramatic psychedelics, hard, heavy, slabs of towering stoner metal resolve, and even a frolicking, hip-hop inspired romp of a hard rock bent. The melodies are intelligent and magical, providing sharp, indelible hooks, while the vocals are of a quality rarely experienced from within the hordes of underground rock bands. Riffs of twin guitars are piled high and loud, bringing steel wool fibered fuzz of rarefied magnificence. The rhythm sector is never overshadowed, displaying clear, unyielding stickwork of immense cleverness and ferocity as well as bass guitar of thick, gargantuan reverberations of primal explosion.

I had the privilege of reviewing Cortez on their eponymous sophomore release back in 2012, cutting my teeth on music easy to both enjoy and attest to. Five years later I get to do so again, an opportunity as satisfying as is their music to which I immensely enjoy.

While going over their discography I came across a single track they had released early in 2016, a cover of one of the premier rock bands of the 70s, Deep Purple. Cortez' rendition is a brilliant emission of a brilliant, but unheralded classic. I include it here for the sake of fun.



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Quick Hit: HEY SATAN - "HEY SATAN"

Trios kick ass much of the time. There's just no getting around it. The Lausanne, Switzerland trio Hey Satan kick ass from a number of angles on their debut eponymous release. To begin with this album RAWKS, and rocks hard. It's meant to be played loudly, and to be enjoyed completely. The music will absolutely flow through you like some dark, demonic doomspell. There are ten tracks on this inaugural LP and not one of them misses a cloven-hoofed step. Each is spellbinding with magical melodic imagination, a feat of epic proportions, and none of them are carbon copies of neither themselves nor of any stoner metal legends, providing ten dark, dewy songs on which to guzzle and savor. The stoner/doom influences are obvious as the gargantuan guitars reign supreme with riffs of deepness and distortion as well as searing, soaring solo runs, but obvious homages are rare as this trio's grand abilities forge their own armored merchandise of dark and hefty metal. Vocals provide a searing focal point with a superb rawness and range brilliantly matched to the music. Overall this is one hell of a debut, a memorable and savage romp that should solidify a place in end of year retrospections.


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Quick Hit: EARTH WITCH - "OUT OF THE SHALLOW"

Earth Witch have been producing and playing high energy, heavy metal doom rock since they first formed on Halloween night in 2012 playing Black Sabbath covers. An early EP, released on Halloween in 2013, was a brilliant admixture of psychedelic Black Sabbath doom. For their next offering to the dark fandom gods of haunting melodies and mammoth black-bottom riffs Earth Witch have stepped up their game, submitting a full-length LP of masterful musical acumen. The melodies are exciting and memorable, the riffs are an amalgam of searing psychedelic solos, subterranean rumbles of earth and stone, with characteristics of stoner/desert sounds sewn perfectly into the patchwork of deep doomness and ephemeral wisps of phantom Sabbath spirits. All of this comes to you in afterthought as you listen because the immediate response is joy, joy in experiencing music that masters every trait that we love about low-tuned massive, heavy metal. It's a forty minute escape, much more capable than any current virtual reality gimmick. It's an ode to past brilliance yet still a discovery of fresh raw power entirely attuned to primal urges of amplified sound.

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Quick Hit: RUFF MAJIK - "THE HARE AND THE HOLLOW"

Mega-Fuzz rockers Ruff Majik have quite quickly returned with a new release....of sorts. It's only been two months since they issued the brilliant "The Swan", but Ruff Majik have something quite new, yet quite familiar, up their fretboards with what is apparently the initial three tracks of an eventual full-length album that will span a wondrous tale of fantasy. Their plan is to release a fourth of the album in time with each of the changing seasons of the southern hemisphere from which they dwell. This is exciting news, both for its creativity and its anticipation. The three songs that have burst forth through the ragged fissures of this threesome's psyche are earth devouring melodies of titanic proportions, ragged in riff, raging in solo, and gargantuan in rhythmic explosions. More to come is only welcome news for fans of their obsidian assaults.

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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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Album Review: SASQUATCH - "MANEUVERS"

Alright! The fifth album from one of rock's unsung practitioners has been released. Any spin through any one of the, now five, albums put out by the Los Angeles retro/stoner rock trio Sasquatch will provide opioid level euphoria through a delivery system of dense metal and decibel distension, packaged in razor sharp hooks and monumental melodies. This is the case with the first song on the first album through to the last song on the latest album, the freshly available "MANEUVERS".

The musicians that recorded "MANEUVERS" include:

Keith Gibbs - guitar, vocals
Jason Casanova - bass
Craig Riggs - drums

Where's Rick Ferrante, the longtime drummer for the band, you ask? He's very much still a part of Sasquatch. How could he not be? He's been there from the inception, providing a quality of rhythm drumwork rarely matched this side of Ginger Baker. Craig Riggs, himself an accomplished drummer, as well as vocalist, for the stoner rock legends Roadsaw and supergroup Kind, has been tasked with the skin-thumping duties on #5 as Sasquatch launch their campaign through Europe in support of the new album. Many, if not most, of the gifted musicians that ply their wares in the underground world of stoner/fuzz rock, do so outside of their regular job work schedules, so making extended forays away from those jobs isn't always possible. Rick, though, has other venues lined up for his phenomenal skills, both as a full-time member of The Ultra Electric Mega Galactic and playing live venues with the up and coming underground superstars Aboleth (is that an oxymoron - underground superstar?)

"MANEUVERS" consist of 8 intensely amplified tracks of thick, syrupy mega-fuzz in which Keith Gibbs' wonderfully mellifluous vocals match perfectly his sledge hammer heavy riffs and ozone searing solos, where Jason Casanova's bass is forcefully wielded, relentless in muscular ferocity, and Craig Riggs' steady rhythms sting and pound in incessant brilliance. The overall tone is a soulful resonance, somber, edgy, and nostalgic, unyielding in its sheer power.

"Rational Woman" kicks off the show with gargantuan raggedness, beautifully laid down in primal tempo, showcasing Gibbs' rich, powerfully melancholy vocals. "More Than You'll Ever Be" is steady and relentless, advancing in magnetic forcefulness. "Destroyer" demonstrates the raw might of haunting tonality. "Bringing Me Down" is reminiscent of early Sasquatch songs in sentiment and style, a welcome memory for some, a fresh introduction into past glory for others. Funky and on fire, "Just Couldn't Stand the Weather" brandishes a unique melody and style, a departure that doesn't stray too far from the path marked 'Sasquatch', but is populated by some intriguing mutations, riff creatures at once familiar and uncanny. "Drown All the Evidence" is Americana, magnified, amplified, and wracked through with distortions of flagrant pleasure, punctuated by elegantly ragged, bruising solos. "Anyway" is a psychedelic charmer, a brightly colored panacea, recharging batteries in color and brilliance. The closer is the massive and melancholy "Window Pain". The blue pain and gray fog atmosphere of this song is punctuated by the rare use of keyboards, highlighting the feeling of loss and a damaged soul. Solos reminiscent of Ernie Isley rip through the gray morass in sharp, keen doses.

Overall this album delivers a massive load of essential feels. The music is nostalgic and new, familiar because it's crafted by masters of more than a decade of accomplishment, as well as fresh in a package of nascent material that expounds on a proven formula without a hint of staleness. It's a sound that hearkens back to the last decade when stoner rock was still new and Sasquatch were new kids on the block. The guitars come in every satisfying form, distorting the edges, and burning the center, tapping into those primal cords that run central to us all. Gibbs' vocals are solid, full of heft and strength, and forging soulful connections over and again. Fierceness and joy, the hallmarks of those who love the weapons they wield, are on perfect display through Casanova's masterful, subterranean riffs. And Riggs steps into what would normally be a massive void, shouldering expectations and delivering brilliance with his consummate rhythmic execution.

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Riff Hit: ATTALLA - "GLACIAL RULE"

In June of 2014 Attalla released their self-titled first album which quickly garnered acclaim from consumer and critic alike. It was the type of album that, by the time you'd taken in all it's ragged riff glory you began craving the next release. It's taken nearly three years for them to issue a sophomore production, time, one must presume, they took in creating and mastering the contents of the doomrunner-up. It was time well and perfectly spent as "Glacial Rule" fairly detonates in controlled eruption on each track, delivering dense fuzz in dark doom licks, a more controlled assault, more measured in pace, than on the first album, deeper, thicker, but still melodic and hookish. It's perhaps evidence of growth that this foursome didn't rest on the laurels garnered by their initial release, but instead put in the time and work to craft something more, something still of themselves but delving into the gloom, down uncharted tunnels of thick atmosphere and impenetrable doom.

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Album Review: CLAN - "CARNIVORES"

Clan are a stoner rock band from Norwich, UK that exemplify the sound of the genre as well as any band of this century or the last. The mix of sound and style they are able to seamlessly incorporate into their music makes for something exciting, something quite fresh and new within perfectly executed familiar sounds. The fuzz packed riffs on every song are thickly sweet and mesmerizing. The vocals from front-man and lead guitarist Matt Pearce are singular, powerful, compelling, exotic, and provocative. Yes, they are that good and that unique.

Clan consist of:

Matt Pearce - vocals/guitar
Matt Rabong - bass
Ben Giller - drums

There are 9 songs and an intro on this full length album, so the achievement is commendable in that each track is an intricate, hooky, and memorable display of the band's tapestry of skill and endeavor. The melodies are fun and addictive, whether letting the power of Giller's stickwork course through the inner pathways of your neural system, or allowing the immense horsepower of Rabong's deep bass rhythm overwhelm your sensory presence, or thrilling to the double onslaught of Pearce's vocals and masterful riff-bringer guitar.

Clan bring a lot of old school mentality to their brand of hard rock by focusing first on melody before overlaying their well-crafted ditties with powerful, familiar stoner fuzz, which makes for great excitement on the first spin through the nine tracks, and immense enjoyment on each subsequent spin.

"Carnivore" comes out of the gate with a scorching intensity on the first full song, "Burning Bodies", setting the stage beautifully for what's to follow. The title track is an immense mammoth of sound and splendor as is it's follow on, "Jackal". "Haunt Your Ghost" and "Wolves" pummel through with relentless power and heft. "True Believer" is perhaps the bellwether track, the one that ignites immediate interest and excitement, leaving an indelible bruise of sweet darkness. "Sleep in Salt" showcases the brilliance of the rhythm duo of Rabong and Giller throughout the slightly melancholy and memorable melody. "White Spider" rivals "True Believer" as a signature track, one that radiates with special sweet, ebon melody brimming with dark fire and subterranean power.  "Blood of the Father" closes out this darkly shining gem of an album with the most haunting, slow burn song of the bunch, a viscous and succulent morsel that leaves you yearning for more before you're even done listening.

It's been three years since Clan have released an album, but the wait has been well worth it with this wonderful, witty, and addictive collection of great melodies and powerful stoner metal music.


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New Band To Burn One To: MASTEROID - "HOLLOWED BEINGS"

MegaStonerRetroPunkFuzz has been quite brilliantly captured on this raw, garage rock of an album from a threesome of young and imaginative musicians out of Phoenix. It's a simple sound, yet for all the novice hallmarks of this album it manages to bestow an elegance in that simplicity as well as near genius in its melodic composition. The magnitude of the riffs is towering, brutal, and primordial while the dexterity displayed in the hooks and simple interludes is addicting. The drummers display a magnificent proficiency of timing, power, and heart. The bass is savage, ruthless, and unyielding in its driving rhythms.

These young musicians seem to be ramping up for a career in the low, dark arts of stoner/doom style music. Their inaugural oblations indicate more brilliance to come if they can manage enough notoriety. Here's to hoping that is indeed their fate, and ours.

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Quick Hit: Långfinger - "Crossyears"

Smallstone Records has been a 'go-to' place for great fuzzy music since their inception back in 1995. There is north of 80 rock bands in the annals of Smallstone, many of them pioneers of underground stoner rock, including Sasquatch, Dozer, Lo-Pan, Gozu, and Wo Fat, as well as many up and coming finds that have chosen the venerable label to ply their fuzzy wares, such as the focus of today's Quick Hit, Långfinger.

Gritty, imaginative, hard, and loaded with heavy, pulse-pounding riffs of an old school style, "Crossyears" is a rock solid and laudable Smallstone debut for this Swedish threesome out of Göteborg, who already had two 10" and two 7" productions in their canon before making their way to the notoriety of Detroit's Smallstone Records. Their music crackles with burning, searing, unfiltered energy, engulfing the listener in thick metal smoke of a euphoric atmosphere, carried brilliantly throughout by perfectly matched rawk vocals.

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Quick Hit: JUKEBOX MONKEYS - "GREY SKIES RED PLANET"

Jukebox Monkey have created a wonderful mix of contradictions with "Grey Skies Red Planet", delivering a clean sound via a wonderfully nasty disposition, a southern rock style of frankness without any direct homage...in fact, in foregoing anyone else's sound or style they are somehow reminiscent in doses of almost everyone, a mean feat from this mean foursome of warrior isle brawlers, who in doing so have developed their own unique style that is an upfront, in your face,  stoner rock bruiser of a record, inexorable and steadfast in its mammoth assault of sound, ornery in its temperament, and euphoric in its deeply fuzzy experience.

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Quick Hit: MOANING CITIES - "Moaning Cities"

I think perhaps I need to place a permanent office in the midst of the fertile stoner/psych/doom/retro rock country of Belgium. Many of the bands and albums I've highlighted in the past few months have come from that rich rock n' roll province. Today we add one more to the burgeoning list with Moaning Cities, a quartet of interesting blueprint. Operating with both guitar and sitar, backed magnificently by a female rhythm section, Moaning Cities manage to pack plenty of bite and ferocity around ragged edges and furious riffs, co-mingling with otherwise smooth, milky psychedelic power sojourns.

Moaning Cities have been around for 5 years, and have managed to release 3 albums, the first of which is showcased here today. This is because the first album has a more ragged stoner vibe, as does the second album, "Pathways Through the Sail", while the latest release, "D. Klein" is more soporific and spell-binding. The matchless melodies and mammoth music of Moaning Cities can catch one occasionally reminiscing in brief spurts on the fine desert rock of Kyuss. There is nothing direct, no homage, just a recognition that what you are listening to combines power, heart, and musical athleticism, the very best of what rock has to offer.

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New Band To Burn One To: THE BIGGEST THING SINCE POWDERED MILK

Something a bit different today. The 'New Band To Burn One To' feature is meant to showcase bands that haven't gotten much attention and perhaps are just starting out in the underground world of the greatest music ever made. Today's band, The Biggest Thing Since Powdered Milk, doesn't have much of a presence online yet, but they do have the above delectable trio. This little bit, though, will likely make a sizeable impression when you give it a spin. These three island warriors have demonstrated a knack for making big, loud, and fun stoner rock music, combining the mammoth guitar that is the hallmark, of course, of stoner rock with a keen imagination for instant hooks and memorable melodies. They have more songs in the bag and are working their way toward an official album release, so, here is what they have so far, something mighty tasty when enjoyed with a large glass of ice cold powdered milk......or something...., and hopefully piquing your interest enough to keep you on the lookout for that eventual album sure to make a large splash when it arrives.

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BAND SPOTLIGHT: OPERATORS

Every now and then I come across a band whose music I've not yet heard but who have been around for a fair amount of time, with more than one release to their credit. Today's Band Spotlight focuses on one such outfit out of Berlin, Germany - The Operators. I'm sure many folks have discovered their high octane brand of stoner rock, but for those like me who haven't, this one's for you.

An incredible feature of The Operators is the inclusion of organ music. A lot of great rock from past eras has included organ music, such as Deep Purple, Procol Harum, ELP, Yes, and the Doors, but in the underground railway of stoner rock music it is scarce. The Operators' inclusion of the organ blends very well with their boulder wall of massive guitars, assertive ass-whipping drums, and those rich, powerful vocals.

The Operators have been around since 2009, having released 3 full albums, the latest of which, "Revelers" opens this post while the initial and subsequent releases are below. All three albums are chock full of lip smacking retro rock of a heavy stoner bent. Dig in and enjoy!




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New Band To Burn One To: SUNDERFEET

A potent sound of high energy, agile vocals, bruising drums, brawling bass, and riffs galore are the hallmarks of this threesome from the north of France. They have mastered the art of combining great melodies with a massive sound, full of razor sharp hooks, skull stomping drums, bone crushing guitar from bass and six string, and dusky, ragged vocals. The music is stonerish and grungy, but uniquely their own as they play with relish and ferocity.

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