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: 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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Quick Hit: King Hiss - "Mastosaurus"

Yesterday's Quick Hit was a band from Belgium. While cruising through the land of chocolate, beer, and diamonds I stumbled across another fine act, King Hiss, who have been expertly wielding their 4 piece stoner/doom arsenal since 2011, conquering the metal scene both in studio, with 4 bulging albums and a two track acoustic segue, as well as in the live venues and festivals of Europe where they have made their reputation for delivering towering, stellar performances.

The music is an exceptional blend of stoner and doom sensibilities with some traditional metal thrashing thrown in to spice it all up. The songs are written with an ear for what's intriguing and memorable, while the vocalist lays waste with his well honed sonance in the vanguard of blistering solos, abundant riffs, and ravaging rhythms.

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Quick Hit: Fire Down Below - "Viper Vixen Goddess Saint"

The focus today is on Ghent, Belgium's Fire Down Below and their debut album "Viper Vixen Goddess Saint". There is everything to say about this album. It's an injection of intense musical exhilaration, evident from the opening riff of the first full song, "Through Dust and Smoke" and never wavering in intensity or satisfaction through to the aptly titled closer "The Mammoth". The melodies are the star here, songs written so beautifully, and delivered so expertly and heartfelt that it's an intoxicating opium rush of warmth and pleasure, paradoxically sharpening senses and expanding sensuality, opening dormant avenues of perception in efforts to experience every little nuance of riff and searing solo, of flourishes of stick on skin, of deep bass blitzes, and of every ingress of those brilliant and exquisite harmonizing vocals.

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QUICK HIT: Kitchen Witch - "Kitchen Witch"

You're just standing there, innocently, expectantly, hoping to engage with the new discovery when Georgie and Simon begin a bisensual assault of straight stinging jabs to your ears......they use their instruments of choice, of course, vocals for Georgie, and bass guitar for Simon. The assault is powerful, coordinated, measured, and.......delightful! Soon enough the rest of Kitchen Witch join in, Conor on guitar and John on drums, and the odyssey has begun, a colorful trip of brilliance and ecstasy.

The bluesy rock sound of Kitchen Witch will quickly bludgeon any impending designs on productivity you may have had, snaking it's electrified tendrils in and around the primal center of your musical DNA before tightening it's amplified grip, supplanting any sense of awareness for an overabundant experience of joy and euphoria. Yeah. It's that powerful. So, lie back, let go, lick your lips, and luxuriate in the lush experience of Kitchen Witch's superior sound.

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New Band To Burn One To: Goryl

 

A rather different beast to many of the bands we cover here at Heavy Planet, but one none-the-less that falls directly into our musical category. Solo musician Goryl offers us a chance to explore the far reaches of our darkest souls with his heavy ambient drone project, and having recently released an acoustic take on his work, it’s about time that we divulged these dark lonely winter nights shadowing his drawn out growling riffs.

  

His previous two EPs The Father Of Witches and The Father Of Evil Witches offer mesmerizing droned riffs that only his outpouring soul could decipher as he sits hunched over his bass-heavy guitar shredding out cursed, devastating drawn-out riffs that feel like the hand of death upon your shoulder, encompassing and frightening in alliance.  

  

Describing his sound as “A line of poetry written with a splash of blood - a sonic reminder that you will suffer many hardships and adversities, but you will not die until the day appointed for you doom”, Goryl is not to be taken on board without fair warning. His latest release, Snakes, an acoustic EP, offers as much bleak, droning respite as his previous work, which is an impressive feat. The final track on the EP 'Lovely Witches' even offers some hushed whispered vocals which is a welcome respite from his otherwise instrumental music.

  

Goryl’s musical work so far is utterly transfixing, from each lonely desolate pluck of the guitar string to the next downturned soul wrenching note, you find yourself totally overcome with a sense of being, it’s not a sound which uplifts or necessarily makes you think, but rather a sound which keeps you static, aware of the darkness and decay around you, embracing death as much as life itself. 

Goryl is heavy, other-worldly, and vital. 

 

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Nuclear Dog's Atomic Split: Mammoth Mammoth - "Hell's Likely" / The Shooters - "Planet of the Black Sun"

From Melbourne, Australia you can find rock so big, so huge, so full of riffs and fuzz that one woolly mammoth is not enough of a comparison, so the band was named for two. There's a lot to love when you have two huge extinct creatures wielding modern nuclear weaponry in the guise of electrified musical instruments. And then, from the southwest of Spain can be found a prime example of pure rock, big, simple, and unadulterated in delivery and execution, but most importantly in enjoyment. Strap on your cuirass because we are about to do battle with the forces of heavy metal deficiency where we will certainly cure their asses with the ammunition loaded, locked, and on tap, ready to fire today.

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MAMMOTH MAMMOTH - "HELL'S LIKELY"

Band members:

Ben Couzens - Guitar
Mikey Tucker - Vocals
Frank Trobiani - Drums
Pete Bell - Bass

As stated, this foursome hails from Melbourne and have garnered a huge reputation as a live band. From all accounts these guys put everything they have into every show, leaving it all on the stage, while simultaneously leaving the audiences satisfied to their 'amped to the max' core. Not only are Mammoth Mammoth experienced in playing to audiences, "Hell's Likely" is their third studio release, beginning with a self titled EP in 2008, "Mammoth" in 2009 that included covers of Kyuss' "Green Machine" and Ted Nugent's "Stranglehold", which put Mammoth Mammoth's irrevocable mega-fuzz stamp on those two varied but familiar and loved rock standards, and now "Hell's Likely", eight original ass kickers, straight out of some Australian explosives factory where someone threw a lit butt on the ground, large explosives expanded rapidly, and Mammoth Mammoth had an album of incredible explosiveness.

The music these guys put forth is heavy and fun, heavily reminiscent of rock of the 70s and 80s, while interspersed with sounds from the fledgling underground sounds of the era that gave birth to stoner rock, the 90s. They never mimic the sound of any of their influences, but at the same time do not shy away from what they like to use when laying waste to the earth with their low tuned, high energy music.

The title track is the opener and sets the perfect tone for what's to follow. It's fast paced and laden with energetic drumwork displaying timbre and skill that only the most adept and demoniac of guitars could follow.

The fuzz is unfurled for track 2, "Go", where, again, athletic guitar work unleashes monstrous riffs, huge fills of distortion and low tuned wonderment. I love the solo on this song, unfolding in a steady and intriguing manner that takes it time and entertains mightily because of it, as opposed to just dropping a few quick, loud licks like the majority of rock songs are wont to do.

My favorite track on the album is the fourth song down, "(Up All Night) Demons to Fight", the name alone bringing an anticipatory smile. The tempo here is deliberate and forceful, quickly igniting those primal urges deep within my metal soul. This is the kind of song you go to battle with. It delivers blow after blow, riff, lick, and fill wrapped in fuzz and distortion, and punctuated with the heavy bass rhythm of Bell's relentless playing, at the same time packaged neatly with Tucker's 'fuck you, kick ass' vocals.

One of the hallmarks of Mammoth Mammoth's songs is the length they play. There's no long drawn out psych journeys here, but at the same time they don't typically get in and get out in 3 minutes or less, either. 5 plus minutes is the standard, which is a great time for fuzz filled wonderment such as the deliverance of these 8 songs.

The final track, purportedly available only on the vinyl version of the album, is "Dead Sea", a deliberate show of strength and power, that comes across as an intelligent fuzz bomb, setting off explosions at exactly the right time and in exactly the right place throughout this demonstrative show of force.

Mammoth Mammoth have delivered a gargantuan, monstrous, prodigious, leviathanic collection of stoner fuzz bombs that boil the blood at just the right temperature on "Hell's Likely". If you are new to their music use this as a jumping off point and then go backward in time to collect the remainder of their awesome collection, worthy additions to any stoner metal anthology.

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THE SHOOTERS - "PLANET OF THE BLACK SUN"

Jerez de la Frontera, Andalusia, Spain is where we go for our next cargo load of fuzz and distortion. South  of Sevilla and west of Malaga ( I wonder which team these guys root for), Jerez appears to be an idyllic town in the southwest of the country, with beautiful architecture and gorgeous scenery, it looks to be the type of place that would be hard pressed to produce a foursome able to conjure the type of energy and power to move massive boulders with the strum of a chord, the pluck of a bass string, or the strike of stick on skin, but  that's exactly what The Shooters do - create massive amounts of beautiful, monstrous sound melodicly formed into a treasure trove of stoner rock jewels.

Spanish may be what The Shooters speak, what they write, what they use to fill their Twitter and Facebook pages, but good old American is the language used on the vocals of this gigantic band of uncanny caliber and faculty. The language used by guitar is retro rock, stoner metal, good old fuzz and distortion, a language understood by millions and craved by the same.Those cravings can be assuaged with the release of "Planet of the Black Sun".

Band Members are Alex, Carlos, Danishoot, and Marcos.

Although it's not quite clear who plays what for The Shooters, in the end it doesn't matter, nor does it even matter in the beginning. We have access to their new release and all we need do is plug it in and play. Enjoyment ensues. Like their Atomic Split predecessor, The Shooters lay down ample time on their tracks to allow for full engagement, and deep enjoyment, igniting all music receptors and linking to all primal metal music urges.

"Planet of the Black Sun" kicks off with "Against the Storm", a stoner rock gem, for no other definition can suffice. The vocals are incredible on this, and every song. The guitars continually crank out distorted pleasure, while the drums surface in perfect time to the ever churning riffs, providing intrigue and conciliation. The closing section of the song lays down an intriguing display of melodic adeptness and enjoyment.

Track 2, "Satellite", does not back down from the high bar set on the first song, kicking up the tempo a notch, while simultaneously kicking up the fuzz a notch as well. How? Hell, I don't know, but it does. The song is crammed to the gills with riffs, licks, and fills during the main course. The bridge bares it down to brass tacks, though, singling out nifty single riffs and drum fills before exploding back into the main groove of the song.

"Fuel Eater" quite simply jams for 5 minutes. Not in a hurry, digging deep grooves at a mud slinging pace, it takes over your brain for a nice trip through distortion and doom, over before you realize you ever left, because the trip was pure hypnosis of low tuned wonderment.

"Fate" kicks up the tempo and the melody a bit, utilizing a full, rich tone to the low tuned guitars, undercurrented by massively heavy bass and topped with the ever present rhythm of wood on skin. There is an in and out flow to the song that mesmerizes with a tribal quality hypnotic in nature and delivery.

The Shooters are superb songwriters, definitely stamping their sound and style on each song, but never totally recreating what's already been conjured, either by them or anyone else. The changes are perhaps slight, subtle, and modest, just enough to pique interest and satisfy familiarity.

These guys work their magic on the music they play, crafting quality songs, and playing with skill and enthusiasm. This album is 9 songs of sheer stoner joy, fierce in delivery, heavy in tone, and deep in satisfaction.

On their bandcamp page you will have access to all their music, worthy of the free downloads, and inclusion into your stoner rock collection.





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Nuclear Dog's Atomic Split: Skanska Mord, Abrahma, Lord Fowl

The year has flown right by, at least for me. It's been so much fun getting to know the best new music on the planet in an up close and personal manner this year. Of the many wonderful characteristics of stoner/doom/psych/retro rock there is one that just flabbergasts me, and that is how much new, original, MOUTHWATERING music is generated each year. Granted I've only been truly engaged for two years now, but I am staggered by how much new and incredible music I've found. There is so much that it's hard to showcase it all on Heavy Planet. Today I am showcasing three instead of the usual two. There have been a lot of 'best of' lists on Facebook the past several weeks and these 3 albums tend to make a majority of those lists, whether they be from fans, reviewers, or musicians. All three are from the ubiquitous and incomparable Small Stone Records label. Small Stone has cranked out more than their fair share of great, new music this year, and if rumors are any indication next year will at the very least match that output if not top it. Today we get to hear the incredible music of Örkellijunga, Sweden's Skånska Mord, the down home rock of New Haven, Connecticut's Lord Fowl, as well as the treasure chest of metal from Paris, France's Abrahma. Plug in, sit back, rock out, if you please.
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SKÅNSKA MORD - "PATHS TO CHARON"

Skånkska Mord are somewhat rare as a band because all members are from the same hometown, and while they didn't all start together as Skånkska Mord, they took full advantage of the demise of  former bands to form a new, tighter, more highly skilled and motivated band, one able to meld their seemingly disparate and individual sounds into something quite strong and exciting, something powerful and intoxicating, something that more rightly expresses the artistic qualities within each member of the new formation. They've now been together since 2006 and have generated nothing but music of the highest timbre and quality, culminating to this point with "Paths to Charon"

Skånska Mord are comprised of:
Patrik Berglin - Guitar
Petter Englund - Guitar, Backing Vocals
Patric Carlsson - Bass
Janne Bengtsson - Vocals, Harmonica
Thomas Jönsson - Drums, Percussion

They play a heavy, low tuned, and vibrant brand of psychedelic rock that slings the fuzz while wrapping a haunting and dark blanket of sound over magnificent, perfectly matched vocals from Englund and Bengtsson. The guitar work from Berglin and Englund is nimble and unforgiving as they inexorably carve their way through a thick, dense, nirvana of sound, all the while accompanied ably by Carlsson's monster bass and Jönsson's heavy caliber percussion.






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LORD FOWL - "MOON QUEEN"

Lord Fowl is:
Jon Conine - Bass
Don Freeman - Drums
Vechel Jaynes - Guitar, Vocals
Mike Pellegrino - Guitar, Vocals

Lord Fowl's music is an extension of some of the great, great rock of the 70s, with a slight southern tinge despite its creators hailing from the heart of yankee country. It's as if the decade had never ended, but instead endured through the ensuing three and half decennium, spawning a surfeit of incredible, delectable music.

Lord Fowl do not spare the riffs on this jam packed album. Guitars are salient, plentiful, and unburdened, spawning generous amounts of fuzz laced, down tuned distortion intertwined throughout with hot, searing solos and scorching riffwork. The vocals are perfectly matched to the music, bearing the slightest of raw edges, while percussion and basswork massivley encompasses all, expressing perfectly Lord Fowl's melodies of magic.




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ABRAHMA - "THROUGH THE DUSTY PATHS OF OUR LIVES"

This Parisian foursome have delivered a treasure trove of bright shining jewels, perfectly cut, formed to perfection, exquisite in composition and detail with "Through the Dusty Paths of Our Lives", an album of 15 catchy, heavy, clever, intelligent songs.

Band members include:

Sebastien Bismuth - Vocals, Guitars
Nicolas Heller - Guitars
Guillaume Colin - Bass
Benjamin Colin - Drums

with help on the album from Ed Mundell of Monster Magnet notoriety playing solos on "Big Black Cloud", as well as the cover artist for the album, Alex von Wieding, who also is the musical mastermind behind Larmon Clamor, contributing the song and vocals for "Oceans on Sand . . . ". How cool is that?

There is plenty of fuzz and low tuned music laid expertly over clever and often ingenious melodies generating a climate of fun and fury for riffs and solos, vocals and rhythm, chorus and refrain in this stoner rock fest of an album.






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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.

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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.









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Nuclear Dog's Atomic Split: The Great Khan - "The Great Khan" / Ruby the Hatchet - "Ouroboros"

Bluesy riffs and heavy, psychedelic jams accompanied by smoking hot vocals kick off today's supernova fission explosion from Philadelphia's Ruby the Hatchet, a new band with an experienced sound, a sound that is huge and fuzzy, energetic and heartfelt, unrelenting and joyful. They are incredible and pleasurable and a sheer delight for the most discerning of fans of heavy, bluesy, stoner music. On their heels comes the southern fried sounds of The Great Khan, a solo effort from Gregg Buzzer of Buzzer fame, a band and an artist that have perfected their southern rock sound from the distant shores of Tel Aviv, Israel . . . yes, Israel, something you would never know by exclusively listening to their music alone. The Great Khan has assembled a collection of songs that are sure to satisfy that deep fried, extra sweet, scorching summer sun desire that all fans of the sounds of the south eternally pursue.

RUBY THE HATCHET - "Ouroboros"

Hailing from Philadelphia come Jillian Taylor (vocals), Johnny Scarperia (guitar), Owen Stewart (percussion, vocals), and Mike Parise (bass), comprising the new band Ruby the Hatchet and offering up their first full length album, "Ouroboros", a collection of nine bluesy, psychedelic songs that are heavy and low and jam packed with wonderful, fuzzy, down tuned riffs, catchy melodies, red hot solos, and hooks aplenty, all topped off with ardent, soulful vocals, powerful in delivery, and haunting in spirit. 

The tone is set right away on the opening track, "Taking Sides", where the opening riff leaves a trail of fuzz and delight in its wake and on its fast tempo way toward a catchy, guitar laden foray into a bluesy landscape.

One of my favorite songs on the album is track #3, "Can't Get Him Away". It starts out without too great a sense of urgency, the focal point being Jillian's powerful, forceful vocals as much as anything. Nearly halfway in the urgency kicks in, however, as Owen joins Jillian in a vocal sparring session that combines with guitar work that has suddenly found the boogie and is jamming with intensity and intent. This song is incredibly enjoyable as it hooks and jabs, bobs and weaves, ducks and slides its way through massive riffs, powerful vocals, and a frenetic tempo.

Ruby the Hatchet show off a bit of writing dexterity with both "Holy Father" and "Nowhere", supremely soulful tunes that are haunting and beautiful, both showcasing some beautiful guitar and drum combo work overwrought with muted, ethereal vocals that cut straight through to your inner core with their powerful, fervent sound.

The closer, "Good God Damn" is a rollicking good time, chock full of huge, fuzzy guitars, harmonic, sere vocals, melody of note and delight, a psychedelic trip of wonder and rapture that carries you along on soulful, hooky, sweet riffs of sheer glee.

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THE GREAT KHAN - "The Great Khan"

The sound has a southern feel to it, but the origin is the Middle East. Greg Buzzer hails from Tel Aviv, Israel and has been the driving force behind Buzzer since 2004, but this time ventures out on his own, delivering a classic set of stoner rock goodness - 7 wonderfully rendered gems that are chock full of monster riffs and blazing solos topped off with Greg's macho, raspy vocals. This album is aptly named for the great Kha Khan as it resembles an armed campaign that rolls across the land in a thundering, unending roar of sound and vibration, power and portent, destroying all before it, leaving nothing in its wake save quivering masses of demolished victims. There is nothing in history quite like The Great Khan, which in this case is a wonderful thing.

As with all gifted artists and musicians, Greg displays an adept ability for composition, creating songs that upon first listen are hard rock in nature, southern in flavor, but closer inspection reveals songs that are balanced perfectly within the overall melody, allowing hooks and riffs to develop and deliver, and creating room for all instrumental participants to showcase and shape each song with their own exceptional sound.

The opening song, "Eye For an Eye" sets the tone with a blitzkrieg assault that is equal parts raw power and timely execution. The solos are perfectly placed and beautifully rendered while the riffs are mouthwateringly spaced throughout, complementary when solos are blazing or when vocals are on point, or leading when hooks are instead established.

"Papa Was an Alligator" is obvious in its intent to deliver southern fun where life is unique and often provides one of a kind experiences, just as does this song commemorating a slice of southern life, unique in flavor, full and rich in experience, and incredibly gifted in ability.

"No. 4" has a wonderful tempo, clipping along at a near perfect pace, somehow tapping into the tribal rhythm deeply embedded into our dna, stirring the ghosts of indigenous dances centuries cold, but somehow now brought to life, blazing and hot in all its perfection and sheer pleasure. If radios played rock songs in their agendas, this one, in my opinion, would make for one of the more anticipated tracks in daily rotation.

"Lay Me Down" delivers a slowed down tempo, which allows for the power of guitar and vocals to kick up a notch. The song is powerful and unyielding in delivery, forcefully moving forward in near perfect tempo.

"Dia De Los Muertos" has a bull fighting flavor to it with herald trumpets interspersed throughout, accentuating the tale of woe and loss that The Great Khan relates in its typical methodical and powerful unfolding of riff and solo. The solos in this song are also accentuated with trumpetwork that is at once unique and well suited.

Overall, this is a powerful and pleasurable journey of unique, artistic, and enjoyable metal music showcasing an exceptional delivery of instrumentation and vocal stylings that present the listener with a radical, memorable, metal experience.

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Nuclear Dog's Atomic Split: Stallone - "American Baby" / Lecherous Gaze - "On the Skids"

The name of the game today, followers of the doom, is pure, sweet rock. Nothing fancy, nothing way off center, no adjustments needed because you have prepared your whole life for listening to this type of music, where the guitar is king, the drums are worthy, and the bass is the badass enforcer of sonic onslaught. Just be sure to limber up those cervical muscles in preparation for swinging that head, something that always comes when the rawk is being righteously rolled and the rawk is pure rock, and is something beyond excellent, beyond great, something that is simply goooooood goddamned rock.

STALLONE - "American Baby"

When the lead guitarist for the awesome groups MonstrO and Torche, Juan Montoya, began playing for fun with work friend and gifted drummer Evan Diprima at a friend's house in 2009 an instant vortex of creativity and energy was unleashed onto the rock world. After recording a few songs together they realized the music was something worthwhile and needed to take that next step toward putting it all out there for the world. Montoya recruited Thomas Gonzalez on second guitar and C.J. Ridings on bass and before too long they were Stallone and had recorded "American Baby", a six song compilation of pure, unadulterated, unfiltered, and riff laden rock and roll.

What is extremely cool about Stallone and "American Baby" is the lack of vocals as a fifth instrument, placing the music out there front and center and inviting the listener to climb aboard without benefit of vocalization. Songs like that have to have the energy and substance to sate the musical cravings of the listener on each iteration without presenting any gaping holes over which to glide. There can't be the repetitive sameness that would quickly breed disinterest without the masking vocalizations of a lyrical entity. Montoya and company pull that feat off with vigor, skill, and aplomb.

The guitars are thick and fuzzy, down tuned just enough to be lush and toothsome while the rhythm section displays a potent attack of bass and drums. All six songs bring pure rock pleasure in their nimble yet simple affectations. From the opening tune, "And Begin", where down tuned stoner guitars are demonstrated during the songs's introduction and blaze a distorted trail throughout, to the funky, stylish, yet fuzzy "Beyond" where the solos sear a hole into one aural canal and out the other, and finishing up with "Ancient Infant" an apt epithet for a song fresh and full of both inventiveness and old school guitar riffage that scorches and burns like old school rock, like it was meant to be played, like you want to hear it every time you get the chance to listen.





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LECHEROUS GAZE - "On the Skids"

Out of Oakland, California come a band, Lecherous Gaze, that has many intriguing and compelling aspects, not the least of which is their ability to flat out unleash the rock. Borrowing from the bio on last.fm : 

"Annihilation Time had a heart attack. We gave it a baboon heart. It became Lecherous Gaze. Asshole Rock. Come Hungry."

Those few sentences give incredible insight into this foursome of friends that were born to play hard, heavy, old school rock and roll, born to be in a rock band that conforms to nothing at all other than what they define as great rock and what sounds to them like great music. You just gotta love it.

Band members are Noel Sullivan, Chris Grande, Zarian Zaidi, and Graham Clise.

"Into the Skids" isn't due out until early October, but below are some links that will let you know just exactly how incredible this foursome lay down the licks. Their music is old school, new school, future school, only school, combining intelligent melodies, let-loose execution, once-in-a-generation guitar work that will assault you at the same time it cajoles you to delve deeper to discover hidden riff treasures so precious they could devalue the gold and platinum standards by the time you finish playing all eleven tracks on this album.

Each song on the album is pure pleasure, providing a significant collection of rock tunes flush with fever that'll boil you senseless as it fries your brain to a crisp. "Frustrated" is big and voluminous in sound, with a beautiful tempo that strikes directly to your primal core before surrendering to a white hot solo radiating with brilliance. "War Woman" is a supernova riff engine that delivers pure enjoyment with its plasma beam solos that rip you a new one while leaving the edges cauterized and clean of unnecessary clotting and seepage. "The Grasp" displays the same tremendous dexterity and pureness of sound as its brethren while offering a slight variation on the melodic song structure that has been to this point the central theme throughout the myriad hard and heavy offerings, this time providing a slight change that simply adds to the majesty of the collection. Perhaps the ass kickingest song on the album is "Bagagozo", which is a ripsaw blade glowing blood red as it slices its way through a thick, meaty, fuzzy melody overlaid with searing, scorching solos of magnificent delivery.

This foursome have fun with their music, and relish in their ability to deliver rock that is fine and pure, comparable to any of the best ever made in any era and in any place.

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CANDLEMASS Mastermind LEIF EDLING To Release Solo Album Next Month

"Songs of Torment - Songs of Joy", the first solo album from CANDLEMASS and KRUX mastermind Leif Edling, is scheduled for release on March 10 via Candlelight Records.

Edling has always been unique in his songwriting, and "Songs of Torment - Songs of Joy" is, of course, no exception. The CD consists of eight monumental tracks, something Leif Edling calls minimalistic organ doom. It's slow and beautiful, but also black and epic like the album opener The Scar", and the colossal "It Is Not There". "Nautilus" is inspired by the Jules Verne classic "20,000 Leagues Under The Sea". And "On The Edge Of Time" is a poetic reflection over some old but fantastic HAWKWIND album cover art.

"Songs of Torment - Songs of Joy" was created in periods during the last year. Edling has nursed his moments of inspiration, which has lead to recording sessions in several different studios. Leif's vocals were laid down in mixer Stefan Fandén's bedroom, keyboard among colourful exotic fish in KRUX keyboardist Carl Westholm's studio, and bass and drums (by TIAMAT's Lars Sköld) in a more traditional studio environment. The guitars on the CD were tracked by Björn Eriksson and Chris Laney.

"You don't need an expensive studio to make cool music. Some friends and a creative perspective is enough," says Leif.

"Songs of Torment - Songs of Joy" track listing:

01. The Scar (05:55)
02. It Is Not There (04:26)
03. Angelic 'Til I Die (04:54)
04. On the Edge of Time (06:17)
05. Butterfly (00:57)
06. My Black Birthday (05:39)
07. Space Killer (05:40)
08. Nautilus (09:33)

Check out audio samples at www.myspace.com/leifedling.

Details on Wino Solo Album Revealed

It`s if our prayers have been answered! Finally, fans of underground cult guitar hero Scott "Wino" Weinrich can rejoice because Winos` first solo album is upon us! Over the last 25 years Wino has defined heavy music and is truly the Godfather of the movement. Starting with The Obsessed, and Saint Vitus, and onto his mind-blowing power trios: Spirit Caravan and The Hidden Hand his virtuosity on six strings is matched perfectly with his soulful vocals and powerful lyrics. But as us Wino freaks know he has always graciously shared the spotlight with his band members. Even though it was Wino we came to see and hear he seemed to understand the power of the chemistry of the bands he was leading. His selflessness seems unnecessary considering his talents but it was his decision to equally share the glory.

After the demise of his last group, The Hidden Hand, Wino did not rest. With new found energy he completed the writing of many new songs and decided to enlist the help of some friends to help realize his new musical vision. The idea was not to start a new power trio with a new name as before. This time it was about finding players who would help realize his songs the way he wanted them. This more "Wino"- focused direction was fleshed out with the help of two amazing musicians: Jean Paul Gaster (Clutch, The Bakerton Group) on drums and Jon Blank (Rezin) on bass. Punctuated Equilibrium was recorded by J. Robbins who has worked extensively with both the Hidden Hand and Clutch in the past.


The album comes with amazing original artwork by David D` Andrea and contains extensive liner notes from Wino himself that explicitly describe the origin and concept of each track. Here is an excerpt that I feel perfectly explains this album.


"This is the culmination of a very old dream, one that has come true in many different ways. One of the main things I have learned is how I understand "success". To me, it`s not all riches and glory so much as the impact on others lives. My main philosophy that guides me is that I was given a gift, a Musical gift which I use to bring happiness to others. It is also important not to overlook your own needs, but putting yourself in the other person`s shoes is to me most important! Punctuated Equilibrium is how my personality has been described, as told in the lyrics.


Punctuated Equilibrium tracklisting:


CD Version
Release Me
Punctuated Equilibrium
The Woman In The Orange Pants
Smilin Road
Eyes of The Flesh
Wild Blue Yonder
Secret Realm Devotion
Water Crane
Gods, Frauds, Neo-Cons and Demagogues
Silver Lining


LP Version
Side A
Release Me
Punctuated Equilibrium
The Woman In The Orange Pants
Smilin Road
Eyes of The Flesh


Side B
Wild Blue Yonder
Secret Realm Devotion
Water Crane
Gods, Frauds, Neo-Cons and Demagogues
Silver Lining


Bonus 10"
Side A
Chest Fever
Der Gift (The Poison)


Side B
On The (Sacrificial) Lam
The Comet And The Moon



This extremely anticipated release from one of the undeniable gods of doom and stoner rock becomes available to the public on January 20, 2009.