Heavy Planet Stoner Rock Blog

In Case You Missed It: Silver Devil - Self-Titled

2013-05-24T04:20:00.000-04:00

Two years ago I named Äppelträdet by Sweden’s Skraeckoedlan as my top album of 2011. It goes without saying that I became a huge fan of the band after hearing that record, so when I read last month that they’d be taking their fellow Swedes, Silver Devil out on tour with them, it was a no brainer for me to check out this opening act for myself. Of course, given that the Atlantic Ocean presents a bit of an obstacle in terms of me actually attending this tour in person, I did the next best thing and went in search of Silver Devil on the interwebs. To my surprise I discovered that we had already featured these guys as a "New Band To Burn One To" way back in February 2010, but then somehow overlooked their beast of a debut album, which was released a year later in May 2011. Given that I couldn’t exactly just show up early to see Silver Devil as they opened for Skraeckoedlan, I figured I could at least spread the word and shed some light on their phenomenal, yet unsung debut record to all of you good people. So in case you missed it like I did, I’d like to introduce you to Silver Devil.

Now the first thing you’ll notice is the dual guitar attack of Jonas Hamqvist and Otto Molin as the two combine punishing riffs with melodic hooks and solos that add more depth to these songs than you’re likely to hear from your typical stoner rock band. And that’s a common thread throughout the album; making this debut as memorable as it is heavy by ensuring that each song finds a place to bury itself inside your head. “Cactus Kicker” (best song title ever) is a perfect example of this, with its rumbling riffs accompanied by slick fretwork that slices right through the wall of fuzz. Throw in the ultra-chill, slacker style vocals of Anders Löfstrand, the low end rumble from bassist Erik Bergkvist and the thunderous beats and consistent crash from drummer Marcus Ström and you’ve got yourself the musical equivalent of a V8 saddled hot rod burning down the highway. The entire album is a highlight, but if you dig recommendations, take “7.8” for a spin and then check out “In Space.” Man, you couldn't find more fuzz if you shoved your head up the ass of a stuffed bear named Fu Manchu. But just as a reminder, this one’s already two years old, so don’t waste any more time. Put the top down, roll up your sleeves and take a ride with Silver Devil…this shit is cherry.

(((Facebook|Bandcamp|Big Cartel|Website)))

Silver Devil by Silver Devil

LP Review - Monachus "Below"

2013-05-23T04:30:00.000-04:00

"MONACHUS. capturing an organic timbre that invokes images of these swedes toiling over beloved instruments... Deep down... BELOW."

Formally of Icos, the 3 Swedes that make up Monachus have been true stalwarts of the Euro Doom scene since 2001. Every release by these guys, either as Icos or as Monachus has been some of the best Sludge and Doom with roots firmly laid in Hardcore and Crust, that I have heard yet. Coming from the same Doom-Crust directions as Neurosis, Amenra and Fall of Efrafa, their Sludge is of a melancholy type played with honor and from passionate hearts and with their latest, "Below" released back in March on Alerta Antifascista Records, Monachus have outdone themselves.

Slothenly dirge-drenched riffs, introspective twangs and droning atmospherics, interspersed with ultra-bluesy word delivery and earth shattering drum work, as can be heard in track 2, "Curse", typify Monachus' sound. Make no mistake, Monachus are heavy but they do not fall into the trap of playing heavy for heavy's sake and leaving out excellent song writing. The albums closer, "Onward" shows this in a blazing glory of encouraging voices that had me imagining all my buddies stood behind me shouting "Onward! Forward my friend!" while I walked away well armed to battle my demons. There are samples of what I think is John Hurt from the film version of V for Vendetta, which are placed well in the track and avoid any easy distractions, making it my favorite on the album but not only for that reason. The opener that is "Waves" carries a spurring tone with tumbling pounding riffs and a haunted chant to shouted incantations leading to upraising Post-metal style echoed licks. Towering repetitive riffs return building upon what came before as the Monachus ship sails proudly and defiantly towards a doomed Sun until their vessel is tossed into a huge swell of Neurosis-like noise-out only for the Monachus ship to burst forth into a triumph of melody that drives the track to its ending in minimal ambiance. In track 3 "Circles" begins an atmospheric drone that carries the track into a maudlin and quiet tone that drifts around the head and setting you up for the onslaught of driving heavy sludge that eventually collapses on you, bringing you out of your mind wandering like a brick to the head when sleeping. Arm raising and airy calls are brought in to lift you out of the sludge only for you to be dropped back in again to have your head pounded by galaxy sized riffs. The track shift-shapes into melancholy meanderings until a heavy thrust of sludge surges forward in triumphant celebration and thus ends yet another mighty fine album from Monachus.

"Below" is available now from Alert Anitfascista Records and from their Bandcamp.

BANDCAMP // FACEBOOK

Onward by Monachus

Zac's "Double Dose": KATLA / New Keepers of the Water Towers

2013-05-22T04:20:00.000-04:00

KATLA: "I Will Hunt You / Foaming Waters"

Surprise, surprise, surprise... More excellent tunes from Sweden. Here at the 'Dose this Wednesday we have a shot from Sweden, Stockholm centered and swelling with dark psych, acid blues, and a touch of folk inspiration. This is KATLA, a quartet layered with distortion, fuzz, loads of melody, and topped off with a gorgeous set of female vocals. The group describe their sound as, "...like having your brain smashed out by a slice of lemon wrapped round a large gold brick". Although I do agree with the gold and the lemon, I do not get the "smashed out" sensation after jammin' to their latest 7" release entitled I Will Hunt You / Foaming Waters. Here KATLA's attack is covert and clandestine. This isn't your smash and grab, get pummeled style of rock. Within moments of spinning side one,the I Will Hunt You single side, your ears are quickly aware of this dragon's cunning intellect. KATLA aren't here to overpower you and take you against your will, (no smashing necessary) they are here with a sonic lure that will have you freely walking into their lair. This attraction, through seduction, begins with a beautifully toned blues guitar measure. There is a slight surf rock vibe coming from the electric guitar once the enticement has initiated and before you know it you've been struck powerless in the sonic field reverberating from the vocals. Flip the 7" to the opposite side and you will immediately notice more of that appealing guitar tone. This mated to the perfect lo-fi, analog style production bring an authenticity to KATLA's sound. Here we are now fully immersed in Foaming Waters, and that rich guitar tone is really what drive KATLA's fruit deep into my conscious. The track is elevated in grandeur as the dark and reminiscent strings of a violin enter the room and graze your mind. This classy and tasteful addition to Foaming Waters soon disappears as that tonal guitar steps to the fore-front with what is quickly becoming my favorite guitar solo of 2013. The violin appears again only this time joining the guitar for a rich, indulgent outro. Awaking now in silence you are fully aware that KATLA have vanished leaving you with little but a memory, just enough to hold onto until you meet again. So, in the end we return to KATLA's own description... the sound is gold, priceless and the lemon (fruit) we can only hope will multiply in the form of a full-length album in the near future. Get your copy from Who can you trust? Records... NOW!

Members:

John

Lisa

Nils

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New Keepers of the Water Towers: Cosmic Child

New Keepers of the Water Towers aren't new to the 'Planet. I reviewed their sophomore release The Calydonian Hunt back in the summer of 2011. There we found a young band, full of aggression and spewing some heavy stoner-focused sludge metal. With this latest release, entitled Cosmic Child, New Keepers... have dropped the sludge moniker almost entirely, all while opening the gate-way for their music to drift into a psychedelic and much more progressive spectrum. It is truly magnificent to see a group of musicians grow so much over the course of a few years. Here Cosmic Child has taken what was good song writing and arrangements within the confines of The Calydonian Hunt and transformed those basic characteristics into genuine brilliance through more concentrated song writing and a spacey atmosphere.

Cosmic Child begins with opening song, and the albums first single, The Great Leveller. This opener acclimates previous listeners gradually into the Keepers... new sound. All you first time listeners out there, just enjoy the ride. The Great Leveller sounds most like its predecessor through the thunderous and tribal stomp of the percussion and the shear mass of the rhythm section. The chanting styled vocalization brings an eerie sensation upon you while the guitars taunt you to come just a step closer. The Great Leveller disperses abruptly through a swirling flush and is soon all but a memory. Here the music doesn't only transform, it is revolutionized with the entrance of track two, Visions of Death. Greeting our ears is a much softer and lighter side of Keepers... The band chose to deceive us through the inviting sound of an acoustic, or possibly even classical, guitar. This very European inspired, medieval folk touch erodes away with the build of a dominant electric ether. That heavy RIFFING clashes with the cleanly sung lyrics creating a beautiful emission, something that reminds me of Alcest, although by a completely different musical path. With the close of Visions of Death we find ourselves evolving with the band once again. Now, in a very melancholy and retrospective state the Keepers... carry us through the dark by careful acoustic plucking and some murky notes played on a piano. Welcome to Pyre for the Red Sage. Full of some of the most textured Pink Floyd style soundscapes Pyre for the Red Sage further unfolds by the wailing of a pained guitar. The final twenty minutes will transport you higher into Cosmic Child's astral plane and leave us return listeners bewildered at the fact that this was the same band that crushed us with the weight of The Calydonian Hunt. Be sure to check out the full album stream of Cosmic Child over of at Metal Hammer and if you dig it a CD copy can be ordered from Listenable Records.

Members:

Adam Forsgren - Live Synthesizers

Björn Andersson - Bass // Vocals

Rasmus Booberg - Vocals // Guitar // Moog

Tor Sjödén - Drums

Victor Berg - Guitar

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New Band To Burn One To: Cromlech

2013-05-21T04:20:00.000-04:00

HEAVY PLANET PRESENTS...CROMLECH

BAND BIO:

Slow, loud music from Middlesbrough UK. For fans of large structures.

Members:

James Morrison - Bass/Vocals
Ben Goodwill - Guitar
Gordon Archer - Drums

Demo #1 by Cromlech

THOUGHTS:

Cromlech, from the UK, come with a 2 track demo of stripped down and low down doom metal. Like a massive be-denimed and leathered sloth, dragging it's knuckles and swollen belly and shaking the ground as it hulks onward, the 2 tracks on here lurch with huge gritty riffs, devastating drum avalanches and Jus Oborn style guitar + wha freakouts. There is an effective melancholy edge to their sound which reminds me of "We Live" era Electric Wizard but Cromlech manage to forge their very own heavy homunculus which keeps their take on Doom Metal monolithic, saturnine and bewitching all at once.

Their demo EP was released as a free download at their bandcamp earlier this month so head over there and pick up some satisfyingly heavy Doom Metal for free. I'll be keeping an eye on Cromlech for future releases as I'm sure they have plenty more riffs to unleash upon the world of doom.

BANDCAMP // FACEBOOK

New Band To Burn One To: FUZZLY

2013-05-20T04:20:00.000-04:00

HEAVY PLANET presents...FUZZLY!

BAND BIO:

"Banda de Rock'n'roll formada em agosto de 2001 na cidade de Cuiabá - MT Brasil"

Biografia em Inglês, amigo:

"Rock'n'roll band formed in August 2001 in the city of Cuiaba - MT Brazil"

Members:

Dark Jordão - Guitar // Vocals

Rafael Arruda - Drums

Michael Ojeda - Bass

<a href="http://fuzzly.bandcamp.com/album/void">Void by Fuzzly</a>

THOUGHTS:

How about a quick drag? Today's New Band To Burn One To is a three minute blaze entitled Void from Cuiaba, Brazil based trio Fuzzly. If the name isn't enough of a hint, listeners can expect a head full of fuzz within seconds of that first breath of Void. The band have been creating some excellent stoner and desert rock for some twelve years now and the static emission from this single shows no signs of Fuzzly lettin' up. Interested in another hit? The band lay it on thick with a lot of distorted bass and percussion taking up a hefty share of the mix, burying the vocals in the Void. Check it out over at bandcamp, along with a plethora of other studio and live recordings. Check 'em out now!

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Sunday Sludge: Sioux

2013-05-19T04:20:00.000-04:00

Growing up, I'd cringe when my mother would say "Seth, you look so much like your grandfather." Maybe I wondered how it made my dad feel. Or maybe I couldn't appreciate the genetic link between myself and an abusive drunk who abandoned thirteen kids in favor of pissing away the family business at local bars. On a slightly different but slightly similar note, I don't like saying bands sound like other bands. Many do. Most do, in fact. But I try to reach for what sets them apart from either their influences or their contemporaries.

We're products of our environment, which doesn't help explain how Portland's Sioux squeezes snugly between bands from more than 2,000 miles away. Where many acts rehash ideas or steal riffs from their predecessors, Sioux manage to spread their swampy toes and sink into the mire with a sticky nod that would make John Baizley proud. You'll detect whispers of Georgia (or Voices of Omens), but you won't be distracted. On their four-track self-titled EP, Sioux showcase their musicianship and jump in with both feet, doing more to expand on metal's finest niche rather than put a cap on it.

From the onset of Bezoar, of course, the rhythms are thick and the guitars are jagged screeches dodging between Bald Cypress moss factories. Churning and scorching, intermittent with buzz and wail, the sound moves on all fours, never willing to fully pull away from the soggy filth. Kirk Evans growls with the seasoned dissonance toward cheerful tones and buries himself between low-slung bass plucks. All the while, guitars bake in the heat, never escaping the light slivered among the timber.

Countering with a slow-motion plod is Rheap, where you can leave the bog but the bog can't leave you. Ryan McPhaill's drums are just plain fucking nasty here, despite pacing a rhythm that finds a shamed melodic cadence. Dusty plucks and layered vocals hardly keep the grind from poking back. You'll start to notice the awesome electricity dancing off the strings as Sioux trail into skyshots toward fading constellations. Is night falling or are they just happy to see us?

Following suit, Aegeless bounces with fuzz coating, swinging a rusty stoner pendulum via the steadiest of churns. Matt Pike must've snuck up from behind and bitten these dudes, but the poison is more inoculative than toxic. Oh, the soft rain breaking the furry storm of mud and shit is a perfect reprieve, brief as it is. These dudes work perfectly together (two-thirds of them played in Salvador, bro!) on every thump and every skullsplit as the track unravels and expectations are tossed at concrete walls.

Sioux find a gentler, cleaner moment on In Tongues. Wait, nevermind. Somber tones give in to a flurry of drums and the rhythm knocks you on your sweaty ass. Evans' vocal here steps into a distant fog, demonstrating a range we hadn't previously heard. When Juan Carlos Caceres spits fire and the track shakes its head, the ritualistic deception is unmasked, crafting a delicious and captivating sound. The plateaus of sullen musings, with no foothold to stop the sinking, set apart this closer. Whew.

What traps many bands is derivation, being so enmeshed in the sounds crafted by fore-bearers that it's inescapable. Sioux shed a new skin and crash a party that's unforgiving and relentless. Add to this the accomplished musicianship soaking these sounds and you've got a prescription of promise. While boxing ears and shredding speakers isn't enough these days, it's also annoying to find bands attempting something they don't understand. Luckily, Sioux know a thing or two about crafting heavy stumps of sticky sludge with a straightforward, varied approach. Trust me, you'll dig it.

S/T by SIOUX

Ascension by SIOUX

Bandcamp | Facebook | Eolian Empire

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

2013-05-18T03:50:00.000-04:00

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

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

The members are:

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

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

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

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

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

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

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

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

High Class Clown by Mojave Desert Rebels

facebook || myspace || twitter || bandcamp || soundcloud || reverbnation

New Band To Burn One To: MOTHER ENGINE

2013-05-17T04:20:00.000-04:00

HEAVY PLANET presents...MOTHER ENGINE!

BAND BIO:

Napoleon Dynamite - The Sound of The Engine

Cory Nelious - The Rhythm of The Engine

Wyatt Wrestle - The Power of The Engine

Katrin Lehmann - The Sex of the Engine

<a href="http://motherenginerock.bandcamp.com/album/muttermaschine">Muttermaschine by Mother Engine</a> THOUGHTS:
"One thing about instrumental bands is that they can be either really boring or simply amazing. I began listening to Plauen, Germany 4-piece Mother Engine while I was doing some pre-vacation activities and it caught my attention enough to make it today's NBTBOT. When you think instrumental Stoner Rock the obvious comes to mind, Karma To Burn. Well this band sounds nothing like that. There is a trippy far-out vibe to this music that flows throughout the album without feeling forced. While there are your standard stoner rock riffing and groove, you are also rewarded with a mind-altering and climactic journey complimented by a suave and fantastic funkiness. This is chill-out music to the max, music that touches your soul, and an album that makes you get lost in the music. Interesting and complex rhythms are added to this album to keep you guessing where it will take you next. Check out the epic album closer "Weltraumwolf", it slays!!
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LP Review - "Scaled" by Talbot

2013-05-16T04:20:00.000-04:00

The heaviest duo on planet earth known as Talbot, come with their second full length release in the form of "Scaled" consisting of 7 mighty slabs of Sludge with thick lashings of Doom, Death, Stoner, psychedelia and post-metal.

Estonian's Magnus Andre on bass guitar, synths, vocals and Jarmo Nuutre on drums & vocals, Talbot are a very focused and hardworking couple of heavyman having toured consistently throughout Europe and worldwide since their first full length "EOS" and in that time have built a solid and dedicated following. They can count me as one of them as when I first picked up "EOS" I had it on near repeat for a week or so and it has now taken pride of place on my regular playlist ever since.

With "Scaled" Talbot have taken their already huge sound and have risen it to new far away dimensions of brilliance! What's on offer here are 7 tracks of deliciously psychedelic doomy sludge jammed out like they're Om's evil twin. From the outset of "Spectral Express" we are treated to captivatingly filthy riffs complimented by bashed out drums of perfection, soaring and uplifting vocals against death metal grunts and phlegmy growls and twisted electronic psychedelia that mangles Talbot's sound into a stunning sonic art work of brightly colored soundscapes.

The foundations are firmly laid by this track and by the end of the opener things are nicely settled setting you up for the following 6 tracks that continue in the same vein but explore the infinite levels of sludge metal with a craftsmanship that can only come from many long hours of constant bashing away at instruments.

Jaw dropping moments for me are "ShadowBird", a 12 minute journey through windy psychedelia, intuitive nodding riffs and tumbling percussion that builds to dirgy down-beat Death Metal sections until the track then lifts up to the spirit raising heights of Post-metal lusciousness and "Hallelucinogen", the albums closer is almost psychedelic Death Metal that lurches towards solemn church organs and shows Talbot at their most experimental.

Indeed "Scaled" is an experimental album which explores the myriad levels of Doom and Sludge without leaving behind most excellent bass riffs and precision drumming. The meat and potatoes are forever at the forefront whilst the heavy effects and psychedelic explorations are deftly inserted into the mix of Doom, Death, Sludge and Post-metal to leave Talbot as one of the most interesting bands currently of those genres.

BANDCAMP // FACEBOOK

Zac's "Double Dose": Cavern / Vintage Cucumber

2013-05-15T04:20:00.000-04:00

Cavern: Cavern S/T

Can you recall the sound of authenticity? For example, the first time you listened to a cassette recording of an early thrash metal band. That raw, very real life sensation that overcame you? Or, for those more contemporary listeners, the initial feeling induced by the grimey sludge growing in Georgia in the early 2000's. That strange progressive combination of swampy grooves and violent thrashing? Well, if you can't then today is going to be a good day for you, because you get another chance to relive that rare moment. This is were we find the beauty of music and its ever evolving, progressing nature which the sonic being cycles, and finally what keeps us coming back for more. What we have here is a Maryland based trio that have hybridized punk, sludge and thrash metal. The band call themselves Cavern and have released their self-titled debut record on February 26th, via Grimoire Records. The opening thunder of the bass and drums on Far Beyond Fields and Evergreens will leave your senses unprepared from the RIFF lashing you are about to endure. Yes, Cavern's RIFFING here is just plain vulgar. If this doesn't remind you of that 1980's thrash vitality, you may very well be hopeless. But then, if you're hopeless this may be the record for you. Now that Cavern has dragged you through their coarse and gritty dirt and your skin is a little tougher, you are weathered and prepared for the storm, and believe me these tracks truly storm the senses. The record is full of relentless RIFFING, a mix of witty percussion and ravaging drum lines, and a three-fold vocal attack. The vocal approach of Cavern is a characteristic worth praising. By employing all three voices, either at the same time or separate times, the songs have an energized and original sound. I really enjoy the muted and buried sound of the vocals in the production, as if the voice is shouting for life through the walls of a sealed room a few doors down. There's a lot to experience here on Cavern's self-titled debut. So, don't be surprised if this one stands the test of time and rears its ugly head come the closing of 2013.

Far Beyond Fields and Evergreens by Cavern

**CDs are available for a limited time at Grimoire Records bandcamp page.**

Members:

Nick - Bass // Vocals

Steve - Drums // Vocals

Zach - Guitar // Vocals

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Vintage Cucumber: Jup's Chillout Lounge Style

Guten Morgen... or Good Morning. I think it's time to change the pace here at the Double Dose. So, lets cut the head banging, stretch out and forget we have limbs. This second shot is a sole-devised sonic experiment full of fuzzy and warm psychedelia sure enough to leave you levitating. Our maestro and master of ceremonies is Johannes Schulz, the lone mind that conveys the Vintage Cucumber cosmic orchestra. This one man extravaganza has released a handful of albums within the past year, but today we are going to focus on one particular release entitled Jup's Chillout Lounge Style. So remember, this half of the 'Dose is for quiet and peaceful reflection. Let's lose track of time. Jup's... begins with a with a repetitive female spoken line wishing us all a Good Morning in German. The track flows into an elegantly strummed Eastern sounding instrumental, similar to a sitar, while a crash of a gong is buried deep in the back of the mix. This sounds as though it would cause chaos, but in actuality the depth that the sound is buried makes for a comforting heart-beat. If you're looking for a good way to zone out, Guten Morgen is the ideal way to start. The albums sways in and out of a this shoegaze style of drone and psychedelia for approximately fifty minutes. Here and there you will find snippets of vocal passages or laughter, but for the most part Vintage Cucumber's music will obscure you in a warm haze. Sound like a trip you're interested in taking? Great! Just head over to the Vintage Cucumber bandcamp page for Jup's Chillout Lounge Style along with a plethora of other releases.

Glück des Tüchtigen by Vintage Cucumber

Members:

Johannes Schulz - Guitar // Bass // Drums // Synth // Fiddle // Effects

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New Band To Burn One To: PAISSANO

2013-05-14T04:20:00.000-04:00

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.

Paissano by Paissano

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))

New Band To Burn One To: Buddha Sentenza

2013-05-13T04:20:00.000-04:00

Band Bio:

After a seemingly random sonic collision over the city of Heidelberg in late 2008, the constellation of *Buddha Sentenza* began to form during the darkest hours of that cold and silent winter. Deep under the earth, in the hidden bowels of the Klonlabor tunnel complex, the searing strings and pounding drums condensed rapidly to form a nebulous cloud of loosely jammed, spaced-out, rocking riffs. Rotating freely around some of the most ancient soundscapes - from the astral end of the Pink Floyd to the depths of galaxies such as Black Sabbath - Buddha Sentenza has continued to expand, drawing energy from contemporary constellations as well. Thus, its elements follow the trail of early rock psychonauts and modern riffrockers alike, fusing droning riffs, screaming solos and cosmic harmonies into an instrumental sound experience that defies any strict genre boundaries. The result is a texture that combines the raw massiveness of rock with the infinite possibilities of outer space.

South Western Lower Valley Rock by Buddha Sentenza

THOUGHTS:

"Heidelberg, Germany’s Buddha Sentenza: “South Western Lower Valley Rock” is a hard hitting rollercoaster of riffs and heavy experimentation. The instrumental quintet sounds like a mesh of Black Sabbath and The Soft Machine’s post-Robert Wyatt albums. Using everything from spoken word samples to vintage synth movements over a sludgy rhythm section, the band explores new ground, some of it feeling like a vividly designed horror movie soundtrack. It’s all well composed and performed to perfection. They have a great vintage sound and a masterful way with dynamics. The ambient portions are mind-blowing and when they go full out 70’s prog (e.g. “Monkey stealing the peaches”, "Tzameti"), they sound like The Mahavishnu Orchestra on steroids. Well done, some ambitiously impressive music happening here."

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Sunday Sludge: :TWiNGiANT: - "Sin Nombre"

2013-05-12T04:20:00.000-04:00

Here we go again. Another Sunday nod to the southwest and another dick-sucking diatribe. Huddled in my Midwest den of splintered wood paneling and light-years away from a scene where anything interesting happens, it's no wonder I fantasize about palm trees, sweet tea & gravy, or the Rocky Mountains. But there's something cosmic and transcendentally jaw-dropping about the sounds lately expelling from Arizona. I won't pretend this is the last you'll hear about it.

Smack in the thick of things is Phoenix's :TWiNGiANT:, a band formidably cementing their capacity as the rotting apple of Heavy Planet's lazy eye. Their 2012 effort, Mass Driver, found itself on countless year-end best-of lists, dropping relentless stoner-sludge clout and countering the mire with space-driven passages fit for a junkie cosmonaut. On Sin Nombre, :TWiNGiANT: refasten the sticky sweetness and bounce between mossy planets with cocksure dynamics and perfectly-timed shifts. Contrasting what's under our feet with what's over our heads is merely kicking at loose stones; this five-track shifter is what Mom really wants.

Rolling out with steady chug and churn, Pelisneros submits to cool stoner-fuzz riffs, spit atop a bouncy wave of bass before funneling into righteous, matted sludge. Jarrod marches in like he owns the fuckin' place while smooth plucks counter the murky collisions. But good luck not getting snagged on Richard Kuklinski's somber reflections. The Iceman's primitive perspective amplifies the track's simmering closing passage, a provocative haze perfectly punctuated by Jeff's bony thumps.

The balance of stone-cruisers and sludge descent is :TWiNGiANT:'s bread and duck-butter, but Fossilized's cool roll, dense with cymbals and mosquitoes, shifts into unconventional structures. Choppy and jarring, this fuzz-puddle heads the transmission with abandon. Warble sews up the very wounds it inflicted, all the while that sludge finds its way under your door and throws the track onto it's back. Not a moment is wasted, and the cadence stuck in your brain is your only companion on this barren-canyon stumble.

La Haine dusts off and immediately throws down, slowly slugging but abruptly peppering fits of spunk and spurt. The rubbernecked sludge welcomes the smooth, thick bass ribbon as everything within an arm's reach is absorbed and eaten by licking flames. Following an awesome jostle is the collapse to catch rusty breaths and tormented assertions. This is the disc's impressive run of the gamut, a panoramic collective of shifted rhythms that impossibly battle and betroth. Cloaked in Black is as spacey and steamy as anything the band's released, blending the promise of escape with the realization of permanence. The bouncing buzz of sludge pauses and looks about, however, before boiling down to bayou blues riffs. Bones soften and tissue separates as the track steadfastly cruises toward a return to a staggering spiral. Goddamn, they did it again!

There's a detectable wave of melancholy strung throughout Sin Nombre, coming to a hilt on Ricky X R.I.P. Wreckage Metal Radio has had :TWiNGiANT:'s mark as much as anyone, so paying homage to Tempe's late Ricky Martinez is Sin Nombre's logical denouement. Evident in both their sound and their approach, it's clear :TWiNGiANT: know where they've come from and where they're going.

What can Heavy Planet say about :TWiNGiANT: that we haven't already? With an expansive and expanding sound that somehow holds true to the band's 2010 inception, all we can really do is hope the band continues plugging and churning out genre-bending releases. Sin Nombre, on one hand, sounds like an album that spans a lifetime and packs it with the highs and lows of human experience. On the other hand, however, we can't help but hope they greet us with another release as soon as possible.

Sin Nombre by :TWiNGiANT:

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Nuclear Dog's Atomic Split: Orchid - "The Mouths of Madness" / Kadavar - "Abra Kadavar"

2013-05-11T03:18:00.000-04:00

From out of the mists of recent success comes two albums highly anticipated by the ol' Nuclear Dog, as well as by many fans spanning the stoner globe. The first comes from Orchid, a band that has released 2 highly successful albums in the recent past, with the latest one an LP garnering a first place position on Reg’s Top 20 Albums of 2011. The quality of rock Orchid have delivered to the masses on those past releases naturally generate a tremendous level of anticipation from fans of these dark dreadnoughts. The second album comes from relative newcomers Kadavar who just last year released their debut album and landed on my own Top 20 list, so much did I thoroughly enjoy their blitzing riffage. A common thread that runs through these two bands beyond our sweaty expectations is the type of music they play. Both bands hearken wonderfully back to the heyday of heavy rock n roll with guitarcentric music packaged in magnificent melodies and driven with bombastic passion.
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ORCHID - "THE MOUTHS OF MADNESS"

Orchid hail from San Francisco and have been together since 2007, making and playing unbelievably awesome heavy rock in the classic vein of the great bands of the 70s such as Zeppelin and Black Sabbath, perhaps the band they are most identified with. Consciously or unconsciously, Orchid, especially on "The Mouths of Madness", channel original Black Sabbath in almost every way but in vocals, and that's not so far off as to be a detraction. This is not a bad thing. They aren't necessarily mimicking Sabbath so much as taking up the mantle of Sabbath-like music, and doing it perfectly, and by perfectly I mean sounding LIKE Sabbath's music without sounding exactly like Black Sabbath. They sound like Orchid. For me, that's an incredible feat, and a cherished result, because the sound the original Black Sabbath created is priceless and deserves more creative execution. No one else in the history of rock has truly pulled this off, and that includes iterations of Black Sabbath itself after Ozzy left. But that's my take on it. I'd wager that even if you don't agree with it you'll agree that the music on this album is humongous in solid, satisfying low tuned and heavy sound.

Band members of Orchid are:

Theo Mindell - Vocals
Carter Kennedy - Drums
Mark Thomas Baker - Guitar
Keith Nickel - Bass

Huge, heavy, low tuned riffs are the hallmark of Orchid's music, something they have delivered in spades on their initial EP release "Through the Devil's Doorway" and more recently on their first LP release "Capricorn", but on "The Mouths of Madness" they have up the ante by delving a little deeper into the darkness, wrapping uncanny guitar and bass riffs in pitch black wickedness, giving rise to a timbre of shadows and monstrosity. What tops off the toothsome signature sound are vocals at once unique, compelling, and custom made for the music. All in all, this latest album is a black ribbon gift of impeccable conveyance.

Nine songs have been rendered on "The Mouths of Madness", none more full to bursting with manic melody and classic guitar riffs than the title song which opens the album like a long lost companion of unbridled passion.

"Marching Dogs of War" elicits dark nostalgia in a way that penetrates directly to some primal dark core where the tapestry of Baker's guitar and Nickel's bass entwine perfectly with the percolating perfection of Mindell's vocals.

"Silent One" is a psychedelic romp of sheer delight where low tuned guitar licks are meshed with Kennedy's masterful drum fills and Baker's dextrous solos, and where spacey reverberations echo throughout the melodic journey of dark energy.

"Nomad" is a vocal triumph, where Mindell expresses remarkable power and depth in relating a fantastic tale through the purposeful tempo of strings and sticks, moving through a number of vocal variations throughout the course of the song, executing each with a masterful stroke.

"Mountains of Steel" could have been an apt album title for this ennead of superlative symphony, but, as one of nine delivers the same monstrous, gargantuan sound as its brethren.

"Leaving it All Behind" delivers a classic sound that isn't as deep and dark as those before it and after, instead eliciting an incredibly beautiful melody and guitar delivery that is driven home once again by Mindell's spot on vocals.

"Loving Hand of God" is heavy and low, with fibers of guitar clarity strategically intertwined through the dark package of melodic endeavor, consisting of a changing tempo that ranges from deliciously slow and deliberate to an upbeat solo stack of blistering heat.

"Wizard of War" is christmas and birthdays combined with the sabbath, a pure mountain of low tuned sweetness, from the mega deep riffs and tight tempo to the clarity and presence of impeccable vocals, topped off with solo heat that has a frayed and dangerous edge.

"See You on the Other Side" signs off the album in aggressive style, raining guitar solo fire and impassioned vocals onto an energetic melodic odyssey replete with unrelenting pneumatic drumwork.

This album is exceptional in many ways, but strip out all the superlatives and comparisons and measure it solely on its execution and delivery and it stands up as a timeless masterpiece, simple as that. Yes, it will enter the discussion as year's best, and will come up against some stiff competition, perhaps even from its doppelganger band (we can only hope), but make no mistake, it will be there with the very best once the dust settles. I'd even wager it will be there long after, standing beside Orchid's first two releases, and any subsequent work bound to come out down the years, as a compendium of colossal celebration.

Order the new CD at Nuclear Blast

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KADAVAR - "ABRA KADAVAR"

The beauty of this decade, and likely beyond, in terms of awesome heavy rock is the amalgam of the best of 70s metal and 90s grunge along with the underground stoner rock and high desert sounds of the 90s and the 00s. Many kids who grew up listening to their parents' music and their elder siblings' or friends' music were likely exposed to a tremendous amount of great classic metal and underground rock. As those kids have become adults playing in their own rock bands, whether from the U.S., the Netherlands, Sweden, Germany, Argentina, or anywhere on the globe, they are developing masterful strokes of monstrous metal magic. Hailing from Berlin, Germany, Kadavar are the vanguard of that development, leading the way with their colossal creations of mega metal. Two incredible albums in two short years, while not unheard of, is still a major accomplishment for any band, but to follow what was widely considered a resounding successful debut with a sophomore effort so soon is incredible, and risky only if it's not up to the standard already set upon themselves. The question Kadavar have put to us, then, on this sophomore rendition is, 'is "Abra Kadavar" as good or better than our self titled debut?' The conclusion, before going through the evidence, is YES! Somehow, using the momentum gained on that self titled juggernaut, Kadavar have managed to kick their Bavarian beast machine up a whole 'nother level and blast on down the highway of classic/retro heavy rock on an engine firing on all cylinders and purring with volume and perfect synchronicity.

Band Members on Kadavar are:

Lupus Lindemann - Vocals / Guitar
Mammut - Rivoli Bass
Tiger - Drums

To start, the overriding brilliance of Kadavar comes across to us in the same manner used by all bands who create meaningful, worthwhile heavy rock, with phenomenal guitar, skilled vocals, and superb melodies. For Kadavar the vocals and guitar happen to be delivered by one member, Lindemann. But, it's imperative to point out that the hard driving, relentless sound of Kadavar's brilliant melodies would be flat and listless without the gifted and impassioned rhythm section of Mammut's Rivoli bass and Tiger's extraordinary drumwork. Listen closely and you will find skillsets far above the bar where excellence begins to be measured. There is an energy and athleticism in their melodious maneuvering, lending power and magnificence to the sound and the song.

Lindemann's vocals are perfectly matched to Kadavar's music, but beyond the quality of his vocal outpourings is the manner in which Kadavar arrange them on the recordings, just a bit behind the instrumentals, keeping strings and sticks at the forefront where they deliver not only the signature sound, but also elicit the unyielding satisfaction of a willing and engaged audience.

"Abra Kadavaar" is resplendent with music, consisting of 10 tracks, each a marvel in its own right. The opening track, "Come Back Life" has a slight haunting quality, nostalgic in feel, and spiritual in delivery with crisp, clean guitar work threaded throughout in doses of refrain and dashes of solo blitzes. "Doomsday Machine" follows, and is arguably one of the top tracks on this collection. The same haunting vocal quality persists, but the guitar renderings pick up in intensity and deliberation, performing a tight spiral of crunchy riffs and blistering solos. "Eye of the Storm" follows with a change in tempo and executional feel, delivering an intriguing melody enhanced by powerful bass strokes and brutal drumwork topped off with what is obviously the signature brilliance of Lindemann's guitar licks. "Black Snake" is a plaintive wail mired in blues laced rock, beautiful, unique, and utterly intriguing. The halfway point comes quickly as "Dust" blasts onto the fore in controlled explosions of perfect timing and leviathan riffs.

The second half of the album starts out ablaze with "Fire", a big, bold amalgam of sound enhanced by Lindemann placing more emphasis on vocals as instrument this time around, in which he exercises a challenging lyrical component with passion and superior proficiency. "Liquid Dream" unloads at first like a ton of bricks before narrowing down to a tight, powerful assault and battery of escalating intensity. This song is unique and simultaneously enjoyable . "Rhythm for Endless Minds" is a fuzz fueled psychedelic trip of epic proportions, riding a musical tapestry of intertwined sounds and existential riffs overlaid by ethereal, haunting vocals. The title song, "Abra Kadavar" continues the colorful and euphonic odyssey but on a brighter, more colorful tapestry using heavier gauge threads of guitar riffs, drum rills, and bass fills, interwoven in complex and intriguing pattern of enchantment. The album closes out with "The Man I Shot" returning to the classic, nostalgic formula that was followed previously on the album, unfolding a sound that is at once fresh and nostalgic, reminiscent of a long lost rock experience from days gone by and eras past but still reverberating in the blacker recesses of a dark subconsciousness.

This is another album that goes immediately into consideration for 'best of' discussions once the year end is upon us. In a genre in which listeners, followers, fans, and disciples demand exception and excellence, Kadavar have delivered that in triplicate. There is depth and texture to all ten songs, providing the listener with vast opportunities to explore oft and anon the weavings, nuances, and tapestries intertwined throughout the album.

Order a copy of the CD or vinyl at Nuclear Blast

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In Case You Missed It: Kingsnake - One Eyed King of the Blind

2013-05-10T04:20:00.000-04:00

You know, it’s a simple fact that we are all products of our environment and surroundings. The sights, the sounds, the people and the overall vibe of the place where we live make us who we are…they define us. Now I’ve spent quite a bit of time in the City of Brotherly Love…hell I even lived there for a stretch…so I can attest to just how ironic that moniker can be for a city that’ll chew you up and spit you out before you’ve even crossed the Schuylkill River. Fact is Philadelphia is a place that relies on tough love versus brotherly love to instill a sense of pride, a measure of grit and an unflinching resolution in its residents. So it should come as no surprise that the guys in Kingsnake call Philly home. Just take one listen to the band’s sophomore record One Eyed King of the Blind, which was released back in March, and you’ll hear that swagger and confidence dripping from every bluesy, boozy, badass note.

Now perhaps I’m reading too much into it, but Kingsnake’s opening statement here seems to be that they’re “all in” with this album. You see, the first thing you’ll hear is the sound of a coin spinning, rattling and ultimately coming to rest, as if the band has just thrown down their ante in some high stakes, winner-take-all game of chance. And with that, all bets are off as vocalist/guitarist Bill Jenkins, guitarist Brian Merritt, bassist Matt Kahn and drummer Matt Farnan simultaneously erupt into “Bullets & Kisses,” a song that begins life as a raunchy, boogie rock number, not unlike something you might hear from ZZ Top, and then shifts gears midway through, to become a slower, heavier slab of Sabbath inspired groove. On subsequent tracks “Too Little Too Late” and “Fang of the Cobra,” they combine bluesy fuzz with raspy vocals, transporting you to some alternate rock universe where Warren Haynes is the front man for Clutch. By the way, the latter of the two songs is my recommendation for your single track sample. Dig that trippy organ…this one is killer.

Speaking of bluesy, it doesn’t get much more so than on “Mountain Girl,” where Jenkins sings a sort of stoner Kumbayah in his gravelly voice while Kahn plucks out a steady bass line alongside Farnan’s beats. Then, on the heels of a hoarse and throaty “just like that” from the vocalist, Merritt adds his guitar to the mix and the song settles into a sweet, 12-bar groove. But the true showcase of the band’s dual guitar attack, not to mention more of that tasty organ, is sitting right at the album’s heart, with the well placed instrumental “Whispering Eye.” And then Kingsnake finally kick up their heels and have a little fun on the folksy, acoustic ditty “Know the Way Down,” that is until the song takes on a more sinister tone during the electrified outro.

The final third of the album ramps back up with “Mala Suerte” (Spanish for bad luck), which is a woe is me anthem that’ll have boots stomping and heads bobbing to its Southern fried, stoner rock hooks. And that theme is continued on the album’s final two tracks “Mercy” and “Calling All,” at least in the musical sense. The former rides the rails of a catchy, Maiden-esque riff into a bona fide blooze-fest; chock full of solos, sing-alongs and lyrics about chicks…“she’s a black haired, whisky momma…two-legged demoness with a crooked smile.” While the latter closes out the album with one last bit of boogie-down braggadocio soaked in the spirit of true, outlaw rock n’ roll. I’m certain that somewhere Ronnie Van Zant and Bon Scott are having cocktails and listening to Kingsnake.

Look, you know I wouldn’t bullshit you. In fact, have I ever steered you wrong? Um…if that’s a yes, then don’t answer. The bottom line is this. In my quest to make sure you’re caught up on all things heavy, I think that One Eyed King of the Blind is an album that you need to know about. So regardless of who you are, where you’re from or how that place has defined you, do yourself a favor and show Kingsnake a little brotherly love, will ya?

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Album Review: Mother Mars - "Steam Machine Museum"

2013-05-09T04:20:00.000-04:00

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

Band members include:

Paul Attard - Bass, Guitar

Frank Attard - Drums

Matthew Allen - Guitar, Vocals

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

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

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

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

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

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

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

Steam Machine Museum by Mother Mars
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Zac's "Double Dose": Sleepers Awake / VolumeFeeder

2013-05-08T04:20:00.000-04:00

Sleepers Awake: The Fulcrum Single

Commencing in a sonorous roar and a clash of metallic instrumentation Columbus, Ohio's Sleepers Awake introduce us to their latest single The Fulcrum from the soon to be released full length album Transcension. Formed in 2005 this quartet have focused their talents on creating over-the-top epics through a progressive mentality, citing influences from Mastodon to Queen. I say epics because the band likes to stick to a concept and also fully appreciates albums as entire pieces of art, leading to what I believe is an epic disposition. So, The Fulcrum is a very small corner of a twelve track sonic painting due out the seventeenth of June (those interested in pre-ordering Trancension can do so at the bands web-store). Now, the question is, what can we dissect from this sample of the illustration in regards to the entire piece and more importantly how much metal can we find within Trancension? Well, first and one of the most prominent features of The Fulcrum is the triumphant vocal prowess of Chris Thompson. The potency in his proclamation throughout The Fulcrum could carry an album on its own and instills a promising outlook for the full length release. Next up, the brilliant percussion of "Ambrose", or Chris number two, Burnsides. His volatile drumming patterns, transforming from complex strikes to a tribal wallop, will encircle your cerebral cortex and leave your mouth agape. Finally, we come to the interlacing guitars and bass. Chris [Thompson] and Rob Bradley find themselves engaged in twin guitar slinging duels one moment and the next feeding off of one anothers booming RIFFS, while Kedar Hiremath's bass supports the battle-front. The track approaches its climax with a tolling bell mixed into Ambrose's Dany Carey-esque rolling patter. This soon evolves into a full spectral blast thanks to those swelling guitars and there you have it. The Fulcrum ends as abruptly as it began. So, lets return to our initial question. "How much metal can we find...?" Well, I'd say an oceanic proportion of metal on Trancension. Within the six minutes of The Fulcrum we find a depiction of RIFFING swells, heroic singing, and voracious tides of percussion adorning Trancension's canvas. Check it out below and get out there to support these guys. Word on the street is they have played shows with Heavy Planet favorites The MIdnight Ghost Train and Neon Warship! How could anyone in their right mind want to miss that show?

<a href="http://sleepersawake.bandcamp.com/track/the-fulcrum-2">The Fulcrum by Sleepers Awake</a>

Members:

Christopher “Ambrose” Burnsides - Drums

Chris Thompson - Vocals // Guitar

Kedar Hiremath - Bass

Rob Bradley - Guitar

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VolumeFeeder: Crowns and Chains

VolumeFeeder, this weeks follow-up 'Dose, hail from Hódmezővásárhely, Hungary. No, I have no clue how to pronounce that city's name and that's okay. Why? Because what is important here are the tunes. With their latest EP, entitled Crowns and Chains, VolumeFeeder have found a delightfully groovy way to indulge aggression. This trio has been creating a Hungarian-take on that Southern Louisiana sound for some ten years now and after listening to the three tracks available on Crowns and Chains, I plainly hear why. These three know how to work off of each others creativity and the outcome is just straight groove-laden metal hooks and RIFFS, RIFFS, RIFFS. You will not be sitting still for long when you plug Crowns and Chains in. So, get yourself over to bandcamp where the entire EP is streaming and available at a "Name Your Price" download. But support these guys in anyway you can. Then we can hope for a full length release.

<a href="http://volumefeeder.bandcamp.com/track/on-strings">On Strings by VolumeFeeder</a>

Members:
"Imi" Imre Balázs - Vocals // Guitar
"Geri" Gergő Drahota - Bass
"Robi" Róbert Jaksa - Drums

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New Band To Burn One To: DÆTHLUST

2013-05-07T04:20:00.000-04:00

HEAVY PLANET presents...DÆTHLUST!

BAND BIO:

Three-piece of scummy villains from Solingen/Mönchengladbach, NRW-Germany.

Felix - Drums, Vocals

Mario - Bass, Vocals

Lasse - Guitars, Vocals

The Deliverer by Dæthlust
THOUGHTS:
"What I totally love about German band Dæthlust is their egotistical and cantankerous attitude which is eloquently combined with progressive elements and a warm and swirling fuzzy haze. The raucous and heathenistic doom and roll fuzzfest commences from note one on their latest offering "The Deliverer". Doomy riffs are rampant throughout this 5-song EP as well as a tinge of psychedelia which serpentines intermittently amongst these five beastly tracks. The shouted vocals seem to be purposely hidden in the mix as if some sort of ghoul is lurking in the background beckoning you to join him on the other side. From the cool flanged-out chugging of "Satin" to the epic monster track "Koloss", the band surely left a deafening imprint on this listener's ears. Give them a listen now!"
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New Band To Burn One To: GOLD LEATHER

2013-05-06T04:20:00.000-04:00

HEAVY PLANET presents...GOLD LEATHER!

BAND BIO:

Gold Leather is the noisy sweat factory constructed by former Missoulians Wes Williamson (vocals, guitar, keyboard), Jared Sayre (drums, vocals), and original Austinite Zane Andrews (guitar, vocals). Starting with just Sayre and Williamson playing in the garage of their North Austin home, the trio has matured into a full-frontal exposure of Danzig-esque high notes with a grimy aftertaste of sludge. Gold Leather sounds like your back feels after peeling it off of the seat of an El Camino on a hot July day in Central Texas.

&amp;lt;a href="http://goldleather.bandcamp.com/album/illuminasti"&amp;gt;ILLUMINASTI by Gold Leather&amp;lt;/a&amp;gt;
THOUGHTS:
"This Austin-based band states interests such as switch blades, danger babes and hand grenades...sounds like one hell of a party to me. So in honor of yesterday's Cinco de Mayo celebration, get ready to suck down a pitcher of margaritas and woof down a fistful of fish tacos while listening to these mighty noise blasters known as Gold Leather. The music contained on Gold Leather's new EP "Illuminasti" melds an eclectic mix of pulsating rhythms, Deep Purple-like keyboard pounding (at times) and a crazy southern groove. The eerie sounding keyboard lends to the intergalactic "sound" of these sludgy and twisted space-demons from the big ol' state of Texas. The variety and intensity on this EP is both devastating and hugely interesting. Very cool stuff you have here."
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Sunday Sludge: Akimbo - "Live To Crush"

2013-05-05T04:20:00.000-04:00

Well, if you're gonna do it... do it. No secrets. No golden tickets. No wolf scratching at your door. In fact, it would seem the wolf's already got his claws in your back. But you weren't exactly blindsided, mate. You've got an ache in your frame that's gonna last for days, and every twinge of discomfort is a reminder of what Seattle's Akimbo promised and delivered on their coup de grâce, Live To Crush. After fifteen years of punishment both inflicted and received, the band's white flag arrives in the form of nine painfully awesome splinters of brutality.

The album's amalgam of noise and sludge and feedback would mean nothing if Akimbo left out the aggression. Whether we're shaking out our loose teeth or reflecting at the rim of a vast canyon, we're later tearing open our shirts to examine the bootprints on our chests. Even at their most placid, Akimbo are ripping us open from groin to sternum.

Opening on the immediate, loose insanity of The Fucking French!, the album's quick, jarring sludge-noise coats our throats and runs a rusty ribbon of malevolence through these thirty-seven minutes. The lead track slows to a cautious bass drip and guitars peter about in search of an unlocked door. Once the fuzz is unveiled, it runs a sweep across everything and leaves behind a gritty glaze. And Jon Weisnewski's vocal is still fucking pissed. In fact, when he sympathizes with Leatherface behind the repetitive pinch of Southern Hospitality, what's most unsettling is that you're pretty comfortable with the analogy. Swelling and sweating uncontrollably, the track's hardcore moments spiral and spatter, peppered by shrapnel.

Abrupt jingle-jangle guitar violence breaks into dusty Telecaster reflections on The Retard Blues. Akimbo stare at a bloody knife as Nat Damm's drums build toward a ribcage-extraction of light. The track expands beyond its own demons, a sort of cool reprieve from all the mess. The Butthole Surfers told us we'd find freedom inside our heads. Well, look at the carnage the band carves here and tell me where the fuck else you could find it.

Equal Opportunity Asshole is as straightforward as things get, piping a steady engine hum and relishing in your lobotomy. The filthy sludge rhythm is dragged behind guitar chains, and intentions are hardly masked by the band's bloody grin. Don't be fooled by the diminishing aggression on those bass-driven passages; barbed-wire licks return, spitting nails and splitting skin. The irritation on Building A Body is equally as blatant, crunching with rusty bass patches that are unaccompanied by anything but discontent. The song's pendulum swings through shit and sprays it with each passing. Akimbo aren't afraid to get a little weird on your ass, either. The creepy bounce of Weasel Rope juxtaposes the perfectly out-of-place slide guitar. When the fuzz frays at its ends, you're done scratching your head and your neck's back to rubber.

The strongest moment on Live to Crush, however, is the cool, cosmic crumble of Acid Grandma. Cold and icy at the onset, the slow plug through empty winds pairs with stop-start elements and expands toward awesome grinds and churns. There's a somber nugget of sage truth being passed down here, but break open your stitches and let the pain rush in. Is it a return to agony or a metamorphosis into thick-skinned acceptance? Perhaps a bit of both, but what's notable here is the incredible scope demonstrated by a band failing to hit the brakes despite clutching a towel, ready to throw it in and call it a fucking day.

That's what's striking about Live To Crush. This isn't a contractual obligation toss-off played by three worn-out pricks who can't stand each other. There's no fluff or filler, and there's no wet-eyed embrace. Shit, take one look at the liner notes and tell me there's been another band who so succinctly and honestly bid adieu to a fifteen-year haul. Is it better to burn out than fade away? Akimbo state their case pretty strongly. Live To Crush is an achievement in its own right, separate from its status as the swansong of a hard-working, hard-chugging group of hard-living dudes. Enjoy it for what it is: one of year's best.

Live To Crush by Akimbo

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Nuclear Dog's Atomic Split: Them Hounds - "Them Hounds" / Free Fall - "Power and Volume"

2013-05-04T04:20:00.000-04:00

An album is a moment in time. It is an exquisite capture of true magic held in place for infinity. It is a convergence of universes where one can forever visit to experience the choicest offerings from the cosmos for time on end. The overriding, bright voice never ages and nimble execution never fades. Pain doesn't creep in, time doesn't speed up, and joy permeates intrinsically, wholly, thoroughly, eternally. Life is eternally replete with pain and suffering, wanton disregard, vile intent, and foul, lucid selfishness, but there too is delight, satisfaction, love, and rock and fucking roll. Step in my friends to this luminous body of unimaginable mass known world wide as Heavy Planet and experience the exquisite, for today we get to partake of two slices of timeless, universal pleasure in the guise of rock and roll albums resplendent in full grandeur and unimpeachable pleasure.
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THEM HOUNDS - "THEM HOUNDS"

For the opening album on today's Atomic Split I get to brag a little, not because of anything I've done or even remotely been a party to, but simply because Them Hounds is an Oklahoma City band and I am an Oklahoma City metro resident. I was privileged to recently hear them play live before I had a chance to experience this exquisite album and was thoroughly impressed while being thoroughly entertained. I knew they were special after hearing the live performance, but even that did not prepare me for what they have concocted on their first studio album, which happens to be their first album of any sort, and what a stellar debut it is.

Band members:

Erin Ames - vocals, tambourine
Benjamin Ward - Guitar
Mike Cougill - Drums
Jon Bohlen - Bass

Them Hounds classify themselves as a psychedelic blues rock band and that's as close to true as anything I suppose. There is a high percentage of vintage rock n' roll on the album, music that would likely have found its way to the radio in a more rock friendly age like the 70s. Blues rock has a heavy influence and position on this album, as well as psychedelic trips through wah wah and beyond. A little bit of funk finds it way in there as well, and while there may be a tiny hint of the country roots of Oklahoma floating around in there somewhere, it's not noticeable enough to detract from the impressive and incredible quality of the eleven tracks laid down for their debut.

The first thing that strikes the listener on "Them Hounds" is likely the crystal clear power pulse of Erin's vocals. Not since I first heard Corin Tucker's delicious screech have I come across majestic power of a similar fashion. While it has been said, even by me, that she reminds of Corin, a little time spent (which is time well spent) on "Them Hounds", becoming familiar with Erin's singular vocal expressions, will quickly discern the distinction she displays when generating her dulcet wallop. Her sound is her own and it is incredible. She displays power and grace, a rare and cherished combination because it exemplifies perfectly what rock n' roll is supposed to be, power and grace and all out expression, something she delivers with skill, grace, and abandonment.

The next thing that becomes quite distinct when listening to this dynamic debut is the guitar work on every song throughout the album. While the band may not classify themselves as a stoner band, Ward administers massive doses of distortion and fuzz while nimbly executing lick upon riff in veins of the blues, funk, and psychedelica. Enormous in scope, compelling in production, nimble in revelation, and blissful in totality this is a rock guitar lover's nirvana.

Not to be outdone by Ben, Jon Bohlen has put together an impressive display of thick string plucking, producing memorable and contagious bass licks that rise above the mere metronomic measures of cadence and rhythm while never abandoning such. This is an incredible feat of skill and a demonstration of unbridled joy.

Exceeding in enthusiasm, energy, and exertion is the rhythmic, tribal ministrations of Cougill's drumwork, much the same as his rhythmic compatriot, stepping outside the bounds of true center and displaying rills and runs of ridiculous abandon, complementing the music perfectly and adding to its overall superbly wrought quality.

Whether playing haunting, blues heavy, big bass songs such as "Death Howl", "Willy Tre", or "The Kill",
or full out stoner distortion on "Out the Window", or the kick ass rock romp of "Bad News" and "Black Lilies", or even the instrumental "The Void" where the gentlemen get to display their prodigious skill with richly textured riffs laid in upon layers of sound and melody, Them Hounds have crafted a moment in time worthy to treasure for eternity. It screams loudly to me to include in year end possibilities where the brightest, richest treasures of the year get revisited.

Them Hounds by Them Hounds

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FREE FALL - "POWER & VOLUME"

Sweden has to be the world's champion in producing top shelf rock n' roll. Enter Free Fall into the fray, playing a thoroughly engaging and sophisticated brand of retro rock with crisp, clean melodies and rhythms, monstrous guitars, unrelenting drumwork, gargantuan bass, and signature rock vocals, all in collusion with superb rock melodies seemingly yanked through a wormhole reaching back in time to decades long gone.

Band members:

Jan Martens - Bass
Mattias Bärjed - Guitar
Kim Fransson - Lead Vocals
Ludwig Dahlberg - Drums

The signature sounds of all rock bands are guitar and vocals, and Free Fall do not disappoint. The best bands, of course, produce the best melodies to go along with the gifts of riff and intonation. Again, Free Fall do not dissatisfy. 7 kick ass melodies await on this slice of rock and roll awesomeness titled "Power & Volume"

Fransson's vocals are of the power rasp variety, perfectly suited to melodies that are in stature and recall above power ballads in feel. He is able to croon, croak, and cavort through several ranges and power levels in seemingly effortless execution, while never resorting to a yell, and never wavering in delivery. Free Fall's songs are a joy to hear in large part to Mr. Fransson's singular vocal sound and delivery.

Guitar work on this album is constant, energetic, and full bore, executing effortlessly through riffs, solos, licks, and fills, displaying dexterity and vigor in all phases of the delivered seven songs.

Martens' bass work on this album is monstrous, gargantuan, and gigantic in scope and execution, if not quite leading the way, certainly not following either, adding equal measure to the colossal sound Free Fall exhibit on their debut release.

Energetic and nearly frenetic, Dahlberg is a constant cyclone of sound and percussion throughout the album, adding to the mammoth melodies in similar fashion to his rhythmic brethren, Martens.

"Power & Volume" is a fast paced, dynamic fireball romp of fun. "Free Fall" is a measured power ballad that delivers breaker busting surprises along its course of execution. "Midnight Vulture" is similar in style to its predecessor, but delivers a singular melody of epic execution, incorporating booming bass, massive guitar riffs, and laser beam solos. "Top of the World" is a classic rock n' roll romp, fast, furious, joyous, and brutal with step jab riffs followed by left hook follow through that promise a knock out blow on each blow. "Attila" is a measured masterpiece of controlled buildup and epic delivery. "World Domination" rides a wave of distortion through riff and lick in conjunction with massive bass and masterful vocal dispatch. "Love Bombing" closes out the album with boisterous energy and pace, making clear once and for all this band plays with fierceness, skill, and all out pleasure, a deadly and memorable combination.

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New Band To Burn One To: AMIGO

2013-05-03T04:20:00.000-04:00

HEAVY PLANET presents...AMIGO!

BAND BIO:

Influenced by the lush palms, rural canyons, undulating landscapes, and little cliffs that make up the pseudo desert that is San Diego, Amigo was born. Led by front man Jeff Podeszwik, Amigo is a riff based rock band with heavy hooks, melodic vocals and fuzz driven guitars. Whether it be a tale of tragedy, a practice in prose, an untold story, or a rumor in the school hall, instructions have been given to let you in on these secrets. After all....that's what friends do. Join the cult of Amigo today!.....dudelings!

&amp;amp;amp;lt;a href="http://amigomusic.bandcamp.com/album/amigo"&amp;amp;amp;gt;Amigo by Amigo&amp;amp;amp;lt;/a&amp;amp;amp;gt;
THOUGHTS:
"As the sweltering heat of the California sunshine warms your skin, the heavy desert groove of San Diego rockers Amigo rattles your skull. With an abundance of sun-kissed riffs and catchy hooks, the band hits cruise control and settles into a nice mid-tempo groove on their latest self-titled EP. Opener "Cosmo Blaster" is a fuzz-heavy romp that immediately gained my attention with their ode to desert/stoner kings Kyuss and Fu Manchu. "Mojave Sol" is a slick swaying rocker with a sound reminiscent of lets say, Urge Overkill? "How Wet Can You Get?" has a light and airy feel but the warm heavy fuzz ultimately steals the show. The EP ends with a killer live version of fan favorite "Cosmo Blaster". Very cool band with huge upside!"
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LP Review - Take The Potion by ROMERO

2013-05-02T04:20:00.000-04:00

ROMERO are a 3 piece hailing from Madison, WI, and with "Take the Potion", their debut LP, they come with 7 tracks packed with hugely pleasing and mightily infectious Stoner metal consisting of thick pungent riffs, low down doomy sludge, raw heavy rock energetics, passionately shouted post hardcore style vocals alongside harmonious outpourings and smart drumming played with a precision that drives the songs on here in a blazing fury of out and out Stoner metal mastership.

From the opening track of "Compliments & Cocktails" with its Torche inspired catchiness, balls-out riffage and drizzles of Hammond for good measure, ROMERO show from the outset that they are no noobz to the stoner metal game. With an entrance like this ROMERO make their presence immediately known making them impossible to ignore and I can only apologize to these 3 gents for not jumping on their brilliant album sooner.

Following is "Couch Lock" with a trad-doom nod and post hardcore vocals adding an element of freshness to their sound but soon enough the heavy rock is added to the furnace leaving this track oozing with a blend of smelted white hot metal.

"One Means Four" is a near post-metal monolith from the off but soon develops into an anthemic riff laden Stoner metal monster without losing a touch of a Neurosis tinged organic mysticism and solemn introspection that this track delivers in thick waves of spine tingling pleasure.

The album's title track of "Take the Potion" falls upon you in a fist clenched and air punching Clutch-like barrage of groovy riffs that are broken up with melodic sections that don't dwell too long before a continuous amping up of the riffs hit you full force in the chest leaving you breathless.

"Distraction Tree" brings us back to a Torche inspired sound showing that ROMERO are big fans, but they are by no means imitators. Plunging down-tuned sludge metal digs around the depths before another anthemic monster surges forward at a tearing pace to bring the track into a many levelled slice of audio art which is my favorite of the 7 tracks on offer.

"Wheeling Deervish" continues with a nod to Kyuss and a spaced out desert groove mixed with growling sludge and howled vocals. The Hammond is wheeled out again towards the end of the track adding some welcome funk to the sludge.

Last is "In the Heather" that lays on a jam that reminds me of Colour Haze at the beginning but soon turns into the baked riffs of Sleep that build to yet more anthemic and blinding Stoner metal brilliance leaving me gasping for air and desperate for more.

This is a truly epically solid debut album from ROMERO and it is available now from their bandcamp, name your price for the digital download, $6.66 \m/ for the CD and $16.66 for the vinyl.

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Zac's "Double Dose": Anciients / One Inch Giant

2013-05-01T04:20:00.000-04:00

Anciients: Heart of Oak

How many have heard a split second of a song and immediately had a pretty good idea what the bands aura, vibe, and, eventually, over-all sound would be? A quick show of hands please... Well, all of you listeners out there can take this weeks first 'Dose, Anciients, one of two ways. The first, as stated above, or second, in total contradiction, as an endless evolution of the fundamental and stylistic orchestration of each song. I can hear your thoughts now, "Crazy Uncle Zac throwing out oxymoron's and giving us all a Wednesday morning aneurysm." I'll try to explain. Initially Heart of Oak, the debut release of Vancouver's Anciients, seems self explanatory and a perfect fit between the likes of Mastodon's Blood Mountain and Baroness' Blue Record, or more generally speaking the entire Georgia prog-sludge movement. However, when disentangling the fine web that Anciients weave, I quickly found myself free of the web but engulfed in a sea of dynamism and variety. There is a thick and rich warmth generated by Heart of Oak, and I believe we should delve right to its very organic, very Canadian heart.

This roughly sixty minute monster covers a wide range of musical influences. Try combining the progressive mentality of Mikael Åkerfeldt, the fret-frenetic of Brent Hinds, and the melodic-Metallica of the mid to late eighties and you come out with a close comparison to what Anciients are creating here. Add versatile dual vocals that mutate between blackened-death roars to culminating cleans and you have the one and only Anciients. Heart of Oak is a trip for sure and at some points this trip becomes slightly dis-jointed. I mean how can't it, every good trip needs some turbulence and with so much action and sound-waves erupting in the process the choppiness of this record was inevitable. However, in the name of progress this is not a bad thing, nor does it negate the music created. Heart of Oak opens with what has become the releases first single, Raise the Sun. This track truly shines with an Opeth-ian attitude. Commencing with a steady, tone-driven introduction Raise the Sun recedes only for a few moments to launch us into the sun that, until this point in time, only Mr. Åkerfeldt himself could do. Then, just when you thought you were comfortable, your ears are assailed by the volatile vocals. And this was just the track numero uno! Heart of Oak really stretches its seizing arms out over the next three tracks, all weighing in over six minutes. Applying some southern progressive sludge impulses and some pleasant plucking, Anciients alter their Scandinavian melodic-death bursts and break up the raucous with a classic acoustic guitar track called One Foot in the Light. This minute long filler track is followed by the seven and a half minute Giants. Full of fancy fret work and some battle-cry like dual vocals, Giants gushes a Mastodon influence that can't be left unsaid. Do not take this as a second hand Mastodon track though, each tick of the clock of Giants remains Anciients and only Anciients. Here I find some of my favorite drumming from Mr. [Mike] Hannay. With each drop of his sticks Mike builds an inquisitive apprehension towards Giant's conclusion. Heart of Oak's reach never retract throughout the remainder of the album. Here we are met with blast beats and a whole lot of precision RIFFING. Anciients chooses to close Heart of Oak with a bit of a reprise, For Lisa. Here we are set in motion by the wail of a train horn and drift into an elegant and mellow blues cut. The dual guitars drive For Lisa successively building pace to a zenith plane. Full of rich guitar tones, For Lisa comes to my ears like some strange incarnation of Eric Johnson's Cliffs of Dover being played by David Gilmour and Greg Allman.

In the end Anciients have offered up an advanced and dynamic debut record in Heart of Oak. Listeners will not find a seamless flow between every song, however each song is important in defining what Anciients is... a kick ass and versatile metal band. A perfect ten for the year, not in my opinion. A nod towards my favorites list of 2013, yes indeed. Now all there is to do is to pick up a copy for yourself. Enjoy.

Members:

Aaron "Boon" Gustafson - Bass

Chris Dyck - Guitar // Vocals

Mike Hannay - Drums

Kenny Cook - Lead Guitar // Vocals

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One Inch Giant: The Great White Beyond

I know I'm putting the cart before the horse here with this weeks second 'Dose, but I had to get the word out. Gothenburg, Sweden's One Inch Giant (a personal favorite of mine) have released their sophomore follow-up to the euphorically heavy Malva in Europe (USA release is pending), entitled The Great White Beyond. After signing with SoulSeller Records in 2012 the band members decided to pick up a new drummer, enter Jakob Strand, and modify their musical direction. Don't concern yourselves about the new compositions or Mr. Strand though. This quartet is now tighter, with a much better instrument to vocal to instrument chemistry, and Mr. Strand's talents add a new intensity the mix. Dropping the grunge-esque front One Inch Giant have implemented more progressive metal into each songs arrangement. They have also created a heavier sense of melodic here in The Great White Beyond. Leave it to the Swedes to make a more melodic heavy. Where would heavy music be without you guys?

Even though we Americans have to wait for the full release, I felt we should still get a taste of what's to come. I also thought it would be a good idea to get a little more press out there for our brothers and sisters throughout Europe, in-case they missed the official release date or needed a little push to pick up a copy for themselves. So, that being said I only have two tracks to play with, but that's okay. That's all I need. These two songs are monstrous and diverse in both harmony and progression. Mountains Will Erode lands itself as track two on The Great White Beyond. Beginning with a very Endgame, circa 2009, era Megadeth melody One Inch Giant quickly tear into a more familiar stoner-style RIFFING. Filip Åstrand's vocal presence is noticeably more pronounced than what I recall on Malva. Here on The Great White Beyond Mr. Åstrand is flexing his "vocal muscles" much more, creating a soaring effect over the doomy hooks. Our second sample, Only Scorn Remains, finds itself centered in the ...Beyond but a world away from the sensory candy found on Mountains Will Erode. Driven by a hybrid blackened, power-metal style drumming, listeners can be reassured that One Inch Giant are breaking the boundaries their debut release placed them in. Here the band truly shine, increasing the tempo to an advanced level, and leaving those untrained exhausted and gasping for precious air. Don't worry, you'll have plenty of time to catch your breath when [Gabriel] Méndez, [Axel] Berglund, and Strand turn the the song on its head by implementing a pummeling Tool-esque rhythmic break-down. Having listened to both sample tracks extensively, I cannot wait to wrap my ears around The Great White Beyond in its entirety. So, for those of us in the USA, we will be patiently waiting while our friends overseas enjoy the One Inch Giant surprise... Wait a second. That doesn't sound good, does it? Regardless the sample tracks are now streaming at bandcamp. Go check 'em out!

Only Scorn Remains by One Inch Giant

Members:

Jakob Strand - Drums

Gabriel "Abbe" Lugo Méndez - Guitar

Axel Berglund - Bass

Filip Åstrand - Vocals

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Heavy Planet Interview - Rock and Roll Artist Extraordinaire Alex von Wieding

2013-04-30T04:20:00.000-04:00

At the end of 2012 when making my list of Top 20 albums there was a characteristic of the list that stood out for me. Granted, as an amateur artist myself, in every sense of the word, I have always admired the great art on album covers and live show posters from such awesome ink slingers as Brian Mercer and Chris Hitchman, among others. One artist, though, who seemed to stand alone with his approach to technique, style, and imaginative storytelling has been Alex von Wieding. He has been incredibly prolific as well, which when combined with the quality of work he creates is quite impressive. Alex has painted album covers for a large number of stoner and doom albums and other genres of rock over the past several years. In 2012 he was as prolific as ever. Of my Top 20 albums no fewer than 5 of them had covers by Mr. von Wieding. Between my own artistic yearnings and appreciation, the prolific output by Alex, and his incredible creations I decided to name him artist of the year in my year end article as a small tribute.

As it turns out Alex does a lot of work for the artists aligned with a number of the record labels who focus on delivering quality stoner / doom / retro / psychedelic / retro rock to the yearning, fuzz loving masses. One of those record labels is Stargun Music who have just begun to get started in this underground rock and roll world, celebrating their first anniversary this week with Heavy Planet as you surely have noticed with the interview posted yesterday on this site. Since Alex does so much work for them, is an artistic force in this low tuned and heavy world, and is an interesting person of note full of passion for his work and for the music it represents, we are presenting an interview of him below, as conducted by Jeremy of Stargun Records.

Cover art for "Sonic Titans"

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Jeremy: Hey Alex thanks for sparing the time to talk today on behalf of Heavy Planet as part of Stargun Music's one year anniversary.

Alex: Hey there.

Jeremy: I know you are very busy finishing album artwork for SADA and tons of other projects so lets cut to the chase - when you're not doing work for awesome bands like Karma To Burn, Enos, Wo Fat and the aforementioned SADA - what music do you normally listen to?

Alex: Oh, that would most currently be the new Clutch record - "Earth Rocker", and I also just bought the new BRMC and Free Fall... apart from that, I've been listening to a bunch of electronika and soundtracks again as of late. Stuff like Tangerine Dream, Harald Grosskopf, Zombi, Majeure, Steve Moore... but also Endless Boogie (Long Island is awesome!), Camera, Barn Owl, Electric Orange, Imaad Wasif, It's Not Night- It's Space... oh, and while I'm at it: Organic Is Orgasmic. You guys should really check them out. Great stuff. As for the soundtracks, the current heavy rotation includes "The Hitcher" soundtrack (the original one, can never go wrong with that), "Tron Legacy", "Darksiders 2", and others.

Jeremy: Any favourite or stand out albums from last year?:

Alex: Hm, hard to say. Apart from those I did the art for (I love each of them equally), let's see... I really listened the hell out of Camera's self titled debut, Majeure's "Solar Maximum", Steve Moore's "Light Echoes" and the latest Rival Sons album, "Head Down", which I also forgot above, since it's spinning in the car every few days... haha.

Jeremy: How did you get your start in doing album artwork? Were you approached or did you offer your services to a band or label?

Alex: Apart from the fact that I'd been toying with doing album artwork for a while, but never did it for any real bands up to that point, it in fact was the re-releases of Monster Magnet's "Spine Of God" and "25... TAB" around 2005, 2006. And it was also funny, because by that time, Monster Magnet were one of my favorite bands, and when I read somewhere that there would be re-issues coming out, and then never saw any artwork for them anywhere, I kept asking myself, "Well, what would my personal interpretation look like?". And I just simply started doing them. By the time I was done, and there was still no re-issue artwork showing up anywhere, I thought, why not publish them on the MM forum? And so I did. Not only did the folks there love them, a few days later, I got a call from SPV, the label that was doing the re-issues, and they were asking me if I would be into making them the official ones. It really was like a dream come true. Haha. After that, it's all of the above. I hit up bands I dig and find inspiring, and I would love to do art for, and the other way around.

Jeremy: As if creating awesome artwork wasn't enough, your own band Larman Clamor also has an album out on Small Stone Records. What's the story there?

Alex: Well, Larman Clamor started out as a two-piece with a buddy of mine who hit the road, getting busy with other things, after the first EP was finished. But still having so many ideas on the shelf, I kicked myself in the butt and continued on my own. I never wanted Larman Clamor to be "that band of that artwork guy" from the start though. I thought I had something cool going there, and wanted to have it stand on its own feet. So there soon was "Altars To Turn Blood" as a release via CDBaby, having my name only in tiny, tiny letters on there in the artwork, well hidden. Haha. When I had the second album, "Frogs", all wrapped up, and it sounded pretty legit, I thought, why not ask Scott (Hamilton, Small Stone Records) if he would be into putting it out? The worst thing that could've happened would've been a "Nope", and since Larman Clamor was (and is) a hobby of mine, I also wouldn't have had a problem with that. In fact, I was copping out of asking Scott for quite some time, haha. But when he was like "Sure, let's do it!", man, I was happy. So, that would be the story summed up, I guess.

Jeremy: I was thrilled when Heavy Planet named you and your work for the Enos album "All Too Human" as the best artist and best album artwork of 2012 in their year review. Can you explain to a mere mortal like me how the process works and how your mind works from the stages of listening to an album to creating the final artwork?

Alex: Haha! Dude, was I speechless when I read that! I even failed to see it when I was reading that news for the first time, ha! The process is pretty easy - though also partly secret for myself, as I don't know what exactly happens at some point, when the images keep hitting me... Basically, when there's no "must have" concept for the art, or even a big "?", I'm just sitting back with the album on headphones in a darkened room, maybe having browsed through the lyrics before that, and then just enjoying the music with my eyes closed, my sketchbook beside me, seeing what happens on surfing the aether. So there's those concept sketches coming out, which can be both design-ideas or stuff for paintings / illustrations. Those I send to the band and the label, seeing if they make their arm hair stand up or not. Usually, I have a pretty nice hitting quota with this kind of method, as a lot of bands were like "Dude! That's perfect! We never even thought of this!" (Wo Fat's "Black Code" and Enos' "All Too Human" are among those, by the way). I guess I'm lucky (Nuclear Dog's note: Or simply damn good!) and thankful for that gift. But it also can be a conceptual idea or even a song from a band that's just 'tickling my tastebuds' so to speak - activating the vision-machine. So, after the sketches have been given a greenlight, I'm doing detailing on those ideas, see what works design-wise and such (do I want to do a wrap-around painting and such? If so, does it fit the subject?), then starting to paint. Sometimes I'm sending work-in-progress previews to the band and/or the label, but usually, once I'm on the right path, the artworks kind of paint themselves. Then, it's a little fine tuning here and there on the design-parts, logos etc., and voilà - done.

Jeremy: Do you have any personal favourite album covers from your work over the last few years? Anything that you are particularly proud of or any work that was the most fun to do?

Alex: Oh, there were so many, but let's see, Tia Carrera's "Cosmic Priestess" is one of my favorites, because not only did I do it for the band years before the album came out - they also named the album after the painting, which is awesome. ÖfÖ AM's "The Beast Within" is also one I keep fishing out of the shelf, just because I painted that one from scratch to finish on one day, and it's still having that "special feeling" to it. The artwork for Wo Fat's albums are always fun, as well as the ones for Karma To Burn (though those tend to be pretty rushy and stressful at times, due to overlooked deadlines... ahem... I'm looking at you, Rich! ), and though the portal-parts details on the Enos one were a pain in the ass at some point, I just loved the idea of a space portal made out of junk so much that the fun kind of kicked the stress out of the window. Aside from that, the painting for the vinyl edition of "Frogs" was a blast. Outsmarting my own mind, seeing if I could paint the little something that was hiding there beyond the lyrics and between the lines... that was fun. And I guess it turned out pretty well... and daaaark. Haha.

Jeremy: Lastly, Alex, you have been very kind in signing a copy of the All Too Human vinyl for Heavy Planet to give away in competition as part of Stargun Music's first year anniversary. Would you like to give a shout out or any thanks to anyone?

Alex: I think I'll have to be a little general here, since it's too many bands and people that I'd love to name, so: Thanks to all of you out there who keep doing that badass music that keeps inspiring the hell out of me! And of course, there's one to the labels that keep hitting me up with awesome stuff! By this, thanks to Scott at Small Stone Records, Steffen and Thorsten at High Roller Records and not to forget you, Jeremy, and Ross at Stargun Music! It's a pleasure to work with you! Thanks for digging what I do!

Jeremy: Just keep up the good work! Thanks for your time!

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So there you have it straight from the Maestro's lips. One point not touched upon in the interview that I have subsequently discovered in short discussions with Alex is that the medium he uses is a bitmap software such as PhotoShop, PhotoPaint, or GIMP. I don't know which product he uses, but his awesome paintings, that look as though they would smear if you touched one, was created on a computer. To me, an old school wannabe, that is quite impressive. To most of you, though, it may be what you would expect in a digital world. It's proof again that digital tools can enhance the world we live in, for in this case it allows a brilliant imagination such as Alex' to be quite prolific without wasted efforts from more organic mediums. To highlight his process, below is a jpg file of the steps he took when creating "All Too Human". All too cool.

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As a salute to Alex' work and to Heavy Planets' loyal readers we are offering a special giveaway to commemorate this milestone. To the first person who can name the 5 albums in Nuclear Dog's Top 20 Albums of 2012 (here) that were painted by Alex von Wieding we will send to you a signed vinyl copy of Enos' "All Too Human", signed by the cover artist himself. For the next 5 who get the list correctly we will send to you a copy of Stargun Music's awesome compilation CD "Sonic Titans", which has an incredible cover by Alex as well.

Please send your responses along with your name and postal mailing address to the following email:

gunnerkee19@gmail.com

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Please take the time to enjoy Larman Clamor's "Frogs", an incredible romp of stoner psychedelic fun and imagination. Is there anything Alex can't do artistically? And do it exceptionally well?

<a href="http://larmanclamor.bandcamp.com/album/frogs">Frogs by Larman Clamor</a>

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