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COLOUR HAZE - "LOS SOUNDS DE KRAUTS"
FATSO JETSON - "CRUEL & DELICIOUS"
HELIOS CREED - "SPIDER PROPHECY"
SANTERIA - "HOUSE OF THE DYING SUN"
>>MORE ROADBURN PICS: Part 2
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COLOUR HAZE
"LOS SOUNDS DE KRAUTS" [ 2CD/2LP - Nasoni Records ]
Some 30 years ago there was a very vivid and progressive experimental rock scene in Germany. Bands were always
on the look out for a new musical approach. Epitomizing this approach were bands like Amon Düul, Ashra Temple
and Can, but there were also some lesser known groups like Gäa, Wallenstein and Guru Guru that
were pushing the boundaries as well.
Their psychedelic space rock songs with long, drawn out and often improvised sections were the epitome of the era which spawned the Kraut rock legend.
If Stefan Koglek and his fellow musicians lived back then, they would definitely be a part of the underground
vanguard, coz' Colour Haze' latest offering, "Los Sounds De Krauts" can easily stand next to classics
like Can's "Tago Mago"' and Amon Duul II's "Yeti."
Don't expect "Los Sounds De Krauts" to be a carbon copy of classic Kraut rock, though. It's just the overall
feel of the record that puts it in this direction. It's epic for sure, with extended and ultra-psychedelic
songs, but there' s also a very strong Hendrix feel in both the guitar playing and the overall sound.
This is especially evident in drummer Manfred who seems heavily influenced by Mitch Mitchell.
You'll also hear the almost inevitable Sky Valley-era Kyuss influence, but the similair and very subtle
guitar-tones, sexy swing and large amounts of soul' are integrated so well, it sounds like it's Colour Haze'
second nature. It has a very natural flow to it which makes it just as addictive as the similarly organic Kyuss
and Los Natas.
Next to the jammed out psych parts, the album also contains some short and catchy tunes with the very
distincive voice of Koglek on top of it. His vocal-qualities are almost above imagination, and his German-accent
isn't distracting at all. It just adds even more identity to Colour Haze and their already recognizable sound.
The overall production is very clear, warm, spontaneous and multi-layered. The only fault could be that the
guitars are a little too much in the forefront. Yet they are rich in variety, sounding very vintage '70s, and
there are tiny additions of Rhodes piano and Hammond organ to give it extra texture.
This record seems to grow on me more every time I put it on. It has an immeasurable depth to it, which makes
it an unpredictable 90 minute trip full of twists and turns. I would imagine it to be essential for every
serious music lover and it deserves the attention of any fans of modern heavy rock or psychedelic Kraut rock.
matthijs.
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FATSO JETSON
"CRUEL & DELICIOUS" [ CD - RekordsRekords ]
One of the most consistently adventurous and entertaining desert rock bands of the last
ten years, Fatso Jetson release their first new album since 1999's "Toasted." What a pleasure it is!
Showing more maturity than previous releases, Fatso Jetson have made an album that maintains interest and
musical integrity without resorting to being obtuse and difficult. The various styles come
and go but never sound forced.
This record stands up to repeated listens. Like Brant Bjork on "Jalamanta", Fatso manage to capture the
flow of the desert, but instead of just going with that groove for the length of the album, they expound
on it in many different ways. Sometimes they go completely against the grain just to
emphasize when they are in the pocket.
Other times the flow is there, but the heaviness of the instrumentation obscures it. The feeling is undeniable
over the course of the whole record though.
This is real desert rock. You hear the cross-breeding of Mario Lalli and Josh Homme, making it clear
that Palm Desert is a place to grow interesting guitarists and bands.
The production quality on this release is the most polished of Fatso Jetson's career. It's a real treat to
hear great musicians sounding great. Well-mixed and well-mastered, this album sounds full and
smooth. Whether you're a long-time fan or just discovering them, this will be a satisfying listen.
drew
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HELIOS CREED
"SPIDER PROPHECY" [ CD - Dossier Records ]
Crawling out from a cave in the Mexican highlands after a week long peyote voyage, I squinted against the
hard sun and wondered how my head could possibly hold so much pain. The psychedelics had not worn off completely
and I hallucinated faceless slithering things in the dark recesses of my vision.
As I began to gather my thoughts [or did they begin to gather me?], I heard a distant throb from further up the
arroyo. It slowly aligned itself with my heartbeat and I sensed that it was deeply elemental and
organic despite it's mechanical sound. Compelled, unable to resist, I slowly and painfully dragged myself to
my feet and began moving.
The arroyo kept mutating confusingly, at times appearing like the twisted living roots of some great mountain, and
at other times offering the jagged sharded landscape of lava flows. Unsteady as I was, the going was difficult
and the distant throb was deeply unsettling. More sounds were appearing in the corners of my mind, origin unkown
but definitely there.
Distorted electric guitar drifted in and out of my consciousness echoing the mutating landscape. As I drew
closer to the source of the throbbing, a broken mirror appeared in my mind, reflecting sounds instead
of light. Different sounds came from each shard -- some were new wave/punk beats, others were droning krautrock
basslines, others still were hosts of strange mutants gibbering wildly [or maybe that was drugs?].
The broken mirror and the guitar sounds from the landscape somehow began to fuse together into a new locus which
was both internal and external at the same time. I became a spaceman encapsulated in a bubble that was filled
with music.
My vision was now slipping back into fluid hallucination, even as my consciousness seemed
to solidify and organize. I rode into the bubble listening to the sounds over a high mountain pass
and saw a lush valley below. Suddenly, I heard a voice clearly say, "Welcome to Helios Creed".
drew
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SANTERIA
"HOUSE OF THE DYING SUN" [CD - Golar Wash Labs ]
>From the beginning of the first track,"High and Rising", it becomes apparent that The new Santeria CD rocks like
hell, and by the closing strains of the finale "Zixox", it becomes apparent this is a band of many shades, capable
of stylistic twists, shifts in dynamics, and producing very special records.
Ghosttown, Louisiana, is the home of Santeria, and these native sons have served up quite a platter on this, their
third full length. Produced by Tony Daigle, who has worked with BB King, and Boozoo Chavis, along with a whole
slew of Cajun and Creole artists native to Southern Louisiana. He has earned numerous grammy awards, including
two this past year.
Tony has done a superb job on this production, along with Santeria guitarist Primo. This CD is a fine example
of sonic orchestration. Tony has retained the band's power, but also brought the blues and country influences
more to the forefront. Driven by a strong, up-front drum sound, these songs flow from hard rock, into slow
blues, back into country rock swing, but never step too far away from their dark, hard rock roots.
Another high point for the band are the lyrics of vocalist/guitarist Dege Legg. Sounding uniquely like
himself, Truth drips from the webs he weaves, the desperation comes through clearly, as does the sheer joy of
life. Spinning tales of hotel rooms, broken dreams, crazed women, disappointments and a general life
of hellraising, Legg's experiences form the ballast of this CD.
Tracks like "Morningfall" or "Strung Out On A Dream" sound to me like they could be outtakes from
an "Exile on Main Street" Session. There is an apparent dark vibe, but a rich reward of bluesy riffs
steeped in visceral living is more pervasive.
The djembe and assorted percussion of Rob Rushing adds a unique flavor to many of the beats in these
songs. He's best heard on the closer "Zixox", which tells of an evening spent by the frog-filled
bayous, punctuated with slowly approaching ghostly hippie drums.
Opening with an eerie coda on slide guitar and piano, it unfolds into all that is Santeria; strong melody
building in power, with beautiful guitar interplay between Dege and Primo, A long jam, and finally the
closing with a bit of dobro from Dege.
Many listeners will gain a new understanding of the word 'heavy' from some of these tracks, for the blues
influence is as undeniable in the lyrics, as are the metal influence in the melodies. Opening track "High
and Rising" displays some serious hard rock punch, and "Deathtrip" starts out pounding, but ends in a flourish of
country inspired, yet still heavy riffs.
Another facet to the Santeria gem is their country side. "Hellbent Woman Blues" is a straight up
country rave-up about the wackiness of a crazed relationship. Think Fred McDowell on too much tequila.
Many of the songs are built around acoustic riffs, but with such incredible production, the end result is
seriously heavy, in a lot of different ways. Great drums from Krishna, very up front and in the pocket, dominate
every track on this CD. Jay's bass guitar is tight and right on time and in the right spot in the mix, never
faltering and always holding down a solid groove.
The guitar work of Primo, in particular, is fantastic on this disc.
One minute he's playing screaming melody lines, the next a flourish of pedal steel or slide. The production
is like a work of art in itself. The dynamics achieved in the studio should, hopefully, set a new precedent for
records we hear coming into this genre.
I can hear the South all over this CD. In so many ways. If you are thinking that because Santeria hail
from Louisisna, that these guys sound anything like the NOLA sludge we've come to know from
Acid Bath/Eyehategod/Soilent Green/Crowbar/Down etc., these guys will surprise you. They have far more
dynamics and stylistic influences showing through than most of their state brethren.
Really, from what I can hear, they sound like NO ONE else, and that's refreshing and exciting. I would call
Deadboy & The ElephantMen artistically and sonically closer to Santeria than anyone else from the NOLA scene.
A lot of Santeria's magic is in the vibe they achieve. If you are a fan of music performed with
passion and sincerity, with depth of soul and much care and thought put into the production, Santeria's House
of The Dying Sun is a CD you need to get, and spend some time getting to know.
wombat
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