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BRANT BJORK - "LOCAL ANGEL"
COLOUR HAZE - "S/T"
ELECTRIC MAGMA - "KARAOKE BITCH SLAP"
ENTOMBED - "UNREAL ESTATE"
HERMANO - "DARE I SAY..."
THE HIDDEN HAND - "MOTHER TEACHER DESTROYER"
HOT N' STEAMY MONKEYLOVE - "S/T"
>>MORE ROADBURN PICS: Pt.II | Pt.III
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BRANT BJORK
"LOCAL ANGEL" [ CD/LP - Duna Records ]
For some strange reason, the prospect of reviewing this CD haunted me. That's not to say "Local Angel" isn't a
very pleasurable listening experience.
Perhaps this fear lies in the fact that as time passes I might grow
bored of Brant Bjork's music. It truly is hard to believe that this is the man who was
once the living incarnation of Animal from the Muppets. Be that as it may, Brant has taken the
alternate route and consistently delivers his own personal brand of 'Chill.' "Local Angel" is
yet another chapter.
Musically, there really isn't all that much to digest. No fancy wordplay or thesaurus-abuse is needed to
review it. But, that's okay. It is quite obvious that that's not what this man is going for. This
is not a fancy album. All the instrumentation is kept to a minimum.
There are songs that induce head bobbing. There are slower songs that will get her into your bed
in no time! There are light-hearted lyrics. In rather a ballsy move, there is a Hendrix
cover -and it's done Brant Bjork style.
Most importantly, though, is this record's overall relaxed vibe. "Local Angel", like most [if not all] of
Brant's solo work, is the perfect music to play when hanging with a handful of good people -These simple
tunes keep the conversations going. When listened to by yourself, "Local Angel" eases the burden of
everyday life and sooths the troubled soul. Whatever the occasion may be, this album is very
nifty to have on hand.
However, is my hope that the next Brant Bjork release will have some PIZZAZ! VAVOOM! ZING! Brant, I love
you, but would it be too much to ask if you put a little more of that good 'ol fashioned Brant Bjork horsepower
into your next release? While everything you're doing now is noble, honest and thoroughly
enjoyable, I'd just hate to see you paint yourself into a dull, boring and nonchalant
corner. Love,
dr.jones
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COLOUR HAZE
"S/T" [ CD - Elektrohasch Records ]
Germany's Colour Haze are true masters of their form. This comes through in their skillful use of
dynamics, top-notch musicianship, and honest-to-god passion that these fellas pour into their music. It is this
display of excellent musicianship combined with damn good songwriting that makes this
release such a glorious escape.
I humbly suggest listening to this disc with a pair of big, cushy headphones for
two reasons:
1. The production calls for it. While there are many louder, fuzzier portions of the
album, the quieter, acoustic parts demand a direct connection to the gray matter. The DYNAMICS of this
album will not have its full effect when there is space in-between the
speakers and the listener.
With headphones, that up-close-and-personal feeling is there during all of the
mellow sections. The acoustics are crisp and fresh. The vibration of the un-played
snare drum, and the hum of muted amplifiers help create the feeling of presence during
the softer parts.
Then, of course, there are the fuller, fuzzier portions; without its contrasting
segments/songs, the loudness would be irrelevant -There would honestly be no appropriate
place for it.
Loudness doesn't necessarily need to be heard through headphones, but it seems
more logical to just leave the damn things on your melon the entire time. Even at that, without
headphones it could be easy to miss the modest guitar effects that swirl around
during the times of heavy amplification.
2. While the music is tastefully executed and perfectly recorded/mixed, there is an
overall sense of [for lack of a better word] belonging. There is no aural distance. None of this
album is FORCED onto the listener. It takes us back to a time in Rock 'n Roll history when being
balls out didn't matter. This in no way suggests that the "S/T" release isn't engaging. To play
with such intensity without being overbearing shows true talent.
There is a fantastic connection between band and listener. Throw your hands into the air with
sweet rejoice! Colour Haze's "S/T" instills the sound of hope, happiness and prosperity to all
who listen. You dig?
dr.jones
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ELECTRIC MAGMA
"KAROKE BITCH SLAP" [ CD - Self Released ]
Now I think it would be fair to say that it is quite rare for a CD to come unbidden
through the mail that turns out to be of any great interest –generally listening to unsolicited
albums can be a vexing way to begin the day. I wouldn't be alone in stating the fact that the
phrase 'Stoner Rock' has long since slipped into being a pejorative expression, one generally preceded
by a derisory leer...
To start with they have two glaringly negative strikes: A) they are instrumental, this can be
tricky, and very few bands generate enough electricity to keep a listener hooked sans vocalist. But sometimes, this
being one of those glorious exceptions the exclusion of a leather voiced ape braying all over the riffs
can be a mighty boon.
B) And the name, fuck's sake!!! Electric Magma... I don't like to admit this, but I almost didn't play
their album due to this decidedly anachronistic moniker [I'm not proud of this, but to sound like a
rejected Amon Duul song title may not be that solid an idea in the year OF OUR
SATAN 2004]. BUT, and it's the kind of big proud, that would make a bovine Italian
mama proud, 'Electric Magma' might just prove an exception to the rule...
As soon as "Karaoke Bitch Slap" [Kudos for the amusing album title tho', chaps!] was ingested into
my CD, the sound that belched out was quite simply fucking amazing... not amazing original, but amazing
in the sense of 'you can't keep your freakin ass still', which is a problem when you are trying
to convey your thoughts on their music!
Again, I must slip into crude vernacular as this fucker rocks harder than a Titanium Gibson SG!!! One thing
that is glaringly apparent is the sheer width of sound, thin, reedy and ineffectual are not words
in the Electric Magma's sonic cannon, whereas as gargantuan, monolithic, spring pretty much
to the foreground, ultimately aping the simplistic, bludgeoning dynamism of their resin fuelled music.
While another classic album had the title of "Super Fuzz Big Muff", such a disclaimer could also be said
of "Karaoke Bitch Slap" as the bass and lead guitar tone is so gloriously fuzzy it is the auditory
equivalent of having your earholes fist fucked by King Kong!
Quite frankly everything about this disc is so enormous that it actually struck me as amusing
that all that sublime noise could be reduced to series of binary codes. In this case big is most
definitely beautiful!
Admitttedly there is not much to differentiate between each track, and Electric Magma don't do
subtle, that said while I'm all for envelope pushing I also feel that rock can be at it's most
addictive and compulsive when it is stripped down to it's two main ingredients, ROCK & ROLL!
A few words on the incredibly warm and organic sounding production, which I have to say is
rendered quite magnificently by Rob Sanzo... to be honest when analogue recording like this are so
well utilized you begin to question the validity of digital technology... the sounds generated
by, Tim [Guitars], Tryg [bass] Tom [Drums] are so natural and uncontrived as to be almost
liquid, as their wildly heavy, psycho-delic riff goo erupts from you speakers
like...'cough' Electric Magma!!!
"Karaoke Bitch Slap" is a supremely good time 'Stoner Rock' album, and let's face it amusement is rock
music’s most noble attribute. The band are clearly aware of their musical brethren, past
and present and Electric magma distill a heavy moonshine that’s equal part
Dozer, Fu Manchu, Low Rider, Los Natas, and the majestic KYUSS!!
I for one genuinely think Electric Magma deserve a much larger audience outside of a
balding, bearded, ale sodden, heavy metal scribe such as myself... Leave your 'Stoner Rock' prejudices at
the door, grow out yer chin whiskers, manufacture a suitably adolescent bong... INHALE! and affect a
suitably ridiculous stance and rock out like it's 1991... or, er..1974!
Using my idiosyncratic stance rating I will give Electric Magma's "Karaoke Bitch Slap" a Maximum
stance rating.
Zero stance: Phil Collins, The Darkness etc
Medium Stance: The Datsuns, Karma to Burn
Maximum Stance: Kyuss, Orange Goblin, Black Sabbath, U.F.O, THE FUCKIN’ NUGE! etc.
jason
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ENTOMBED
"UNREAL ESTATE" [ CD - Threeman Records ]
There are some metal bands that I simply have a soft spot for and Entombed are one of them. I can still
remember the giddy excitement of hearing "Left Hand Path" for the first time all those years
ago, and while their subsequent releases never really generated a comparable buzz, they nonetheless
do all have one thing in common, MONSTROUS HEAVINESS... Love 'em or loathe 'em!!!
Entombed do grandiose heavy with aplomb... and after the stripped down, "Inferno" album Entombed return
with "Unreal Estate", a thunderous live CD, and if you like guitars the size of Mount
Rushmore you just might just dig this.
In 2001 Entombed embarked on a radical musical venture, which might well have come across as
being a tad ill conceived, to perform their abrasive death 'n Roll along with the Stockholm
Royal Ballet company and "Unreal Estate" is the splendidly dynamic result.
This initially bizarre pairing has proven to be a most worthy enterprise, as upon first listen
you can’t help but marvel at the crispness and low-end ferocity of the recording. It's quite magnificent
and packs a seismic heavy metal punch of some considerable impact... after a gloriously gothic and
atmospheric piano intro the band lay waste to the auditoria with a gonzoid version of 'Chief Rebel Angel' a
canny, and potent opening gambit as by the end of said track you are hooked
from both ends and more than a little bruised by the rhythmic ferocity of Entombed’s clearly reinvigorated
playing.
If you had ever questioned the validity of this band then "Unreal Estate" is indelible proof that
they generate infinitely more girth per power chord than many of their more lauded
contemporaries, and if extreme guitar sounds could be given an Oscar... that Oscar should unequivocally
go to 'Wall of Pound' on "Unreal Estate."
I might be repeating myself but this is some heavy tunage... big on guitars, big on vocals, goddammit
this whole shindig is... B...I...G!
So, it comes as absolute ly no surprise after reaching the conclusion of this fine heavy metal
album that both Entombed and the Royal Stokholm Ballet company were afforded a frenzied standing
ovation [apparently the longest and heartiest since the 1950’s, HUZZAH!].
The clincher for me, as if there really needed to be one is their gutsy interpretation
of Roky Erickson’s sublime 'Night of The Vampire', as this song NEEDED to be covered and
Entombed do it rather handsomely. It’s a fucking riff crunching monster and hands down the
glowing highlight of an already effervescent album... cor, I nearly wore my repeat button down
to a ruptured nubbin on that track.
On a personal note one of my favourite Entombed tracks of recent years, the gargantuan 'Something Out of
Nothing'is mouth watering and the uber savage riff breakdown is quite frankly a danger to the
public, so if you have thin walls or thinner neighbours both will suffer under the rotund
weight of "Unreal Estate", and how can you fuck with an album that ends with an extended
re-working of the Phantasm title music? Frankly you can’t.
To this rock-crazed hack, Entombed remain one of the giants of metal, a band who constantly renew my
faith in the greatest musical genre of all time... HEAVY FUCKING METAAAAAAAAAAAL!
Entombed fans both old and new should be in apoplexy at the pristine quality of both the
production and fiery virility with which Entombed hammer out their monolithic
metal.
Lumme, I might just have to mash myself up a steaming cup of Nut Brown tea after all this excitement.
jason
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HERMANO
"DARE I SAY..." [ CD - Suburban Records ]
Hermano's follow up to 2002's "Only A Suggestion" is a surprising album in
many ways. Not only is this album better than their debut, "Dare I Say..."
marks the 'real' return of John Garcia. After Sloburn imploded and Unida
saw a complete record disappear into the vaults of their former label,
it is only now that the ex-Kyuss vocalist can really say what he wants
to say.
"Only A Suggestion" was perhaps made too quickly. Guitarists Mike Callahan
[Disengage] and David Angstrom [Supafuzz], drummer Steve Earle
[ex-Afghan Whigs] and founder and bass player Steve Dandy Brown weren't
as tight as their loose, bluesy rock should sound. The album generated
some great reviews, but couldn't compete with the raw energy of Garcia's
former work.
Now it's four years later ["Only A Suggestion" was recorded in 2000] and
Hermano have completed tours of America and Europe. The roadwork paid
off in both tighter musicianship and stronger songwriting.
Take opener "Cowboy's Suck." You'll never forget the man after hearing
this track. It has powerful verses and a surprisingly emotional Garcia
singing through crackling sound effects in the middle section.
"Roll Over" is based on very simple guitar riffs which works just fine for
this kind of music. This song sounds like Chris Goss from
Masters of Reality came walking into the studio and picked up a guitar.
"Quite Fucked" does exactly what the title says. Great to hear some
cranked up rock 'n roll in the tradition of the Stooges and the Sex
Pistols [do I hear the riff of "Pretty Vacant"?] which displays
Hermano's love for rock 'n roll. The overall tone of "Dare I Say..." is more
in your face than their debut, thanks to outstanding drumwork and rough
vocals.
"Is This OK?" became my instant favorite because of it's twisted QOTSA
riff and subtle harmonies. It is perhaps the most commercial song on the
record, but a good songs is a good song and when it works, it just
works.
"Brother Bjork" is one of the more emotional songs on this album.
The main riff has a Black Sabbath vibe and Garcia spits out his words
with a creepy sort of hate. Whether the song is about former band mate
Brant Bjork will be on many journalists' question lists when Garcia will
be available for interviews.
Dandy Brown's love for the desert can be felt through "On The Desert" while "My Boy" sounds
like a lesson in growing up. The punk rock of "Angry American" shows that this record had
little to do with the bluesy grooves of John Garcia's former bands and
show Hermano's love for early punk rock.
"Murder One" is certainly one of the less muscular songs on "Dare I Say..." but the tension
between the acoustic Spanish guitars and Garcia's sarcastic lyrics
creates a nice contrast.
John Garcia is back thanks to Dandy Brown, his songwriting, and the
backing of some fine musicians who learnt to work together rather than
just record the songs Dandy wrote. In my humble opinion one of the best
records available this year.
xander77
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THE HIDDEN HAND
"MOTHER TEACHER DESTROYER" [ CD - Exile On Mainstream Records/Southern Lord ]
jason sez: Well after what seems like not very much time at all the latest offering from The Hidden
Hand is upon us, and being a HUGE fan of both Wino and The Hidden Hand's stunning debut I was more than a
little jazzed about checking this out. But where "Divine Propaganda" took fuzzed out melodic doom, and cranked
up the bellicose psychedelia to ear splitting volumes, "Mother Teacher Destroyer" is a more delicate
exploration.
While there is a dearth of meaty doom riffs here, their timid replacements are a
none too unwelcome 'progressive' sound and while it's not really close to King Crimson or
Traffic etc, it's mining a similar, less abrasive sonic seam. There are no guitar pyrotechnics
on "Mother..." which will no doubt divide folk as to how interesting this latest
Hidden Hand platter is.
This is clearly a more reflective, loose, Jam-orientated and psychedelic outing for The
Hidden Hand trio. Fortunately Wino still has a most sublime, warm and lethal Les Paul fuzz-tone but
his abrasive attack has been tempered [on a personal note the political diatribes have
also been toned down on this album which is a bonus, while I find his musical talent to be
truly inspirational I am nonplussed about the conspiratorial ranting].
This album won't get the adrenalin pumping or urge the body into an abandoned head banging
stance, but what it will do is serve as a thick, syrupy, psychedelic backdrop to
an evening's introspection, and the experience will be heightened immeasurably
by ingesting a powerful cocktail of drugs and alcohol.
Sadly this album left me feeling indifferent as the obvious negation of guitar insanity and
delicious doom breakdowns has the once brawny Hidden Hand sound a little to lean for my
tastes. While this isn't a poor album, it's just quite frankly a little to 'loose' to hold one's
interest for an entire sitting. My attention started to wonder by track 8...
Essential for die hard Wino completists and progressive rock junkies, but doom heads or fans
of "Divine Propaganda" might feel a little disappointed by the dearth of bombast on display here.
The sad thing is "Mother Teacher Destroyer" won't break any new ground for the band or
encourage any new fans into the fold, which is a darn shame as they are one of the
finest live acts working today. I just wish a bit more of the live dementia had made it's way
into the studio.
That said for a slightly anodyne album it does contain one of the greatest songs Wino has ever
written, 'Magdalene' - while it is a stretch to say that it's worth buying the album for this
track alone... this wonderful track really does to deserve to be heard by considerably more people
that will check out "Mother Teacher Destroyer" while it truly does go against
my grain to be so nonplussed by a Wino album...
My advice would be to listen to a friend's copy first, and see if 'The Hidden Hand-lite' satisfies – BUT, I shall
be putting, 'Magdalene' on my next mix CD.
Overall the musicianship remains top notch, with a suitably analogue mix, generating some
wild and woolly 70's sounds –those who favour a more Steve Hillage approach to rock will
find much to enjoy.
The doom Kraken awakes albeit very briefly during track, 11 ['The Deprogramming of Tom Delay'] –and a
wonderfully girthsome riff snakes gleefully out of the speakers and grabs you momentarily in
a tight, murderous grip... 'Black Ribbon' and 'Magdalene' are clearly the albums highlights, and some of
the toughest psychedelia I have heard in a long time, but I shall be getting my doom-rock teachings
from elsewhere.
Stance Rating: Medium!
frank wombat sez: "Mother Teatcher Destroyer", the new album from The Hidden Hand reminds me
of [and will surely turn into one of] my favorite albums of all time.
That sentiment is manifested in a couple of different ways. Firstly, I didn't really like
it the first time I heard it, and with me thats always a good sign of deep grooves and
staying power. Those are the albums I end up listening to for YEARS!
Secondly, it's quite a sonic stew. Lots of styles churned together on this one... it's almost
psychedelic in places, treating us to a wide variety of heavy sounds. Lastly, it looks fantastic. The
cover art by John Baumann is intense and eye catching.
Recorded and mixed by J Robbins, "Mother Teatcher Destroyer" is the kind of work that
really rewards repeated listening. It's dynamic with complex sonic arrangements. It has a
great warm, heavy sound. The most obvious difference Robbins makes to Hidden Hand releases
is the drum sound. It's quite solid and up front.
The next most remarkable change is the abundance of different guitar tones, everything from
Beatles-like harmonies to twisted acidic doom guitar solos. From fat,distorto heavy
riffs to shimmering acoustic guitar flourishes.
Another nice touch on this album is the use of more acoustic guitars. It borders on
experimental, but you can still hear the heaviness in those riffs.
The first song "The Crossing" starts things off with an abrasive, almost weird, punk ]
riff that turns into a solid rock of doom. Sick, sick Wino leads in this song, thats for sure!
By the second song "Half Mast" we get into the first of the heavy, deep sonics this album is
so full of. Acoustic guitars blend well with slightly treated vocals by WINO... this is wild-west stoner
rock, people!
Two instrumentals appear on this album. The first "Draco Vibration" is a trip, for
real! Delayed, repetitive guitar lines make for some crazy riffs built
upon a solid pulsating drum beat from Dave Hennessy. This song leads quite well into
the next,"Black Ribbon", a dark and swirling mass that turns into quite a stomper of a
riff. Spirited vocals from Bruce Falkinburg are featured on this track.
Songs like "Magdalene" and the late instrumental piece, "The Deprogramming of Tom Delay" really show the
advancement from the first full length effort "Divine Propaganda." More experimental, yet still
uncompromisingly heavy.
The track "Travesty as Usual" has a strong and immediate vocal by Wino, but to me, it's highlight is
the 'drill thru the head' guitar tone in the solo and accompanying rhythm tracks.
There is one pedal Wino built that I've seen him use live, a small metal switching box with a
butterfly on its front. When he steps on that thing, it sounds and feels as if the guitars
boring a hole through your skull to a point in your brain where both stereophonic
channels connect to cause total cranial meltdown. That sound has never been accurately produced on a
recording, but live it leaves one slackjawed and wobbly-kneed. But, on this album, there it is, in all
its sonic glory. In headphones, it just plain rips!
There are plenty of outstanding riffs and guitar work from Wino on this record. This is the best
representation of his mastery of sonics and guitar effects of his entire career. And his vocals... if
anyone reading this remembers the songs he did with Italian doom guru Paul Chain, they hinted at this
more melodic style of singing. "Coffin Lily" is a good example, it's a total change
from most of his previous work. Lyrical subject matter has also taken on a more mystical, spiritually
introspective tone on this album.
"Mother Teatcher Destroyer" comes closer to sounding like Wino relaxed at home, working on
riffs, than any other work I remember from him. And vocally, it's a noticable step up for the
band. It sounds strong yet not forced. Comparing it to past work, its definitely a
cut above.
Bassist Bruce Falkinburg has really gotten ahold of his vocal power
and style, and it really comes through sounding good. Also, the harmonies with
Wino are a lot stronger.
For me, this has to be considered for album of the year with UFOMAMMUT's "SnailKing."
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HOT N’ STEAMY MONKEYLOVE
"S/T" [ CD - Deadlock Records ]
When I first got this disc I wasn't aware of the band's actual moniker as the promo CD
cover was emblazoned with, HSML, but the clue that I might dig on the riff-blast within
was the artwork, a gloriously lurid graphic of hell raisin' skeleton bikers. An image I can get
with... so what of the tunes?
In medical terms this album has the vicious immediacy of a brain embolism, as a millisecond
after your CD's laser connects with the disc your speakers erupt in a most terrifying
cacophony, which is in every way analogous to a terminal seizure... while I abhor any reactionary
warnings slapped erroneously onto CD sleeves, I for one would have welcomed a little
disclaimer this time along the lines of "HOLY COW FUCKS THIS ALBUM IS CHARLIE MANSON MEAN, AND IT'S GONNA
CREEPY CRAWL ALL OVER YOUR SKULL PLATE AND RIP OUT YOUR SHIT PIPES LIKE A
MEAT PINYATTA!"
Yes, folks, Holland's Hot N' Steamy Monkeylove excrete a bellicose metaloid genre all of
it’s own; crust-D-punk-sludge-N'Roll. Not since Black Eye Riot's debut have I heard such a ballistic
discharge of Riff insanity.
Reverend Davy [vox], Grizzly Rob [guitars, Boris Janssen [bass], Willem-Jan Kneepkens [guitars] and
Rob Nabbe [drums] create a formidable noise and to plagiarise one of their own
samples [from the excellent documentary "Dog Town and Z-Boys"] Hot N' steamy Monkeylove excel in
symbiotic disharmony, AND THEN SOME, BUDDY!!!
>From the blistering opening salvo of "The Good, The Stabbed and The Strangled" to the final
track "Dead Wonderland" HSML play with such undiluted ferocity I actually trembled at the
thought of their live interpretations of this album!!! "EEK!!!"
While HSML share similarly destruct-O dynamics such as Iron Monkey, Mistress, Entombed, Fistula, Brainoil
etc they infuse their seething riff cauldron with some white-hot Discharge velocity, and it is this
seemingly anomalous grafting of subterranean sludge grooves with blitzkrieg punk which
gives Hot N' Steamy Monkeylove a truly original and formidable take on the
sometimes turgid sludge-core recipe.
Not since Andy Sneap's chaotically thick and heavy mix on Iron Monkey's classic "Our Problem" album have
low-geared guitars sounded so dense and threatening... this album will tear your eyes off
and poke two ragged holes right into the delicate folds of your terrified cerebellum
This is one of those rare releases that actually has an insidious ability to sap your
vitality, as after listing to the album numerous times I had to reinvigorate myself with powerful
libations.
PHEW!
HSML "S/T" is an adrenalized tour de-maximum force from start to finish and I for one will be
digging it out with much regularity over the coming months, and while listening to/reviewing music is a
sedentary existence, when albums are as belligerent as this it can still prove to be
an unsettling one!
jason
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