Between Darfur, Iraq, Kyrgystan, Lebanon, Terry Schiavo, The Pope, earthquakes in
Indonesia, the London blasts and a myriad of other events, things are pretty heavy in the world. Very
heavy. The best thing I can think of is to indulge in some heavy escapism.
The Blood Farmers' "Permanent
Brain Damage" offers that in a big way. Very big.
The beauty of The Blood Farmers is that they bring an almost-campy horror movie
aesthetic to their swirling doom. They take their name from "Invasion of the Blood
Farmers," they use horror movie samples and the booklet is covered in pictures
from "I Drink Your Blood." This type of menacing-but-still-entertaining vibe
works enormously well for them as it did for Sabbath, Pentagram and Electric Wizard.
Notice that this puts them in some good company. Very good.
The Blood Farmers are at their best on stonking head bangers like "Bullet in my
Head", which combines relentless riffing with raging, psychedelic guitar workouts
courtesy of Dave Depraved. Though the record originally was recorded in 1991, it's
spirit comes from 1971 and Depraved certainly has paid homage to the metal masters
like Holden, Page, Iommi and Hendrix.
The other members of The Blood Farmers contribute a lot to the mix as well. Vocalist
Eli Brown has a dark, raspy voice that manages to sound heavy without resorting
to cookie-monster growling or operatic silliness.
Drummer Eli Jakob manages to split the difference between Bonham's thunderous methodical pounding
and Keith Moon's frenetic "lead drumming" fills. The mysterious Dr. Phibes does his best Geezer
Butler in staying heavy when Depraved is exploring the depths of inner space.
"Permanent Brain Damage" is a reissue [on Leafhound Records] of the long lost demo tape of the same
name. It has been remastered and adds a live track from 1996 for good measure. This is more than a welcome
reissue of a long lost demo of a cool band. This is music you need. Right now -more embalming music down below in
our comprehensive, Summer 2005, review section.
drew
ACID KING - "III"
Small Stone Records
Triumphantly return from San Francisco-based
riff-overlords.
HAIL! The King returns! Brace thyself, for the kingdom of amplitude is leader-less no more. After a turbulent
five-year absence, the time has come for Acid King to triumphantly re-establish themselves as the overlords
of thriving, life-giving riffs. Kneel at the passing and bow your head in humility, for your
wait is over!
With "III" bringing a fresh harvest of riffs, it is easy to selfishly indulge and expect swift
gratification. But that is not the way of the King. Your faith will be tested. You must not waver.
Take your time. Listen to it again. Only those who are faithful and patient will be rewarded by the true
bounty of this album.
Lose yourself in "III's" luscious atmospheres. Quench your never-ending lust for lumbering riffs in the
opening track "2 Wheel Nation." Your soul is sure to take flight riding on the winds of the well-crafted
chord progressions in the epic "War of the Mind." These are not just songs with banal downtuned
heaviness -Acid King is here to take your hand in allegiance, not overburden your already weary existence.
Like most of the band's previous releases, "III" uses
elegance and passion in its heaving euphoria. As the album progresses, be at peace in knowing that your
salvation from shit music has come.
Guy Pinhas, once again, proves that a bass guitar can make all the difference. The bass tones are
the glue that holds everything together. Joey Osbourne has more of a commanding presence, not just in quality
of sound but also in performance. He plays with more swing which truly adds to the album's vibe.
And, let us not omit the mastermind, Lori S. [what IS her last name, anyways?] It is ever apparent that
a lot of energy was put into these songs, and the proof is in the final product. However...
It's undeniable that female vocals compliment Acid King's music and sets them apart. Lori S. has the ability to
add the majestic, fundamental feeling that really makes the band something special. However, some vocal parts
lack much needed emphasis. Tonally, it's resonant and lucent, but there needs to be more
force, more diaphragm, more COMMAND, in the delivery. Far too often [though no fault of the band] the vocals
are pushed too far back into the mix. We, the legions of devoted, need a strong
voice to harken to.
To say that Acid King's 2nd full-length is deeper than just music. "III" is felt on a subconscious
level. Every passing second, every glorious downbeat possesses nothing but the purest of rapture.
Let us give thanks.
dr. jones
Lori S. speaks to Roadburn.
Acid King retruns after a 5 year recording hiatus, what took it so long to record the new album?
"It didn't take long to record the new record it just took a long time to get it together to write
new songs. We were plagued with personal issues / geographical issues with 1/3 of the band living
in another City 400 miles away and basically life just got in the way for a while. That and
Man's Ruin going under just put us out of business for a while."
What's the main part of Acid King? Is it a blistering guitar riff or the
brooding overall vibe?
"Hmmmmmmm, both but it does all stem from the guitar riff."
Any tour plans?
"We're going to Europe in October / November, our first trip across the ocean to play! And we're going to Japan in 2006 which we are
very psyched about, but as of now no other tour plans to speak of..."
Click here for Acid King's weblog.
AMPLIFIER - "S/T"
Spv
UK's lauded heavy
psych combo cranks up the psychedlic rock.
Amplifier live in their own world of mind-altering rock. While elements of God
Machine, Tool, Mogwai and some touches of Jane's Addiction can be heard in their sound [especially in the
overall vibe], the band is unique in their own right. Most tracks are over five minutes [topping at 8.29] but
the fact that we can still talk about real songs says a lot about the craftsmanship the band shows us
on this stunning debut. Distorted, rhythmic, melodic, romantic-yet-disturbed
and in the end exceptionally welcome. The beauty of Amplifier's full-length is that the influences
named are never on top of their music.
Work well done by this three-piece from England who interpret psychedelica just a little bit
different than all the others. According to British rock magazine Q this is the future of English
psychedelic rock. Hype you say? No, true.
xander77
ARTIMUS PYLEDRIVER - "S/T"
Buzzville Records
Hootn' 'n hollern' rednecks raisin' hell on this stunning album!
This is the real deal, right here: adrenalized, deep-fried southern metal. Plus, this is more than just
hard-nosed blues riffs, more than just typical, cheesy metal axe-work. Artimus Pyledriver delivers
an all-out frenzy of sandpaper vocals, strong rhythms and badass guitar assaults. And, most importantly, this
S/T release has an unrepentant, belligerent attitude capable of whipping even the tamest of nancy boys
into a full-throttle binge.
I honestly didn't think much of the album at first, but just like a swig of fine bourbon, giving it time
allows the hardcore madness to kick in. In fact, you will find yourself gradually increasing the volume -with
just cause, as the album demands to be played at intense levels. It's nice to hear band in touch with
their roots and embrace the fact that they're all a bunch of damn, dirty rednecks just lookin' to get
loaded and shoot at passing cars with pa's 12 gauge. This S/T release is Artimus
Pyledriver's invitation for us to join in on the good clean fun. But, you've gotta find
your own ride, because I'm already there, baby.
dr.jones
THE ATOMIC BITCHWAX - "3"
Meteorcity
Despite the loss of riffmeister Ed Mundell, ABW is still
going strong with their most accessible album to date.
Alternating between the explosive, stratosphere-scraping riff rock of their past and the angular
jazziness of Core, The Atomic Bitchwax deliver a stunning new album, called "3". Put out on Meteorcity
Records, "3" marks the debut of former Core-singer / guitarist Finn Ryan, who replaces
Monster Magnet's Ed Mundell.
Despite the loss of riffmaster Mundell, there are still riffs everywhere here, in all shapes and speeds. The new
Atomic Bitchwax riffs out hard rock, plain rock or the heavy 70's, but the addition of Ryan's ability to
sing [a smooth vocal delivery in addition to Chris Kosnik's manic howl] the riffs are now adding up to even
better songs. The band simply committed their best and most accessible songs yet to tape. It's a shift for The
Atomic Bitchwax, but the band's trademark chops remain unchanged: drug-laden, interstellar freak-outs, and
instrumental pyrotechnics -now they are even more listenable than ever.
walter
THE BASSHOLES - "S/T"
Dead Canary Records
First full-length in over 7 years from
punked-up, country blues duo.
The Bassholes, comprised of singer/guitarist Don Howland [of Gibson Brothers-fame] and Lamont
Thomas, have released their first full-length since 1998's "Long Way Blues." On their "S/T" album, The
Bassholes deal in stripped down, country blues played with a punk rock attitude, and it bridges the
gap between blues pioneers like Skip James or Lightnin' Hopkins and godfathers of punk like The Stooges.
It also reflects the raw power of The Germs and the straight ahead approach of the Ramones.
This is some serious music for a hell raisin' drinkin' binge down at the juke joint -it's a righteous salve for
tortured souls. A relief for the downtrodden. A balm for those with fevered brains. Amen. Let the healing
commence.
walter
BRANT BJORK & THE BROS - "SAVED BY MAGIC"
Duna Records
A classic double album chock-full of laid
back grooves and good times. And some reefer, too.
"Saved by Magic" is the latest album by Brant Bjork and, for all fans out there, it's doubly-good! Brant's
taken the unusual step of releasing this as a double album with well over an hour's breezy laid-back
pop-rock -influenced by the west coast bands of the late 60's and the rock groups of the early
70's. Both discs have a similar vibe rather than being split based on sound, following the classic
Brant approach of simple riffs, slightly Latin sounding percussion and laid-back vocals. A classic record
and just easy groovy listening.
A minor quibble might be that on the first few listens, a few tracks sound similar to others on
the album or, in the case of tracks like "Gonna Make the Pony Trot" they sound awfully like
tracks off earlier albums [such as "Low Desert Punk"]. However, taken as an overall groove, both discs
provide back-to-back great music ideal for cruising around in the summer sunshine. Another killer
release.
a.
BLACKLOUD - "6th 6th 6th" / "MYSTERIOUS WAVES"
Self Released
Lofi, acidic pop-rock sci-fi.
In his quest to levitate his own mind [and probably other peoples as well] with sense-altering sounds, Blackloud
augments his heavy psych with distorted bass, 80's drum computers [almost sounding like vintage casio
drum machines] and weird electronic oscillations.
Inspired by the likes of Chrome and Helios Creed, the material on these two albums ranges from lo-fi, screwed-up spacerock to lsd-influenced pop
rock to haunting, ambient soundscapes. There's also an early kinda-new-wave/80's industrial approach. All
the while Blackloud's lyrics swirl and revolve around sci-fi and alienation. Inspiring and highly original, both "6th 6th 6th" and "Mysterious Waves"will certainly please many
heads out there. Count me one of them.
walter
James 'BlackLoud' talks about his distinctive
musical approach:
"The sound of the recordings is a result of using solid body bass and acoustic bass for a rhythm / guitar sound
recorded over an early 80's drum machine on a mid 80's reel to reel 8-track. Vintage and newer effects were
used on pretty much everything. The only keyboards are on "Future Shock" off 6th 6th 6th.
"I wrote and recorded all of the songs within a 4 month period and they are reflective of what I was going
through personally and spiritually at the time although the lyrics / rhymes might seem nosensical to
most people.
"As far as the low-fi aesthetic is concerned, it was more out of necessity than by choice although they
would probably not exist at all if I waited to record them professionally or with a whole band."
BORGO PASS - "NERVOSA"
Loudbelly Music
Bringing out the angst-filled teenager in all of us.
Borgo Pass latest release, "Nervosa", reminds me alot of New Orleans sludge-meisters Down. Actually, I really
thought that I had put on their new album and was hearing them instead of Borgo Pass.
"Nervosa" is a combination of metal and sludge, and it's pretty heavy, just like Down. The guitar work is slick and the
drumming is hardcore, but vocals and the lyrics are nothing short of weak. Song titles like
"Follow Me To Nowhere" and "14 Days That Killed Me Slow" are some examples of this
cheesy and un-original element to a talented, able-bodied band. Having musical
influences is one thing, but to be a carbon copy of Phil Anselmo is another -if they would quit
trying so hard to emulate others, it would really benefit their talents.
dr.jones
CIRCULUS - "A LICK ON THE TIP OF AN ENVLOPE YET TO BE SENT"
Rise Above Records
Out of time London seven-piece offers
a unique, enchanted meeting of medieval and psychedelic acid folk.
UK's Rise Above Records has contrived a succesful way to market unique, analogue sounding doom bands
throughout the years -yet Circulus still stands out as an absolute marvel on Lee Dorrian's reknowned underground
label.Emerging from in and around the London area, this seven-piece band plays a unique firebrand style of
progressive, acid influenced folk-rock, and can't be compared to any of the bands on the label's roster.
Circulus debut album, called "The Lick On The Tip Of An Envlope Yet To Be Sent" presents a considerable
dynamic and stylistic range -from lyrical and pastoral-folk typified by 60's psychedelica and
progressive rock to medieval using all kind of old string instruments.
Throughout, the musicanship is really enchanting, and the album evokes the magical atmosphere of both England's mythical past and
the LSD freak-outs at swingin' London's legendary UFO-club. Circulus' debut album is certainly one
of a kind and a strong contender for album of the year.
walter
COWBOYS & ALIENS - "LANGUAGE OF SUPERSTARS"
Apache Productions
Cowboys & Aliens are back on the block with a very dynamic album that could be your
own personal [stoner]rock jukebox.
Belgium's very own Cowboys & Aliens return with their latest release "Language of Superstars" and the
band can no longer be dashed off being a Kyuss clone. "Language..." is a great listen, and it covers
alot more ground than just the desert. It ranges from diesel-reeking hardrock to the heavy 70's to
detroit rawk, without losing the thread of continuity.
Groove-laden and very satifying, Cowboys & Aliens serve up a much varied album, and whatever
you have a taste for in [stoner] rock, it's here.
dr jones
EARTHFLIGHT - "S/T"
Self Released
More turgid stonerrock from Germany.
Earthflight is a four piece band from Nuernberg, Germany. On this S/T demo, the band is fusing heavy
riffrock with some doom and even spacerock sensibilties. I don't want to write off the band or this
demo as standard riffrock fare, they put some obvious work into their recordings.
Boasting transparent production, the 4 track doesn't disappoint, but it doesn't quite
rise to the level it seeks either. Earthflight sounds a tad different by using several
atmospheric and spaced-out elements. It's just the average songwriting and the German-accent of
their singer that the keeps the band from breaking into an orbit of their own.
walter
ELECTRIC EELS SHOCK - "BEAT ME"
Demolition Records
Foot stompin' Japanese metallers dive into stonerrock territory.
Virtually unknown to most of the stonerrock scene, Japan's powerhouse trio Electric Eel Shock is an absolute
live marvel. Their gigs always end up in a melee of debauched metal and stonerrock gone bad; think of
Turbonegro covering Manowar or Queens of the Stone Age desperately trying to copy Judas Priest, think
of an all amps to eleven, powermetal axe-man playing a psychedelic groove, and you'll get
the idea of the band's on stage power, weirdness and fun-filled tunes.
With the release of their latest album, "Beat Me" all of this is succesfully smeared over songs like "I Can Hear The Sex
Noise", "Scream For Me" [coupling Iron Maiden's Running Free with 70's glam rock] , "Slow Down"
and "Don't Say Fuck." Although the album is really well produced and seriously heavy, Electric
Eels Shock still remains a live band above all -that's where the real fun kicks in.
walter
ETERNAL ELYSIUM - "SEARCHING LOW & HIGH"
Diwphalanx Records/Leafhoud Records
A sonic supernova.
Recorded at Mathias Sneeberger's Donner & Blitzen studio, Eternal Elysium's "Searching Low & High" is a
palpable shift from the band's origins as super-heavy doom lords. Instead, these monolithic Japanese
stoners traverse the fecund era of the heavy 70's with a free spirit, low-end heaviness [healthy nods to
Black Sabbath and Cactus] and a very organic yet gargantuan sound.
Eternal Elysium's deleriously psychedelic approach -based upon elephantine riffs, a tight groove and stellar
guitarleads- exists on their previous albums, but has been honed to utter perfection with the
release of this fine full-length. EE excel at kicking out a righteous 60's acid-pop and
succesfully morph it into blistering 70's hardrock, then groove unashamedly into lengthy guitar hero
pyrotechnics without losing the thread of continuity. Their mind-blowing, post-doom psych is exemplified
on the album by the 16-minute opus "Green Song", a hefty moment of Eternal Elysium's relentless
sonic attack. Another excellent release by one of Japan's finest heavy riffrock bands.
walter
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