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This is 'Liberation through Amplification.'
By: Richard Maw Album Type: Full Length Date Released: 14/06/2024 Label: At The Dojo Records
“The Return of Tomorrow” track listing 1. Dehumanize
2. Loch Ness Wrecking Machine
3. Hands Of The Zodiac
4. Haze The Hides
5. Roads Of The Lowly
6. (Time Is) Pulling You Under
7. Destroyin’ Light
8. Lifetime Waiting
9. Solar Baptized
10. What I Need
11. The Return Of Tomorrow
12. Liquify
13. High Tide The Review: Fu Manchu
have been putting out records, steadily, for thirty years now. These doyens of
Californian fuzz have seen it and done it all. So, why continue? Most agree,
apparently, that they peaked somewhere around “In Search Of…” or “King
of the Road” or perhaps “California Crossing”. I don’t
really share this view; those records are all excellent, but the band haven’t
made a bad one yet. Not only that, each Fualbum has its own
character. Whether it be “Signs of Infinite Power” or “Clone
of The Universe”, the latter day work has a lot going for it. The
themes remain muscle cars, sci fi, skate/surf and so on… and that’s both what I
want AND expect. If “Clone of the
Universe” was better than “Gigantoid”, then “The
Return of Tomorrow” is better again. This is ostensibly a double album-
one half is revved up, the other half cruises along nicely. However, at only 49
minutes, is this really a double album or do the thirteen tracks just represent
two halves? “Dehumanize”
kicks things off at a fast clip, burning rubber and fuzzing out. Up next is a
real Fuclassic: “Loch Ness
Wrecking Machine”. It’s got the sci fi theme, the slow builds and dynamics
that the band use and a simple and catchy hook. Scott Hill still has that laid
back Cali delivery and Scott Reeder’s drums are as crushing as ever. This is a
groovesome beast. “Hands of The Zodiac” is
just as good- wonderful grooves and riffs. “Haze The Hides” slows things
down, uses a killer bass tone and shows why the band are often aligned with the
stoner/doom genre- without being a part of it at all. It’s clear at this point
that the band are displaying their different sides- or the different facets- of
their heavier sounds. “Roads of the Lowly” has heavy riffs and panned
guitars, with a somewhat repetitive hook that is characteristic of the band;
heavy on the riffs and rhythms, light on the melody and with Hill’s voice mixed
inside the music, not on top of it. With things speeding up
for “(Time Is) Pulling You Under”, you’d be forgiven for thinking that
the record was a kind of cousin to “Start The Machine” or “We Must
Obey”; non-stop action. However, once you are at the half way mark, things
shift gear and then coast towards the line. “Destroyin’ Light” is
relaxed but heavy with a quiet/loud arrangement. The drum sound is excellent,
as is the guitar sound and the production is perfect with just the right level
of grit and polish to showcase what the band can do. I miss records which
sound like bands playing live; I’m disillusioned with sound replacements and
the ultra-processed sound of a lot of modern metal. Pro tools, click tracks
sound replacements etc. all have their place (certainly within the extreme
metal genres, where precision is demanded these days) and it’s fantastic to
hear that Fu Manchusound here like they do in
a live setting. Simply put, it sounds like a band playing. In these strange
days, I can’t ask for more than that. The mellower approach
continues with “Lifetime Waiting”, and more successfully with “Solar
Baptized”- which is excellent. It has a kind of bluesy swagger and an
almost sinister, threatening feel. Wonderful stuff. From here, it’s a similar
approach with varying results. “What I Need” is a more contemplative
track, mellow vibes abound, while the title track is a real standout with the
groove hitting solidly but the pedal someway off the metal. “Liquify” is
a big riff-with-space and works very nicely- the refrain is not dissimilar to
the Leafhoundtrack “Freelance Fiend”
(for an obscure reference) and this works really well with the percussion
ensuring that things freewheel along pleasurably. “High Tide”
closes things with an almost jazzy approach. These beach dwellers know how to
chill you down, as well as get you running out for the next wave. All told,
this is a very strong record and one that sits comfortably with anything else
the band has done. Even if not every track is a bullseye, there are enough
direct hits here to make this album extremely impressive. The band’s
willingness to do something a little different is to be commended as,
crucially, this hangs together as a cohesive collection of songs. “The Return of Tomorrow” is
available HERE
There are few places I have travelled to that I
dislike more than Western NY. Granted, these
experiences are mainly based on personal strife’s, sports team preference, and
anecdotes about weather that I have graciously never been subjected to; but I
am a grown man and as such am entitled to hold irrational grudges at my own
discretion.
But in the interest of fairness, despite personal
grievances, I would be remiss if I did not point out that the good city of Rochester seems to breed
some of the best doom and stoner rock in the state. From the bluesy acid jams
of King
Buffalo, to the earth rattling gloom of Orodruin, there just must be
something in the water. Today, I am very glad to add to that list: Shinji Kazama.
The self titled release from these spaced out
fuzzheads is stoner rock at its absolute finest. The jams are smooth enough to
make you move but complex enough to keep you thinking. We're not looking at
potheads with displaced aggression here, folks. This is a finely tuned
psych-metal machine. This is Orange Goblin goes to art school, in the best
possible way. The jams are fresh and keep the listener engaged, without once
approaching the realm of overstaying their welcome. Honestly, I was two tracks
into this album before I realized this was an instrumental band.
With guitars evoking violin like sustain, seismic
shifting bass lines and drums expertly straddling the line between jazzy
technicality and just plain heavy as hell, this band has it all.Reminiscent
of Pink
Floyd just as much as Mastodon and perfectly blended at that. Stand
out track "I'm Enough"
opens with riffage that could wake the dead before gliding seamlessly into a
middle section that would fit perfectly in with the best of the summer festival
jam rockers.
This is a band to keep an eye on, and if you are
anywhere near the area, Rochester is worth the visit if only for a taste of
what the finest in Stoner Metal has to offer. I'll be sparking up to these guys
tonight, and I highly recommend doing the same.
“Come
& Chutney”
is remarkable in so many ways, but perhaps most tellingly when the album ends
you want to both play it again and go see one of their shows immediately. With
no flab to be found on it, and packed with hooks which will lodge in your brain
for months, “Come and Chutney” is
damn near perfect.
“Cum &
Chutney” CD//DD//LP track listing:
1).
Doggy Bag Of Slurry
2).
Krones Of The Kiln
3).
Cojones Feos
4).
Glue Ear
5).
Gutlads
6).
Gawdless
7).
Doner Trump
8).
Psychedelic Hallucinogenic Vagrancy
The Review:
Watching Chubby Thunderous
Bad Kush Masters live is a truly life affirming experience. Few
other bands lock in and groove like they do. Built on the thunderous rhythm
section of drummer Mark Buckwell and four stringer Will Hart, with frontman
Owen Karty laying ocean-sized fuzzed-up riffs and gravelly vowel-mangling
vocals over the top, their sheer sonic power is matched by their fierce tie-die
t-shirt and corpse-painted stage presence.
Whilst their debut 2015 EP “Earth Hog” was a sterling effort, it
served more as a momento of their live shows than anything. Their songs on the
2017 “Special Split” with Ten Foot Wizard likewise. And so, one was left wondering if
Chubby were to be one of those bands who never quite caught
their onstage majesty on vinyl.
All such fears are swept away after
just one play of “Come & Chutney”,
and after several spins it’s clear the trio have created something quite
special. We’re talking “candidate for album of the year” levels of goodness
here. From the opening riff of “Doggy
Bag Of Slurry” onwards, the Chubbs deliver 8 slabs
of buzzsaw boogie and achieve the remarkable feat of making them all killer
with no absolutely no filler.
Every track packs a punch and is an
ear worm: we’re talking 40-odd minutes of vim, four-to-the-floor swagger, drug
and kebab love, and a good old go at Donald Trump. Immaculately captured by Sam
Thredder in his Cro’s Nest studio, Buckwell’s bass drum is constantly battering
your head and driving each seismic anthem forward. Hart’s bass rumbles and
thunders. Karty’s guitars are constantly set to stun. When Chubby
properly hit their stride, on the majestic “Krones
Of The Kiln”, they sound like the bastard offspring of ZZ Top
circa ”Rhythmeen”. Only better.
The best is left to last. Closing
10-minute wig-out “Psychedelic
Hallucinogenic Vagrancy” turns off the fuzz and ramps up the heavy psych,
starting with a beautifully plucked guitar motif then building through to an
explosive organ-led finale featuring guests Chantal Brown of Vodun and Gary Harkin of Ten Foot Wizard.
The song reeks of weed and sounds like 1969.
“Come
& Chutney”
is remarkable in so many ways, but perhaps most tellingly when the album ends
you want to both play it again and go see one of their shows immediately. With
no flab to be found on it, and packed with hooks which will lodge in your brain
for months, “Come and Chutney” is
damn near perfect.
A year ago, Astrosoniq lost a close friend and sometimes
band mate. His name was Bidi. He was a guy who clearly made an impact on the
heavy rock scene of The Netherlands and beyond. As a tribute to their fallen
brother, Astrosoniq
took to the studio and made this, their new album, “Big Ideas Dare Imagination.” The band brought in many friends to
participate in the making, writing and performing of this album. It’s a group
effort. It’s an album the band and their surrounding community needed to make.
Astrosoniq has been around for quite some time.
The amount of recognition that they’ve received for their work is arguably
underrated. Albums such as “Made in Oss” (technically an
EP), “Son of A.P. Lady” and my
personal favorite, “Speeder People”
are incredibly adventurous. These albums push the borders of every genre in
existence – yes, even that one – and they make it work. Doomy jazz with a
country twang? The Wizards of Oss master it.
Surprisingly enough, this new album is not as
adventurous as the band is known to be. Each song on here is a rock song-
sometimes metal, sometimes stoner – but the adventure factor is missing. The
experimentation can be heard when it comes to song structures and the addition
of a saxophone, for example, but the wild ride Astrosoniq is known to offer
just isn't here. For me, as a fan of the band, this took some getting used to.
So I wondered - does the passing of a friend call for
a wild adventure? The slow, weirdo hook of opening track “King,” certainly doesn’t think so. It makes its point just fine.
The rolling bass and passionate vocals of “The
Great Escape” also see no reason to fly off the handle. It’s a sturdy song,
just as the straight up rockers of “Mindless”
and “Keppra!” are pretty cool songs.
Album closer, “Freezen,” is the
weirdest and most refreshing track, even if it is just leaning on 1 idea the
whole time. So the songs are good. But where does this album fit in the Astrosoniq
discography?
I’m left with mixed emotions here. Astrosoniq
have made an album that’s close to their hearts. That’s obvious. The passion,
courage and heartfelt emotion are certainly present in these 6 tracks.
Involving guest musicians was a good move. Bidi made an impression on many
people, so it’s a no-brainer to involve these people when making a tribute to
the guy. At the end of the day, though, “BIDI”
doesn’t gel as an album. Each song very much stands on its own, almost to the
point that “BIDI” sounds like 6 songs
made by 6 bands. However, considering the context of the album, this isn’t a
critique in the slightest. This is the album that Astrosoniq needed to make. This
is the adventure Astrosoniq needed to take. The listener will just have to
approach these songs with an open mind.
"Clone of the Universe" is the twelfth example that there's
only one Fu Manchu and this album is a great mix of the heavy, the fast, the slow and the riff.
“Clone of the Universe” CD//DD//LP track listing:
1. "Intelligent Worship" (3:08)
2. "(I’ve Been) Hexed" (2:48)
3. "Don’t Panic" (2:05)
4. "Slower Than Light" (3:26)
5. "Nowhere Left to Hide" (4:19)
6. "Clone of the Universe" (2:58)
7. "IL Mostro Atomico" (18:08)
The Review:
Can
you imagine an 18 minute song written and performed by Fu Manchu?
Oh yeah, and it features the guitar escapades of none other than Rush's Alex Lifeson? Yeah, I couldn't either. That changed
this week, though, when the kind people over at At The Dojo Records
hooked us up with "Clone of the
Universe," Fu Manchu's twelfth
album. But we're getting ahead of ourselves here. This 18 minute epic, "Il Mostro Atomico" closes
out the album. Let's start at the beginning.
From
opener "Intelligent Worship"
on, Fu Manchu knows what's up. Ripe with those
stop-go riffs that only Fu Manchu can master,
the band plays through these seven songs the only way they know how - thick on
the fuzz, heavy on the low end, and loud as hell.
The
stoned stomp of "(I've Been)
Hexed" leaves its mark with both its riffs and its catchy chorus. Fu Manchu has always proven to be experts when it comes to
those one-liner choruses, and "(I've
Been) Hexed" is no different. In perfect call and response fashion,
Hill proclaims "I've been
Hexed" as the backing vocals take over, "I see it in your eyes." These lines get passed back and
forth for a while, the drums go nuts, and those guitar solos wail. An absolute toe
tapper, and once Fu Manchu hit the road in support of
this album, "(I've Been)
Hexed" is going to be a crowd favorite, too.
The
album keeps its momentum going in o "Don't
Panic." Again, a song that boasts a one-liner chorus - "Don't panic!" - and it's
going to have stoner rockers far and wide bowing down at the feet of Fu Manchu party. The title track has the same effect, and
even though not many of us can tell you what Hill means when he sings "Clone of the Universe," we
can all agree that it sounds fucking cool, and that's all that fucking matters.
For
the most part, Fu Manchu has made themselves a name by
laying the groundwork for upbeat stoner rock. Each song of theirs makes a race
for the chorus, rocks out a little, and is out within 4 minutes. This is
part of what makes Fu Manchu so good; this
band knows how to cluster quality and then land a punch with it. "Clone of the Universe" stays
true to this formula, mostly.
Sure,
these SoCal boys have had an 8 minute song here and there, but on this new
record, Fu Manchu hits the eighteen minute
mark. Alex Lifeson from Rush helps out in this
experiment. The track's instrumental, mostly, and sounds like a mixture of a
bunch of Fu Manchu riffs pasted together. The best
part, it works. The riffs are great, the transitions are great, and the song builds
in such a way that it starts without giving too much away. Even by the 10, 12
or 15 minute mark, the song still rocks hard and doesn't dip once.
In
many ways, "Clone of the
Universe" might be more familiar to those who grew up on Fu Manchu. The album's got that stoner rock rhythm that Fu Manchu made famous, thanks mostly to Brad Davis on bass
guitar and drummer Scott Reeder. These two are locked in and make these tunes
tumble down the road like a VW van with marijuana smoke billowing out of the
windows.
"Clone of the
Universe" is also an album that's determined
to push the boundaries of the band's sound. The result is a great mix of the
heavy, the fast, the slow and the riff. For Fu Manchu, "Clone of the
Universe" is the twelfth example that there's only one Fu Manchu, and plenty of impersonators.
“Clone of the Universe” is available
to buy on CD//DD//Vinyl via here
Although you'll not find a swerve or anything wildly
disparate, Devil Electric is nonetheless entrancing. In particular, the group
is guaranteed to energize any fan of heavy blues reminiscent of Black Sabbath,
The Allman Brothers and similar bands.
“Devil Electric” CD//DD//LP track listing:
1.
Monologue (Where You Once Walked)
2.
Shadowman
3.
Lady Velvet
4.
Acidic Fire
5.
Monolith
6.
The Dove & The Serpent
7.
The Sacred Machine
8.
Lilith
9.
Hypnotica
The Review:
What
is edgy rock music today? Such classifications are quite debatable, given where
rock has meandered since the 1990s. Going from hard rock and beyond, sometimes
comparisons are at best awkward and at worst ill conceived. Hence the
contemporary metal fan might not classify Melbourne, Australia's Devil Electric as anywhere near the genre. Nevertheless its
sludge influences are on full display on the quartet's self-titled debut.
And
what a debut it is. Although you'll not find a swerve or anything wildly
disparate, Devil Electric is nonetheless entrancing. In
particular, the group is guaranteed to energize any fan of heavy blues
reminiscent of Black Sabbath, The Allman Brothers
and similar bands. In strains of "Lilith"
you can hear Sabbath's "Hand of Doom." In "Hypnotica"
you can get glimpses of Rainbow, among others.
However, Devil Electric is not simply a homage or a
tribute. Instead, it creates something very much up to date.
Devil Electric's premiere is exemplary
much on the strength of singer Pierina
O'Brien. Her presence and command of the material holds the listener's
attention throughout this nine-song journey. With "Shadowman" and a few other songs, O'Brien is able to stretch out her vocals and add remarkable
contours to the track. A precious few artists, such as Ute Plotkin of Aranya, come to mind as
having this singular sort of charisma. And although O'Brien's specific singing range is not markedly expansive, she
does quite a lot on these songs.
A
sound like this does not succeed without a muscular rhythm section. And Devil Electric is fortunate enough to have bassist Tom Hulse and drummer Mark Van De Beek on hand to provide the
sort of snap that guitarist Christos
Athanasias needs to do his meaty best. Needless to say, while O'Brien is talented, it is the
compliment of the rest of the group that helps trot out the best on this debut
release.
“Devil
Electric”
is available to preorder/buy on vinyl here and digitally here
Fuzzed up, laid
back and dragging the shoegaze sound into hell, Avvolgere is a mood piece and
much like its predecessor, “Circumambulation”, it meanders through the playing
length at a stroll. It is an album to listen to as a whole, do so and you will
be richly rewarded.
“Avvolgere” CD//DD//LP track listing:
1.Back Shredder (04:21)
2.Theurgist (04:38)
3.F. W. T. S. L. T. M. (05:15)
4.The Trapper and the
Trapped (05:14)
5.O. O. T. P. V. (05:42)
6.Entheogen (05:47)
7.To all that the Elong (01:55)
8.Sante (03:52)
9.Grey Erasure (03:25)
10.What finds me (06:00)
The Review:
Sitting
down to write this review, I had just finished listening to the new Airbourne
album... from the ridiculous to the sublime, then! True Widow have a sound that is
very much their own. Fuzzed up, laid back and dragging the shoegaze sound into
hell- that's the best summary I can come up with. Plenty of great songs are
contained on this release, just like the last one, in fact. From the distorted
roll of “Back Shredder” through to
the tenth and final track of “What Finds
Me”, True
Widow have done it again.
The
sound has weight to it, but it is not leaden like, say Sabbath. The overall effect is
somewhat more ethereal. Tracks such as “Theurgist”
a melancholic and downbeat, even if the tempo is neither.The songs are all great here- “O.O.T.P.V.", “The Trapper and The Trapped,” “Sante"...
even the interlude type tracks. It all hangs together into one continual wave
of music. Don't be expecting too much in the way of variety as the album is a
mood piece; let it wash over you like a wave.
It
is a mellow and restful listen, in terms of song writing, there not being too
much to differentiate the tracks here. It is a mood piece and much like its
predecessor, “Circumambulation”, it
meanders through the playing length at a stroll. It is an album to listen to as
a whole, do so and you will be richly rewarded.
Album Type: Full
Length Date Released: 11/11/2016 Label: Fuzzorama
Records
It is a hugely diverse record and shows the advanced musicianship
between the band, blending all kinds of stoner rock and fuzz. This is a band
who are firmly on the rise to the top and know exactly how to get there. One of
the best releases of 2016 without a doubt.
“III” CD//DD//LP Track
listing
1). Pale Moon 2). Last Days 3). Til' Dawn 4). Wolf & Snake 5). Silver & Gold 6). Them Calling 7). Mr. Strange
The Review:
The Asteroid has landed. Swedish
heavy psych giants Asteroid have set
the release date for their highly-anticipated third album for 11th November
through Fuzzorama Records. It has
been almost 7 years since their well-renowned second album ‘II’ was released and the band are
back with their most polished, solid record to date. A 7-track album following
the naming trend of its predecessors, this is Asteroid - ‘III’.
Firstly,
the album artwork is strikingly brilliant. Whoever is in charge of the design
and creative direction of Asteroid deserves credit for an unbelievably
eye-catching and vintage styled arrangement of their instruments taking pride
of place as the album cover.
The album
kicks off with ‘Pale Moon’
delivering a thick, rumbling bass line which gives way to some eerie
psychedelic slide-guitar work. It has a triumphant sounding vibe with lots of
dark nuances that give it a truly evil sound. It also has a somewhat spacey
feel, with effects playing their part in the backdrop towards the end as the
song comes to a close.
‘Last Days’ is the second track from the
album and was the first track that was publicly released on Bandcamp by the
band after announcing the news of the record coming out this fall. The intro
has some nice big chords and paves the way for what’s to come as the vibe
changes abruptly. Robin Hirse’s vocals begin as the song slows down and takes
on a very similar vocal feel to Alice in Chain’slate great vocalist Layne Staley
in ‘Love/Hate/Love’. Memories
of the opening track, ‘The Great Unknown’, from
their first release are also re-kindled in this track. The guitar effects bring
some very unique sounds to the table and the drum breakdowns are instrumental
in making those parts as hard-hitting as they are around the 3:40 mark. The
chord section comes back round again at 4:06 and reminds me of a Dead Meadowor Screaming Trees
kind of feel. Two tracks in and we already have a diverse selection of music
and it’s evident that Asteroid haven’t rushed into their song
writing, it was most certainly worth the wait.
The third
track ’Til Dawn’ rips back into the
classic stoner rock style that we know and love Asteroid for. Their dynamic
skill of switching from fuzzed riffs to beautiful, clean sounds is remarkable
and they flit effortlessly between the two styles. The middle-end section slows
down and each chord is powerfully punched out with some impeccable harmonised
vocal parts between Hirse and Johannes Nilsson on bass. Drummer Jimmi
Kohlscheen stands out on this final section as the drums are building in power
and ferocity as the track climaxes before winding down with ease and ending on
another sweet, clean chord.
‘Wolf & Snake’ has a very mellow
vibe and reminds me of something that should be played as the sun sets on the
beach at the infamous Dunajam Festival. This specific style of
stoner rock is extremely pure and incorporates both the calm, mellow vibes and
the earth-shaking fuzz. The intro section reminds me a lot of bands like Colour Hazeand Sungrazeralthough
Asteroid
have their own brand of heavy psych and it’s still incredibly unique. At the
2:00 mark, the song takes off with a blasting rhythm section and some lead
parts from Hirse, showcasing his searing guitar abilities. The drums and bass
are extremely tight and give Hirse a blank canvas to let rip. Near the 3:50
mark, the tempo drops and the fuzz doubles and we’re witnesses to a crushing,
sludgy section. The final outro section is another sharp contrast with clean
guitar playing some beautiful sounds.
‘Silver & Gold’ begins with a slow,
angelic sounding guitar section before the vocals come in and bring so much to
the sound. This track stands out on its own and its superb blend of layered
vocals and guitar, gives it that kind of Tarantino movie soundtrack feel,
definitely one of my favourite songs on the album.
The
penultimate song ‘Them Calling’
takes things back up a few fuzz gears and we’re dropped into an Uncle Acid
& the Deadbeats style riff which just rumbles on ferociously
throughout the song. It also has elements of the late Graveyard from Sweden. Around 3:35 they flick on
the ‘evil’ switch and the riff gets steeped in gloom.
The final
track ‘Mr Strange’ makes use of some
awesome guitar harmonies to begin with before progressing into a lighter
sounding, almost Zeppelin-esque section. Around 3:20 the vibe changes again
and we have another killer, thumping riff with some spaced out lead guitar
dodging and diving through the mix. The end section has some chanting vocals
which go extremely well with the harmonies and it all blends into a perfect
stoner rock package.
‘III’ is a
masterpiece of an album from a band who need no introduction or a manual on how
to create masterpieces. It is a hugely diverse record and shows the advanced
musicianship between the band, blending all kinds of stoner rock and fuzz. This
is a band who are firmly on the rise to the top and know exactly how to get
there. One of the best releases of 2016 without a doubt.
