ALBUM REVIEW: Yawning Man, ‘Macedonian Lines’

By: Andrew Field

Album Type: Full Length

Date Released: 14/06/2019

Label: Heavy Psych Sounds

What you have here is sublimely crafted and utterly beautiful musical moments which don’t outstay their welcome and leave you wanting more.

‘Macedonian Lines’ CD//DD//LP track listing:

1. Virtual Funeral

2. Macedonian Lines

3. Melancholy Sadie

4. Bowie's Last Breath

5. I'm Not An Indian (But I Play One On TV)

6. I Make Weird Choices

The Review:

It has often been said that bands who stick around forever eventually lose some or all of their creative pulse and start churning out music of ever-decreasing relevance and quality. That claim can be laid at the feet of so many acts: from the Rolling Stones to Helmet and Aerosmith to Metallica. Those groups might remain incendiary in a live setting but let’s be honest – when was the last time you listened to “A Bigger Bang”, “Dead to The World”, “Music from Another Dimension” or “Hardwired…. To Self-Destruct?”

Kudos then to Yawning Man for turning that theory on its head by brewing up their best works thirty-odd years into their musical journey. Those generator parties outside La Quinta in the Californian desert in the mid-1980s must feel like a long time ago to sonic travellers Mario Lalli and Garcy Arce, but the spirit of those events can still be found deep within the grooves of “Macedonian Lines”.

If their stunning 2016 third album “Historical Graffiti” started a purple patch, last year’s “The Revolt Against Tired Noises” consolidated their reputation as masters of their art. Ambient and achingly melancholy, it tingled and shone and soared and sounded like heaven. “Macedonian Lines” wisely doesn’t try to trump it. There was no point them trying: nothing will ever better “Black Kite” which opened that 2018 opus.

On this new record the trio take their “less is more” approach one step further: from the flab-free 31-minute running time to the effortless ease with which these six tracks roll and undulate without any unnecessary excess. Whilst all the Yawning Man trademarks are present and correct, “Macedonian Lines” belongs to four-stringer Mario Lalli. His bass owns this album, underpinning everything. On seven-minute opening cut “Virtual Funeral” Gary Arce’s instantly familiar guitar progressions are anchored by Lalli’s fat, fuzzed bassline and from there on his presence dominates the album’s sound.

The title track reeks of wide-open spaces and is pure musical cinema, whilst “Melancholy Sadie”’s echo-drenched sweet gloop of multi-tracked, picked guitar notes builds into a thick and filling sonic melange. An album highlight is “I’m Not A Real Indian”’s elegiac final 50-second sprint, which motors along and will sound fantastic this summer with the top down on a mid-American highway. It’s the kind of musical moment you don’t ever want to end.

They leave the best to last. Final cut “I Make Weird Choices” is a monster, gliding along until it’s explosive coda before fading into an unassuming close which neatly defines everything that’s great about Yawning Man. Lalli’s rumbling, guttural bass is the perfect counterpoint to Arce’s lush soloing, with Bill Stinson’s subtle drum work giving both of them acres of room to breathe. No showing off, just sublimely crafted and utterly beautiful musical moments which don’t outstay their welcome and leave you wanting more.

When “Macedonian Lines” ends, all you want to do is listen to more Yawning Man because nothing else will do. And that is why this defining, vital band is as important today as it was way back in 1986. Long may they reign.

‘Macedonian Lines’ is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Stinking Lizaveta - "Journey to the Underworld"

By: Charlie Butler

Album Type: Full Length

Date Released: 17/02/2017

Label: Translation Loss

Stinking Lizaveta’s new album “Journey to the Underworld” finds the band in deadly form, crafting music that is seriously weird and complex yet still delivers an addictive riff high.

“Journey to the Underworld” CD//DD//LP track listing:

1. Witches and Pigs

2. Chorus of Shades

3. Sharp Stick in the Eye

4. Six Fangs

5. Blood, Milk and Honey

6. Journey to the Underworld

7. Love Song For Jusu

8. A Stranger's Welcome

9. Allegro

The Review:

It’s an impressive feat for a band to be in their 23^rd year of existence to release an LP that sounds as raw and hungry as a debut. Stinking Lizaveta’s new album “Journey to the Underworld” finds the band in deadly form, crafting music that is seriously weird and complex yet still delivers an addictive riff high.

The Philadelphia trio have honed their idiosyncratic sound to perfection here, delivered with a telepathic tightness. The band’s style of riffage recalls retro rockers like of Earthless and Comets On Fire but is so vital and fresh it could only have come from the present. Instead of the endless molten jams into the outer realms of the previously mentioned acts, Stinking Lizaveta travel just as far into the unknown but tie themselves into carefully orchestrated labyrinthine constructions but still find room for wild unhinged solos.

The propulsive drive of opener “Witches and Pigs” contains traces of proper Thin Lizzy-esque classic rock while “Chorus of Shades” features some glorious shredding and irresistible leads that are steeped in NWOBHM. “Sharp Stick in the Eye” is an almost funky strut with a groove that winds itself tighter and tighter as the band’s playing gets more frenetic.  There is a heaviness and darkness in these songs though that sees them slip across into noise rock territory, an underlying nastiness that adds a sweet sharpness to proceedings.

The title track seems them ease up a little on the intensity to allow a little psychedelic rock to bubble to the surface. “A Stranger’s Welcome” sees them employ passages of acoustic guitar to bring a spaghetti western dustbowl feel which although brief provides a powerful contrast to the epic riffage that surrounds it.

“Journey to the Underworld” is another incredible release from a truly unique band. Stinking Lizaveta manage to make instrumental metal that sounds like nothing else out there. Here’s to another 23 years of madness 

“Journey to the Underworld” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Evil Triplet - "Otherworld"

By: Victor Van Ommen

Album Type: Full Length

Date Released: 10/02/2017

Label: Super Secret Records

Evil Triplet’s laissez-faire, anything can happen attitude works really well. There’s no pretense or chest thumping, just an enjoyable fuzzed out ride.  Evil Triplet throws their own twist to this spacey-stoner formula in how they let the mind altering substances influence their game while plotting out soundscapes as vast as Texas itself.

“Otherworld” CD//DD//LP track listing:

01. Star Ladder
02. Fungus
03. Get a Job
04. Planet I’m On
05. Post Group Date Scene
06. Pyramids
07. We Are the Aliens
08. Worship Satin
09. Road Trips

The Review:  

Those who celebrate the weird unite! Evil Triplet is here, dialing in from the warm and fuzzy Austin, Texas, to bring us a sprawling 72 minute look into the world of weirdo stoner-space rock named, “Otherworld.” Each extended jam is the glue that holds a song together and in turn places the successive songs in context. It’s an album that’s big with its claws dug deep in a keen ear for a strong hook.

It’s close to impossible to discuss “Otherworld” without mentioning the influences that pierce the veil of the songs. Just short of ripping anyone off, Evil Triplet puts on a show of how they’ve applied lessons that they’ve learned from the greats. Such is the case in the chug-a-chug of “We Are the Aliens,” a song that runs like an early Queens of the Stone Age hit, but the 9 minute run time offers up a murky, spaced out vibe to get lost in. This theme of ‘getting lost’ runs through the album, certainly during moments that the instrumentation is expanded to include a Monster Magnet like organ or a hippy-is-as-hippy-does sitar jam. These journeys make Evil Triplet more than just a power trio, they’re a spaced out power trio, and they make this work to their benefit.

In terms of groove, there’s plenty of that, too. Take the shroomer’s anthem “Fungus,” locked in at the track two spot, wasting no time in letting you in on one of the many things that keeps Evil Triplet busy. “Worship Satin” is less about drugs but lacks not in laid back tonal push. Then there’s the sarcastic “Get a Job,” a song that will get you down even if you aren’t unemployed, and the burnt out “Planet I’m On,” which are just two of many examples that show Evil Triplet’s penchant for riding a tasty lick for as long as the wax in a the lava lamp is swimming around. And to tie everything together, there’s the unabashed Steve Marsh behind the microphone, honing in on pitting loose stoner vibes up against a down and out I-wish-I-was-living-in-outer-space-instead story when he sings verses like this:

I took off several hours ago and I left the whole world behind

Looking for the most precious thing, it wasn’t so hard to find

I found it and gave it to the one who needs it

And then I blew my mind!

Evil Triplet’s laissez-faire, anything can happen attitude works really well. There’s no pretense or chest thumping, just an enjoyable fuzzed out ride. Sure, the Wyndorfian influence is felt, as is the So-Cal sunburn that drives this whole stoner rock thing. What makes “Otherworld” flourish is that Evil Triplet throws their own twist to this spacey-stoner formula in how they let the mind altering substances influence their game while plotting out soundscapes as vast as Texas itself.

“Otherworld” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: All Them Witches - "Sleeping through the War"

By: Victor Van Ommen

Album Type: Full Length

Date Released: 24/02/2017

Label: New West Records

There’s a lot going on and much of the album will surprise those expecting a one-to-one follow up to “Dying Surfer Meets his Maker.” If you get it, “Sleeping through the War” is an album that will continue to grow.

“Sleeping through the War” CD//DD//LP track listing:

1). Bulls

2). Don’t Bring Me Coffee

3). Bruce Lee

4). 3-5-7

5). Am I Going Up?

6). Alabaster

7). Cowboy Kirk

8). Internet

The Review:

What a strange trip All Them Witches has been on. Their debut album, “Our Mother Electricity” is a classic stoner blues album but done in such a way that it found backing by Elektrohasch Records. You know, the same place that puts out all of the Colour Haze albums. ATW’s follow up, “Lightning at the Door” put the band on an independent mission to find more depth in their sound. This they did, and when their 2015 follow up “Dying Surfer Meets his Maker” was announced, we were all sure that the ’Witches were going to own this stoner-blues thing. Own it they did, though not in any sort of way that their fans were expecting. First off, they were signed to country-rock power house New West Records and secondly, they released an album that lacked focus but made up for it in spades with vibe. If the band’s schedule from the past two years – as well as my humble opinion - is anything to go by, this approach worked very, very well for them.

Just a few days ago, All Them Witches released their new album, “Sleeping through the War.” Anticipation is high on this one and with good reason. The question is, what will the band do now?

A jolty mix of the All Them Witches sonic palette opens up the album. A strange introduction, to say the least. Opener “Bulls” is as dreamy as it is riffy, almost forcibly playing the one off of the other. The song’s back half flies off the handle with a sturdy working of the keyboard which, admittedly, might take some getting used to. “Don’t Bring Me Coffee” follows “Bulls” as a rugged guitar rocker underscored by a slight cowboy theme.

At this point, the questions rising to the surface are - where are the jams? Where is the experimentation? Where is the band that made “Dying Surfer Meets His Maker”?

Just as “Dying Surfer Meets His Maker” jumped around in its opening three tracks, as does “Sleeping through the War.” So the sturdy “Bulls” or the catchy “Don’t Bring Me Coffee” shouldn’t scare anyone off because these two tracks don’t necessarily set the album’s tone. In fact, “Don’t Bring Me Coffee” may be a reference to the closing track on Can’s seminal album “Tago Mago.” And though the Can influence is not felt in this particular song, “Sleeping through the War”’s B-Side certainly shows how All Them Witches have been influenced by Can. So the fact that this cowboy-rocker shares its name with a krautrock jam, “Don’t Bring Me Coffee” might just be the song that sums up “Sleeping through the War” perfectly.

Before the Can influence is heard, though, All Them Witches jump on another riff rocker, “Bruce Lee.” The song rolls nicely – that’ll be a riff you’ll hear in a live setting a lot – and it complements the follow up “3-5-7-“accordingly. Here, All Them Witches focus on the loud-soft dynamic and in doing so, set the stage for a 20 minute live version of this song. To wit, it’s “3-5-7” that straddles Side A and Side B and therefore serves as the pivot point in the album’s sound.

Without ruining too many surprises, the following four songs can be lumped together as a 20 minute high. The subtleties in these songs make for a laid back vibe that reminds a bit of “Open Passageways” from the band’s 2015 outing. The Can influence is more apparent and the listening experience seems to be a logical next step for All Them Witches. The songs here -  “Am I Going Up,” “Alabaster,” “Cowboy Kirk,” and the back porch blues of “Guess I’ll Go Live on the Internet” - are rhythmically groovy and structurally free, a combination only All Them Witches can pull off without coming across as just another jam band.

With “Sleeping through the War,” All Them Witches have given us an album that’s more diverse than anything they’ve done until now. Though the variety on offer here detracts slightly from the album’s flow, these songs are ripe for analysis and repeated listens. There’s a lot going on and much of the album will surprise those expecting a one-to-one follow up to “Dying Surfer Meets his Maker.” If you get it, “Sleeping through the War” is an album that will continue to grow. For those who aren’t immediately hooked, this album might be ignored. Only time will tell which of these two groups will be the loudest. In the meantime, All Them Witches seem happy doing what it is they want to do. Their energy is felt in these tunes so it’s obvious the band has made the album they wanted to make.

“Sleeping through the War” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Frozen Planet...1969 - "Electric Smokehouse"

By: Victor Van Ommen

Album Type: Full Length

Date Released: 11/01/2017

Label: Pepper Shaker Records |
Headspin Records

The chemistry between the players – Paul Attard on guitar, Lachlan Paine on bass and Frank Attard on drums – can be heard in each one of these cuts. In fact, it’s not only heard, its felt, and that’s what makes this record sound so great. The music is alive, it moves, it gels, and best of all, it’s both heavy and psychedelic.

“Electric Smokehouse” CD//DD//LP track listing:

 1). Ascendant

2). Supersaturation

3). Shores of Oblivion

4). Sonic Egg Factory

5). Pretty Brown Fuse

The Review:

Sometimes, when I hear a guitar solo, I just want to make funny faces and play along on my awesome air guitar. You know, just freak the fuck out. If you and I share this penchant for weirdness, then take my word and check out Frozen Planet….1969. This power-jam-trio calls Australia their home but a listen to the music has me thinking that these dudes have some connection to aliens and what not. Whatever it is, these Aussies know something about the outer reaches of the solar system that we don’t, and they’re here to educate us.

As the story goes, this album is entirely improvised. There was no pre-determined mission, no colossal ideas about when the crescendo would hit, nor was there any thought put into the length of the songs. The only thought that was put into this music was in the moment, and you know what, that moment was pretty sweet.

The chemistry between the players – Paul Attard on guitar, Lachlan Paine on bass and Frank Attard on drums – can be heard in each one of these cuts. In fact, it’s not only heard, its felt, and that’s what makes this record sound so great. The music is alive, it moves, it gels, and best of all, it’s both heavy and psychedelic. Knowing that these three guys from down under just shook these tunes from their sleeve has me thinking that they’re pretty talented individuals with a keen sense of what being a band is all about.

As is inherent to jam rock, though, Frozen Planet….1969 doesn’t necessarily plant any ear worms. There are no hooks. Just jams, jams, and more jams. So despite drummer-Attard’s jazz hands, the stoned funk of Paine, or the zany guitar acrobatics of guitar-Attard, you won’t be humming the tunes once you’ve pulled out your earphones and make your way to the office coffeemaker. But that’s ok, because what you will be doing is counting down the minutes until the next time you’re able to let loose with those funny faces and play along to “Electric Smokehouse” on your awesome air guitar.

“Electric Smokehouse” is available here and in Europe here

Band info: bandcamp || facebook

REVIEW: Mount Hush/Deaf Proof - "Interstellar Smoke" (Split)

By: Victor Van Ommen

 Album Type: Split LP

Date Released: 18/12/2016

Label: Independent

Mount Hush and Deaf Proof are handing you the opportunity to tune out the world around you. You’d be a fool not to take them up on the offer.

“Interstellar Smoke” DD//LP track listing:

A). Mount Hush – “Sleeping Jupiter – Haze – Aquatic Void”

B). Deaf Proof – “Everything Dead”

 The Review:

 A split release that goes by the name “Interstellar Smoke” can’t be anything but one far out trip. Take a gander at the artwork and admire the detail used in depicting the planets and galaxy. Notice how the stars morph into the long, flowing hair of the mirrored silhouette. Only a fool would expect a release that wasn’t lush in tone or deep in groove.

 Side A is home to Mount Hush. They’re a five piece that reside somewhere far up in the Alps; because that’s the closest they could physically get to being in outer space. As is showcased with their 20 minute, side-encompassing jam, “Sleeping Jupiter – Haze – Aquatic Void,” their music takes them the rest of the way.

 The track opens in the middle of the jam. It’s as if the band had already started playing before the record button was hit. As a result, the listener is immediately immersed in Mount Hush’s jammy space rock tones which are just begging to be played on high end speakers with clear definition and a suitable low end. How the band plays loud off of soft and soft off of loud is a trip in and of itself. Luckily, Mount Hush doesn’t use this loud/soft thing as a trick; no, they do this as a band that is listening to each other and the music that’s created. The five players allow the music to guide them rather than them guiding the music.

 At 24 minutes, Side B provides the longest cut (barely), and it’s clear that Deaf Proof ultimately have ‘the jam’ on their minds, too. However because their attack is harder than that of Mount Hush – more distortion – and the lyrical content shines a light on themes of life and death, “Everything Dead,” shifts in mood from Mount Hush’s mind trip. But lyrical themes aren’t everything that Deaf Proof brings to the table. Before the band gets too carried away with their lyrics, their jam takes an experimental turn in adding in saxophones, keys and a synthesizer. At this point, the music is so dense and has been going on for so long, that the listener is left with absolutely no sense of time or being.  All that there is, is the music.

 Once these two tracks have come to a close there’s nothing left to do than to immediately revisit them. Go on, start “Interstellar Smoke” one more time. Dive in deeper this time. Close your eyes and discover more of the layers and the depth. Mount Hush and Deaf Proof are handing you the opportunity to tune out the world around you. You’d be a fool not to take them up on the offer.

Mount Hush track is available here and Deaf Proof track is available here

Band info: facebookdeafproof || facebookmounthush

ALBUM REVIEW: Yawning Man - “Historical Graffiti”

By: Victor Van Ommen

Album Type: Full Length
Date Released: 18/08/2016
Label: Lay Bare Recordings

“Historical Graffiti” is a drug that calms the soul of the listener”

“Historical Graffiti” DD//LP track listing:

1). The Wind Cries Edalyn
2). Her Phantom Finger of Copenhagen
3). Naomi Crayola
4). The Secret Language of Elephants
5). Historical Graffiti

The Review:

This new Yawning Man album, “Historical Graffiti,” has been a long time coming. The last we heard from Gary Arce (Guitar), Mario Lalli (Bass), and Bill Stinson (drums) was in 2010, when they released “Nomadic Pursuits.” That album continued the story that “Vista Point” and “Rock Formations” before it told; life out in the Southern Californian desert is trippy. This happens to be a story we don’t mind hearing time and time again.

“Historical Graffiti” is in many ways a continuation to this story instead of a re-telling of it. That is to say that this album isn’t what we have come to expect from Yawning Man. Yes, the songs are still instrumental, orbiting around Arce’s fluid guitar creations by way of steady drumming and lush bass lines, but there’s more to the band this time. These five songs are excerpts from jams that Yawning Man did one late night in Buenos Aires with Sara Ryan, Adolfo Trepiana, and Malene Arce on the violin, bandaneon, and keyboard respectively.

At the album’s core, “Historical Graffiti” is still a Yawning Man album. But it’s the inclusion of these extra musicians – and instruments – that make the band sound freer than ever before. The songs are presumably based on free form jams and according the liner notes, all of the songs were recorded in one night, in one go.

The lazy drum and bass lead-in to the album’s opening track “The Wind Cries Edalyn” immediately sets the tone. Things will be low key this time around. The percussion won’t be hit too hard and the general tempo in the songs will be kept to that of a sunny Sunday afternoon by the swimming pool. Arce, Lalli, and Stinson lead the proceedings, all the while offering Ryan, Trepiana, and Malene plenty of room to dive in swim through the airwaves.

Space is given to each other and space is taken, and there’s not a single moment in which one of these band members feels overlooked. These are jams done by musicians who play with and into each other, feeding off of a desire to get acquainted on a musical level. The dreamy sway of each individual track is proof that these six musicians took their time and enjoyed identifying with each other on this level. After all, this collaboration might a one-off, so why rush things?

Each song is comfortable, like hanging in a tire swing and feeling the cool breeze to blow through your hair. Troubles are forgotten while these songs fade in and out of the jams they came from, calming the heart rate and allowing the mind to drift. There isn’t one song on here that feels rushed. Even in “Naomi Krayoli,” when the album’s groove gets kicked up a notch, there is no push and no finish line, just exploration of the mind and soul using music as a vessel to do so.

The addition of extra instruments wasn’t a necessary step for Yawning Man to take but the results of them taking it are sublime. By expanding their set up, Yawning Man has made an album brimming with spiritual jams that go a long way in helping the listener expand their mind. All of these extra elements and how they have been put to use add depth to the melodies, resulting in a drug that calms the soul of the listener.

“Historical Graffiti” is available here

Band info: facebook || bandcamp

FFO: Fatson Jetson, Desert Sessions, Ten East, Sons of Alpha Centauri

Causa Sui - "Return To Sky" (Album Review)

By: Victor Van Ommen

Album Type: Full Length

Date Released: 18/03/2016

Label: El Paraiso Records

From being filled to the brim with grooves, lush tones, psychedelic travels, and so much more, “Return to Sky” is a trip well worth taking. Causa Sui are on top of their game here, playing off one another in musical unison. There’s not one moment during these five tracks that the instruments are pushed in separate corners. The jam is alive and well.

“Return to Sky” CD//LP track listing:
1. Dust Meridian (10:08) 

2. The Source (06:36)
3. Mondo Buzzo (08:30)
4. Dawn Passage (08:20)
5. Return to Sky (11:38)

The Review: 

Causa Sui’s new album, “Return to Sky,” starts with a push that is both steady and sober. Immediately, the focus is laid on Skøtt’s performance behind the drums - a theme that runs through the course of these five tracks - before taking off into the other worldly realm of what the band has continued to develop and define as their sound. When thinking about how to describe Causa Sui’s sound, there’s only one word that comes to mind and that’s immersive. The deeper they go into their career, the more immersed in heavy psychedelic music they become.

This immersion is thanks to El Paraiso Records, the label the band runs. In part a platform for Causa Sui’s own music but it’s also home to a number of forward thinking psych acts. Bands like the prog-psych Brain Ellis, or Papir’s semi-improvised psych-jazz, all the way through the experimental collective Shiggajon, it’s apparent the label has a progressive mentality when it comes to music. El Paraiso Records provides their artists freedom so that they can explore the spirituality of music, and that brings us back to Causa Sui. They’re a Danish instrumental psychedelic four piece that have a good number of releases under their belt, each one moving in a different direction than the last. Their last studio album was the acclaimed “Euporie Tide,” a must-have for fans of heavy psych. Causa Sui turned heads with this album but now with the release of “Return to Sky” we can look back at “Euporie Tide” and realize that it played an integral role in the development of an ever changing band rather than defining who they are as musicians.

So where “Euporie Tide” sounded like a band who was confident and at their peak, it didn´t entirely incorporate everything that Causa Sui was capable of. That´s what the Summer Sessions and Pewt´r Sessions were for; these releases were used to show more of the musical palette Causa Sui paints from. With the release of “Return To Sky,” we hear an album made by a band injected with complete artistic freedom, this time using all the colors they can. That’s not to say “Return to Sky” is the best thing they’ve ever done – it’s too soon to tell and it depends on where your tastes lie – but the album is certainly one helluva mind-melting psychedelic affair of celestial proportions.

One of the most inviting elements of “Return to Sky” is that it has been pieced together to create an album. That is to say that the track order is just as important as the music within each track. There’s a lush flow from beginning to end, barely breaking between songs. Such a flow accentuates Causa Sui’s jammy nature, thus providing ample opportunity for the listener to be immersed in the music.

Because this album is both instrumental and flows seamlessly from start to finish, it’s hard to pick the songs apart individually. Though each song stands strong on their own, there’s still a need for the song’s surroundings to create a whole picture. The intense build led by the clean wash of cymbals in “Dust Meridian”s second half wouldn’t have the same effect if it wasn’t immediately followed by its serene outro that melts beautifully into the rolling rumble of “The Source.” The heavy riff here invites listeners to nod along in approval before it secretly dissolves into the groovy Brant Bjork ride-along of “Mondo Buzzo.” It’s here that the bass tones really come to life as they rise to the surface with a percussive push. “Dawn Passage” follows, speaking to the ladies by how it playfully dances along with one guitar flirtatiously chasing the other in song’s midsection. The album moves from here into the two-part title track that sums up the album well. The first half is a rocking jam that lets the freak flag fly and its complemented by the free-jazz, kraut-rock outro that’s just as good as anything that preceded it. And then just as subtle as the changes between each song, the album comes to a satisfying close.

From being filled to the brim with grooves, lush tones, psychedelic travels, and so much more, “Return to Sky” is a trip well worth taking. Causa Sui are on top of their game here, playing off one another in musical unison. There’s not one moment during these five tracks that the instruments are pushed in separate corners. The jam is alive and well. Causa Sui sound like they’ve gotten lost in these tunes and you as a listener will, too. So throw on the disc, hit play, and let Causa Sui immerse you in their world.

“Return to Sky” is available here

Band info: facebook

Weeed - “Our Guru Brings us the Black Master Sabbath” (Album Review)

‘Be it in the album’s closing track or all the tracks preceding, Weeed has made a potential classic stoner rock album that draws from familiar elements of the genre and has enough experimentation to give them a sound of their own.’

Album Type: Full-Length

Date Released: 07/07/2015

Label: Illuminasty Records

“Our Guru Brings us the Black Master Sabbath” DD//LP track listing:

1). Bullfrog
2). Caravan Spliff
3). Dogma Dissolver
4). Enuma Elish
5). Nature’s Green Magic
6). Rainbow Amplifier Worship

Review:

Hold on; let me get my pothead on.

(crackle, crackle, crumble, crumble, spark, spark)

Ok, good to go.

If weed had a sound, “Our Guru Brings Us the Black Master Sabbath” would be it. This is the new album by Weeed, with Gabriel Seaver on bass, Mitch Fasnaugh on guitar, and John Goodhue on drums. The heady depth to Seaver’s tone is comfortable like the worn in spot of a thrift store sofa. Fasnaugh’s six string plays like a bowl’s harsher hits, the smoother drags from a joint, and a bong’s heavier blows. These two are backed by a style of drumming that captures the spirit of having the freedom to jam. Though sometimes ahead of the beat and sometimes behind, Goodhue is always on, keeping the music fluid and malleable but never at the sacrifice of the groove. What makes this work so well is that they stand far apart in mix, leaving space for Weeed smoke to get in all the nooks and crannies of the music.

Weeed’s band members dip into three pools of influence on their Illuminasty Records debut. These are the planet Earth, outer space, and spirituality, all of which take turns coming to the fore on this double LP. Album opener “Bullfrog” starts from the ground up with a solid rhythm courtesy of Seaver and Goodhue. The push is slow and heavy like the breathing in a hotboxed VW van. Fasnaugh’s guitar gets introduced gently with a solo that could easily fit on Colour Haze’s self-titled album. It fades into a sitar-effect that rides the groove that Goodhue taps out. Once the guitar returns, its presence is made known due in no small part to its harsher delivery.

“Caravan Spliff” follows with an acoustic lead and bubbly bounce that captures the ‘high’ conceived in the van. Though Weeed could have travelled on their own to the realm where gravity has no meaning, the band called in a pedal steel guitar, saxophone, and a throat singer to help lift this song even further out of reach. “Dogma Dissolver” – great song title aside – is next and serves as the album’s centrepiece. More shamanic like singing here, swirling from the one speaker to the other, so its time to bust out the headphones and close your eyes. The noodling guitars drive the eyelid kaleidoscopes but it’s when Seaver takes the lead that things really get going. This song is introspective and beckons the listener to get even deeper when it breaks out into the quarter beat hypnosis. As the fifteen minute run time progresses, there’s a trade-off between heavy riffing and droning before breaking into a primal breakdown led by Goodhue’s ability to capture the essence of a groove. By the time “Dogma Dissolver” comes to a crashing finale of cymbal smashing, feedback, and all around noise, the listener is left sprawling around on the floor wearing nothing but socks, unable to be satisfied with just how close they can get to the speakers. Needless to say, it might take a second or two before anyone gets up to put on disc two.

(crackle, crackle, crumble, crumble, spark, spark)

Ok, good to go.

The themes of planet Earth, outer space, and spirituality are cycled through once again on the last three tracks. “Enuma Elish” gets as close to a traditional song with a verse and a chorus as Weeed might ever get, shamelessly wearing its Black Sabbath influence on both its riff and vocal delivery to book end the song. The other four plus minutes of the song are spent amidst an instrumental jam that communicates with lead feet and gas pedals. 

“Nature’s Green Magic” is the album’s second extended cut that serves as a connecting flight from the listener’s mind to their body. It opens with an Alap – a free form introductory piece used in Indian classical music – that gradually grows into a drone before building into a guitar led journey that once again brings Colour Haze to mind. The tension in Goodhue’s gentle drumming is felt but is perfectly balanced; only giving way to the inevitable at the song’s transition into a classic stoner rock-out. The interplay between Seaver and Fasnaugh almost goes unnoticed here as they pass the main riff back and forth to each other without a defining moment. Perhaps it’s nature’s green magic that’s providing this seamless passing of the baton, but whatever it is, it makes for a good listen.   

And finally, “Rainbow Amplifier Worship” scuffs along with a hypnotic guitar line that, though stoic, is freed by Goodhue’s rolling rhythm. The primal screaming keeps things grounded but when the song's midsection is opened up with a jam, Fasnaugh’s fingers dance over his frets, lifting the listener to another dimension. There’s no let-up, no let-down, just a band of three guys who move up and away with the music they play. Be it in the album’s closing track or all the tracks preceding, Weeed has made a potential classic stoner rock album that draws from familiar elements of the genre and has enough experimentation to give them a sound of their own. Keep an eye on these guys. 

Words by: Victor van Ommen

“Our Guru Brings Us the Black Master Sabbath” is available here

For more information:

Like: https://www.facebook.com/WEEEDBAND
Listen: http://WEEED.band