ALBUM REVIEW: Zakk Sabbath, "Vertigo"

By Richard Maw

Album Type: Full Length
Date Released: 04/09/2020
Label: Magnetic Eye Records

 

“Vertigo” CD//LP track listing:

1. Black Sabbath
2. The Wizard
3. Wasp / Behind the Wall of Sleep / N.I.B
4. Wicked World
5. A Bit of Finger / Sleeping Village / Warning

The Review:

It seems from “the internet” that this release is viewed as somewhat controversially... I really don't know why, as it is Zakk Wylde- ably supported by Blasko (bassist) and Joey Castillo (monster drummer)- roaring through the Sabbath debut in its entirety (with the US album track “Wicked World” present) in a pretty live-in-the-studio presentation. The release, as far as I can tell, is an affectionate homage to the band and Zakk's sometime boss and it is delivered convincingly. With Wylde being the de facto Ozzy guitarist post-Randy with the longest tenure, it's really not much of a stretch for him to claim lineage in the Sabbath family tree- and beyond Iommi, Zakk is the guitar player most closely associated with Ozzy still alive today.

In case anyone has forgotten, Wylde was/is a highly regarded player with a phenomenal picking hand and a very memorable and identifiable playing style. Vocally, Zakk imitates Ozzy convincingly- with a lower register and a touch more grit. The sound is wonderful; it's warm and live and raw and sounds like... a band playing together. What a refreshing change!

The playing is, of course, rock solid from the rhythm section and Zakk's guitar playing is very much on form. The title track is delivered with real fire and then it's onto more deep cut material. I assume it's Zakk playing harmonica on “The Wizard” (Wylde has already covered this one on the 2^nd Pride and Glory disc many years ago). It's a storming rendition and Castillo gets many bonus points for adding in the solitary cowbell strike that Ward graced the original recording with. In fact, its faithful touches like this which show the record for what it is: big Sabbath fans paying tribute to the original gods- as the promo notes say- as a COVER BAND. Its fun, it's enthusiastic and it rocks really hard.

The other songs on here are delivered just as well and have lost none of their ageless power; “Behind The Wall of Sleep”, “N.I.B” and “Wicked World” are just fantastic. We are spared the odd Crow cover of “Evil Woman”- serviceable on the original album but the weakest piece of music therein.

It's no secret that the first few Sabbath albums are all time classics, but hearing the songs played by other world class musicians just reminded me of their power and vitality. In the history of heavy music there are few bands to rival Sabbath's six album  run (and of course the Dio, Ian Gillan and Tony Martin eras all have a huge amount of classic material too) and hearing this gallop through their debut only served to remind me just how good the debut is/was. The list of other bands with a catalogue even close is small... well, you've got your own opinion as to who! Beyond the biggest of bands (Maiden, Metallica, Priest... slim pickings thereafter), it's a small list and mostly confined to sub-genres.

It's widely accepted that Sabbath created metal- yes, there are internet dwellers who argue for Blue Cheer (sigh), Hendrix (no- although godlike; not metal), Led Zeppelin (hard rock and more but not metal) and even some who claim that Sabbath were not metal at all and that instead Judas Priest were the first metal band- and then only with the release of “Sad Wings of Destiny” due to its dual guitars and higher tempos (Priest innovated the genre in the 70s, but did not invent it- come on, now!). These people are all wrong, obviously: Sabbath were the first metal band. To hear the Sabbath debut- or even this re-recording- is to hear metal explode from the womb and show its teeth.

One question that can certainly be levelled in accusatory fashion at this release is: what is the point?!  It isn't a “reinterpretation” a “reimagining” or anything else; it's just a solid and inspired run through the most significant debut in metal history.

By the time I reached the closing fifteen minute suite of “A Bit of Finger/Sleeping Village/Warning”, I was already planning to play the Sabbath back catalogue as soon as possible just to reacquaint myself with its unearthly power. Well, I think the question is answered; it'll have you digging out all those  Sabbath albums from the 70's and beyond. It's a wonderful tribute to and acknowledgement of the most important metal debut of all time. No more and no less.

“Vertigo” is available HERE

Band info: facebook

REVIEW + TRACK PREMIERE: Ghastly Sound - "The Bottom" [EP]

By: Ernesto Aguilar

Album Type: EP

Date Released: 15/12/2017

Label: Magnetic Eye Records

The band returns with its second offering of 2017, and it gets back in the mud with this ridiculously catchy EP.  It will leave fans wanting but "The Bottom" closes out the year for Ghastly Sound in grand style.

“The Bottom” DD track listing

               

1. Waves

2. The Bottom

3. Holy Serpent

4. Deadtooth

5. Sink

The Review:

In February, Vermont sludge metal trio Ghastly Sound offered their self-titled debut to big fanfare. The band, composed of just a bass, drum and vocal, generated buzz for its metal roots that integrate hardcore, noise and dashes of dream-pop into the songs. And when a follow-up was announced, hype for the young band was building.

Besides recording, it's been a busy few months for the three-piece. Over the summer, Ghastly Sound bassist T. J, Maynard gained viral notoriety for outing white supremacist Ryan Roy to his Vermont employer. Roy, part of the white power metal band Hate Speech, was among hundreds of participants in Unite the Right protests in Charlottesville, which resulted in the death of a protester and a national outcry. In an interview after Roy's termination, Maynard said, "“They didn’t fire him because he went to the rally or exercised his right to freedom of speech. They fired him because when the community saw that he was there they told his employer that they would lose business if they kept him around. It was that free market conservatives love to tout at its best."

Regardless of where you fall on the political spectrum, in addition to liking the music, you might want to give points for being willing to call folks out.

Ghastly Sound's members didn't let the media attention go to their heads, clearly. The band returns with its second offering of 2017, and it gets back in the mud for clanking, yet ridiculously catchy, metal on "The Bottom."

What makes Ghastly Sound such an intriguing group in the metal ecosystem is how fluidly it incorporates inspirations into a sound that is squarely hard rock/metal in breeding. Not having a guitarist makes the trio far more innovative than a lot of bands, and vocalist Tyler Gurwicz is versatile enough to hit a range of notes and emotions with his singing. "Waves," its opener, hooks you with both melodies and driving volume. It's a rollicking cut, where Gurwicz goes from shouts to soaring vocals over its two minutes and change. On the title track, Maynard and drummer Ryan Lewis provide a charging backdrop for Gurwicz to flex his diverse approach.

Ghastly Sound count bands like Unsane and Torche among its influences, and those among others are flags flown high on songs like "Deadtooth." Additionally, Ghastly Sound's aesthetic very strongly merges touches of more mainstream music with metal. Acts from Word Alive, Myrkur and The Devil Wears Prada have created releases in not dissimilar ways, to both love and hate. And while Ghastly Sound is unlike all of them, the Vermont team's savvy feels familiar, in a good way. Lastly, you might expect a song named "Holy Serpent" or something else might explicitly address the Roy incident, or white power bands, but it doesn't, at least directly.

By the time you finish the EP, your main complaint may well be that "The Bottom," at just over 15 minutes, is simply too short. Perhaps it is better to leave fans wanting more than wanting less. Regardless, "The Bottom" closes out the year for Ghastly Sound in grand style.

The title track from “The Bottom" is streaming in full below and the EP available to pre order/buy here and via bandcamp here

Band info: bandcamp || facebook

ALBUM REVIEW: Somnuri - "Somnuri"

By Ralka F. Skjerseth

Album Type: Full Length

Date Released: 10/11 2017

Label: Magnetic Eye Records

This self-titled debut is an impressive debut, possessing a musical style that is extensive, manifesting decibels of subliminally-composed heavy fuzz and thrashing resonances inspired by a myriad of names such as Mastodon, High on Fire, and Baroness

“Somnuri” DD//LP track Listing:

01. Kaizen

02. Inhabitant

03. Same Skies

04. Slow Burn

05. Opaque

06. Welcome The Stranger

07. Pulling Teeth

08. Through The Dead

The Review:

Up-and-coming stoner/sludge/doom metal/progressive trio from Brooklyn, Somnuri, consisting of members of Blackout, Hull, and Family, they are formidably manifesting decibels of subliminally-composed heavy fuzz and thrashing resonances inspired by a myriad of names such as Mastodon, High on Fire, and Baroness. There definitely is diverse elements that can be found in their style— be it a convergence of black metal, sludge, math rock, progressive post-metal, you name it. As a result, they successfully manage to present a profound variety of paces, rhythms, and vocal ranges. They are the kind of band that would not hesitate to solicit influences from an extensive range of references in order to evolve as their own kind of authenticity. I personally don’t think that they suit only one single mundane classification of genre; they branch out in the most proficient way ever possible. They have done an awesome job of presenting how their elements can be ethereal but also belligerent at the same time-- their style is like a conundrum. It’s interesting to find trails of black metal-inspired growls in a sludge content that can be found in some tracks, as well.

The first track, “Kaizen”, is an atmospheric tune that appears to be strong on stoner elements and features a slow-paced outro which contrasts to the fast and upbeat beginning of the song. Hereafter, there comes “Inhabitant” with a blistering nuance and black metal-inspired funereal distortion. The next track “Same Skies” is in a more rapid pace than the previous two tracks, intensified by its chaotic drumbeats, and it mainly contains sonorous growls. “Slow Burn” is a droning, fuzzed-out track with prepossessing riffs and a well-crafted combination between growls and clean vocals. “Opaque” happens to be a short track that comes off as tranquil and clandestine. “Welcome the Stranger” has some circle pit-inducing malignant vibes that would trigger you to stage-dive and mosh. Next off we have “Pulling Teeth” and its convoluting riffs of the damned. The last track “Through the Dead” is a rhythmic, ethereal take on stoner that closes the album as the longest track.

This self-titled debut is an impressive debut, possessing a musical style that is extensive and not chained to one certain sphere only. It has a lot of scenes and roots implemented in its content, and it’s such a good start for them.

“Somnuri” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Low Flying Hawks - "Genkaku"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 25/08/2017

Label: Magnetic Eye Records

Low Flying Hawks come at you with a chugging, thick mélange of sound you will not soon forget, there's an aesthetic through this release that makes their  second foray sound quite breathtaking.

"Genkaku" CD//DD//LP track listing:

1.) Smile

2.) Uncool

3.) Virgin Witch

4.) Space Wizard

5.) Hallucination

6.) Twilight

7.) Sinister Waves

The Review:

Sporting a bond to sludge metal icons the Melvins is never a bad thing. And such a relationship is all the more noteworthy when your bag is self described as ambient metal, known otherwise depending on who you ask as drone metal. In the case of Low Flying Hawks, they're even closer to the Washington State legends than throwaway words in a press kit. As Low Flying Hawks features Crover's peerless stylings as well as Melvins' producer Toshi Kasai and guest vocals from King Buzzo himself.

Do not come to the recording expecting the Melvins' crunch, though. On its successor to the 2016 debut “Kōfuku”, Low Flying Hawks instead come at you with a chugging, thick mélange of sound you will not soon forget.

"Genkaku" (Japanese for “hallucination” or illusion”) is a mind-bending journey. The swirling guitars and indecipherable words in "Uncool" are indicative of that trip – dreamlike, or nightmarish, paths lain bare with Crover's pensive drum duties. A song such as "Hallucination" has almost a shoegaze feel to it, even though it is most decidedly doom in nature. The discerning listener will find a bit of a psychedelic rock influence in several tracks. Although you may hear such especially in our sludge metal friends, prototypical notions of 'Melvins side project' this is not. Rather, there's an aesthetic through this release that makes Low Flying Hawks' second foray sound quite breathtaking.

At the same time, the release is punishing when it needs to be. As in “Kōfuku”, the sophomore recording takes plenty of toilsome turns. The big sound is present and accounted for, complete with multilayered instrumentation and riffs that build to impressive arcs throughout. You have to appreciate the King Buzzo-fronted track "Space Wizard" for its pacing in this regard, as well as that of "Virgin Witch," which is one of the most Melvins sounding songs, in all of the best ways, on this recording. All in all, Low Flying Hawks exceeds the anticipation one might have about its members' histories. The band also gets you thinking about how they can expand past that.

"Genkaku" is available to preorder/buy here

Band info: bandcamp || facebook

11 IS ONE LOUDER: TJ Maynard (Bass) of Vermont Bass-Only Sludge trio chooses his top 5 Noise Rock Albums

Ghastly Sound are a gritty, loud, unforgiving and uncompromising trio focused on guitar less volume worship and a love for high-energy riffs.  The band began writing songs as a two-piece around the foundation of childhood friends TJ Maynard (bass) and Ryan Lewis (drums), who soon attracted the straightforward candor and raw power of vocalist Tyler Gurwicz.  Sounding like Torche playing Truckfighters with the ghost of Dio on vocals and also bringing to mind Big Business indulging in secret stadium rock fantasies.  Ghastly Sound’s presence is as large as it is loud:  rolling, thunderous tones blended with splashes of groove, sludgy bass riffs merging with spiraling time signatures, burning screams interwoven with anthemic melodies and pummeling hooks. 

Drawing influences from contemporaries like Kylesa, Torche and Every Time I Die as well as pioneers from Helmet to Unsane, Ghastly Sound’s debut EP is here to remind listeners of a time when bands and people lived authentically and loud.  Welcome Ghastly Sound and prepare to worship at the altar of volume, as we invite them to take us through their top 5 noise rock records, as we take our weekly trip into the extreme and turn the volume all the way up to 11.  Why do we go to 11,  because “It’s one louder, isn’t it?” Over to TJ Maynard for all the details

I’m TJ, and I play bass guitar for Ghastly Sound. When The Sludgelord approached us about doing a piece on Noise Rock, we all got really excited and sat down to come up with this list of bands. Since we recently our EP, we thought it would be fitting to select other EPs to talk about. While this isn’t really in any particular order, I’m going to talk about my personal favorite first.

These Arms Are Snakes – “This Is Meant To Hurt You”

Off the shelf, this record draws you in. With a title like that, how could you not want to listen? One of the great things about this band is how bold they were willing to be; they don’t sound like anyone but themselves. It’s completely genuine. They’re able to craft such dense songs that it takes a few passes to really pick up everything. As a listener, this band can take you as deep as you’re willing to go with them, and it’s a rewarding experience. Right up to now, Brian Cook remains one of the most stand-out working musicians.

Cave-In – “Planets of Old”

We’re citing this album, but let’s be honest — Cave-In is one of the most widely influential bands in heavy underground rock. Even if you’re not still listening to Cave-In records specifically, you’re likely listening to Mutoid Man, Old Man Gloom, or Clouds. If you’re not, you’re screwing up. Hard. Cave-In’s use of effects and willingness to go from atmospheric post-rock to hardcore to doom-caliber heavy riffs make them one of those bands that can serve as a default no matter what your current mood might be. 

Daughters – “Canada Songs”

This might be cheating because there are 10 tracks on this record, but with a total run-time of 11 minutes, 11 seconds, we’re calling this an EP. When talking about Daughters, we’ve got to address presentation. I was a sophomore in high school when this record came out, and we were all lucky enough to see them perform it at the iconic 242 Main. I remember they loaded in a shit-load of cabs wrapped in animal prints instead of tolex. They started to perform, and it was the most tightly-knit mess we had ever heard. In between songs, Alexis has this just complete-asshole character. Again, the willingness to be that bold and committed is something we all admire. The atmosphere in the room that night still sticks with all of us.

United Nations – “Never Mind the Bombings, Here’s Your Six Figures”

This is another example where presentation becomes just as important as content. When you first hear this band, you immediately think “Geoff Rickly.” Then you look a little deeper and find that none of the other members are actually able to reveal their identities. The mystery of it is kind of captivating! From a songwriting standpoint, United Nations’ ability to fuse ugly-to-pretty passages together is something that has a big influence on what we try to do. Especially vocally. Again, this is one of those bands that you hear, you know it’s familiar-sounding, and you know you like it, but you can’t really stuff them into one specific genre. I think that’s how most bands end up with the “Noise Rock” moniker, haha.

Glassjaw – “Our Color Green”

Glassjaw is instantly recognizable, another band that can only sound like themselves. For this EP to be as great as it is as a follow-up to - and with the gap in time between - “Worship and Tribute” is nothing short of extraordinary. I have no idea of the details of what went on between Glassjaw and Roadrunner Records, but whatever it was cost modern Rock & Roll in a huge way. Had Glassjaw gotten the support they needed, I think it would’ve completely changed the landscape as we know it today. We would have genuine, scary, rock bands. Instead, alternative rock radio basically consists of a bunch of bands that either sound like they’re recording b-sides for the lion king soundtrack or NASCAR commercials.

“Ghastly Sound” is available here

Band info: bandcamp || facebook

REVIEW: Ghastly Sound - "Ghastly Sound" (EP)

By: Charlie Butler

Album Type: EP

Date Released: 10/03/2017

Label: Magnetic Eye Records

“The Worst” sounds like Torche playing Truckfighters with the ghost of Dio on vocals while “Where The Ghosts Hide” and “Cape Buffalo” bring to mind Big Business indulging in secret stadium rock fantasies with hints of the Deftones in the melodic choruses given free reign with vocalist Tyler Gurwicz doing his best Chino Moreno impression over foundation-shaking riffs.  This EP is a tantalising glimpse of what Ghastly Sound has to offer. Hopefully it won’t be long before they return to show what fist-pumping destruction they are capable of over the course of an LP.

“Ghastly Sound” DD track listing:

1). The Worst

2). Where the Ghosts Hide

3). Cape Buffalo

4). Cuttlefish

The Review:

Ghastly Sound deal in a very distinct brand of low-end riff attack on their self-titled debut EP, equal parts dirty noise-rock rumble and party stoner rock. This combination of gnarly underground sounds and smoother heavy rock lends the Vermont trio a unique sound but what really stands out is TJ Maynard’s bass. No doubt there is a phalanx of bleeding amps and pedals involved in creating the monstrous racket that brings this EP to life and more than compensates for being the sole stringed instrument present.

“The Worst” sounds like Torche playing Truckfighters with the ghost of Dio on vocals while “Where The Ghosts Hide” and “Cape Buffalo” bring to mind Big Business indulging in secret stadium rock fantasies. The latter culminates in a particularly sweet galloping riff that almost has an air of NWOBHM about it.

“Cuttlefish” brings the EP home in crushing fashion, slurring the tempo to a doomy crawl to powerful effect. Hints of the Deftones in the melodic choruses of the previous tracks are given free reign here with vocalist Tyler Gurwicz doing his best Chino Moreno impression over foundation-shaking riffs.

This EP is a tantalising glimpse of what Ghastly Sound has to offer. Hopefully it won’t be long before they return to show what fist-pumping destruction they are capable of over the course of an LP.

“Ghastly Sound” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Various Artists - "Meantime" (Redux)

By: Charlie Butler

Album Type: Full Length
Date Released: 19/08/2016
Label: Magnetic Eye Records

Meantime (Redux)” is a face-melting reinterpretation of what many consider Helmet’s finest hour, it   pulls off the tricky balance of paying respectful tribute to a classic album while being an excellent listen in its own right. Hopefully it will introduce long-term Helmet fans to some exciting new bands and make any other people with their ears stuck in the underground realise that Helmet were great all along.

“Meantime (Redux)” DD//LP track listing:

01 – I Am Become Death – “In The Meantime”
02 – Earthship – “Ironhead”
03 – Ironweed – “Give It”
04 – Sunflo’er – “Unsung”
05 – KEN mode – “Turned Out”
06 – Kings Destroy – “He Feels Bad”
07 – Meek Is Murder – “Better”
08 – Ironweed – “You Borrowed”
09 – The Glorious Rebellion – “FBLA II”
10 – Fuck The Facts – “Role Model”

Bonus tracks:

11 – Fashion Week – “I Know”
12 – Rosetta – “Like I Care”
13 – Livver – “Sinatra”
14 – Heads. – “Blacktop”
15 – BlackWolfGoat – “Bad Mood”
16 – Brief Lives – “Milquetoast”

The Review:

The influence of Helmet seems particularly strong in the current heavy underground. Their brand of noise rock-indebted alt metal can be detected in a number of 2016’s finest releases, the relentless adrenaline rush of Wrong’s self-titled LP being a good example. It feels like the time is right for Magnetic Eye Records to unleash “Meantime (Redux)” into the world. A track-for-track recreation of Helmet’s 1992 major label debut “Meantime” by ten contemporary amp abusers, it demonstrates that the impact of the bands 90’s output is still felt almost 25 years into the future.

I’ve got to come clean and confess I am not the world’s biggest Helmet fan. They were always a band I meant to check out but from the mid-90s to the mid 2000’s I knew them only as the band with the guy who does a killer guest solo on Therapy?’s “Troublegum”. I finally heard them in 2005 when I caught a tepid set at Download festival. This put me off listening further until now. “Meantime (Redux)” is a face-melting reinterpretation of what many consider Helmet’s finest hour which has given me the opportunity to go back and give the band the respect they deserve.

All the bands here deliver the goods and sound like they are having a blast getting to grips with such classic riffs. I Am Become Death kick things off with a filthy and feral run-through of “In The Meantime”. It’s a faithful reproduction of the original with a throat-shredding vocal performance and distortion levels well into the red. Earthship and Sunflo’er also stick fairly close to the script and deliver excellent versions of “Ironhead” and “Unsung” respectively. Ironweed, Kings Destroy and The Glorious Rebellion also don’t deviate too far from the source material but bring the latent stoner rock undertones in “Give It”, “He Feels Bad” and “FBLA II” to the surface.

The highlights of “Meantime (Redux)” come when the original tracks are bent almost out of recognition. Meek Is Murder transform “Better” into a searing blastbeat-riddled beast of a track in the vein of Converge while Fuck The Facts achieve similarly brutal results by recreating “Role Model” as two minutes of fearsome grind. Although not as shockingly different as these two belters, KEN mode manage to inject enough of their trademark sound into “Turned Out” to give it an angular Botch-style makeover.

Not content with a full recreation of “Meantime”, “Meantime (Redux)” also features six bonus tracks where more bands tackle songs from the Helmet back catalogue. The cream of these extras come from Fashion Week and Heads. Fashion Week inject some burly riffage into “I Know” from “Betty” but also bring a welcome dose of synth-assisted melody. Heads’ classic Shellac/Jesus Lizard style rumble is a great contrast to the metallic sound of the majority of bands on “Meantime (Redux)”. They stretch “Blacktop” from “Strap It On” into six minutes of taut, dark menace.

“Meantime (Redux)” pulls off the tricky balance of paying respectful tribute to a classic album while being an excellent listen in its own right. Hopefully it will introduce long-term Helmet fans to some exciting new bands and make any other people with their ears stuck in the underground realise that Helmet were great all along.

“Meantime (Redux)” is available here

Elephant Tree - "Elephant Tree" (Album Review)

By: Victor Van Ommen

Album Type: Full Length

Date Released: 22/04/2016

Label: Magnetic Eye Records

If you’re on a quest for the next hit of sludgy psychedelic riffing to satisfy your music addiction, Elephant Tree is the thing to go for. They offer up the heaviness of slow, European doom and counter it with a classic rock swing. This is blended seamlessly with melody, both in the riffing as well as the vocals, drawing as much from the annals of rock music as it does from the modern stoner scene.  The album is made up of riffs that beg to be played over and despite the amount of repetition Elephant Tree does in fact use, the inherent quality of these riffs is that they aren’t given their due no matter how many times they get thrown at us. The quality of this album will prove itself once year-end list season comes around.

“Elephant Tree” CD//DD//LP track listing:

1). Spore

2). Wither

3). Dawn

4). Circles

5). Aphotic Blues

6). Echoes

7). Fracture

8). Surma

The Review:

Elephant Tree takes on a different approach to writing songs on their new self-titled album, to be released on April 22, 2016. Where their 2014 debut employed screams and sitars, this new outing has left these elements by the wayside, making room to explore the wonderful world of slow, dirty riffing. The band still plays psychedelic doom but these eight tracks give the genre a new, albeit subtle twist.  Slow and heavy wins the race for these Brits. Each cut breathes, comes alive, and leads a life of its own. The focus is laid on the power a riff has to completely swathe the listener with the deep, dark mix. This may sound like a familiar formula, and admittedly, it is, but it sure does make for one addictive listen.

So what is it exactly that makes this familiar formula so addictive? There’s been some scientific studies done at my house to get to the bottom of this – which were in no way influenced by external factors – and the only grounded conclusion is that this album is so addictive because these songs don’t last long enough. They’re made up of riffs that beg to be played over and despite the amount of repetition Elephant Tree does in fact use, the inherent quality of these riffs is that they aren’t given their due no matter how many times they get thrown at us. And that is Elephant Tree’s secret weapon. It’s a weapon that will prove itself successful once year-end list season comes around.

A band is usually able to get in and get out during the span of eight songs in 39 minutes. Elephant Tree, however, takes this time to nestle in and sees no reason to leave. “Aphotic Blues” encapsulates this, earning itself the centerpiece slot by way of its harmonized vocals that drift in and out of the slow and sludgy main riff. Meanwhile, drummer Sam Hart hangs on his cymbals with a classic rock swing that complements the downer riffing very well before the whole song diminishes  into a minute or so of feedback that has me thinking every time that my speakers are busted. Then out of the blue, Elephant Tree comes back in to tie the song together with their best Ufomammut impression for a whole sixty seconds.

And that’s what I mean when I say the riffs don’t last long enough. The breakdown that closes out “Aphotic Blues” is over before you know it, as is the case with all the songs here. “Echoes” follows “Aphotic Blues” with a bendy, bluesy guitar line that brings to mind “The Dark Side of the Moon” before taking off into the album’s strongest chorus sung in a heavy British accent, adding a sturdy push to the song as well as further exploring the Pink Floyd influence.

This brings us to the vocals. The screams have made way for more sung melody, complete with well placed, well sung and well timed backing vocals. The lyrical content matches the style of singing like a glove by way of the light, open-throated vocal delivery that Townley, Holland, or MacIntyre throw around when singing of a “rip in the atmosphere” during the rolling “Surma” or how “the sky and the ocean are just a place between me and my home” in the acoustic “Circles.” This, too, adds to the addictive quality of this record. There’s just no getting enough of it.

So if you’re on a quest for the next hit of sludgy psychedelic riffing to satisfy your music addiction, Elephant Tree is the thing to go for. They offer up the heaviness of slow, European doom and counter it with a classic rock swing. This is blended seamlessly with melody, both in the riffing as well as the vocals, drawing as much from the annals of rock music as it does from the modern stoner scene. If that’s what you need to get your fix, then by all means, indulge yourself in Elephant Tree.

“Elephant Tree” is available here

Band info: facebook || bandcamp