11 IS ONE LOUDER: St. Louis stoner rockers Spacetrucker debut "New Pubes" & pick their Top 5 Stoner rock/metal records

St Louis's SPACETRUCKER will re-issue their debut album “Launch Sequence” on CD, just in time for their spring tour. The album consists of seven tracks that combine stoner rock with the heavy grooves of Deep Purple and Black Sabbath.  Despite the fact that the band has been in existence for a relatively short time, they have opened for bands like Jucifer, The Obsessed, and Karma to Burn. Today we’re excited to debut the opening track from the album, entitled “New Pubes”, not only that we hooked up with the band to ask if they could list their Top 5 stoner rock & stoner metal albums, as we take our weekly trip to the extreme, by cranking it to 11.  Why do we go to 11,  because “It’s one louder, isn’t it?”

Kyuss - “Sky Valley”

Perhaps it's because this was literally the first real stoner rock record I heard, to me it is THE stoner rock record; strange and heavy sounding with a psychedelic twinge and immensely strong riffage. I still remember my first listen of it; being one of my first forays into non-commercial music, I wasn't even sure what to do with it but it was the most unique thing I'd heard and has been hugely influential since. I continue to blast it regularly while cruising in the van, clenching my fist and shaking it with every syllable as I rasp out my best Garcia impression.

Sleep - “Dopesmoker”

I first heard “Dopesmoker” in the "Jerusalem" format, divided up into separate tracks. It blew my fucking mind anyway, but once I learned of the struggle involved and intent to get an uncompromised version of the real single track full-length album released, I respected this weedian saga even more. Every aspect of this from analog album production of a track of this length to executing this song live demands respect. Any true riff worshipper should consider it heresy to not hail to this album and its creators. 

Fu Manchu - “King of the Road”

The sunken mid range sound of the entire album marks it as a staple of stoner recording mentality, as well as the obvious driving force of fuzzed-out pentatonic riffs and a metronomic mountain of drums. For the gear head this particular album speaks volumes… defining the very clear association between enthusiasm for vintage machines and stoner rock. It has also become the undisputed theme music for a small sect of automobile enthusiasts: vanners. From the cover artwork to our anthem "Boogie Van", this is van jam number one. 

The Melvins – “A Senile Animal” 

They're difficult to pinpoint as solely stoner rock since the Melvins catalogue contains elements that range from totally bad ass chunky riffs and strong vocal harmonizing to drone noise and deranged octave shifts. This album made my list because it tends far towards the first two aspects like 1994's “Stoner Witch” but is especially mind warping being their first with the backing of Big Business members, adding a second drummer to increase the mad rhythm dynamics of their already incredible and unconventional Dale Crover.

Red Fang – “Murder the Mountains” 

The single "Wires" was my first listen, and while that track is a great straightahead highway rocker (and the video is highly amusing), every tune on this album is a kick in the nuts. Haunting lyrics and high contrast duelling vocalists are only the beginning; the drums are so dynamic I remember them like lyrics and the music is incredibly sludgy and brutish considering it is (the only album on this list) in standard tuning. Their deceptively simple approach to constructing ripping, writhing songs is the musical equivalent of Walter Sobchak's kidnapping resolution plan to "grab one of 'em and beat it out of him."

“Launch Sequence” is available buy here

Band info: facebook || bandcamp

ALBUM REVIEW: Woe - “Hope Attrition”

By: Conor O’Dea

Album Type: Full Length

Date Released: 17/03/2017

Label: Independent |
Vendetta

“This is music that is deeply rooted in darkness that still somehow manages to be transcendent and uplifting.  If you liked the incredible promise presented by “A Spell for the Death of Man”, this album exceeds it in every way. This is great metal, full stop.”

“Hope Attrition” DD track listing:

1). Unending Call of Woe

2). No Blood Has Honor

3). A Distant Epitaph

4). The Din of the Mourning

5). The Ones We Lost

6). Drown Us with Greatness

7). Abject in Defeat

The Review:

USBM has always been an interesting subgenre characterization for me. I have generally been of the school that geographies aren't exactly the most robust way to define a sound in a heavily globalized world. Labels like 'Cascadian', while lyrical and evocative, certainly extend beyond a specific geospatial location. Like all things boxed and categorized, we need to remind ourselves that while topographies may inspire certain sonic landscapes, the map is seldom the territory. Which is a very roundabout way of bringing me to the point that I do feel like there is something idiosyncratic in black metal that is made in America, but that something is very, very difficult to define. It is more like a visceral challenge to and disrespect for orthodoxy, movements, subgenres than anything tangible or even consciously intended. And this is neither borne of contrarian pretense nor some musical equivalent of obstinate defiance disorder: USBM bands make metal the way they want to. It is inflected and accented with the elements they choose and that's all there is to it.

Woe's “A Spell for the Death of Man” was a standout for me when released, and partially for these reasons, this was band that, for lack of a better description, sounded like themselves. Yes, you can hear their influences. Yes, you can see where the alchemy underpinning some of their ideas. But already in this debut, you can hear musicians keenly aware without fabricated neurosis of being overly self-conscious or possessed by self-conceit. They aren't trying or aiming for anything beyond that, and the results are savage and excellent. “Alone with our Failures” and “Wake in Mourning” are emblematic of this strong identity and musicianship. The promise of A Spell continued to bloom in sophomore effort “Quietly”, undramatically, but seemed to stagnate slightly in “Withdrawal”, which felt a little attenuated and listless by comparison. I can happily state that “Hope Attrition” is several steps beyond the debut and follow-up albums in both maturity and compositional excellence.

I have written a couple of times before on this blog about the importance of album cohesion, and this album has it in spades. Album opener “Unending Call of Woe” offers thick, mildly dissonant riffing, serving as the perfect introit for the conflagration that follows it. “No Blood Has Honor” has gone already as a song of the year pick for me, and I do not see it being bumped off the list. Anthemic, relentless, instantly memorable, it is the peak of an excellent album. “A Distant Epitaph” is a perfectly mournful acoustic interlude, but painfully short, given how beautiful it is. I would have liked to have seen this fleshed out a little more. Throughout the album, the raging but sorrowful melodicism of the second track sees expression in a variety of songs, which leads me to that strangest of black metal paradoxes: music that is deeply rooted in darkness that still somehow manages to be transcendent and uplifting. Leave it to black metal that emerged from New Jersey and grew up in New York to be as gritty as it is transformative. If you liked the incredible promise presented by “A Spell for the Death of Man”, this album exceeds it in every way. This is great metal, full stop

“Hope Attrition” is available to preorder/buy here. Vinyl will be available here

Band info: facebook || bandcamp

ALBUM REVIEW: Darkest Hour - “Godless Prophets & the Migrant Flora”

By: Ben Fitts

Album Type: Full Length

Date Released: 10/03/2017

Label: Southern Lord

“Godless Prophets & the Migrant Flora” finds an exact middle ground between the elegant melodicism of Darkest Hour’s earlier work and the feral muscle of their previous album. The mixture is sure to please nearly all fans of the band, both old and new.  The result is twelve tracks that simultaneously capture Darkest Hour at both their most tuneful and their most assailing.

“Godless Prophets & the Migrant Flora” CD//DD//LP track listing:

1. Knife in the Safe Room
2. This Is The Truth
3. Timeless Numbers
4. None Of This Is The Truth
5. The Flesh & the Flowers of Death
6. Those Who Survived
7. Another Headless Ruler of the Used
8. Widowed
9. Enter Oblivion
10. The Last of the Monuments
11. In The Name Of Us All
12. Beneath It Sleeps

The Review

Since Darkest Hour strayed from their melodeath roots in favor a more commercial metalcore sound on their self-titled, eighth album in 2014, many new fans have flocked to the band’s base. However, older fans of their melodic death metal sound have been nervously twiddling their thumbs about what this would mean for the future of Darkest Hour’s direction. That future arrives in the form of the Washington, D.C. based quintet’s ninth LP, “Godless Prophets & the Migrant Flora”, their first original release for Goatsnake/Sunn O))) guitarist Greg Anderson’s label Southern Lord Recordings. It is also their first album to feature Converge guitarist Kurt Ballou behind the soundboard, and if the names associated with this album seem like they might be sending mixed messages about the album’s stylistic direction, that’s because they are.

“Godless Prophets & the Migrant Flora” finds an exact middle ground between the elegant melodicism of Darkest Hour’s earlier work and the feral muscle of their previous album. The mixture is sure to please nearly all fans of the band, both old and new. The vibrant, flowing guitar leads definitive of the band’s classic material reintroduce themselves on “Godless Prophets & the Migrant Flora”, which may be partially due to the return of former guitarist Kris Norris, who, while not a full member of the band again, does perform additional guitar layering on the album. “Godless Prophets & the Migrant Flora” also sees vocalist John Henry return to a style more closely approximating his work on early Darkest Hour, albeit a tad harsher and more martial.

These elements of Darkest Hour’s past works float atop an amalgam of their newer, metalcore influenced sound. The elements of classic melodeath that the band always impeccably recreated are set to a backdrop of vicious aggression that provide a new kind of edge to Darkest Hour that one never noticed was missing before. This is perhaps best exemplified by the album’s tenth and possible standout track, “The Last of the Monuments”, which mixes nimble guitar work, infectious melodies and ferocious attitude. “Godless Prophets & the Migrant Flora” truly finds the best of both worlds that Darkest Hour has ventured into, removes them with a scalpel, and then slaps them onto a new musical canvas. The result is twelve tracks that simultaneously capture Darkest Hour at both their most tuneful and their most assailing.   

“Godless Prophets & the Migrant Flora” is available preorder/buy here

Band info: facebook

TRACK PREMIERE:The Riven deliver a raw and soulful slice of heavy rock with "Ain't No Doctor"

London based heavy rock band The Riven are set to create quite the stir within the heavy rock fraternity, they are set to release their gloriously righteous  debut EP “Blackbird”on April 14 2017 and as a consequence it is destined to propel them to the top of every playlist by year’s end.  Make no mistake this band are going to blow up in stratospheric proportions.  The album's five tracks recall the glory of 70s hard rock and is influenced by bands such as Grand Funk Railroad and Deep Purple.

The Riven is the perfect juxtaposition of delicacy set against raw, soulful, heavy rock which tastes all the better when washed down with lots of hot sauce and cheap beer. Formed in West London after an alcohol-fueled songwriting session between guitarist Arnau Diaz and bass player Max Ternebring, they were soon to be accompanied by Charlotta Ekebergh on vocals and  Olof Axegard on drums.

Whilst comparisons with their contemporaries will undoubtedly come their way, naysayer take a walk, this delectable quartet are the perfect remedy for the blues of winter and compose music that warms the soul and puts a strut in your step.  So we are beyond stoked to debut a brilliant new track from their forthcoming EP which you can check out below entitled “Ain’t No Doctor”.  Now where's that beer and hot sauce!!

Band info: bandcamp

ALBUM REVIEW: Gateway - “Scriptures of Grief”

By: Grim Trashcan

Album Type: Full Length

Date Released: 03/02/2017
Label: Sentient Ruin Laboratories

I hate to sound melodramatic or overstated but this was a completely other-worldly experience  ... the likes of which I'm still recovering from.

 

“Scriptures of Grief” CS//DD track listing:

1). I

2). II

3). III

The Review:

It can be said that in this modern age we all have a sense of universal gateways. Instant paths to information, shared experience and ideologies - for better or worse. The beckoning, albeit distracting handheld glow of our portable gateway devices. The altar of research and interaction that takes form as a desktop battle station or a convenient laptop. Your path to these gateways is not beset on all sides with a burden of gnosis, or a life resolute on mastering the arcane mysteries of the universe. The gateway is the path, and the path is the gateway. Sorry, I just got done listening to "Scriptures of Grief" by Gateway. 

Having emerged from the alternate plane that this Gateway release puts you - it's sort of difficult not to look at things a bit differently. Sure, blackened death doom is a thing and those words in conjunction sort of let you know what you're in for when you hear them - but this is something else. I hate to sound melodramatic or overstated but this was a completely other-worldly experience  ... the likes of which I'm still recovering from. 

Three tracks, titled as simple numerals - "I-II-III" comprise this album as ways to delineate three concise movements or phases. So for the sake of coherency I'll just refer to them as "parts". Part one is a telling display of this one man's death doom dealing abilities overall. The knack for creating atmosphere and laying a formidable track for you to attach yourself to. Clocking in at almost twelve and half minutes long it takes you through gravity questioning swirls and sweeps of low-end frequency annihilation and eerie distant digital percussion. A rare instance where mechanical drums actually fit to serve the experience. The guitar tone is for me, more reminiscent of early 90's drone distortion - a la early Earth with sort of a destructive industrial warmth but sterility that beckons you near whilst burning and semi-sizzling your ear drums. In terms of vocal performance, it's more of a production than an outright telling. Deep, guttural bellows soaked in reverb so wet it glistens and drips. I'm reminded of bio-mechanic landscapes in the latest Doom video game and the sounds they would make when no one was fighting on them. 

Part two further delves into a more scientific and somewhat industrial conjuring of textures with the seamless transition from the first part. Marked by an increase in mechanical drum excellence, this part of the album wants to take you for a ride. Big breaks, followed by cliff-drops and more trudging with hypnotic guitar work and those calculated machinations that are the drums culminate to make this 8 and a half minute affair stand out resolute as a different phase of the album. Probably a deliberate notion to give the entire journey its height in intensity and callousness. Not a guitar solo in sight here - nor anywhere on this entire landscape. The guitar serves as solid slabs of gristle and glacial meat for the rest of the aural participants to feed from. 

Part three folds in organically at the brief respite that marks the transition. From there it’s an inevitable downhill affair with a final surge of tempo and intensity which disassembles and deconstructs to sub-sonic ruminations and rumblings encapsulated in yet another 8 and half minute dirge. Kind of like the slow motion death rattles of a wounded elder god - the dying breaths of a world destroyer. At somewhere around the 6 minute mark the song releases its final frustration in tempo and intensity to fall to the ground, awash in a fuzz tide and crispy wizard whispers. The gateway has closed and the scriptures have been read aloud. Time for you to return to the plane of the mundane mortal.

“Scriptures of Grief” is available Europe here and USA/ROTW here

Band info: bandcamp || facebook

ALBUM REVIEW: Death Alley - "Live At Roadburn"

By: Victor Van Ommen

Album Type: Full Length

Date Released: 24/02/2017

Label: Tee Pee Records

“Live at Roadburn” depicts Death Alley as more than just a good live band that gets the crowd going. The record puts the band's best foot forward, and by allowing the listener to repeatedly dive into the jams and feel the chemistry, Death Alley’s talents as musicians get pushed to the fore.

“Live At Roadburn” CD//DD//LP track listing:

1). It’s On

2). 666666

3). Feeding the Lions

4). Supernatural Predator

The Review:

Death Alley has been putting in so much time and so many miles since their 2015 ass-kickin’ debut album that they could easily pass as veterans of the scene. In these few short years, Death Alley  toured the hell out of Europe, visited the Roadburn Festival twice (three times? four?), took a trip across the pond to visit both coasts of the United States, and most recently hit the road with some local heroes for a successful Motorhead Tribute Tour. In case you missed any of that –though I’m not sure how you could have – have no fear because Death Alley is about to release “Live at Roadburn” on February 24^th and it’s a scorcher.

The main difference between seeing Death Alley in a live setting and listening to its documentation on your couch at home is context. In person, you’ll knock back a couple of beers, get tossed around the pit and feel the band's sweat rain on the crowd. It’s a rock and roll extravaganza that you’ll share with those in attendance, all of whom have come out to the show to let loose of the daily grind and boogie down. I know, that’s usually the point of any rock show, but Death Alley is one of those bands that manages to open up a line of communication with everyone in the crowd, even those all the way in the back.

At home, however, the live documentation is a whole different kettle of fish. From the comfort of your couch, “Live at Roadburn” depicts Death Alley as more than just a good live band that gets the crowd going. The record puts the band's best foot forward, and by allowing the listener to repeatedly dive into the jams and feel the chemistry, Death Alley’s talents as musicians get pushed to the fore. A solo here, an unexpected fill there, a tight transition everywhere; no matter what, these guys are locked into their Death Alley trance. The word trance might be a strange adjective to apply to an upbeat rock band, but at 4 songs (one of which is a cover, two of which are new) and 44 minutes long, “Live at Roadburn” certainly lets the mind drift.

Opener “It’s On” starts with singer Douwe sarcastically asking the crowd “are you ready?” Fuck no, they’re not ready – not for what’s about to happen at least – but that doesn’t matter because the band sure is ready to bring it. The song’s midsection and back half are all about the guitars, which blend nicely into the eight-plus minute instrumental cut that shows why Death Alley brought along their friends Ron van Herpen (Astrosoniq) and Jevin de Groot (Múhr) along for the ride. A 22 minute version of “Supernatural Predator” follows, demanding as much attention as it does on the album, but it’s the “Feeding the Lions” that has the band looking forward. This song, with its rolling rhythm and a pissed off Douwe in your face, is a great way to both close a set and get the fans excited for the come-on-get-to-it already sophomore record.

A good live album is something that’s hard to come by. In order for such an album to hit the mark, the band in question needs to be on fire the night of the recording. Everyone needs to be locked in, the energy needs to feel right, and most of all, someone needs to record the set in such a way that it translates well to an in-house hi-fi set. If that’s what you’re looking for in a live album, then do yourself a favor and track down a copy of Death Alley’s “Live at Roadburn.”

“Live At Roadburn” is available to preorder/buy here

Band info: facebook

REVIEW: Oak - “Your Mess As Much As Mine” (EP)

By: Charlie Butler

Album Type: EP

Date Released: 28/01/2017

Label: Truthseeker Music

The band deliver a breathless mix of Converge at their most knotty, mixed with a distinctly European brand of screamo/chaotic hardcore that hits hard. These tracks are really brought to life by some frantic, complex drum work that channels the spirit of Ben Koller.  “Your Mess As Much As Mine” is a brief but brilliant release from Oak that shows the band are more than capable of holding their own against the heavyweights of the genre.

“Your Mess As Much As Mine” DD//LP track listing:

1). Broken Bodied

2). Garden

3). For Better or Worse

4). Elsewhere

5). Family and Friends

The Review:

Oak’s new EP “Your Mess As Much As Mine” may only be seventeen minutes long but it makes a strong impact over its short duration.

The Gothenburg trio come out of traps hard with the fierce opening trio of “Broken Bodied”, “Garden” and “For Better or Worse”. The band deliver a breathless mix of Converge at their most knotty, mixed with a distinctly European brand of screamo/chaotic hardcore that hits hard. These tracks are really brought to life by some frantic, complex drum work that channels the spirit of Ben Koller.

“Elsewhere” sees the band ease up on the gas while maintaining high levels of spite. It’s a slower track that sees Oak introduce elements of noise rock and culminates in a crushing doom riff that is eventually overpowered by a rising tide of raw noise. “Family and Friends” provides a fitting end to the EP, five minutes of intensity that brings together the different elements explored over the previous tracks for a raucous finale.

“Your Mess As Much As Mine” is a brief but brilliant release from Oak that shows the band are more than capable of holding their own against the heavyweights of the genre.

“Your Mess As Much As Mine” is available here

Band info: bandcamp || facebook