Ótimo bootleg gravado um pouco antes da passagem dos caras pela América do Sul. Do line-up antigo, atualmente o único que continua na banda é o o guitarrista e vocalista Eddie Glass; os outros dois integrantes nessa sessão foram o baixista Mark Abshire e o baterista Ruben Romano. Vale a pena dar uma conferida.
22/08/2001 - BBC Radio 1 (John Peel Session) - London, U.K.
RECORDING: soundboard audio
LENGTH: 25 minutes
NOTES: This session was first broadcasted on Oct. 2nd, 2001.
SETLIST: This One / Sonic Titan / Do It Now / Freedom / All The Way
sábado, dezembro 15, 2007
Ótimo bootleg gravado um pouco antes da passagem dos caras pela América do Sul. Do line-up antigo, atualmente o único que continua na banda é o o guitarrista e vocalista Eddie Glass; os outros dois integrantes nessa sessão foram o baixista Mark Abshire e o baterista Ruben Romano. Vale a pena dar uma conferida.
domingo, dezembro 09, 2007
In 1992CE, with the release of LYSOL, Melvins nailed the ritual for the next decade. For, as primo anarcheologists of the sub-sub-culture, it was Dale Crover and Buzz Osbourne who located the order in which the next frontiers should be tackled, they who beat the bounds, as it were, lassoed all the disparate ingredients and shoved them into the big rock pie for younger brothers Sleep and school-mates Earth, Zen Ur-slackers hitching a ride in the snug back-pack of Thor. But whereas Earth seems nowadays slow in a slothful way (a pitcher of Tennants washing down the largactyl), LYSOL was metaphysically immense and exerted intense tectonic pressure, like some 5-day heavy metal cricket match, with Lemmy bowling and Filthy Phil as crazy-eyed wicket-keeper. Tossing a hail of concussion grenades through Buzzo’s permanent flamethrower of sound, Dale Crover is four drummers at the best of times. But, on LYSOL, he was joined in the rhythm battalion by the Generalissimo of bass military coups, Mein Hairy Joe Preston. And so they shall wear ye down…
LYSOL was the new fundament, the new archetype, sealed by druids and delivered via Olmec hunchback (the good luck variety, natch). But despite the shock of LYSOL’s affronting newness, Melvins somewhat sugared their colossus by the inclusion of superb versions of Flipper’s ‘Sacrifice’ and Alice Cooper’s ‘Ballad of Dwight Fry’. Despite this, LYSOL was still essentially one enormous and segmented creation, fashioned from an unfolding and non-linear (and in places skeletal) performance that ebbed and flowed, dipped and swayed, and used at all times incredible dynamic ranges. Consider the vast tidal waves of sound that pummel and permeate this record and understand the enormity of a rock act so confident that it dared in ‘92 to begin its new album with seven minutes and fifty seconds of virtually unaccompanied Tony Iommi-isms. Wave upon wave of them. It’s not the difference between Kiss and Super Kiss, motherfuckers. I ain’t simply talking Ace’s new shoulder pads here. It’s the next evolutionary stage… between Super Kiss and Supra Kiss, that weird and cosmic other time around Kiss’s brilliant but arch super flop MUSIC FOR ‘THE ELDER’. Well, like Starchild Paul and the Gene around the time of the aforementioned LP, Melvins round the time of LYSOL understood themselves better than ever, indeed, well enough to make rigorous demands of their audience. Again, I cry, who else with any career expectations whatsoever in 1992 released records that commenced with virtually unaccompanied free-form guitar riffery that demanded eight minutes of concentrated listening from their bedroom audiences? Right, motherfuckers, no one at all. When LYSOL was released, Melvins intuitively knew that they were at the top of their game. Hey, that’s why they chose that name. LYSOL fer Chrissakes… the stuff is a killer, a drain clearer that kills in a slow disgustingly painful way. Lysol killed one of my all time heroes; American poet Vachel Lindsay drank the stuff. And naming the record so almost killed it for the Melvins when the Lysol company threatened to sue. In retreat and hastily recalling the LPs then taping over/magic-markering out the offending name, Melvins were shocked but relieved to discover they soon had a cult on their hands.
Like all the greatest shamanic art, this record operates between worlds… many worlds... and the ZOSO-style album title mix-up only increased this mythical effect. Was the record still called LYSOL or was it now just THE MELVINS? With remarkably poetic justice (for both the artists and the rock’n’roll audience), the righteously-formed sonic ritual of LYSOL has turned out to be most surely Melvins’ most pivotal recording of all. For this record was, in 1992CE, most serpently the new rock’n’roll blueprint, and – though already fifteen years old – will continue for many more years of active service. Follow its moods and directions, and you will have a half-hour of high ritual at your fingertips. Treat it with reverence, and keep it away from other records, even those made by Melvins themselves. Keep it next to other unique alchemical prescriptions such as Sleep’s JERUSALEM, Blue Cheer’s VINCEBUS ERUPTUM and Black Sabbath’s MASTER OF REALITY; and use it as often as is required. Oh, and remember, chill’en, if you are going to buy just one Melvins record for your collection, be sure you make this the one. Before I quit, please allow me a moment for a flight of fancy, if you have the time. I wanna try to try to place Melvins in their correct context, if you will. And I’ll first need a little bit of historical to and fro and overview, too…
Okay, as ye heathen with a grievance against the organised religion and a belief in the will of rock’n’rollers and other activists to change things, it’s my estimation that by the mid-2050s, the Way of Sabbath will have become recognised by society as a strange but acceptable route for a young heathen man to follow. The mass return of organised religion in the early 21st century will inevitably have spurred true rebels and stimulated refuseniks to defy the incoming conservatism by acts of flagrancy and non-collective thinking. And some will inevitably fight religion by making their own beliefs into a religion. For example, another most useful route for the Western artist would be the Way of the MC5, a warrior troubadour route ideal for troubled adventurous young men whose ideals involved an excess of moral fibre and individual bravery. Even hardy outsider heathens would start to consider the possibilities, as the government, recognising the zeitgeist and raised themselves on loud rebel music, cut tax breaks to those who admitted to practising ‘Rock’n’roll’. But guaranteed, in this new reality that I’m imagining, would be an almost equally important religious path known as ‘the Way of Buzz’n’Dale’. Yup, in forty years time, Melvins will be up there with the true greats, celebrated as part of the All-Time for their outstanding (and sustained) services to Gnostic Rock’n’roll. Sustaining any long artistic career in a heightened state is problematic, but the Melvins – regardless of many lean artistic periods – have always eventually risen/sunk into shamanistic newness, reborn again and again. Melvins are a sect diabolick, a gateway, a divine portal between innumerable worlds, an outrageously confident and worthy cosmic interface between punk, post-punk and Sabbathian heavy metal, a gateway between accepted classic dark rock Kiss/Alice/Green Manalishi-stylee and the far flung future (ie Now, motherfuckers). “Standing outside the boundaries of rock’n’roll and aiming their sounds inside,” as Greil Marcus once put it. And LYSOL is Melvins’ greatest and most sacred gift to future heathens, for its tones and vibrations taken together often and in large doses offer listeners the key to Eternal Cuntedness. (Julian Cope, Head Heritage)
Tracklist: Hung Bunny / Roman Bird Dog / Sacrifice (Flipper) / Second Coming / The Ballad of Dwight Fry (Alice Cooper) / With Teeth
sábado, dezembro 08, 2007
Mais do que perfeito. Essa é a minha definição pra esse EP lançado pelo trio Buzz Osborne, Dale Crover e Lorax no ano de 1991. Por trazer os riffs mais pesados, distorcidos e arrastados feitos até então, a banda é considerada por muitos como sendo os pais do gênero conhecido como "Sludge", uma mistura de Pós-Punk dos 80 com o Metal dos 70. E enquanto o mundo voltava as atenções para o tal do Grunge (e o Melvins era injustamente empacotado com aquela turminha de Seattle), King Buzzo consolidava aquilo que já podia ser sentido em faixas mais antigas como "Eye Flys" e "Boris", aplicando a fórmula de diminuir a velocidade e aumentar o peso e a distorção. O Eggnog é, sem sombra de dúvidas, um dos trabalhos mais geniais de uma das bandas mais subestimadas da história.
Tracklist: Wispy / Antitoxidote / Hog Leg / Charmicarmicat.
terça-feira, dezembro 04, 2007
Des Moines, Iowa’s On a Pale Horse can be placed in the niche of American Hard Rock, alongside bands like Greatdayforup. On a more exposed level, this would include Black Label Society, Corrosion of Conformity, Down, or any of the meathead acts that Clear Channel loves to pimp out. The higher visibility of those low rent meatheaded groups is a damn shame, as On a Pale Horse rock better and smarter and thusly are more deserving of the spotlight. This album continues on the path set by their debut, Black Is Not the Darkest Colour. Their formula is simple – keep the riffs thick and the choruses catchy. It starts strong with the one-two punch of “Penchant for the Divine” and “Amplify the Circle,” hits a high point with “Let It Flow,” gets even better with “No Eagle Lies in Potters Field,” and ends on a solid note with “Stand Up (All Rise).” Warren Riker’s production gives the songs a deep, rich sound (and on “King Brimstone,” some unfortunate Phil Anselmo mutter-vocal stylings). Lyrically, the band offers more than the usual beer drinkin’ and hell raisin’ hey-ho attitude. They’ve got a more spiritual, positive energy vibe, even when vocalist Aaron Peltz is screaming bloody murder. Another distinct part of On a Pale Horse is that they eschew the usual clichéd angst. While the definition of what constitutes hard rock and metal continues to mutate and splinter, On a Pale Horse stick with the basics. Good for them – they’re a talented group and their self titled album is a cut above the rest.
(John Pegoraro, StonerRock.com)
Download: http://lix.in/bcbc39 (upload por Jader)
The band: Iowa's On a Pale Horse was formed in 2000 out of the remnants of the heavy rock band Painface, when former members Jerry Spragur (guitar) and Jerry Easley (bass) decided to form a band that fit more in line with the kind of sound they wanted. Adding vocalist Aaron Peltz, drummer Nick Svoboda, and former Slipknot guitarist Josh Brainard, the line-up was complete. The band then headed into the studio to record Black is Not the Darkest Colour which was done without studio gadgetry but the old fashioned way: it was recorded live.
The songs: Black is Not the Darkest Colour is a record that really needs to be cranked to appreciate its true glory. Songs like "Come On" and "Steps" have a nice greasy southern swagger to them and at times almost give off a boogie-woogie vibe. There is no piano listed in the musician credits but you could almost swear there is one layered into these tunes. Though the majority of tunes on this record are mid-paced rockers, On a Pale Horse isn't afraid to throw in first gear and creep along with a slow, ugly but decidedly tasty Sabbathesque groove as evidenced on "The Day Has Come." The entire album is interesting because the listener can almost point out passages of, say, Kyuss or Nebula, but there is no mistaking that this is a decidedly heavy southern rock affair. The final tune, "The Darkest Colour," which clocks in at 12:56 in time, is undeniably the highlight of the album. The song starts off with quiet riffing and nice slide guitar and slowly crescendos into a furious, molten orgy of heavy goodness. It's definitely one of those songs that have an epic feel to it. The production of this album, in terms of sound, is terrific. For an album that was essentially recorded "live," it has a very professional quality about it.
(Jasen Chipman, StonerRock.com)
Download: http://lix.in/87e7cc (upload por Jader)
segunda-feira, novembro 19, 2007
Se você é um infeliz que ainda não conhece essa banda, o Tomahawk é composto por ninguém mais ninguém menos do que:
Duane Denison (Jesus Lizard)
Mike Patton (Faith No More, Fantômas, Mr. Bungle)
John Stanier (Helmet, Battles)
Kevin Rutmanis (Melvins, Cows)
Precisa dizer mais alguma coisa? Ah, sim, a info do bootleg:
Radio show: Swedish National Radio, P3 LIVE
Location: Nymble, KTH, Stockholm
Producer: Nenne Zetterberg
Sound Quality: FM Stereo
Jockstrap / 101 North / Pop 1 / Harelip / Sir, Yes Sir / Honeymoon / Flashback / Mayday / God Hates A Coward / Laredo / In Every Dreamhome / Point and Click / Angeleyes (Frank Sinatra)
E de quebra, mais duas faixas bônus.
You cannot talk about rock in the 1970s without talking about Grand Funk Railroad. And you cannot talk about Grand Funk without talking about the hate: how critics pissed on them from an arrogant height. I saw Grand Funk very early on, playing for flies in Philadelphia in December 1969, and I heard in their panzer-trio brio what the snobs did not. Born in Flint, Michigan, of the same local, white-R&B lineage as Bob Seger and Mitch Ryder, singer-guitarist Mark Farner, drummer Don Brewer and bassist Mel Schacher were not cheap Cream but a no-frills, hippie-era garage band; factory-town peaceniks who rocked like warlords.
Original producer-manager Terry Knight fought the brickbats by hyping Grand Funk's box-office might as underground revolution. But his static obscured the band's true bared-bone mettle. Grand Funk made their reputation on tour, cutting On Time, Grand Funk and Closer to Home on the run, all between August 1969 and March 1970. The flat, hard production, then a matter of time and economy, pulls the simple pow of the music upfront: Farner's high, clear tenor; the iron-treble tone of his guitar; the elephantine fuzz of Schacher's bass; Brewer's brute, John Bonham-like drive. As the main writer, Farner avoided complexity like a pox. But "Heartbreaker" and "Into the Sun," both from On Time, and the cover of the Animals' "Inside Looking Out," on Grand Funk, are pure electric-Michigan animalism, an all-testosterone blueprint for the White Stripes. Live Album and the previously unissued Live: The 1971 Tour are not as punchy; the crowd noise gets in the way. But the 1971 tracks from the band's Shea Stadium shows that year are honest snapshots of Grand Funk mania at its peak.
Survival, E Pluribus Funk and Phoenix, all from 1971-72, creak with growing pains. It took producer Todd Rundgren, on 1973's We're an American Band, to polish the pop and Motown lurking inside the amp stacks. The title hit, the stampede "Black Licorice" (with its pumping keyboards by recent addition Craig Frost) and "Walk Like a Man," a hard-rock twist on the Four Seasons, are perfect bombs of sweat, sugar and steel. The late albums have their moments, like Farner's keening wail in "Bad Time" on 1974's All the Girls in the World Beware!!! Still, every train runs out of track someday.
For most folks, a hits disc will suffice. But the best of these reissues show that, for a time, Grand Funk were the people's choice. And the people were right.
(David Fricke, Rolling Stone)
sexta-feira, novembro 16, 2007
If Gravity X took stoner rock back to ground zero, Phi is the band's first step forward. With the basic structure defined on Gravity X, Truckfighters is now able to stretch out and add new flourishes to their songwriting. Phi broach the melodic, layered territory of Mammoth Volume and Dexter Jones' Circus Orchestra. The band still knows how to lay down the fuzz, though, tracks that swing straight at you with an almost ungodly rumble of distortion. Make no mistake, Truckfighters has once again delivered with Phi. If you're a fan of their previous work, you'll find this one to your liking.
segunda-feira, novembro 12, 2007
Om is the rhythm section of stoner rock wig-out band Sleep -- bassist Al Cisneros and drummer Chris Haikus. There are two long cuts on this slab totaling a little over 33 minutes. While it's true that having two instruments play repetitive droning grooves over and again leaves room for little true variation, it hardly matters. Conference of the Birds has the ability to get underneath the skin of the listener and keep burrowing. There are small rests in each composition, with cosmic, acid-drenched lyrics: "traverse the Cheopian field/Rides out from the red sun high above...." Yeah, but so what. These guys have Syd Barrett's sense of efficacy -- slow, slower, slowest -- clear Sisyphean trudges toward some unholy and unseen peak that ends pretty much in the same place they began. It's in between that counts. And here, slowly skittering snares and drums creep mercilessly along to a bass playing a melody line that offers itself as a bassline. Psychedelic? Yep. Boring as all get out? Only if you take the parts separately. While "At Gina" suffers a tiny bit from the seaminess of the vocals, it still slithers along to displace time and space. Yet it's "Flight of the Eagle" that actually carries the ever-darkening day, simply by the sheer force of that bass. It's a pure, wide-range, low-end throb that pushes no agenda other than sonic mantra, cleaving itself inseparably into the melting brain of the listener who becomes not only a willing participant, but also an active supplicant at the altar of an eternal shadow of the transcendent expando-flex mind -- or some such twaddle. Conference of the Birds rocks terribly, terribly slowly and maniacally in a lazy, trance-inducing way; it will melt your inhibitions -- or send you screaming from the room -- without the use of drugs or alcohol.
(Thom Jurek, AllMusic)
sábado, outubro 27, 2007
Medo e Delírio em Las Vegas, lançado pela Conrad Editora, não deve ter dois meses no mercado. Só soube da existência d'uma versão traduzida três dias atrás quando, sem querer, dei de cara com a capa ao lado e, sem hesitar, a levei pra casa.
"Um jornalista norte-americano e seu advogado “samoano” embarcam num Chevy vermelho conversível, com a missão de cobrir uma corrida de motocicletas em Las Vegas. Para enfrentar essa laboriosa tarefa, enchem o porta-malas do carro alugado com um estoque interminável de drogas e saem dirigindo pelo deserto de Nevada, partindo em alta velocidade de Los Angeles e parando apenas para dar carona a um incauto - que não permanece muito tempo a bordo do veículo.
O jornalista, Raoul Duke, é um dos pseudônimos de Thompson e Medo e Delírio em Las Vegas, uma das mais ambiciosas experiências jornalísticas já realizadas – a principal tentativa de Hunter S. Thompson em validar seu jornalismo gonzo, gênero batizado pelo amigo Bill Cardoso, depois de ler o texto “O Kentucky Derby é Decadente e Depravado” (publicado pela Conrad dentro do livro A Grande Caçada aos Tubarões). Influenciado pela idéia de William Faulkner de que “a melhor ficção é muito mais verdadeira que qualquer tipo de jornalismo”, Thompson produziu um estilo único, aliando reportagem, narração em primeira pessoa, viagens alucinógenas e um bom punhado de ficção.
Medo e Delírio em Las Vegas foi publicado pela primeira vez nas páginas da revista Rolling Stone, numa aposta arriscada do editor Jann Werner, que havia lido as primeiras páginas do caderno onde Hunter S. Thompson havia escrito o esboço do livro enquanto estava ainda em Las Vegas. A Conrad publica no Brasil a edição completa de Medo e Delírio – com as surpreendentes e aterrorizantes ilustrações do artista inglês Ralph Steadman, amigo de longa data e parceiro de aventuras de Thompson.
Adaptado para o cinema por Terry Gilliam (Monty Python, Os Doze Macacos) e estrelado por Johnny Depp (Piratas do Caribe) e Benicio Del Toro (Sin City), Medo e Delírio em Las Vegas é a busca ensandecida pelo verdadeiro Sonho Americano – uma jornada terrível, acompanhada por Rolling Stones, LSD, Jefferson Airplane e a paranóia dos EUA de Richard Nixon, rumo ao coração do deserto, pulsando hipnotizante com o seu néon."
Compre no site da Conrad
Miasma and the Carousel of Headless Horses features all 3 current members of Guapo, but for the most part they have a sound and style all of their own. Daniel O'Sullivan, who concentrates on keyboards in Guapo, is lead guitarist, while Orlando Harrison (who plays drums in Alabama 3) occupies the piano stool. They play relatively short pieces where the current incarnation of their sister band favour album long suites, and acoustic instruments are far more prominent. The overall feel of the music is dark with a slightly camp edge - their music would work well as a soundtrack to a 1970s Hammer or Amicus horror film, something along the lines of Dracula AD 1972, Dr Terror's House of Horrors or Psychomania.
The album opens with a suitably sinister piece on the harmonium before the first track to feature the full band kicks in. The Mage is the track which sounds closest to Guapo, with Dave Smith playing a drum part which recalls Black Oni part 2, although the prominence of the guitar and the other instruments establishes that this is a different band. Just how different becomes apparent on Peacock The Heretic, which transports us to a Transylvanian gypsy campfire with dark and strange rites taking place in the flickering shadows. This atmosphere is maintained for the remainder of the album, with Daniel O'Sullivan leading from the front on extremely nimble fingered guitar, Orlando Harrison switching between Dr Phibes organ and gloriously doomy piano flourishes and the pair of them sparking off Sarah Hubrich's fiendish gypsy fiddling. Dave Ledden plays more high end, melodic bass than in Guapo, while Dave Smith's drumming is as crisp and unpredictable as ever. There are moments where you can picture Gomez and Morticia Adams dancing an unspeakably lewd tango, along with moments of genuinely disturbing intensity. This is also a band that knows how to rock, which they do to thunderous effect on Asmodius Arise, and they have a keen sense of dynamics - fast and slow, loud and soft, acoustic and electric; all are contrasted with sometimes dizzying speed, and credit must be given to sound man Jamie Gonzalez Arellano for the clarity of the sound and the near perfect balance of sometimes punishingly heavy electric guitar with acoustic piano and violin.
Perils is a massively assured debut album, which draws on the individual members' diverse musical backgrounds and influences to create a uniquely enjoyable dark ambience. There's something of the atmosphere of Goblin's soundtrack work here, or perhaps Univers Zero taking a slightly less serious approach. Fans of Alamariman Vasarat and Hoyry Kone will also find much to enjoy here, as will anybody with a taste for acid fried 70s folk rock. Highly recommended.
(Chris Gleeson, ProgArchives)
quinta-feira, outubro 25, 2007
Hailing from the nation's capital and looking rather like the teenage cast from the cult film Rushmore, Dead Meadow garnered many an accolade with its first album's surprisingly accomplished and highly authentic brand of psychedelic rock. The young musicians' subtle yet dazzling technical interplay lies at the core of this formula, where power chords and all other such outbursts are usually hinted at, but rarely fully vented through the soft haze of the group's stoner musings. With its flowing grooves and measured, slow stomp, the band's self-titled debut was a discreetly seductive affair, slowly creeping up on the listener when least expected. Quickly released later the same year, second opus Howls from the Hills reprises this same M.O., with only slightly inferior results. Solid opener "Drifting Down Streams" lazily swims into gear over its eight-minute sprawl and the more concise Zeppelin-inspired "Dusty Nothing" delivers some early fireworks, but occasionally plodding tracks like "Jusiamere Farm" and "The White Worm" come off rather like first album leftovers. It would be easy to peg these underwhelming moments as unfocused, yet "focus" is a tricky word when describing Dead Meadow, since a seemingly casual (or possibly carefully orchestrated) lack thereof is an essential component of the group's unique identity. And, like its predecessor, Howls from the Hills' best trips are saved for last, and include the haunting acoustics of "The One I Don't Know," the epic "One and Old," and the excellent "The Breeze Always Blows." A strong effort all around, Howls from the Hills makes up for its occasional shortcomings with a palpable sense of promise, marking this as a band to watch.
(Ed Rivadavia, AllMusic)
quarta-feira, outubro 17, 2007
"After nearly thirteen years as The Hellacopters we're now sad to tell you that we are breaking up. The reasons behind this very difficult decision are many and too personal to go into here.
Playing in a rock and roll band isn't always a walk in the park, but thanks to all of you who rocked out with us at sweaty clubs, rainy festivals or at home by the stereo throughout the years, it's been a fantastic trip. We'll never forget your support.
We recently finished mixing our seventh and last studio album and it'll be released early next year according to initial plans. We feel like we wanna say one last Goodbye to you and throw in the towel with a bang, so we're aiming to do a farewell tour through Europe and Scandinavia sometime in the spring. So you're not getting rid of us just yet.
Por matthew hopkins
Marcadores: the hellacopters
domingo, outubro 14, 2007
Rock ‘n roll, the blues, and heavy metal have meshed well ever since Led Zeppelin and Black Sabbath first started jamming back in the late 1960s. But discovering fresh perspectives in this guitar- and testosterone-driven world isn’t always easy. Every once in a while, a band like Year Long Disaster will slip almost unnoticed onto the radar, melding ‘70s sludge, ‘80s thrash, and ‘90s punk into a heavy rock cornucopia, as evident on their self-titled debut album.
The bass is heavy, the drums are pounding, and the singing is ferocious on “Year Long Disaster,” but a glance at the power trio’s lineup reveals why the finished product came out so solid. The band is fronted by Daniel Davies, son of founding The Kinks member Dave Davies; bass player Rich Mullins, who toured with popular hard rock band Karma To Burn; and drummer Brad Hargreaves, who hails from eight-time platinum-selling group Third Eye Blind. No matter that Davies and Mullins met each other on the liquor aisle of a Los Angeles grocery store, or that they spent seven months in rehab and halfway houses for various drug addictions. All that’s just fodder for band bios and “Behind the Music” TV specials.
What matters is the Sabbath-like crunch of “Cold Killer,” the stoner rock shuffle of “Destination,” and the Southern-fueled ZZ Top swagger of “The Fool And You.” And just when you think they can’t slow it down and flesh out a song, Year Long Disaster closes their album with the eight-minute opus “Swan On Black Lake,” which would be worthy of a spot on any Zeppelin album.
It’s clear Year Long Disaster knows how to play distortion-drenched, head-walloping music capable of bursting an eardrum. And in today’s manufactured pop world, gravelly lyrics and blasting guitars are a welcome change from slick production and predictable song structures. Let’s refresh: kick-ass rock ‘n roll, gritty authenticity, and an extensive talent pool. What more does a music fan need to know? (Nick McGregor, Drift Magazine.)
* Link atualizado.
O Year Long Disaster é uma banda que já nasceu impondo respeito: Daniel Davies, guitarrista e vocalista, é filho de ninguém mais ninguém menos do que Dave Davies, do The Kinks; enquanto o baixista Rich Mullins é ex-membro da lendária banda instrumental Karma To Burn, que acabara em 2001. A forma como os dois se conheceram é, no mínimo, inusitada: em 2003, Daniel saiu para comprar Vodka numa loja qualquer de Hollywwod e encontrou Rich, que na época estava sem onde ter onde morar e sofrendo com o forte vício de drogas. Em pouco tempo de "amizade", os dois passaram a morar juntos, porém não durou muito: o consumo de altas doses de entorpecentes e álcool acabou levando-os a um centro de reabilitação em LA. Após passarem por esse momento, no final de 2004 os dois recrutaram o baterista do Third Eye Blind, Brad Heargraves para enfim formar o power-trio. Com muitas influências clássicas no seu trabalho, a banda mostra a que veio no seu auto-intitulado EP de estréia, que contém 5 faixas e foi lançado em 2005 pela gravadora Ovrcast Collect. E não estranhem se acharem a voz do Daniel Davies parecida com a do Chris Cornell... ao contrário do que alguns possam pensar - que se trata de algum plágio - esse é mais um elemento que fascina ao se ouvir YLD.
* Em 320kpb/s, aproveitem. Apesar do idiota aqui ter colocado o ano de 2006 no arquivo, o EP foi lançado em 2005 mesmo, mas acho que isso não faz muita diferença, né?
domingo, outubro 07, 2007
sábado, outubro 06, 2007
Quando este peculiaríssimo emergiu como um OVNI no seio do rock inglês em meados dos anos 1980, a imprensa dita 'especializada' apressou-se em caracterizá-lo como uma banda 'neopsicodélica'; hoje, com a perspectiva que só a distância dos anos proporciona, é possível constatar como tal classificação estava equivocada: banda indubitavelmente à frente de seu tempo, Loop poderia ser descrito como uma colisão blasfema entre emanações de avant noise psychedelia e peso stoner, atualizando, via Stooges, MC5 e Blue Cheer, a vertente mais alucinógena do krautrock (Guru Guru, Ash Ra Tempel, Silberbart, etc.) para a garotada dos anos 80: guitarras encharcadas de fuzz e wah wah's emanados diretamente dos mais ignotos confins do Cosmo; percussões catatônicas propelindo atmosferas lisérgicas e obsessivas; drones abissais gerando brumas oscilantes de desorientação sônica. Numa palavra: ESSENCIAL!
(Alfredo de Sousa)
* Upload por Alfredo
sexta-feira, outubro 05, 2007
As tags marcam a data 04 de novembro de 2001, mas eu não faço idéia se ela tá certa. De qualquer forma, peguei o link. Bem, o show conta com dez músicas, todas retiradas dos dois primeiros lançamentos do grupo, In the Tail of a Comet e Madre de Dios. Qualidade muito boa (soundboard), além da chance de ouvir ao vivo essa banda do caralho, já que seria mais fácil o Papa comer piranha por aí do que ver os suecos em terras tupiniquins.
quinta-feira, outubro 04, 2007
Now signed to Small Stone, the biggest fish in the little pond of underground labels that supports this genre, Dozer comes back with Through the Eyes of Heathens to school us all once again. What’s immediately noticeable is that the two years since Call It Conspiracy have toughened the band up. There’s a harder, rougher edge to Through the Eyes of Heathens. While the band is still a master of the fuzz’d out riff and catchy chorus, tracks like “Drawing Dead,” “From Fire Fell,” and “The Roof, the River, the Revolver” leap out at you with pounding rhythms and almost snarling vocals. Even the slower, more melodic “Until Man Exists” ends with a growling outro, courtesy of Troy Sanders of Mastodon. (John Pegoraro, Stonerrock.com)
Obs.: FODA PRA CARALHO!
quarta-feira, outubro 03, 2007
Vi esse lance em algum blog - talvez n'A Taverna do Barbaro? - e resolvi fazer bom uso daquilo que aprendi indiretamente com o 'ctrl+c / ctrl+v': a arte de não ser criativo.
Como alguns devem saber, o History Channel (eu não sei se passa na sua casa, filho) há um bom tempo está trazendo o programa semanal Álbuns Clássicos, que mostra os bastidores da gravação de, er, álbuns clássicos. Queen, The Who, Pink Floyd e Judas Priest são apenas alguns dos nomes que já apareceram por lá. Vale a pena dar uma olhada.
Sex Pistols: Never Mind the Bollocks
03/10 (23h), 04/10 (03h), 04/10 (15h)
Iron Maiden: The Number of the Beast
10/10 (23h), 11/10 (03h), 11/10 (15h)
Bob Marley & The Wailers: Catch a Fire
13/10 (16h), 14/10 (04h), 14/10 (10h)
The Who: Who's Next
13/10 (17h), 14/10 (05h), 14/10 (11h)
Metallica: Metallica (The Black Album)
13/10 (18h), 14/10 (06h)
U2: The Joshua Tree
13/10 (19h), 14/10 (07h)
Pink Floyd: Dark Side of the Moon
17/10 (23h), 18/10 (03h), 18/10 (15h)
24/10 (23h), 25/10 (03h), 25/10 (15h)
Meat Loaf: Bat Out of Hell
31/10 (23h), 01/11 (03h), 01/11 (15h)
Here we have 12 cuts of primal heavy rock positively smoking with stoner atitude, but delivered with the gonzoid intense of Motörhead. If you love bands like Nebula, Unida, Kyuss, Monster Magnet, or any other practitioners of drop-forged riffing then you'll find a great friend in Dozer. It's all here from the space-rock drone, to brain-mashing reverb. Ace.
(Essi Berelian, Kerrang!)
terça-feira, setembro 25, 2007
"The new Dozer is killer. Full blown rock explosion reminiscent of Unida, early Monster Magnet...straight ahead rock and roll with vocals that remind me of John Garcia from time to time...that over the top fuzzed out high energy rock with blues leads thrown in left and right. The thing I like about Dozer on this new CD is the simplistic approach of the songs. Heavy- yes, but straight forward with very little in the way of tricks, or changes I should say. All the songs seem to truck along with balls and never seem to let up once. The duel guitar sound is thick and fuzzy, tuned down low and sludged out. The bass and drums thicken up the whole sound and vocals are right up front and barely over the top of the whole mix...not too loud, just right. I guess Unida came to mind first off because of the vocal style of Fredrik, who also doubles on guitar, and the simple fat riffs...don't get me wrong though, this is no carbon copy of Unida or Kyuss. This stuff rocks on it's own ground and has sometimes obvious influences, but what band doesn't now a days? Good solid rock record for sure. Song 9 "TX-9" is probably the mellowest song on the whole CD if there was one. It starts out with a more psychedelic attack that isn't so chuggy and punishing. Light and airy StonerRock if you will. With a slower start, this song cruises along at a medium pace with wah sounding guitar, but not a riding wah sound, more like it was positioned at one setting...lots of wide open spaces and trippy effects...a real nice change to the overall album feel. Another fine release from Man's Ruin and I am looking forward to everyone leaving the house soon so I can stick it in the loud stereo upstairs and crank it up to 10...or 11." - (Robwrong, StonerRock.com)
domingo, setembro 23, 2007
Fat, warm and fuzzy! That’s how I would describe Dozer’s sound, especially the excessively fuzzed out guitars.. "In the Tail of a Comet" is one of these records that you can listen to really loud with headphones and it doesn’t hurt your ears at all.. The production is too muddy, the guitars are too fuzzy and the bass is too loud!! And this is why it sounds so good, so warm and so easy on the ears. I love this stuff as you can tell, I much prefer Dozer’s type of sound over any tinny, eardrum peircing heavy metal even if it doesn’t turn out as clear and crisp on disc.
"In the Tail of a Comet" is Dozer’s debut full length album and it clocks in at 9 songs in just under 40 minutes… That’s 40 minutes of super groovy Kyuss and Fu Manchu inspired Swedish Fuzz Rock anthems that you can get down and boogie to. The range of songs do tend to ‘all sound the same’ on the first several listens if you’re not really paying attention.. But if you lie back with a good quality set of headphones with the bass cranked right up you start to understand a lot more where these guys are coming from.. On closer listen the dynamics in these 9 songs become much more evident. Dozer like to use a lot of creative vocal effects, there are lots of different tempos, and even some really enjoyable, and ultra-fuzzy guitar solos.. I must say that I much preferred the slower tempo songs like “Riding the Machine” and “High Roller” because of their flowing, organic textures and desert rock inspired mellow grooves.
(Dan Beland, StonerRock.com)
sábado, setembro 22, 2007
Nascido em 1973, Roper é um ilustrador e animador americano. É o criador de várias capas para discos de bandas como Sleep, High on Fire, Mammatus e The Black Crowes, além de ser o responsável por vários pôsteres de shows. Grupos como Sunn O))), Witch, Wolfmother, Boris, Om e Dead Meadow já tiveram seus nomes ilustrados por Roper.
quinta-feira, setembro 20, 2007
The saga of Sleep's Dopesmoker was already almost ten years in the making by the time of its belated release in 2003. Originally slated to follow closely behind their second album of a decade earlier, the landmark Sleep's Holy Mountain, it lingered in unreleased limbo instead -- the subject of a vicious legal dispute between the Northern California trio and their record company, London, which refused to release Dopesmoker as delivered by the band -- that is, a single, 60-minute-long song! The impasse eventually led to the stubborn band's ignominious dissolution circa 1997 rather than conform to the label's demands, leaving fans waiting for an album that most assumed would never be heard. But come 1999, an incomplete, disjointed version of the recordings was cobbled together and released by Rise Above Records with the title Jerusalem. Unfortunately, this version sounded oddly ragged in places, with senseless digital song divisions and an abrupt, obviously chopped-off ending; so for all intents and purposes, the ideal work as envisioned by Sleep clearly remained unrealized. Thankfully, all these glitches were finally corrected for the definitive, band-sanctioned 2003 edition of Dopesmoker, which bears a top-notch production job courtesy of Billy Anderson (Helios Creed, Natas, etc.) to boot. Revealed here at last, in all of its colossal glory, Dopesmoker is at once an instant doom metal classic -- some might even say a masterpiece -- as well as an impossibly dense, nearly impenetrable listening experience for unprepared fans (just to give you an idea, the first vocals only arrive 16 minutes in). Meticulously composed in the style of Gregorian chants as interpreted through the ears of Black Sabbath, "Dopesmoker" esoterically describes -- get this -- the "Weedian" people's pilgrimage to the "riff-filled land." But lyrics aside -- and there are precious few here to justify stressing over them -- what skeptical listeners must take into account here is that "Dopesmoker" is in fact a single song, not a series of song snippets stitched together progressive rock style. As such, this initially daunting edifice of snarling riffage requires quite a bit more patience and dedicated sampling before its secrets are unlocked and its riddles unraveled, but therein lies the crux of what is ultimately a very rewarding experience. And for Jerusalem owners still reticent to part with their hard-earned cash for this new and improved edition, Tee Pee Records has added a bonus treat in the form of a live recording of unreleased track "Sonic Titan."
(Ed Rivadavia, AllMusic)
quarta-feira, setembro 19, 2007
"...His menacing voice haunts each track as the blues come to life throughout the album. Capturing the melancholy mentality of the Pacific Northwest, his words descend like raindrops upon deep puddles of mud. The undeniable beauty of a song such as "Ugly Sunday" obviously comes from reveling in the mire, something that Lanegan has been all too familiar with as a recovering addict. He finds a kindred spirit in Kurt Cobain as the two join forces to present "Down in the Dark." And his version of Leadbelly's "Where Did You Sleep Last Night" is as charged as ever with pent-up frustration and jealousy. An emotional journey through the pains of life..." - Robert Gabriel, allmusic.com
Jerusalem is the ultimate celebration of smoke-filled nights spent zoning out to Black Sabbath. The album is a lyrically sparse 52-minute song that details the journey of "the weedian" to the "riff-filled land." The slow lumbering riffs in this land do the Obsessed, Blue Cheer, and the Sabs proud. Jerusalem is pure unpretentious heavy pleasure -- a smile and a nod to all who joyously kneel before the altar of Iommi with "bong in hand" in spirit and in actuality.
(Matthew Kantor, AllMusic)
Volume Two, já sem Justin Marler na guitarra, não é um lançamento oficial. O EP conta com cinco músicas, sendo duas versões diferentes para faixas do primeiro disco (Anguish e The Suffering), duas demos de Sleep's Holy Mountain (The Druid e Nain's Baptism), que sairia só no ano seguinte e, claro, um cover de Lord of This World. É, a capa diz tudo.
Volume One, primeiro lançamento do Sleep, é o único álbum da banda gravado com um segundo guitarrista. Justin Marlen, o guitarrista em questão, largou o grupo e decidiu se dedicar ao estudo para se tornar um monge. Talvez por, na época, contar com doze cordas de guitarra, o Sleep ainda não tivesse caído de cara nas influências Sabbathicas (ou sei lá, quem sabe seja só merda da minha cabeça mesmo). A arte na capa do disco é um auto-retrato de Salvador Dali.
segunda-feira, setembro 17, 2007
A New Day Dawning é o primeiro disco dos suecos do Siena Root. Ainda com Oskar Lundström nos vocais (a bonita voz de Sanya tomou seu lugar logo depois), o debut é tão bom, se não melhor, que o lançamento seguinte, Kaleidoscope. Influências claras - e únicas, até - de hard rock 60/70, com direito até a uma pequena homenagem a War Pigs no final do disco. Moderninhos, esqueçam isso aqui: A New Day Dawning cheira a mofo.
I've never been much of a fan of music described as "progressive" - actually, I've avoided it like the plague (what, me narrow-minded?)! But then, something happened. I was standing at the festival area of this year's Sweden Rock Festival, enjoying a beer, talking to some people on my way to the exit and back to the tent. But something made me stop. Something made me stop and think to myself: "what the hell is this"? What I heard was some heavy guitars sliding away into long, down-tuned Sabbath-reminding solos backed up by an even heavier Hammond organ. I felt drawn towards this weird yet compelling sound and suddenly I found myself standing in the crowd, shaking my head to these hypnotic rhythms and on the stage there were three men, all wearing long hair and beards, looking like black-dressed mad prophets. Jesus on acid. Sadly, I had to return to the tent to conduct some personal business (don't ask) so I didn't get to catch the whole concert, but I was impressed with what I had heard. Bigelf, I thought to myself, I gotta remember that name. And I did and when the opportunity came to get my hands on their latest album, "Money Machine", I didn't hesitate. The press release describes the music as "the way The Beatles would have sounded with Tony Iommi from Black Sabbath on guitar and Jon Lord from Deep Purple on organ", and I gotta admit, they really hit the spot with that one! Imagine Beatles during their cannabis-back-to-India era and with a little bit of desperation thrown into their sound, mixed with fat guitars and a corresponding organ. Yeah, yeah, I know what you're thinking: don't mix this and don't mix that, it'll all get too chaotic, but trust me: it doesn't! Bigelf are very talented musicians, performing a music that could be described as very technical, still the melodies are clean and very catchy! It takes a certain amount of creativity and genius to make these parts blend together well and these guys are not only pulling it off, but also they do it terrific! The lyrics are pretty simple, yet effective when put to the music. The two first tracks, "Money Machine" and "Sellout" are, for those of you who didn't get that from the titles, a big black boot in the face of the entire music industry - well, the greedy, money-rule part of it, anyway! Corporate assholes, beware! "Neuropsychopathic Eye" (which kicks off with some distorted Ozzy-like vocals) could easily have passed as a song from any Beatles album during their rawer period and has some great baby grand handling from keyboardist Damon Fox. "Side effects" begins with some really down-tuned guitars and turns out to be the most outstanding track of the album - the chorus is so simple, yet it's remarkable! Even your parents will appreciate this! Or at least they should. "Death Walks Behind You" is creepy and atmospheric (once again with some brilliant organ usage and groovy guitars) and the closing track "The Bitter End" is slow-paced with calm vocals, soothing keyboards and long, spiraling guitar solos. Really laid-back and relaxing - a great completion of a great album. If you haven't heard of LA band Bigelf yet, I urge you to check 'em out! It didn't actually convert me to start liking progressive music, but it made me love a band within a genre I had earlier tried to keep away from and that, my friends, requires a certain quality!
(The Damnator, Sweet Suffering)
quinta-feira, setembro 06, 2007
Witchcraft ao vivo no Roadburn Festival, em 22/04/2006. Sem tracklist, pra não estragar a surpresa.
E tem nova música rolando. Como aperitivo para o novo disco, chamado The Alchemist, a banda jogou a música Walk Between the Lines no seu MySpace (http://www.myspace.com/witchcraftswe). O terceiro álbum do Witchcraft deve sair ainda este mês.
* Upload por Vinícius.
segunda-feira, agosto 06, 2007
"The music flies around us in every single step"! Com início em janeiro de 2006, o som de Goldfish Memories, que tem influências interessantes de stoner rock e demais estilos do rock como grunge e hard rock,chega na cena com um som carregado de riffs de peso e marcantes, com guitarras distorcidas, mas também com direito a uma viagem louca utilizando variações de efeitos e bateria agressiva!!! Basicamente esse é o som desses goianos que foram considerados como uma das bandas novas que mais se destacou no ano de 2006 em Goiânia – Goiás - Brasil. Banda é formada por: Pablo Villas Boas no vocal, Renato Cunha na guitarra, Danilo Xidan na outra guitarra e nos backing vocals, João Gabriel no baixo e Lucas Manoel na bateria.
"The music flies around us in every single step"! The band activities started at January 2006. Goldfish Memories shows up with great influences of stoner rock and using some grunge and hard rock elements to create a heavy sound with notable riffs, crazy guitars, playing around with effects and powerful drumming. Basically, that’s the sound of this band that was considered one of the greatest new bands of Goiânia/Brazil in 2006. Goldfish Memories is: Pablo Villas Boas(lead vocal), Renato Cunha(guitar), Danilo Xidan(guitar and backing vocals), João Gabriel(bass), and Lucas Manoel(drums).
(do MySpace da banda)
quinta-feira, agosto 02, 2007
Poucas bandas têm uma árvore genealógica tão vistosa como a SonicVolt. São galhos contemporâneos vergados ao peso de Queens of the Stone Age e Nebula; um denso e sólido caule do rock ’70 de Black Sabbath, Led Zeppelin e Blue Cheer; e raízes tão diversas que vão do pré-punk de Detroit à psicoledia sessentista de cepas vigorosas, como Hendrix e Floyd.
Transitando entre o experimentalismo, a psicodelia e ainda arriscando alguns elementos de punk, esse trio pioneiro do stoner rock no Brasil sabe bem como respeitar essas origens. Exatamente por isso, mantém -- alheio a modismos -- os dois pés fixos no rock de alta-energia, como o próprio nome da banda sugere.
(Wilson Cordeiro, no release da banda)
E seguindo essa linha a Sonicvolt disponibilizou 'Single 2007', último trabalho da banda, com três músicas novas: Atômica Revelação, H.E.N.D.R.x. e Fora de Foco. Eu não sei se é impressão minha, mas cada vez mais eu começo a perceber fortes influências Atomic Bitchwaxianas no som do grupo, e isso é muito bom. Pode ser viagem mesmo, mas pouco importa. Cancele o download do disco daquele tal de Moptop, clique no link abaixo e seja feliz.
Site oficial: http://www.sonicvolt.com.br/
If I were to just say they are Sabbathy heavy metal I might give the impression that they are just another proto-stoner band like Witchfinder General, but that's not quite right at all. Imagine a band heavily influenced by the riff-stylings, songwriting/arrangement, and magical/occult imagery of Sabbath, but completely without all of the psychedelic and drug influence. They don't tune down, so the doomy rumbling sound isn't there, and the songs don't go for heaviness so much as...'otherworld-liness', maybe? From what I gathered from the band's website this album is thematic and is focused on occult themes, and the music manages to grab that atmosphere of unreality and the terror a person feels when faced with something forbidden (I guess I'm thinking of Hawthorne's short story "Young Goodman Brown" where the good puritan guy goes into the woods and finds his whole town in an occult orgy...).
The music on this album seems timeless, in a way. The music is very faithful to the OLD style of heavy metal like early Sabbath and Priest, both in the riffs/arrangements and the way the bass and drums play off the guitar work. The vocals also seem very 'vintage' - frontman Terry Jones is definitely NOT a 'metal' singer, with his very high, thin vocals that actually call to mind OLD occult/rock acts like Black Widow or early Pentagram - he sounds much more 'rock' than metal in his timbre, but the vocal melodies he weaves into the songs just fit perfectly. The production helps reinforce that 'timeless' sound (though I doubt it was deliberate - this was 1982, after all...) - it's a bit brittle, like slightly overdriven analog recording equipment, with gritty but slightly thin guitars, a big, fat bass sound, and clean-but-dry drums like on the first couple of Priest albums. You could have told me this came out in 1972 and I'd believe it.
(Vic, Metal Archives)
RISING DUST is a Doom trio comprised of David (guitars/vocals), Steff (bass) and Malek (drums) – from France. Their roots clearly lie at: BLACK SABBATH, SAINT VITUS, PENTAGRAM, THE OBSESSED, TROUBLE and DEATH SS, classical Doom that is. (...) It’s old-fashioned as hell, the production stale and the song titles really clichéd in a nice way. The vocalist sounds as weird/original as Steve Sylvester in DEATH SS’ glory days. And yet I like this album better than many tuned and ho so technically boasting works… RISING DUST have soul and like to play and they come across as credible. They don’t have an image, no special outfit, they play Doom coming right from the heart! (Ralf, The Metal Observer)
quarta-feira, julho 25, 2007
Black Sabbath meets Pink Floyd meets Atomic Rooster meets King Crimson meets The Beatles. Se essa descrição não for suficiente para ouvir com calma o debut do Bigelf, juro que não sei o que você faz neste blog.
You know they say…"downloading is killing cd sales"… bullshit, bad music and homogenized entertainment are killing cd sales, period."
terça-feira, julho 24, 2007
Bootleg que contém um apanhado de demos e lados-b de 93 e 94. E tenho dito.
Músicas: Cold Bitch / Exit Stonehenge / Birth Ritual [Demo] / Like Suicide [Acoustic] / She Likes Surprises / Spoonman [Steve Fisk Remix] / Show Me / New Damage [with Brian May] / Seasons / Birth Ritual / My Wave [Live] / Jesus Christ Pose [Live] / Beyond the Wheel [Live] / Fell on Black Days [Live] / Kickstand [Live]
Here they come again!!! After almost three years since "Money Machine" Bigelf is back and in their best form ever! "Hex", in my opinion, is their best album up 'til now. "Madhatter" should take the award for "Best Goddamn Song From The Last Ten Years"! Holy shit, there's no way on earth you can listen to this song and not get psyched. But that's just the beginning of "Hex"! The power-vibe keeps goin' on songs like "Pain Killers" (which should get an award too) and "Carry The Load" with its six minutes of pure tripping heavy music. But hey! There's more, the trilogy of "Bats In The Belfry" is completed now with its 1st and 2nd parts (the third one is on "The Madhatter EP") and now you can play them in sequence and feel the heavy progressive vibe of Bigelf's crazy alchemists. "Disappear" and "Black Moth" are some kind of crossing between psychedelia and heaviness, Syd Barret's Pink Floyd and Black Sabbath's Sabbath Bloody Sabbath era. "Burning Bridges" gets into a Beatlesque kind of mood (there's a part of the song where the keyboards remind me of "Because" from the fab four), with lots of Hammond and blues feelings. "Rock And Roll Contract" and "Sunshine Suicide" follow that Beatle-mood, especially on the harmonies and vocals. There it is, I know this album has just been released, but I can't wait for their next doom opus!! Do as you wish, but HAVE this album in your collection!
quinta-feira, julho 12, 2007
I think I’ve had the promo for this monster for 4 months. For some reason I couldn’t put the feelings into words. OK, and time was a factor too, I’m a busy guy, I got other shit going on, but mostly it was the ‘feelings to words’ thing. Sometimes I get awed enough by the magic of music to become aphasiac.
Eternity Revealed is massive. That’s the word that always comes to mind with I listen to the record. There is a lot to get your head around, and its full enjoyment potential doesn’t materialize until several listens in. The full scope and immensity just has to seep in, little by little. Eternity Revealed is the Three Mile Island of metal.
Pale Divine’s gift to doom-tinged metal is adding in a 70’s heavy psych flair and an unreal comprehension of the metal jam. I’ve always maintained these guys are the Allman Bros. of metal, and Eternity Revealed does nothing, thankfully, to change my mind. The complexity of the jams contained within are head-spinning, but the emotional power behind both these jams and the songs themselves are truly a gift.
Whereas their previous effort, Thunder Perfect Mind was an excellent work, it was hampered by…uh… less than austere production. This time they enlisted famed engineer to the DC scene, Chris Kozlowski, and the result is amazing. Eternity Revealed also has a more ‘metal’ feel than TPG, less groove and more dire. The fact that the PD’s also pulled a couple of tunes off of the famed (and also very dire) Crimson Tears demo and retooled ‘em a bit, helped color Eternity…. a bit darker than it’s predecessor.
And riffs… there is more riffs per song on ER than most modern Death Metal opuses. It’s staggering. Each song is a friggin’ rollercoaster with highs, lows, plateaus, sudden twists and sudden drops… massive. That’s it. Massive.
An exceptional release, definitely in my top ten for the year.
(Chris Barnes, Hellride Music)
There's a certain AC/DC quality to the Obsessed; one knows what to expect and it's okay. Though there's some damn-near thrash moments on The Church Within, the record stays true to the Obsessed blueprint of Volume 4: riffing, monotone vocals, and expressive, intelligent lead playing. Far from sounding tired, the formula is used for maximum effect -- check out "Blind Lightning," perhaps the hardest crush the group have ever committed to tape, or the dissonant doom of "Mourning" for examples. Originally released stateside as their major label debut, it's comforting that the Obsessed didn't change or conform their sound one bit on The Church Within -- it's heavy without apology.
(Matthew Kantor, AllMusic)
Born Too Late is undeniably a defining effort in the spirit of the early, now considered "classic" doom metal sound. The marriage of vocalist Scott "Wino" Weinrich, founder of Maryland's D.C. area legends the Obsessed and L.A.'s own legendary doom pioneers Saint Vitus, produced a sound and lyrical landscape that was not commercially successful in its own right, but which has inspired and continues to influence myriad popular culture figures such as the Melvins, Nirvana, L7, Fugazi's Ian McKay, Black Flag's Greg Ginn (owner of SST, Saint Vitus' label) and Henry Rollins, Monster Magnet, Kyuss, Electric Wizard, Eyehategod, Grief, Sleep, Cruevo, and a list of bands, musicians, and genres too long to list without writing a novel. Long after Black Sabbath had shifted their sound away from the bombastic, sludgy riffing of classics like Paranoid, Masters of Reality, Vol. 4, and the like, Saint Vitus and the Obsessed rose from regions that were birthplaces and breeding grounds for early-American hardcore punk. While identifying intensely with the independent and socially critical nature of those scenes, Saint Vitus's sound was deeply rooted in the gloomy ballistics of early Sabbath. Born Too Late's sludgy, ultra-slow riffs never break out into the galloping rhythms of, say, "Children of the Grave," however. This album is like Black Sabbath on Quaaludes and wearing lead suits underwater. Each chord rains down like a hammer, and each progression takes an eternity to resolve. In the early '80s, while everyone in the pop music culture was looking for the new sound, be it new wave or hardcore, Saint Vitus were decidedly retro. You don't even need more than the name of the album's title track, "Born Too Late," to get the point. But Wino drives it home anyway, with the lines "every time I'm on the street/people laugh and point at me/they talk about my length of hair/and the out of date clothes I wear." The lyrics go on to point out that while "they say [his] songs are much too slow," they also "don't know the things [he] knows." That's for sure. Before almost anyone else had even realized that rock was on its death bed, Saint Vitus were looking back on the '70s with nostalgia. Throughout, the album is what might be considered a cliched retrospective of that bygone era's heavy metal sentiments. Dragons, psychedelic drugs, images of war, and severe alcohol abuse dominate the landscape. The most important consideration with this album, though, is not the originality of the approach. What separates Born Too Late from nearly all heavy metal up to that point was the outright admission that the band's passion - slow, heavy music - not only lacked commercial viability, but was in fact itself a source of the ridicule and social alienation the music speaks to. The punk rock style integrity of the band's commitment to that sound and image was in direct opposition to the money and chicks attitude of L.A. glam metal of the day. While the impact Saint Vitus made with Born Too Late at the time was minimal, the legacy of that early dedication has influenced and changed the world of music. For all fans of grunge, stoner rock, and doom metal, this album is a classic.
(Paul Kott, AllMusic)
quarta-feira, junho 27, 2007
American listeners tend to remember Shocking Blue as the one-hit wonder behind the chart-topper "Venus," a melting pot of rock rhythms, country guitar licks, organ riffs, and Mariska Veres' heavily accented vocals. Sounding something like a cross between "96 Tears" and "Sugar, Sugar," "Venus" was not entirely representative of the group's first album, At Home. Like their fellow countrymen Golden Earring, Shocking Blue purveyed a mild strain of psychedelic rock, but leaned more toward country and folk music than bubblegum. Guitarist and principal songwriter Robby Van Leeuwen was already preoccupied with Americana at this early stage, from "Harley Davidson" and "California Here I Come" to a surprising rendition of the folk song "Boll Weevil" that sets the traditional lyrics to music reminiscent of the Easybeats' "Good Times." (The group's country music fixation would manifest itself more overtly on later albums). Van Leeuwen's sitar is pictured on the album cover and dominates the instrumental "Acka Raga," but, thankfully, is not overused. "Mighty Joe" and "Never Marry a Railroad Man" were minor U.S. chart hits that few people remember, but "Love Buzz" gained a measure of fame decades later when Nirvana covered it. Veres has great presence -- like a gypsy incarnation of Grace Slick -- but Van Leeuwen's English-language lyrics can be awkward at times. On "Venus," all the components clicked perfectly into place, but there is much more to Shocking Blue than their biggest hit.
(Greg Adams, AllMusic)
sexta-feira, junho 15, 2007
2004's We Live witnessed the birth of Electric Wizard Mark II, as lone remaining founding member Jus Osborn -- tired of years of internal strife -- decided to "upgrade" the doom metal stalwarts from a power trio to a twin-guitar quartet. However, with or without the cosmetic improvement brought on by the addition of second guitarist Liz Buckingham, it's important to point out that this incarnation of Electric Wizard has little in common with the original article of ten years prior. Rather, as previewed by 2002's slightly more subdued Let Us Prey opus, this, the Wizard's fifth album finds the Dorset doom masters' original, overwhelming force largely replaced by a deep-seated sense of dread. Here, said vibe is established by the sphinx-like, ten-minute, two-part opener "Eko Eko Azarak: 1. Invocation; 2. Ritual," which quickly puts that second six-string to good use with minor key melodic lines backing up the band's characteristic power riffing. Then again, the ensuing title track, with its spoken word intro undoubtedly lifted from some crappy hammer horror movie, will surprise none among the band's devotees; and the fact that it goes on a little longer than necessary may be less a factor of bad form than overt familiarity with Electric Wizard's habits (again, depending on the listener). Both the typically sloth-like "Flower of Evil a.k.a. Malfiore" and the requisite "fast number," "Another Perfect Day?" also have their share of memorable moments -- but not enough, and the second in particular definitely overstays its welcome with useless repetition. So it's with great relief that this rare swoon is vengefully redeemed by two positively awesome compositions: the bottomless despairing "The Sun Has Turned to Black," where the band's second guitar is put to its best use yet; and the final, devastating mass that is 15-minute monolith "Saturn's Children," which spins back the clock to sit comfortably alongside Electric Wizard's greatest achievements of yore. Taken as a whole, however, We Live's clearly uneven attributes will probably not see it going down as Electric Wizard's finest hour; but even so, and taking into account the group's recent transformation, it does offer conclusive proof that, even on a mixed day, this band never drops too far off the top of the doom class.
(Ed Rivadavia, AllMusic)
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A band whose creative process has often been as lethargic as their drawn-out doom dirges, Electric Wizard surprised many fans when they announced the imminent release of their fourth album, Let Us Prey a mere year and a half after 2000's monolithic Dopethrone -- itself preceded by nearly four years of silence. Probably for this very reason, Let Us Prey weighs in at a comparatively trim 45 minutes or so and makes for a significantly easier meal to digest than its epic predecessor; but it also falls short of Dopethrone in delivering what many consider to be the final word in doom metal. In fact, it appears that, having stuffed those four years of frustration into Dopethrone's perfectly colossal mass, the world's most doleful trio used Let Us Prey to take a concerted step back from the edge, and allow themselves the privilege to explore a few new directions. A good case in point, first track "A Chosen Few" immediately finds them scaling back their extreme volume and feedback in order to make room for added guitar textures; and second offering "We, the Undead" sees them stepping on the gas and embarking upon a manic thrash-out the likes of which they've rarely attempted (topped by ultra-distorted screaming from singer Jus Osborn). Both are also uncharacteristically short and to the point, but the two-part instrumental "Master of Alchemy: I. House of Whipchord/II. The Black Drug" is more familiar. At nearly ten minutes, it resurrects the vintage, head nodding Wizard of old, and may just qualify as the greatest incidental horror movie soundtrack ever committed to tape. Sadly, its also the album's last unquestionable winner, as subsequent stoner epics "The Outsider" and "Priestess of Mars," while still offering plenty of doom for your buck, start to sound somewhat automatic and recycled. Also, separating the two is an eyebrow-raising anomaly called "Night of the Shape" consisting of piano and saxophone mood music (shock!) splayed out over a nearly electronic drumbeat. Ultimately, Let Us Prey's riskier experiments and occasional inconsistencies, however small, are bound to disappoint Electric Wizard fanatics accustomed to magnum opus after magnum opus; but the fact of the matter is that it still leaves most competitors coughing in the band's pot smoke.
(Ed Rivadavia, AllMusic)
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quinta-feira, junho 14, 2007
Electric Wizard purveys the sort of grungy, sludgy, psychedelic heavy metal epitomized in the 1990s by Monster Magnet (and pioneered by Black Sabbath and Hawkwind). Supercoven is only 32 minutes long, but it provides a concise, concentrated burst of the band's signature, druggy sound.
(Steve Huey, AllMusic)
Supercoven is an EP by doom metal band Electric Wizard. It was originally released in 1998 by Bad Acid, and then re-released in 2000 by Southern Lord with two extra tracks: Wizards of Gore from the band's 1994 demo, and Electric Wizard from a live recording in Alkmaar in the Netherlands.
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quarta-feira, junho 13, 2007
As Deep Purple's Roger Glover once said, "Heavy isn't about volume, it's about attitude." And no band better illustrates this statement than England's Electric Wizard -- the reputed heaviest band in the universe -- whose every album has managed to push the boundaries of down-tuned, grinding, monolithic doom metal to unprecedented depths. Sure, they pack plenty of volume as well, but none of it could possibly work without the band's uncompromising worship of weed and all things gothic and malevolent. After a long hiatus (during which they were no doubt traveling the cosmos without ever leaving their parent's basements or putting down their bongs), Electric Wizard finally returned to action in the year 2000. The resulting dirge masterpiece, Dopethrone, delivers walls of sound so dense that at first they seem too big to fit into your ears. At a paltry three minutes, the opener "Vinum Sabbathi" may be the Wizards' first true candidate for an actual "single," but it really serves as a teaser for what's to come. Introduced by short spoken intros taken from B-movies a la White Zombie, extended riff-monsters like "Funeralopolis," "I, the Witchfinder," and the three-part colossus "Weird Tales" are vintage Electric Wizard. Though they never exceed a snail's pace, they somehow manage to build in intensity, from single note guitar lines to huge power chords with deliberate, maddening certainty. First-time listeners will find it easier to cope with more compact offerings like "Barbarian" and "We Hate You," but with time, they'll see the light and embrace the obscenely heavy title track, with its patented "Iron Man" oscillating riff. In short, with Dopethrone, Electric Wizard has raised the bar for doom metal achievement in the new millennium -- good luck to the competition.
(Ed Rivadavia, AllMusic)
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