Thursday, 27 July 2017

At The Graves - Wrecked (Album Review)


Release date: July 28th 2017. Label: Self Released. Format: Cassette/CD/DD

Wrecked – Tracklisting

1.Wrecked
2.Anima
3.Abandon
4.Without
5.Presentiment
6.Repress II
7.Darker
8.Unmoving

Band Members

Ben Price - Everything

Review

Solo Multi-Instrumentalist – Ben Price – returns with his Sludge/Doom/Post-Metal alter-ego - At The Graves epic new album - Wrecked. A complex album that transcends the fine line between heavy doom/sludge sounds and ambient driven post-rock riffs. The album is beautifully heavy and melodic in equal parts with Ben showing a more restrained side to At The Graves we've haven't heard from him before.

Opening track - Wrecked - has a psychedelic desert rock atmosphere that soon gives way to heavier Doom/Sludge/Post-Metal riffs played at a slow pace. The vocals are soulful and almost dreamlike with Ben drifting in and out at different times. The mood becomes more settled as the song progresses to a more post-rock/post-metal with flourishes of uplifting Stoner Metal riffs.

Second track - Anima - has a classic Deftones influence running throughout it with heavy industrial noises making a welcome change. The only downside is the drumming feels too programmed as you can hear too many digital sound effects for my liking. Though I gotta hand it to Ben, he knows how to create a very cool sounding Alt Metal/Doom based song.

Third track - Abandon - is a gloomier and distorted affair. The song moves from industrial rock to psychedelic doom with superb confidence. It's a slowly played affair with Ben's vocals adding a more eerie feel. The album finally moves into pure Sludge Metal territory with pounding drum rhythms and distorted guitars making their presence known. Ben wisely changes the tone and atmosphere of the album at different times to keep the mood fresh and perhaps most importantly, keep the listener on edge.

Fourth track - Without - opens with a simple guitar riff being played over and over again with cool subtle drums adding a claustrophobic effect. The vocals once again feel distant as Ben is trying to focus on the music more. The song becomes more drone based as time passes by with the sludge/doom vibes slowly disappear into the background. Four songs into this album and I'm beginning to feel that Ben is perhaps at a more reflective and experimental stage of his At The Graves career. 

The album is heavy in all the right places but it may not be heavy enough for some as Ben focuses equal time to the quieter parts of the album.

The other songs on the album include a more synth driven path with industrial noises joining forces with the more conventional doom/sludge riffs. Especially on songs such as Presentiment, Darker and Unmoving. Wrecked is a different album that At The Graves has released in the past. Though it's by no means less exciting than Ben's previous releases. 

This is perhaps Ben's bravest record he's released under At The Graves. As he experiments with his sound throughout the album and leave the listener in a rather cold and uncompromising state. 

The production is superb for a one-man band style operation. Wrecked is another superb album from At The Graves and one that demands your full attention now.

Words by Steve Howe
Links:

Facebook | BandCamp

An Interview With Matt Harrington From CORTEZ


Boston based Stoner Rockers – Cortez – returned in a big way recently with their epic new album – The Depths Below. It's been 5 years since the band released their well-received debut album. Newly signed to Salt Of The Earth Records, their new album – The Depths Below – has been winning it's fair share of acclaim recently with Cortez taking on a more riff-centric and progressive Sludge/Stoner Rock sound.

I was asked recently did I want to interview Matt Harrington (Vocals) from the band and I jumped at the chance. Thanks to Matt for doing such a great interview which goes through the history of Cortez right up to the present day.

So sit back and read on......

Hi Matt, Thanks for doing this interview. How are things with you today. Congrats on your excellent new album. Think you’ve outdone yourselves with this record.

Hey Steve, thanks for reaching out. You know, I can’t complain, man. Hope all’s well on your end, and thank you very much, that’s kind of you. We’re quite proud of it, and stoked that it’s finally out in the world.

Can you give a brief history of how the band came about and where it is today.

Happy to. Cortez came together in 2006, and released “Thunder in a Forgotten Town” on Buzzville Records in 2007. I joined the band in 2008, and we put out a demo in 2009 and started work on the first full length. We released our self-titled in May of 2012 on Bilocation Records. Shortly thereafter, Alasdair joined the group, and we continued the writing process for a lot of the songs that ended up on “The Depths Below.”

We released a split with our buds from DC, Borracho, on AM Records in 2014, hinting at a bit of a stylistic shift with our track “Vanishing Point.” We played the Eye of the Stoned Goat IV later that year as well, and began tracking the new album. We wrapped up recording in and mastering late in 2015, announced our involvement with Salt of the Earth in 2016, and “The Depths Below” was released at the end of June this year.

We recently welcomed Alexei to the group as our new drummer, we’re back to gigging out regularly, and we’re starting to demo material for full length #3. We’ve also got something in the works with Ripple Music that I can’t say much about yet, other than the obvious fact that we’re excited to be working with those fine people and can’t wait to share more.

What can people expect with your new album – The Depths Below.

I think folks aware of our previous work can certainly expect to be challenged a bit. Stoner Rock or Doom are certainly terms used to describe us at times, and for people going in to “The Depths Below” expecting to just get that, well…

What are the underlying themes of the album.

This one is a little different from the S/T, in that there is a loose lyrical concept that runs through the entirety of the record from “All Gone Wrong” to “Orison.” We also have a more overtly conceptual run in tracks 3-5 that perhaps take these themes to a more allegorical place. The main threads concern the power of influence and ideology, how people get swept up in both, what that might mean, and what comes next in terms of how we move forward as individuals and society.



What influenced you when recording the album and was it hard album to write and record for.

As far as the recording process goes, I have to give praise due to Benny Grotto for doing a phenomenal job and immediately/instinctively getting what we were after. We’re incredibly fortunate to have him in the Boston area, and Cortez is looking forward to booking time with him for the next one.

We did a lot of demo work for “The Depths Below,” and I give Scott credit here, since he has to listen to us for hours on end at home. We knew what we wanted to do when we went in, and we knew where we wanted to spend our time experimenting. Jeremy and Jay murdered it in those initial sessions, and it put us in a good place when it came time for tracking and overdubs.

As far as influences go, I was writing these songs between around 2010ish - 2015. The ongoing rise/entrenchment of social media definitely played a part, especially with regards to how that affects interpersonal and wider relationships, the belief systems and ideologies we cling to, the brands we allow to have power over us, and the reality tunnels we force ourselves into. Cortez is not a political band, but a lot of what I saw in the 24/7 global news cycle during that time was incredibly influential to me. I have strong personal opinions about civil rights, class, corporate welfare, government transparency, surveillance, the US military, and our plans to get the fuck off this rock.


It took a long time to be released. Five years after your stunning debut album. Why the long delay.

Shit, man, I’ve been waiting two years to play the finished copy in my car! I don’t know if there’s an easy answer here, honestly. Alasdair joined us a little bit after the album came out, and we knew wanted to spend some time writing with him so he could bring his influences to the material that ended up on “The Depths Below.”

The past several years have seen some significant and positive life events/changes for members of the band, a side project or two, some health issues, and we had to take a little time off here and there as a result. We also had a lineup change last year, recently welcomed Alexei to the band, and SotE had a few releases scheduled ahead of us, so it’s just sort of how it worked out.

Thanks for the kind words about the S/T, we’re definitely proud of that one too.

The album has been released and has been receiving some great reviews recently. Has is it surprised you how well it has been received.

I think any time someone puts themselves out there, there’s a little bit of trepidation as to how it will be received, particularly if they try to stretch themselves creatively. Honestly, I’m just really happy people are listening and enjoying what they hear. We went to some different places on this one, and it’s cool that people dig it.



Salt Of The Earth Records is releasing the album. How did you hook-up with them. Did you have any other record label offers.

Scott Harrington from SotE has been supportive of Cortez for a long time, and when he heard we had finished “The Depths Below” he reached out to us and we had a really good discussion about the plans for the label, some of the bands they were working with at the time, and how we fit in. We’re stoked to be working with a young label that has such an inspiring roster of bands. We had a cool show last year where a few of us got together to play at an amazing DIY venue called The Chürch in VT, and I’m hoping we can set up some more shows like that. There’s a tremendous amount of talent in this crew, and we’re honored to be a part of it.

Haha oh yeah, totally, man. It was like record label Thunderdome. You shoulda seen it.

What’s the song-writing dynamic within the band. Is it down to one individual or is it a group collective.

Very collective and democratic. Generally, someone will bring in a riff or a part and we’ll work from there. Every so often someone will have an idea that’s a little more fully formed, but no one ever walks in saying “here’s the song, everyone has to play it like this.” We try various ideas over the process, no one takes offense if the group collectively decides something doesn’t work, and no one is in a rush to declare “mission accomplished.”

We’re all really good friends and respect each other enough to be constructive and honest with criticism. One of my favorite parts of being in this band is that we all have diverse influences and challenge each other, but nothing ever feels like a compromise.

Some songs get wrapped up in a practice or three, some can take months of work, and another might get halfway there before we put it on the shelf for a while. We don’t try to force things, and there’s a very singular mindset within the group when it comes to song craft. It’s not enough for a song to have good parts, it has to all make sense together, flow well, and be sonically interesting.

While I wouldn’t say there’s a hard and fast method to how we arrange songs, I would say there are times we consciously try to subvert the idea of that.

The thing that I’ve noticed with The Depths Below compared to your debut is it’s a lot more progressive and has heavier moments with more emphasis on riffs and melody. Is that a fair assumption to make.

I’d say it’s spot on. The majority of these songs were written with Alasdair on board, and the five piece and twin guitar dynamics allowed us to explore some new territory and let everyone stretch a bit. Speaking personally, I focused a lot on trying to find interesting hooks and melodies in places that hopefully were a little unexpected.

Was that the plan to make something different to your debut album.

I think we always want to try new things and progress as a band, but I wouldn’t say we had a hard and fast idea that we were going to set out to make something completely different. For context, some of the songs on the S/T were more or less done musically by the time I joined the band, and that record was also finished about a year and a ½ or 2 years prior to its release. Adding Alasdair’s influences and having both he and I involved in the writing process for this one certainly brought some new ideas to the party, and Alexei is bringing new ideas in now as we get into the writing process for full length #3. I don’t know if it’s so much the plan as the natural progression of a band over an 11 year span together.

Were you worried that fans might have forgotten about Cortez in the five years since you last released your debut album.

You know, we’re really fortunate in that we’ve had a core group of people who have remained interested during the time since our last release. We put out a split with Borracho in the meantime, as well as released a cover of Deep Purple Mk 3’s “Stormbringer,” and we’ve been lucky enough to have people out there who pay attention, dig what we do, and help fly the flag for us.

Will you be touring this record heavily or will it just be individual, one-off shows such as festival appearances.

I think we’d all like to get back to Europe at some point to do a longer run, but we’ve tended to stick to weekenders up and down the East Coast over the past several years. We’re hoping to have news to share regarding festivals soon.

Do you guys get the chance to tour regularly. Or is it only on certain occasions.

Unfortunately not, but we’ll see how things look now that we’re back to full strength and starting to book out mid-late Fall.

What have your been high points and low points being with Cortez or your musical career in general.

I had a year or so in there several years prior to joining Cortez that was a pretty tough run. I was between bands at the time, and just not finding anything that gelled either creatively or personally with the musicians and bands I was meeting in Boston. I need a creative outlet, I love performing, and I really enjoy collaborating with other people, so it was frustrating for me not to have that after playing consistently for so long.

It was definitely a low during our recent drummer search, but finding Alexei turned that around pretty quickly for us. Between the recent release of “The Depths Below,” Alexei joining the group, and the fact that we’re back to writing at a good pace, I’d say we’re entering a high right now.

Looking back on your musical career so far, is there anything that you would change. Or any funny stories that have happened on your musical journey.

I had some opportunities here and there that might have gone somewhere, but maybe they wouldn’t have. I could have moved, and maybe I’d have found something else. I’ll be honest, I don’t really dwell on that sort of stuff. We can’t change the past, and we wouldn’t be right where we are right now, if we could. I enjoy now.

Haha I could tell a million of them, from various bands over the years, but most of them would get lost in translation. I think they might be better in person over a few rounds of beers, so I can punctuate the conversation with my obnoxious laughter. Hopefully we’ll hang sometime, man.



We have to talk about the stunning artwork for The Depths Below. Who designed the cover and how did you decide to go with that artist.

It turned out really cool, didn’t it? We went with David Paul Seymour this time out, and couldn’t be happier with it. We’ve been fans of his for a while, and knew he’d be a good fit.

Did Cortez have any input at all with the album cover. As it’s a great representation of the album in general.

Haha does sending the album tracks and trusting in the artist count? We wanted him to listen and see what he came up for as far as a direction or ideas. He instantly got what we were looking for, and zeroed in on the concept pretty quickly.

We agree, David nailed it, and we can’t wait to see it in a larger format when it comes time to release it on vinyl.

Before you go Matt, do you have anything to say to your fans.

Just thank you. Truly. I’m humbled by the response to everything we’ve done, and I can’t wait to share the new tunes we’re building right now. I think it’s some of the best work we’ve ever done.

Words by Steve Howe and Matt Harrington.

Thanks to Scott at Salt Of The Earth Records for arranging this interview and to Matt once again for doing this interview. The Depths Below is available to buy now on CD/DD from Salt Of The Earth Records now.

Links:

Official | Facebook | BandCamp


Tuesday, 25 July 2017

Sasquatch - Maneuvers (Album Review)


Release date: June 20th 2017. Label: Mad Oak Records. Format: CD/DD/Vinyl

Maneuvers – Tracklisting

1.Rational Woman 04:04
2.More Than You'll Ever Be 03:44
3.Destroyer 03:42
4.Bringing Me Down 04:02
5.Just Couldn't Stand The Weather 06:27
6.Drown All The Evidence 06:26
7.Anyway 04:13
8.Lude 00:17
9.Window Pain 05:22

Band Members

Keith Gibbs - Guitar, Vox, Spaghetti Sauce;
Craig Riggs - Drums, Harmonies, Coffee Beans;
Jason Casanova - Bass, Paperwork

Review

Ladies and gentlemen, from Los Angeles, California.....

The SASQUATCH!

After 4 years from their last killer album IV, released by Small Stone Records, this fucking heavy trio come back with a new stunning album that, certainly, does not disappoint the expectations of previous releases. Maneuvers (Mad Oak Records) confirms the attitude of the trio with tons of heavy fuzzy riffs seasoned by a monolithic rhythm section.

As in their style, the band took care of the composition of the songs in the smallest detail. The opener Rational Woman soon reveals is groovy beast character, where the bass enters overpowering on tons of riffs that almost cover the voice (simply amazing) of Keith Gibbs. Songs like More Than You’ll Ever Be and Destroyer are perfect moments where blues meets psychedelia, which is a constant throughout all the album, where the trio from Los Angeles carefully handle all the influences that have distinguished their previous work in a wise and never trivial way.

Tracks like Anyway, the short Lude and Window Pain, with their slow rhythm and the wise use of Hammond, make these songs a wonderful pieces of the seventies, highlighting once again and more than other songs the amazing voice of Keith, which remembers impressively our lovely Chris Cornell.

Compared to previous releases, Maneuvers is, in some way, the less stoner album of the band. The sounds get dryer, sometimes hard, but always seasoned with tons of fuzz and a pachydermic rhythmic section, with the bass to be a carrier. What impresses in this band is that, after thirteen years of honoured career, they remain constantly on the crest of the wave with productions always of very high quality.

In Maneuvers emerges a scratching soul that rocks its roots in the blues and hard rock, in an opera where, while softening the most striking characters of the previous productions, one and only thing emerges: the Sasquatch never miss a shot.

I strongly recommend the listener to recover not only this, but also all the previous productions of the band, to understand the true meaning of a band able to evolve while remaining loyal to itself.

Words by Bruno Bellisario
Thanks to Mona at Platinum PR for the promo. Maneuvers is available to buy now on CD/DD/VInyl.
Links:


Monday, 24 July 2017

Blues Funeral - Awakening (Album Review)


Release date: August 25th 2017. Label: Self Released. Format: CD/DD

Awakening – Tracklisting

Shadow Of The Snake
Awakening
Illusions Of Reality
Firedrake
Casimir
The Gathering Dust

Band Members

Jan Kimmel (El Janni) - Guitar, Nord, Vocals;
Maurice Eggenschwiler - Guitar, Vocals;
Cory Cousins - Drums;
Gabriel Katz - Bass

Review

Blues Funeral new album - Awakening - is better structured and more focused than their debut album. Their debut album was all over the place but in a good way, as the band included as many different genres they could possibly lay their hands on. Awakening doesn't follow that approach as Blues Funeral opt for a more straight-forward seventies sounding Blues Rock/Psych/Heavy Metal sound.

There are still moments of stoner/doom metal riffs appearing throughout the album. Though this time Blues Funeral seemed to have settled on a more Deep Purple based sound. The lyrics are still way over the top but that's what you expect from an album such as this.

Opening track - Shadow Of The Snake - has a slight operatic and progressive rock feel with the band playing some cool heavy riffs from the start. The organs add a creepy and doom based psychedelic feel. The dual vocals Jan and Maurice add quite a classic heavy metal feel. Blues Funeral feel they grew up and influenced by a steady diet of classic seventies Hard Rock/Metal and the album is a testament to that love and knowledge of that era of classic music.

The rest of the album follows the same approach of Blues/Prog Rock driven melodic riffs being the centre stage of the whole album. You can expect epic guitar solos, OTT vocals and gloomy organs all combining for a brilliantly entertaining ride from start to finish. Songs such as Awakening, Illusions Of Reality, Casimir and The Gathering Dust all play to Blues Funeral strengths with prog rock solos that have passion, drive and determination not seen on their debut album.

The standout track has on the album has to be Firedrake as the superb vocals grab your attention from the start. The band slow the mood right down and that means you can immerse yourself with the doomy theatrical vibes being played around you.

I will admit I would like to hear more modern based sounds that their debut album included. Now, at least Blues Funeral know what kind of band they want to be and they excel in delivering good old fashioned Hard Rock/Metal with flourishes of classic Doom Metal holding everything together. The production is handled superbly well with the album striking the right balance between the quieter and louder parts of the album.

Awakening is a superb album and Blues Funeral should have no trouble in finding a dedicated audience within the Hard Rock/Classic Rock/Heavy Metal community.

Words by Steve Howe
Links:

Astrosaur - Fade In // Space Out (Album Review)


Release date: April 28th 2017. Label: Bad Vibes. Format: CD/DD/Vinyl

Fade In // Space Out – Tracklisting

1.Necronauts 11:00
2.Space Mountain 06:10
3.Yugen 04:48
4.Fishing for Kraken 09:29
5.Fade In // Space Out 13:30

Band Members

Eirik Kråkenes: guitar
Steinar Glas: bass
Jonatan Eikum: drums

Review

Astrosaur's debut album Fade In // Space Out is a very pleasant surprise indeed. As the album is made up of different sounds such as Space Rock, Stoner Rock, Psych, Doom Metal and a subtle hint of heavy progressive jazz. Add all these elements together and you end up with an intriguing sound that defies the normal genre conventions.

Opening track – Necronauts – is a heavy spaced out exercise in noisy doomed out jazz theatrics. The song has quite a diverse LOUD vs QUIET approach. As the band try many different ideas and sounds with their music. For the most part it sounds very good indeed. For other the song could have been more redefined. Though you cannot ignore how supremely talented the band actually is.

The rest of the album follows the same formula that the opening track confidently creates with songs such as: Space Mountain, Yugen and Fade In // Space Out impressing the most on the album. Astrosaur don't stick to one conventional sound as they try their hand at different sounds and genres on each of the songs. The album truly comes alive when they play a more straight-forward psychedelic doom/stoner rock sound.

The progressive jazz vibes may put some people off but it's good to hear and experience something different within the realm of Instrumental Rock/Metal. Fans of Monomyth and Shooting Guns will find much to enjoy here. The production of the album is immense with the different sounds and experimental noises making their presence known throughout the album.

Fade In // Space Out is a fantastic debut album. Though it's not the most easiest album to listen to. Give yourself a few listens to fully appreciate this album and you will have one hell of a wild ride.....

Words by Steve Howe
Links:

Saturday, 22 July 2017

Shooting Guns - Flavour Country (Album Review)


Release date: August 11th 2017. Label: RidingEasy Records. Format: CD/DD/Vinyl

Flavour Country – Tracklisting

1.Ride Free
2.French Safe
3.Beltwhip Snakecharmer
4.Vampires of Industry
5.Flavour Country
6.Black Leather Jacket

Band Members

Keef
Laramee
Jay Loos
Jim Ginther
Toby Bond
Zach Low
Brennan Barclay

Review

After long long time, I return to talk about music. And I could do it in the best way!

Today I’m talking about the new superb album from Shooting Guns, Flavour Country (Riding Easy Records). This powerful sextet from Saskatoon, SK, in the heart of the Canadian prairies come back with a stunning new album, mastered by John McBain (ex-Monster Magnet, Carlton Melton).

As in their previous releases, Shooting Guns have the ability to manage very different styles, in a perfectly mix between stoner, hard and kraut-rock. In their sophomore LP, Brotherhood Of The Ram (Riding Easy Records), the band gave us a very slow collection of songs with a huge stoner influence, full of edgy and fuzzy riffs. In Flavour Country, the atmospheres are sometimes more dull, melancholic and dilated, representing the perfect soundtrack for a journey into the immense open spaces.

The opener, Ride Free, starts with an heavy riff halfway between Steppenwolf and Hawkwind, followed by the psychedelic ride of French Safe, where the speed of the song is contrasted with the wise use of synths, colouring the song of a cinematic vein.

Beltwhip Snakecharmer is a song where the Sabbath-oriented riff at the beginning leaves the step to more ethereal atmospheres closely remind me to Harvestman, which anticipate the next song, Vampire Industry. The title track, Flavour Country and, mostly, Black Leather Jacket are the heaviest part of the album, representing the perfect closure, with their Sabbath-styled doom riffery, seasoned by heavy pulse-riding psychedelia.

The kraut-rock and film-character of the band feels very much in this release and permeates almost the entire duration of the album. It’s a very surprising album that leaves nothing for granted and never bores, a feature this is not a discount for those who make instrumental music their own style.

There is no more to say, with Flavour Country, Shooting Guns take us on a beautiful journey through a wide spectrum of sound, where any of us will love to lose ourselves. Highly recommended.

Words by Bruno Bellisario
Thanks to Dave at US/THEM PR for the promo. Flavour Country will be available to buy on CD/DD/VInyl from August 11th 2017 via RidingEasy Records
Links:


Mammoth Salmon - Magnetic Fields Of Radiant Light (Album Review)


Release date: July 14th 2017. Label: Self Released. Format: DD

Magnetic Fields Of Radiant Light – Tracklisting

1.Apotheosis 07:08
2.Mortals 08:26
3.Maelstrom of Discontent 07:47
4.Black Moon Ritual 07:40
5.Magnetic Fields of Radiant Light 08:47

Band Members

Paul Dudziak- vocals, guitars
Matt Howl-bass
Chad Walter-drums

Review

Portland Sludge/Stoner Rockers – Mammoth Salmon – make a welcome return with their epic new album – Magnetic Fields Of Radiant Light. Two years have passed since the band released their last album and the guys have returned in spectacular fashion. With five heavy sounding sludge/stoner rock songs that have a more doomed and spaced out feel.

Opening track – Apotheosis – has a classic heavy metal feel with Paul's vocals adapting a more heavy metal approach compared to previous albums. The riffs have been given a slight doom/psychedelic makeover as Mammoth Salmon's earlier sounds have become heavier and emotionally distant at times. The psychedelic noises add a harsh sound to the overall tone of the album. It may take some time getting used to but the band are playing some heavily tuned out devilish riffs.

Second track – Mortals – carries on the twisted Sludge/Stoner/Doom Rock sound with the band opening the song with a slowly played riff. Shades of Sabbath can be felt as the band adapt a more Blues Rock approach to their music. It's a slowly played track with violent outbursts of Sludge/Stoner Metal riffs to keep the die-hard metalheads fully entertained.

The other three tracks on the album – Maelstrom Of Discontent, Black Moon Ritual and Magnetic Fields Of Radiant Light – all carry on the dark and twisted doomed out riffs that Mammath Salmon expertly create. The down-tuned Sludge/Stoner Metal sounds is played to full effect as the band fully explore their Doom Metal identity compared to previous albums. Paul's vocals are more adventurous with shades of NWOBHM making a welcome appearance.

The standout song is the epic title track which captures everything we love about Mammoth Salmon. Heavy sounds and more outlandish vocals from Paul with stunning support from Matt and Chris on bass and drums respectively. The song does move from different genres too many times for my liking but the song contains my favourite moments of the album. Distorted sludge sounds with a nightmarish feel that will leave the listener pressing play one more time and listening this album from the very start, over and over again.

Magnetic Fields Of Radiant Light is another superb album from Mammoth Salmon and one that proves why these guys are so highly thought of.

Words by Steve Howe
Links:


Petyr - S/T (Album Review)


Release date: May 1st 2017. Label: Outer Battery Records. Format: CD/DD/Music

Petyr – S/T – Tracklisting

1.Texas Igloo 08:02
2.Middle Room 00:24
3.Stairway to Attic 02:56
4.Satori III 06:31
5.Old and Creepy 04:40
6.Kraft 04:18
7.Three to Five 05:31
8.Vambo/Buffalo Stampede 06:50

Review

San Diego Psych/Skate/Stoner/Acid Rockers – Petyr – have created an almighty spaced out rock album for their debut record. Running under 40 minutes, Petyr create a whirlwind of different spaced out jammed based noises that takes influence from Earthless and Black Sabbath in many ways. The opening track – Texas Igloo – is drenched in classic sounding Acid Rock vibes with the band paying a nod to Monster Magnet at times especially with the vocals sounding like a younger and more hungrier Dave Wyndorf. Though Petyr still manage to create their own addictive hallucinogenic sound.

The band play fast and loose with the rules of Psychedelic/Stoner Rock as the band throw many different sounds into the mix and that the makes the band very hard to describe. Songs such as Stairway To Attic, Satori III, Old and Creepy, Three To Five and the excellent final track Vambo/Buffalo Stampede all prove that Petyr are perhaps on a different level to other upcoming Psychedelic/Stoner Rock bands as they create music that holds your attention with loud swirls of psychedelic riffs that are immersed with cool lyrics and vocals to match.

The production on the album is masterfully produced as the sound is fantastic throughout with each different level of fuzz, psych, stoner and acid rock grooves all culminating in a loud bombastic sound. This is an album that feels perfectly right at home in both the classic sounds 70s Psych/Stoner/Hard Rock and the more modern Psych/Acid Rock revival currently appearing.

The other standout element of this album is Petyr's keen willingness to experiment with their sound and include heavier elements of music such as Thrash and Punk but still staying true to their Skate/Psychedelic roots.

Petyr may not be the finished article yet but this album could be the launchpad for bigger and better things for the band. On this form, the band deserve all the accolades and rewards coming their way.

Excellent and Highly Recommended.

Words by Steve Howe
Links:


Introducing - KATHY REEVES PRODUCTION

Let me introduce you Kathy Reeves. She's done an incredible amount of freelance work for a number of bands in the Doom genre and it seems only fitting that she gets credit... and also so that other bands who might be in need of a creative resource, could come to her.

That’s her honour list:


VIDEOS:

WAR INJUN - New Ink, WAR INJUN - Quest For Fire, WAR INJUN - Patience and a Shovel, WAR INJUN - Ghost dance

IRON MAN - Ruler of Ruin

PLACE OF SKULLS - With Vision

EARTHRIDE - Hacksaw Eyeball, EARTHRIDE - Fighting the Devils, EARTHRIDE - Weakend
Hank Williams III - Ghost to a Ghost

Gorgantherron - Cemetery Shoes, Gorgantherron - Lost in Space

Zaius - Mistress Marjery

Blood Farmers - Orgy of the Rats

Pale Divine - The Prophet,

Pale Divine - Black Coven

Victor Griffin's IN~GRAVED - Late For An Early Grave

BEELZEFUZZ - All the Feeling Returns

PROMOS:

Beelzefuzz album promos 2013 & 2016
Eric Wagner's BLACKFINGER debut album promo
Days of the Doomed Festival Promo teasers 2012-2014
Delainie Simpson Benefit promo's 2012 & 2013
SHOD 2013 promo
Vultures of Volume Festival 2014 & 2015 promos

PHOTOGRAPHY

Pale Divine promo photography
Beelzefuzz promo photography

T-Shirt design
Pale Divine
Spillage
Days of the Doomed fest 2014

ALBUM DESIGN & LAYOUT
SPILLAGE s/t
BAND LOGO DESIGN
SPILLAGE
Never The Sun




MISC

Creator and host of Vultures of Volume fest

Feel free to contact Kathy through:

Watch her videos here:

Words by Aleks Evdokimov.

Photos used by kind permission of Kathy Reeves.