Stoner rock – Page 2 – 7th Level Music

Review: Auralayer – Thousand Petals

Part-doom, part-post-punk, part-prog rock, part-Buddhist mantra, Auralayer‘s (Vladimir Doodle – drums, Thomas Powell – guitar and vocals, Jake Williams – bass) debut album, Thousand Petals, is a wild ride and one of the catchiest metal albums of the year.

“The Lake” opens the album with powerful double kick drums from Doodle and enough guitar fuzz from Powell and Williams to knock down a castle wall. It and the following track, “All My Time,” remind me of some of The Sword‘s early tracks with heavy riffs sometimes purposefully overwhelming the vocals. Powell’s solo on “All My Time” soars like a bird of prey swooping down on an unsuspecting mouse. “Christ Antler” roars all the way through, and “Faith to Reason” fakes you out for a moment with a short, soft intro before it unloads with cosmic rock fury. It becomes difficult to determine which of the band members is hitting their instrument the hardest during the chorus. Powell’s vocals sound like he’s shouting them from the top of a wizard’s tower.

“Shelf Black” reveals some of the band’s prog-rock influences and the vocals bring classic Agent Orange records to my mind. They ask us to give peace a chance on “Peacemonger,” but the song is anything but peaceful. It’s more like John Cena-as-the-Peacemaker kind of peace which might involve knocking you through a wall with the power of rock.

You’ll probably want to mosh during “You Walk,” a stomping, romping track that has Doodle clanging cymbals and thumping his kick drums like a happy kid as the song moves out of orbit and straight for the sun. You’ll definitely want to mosh to “Dance to Thrash” from the title alone, and Williams’ heavy bass will turn the floor to lava if you don’t get your ass moving soon. “Monstrum” closes the album with funky, fuzzy bass, a bunch of wild drum fills, and guitar work that sounds like it would be on the playlist of that weird guitar-playing dude in Mad Max: Fury Road.

This is a helluva debut, and I love how their name could be taken two different ways: “Aura Layer,” as in a layer of someone’s aura, or one of the seven chakras (and the album’s title is a reference to the crown chakra after all), or “Aural Layer,” as in a layer of sound – of which there are plenty.

Keep your mind and your chakras open.

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[Thanks to Dave at US / THEM Group.]

King Buffalo announces early winter U.S. tour.

Don’t miss your chance to see psych / desert rock giants King Buffalo this winter as they make one last tour through the east and midwest before they finally take a break to record another album. They never disappoint, and tickets are already on sale – not only for this tour, but also for the European tour they’re already running!

Keep your mind open.

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[[Thanks to King Buffalo!]

Review: Birds of Nazca – Héliolite

I was delighted to get an e-mail from Guillame (guitar) and Romauld (drums) of Birds of Nazca from Nantes, France wondering if I might like to hear their new stoner / doom / heavy psych EP Héliote. Um…Yeah!

After a brief intro, we’re smacked in the face with the rolling, rumbling, rocking “Inti Raymi” – which has you wondering how just two people can put out so much heavy sound. “Spheniscus” calms the guitars a bit, but it’s a bit of a feint as the track builds to a pulse-quickening space rock jam about two minutes into it. Soon, it’s like flying a spacecraft through the rings of Saturn like you’ve been doing it for years. The EP ends with “Gucumatz,” spanning over nine minutes and taking you beyond Saturn with its expansive guitar chords and low gravity drums.

This is all in just three songs. It makes you wonder what kind of cosmic power they could unleash in a full album. Let’s hope they do soon.

Keep your mind open.

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[Mercí, Birds of Nazca!]

Live: The Well, Firebreather, Blunt, and Unto the Earth – Reggie’s – Chicago, IL – April 05, 2023

I made the chilly trip to Chicago once again, but this time to see a full night of doom metal at one of the best punk and metal clubs in town – Reggie’s. Four bands playing doom and stoner rock? I’m there.

First up were two local bands, the first being Unto the Earth, who played a solid doom and sludge set set with serious shredding (on one of the most metal-looking guitars I’ve seen in a while). They were clearly having a great time.

Unto the Earth

Next, from nearby DeKalb, Illinois, came Blunt, who set up their gear, tuned a bit, and then said, “Hello. We are Blunt.” and then proceeded to unload a thundering set of sludge metal.

Blunt

I admit, I was a little sleepy after Blunt’s set. This was not from their set. It had been a long day and a two-hour drive to Reggie’s from my house, so I was a little drowsy during the downtime after they were taking their gear from the stage. That ended when, all the way from Sweden, Firebreather came out and practically set the place on fire with their blast furnace-like set.

Firebreather

Closing out the night were The Well, from Austin, Texas, who are one of my favorite doom-psych bands out there. I’d last seen them at Levitation Austin last year, and they sounded even better here. Praise must be given to whomever was mixing the sound at Reggie’s that night, because he or she helped pull every note from The Well’s set to help melt our faces and minds. One of the highlights for me was hearing a new song they’re working on (tentatively called “Christmas” or “Christmas Lights”) after hearing it for the first time at Levitation. I could tell they’d been working the song for a while because it was tighter, creepier, and stronger. The whole set roared.

The Well

The Well and Firebreather are still touring together, so get to see this heavy double-bill while you can.

Keep your mind open.

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Review: Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Land of Sleeper

What lies in the Land of Sleeper, the new album by Pigs Pigs Pigs Pigs Pigs Pigs Pigs? One, heavy riffs. Two, the battle against existential dread and anger, judging by the lyrics. Lead singer Matt Baty has made no secret of how, on the band’s new album, he decided to give in to his urge to sing / scream about deep, dark subjects such as death, sloth, wrath, and how time can easily feel like it’s slipping away with each breath.

The opening guitar riff on “Ultimate Hammer” alone will knock you to the floor and shake you out of any doldrums. They seem intent on awakening us from slumber, both self-induced and imposed upon us by unseen forces. “Life passes by in the blink of an eye,” Baty sings while his bandmates charge at you with guitars and drums that sound like hundreds of band saws. The title of “Terror’s Pillow” alone gives you an idea of the dread Baty feels as he drifts off into sleep, and drummer Ewan Mackenzie‘s cymbal crashes roll over you like an avalanche.

“Big Rig” is the aftershock of that avalanche with John-Michael Hedley‘s bass leading the charge. In it, Baty sings of the grit and grime (both literal and metaphorical) that covers their hometown of Newcastle Upon Tyne, but how an old tree inspires him to keep on keepin’ on (“At times it withers, but come spring, it soldiers on.”). “The Weatherman” is downright spooky with its chant-like opening vocals and creepy guitar work by Adam Ian Sykes. “There’s a storm coming!” Baty yells. If this is the sound of an impending storm, then that storm is going to wipe towns off the map once it arrives.

“Mr. Medicine” is a song of love and hope amid the pressures of the modern world, believe it or not (“That song you sang to me made me feel strong and completely fearless.”), and “Pipe Down!” is a great example of how Sykes and producer / fellow guitarist Sam Grant often trade shredding duties back and forth in the same song.

“Atlas Stone” is a song about carrying the weight of the world on your shoulders, and the band amplifies this message with crushing, heavy riffs. The closer, “Ball Lightning,” takes them, and us, into psychedelic doom landscapes as dark wizards plot alliances with unholy things that live in deep trenches and a band of five warriors from Newcastle Upon Tyne decide to take up their axes, swords, crossbows, shields, and mystical scrolls to, again, do battle for the sake of all of us.

I urge you to follow them into, through, and out of the Land of Sleeper. You’ll come out of the journey with a newfound power.

Keep your mind open.

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Live: Pigs Pigs Pigs Pigs Pigs Pigs Pigs and The Tomblands – Sleeping Village – Chicago, IL – March 28, 2023

I almost didn’t come to this show. The venue, Sleeping Village, was over two hours’ driving time from my house. It was on a Tuesday night, and it started late – 9pm Central time, which is 10pm in the Eastern time zone where I live. I worked an eight-hour shift that day and had to work another the following morning. I guessed I wouldn’t get home until 2:30am if I was lucky.

Then I learned that this would not only be the first time Pigs Pigs Pigs Pigs Pigs Pigs Pigs would be in Chicago, but it was their first U.S. tour ever. That’s when I knew I had to be at this show, and they’d already announced tickets were running low. I snagged one of the few remaining tickets and got in a disco nap before making the drive.

This was also the first show I’d seen at Sleeping Village, which is a nice, small venue. The stage and viewing area are in a space smaller than some convenience stores. As soon as I walked in and saw the size of the space, and knew how powerful a Pigs x 7 show could be, I thought, “They’re going to destroy this place.”

First to start the demolition were local noise-psych rockers The Tomblands. They brought a wall of guitars, two drummers, and a ton of energy to the stage. They also encouraged all the locals to get out and vote in the upcoming Chicago mayoral election.

The lads from Newcastle Upon Tyne came out at 10pm (Central) sharp and kicked things off with the raucous “Mr. Medicine” off their new album, Land of Sleeper. The power they unleashed felt like someone threw open the door of a blast furnace.

(L-R: Adam Ian Sykes, John-Micheal Joseph Hedley, Matthew Baty, Sam Grant)

They tore through “Rubbernecker” and “Halloween Bolson,” with lead singer Baty bouncing, stomping, and prowling around the stage like a kabuki performer, bassist Hedley played like his guitar he was holding an electric eel, and Sykes and Grant kept trading shredding solos.

Some of us finally got a mosh pit started by the time they got to “Ultimate Hammer” and continued to floor the audience with their combination of metal, doom, and punk. “Big Rig” was especially wild, and “GNT” and closer “A66” were downright fierce.

I got to shake hands and chat a bit with the porcine quintet after the show and asked Baty how the tour had been so far, especially after it was so long coming after 2020 shut it down the first time.

“It’s been…fucking amazing,” Baty said. “We thought we’d be playing shows to, like, fifty people, and they’ve all been like this. It’s incredible.”

It was.

Keep your mind open.

Thanks to the nice young lady who let me snap this photo of the set list she scored.

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[Thanks to Pigs Pigs Pigs Pigs Pigs Pigs Pigs for the show, autographs, and chats!]

French psych-rockers Decasia release two singles from “An Endless Feast for Hyenas” and announce a new tour.

DECASIA is a heavy psych rock trio who released its debut album “An Endless Feast for Hyenas” on last April. The band is coming up with an explosive cocktail mixing stoner, doom, psych rock and grunge. Inspired by what heavy rock scene does best (All Them Witches, Colour Haze, Elder…), DECASIA stands out with its own recipe. The band also has a really rock’n’roll energy, especially on stage where they offer supercharged and immersive shows.

This summer, the frenchies shot a music video in the middle of Auvergne’s countryside, not far from the barn where they recorded the album. The video features not one but two songs from the album : “Ilion” and outro “Hyenas At The Gates”. A clip shot in total DIY over 4 days in the countryside, written and directed by the band with the help of audiovisual students. Spoiler : a very special old car is featured in the music video 😉

Meanwhile, the band has just announced tour dates in France, Belgium and Germany from April 7 to 22. DECASIA will be playing at Hellfest, on Saturday June 17 (Valley Stage, 10am).

Gardez votre esprit ouvert.

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[Grâce à NRV.]

Review: Acid King – Live at Roadburn 2011

Recorded at the famous metal / stoner rock festival in The Netherlands. Live at Roadburn 2011 is a heavy recording of Acid King‘s performance there. The band is legendary among stoner metal enthusiasts, and any release from them is a cause for celebration. They haven’t released a lot of material (although a new album is due in 2023), but what they have released is almost held sacred by their fans.

“All right,” says lead singer and guitarist Lori S. at the beginning of the set, sounding like she’s about to start working on an old motorcycle she’s had in the back of the garage for a couple years. What follows is Peter Lucas‘ growling bass introducing the title track of their famous album, Busse Woods. It’s not unlike a monster awakening from a long slumber, and Lori S.’s guitar is the chant of a high priestess calling the beast forth. You know you’re in for danger once Joey Osbourne‘s drums pound down the walls.

This rolls into “2 Wheel Nation,” a salute to outlaw biker gangs and the idea, at least, of living free on the road. It roars like a 1970s Harley-Davidson ridden by a orc leaving Mordor. “Silent Circle” is anything but silent. It’s heaviness is almost crushing. “On to Everafter” gets all cosmic with Lori S.’s swirling riffs and Osbourne’s desert rock drumming.

Once you’re in orbit, “Coming Down from Outer Space” brings you back to the surface with the full pull of Earth’s gravity (and the re-entry roar of Lucas’ bass). Somehow, “Electric Machine” hits even harder than that. Lori S.’s vocals echo back from the outer rim of the galaxy, bringing untold legions of alien warriors with it. The set ends with the colossal “Sunshine and Sorrow.”

It’s a good capture of some stoner metal giants playing to an appreciative crowd, and a nice warm-up for Acid King’s next record.

Keep your mind open.

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Stone Nomads unleash sludgy new single – “Fiery Sabbath.”

Texas Doom metal purveyors STONE NOMADS have released the new official music video for the thunderous single “Fiery Sabbath,” with the accompanying release of the digital audio extended single “Fiery Sabbath” including new epic B-side “Gallows Walk” and special bonus track “Sign of the Wolf” (featuring guest appearance by Esben Willems of Monolord), available at https://stonenomads.bandcamp.com/album/fiery-sabbath

STONE NOMADS explains “Our new single – ‘Fiery Sabbath’ is a song that really captures a lot of the different elements of our sound. It kicks off with the stoner-ish groove early in the song, which flows in and out of this slow metallic sludge and on into kind of an epic middle section. We really dig that sludge sound so we try and hit it hard on the ‘low and slow’ parts. We did an official video for it which is premiering on Brave Words today and an extended single with a B-side of a Pentagram cover that turned out really good, we’re super excited for the release.”

Watch “Fiery Sabbath” at BraveWords here.

About STONE NOMADS:

Raised in the Texas fields of doom, STONE NOMADS have forged a sound blending colossal riffs, dynamic groove and all that is heavy… The band, based in Houston, mixes elements of Southern Sludge and Doom Metal on a stoned-out Sabbath trip, featuring Jon Cosky on Guitar & Vocals, Jude Sisk on Bass & Vocals, and Dwayne Crosby on drums. The trio released their debut album Fields of Doom via Gravitoyd Heavy Music in 2022, and the Doom metal scene took notice… The album was ranked #8 on the Doom Charts and saw the band playing festivals and regional tour dates with the likes of scene veterans Elder, Mothership, Spirit Adrift and more. In 2023 the band will embark on a US tour in support of a new album planned to be released mid-year.

Keep your mind open.

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[Thanks to Maria at Adrenaline PR.]

Top 20 albums of 2022: #’s 10 – 6

We’ve reached the top ten albums that came my way last year. Who made the cut? Read on…

#10: The Bobby Lees – Bellevue

This album is full of raw punk vocals, squealing guitars, and enough raw power to supercharge the engine of a Trans Am. It’s a great debut from them.

#9: Rickshaw Billie’s Burger Patrol – Doom-Wop

As soon as I heard “Shoo-In,” I knew this was going to be one of my favorite records of the year. These Austin, Texans play fuzzy garage rock that covers such subjects as drinking, sex, partying, break-ups, jerks, and weirdos. In other words, everything.

#8: King Buffalo – Regenerator

Cosmic rock keeps expanding, which is great news for people like me who love psychedelic sounds that are fit for exploring the desert or other planets. King Buffalo’s newest album fits the bill and sends you into orbit into the surprisingly warm void of space.

#7: Regressive Left – On the Wrong Side of History

This is the best dance-rock record I heard all year. It’s a groove-filled EP with scathing lyrics about politicians, consumerism, the internet, celebrity, toxic masculinity, and sex.

#6: The Chats – Get Fucked

And here’s the best punk record I heard all year. The Chats came back with a new guitarist and a renewed anger (and sense of humor) after the pandemic and gave us this wickedly sharp and funny album of barn-burners about the price of cigarettes, hot rods, and, of course, getting drunk.

Come back tomorrow for the top five!

Keep your mind open.

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