This is the first of three (so far) live albums released this month from Australian juggernauts King Gizzard and the Lizard Wizard. All proceeds from the purchase of Live in Adelaide ’19(and the other live records) go toward wildlife rescue efforts during Australia’s horrible brush fires.
They come out roaring with “Planet B,” “Mars for the Rich,” and “Venusian 1” – any of which can flatten the uninitiated. “Cyboogie” is a switch to synth-blues and the grooves of “Real’s Not Real,” “Hot Water” (with guest flute from Adam Halliwell of Mildlife) and “Open Water.” “Sleep Drifter” is one of those songs that always delights when you hear it live.
“Billabong Valley” is always a crowd favorite because Ambrose Kenny-Smith takes on lead vocals in the song about an Outback outlaw. “The Bird Song” is another great live treat, as the song is so happy and groovy you can’t help but smile when you hear it. Things get weird on “Inner Cell,” a tune that had a menacing buzz throughout it, and “Loyalty,” which has plenty of odd time signatures to amaze you.
The groove on “Plastic Boogie” makes you think the song should’ve been named “Solid Rock Boogie.” The band then heads back into thrash metal with “Organ Farmer” (which is bonkers) and “Self-Immolate” before learning they still have thirty-five minutes of stage time left. What to do? How about playing a nearly half-hour version of “Head On / Pill” which is nothing short of outstanding?
This is a solid live album by one of the best live bands on the planet right now, and you can’t beat the price and you’re contributing to a great cause when you buy it. It’s a win for everyone.
Hailing from Lyon, France, doom metal trio Praÿ (Antonie Berthet-Bondet – drums, Maud Gibbons – guitar, and Jason Rols – bass) let you know right away on their self-titled album that they are not screwing around with you.
Rols’ opening bass on the first track, “First Trip,” sets the creepy tone / begins the ritual and soon Gibbons’ guitar is calling to ancient things beyond the stars and Berthet-Bondet’s drums are heralding their arrival. The song floats into psychedelia close to the nine-minute mark and brings back to Earth, although we return wondering if there are things lurking in the shadows (Spoiler: There are.)
“Heretic Eye” also gets off to a dark, quiet start before unleashing fuzzed fury that might knock you out of your chair. “Sulphur” ups the speed a bit and reveals some of the band’s prog-rock influences (mainly through some of the time signatures and Gibbons’ chords early in the track) before the raw power of all three members hits you in the chest like a sledgehammer…and then quiets down to a low rumble before smashing up the place again. The song goes through at least three changes, and each one is somehow better than the last. The final track, “Bottom of the Universe,” sounds like its emerging from a black hole somewhere beyond Alpha Centauri, so the name is appropriate. It hits you with big cymbal crashes and bass thuds and guitar chords that sound like the devil revving the engine of his hot rod. Then, the bottom drops out and we’re floating in a psychedelic Steve Ditko-drawn universe that leads us to a Jack Kirby-drawn post-apocalyptic planet.
The album is only four instrumental songs, but the shortest one is eleven minutes and twelve seconds in length. They don’t cheat the listener or themselves. They explore the shadows as long as they like. Do you dare join them on the journey?
Keep your mind open.
[Take a trip over to the subscription box while you’re here.]
Brazilian multi-instrumentalist Tuto Hallgrimis known in his home country for his jazz work and traditional Brazilian music, but he’s always had a love of thrash metal. His new record, Do It Yourself, is a return to this love and is full of instrumental wildfires.
“Rebellion Thrash” lets you know right away that this isn’t a jazz or bossa nova record. It’s like a lit fuse racing toward a can of gasoline. “Metal Influences” brings in some Iron Maiden touches, and Hallgrim has expressed his love of the band, as well as Metallica, Black Sabbath, and other metal giants. “Nightmares” reminds me of some of Primus‘ heavier cuts and has some of Hallgrim’s best shredding on the record. It makes you stop in your tracks.
“Living in the 80’s” is a pretty good title for an instrumental cut that sounds like it could fit on just about any 1980’s hair metal record. “Devastation Storm” is another good title, because the track is like a hailstorm smashing everything in its path. “A Traveler’s Journey” starts with some funky bass (also played by Hallgrim, who also did all the drum programming) and then rolls into a bit of a stoner metal jam. “Drakkar” is a quick hair metal riff that’s a warm-up for “Strong Emotions” – a raging fire with more jaw-dropping guitar work from Hallgrim.
“Confusion Worse Confounded” is prog-rock jamming at its best. The album ends with “Vulture” – a wild, frenetic jam that swoops down on you like the titular creature and carries you off to a rocky, thunderstruck crag.
Do It Yourself is a wild record. You’d do yourself a favor if you’re a metal fan by hearing it.
We’re into the top 20 albums from the year that I heard and reviewed. Let’s do this.
#20 – Blackwater Holylight – Veils of Winter
Blending goth, psychedelia, and doom, Blackwater Holylight crafted one of the coolest and creepiest records of the year. Witches coven vocal harmonies and cosmic horror synths roll along like fog across a moor and draw you into what at first sounds like the end of your mortal coil but turns out to be a pretty neat party.
#19 – Khruangbin – Hasta El Cielo
Khruangbin’s Con Todo El Mundowas already amazing, but then they released this dub version of it, and it’s just as good. It’s richly layered and probably the best chill-out record of 2019.
#18 – Comacozer – Mydriasis
Be sure to check out these guys if you’re a fan of dwarf star matter-heavy stoner metal. Comacozer’s Mydriasis consists of only four tracks, but they add up to enough time for a full album. They take delight in exploring long jams, cosmic highways, and hanging out with ancient gods.
#17 – King Gizzard and the Lizard Wizard – Infest the Rats’ Nest
Speaking of heavy, King Gizzard and the Lizard Wizard decided to release two albums this year. The first was Fishing for Fishies (#26 on this list), and the second was this thrash metal album. Like “Fishies,” it’s also heavy on environmental themes and even heavier on shredding. They pretty much did it as a lark and it ended up being one of the best metal albums of the year.
#16 – Chromatics – Closer to Gray
Everyone was expecting the long-awaited (and long since destroyed) Dear Tommy, but we got Closer to Grayinstead. It’s pretty much a giallo film soundtrack with plenty of sexy synthwave, Ruth Radelet’s haunting vocals, and a stunning cover of “The Sounds of Silence.”
The top 15 are coming up later today. Stick around!
#20 – Reverend Horton Heat – House of Blues – Chicago, IL – November 28th
I hadn’t seen Reverend Horton Heat in years. He had a new drummer and added a pianist since I’d last seen him. This was a fun “Holiday Hayride” show that included Christmas tunes as well as plenty of his hits and a guest set by Dave Alvin.
#19 – Chromatics – Park West – Chicago, IL – May 31th
I knew this show was going to be a sell-out as soon as it was announced, but I still managed to score tickets. Despite me almost having to drag a drunk jerk out of the crowd after he punched someone, this turned out to be well worth the trip and ticket price because Chromatics delivered a beautiful set of shoegaze and synth wave that had everyone fawning over them.
#18 – Dave Alvin – House of Blues – Chicago, IL – November 28th
A set within a set, Dave Alvin played a half-hour set with the Reverend Horton Heat as his backing band during the “Holiday Hayride” show. Mr. Alvin put on a clinic in outlaw country and country-punk, absolutely shredding multiple guitar solos that even had Jim Heath grinning in amazement.
#17 – Acid King – Levitation Austin – November 09th
Stoner rock veterans / icons Acid King closed the outdoor stage during the RidingEasy Records showcase at Levitation Austin this year. It was a great, heavy set that showed they hadn’t lost anything and could still wallop you like a force of nature.
#16 – Here Lies Man – Levitation Austin – November 09th
Playing that same showcase earlier in the day wasHere Lies Man, who brought a solid groove throughout the entire set that was as funky and heavy as I’d hoped it would be.
Who cracks the top 15? Come back later today to find out!
RidingEasy Records proudly announce the official reissue on physical and digital formats of the extremely rare 1970 proto-metal album Randy Holden – Population II. Considered one of the first doom metal albums ever, the ex-Blue Cheer guitarist’s solo debut has long been sought out by collectors. The remastered full length will be available on all streaming platforms for the first time, with a master more true to the original mix on LP, CD and streaming.
This weekend, Saturday December 21st, Holden will perform a rare live show at the Whiskey A-Go-Go in L.A. supported by drummer Mario Rubalcaba (Earthless, RFTC, OFF!) It will be a career-spanning set featuring songs from theFender IV, the Sons of Adam, the Other Half, Blue Cheer, and his solo work, including Population II. Tickets and info HERE.
“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.”
To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as many of us will get to truly experience the moment heavy metal music morphed into existence. However, at last we have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist/vocalist Holden and drummer/keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal. Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow.
In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden – Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present.
“I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The 6-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.
“At the time, I was hearing these crazy melodies everywhere I went,” Holden says. “I thought I was going crazy.” For example, one day he slowly rooted out a powerful sound that had been nagging him and discovered it coming from a ceiling fan. “Machinery all around us doesn’t turn in a perfect rhythm. That’s what I was tuning into, I heard the music and the discordant sounds coming from the machinery. It was perfect for rendering the machine we built.”
Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”
Population II will be available on LP, CD and download on February 28th, 2020 via RidingEasy Records.
Austin trioThe Well announce yet another round of North American, EU and UK tour dates in support of their critically acclaimed new album Death and Consolation (RidingEasy Records.) The band has spent much of the year on tour, and now continue the trek into 2020, sharing some US dates with label mates Zig-Zags and R.I.P. These will be The Well’s first ever tour in the UK, having only played London’s DesertFest in 2019, and fans’ first opportunity to see the band performing songs from the new album. Please see all dates below. The band also recently shared a new video via Brooklyn Vegan. Watch & share the 4K UHD video for album track “Raven” which was directed, shot and edited by William Orendorff HERE. (YouTube.) Death and Consolation is without a doubt a weighty album title. And, The Well is among the heaviest heavy psych bands in existence. So when we say that there’s even more darkness and intensity to the band’s third album than previous efforts, take heed. It’s a deep sea diving bell of enveloping heaviness and longing.
“This one is a little more personal,” says guitarist/vocalist Ian Graham. “2018 was a strange, dark year. A lot of change going on in my life, there was a lot of depression and coming out of it over the last year. I wanted to call this Death and Consolation, because in life that’s a constant.” While The Well continue to walk an intriguing line between authentic early 70s doom/heavy psych and frayed weirdness of dark folk – especially with their haunting unison male/female vocals – the new album also adds the stark vibe of post-punk acts like Joy Division and early The Cure. “I feel like this album is almost more gothic. We’re big fans of post-punk,” Graham says. There’s also much less jamming, the songs are tight and concise. And, did we mention, heavy? The band tuned down a full step to C-standard tuning for this album, which gives the proceedings its monstrous sound.
Sonically, Death and Consolation picks up where The Well — Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan — left off with their widely heralded 2016 RidingEasy album Pagan Science. The band once again recorded with longtime producer/engineer Chico Jones at Estuary Studio in 2018, who has turned the knobs for all three of their albums (Jones engineered the band’s debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013.) Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and Pagan Science among the Best of 2016 from the Doom Charts collective. Likewise, the band’s intense — some even say “possessed” — live performances have earned them featured slots at Austin’s Levitation Fest, as well as tours with Kadavar, All Them Witches, Black Tusk and more.
“This album might be a little less produced, because I didn’t want to push technical stuff as much,” Graham says. “I’m so scared of getting too complicated when getting better at guitar. This is still kind of punk rock.”
Death and Consolation is available on LP, CD and download via RidingEasy Records. Orders are available HERE.
THE WELL TOUR 2020: 01/22 – Milan, IT @ Ligera 01/23 – Bologna, IT @ Freakout 01/24 – Turin, IT @ Ziggy 01/26 – Lille, FR @ La Bulle Cafe 01/27 – Tours, FR @ Le Canadian Cafe 01/28 – Nantes, FR @ La Scene Michelet 01/29 – Bordeaux, FR @ Les Voutes 01/30 – Dijon, FR @ Peniche Cancale 01/31 – Rennes, FR @ Le Melies 02/01 – Paris, FR @ Espace B 02/03 – Brighton, UK @ Hope & Ruin 02/04 – Milton Keyes, UK @ The Craufurd Arms 02/05 – Glasgow, UK @ Broadcast 02/07 – London, UK @ Black Heart 02/08 – Bree, BE @ Ragnarok 02/09 – Berlin, DE @ Zukunft am Ostkreuz 02/10 – Salzburg, AT @ Rockhouse 02/19 – El Paso, TX @ Monarch 02/20 – Phoenix, AZ @ Yucca Tap Room 02/21 – San Diego, CA @ Til Two Club *02/22 – Oceanside, CA @ The Pourhouse *02/23 – Los Angeles, CA @ Permanent Records Roadhouse *02/25 – San Francisco, CA @ The Knockout 02/26 – Nevada City, CA @ The Brick 02/27 – Portland, OR @ High Water Mark +02/28 – Seattle, WA @ Substation +02/29 – Vancouver, BC @ TBA +03/02 – Kalispell, MT @ Old School Records 03/03 – Missoula, MT @ TBA 03/04 – Boise, ID @ The Shredder 03/05 – Salt Lake City, UT @ Kilby Court 03/06 – Denver, CO @ Streets of London 03/07 – Albuquerque, NM @ The Launchpad * w/ Zig-Zags+ w/ R.I.P.
I once read a comment on a YouTube video of “Planet B,” a track from King Gizzard and the Lizard Wizard‘s newest album, Infest the Rats’ Nest, that said the following:
“Interviewer: What genre do you play? / King Gizzard: Yes.”
That comment refers to how the Australian psych-rockers went from releasing a blues boogie / synthwave record, Fishing for Fishies, earlier this year to Infest the Rats’ Nest – one of the best thrash metal albums of the year. They’ll play whatever they feel like playing.
The album is a companion piece of sorts to Fishing for Fishies in its environmental message. The first half of Infest the Rats’ Nest is all warnings about how we’re trashing the Earth and the second half is a story of people trying to flee our dying planet but being stonewalled by rich elitists.
“Planet B” gets the album off to a crunchy, angry start with fierce double drumming and dire warning vocals like “Paralyzation, scarification, population exodus…There is no planet B! Open your eyes and see!” “Mars for the Rich” has a cool groove to it (wicked bass licks, Grateful Dead-like drumming), showing that KGATLW didn’t want to completely abandon their psychedelic roots. Lead singer Stuart Mackenzie sings the tale of a child seeing images of Mars on television and wishing he could go there to escape the poisoned Earth, but knowing only the rich will escape environmental doom.
“Organ Farmer” is bonkers. You can barely keep up with the energy of it. It’s all runaway train guitars and drums that sound like they’re about to collapse. “Superbug” switches to stoner metal jams reminiscent of Sleep while Mackenzie sings about a super virus sweeping across the planet.
“Venusian I” has epic shredding behind a tale of trying to flee to Venus because the Earth is doomed. “Space is the place for the new human race,” Mackenzie sings at the beginning of “Perihelion” – a space rock with crushing drums. He and the rest of KGATLW want to escape the Earth, but will their efforts to reach Venus be successful? “Venusian 2” hits you like a spaceship trying to survive re-entry burn as it blazes across the Venusian sky, so it’s difficult to say if the trip is a safe one.
The mosh-inducing “Self-Immolate” is as fiery as its name would imply. The whole band sizzles across it while the lyrics tell a tale of blazing heat on Venus and the agony of leaving one dying planet for another that’s a perpetual inferno. The album ends, fittingly, with “Hell.” Mackenzie, now dead, is terrified as “Satan points me to the rats’ nest.” and everything, like Earth and Venus, is burning all around him.
Heavy stuff, but it’s a bit tongue-in-cheek, so don’t worry. KGATLW made Infest the Rats’ Nest to not only warn us of the effects of climate change, but also to salute their appreciation of thrash metal and have some fun playing stuff that they have admitted is hard to play. As a result, they put out a thrash metal record that can hold its own with heavyweights in the genre.
Keep your mind open.
[You should probably subscribe before you head off to Venus.]
Despite the hot (literal and figurative) cover image of two naked women standing in a dried out lake and staring at fiery horizon, Endless, the third album from Australia’s Holy Serpent (Dave Bartlett – bass, Nick Donoughue – guitar, Lance Leembruggen – drums, Scott Penberthy – guitar / vocals) is heavy on ocean imagery. Stories of coasts, waves, sea trenches, undertow, and frightening denizens of the deep are all over the doom metal album. It almost threatens to drown you.
Penberthy has said that the album’s title refers to the endless nature of the ocean and the story of two lovers standing on opposite sides of an ocean as they long for each other is weaved through the lyrics. The opening track, “Lord Deceptor,” is heavy fuzz with giant tortoise-level sludge prowling along its edges while Penberthy sings about ocean graves. “Into the Fire” is perhaps the story of the two women on the cover or the tale of sailing straight into a blazing sunset at sea (“Where the ocean meets the sky, I’ll be waiting…”). It’s a blistering track either way with Bartlett’s bass growling like a wild animal and Leembruggen’s drums smashing like an icebreaker.
The guitars on “Daughter of Light” push against the reverb-laden vocals while Leembruggen’s cymbals crash like waves against sharp rocks. I once described “For No One” as a tidal wave you see coming but can’t avoid. It’s a monster bearing down on you and there’s nothing to do but let it wash over you. Penberthy’s vocals sound like he’s tumbling inside the wave while Donoughue, Leembruggen, and Barlett sould like a shark racing up to meet him. The title of the final track “Marijuana Trench” is a play on “Mariana Trench” – the deepest place on Earth. It starts with acoustic guitar chords and sea shell-echo lyrics before space rock guitars zoom in and flatten you.
Endless is practically a soundtrack for a modern Conan movie if someone finally decided to shoot a movie about the famous Cimmerian’s adventures at sea. Someone should get on that, and you should hear this record.
Keep your mind open.
[No deception here, just music news and reviews when you subscribe.]
Australian quartet Holy Serpent share a new track from their forthcoming third album Endless on RidingEasy Records today via CvltNation. Hear and share “For No One” HERE. (Direct YouTube.)
Brooklyn Vegan recently hosted lead single “Lord Deceptor”HERE.(Direct YouTube.)
The forthcoming third album by Melbourne, Australia’s Holy Serpent could likely be its defining moment. Seemingly bottomless in its relentless heft, with billowing and suffocating riffs leading glistening melodies, it’s the sound of a band that has locked on to something unique. Endless is fully conceptualized throughout, encapsulating an oceanic theme from the lyrics and art, even to the very structure of the sounds themselves.
“Lyrically, it’s heavily influenced by the ocean,” explains vocalist/guitarist Scott Penberthy. “Lots of ocean metaphors and imagery was used. Also the title of the album Endless, is an homage to the ocean: Its mystery, power and its ability to give and take life.” The album loosely follows the lyrical theme of two lovers, oceans apart, waiting for each other on the shores of eternity. Their love is so strong, they eventually walk into the water, ending their lives to be together in the afterlife.
Fitting to these themes, the band experiments with sound throughout the album, such as layering in a wobbly synth sound reminiscent of tape push and pull, mixed just loud enough to blend with the instruments. “It’s sort of a haunting sound which gives the album an ebb and flow, much like an ocean’s current or tide,” Penberthy says.
The 6-song, 40-minute album finds Penberthy, guitarist Nick Donoughue, bassist Dave Bartlett and drummer Lance Leembruggen expanding their melodic hooks while simultaneously taking listeners on a rigorous journey. It was written over the course of 2 months, then recorded in seclusion at Beveridge Road Recording Studios near Australia’s beautiful Dandenong Ranges with head engineer Marc Russo and mixed by Mike Deslandes. Surrounding themselves with nature and no distractions allowed the band to focus on every detail of the album as a coherent whole.
In the time since their self-titled RidingEasy debut in mid-2015, Melbourne, Australia’s Holy Serpent have gained a lot of attention for their rather punk version of heavy psych and metal. Their 2016 skate-metal leaning album Temples further defined their more experimental blend of early Soundgarden, Saint Vitus and Kyuss that eschews simplistic 70s-worship in favor of shimmering sonics and uncommon production techniques. Nonetheless, Endless is like all of the band’s earliest visions fully realized and honed into an album beyond easy classification.
Starting with the slow, exaggeratedly compressed 4/4 drum lead in to “Lord Deceptor” — something of a hi-dive anticipation before we plunge headlong into the ensuing depths — crushing and crackling guitars burst in as Penberthy sings in low baritone, “ocean grave, carry me upon a wave / I’m hypnotized in prophecy, what Is left for you and me?” Harmonies drift in and out of the main motif as it sways along into the tempest of “Into The Fire.” Here, a churning riff gathers intensity as the rhythm section builds to a lurching 3/4 time. Reverb-soaked vocals sing, “where the ocean meets the sand, I’ll be waiting, I’ll be waiting there.” Elsewhere, on “For No One,” impossibly low droptuned guitars slink along as the music swells with space rock abandon. Album closer, “Marijuana Trench” is a play on the Mariana trench, the deepest place on earth. Appropriately, the song plunges from gently strummed acoustic guitar into a tsunami crest that pulls the listener under the dark and enveloping weight of sound as Penberthy’s soothing vocals seem to ease us into the end, subsumed in the album’s powerful allure.
Endless will be available everywhere on LP, CD and download on October 18th, 2019 via RidingEasy Records. Preorders are available HERE.
