Month: October 2021

Review: Stöner – Live in the Mojave Desert Volume 4

No, this isn’t the fourth Live in the Mojave Desert album power rock trio Stöner has released, but it is the fourth in a collection of live performances captured by the Heavy Psych Records label…and, boy, is this thing heavy.

Essentially a live performance of Stöner’s debut album, Stoners Rule (with a different track order), Live in the Mojave Desert absolutely slams from beginning to end. The album opens with cauldron-boiling guitar from lead vocalist Brant Bjork on “Rad Stays Rad” as he sings about the hard job of staying groovy in un-groovy times. Nick Oliveri‘s thundering bass soon joins him, and Ryan Gut slaps his snare like it ate his lunch and left the empty containers in the office refrigerator for him to find later “Nothin'” is a classic muscle car rocker about standing up for what’s yours.

“Own Yer Blues” is blues-influenced, sludgy rocker that seems to crawl out of the swamp. Oliveri’s bass is menacing throughout it as Bjork sings about how fast a day can fall apart and how “by afternoon, you own yer blues.” “The Older Kids” speeds things up, with all three men rolling along like a boulder racing down a canyon wall.

“Stand Down” is another sweet (leaf) groover about people who run the risks of being put in their place if they puff up on someone. “Evel Never Dies” has Oliveri taking on the lead vocals for his fiery tribute to stunt driver / madman Evel Knievel. His voice has more a metal and punk edge than Bjork’s somewhat gravelly lower tones, and both work well for their respective tracks.

The closing track is the superb long-form psych-groovy “Tribe / Fly Girl.” Oliveri’s bass lick leads the way and Gut’s steady-Eddie almost become an enchantment as the track winds like a snake across a sand dune. Bjork’s guitar chugs along like a determined steam engine until they reach the halfway point and it becomes a massive steam shovel…and then a rocket blasting away from gravity to join his bandmates who have already floated there.

Some credit has to be given to the album’s sound engineers as well. It’s so clear that the whole thing could easily be mistaken for a studio recording. It’s also an essential addition to your stoner / desert rock collection, not to mention for fans of Kyuss (which counted both Bjork and Oliveri as members).

Keep your mind open.

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Rewind Review: Rupa – Disco Jazz (2019 reissue)

Falling in a delightful place between disco and Bollywood music, Rupa Biswas‘ often forgotten EP, Disco Jazz, is a fun record originally released in 1982 that unfortunately was released around the same time as Nazia Hassan‘s massive disco hit – “Aap Jaisa Koi.” As a result, Disco Jazz fell into obscurity until it was rediscovered by DJ sets a few years ago.

Thank heavens it was, because the EP is a blast. Teaming with a bunch of crackerjack Canadian studio musicians in Calgary, Rupa and her crew waste no time in getting you moving with “Moja Bhari Moja” – which translates to “Fun, great fun, fun.” Don Pope throws down a wicked solo while John Johnston matches him with one of the best disco bass licks you’ve heard since, well, 1982, Aashish Khan ups the ante on his sarod, and Robin Tupts‘ drum beat keeps the whole thing locked into a super groove.

“East West Shuffle” is an instrumental that has everyone grooving, especially Pranesh Khan on tablas. “Aaj Shanibar” is a bright track with Rupa doing acrobatic vocals alongside Aashish Khan’s sarod before Geoff Bell‘s synths take center stage for a shining solo. The closing track, “Ayee Morshume Be-Reham Duniya” showcases Rupa’s vocal talents (and a solo by Pope that seems effortless) even more and is a song about desiring to leave a world that suppresses love and joy to find one beyond it.

This EP is a treasure, and that it’s been unearthed after so many years is a blessing to music lovers around the world.

Keep your mind open.

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Review: John Carpenter – Lost Themes III: Alive After Death

Recorded and composed with his son, Cody Carpenter, and his godson, Daniel Davies, after releasing the first two Lost Themes albums, touring the country, and re-recording many of his classic movie themes, John Carpenter‘s Lost Themes III: Alive After Death sees the trio exploring more dark themes as well as futuristic ones as they run with full, confident strides.

The title track opens the album with trademark Carpenter synth beats and adds a sharp guitar solo as well. “Weeping Ghost,” the album’s first single, is as creepy as you hope it will be. The bass in it hits like a racing pulse you feel in your neck. “Dripping Blood,” meanwhile, isn’t as creepy as you initially imagine and is quite lovely. “Dead Eyes” is another slow, brooding track, and “Vampire’s Eyes” is appropriately hypnotizing. It starts with brooding synths and then opens its red satin-lined cape to throw out a sinister guitar solo from Davies.

“Cemetery” and “Skeleton” are sharp dark wave cuts blended with krautrock rhythms. “Turning the Bones” is perfect for exploring either a dark catacombs or a dimly lit science laboratory. I’m sure film makers everywhere are clamoring to be the first to buy the rights to use “The Dead Walk” in their upcoming zombie movie. It would also work in a science fiction film, a post-apocalyptic action movie, or the next anime craze. The closing track is “Carpathian Darkness,” which could be the name of a death metal band (and probably is somewhere), and it blends sad piano with even sadder synths and growling guitars that sound like a horrible beast awakening in that darkness.

I love how John Carpenter’s career path has led him to create these albums. Fans of his film work and of dark wave will find much to love here.

Keep your mind open.

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Review: Cuffed Up – Asymmetry

Cuffed Up‘s new EP, Asymmetry, is a powerhouse packed into just four songs about shame, regrets, bad health, rough relationships, and, yes, even a bit of hope and forward progress.

Opening track “Bonnie” puts a modern spin on the tale of infamous gangsters Bonnie and Clyde, framing it in the idea that Bonnie gets tired of Clyde’s crap and decides to stand up for herself. The back and forth vocals from guitarists / vocalists Sapphire Jewell and Ralph Torrefranca are almost as fiery as their guitar work. Meanwhile, drummer Joe Liptock instantly throws down the gauntlet for his bandmates (and himself for the rest of the record) with his powerful beats.

“Terminal,” a song about Torrefranca facing his own mortality, (“Every moment’s my last. The future’s got a plan for me.”) has a cool, hard swing to it. The guitars on “Canaries,” as well as Vic Ordonez‘s bass, sound like a wild, angry brawler who only pauses to wipe blood from his or her mouth and take another swig of beer before approaching the next foe. Closing track “One By One” has wild rhythms from Ordonez and Liptock and seems destined to fill a stadium one day.

Asymmetry is solid, and it definitely makes you wonder how much power Cuffed Up will put into a full album if they already jam this much into an EP.

Keep your mind open.

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[Thanks to Conor at Hive Mind PR.]

Review: The Black Heart Death Cult – Sonic Mantras

It’s a little surprising that no other psych band has named their album Sonic Mantras before The Black Heart Death Cult, but BHDC got their first and it’s a perfect name for the album and their sound. Their songs are ones that pull you into altered states, sometimes without you realizing it’s happening.

The album starts (and ends) with a long track – “Goodbye Gatwick Blues” reaches almost nine minutes and instantly puts you into a trance with Domenic Evans‘ incense smoke guitar and Gabbie Potocnik‘s droning organ. It flows so well into the buzzy “Cold Fields” that you almost think the two songs are one. Sasha Smith‘s vocals remind me of Peter Murphy.

Deon Slaviero‘s bass leads the charge on “One Way Through” – a track that practically shoots swirling colored oil visual effects out of your speakers. “Trees” is a trippy stand-out, with Smith and Evans’ guitars floating around like euphoric bumblebees while Potocnik’s organs drift around you like a hay devil swirling in a field.

The fat fuzz of “Death from Above” is outstanding, bringing My Bloody Valentine to mind. I’d be remiss if I didn’t mention Andrew Nunns‘ drumming on this, let alone the whole record, which is downright solid / heavy / groovy / (insert favorite 1960s slang for kick ass drums here). The guitar solo on this cut soars like a raptor on a warm canyon wind.

I’m not sure which is more enthralling on “The Sun Inside” – Salviero’s heartbeat bass line, Nunns’ cymbal rolls, or the swirling guitars from Bill Patching. Smith’s vocals burst from your speakers like the sun breaking through a cloud. “Dark Waves” slows things down a bit for a crawl around either a tomb or your living room floor, depending on your state of mind at the time when you hear it. David Balaban‘s sitar on “Sonic Dhoom” is a great touch, with Patching’s guitar being the yang to the sitar’s yin. You’ll want to blast the volume on it as soon as it kicks into gear and Smith sings about leaving your body and moving out of this prison of illusions we’ve created.

Again, Sonic Mantras is a perfect title for this record, as every song is like an inward journey that takes you to places you don’t expect but yet feel like they’ve been calling you for a long while.

Keep your mind open.

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Review: Ty Segall – Harmonizer

Released as a surprise to his fans and the world in general, Ty Segall‘s newest album, Harmonizer, has him embracing and exploring synthwave and krautrock after a forced-upon two-year hiatus (Screw you, pandemic!) from releasing new material – which, to the prolific Segall, must have felt like two decades.

Opening track “Learning” throws bright synths, processed beats, and 1980s keyboard blips together as an introduction to his new obsession. “Whisper” adds funky bass and scorching guitars to the mix as he sings about loss of identity through circumstances beyond one’s control (“Look into the mirror and see it. Who is it?”). The deep synths on “Erased” add even more menace to the dark lyrics about being drowned out in a sea of anger, rage, noise, and psycho-babble.

The title track blends the industrial synths and chainsaw guitars well and is another song about the complexities of language, communication, and the desire to be heard. It’s not hard to imagine this was how Segall was feeling during two years of not being able to tour or meet with his bandmates, let alone how a lot of us felt during the last election when fringe voices were given the forefront.

“Pictures” gets all sorts of synth-crazy for a while and then makes a right turn into synth-funk suitable for slow dances in a goth nightclub. Plus, the guitar solo on it is pretty damn cool. “Ride” introduces us to the character of Waxman, who is the subject of the following track and might be a frightening vision Segall had of his possible older years. It’s a heavy bass thumper that would probably melt wax if played at the right volume.

“All I want to do is play,” Segall sings at the beginning of “Play.” That probably sums up how he felt during self-isolation. It’s a neat cut to boot, flashing wild guitar and synth bass over a beat that hip hop DJs are probably stealing even now. “Feel Good” might be the most erotic track Segall’s ever written, and his wife Denée’s vocals on it are sexy yet distant. It’s a great post-punk track that sings of desire and lust but also tells you through its delivery that you might deserve neither. The album closes with the hopeful “Changing Contours” as Segall realizes that things might be turning around for him and the world (“And now it’s finally changing contours, and when I’m being, I am free. New perspectives seen. Now I’m breathing in all I see.”).

We shouldn’t be surprised that Segall recorded an album during lockdown, nor should we be surprised at how good Harmonizer is. The guy doesn’t seem to miss.

Keep your mind open.

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[Thanks to Ahmad at Pitch Perfect PR.]

Review: Durand Jones & The Indications – Private Space

Check out that cover! If that alone doesn’t tell you that you’re in for a treat with Private Space, the new album from Durand Jones & The Indications, then I don’t know what will.

Well, the sound will – that’s for certain. Private Space is an outstanding record that moves away a bit from the band’s love of 1960s soul and R&B and embraces its love of 1970s music, which, yes, includes disco. The album was made during the crazy year of 2020, and the band wanted to create something that not only reflected the time, but would also help listeners forget it, even if for just a little while.

“Love Will Work It Out” is the band’s message of hope for the future. They knew the last political cycle and the pandemic would eventually end, and that leaving hatred behind was the only way to move forward (“Joy will set us free, if you do believe. So, don’t you ever doubt that love will work it out.”). The bubbly, bumping synths of “Witchoo” and the wicked bass by Mike Montgomery get you moving no matter what you’re doing. It’s a great song about partying, either by design or at a moment’s notice.

“Private Space” has drummer / co-lead singer Aaron Frazer singing a tale of longing for escape with his lover (“When we stand in a crowd, I feel so far from you. Here we can’t do the things we both know we want to do.”). As if that wasn’t enough to make you run for the nearest bed with your better half, then “More Than Ever” will probably seal the deal as Jones sings, with effortless smoothness, lyrics meant to invoke a shedding of clothing.

“Ride or Die” is a tribute to the vows of “for better or for worse,” as Jones sings about catching rain falling through a leaky roof in a cup with his lover one day and popping champagne bottles with her later after all their hard work and mutual support. The groove that Frazer, keyboardist Steve Okonski, and guitarist Blake Rhein put down on “The Way That I Do” is nothing short of stunning.

“Reach Out” has Jones singing to, on the surface, a lonely woman who’s burdened with stress, but, in reality, to the world in general as everyone needed a helping hand through 2020 (“All them burdens, it’s more than anyone should bear. Silently hurting, but you know you can always share. You’ve been worried the pain will never cease to ache.”).

“Sexy Thang” is just as naughty and funky as you hope it will be with a title like that. “Sea of Love” has Jones realizing he’s made a terrible mistake by letting a lover go for what he thought were greener pastures. Frazer’s simple yet groovy beats pair perfectly with Jones’ vocals and piano work on it. The album closes with the uplifting “I Can See” – a track that stresses better times will come if we work together (“We can’t make it on our own. There’s another way through the darkness all alone. There’s a brighter day.”).

It’s a wonderful record, and one that we all needed coming out of the heaviest part of the pandemic (not to mention the 2020 election and all its aftermath).

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

Review: The Harry Angslingers – Go Tranquility Base

Named after the main guy behind the criminalization of marijuana, The Harry Anslingers are a wild German punk band whose newest record, Go Tranquility Base (sometimes known just as Tranquility Base), is a fun, fast romp through outer space.

The entire album, which lasts a little over sixteen minutes, tells the tale of the Apollo 11 mission with fuzzed guitars, echoed vocals, and afterburner drums. “Whatever you do, it doesn’t matter. Ease up!” they proclaim on opening track “Ease Up.” Life’s not permanent, so why take it seriously? The Anslingers know this, why don’t the rest of us?

“E.S.A.” (European Space Agency) has some of Davee Damage‘s craziest bass lines on the whole record. “Testimony” is an instant toe-tapper that will energize you far more than some electrolyte-laden drink you’d get on the International Space Station. “Super Chrome” sounds like it was recorded in zero gravity while aboard a classic, metal-riveted Flash Gordon spaceship spewing white-hot flames as it flies alongside warrior hawk-men.

“Second to None” is a bonkers punk rager coming in under two minutes but packing enough punch for a three-minute boxing round. I don’t know how Damage and guitarist Rudy Reefer can keep up with drummer G.G. Angslinger throughout it. “Upside Down & Out” gets off to a bit of a ska start with its bass line but soon cranks up the gritty fuzz and it’s pushing hard to escape gravity. The closing track, “Restricted,” somehow pushes even harder and faster. A live set from these guys must be like running a fifty-yard dash while being chased by a rhino.

Get on board their rocket ship and hold on for dear life.

Keep your mind open.

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[Thanks to Flatty at It’s Eleven Records.]

Rewind Review: Frankie and the Witch Fingers – ZAM (2019)

Frankie and the Witch Fingers had put out plenty of material before their 2019 release, ZAM, but it might be fair to say that they were in a full sprint when they released it. The album is almost non-stop energy and bangers from beginning to end.

Starting with the trippy “Dracula Drug,” the album gets off to what you think is a heady, Nang Champa incense-sniffing start, but it soon bursts into a full-blown rock song with guitars that hit like axes through a piece of firewood. “Work” takes off like a funny car at a green light and never employs the parachute to slow down as the band sings about, you guessed it, work and who’s really the boss and who’s really the employee. “Realization” is a blast (especially live) with its driving beats and bass. It instantly gets your toes tapping, if not pogoing around your room, office, or the coffee shop where it happens to be playing. It drifts into a psychedelic mind-bender so you have time to take a sip of tea before “Pleasure” (“Everybody wants it. Everybody needs it.”) comes along with its killer bass line, synth-organ riffs, and bad-ass swagger.

The title track is over eight minutes of psych-rock jamming that almost overwhelms you. “Cobwebs” and “Dark Sorcerer,” apart from being good inspiration for Dungeons and Dragons campaigns, are fun tracks that combine psychedelia with garage rock. “Purple Velvet” could’ve been a Velvet Underground track in an alternate timeline, and the short “I Am” sounds a bit like swamp rock at first and then morphs into a desert rock gas pedal-stomper that makes a hard left and becomes “Underneath You.” It’s no accident, I think, that those two titles complete a sentence, and it’s no accident that “Underneath You” shifts that muscle car into fifth gear so it can race down a road partially covered in drifting sand dunes. The album ends with “Head Collector,” a straight-up psychedelic track that takes its time to languish in a warm sun alongside a stream.

ZAM is a great place to jump onto the Franke and the Witch Fingers train if you’re looking for a place to start. Listen to it loud.

Keep your mind open.

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Review: The Black Angels – Live at Levitation

Live at Levitation is a collection of six tracks from The Black Angels (who, among many other hats they wear, help curate and organize the annual Levitation Music Festivals in Austin, Texas and Angers, France) taken from the 2010 – 2012 festivals and band lineups.

Opening track “Manipulation,” for instance, includes Elephant Stone‘s Rishi Dhir on sitar while Alex Maas‘ vocals knock over the back wall of the venue. Christian Bland‘s guitar on “Better Off Alone” sounds like it, his pedals, and his amps are all on fire. The live version of “Surf City” included on the album is raw and rough, bordering on dangerous.

“You on the Run” is a personal favorite, and it always slays live – as it does here with cranked fuzz and menace. “Empire” is a special treat, as The Black Angels don’t often perform it live. It’s a psych-trip and brings things down to Earth…for a moment, as the closer is one of their biggest hits – “Young Men Dead,” which hearing live is like standing in front of a roaring dragon. This is especially true due to Stephanie Bailey‘s thunderous drum beats, which always threaten to destroy everything around her.

It’s a must-own album for fans of the band, the Austin music scene, or psych-rock. It also further establishes The Black Angels as one of the most powerful live bands out there.

Keep your mind open.

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