If you are a lover of the classic sound, you will surely listen to this one often. "Turning Electric" is certain to please.
"Turning Electric"DD//LP track listing
1. Dawn of the Falcon
2. Turning Electric
3. Cathexis/Mask Of Transformation
4. Ajaghandi
5. They Live
6. Master Scorcerer
The Review:
Oslo, Norway's doom metal meisters Spectral Haze have built a ton of cred for a relatively new band. A demo and well-received debut recording, "I.E.V.: Transmutated Nebula Remains," cemented the quartet's reputation as standard bearers for psychedelic/stoner metal in the vein of 1970s' legends. You may have read some early comparisons to Hawkwind and similar groups as well. Indeed the debut won over many fans for its mystical lyrics and sound that was at once classic and yet contemporary.
For you seeking that old-school-in-a-new-school-way sound, the return of Spectral Haze is welcome news. The question out there, though, is how well the group can deliver.
"Dawn of the Falcon" kicks it all off, and fans will not be at all disappointed. What made Spectral Haze special from its beginning was its attention to detail. That love for the music is on full display here. The rhythm section launches you into the stratosphere, fittingly considering the space theme that is threaded all through "Turning Electric." Multi-layered guitars and a touch of keys and effects twirl about your mind. And, still lyrically, the group remains vivid and exceptional.
Critics have reflected positively before about how much Spectral Hazefits in with the acts that seemingly inspired what it does. For a few listeners, that approach may feel too derivative or safe. If that is you, "Turning Electric" does not venture far from this roadmap. What the listener gets, though, is a grand recording that nevertheless does the genre proud.
The title track and into "Cathexis/Mask Of Transformation" are quite impressive showcases for the bass and drums, which tend to both be underappreciated in most of the genre. With just a dash of pedals and post-production flourishes, Spectral Hazelays down a backbeat that really allows the vocal to present the vastness of a story. In creating the mood of a starscape and one's journey through space, the band allows its most arresting elements such as the songwriting to truly shine.
Spectral Haze earned praise in the past for its overall composition and song selection. "Turning Electric" continues this tradition. The deep bluesy interpretation in a prodigious "Ajaghandi" flows right into the jam-inflected "They Live," with its engrossing storytelling. Again, it is attention to those details that drew accolades for Spectral Haze. Plenty of songs by other artists can feel bloated. Here, there is a stimulating quality to the solos, the lyrical peaks and valleys and crescendos. The listener gets a clear feeling the trip is headed somewhere good, and the group makes good on such promise.
As the album wraps with "Master Scorcerer," the briefest cut on the recording, it is difficult not to wish for more output. However, if you are a lover of the classic sound, you will surely listen to this one often. "Turning Electric" is certain to please.
"Turning Electric" will be available to preorder/buy here
The band still sound like a collaboration between Bongripper, Hawkwind and the BBC Radiophonic Workshop to create the ultimate sci-fi B-movie soundtrack, but this latest release sees them develop their cosmic barrage further out into the void., they showcase a leaner, meaner Space Witch that still push the boundaries of heaviness but with a more streamlined attack.
“Arcanum” CD//CS//DD//LP track listing:
1. Cosmonoid
2. Astro Genocide
3. Hex Solaris
4. BattleHag
The Review:
Stoke on Trent intergalactic voyagers Space Witch make a welcome return with new album “Arcanum”. Thankfully, the band still sound like a collaboration between Bongripper, Hawkwindand the BBC Radiophonic Workshop to create the ultimate sci-fi B-movie soundtrack. This latest release sees them develop their cosmic barrage further out into the void.
“Cosmonoid” and “Battle Hag” are colossal slabs of super-dense riffage that follow the mind-expanding template of the band’s stellar 2014 debut LP. Even though both tracks clock in somewhere around the fifteen minute mark, they showcase a leaner, meaner Space Witch that still push the boundaries of heaviness but with a more streamlined attack.
The two shorter tracks here, “Astro Genocide” and “Hex Solaris”, are the most surprising and give hints of where the band may head in future. The former begins in familiar spaced-out doom territory but takes a left turn into the unknown with an unexpected shift into a pummelling up-tempo groove. The shocks come thick and fast from here as the band introduce vocals for the first time. The musical backing begins to negotiate off-kilter riffs before launching into a furious blastbeat fuelled finale. All this makes for an exhilarating ride that shows that Space Witch are just as effective, if not more so, when condensing their massive ambitions into structures approaching normal song length.
“Hex Solaris” initially wrong-foots the listener with snatches of jazz before a huge lumbering riff destroys the quiet. The booming vocals are present right from the start here and feel better integrated then their surprise appearance late into “Astro Genocide”. This track best demonstrates the progress the band has made in expanding its sonic spectrum without diluting its immense power.
“Arcanum” is a firm step forward by Space Witch. Nowhere in the galaxy is safe from these riffs.
Although the band name suggests otherwise, Frozen Planet….1969 dates back to early 2012! It was then that a heavy-psych jam session between two Sydney-based musicians, Paul and Frank Attard, and Canberra-based Lachlan Paine, took place.
Luckily, this afternoon of improvisation at the home of Pepper Shaker Records, Frank Street Studio, was recorded. However, it wasn’t until over a year later that the three decided they should finally mix and release some of the material they had created that day.
They decided this album would be set out like a soundtrack to a film. That film would be called “Frozen Planet….1969”. It was a digital-only release on Pepper Shaker Records. Pretty soon this one-off release would become a band called Frozen Planet….1969. The emphasis would be on improvisation. No vocals, just straight-out instrumental jamming. This band would consist of Paul Attard- guitar, Lachlan Paine- bass and Frank Attard- drums. It was basically a side-project for the three of them. Paul and Frank had been playing in the stoner-doom band, Mother Mars. Lachlan was playing in the Canberra heavy rock trio, Looking Glass. After playing on numerous bills together over the years it seemed only natural there would be some sort of collaboration between the two bands at some point.
Frozen Planet….1969 played its first show in February 2014 and it was also around this time that the band recorded another mammoth jam session. From this jam session came the second and third releases for the band, “Lost Traveller Chronicles, Volume 1” (released 20th August 2014) and “Lost Traveller Chronicles, Volume 2” (released 6th May 2015). The concept this time would be a travel journal through the constellations, with each song being a chapter from the journal! Both volumes were released in digital and physical format on Pepper Shaker Records.
Fast forward then to 11/1/2017 and with Frozen Planet….1969 releasing their latest album “Electric Smokehouse” the chemistry between the players – Paul Attard on guitar, Lachlan Paine on bass and Frank Attard on drums is stronger than ever and can be heard in each one of these new cuts. In fact, it’s not only heard, its felt, and that’s what makes this record sound so great. The music is alive, it moves, it gels, and best of all, it’s both heavy and psychedelic.
Given that the album has left such an imprint upon us here at Sludgelordacres, we decided to hook us with the band and get them to talk about influences. So here is guitarist Paul Attard to talk through his top 5 psych based records, as we take our weekly trip to the extreme, by cranking it to 11.Why do we go to 11, because “It’s one louder, isn’t it?”
Hi there.
It's Paul, the guitarist in Frozen Planet....1969 here.
I have a list here of five albums loosely in the psych genre that I absolutely love and have inspired and influenced me in some way with my own music. I tried to aim mainly for heavy psych rock but there were certain albums I just couldn't look past and they still tie in with psychedelia in some way and they fit in with the spirit of what Frozen Planet....1969 is all about.
These are in no particular order!
Jimi Hendrix– “Band Of Gypsys”
A great example of a jam band and psych rock. This album was recorded live at the Fillmore East and featured Billy Cox on bass and Buddy Miles on drums. EverythingJimi Hendrixdid was great but I've chosen this album because it features some amazing jamming and tonnes of soul! And it was a band that hardly had time to prepare before the show. They just chose a few songs, got up on stage and then just jammed out. 'Machine Gun' is a stand-out if you want total heavy psych guitar. Hendrix, Cox and Miles on this album (known as theBand Of Gypsys) are just the ultimate psych-rock jam band. Some seriously groovy bass and drums fill this album also. Only six songs were chosen for the album. These songs were taken from concerts over New Year's Eve and New Year's Day 1969/1970. So much other great material was left out!
Hawkwind – “Hawkwind”
Hawkwindare known more for being a space-rock band but their first album has more of a psychedelic vibe to it. It features not only some dark, trippy psych but also some acoustic, more folky, blues sounding material- Which is more where guitarist/vocalist Dave Brock was coming from. Bottom line is, the range of sounds on this album- acoustic twelve-string guitar and harmonica, some shuffling beats to crazy, way-out sound effects and heavier, darker guitar sounds- covers a great deal of what I like to hear.
Captain Beefheart And His Magic Band– “Safe As Milk”
Certainly not a heavy psych rock album! But this is just great. Straight out psychedelia. And with just the right amount of blues which is what the Magic Band had been doing for a couple of years leading up to this album. And I guess it goes without saying that the blues element is a big part of the foundation of psychedelia and psych rock anyway!Captain Beefheart(Don Van Vliet) put together a batch of psych (and blues) flavoured songs for this album and made them all even more unique with his amazing deep voice over the top. He was always experimenting with sound too and was always evolving. The magic band (especially in the incarnation that followed this album) were no strangers to the extended jam as well.
Atomic Rooster - “Death Walks Behind You”
This is more of a heavy prog rock album but I think you could still call it a psych rock album. In 1970 most heavy music still seemed to have a psych or blues vibe to it anyway. Some amazing energy in these tunes and some great musicianship. They do stretch out at times and jam. They managed just fine on this album without a bass player with Vincent Crane covering basslines on the organ. Crane also used a piano on this album and used it to great effect.Overall, this album is a great example of early heavy rock involving three musicians who could improvise really well together.
Monster Magnet– “25........Tab”
Also known as just "Tab". This recording is often recognised as an EP or mini-album but I think with an opening track that goes for about half-an-hour and a total playing time of over fifty minutes we can safely call this an album. The opening track 'Tab' features some great psych guitars and tape delay sound effects as well as some great, solid, driving, yet laid back bass and drums. And later in the song if you zone in on what Wyndorf is saying it only adds to the trip!A great example of psych rock from the early 90's.
The legendary Hawkwind would be happy with the sounds exhibited on “Nightbong”, while the darkness on “All Hollows Eve” is right in sync with Uncle Acid et al.This is a good record which combines some of the best of space/stoner/doom in one package. A band to watch in 2017.
“Sci Fi/Fantasy” CD/DD track listing:
1). Leatherwing Bat
2). Infinite Walrus
3). Cosmic Filth
4). Nightbong
5). All Hollows Eve
6). Transcendental Migraine
7). Sourwolf
The Review:
The title says it all here; this is a very adept combination of stoner/spacey rock and doom/trad metal- thus melding the elements of science fiction and sword and sorcery themes to great effect. Richmond. Virginia has given us some big names in metal in the past (Lamb of God) and some real cult favourites (Alabama Thunderpussy). Perhaps Book of Wyrms will be joining one of those camps?
“Leatherwing Bat”is a rollicking and loping groove which languidly rolls out of the speakers. Songs are lengthy and sprawling in the main and the production is pleasingly fuzzy and live sounding (you can hear the snare rattle when only the bass plays- no cutting of tape here).
A track by track is not really necessary here; if you like the vibe, you'll like the album. You get lead guitar, slow and rolling grooves, spacey vibes and some pretty serious doom action along with clean vocals (female- they suit the album very well) and distorted bass. There are some time signatures outside of the 4:4 range (“Cosmic Filth”) and the whole record has a pleasingly lo-fi quality, while never sounding any less than mighty.
The legendary Hawkwindwould be happy with the sounds exhibited on “Nightbong”, while the darkness on “All Hollows Eve” is right in sync with Uncle Acid et al. As noted in the opening paragraph, the band manage to meld two of the major thematics of the stoner/doom spectrum to great effect, while even replicating some of the raunch and swing of Monster Magnet in places.
The closing eleven minutes plus of “Sourwolf” is a beastly (pun intended) way to finish the album. For me, though, if you were to want a stand out... give “Transcendental Migraine” a try. This is a good record which combines some of the best of space/stoner/doom in one package. A band to watch in 2017.
The idea of Decades Apart is pretty simple. I’ll choose 5 different albums from 5 different decades and I’ll share a little information about them and hopefully you’ll check them out if you haven’t already. Today is 1971, 1981, 1991, 2001and 2011. Whilst some these albums may not all be considered classics, they’re certainly amazing records. So be sure to check it out.
Hawkwind - 'In Search of Space' (1971)
Growing up in the '80s I heard the name Hawkwindoften enough but never took the time to listen to them. As far as I knew they weren't a metal band, more some kind of hippie jam band with keyboards, which was a major turn-off when I was obsessing over Celtic Frost, Prong and Voivod. They seemed so twee, almost laughable in the face of the epic speed and heaviness of 'To Mega Therion' or 'Dimension Hatross. Of course, once Soundgarden and Mudhoneycame along it suddenly seemed alright to look backwards for inspiration, and when Monster Magnet released “Spine of God” and started mentioning Hawkwind in every interview I thought it might be time for a reassessment. I bought a double cassette compilation and dived in.
Trying to consume so much Hawkwind at once is sheer madness and the compilation leapt around in terms of chronology so I thought I'd work out where to start and go from there. A tuned-in workmate was so excited to be asked for Hawkwindrecommendations that he gave me a vinyl copy of 'In Search of Space' along with some valuable advice for ideal listening conditions. To this day I still get the same feeling of foreboding when the opening strains of 'You Shouldn't Do That' seep out of the speakers. To have the confidence to open with a 15 minute epic speaks volumes of just how mind expanding Hawkwind truly are/were, and to this day no-one has really done anything that comes close. Ultra creepy, doom laden, tribal, kosmich and totally confusing at the same time. What's more, there's nothing of the peace and love of American west coast psych here at all. Hawkwindwere raw, tough and incessant. I had to check the record label to see how long that song was, it felt like it was as likely to be three minutes as thirty. Totally transcendental. They didn't let up either with 'Master of the Universe ' rivalling Sabbathfor pure power, and 'Adjust Me' setting an early template for noise rock twenty years before anyone was even thinking about it.
Like Sabbath, really nothing sounded the same at the time, or since, and I can't begin to imagine how alien this record must have sounded in '71. Hawkwind's legacy has been tainted by inconsistent line-ups and releases, along with a slew of tenth rate copyists posturing as psych-rock, but there's no doubt in my mind that if the band had finished after 'Hall of the Mountain Grill' they'd be revered in the same light as Sabbath, Zeppelin and all the other Titans of the era. This record still stands up like few others. This is your Captain speaking. Your Captain is dead
Van Halen– “Fair Warning” (1981)
In 1981 an album that in my opinion is the epitome of the Van Halensound was released, “Fair Warning”. Sheer gravitas. For my money, each track holds its weight in groove, riffs, musicianship and straight up ass kicking swagger from David Lee Roth.
What in my humble opinion always gets lost in a lot of their albums and I feel especially on this body of work is how amazing the percussion is. “Dirty Movies” is a lesson in full on boogie till the fucking cows come home, sleep in the barn and prance back out to the pasture to graze.
“So This is Love”, forget about it. How many T Tops had this song blitzing from their 8 track stereos, meanwhile, engines growled like a Rottweiler in heat. The key is the smoothness of the Ted Templeman production, the sonic sexiness of the virtuoso himself, Eddie Van Halen. The tonality and growl of his axe is more potent than any espresso ever brewed.
I remember my buddyJim Delosh playing this for me and Vaugh Fachette's dad blaring “Sinner's Swing”, before going fishing. So if you are feeling sentimental, and have a 3 quarter t shirt In your drawer please put it on, get one foot out the door and become “Unchained”.
Soundgarden -“Badmotorfinger”(1991)
Having recently celebrated its 25th anniversary, Soundgardenhelped unshackle the band of their grunge tag with ‘Badmotorfinger’. While draped in that archetypal grittiness which helped characterise the movement and genre bursting from their hometown of Seattle at the time, this album was representative of a band outgrowing their early sound, building on their blues laden, doomy template with an intrinsic experimentalism which they learnt to perfect on ‘Superunknown’.
Indeed, while it was that succeeding album that helped skyrocket the band, breaking them to the masses with massive singles in ‘Spoonman’, ‘Fell on Black Days’ and ‘Black Hole Sun’, its older brother has grown into something of an underrated, cult classic. The melancholy chaos of ‘Rusty Cage’ - lovingly covered by Johnny Cash some years later - and the 7/4 thump of ‘Outshined’(a pre-cursor to ‘Spoonman’, which is also in 7/4) make a moody and impenetrably iconic introduction to a record which, while its style and feel may receive seismic shifts throughout, never lets up. Its diversity is its greatest gift, riffs leaping out at you from the dark when you least expect it, psychedelia then whisking you away from the punches.
They showed with this album a sharp and intelligent level of song writing, from the genius lyrics of Chris Cornell (“I’m looking California/but feeling Minnesota” and “share a cigarette with negativity”) to Kim Thayil’s nasty, unconventional approach to guitar playing, it may not be an album hugely revered, but that is in no way a representation of its quality. There is a progressive mindset driving the record, their playfulness with less common time signatures and often obscure, unnerving note choices defining it as something of an ugly beast. But why should rock music be pretty?
‘Slaves And Bulldozers’, ‘New Damage’ and ‘Holy Water’ are packed to the rafters with titanic doom riffs which snarl and growl like an animalistic Tony Iommi. The short and savage punk of Ben Shepard’s ‘Face Pollution’ and the bastardised, brass-tinged classic rock of Matt Cameron’s ‘Drawing Flies’, keep you guessing, keep you on your toes.
Never short of surprises, it is an amalgamation of so much, all condensed and blended into one unholy racket. Like any true classic, it is a record that no other band could write.
Converge – “Jane Doe” (2001)
Released in 2001, Converge's breakthrough 4th album, 'Jane Doe' remains a landmark in extreme music and sounds as fresh and relevant today as it did 15 years ago. Played with such ferocious precision, thanks in part to the impetus of new members Ben Koller and Nate Newton, 'Jane Doe' is a bitter, angry, scathing statement of intent from the band.
From the opening arpeggio that dips into the inhuman blasts of 'Concubine', the album barely lets you catch a breath as Jacob Bannon screams at you, telling you the story of a ruined relationship. It's so powerful and full of emotion that you can almost hear the blood pouring from the man's broken heart seep into his vocal chords.
Various twists and turns permeate the albums intensity; 'Distance And Meaning', 'Hell To Pay', 'Homewrecker', 'The Broken Vow' and 'Heaven In Her Arms' provide some of the most memorable moments, while 'Phoenix In Flight' is near perfect in its composition and placement on the album, allowing you to digest what's just been thrown your way before 'Phoenix In Flames' and 'Thaw' that follow, absolutely annihilate your eardrums. As if that wasn't enough, the album's title track is an 11 minute emotional rollercoaster, making you worry for the welfare of the song's protagonist.
Elder – "Dead Roots Stirring"(2011)
As opposed to the debut that was more of a brawny smack to the gut (or the wall, whichever you prefer), Elder’s excellentsophomore was one for the thinking-man’ stoner books. As psychedelia-ladden as it was riff-driven in its approach, this Boston trio set themselves up to be true trailblazers in the genre. Showing respect for the long-form, each track in duration 8 minutes at the very least with two nearing the twelve-minute mark, they brought a world fully their own and spent time exploring it with quieter moments but not lacking any punch either. The sheer rawness acting contrast to the intricate layering, all the while showcasing their penchant for experimenting with songwriting formulas.
The album is equal parts a plunge into murky depths – like the epically ravaging conclusion that closes the opener – as it is opting for the less travelled overgrown route, with floating guitars going off on shimmering tangents like aptly-titled third track ’III’. With rusty riffs bringing its plodding hooks, bluesy and bog-ridden coincide with the album art, sill, alongside the opening notes of ’Gemini’, or the thick earthy toned pulse that opens the title-track, it’s De Salvo’s vocals breaking at just the right moment. Concurrently melodic and raspy in their intonation, they come through as if a guide lighting the way, though showing restraint enough to let the instruments tell the majority of the story.
"Dead Roots Stirring" gave strong hints of what was to come on yesteryear’s acclaimed Lore, again proving that there isn’t a band that does it quite like Elder.
With their music seemingly forged from grit and steel, Headless Kross have been plying their trade since 2011; certainly the band’s compositions are the perfect soundtrack to the impending winter. Releasing their debut album “Bear” in 2011, a self released split with War Iron and a split with Lazarus Blackstar would follow. “Volumes” the band’s second full length was released in April 2015 and recorded at Skyhammer Studio.Comprising of 3 tracks their compositions had enough breathing space to ensnare and hypnotise the listener, but retain the thickness of their sound and would see the band continue as Glasgow’s No.1 volume dealers.
It is true to say that Headless Krosshave evolved as a band, and whilst “Volumes” would see the band shedding some of their sludge doom roots, their new album “Projections 1”released on November 18th, via At War With False Noiseis an album of Long songs, deep groovesand tortured vocals”. Today we invite guitarist/vocalist Tommy Duffin to choose his top 5 albums according to the genre their own band is known for. That genre is loosely speaking psychedelia, sludge and doom, so it is time to turn it up to 11 and checkout some classic picks from Glasgow’s finest riff dealers.
Black Flag - "My War" (1984)
I'm sure there are people who will disagree with me but I reckon side B of this record is ground zero for sludge. Up until this point Black Flag were known for short, fast and chaotic hardcore punk. This however, sounds like they've drank a load of Benylin and recorded an all night jam. The band sound like they're sinking into a tarpit and Rollins definitely hates himself and everyone else. I love the guitar leads on this album. Atonal jazz noise that perfectly backs up the overall misanthropy. Half the time it sounds like the vocals were recorded in the toilet bowl. Classic.
Eyehategod - "Dopesick" (1996)
The band's third album and arguably my favourite, this is like Black Flag crossed with Black Sabbath in a pharmaceutical warehouse. Negative energy never sounded so good. Absolutely pummeling drums, totally wretched vocals and then there's the feedback drenched riffs lurching from doom, hardcore and somehow a kind of heavily-sedated southern boogie!
Om– “Conference of the Birds” (2006)
Sleep, as you would imagine, are an obvious influence on our sound but I love how the band split into two quite different bands and Om's approach, long meditations on bass and drums, really drew me in and made me want to explore the long song format. I'm into all their records but this is probably the one I reach for most often.
High On Fire – “The Art of Self Defense” (2000)
On the other side of the Sleepdivide you have High On Fire and their first album is a stoner metal classic. I don't like my heavy metal to be shiny and new. I like it murky and covered in mould. This record definitely fits the bill. “Blood from Zion” is probably my favourite HOF song. I'm into all their stuff and the way they've progressed with each album is an inspiration too. Not prepared to stand still.
Hawkwind – “Space Ritual” (1973)
The daddy of the space rock genre and possibly the best live album of all time. I can only imagine what it would have been like to see that tour. The record is pretty head-melting even without the visuals of the original show. Time seems to stretch and contract when you listen to this and that is what we aim for in Headless Kross. This is music that takes you to another place and time completely.
They serve up a king size slice of skull crushing, heavy Sludge that feels like being hit with a sledgehammer repeatedly. Job extremely well done and then some
"To Fathom Hell” DD//LP track listing:
01. Crack (08:28) 02. To Fathom Hell (12:37) 03. The One (13:58) 04. Underdog Basement Jam (08:10)
The Review:
With so much great music at moment it can be a bit overwhelming knowing where to start when looking for new music. Some bands may slip your attention. Some great records may slip by unnoticed. Every now and then you stumble by sheer luck across a gold nugget. Dusteroid is that band. Hailing from London they have been creating music since 2004. They took a hiatus in 2013 but came back this year not only to play at Desert Fest in Camdenbut also release second album “To Fathom Hell” which they recorded live in the basement of the UnderdogArtGallery, and what a corker it is! Consisting of four tracks spread over forty-four minutes it delivers on all levels. You want heavy? You got it. You want a raw sound? You got it. You want songs that will stick with you? You got it in spades.
“Crack” opens the album with an abrasive guitar tone by Blaine, before kicking into a doom style vibe. TJ on bass and Sammy on drums lay down a groovethat both swings and loosens your teeth. The sparse vocals have a similar attack to Jaz Coleman showing the influence of Killing Joke which is an alternative to the usual cookie monster vocals associated with music this heavy. A breakdown is followed by short vocal and bass interlude with mantra type lyrics. Krautrock repeated music motifs are abundant and just when the claustrophobic weight of groove threatens to crush itself, it opens up into a chorus and takes off like a greyhound out of a trap, albeit a very noisy one before masterfully jumping back into a mid paced stagger. A jangly guitar and delicate bass line sees the song over the finish line.
Next up is the title track “To Fathom Hell” A fat toned Bass line kick starts the song as melodic guitar warms up in the background. When the whole band kicks in it’s a mid-pace stomp following the bass line. A guitar riff with thrash tones is the intro to the main body of the song, which again delivers heavy with a capital H. The vocals have just enough gravel to match the stop start feel. It settles down into a syncopated march but doesn’t compromise the ragged quality of the song. Another mantra style lyric overlays this before the song opens up in to trashy middle section with a Crowbar like feel to. A wah drenched guitar solo and then it speeds up even more, hitting a wall of noise and feedback before a staccato guitar riff summons a landslide of crashing volume that the rhythm section crawls out of almost unscathed to allow a Iommi flavoured solo to birth a son of “Iron Man” stomp and then back into the original groove to wind up the whole affair.
“The One” opens with a long reverbing echo guitar with a trippy space rock flavour. A pulsating bass line and cymbals similar to Pink Floyd trickle up to the surface under this. The tension in this build up expands into a marching riff before another riff moves it along, nicely building all the time. Nice loud ride cymbal work adds an almost Kyussfeel. It drops away to leave a riff playing, again building tension, before kicking back in, to great effect. The forward motion of the song is driven by some excellent drumming. At over the five-minute point with musical power firing on all cylinders’ the voice kicks in. The lost child of Jaz Coleman vocal adds even more tension and dynamics driving the song to even higher peaks. This leads to a chorus that pounds you into submission. The repeating motif rhythm does have elements of drone metal but without the quieter passages. The dam breaks and a short guitar solo escapes before being steamrolled by the forward propulsion of the song. A longer solo abuses the wah pedal to great effect. The longest and heaviest track on album which is really saying something.
The final track is self-explanatory. “Underdog Basement Jam“is the shortest track on the album and does what it says on tin. It fades in with the band playing a laid back psych groove. A discordant solo plays over a driving rhythm with the wah pedal in the forefront. This feels like Earthless, with added occasional chorus. It also conjures up eastern scales and Hawkwind grooves. A staccato guitar and tribal rhythm, break up the song before the chorus comes back around. An extremely quiet (by Dusteroidstandards) outro see us to finish line andit feels like it has left leaving me wanting more.
Overall Dusteroid wear many influences, particularly Killing Jokeon their sleeve, but rather than doing an impression they take these and form them into a sound that is theirs alone. Considering this was recorded live in a world where mainstream metal bands use pro-tools as a fix it all, the complexity and dynamics of the songs is extremely impressive. They serve up a king size slice of skull crushing, heavy Sludge that feels like being hit with a sledgehammer repeatedly. Job extremely well done and then some
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