blues / psychedelic rock

Stoneface is an album released in the end of July, by Australian blues rock group The Ivory Elephant. A very intriguing album, with dispersive and highly diluted guitar lines, that fly over the extensive sensibilities of its vaguely digressive harmonies, the work displays an overtly dense and horizontal placidity, while at the same time the imperiously somber dynamic strength of its cohesive sound gracefully externalizes in the tissue of its imponderable and vast serenity the ostensibly lucid vividness of its circumspect nature. So, while the transparent elements of its astounding energy fluctuates above the abrasive restlessness of its own atmosphere, the general musicality of the group conceives a versatile style, whose sound transpires vitality and authenticity. 

Forty-seven minutes long, the record has ten tracks: 1) Storm; 2) Maybe I'm Evil; 3) Wars; 4) Roll On; 5) Jazzhead pt I; 6) Low Expectation; 7) Stoneface Jamboree; 8) Stoneface; 9) Hard Case; 10) Jazzhead pt II; with solid and amazingly authorial guitar lines, that conceives a sonorous paradise where the soul can rest indefinitely in a sweet cosmogony of surrealist expansive splendor, the music of The Ivory Elephant revitalizes the best elements of modern blues rock, and gives them a more dynamic and introspective outlook, sometimes disrupting the harmonies into an almost minimalist rapturous contrivance.

Despite the lethargy that the melodies can inspire — as a consequence of its stylish features that conceives the superiority of supreme calmness —, the sound displayed in Stoneface is marvelously original, tremendously elegant and exceedingly sensible. The band not only manages to successfully create a discreet, but concomitantly extraordinary work of art, it also becomes necessary to expose the gracefully organic temperance of its dilated and effusive sonorous stability.

While the sound of the band can appear to be a little homogeneous at times, The Ivory Elephant manages to successfully make each track to be a glorious surprise, since each of them has an identity of its own, while at the same time the band is coherent and keeps loyal to its marvelously beautiful and sagaciously unique style. Despite the fact that the entire album is wonderfully good, splendid tracks like the epic Stoneface — almost eight minutes long — and the more retro styled Hard Case deserves to be highlighted. A virtuous and proficient work of art that reveals the formidable potential of a very promising band, Stoneface can certainly be qualified as a majestic album. Undoubtedly, blues rock enthusiasts are gonna celebrate this spectacular achievement, whose expressively genuine musical patterns anticipates further developments for the genre. 


​Wagner

psychedelic rock

Mydriasis is an album released by Australian psychedelic rock band Comacozer. An amazingly interesting work of art, with proverbially flexible and exceedingly colorful harmonies, that really gravitates towards the vicinities of its own original and highly energetic fluidity, the record is forty-five minutes long, and has only three tracks: Mydriasis, Tryptamine and Kykeon Journey. With a virulent, but at the same time preciously harmonious musical diagram, the music of Comacozer has its own fugacious, but expressive style, that conceives a surface made of grey smoke and dark shadows of solitary desolation, cohesively aligned with a sentiment of nostalgia, that embraces the veracity of its lucid and fatalist nature. 

While the band more or less displays the general elements of psychedelic rock — being predictable to a certain extent —, they managed to successfully develop a very singular style, that captures the attention of the listener already in the first track. A cohesive instrumental symphony of salutary sensibility, that easily revolves around its own disruptive and dynamic features, the sound present on Mydriasis showcases an excellent creative disposition, that really circulates above its own expansive melodic tenacity. 

Despite the fact that the band displays a formidable level of technical competence and sonorous vitality, unfortunately, there's little audacious originality or innovation in this work. The album manages to be very good — even fantastic in some passages —, but going straight to the point, there's nothing on this record that you haven't heard before in other works of the genre. The guitar lines are exceptionally good, and the overall musicality of the band is amazingly efficient, but don't expect too much beyond that. 

While Mydriasis does not disappoint, its difficult to feel inspired while listening to this album. Comacozer plays safe, and remains in a comfort zone that hardly offers them any challenge. Evidently, they are amazingly competent and skilled on their genre of choice, but sadly, this makes their sound to be too predictable, and sometimes ordinary. If you like old school psychedelic rock, you will probaly going to appreciate this album. But keep your expectations low. Mydriasis is a good record, but you will hardly have any surprises. 


Wagner

psychedelic / stoner rock

Let me ask you a question. Are you a fan of Hawkwind? or bands playing spaced out fuzz from a galactic stage in the middle of the cosmic hyperverse? Or maybe spacey stoner rock that sounds like it's been dug up from the middle of the Nevada Desert and eaten way too much peyote? If you answered yes to any of those questions then gather round friends as I have a new album to introduce you to in the form of Trondheim natives Dune Sea and their self titled album. 

The first place you think of when you mention fuzzy space rock or desert/stoner rock may not be Norway but these guys are looking to change that. They are well schooled in the art of the heavily distorted groovy bass heavy sound we know and love. They have tried to sprinkle a bit of originality in there in the form of some bluesier sounds but make no mistake, this album is balls to the wall space/stoner rock worship.

Opener Pentobarbitol And Ethanol (yeah that one just rolls off the tongue doesn't it!) shows you just what to expect from the album. It's bass driven spaced out bliss and does not disappoint. The whole album continues on exactly as you would expect, indeed if there is one criticism one can point at this is that it's not very original, but then again, why try when imitation is the best form of flattery. The track Morphine does hint at more rockier inclinations but it is a mear toe-dip in the grand scheme of things and it does open out into a wonderful progressive section towards the end which I would have liked to see expanded upon. The song Green has a great blues tinged riff and is dripping with reverb drenched spacey goodness, the rhythm section is particularly impressive as it bounces and grooves along and is a personal highlight from the album. 

So then, fans of space rock or stoner rock will find much to like here and is well worth your time, however, if you are not keen on either of these styles then move along as this album will do nothing to change your mind. 

​Simon

noise / dark ambient / experimental

bandcamp

electronic

dSound In Silence

progressive / metal / black metal

heavy metal / thrash metal

downtempo / electronic / post rock / shoegaze

facebook

psychedelic / doom

sludge / black metal

ambient / modern classical / experimental

bandcamp

drone / doom / noise / experimental

ambient / electronic

noise rock

stoner rock / grunge / alternative rock

facebook

​Serge

krautrock / psychedelic rock / post rock

The Insektlife Cycle is no stranger to Merchants Of Air. This instrumental rock band from Manila has been featured a few times in the past several years. In 2015 I was quite amazed by their post rock influenced music, especially since the band members have a history in death metal and mathcore.

So that was rather surprising but perhaps even more remarkable: the band is already evolving away from the post rock scene. With 'Temple Of The Soul', this quartet jams itself into the world of krautrock and psychedelic anthemization (if that is a word).

The four lengthy tracks on this album have been recorded during a 150 minutes lasting jam session and recorded live on a four track cassette player. With that, it might be rather normal to be catapulted back into the sixties and seventies. Pretty much everything on this record breathes that vintage air, from the cover to the elaborate guitar solos and the overall sound quality. So no, this is no longer a post rock band, this is a psychedelic jam act that will rock your socks off if you're into this kind of stuff.

The music on the record has been cut from the original tape recording, which is quite noticeable in opener 'Unmentioned Motions'. This track does not feature an intro or anything, it just starts rocking rather suddenly. From the very beginning the drums and bass guitar provide a steady foundation over which the guitar players seem to enjoy absolute freedom. 'Sonic Sermons' is my personal favorite, mostly because of its doomy blues feel. Title track 'Temple of Our Soul' would make a neat sixties movie soundtrack.

The closer is up to you to discover. If you are a fan of long jam sessions, inspired by everything between Hendrix and Hawkwind and Pink Floyd, this album deserves a shot. Perhaps it needs some time to grow on you, but once inside, you'll never want to get out of there.


​Serge

stoner rock / progressive / experimental

bandcamp

Different Layers of Fear is an album released on May 10, by Romanian stoner/psychedelic rock band Methadone Skies. A very interesting and abrasive album, the level of powerful energy, consistency and creative strength demonstrated by this work is simply above all the extraordinary measurements one can imagine, much more by their creative audacity than the beauty of the music itself. With elegant and symmetric, though mostly diluted harmonies, the style of the group gravitates towards a vast and dense cosmogony of dynamic, but synchronic musical tonalities, where a modest degree of experimentalism and graciousness showcases a proverbial and dispersive sense of lugubrious tenacity. 

Seventy-one minutes long, Different Layers of Fear has seven very extensive tracks:
1) Where Were You When We Were Into the Void?; 2) God Help Us All; 3) Focus; 4) Contra; 5) Ol' Painless; 6) A Glitch in the Sun; 7) Manos; though the album eventually resents itself of some degree of monotony – given the length of some songs –, this beautiful work has a formidable set of qualities, intrinsic to its exceedingly peculiar, delightful and audacious musical style. With expansive melodies and a dynamic density that lives by the color of its graciously designed and sculpted sonorous atmosphere, the general creative diagram displayed by the songs revolves around a rhythmic synergy between creativity and technique, that proves to be a major point of cohesion in the axis of the group’s restless, but competent style.  

With a gracefully vivacious sound that departs from the horizon of its sometimes slow, but consistent patterns, this album is a collection of lovable dream-like symphonies, that definitely creates a peculiar, but methodic universe of harmonies within its diluted introspective existence. As the album evolves, the sound becomes more serene, perceptive and transparent, showcasing a stylish lucidity whose clear visibility exposes a strong and visceral degree of musical authenticity, whose standards definitely highlights the most formidable virtues – stability, cohesion, serenity – displayed by the band. 

With vocals eventually surfacing a little after forty-minutes, this additional surprise comes as a pleasant quality that aggregates a gracious element of sensibility and grandiosity within the band’s musical atmosphere. All along the way, Different Layers of Fear proves itself to be a majorly epic, genuine and ambitious album, whose ostensible levels of excellence, experimentalism and originality certainly will please all enthusiasts of the genre, possessing all the necessary qualities to shake and to take the underground scene by storm, with a natural and inherent artistic authority.  


Wagner

psychedelic rock

Four Bibles is an album released by English psychedelic rock group Hey Colossus, on May 17. A very intriguing, catchy album, with exceedingly gracious and vivacious melodies, the work displays a formidable simplicity of style and elegance, that definitely captivates the listener from the very beginning. With a remarkable, but sensible artistic sonorous lucidity, Four Bibles proves to be a dynamic and genuine effort, whose strength lies basically on its proverbial, dense and concentrated style.  

Forty-eight minutes long, the album has ten tracks: 1) Bees Around The Lime Tree; 2) Memory Gore; 3) Confession Bay; 4) It's A Low; 5) (Decompression); 6) Carcass;
7) The Golden Bough; 8) Palm Hex / Arndale Chins; 9) Babes Of The Plague; 10) Four Bibles; with a discreet nostalgia vibe that sometimes remembers bands like Fleetwood Mac and The Bolshoi – though mostly in the atmosphere, not in the general layers of the harmonies –, the sound of Hey Colossus is a clear, vivid and elegant conjuncture of serene and affable symphonies, though moderately restrained to a certain degree of artistic pragmatism, where there is a certain absence of audacity and energy; nevertheless, this album has marvelous songs that exposes a band with a high creative potential, backed by tremendous technical skills.  

Despite the fact that the album keeps itself mostly on an ordinary level of creativity, the band displays a peculiar and organic style, with a salutary and genuine set of musical capabilities, that it’s impossible to ignore, as they are good enough to avoid genre commonalities, never being predictable nor generic. With a proverbial degree of proficiency, Four Bibles not only consolidates its worthwhile contributions, as well as demonstrates that, stylistically, the genre presents possibilities that deserves to be better explored. Hey Colossus definitely opens new doors with this marvelous work of art, that will stimulate creatively similar bands, despite the inherently restrictive standards that the genre may present on its sonorous anatomy.

Definitely a very good album, Four Bibles is a work to be vastly appreciated, with its qualities far surpassing its mostly imperceptible deficiencies. With an expansive, graceful and diffusive sound, this is an album that will easily please all the enthusiasts of good old rock’n’roll with a soft taste of nostalgia, that will resolutely revolve around the density of a sensible, yet restless style of music. 


Wagner

stoner rock / psychedelic rock

Time of the Healer is an album released on May 10, by an interesting and very promising stoner rock group, named Bright Curse. The record has only five, generally ten minutes long, tracks: 1) Smoke of the Past; 2) Laura; 3) Une Virêe; 4) Shadows; 5) Time of the Healer; with beautiful, extravagant and cohesive harmonies that are imperiously, gracefully, discreetly diluted in a sensational ocean of marvelously miraculous melodies – fulfilled by the colorful virtues of extraordinary creative qualities –, Time of the Healer reveals itself a splendorous and majestic album from the beginning, with remarkable stylish ordinances, that definitely makes this concise, but profoundly consistent musical effort worthwhile listening, easy to love and to appreciate. 

With a degree of experimentalism that fears or sees no boundaries in their creative horizons, the band conceives with an authorial level of sagacity and proficiency peripheries of sound that flirts with the laborious contingencies of psychedelic blues and stoner doom in a very dispersive, expansive and sometimes lethargic synergy. Looking for harmonious dissonances that resonates in an entirely different category of sound – possibly to elongate the melodic tissues of the compositions to achieve more sophisticated and genuine patterns of dynamism –, the band continuously displays with melancholic graciousness the exponentially vivid layers of opaque easiness that is a constant feature of their dilated style. 

Despite the fact that the sound becomes more homogeneous throughout the album, the quality of the sound and the beauty of the music generally stays in a very satisfactory and cohesive level. The band – loyal to their style and musical proposal – delivers to the audience a very exotic sound, whose discreetly innovative features displays an impressive degree of refined authenticity, though discreetly indebted to the cultural inheritance sculpted by the work of audacious and genuine predecessors. 

With a calmer sound that slowly reveals the consistency and the grace of its sensible peculiarities and fusions, Time of the Healer – though predictable in some occasions – is an interesting album, that aggregates and combines a whole new set of elements into a very distinct and elegant set of harmonies, despite some minimal limitations that, in general, doesn’t compromise the longevity scale of their sound. Nevertheless, this is a very interesting album, that certainly will please all the enthusiasts of the genre. 


Wagner

 

psychedelic rock / stoner rock

Mind Maze is an album released in May 11, by German psychedelic rock trio Pyramid. Almost forty-one minutes long, the record has seven tracks: 1) She's The Wind; 2) Vintage Spacemachine; 3) Entrance; 4) Temple Of Low Men; 5) March; 6) Reincarnation; 7) Drifter; a truly fantastic instrumental album with wonderfully crafted and marvelously sculpted melodies, Mind Maze is a superb and fabulous state of the art work, whose spectacular musical sensibility definitely impresses the listener, as long as the album keeps playing. The level of creative audacity and technical versatility displayed by the group on this sensational masterpiece underlines a virtuous synergy whose admirable musical qualities and consecrated impeccable excellence defines a completely new degree of musical professionalism.   

With interesting harmonies and a great convergence of sonorous ordinances, Pyramid knows how to explore wisely the greatest features of stoner and psychedelic rock, in a very original context. Without any fear of sonorous experimentation, the band’s quintessential musical elements levitates towards an everlasting, but sometimes desolate aphorism of imperiously creative contingence, that overlooks the horizon of its own ambitious diligence. All of this is crafted without renouncing to an incredible level of simplicity, that flirts with its own layer of methodic elasticity. 

Carefully attentive to all the possibilities that are probably hidden in the expansive platform of harmonies upon which the group extensively worked to conceive, Pyramid slowly, but consistently navigates throughout an ocean of wonderful placidity, that gradually reveals a frozen realm of solitary vicissitudes, lost in an infinite and delightful wave of sound. And as these beautiful conjuncture of melodies revolves around the axis of a sincere and delicate delusion – eager to collide in front of a realm of tempestuous grandiosity –, the style of the band gets characteristically robust and elegant, ready to transcend incognito a state of sensorial lethargy, to become a cohesive, serene and grandiloquent pleasant experience, for the continual amazement of the listener.    

An incredibly delightful and fantastic album, whose enormous creativity ostensibly conceives fantastic harmonies sidelined by a gigantic wave of sonorous majesty, Mind Maze reveals itself a gloriously genuine and splendid album, whose elegant and graceful atmospheres cohesively trespasses the ordinary boundaries of the genre. 


Wagner
 

metal

metal / death metal

facebook

progressive rock / experimental

psychedelic rock / doom

hard rock

progressive metal

psychedelic rock /  doom

sludge metal / doom

black metal

alternative rock / psychedelic / noise rock