doom / stoner rock

A sound somewhere between Blue Cheer and The Doors is mixed with choir enchantments to conjure the spirits on Kabbalah’s The Omen. Really spellbinding.

Pamplona in Northern Spain is the home to this all-girl trio called Kabbalah and each year a triumphant procession is going through the streets with hooded figures and pointy heads. In some ways these religious respects might be connected with Kabbalah who also teach you a lot about being one with the universe. If you live in a city with such a vibrant spirituality, it might influence young people, too, any way that it can. 

Kabbalah are not religious in a christian sense, but certainly spiritual in a certain sense. Their music is enchanting and rich in keys that would make The Doors’ Ray Manzarek proud. These keys and the synth spaces really carry the whole record in a way that it becomes ethereal and lofty. Combined with a three-vocal melody delivered by all three girls this for a really enchanting record, because that is what their harmonies also sound like: enchantments or rituals to conjure up some spirits that might help them. However, the vocals also are the one negative point that should be mentioned because sometimes they are basically non-understandable. The ladies should really work on their pronunciation. 

Some of the riffs are nice and chunky and the distortion on these is simply good. Then the band sounds like a good spiritually guided goth post-punk band. In one song the riff dominates, in the next one it’s the keys. This shows that Kabbalah really know what is best for each song, and that they develop their own enigmatic attraction song by song. No matter which instrument dominates, one thing is always the same: the melodic value is immensely high behind the eight songs of The Omen, which follows several EPs and one full-length (from 2017). With this record the trio shows once again what well-constructed shamanic stoner might sound like.


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stoner rock

Heavy Psych Sounds

We all know about these long-forgotten records that are part of the fame of some bands – take Beach Boys’ Smile as an example. Church of Misery from Japan have been one of the premier heavy stoner/sludge bands this side of the millennium with their heavy instrumental vintage sound and the whole serial killer theme. Twenty years ago, CoM-bassist Tatsu Mikami and then-CoM-guitarist Takenori Hoshi founded Sonic Flower together with drummer Keisuke Fukawa and second guitarist “Arisa”. In 2003, they released their only record a six-track EP Sonic Flower. More than a rumor, the world knew that the band had entered famous Branca Studios in Barcelona to record a follow-up, but those songs never saw the light of day.

Until now and until Italy’s specialty label Heavy Psych Sounds not only rediscovered the recordings but also were allowed to release them, what they did at the end of January, when Rides Again finally is available for our eyes to behold. Tatsu re-formed the group in 2018, and (rumor has it), has already loads of new material, but first he wanted to give us this present. 

And my, my, my – what a ride this record is. 28 minutes of psychedelic stoner, with nods to all things heavy and like a bridge between the old and the new waves of heavy rock. Of course, the production is not clean like many regular heavy metal albums nowadays, it’s raw, rough and unpolished. When the distortion towards the end of the opening track “Super Witch” sets in, there might be quite a lot of stereos that cannot deliver its total crispy touch. 

The songs sway between acts like Captain Beefheart and Sir Lord Baltimore, Mountain and Cactus. They are super heavy and fuzzed out to the max, but never over-steered or trying to show off, as they want to pay real homage to their own idols. They also do so through the two cover songs on the record – “Earthquake” by Graham Central Station and “Stay Away” by the Meters. The band is all about the good old time when fuzz-rock was a thing next to funk and rock. 

“Jungle Cruise” is the highlight of the record with the brilliant guitar work that is somewhere between Afrobeat and Krautrock, some Mountain-like country rock and some flirry Jazz stuff. But the most impressive thing about the song is Fukawa’s drumming that is basically a pushing and emotive tribal beat that really makes your body sweat. Sometimes one hears about a song from this genre being the perfect soundtrack to a blaxploitation movie – the same can be said about “Jungle Cruise” but here the scene is a high intensity car chase along the New Orleans streets jumping in the Bayou.

Don’t expect anything surprising on this record – the band didn’t run amok and totally changed their sound and songwriting. What you get is what you wanted all along. Dry fuzz, awesome drumming, intense riffs and some modulations that do not seek attention gently but that will pull your head back by the hair and then give you one of the most rewarding, sexy kisses you ever got. Every little bone in your ear will be aroused by the unearthed treasure chest that is Rides Again.


Thorsten

psychedelic / stoner rock / sludge / doom

Heavy Psych Sounds is an Italian record label that is well-known by lovers of everything heavy and fuzzy; they are specialized in records from the outer fringes of the musical spectrum from obscure vintage or original 70s rock to modern sludge. As long as it’s heavy and got some kind of soul, it can be found on Heavy Psych Sounds. 

Last year, the label came up with an idea that most people would file under “megalomaniac” - they started a split series; splits are already difficult enough as they should show the strengths of each participant (usually two) and also add up to something more than your average single-song release by two bands. The participants and their body of work should go together, their attitudes and their aim in doing such releases. Heavy Psych Sounds by now has released two such with the third one to be out soon and man, these releases are really one gigantic ride also because of the bands involved. 

To get the things together, one really has to stay calm in order not to be too enthusiastic because of the level of perfection involved in this series: Heavy Psych Sounds have always teamed up a rather well-known band with an awesome “newcomer” and each band and the bands deliver somewhat between 5 and 20 minutes of music. The series has grown with each release and the next one will definitely blow your minds. But, step by step.

On July 17th, Doom Sessions Volume 1 was released and featured Italy’s Deadsmoke and the UK masters Conan. The latter contributed a cover of the Horn song “Beheaded” (and as such is not found on any streaming service), while Deadsmoke contributed two songs and really outdid themselves on this one as they really keep up with the British legends of slow decay and rattling rage.

Two months later, September 18th saw the release of Vol. 2, this time with Greek monster smashers Acid Mammoth and Sardignia’s fuzzers 1782. Both bands unleash some wild satanic new songs to finally give praise to the heavy riff that doesn’t speed down your neck but rather slowly throttle you till you have to praise the horned one. The first Acid Mammoth track on this release, “Black Wedding” is one mighty prayer to Louis Cypher himself.

On February 26th Heavy Psych Sounds will unleash the next beast: Vol. 3 with one of the biggest names in sludge metal contributing three songs: San Diego’s (16) joined the fold and teamed up with Grime from Trieste, Italy. And of course, now many will think that (16) outshine their Italian partners in fuzz, but let me tell you: this Northern Italian trio knows how to keep their own, as they themselves are no bloody newcomers, but already playing their version of heaviness for more than ten years now.

When looking at all these three releases and the history of Heavy Psych Sounds and their roster, one can only imagine which further matches made in hell the guys from Rome come up with next. Whatever combination of artists they choose for Vol. 4 – I think these splits can be bought without hesitation. One will be rewarded with a collection of stuff that will soon go down as collectors items in many circles. Or to use the best promo text I ever read:

“This recording will make you feel sensations that you have never experienced. We advise to listen to it at high volume, in the dark and possibly with lit candles. Don’t be afraid to see strange things, it’s part of the game!” (from the cover of Vol. 2)


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stoner metal

It would be far too easy to list all the influences for Somnus Throne as they are stoner metal aficionados and surely have learned their lessons from some of the genre’s finest. Their songs can therefore also clearly be labeled as dirty, gritty, doomy, distorted high-octane rock.

For the trio from all over the States – from New Orleans to Portland, Oregon – this is already their second time playing together. After their first incarnation Maenad was dead, it took some time before the three found back together. Another difficulty was to find a center for the band, as they were all so far apart from each other. This problem was then solved by them renting a space in Los Angeles to write their new music and find a good formula for their sound. 

One must admit, that it worked really well, as their self-titled full-length is definitely a strongly breathing and reeking “thing”, a multi-armed and -legged being that is here to demand our full attention so that we cannot but give in to its charm. You can envision the monster hunting you down and then slowly pushing its tentacles into your brain until you can do nothing but listen and listen and listen and….

When talking about good stoner metal bands one often comes across the fact that the good bands can create huge impacts by using little shifts. These can come via an instrument and a quick notch up or down the speed-o-meter or via a vocal melody. Some bands are unable to do one or the other, but Somnus Throne can do both equally good. Their vocalist and guitar player Evan is certainly a better one within the genre as he can use the full volume of his voice without losing breath so that in the end it all sounds nicely and has a flow that can carry the whole weight of a metal song on its back. 

Nevertheless, the main focus of Somnus Throne is to write mind-altering riffs that will take total control of your vortex: Take the second real song (after the short intro) “Shadow Heathen” for example, a song that starts with a convincing riff line dominated by a strong drummer with the melody being like an irregular mantra giving the song just enough space to capture the audience before the riffing slows down after 3 ½ minutes and the guitars taking over the position and effect of the guitar. After a short return of the ritualistic vocals the song slowly zooms giving room for a great solo. The final two minutes that are a pure doom outro for the heavens (or heathens?). 

Of course, this is all nothing new under the sun and certainly no re-invention / re-imagining of stoner metal, but there is a reason why Jurgen and Burning World Records took this threesome on months ago. It got potential, lots and loads of it. That’s why he wanted to publish this full-length debut all in Holland. And let’s be honest – has Jurgen ever disappointed? 


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stoner rock

Is there anything bad in being a stoner rock band? In loving the fuzz? Using a soundscape that has been “commonplace” for more than two decades? 

Sometimes, yes – because the paths of this genre have been wandered and trodden on for a long time. Sometimes, no – if you do not expect a total re-invention of a genre that holds decades long ago so high in their appraisal. Those bands sound like a mixture of Pentagram, Sabbath, Purple and partially Rainbow. Or more “recent” Kyuss, QOTSA, Fu Manchu and Orange Goblin. So how to see if you have a relevant stoner band before you or not? 
Maybe the number of releases is an indicator as only the good ones are allowed several records – in this case Black Rainbows are really relevant: “Cosmic Ritual Supertrip” is their eighth full-length since their inception in 2007, not counting several 7-inches or splits. 
Might we say a relevant band adds something new to the genre? Again, the Italian trip from Rome can score. Their singer Gabriele Fiori doesn’t try to imitate any genre crooner but is pretty close to Billy Corgan, if he wanted to use his testicles when singing and not sit at home whining about his poor life being a millionaire. 
Is a moment of utter surprise necessary? Not really, because if you love that genre, then you love that genre. No need to completely overthrow it. Black Rainbows have all the must-haves. A good blues-stomper like “Isolation” or a frantic speed-attack like the opener “At Midnight You Cry”. A small tearjerker like “The Great Design” and a little punky-ditty like “Master Rocket Power Blast”. 

Nevertheless, is there a really reliable determiner if it’s a good record amidst that never-ending flood of stoner bands? Yes: I must believe them; must be able to picture them driving around in a muscle car towards the sunset where they will take their boards from the back and skate around some Southern Californian urban jungle just to get to a diner in time for a lush milk-shake. As stupid as that stereotype is – the three Romans totally fulfill it. They clearly are not in it for the money, they are here for the love of that warm sound that is able to wrap itself around your ears, and later your soul. “Cosmic Ritual Supertrip” is one of those records for the late afternoon drive when you suddenly realize that taking a turn and driving around for half an hour more is not a detour but the best thing to do. There is nothing bad in being a stoner band – if you do it right. The listener must be able to let go of reason and simply feel the music. Let go of the idea that every record must be a new musical invention. Follow the trail to the sun, dude!


Thorsten

progressive / stoner / rock

Always one of the most refreshing things in music are well-established bands with a good reputation and a strong following being able to re-invent their sound and style and still getting away with it because of sheer musical joy and quality. Think of Celtic Frost and their turn towards a darker and yet more progressive side of black metal with “Monotheist” (as a positive example, or Dredg and their last record if you want a negative example). Elder just did that very same thing, the highly popular stoner rock band has re-invented their sound-verse a few years ago and now follow this wide open future with “Omens”, the seventh regular full-length for the Berlin, Germany-based Heavy Rock band.

The songwriting has taken another massive step forwards and the “anything goes”-attitude definitely knows no boundaries on this meticulous record. There is nearly no genre untouched on “Omens” and the five songs with 55 minutes running time deliver big. Of course, the basis is still heavy rock and the sound is also still strongly stoner-influenced. However, the soundscapes alterations can come any second and nevertheless contribute to an immense gratifying whole. 

The new line-up of singer Nicholas DiSalvo and Michael Risberg on the guitars and the keyboards, Jack Donvan on the bass and Georg Edert behind the drums is able to progress from the mind-blowing 2017 release “Reflections of a Floating World” and keep its own identity at the same time which means that we witness unique combinations of space rock (with some quirky sounds speeding from right to left) and simultaneously heavy repetitive patterns. New drummer Georg Edert, together with his team-mate bassist Jack Donvan, needs to be mentioned here singularly because it is always difficult to enter such a strong line-up and not feel nervously. But his perfectly timed rhythms and nicely balanced drum patterns and fills give the long instrumental passage a more than solid foundation not to forget amid all the guitar tornadoes of riffs, solo and licks. He has so much near jazzy drive in his toms and such an undeniably eloquent use of the cymbals that one wonders whether they found an incarnation of Shiva serving the purpose of driving that will keep many heads nodding and feet moving at the same time. 

This version of Elder might be a bit poppier than before and a bit more accessible but damned be if it turns out any less successful. Elder have found a niche which only they inhibit, not because nobody else wants to, but because the level of their skills cannot be matched easily. 


Thorsten

doom / stoner rock

Duos without either bass or guitar have been a thing in the music scene for quite some time, some immensely popular like the White Stripes, some less like Two Gallants, yet there seems to be something about the combination of drums with one of those two that is appealing to a lot of musicians. Year of The Cobra from Seattle are no exception to this and they are like the converted image of Jack & Meg, because they are really a married couple on- and offstage, they have a female singer and bassist and a male drummer (who is actually capable of more than just trying to keep a straight rhythm). 

In a perfect world, this duo would be the talk of the town because they served us “Ash & Dust”, a hot dish of doom and stoner melodies last November which forces the author of these lines to stray from his usual idea of not writing about anything older than three months. Amy Tung and Jon Barrysmith definitely have the “it”-factor, because they are highly capable musicians that create such a strong undertow that one cannot but lean back and let the delicious waves of stoner-sanded doom wash over him and bury his head deep within the desert where the hot is scorching yet never killing. The fever starts to set in and the listening experience is becoming more and more intriguing. Eight song each showing a different kind of mood yet never losing the thread that is observable with Amy’s magnetic bass skills that is as mesmerizing as her singing performance somewhere between the naive seductress and the vicious femme fatale. 

The best thing is that they keep their strongest shots for that moment that we all know on certain records – great opening tracks, pretty decent second ones but then with tracks three to five a certain structure becomes obvious. That doesn’t happen on “Ash & Dust”; first of all because the songs are all unique (also because of the varying integrated further instruments, like an organ). Secondly, because the way that the duo places the drums within the sound is extraordinary, sometimes they are leading in the way and even more apparent than Amy’s low-tuned, heavily distorted bass, sometimes the cymbals seem really delicate showing Jon’s ability to not just hit as hard as he can. Finally, the use of the bass is striking and similar to Bell Witch’s way of using the bass similar to a hellish piano. 


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grunge / stoner rock

Iceland’s scene is very likely one of the strongest worldwide as we are talking about a country with roughly 360,000 inhabitants and yet we all know so many bands from Iceland pushing the brim for modern music further and further. Keelrider is another one of those, although they most likely will not see as much attention as Sigur Ros, Björk or the whole Icelandic black metal scene because they are Stoner Grungers with a twist. In 2018 they published their debut album “North” and last year they published two singles from their upcoming album “Second Wind”. While “Too Far Gone” is in parts a very nice melange of Alice in Chains-vocals and Soundgarden-stoner riffs, “Sun” is much more interesting because the band some a little more variety when it comes to time signatures and giving the guitar lines more space to breathe. If you are into stoner rock and grunge, this band is something right for you! 

post metal

Post-Metal from Italy. Most foreigners automatically associate it with Postvorta but some, a little deeper in and a little longer might remember the name Calendula, the sextet from Parma, which released an EP (2011) and a full-length (2012) a while ago. After some changes concerning line-up and musical direction, they released a 25-minute-song in November which definitely doesn’t fit to the title “De Brevitate Vitae” - it’s not brevis (brief) at all. It is quite a monster with a lot of dynamic changes and oscillates between dynamic driving drums and some really clever, counteracting guitar-work following the long intro, which sometimes hints at a bit of Tool. The vocals are pretty good, they also use some samples to give it a more differentiated sonic outline. Something that can be criticized is the sound as the partially trashy Lo-Fi sound doesn’t really fit a record as ambitious as this one, although on the other side it fits to the proclaimed role models  – 90s post-rock bands such as Slint (noticeable in the very effective guitar motif after the first real break). If the guys follow this path, we might have two Italian associations with the term Post-Metal.

electronic 

Svart Records is one of the finest labels when it comes to hard, harsh music, most people know about that. Most people do not know that they also have an electronic sub-label – Svartronix which again is very open-minded. A few weeks ago they released the debut song by A Heart Beats “Dazes the Mind” which is pop music that fits perfectly in any 80s mix of songs by some tropical house producer. This songs purvey a kind of Caribbean calypso feeling but their sex-appeal derives to a large extent from the intriguing vocals of Paile who once was a member of Beastmilk. His delivery is very nice and especially the chorus is so funky that one automatically feels his feet moving, but the line also has some depth “It dazes the mind / and numbs the tongue”. The beats produced by Tuuki are layered with some space basslines in the sense of some more synth-driven Daft Punk and the beat itself is shuffling a bit, so that the sunny, opening sounds give the song a holiday feeling without the stupidity. A promising debut song, let’s hope A Heart Beats and Svartronix has some more servings.

doom / death metal

Russian death doom act Intaglio released a demo version of a new track at the end of last year and in some way, the beauty lies in the rhythm. Many voices will now scream that the rhythm is nothing particular new to the genre, as the slow, dragging rhythm of the song is really quite normal, but the way that the strings connect to it, support it in certain passages, yeah, even form it from time to time, that is really breathtaking – the Gothic attitude it brings to the song turns it into a remarkable one. The lyrics, speaking about the overwhelming character of a memory of death which overshadows everything else, are delivered in regular death metal style. Another standout feature is the use of the use of an upright bass that is tuned so well, that you can hear each tap and each ring.
In some way, three pretty singular metal genres are amalgamated into one pretty dense net of emotions that will leave no open ear without imprinting a memory of itself on the listener. If this is a first sign of a new album then one might keep Intaglio in mind.

punk

Everything about this 7” screams “Old school! Old school!”, the cover (seemingly a reverse from the classic Minor Threat discography cover that also was adopted by Rancid several years ago), the cover b-side, the black-white style, the sound, everything! But first things first: The revived band released a good album in 2018 and last December followed with this 7” out on Heartworm Press. The title track is a new shotgun blast somewhere between Zeke, MC5, The Clash, Turbonegro and Black Flag (although one must say, that only the vocals sometimes hint at Rollins) – definitely a good track. The b-side is a well-made cover of “Left for Dead” by The Lemonheads another one of these late 80s punk bands that turned more and more to indie-rock. The cover is good and shows a different side to American Nightmare. However, there is one thing that is lacking in this release and that is the teenage angst that made AN famous. The despair, the sadness, the melancholy – not there. On the other hand, that might drive the listener to despair and achieves the same effect.

avant garde / folk

Dog Tunnel Records

There are genres that seemingly are so heavily steeped in tradition and customs that it is hard to imagine to hear a new sound in them. Take Irish Folk for example; most of us at first might associate it with pub nights somewhere between the Dubliners and Christy Moore (at best) or Michael Flatley and Enya (at worst). But to combine the traditional folk instruments bodhran, flute, violin, and guitar with a wall of sound, lots of spoken word (not cheerfully and rhythmically, but rather intimidating and fierceful) is something rarely heard before. Tuatha is a fierce project that will leave some of us open-mouthed. Formed in early 2019 and already a rising star on the scene, the septet uses old Irish tales from the Middle Ages and Gaelic Dindsenchas (short poems describing certain places) to deepen their already impressive style. In parts, their unrelentless approach reminds one of the approach Archive and SubRosa took in totally different musical landscapes. This here is unique, bewitching and typical Irish yet also totally un-Irish. Folks, give Tuatha a listen!

sludge / doom

A quartet from Phoenix, Arizona with a very grainy, heavy sound, Mosara released their debut demo last November. It shall be a prelude to a record which is in the making and should see the light of day before the end of the year; of course the demo should also draw interest from labels and I think it might: The musical soundscape is strongly influenced by a lot of proto-metal like Sabbath, Blue Cheer, but also by classic doom bands like Electric Wizard or Cough – that means, you get what you expect, low-tuned, richly-distorted, grainy, a bit lofi-ish doom sounds with a tinge of sludge influences (most audible on the second track “Clay and Iron”). Sometimes the howls and growls could be a bit fiercer and less despaired because, sometimes, Tony Gallegos (ex-Twingiant) is a bit too clear. Nevertheless the sound is great, as if someone mated Fu Manchu with Sabbath and their offspring was left in the desert with a guitar as the only means of communication. The riffs are dragging, the bass is dominant, the drums are supportive – all good in the Arizona desert. 

death metal / black metal / doom / noise / grindcore

Noise bastard? Yeah. Death metal? Sometimes. Grindcore? For sure. Doomy Gloom? You bet. All of that and more is “Tellurian Insurgency” by Ploughshare. With their third release in as many years (after 2017’s “Literature of Piss” and 2018’s acclaimed “In Offal, Salvation”) the quartet from Australia’s capital Canberra once again proves that the bar is always too low for them. Excellent musicians with a highly complex understanding of how music works they show that extreme metal must also rely on atmosphere that sometimes exists between the chords and blastbeasts. A great deal of the attraction of this band is the vocals, which never sound cheesy but quite on point. This EP also features a remix of their standout song, the title track of “In Offal, Salvation”, which shows that it is even possible to give this dark nightmare of a song an even more desperate twist. One thing that becomes clear throughout the record is how important good drumming is for such a kind of music as it must set the tone for everyone. If the guys can keep up their productivity we should await a new heir to the extreme metal throne in 2020.

industrial

Describing this Oakland, CA, quartet is not that easy and not that difficult at the same time. Their sound relies heavily on synths, samples but also on guitar, bass and drums. They cross constantly between electronic noise (aka industrial) and post-punk’ish avantgarde sounds. Initiated in 2013 and having independently released already a bunch of records, Lament Cityscape set out to publish three EPs in 2020, each following some red thread and yet also standing out on its own. Something that they share with some of the pioneers of this kind of sonic assault (Godflesh, Killing Joke, Author & Punisher) are the harsh sounds that sometimes remind one of buoys warning the oncoming ships of the nearby rocks and sandbanks which here are symbolized by the rough drum attacks. In parts, this is a good record for those who like Godflesh’s Streetcleaner a bit less polished and a bit more straightforward. Partially, one is left behind by a lack of surprise, but fans of industrial noises and harsh synth-driven drums will really like this.

black metal

At first, the band’s name might sound like a nice pun on 80s karate flic “Bloodsport” (with the amazing multiple Academy Award winning actor Jean-Claude van Shakespeare) but when listening to this new face on renown Swedish Meta label Blood Harvest it becomes clear that the idea of a fungi which sits parasitically on its host and feeds of it before finally killing it works perfectly within the black metal community. It also works nicely because the record to it is really good and leaves one’s ears with an immediate wish to press replay because of its clever changes in mood, dynamics and tempi. The record (especially the second track “Cede to the Saprophyte”) is like a nice blend of groove metal and black metal with the emphasis, of course, on the latter. Thematically, the record presents the idea of the fungal mass on this planet slowly but certainly taking over and destroying all other organisms, a new take on the apocalyptic visions presented by bands like Botanist or Arx Atrata. For a band that only came together in 2018, this is really somewhat impressive. 


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sludge metal

“Demonic Black Magick for Tortured Souls.” That’s one of the first sentences you read when coming across Seventh Circle’s FB-account. Interestingly this record has less death metal than you would assume after such a proclamation and after a record title referring to Dante’s Seven Circles of Hell. The record is a solid pastiche of stoner-influenced sludge metal with a share of death metal miniatures. The duo from California really hits some weak spots in all of those people who like their death metal a bit more on the hard rock-side with these three tracks.
The sound is gritty and heavy and the breakdowns are not too hardcore-ish so that those 13 minutes are over quicker than you wanted. Most interesting are those moments when they take some time to establish the mood of a song instead of just racing into it. The only thing that might be bothersome is the mixing because although of course a band like this should be produced raw and dirty but the vocals are too far in the background. 

black metal

Invictus Productions

Iron Bonehead Productions

Belgium’s black metal band Possession brought a totally new concept to split EPs at the end of November by releasing two different splits with two different bands but with one unifying theme. “Passio Christi Part I / Witch’s Spell” is their split with Spite from the US and “Passio Christi Part II / Necrophagus Abandon” is the one with Venefixion from France. The second part of each record’s title is one of the track of Possession split partner. 
Interesting about these two separate releases on two different labels with bands spanning five countries is that it all sounds very organic and as if this was meant to be. But the logistics and planning for this thing must have been arduous. 
However, when playing both records in a row, you do not have the feeling of a loss of quality or a change in sound and vision. The releases each start with a very atmospheric intro by Possession with the second one even played on a church organ and incorporates carillon bells. Very, very good. The Belgians pursue their idea of a raw punkish sound and attitude, a high-octane version of black metal. “Stabat Mater”, the last of their six tracks total, ends in a whirlwind of drums and riffs that has mantra-qualities just before their final contribution to this duo split turns the song into an instant classic as they take up the intro from “Passio Christi Part I” again using a choir to make their songs one big entity. 
The other two bands are not only bystanders but take part immensely with each giving their respective releases a different element. Spite, for example, delivers the cover song that each good split should have doing Manitú’s “Cruel Creator” in their own way, very lo-fi and very chilling.  Venefixion, on the other hand, do the best thing to do after a song as good as “Stabat Mater” - they do their own piano-intro (!) and then all hell breaks loose, no barriers holding back, no hostages taken, no one left standing in their way – straightforward black metal!
As a final say, one has only very seldom heard such a coherent, thoughtful conceived combination of split series as this one!

psychedelic / stoner / rock

The California-based trio is set to release their next album on Valentine’s day next year and “8hr Parking” is the first single off of that record which will be called “Mortal Foils” and released via Italy’s specialist label Heavy Psych Sounds Records. 
And as this is not their first release but another one in quite a long list of excellent ones, it shows that singer/guitarist Enver Koneya, bassist Travis Williams and drummer Braden McGraw really know what they want to sound like – a mixture of “full-throttle, pedal to the metal” and “whirling swooshing Tornado jet”. The new song thunders like steamrolling in a Mad Max-vehicle without roof right through Los Angeles all the way up the coast with the wind rushing through your hair while tanking north on Pacific Highway 101 and then having to step down a bit because otherwise the turns and curves will not be mastered especially in Big Sur and North. If the upcoming record is as convincing as this one then we might up for something special!

alternative rock

Sometimes there comes a band that is able to emulate a sound that directly brings up several memories from your past that you had forgotten you had somewhere deep in you. Now a lot of you readers will say “Of course that is what good music should be able to so that you find a connection to it!” For clarification: Listening to an EP with the singer in the first song sounding like a first-class Layne Staley impersonator is never a bad thing, especially when he concentrates on the articulation and breathing and not on the impossible to imitate the voice of Alice in Chains’ front man. With the second using the same bells that Radiohead used for “Karma Police” is another very positive thing and the third one witnessing a voice imitating Thom’s way of phrasing words and sounds while the band is finding the middle between both bands the author of these lines is back in a room at home with the lights on, thinking about former loves and igniting hundreds of candles to fit his mood. Or is that just what this record wants me to feel like? Probably; well: Well done!

Thorsten

doom metal / stoner rock

Doomed & Stoned

Just because this makes me proud.

Released on Friday the 13th of December 2019 this compilation couldn’t be a better presentation of the Belgian underground music scene. The Doomed & Stoned label from Portland Oregon U.S. serves the best in doom metal and stoner rock, intersecting over four decades of heavy music, with particular interest in underground bands, in the tradition of the ultimate godfathers of doom: Black Sabbath.

This collection contains forty-eight tracks with an enormous high quality and variation of heavy riff based walls of sound. The label calls Belgium to be the capital of underground music and they have a point here. Modesty is a virtue. All those bands work hard with pure dedication on their music besides family and jobs. 

With bands like Stake (Steak Number Eight), AmenRa, Raketkanon (they quit this year), Brutus and Oathbraker already left the underground scene and touring worldwide, a new wave of dark treasures are to be discovered from the Belgian underground scene. Several instrumental bands wander between the sub genres like Psychedelic Blues Rock, Doom, Stoner Rock, Sludge Metal, Post Metal and Alternative Metal.

We won’t mention any band names on purpose because we want the listener to discover and to dig his way in. Big names and unknown names are present on Doomed & Stoned in Belgium. This killer is available at a name your price deal on the label’s Bandcamp page. 

The Doomed & Stoned in Belgium release made us proud. Support, obey and spread the Belgian riff!

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Patsker