Leafy Wizard

Album review: STRANGE BROUE – “SÉANCE”

(Indica)

Do you like Electric Wizard? Because it’s clear that Strange Broue does. It’s not an uncommon influence among the countless number of bands springing up these days, but Strange Broue manages to rise above the generic legions with some of the most unique Wizard worship this side of the Black Mass. Lead by the mysterious self-proclaimed “Brouemaster,” SÉANCE is as much enormous, distorted riffs as it is a chronicle of the Satanic Panic craze of the 70’s and 80’s. Littered throughout the EP (a generous 35+ minutes) are samples from then-era news reports, televangelical propaganda, and of course horror films. These are usually over shorter instrumental tracks, which set up a great atmospheric tone for each historical foray into the often misunderstood fascination with the occult. Strange Broue’s previous album, THE MYSTIFYING ORACLE, was a beautiful showcase of what this band has to offer, but being more a collection of previous singles and EP’s, felt a little disjointed. With SÉANCE, it is clear the band had a much more focused approach to the execution. Beyond the many samples and atmospheric instrumentals, the true songs (each labeled “Séance I-V”) are all well composed pieces. Creating heavy, plodding rhythms and then layering wailing distorted vocals and creative guitar solos over the top, each song feels like a real heavy-hitter. The final song on the album, a cover of the Louvin Brothers country-gospel classic “Satan is Real,” is an absolute masterstroke that is sure to be a hit at your next ritual gathering.

Artwork/Packaging:

The varying artwork on this release is dependant on which version you are able to snag. You can’t lose with any option, however I was fortunate enough to get my claws on a limited edition die-hard version of the cassette. The actual artwork on the cassette is a fairly standard Baphomet pentagram on a red background with the expected album information on the opposite side. It is how the tape is packaged that makes it truly unique. Housed within a repurposed VHS case with new, original artwork made to look like a forbidden rental at the back of a dive 80’s video store, it is also coupled with a handful of printed material, a litany of satanic propaganda to thumb through while you immerse yourself in the theme of the package. This is a truly special collection that you can tell the band put a lot of work into. Released on CD and cassette, both versions are currently available on the Strange Broue bandcamp, in both die-hard and normal editions. Based on the demand and response, there is a planned limited vinyl release for the coming months.

Album Review: MARS - “PRECESSION OF THE EQUINOXES”

(Indica)

Mars have remained relatively quiet since their debut, “Reign of Suns” in 2008. In fact, despite my deep love for that release, I had no idea the band was still around. Now nearly ten years later the current formation of this NOLA-based group has dropped two-tons of heavy on us from out of nowhere. “Precession…” is over an hour long and only five tracks in length, which should give you an idea of the deep sea of sludge you’re about to dive into. These songs are long, brooding compositions that take you through slow funeral dirges, psychedelic guitar freak-outs, and blistering vocal catharsis. The opening title track (and longest song on the album, clocking in at almost 20 minutes) is a great example of the astral tours Mars can guide you on. After the relentlessly heavy “Shadowbuilder,” is my personal favorite track on the album, “Empress.” Whispering to life with some light and hypnotic guitar-work (courtesy of Andy Soda) the song soon erupts into some massive riffing. The song also boasts some seriously stellar drumming by way of Matt Mars, crashing through the wall of guitar sound created by Andy and bassist, Mark Wood. “The Mountain” starts with some excellent psych soundscapes and wastes no time bringing the heavy, invoking feelings of traversing desolate Martian landscapes. The build-ups to the heavier parts of this song work to great effect and really showcase the growth the band has achieved over the last decade. Album closer, “Alpha Draconis” is a short ambient instrumental that works almost like a decompression chamber after space walking outside the ship. I’m glad to see these guys back in action with some new material after so long. Grab your bong for this one and get ready for lift-off!

Artwork/Packaging:

Right now the album is only available digitally via bandcamp. The artwork is mesmerizing and even rivals the jaw dropping cover of “Reign of Suns.” I really dig the symmetrical framing of the asymmetrical image, and the color palette has beautifully muted oranges and greys.

Album Review: DOPELORD – “CHILDREN OF THE HAZE”

(Indica)

For the last five years, Dopelord out of Poland have been redefining the standard for the stoner/doom genre. Taking the foundation that bands like Sleep and Electric Wizard laid before them, they stand on the shoulders of these bong-wielding giants and reach new heights. “Children of Haze” is their third full length album and continues the trend of outdoing the last. A lot of people wouldn’t associate variety as a cornerstone of this sub-genre, but Dopelord do their best to include every point on the spectrum. The riffs are massive and catchy, and never overstay their welcome. The album opens with “Navigator,” easily a new classic anthem for smokers everywhere, the sonic hook of “holding bong in hand” will resonate with you and get stuck in your head for days. “Scum Priest” comes in fast and immediately shows the range this album has to offer. Boasting harsher vocals, the song never lets up and is easily a stand out track. Over the next few songs we’re treated to some of the best solos the band has ever written. I absolutely love the solo in the middle of title track, “Children of Haze.” Strangely enough the biggest highlight on the record for me was the more subdued “Skulls and Candles,” a surprisingly light song that sacrifices the heavier tones for some fuzzy ambience and psychedelic melodies. Two-part epic, “Dead Inside” is another great track with a superb build up before picking up the tempo at the halfway mark. Closing with “Reptile Sun” was an excellent choice, leaving a strong impression with the listener by offering the second heaviest offering behind “Scum Priest,” and clearly the most superlative Sleep-worship the album offers. Fans of the genre will find much to appreciate on “Children of the Haze,” and will be happy to know the torch (or in this case, joint) is still being carried by a new generation of dopesmokers.

Artwork/Packaging:

“Children of the Haze” is a self released album by the band with moderate distribution. Hard copies of the CD are available on their bandcamp but there is currently no date for a vinyl release. The glorious artwork is done by impressive artist, Pig Hands. I can’t get enough of the imagery of the album cover. I love the hooded figures being lured to the light held by the large creature. Plenty of implication and subtleties  to analyze in the details of this piece and a great film for the tone of the album.

Album Review: THE DARKEST OF THE HILLSIDE THICKETS – “THE DUKES OF ALHAZRED”

(Sativa)

The Darkest of the Hillside Thickets are no strangers to the alternative rock scene, even if they spent most of their time circling the outskirts with their brand of doomed, Lovecraftian inspired tales. With beginnings stretching back to the early 90’s, TDotHT have been a collective for over 25 years. The Canadian group’s last effort was 2007’s “The Shadow Out of Tim,” leaving fans waiting nearly a decade for their return. After a successful crowd-funding campaign, the band has released “The Dukes of Alhazred,” a true return to (shapeless) form. Never to let up on what rocks, what always set The Thickets apart is their pop sensibilities. These guys know how to write a catchy song without sacrificing originality or creative drive. “The Great Molasses Disaster” is a great example of this, with some excellent melodies through the verses culminating in the most ear-worm inducing chorus on the album. “Shhh…” is a track that many fans are already familiar with, an omission from their more thematically paced previous album, its inclusion here is welcome and is still one of the strongest songs in the band’s arsenal. Over the rest of the release we are treated to songs about a spider paradise, “Arachnotopia,” a supernatural whodunit, “It Must be the Wind,” and even an homage to endangered fish, “Coelacanthem.” One of my favorite tracks, “Welcome to the Island,” feels almost like a dramatized tabletop RPG narration more than a traditional song, this variety in structure keeps the album fresh at every turn. The most useful song is probably the instrumental “Erich Zahn,” which when played aloud is guaranteed to keep interdimensional monsters at bay from your apartment window. Vocalist Toren Atkinson has written some great lyrics through these songs, complimented well by duel guitar work from both Warren Banks and Mario Nieva. The rhythm section of drummer Jordan Pratt and bassist/backing vocalist Merrick Atkinson doesn’t disappoint either. It’s great to see the Thickets back in action after so many years with another stellar release.

Artwork/Packaging:

Artist Chris Woods created the excellent artwork for the album. On the cover we see “dem’ thickets boys” at it again, soaring through the cosmos with the top down, fending off yet another otherworldly creature. The attention to detail is impeccable and I urge every listener to explore the artwork while listening. As of now the release is only available digitally (Out January 22nd) with physical CD’s available soon. Physical review to come when my copy arrives!

Where to get it:

Album review: BANTHA RIDER – “S/T” (Sativa)

Bantha Rider out of Warsaw, Poland embraces its offerings well, presenting four instrumental tracks of dusty, wasteland sludge aimed at frying your brain faster than the two looming suns of Tatooine. Opening track “Sandcrawler” rumbles to life before chugging at a steady pace, doing justice to its titular namesake. These riffs conjure images of huge metal machines rolling through the desert, leaving only clouds of sand and hash smoke behind. “Uta tuta Solo (Greedo’s Funeral)” keeps things moving and wastes no time kicking off. In probably the grooviest track the album has to offer, Chris (Guitar) really showcases some of his skill, offering up some truly rad shredding. “Jawa Juice” takes you on a trip in such a way that proves there is no shortage of hallucinogens to be found in Mos Eisley. Behind the lead guitar, Bart’s low end bass and Art’s crashing drums concoct a head spinning flavor only available in the Outer Rim. “Sarlacc’s Pit” closes the album out and delivers in every way you’d expect a song about a giant carnivorous arthropod to do. Fast and hard-hitting at the start, as if enthralled in a battle with the creature’s mouth, the song soon slows to a solid pace, our five and a half minute abridged version of the average thousand year digestive time. Bantha Rider doesn’t do much in the way of reinventing the wheel, but these songs are a lot of fun. Even better is that each song feels extremely fleshed out and full of life, providing a solid beginning, middle, and end to each desert tale. Get ready to throw some tabs in the blue milk and take a trip through the desert with Bantha Rider!

Artwork/Packaging:

At the time of this writing the only available version of this album is digitally through the group’s bandcamp page. The cover artwork is brilliant, letting the listener know exactly what to expect. I love the layout of the three Tusken Raiders each at a different stage of lighting up. I look forward to a physical release in the near future.

Where to Get it:

Might’ve Missed 2016: VODUN – “POSESSION” (Sativa)

The “Might’ve Missed” review series showcases albums that may have been overlooked in the last year due to so many incredible releases.

London’s Vodun have been rocking stoner/metal fests over the last year to great reception. Their unique blend of soulful vocals and blistering fuzz has captured every audience that has bore witness. This three piece is comprised of drummer, Ogoun, guitarist Marassa, and vocalist/percussionist Oya. Ogoun’s drumming feels organic and cathartic, she’s definitely a basher and blends well with the primal nature of the music. Guitar work on the album bounces between calculated riffing and all out dissonance. “Bloodstones” has one of the most interesting compositions on the album. Starting out slow and melodic, it soon erupts into a cacophony of droning guitar and pounding drums before ripping into a high speed fuzz fest with some of the catchiest vocals on the record.  The whole album is also littered with spoken word samples, supporting the lyrical themes of West African history and mythology. Truly one of the most unique releases of the last ten years, Vodun sounds like Aretha Franklin fronting your favorite stoner rock band.

Artwork/Packaging: Keith Farrell provides the striking album art for Vodun’s debut, a really great representation of what to expect from the music. My LP copy from Riff Rock records is a single record sleeve with an inner lyric sleeve as well. The orange color of the wax contrasts beautifully with the green motif of the outer artwork.

Might’ve Missed 2016: INDICA BLUES – “RUINS ON THE SHORE” (Indica)

The “Might’ve Missed” review series showcases albums that may have been overlooked in the last year due to so many incredible releases.

One of my favorite debut albums from 2016, UK based Indica Blues makes an impression on the scene with four tracks of hard-psychedelic stoner-doom. Although releasing a rough demo of promising cuts prior (2014’s “Towers Rising”) it’s “Ruins…” that truly does the band justice. The production on the album is stellar, with every note coming through with monumental clarity. Edward Glenn’s drumming is the perfect backdrop for the psychedelic chunk of dueling guitars (Tom Pilsworth and John Slaymaker) and heavy throbbing bass (Andrew Haines Villata.) This is proven especially well on the track “Wasted Landscapes” which consists mostly of one hypnotic, fuzzy riff before erupting into some serious psych soloing. The final song on the album, title track “Ruins on the Shore,” is also a great blend of doom pacing with moments of psychedelic greatness. The melancholy vocals are sharply contrasted by the bright guitar work throughout the 10+ minute run-time.

Artwork/Packaging: Brazilian graphic artist Cristiano Suarez has created a beautiful album cover for this release. The colors are bright with neon pastel and provide a ton of subtle detail to get lost in. Whether intentional or not, it feels like the themes from all songs of the album are represented here. At the time of this review the only way to get the album is digitally through their bandcamp page, or streaming on spotify. A small number of CDs were made upon release but have since sold out. Hopefully the band will press some more soon.

Might’ve Missed 2016: THE SATURN III – “S/T” (Indica/Sativa Hybrid)

The “Might’ve Missed” review series showcases albums that may have been overlooked in the last year due to so many incredible releases.

The Saturn III is quite the quizzical endeavor. Self described as “psychedelic subterranean extra-terrestrial rock ‘n’ roll; fuzz for the final frontier,” no members are listed. Although their origin may be mysterious, the product of their music is very real. This physical full length collects three of the bands previous EP’s as well as including three new songs exclusive to this release. The music itself is just about as fuzzy and distorted as it gets. The abundance of energy on each track is enough to propel them from one side of the galaxy to another. The vocals are buried under layers of distortion and effects, creating a truly unique sound. Subject matter on the album will appeal to most genre fans, stoner film and television classics are referenced (“Q-36,” “Good Nyborg”) and it even includes a passionate tribute to stoner rock bands and labels, past, present, and future on “Inhale the Void.” Numerous samples across the album help push the themes of each song, and add a welcomed layer of depth for this cosmic convoy through space. Definitely a band to lookout for in 2017 and beyond, The Saturn III takes it’s collected inspiration and re-purposes it into audible rocket fuel.

Artwork/Packaging: This limited to 33 physical release comes in some truly unique packaging. Released on DeafM recordings, the CD itself is “pressed on green plastic” and housed in a folded poster with additional artwork. This then rests in a triangular cardboard case. The art itself is very representative of the music within, bright colored sketches of UFO’s, planets, and cosmic gamma radiation. No way to tell if this will ever be released again so get this extremely limited release while you can. You won’t regret it.