THE TRONAUTAS ~ OLOVORGO ...... review

"Music,beer and fine herbs" is the mantra Mexican doomsters The Tronautas march to and we are fairly confident in guessing that those "fine herbs" are not likely to be parsley, sage, rosemary or thyme. Hailing from Matamoros, on the southern banks of the Rio Grande, The Tronautas are a trio comprising of Raco: (guitar and vocals), Mr.SelfDestruct: (drums) and Radiobot: (bass and synths) who have just released their debut EP "Olovorgo", a four song collection dealing with subjects that include the hypocrisy and piousness of organized religion and the effects and causes of loss and depression.

With tags, gracing the bottom edges of their Bandcamp page, ranging from doom metal through to post-hardcore you would expect The Tronautas debut to be somewhat of a full on noisy affair with vocals to match, and musically/instumentally to some extent that is exactly what you get, however vocally "Olovorgo" is somewhat of a melodic outing. When we say melodic we are not talking ethereal or sweet however, Raco retains an element of gruffness in his clean tones but they are delivered perfectly pitched and with a clarity not usually associated with this genre of music. Raco tells us of "the last days of the fading sun" ("Last Days"), laments that "salvation comes but for a price" ("My God") and tells us life is "crushing my soul apart" ("Eternal Gloom") against a backdrop of diverse and powerful rhythms, expertly provided by Radiobot's thrumming bass and Mr. SelfDestruct's thunderous percussion. over which the vocalist/guitarist adds crunching dark toned riffage and scorching lead work. The Tronautas save the best for last however in the shape of "To Destroy A Beautiful Thing", a prog flecked tome with a heartfelt lyric that perfectly highlights each members instrumental contribution both individually and as a unit.

Complex and intense grooves wrapped around dark themes layered with warm melodic edges makes The Tronautas' "Olovorgo" not only a highly enjoyable listen but one that also makes you think.
Check it out...

© 2018 Frazer Jones

SATTA CAVEIRA ~ MMI ..... review

"Recorded live in the home studio with no clicks, additions or overdubs" reads the legend on Satta Caveira's Bandcamp page and given the intensity and musical impact of the bands latest release "MMI" maybe more bands should give this approach a whirl.

Gonzalo Void (drums), Jonatan Emilio (bass) and Cristian Villagra (guitar) are Satta Caveira, a trio from San Miguel, Argentina with a penchant for jamming grooves of a heavy psychedelic nature, something they have been doing to great effect from their formation back in 2014. Now lysergic flavoured instrumental heavy rock coming out of the bowels of the South American continent will come as no surprise to those who follow that continents underground scene, there seems to be a plethora of South American bands who just seem to have that knack of making non-vocalised music come alive and feel more vibrant and vital. Satta Caveira sit high on that list of Latin America's exponents of the instrumental jam, the bands mix of heavy downer rock and lysergic experimentation, blended with elements of jazz fusion and downtuned spacy funk, coming over as heady and loose as it does gnarly and tight. Over the course of the eight songs, that make up "MMI", Satta Caveira take their listeners on a rollercoaster ride through a plethora of moods and  emotions, cleverly using elements of light and shade to accentuate those feelings and in doing so give their listeners a wholly satisfying and truly rewarding experience.

Sprawling and experimental yet at the same time solid, heavy and gnarly Satta Caveira's "MMI" blends Floydian lysergic texturing with Karma To Burn like instrumental stoner oomph and arrives at a sound that sits somewhere between the two yet at the same time is wholly original and fresh.
Check it out …..

© 2018 Frazer Jones

MEN OF THE WILD AGE ~ THE ROAD ..... review

Poland has sort of got itself a reputation for turning out some of the nastiest, dankest and darkest stoner doom and metal music known to grace the underground scene with bands like Dopelord, Shine, Bitchcraft and Sunnata all garnering huge interest both inside and outside of their native home. But what of those bands working in the less abrasive fields of the Polish underground, in the genres of stoner, desert and hard rock? Well thanks to the magic of social media and the wonders of Messaging and E-mail Desert Psychlist was recently informed of one such band that fits that bill perfectly.
Men of the Wild Age are a five piece quintet inspired by the likes of Kyuss, 1000mods and Fu Manchu  hailing from Warsaw. The band, consisting of Artur Dziułko (guitar). Witold Wrótniak (guitar), Przemysław Hampelski (drums), Dominik Karwowski (bass) and Wojciech Karpowicz (vocals), released their debut EP "The Road" back in 2017 but have only just recently posted it on Bandcamp's hallowed pages which is just about reason enough to give it a somewhat belated  review today.

Men of the Wild Age very much set their stall out from the very first note of first track "Flashback", the songs dirty sounding fuzz driven guitar riff immediately drawing comparisons with the likes of Dozer, Fu Manchu and of course Kyuss, however Karpowicz's accented vocals add an interesting  and intriguing twist to the  proceedings. Karpowicz's accent, although obviously Polish, has a clipped almost Teutonic tone that adds rather than detracts from their overall appeal and gives each song an unexpected yet totally effective edge. After "Flashback" the band speed through three more desert flecked grooves with "Born Ready" the pick of the bunch, a feisty number pushed hard by Hampelski's solid percussion and Karwowski's grumbling bass and taken to another level by Dziułko and Wrótniak's guitar work, swathes of crunching fuzz and pinched harmonics popping and fizzing behind Karpowicz distinctive vocals. However it is final track "Wretched" that really takes the breath away, the band taking things down a notch or two and hitting into a slower, lower doomic groove interspersed with swirling duelling guitar solo's and hugely effective hooks and motifs over which Karpowicz executes his best vocal of the EP.

There is nothing glaringly new or ground-breaking about what Men of the Wild Age bring to the desert altar with "The Road" but what they do bring is highly effective, well executed and damn,damn enjoyable.
Check it out …

© 2018 Frazer Jones

ORBITAL JUNCTION ~ ORBITAL JUNCTION EP ...... review

It is always nice to review an album from a UK band, and even nicer when that album comes from a band based in your place of birth. Orbital Junction, Owen Armstrong (vox), Ric Fordyce (guitar), Billy Dale (bass) and Jack Revans (drums), are a London based band with a sound they say is "steeped in beer" and is a "healthy slab of fuzz filled stoner rock", So let's grab a beer and jump into the fuzz and see if the bands debut EP "Orbital Junction" is all they claim it is. (Releases 01/09/2018)

Orbital Junction's sonic attack is one that is big, meaty and drenched in fuzz but let's be honest that is a description that could be levelled at a thousand and one bands who are currently working the underground rock scene, what we really need from this London quartet is something that makes them stand out from the maddening crowd and gives them an edge. Orbital Junction have that something and it comes in the form of one Owen Armstrong, a man with a huge bear of a voice, his big beefy melodic growl giving songs with titles like "6ft2" and "Gypsy Queen" an extra sprinkling of stoner pizazz and bluesy gravitas. No man is an island however and when that voice is further enhanced with Ric Fordyce's choppy, crunching fuzz drenched powerchords and scorching lead work, Billy Dale's grizzled bass lines and Jack Revan's  punchy, punishing percussion  that edge, spoke of previously, becomes so honed and sharp you could almost shave with it.

"Orbital Junction" crosses off three of Desert Psychlist's favourite B's "Big, Beefy and British" and is a delightfully raucous collection of rompin',stompin' stonerized hard rock that will leave a smile on your face so wide it could well be considered dangerous.
Check it out ……

© 2018 Frazer Jones

SPIRIT DIVISION ~ FORGOTTEN PLANET ..... review

Spirit Division bassist/vocalist Chris Latta is not only a musician but also a seasoned and well respected writer/reviewer of all things metal shaped at Indy Metal Vault, something that makes reviewing his bands latest offering a daunting yet enjoyable task for Desert Psychlist.
Latta, along with guitarist/vocalist Andy Bowerman and drummer Jace Epple, have been pounding the stages of their native Indianapolis, and further afield, since their formation in 2013 and in that time have released two well received  albums in the shape of 2015's "Spirit Division" and 2016's "No Rapture". The band have been busy having lives and following their own projects of late but have reconvened this year to present us with their latest collection of psych laced doomic tomes "Forgotten Planet".(Releases 31st August 2018)

Spirit Division pride themselves as being more from the school of "classic doom" than the gnarly, demonic version of the genre that has become the norm over recent years, the band jamming a groove that has more in common with Candlemass and Solitude Aeturnus than it does with say Thou or Conan. This is not to say that Spirit Division do not infuse into their dark, dank grooves elements of a more extreme nature just that they tend to lean towards a more traditional doomic sound ,albeit laced with a healthy sprinkling of lysergic flavouring. This lysergic element becomes evident right from the get go with the albums title track hitting a Floydian groove that in places nods its head towards Waters & co's much lauded instrumental (from "Meddle"), "One Of These Days" and it is this psychedelic colouring and textured layering, blended with the bands penchant for old school doomic bluster, that informs most of "Forgotten Planet's" nine songs. Bowerman's swirling, swooping guitar solo's and crunching riffs weave themselves around Latta's deep throbbing basslines and Epples busy mix of thunderous and intricate percussion and combine with the distinctive mix of lead and harmonised vocals to take songs like "Seeking The Crow Witch" and "King of Scars" into the darkest depths of doomic splendour. Spirit Division however are not just all about "the doom" and they prove this by occasionally veering off into unexpected  territories most notable of which are the off-kilter alt-rocker "Behemoth", and the lounge like jazzy doom of "Half Hearted". The band also pay tribute to their heroes by throwing in a nicely executed version of Black Sabbath's "Solitude" giving it a spacy folkish spin that sits nicely on the ears.

If you come to Spirit Division's "Forgotten Planet" expecting another "No Rapture" there is a good chance you may come away a little shell shocked and confused, however you will not be disappointed. Latta, Bowerman and Epple are taking classic doom into places it has never been before, places that might seem a little uncomfortable for the blinkered doom purist but being stoic, determined  and brave these guys are taking it there anyway, and more power to them for doing that.
Check it out ….

© 2018 Frazer Jones

            Big thanks to Leanne Ridgeway at Mettle Media PR for providing the promo.

AMPLIFIED HEAT ~ MADERA ...... review

The Ortiz brothers, Jim (guitar/vocals),Chris (drums) and Gian (bass/vocals), like their heroes Motorhead, play rock'n'roll and like Lemmy's legendary combo they play it raw and they play it LOUD!
Amplified Heat are a band who have often been the bridesmaids and never the bride, the Texan trio have shared stages with such iconic names as Clutch, Atomic Bitchwax, Blue Cheer and Kadavar yet have never quite made that next step up despite releasing a steady stream of dynamic sounding albums, however this could all change with the release of the band's latest  album "Madera"

It could be argued that one reason Amplified Heat have not yet ascended to the upper echelons of the underground rock scene is their refusal to polish or water down their grooves for mass consumption, the Otiz brothers preferring, in their words, to "never pull their punches" and to "deliver the real deal". This "real deal", the brothers refer to, is a raw, uncompromising version of the blues delivered through a backline of Marshall and Fender amps and driven by the beats applied to the stretched skins of  a 1966 Ludwig drum kit, the band jamming a groove that harks back to the heavier blues rock of bands like Cream, Jimi Hendrix's Experience and Led Zeppelin but executed with the feral power of Motorhead. Crunching, heavily distorted guitar riffs, growling grizzled bass lines and unrelenting percussion overlaid with big, gritty powerful vocals decorate each and every one of "Madera's" songs yet the band manage to avoid just creating monotone walls of  brutal noise by adding into songs with titles like, "Madamoiselle", "Evil Eye" and "Without Love", vibrant swirling bluesy psych colouring and classic/hard rock texturing as well as a modicum of  jerky, twitching, off kilter quirkiness, the band rolling out their rock and allowing that rock to roll in a myriad of differing directions.

 Amplified Heat's unwavering stance and determined attitude comes over strong and loud throughout "Madera's" eight songs and speaks volumes about the integrity and passion with which the band approach their music, the band telling their listeners in no uncertain terms that this is what we do and if you don't dig it then get off the bus.
Check 'em out …..

© 2018 Frazer Jones

CRYSTAL WARLOCK ~ GAMMA TRIP ...... review

Who are Crystal Warlock? Well that is a question we, at Desert Psychlist, have been struggling to find out as the band have no social media presence anywhere other than on the Bandcamp page promoting their EP "Gamma Trip", and believe us we have checked. But what does things like personnel or instrumentation really matter, at the end of the day all that we are really interested in is the grooves and Crystal Warlock have those in abundance

Crystal Warlock's grooves, although having a proto-doomic bent, come from a far more sedate and considered place than the usual Sabbathesque attack we tend to associate with this style of music. It's all there, the crunching chords, swirling solo's, growling bass and thunderous rhythms but like their Virginian contemporaries, Brimstone Coven, Crystal Warlock temper their raucousness and growl with vocals of a more melodic nature that, combined with their tendency to ease off the throttle and take off on lysergic tangents, takes their sound into the realms of "classic rock". First track "Vacant Moon" is a prime example of this blend of grunt and gravitas and sees the band jamming a groove that utilises everything from Thin Lizzy(ish) Celtic tinted guitar harmonies to choppy stoner rock power chords all coated in vocals that although not especially strong are easy on the ear and totally in keeping with the bands overall sonic impact. "Sun Collapse" follows in much the same vein as the previous track with a delicious recurring guitar motif the hook that pulls you in but it is "Gamma Trip's" last two tracks that really show what this band are capable of. "Starbright" was the first track of Crystal Warlock's that Desert Psychlist was introduced to and it is still the one that resonates with us most, having a vibe that sounds not unlike that of a mid period Blue Oyster Cult applying their infamous "stun guitar" to a song by American melodic rock pioneers Ashbury. "Sleepwalker's Tomb" however finds Crystal Warlock upping their doom quotient well into the higher percentages with a song that. in its initial stages, has its languid melodic vocals underpinned by punchy, solid percussion, crunching fuzz drenched guitars and grizzled bass but then takes things to a climatic noisy finish on a scintillating wave of guitar duelling, insistent and rhythmic heavy psych.

Crystal Warlock might not have the social profile of say a Clutch, a Graveyard or even a Brimstone Coven but with "Gamma Trip" they certainly show they've got the grooves and that they 'aint afraid to use 'em.
Check 'em out ….

© 2018 Frazer Jones