Sunday, 6 June 2021
Monday, 31 May 2021
DR. COLOSSUS ~ I'M A STUPID MORON WITH AN UGLY FACE AND A BIG BUTT AND MY BUTT SMELLS AND I LIKE TO KISS MY OWN BUTT ... review
Sunday, 23 May 2021
The best way to describe DITP's sound is to say it is a constructed noise, a complex noise, a sometimes unsettling noise, an often confused noise but for all that .. a beautiful noise, the nearest comparisons anyone could probably make to the bands sound would be that of The Mars Volta or possibly Tool but even then your arrows of comparison would be falling wide of their mark. DITP squeeze into their dissonant ditties elements of everything from punk to krautrock, their songs are sometimes loud and jarring, sometimes smooth and free-flowing, their vocals range from angsty screams through to clipped gothic croons and their grooves incorporate an astounding array of weird and wonderful instrumental tricks and effects, all of these elements combining together to create something that is totally unique and exciting if sometimes a little eclectic. What about the songs we hear you ask, well as we said in our opening piece DITP's sound is not something that lends itself to easy description and that goes for their songs too so we will just pick out what for us are a few highlights to be found on "0=1" like the wonderfully mind-blowing "Like Butterflies" with its grungy industrial groove and recurring guitar motifs and the epic centerpiece "When You Pass Away" with its ever shifting dynamics and dissonant lead work, but in all honesty there is not one song on "0=1" that you will wish to skip or scan over, each is a masterpiece in its own right even though each teeters precariously on the edge of falling into a glorious chaos.
© 2021 Frazer Jones
Saturday, 22 May 2021
Friday, 21 May 2021
Ukraine's Mist Tower, Artyom Matiienko (vocals); Alexandr Hodosevych (guitar); Andrew "djentle.man" (guitar); Yaroslav Starovich (drums) and Simon Buzzkeeper (bass) describe themselves as a band who gathered together to "smoke and play music", well we are not close enough to the band to comment on their smoking claim (although we suspect its true) but given that Desert Psychlist has just given the bands debut EP "Obsession" a very satisfying and enjoyable spin we can verify that the playing music part of that statement definitely holds water.
"4th of July" kicks things off with big swirling riffs interspersed with cleverly placed spaced out guitar textures and is decorated with a sneering vocal that for split second had Desert Psychlist wondering if Brit-rock stalwarts Oasis' front man Liam Gallagher had changed his name and moved to the Ukraine, such is the similarity in tone. There is nothing Oasis like about the music behind that voice though as Mist Tower are probably closer on this song to an early Elder than they are the Manchester Brit-rockers albeit with a little more doomic spatial awareness. "Pandemic" follows and poses a bit of a question as here we find Mist Tower ramping up the doom quotient as well as the heavy psych but twinning those elements with a vocal totally different in tone and execution to the albums other tracks which beggars the question was this song recorded separately from the rest of the album and added as an after thought or had the singer just not smoked enough prior to laying down his vocals, either way its a damn good song. Those slightly sneered vocal tones return for "Devil's Knife" and are combined with a groove that is a little less intense than what has gone before, still heavy but just not as dark while "Vibrations" finds the band bringing a little lysergic haziness into play and building up the atmospherics, the two different and heavily effected guitar tones playing off against each other just before the close of this song is mind-blowing. The EP closes with "Kolodyaz" a scintillating instrumental that builds its part up slowly layer by glorious layer until reaching a peak of psychedelic doomic splendor and then slowly making its way down again.
Thursday, 20 May 2021
Tuesday, 18 May 2021
If you like your doom stonerized and with a ritualistic spiritual vibe then you can't go far wrong by tapping into the grooves brought to sacrificial altar by Malmo based Swedish doomsters Moon Coven. The band will be no strangers to those of you out there with your fingers on the pulse of the underground scene as the band have impressed us before, first with their three song EP, "Amanita Kingdom" and then again with their full length self-titled debut "Moon Coven". Its been a while since "Moon Coven" was released but good things are worth waiting for and the bands new release "Slumber Wood" (Ripple Music) is definitely something you would class as a "good thing"
Opening track "Further" harks back to an earlier period in Moon Coven's development in that it employs those classic stoner doom dynamics of slow low and heavy bass and guitar refrains bolstered by pummeling, pounding percussion and monotonic, but nevertheless melodic, vocals that have become Moon Coven's trademark. It is second song "Ceremony" that first starts to show us a glimpses of why those six years of hard work have not been wasted. The song does not deviate too far from the bands usual stoner doom blueprint, those riffs are still a dominant force and those drums still pound and pummel, but there is a more melodic and harmonious feel to everything going on here, a feel that is further enhanced by the totally unexpected blues drenched guitar solo that erupts out of the heaviness at around the songs half way mark. "Potbelly Hill" is up next and again it is a song driven by big resounding riffs but again Moon Coven don't let things become a relentless dirge the band cleverly injecting little snippets of post rock texturing and psych like colorings into the proceedings to lighten things up. "Eye of the Night" is probably the nearest Moon Coven will ever get to writing an all out hard rock song while "A Tower of Silence" shows the bands more experimental side. "Bahgsu Nag" follows and is somewhat of a departure for the band in that it has a more indie/alternative feel, it is also a song that forces Desert Psychlist into confessing that there have been times, up to and including this song, where we have been hearing shades of "Faith" and "Seventeen Seconds" era The Cure in both the albums vocal tones and musical execution, ok the delivery is a lot more intense and heavier but we still hear it all the same. Confession over we move on to next track "Seagull" a song that finds Moon Coven taking the bare bones of stoner doom and hanging on those bones bright musical trinkets that glisten and sparkle amidst the gloom. Things are then brought to close with "My Melting Mind" a song that once again harks back to Moon Coven's past endeavors of big doomic riffs and big thunderous rhythms, however the bands new found musicality is never far away and has now become part of the bands DNA and so its not long before a series of ringing arpeggios and circular guitar motifs make their presence felt to bring a touch of much called for respite to the songs low heavy and relentless sonic attack.