Thursday 25 July 2024

WORSHIPPER ~ ONE WAY TRIP ....review

Some consider "classic rock" to be a term for a music linked to a certain time period, and in some respects that is true, but there is also an argument to be made for classic rock to be seen as not just a term but as genre in its own right, a music possessing a sound that is immediately identifiable, much like doom and heavy psych. We at Desert Psychlist are of the belief that classic rock has over the years become a sum of both of these theories, a music that most certainly has it roots in what has gone before but that is now spreading those roots into newer soils, a theory that brings us nicely around to discussing Boston based outfit Worshipper and their new album "One Way Trip"(Magnetic Eye Records)


Worshipper, singer and guitarist John Brookhouse; drummer Dave Jarvis; bass player and backing vocalist Bob Maloney and guitarist Alejandro Necochea, are a bit of an anomaly in that they exist and ply their trade in a scene dominated by heavy riffing doom and stoner bands yet jam a sound that is far more harmonious and melodic. Lilting choruses and ear catching hooks are Worshipper's weapons of choice and they wield them with a dexterity that would make some of rocks mainstream big hitters green with envy, in other words Worshipper's sound comes from a more classic and hard rock place, a place where heaviness stands on an equal footing with melody. Opening track "Heroic Dose" is a prime example of this, the song boasts chugging rhythms and thuggish riffs heavy enough to start a mosh pit yet at the same time is in possession of enough hooks, both musically and vocally, to make a mainstream rock radio stations playlist, For next track "Keep This" Worshipper mix a little blues flavoured country rock into their groove the result of which is a sound that carries a hint of The Drive By Truckers in its execution, which is never a bad thing. We spoke earlier of mainstream rock radio and if there was ever a song that could propel Worshipper into that particular world then it is "Windowpane" a perfectly delivered torch song taken to another level by Brookhouse's wearied almost pleading vocal tones and Necochea's scorching guitar work. "Only Alive" is proof that Worshipper have the chops to stand toe to toe with the hardest of rockers, the songs metallic and crunchy refrains may not be doomic or stonerish but they pack a hefty punch. There is an essence of Thin Lizzy in the dual guitar attack of "Acid Burns" while "James Motel" sees the band toying with aspects of doom and stoner rock albeit twinned with elements of 80's hard rock. Twin guitar harmonies are also at the forefront of next track "The Spell" and Desert Psychlist is reminded here of Jimmy Bain's and Brian Robertson's short-lived band Wild Horses. Worshipper go full on doom for penultimate track "Onward" the band mixing the genres dankness with elements of atmospheric bluesiness over which a suitably mournful vocal is layered. The band finally bring things to a close with "Flashback" a very brief heavy psych instrumental, a song that finishes far earlier than you will want it to.


Worshipper have delivered, with "One Way Trip", an album that possesses the melodic might and songcraft of bands like Foreigner, Bad Company and Thin Lizzy blended with the tough metallic grit of stoner rock, doom and heavy psych. If we are now starting to think of classic rock as less of a term and more of a genre then Desert Psychlist cannot think of a better band than Worshipper to bear its flag.
Check 'em out .... 

© 2024 Frazer Jones

Tuesday 23 July 2024

SARAJAH ~ SARAJAH ..... review


The story behind Sarajah is that guitarist J.H. formed the band in order to play music inspired by his heroes Black Sabbath, Trouble and Saint Vitus but that also took its influences from nature and Nordic mythology. J.H. was joined in this venture by Magus Corvus (vocals) and H. Wizzard (drums), who also play in cosmic doom metal band Fimir, and Jeff Pekkilä (bass/guitar). 2023 saw the band enter the studio to record songs for an album the result of which is "Sarajah" (Argonauta Records) the bands self-titled debut.


The song "Sarajah", which shares its name with both the band and the album, arrives with a surge of crunchy bass and guitar riffs, propelled by precise, tight drumming. Although Black Sabbath significantly influenced Sarajah's formation, this opening track surprisingly avoids Sabbathian elements and instead channels a groove that is more Maryland, USA than it is Birmingham, UK., a groove that is taken to another level by the unexpected richness and smoothness of the vocals that decorate it. Following is "Lungs of Smoke," a track that finds Sarajah mourning the end of the "age of man" against a backdrop of chugging proto-doom. Despite its heaviness, the song's attack is somewhat relaxed, a quality that enhances its appeal no end. "Long Riders" sees Sarajah embracing their hard rock and heavy metal origins with catchy vocal melodies serving as the centrepiece for pulsating guitar lines and solid rhythms whereas "Journeys of William Barentsz" darkens the mood with riffs and rhythms that embrace a more traditional doom aesthetic. "Home of Arktos" follows and is a tribute to the boreal forests of the bands Finnish homeland, the song begins with gentle acoustic guitar but this soon gives way to a heavy, lumbering doomic groove over which reverent vocals describe a land of "silence, escape, freedom, peace and solitude". The traditional doomic dynamics of the previous song also spill over into its follow up  "A Year With Us" only this time a little more staggered and jagged. The band returns to chugging proto-doom for "I Am the Soil," the song featuring a more assertive, almost classic heavy metal groove, Corvus' vocals, imploring listeners to "Dive in me, touch moss and bark," are here supported by slightly more robust rhythms and crunchier guitar textures. Lastly we come to "Underworld" a lyrical mix of legend and lore beneath which pummelling percussion and thrumming bass lay the foundation for guitar textures that are a mix of doomic crunchiness and post-metal shimmer, the songs only shortfall being that it is the last track on an album you really will not want to end.


What Sarajah have done with their debut album is to seamlessly blend the sound of British doom with the more stoner orientated doom of the USA while still managing to retain a strong essence of their own Nordic identity in the resulting mix. It is too early call yet, sitting as we do in the middle of 2024, but "Sarajah" could well be one of the best proto/traditional doom albums released this year.
Check it out .... 

© 2024 Frazer Jones

Thursday 18 July 2024

A3ON ~ THEOTOKAS ... review

 

A3ON hail from Leeds, UK and consist of Evelyn Labyrinth (electric guitar, percussion, kopuz); Adonia Hart (organ, electric guitar, vocals); Wilhnhilda Youngblood (bass, qanun); Qabaris Watevior (electric guitar, percussion and Sandalphon (drums, darbuka). The band jam a groove that blends trippy Eastern exotica with Western doom, post-metal and heavy psych. A3ON have released a slew of  mostly instrumental EP's and albums since their formation but as of yet have not quite received the recognition they deserve for their hard work, something that will hopefully change with the release of their sparkling new album "Theotokas".

A3ON kick things off with the heady and exotic "Golgotha," a track featuring Middle Eastern traditional stringed instruments layered over a tribalistic drum groove, further enriched by droning keyboard textures. They then pivot to "Hesychasm," the song a stark contrast to its predecessor, with its riff-driven, heavy, and unmistakably dank and doomic sound. These two tracks alone showcase the breadth of diversity A3ON offers in their latest release. However, it's when the band  fuse those eastern textures and colours with the dank refrains and rhythms of doom and post-metal that things get really interesting with the prime example of this fusion being the deliciously dank but heady "Constantinople". Here we do not only get thrumming dank refrains we also get spiralling call to prayer like vocalisation tied to thunderous rhythms that possess a slightly off centred quality  Whereas doom was the driving force on the previous track "YHVH" sees the bands eastern influences take precedent with laid back guitar textures taking a backseat to their more ancient counterparts. The songs overall feel is exotic and trippy but there is also an undercurrent of darkness in its gait thanks to its backdrop of drone-like keyboard effects. Title track "Theotokas" has an almost stoner-doom vibe going on, its slightly repetitive and slow building groove is driven by sparse drumming that is heavier on the cymbals than it is on the skins, if we have one complaint about this song is that with all that building you would expect the song to finish in a big big finale but instead it just fizzles into silence.. Next song "Bethlehem" comes over like an eastern take on the iconic "Dualling Banjo's" only here backed by crashing drums and hand percussion and instead of being a trade off  between guitar and banjo is played on a kopuz (a Turkish fretless stringed instrument) and a qanan (a zither like instrument from the Middle-East). "St Basil" follows and is another slow building tome only this time with a cinematic feel, a song that would make the perfect soundtrack for a desert themed Hollywood blockbuster as would its follow up the excellent "TheGospelofMary". "Schism" starts off much where the previous song finished only here the groove is spliced with a little more texture and colouring. The album closes its account with "MeditationOnKether" an atmospheric drone heavy instrumental that would probably work better as an intro to a full song rather than the closing piece of a full album, either way it is strangely impressive if a little unsettling


Desert Psychlist has to admit to not being usually on board with drone-like metal dynamics but the way A3ON blend those drones with eastern essences and doomic guitar fuelled dankness is both refreshing and captivating. Admittedly A3ON's approach to their music might not quite be quite everyone's cup of tea but if you like your grooves to be a mixture of world music and western metal then "Theotokas" is an album well worth spending 40+ minutes of your time with.
Check it out ....

© 2024 Frazer Jones

Friday 12 July 2024

BLACK CAPRICORN ~ SACRIFICE DARKNESS... AND FIRE ...... review


Balancing work life with music life can be a struggle and it is one Italy's Black Capricorn have learnt to come to terms with over their tenure and they have done this by working gigs/tours and and time spent in studios around the jobs that give them the funds to carry on making the music they love, it is a struggle faced by many bands these days. Thankfully Black Capricorn are a resilient bunch of individuals and the recent announcement of a new album "Sacrifice Darkness... and Fire" (Majestic Mountain Records) is proof of that resilience, the recording of this album may not have been easy given the circumstances but great art is often born out of struggle.


In a short blurb on the bands Bandcamp page for new album "Sacrifice Darkness... and Fire" Desert Psychlist described Black Capricorn as "the more doomic and less scuzzy arm of the Italian acid doom scenea statement we can quantify here by explaining that although Black Capricorn share many of the same influences that have inspired bands like Sonic Demon, Witchsnake and Demonio their sound is much more traditional in flavour with vocals pushed further forward in the mix and fuzz pedals dialled to a more accessible level of fuzzy. Do not, however, be fooled into thinking Black Capricorn are not heavy, they are, but that heaviness is imbued with an element of swing and melody that many of their contemporaries tend to overlook in favour of  a more filthier and nastier sound. In fact listening to this album while we write Desert Psychlist is struck by how much Black Capricorn's sound has become less Sabbath-esque and more Uncle Acid-ish.  OK opening track "Sacrifice" does have its Sabbathian moments but when you take away the reverberating riffs and thundering drums what you are left with is a lilting melody that without its dank backing might even be considered radio friendly. The same could be said of following song "The moon rises as the immortal" only here we find Rachela Piras (drums); Virginia Piras (bass) and Fabrizio Monni (guitars/vocals) layering a little acidic psych and lysergic bluesiness into the mix with Monni decorating the results with vocal tones that although mournful are nonetheless melodic. "The night they came to take you away" finds Black Capricorn flexing their stoner-doom muscles with  low slow and heavy bass and drums supporting clean lilting vocals and searing bluesy guitar textures. Crunchy hard rock, chugging proto-metal and old school heavy metal are the ingredients that make up the instrumental "Queen Zabo" while for "Another night, another bite" the trio go full on Sabbath, Monni going as far as effecting an Ozzy-like nasal sneer in his vocal delivery. It is back to the low and slow for "Blood of Evil" a mournful doomic yet bluesy tome taken to another level by both Monni's melancholic vocal and his less is more guitar work. Penultimate track "Electric night" is somewhat of a galloping rocker that utilizes a little grunge-like slurriness in its guitar dynamics and brings us nicely around to closing number "A New Day Rising" a song that begins life dank dark and atmospheric but then suddenly morphs into an easy on the ear chugging proto rocker in possession of melodically pleasing vocals, those vocals  intoned over a dank groove driven hard by the rhythmic might of the sisters Piras.


Black Capricorn's "Sacrifice Darkness... and Fire" is an undeniably doomic, unquestionably dank and unashamedly raw opus but at the same time is also a disarmingly melodic album that sits easy on the ears despite all its heaviness. Black Capricorn have released some truly great music over the years but "Sacrifice Darkness...and Fire" might just be their finest moment yet.
Check it out .... 

© 2024 Frazer Jones

Monday 8 July 2024

OUTER HEAD - COSMIC VIBRATOR ..... review

Outer Head hail from Leeds, UK and apart from being able to tell you that they have two very well received albums under their belts, "Cult of Chaos" (2020) and "Delirium" (2023), there is not a lot else we can tell you about them.  You may have already noticed that we are referring to Outer Head as "them" and as a "band" rather than say a one man project and that is because after perusing their social media Desert Psychlist noticed advertisements for gigs. live clips and also a mention of a change of drummer. The sound this band of shady individuals make together is what we are here for though and that sound is an intriguing blend of chugging proto-doom, heady psych and swirly space rock spliced with elements of hard rock, heavy blues. The band have just released a brand new EP "Cosmic Vibrator" which at the time of writing is exclusive to Bandcamp but hopefully will soon appear on all the available platforms. 

The superbly titled "Prometheus Iscariot" begins like the soundtrack to a space themed movie not yet made, its spinning doomic refrain starts low key and slightly phased, accompanied by wordless singing and parping keyboards, and slowly swells in volume and depth with each circular passage, the song following along this pattern until just over the three minute mark when it is joined by clean vocals, delivered in powerful but slightly detached tones and a plethora of swirling keyboard and guitar textures. Effect laden guitar introduces title track "Cosmic Vibrator" a song that owes a huge debt both vocally and musically to Ladbroke Grove's favourite space lords Hawkwind, the vocalist nailing the slightly clipped innate Englishness that was (and still is) such an important component of Hawkwind's sound, and the band as a whole perfectly capturing the swirliness and grooviness of that era. "Atrahashish" sees Outer Head mixing Hawkwind-esque space with Sleep-like weedianisms to create a groove that is the sum of both worlds, heavy and dank in places, swirly and cosmic in others, thunderous drumming and growly bottom end supporting powerful vocals, whooshing keys and bluesy guitar soloing. "Elyon" brings things to a close, the song again boasts a cinematic feel but but unlike the space/horror vibe that permeated opening number "Prometheus Iscariot" this has more of a desert feel its tribalistic drumming, droning keyboard effects and beautifully delivered flute invoke images of white clad travellers riding caravans of camels across endless sands, however it comes as no surprise when the song takes a more "weedian" direction at its midway mark with things starting to get a little heavy and the song taking on a more OM meets Sleep direction, a direction we suspect not too many will be complaining about.


When you think about it doom, a dank dark music played down-tuned heavy and loud, twinned with psychedelic music, known for its garish colours and floweriness, is a match that on paper should never work but it is one that ultimately does. Outer Head's latest EP "Cosmic Vibrator" is certainly proof that doom and psych can co-exist in the same musical space, and while we are on the subject of space there is plenty of that here too. 
Check it out .... 

© 2024 Frazer Jones

Friday 5 July 2024

MEIFU ~ HAUNTED DREAMS ..... review

 Florence outfit MEIFUMari (vocals); Tommy (guitar); Genia (bass/backing vocals) and Edoardo (drums/backing vocals) have been doing their thing since 2019 and have in their time together shared stages with notable Italian bands like Messa and Carrito, doing this while also plying their trade in other bands such as Lord Elephant, Dragnet, Vij and Sorelle Trapasso. In 2022 MEIFU released the appropriately titled "Demo 2022" a release that featured three very good and quite epic songs that sat squarely in the canon of atmospheric doom, although the demo did not really reach as many ears as the band might have liked it to it did show, to those that heard it, that this was a band with a lot of potential. In 2023 the band went into the studio to record a full album, that album has now been released via Argonauta Records, we at Desert Psychlist like it a lot and we think you will too.

"Haunted Dreams" opens with "Cubensis" an instrumental that boasts slightly dissonant off-kilter guitar motifs supported by grizzled and fuzzy bass and solid tight drumming, the song swells in both power and volume until it reaches a point where you think it cannot possibly go any further and then it does and the place it goes is straight into next song "Third Eye Invocation". Here we get our first taste of Mari's vocals on this album her vocals, an instrument in their own right, are part ethereal and fey part witchy and gritty her voice punching through the miasma of doom Tommy, Genia and Edoardo lay around her like sunshine through a dungeon window, even reverting to wordless banshee like wails in the songs later passages. "Turkish Kraken" follows, a song possessing a dynamic that is constantly switching between low and slow and mid tempo while utilizing middle eastern motifs and themes in both its guitar work and its vocals with Mari's vocals a mixture of witcihiness and spirituality and Tommy's guitar tones spiralling and exotic. Next up is "Steerpike", the song starts life hazy and slightly lysergic with its lyrics imparted in semi-spoken tones but then gradually builds layer by layer with those vocals taking on a much more strident and tuneful dynamic, the songs groove still in possession of a hazy and lysergic undercurrent but thanks to Genia's gritty bass lines and Edoardo's thunderous drumming becoming much more doomic and in your face as things progress. A basement level bass riff anchors next song "Battle of Chapultepec" supported by busy drum patterns over which reverberating doomic guitar crunchiness is applied with a considerably  heavy touch, vocals here are again dominated by Mari  but she gets some help along the way thanks to Genia and Edoardo who accompany her distinctive tones with some sludge like vocal harshness.  Final number "So Magic" sees the band  experimenting with elements of psych and space to great effect, ringing guitar motifs, bone shaking bass lines and tribalistic drumming framing a soaring vocal that again carries an air of dark spirituality in its delivery.


Eastern flavouring, psychedelic serenity and doomic heaviness are the elements MEIFU bring to the table with their debut "Haunted Dreams", a superbly crafted mixture of dank dark crunchiness and swirling exotica fronted by a distinctive array of vocal tones that range from hag-like malevolence to wordless spirituality. 
Check 'em out ... 


© 2024 Frazer Jones

Saturday 29 June 2024

BLACK ON HIGH ~ ECHOES THROUGH TIME .... review



Texas, such a small word for a place with a reputation for being BIG in everything. Given that reputation it comes as no surprise that Texas based bands working in the arena's of metal. stoner and doom will often possess a BIG sound and Fort Worth's Black on High are no exception to that rule. The band, Nick Forkel (guitars/vocals); Chris Mullins (guitar); Brian McCoy (bass) and Ben Harwood (drums), make a sound totally in keeping with their states reputation, a sound that blends together elements of stoner rock, sludge, doom and alt-metal while still maintaining the levels of swing and groove that can pull in listeners brought up on a more mainstream rock diet. The band have just released their new album "Echoes Through Time" and it's a keeper.


"Alleyway Ecstasy" kicks things off with thick low bass and guitars jamming grunge flavoured refrains over meaty drum patterns with the accompanying vocals sporting similar grungy and slurred dynamics the result of which is a sound a little closer to the post alt-metal of early Bush rather than any of the Seattle based bands of the mid 80's, nevertheless its an impressive start. Black on High's stoner and doom credentials get an airing for next track "I Feel Lethal" the band channelling a little Sasquatch like proto-doom in their attack but tempering that attack with some nice moments of light and shade. "She Was a Witch" follows, a swaggering mix of stoner metal and proto-doom that sees an element of sludge-like harshness creeping into its vocals. "Slow and Low" seems quite an unusual title for a song that is tuned not particularly low and, apart from a brief mid-section passage, is not what you would describe as slow, however that does not stop this from being an absolute banger of a tune. Next song "Leave You" again boasts vocal dynamics that carry an air of grunginess about them but this time those vocals are coupled with a groove that is pure in your face stoner metal and features incendiary performances from all concerned. Black on High mix up their stoner metal, alt-metal and sludge with a little punk(ish) aggression for the galloping "Take These Pills" then decorate the results with guitar solo's that are a blend of 70's feel and present day shredding. Last track/title track "Echoes Through Time" finds Black on High getting atmospheric, and in places, a little bluesy with a song that swoops and sways in all the right places but retains its heaviness thanks to its thunderous drumming and ground zero low end, the song also features some searing guitar work as well as boasting, what we think is, the albums strongest vocal.


Desert Psychlist nearly passed over this album, while perusing June's new releases, due to us not being overly taken by its low key artwork, had we passed over this we would have missed out on one of the must have releases of 2024. With "Echoes Through Time" Black on High have made an album that will appeal to rock fans no matter if they are hooped shirted grungers, leather clad metalheads, tee wearing stoners or old school rockers stuck in a 70's time warp. This is the good shit people, this is ROCK!
Check it out .... 

© 2024 Frazer Jones

Thursday 27 June 2024

MELTEM ~ MARE NOSTRUM .... review


Catalonian doomsters MELTEM might not be a familiar name to many out there but some of you, especially those who have a finger placed firmly on the pulse of the Spanish "underground" scene, may recognise one of the names to be found among the bands line up. Pep Carabante has provided drums for Cuzo, The Mothercrow and Wolfhead among others and with MELTEM he adds vocals and darbuka to his list of attributes. Carabante is joined in MELTEM by Daniel Pozuelo (guitar/effects) and David Giménez (electric bass and 12-string guitar) and for this, their debut, have percussionist Omar Katan guesting on daf/Iranian daf and second darbuka. Despite their use of crunching chord progressions and thunderous rhythms MELTEM's sound is not what you could call archetypical doom, sure it is dark dank and heavy but its underlying eastern influences and Gregorian like vocal intonations often sees MELTEM's music heading down paths other doom bands rarely travel, something you can discover for yourselves by giving their debut album "Mare Nostrum" (Discos Macarras Records) a spin.


Opening number "Tretze" opens with all the usual doomic bluster we expect from the genre but then in come the vocals and any expectations you may have had of hearing gothic operatics or guttural harshness are dashed against the wall, what you get instead are rich deep tones with Gregorian overtones, the song giving the listener a feeling that what they are listening to is a re-enactment of some deeply religious rite. Following track "Curcuna", an instrumental, finds MELTEM diving deep into their roots with traditional and modern percussion forming a platform for swirling guitar textures and colours that take their influences from the many cultures that border the Mediterranean Sea, that particular stretch of water serving as the theme this whole album is based around. "Mandraga" rears its head next, the song kicks off quite gnarly and aggressive in its first quarter but then settles down into a spacious and trippy lysergic laced groove before a sudden return to gnarliness announces the arrival of the vocals which again are more incanted than sang, the music surrounding those vocals a mix of heavy western doom and exotic eastern psych. Final track "Oasi" sees guest musician Omar Katan showing just why he is such a highly regarded percussionist, his hands, plus those of Carabante, beat out an impressive array of rhythms for Pozuelo and Giménez to decorate with subtle guitar/bass colourings and textures that take their influences from the more eastern reaches of the Mediterranean as well as reflecting the Moorish elements of Spain's past.


Bands that strive to create a perfect balance between doom and heavy psych often find the music they make either leans too far one way or the other and never quite finds that ideal middle ground where the two musical styles meet on an equal footing. This is not the case here, with "Mare Nostrum" MELTEM have made an album truly deserving of the term "psychedelic doom"
Check it out .... 

© 2024 Frazer Jones

SILENT CIRCLE ~ BOTTOMLESS CREEK .... review


Way back when social media was still in its infancy you would often have to join a forum to discuss anything music related and it was on one of these forums that a discussion started about what it was that prompted a person to check out a new release by an unknown band/artiste prior to actually hearing said release. There were various answers but the one that stuck in Desert Psychlist's mind, and we have since adopted for our own searches, was that if a releases artwork featured a muscle car or was predominantly purple and black then it was worth checking out. It was by using this method that we discovered Silent Circle and their excellent debut EP "Bottomless Creek", ok its artwork may not feature a muscle car but it does sport the colours purple and black and it IS worth checking out!


They have just released their debut EP "Bottomless Creek" via Bandcamp and have a few photos posted on their Instagram page but sadly that is the extent of Desert Psychlist's knowledge regarding Finnish atmospheric doom outfit Silent Circle. No matter though as its the music that matters and these guys jam some pretty impressive grooves as the EP's opening song "Remains" will exemplify. Post -metal guitar textures introduce "Remains" accompanied by tribalistic drumming before the rest of the band join in and things take on a more low slow and heavy stoner doom dynamic, at this point you may be expecting vocals to enter that sit at the more guttural end of the vocal spectrum but what you actually get are lilting female tones that possess a floating quality, a perfect marriage of ethereality and heaviness. Next song "Beyond Our Age" does not muck about with pretty intros but instead crunches straight into a the songs slow and doomic main groove only upping the tempo of that groove to a more proto-paced tempo at the songs midway mark, the songs lilting vocals matching those dynamics by being mournful and longing in the songs slower passages and swooning and swaying in its faster middle section. Last number "Sunken" boasts a groove that sits somewhere between traditional doom and occult rock and features  ascending/descending vocal melodies and harmonies that despite the heaviness they are surrounded by give the song a feeling of spectral airiness. 


Arguments rage over what is considered doom and what is considered occult rock and you will not find any answers to that question here, what we can say though is that if the music Silent Circle present to us with "Bottomless Creek" is what you would consider "occult rock" then it is damn fine occult rock, if on the other hand you want to place what Silent Circle do musically in the "doom" box then it is also damn fine doom.
Check it out .... 

© 2024 Frazer Jones

Wednesday 26 June 2024

BLACK SPELL ~ INTO DARKNESS .... review


It has long been our suspicion that Italian bands Witchsnake, Sonic Demon, Demonio. Wizard Master and Black Spell are the work of a small revolving collective of musicians, Desert Psychlist has no proof of this but it does seem like the same names (or variations of those names) keep cropping up again and again and the fact that all these "bands" seem to have connections with the same merchandise outlets and labels does add fuel to that theory. Whether our suspicions are founded or not does not really matter as each of these "bands" make a noise that is very pleasing to the ear, a fuzz fuelled and distortion drenched onslaught of guitar riffs and solos underscored by thunderous rhythms. The subject of todays review concerns the last of those names Black Spell who have just recently released their new album "Into Darkness", an opus in possession of all the filthiness and nastiness we've come to expect from the Italian scuzz/acid doom scene but played at a more traditionally doomic gait.


Opening/title track "Into Darkness" begins with a dark atmospheric echoing guitar motif  before effects pedals are engaged and we are plunged into a world of distorted gnarliness worthy of Electric Wizard at their very best., all of which is accompanied by slightly sneery clean vocals telling us of "consuming numbness" and a "spirit of deception". before the song signs off in an onslaught of spiralling guitar. "The Omen" follows, its full on assault of crunchy chugging chord progressions and fuzz drenched bass is driven by uber busy drumming and is decorated in sleazy vocals but unlike its predecessor this song boasts a more stoner(ish) dynamic. There is no doubting the doom credentials of next track "Black Witchery" its mix of Sabbath and Wizard like proto riffage is twinned with a semi sung, semi-narrated vocal that references Succubus, and speaks of witches and "sons of the pentagram". "A Sinner's Hell" begins life experimental and slightly lysergic then erupts into a deliciously dank doom refrain replete with Iommi-esque guitar trills and string bends over a thunderous bass and drum groove that lets up only for a brief passage of eastern tinted heavy psych before sprinting for the finish line on another wave of gnarliness. The remainder of the album follows much similar paths with "Saturn's Death", "Winds of Doom" and "Dungeons of Death" all boasting a variety of heavily fuzzed and distorted refrains crunched out over punchy rhythms enhanced with swirling six string pyrotechnics and decorated with occult lyrical imagery. There are exceptions though with "Note For the Devil" allowing Black Spell to show us that they also have a bluesy side and the eerie "Enter the Shrine of the Black Gods" showing that if anyone out there is looking for someone to score a soundtrack for a horror movie then Black Spell might just be available for offers.


Whether Black Spell are part of a collective of musicians or they are a bona fide band does not detract from the quality of the doom they serve up with "Into Darkness", this is a scintillating fuzzed to the max collection of tunes that'll leave your ears ringing your head spinning and your face a melted puddle beneath your feet.
Check it out ..... 

© 2024 Frazer Jones

Thursday 20 June 2024

EL JEFAZO ~ COLISIÓN BRUTAL ..... review

Everyone's favourite Peruvian combo El Jefazo have been melting our faces with their instrumental grooves from as far back as 2014, admittedly the bands early releases, "Ensayo" and "El Jefazo" were a bit raw and a touch underproduced but you could hear the potential these guys had despite those short fallings. Then along came "Simbiosis" a far better produced album that showcased a mix of remixed/remastered songs from the previous albums plus a couple of new tunes, at last you could really hear these guys fly. After releasing a couple of one off tracks the band then put out "Tormenta Mental" a live album that showed that what these guys could now do in the studio they could also transfer to a stage environment. What we really wanted though was for these guys to hunker down and come up with a new album of fresh material.. and what we wanted they have delivered with "Colisi​ó​n Brutal", it's face melting time again folks!

"Colisi​ó​n Brutal" opens with "Metal y Melancolía" a seat belts on hard rocking jam that when its not pinning you to the wall with its scorching guitar work, whooshing synth textures and its full on and thunderous rhythms unashamedly utilizes elements of Deep Purple's "Black Night" in its main riff. "Zarpazo" is up next, a galloping behemoth driven hard by drummer Adrián Hinojosa and bassist Carlos French and decorated in broad and colourful guitar work courtesy of Bruno Sánchez. Title track "Colisi​ó​n Brutal" begins with various synth generated whoops and whistles underscored by furious drumming over which a quirky off centred guitar motif holds sway, however things take an unexpected turn at the halfway mark when French's grainy bass line signals a shift into a passage of psychedelic doom followed by a period of lysergic weirdness. "Perro Seco" is up next its doomic groove boasting an almost prancing gait into which Sánchez inserts deeply off kilter guitar textures and colours, well that is until we once again reach that magical halfway mark and things take on a more swaggering and bluesy hard rock dynamic. "Delta Acuárida" boasts a more four to the floor feel than its predecessors but much like those predecessors is not averse to going off-piste in places, especially in its Floydian flavoured middle section. Final track "El Veneno es la Cura" begins life tranquil and calm with gentle acoustic guitar trading off against its electric counterpart over lightly brushed and shimmering percussion, as the song progresses so does its dynamics with things getting slightly heavier but not dramatically so, in fact half the beauty of this song is in the anticipation of a heaviness that never quite arrives. 


Not everyone finds instrumental rock music to their liking but for those that do "Colisi​ó​n Brutal", with its scorching guitar work and off the beaten path rhythms, is a bona-fide box ticker that'll leave you drooling like a dog that's just found a bone.
Check it out ...

© 2024 Frazer Jones

Thursday 13 June 2024

DUNERIDER ~ LONG TRIP .... review

 

Those who follow these pages will know that when informing our readers of a bands line-up we usually write a musician’s name followed by the instrument/instruments he/she plays contained in brackets, well if we were to do that for today’s release we would have to write; Fred Dupré (everything) and that is because Fred Dupré IS Dunerider and Dunerider IS Fred Dupré. If you are a fan of music drenched in swathes of filthy fuzz and distortion then you are probably already familiar with Mr Dupré and his love of a fuzz pedal thanks to his previous Dunerider releases "RUIN" and "ASCEND TO THE VOID" but if you are not then new album "Long Trip" would be an excellent starting point to work your way back from.


Partly buried vocals sung over lashings of fuzz and distortion in doom like settings is not a new phenomenon, Electric Wizard built their career around very much similar dynamics and if you are (like us) fans of the Italian acid doom/scuzz scene, where you are judged as much on the quality of your effects pedals as the strength of your grooves, then the fuzzed to the max sound Dupré brings to the table with his Dunerider projects latest release “Long Trip”  will be very much to your liking. There is however a major difference between those bands just mentioned and Dunerider and that is in the way Dupré will sometimes vary and temper his sonic onslaughts by bringing in, on songs like "Ride Eternity", "Long Way Get High" and "Wizard Valley", elements that are a somewhat trippier and slightly more spacious than those of his Italian counterparts. It must be said though that it is the full on doomic fuzz'n'roll of songs like "Death Trip", "Stone Rider and "Hoping Quicksand" that really get the adrenaline flowing and make this album such a fuzzilicious listening experience.

Nasty guitar tones and thunderous punchy rhythms supporting clean slightly buried vocal tones is what to expect when hitting play on this ridiculously raucous collection of tunes, and hitting play on "Long Trip" is something you will want to do again and again and again

© 2024 Frazer Jones

Tuesday 11 June 2024

WYNDRIDER ~ REVIVAL ..... review

For many of us the emergence of WyndRider as a musical force came as a bit of a surprise, one minute the band’s debut album "WyndRider" was just another new release in a list of hundreds of new releases on Bandcamp and the next it was being lauded across the underground scene's media outlets as some sort of new coming. The reason "WyndRider" garnered the attention it did was not due to some clever marketing or PR campaign it was because the sound the band made on that album resonated with all those who took a chance and pushed play. For us at Desert Psychlist its appeal stemmed from the fact that it took us back to a time in our scene’s history when bands like Witch Mountain, Blood Ceremony, Jex Thoth and The Devil's Blood were releasing one great album after another while also attempting to shatter the outdated notion that the female voice had no place in rock music (sadly a notion still not completely eradicated). Having released such a well-received debut the pressure was now on WyndRider to show the world that the recent praise heaped upon them was justified praise and that they were not just a one album wonder destined to soon disappear back into obscurity and the best way to do that was head straight back into the studio and make another album. That album is now out and if you bought into the bluesy proto-doom of “WyndRider" you are going to love "Revival" (Electric Valley Records).

WyndRider kick off their latest collection of occult themed musical imagery with "Forked Tongue Revival" a song that sits firmly in the canon of doom but also carries in its gait a very pleasing element of laid back bluesiness, a bluesiness that not only comes from singer Chloe Gould's powerful and slightly smoky vocal tones but also from the triumvirate of Robbie Willis (guitar), Joshuwah Herald (bass) and Josh Brock (drums) who when not laying down crunching proto flavoured riffs and rhythms are not too shabby at getting a little down-home and rootsy. If ever a song was destined to become a fan favourite then it has got to be "Motorcycle Witches" its 70's flavoured heavy rock refrains, driving rhythms and swinging vocal melodies are manna from heaven for anyone (like us) brought up on a diet of Black Sabbath, Budgie, May Blitz and others of that ilk. Third track "Judas" finds WyndRider successfully mixing low slow and heavy stoner with proto metal and more traditional doom to create a groove that feels like it is in constant flux yet in truth is fairly one dimensional, a feeling enhanced by Gould's vocal delivery which is pitched ever so slightly monotonic. The vocal bluesiness that tinted the albums opening track returns for "Devil's Den" and is twinned this time with blustering heavy'n'hard rock while the appropriately titled "Remember the Sabbath" ensures that we do by jamming a sedate and atmospheric groove that has Iommi, Butler and Ward written large all over it and sees Gould channelling a smoky and seductive version of Ozzy in her vocal. There is a touch of off-centred psych brought to bear on next track "Under the Influence" with Brock and Herald laying down a solid bedrock of thunderous rhythms for Willis to decorate with crunching riffs and searing solos, Gould ably filling the spaces in-between with a strong and distinctive vocal performance. Final song "The Wheel" retains the elements of psych utilized in the previous track but this time sets them in a more sedate and lumbering setting and adds into the mix a slurred vocal delivery and spoken prose to ramp up the atmospherics to the legendary eleven mark, well that is until the final third when out of the blue things take a strident turn and the band set off on a race to the finish line on a wave of chugging proto-doom.


Wyndrider's debut showed a band with the potential to go the whole way and become major players in this thing we call the "underground", their new album, "Revival", tells us they already are.
Check it out.....
 
© 2024 Frazer Jones

Sunday 9 June 2024

HUNTSMEN ~ THE DRY LAND ..... review


There cannot be many bands out there who can claim to be associated with as many genre descriptions as Chicago, Illinois' Huntsmen, Marc Stranger-Najjar (bass/vocals); Ray Knipe (drums); Kirill Orlov (guitars); Chris Kang (guitars/vocals) and Aimee Bueno (vocals). In Desert Psychlist's research we have seen their music described as a post-metal, progressive sludge, metallic Americana, doom and even blackened folk metal and as strange as it might seem none of those descriptions are that wide of the mark, yet at the same time none are truly representative of the music this band make together. Huntsmen have, since day one of their existence, strived to make music that cannot be conveniently placed in a box or be given a label, a typical Huntsmen song (if such a thing exists) is one that can one minute be skirting around the edges of metallic extremism and the next be dipping its toes in rural and tranquil backwaters. The band’s latest album, "The Dry Land" (Prosthetic Records), continues along much the same convoluted and diverse musical paths its excellent full length predecessor, "Mandala of Fear" did, with fey and lilting passages of serenity vying for attention with passages of brutal intensity and prog(ish) complexity, only this time upgraded and with added levels.

Furious drumming and slightly blackened post-metal flavoured riffage introduces first track "This, Our Gospel" which is then replaced by a slightly less aggressive and sedate prog(ish) groove over which clean harmonies hold sway, the dominance of those harmonies being shared evenly between the three participants except in the songs slightly hazy and psychedelic mid-section where Bueno's fey and lilting tones become the main focus. "Cruelly Dawns" follows its ringing guitar motifs heralding in vocal trade-offs reminiscent of early British folk music before things start to move in a more prog -like direction and things get intricate and complex with jig and reel like guitar motifs vying for space with convoluted chord progressions and driving, almost mechanical, rhythms. The acoustic guitars come out for "Lean Times" the song boasting a 90's Americana meets 70's West Coast feel in its initial stages but then moving towards a more torch-like dynamic in its final moments. Gnarly thrumming sludge -like guitar tones growling bass and thunderous drums are the dynamics used to interrupt passages of swooning folk tinted prog on next track "In Time, All Things" while "Rain" sees Huntsmen becoming bluesmen, albeit bluesmen with a penchant for mixing sweeping clean vocal leads and harmonies with throat tearing harshness. Finally, we arrive at "Herbsight" a stunning opus that ties together all the various musical threads that makes up Huntsmen's sound and weaves them into one song, complex prog, textured post-metal, shades of Americana and folk all sharing the same space with elements sitting at the more extreme ends of the metal spectrum, an astounding finale to an outstanding album.


Huntsmen are a totally unique and totally original band, you cannot point a finger at these guys and accuse them of jumping on bandwagons or following trends as they are their own bandwagon, their own trend. In an ideal world an album as exciting and as vital as "The Dry Land" would be deservedly nominated for a Grammy or a Mercury Music Prize, unfortunately we do not live in an ideal world so until there is a shift in musical values Huntsmen are just going to have to settle for old hacks like Desert Psychlist, and others like us, to sing their praises.
Check 'em out ....

© 2024 Frazer Jones