"Machine With A Soul" opens proceedings, the song begins life hazy and psychedelic with surf -like guitar textures reverberating over a backdrop of solid tight drumming and low bouncy bass but then shifts up into a more stoner(ish) blues rock groove when the vocals come in, those vocals delivered in husky slightly gravelled tones. Now many have accused Binder of having a voice that sits somewhere between that of Glenn Danzig and Jim Morrison but he is totally his own man here, his vocal a sublime mix of wearied growliness and soulful grittiness. There is a touch of Creedence Clearwater Revival's swampy stridency about next track "Railroad", albeit with far huskier vocals, to the point that Desert Psychlist keeps expecting to hear the line "rollin' on the river" despite the fact that this song references a completely different mode of transport. "Rosie's Town" is unashamedly Doors-ish in feel, thanks in part to Böhner's parping keyboard motifs but also due to Binder channelling some Robby Krieger like textures in his guitar work, bassist Engelbrecht and drummer Thiele meanwhile do a fine job of keeping everything tight solid and groovy. Chugging rhythm guitar, booming bass and swinging drums create a platform for Binder to decorate with gritty vocal tones and searing six-string fills and solos on the explosive and well named "Heavy Blues" while its follow up, the achingly beautiful "The Myth of Love", goes in a completely different direction with ringing acoustic guitars framing a lilting low key Binder vocal. "White Paper" fools you into thinking its going to be following in the footsteps of its predecessor but then morphs into strident blues number boasting a vocal that falls somewhere between a sermon and a rant. It's an unwritten law that any blues based outfit worth their weight in mojo HAS to grace an album with a song boasting torch like dynamics and Paralyzed give us two here, first the excellent "Leave You" an old school type blues that slowly evolves to take on a slightly southern rock flavour and secondly "The Witch" a song that slowly transitions from tranquil and moody to soaring and emotive. Last number, "Truth and Lie" sees Paralyzed merging their blues with their usual essences of stoner rock and heavy psych but also adding a little proto-doom flavouring into the mix, granted it is very low key and understated doomic flavouring but one that's still there nevertheless.
Tuesday, 13 May 2025
PARALYZED ~ RUMBLE&ROAR .... review
"Machine With A Soul" opens proceedings, the song begins life hazy and psychedelic with surf -like guitar textures reverberating over a backdrop of solid tight drumming and low bouncy bass but then shifts up into a more stoner(ish) blues rock groove when the vocals come in, those vocals delivered in husky slightly gravelled tones. Now many have accused Binder of having a voice that sits somewhere between that of Glenn Danzig and Jim Morrison but he is totally his own man here, his vocal a sublime mix of wearied growliness and soulful grittiness. There is a touch of Creedence Clearwater Revival's swampy stridency about next track "Railroad", albeit with far huskier vocals, to the point that Desert Psychlist keeps expecting to hear the line "rollin' on the river" despite the fact that this song references a completely different mode of transport. "Rosie's Town" is unashamedly Doors-ish in feel, thanks in part to Böhner's parping keyboard motifs but also due to Binder channelling some Robby Krieger like textures in his guitar work, bassist Engelbrecht and drummer Thiele meanwhile do a fine job of keeping everything tight solid and groovy. Chugging rhythm guitar, booming bass and swinging drums create a platform for Binder to decorate with gritty vocal tones and searing six-string fills and solos on the explosive and well named "Heavy Blues" while its follow up, the achingly beautiful "The Myth of Love", goes in a completely different direction with ringing acoustic guitars framing a lilting low key Binder vocal. "White Paper" fools you into thinking its going to be following in the footsteps of its predecessor but then morphs into strident blues number boasting a vocal that falls somewhere between a sermon and a rant. It's an unwritten law that any blues based outfit worth their weight in mojo HAS to grace an album with a song boasting torch like dynamics and Paralyzed give us two here, first the excellent "Leave You" an old school type blues that slowly evolves to take on a slightly southern rock flavour and secondly "The Witch" a song that slowly transitions from tranquil and moody to soaring and emotive. Last number, "Truth and Lie" sees Paralyzed merging their blues with their usual essences of stoner rock and heavy psych but also adding a little proto-doom flavouring into the mix, granted it is very low key and understated doomic flavouring but one that's still there nevertheless.
Sunday, 11 May 2025
CAVERN DEEP ~ PART III-THE BODILESS ...... review
THAMMUZ ~ III ....review
Some albums come into our lives and, although we enjoy them, rarely get played more than a handful of times whereas their are some albums that become staples, albums that we return to over and over again, albums that we know we will still be playing years down the line. On Desert Psychlist's list of albums that fit into that latter category sit two from Netherlands outfit Thammuz, their 2020 debut release "Into The Great Unknown" and its 2022 follow up "Sons of the Occult", two albums that delivered all the requisite heaviness we in this scene love but also delivered on things like melody, swing and groove. The band have just released their third album "III" via Argonauta Records, will it join its predecessors on our list of staple listening material? Let's find out.
Thammuz's "III" sees somewhat of a sea-change in the bands musical attack, it is not a major change but it is a change all the same. Thammuz's previous releases sat very much in desert rock territory, albeit territory that often shared borders with genres like heavy psych and hard and classic rock, "III" however see the band exploring the more darker edges of their sound, even getting a little doomic and sludgy in the process. This slightly edgier/darker attack bares it teeth as early as track one on "III" with the excellent "When The Darkness Comes" (featuring Jelle Aron Scholtes of Baardvader) and flows all the way through to final track the dark and folkish "Devil's Gallows" (featuring guest vocalist Merle Pelle) however do not go thinking that the diversity that we at Desert Psychlist have praised the band for in previous reviews has been abandoned for all out doominosity as elements of the blues, hard'n'heavy classic rock and psych all feature heavily throughout "III" its just that here they are they are applied with slightly heavier brush strokes. Vocals on "III" sit mostly on the melodic side and vary between strong clean and gritty and strong and growly depending on the musical setting, those settings also coming in a variety of guises like lysergic and prog-metallic for the superb "Ishtar", doomic and sludge-like for the gnarly and intense "Bloodlust" and forceful and frenetic for the schizophrenic "Azazel". In truth though you will not find a track NOT to like on "III" with "Old Man", "Risen" and "Dissolution"(also featuring Merle Pelle) all in possession of their own unique quirks and charms.
© 2025 frazer Jones
Tuesday, 6 May 2025
WHITEHOVSE ~ THE MIGHTY ONE ... review
Five guys from Tasikmalaya, Indonesia going by the name Whitehovse, Chandra (vocals); Gilang (lead guitar); Fahmi (rhythm guitar); Nizar (bass), and Ropik (drums), have just released, what is in our opinion, is one of the best stoner, sludge, doom, heavy psych albums to ever come out of the Indonesian underground scene. Now you maybe thinking that is a bold statement, especially given that not a whole lot of Indonesian releases make their way to western ears, but Desert Psychlist is in the privileged position of being sent albums from all over the world so we have been lucky enough to hear A LOT of albums from bands residing in this particular corner of the world and Whitehovse's debut "The Mighty One" is by far one of the finest.
"Endless Sorrow" opens this debut's account, an atmospheric yet heavy tome that totally justifies the various genre tags we ascribed to Whitehovse's sound in this reviews opening piece. The song begins in tranquil lysergic/psychedelic waters, all spacious and moody, but then proceeds to get heavier and more metallic as it progresses with those elements of doominosity and metal sludge-iness becoming more and more pronounced. "Endless Sorrow" is followed almost immediately by "Falling Crown" and here we get our first taste of Chandra's vocals. Now one of the biggest complaints we hear regarding vocals placed at the forefront of albums coming from the eastern regions of Asia is that they tend to be heavily accented, this has never been a problem for us at Desert Psychlist but we can understand why some do struggle with them. That is not a problem here though, there is hardly a hint of Chandra's accent to be heard throughout this number, or for that matter anywhere else on the album, this may be partly down to his clean strong vocals sitting low in the mix, it could be because our ears are drawn to the strength of the excellent riffs, rhythms and solos Gilang, Fahmi, Nizar and Ropik lay around his vocals or it could simply be that Chandra has great diction, either way they serve the song perfectly. The blurb that accompanies this debut album on the bands Bandcamp page states that the bands influences stem from, among others, a shared love of bands like Clutch, Alice In Chains, Orange Goblin and The Sword and it is the last on that list that Desert Psychlist hears a large majority of in Whitehovse's sonic attack with songs like "Dead Rolling", Human Extinction" and especially "Against The Wall" all possessing similar rolling hard driven dynamics. These guys also know how to mix things up too. the band incorporating a touch of old school metallic chug'n'roll into the strident "Silence Of The Soul" and some nice heavy bluesiness into title track "The Mighty One". and as if to prove that they did not forget to mention the combined might of Ozzy, Tony, Geezer and Bill in their list of influences Whitehovse bring things to a close with "Vile Triumphant" an instrumental that sees the band capping off what has been a thoroughly enjoyable listen with some Sabbathesque proto-doom.