SKULLFLOWER - Orange Canyon Mind

SKULLFLOWER
Orange Canyon Mind
Crucial Blast Records
8/10





Listeners looking to really go on a trip with their music should consider the latest from the enigmatic Skullfower, “Orange Canyon Mind.” These cats warp Hawkwind, giving that psychedelic, spacey sound a twist with shredding metal leads that venture beyond boundaries, then adding enough buzzing electrical noises and synth effects to satisfy thos that like the new age, avant-garde noise sound.

Doomy bass lines fill up the void with a swelling, old-school tonality, while the various electronic effects implemented by the band are interest grasping and futuristic. Like a modern-day cosmic freak-out session, this group expands on their storied, mysterious history with this release, which should be considered essential listening for anyone that’s high, on life or otherwise.

A record that conjures up some interesting visuals, “Orange Canyon Mind” takes the listener to the edge of the sonic universe and back again, it’s textured accompaniments forming a pulsating sensation of the realization of living electricity. Although the record is indeed split up into songs, it must be taken as a singular long, strange musical trip in its own right. The manifestation of such deeply resonating sounds proves why this act has been so influential on an entire scene of noise making artisans. Pretty freaky stuff here, man. Give it a nice, long spin and let your mind drift toward the edge of the cosmos.

Written By: Bud Rolla

WITCHCRAFT - Firewood

WITCHCRAFT
Firewood
Rise Again Records
2005
8/10





The 1970’s, remember those years?

Probably not, but Witchcraft is determined to remind you of the grooving, evil sounds that were the precursor to modern doom and heavy metal in general.

Of course, any Black Sabbath fan will agree that Sab possessed a major blues influence. With “Firewood”, Witchcraft continues to masterfully meld that genre- defining sound with a folksy, Jethro Tull element. This crossbreed of legendary sounds results in an overall vibe which reclaims the finest moments of those storied groups of yesteryear.

This record gives off a distinctly warm aura which is at once familiar and refreshing. These guys have tapped into a vibe that is dark, yet woefully tuneful. As “Chylde Of Fire” so brilliantly shows, Witchcraft pulls those dark emotions from within and offers them up in a manner which is at once palatable and paganistic.

Guitar-wise, the riffs are quite catchy and often very melodic. “If Wishes Were Horses” fuses melody, moodiness and a shimmering guitar tone that proves you do not always need massive amounts of distortion in order to end up coming off as being monstrously heavy.

Indulging in tracks like the bluesy, soul driven “Mr Haze” or the dismal groan of “Queen Of Bees” is an enjoyably guilty pleasure, with Witchcraft being capable of reflecting the mystery that resides within those godlike giants that came before them.

Conjuring bluesy grooves like the classic-sounding “You Suffer” is a task these four pull off effortlessly, it’s tracks like this that really make you appreciate the color that is a natural characteristic of analog tone and the group’s decision to record with retro gear.

Put simply, this record is an instant classic that shows Witchcraft to be masters of glum, mystical sound.


Written By: Obee Spicoli

SHEAVY - Republic?

SHEAVY
Republic?
Candlelight Records
7/10





Of all of the bands that reside within the “Doom/Stoner” category, it is Sheavy that most sounds like the protagonists of that weighty sound. Ultimately, this observation becomes a double-edged sword for this batch of talented Canadians.

Although they have been successful at putting together a string of solid records, their blatant unoriginality often works against them. Here on “Republic?” the group assembles a likeable batch of hard driving, burned-out cuts. One thing is for certain, Sheavy can lock into a buzzing groove like few others can, with tracks such as “Hangman” and “Revenge Of The Viper Three” providing ample evidence of this fact. However, those who have been immersed in Sabbath albums from a tender age may find Sheavy’s continued similarities to be a bit of a sacrilege. It would be nice to see this band branching out and becoming more diverse after a couple of introductory records under their belts and it is unfortunate that this is not happening on “Republic?”.

What separates truly great bands from those that are simply average is the ability to bring original, distinguishing characteristics to the table. Unfortunately, this is not the case with this album. That said, “Republic?” does provide an ample quantity of rocking music. The group balances foreboding licks with forward thrusting rhythms on “Standing At The Edge Of The World” that are of a quality that will have most metal warriors pumping their fists in the air.

But when all is said and done, the overall appeal of Black Sabbath stemmed from their bold adventure into new musical waters. Unfortunately, unless Sheavy takes pains to make music that is more distinct than those who influence them, they will be tagged as “That band with the singer who sounds like Ozzy.”

Written By: Dr. Splifferiffic

Saviours – Crucifire

Saviours
Crucifire
Level Plane Records
7.5/10





On Crucifire, Saviours meld Sabbath and Slayer, churning out doom-laden crunch and Satan-worshipping, bong-toking anthems of the highest order. Imagery of ritualism prevails in both this album’s packaging and lyrics, making it one that should come to approval with the more sinister stoners in your sect.

At times, this doom-trip launches into the sonic territory of early Nirvana, during other points Saviours come close to sounding like newer Voivod. This might not be a facet that’s readily apparent to everybody, but if you take the time to listen closely, you’ll discover these nuances. “Rise To Pyramid Form” is rolling and jagged, “Exalter Of Thorns” exudes abysmally-minded thunder and “Heathen Eye” spins in a drug-induced occult daze. Any of these songs could end up as a favorite of a Dave Wyndorf or a Lee Dorian at any minute.

If Horus eyes, Baphomets, pyramid shapes and hails to the goat get you off but your musical taste lies in Monster Magnet and Ogre more so than Cradle Of Filth, Crucifire will have you primed for action. Pile on the Pentagram, pass the bowl and get it on to Saviours. You’re guaranteed to sprout horns within a matter of minutes upon hearing this thumping slab of devil-doom.


Written By: Obee Spicoli

SAHG - I

Sahg
Sahg I
Candlelight USA
9/10





What do you get when you combine highly talented musicians from bands such as Audrey Horne, Gorgoroth and Manngard? Norway’s doom metal monolith Sahg, a blissfully dark, grooving group that expands the perceptions of dismal tones on their Candlelight debut, “Sahg I.” Following a theme setting intro, “Repent” kicks in hard and heavy with a mixture of the tunefulness of Trouble and the weighty riffery of “Ultramega OK” era Soundgarden. As the group’s frontman, Olav Iversen offers ethereal, flanged out vox that flow extraordinarily well with the band’s thick rhythms. As Iversen teams up with axeman Thomas Tofthagen on “The Executioner Undead,” the guitars form a buzzing sound similar to a hornet hive that’s been split open wide, and the song’s ear-striking chorus brings back the days of classic doom, without mimicking any band in particular. As bassist Tom Cato Visnes and drummer Einar Selvik lock into a taut beat, Iversen’s tuneful vox soar atop the bludgeoning foray, bringing a ‘70s style up to date in fine fashion.

Sahg refrains from conformity, avoiding abbreviated songwriting for full, complete musical subjugations. Allowing plenty of time for envelopes to reverberate, the band’s tracks have plenty of room to breathe. Check the bridge section of “The Alchemist” for an excellent example of the foursome’s ability to turn a song around on its ear, and achieve thunderous beauty in doing so. As the ringing, acoustic tones of the brief interlude “Whisper of Abbaddon” segue into the saturated sustain of “Godless Faith,” it’s plain to see that Sahg have the ability to produce inspired, varied emotion that gives the album a distinct continuity. Iversen does an excellent Dave Wyndorf-style vocal that makes the sludgy, substantially thick riff of the latter come alive and fuzzy, flanged delay merely adds to the trip-out factor here. A smooth interlude featuring nylon-stringed guitars recalls the type of vibe that Tony Iommi produced during the mellower tracks created during the early Sabbath days, with a certain twist that gives Sahg a flowing yet powerful sound. “Soul Exile” revels with a badass sonic attitude that never once sacrifices power for melody, making it one of the definite sleeper tracks of the record.

Kick back, pull out a fat lid and drop out to this fine, burly beast of a record, a rocking affair that catapults the listener into a vortex where space and time collide to form a sound that is retro in nature, but highly relevant amongst the bloodshot, evil-loving scene of rebel rockers in 2006.


Written By: Obee Spicoli

BONGZILLA - Amerijuanican

BONGZILLA
Amerijuanican
Relapse Records
4/10





Can a stoner rock band be too damn stoned?

Bongzilla lays out some capably sprawling jams on “Amerijuanican”, but too often, its low-fi sound gives the impression of burned-out lack of direction. Not as mighty as Sleep nor as adventurous as Ogre, Bongzilla get a bit too lost in the haze on tracks like “Kash Under Glass” and the kickoff title tune for their own damn good.

With vocals that make it difficult to discern whether the singer is actually inhaling or exhaling, many fans will find the overall technique to be as unappealing as a garbage bag full of moldy homegrown.

When you observe the groups that are the most hailed within this scene, the most obvious positive attribute that comes into play is a band’s creativity. For those who are under the impression that this is some sort of evolution on the themes Black Sabbath introduced in the late sixties, it begs the question. Exactly where are the advances? The tones are worse, the riffing goes nowhere and the singing is untalented as well as atrocious. When you hear a great song like “The Wizard” from the mighty Sab, you want to sing along. Instead, “Tri-Pack Master” and the similar ilk included here have you wanting to run away.

If you paid five bucks to see this at a bar, you’d feel ripped off. Whenever talentless gurgling and overtly repetitive riffs that a thirteen year old could pick up in a matter of moments became groundbreaking and appealing is beyond notion, but the bottom line is that this record stands as evidence that too much bad weed tends to stunt one’s growth, both in terms of creativity and overall listenability. The idea that bands that pay inferior homage to Sabbath is cool just because the music is packaged in pot leaves is simply ludicrous. Ultimately this record will have you going back to the dealer asking to exchange this bag of swag for some real nuggets.


Written By: Dr. Splifferiffic

CARDINALE - 31:13

CARDINALE
31:13
Arclight Records
7/10




Atmospheric elements abound on this record, which is named after the length of its lone track. There is a time and a place for such an album, one surely must be in the proper frame of mind to fully absorb such a lengthy composition, especially when the aura of said music ranges from harsh, hardcore doom to fluid, transcendental jazz. Cardinale displays a great amount of musical ability during this wandering journey, with sound composition being a strongpoint as the group leads the listener through what is, by all rights, a half-hour of quality jamming.

Although the commercial potential of such an undertaking is limited due to public stereotypes that demand three minute, encapsulated musical ideas, this is still an album that deserves to be heard by a much broader audience than its format will allow. Cardinale impress as a more diverse version of Sleep or a less exaggerated Yob, pummeling away at stoned, loose rhythms, sometimes backed by a welcome wall of distortion.

With more artists moving toward this type of open-ended jam, it’s a fashion that is gaining more attention. Although you really must devote some time in becoming familiar with “31:13”, the time spent is rewarding. Such undertakings underline a still-young sort of creativity that you just can’t find in a short, catchy blurb. In an effort to be all encompassing and articulately emotive, Cardinale succeeds in quantifying music as time.


Written By: El Blunto

BLADE OF THE RIPPER - Blade Of The Ripper

BLADE OF THE RIPPER
Blade Of The Ripper
Devil Doll Records
8/10




Fusing NWoBHM sounds, southern fried rock and Danzig/Misfits-style, sing-along hooks, Blade Of The Ripper gets straight to the point, point being - you’re about to get your ass kicked. The group maintains a gruff, Kentucky-bred sound during this self-titled debut, with Blade Of The Ripper rallying behind mastermind Adam Neal (Hookers, Nashville Pussy, Brothers Of Conquest), who formulates songs that are ever-so-slightly sinister as well as being, for the most part, vigorously rocking.

Essentially, many of the tracks on “Blade Of The Ripper” would be welcome on either of the first two Danzig records, but the compositional addition of swiftly-fretted scales and heavier overtones more often associated with bands like Diamond Head and Iron Maiden mutate this band’s bluesy swagger into an entirely different animal altogether.

The album’s retro appeal and dynamic assertiveness equates to certain success with followers of boisterous rock and the gritty, raw-sounding production of the entire affair serves to further add to the personality of the record. If any one new record has the ability to unite stoner rock fans and old-school headbangers, this is it.


Written By: El Blunto

Stonegard - Arrows

STONEGARD
Arrows
Candlelight USA
8.5/10




Now for a fresh perspective from Stonegard, a group which incorporates blasting and thrash overtones into stoner rock formulas. What’s best is, they make it work. So all this talk that constantly circulates about there being no original bands out there today is turned to rubbish with a few burly power chords, a handful of smoke-filled hazy vocal melodies and a set filled with varied rhythmic fluctuations.

Singer Torgrim Torve has a very distinctive voice, with a touch of southern drawl and a pinch of Danzig blues for good measure. In fact, had Kyuss frontman John Garcia been smitten with that wolfish Danzig howl, the result would be quite similar to Torve’s presence as a vocalist. The Stonegard voice is especially convincing on cuts like “At Arms Length,” where he issues a weed demon croon and the southern rock-tinged “Resistance.”

One of the most interesting things about this Norwegian quartet is they refuse to adhere to formulas. Instead, they display diversity without imitation – always a hallmark of a great group. “The White Shaded Lie” bleeds thrash but speaks the language of stoner rock, while the title-track offers crunch and fury without going completely over the top. A weighty verse gives way to an intense chorus. Pay attention to the dynamic structure of the arrangement on this particular tune. Stonegard sure as hell knows what they’re doing. Displaying an affinity for tension building and overall dramatics, their execution during such cuts is highly formidable to say the least.

I’d much rather hear a band such as this hit the radio than listen to another overplayed Metallica track or another dull attempt at saving face from Audioslave. It’s bands like Stonegard that, given proper support and direction, will pave the way for the next wave of rock we’ll all be sick of in twenty years. Bring it on, baby – we’re ready for the new shit.


Written By: Obee Spicoli

Titan - A Raining Sun Of Light And Love For You & You & You

Titan
A Raining Sun Of Light And Love For You & You & You
Tee Pee Records
8/10



Many artists are reaching back to the music of the seventies for insight and much like Relapse artists Zombi, Titan looks toward acts like the celebrated space rock outfit Hawkwind for their imaginative pilfery. Aesthetically, the band keys in on a buzzing, low-key production that’s rife with effects but minimally reliant on digital manipulation, bringing forth a warm, organic tone that’s fully supported by kaleidoscope-infused organs, reverberating, richly saturated guitar runs and exploratory walking bass lines.

One glimpse at the towering, phallic testament to the wonders of psilocybin that’s ornately painted across the interior of this record’s digipak and listeners will glean that the sounds of the seventies aren’t the only things attractive to the creative minds of Titan.

It’s moments such as these that the term heavy metal was originally coined for by one William S. Burroughs with his mind-bending scribing during the sixties – a vast, cosmic exploration as such can only be borne of the breaching of reality via mind-altering substance.

No worries as to the individual pieces of music here, as “A Raining Sun Of Light And Love For You & You & You” is tailor-made for a good long buzz session. From wispy melodies to intense bouts of radioactive mind meltdown, this record is prime fodder for the burnout masses. Get in on the freak out.


Written By: Dr. Splifferiffic