Stoner rock power trio Borracho have had a busy 12 months; releasing two full-length LP’s in this period and they’ve backed up the excellent Atacama with Riffography, and it’s yet another grease and dirt road trip from hell.
Soundwise, Borracho are a gutsy and powerful unit, heavy on both grooves and distortion. And they know when to pull back as well as when to drop the clutch and hammer the riff home too. Supremely cohesive songwriting coupled with their playing always makes for a great album as well.
Riffography opens with the ball-tearing ‘Rectify’, and is quickly backed up with ‘Circulos Concentricos’, a re-recording of ‘Concentric Circles’ from their 2011 debut, Splitting Skies, and given a Spanish facelift and a great mangled guitar attack. Continue reading →
Sydney based stoner metal four-piece Hypergiant have been kicking around the scene for several years now. I first caught ‘em a few years back during their infancy, and already with a set of fairly decent heavy rock songs and some covers by the likes of Mastodon and The Sword thrown in, which left no doubt as to the bands’ parentage. They released an EP, Planet Cracker 2-3 years back, and it was a cool collection of tunes. But flash-forward to Father Sky, and there is a very different beast stalking the scene. The songs are brutal, and the production is mature, well-thought out and effective and should also see these dudes garner some well-deserved attention. They’ve interspersed their powerful metal bludgeon with an aural soundscape suited to an alien horror film, which certainly adds colour to their stylistic attack. Continue reading →
Fireball Ministry are back in town with their brand spankin’ new LP, Remember The Story tucked under their (collective) arms. It’s been several years between drinks too, and this is also the first album with Scott Reeder (Kyuss, Sun and Sail Club, The Obsessed)) holdin’ the low-end down for the group. His fluid bass runs certainly add to the stadium rock that FM are renowned for too.
‘End Of Our Truth’ slow-groove rock slithers and shakes through some catchy licks, and some nice guitar action too.
The production team got a bit a workout on ‘Everything You Wanted’ with some effects trickery tossed in during the breakdown. Continue reading →
So here comes a new release from House Of Broken Promises. Those who know would know. Guitarist / vocalist Arthur Seay and drummer Mike Cancino have done time with Unida, one of John Garcia’s post Kyuss projects. Their debut LP, Using The Useless was a stoner beast. Raw, wild and unstoppable. Just the way I like it! They have been joined in recent years by Joe Mora on bass / vocals (replacing Eddie Placencia), and they have just rolled the Twisted EP off the production line. Four new tracks (two covers) plus some bonus tracks. I think I heard rumours of a new full-length in the pipeline too. But that’s a different story!
‘Twisted’ is the first of the new material, a classic HOBP tune, kicked off with a carnivale-esque drum roll before the vibe-y bass assault and Seay’s blasting stoner-metal guitar leap into the fray. Great bass tone on this too. For all you bassists out there! Catchy chorus too. Continue reading →
Melbourne grind core / yobcore legends King Parrot have unleashed their third LP, a character building behemoth called Ugly Produce. The moniker suits the album to a T! It’s a bruising and relentless collection of blast-beats from drummer Todd Hansen, searing guitars and guttural, tortured vocal mayhem.
‘Entrapment’ is used as the launchpad for the sonic time bomb that follows. The two jackhammers fucking rhythmic attack delivers a powerful impetus for the blaze of guitars and Matt Young’s crazed vocal “styling’s”.
Who but an Aussie band could write a tune called ‘Piss Wreck’. Spell check won’t even recognize it as English, but we all know someone who should embrace this song as a personal anthem. It’s a cool song too. Continue reading →
Doom. The name says it all. From the opening riff to Black Sabbath, to the heavier than heavy tones of bands like Electric Wizard and Monolord, it’s a genre defined by dark sounds, and heavy lyrical themes. The breadth of styles within the genre is also as extreme as the sounds. The vocals can range from upper register screams to gravelrash intestine shredding and the music from the dirtiest sludge to plain old heavy rock’n’roll shot through with blues licks. But I love it all, start to finish!
Enter Devil Electric! They’re a four-piece from Melbourne and have just punched heavy music fans everywhere right between the eyes with their self-titled debut. The sound is classic doom, but they’ve also managed to twist an age-old formula to their own perverted uses, and in turn created a distinctly unique collection of songs. Continue reading →
Yeah, Friday had finally hit. I’d spent the week learning new systems and processes in a brand new job, and whilst not physically tiring, it’s certainly mentally draining, but the Nashville Pussy gig (and a beer or two… dozen) was never far from my mind.
I grabbed a beer and hit the room to check out Melbourne’s Tequila Mockingbyrd. This all-girl three-piece do a great trade in ‘70s hard rock, big riffs, hair, and a fuckload of energy and enthusiasm. It was clear they were having a blast onstage. Singer / guitarist Estelle Artois plays some mean guitar, and has a great set of pipes too. Backed by a solid rhythm section, which is comprised of bass player Jess Reily (who was wielding a pretty funky silverburst T-bird too!) and drummer Josie O’Toole, they’ve got all their bases covered. Check ‘em out when you can. Continue reading →
At first glance, Geezer made me think of Fu Manchu minus the pop sensibilities a lot of Fu stuff has. A few spins later, and I’m still vaguely reminded of Fu, but there’s a whole cauldron of other sounds bubbling away here as well. But more on that later.
Geezer come from Kingston NY, and formed around an obvious love of Sabbath and all other things imbued with stoner goodness. This trio has a cool take on riff-rock, and the debut LP has plenty of great moments.
They break the ice with ‘Sunday Speed Demon’ and ‘One Leg Up’, foot to the floor rock tunes with gravel rash vocals, a neat rhythm pummel and some savage guitar playing too. Continue reading →
Lumbering, fuzzed-out doom with road-rash vocals is something I love. The riff! All those bastard spawn of Sabbath. And I know in my bones that the power-trio Borracho have the same unwavering love for it that I have. Launching from Washington DC, (right next door to Maryland, and we know the level of STONER/DOOM that Maryland has delivered!) Borracho can really deliver on all fronts when it’s time to bring the heavy too. Atacama is the third full length LP they’ve unleashed, and fine evidence that the party ain’t nearly over yet.
‘Descent’ lurches into the blackest of Sabbath’s with a guitar tone that could rattle ya teeth outta ya head, but it’s also a surprisingly tender instrumental. Bells, some lysergic emanations throbbing in the background and easily serves to set the scene for the rest of the album. Continue reading →
There were some amazing releases that come out in 2016, and as with every year, I start out with the best of intentions keeping a list of my favourites as they hit, only to let it fall by the wayside by about March. Yeah I know, it doesn’t last long! So undoubtedly I will forgot lots of great releases from 2016. There’s been the talked about releases like Metallica’sHardwired… To Self Destruct (which for me has been quite a disappointment, some moments of clarity and power but as whole, it wasn’t the driving force I was hoping for), then there’s been some that have come out of left field that have really thrown me for six and impressed me quite a lot, like Electric MagusOlympus Noms, which is Raul Sanchez (Magic Dirt, River Of Snakes, Midnight Woolf) latest offering through Wild Animals Records. Like with John Frusciante’s solo albums, some sound quite unique and very different to his work with Red Hot Chili Peppers (which is an awesome thing these days!) yet his style and soul still comes through in various ways. Electric Magus is like this for Sanchez compared to his ‘usual’ guitar driven work. It’s totally different yet still somehow connects with me for the same reasons.
I still listen to loads of releases from all around the world, but more and more as time goes on I find myself mainly listening to local bands. Possibly for a few reasons, I like to support local muso’s and friends, it’s possible to see them more live which in turn gets us more stoked on listening back to a band later, and maybe most importantly, there are just so many fuckin incredible bands in Melbourne and throughout Australia that there’s not enough time to sometimes reach out further. Continue reading →