Moths/The Stone Eye – EP Review

Moths/The Stone Eye – Split

Self-released (Dewar PR)

Release date: 21/08/2020

Running time: 26 minutes

Review by: Alun Jones

8/10

Variety, as they say, is the spice of life.  Which is why I like to mix my drinks.  And my strippers.   Why stick to just one, when you can explore everything life has to offer?  This split EP offers two bands and four tracks in total, showcasing a considerable amount of musical diversity and talent.

First up is Puerto Rican band Moths, with their track “Intervention”.  Beginning deceptively calm, restrained and quite beautiful, it soon builds and descends from a chunky stoner riff.  And then, at pretty much the halfway mark, “Intervention” erupts into a full-on aggressive growl fest, though still portraying an adept progressive spirit.  

The meandering intrigue of the opening track is followed by a less surprising cover of the Black Sabbath classic “Hand of Doom”.  A great song, but I was hoping for more original material or an unusual cover.  No fear though, Moths inject the Sabs tune with plenty of atmosphere, the powerhouse vocals of Damaris Rodriguez helping to make their own mark on the song.  Not easy with a genuine metal standard like this, Moths have the class to pull it off.

Then it’s over to The Stone Eye, for their track “Prescence of the Mind”.  These guys are from Philadelphia, PA in the USA.  A little harder to pin a style on, they journey on a stoner path that adds in psychedelic detours akin to some of the best 90s alternative rock – but never abandoning a gutsy garage rock swagger.

A cover of the old trad ballad “Wayfaring Stranger” is next from The Stone Eye.  Delivered in a bluesy style, it contrasts nicely with the other songs.  It both delights and begs for another play.

And there you have it: four songs, different in style but each displaying a sound that seems to well define both bands.  An excellent endeavour from both Moths and The Stone Eye, you’d be well rewarded in tracking this down.

And while we’re on the subject of moths: Glenn Danzig – remember him?  Singer/visionary with the Misfits, Samhain, and of course, Danzig.  Body builder, martial arts master and expert on the occult.  Scared to death of moths, I shit you not.  Always running around with his hands over his face, hiding under tables if there was one around.  Eventually, I learned to calm Glenn down by telling him that moths were simply goth butterflies.  Amazingly, it worked.

Check out Moths on Facebook, Twitter and Bandcamp.

Check out The Stone Eye on Facebook, Twitter and Bandcamp.

This review was brought to you by Platinum Al’s Virtual Hot Tub in association with Ever Metal.

The Brothers Keg – Album Review

The Brothers Keg – Folklore, Myths and Legends of the Brothers Keg

APF Records

Release date: 11/09/2020

Running time: 44 minutes

Review by: Alun Jones

9.5/10

And lo, the ancient seers have foretold of the coming of the Brothers Keg.  Anticipation building slowly, the wise masters of APF Records have foretold a fortuitous event, something that would elate the masses and bring joyous union to the land.  At least it feels that way, Old Al can’t be the only one who’s been expecting something special with this release.

The Brothers Keg are a three-piece band from London way; comprising Tom Fyfe on drums, Tom Hobson on guitar and vocals and Paul Rosser on bass/vocals.  Together, their music is colossal stoner/doom with a huge sound, massive ambition, and a fine angle on self-mythologising.  The result is an album so epic, so over the top and downright fun – that the Brothers deserve every ounce of assured swagger that they no doubt possess.

Tom Hobson himself describes the sound as “HP Lovecraft meets Queen’s Flash Gordon listening to Jeff Wayne’s War of the Worlds at the wrong speed smoking a medieval spliff dipped in poppers.” That’s this review written really – do I need to sell this any harder to you?  

If you need more persuasion, imagine a cult sci-fi fantasy B-movie soundtrack featuring spoken word narration and bludgeoning riffs, and you’re halfway there.  Tracks like “Moorsmen” and “The Army of the Thirsty Blade Approaches” are skull splittingly mighty, generating a genuine feeling of excitement.

“No Earthly Form” and “Brahman” have it all: heavy guitar and pounding rhythm; countered with atmospheric psychedelia that the listener can absorb like a movie.  “Brahman” is nearly 13 minutes of music that doesn’t outstay it’s welcome: from meditative chanting, a killer stoner riff, and washes of acid-soaked guitars creating a spacious landscape.

The narration adds to the band’s mystique without being cheesy or silly.  Yes, it’s all ridiculously good fun – but the sheer weight of musical invention adds up to something exceptional.  Add in some glorious cover artwork (that looks like a cyborg He-Man pursued by a demented Skeletor) and “Folklore, Myths and Legends of the Brothers Keg” possesses an undeniable charisma.  I want the vinyl, the t-shirt, the poster – I want everything.  Hell, I want Brothers Keg action figures (with weapons and musical accessories, features small parts, ages 3 and up) and I want them NOW!

Another contender for album of the year?  You betcha.

Of course, the Brothers Keg aren’t the only famous brothers in rock.  Those crazy Van Halen boys are two of my favourites – oh, I used to have some wild times with them.  Like the time they pulled the thread out of the crotch of David Lee Roth’s pants, so when he performed one of his patented scissor jumps – the pants split and Diamond Dave’s family jewels were revealed for all.  You didn’t need to be in the front row to see it everything, I can tell you.

Dave had his revenge at a later gig, though.  Backstage, he switched out the blue M&Ms in a complimentary dish for laxative pills; Eddie’s tight white trousers were not a pleasant site at all that night.  Now you know why their rider has always stipulated the blue M&Ms are removed ever since.     

Check out The Brothers Keg on Bandcamp, Facebook and Instagram.

And have a look at APF records website while you’re at it.

Finally, whatever you do, don’t forget to visit Ever Metal for more awesome news and reviews!

Wino – Forever Gone Album Review

WINO – Forever Gone

Ripple Music (Purple Sage PR)

Release date: 26/06/2020

Running time: 46 mins

Review by: Alun Jones

8/10

Who remembers that old TV programme, The Fall Guy?  You know, the one where the Six Million Dollar Man becomes a stuntman/bounty hunter, getting into all kinds of daredevil scrapes whilst pursuing the bad guys?  At the end of every episode, old Lee Majors (for it was he) would be seen chilling in his backyard hot tub, mulling over events whilst drinking a cold beer and smoking a big, fat cigar.

Well let it be known that I, too, like to relax in the tub with a beer after a long, hard day of whatever-the-fuck-it-is-I-do.  None of your business, really.  Just take it from me, I need to unwind in a mass of bubble bath, with candles and refreshment.  And of course, some music, just to add to the ambience.

This might not sound very metal to you, but let me tell ya: this new album from doom metal originator Scott “Wino” Weinrich would make ideal tunes for chilling in the tub.  Or pondering lost loves and fortunes in a dusty bar.  Or sound tracking a lonely drive across the desert, escaping an inevitable encounter.  But to be honest, I like the bathtub metaphor best, ‘cos I’ve not used it before.

“Forever Gone” is stripped down and intimate; the title song itself is just Wino the man, plus acoustic guitar.  Beautifully melancholic, the listener can really get lost in this.  “Taken” also ploughs a lonesome path, with Wino’s voice revealing a soulfulness that I’d never appreciated before.  

For any fans of The Obsessed or Saint Vitus who were hoping for something louder and more aggressive, there’s not too much of a leap from familiar ground really.  Other than the sonics, the emotions of loss and despair are what unifies Wino’s other output to this endeavour.  “Dark Ravine” brings a more Americana style to the proceedings, but it’s all still intense as hell, whether the guitars are turned right up or not.    

It’s not all gloom, though: “You’re So Fine” introduces a laid back, country blues number that sounds almost boogie-ish.  Throw in a great cover of Joy Division’s “Isolation” and this is an album that’s certainly full of surprises.

Great music can create images in your head for your own movie; “Forever Gone” is one of those.  Melodic yet mournful, intense and introspective, there are dozens of stories to be told within the grooves of this record. 

Check out Wino on Facebook, Twitter and Bandcamp.

Visit the Ripple music website here, or check ’em out on Facebook or Bandcamp.

And make sure you visit Ever Metal for more reviews of awesome music!

Platinum Al’s Top 10 Rock and Metal Albums of 2020

Good riddance, 2020! Am I right, or what? Still, it’s not all bad. There were some absolutely magnificent albums released last year – some I reviewed for my buddies at Ever Metal, some I discovered through other means. Some were massive, huge hits; others were small yet mighty triumphs.

Despite a lack of live music, there was plenty to investigate music-wise. So much so that it was really difficult to compile my annual Top 10 Albums list for Ever Metal. A few giants of rock and metal, though they released highly accomplished work, were reluctantly forsaken in my search for the crème de la crop.

Here they are, in (natch) reverse order:

10. The Goners – “Good Mourning”

9. Supersuckers – “Play That Rock’n’Roll”

8. Testament – “Titans of Creation”

7. Weed Demon – “Crater Maker”

6. The Atomic Bitchwax – “Scorpio”

5. Volcanova – “Radical Waves”

4. The Brothers Keg – “Folklore, Myths and Legends of The Brothers Keg”

3. Son of Boar – “Stoned Wail”

2. Desert Storm – “Omens”

  1. AC/DC – “Power Up”

I thought that this year, one of the smaller, indie label bands was sure to get to number 1. It almost happened, but then AC/DC released the total brain melter of “Power Up”, pretty much saving 2020 in the process. Now if only Angus and Co could release an album monthly, we might be able to get through 2021.

A few shout outs for notable mentions who didn’t make the cut this year, such as Ozzy, Wino and others. Seriously can’t believe I left out “Danzig Sings Elvis”, though.

You can read my full Top 10 (plus plenty of others) on the Ever Metal website, which also features links to songs and videos. Highly recommended! The direct link is here.

All the best for 2021 – here’s hoping for more great music!

The Goners – Good Mourning Album Review

The Goners – Good Mourning

RidingEasy Records (Us/Them Group)

Release date: 13/03/2020

Running time: 41 minutes

Review by: Alun Jones

8.5/10

This little beauty threw off it’s shackles and ran for the hills, almost without me noticing.  I’m blaming the societal breakdown caused by Corona virus, obviously not an oversight on my part.  No, sir.  “Good Mourning” – the debut album from The Goners – was released back in March 2020; just before the world turned into a 1970’s Charlton Heston dystopian sci-fi movie.

The Goners are comprised of Nate Gone – formerly of Salem’s Pot – on vocals, with four dudes from Swedish rock band Yvonne.  “Good Mourning” is a throw-back to zoned-out good times and bizarro occult rock, with absolutely no regret the morning after.

First song “Are You Gone Yet” sets the pace nicely: fuzzy 60’s garage rock with a proto metal ferocity.  With the next track, “High, Low and Never In Between”, the Goners throw in more of their other specialty – 70s doom with groovy, care-free freak outs.

Wonderfully out of time, this retro feast also sounds totally now.  You can throw this on your portable music system and liven up any social gathering (so long as you stay far enough apart).  Press play and jump around all crazy-style to “Evil (Is Not Enough)” and “The Little Blue” – this is Black Sabbath if they were a Stones cover band.

Plus – and this seals the deal – a couple of fine, desert bleached songs in “Good Ol’ Death” and “Dead in the Saddle” that rattle with a dread atmosphere.  Absolutely essential for your next David Lynch/rockabilly/goth themed horror party.

“Good Mourning” by The Goners, then: if you’re a werewolf biker trapped in a cursed world you never made, but like to let your scraggy hair down with chicks from a Russ Meyer movie – this is for you.  Great cover art, too.

I’ve thought I was a goner myself, on a few occasions: most of them involving my old mucker Ozzy Osbourne.  One time, we were drinking in a golf club in LA and got thrown out, as you can imagine.  So, Ozzy decided to go for a joyride in a golf buggy, with me on shotgun.  He was flooring it, but we were only going at a jogging pace, so the golfers soon caught us up and were ready to brain us with their hitty-stick things.

All of a sudden, Oz drove the buggy over a hill and we toppled into a sand dune (bunker?).  We were lucky we were thrown clear and the buggy just managed to avoid crushing the pair of us.  The golfers took pity and consoled us with a nice brandy in the clubhouse.  Till the cops turned up, and dragged Ozzy and me off to jail.  The whole time, we were both wearing Sharon’s dresses.

Find The Goners on Bandcamp and Facebook.

Check out the RidingEasy Records website, or find them on Bandcamp or Facebook.

This review was brought to you by Platinum Al and Ever Metal.

Firewind Album Review

Firewind – Firewind

AFM Records

Release date: 15/05/2020

Running time: 48 mins

Review by: Alun Jones

7.5/10

 

We all make mistakes.  Some of us blunder all the time, and the consequence of those slip-ups can be catastrophic.  And some of us don’t like to admit when we’re wrong.

Confession time: I volunteered to review this Firewind album because I got them mixed up with another band with “fire” in the name (or possibly a couple).  I was slightly mortified when I realised that this band weren’t what I was expecting: none of the sludgy comfort blanket that I usually wrap my ears in.

Firewind are – Zeus help me – a melodic, power metal band.  Not a corner of metal that I’m particularly well versed in, or a fan of.  I fucking hate Helloween, for a start.  And Queensryche.  And fucking Europe.  This was going to be a challenge.

Yet your old pal Al is nothing if not a trooper.  They’re (partially) Greek, which intrigued me being a huge fan of the country.  I plunged into this assignment with an open mind – and do you know what?  This isn’t bad at all.  In fact, I quite enjoyed it.

Opening track “Welcome to the Empire” begins with some fine acoustic guitar before erupting into a big, bombastic rock monster.  It is, like most of the album, totally over the top – but also loads of fist pumping fun.  This ain’t pop music.  It’s fast and powerful (see “Devour”), and while not quite as brutal as my usual preferences, packs a mighty whallop.

The musicianship is exemplary.  Guitar genius Gus G has plenty of flair, but can throw out some crushing, crunchy riffs when required: “Rising Fire” and “Space Cowboy” being a two great examples.  Fast, flashy solos ain’t my scene, but there’s plenty of chugging metal to keep me interested.

The rhythm section – Petros Christo (bass) and Jo Nunez (drums) go beyond textbook and play excellently throughout the album.  Give “Orbitual Sunrise” and “Overdrive” a go for evidence.

Vocals provided by new singer Herbie Langhans are dramatic, in a typically Teutonic fashion.  This guy is straight out of a Wagnerian epic; despite being somewhat more operatic than I’m used to, he can certainly belt it out.  On every single song.

Sorry to disappoint any readers who thought they might actually read a less than positive review from yours truly.  Firewind isn’t my usual cup of absinthe with opium chaser, but I found it very easy to appreciate.  This album is well played, well written, well produced and delivered with some love and pride – all of which manages to steer this album away from trite cliche.

Metal wearing its heart on its sleeve and with a refreshing honesty, I just couldn’t bring myself to hate Firewind.   If I can dig it, then fans of this genre will love it.

Read more like this review on the Ever Metal website.

Find out more about Firewind on their official website, Facebook and YouTube.

And you can visit AFM records here.

Brown Acid: the Tenth Trip – Album Review

Various Artists – Brown Acid: The Tenth Trip

Riding Easy Records

Release date: 20/04/2020 (?)

Running time: 33 minutes

Review by: Alun Jones

8.5/10

 

Between me and you, I’ve been wondering when this series of proto metal/heavy psyche long-lost artifacts would start to go off the boil.  This is the tenth instalment now, and any listener could be forgiven for thinking that maybe, the well might run dry.  That the party is over, the acid has worn off, and the hippies have traded in their kaftans for the last time.  I mean, how much of these rare, forgotten nuggets can there be left, for the rock’n’roll gravediggers at Riding Easy Records to exhume?

Well pardon me for being a fanboy, but the Brown Acid trip is far from over.   In fact, this could be my favourite volume so far.

Yes, it’s more of the same: fuzzy, psychedelic late 60s/early 70s heavy rock; somehow cast aside for around fifty years, waiting to be rediscovered.  Gems that pre-date and redefine the genealogical development of metal and hard rock; throwing the long-standing theories of origin into dispute like some musical Antikythera mechanism.  But this time, if anything, the tunes are better than ever.

Here we have Sounds Synonymous with “Tensions”, a fuzz-rock monster with a “Wild Thing” feel and washes of freaky organ not a million miles removed from Steppenwolf.  Witness also the wonder of “Never Again” from Ralph Williams and the Wright Brothers, melding melodic vocals with an “American Woman” style desert rock vibe.   “Babylon” by Conception rolls with some funky, Hendrix-like riffs and a great pop sensibility, not to mention a fabulous bluesy instrumental section.

Bitter Creek deliver “Plastic Thunder”, which has a Who meets Stooges aggressive sound.  On “Mr. Sun”, First State Bank (rad name!) provide a Mountain-covering-the-Kinks lesson in far-out groovery.  Then there’s Brothers and One with the saucily titled “Hard On Me”, which has a little Hawkwind on a road to Maiden’s “Running Free”.

Probably the best track is “The Roach”, by The Brood (another quality name).  It’s a MC5/Sabbath garage rocker with apocalyptic horns and keys, heralding the end of peace and love and the arrival of the age of doom.

Freaky, fuzzy and far-out: that’s the latest edition of Brown Acid.  If you’re late to the party, jump on the magic bus right now and let your hair down.  Signs are this festival is gonna run and run.

 

Here’s a link to the Riding Easy Records website and their Bandcamp.

You can also find them on Facebook, Twitter, YouTube and Instagram.

This article first appeared as a review on Ever Metal.  Please use the electronic super highway to pay them a visit via this link.

Weed Demon – Crater Maker Album Review

Weed Demon – Crater Maker

Electric Valley Records

Release date: 03/04/2020

Running time: 46 minutes

Review by: 9/10

 

“Crater Maker”, by Columbus Ohio rascals Weed Demon, begins with the warm and welcoming hiss and crackle of vinyl.  Then we’re into the first track “Atmospheric Drag”, and you’d be forgiven for thinking that you’re in the wrong section of the record shop.  It’s a dark, folky country number that sounds like you’ve just stumbled into a saloon in a God forsaken Western town.  I was taken by surprise, but this song is both awesome and a fitting introduction to an album that isn’t afraid to wander off the obvious path.

When track two, “Birthquake” lumbers in, we’re in familiar doomy Sabbath territory.  It’s a stark contrast to the opening song, but brilliant as that was, this is what we came for.  Big, dirty riffage that’s slow yet powerful, the result is an instrumental song that relies purely on dynamics to excite and uplift.  This is bloody great stuff.

The next track, “Serpent Merchant”, is even heavier and more relentless – with growling vocals making a demonic appearance.  It all descends into a masterful, psychedelic break before the pummelling returns.  The album’s title track delivers a groove laden sludge, which again dissolves into a mellow passage at pretty much exactly the halfway mark.  Gradually becoming fuzzier, this soon explodes into a frenzied, aggressive section.

The remaining tracks offer more crunching guitars, thudding bass, booming vocals and pounding rhythms, always concentrating on the all-important doom riff.  Final track “Sporelord” wanders through several segments, before briefly fading away and returning with a quirky reggae style outro.

With four of the six songs here over the 8 minute mark, there’s a lot to explore and digest with “Crater Maker”.  Weed Demon have created a dense album that I enjoyed from the first listen and I’m still returning to weeks later.  Meandering into psychedelic space rock, groovy doom, country and ear-splitting sludge ensures “Crater Maker” is a complex release that’s worth hearing.

All this talk of weeds reminds me of a funny little escapade with my old mate Keith Moon.  Moony lived next door to his big pal Ollie Reed, who asked the loony drummer to keep an eye on his mansion while he was in Europe, filming some naff horror/arthouse nonsense.  Moon had a party, got totally blitzed and remembered at about 4am that he hadn’t mowed Ollie’s lawn for him.  Well, you can imagine the laughs we had, as Keith tried to start the ride-on petrol mower in the dark.  Without going into too much detail, a split fuel pipe and a discarded cigarette resulted in most of Reed’s garden looking like it had been napalmed.

Ollie wasn’t best pleased when he returned to see the unholy mess Keith had left him with.  But Moon just blamed Ringo Starr, who made a quick exit when drunken Ollie brought out his shotgun.  Ringo had the last laugh though, by marrying the most beautiful woman in the world.  Jammy git.

Weed Demon are on Facebook and Bandcamp, plus find them on Instagram here.

Check out Electric Valley Records here.

And go have a gander at Ever Metal, tell ’em Platinum Al sent you.

Desert Storm – Omens Album Review

Time for another album review: as originally published by Ever Metal, now here for your enjoyment too…

Desert Storm – Omens

APF Records

Release date: 01/05/2020

Running time: 40 mins

Review by: Alun Jones

9.5/10

Put your feet up, relax – pour yourself a drink and take the weight off your feet.  All you need to do is chill – I’ve already done the hard work.  I’ve found your new favourite band: they’re called Desert Storm, and their latest album has just been released by APF records.

If you’re new to the name, Desert Storm are from merry old Oxford; and since forming in 2007, have been building their following formidably.  They’ve appeared at major rock festivals; plus supported and toured with some personal heroes of mine (Corrosion of Conformity, The Atomic Bitchwax amongst others).  I saw Desert Storm a few years ago supporting the mighty Karma to Burn; they managed to steal the show from the headliners, as far as I was concerned.

Opening with a sombre, haunting spoken word piece, Omens proceeds to take the listener on a journey that is powerful, yet also introspective.  It’s an otherworldly trip that’s both visceral and immediate, but also demands greater exploration.

“Black Bile” demonstrates the strategy perfectly: heavy, grinding and relentless – with moments of melody that blend into the whole without jarring.  In absolute basics, this is the sludge of Down combined with the aspirational progressiveness of Mastodon.  Thudding, head banging riffs adorn “Vengeful Gods”, but there’s also an almost Morricone-like cinematic sensation as the song develops and grows.

At times anthemic, there are also magnificently effective sections of the songs that contrast beautifully with the hard driving doom metal.  “Pain, Grief and Suffering” features an extended mid-section that is beguilingly serene.  When the heavy re-enters, it’s all the more neck-breakingly persuasive.  Throw in a captivating solo and you’re on to a highlight.

“The Path of Most Resistance” builds from humble beginnings to a massive groove riff of Sabbathian splendour; whilst “Lockjaw” is short and brutal.  This leads us to the final track, “Rebirth”: a masterpiece that is heavy only in sentiment.  What a song.  Despite a medieval vibe, it’s the ideal soundtrack to spin whilst driving through the desert in a stolen Dodge Challenger as the sun sets, with Smokey on your tail.

Every song on Omens can be enjoyed on its own merits, but as a whole plays as a genuine compendium that the listener can enjoy from start to finish.  I knew Desert Storm were good, but I didn’t expect them to have grown so much.  Or deliver a new album with so much scope.  Here’s a British band that could step up into national – and then international – consciousness.  They just need your support.  Do it.  I’m off to buy the vinyl version.

Talking about deserts – did I tell you about that infamous escapade on one of my legendary soul-searching soirees into the Mojave?  I crept into my usual cave to seek shelter, only to encounter Jim bloody Morrison hogging it.   He was out of his gourd on peyote and mumbling about Aldous Huxley or some such.  There was no way I could meditate with that loon around, so I threw him out.  Break through that to the other side, Jimbo!  My Yaqui shaman and I needed the space to contact Atlantis.

STOP PRESS: Putting my money where my mouth is, I stumped up hard earned cash for a vinyl copy of this album.  I am very glad that I did!

Find Desert Storm on Facebook.

Buy their stuff on Bandcamp.

Find the band on Twitter and Instagram.

For APF records, check out their expertly crafted website here.

Ir find them on Facebook and Bandcamp, you won;t regret it.

Dozer Album Reviews

Not one, but three album reviews for you this week: Re-released by Heavy Psych Sounds, these three albums from Dozer are back and bouncing.  Here’s my review, as it originally appeared on Ever Metal and now here for your perusal:

Dozer – In the Tail of a Comet/Madre de Dios/Call it Conspiracy

Heavy Psych Sounds

Release date: 13/03/2020, 20/03/2020

Running time: 38 mins, 40 mins, 56 mins

Review by: Alun Jones

8.5/10, 9/10, 9.5/10

Don’t you just love it when you find a new band to obsess about?  Music so awesome, so perfect that it just lights up your life.  Well, Dozer have filled that gap in my existence recently – I can’t believe how I endured without them before.  Though these three albums are all reissues from the early part of the 21st century, so fuck knows what I’ve been up to for the last 20 years.  Seriously, what was I doing back then that meant I missed out on this?

Hailing from the wonderful land of Sweden, a place which must have some kind of genetic master code for musical excellence, Dozer are a mighty stoner rock collective delivering heavy, intense and groove laden tunes.  I don’t know how or why the Swedes are so good at this – is it the long, dark winter isolation?  The never-ending day light in summer?  Agnetha Falkstog’s tight pants?  There’s something magical happening there, that’s for sure.

Italian label Heavy Psych Sounds have done the world a remarkable, philanthropic favour by re-issuing these three albums by the band.  And, praise Tony Iommi, on beautiful, sexy vinyl too.  This really is a wondrous, benevolent gift to bestow upon us.

So, what does the music sound like, you ask (at least you do if, like me, you were clueless enough to be unaware of Dozer previously)?  First album “In the Tail of a Comet” (8.5/10) erupts into beautiful, head nodding, rolling riffs from the off.  Layers of fuzzy, psychedelic invention and heavy rhythms usher us into their world.  A particular highlight is the finale, “High Roller”, where although the band take their foot off the gas a little, they create a trippy, vast soundscape to get lost in.

Nay-sayers may choose to point out Dozer’s obvious similarity to Kyuss; hell, even singer Fredrik Nordin sounds like a carbon copy John Garcia.  With their second album, “Madre de Dios” (9/10), that influence becomes less pronounced as their own creativity develops.  This second album seems more brutal, more aggressive.  It doesn’t take long, however, to reveal more textures and experiments with the formula – see “Earth Yeti”.  Album number 2 is a faster, heavier, punkier version of Dozer – yet still expanding on the desert rock template.

By the time we get to the final album of this reissued trio – the immense “Call It Conspiracy” (9.5/10) – Dozer have developed their own sound and personality yet further.  The Kyuss/FU Manchu influence is still there, but Dozer have grown into something of their own.  This album is the heaviest, most “metal” work – but still creative as it stretches those stoner boundaries into new, warped shapes.  Whether it’s full throttle rock’n’roll with lead track “The Hills Have Eyes” or groove laden head-nodder “Man Made Mountain”, there’s much to explore here.

Gushing praise, indeed: but if you, dear reader, are a fan of the crushing riffs, unrestrained groove and sonic washes of stoner/desert rock – these Dozer albums are highly recommended.  Tune in, turn on and explore these revived classics now.

Check out Dozer on Facebook.

Check out Heavy Psych Sounds on Facebook and on the interweb here.