Tag Archives: QOTSA

Devil Moon Risen – Album Review

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Devil Moon Risen – Fissures of Men 

Self-released 

Release date: 06/06/2024 

Running time: 36 minutes approx 

Review by: Alun Jones  

7.5/10 

Ready for something a little different?  Something born from the familiar, but tantalisingly different?  Then step right this way, Platinum Al has a musical odyssey that will intrigue you.  We’re talking about the debut album from Devil Moon Risen, a trio out of Phoenix, Arizona, and it’s all kinds of unexpected. 

We’re starting in the realm of desert rock, but Devil Moon Risen have added some spice to their chimichanga with elements of punk, sludge and doom metal.  So, off we go with a thuddingly heavy, groovy chugger in ‘Bad Sketch of a Killer’ that twists into a creepy waltz and back again. 

Like Primus playing QOTSA songs on an album produced by the late great Steve Albini, the songs feature unpredictable, powerful bass and thrashing guitars.  It doesn’t always quite gel, ‘The Rim’ is more of a challenge to get into, but “Fissures of Men” is always surprising and brave.  

When everything falls into place though, the results are superb, as with the full-on rock-out distorted delight that is ‘Shaun Powell’.  Elsewhere, there’s more Frankenstein-like craziness such as ‘D.T.T.B.O.W.T.B.’, which launches like later era Danzig before offering some more laid-back grooves, then morphing to a black metal wail. 

“Fissures of Men” is a journey and then some: Devil Moon Risen have taken the obvious starting point and run off in a totally different direction (or three).  Whether it’s noise rock or some as yet uncharted genre of music, the album is sometimes demanding and always unpredictable.  If – or when – you’re ready, “Fissures of Men” could be just the education you need. 

Check out Devil Moon Risen on Facebook, Instagram, Twitter, Spotify and Bandcamp.

This review is brought to you by Platinum Al and Ever Metal. You’re welcome.

District 13 – Album Review

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District 13 – Step into the Fire

Self-released

Release date: 20/10/2023

Running time: 66 minutes approx

Review by: Alun Jones

8/10

Back in October, London based heavy alt-rock band District 13 released “Step into the Fire”, their second album. Apologies District 13, this album has been hanging around for a little while. But in true Ever Metal “championing the underdog” style, we couldn’t let it slip by without a review. Not my fault for writing the review late for once, believe it or don’t. You don’t believe me, do you? Ah well, whatevs.

The prime motivators in District 13’s sound have been declared as Black Sabbath and The Ramones, two fine bands and exactly the type of thing that tickles my fancy. And it should yours, too. The crunchy metal riffs and gonzo punk attitude is obvious from the start, with opening track ‘Step into the Fire’ showing some hard rock guts and a big, hooky chorus.

‘Apologetic Trickster’ ups the punky pace somewhat, though there’s a vein of dark, melancholy longing running through all the tracks. One of the absolute highlights is ‘Burned out in Paradise’, which begins in an achingly morose fashion before bursting into an angst fuelled burner. If you dig Bleach era Nirvana, Therapy? and early QOTSA, I’m sure you’ll find something to love here: try ‘Emotive Addiction’ and ‘Red Flags’ for starters.

There’s plenty of melody mixed in with the ferocity. ‘Goodbye’ features a heart rending, uplifting chorus worthy of Seattle’s finest. That song and ‘Starry Eyes’ help to add texture to the album with a slower pace. The final song, the acoustic ‘Forever This Way’, is a really beautiful track that falls between Led Zep III, Bowie and REM. That one’ll melt your heart, if nothing else does.

“Step into the Fire” is definitely a solid album, full of great compositions and performances. My only complaint would be, with 14 songs running over an hour long, it’s a lot to take in. Trimming 3 or 4 songs off would make this feel more of a cohesive and easily absorbed album – though I wouldn’t like to be the one who had to decide which songs to drop. Otherwise, it’s great to hear music like this: District 13 have passion and ideas and are obviously not afraid to aim high.

Check out District 13 on their website, Facebook, Instagram, YouTube and Spotify.

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

Stöner – Boogie to Baja Album Review

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Stöner – Boogie to Baja

Heavy Psych Sounds

Release date: 24/02/2023

Running time: 27 minutes

Review by: Alun Jones

9/10

You need to ask yourself: is this review late?  Or have I, the humble author of this review, chosen to emulate the gonzo journalism style of Hunter S Thompson?  And by that I mean, get so baked listening to this latest EP from Stöner that I lost all track of time in a psychedelic swirl, handing in the assignment a month late?  Or did the dog eat my review?  Only you can be the judge.  And the Ever Metal editors of course, who may decide to hand me my marching orders.

Let’s ignore all that and have a little chat about this release, shall we?  Gather ye round!

In a perfect example of a band name doing exactly what it says on the tin, Stöner are essentially a stoner rock supergroup comprising of Brant Bjork (Kyuss, Fu Manchu, solo), Nick Oliveri (Kyuss, QOTSA, Mondo Generator) and Ryan Güt (Brant’s drummer).  As a band, they take the desert rock template and steer it off into the ultimate version of this style.

As a result, the head bending riff of ‘Stoner Theme (Baja Version)’ and the grooving rumble of ‘Night Tripper vs No Brainer’ slouch comfortably alongside a punkier ‘It Ain’t Free’.  All the influences and intricacies of desert rock are succinctly demonstrated with a clanging garage rock cover of ‘City Kids’ (Pink Fairies/Motörhead); through to ‘Boogie to Baja’: a ten-minute driving rocker that reeks of desert parties, never ending skies and lamentable substance abuse.

‘Boogie to Baja’ is the highlight of this set, but the whole EP a great primer for the band Stöner and the varied music they create.  Almost an Idiot’s Guide as to what to expect for the uninitiated, it’s also inventive and addictive for the aficionado.  I ordered the vinyl copy and I’ve already played it to death.  That’s how late this review is.  But don’t you be late: go check out ‘Boogie to Baja’ now.

PS: I don’t own a dog.  

PPS: Would’ve finished this review sooner, if not for adding all the umlauts.

Check out the band website here. Or visit them on Facebook, Instagram and Spotify.

Heavy Psych Sounds can be found online, on Facebook, Instagram, YouTube and Bandcamp.

This review has been brought to you by Platinum Al in association with the mighty Ever Metal.

Live in the Mojave Desert – Album Review

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Various Artists – Live in the Mojave Desert

Heavy Psych Sounds Records

Release date: Various

Running time: Various

Review by: Alun Jones

Rating: see below

Hello there!  Remember me?  It’s me, that bloke who occasionally reviews albums for Ever Metal and spins ropey old yarns about rock’n’roll.  Yeah, him.  Sorry I’ve been absent for a while, had a few things on my all-you-can-eat buffet plate recently.  More about that another time (if the lawyers allow me).  For now, recline in your favourite easy chair, and let’s review.  With me?  Good.

Right then, bit of a mammoth task, this one.  “Live in the Mojave Desert” is actually a series of five albums, each recorded live (of course) amongst the sand and rocks of the Californian desert.  It’s probably like Star Trek, when Kirk and crew are roaming around the cliffs and valleys – but in the dark, and with guitars and lights and stuff – and no one dies (hopefully).

Up first in my sequence of albums is the legendary Earthless, a band who should need no introduction.  I listened to their offering whilst on a trip to North Wales; sadly the surf was flat, but the sonic musings of this three piece fitted perfectly the rolling roads between green valleys and big skies.  In the land of druids and standing stones, witches and warriors, this was a perfect soundtrack.  The songs are a journey in themselves, awash with psychedelic Hendrix style explorations.  Only three songs, but they’re plenty lengthy and offer huge scope.  It’s actually quite beautiful. (9/10)

Next on the list was Mountain Tamer, a band I’m not familiar with previously, but a cool name.  And a cool name goes a long way with me.   The Mountain Tamer sound is raw and in-your-face, with mighty, meaty riffs that clunk around in full-on doom style.  There’s also a mind expanding, trippy element to their music, leaving me with the impression of Black Flag in a collision with Hawkwind.  This unique approach is best exemplified by stand out tracks “Black Noise” and “Scorched Earth”, but it’s all damn fine. (8/10)

An offering in this series from my old buddies Nebula was very welcome, their brand of psych drenched sci-fi hard rock being something I’m somewhat partial to.  This is the album with the most obviously “live” feel – not that it’s sloppy at all, the very occasional tiny imperfections and wall of fuzz give a genuine and celebratory vibe.  Opening track “To the Centre” is a feedback drenched, blistering explosion.  “Giant” is another standout track with a bouncing, crazy gonzo riff. (8/10)

Spirit Mother are another band I’ve not heard before, and they were a real surprise.  Their first song, “Tonic (Exodus Inc)” is straight off the soundtrack of some forgotten Italian/Turkish 1970s horror movie.  The band take the standard desert/doom rock and add violin, and everything veers off in a totally unexpected direction.  From mournful 70s rock on “Ether” to creating their own genre of gothic Spaghetti Western (“Dead Cells”), it’s like Morricone on peyote orchestrating The Exorcist.  Strangely beguiling. (8.5/10)

The album I listened to last in the collection was the debut release of STÖNER, the very aptly named stoner rock “supergroup” which features Brant Bjork (Kyuss, Fu Manchu, solo etc) and Nick Oliveri (Kyuss, QOTSA, Mondo Generator etc etc).  With Brant’s drummer, Ryan Güt whacking the tubs.  As a fan of these rogues’ other bands, I was definitely curious about this release.  No fear here: this is exactly what I hoped it would be: desert rock royalty.  “Rad is Rad” features a relentless, rolling bassline that drags the listener along on a head-nodding journey whilst Brant croons in his laid-back manner.  The big, groovy bass continues in “The Older Kids”, and the tracks develop a trancelike vibe as it progresses.  And strap yourself in for the final song, “Tribe/Fly Girl” – over 13 minutes that will melt your eyeballs.  Definitive. (9/10)

That’s it: five albums, five bands, and a mind-blowing excursion into the remote desert valleys.  Whether showcasing how it should be done, or abducting the listener in a smoke-filled UFO to be probed in new realms, these live collections are a trip.

Here’s a ton of links! Click away for more info on this awesome music…

Start with Heavy Psych Sounds, they have a website, Bandcamp, Facebook and Instagram.

Earthless do the web thing here, with some Facebook and Twitter.

Mountain Tamer kick in the sky with Facebook and Bandcamp.

Go crazy with Nebula via Facebook.

Spirit Mother have you covered with some weberation, Facebook, Bandcamp and Insta.

Finally, have a look at Stoner’s web presence here and Facebook it too.

This review was brought to you by Platinum Al in association with Ever Metal.

Giant Dwarf – Giant Dwarf Album Review

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And now, I present an album review I wrote for Ever Metal; a recording that became one of my favourites of 2019:

Giant Dwarf – Giant Dwarf

Self Released

Release date: 09/04/2019

Running Time: 36 minutes

Review by: Alun Jones

9.5/10

 

I’ve never been to Australia.  Don’t need to go there really, I know exactly what it’s like.  It’s like that David Bowie video where he’s inside a big concrete block in the middle of nowhere.  “Let’s Dance” – that’s the one.  Or it’s like Mad Max 2: all arid desert, people surviving on dog food and a struggle to exist without civilisation.

So, it’s quite apt that such a barren, isolated place has decided to gift us with an album that is, quite frankly, a masterpiece of desert rock.  Or outback rock, if you will.

This is “Giant Dwarf”, by the band Giant Dwarf, who hail from somewhere called Perth in Western Australia.

Right from the start, with opener “Golden Walrus”, the album bursts from the speakers like Gandalf after a month-long Charles Atlas course.  The songs are tough and uncompromising, yet cerebral.  “Black Thumb” and “Kepler” in particular will make you put your foot down on the accelerator and bang your head – whilst absorbing the intricate tapestry of the universe.

It’s all pounding rhythms and hypnotic, repeating riffs.  On first encounter, the album seems very – shall we say, inspired by – Kyuss and the first Queens of the Stone Age album.  Aaron Soppo (vocals) can even do a pretty convincing Josh Homme impersonation.  Which is no bad thing, in my book – in fact, it’s a sure fired recipe for success.

Further investigation reveals far more than this obvious comparison, however.  As well as a more fuzzed-up guitar sound – not unlike a particularly fried Fu Manchu – there’s a trippy, psychedelic sheen to the muscular groove.  There’s even sitar and didgeridoo on here, in wave after wave of glorious chunky riff and rolling beats.

“The Deluge” illustrates this breadth of feeling with a six minute plus track that undulates between exuberant rocker and introspective meander in just one epic song.

If I have one small criticism, I’d like to hear a track like “Strange Wool” – a mind melting instrumental track that’s quite brilliant – dragged out to three times it’s two-minute length.  Even more development and experimentation would really push Giant Dwarf further into a new dimension.  But keep the edge-of-the-seat rockers too, OK guys?

“Giant Dwarf” comes within a koala’s cock of perfection.  Powerful like the venom of a Death Adder, yet enticing like Natalie Imbruglia.  It really is that good: from out of nowhere, an album that will surely be in my end of year Top Five.

Find Giant Dwarf on Facebook and on Bandcamp.

Check Giant Dwarf out on Spotify here.

There’s some cool stuff on YouTube here and here, too.

PS: apologies for the dig at Australia, it’s just a joke.  I’m sure it’s nice there really.

Spacetrucker – Smooth Orbit Album Review

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Spacetrucker – Smooth Orbit

Self released, Dewar PR

Release Date: 17/08/2018

Running Time: 51 mins

Review by: Alun Jones

9.5/10

“Have a listen to Spacetrucker!  I think you’ll like them,” came the recommendation from Rick at Ever Metal HQ.  So I did.  And he was right – the “Smooth Orbit” album is one of the most exciting listens I’ve had for a long, long time.

These psychedelic space monkeys have created a superb stoner rock classic that’s right up my space lane.   Throw in some fuzzy grunge and classic rock and Spacetrucker have achieved the almost impossible: put a huge, acid-warped grin on my ancient, grumbly mug.

First track “Sample of a Sample” warms the jets up nicely for take-off with a trippy lead and some bongos.  Yes, bongos!  Past the two-minute mark it erupts into a face-melter of a riff that had my cranium nodding like an Easter Island statue after some herbal refreshment.

Mike Owen (guitar/vocals), Rob Wagoner (bass/vocals) and Del Toro (drums) seem to be able to magically conjure up the grooves with uncanny ease.  “Meat Wagon” is another brilliant track with a pulsating, infectious riff.

In true lazy journo style (hey, I’ve had a few), Spacetrucker combine the stoner slouch of Fu Manchu and early QOTSA with classic Sabbath and Purple, mixing in some Mudhoney and Melvins fuzzy sludge on the way.  Perfect, in other words.  If any of those bands get your hyper drive firing, this is for you.

There are some Iommi-esque shorter numbers and experimental sounds that add a further dimension to the proceedings, constantly keeping the listener on their toes.  “Vanishing Point, Science of Us” has an almost Nirvana Unplugged vibe before bursting into a crushing rocker.  This is followed by another monster riff with “Pulling Teeth”.

Plus the final track, “Lost in the Sauce”, is over ten minutes long!  An extended jam floats in and builds beautifully, never rushing but enticing the listener along on every step.

This might not be the most critical review I’ve composed, but I don’t care.  “Smooth Orbit” is a triumph of an album and I love it.  The only reason it didn’t get ten out of ten is it needs more references to skateboards and 1970s muscle cars.  Other than that, I need a vinyl version, please.

If any of the above references to sub-genre labels and other bands resonates with you, I urge you do a Boba Fett and track this album down now.

All of this “space trucking” talk reminds me my days working with Deep Purple back in the early seventies.  I was working as the band’s roadie/driver when one time, in the middle of the night in the Arizona desert, we got a flat.  I left the Purps partying in the back whilst I went out in to the freezing, dusty highway to change the tire.  I was distracted for a moment, and I swear bling that I saw several lights zipping about in the sky at unbelievable speeds.  “UFOs!” I thought.

I rushed back onto the bus and dragged the band out to take look (all except Roger Glover, who was busy knitting).  Except when we got outside, the lights had vanished.  The Purps weren’t amused and blamed it on me overindulging in peyote.  Gillan was very gentlemanly about it all and even gave me a hand with the tyre.  Blackmore had a tantrum about the delay and docked me a day’s pay.  The bastard.

 

This review appeared on the Ever Metal website and is reproduced here for your enjoyment.  Click here to visit the Ever Metal website.