Kitchen Witch - Slip Stream

 #Kitchen Witch #stoner rock #heavy blues rock #hard rock #desert rock #Australian

Australian red-dust desert rock outfit, Kitchen Witch liken themselves to the alcoholic baby if John Lee Hooker, Kyuss and Janis Joplin had hooked-up and had a kid. The quartet of Georgie Cosson (vox), Ed Noble (drums), Simon Elliott (bass), and Conor Kinsella (guitar) have been selected, alongside 21 other SA bands, to perform as part of the inaugural One12 Festival in Adelaide, a five concert series supporting local and emerging talent. Georgie was lovely enough to answer a few of our questions.

Firstly, let's start with the cracking band name; how'd you settle on Kitchen Witch?

Kitchen Witch is kind of self-titled, but a band.

Those new to the music stylings of the band, what's your elevator pitch of what people can expect to hear?

Guitar heavy, bubbling grooves, banshee wails, hip-swinging basslines to a heavy, heart-palpitating beat.

We're already in winter; the year has flown by, but what have been a couple of feel-good moments for the band so far?

Playing in the Cranker band room again! We had some great jams where we challenged ourselves to write a song in a night, with one idiot in the band being the boss and getting the rest of us to bring their idea to life. It's been great to be writing new tunes. New tunes feels is like a brand new day. A good one.

What does it mean to be selected to perform as part of the inaugural One12 Festival?

Wow, well we are stoked as a band and are really looking forward to playing with such an amazing line-up of bands.

Part of the gig includes the band's performance being filmed, recorded and streamed – that must be a super-dope opportunity to access?

Yes. It is super-dope. My Dad can watch. He is 1,500kms from Adelaide and hopefully people all over the world.

You're playing alongside Dirty Pagans, Sons Of Zoku and Rocky's Pride & Joy; can we expect you in the mosh for these bands?

I cannot stress how much awe I feel for these three bands. They are all different and top quality musicians. What a line-up!

Adelaide's local, indie music scene; who else has caught your attention lately; who's playing on Kitchen Witch’s local playlist?

We would have some Smoke No Fire, Hiatus Coyote, Planet Of The 8s, All Them Witches, C.W. Stoneking, Emergency Rule, Athletic Teenage Joggers, King Gizz of course, Indian classical, Bessie Smith.

The band released an album ('Earth And Ether') last year; when can fans expect more new tunes from Kitchen Witch?

Kitchen Witch are conjuring tunes from the ether as we speak. Keep your hats on; hopefully we get into the studio in a few months time.

What sort of skills does each band member have in the kitchen? And who takes responsibility for the BBQ tongs when you're all together for a backyard party?

You know what? We mostly just jam together and stay in shitty hotels eating baked goods. I do love to make festival-related treats on the sabbaths for the group. If you call a band a 'group' it makes it sound like you are in the '70s.

What else is on the cards for the band in 2021 (interstate tours)?

Yep, Kitchen Witch a taking this show on the road at the end of the year. Stay tuned to the socials and stuff for more info.

Best local takeaway joint for a 2am feed that will leave you with a food coma?

My house.

Which fictional character best describes your personality?

Tiabeanie from 'Disenchantment'. A princess who likes beer.

Last show you binge-watched?

I watch too much TV. Okay, 'Letter Kenny'.

Crows or Power (and no sitting on the fence!)?

What?

From: https://scenestr.com.au/music/kitchen-witch-purveyors-of-bubbling-grooves-banshee-wails-20210604

Stonefield - In The Eve

 #Stonefield #psychedelic rock #stoner rock #hard rock #heavy psych #melodic metal #Australian #music video

The Findlay sisters Amy, Hannah, Sarah and Holly are the quadruple dose of stoner rock we’ve come to know as Stonefield. Laced with mind-bending, psychedelic riffs, the Aussie band’s tunes will fling you back in time – not surprising, considering they grew up on the likes of Led Zeppelin, Jimi Hendrix and Frank Zappa. The siblings have come a long way since commandeering their parents’ farm shed in Victoria’s Macedon Ranges for rehearsals. As teenagers, they won a contest held by radio station Triple J for unsigned artists, shining a national spotlight on their music. Then, after a gig in Perth, Stonefield were approached by a scout for Glastonbury Festival, leading to their sensational performance at the 2011 show which culminated in an incendiary cover of Led Zep’s Whole Lotta Love. Between then and now, the band have released an EP, three studio albums, and are on the cusp of another full-length. Titled Bent, the upcoming project will be released via King Gizzard and the Lizard Wizard’s independent label, Flightless, just like 2018’s Far From Earth. If the new album’s lead single Sleep is any indication, it looks like we’re in for another glorious sludgefest.

What was your musical upbringing like?

We all have quite similar tastes in music and grew up listening to the music that our parents had brought us up on, which was a lot of Frank Zappa, Zeppelin and Hendrix. During our high school years, we all got into slightly different stuff but we’ve always had a common love of rock music.

You all grew up in a small town. Did that make music an escape for you?

I don’t think it was necessarily an escape but it definitely gave us something to do, which I guess is probably part of the reason we stuck with it. There were fewer distractions and not much else to do.

What’s the songwriting process like for Stonefield? You seem to put out albums at a fast pace – As Above, So Below in 2017 and Far From Earth in 2018.

We have a habit of writing a whole heap of songs and ditching them before getting to a point where we’re happy to put them on an album. We generally jam on a little riff or idea that someone has and the song is created from there. Once we’ve written and ditched a few songs, we all eventually get an idea of the album we want to create and it becomes a lot easier from there.

Bent was recorded by Joey Walker and Stu Mackenzie of King Gizzard and the Lizard Wizard. What was it like for you to work with two guitarists on the album?

Recording with Stu and Joe was a completely different experience to anything we’d done before. They stood back completely and let us make the decisions without influencing us too much. It was refreshing working with people who had faith in what we do and enabled us to achieve exactly what we wanted to without second-guessing ourselves.

We read that the album was recorded in between tours over five days. How did that affect the process and the atmosphere of the sessions?

It helped us to achieve a much more “live-sounding” album that wasn’t over-produced or overly thought about. All the songs still felt fresh and exciting to play which made it a very enjoyable process.

Amy has said that Sleep is about the experience of floating in the “in between”, but many fans see that song title and think of the band, Sleep. Is it an homage, and was it intentional?

It wasn’t intentional at all, however, we are fans of Sleep so we don’t mind the association! It came purely from the storyline of the song.

This is going to be Stonefield’s fourth album. Has what you wanted out of a music career changed since you embarked on this about a decade ago?

I don’t think what we wanted out of a career has changed but I think the way we wanted to achieve it and how we go about it has changed. We have learnt so much and have so much more belief in our knowledge and decisions that we are able to navigate things much better these days.

In terms of guitar tone, did you know what you wanted for this album?

Nope! Generally when recording an album, whoever we’re working with tends to get deep into experimenting with different amps and sounds, but a lot of the time we end up going with something very similar to my live setup. For Bent, I went in knowing what works and how we wanted the album to represent our live sound, so I didn’t spend too much time messing around.

Last April you guys were in Los Angeles for what you called a “residency”. How long were you there for, and what was it like?

We were there for a month. It was quite a different experience being in the one spot for so long as we’re generally in a different city every night, but it was a lot of fun. We had amazing bands play with us each week so it was cool discovering so much new music.

From: https://guitar.com/features/interviews/stonefield-from-farm-shed-to-glastonbury/

Uncle Acid & The Deadbeats - Runaway Girls

 #Uncle Acid & The Deadbeats #heavy metal #stoner rock #doom metal #heavy psych #hard rock #occult rock #music video

There are a plethora of bands nowadays that tackle the aesthetics that call back to a heritage classic rock band’s heyday. Greta Van Fleet’s Josh Kiszka howls just like Led Zeppelin’s Robert Plant and Ghost taps into the theatrics of Kiss and Alice Cooper. While these are bands that are dominating the mainstream music consciousness, there is one band that has resided in the underground for over ten years that haunts back to the grim sound of metal at its earliest point of formation in the late ’60s/early ’70s: Uncle Acid & the Deadbeats. Hailing from Birmingham, England, Uncle Acid is the brainchild of Kevin Starrs, who has ultimately taken on the moniker of the band’s name with a revolving door of band members (The Deadbeats). The fruits of their labor emerged 40 years to the day of Black Sabbath’s debut, Friday the 13th in February 2010, with their debut album Volume 1. Recorded with a nonexistent budget, no knowledge of conventional recording techniques, and a lack of distribution network or audience marks the bearing of a true DIY effort. With this record, the roots of their sound lie in the heavy psych vein with some tasteful ’70s-tinged guitar leads, Jon Lord-esque organ runs, and vocal melodies that are accessible.
If I were to sell Uncle Acid & the Deadbeats to an old soul, they would feel right at home with this band. There is an obvious Black Sabbath similarity with their crunchy Iommic riffs, but with a heightened sense of doom and fuzz. As heavy as they are, they are unbelievably melodic to the point where they can be deemed “poppy” in some respects. Kevin Starrs’ vocals are a hybrid of Ozzy Osbourne, John Lennon, and Neil Young. With added distortion and tasteful harmonies, they create this eerie element that perfectly compliments the doomy riffs.
For anyone interested in horror and the occult, the lyrics and album concepts can easily attract them. The grim nature of the subject matters they delve into goes hand in hand with the heaviness of the music. While Uncle Acid’s sound has evolved to work in more elements to provide some light and shade, outsiders could go as far as to say that when you hear one song, you’ve listened to them all. It can sometimes come across as an AC/DC situation; it may all sound the same, but the style suits them well, and they do a damn good job at executing it. Besides, occult doom bands are always welcome in the ever-broad musical climate of today.  From: https://vwmusicrocks.com/are-uncle-acid-the-deadbeats-a-modern-day-black-sabbath/

Sisters Ov The Blackmoon - Haunt

 #Sisters Ov The Blackmoon #heavy metal #doom metal #heavy blues rock #stoner metal #occult rock #music video

Blood Cauldron is an EP you need to own, an EP that promises so much for the future and an EP that actually blew a speaker on my PC. To be honest I think the speaker was on its way out anyway but never mind this is still a super EP. The band who created this superb EP go by the name of Sisters Ov The Blackmoon and play a blend of gritty bluesy stoner and occult doom-ish rock. Exploding  out of Los Angeles the band consist of Josh Alves – drums, Andrew Vega – guitar, Dan Schlaich – guitar and Jared  Anderson – bass, but it is  the powerful bluesy tones of Sasha Wheatcroft on vocals that sets this band apart from others ploughing a similar musical furrow.
Blood Cauldron sets the tone for the EP with “Haunt”, a barnstormer of a track that opens with the sound of cicadas chirping and an owl hooting and segues into a rolling guitar riff with a  horror movie soundbite over its top, then the guitars pick up the volume, drums crash and pound just as it gets gnarly everything drops down for the verse. Here is where you first get the “Wheatcroft” experience. With a voice that mixes Beth Hart’s bluesy holler with Miny Parsonz’ (Royal Thunder) smokey stoner howl, Ms. Wheatcroft is a revelation, her voice dripping with passionate power and control making every phrase and inflection count. One person does not make a band though and the other “sisters” more than prove their worth on this collection of songs. Vega and Sclaich complement each other perfectly on guitars coming on with earth shattering riffage and sublime solos and every now and then breaking into Lizzy-esqe twin melodies. The bottom end is held up just as well too with Alves and Anderson locking in as tight and creating a solid base for everything going on above them.  From: http://stonerking1.blogspot.com/2015/06/sisters-ov-blackmoon-blood-cauldron-ep.html?m=0

Purson - The Contract

 #Purson #Rosalie Cunningham #psychedelic rock #progressive rock #stoner rock #occult rock #neo-psychedelia #music video

Purson was a psychedelic rock band originating from London, England, active between 2011 and 2016. Described by bandleader Rosalie Cunningham as "vaudeville carny psych", the band utilizes a wide range of sounds including psychedelic rock, folk, acid rock, occult rock, prog and a general inspiration of 60s and 70s rock. Purson gained significant buzz with only a handful of songs on Soundcloud before signing to Rise Above Records and being named the band of the week by one Fenriz of Darkthrone early on. The band name has its origins in demonology, in which Purson is one of the Kings of Hell. Cunningham wanted to name the band after a god. After not finding any god-like names that they liked, they searched in the names of demons or devils. Purson managed to release two studio albums in their short tenure along with touring throughout Europe and The United States, building their name up as a rising act in the UK rock scene.  From: https://riffipedia.fandom.com/wiki/Purson

While her previous band, Ipso Facto, always had a sense of drama about it, Rosalie Cunningham moved into an even more theatrical direction with the formation of Purson - she described the band as specializing in "vaudeville carny psych." Exploring the world of proto-metal, the English group wove together influences like Cream, Deep Purple, and Jethro Tull into a quasi-mystical pastiche of psychedelic wonder made up of fuzzed-out guitars and Wurlitzer organs. Purson's full-length debut, the well-received The Circle and the Blue Door, arrived on Metal Blade in 2013. 2016 saw the band make the move to Spinefarm for their sophomore outing, Desire's Magic Theatre. The group ceased operations the following year, with Cunningham embarking on a solo career in 2019.  From: https://www.allmusic.com/artist/purson-mn0002881568/biography

Gaupa - Kartan

 #Gaupa #doom metal #psychedelic rock #stoner metal #progressive rock #folk metal #Swedish

Gaupa has already been described as "Bjork fronting a rock band" and although we can see where that description is coming from there is far more to Gaupa than an unusual and unique voice placed in front of a rock'n'roll backdrop. First thing one notices about Gaupa (the band) are the levels of musicianship on display here; solid, tight percussion combined with deep growling bass lines are the backbone around which Gaupa's two guitarists lay down diverse washes of delightful  and dynamic six-string colouring, the pair not so much going head to head as complimenting each other with a mixture of eastern motifs, shimmering arpeggios, crunching heavy powerchords and scorching psychedelic lead work. However it is the vocal acrobatics of  Emma Näslund that many will leave this EP remembering long after the last note of "Gaupa" fades into silence. Näslund  has a unique tone and delivery and it is easy to see why those comparisons with Iceland's elfish chanteuse have been made as both singers have that same distinctive vocal elasticity in their armoury, however where Bjork's voice sometimes wanders into shrillness there is a smoother more fluid timbre to Näslund's vocals that is, for us, far more pleasing and easier on the ear.  From: http://stonerking1.blogspot.com/2018/07/gaupa-gaupa-review.html

An amalgam of psychedelic rock, stoner metal, and doom metal with female lead vocals. It's a style that many bands have played in the 2010's, especially following the success of Jex Thoth and Blood Ceremony. Gaupa pursue generally the same style as those bands, though with their own nice little nuances. There is a nice balance between calm, drifting psychedelic sections, and abrasive, rocking doom and stoner metal pounding. A nice, thick bass line carries fluid, desert-ish guitar leads, which sounds very atmospheric. What truly gives the band their identity is the vocal style of Emma Näslund. If you go on the group's bandcamp page, you'll see that they are all comparing her style to that of Björk and they are absolutely right. "Psychedelic/Stoner/Doom Rock with Bjork on vocals" all I can say is hell yeah. The singing is awesome. She does ethereal chants, crazy shouts, enunciates words playfully and gently, she sounds awesome. She really adds that quirk to the music that helps the band stand out, especially on the playful rocker track 'The Drunk Autopussy Wants to Fight You (perhaps one of the best song titles ever).  From: https://rateyourmusic.com/release/ep/gaupa/gaupa/

 

Heavy Temple - A Desert through the Trees

 #Heavy Temple #heavy metal #stoner metal #occult rock #doom metal #psychedelic metal #music video

Heavy Temple have been fighting the good fight since 2012, but they’ve kept the world waiting until 2021 for their debut album. Fortunately, it was well worth the wait: Lupi Amoris is a finely streamlined record crammed with awesome riffs, soaring vocals and memorable songwriting. Singer, songwriter, bass player and all round head honcho High Priestess Nighthawk was kind enough to take some time out to answer our questions.

Sadly, stage names seem to be on the wane these days so kudos to you for keeping the flag flying. Where did High Priestess Nighthawk come from and how do you decide on names for new members?

There’s a Tom Waits album called Nighthawks At The Diner, and I guess it just stuck with me. Every member gets to choose their own name. Unless they really don’t want to, in which we try to come up with something that reflects their personality. I structured it around the religious nomenclature system because I always wanted Heavy Temple to feel like rock and roll church, where you go to worship the riff.

Heavy Temple have gone through a plethora of different line-ups. Could you give us a potted history of the ins and outs of the band? How did the current line-up come together?

It’s certainly been a revolving door. People’s lives and priorities change, and I wanted a band with that flexibility so we could always keep playing and touring. When we started almost ten years ago, we were a three piece. Bearadactyl was kind of on loan and Rattlesnake moved to the west coast. Saint Columbidae joined on drums, and we were a two piece for a while. Then I found Tempest, or perhaps I should say she found me, and honestly, she really saved the band. Good drummers are like mythical creatures, and they’re always all in multiple bands, so I got very lucky. Then we added Barghest, who ended his tenure to work for NASA (hopefully making Heavy Temple the first band to have a member in space). Thunderhorse stepped in almost immediately, and that brings us to 2019. We were able to do a lot of touring, despite not having been able to record Lupi Amoris, which was intended to be tracked with the previous line-up. Parting ways was not easy, and it was a very hard decision to make. I don’t expect anyone to understand it, but I think we just had different expectations and creative goals. I knew that Paisley and The Baron were great musicians, so it was a no-brainer to ask them to join. Every iteration of Heavy Temple has shaped what we are right now, and as objectively as I can say so, this line-up is probably the closest to what I envisioned when I started.   

I absolutely loved Lupi Amoris. It touches on a wide range of musical genres but is really hard to pin down. How would you describe it?

I always laugh a bit at this question because I have a hard time describing it myself. I suppose I’d just call it heavy rock and roll. I think that Heavy Temple has always had a wide array of influences, but if I had to pin it down I guess psychedelic doom. We like kraut and classic rock, psych, stoner and sludge, desert rock, black metal. I think we’re just an amalgamation of those genres we like

One thing I particularly enjoyed was the interplay between the riffs and the vocals – you don’t just follow the riff melody like Ozzy did and I found the dynamics very striking. Could you talk us through the process of how a Heavy Temple song comes together?

I still struggle when writing vocal melodies because I’m also playing the bass, so generally they are last to develop. The composition and arrangement are the easiest parts for me, but I do like to nurture them and let them take their own shape. As for the vocals themselves, I like to let the music breathe a little, so I just sing when I feel it’s appropriate. What I do like about Ozzy is that he kind of does the same thing. Sing on the verse and chorus, then let the band take the reins. I’m very excited about writing the next album as a band. I’ve been the primary songwriter so I think creating collectively will lead to some sonic exploration for all of us.

Clearly a lot of thought went into the lyrics and artwork for the album. Could you tell us about the broader themes underlying them?

At its core, Lupi Amoris is a collection of love songs. I met my partner at a festival in the woods, and they were the one to show me the Angela Carter story. A couple tracks on the album pre-date our relationship, but this album as a concept didn’t start to take shape until maybe three years ago. Sometimes you meet someone, and it changes the whole trajectory of your life, so I wanted to write about that using the Carter’s story as a skeleton. My confidence, independence and autonomy are of great value to me, and there was something about the narrative that just spoke to me.

From: https://www.thesleepingshaman.com/interviews/heavy-temple/

Wand - Passage of the Dream

 #Wand #psychedelic rock #shoegaze #stoner rock #noise rock #garage rock #animated music video

On their third album, Los Angeles’ Wand gracefully sidestep the potential pitfalls of psychedelic songwriting—meandering guitars, rambling lyrics, directionless tracks. They ground the blurry, bizarre visions established on their previous efforts, Ganglion Reef and Golem, in colorful imagery, so that the faces of the monsters they’ve written about on past records come into full focus.
While the shadow of Wand’s mentor Ty Segall still hovers over Wand’s blown-out garage sound, the band’s own flickering light is beginning to shine through more often. They have added some progressive folk rock to the mix, fondly recalling unique and memorable records like Mellow Candle’s Swaddling Songs and Comus’ classic First Utterance without sounding like a carbon copy. Cory Hanson’s voice shimmers  against the acoustic palette of songs like the beautiful closer "Morning Rainbow", the song that also contains 1000 Days’ key lyrical thesis: "We will see this world together in its terror."
Paralysis, paranoia, disappearance, erasure, pure fear, and curdling dreams are all themes that reappear in Hanson’s lyrics for 1000 Days; even the titular song, a concise bit of folky garage pop with a sunny-sweet choral melody, seems like it might be a love song at first but quickly turns into the nightmare of relationship stasis, depression, and ennui ("I don’t need a thing ‘cause I’ve had every dream"). The mingling of beautiful, honeyed melodies with dark, bleak lyrical content is nothing new, but Wand do it especially well, and they have a precision in their songwriting that keeps their music from spinning off into glazed burnout territory.
Though one worries that with such a prolific release schedule that Wand will run out of ideas, 1000 Days is a heartening record, a record that sees a young band picking up steam, playing with their influences more deftly than on their prior LPs, and bringing a thoughtful approach to old and well-traveled sounds. There’s enough interesting moments on 1000 Days to hold onto these songs, go back to them, and explore within them. That’s more than many of their cohorts within the cluttered and long-trendy field of psychedelic garage—there are hundreds of disposable tape-label bands with little to say out there, and it’s wearying to search through all that crud for the occasional gem, which does exist—have to offer.  From: https://pitchfork.com/reviews/albums/20995-1000-days/

Wucan - King Korea

 #Wucan #hard rock #folk rock #psychedelic rock #doom metal #stoner rock #progressive metal #retro-1970s #German #music video

Wucan - Retro Rock with Romanticism and Women’s Power

eclipsed is a music magazine based in Aschaffenburg and has been on the German market since 2000. It is aimed at friends of sophisticated rock music who want to go on a new acoustic voyage of discovery month after month.

eclipsed: Tell me the origin of the band.

Francis Tobolsky: Well, I started the band with an ad when I moved to Dresden four years ago to study. In my old hometown Chemnitz I didn't see the chance to find like-minded people. My claim was to make classic blues rock by Free and Rory Gallagher. First of all our drummer Axel Pätzold reported himself on the ad and peu à peu they all came together. About Tim George on guitar and finally Patrick Dröge on bass.

eclipsed: And how did you find your way to this special sound, a mix of classic hard & blues rock with Tull's flute, Krautrock influences and modern retro rock à la Blues Pills?

Tobolsky: Yeah, then the songwriting started. Somehow it came all by itself that we drove this, I say, old-school sound. I think that this is also connected with the fact that none of us really listens to new, current music. Many productions are simply too polished to a high gloss for us, especially in the metal area, of course also in pop/rock. Somehow we didn't like it.

eclipsed: Where'd you learn to play the flute so well? It really reminds you of Ian Anderson.

Tobolsky: (laughs) Funny you should say that. Just a few days ago a metal music magazine said that this was the biggest insult to the majesty I would do on the flute. Jethro Tull wasn't an influence at all, but as a thirteen year old I enjoyed two years of classical flute lessons. Later I concentrated more on the guitar. But then I thought to myself that I could also bring the flute into the band.

eclipsed: Where does your band name come from?

Tobolsky: We were really desperate to find a band name. And Tim sent me an unspectacular music link. This was the music video of the song "Wucan" by psychedelic rocker Black Mountain, which in Chinese means "lunch" in addition to the name for a Chinese city (laughs). We decided that together as a band.

eclipsed: How did you approach your first album?

Tobolsky: So on our first release, an EP, we weren't really happy with the sound. This time we wanted to make it clear from the outset that this was not supposed to sound so modern, but ... yes, "mustier". Also adapted to our music style. We also recorded live and took a little more time to experiment, for example with the Moog synthesizer and the theremin I play.

eclipsed: So how did the long track "Wandersmann" come about, which is out of the ordinary in German? This reminds me of romantic poetry as it used to be with "Leiermann" from Franz Schubert's "Winterreise".

Tobolsky: You, exactly. I used to want to study literature. I was always such a cultural epoch freak, and my absolute favorite time was romanticism and especially the so-called black romanticism. Maybe that had some influence, too.

eclipsed: "Sow The Wind sounds a lot like early seventies. Would you have wanted to live back then?

Tobolsky: (laughs) That's a difficult thing. Somehow you're used to all the comforts of the 21st century. At least then I would have experienced this spirit of the time first hand. So I can only have this told to me by people like my grandparents, who already lived then, or people who were active in student movements.

eclipsed: Young people nowadays tend to hear the charts, hip hop and electro more often. How do you get your obviously so rich musical knowledge about older music at all? Where does this love come from?

Tobolsky: Well, I've asked myself that question many times before. I've been interested in music since I was a kid. I was often with my grandparents, and here in Saxony they had an oldie radio station on the air, from the sixties to the eighties. I must have preferred a certain sound and song structure. When I finally had my own internet access when I was fourteen or fifteen (laughs), I could surf around and was constantly looking for music. You can always get links to other bands and songs on YouTube, which you then like, and you can keep on hanging around like that.

eclipsed: It's nice that the Internet also provides such positive things. What are your musical role models?

Tobolsky: Besides Blues Rock there are many old Krautrock bands like Novalis, Hoelderlin and Birth Control, but also East German bands like Renft and Karat.

eclipsed: How do you see the current retro-rock scene with bands like Siena Root, in whose opening program you will play in the coming months, or especially the Blues Pills, with which you will probably be compared now, simply because there is such an energetic front woman on stage.

Tobolsky: Hm, difficult question ... I almost think that some people in the press are already annoyed about it. But every retro rock band sounds different to me anyway. In Metal, for example, many of the bands sound much more similar. No, it's full of musical diversity, it can be more like blues rock or heavy metal or it can be psychedelic. Yes, or even garage rock of the late sixties, there are so many different ways of playing that you can't even say, so this retro rock, that annoys me. This all sounds so fresh and different. I just think that certain bands are promoted in a very strong way and that can get on people's nerves. I can imagine that, especially what comes from the big labels.

From: https://www.eclipsed.de/en/current-issue/underground/wucan-retro-rock-romanticism-and-womens-power

Rickshaw Billie's Burger Patrol - Death Wagon

 #Rickshaw Billie's Burger Patrol #heavy metal #stoner metal #stoner rock #fuzz rock #animated music video

Space: A treacherous realm where terrifying unknowns eclipse manifest hazards. For example, if one’s spacesuit rips, they fall unconscious before swelling into a bloated mass in mere seconds. And when encountering a black hole, prepare to be stretched into human linguini. Still, what about wild card dangers – aliens, galactic hostage taking, burger babes?
Austin trio Rickshaw Billie’s Burger Patrol ventures to the stars on brand new album Burger Babes from Outer Space - 8 terrifying tales of death to investigate. Is space really the place for a greasy rock band? The adventure unfolds today with a video for “Death Wagon,” animated by Katie McDowell and shot by Billie Patterson, in which members Leo Lydon, Aaron Metzdorf, and Sean St. Germain rocket through the cosmos on a sweet cheeseburger shaped craft until something goes horribly wrong. The expanse beyond our third stone from the sun swirls in silence, but not so when RBBP arrives. In “Death Wagon,” the unit blasts a sonic groove epitomized by Lydon’s exquisitely distorted 8-string guitar/bass hybrid and high vocals. Eventually, the track opens up into a near death metal squall that proves the perfect soundtrack for having your head torn off by the force of an exploding star.
Of the new album, Lydon reveals: “The Burger Babes have always been a symbol of feminism and power. I thought it would be cool to take them into outer space as a superior race of beings that were for peace, but instead, all the Earth guys start catcalling and whistling and try to pick them up, so they end up ‘evaporated’ by space weapons. It’s a very Mars Attacks kind of premise, I guess, but ‘Death Wagon’ comes into play from being in the road. Our van is the spaceship or death wagon. The whole thing is a metaphor for sacrifice and connecting, and giving your life to your art until eventually you die doing what you love. That spaceship burns and explodes as it enters the atmosphere, but no one will ever forget how bright it was when it did.”  From: https://www.austinchronicle.com/daily/music/2020-11-13/watch-rickshaw-billies-burger-patrol-die-in-space/

The Neptune Power Federation - Watch Our Masters Bleed

 #The Neptune Power Federation #hard rock #stoner rock #occult rock #stoner metal #Australian #music video

Like all great threats to decency, the church of The Neptune Power Federation was born far from the tired gaze of the masses. Operating out of dive bars and biker clubhouses, playing to troubled souls with dirty hair and crude intentions, their high volume psychedelic gospel spreads like a glorious subterranean infection.  From: https://theneptunepowerfederation.bandcamp.com/community

10 Megatons of neanderthal rock fuelled by satan and space hallucinogens. Without doubt the Neptune Power Federation are the best live band playing in Sydney at the moment. A band comprised of musicians with the hard won skill earned through a lifetime of rocking deals out a feast for both the ears and eyes. Riffs that we all thought were forbidden are wielded with joy and crunching power whilst the Imperial Priestess Screaming Loz Sutch aka The Rat Queen presides above it all; mocking the heavens, defying hell and laying waste to any mere mortals foolish enough to stand in her path.  From: https://www.bandsintown.com/a/2387664-the-neptune-power-federation
 
I have always loved storytelling. As a child I rapidly ran out of interesting books to devour in the library, and nowadays I get my fill with online free-form role playing. This extends to music as well; a cool concept can really elevate an otherwise unremarkable album. What a good story needs first and foremost is interesting characters though, and The Neptune Power Federation get that. Their vocalist, Imperial Priestess Screaming Loz Sutch, assumes the mantle of a time-travelling space witch for their fourth album, Memoirs of a Rat Queen. 70s space rock that mixes Heart with Hawkwind and AC/DC, a sexy vengeful bombshell on the mic, and a story scattered from the French revolution to boning in a parking lot; what could possibly go wrong here?
I guess we won’t find out, because not much does. That largely comes down to the Imperial Priestess. Like an Oscar-worthy actress, she completely falls into the role. Her character is straight out of a Neil Gaiman novel, a demi-goddess of lust and wrath, of regal rage and justified arrogance, and you believe her every syllable whether she sneers about the deaths of her enemies (“Rat Queen”: ‘Their last words as they fell / were damn that bitch to hell!’) or seduces a mere mortal with her eons of experience (“I’ll Make a Man Out of You,” not even close to a Disney cover!). It certainly helps that her technical skills are off the charts. Her voice is razor-sharp. Some might consider her too shrill, but she conveys supreme passion and power, and with a few momentary exceptions, she is always in complete control of her vocal chords and her role alike.
All that would go nowhere without solid songwriting, and boy, are there some fucking jams on this platter. “I’ll Make a Man Out of You” is both incredibly seductive and a fantastic fist-pumper, reminiscent of the very best glam ever had to offer. “Rat Queen” has more hooks than an angling store and more girl power than a female bodybuilder competition, while single “Watch Our Masters Bleed” goes from reflective reverence to rousing revolution. Every track has a different vibe, thanks to the distinct hooks as well as selective use of classic instrumentation, like the cowbell in “I’ll Make a Man Out of You” and the Hammond organ blasting throughout “Pagan Inclinations.” Traces of soul are plentiful, thanks to the frequent female choir piping in, giving a gospel atmosphere to the electrifying boogie space rock anthems.  From: https://www.angrymetalguy.com/the-neptune-power-federation-memoirs-of-a-rat-queen-review/

 

Black Pussy - I Wanna Get High

 #Black Pussy #stoner rock #psychedelic rock #garage rock #post-punk #animated music video #Malice in Wonderland

Black Pussy is a group of rock n’ roll pot-smoking fun-loving hippies that are passionate about art, creativity and the dynamic human spirit which refuses to submit. They encourage all ages and creeds to take the ride with them. For Dustin Hill, the creator and songwriter of the band, Black Pussy sounded like a fantastic name. It encapsulates exactly what the band is: a psychedelic, ’70s-influenced, hide-your-daughters-because-they’re-coming-to-town rock ‘n’ roll band that sounds like Tarantino directing a Thin Lizzy video in the low desert.
Black Pussy approaches their music style with influences across three decades of rock: the 70’s, 80’s and 90’s. The result is a cohesive blend of Kyuss, Hawkwind, The Cars, Monster Magnet and Queens of the Stone Age. Their classic, upbeat and relentlessly hooky tracks embrace traditional pop structure within heavy rock and led to Hill coining the phrase “stoner-pop”. Their catchy music tends to seduce anyone, even those who wander in a club after seeing the intriguing band name on the marquis. There is no contrived contention, just fun, love and good tunes. Everyone is invited to this party.
From: https://first-avenue.com/performer/black-pussy/ 

Black Pussy draws its name from the 1970s pornographic era. An obvious objectification by the white boys of the group — white boys who relish the privilege of benefits of a pre-established patriarchy. The same patriarchy whose dominant ideology promotes women to be sexually subservient to men, denies women equal pay, denies the protection of discrimination based on sex and ownership of their reproductive health and bodies.
Last weekend Black Pussy played to an average-size crowd at Scout Bar in Clear Lake. Listeners milled about near the stage, with far less than a scattering of females in the audience. No one of African-American descent was to be seen. An opener for a mock-tribute band, Black Pussy played a short set to a muted response. Yet I couldn’t help feeling at first uncomfortable at their name, but later rage and guilt that my attendance could possibly be seen as complicity. Absolutely no, not ever. Who the fuck are these jackasses and why are they playing in my town?
I do not claim to speak for all women, nor would I ever attempt to speak on behalf of black women. But I will call bullshit when I see it, and the name Black Pussy, the members of the band and the hype they’ve created are easily one of the worst conceptions in music. Willfully ignorant and refusing to acknowledge their privilege, bands like Black Pussy will never achieve success because their notoriety is far more important than their art. Ignorant and unapologetic, they’re not unlike Mushroom Head and their painfully uneducated allegiance to the Confederate flag.
Despite societal norms forcing such antiquated messages to expire, those who hang onto them — like Black Pussy — believe in their own moral superiority or assertion of rightful speech. Yet they will actually fade into oblivion. It’s a gimmick, and a shitty one at that. These are not artists. These are not musicians. These are white men who have an agenda of perpetuating the system of oppression that already exists to suppress women and minorities. And if they really are the innocent, ignorant stoner boys they claim to be, they’ll change their fucking name and focus on improving their shitty music instead of calling dead black women their “fans."
I call total bullshit on this band. Total. Fucking. Bullshit. But, watch this — they won’t change their name and they’ll continue to gain notoriety, mock the scandalous attention and the negative press all while claiming, It’s just a name, people. Because that’s what racist, sexist bigots want you to believe.  From: https://www.houstonpress.com/music/black-pussy-worst-band-ever-7806166

Tucson-based stoner-rock/"boogie-pop" band Black Pussy—whose members, as you can see, are white men—were slated to play the Funhouse on Saturday, March 17, but that show is no longer happening. According to a February 26 post on the group's Facebook page, it was their decision to cancel. However, El Corazon boss and Funhouse co-owner Dana Sims says, "I’m not sure what they are talking about exactly. The show was cancelled by the club on Saturday. After some constructive discussions with people I love and respect both in the scene and the community at large, I felt it was the right thing to do."
Attracting much scathing criticism over the last few years for what many perceive to be their racially insensitive and objectifying name, Black Pussy have doubled down on their reasons for keeping the moniker. On their Facebook page, they deny that it derives from the original title of the Rolling Stones' "Brown Sugar," as some detractors have accused. In a phone interview, Black Pussy frontman Dustin Hill admits that Sims "pulled the plug" on the gig, but he made that Facebook post to stress that he doesn't "want to work with people who are racist and sexist and not inclusive. That’s what they are, so since they’re pulling the plug on us, I’m pulling the plug on them, simultaneously." When asked what exactly is racist about the Funhouse's decision, Hill says that, "The people attacking us personally about the Seattle show continuously call me ‘white’ and ‘male,’ and I shouldn’t play Seattle because I’m white and male. I think that’s some sexist and racist stuff. It’s my band name and because I’m white and male, I’m not allowed to have this band name. That’s it.
"I’m fed up with being called a Nazi and a racist and a sexist because some people don’t like my band name," he continues. "I’m none of those things. My music is none of those things. My band members are none of those things. The reality is, it’s the other side that are those things. Dana is siding with the sexists and racists." Does Hill not understand why people are upset about the name, or does he just not care about their reactions? "No, I don’t understand why people are upset with the name. The name is ambiguous, a multi-entendre. It’s art, and art is ambiguous — at least my art is. And it’s rock and roll, real basic shit. We’re just trying to have a good time. These identity politics - I don’t get it. It has nothing to do with my band."
From: https://www.thestranger.com/music/2018/02/28/25858810/why-did-dubiously-named-rock-band-black-pussys-seattle-show-get-cancelled 

Turn Me On Dead Man - Cyclops

 #Turn Me On Dead Man #psychedelic rock #heavy metal #psychedelic metal #stoner metal #space rock #retro-1960s #retro-1970s 

Turn Me On Dead Man are a ‘heavydelic’ space rock band from San Francisco. combining heavy metal and psychedelia to forge a music that is both transcending and unforgettable. The songwriting plunges listeners into the heavydelic landscapes of 60’s experimentalism and 70’s bombast, creating a sound that is enthralling, imaginative, hugely entertaining, and incredibly hard rocking! The group have been creating their unique brand of lysergic-soaked rock since their inception in 2000, gigging extensively throughout the San Francisco Bay Area and garnering praise from all over their home turf and the country, spurred on by heavy rotation at the influential WFMU station in New Jersey. Alternative Tentacles founder Jello Biafra was suitably impressed by the band’s spaced-out, glammed-up, turned-up brand of audio mayhem enough to re-release their first epic record, “God Bless the Electric Freak”.
Live, Turn Me On Dead Man is a spectacle of epic proportions; a visceral sonic boom that spans the spectrum from the meanest, most gorgeous anthems of rock to the exotic ragas of modern psych, creating an explosive and diverse stage performance as energetic as it is uncommon. Simply put, Turn Me On Dead Man plays Heavy Crush Bliss Rock breaking the sound barrier on their own private Lear Jet headed straight to Hell! The bands twin guitar harmonization, melodic rhythmic switchbacks and trippy apocalypto-mystical lyricism keep California’s psychedelic rock tradition alive. In their own words: “mind melt music for the sick and twisted, heavydelic super rock for the ultimate freak outs”.  From: https://maximumvolumemusic.com/featured-band-turn-dead-man/

In September 1969, as I began ninth grade, a rumor circulated that the Beatles' Paul McCartney was dead, killed in a 1966 automobile accident and replaced by a look-alike. The clues were there in the albums, if you knew where to look. Sgt. Pepper's Lonely Hearts Club Band's "A Day in the Life," for one, recounts the accident: He blew his mind out in a car / He didn't notice that the lights had changed / A crowd of people stood and stared / They'd seen his face before / Nobody was really sure if he was from the House of Lords. The cover of the Abbey Road album shows the Fab Four walking across a street in what looks like a funeral procession, with John in white as the preacher, Ringo in black as the pallbearer, a barefoot and out-of-step Paul as the corpse, and George in work clothes as the gravedigger. In the background is a Volkswagen Beetle whose license plate reads "28IF" - Paul's supposed age "if" he had not died. Spookiest of all were the clues embedded in songs played backward. On a cheap turntable, I moved the speed switch midway between 331/3 and 45 to disengage the motor drive, then manually turned the record backward and listened in wide-eared wonder. The eeriest is "Revolution 9" from the White Album, in which an ominously deep voice endlessly repeats: number nine ... number nine ... number nine.... Played backward you hear: turn me on, dead man ... turn me on, dead man ... turn me on, dead man.... In time, thousands of clues emerged as the rumor mill cranked up (type "Paul is dead" into Google for examples), despite John Lennon's 1970 statement to Rolling Stone that "the whole thing was made up." But made up by whom? Not the Beatles. Instead this was a fine example of the brain as a pattern-recognition machine that all too often finds nonexistent signals in the background noise of life.  From: https://www.scientificamerican.com/article/turn-me-on-dead-man/

Turtle Skull - Rabbit

 #Turtle Skull #psychedelic rock #doom metal #psychedelic metal #stoner rock #stoner metal #Australian

Art As Catharsis Records are proud to announce the release of Turtle Skull’s second album, Monoliths - a texture-rich record that dances between bone-crushing lows and ethereal highs. Taking inspiration from Black Sabbath, Pink Floyd and Crosby Stills Nash & Young, Turtle Skull’s blend of warped psychedelia, shattering doom and indie-rock sensibility merges into their own brand of music dubbed ‘flower doom’. While the final product contains a faint similarity to the sounds of King Gizzard & The Lizzard Wizard, Khruangbin, or Kikagku Moyo, Monoliths is distinctively its own beast. It’s a record that heaves and soars, taking joyous compositions and steering them headfirst into a realm of fuzz and fury. ”This record is about the intimate connection we share with the Earth on which we stand. It’s about the world and your place in it. It’s about looking deep inside yourself and seeing what you find. It’s about life and death and everything in between, and most of all it’s about the pure joy of creation. We are very happy to share it with you." At the end of its runtime, Monoliths undeniably displays a much more fleshed-out realization of the doom, psych rock and indie fusion that launched the five-piece into the public eye following their self-titled release. Tipping between heavy and catchy is the strength of Monoliths - the roar of the fuzzed-out amps is counterbalanced by feather-light vocals, creating a contrast as clear and harmonious as sun and sky.  From: https://turtleskullmusic.bandcamp.com/album/monoliths

Gaupa - Diametrical Enchantress

 #Gaupa #doom metal #psychedelic rock #stoner metal #progressive rock #folk metal #Swedish #music video

The city of Falun in Sweden has an illustrious industrial history; originally famous for its copper mine, it performed a vital service in Sweden for centuries. In modern times it has become the unlikely home to a diverse and rich musical scene ranging from power metal titans to luscious Scandinavian folk maestros. Amongst this is the band Gaupa, a progressive stoner band that utilizes doom, folk and psychedelic influences to create beautifully celestial and enchanting songs. In Swedish ‘Gaupa’ translates as Lynx, and this often elusive and solitary wild cat is the perfect simile for this band. With their distinguishing pointed ears and white, bear-like tufts of fur on their cheeks, the lynx looks wise and magical. Gaupa are very distinctive and unique band; musical magicians that blur the lines between folk, psych and doom with intricate yet heavy riffs, their music is intensely ethereal, enchanting and earthy.  From: https://distortedsoundmag.com/album-review-myriad-gaupa/

Transylvania Stud - Burn the Witch

 #Transylvania Stud #Andrew Godfrey #stoner metal #stoner rock #doom metal #desert rock #one man band #The By Gods #Queens of the Stone Age cover

Originally a side-project, Andrew Godfrey has made Transylvania Stud his primary outlet for all things rock n’ roll. With the renaissance of classic heavy metal coming to a boil, there isn’t much room for hooks or pop sensibilities. But this is where Transylvania Stud blows the competitions’ doors in.  On this surprise release, Godfrey has teamed up with Nashville’s finest, The By Gods, for a blistering cover of the 2006 would-be classic from Queens Of The Stone Age, “Burn The Witch.” While the original had it’s roots firmly planted in gnarly blues-rock thanks to ZZ Top’s Billy Gibbons, Godfrey and co. kick it up a notch, with an overall emphasis on groove and tension.  The music video for “Burn The Witch” is like a 1960s psychedelic reel of avant-garde horror imagery including (but not limited to) cemeteries, snake handlers, ominous cloaked figures, exorcisms, and of course, a witch!  From: https://www.50thirdand3rd.com/transylvania-stud-burn-the-witch-music-video/ 

 

Tenebra - Moon Maiden

#Tenebra #stoner rock #psychedelic rock #blues rock #hard rock #hard psych #heavy metal #punk metal #occult rock #doom metal #noise rock #Italian

Tenebra are an Italian quartet offering Stoner and Psychedelic Blues sounds with retro references and a modern twist. Formed in October 2017, Claudio (bass), Emilio (guitar) and Mesca (drums) come from the hardcore and post-hardcore scene in Bologna, whereas vocalist Silvia is steeped in the underground rock of the ’60s and’ 70s. Together they create music that is not only the sum of their influences but pushes those influences outwards, adding odd tempo changes and nods towards Misfits, June of 44 and Love Battery into their strange brew.  From: https://maximumvolumemusic.com/band-of-the-day-tenebra/

The city of Bologna in Italy has around 400,000 inhabitants with 150 different nationalities. In 2019, out of this melting pot rose Tenebra, who are now releasing their new album Moongazer. Their music is an instant throwback, while being securely rooted in the here and now. Mesca’s accomplished drumming is garnished by Claudio Troise’s booming bass and Emilio Toreggiani’s filthy, smoky guitar. And then, on top of this deadly but sexy sonic concoction, come raspy incantations from Silvia Fennino. Sylvia Fennino’s voice is something to behold. It’s almost an event all by itself. She sounds as if she has just finished a pack of cigarettes while drinking straight scotch and gargling gravel. All while being able to sing VERY well. I could just imagine the 3 guys having a totally different sound – until they heard Sylvia sing. Then the lightbulb went on above their heads - “Stoner Rock. Definitely Bluesy Stoner Rock!” Her singing sounds effortless, while at the same time sounding like it takes all the power she possesses to wail her siren song.
I couldn’t imagine watching this band in the modern age. Their brand of melodious noise invokes a bygone era of smoke-filled bars filled with people whose wardrobe primarily consists of leather, and have a penchant for vehicles with two wheels rather than four. You could imagine them playing a set and then hanging out backstage with the likes of Jim Morrison or Marc Bolan.
From: https://www.metalepidemic.com/tenebra-moongazer/

The Oil Barons - Hot Cake Big Bad Sound

 #The Oil Barons #stoner rock #doom metal #garage rock #psychedelic rock #desert rock #punk metal #hard rock #power trio #1970s retro #music video

Formed in Los Angeles, CA in early 2016, The Oil Barons are a riff-crazed Heavy Rock power trio that draws from a deep well of influences ranging from Garage Rock to Doom Metal. They like slowing down - they like speedin' up!  They like to shred, Fred. They're the heaviest thing in standard tuning.  From: https://www.theoilbarons.com/

The Oil Barons debut album ‘The West Is Won’ is inspired by Paul Thomas Anderson’s classic movie ‘There Will Be Blood’. So you have a concept album based within the world of oil production and all the joys and pitfalls that industry brings you. Unless it’s influenced by Dallas and the guys are trying to be all intellectual. I’m kidding. Anyway, this is one album that sounds like it suffers from an identity crisis when you first listen to it. As the band play a heavy mixture of Blues Rock, Classic Rock, Stoner Metal, Doom Metal and even Desert Rock. If you’re a fan of bands such as Black Sabbath and Cutch then these guys should definitely be on your radar. ’The West Is Won’ is a brilliantly entertaining album packed full of thrills and (oil) spills with the band writing some progressive sounding riffs and OTT lyrics to match. The opening songs ‘The Oil Baron’, ‘Drill’ and ‘Snake Oil’ show that The Oil Barons have a deep and rich creative sound and when matched against the superb lyrics then a Stoner Metal/Doom Metal album based on ‘There Will Be Blood’ isn’t so crazy after all. The album has a deceptively old-school feel to it and that allows The Oil Barons to experiment with their sound on the later stages of the album. The vocals from Andrew are influenced by the Americana scene at times but still remaining in the Doom/Stoner Metal world. Jake provides solid back-up vocals along with his highly accurate and precise drumming. The Oil Barons continue playing their heavy Blues Rock inspired Stoner/Desert/Doom hybrid sound for the remainder of the album and they will keep you entertained with other cool songs such as ‘California City’, ‘Fuck The Sun’, ‘Vitch’ and the final epic song ‘Suicide Machine’ which ventures into some pretty dark places which I didn’t expect. The production is handled superbly well and the album sounds fresh and lively from the start. The music is very direct and you become part of the whole environment. Though it may take you a few listens to fully understand and actually enjoy the overall album. After that happens you’ll be amazed at how much of a good time you will have this with album.  From: https://outlawsofthesun.blogspot.com/2018/12/the-oil-barons-west-is-won-album-review.html

Black Mountain - Florian Saucer Attack

 #Black Mountain #psychedelic rock #stoner rock #space rock #acid rock #alternative rock #Canadian #animated music video 

After founding Jerk with a Bomb in the late ’90s, Stephen McBean had by the mid-2000s transformed the Vancouver area band into a group called Black Mountain. Drawing on blues, psychedelia, acid rock, and the Velvet Underground, Black Mountain’s sound was a cross between the darkness and grit of the Warlocks and Brian Jonestown Massacre’s trippiness. After debuting in October 2004 on Jagjaguwar with the 12” Druganaut, Black Mountain stayed with the label for an eponymous full-length, issued the following January. Joining McBean for the album were local players Matthew Camirand, Jeremy Schmidt, Joshua Wells, and Amber Webber, listed collectively to preserve the band’s communal ethic. (Black Mountain ran concurrent to and intermingled with McBean’s other band, lo-fi classic rockers Pink Mountaintops).  From: https://www.discogs.com/artist/336341-Black-Mountain

A no-holds-barred psych-blues assault that interweaves space-age synths into its otherwise paleolithically savage goth-metal sound, the newest single from Black Mountain’s forthcoming album IV, “Florian Saucer Attack,” shows the band pressing their instruments, and thereby the song itself, toward some limit-point where eschatological destruction looms precipitously near. We start at the almost-cosmic height best articulated by Robert Plant in “Kashmir” — “Oh, baby, I’ve been flying / No, yeah, Mama, there ain’t no denying” — but, as soon as the track roars to life with a ferocious drum break, we’re plunging toward Earth again, inexorably, flames and and debris and trails of smoke marking the descent, and while it’s unclear what knocked us out of the sky in the first place, one thing is certain: there’s nowhere to go but down.  From: https://www.popmatters.com/black-mountain-florian-saucer-attack-singles-going-steady-2495445091.html

Arrowhead - Coven of the Snake

 #Arrowhead #stoner rock #alternative rock #post-grunge #hard rock #doom metal #Australian #music video

Australian stoner rockers Arrowhead offer a unique blend of fuzz rock, with '70s infused grooves and thick doses of down-tuned doom to take you on a psychedelic trip. Playing around Australia since 2008, Arrowhead stand out amongst the crowd with songs full of infectious grooves, catchy riffs, hard hitting drums, thunderous bass lines, and brutally raw and passionate vocal delivery.  From: https://arrowheadrock.bandcamp.com/album/coven-of-the-snake

Rising from the underground of Sydney’s stoner rock scene, the Arrowhead brotherhood fire an explosive, all killer/no filler triptych of volume, attitude and down-tuned grooves. Hitting you harder than a Frank Frazetta-airbrushed panel van travelling at 100mph, Arrowhead is very much a band defined by the riffs that raised them. Fronted by guitar player, vocalist and chief songwriter Brett Pearl, Brett was brought up on a staple diet of classic rock with Hendrix, Zeppelin, Floyd and Sabbath rarely leaving the turntable. Joined by fellow purveyor of low-end grind is bass player/Viking Arron Fletcher, guitarist Raff Iacurto and living backbone of the band, Matt Cramp on drums. With each member feeding into the Arrowhead-approved vision of hard rock reverie via Hollywood monsters and science fiction cinema, having paid their dues as a band since late 2009, following on from 2010’s Atomsmasher EP, their self-titled debut and 2016’s Desert Cult Ritual, the latest addition to the quartet’s quiver is new album, Coven of the Snake. An album that is equal parts venom and mysticism, and 100% blood-bound to steal your soul in the name of rock and roll.  From: https://maximumvolumemusic.com/band-of-the-day-arrowhead/