Wizard Tattoo are ostensibly a solo outfit from Indianapolis led by multi-instrumentalist Bram the Bard who released a four-track self-titled EP last year which has now been followed up with the Fables of the Damned (Self-Released) full-length debut which I currently have in my possession and am about to review.
According to an interview I read in Bad Copy, Bram states that the band’s name is a tongue-in-cheek reference to both tattoos of wizards as well as bands who feature wizard in their name (along with witch, bong, weed etc) as both these concepts are ubiquitous within the current day Stoner and Doom scenes. On a more serious note, the project’s conception also came about as a result of a mid-life crisis that our aforementioned protagonist went through during the pandemic.
The album’s fantastic artwork is by Bram and, even if like myself, comic books and horror movies aren’t necessarily always on your radar, you can’t help but admire the level of detail, care and obvious passion that has gone into its creation.
‘Wizard Van’ appears to tip its hat to eighties NWOBHM a la Judas Priest and Saxon but with a fuzzier Fu Manchu tone as well as nods to alt. rock slacker heroes Dinosaur Jr. The latter part of the track takes a different route reminding one of Tony Iommi during his more introspective moments, as can be witnessed on Master of Reality classics such as ‘Orchid’ and ‘Solitude’.
So much diversity is being showcased and we’re only on the first track! A fantastic start.
‘The Black Mountain Pass’ evokes a darker Conan-esque feel, you can envisage this number soundtracking an epic battle between the forces of good and evil. It features some incredible soloing too and shows that Wizard Tattoo are no musical dunces. To really experience the track’s true epic nature I would recommend checking out its accompanying video which is available courtesy of tireless Youtuber 666MrDoom.
‘The Vengeful Thulsa Dan’ treads a similar path to its predecessor in terms of sound but with the interesting inclusion of keyboards part way through that somehow enhances the track rather than detract from it, while ‘Any Which Way But Tuned’ is a lovely acoustic piece with a haunting gothic Americana quality. 16 Horsepower and Munly and the Lupercalians are names that spring to mind here.
‘The Ghost of Doctor Beast’ is the album’s longest track at nearly seven minutes and has a more progressive nature, not just because of the length but also down to its funereal speed and extensive use of samples and organ. Not as immediate as what has been heard prior, it requires a greater degree of patience due to its more drone-like tendencies. ‘God Damn This Wizard Tattoo’ recalls goth outfits such as The Sisters of Mercy (Floodland era) what with the big anthemic choruses and the deeper more dramatic Andrew Eldrich fashioned vocals. A hook-laden composition this is a personal favourite.
‘Abendrote’ an instrumental, is an atmospheric piece and features violin, piano, flute, and guitar. The psychedelic Folk Rock on offer recalls Jethro Tull and The Incredible String Band before the fuzz reappears to help conclude the whole affair on a truly majestic note.
In such a saturated genre as Stoner Doom, the music is always a danger of becoming a little too interchangeable. Fables of the Damned however manages to avoid this pitfall by packing in a lot of musical variety despite its relatively short running time (forty mins approx). A fun, engaging listen that should be added to playlists around the globe.
Buy the album here:
https://wizardtattoo.bandcamp.com/album/fables-of-the-damned
8 / 10
REZA MILLS