Anatomical Venus (New Heavy Sounds), the third album from doomy Stoner Rock outfit Black Moth is the sort of album that can get those usually jaded rock critics very excited indeed. It has a number of leitmotifs that tick the proverbial boxes of listeners who tend to like their records to tick their proverbial boxes. If you think there is a “but” coming you’d be right as, for all the effort and invention, Anatomical Venus resolutely remains the sum of its parts. And that, somewhat disappointingly, is this record’s main problem.Continue reading
Tag Archives: Kyuss
REVIEWS ROUND-UP: UGLY MUSIC FOR UGLY PEOPLE: King Goat, Sorxe, Pale Horseman, StoneBirds and more…
The Ghost Cult album round-up is back in town for your vulgar delectation, with our penultimate selection of 2017 taking you down amongst the silt, with a selection of Sludge, Doom and post-Metal antidotes to any festive cheeriness that may be unsettling your disgusted souls…Continue reading
John Garcia – The Coyote Who Spoke In Tongues
When I spoke to former Kyuss frontman John Garcia in 2014, he said the follow-up to his debut solo record could easily be an album of covers. In truth, Garcia’s sophomore album, The Coyote Who Spoke In Tongues (Napalm), is instead an extension of his ‘An Evening With’ unplugged tour; nine tracks of stripped back acoustic music, featuring re-imaginings of Kyuss classics and some new material. Continue reading
Former Kyuss Singer John Garcia is Streaming His New Acoustic Album Online
Former Kyuss frontman John Garcia will be releasing his new acoustic record, The Coyote Who Spoke In Tongues, tomorrow via Napalm Records. Continue reading
Truckfighters – V
Swedish stoner rock trio Truckfighters were one of the best acts at this year’s Desertfest in London. Playing with an energy and verve you (probably) wouldn’t expect to see at a big stoner festival, they came across like AC/DC playing Queens Of The Stone Age covers. Their new album, however, sees them take a more laid back approach.Continue reading
Open-Minded: Dimitri Vossen of Desertfest Antwerp

Desertfest Antwerp takes place this weekend in Belgium, at the legendary Trix Club. Named for the distinct cult style of California’s Palm Desert style of rock, doom, and psychedelic influences, pioneered in the 90s by bands like Kyuss, Acid King, Fu Manchu, Goatsnake, Monster Magnet, 60 Watt Shaman and more. The fest itself and its related other events represent the best in underground culture, with music ranging from stoner rock, doom, indie bands, and other styles to please fans of discerning taste. Ghost Cult’s Susanne A. Maathuis, who is covering the fest this weekend for us had some questions for Dimitri Vossen – one of the organizers of the fest. Continue reading
Gozu Books European Tour With Holy Grove, New Album Revival Out Now
Boston heavy rockers Gozu, fresh off of their acclaimed Revival (Ripple Music) album have booked an extensive European tour this fall.Continue reading
Gozu – Revival
Stoner rock boys Gozu has a new album out. It’s called Revival (Ripple Music) and it’s a belter. The Boston unit’s third album sees them continue to ply the same brand of muscular stoner-meets-grunge riffs and melodic vocals they’ve been honing since 2009. But the songs are tighter, the riffs bigger, and the quality vocals are allowed to take center stage.
From the battering ‘Nature Boy’ to the grungy ‘Bubble Time’ and slow groove of ‘Oldie’’ Revival rarely has a note out of place. The guitar work, courtesy of Marc Gaffney and Doug Sherman, stretch from almost Black Label Society-esque shredding to Josh Homme levels of fuzziness. The ability to blend both extremes into one record is one of the things that make the album so enjoyable.
At their best, Gozu sound like Kyuss fronted by Chris Cornell. Marc Gaffney’s turn in front of the mic gives an already quality band that extra edge. From the bluesy ‘Dee Dee McCall’ to the swampy but stadium size ‘Big Casino’ and even the slow jam outro of ‘Tin Chicken’; Gozu know how to craft a great song and fill it with catchy riffs and big solos.
From start to finish, Revival is brimming with energy and a stash of riffs. One of the best stoner albums of the year.
8.0/10
DAN SWINHOE
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Wo Fat – Midnight Cometh
A cosmic haze surrounds everything from Texan duo Wo Fat: their chunky, thunderous rhythms swelled by fizzing riffs as suffocating, as implosive, as the vacuum of space. Despite having lost long-time bassist Tim Wilson, sixth long-player Midnight Cometh (Ripple Music) shows no signs of that trait discontinuing.
Though unabashedly Stoner, the Blues melodies and leads of opener ‘There’s Something Sinister in the Wind’ are shot through with added pace, urgency, and no little mysticism, blowing away the blubber often encasing such offerings. Sure, you could hear this kind of stuff down the local Rock pub but not with this power, this weight. The way the dreamy leadwork joins forces with a tight, rampant rhythm section from the mid-point is joyous: whilst the oscillating riff of the denouement, repetitive and swelling, crushes in indolent yet savage fashion.
‘Riffborn’ again provides nothing new, while Kent Stump’s gnarled vocal doesn’t incite the listener to any high emotion. Yet there’s something strangely electric, even comforting, in the fact that such traditional Heavy Rock can still force you to get down and boogie. Stump’s guitarwork is king here, the leads and riffs duelling with lightning dexterity yet retaining their corpulent girth. ‘Of Smoke and Fog’ meanwhile, creates atmospheres in keeping with its title: leads wailing and growling, permeating vaporous wisps as the cabs groan beneath the volume: whilst a rumbling bass and Michael Walter’s drums gradually creep in like a curious rhino, suddenly appearing and looking a little mad to see you on his territory.
That 70s Rock undercurrent is built to the fore during ‘Le Dilemme de Detenu’ and ‘Three Minutes to Midnight’: a shabby, hairy mob on The Old Grey Whistle Test embodied by the harsh, ZZ Top-style verses. Both tracks are enlivened by those fierce guitars, the latter’s moody centrepiece torn to shreds by a dazzling solo. Closer ‘Nightcomer’ meanwhile, is a Psychedelic crush of threatening Groove and pulsing swell that leads to a suitably huge finale.
Comparisons with both Kyuss and Orange Goblin abound for these guys, yet Wo Fat plough their own reverberating furrow. Sometimes the old-fashioned ways are still exciting.
7.0/10.0
PAUL QUINN
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An Evening with John Garcia: Camden Underworld, London
Two acts, two guitars, no drum kits and three leather sofas. This might well be the most sedate gig London’s Camden Underworld has ever seen. Former Kyuss frontman John Garcia is back in the capital, but this time on a short unplugged tour billed as “An Evening With”. So instead of a full band we have leather sofas and War Drum’s Ehren Groban playing acoustic.
Despite the name suggesting otherwise, Bellhound Choir is a one guitar project from Denmark. The perfect kind of jam for a hot sunny beach around a campfire, and a fitting warm up for the night with Christian Hede Madsen’s smooth baritone and sparse guitar create a mellow combo of dark country and blues.
Where some metal musicians – for example Zakk Wylde – are known for their acoustic leanings, this is new territory for Garcia. Going unplugged allows the former Slo Burn/Hermano/Unida/Vista Chino frontman to show off a more sensitive side to his vocals in a way that’s only occasionally been hinted at on record. He’s always had a quality voice and a back catalogue filled with stoner classics and the stripped back sound allows Garcia to take centre stage from the comfort of his leather recliner and shine.
We get a few cuts from the new self-titled Garcia album; tracks like ‘The Bld’ and ‘Her Bullets Energy’ work well as mellow campfire numbers, but much like on record it’s the jumping riffs of the Danko Jones-penned ‘5,000 Miles’ that stand out as one of the best. The original numbers penned for this tour and potentially new album are a more straight ahead mellow acoustic numbers, but ‘Phototropic’ shows off Groban’s skill with an acoustic guitar; employing a series of loops to really build the layers of the song into something special, while his solo spot shows off some real Spanish classical flair.
Unsurprisingly it’s the Kyuss numbers that get the biggest cheers of the night, culminating in a one-two of ‘Green Machine’ and ‘Space Cadet’. Still sounding fresh even after 20 years, the old classics translate well to acoustic. Garcia still has a great set of pipes on him, but despite being a good show, the trouble with finishing on such a high note, however, is that it brings up that eternal question: when the hell are we going to get a proper Kyuss reunion?
WORDS BY DAN SWINHOE