Tag Archives: Psychedelic

Pombagira – Flesh Throne Press

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London-based stoner/doom duo Pombagira are a productive pairing. New album Flesh Throne Press [Svart] is their sixth album in just eight years, but have managed to create a two-disc, 90 minute engrossing monster. Themes covered range from “the dead and the necromantic discourse for conversing with ancestors,” while the title itself apparently “refers to the visceral experience of the grave dirt which presses in on the flesh,” which fits the mood of the record well.

The vocals from Peter Hamilton-Giles (Vocals, guitar) swing from haunting melancholic wail to almost Gregorian chant, his riffs swamped in layers of reverb and distortion until it’s a fuzzy drone. Carolyn Hamilton-Giles drums provide an equally languid backing track, but it’s a great pairing.

It’s densely heavy in the kind of Electric Wizard way yet provides of light and shade. The album shifts between quiet introspection and thick fuzzed-up walls of noise; 10 minute epics are interspersed with more serene and stripped back instrumental interludes to break up the journey and provide respite. There’s tinges of early Black Sabbath, Pink Floyd-esque psychadelica and even early prog rock thrown in to the mix.

It’s hard to nail down exactly what Pombagari’s sound like. There’s occasional psychadelica, drone, maybe even some shoe-gaze type territory. But whatever sub-genre you like, there’s plenty to enjoy about Flesh Throne Press (Svart) is spaced out, down tempo and very easy to immerse yourself in. Bottom line: It’s heavy, chilled and atmospheric. As long as you can cope with the 90 minute runtime, Flesh Throne Press is a great album for relaxing to and getting lost in.

 

7.5/10

Pombagira on Bandcamp

 

DAN SWINHOE


Ghold – Of Ruin

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At the ‘Gig of the Milennium’ in Manchester, England, last September, a little-known London duo blew apart a path for Pallbearer and Yob to follow. Ghold certainly left their filthy, mammoth mark on that evening, and carry that on into their second album Of Ruin (Ritual Productions).

Following the path of brutal weight and minimal lyrics blazed by the likes of Conan, Ghold’s fearful cacophony carries added omen; a grimy edge to the fizzing, ploughing bass notes and a gruff, screamed vocal rather than the distant, atonal holler expected. There’s variation too with the whispered intonations of opener ‘Saw The Falling’ exploding into a Coltsblood-style roar, time switches expertly and forcibly executed by cavernous drums for a downright earth-shaking opening. The voice develops into a crackling roar à la Matt Pike during the ensuing ‘Partaken Incarnate’ with chaotic and pummelling rhythms building the atmosphere for a booming mid-section, the staccato riff savage and violent; whilst the clean vocal, reminiscent of Kansas‘ Steve Walsh, shouldn’t fit but really does, and introduces a whirling, psychedelic coda.

The apparent belief in scene-setting is borne out in the sinister vignette of jazzy structures and false heartbeat to the building intensity of ‘All Eyes Broke’, whilst the mashing, uncontrolled battery of ‘Pursed’ and ‘Odic Force’ leads to passages of ominous pondering. The middle section of ‘Odic…’ is an horrific, quickening confusion, sound attacking from all directions and showing an inventiveness to the crawling, evil resonance.

The only issue is the rigidity of tone and cold lack of emotion which the occasional contribution of a guitarist, so effective in the live show, would awaken considerably here. Of Ruin represents the monstrous warrior, unmoved by pleasantry and unwavering in his savage wielding of a weapon, the merest hint of a switch in direction garnering devastating results without flourish. The riff and clattering bass of closer ‘Rid The Gleam’ drop from the heavens, whilst the squeaking of the viciously-treated strings attack the nerves like a prowling psychopath. More adventurous than many such cave-dwellers however, there’s mystique and intrigue in Ghold’s approach, showing the ability to lead and even change the game.

 

7.0/10

Ghold on Facebook

 

PAUL QUINN

 

 

 

 


Tijuana Bibles – Sun Chaser (Single)

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Despite not having even released a full length album, and thus far one EP and single, Glasgow’s Tijuana Bibles have already accomplished quite the feats, most notably several small festival appearances and one at T In The Park; not something that every band you will find in these pages can claim. In anticipation of their upcoming release, these youngsters unveil latest single, the very catchy Sun Chaser (Pling).

On evidence of this single, it seems Tijuana Bibles have their ears to several phases of British influence. The main bulk sits strongly with indie rock and even a little Britpop, but doesn’t have quite the over-sanitized sheen or overly pop air of such mainstream radio fodder. Coupled with the hints of psychedelic and even blues hiding away and what we have here is signs of something special. On this single alone it seems that these guys’ future is very bright and should see acclaim from both the mainstream audiences and to those looking for something a little different.

 

7.0/10

Tijuana Bibles on Facebook

 

CHRIS TIPPELL


Wizard Rifle – Here In The Deadlights

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Wizard Rifle are back with the new album Here In The Deadlights with the promise to continue the demand of tearing down the conventional ways of music.

The album begins in an atmospheric way reminding post-metal soundscapes, but it ends to burst with a powerful and cacophonic rock with some sludge metal nuances. We also can find some punk influences, like in the track ‘Buzzsaw Babes’, but always with the sludge pinch in the song’s height.

The bass guitar has an important, robust and distorted presence helping the tracks to have a full and fat global sound, sometimes even accompanying the guitars. There are also two vocalists performing at the same time, but they don’t deviate a lot between each other – it’s like two in one. Once again, the punk guidance is very present in the vocal’s department.

In ‘Paul The Sky Tyrant’ we can attend to more traditional doom moments which go from the vocals themselves to the sluggish guitar riffs that are so characteristic of the genre. Still regarding this song, we even have time to witness a final passage delivered by twin guitars. In spite of the initial phase comprised by a weird and disturbing rock, the album evolves to a truly doom personality sometimes headed by a lead guitar without losing sight about the distorted and heavy background. Still, we will be pleased with a jazz oriented passage in the beginning of the track ‘Psychodynamo’ in which improvisation really seems to rule.

In the end, and after some listening, I believe it’s hard to label Wizard Riffle and in fact it’s always quite square when a band encloses itself in one single genre or style. Let’s say that Wizard Riffle are influenced by doom, sludge and rock, but always with an experimental vision and very unique of opened minds to the unknown that are commanded by the impulse of create the maximum discomfort towards the conventional.

7/10

Wizard Rifle on Facebook

 

DIOGO FERREIRA


Wolf Blood- Wolf Blood

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The idea that metal has lost it’s roots is nothing new. I’m sure you’ve heard it too. The complaints that metal has become way too polished and stylized these days. A sound which no layer of grit on your latest vinyl can compete with. I understand why bands do it too, but if these people would just quit their whining, they’ll realize there are plenty of talented bands out there that strive for the same dirty ascetic of their predecessors, who just happened to have limiting recording options. Take the first release from psych doom stoners, Wolf Blood from Burning World/Roadburn Records for instance.

 

Recorded at Sacred Heart by Jake Larson in Duluth MN, the band seems to be making waves in a cross section of scene, calling on the interest of outsiders from other niches. Result of hipster culture holding Wolf Blood in their filthy grasp? In this case, I say let them have it and hop on the Wolf Blood train with them. 

I was in their neighboring Wisconsin recently, and trust me, the festivals that go through there and how it’s supposedly the origin of Thrash Metal in America according to some stoner dude I met on the street (not true at all,) Minnesota they can handle a lot more metal culture inside the scene and out. 

A powerful portrait is constructed in the first track ‘Witch,’ of a vengeful woman, tied to a cross and set a blaze. Lighting the precedent for this psychedelic, pagan blend of doom, Wolf Blood let the bass groves hang low and heavy, keeping the vocals to a happy medium. The solitary instrumental track, ‘Ochro Ologo’s’ menacing force pummels it’s way forward, paving the way for ‘Black Moon,’ which contains my favourite riff of the album. When you hear it, you’ll know. That driving force is relentless. If played to a different tuning, it could have been a Razor riff. 

‘Dancing On Your Grave’ was catchy as hell and remains my favourite on the album. Brian’s bass is prominent and playful. Jake’s wavering vocals sound semi-submerged as he handles the kit masterfully. Each guitar break leaves just enough space for the the next verse to flow or your head to bang in perfect rhythmic balance.

6 tracks long and an athame blade deep, Wolf Blood’s self-titled debut will fulfill your every need for raw, honest riffage, bass heavy mystery and properly recorded drums that don’t sound like plastic over everything else. For fans of Electric Wizard, Uzala, Mala Suerte, Acid King, Dopethrone and Demon Lung, check this band out! I have high hopes for them. 

 

9/10

Wolf Blood on Facebook

 

CHRISTINE HAGER


Midnight Masses – Departures

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Former …And You Will Know Us By The Trail Of Dead member Jason Reece is well known for being an Indie Rock enfant-terrible, destroying equipment and playing squalling discordant alt rock á la Sonic Youth. Yet with Midnight Masses, Reece has looked to produce more gentle, soulful material which still beats with the same black heart of his main act.

 

Manifesting in 2008, Midnight Masses have been labelled with many genres such as ‘Gothic Americana’ and ‘Grunge Gospel Folk Rock’. Truly there is no easy way to encapsulate this band into a catchy genre sound bite, and they are all the better for it. Singer Autry Fulbright’s take on his band’s multifaceted sound is “The sound of a city… In the middle of a desert” whatever that means.

 

Amassing over 14 members, Midnight Masses weave hazy psychedelic landscapes with some 1960’s atmospherics, Gospel vocal passages and Krautrock textures. Think Josh Homme, Neu! and Unkle jamming under an isolated desert sky and you’ll be close. As experimental as this all sounds, there are some very catchy tunes on Departures (Superball/Century Media),‘All Goes Black’ has a beautifully catchy chorus despite the melancholy overtones that permeate its every nuance. Since Fulbright wrote their debut to cope with the loss of his father, several other members of the group also experienced the loss of loved ones which accounts for the largely solemn feel.

 

Introspective and indulgent, painting with a myriad of styles Departures occasionally loses its way. When following the path of gothic alt rock on ‘Am I A Nomad’ or the surprisingly upbeat ‘Clap Your Hands’ provide a much levity from navel gazing to produce moments of true beauty. Undeniably talented, the overall impact is blighted by a lack of cohesion, leaving the mind able to wonder aimlessly when it should be focussed on the journey ahead.

 

Grief and loss have made some truly extraordinary records, yet the lack of clear direction towards either big city lights of earthy rural darkness leaves us somewhere in no man’s land.

 

6.0/10.0

Midnight Masses on Facebook

 

ROSS BAKER


Man’s Gin – Rebellion Hymns

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Mans-Gin-Rebellion-HymnsAfter picking up Man’s Gin’s new record Rebellion Hymns at Maryland Deathfest while Erik Wunder took Cobalt on the road for the first time, I couldn’t wait to get home and play it. Their first album Smiling Dogs was an interesting beginning, though less complete than the new album upon first listen, a fact I attribute to the maintenance of a more extensive band line-up this time around. Their latest release through Profound Lore Records seems to have taken their compositions to the next level and blends so much into one tantalizing record; it’s difficult to know where to start if not the beginning.Continue reading →


Dark Buddha Rising – Dakhmandal

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Dark-Buddha-Rising-Dakhmandal-artworkThe fifth studio album from Finnish drone trio Dark Buddha Rising is intense, psychedelic and laden with doom. You won’t listen to this record as much as you will experience it; it’s a challenging voyage to set sail on, but is richly rewarding for those willing to commit from start to finish.Continue reading →