Category: stoner rock

New Audio: Permanent Records and RidingEasy Records Release a Party Starting Anthem off Their Forthcoming “Brown Acid: The Thirteenth Trip” Compilation

Throughout the course of this site’s 11-plus year history,  Permanent Records’ and RidingEasy Records‘ ongoing collaborative proto-metal and pre-stoner rock compilation series from the 1960s and 1970s, Brown Acid have been regularly featured. Now, as you may recall, each individual edition of the ongoing series is centered around RidingEasy Records founder Daniel Hal’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation with Hall and Barresi spending a great deal of time attempting to track down the artists behind these great yet sadly under-appreciated tunes. 

Frequently those bands haven’t written, played or recorded together in 30 or 40 years — but Barresi and Hall encourage the bands to take part in the compilation process. “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten,” Lance Barresi explains in press notes. “However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Having the original artists participate as much as humanly possible in the compilation process can give the artists and their songs a real second chance at the attention they had the misfortune of missing all of those years ago. And of course, for critics, audiophiles and fans alike, the material on the Brown Acid series will do three very important things: 

  • introduce listeners to some great, sadly under-appreciated tunes that fucking rip or will melt your face right off 
  • fill in the gaps of what was going on in and around regional, national and even international underground scenes during the 60s and 70s
  • push the boundaries of proto-metal, proto-stoner rock, metal and stoner rock in new directions. 

The 13th edition of the Brown Acid series, Brown Acid: The Thirteenth Trip is fittingly slated for an October 31, 2021 release. Continuing in the path of its 12 predecessors, The Thirteenth Trip sees Barresi and Hall somehow digging even deeper into a very deep well of material recorded throughout the 60s and 70s — and discovering tunes still rip and rip hard.

Last month, I wrote about The Thirteenth Trip‘s first single, the hard charging and groovy, arena rock friendly ripper “Run Run” by  Montreal-based outfit Max. Technically credited as Gary Del Vecchio with Max — not the band from Montreal — the compilation’s second single “Buzzin” begins with what sounds like an in-studio party full of guffaws, yelps and chatter and is centered around a Led Zeppelin Heartbreaker“-like funky blues riff, rollicking rhythmic changes and a chugging bass line. Simply put “Buzzin'” is a party-starting anthem.

New Audio: Permanent Records and RidingEasy Records Release a Groovy Ripper off the Forthcoming “Brown Acid: The Thirteenth Trip” Compilation

Throughout the course of this site’s 11-plus year history,  Permanent Records’ and RidingEasy Records‘ ongoing collaborative proto-metal and pre-stoner rock compilation series from the 1960s and 1970s, Brown Acid have been regularly featured. Now, as you may recall, each individual edition of the ongoing series is centered around RidingEasy Records founder Daniel Hal’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation with Hall and Barresi spending a great deal of time attempting to track down the artists behind these great yet sadly under-appreciated tunes.

ears — but Barresi and Hall encourage the bands to take part in the compilation process. “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten,” Lance Barresi explains in press notes. “However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Having the original artists participate as much as humanly possible in the compilation process can give the artists and their songs a real second chance at the attention they had the misfortune of missing all of those years ago. And of course, for critics, audiophiles and fans alike, the material on the Brown Acid series will do three very important things:

introduce listeners to some great, sadly under-appreciated tunes that fucking rip or will melt your face right off
fill in the gaps of what was going on in and around regional, national and even international underground scenes during the 60s and 70s
push the boundaries of proto-metal, proto-stoner rock, metal and stoner rock in new directions.

slated for an October 31, 2021 release. Continuing in the path of its 12 predecessors, The Thirteenth Trip sees Barresi and Hall somehow digging even deeper into a very deep well of material recorded throughout the 60s and 70s — and discovering tunes still rip and rip hard.

Initially starting out as Dawn, before Tony Orlando and Dawn forced a name change, the Montreal-based outfit Max kicks off the lead-up to the album’s release with “Run Run,” off their lone 1970 single. “Run Run” is a hard charging and groovy ripper featuring Bonham-like drumming, crunchy power chords and some soulful wailing splashed with a little bit of reverb and some enormous, arena rock friendly hooks. The end result — to my ears, at least — is a song that will bring Are You Experienced? era Jimi Hendrix, Led Zeppelin 1 and early Black Sabbath to mind.

Sadly, the band didn’t last long: The band suffered through poor management and various other factors, so according to guitarist Gerry Markman, the single is the only surviving document of the band and their existence. But even so, this one rips and roars with intent and purpose.

New Video: Spelljammer Releases a Trippy and Brooding Visual for Bruising “Abyssal Trip”

The members of Stockholm-based doom metal/stoner rock act Spelljammer — currently, Niklas Olsson (vocals, bass), Robert Sorling (guitar) and Jonatan Remsbo (drums) — have developed and honed a unique, attention grabbing sound rooted in their penchant for sludgy, power chord riff-driven dirges with dramatic interludes.

Spelljammer’s third album, 2015’s Ancient of Days was in many ways a rebirth of sorts for the band: it was their first recorded output as at trio — and sonically, the album was a decided move towards a heavier, doom metal-leaning sound. Lyrically, the album was inspired by Swedish author and Nobel laureate Harry Martinson’s epic poem “Aniara,” in which a spaceship leaving an uninhabitable Earth is hurtled off course, sending its thousands of passengers on a steady course in the wrong direction — and there’s nothing they can do about it. The poem ends with the spaceship’s passengers dying as the ship continues on its journey through the vast nothingness of the solar system. 

Released earlier this year through RidingEasy Records, Spelljammer’s fourth album Abyssal Trip is the first batch of new material from the Swedish doom metal band inver five years, and the album finds the band bridging their early desert rock/stoner rock leanings with their recent penchant for slow-burning, massive, sludgy riffs. Continuing Olsson’s long-held obsession with the vastness of everything, Abyssal Trip derives its name from the perpetually dark, cold, oxygen-free zone at the bottom of the ocean. Interestingly, the album’s six songs embody that bleak and dark realm with rumbling and oozing guitars and dramatic melodic interludes. But unlike the band’s previously released material, the album finds the band crafting material that slowly unfurls, which gives the album a brooding and hypnotic quality. 

“The lyrical themes we address, like the ultimate doom of man, and the search and longing for new and better worlds, are still there,” Olsson says. “The concept of something undiscovered out there in vast emptiness is pretty much always present.” Additionally, the band employed a much different recording process: the trio opted to capture the performances live while holed up in a house in the countryside, just outside of Stockholm. “The songs benefitted from the relaxed environment of being away from everything,” Olsson explains. 

Beginning with some ominous film dialogue discussing blood sacrifices, album title track and latest single “Abyssal Trip” is an unrelenting bruiser of a song, centered around rumbling down-tuned guitars, thunderous drumming and howled vocals. There’s a brief respite from that punishing dynamic through a scorching lead solo before the song ends with an abrupt jerk. The song evokes the vast and unfathomable power of nature — and its ability to crush everything and everything in its path. And as a result, the song seems like a desperate howl into the indifferent and uncaring void. 

The recently released video for “Abyssal Trip” features footage of the band performing the song in front of some trippy, lava lamp-like lighting and equally trippy stock footage of wintry forests, of diver struggling to survive in the ocean and more.

New Video: Stockholm’s Spelljammer Releases a Technicolor Fever Dream Visual for “Lake”

Stockholm-based doom metal/stoner rock act Spelljammer — currently, Niklas Olsson (vocals, bass), Robert Sorling (guitar) and Jonatan Remsbo (drums) have crafted a unique sound centered around a long-held penchant for massive, sludgy power chord riff-driven dirges with dramatic interludes.

2015’s Ancient of Days was the Stockholm-based act’s third release — and in many ways it was a rebirth of sorts: it was the band’s first recorded output as a trio and sonically the album represented a decided move towards a heavier, doom metal-leaning sound. Lyrically, the album was inspired by Swedish author and Nobel laureate Harry Martinson’s epic poem “Aniara,” in which a spaceship leaving an uninhabitable Earth is hurtled off course, sending its thousands of passengers on a steady course in the wrong direction — and there’s nothing they can do about it. The poem ends with the spaceship’s passengers dying as the ship continues on its journey through the vast nothingness of the solar system.

Spelljammer’s fourth release, Abyssal Trip is the first bit of new material from the acclaimed Swedish act in over five years, and the album reportedly finds the band bridging their earlier desert rock/stoner rock leanings with their more recent massive, slow-burning sludgy riffs. And while continuing Olsson’s long-held obsession with pondering the vastness of everything, Abyssal Trip derives its name from the perpetually dark, cold, oxygen-free zone at the bottom of the ocean. The album’s six songs manage to embody that bleak and dark realm with rumbling and oozing guitars and dramatic melodic interludes. But unlike its predecessors, the album finds the band crafting material that slowly unfurls, which gives the proceedings a hypnotic quality.

“The lyrical themes we address, like the ultimate doom of man, and the search and longing for new and better worlds, are still there,” Olsson says. “The concept of something undiscovered out there in vast emptiness is pretty much always present.”

Additionally, the album finds the band employing a much different recording process than previously releases: the members of the Swedish act opted to capture the performances live while holed up in a house in the countryside, just outside of Stockholm. “The songs benefitted from the relaxed environment of being away from everything,” Olsson explains.

Clocking in at a little under 7:30, “Lake,” Abyssal Trip’s expansive first single is centered around alternating sections of crushing, sludgy doom-laden dirge and menacing galloping thrash, a gorgeously shimmering, melodic break and a scorching guitar solo — and it’s all held together by mosh pit friendly hooks. “Lake” manages to find Spelljammer crafting a song that evokes the vastness and and power of a brewing storm over an enormous body of water — and the smallness and powerlessness of humanity.

The recently released video is a uneasy and hallucinogenic fever dream that features grainy Super 8 footage of a devil a technicolor field, pulsating to the oceanic sounds of the single.

Abyssal Trip is going to drop tomorrow release through RidingEasyRecords.

New Audio: JOVM Mainstays Here Lies Man Releases a Forceful New Ripper

Los Angeles-based JOVM mainstays Here Lies Man — Marcos Garcia (vocals, guitar), Geoff Mann (drums), JP Maramba (bass) and Doug Organ (keys) — will be releasing their fourth album Ritual Divination through their longtime label home RidingEasy Records later this month. Ritual Divination reportedly finds the band crafting what may arguably be the best rendering of their long established aesthetic The Los Angeles-based JOVM mainstays’ fourth album Ritual Divination reportedly finds the band crafting what arguably may the best rendering of their long-held aesthetic — Fela Kuti-inspired Afrobeat grooves paired with Black Sabbath and Led Zeppelin -like power chords — with heavier and bluesier guitars, while maintaining the rhythmic formula of the clave. “Musically, it’s an opening up to more traditional rock elements,” the band’s Marcos Garcia (vocals, guitar) explains in press notes. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.”

Interestingly, the album marks the first bit of recorded output from the band as a full-time quartet while continuing the band’s equally long-held songwriting concept: the band crafting the soundtrack to an imaginary movie int chic, each song applying to a particular scene of that movie. “It’s an inward psychedelic journey, the album is the trip,” Garcia says. “The intention and purpose of the music is to create a sonic ritual to lift the veil of inner space and divine the true nature of reality.” Ritual Divination’s material is self-reflexive but with song possessing its own narrative and emotional arc, rather than the trippy, trance-inducing jams of their previously released material.

Perhaps as a result of all of these changes, the album also finds the members of the Los Angeles-based JOVM mainstays eschewing the fuzz and distortion pedal driven riffs of their previously released material and focusing on a live, more dynamic feel and forceful sound.

Over the past few months, I’ve written about two of Ritual Divination’s released singles:

“I Told You (You Shall Die),” a lysergic ripper centered a mind-bending and expensive song structure featuring scorching Black Sabbath-like power chord riffs, Afrobeat-like polyrhythm and enormous, arena rock friendly hooks.
“Come Inside,” a sinister and menacing track centered round chugging power chords, a forceful motorik groove and chanted vocals darting in-and-around the song’s instrumentation.

Ritual Divination’s latest single “Collector of Vanities” continues an impressive run of forceful, Black Sabbath-like rippers featuring squiggling keys, thunderous drumming, chanted vocals and an rousingly anthemic hook. And much like its predecessor, the track finds the band seemingly conjuring evil spirits out of the ether.

New Audio: Stockholm’s Spelljammer Releases a Brooding and Forceful Ripper

Stockholm-based doom metal/stoner rock act Spelljammer — currently, Niklas Olsson (vocals, bass), Robert Sorling (guitar) and Jonatan Remsbo (drums) have crafted a unique sound centered around a long-held penchant for massive, sludgy power chord riff-driven dirges with dramatic interludes.

2015’s Ancient of Days was the Stockholm-based act’s third release — and in many ways it was a rebirth of sorts: it was the band’s first recorded output as a trio and sonically the album represented a decided move towards a heavier, doom metal-leaning sound. Lyrically, the album was inspired by Swedish author and Nobel laureate Harry Martinson’s epic poem “Aniara,” in which a spaceship leaving an uninhabitable Earth is hurtled off course, sending its thousands of passengers on a steady course in the wrong direction — and there’s nothing they can do about it. The poem ends with the spaceship’s passengers dying as the ship continues on its journey through the vast nothingness of the solar system.

Spelljammer’s fourth release, Abyssal Trip is the first bit of new material from the acclaimed Swedish act in over five years, and the album reportedly finds the band bridging their earlier desert rock/stoner rock leanings with their more recent massive, slow-burning sludgy riffs. And while continuing Olsson’s long-held obsession with pondering the vastness of everything, Abyssal Trip derives its name from the perpetually dark, cold, oxygen-free zone at the bottom of the ocean. The album’s six songs manage to embody that bleak and dark realm with rumbling and oozing guitars and dramatic melodic interludes. But unlike its predecessors, the album finds the band crafting material that slowly unfurls, which gives the proceedings a hypnotic quality.

“The lyrical themes we address, like the ultimate doom of man, and the search and longing for new and better worlds, are still there,” Olsson says. “The concept of something undiscovered out there in vast emptiness is pretty much always present.”

Clocking in at a little under 7:30, “Lake,” Abyssal Trip’s expansive first single is centered around alternating sections of crushing, sludgy doom-laden dirge and menacing galloping thrash, a gorgeously shimmering, melodic break and a scorching guitar solo — and it’s all held together by mosh pit friendly hooks. “Lake” manages to find Spelljammer crafting a song that evokes the vastness and and power of a brewing storm over an enormous body of water — and the smallness and powerlessness of humanity.

Abyssal Trip is slated for a February 26, 2021 release through RidingE

New Audio: Elephant Tree’s Scorching Live Version of “Aphotic Blues” off “Day of Doom” Live Album

London-based doom metal/stoner rock quartet Elephant Tree — currently founding members Jack Townley (bass, guitar) and Sam Hart (drums) with Peter Holland (bass, vocals) and John Slattery (guitar, synths) – can trace its origins back to 2013: Townley and Hart would meet every week at a rehearsal space nestled behind the now demolished 12 Bar Club, where they actually started cobbling the first notes of what would eventually become their debut single “Attack of the Altacia.”

Townley and Slattery had a random encounter with Peter Holland, who had an almost mythical status in the scene at a local bar. After talking for a few hours, they all agreed that they should get together to jam. The idea was further cemented after the trio caught OM play at The Village Underground — with Holland taking bass duties, allowing Townley to switch to guitar. As a newly constituted trio, the members of Elephant Tree began polishing “Attack of the Altacia”‘s rough edges before progressing onto newer riffs and melodic ideas paired with Holland’s vocals. And yet, the trio felt something was missing from their sound — until they met Canadian-born Riley MacIntyre (guitar, sitar, vocals), who competed the band’s first lineup.

In 2015, Elephant Tree was handpicked by Magnetic Eye Records from an early demo submission that featured a unique blend of stoner rock, doom metal and sludge centered around a warm, syrupy fuzz and soaring vocal harmonies. Their debut effort Theia and 2016 self-titled effort wound up becoming two of the most popular records of the Magnetic Eye Records’ catalog.

Although the band has gone through a series of lineup changes, their third album, this year’s critically applauded Habits finds the band’s sound and stylistic range expanding to include elements of post-metal and acoustic folk paired with unconventional songwriting.

Last year, Magnetic Eye Records celebrated their first decade with the Day of Doom Showcase at Saint Vitus Bar, which featured nine of the label’s acts including the Swedish doom metal act DOMKRAFT and Elephant Tree. Much like DOMKRAFT’s Day of Doom set, the British quartet’s set was recored by Deafheaven‘s and Summoner’s Chris Johnson as part of a set of four exclusive live albums. Elephant Tree’s Day of Doom set is a career-spanning set of what Metal Injection describes as “gloomy atmosphere with head-bobbing grooves.”

“Aphotic Blues,” is the first single off Elephant Tree’s live album and the single is centered around syrupy and sludgy power chords, thunderous drumming, Alice in Chains-like harmonizing within an expansive song structure. And its all delivered with a snarling forcefulness.

New Audio: JOVM Mainstays Here Lies Man Return with a Menacing New Ripper

Throughout the course of this site’s 10-plus year history, I’ve managed to spill quite a bit of virtual ink covering Los Angeles, CA-based JOVM mainstays Here Lies Man. Founded by Antibalas‘ Marcos Garcia and Geoff Man Here Lies Man has developed and honed an attention-grabbing sound that aesthetically bridges Fela Kuti-like Afrobeat grooves with classic Black Sabbath and Led Zeppelin-era, power chord-fueled rock.

The Los Angeles-based JOVM mainstays’ forth album Ritual Divination reportedly finds the band crafting what arguably may the best rendering of their long-held aesthetic — with heavier and bluesier guitars while maintaining the rhythmic formula of the clave. “Musically, it’s an opening up to more traditional rock elements,” the band’s Marcos Garcia (vocals, guitar) explains in press notes. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.”

Ritual Divination marks the band’s first bit of recorded output as a full-time quartet, featuring JP Maramba (bass) and Doug Organ (keys). The album also continues their long-held and ongoing concept that has the band crafting the soundtrack to an imaginary movie with each song describing and being part of a parritucalr scene “It’s an inward psychedelic journey, the album is the trip,” Garcia explains in press notes. “The intention and purpose of the music is to create a sonic ritual to lift the veil of inner space and divine the true nature of reality.” As a result, the album’s material is self-reflexive: “On this album the feel changes within a song,” Garcia continues. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.”

Interestingly though, Ritual Divination finds the band focusing on a a live, more dynamic feel with the band eschewing the fuzz and distortion pedals of their previously released work. The end result is a much more direct and forceful approach as you would hear on the album’s first single “I Told You (You Shall Die),” which I wrote about earlier this year. The song was a lysergic ripper centered around scorching Black Sabbath-like power chords, Afrobeat-inspired polyrhythm, and enormous arena rock friendly hooks within an expansive, mind-bending song structure.

“Come Inside,” Ritual Divination’s second and latest single is lysergic haze of a song centered around chugging power chords, driving drumming and a motorik-like groove and chanted vocals darting in and around the song’s instrumentation. While continuing in a similar vein as its predecessor, “Come Inside” manages to possess a sinister air.

Ritual Divination is slated for a January 22, 2021 release through their longtime label home RidingEasy Records.

New Audio: Permanent Records and RidingEasy Records Release a Grungy Jam off Their Soon-to-Be Released “Brown Acid: The Eleventh Trip”

Throughout the course of this site’s 10-plus year history, Brown Acid, Permanent Records’ and RidingEasy Records‘ ongoing collaborative proto-metal and pre-stoner rock compilations from the 1960s and 1970s have become a regularly occurring biannual feature. Each individual edition of the series is based around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation with Hall and Barresi spending a great deal of time tracking down songs’ creators.

Frequently, those bands haven’t written, played or recorded together in more than 30 years — but they encourage the bands to take part in the compilation process. “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten,” Lance Barresi explained in press notes for the previous editions of the compilation. “However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Of course, having the original artists participate as much as possible in the compilation process can give the artists and their songs a real second chance at the attention they missed all of those years ago. And for critics and fans, the songs on the Brown Acid compilation series can often fill in the gaps within the larger picture of what was going on in and around both regional and national underground scenes at the time. The eleventh edition of the Brown Acid compilation series, Brown Acid: The Eleventh Trip is slated for release on October 31, 2020;

Much like its predecessors, the eleventh edition of Brown Acid finds Barresi and Hall digging even deeper into the well of material reduced to obscurity to find new jams we should all know and love. Brown Acid: The Eleventh Trip’s latest single, “Something Else” by Tacoma, WA-based act Adam Wind was originally released in 1969 — and the track, which sounds a bit like Jimi Hendrix Experience with is centered around Leroy Bell’s groovy crooning. propulsive cowbell-driven drumming and fuzzy power chords and a scorching acid-tinged solo. In some very small way, the track seems to presage both Mudhoney and Pearl Jam.