JOVM celebrates Ozzy Osbourne’s 73rd birthday.
Last summer, Toronto-based psych rock duo Lammping — vocalist and multi-instrumentalist Mikhail Galkin and drummer Jay Anderson — released their critically applauded full-length debut Bad Boys of Comedy. Bad Boys of Comedy featured teh noise rock meets shoegazer rock “Greater Good,” a perfect example of their difficult to categorize take on psychedelia, inspired by Tropicalia, Turkish psych pop, old-school New York boom bap hip-hop and Crosby, Stills, Nash and Young.
Shortly after Bad Boys of Comedy‘s release, the Toronto-based psych duo started working on new material that found them pushing the boundaries of psych music in bold, new directions: while still rooted in Anderson’s thunderous drumming and Galkin’s melodic riffs, the duo have added sampling, drum machines and a variety of instrumentation to their sonic palette. The duo’s sophomore album Flashjacks is equally indebted to the likes of Stereolab, De La Soul, Kraftwerk, Black Sabbath, Blue Cheer and Sleep. The end result is material that finds the Canadian duo eschewing cliched stoner and psych rock tropes while pushing towards a new path in terms of creating heavy music.
Flashjack‘s latest single “Lammping” is a strutting mix of fuzzy 60s psych rock and 70s melodic AM rock paired with hi-hat driven boom bap-like drumming, enormous hooks and an expansive song structure. While seeming describing tripping on hallucinogens, the song is thematically a mission statement of sorts with the band continuing to push heavy music into a new and mischievous direction.
Flashjacks is slated for a summer release through Echodelick Records. Be on the lookout.
Toronto-based psych rock duo Lammping — vocalist and multi-instrumentalist Mikhail Galkin and drummer Jay Anderson — released their critically applauded full-length debut Bad Boys of Comedy last summer. The album, which featured the noise rock meets shoegazer-like “Greater Good,” helped the band establishing a fresh and eclectic approach to psychedelia while eschewing easy categorization, with the material drawing from Tropicalia, Turkish psych, New York boom-bap hip hop beats and Crosby, Stills, Nash and Young.
Shortly after the release of Bad Boys of Comedy, the Canadian psych rock duo started working on a new batch of songs, songs that found the duo further pushing the boundaries of psych music in new directions. While their newest material is still rooted in Anderson’s thunderous drumming and Galkin’s melodic riff, the duo have added samples, drum machines and some expanded instrumentation, adding to their overall sonic palate. The end result, New Jaws EP is equally indebted to Stereolab, De La Soul, Kraftwerk, Black Sabbath, Blue Cheer and Sleep. As the duo explain in press notes, the EP serves as a bridge to their sophomore, full-length album an effort that reportedly will find the Canadian duo eschewing cliched stoner and psych rock tropes while attempting to find a new path in heavy music.
“Jaws of Life,” New Jaws EP‘s latest single is a trippy song centered around a morphing and mind-bending song structure: the song’s heavy metal-like first half is centered round Anderson’s thunderous drumming, Galkin’s fuzzy, Black Sabbath-like riffs and distorted vocals. But roughly half way through the song, it quickly turns into a jazzy and lysergic jam featuring twinkling keys, and an extended, wah wah pedaled guitar solo. Sonically, the track is a heady synthesis of 70s AM rock, psych rock and grunge with enormous hooks.
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.
Throughout the past handful of years of this site’s 10-plus year history, I’ve spilled quite a bit of virtual ink covering the Los Angeles, CA-based JOVM mainstays Here Lies Man. The act, which was founded by Antibalas’ Marcos Garcia and Geoff Man has developed and honed an attention-grabbing sound that aesthetically (and seamlessly) bridges Fela Kuti Afrobeat grooves with classic Black Sabbath and Led Zeppelin-era, power chord-fueled rock through their first three albums — 2017’s self-titled debut, 2018’s You Will Know Nothing and last year’s No Ground to Walk Upon, as well as an EP Animal Noises.
The Los Angeles-based JOVM mainstays’ fourth album Ritual Divination reportedly finds the band crafting arguably 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.” Interestingly, Ritual Divination is the first album recorded as a full quartet, featuring JP Maramba (bass) and Doug Organ (keys).
Here Lies Man’s fourth album continues their ongoing concept of the band writing and crafting the soundtrack to an imaginary movie with each song being a 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.” And 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.” But unlike their previously released material, the band actively giving attempting to give the album a live, dynamic feel — with the band eschewing the fuzz pedals and going for a much more direct approach.
“I Told You (You Shall Die)” Ritual Divination’s swaggering first single is an trippy 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. And unlike their previous material, “I Told You (You Shall Die)” reveals a rawer, more forceful sound than ever before.
Ritual Divination is slated for a January 22, 2021 release through their longtime label home RidingEasy Records.
Over the past handful of years, I’ve spilled quite a bit of virtual ink covering Portland, OR-based doom metal act and JOVM mainstays R.I.P. And as you may recall, with the release of their first two albums, 2016’s In The Wind and 2017 ‘s Street Reaper, the Portland-based doom metal act quickly established a grimy, punishing and depraved take on metal that they dubbed Street Doom.
The Portland-based JOVM’s long-awaited, third album Dead End is slated for an October 9, 2020 release through RidingEasy Records, and the album’s sound is the result of the band going through a massive lineup change that involved the addition of a much more aggressive rhythm section. while also drawing from a broader and more diverse array of influences, including John Carpenter films, grungy professional wrestling and lo-fi hip-hop among others. In many ways, the album’s material is a decided move away from their earliest influences — i.e., Pentagram and Saint Vitus — and yet it may arguably be the most hook-driven batch of songs of their growing catalog. However, despite all of the other changes, R.I.P.’s thematic concerns have remained the same as always: death, insanity — and leather.
So far I’ve written about two of Dead End’s previously released singles — the Black Sabbath-like “Out of Time,” and the Headbanger’s Ball/Kill ‘Em All Metallica-like album title track “Dead End.” Dead End’s third and latest single “Moment of Silence” is another Headbanger’s Ball-inspired ripper, centered around enormous power chords, howled vocals and a mosh pit friendly hook — but with a cinematic quality that belies the scuzz and grime. d
Crown Lands is a rising Oshawa, Ontario, Canada-based rock duo — Cody Bowles (vocals, drums) and Kevin Comeau (guitar, bass, synths) — that can trace its origins back to 2014, when the duo met. Bonding over a shared love and passion for music, Bowles and Comeau quickly became best friends and started jamming together in a local barn. And although they switched up instruments, they never strayed from writing, recording and performing as a duo.
The duo’s name manages to be forcefully indicative of their ambitions and intentions. Crown Land is territorial area belonging to a monarch — or as Bowles puts it: “Crown Land is stolen land and we are reclaiming it.” The band’s overall mission is to represent a sense of empowerment for marginalized communities through their music and their work’s thematic concerns and lyrical content. People are going to listen to you, so you may as well say something that matters,” Crown Land’s Kevin Comeau says in press notes.
Since their formation, the band has released three EPs 2016’s Mantra, 2017’s Rise Over Run, this year’s Wayward Flyers, Volume 1 and their Dave Cobb-produced self-titled full-length debut, which was released earlier this month. So far the band has released three singles off the album — “Spit It Out,” ‘Howling Back” and the righteous indignation-fueled, arena rock anthem “End of the Road,” a passionate cry for awareness and action surrounding the status of missing and murdered Indigenous womxn, girls and two-spirits across their native Canada and elsewhere.
Centered around an expansive yet radio friendly song structure, enormous bluesy power chords, thunderous drumming, Bowles’ rock god vocals and a swaggering arena rock friendly vibe, Crown Lands’ latest single is the Led Zeppelin and Black Sabbath-like “Leadfoot,” a song perfect for playing as loudly as humanly possible while displaying your own leadfoot. “’Leadfoot’ started as a cautionary tale about speeding but quickly became some sort of song about interstellar love,” Crown Lands’ Kevin Comeau says. “Lots of space and nature imagery keep the song from touching down into reality but the music is quite rooted in blues and glam rock. Is it about aliens? Is it about cars? Is it about aliens driving cars? Maybe. Either way, it’s a lot of fun to play.”
Directed by Blake Mawson, features the Canadian duo as a pair of sultry and badass rock gods, a badass classic car and a celestial chorus of sorts. Shot with COVID-19 restrictions in mind, the visual balances the health of everyone involved with some bold, ass-kicking ambition. “We wanted to get really ambitious and weird with this one, and Blake’s vision was perfect for what we wanted. It was the first post-COVID shoot for everyone involved, so that was interesting to work with those restrictions, but everyone was so happy to be back to work and eager to do a great job,” Cody Bowles recalls. “On set we had this whole warehouse studio booked and subdivided into different sets for the corresponding scenes in the video. My favourite moment would have to be when I was in the blue box room with the TV. It was this little cramped room setup where they told me to play with the space between myself and the fisheye lens, so I kinda went wild with it and of course I thoroughly enjoyed that, aha!”
With the release of their first two albums — 2016’s In The Wind and 2017’s Street Reaper — the Portland, OR-based doom metal act and JOVM mainstays R.I.P. quickly established their grimy, punishing, and depraved take on metal that they dubbed Street Doom.
Now, as you may recall, Dead End, the Portland-based JOVM mainstays’ long-awaited third full-length album is slated for an October 9, 2020 release through RidingEasy Records. The album sees the band going through a massive lineup change that has resulted in the addition fo a much more aggressive rhythm section — while also drawing from a more diverse array of influences including John Carpenter films, grungy professional wrestling and lo-fi hip-hop among others. The album also finds the Portland-based JOVM mainstays moving away from the early influence of Pentagram and Saint Vitus, but it may be among the most hook-driven of their growing catalog. Thematically, the album touches upon the same themes of its predecessors — death, insanity and leather.
Last month, I wrote about “Out of Time,” Dead End’s Black Sabbath-like first single, an incredibly accessible track that didn’t scrub away the sludge, slime and grime that has won them attention. The album’s second and latest single, album title track “Dead End,” is a Headbanger’s Ball-like ripper, centered around enormous power chord-driven riffs, rousingly anthemic hooks and howled vocals. Superficially, the track sounds like long-haired era Metallica — but while being sounding as though it could have been part of the soundtrack of a John Carpenter film.
With the release of their first two albums — 2016’s In The Wind and 2017’s Street Reaper — the Portland, OR-based doom metal act and JOVM mainstays R.I.P. quickly established their grimy, punishing, and depraved take on metal that they dubbed Street Doom. Now, that many of us are sheltering in place and maneuvering through a dystopian and kleptocratic hellscape, their work’s thematic concerns seems frighteningly prescient.
Dead End, the Portland-based JOVM mainstays’ long-awaited third full-length album is slated for an October 9, 2020 release through RidingEasy Records. Dead End sees that be band going through a lineup change that has resulted in the addition of a more aggressive rhythm section — while drawing from a more diverse range of influences including John Carpenter films, grungiest professional wrestling and lo-fi hip-hop among others. Moving a bit further away from the influence of Pentagram and Saint Vitus, the album may be the most hook-driven of their growing catalog but while still thematically touching about death, insanity — and leather. Additionally, the material’s overall feel was inspired by West Coast tours with Electric Wizard and Red Fang and a month-long headlining tour of Europe.
“Out of Time,” Dead End’s blistering first single is centered around Black Sabbath-like riffs, enormous arena rock friendly hooks, thunderous drumming and a sneering punk rock air. While still thematically focusing on the prototypical doom metal themes of death, insanity, sick societies on the verge of collapse and the like, “Out of Time” manages to be accessible without scraping off the sludge, slime and grime that has won them attention.