Tag: Black Sabbath

The up-and-coming Seattle, WA-based quartet Thunderpussy, comprised of Molly Sides (vocals), Whitney Petty (guitar), Leah Julius (bass) and Ruby Dunphy (drums), quickly exploded into the national scene with co-signs from Rolling Stone and Pearl Jam’s Mike McCready and for a string of attention-grabbing, critically applauded live shows. And if you’ve been frequenting this site over the past few months, you’d recall that I wrote about their incredibly assured, ass-kicking and name-taking, power-chord Led Zeppelin, Black Sabbath and Joan Jett anthem “Speed Queen.”

“Velvet Noose,” is the much-anticipated, bluesy follow up to “Speed Queen,” that features a blistering “Evenflow“-like guitar solo from Pearl Jam’s Mike McCready, twinkling keys, thundering drumming and arena rock friendly hooks — and while further cementing the quartet’s reputation for straightforward yet incredibly assured power chord-based rock, the song manages to be roomy enough to prominently display Sides’ Janis Joplin meets Wilson sisters-like vocals.

The band is currently in the studio with Sylvia Massy, who’s worked with Johnny Cash and Tool, working on new material that will be released in 2018 — and based on “Speed Queen,” and their latest single, I suspect that you’ll be hearing quite a bit about these ladies over the course of the following year.

 

New Video: WINDHAND Releases Ominous Visuals for Doom-Laden New Track “Old Evil”

Currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums), the Richmond, Virginia-based doom metal band WINDHAND was founded back in 2009, and with their 2010 practice space, two track CD, the band quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath.  2012 saw the release of the doom metal band’s self-titled debut, which became an underground hit and sold out of multiple vinyl pressings within a few months. 

By the following year, the Virginia-based doom metal band signed to Relapse Records and after a busy touring schedule, they collaborated with fellow Richmond-based band Cough on a split single “Reflection of the Negative,” which was released to critical praise from the likes of Pitchfork and others. Building upon the growing buzz around them, the members of WINDHAND released their sophomore effort Soma to critical applause and attention from Stereogum, Spin, LA Weekly, Revolver, Invisible Oranges, MetalSucks, Metal Injection, Rolling Stone and NPR — with Pitchfork naming the album as one of the third best metal releases of the year. Adding to a growing profile, the band also spent the course of 2013 and 2014 touring throughout North America, Europe and Australia with Sleep, High on Fire, Dead Meadow and Kvelertak, as well as playing a number of major festivals including Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest, before ending that period with a split album with Swedish doom metal act Salem’s Pot, an effort praised by Noisey. 

2015 saw the release of the band’s Jack Endino-produced, third full-length album, Grief’s Internal Flower and unsurprisingly, the album, which featured album singles Crypt Key.” and “Two Urns” further cemented the Richmond, VA-based  reputation for crafting punishing, sludgy, and murky dirges with enormous power chords. 

Now, it’s been some time since I’ve personally written about WINDHAND but interestingly enough, they’ll be releasing a split album with fellow Virginians Satan’s Satyrs, which Relapse Records will release in February 2018, and the split album’s first single is the blistering, forceful and mosh pith worthy “Old Evil” which prominently features thundering drumming, some impressive, psych rock meets metal god-guitar work and soaring, anthemic hooks that belie the lurking evil within the song. 

Edited by by Jordan Vance, the recently released video for “Old Evil” features footage of the band shot as though it were filmed don film negatives, superimposed over equally ominous footage of nuns by Stonehenge, mountains that seem to undulate before the viewers eye, collapsing icecaps and the like. 

New Video: Badass Ladies Badass Bikes and Dive Bars in New Video for Thunderpussy’s “Speed Queen”

Comprised of Molly Sides (vocals), Whitney Petty (guitar), Leah Julius (bass) and Ruby Dunphy (drums), the up-and-coming Seattle, WA-based quartet Thunderpussy quickly exploded into the national scene with co-signs from Rolling Stone and Pearl Jam‘s Mike McCready, as well as string of attention-grabbing, blistering live shows.  And from their latest single, the incredibly self-assured, ass-kicking and name-taking “Speed Queen,” the buzz around the Seattle-based quartet is well-deserved, as they specialize in sultry, scuzzy and anthemic power chord-based rock that seems to be inspired by Led Zeppelin, Black Sabbath and Joan Jett, among others.

As the band notes, their latest single is a motorcycle love story that mirrors and draws from the relationship between Whitney Petty and Molly Sides. Petty adds, “I got the title from an old coin laundry joint in Seattle that was full of high powered dyers labeled ‘Speed Queen.’ I always imagined a ‘Speed Queen’ as this mythical character with a checkered past, who led a female motorcycle gang. Then when I started writing the song, it became clear that I was writing about my partner — Molly Sides.”

The band is currently in the studio with Sylvia Massy, who’s worked with Johnny Cash and Tool, working on new material that will be released in 2018 — and based on “Speed Queen,” you’ll be hearing quite about these ass kicking ladies. But in the meantime, the recently released Cheryl Ediss’ directed video for “Speed Queen” features incredibly cinematic and 70s B movie-inspired visuals of bad ass ladies in a divey motorcycle bar drinking and fighting before its central couple meet cute and seduce each other, and escape on a wild motorcycle ride, because of course! 

Over the past month, you may have come across a couple of posts featuring the  Stockholm, Sweden-based psych rock band Marble Mammoth. Featuring members, who have played in The Unisex, and have collaborated with  The MC5s Mike Davis and The Hellacopters‘ and Imperial State Electric’s Nicke Anderson, the band quickly developed a reputation across their native Sweden for a sound that meshes the bluesy power chords of Led Zeppelin with the dreamy, psychedelia of the likes of Tame Impala — although “Wrecked Ship” reminded me of JOVM mainstays Goat and Black Sabbath, thanks to some blistering guitar pyrotechnics paired with soaring organ chords and rousingly anthemic hooks.

The act followed “Wrecked Ship,” with the gritty and anthemic prog rock-like single “Glitter Amongst Gravel,” which featured some incredible guitar pyrotechnics and an expansive and ambitious song structure, complete with twisting and turning organ chords. However, their latest single “Girl of a 1000 Thrills” while drawing from similar sources as their preceding singles is a bit of a sonic left turn for the Swedish psych rockers as it sounds as though it were influenced by Deep Purple and Steppenwolf but with a subtly modern twist reminiscent of the RidingEasy Records roster.

 

 

New Audio: Here Lies Man Releases a Psych Rock Cover of Fela Kuti’s “Sorrow Tears and Blood”

With the release of their self-titled full-length debut earlier this year, the Los Angeles, CA-based act Here Lies Man founded by Marcos Garcia, who was a member of renowned Afrobeat act Antibalas and featuring fellow Antibalas bandmates Chico Mann (guitar, vocals) and Geoff Mann (drums), along with Rich Panta (percussion), JP Maramba (bass) and Kris Casto (organ), have developed a reputation for a sound that seamlessly bridges classic, Fela Kuti-era Afrobeat with classic, Black Sabbath and Led Zeppelin-era rock. 

Building upon a growing national profile, the band will be releasing a 12 inch EP Animal Noises, which is slated for release on Friday through RidingEasy Records, and the EP’s first single is a psych rock cover of Fela Kuti’s “Sorrow, Tears and Blood” that manages to retain the song’s melody and furious outrage while turning into an blistering, arena rock-friendly jam. 

New Video: The Psychedelic Grooves and Visuals of Boy Azooga’s “Face Behind Her Cigarette”

Coming from a rather musical family — with one of his grandfathers playing drums for the Royal Marines, his father, a violinist and his mom, a clarinetist, who both played and met in the BBC National Orchestra of Wales, Davey Newington is a Cardiff, Wales, UK-based singer/songwriter and multi-instrument, who’s known as the creative mastermind of indie rock/psych rock act Boy Azooga, a solo recording project that derives its name from the 1994 major motion picture, The Little Rascals. Interestingly, Newington, who took up drums when he had turned 6 and played in a number of Welsh orchestral and jazz bands as a teenager. 

As the story goes, Newington had an art teacher, who sent the then-aspiring musician off to town to buy Can’s Ege Bamyasi but along with that, Newington cites the like of Sly & The Family Stone, Caribou, Black Sabbath, Outkast, Van McCoy and The Beastie Boys among others as influences on him and his own work. For live shows, Newington recruited friends Daf Davies, Dylan Morgan and Sam Barnes, and as a quartet the band can reportedly shift from psych rock, krautrock, and shoegaze within a turn of a phrase. In fact, their latest single “Face Behind Her Cigarette” to my ears manages to nod at the dance floor friendly, psych pop of In Ghost Colours-era Cut Copy and the motorik grooves of Can but with a breezy, hook laden, almost dance floor friendly air; however, as Newington notes, the song nods to Hot Butter’s 1972 smash, synth pop album Popcorn and Nigerian funk legend William Onyeabor. “This song is basically just a celebration (rip off) of the late great William Onyeabor,” Newington explains. “I wanted the percussion to be purposefully a bit too loud, maybe by the usual standard. Loads of Onyeabor’s percussion is blaring in the mix, but it makes it sound so live and feely. I wanted to create that feeling of being in the room where the music is being played.”

The recently released music video features the band playing over some superimposed psychedelic and retro-futuristic imagery and effects — and in some way it possesses a delightfully cheesy DIY vibe. 

New Video: The Lysergic Visuals and Sounds of Stockholm’s Marble Mammoth

Marble Mammoth is a Stockholm, Sweden-based psych rock band that features members, who have played in The Unisex and have collaborated with The MC5s Mike Davis and The Hellacopters’ and Imperial State Electric’s Nicke Anderson — and with the recent release of their self-titled EP, the band has quickly developed a reputation for a sound that meshes the bluesy power chords of Led Zeppelin with the dreamy, psychedelia of the likes of Tame Impala — although the band’s latest single “Wrecked Ship” reminds me much more of JOVM mainstays Goat and Black Sabbath as the song features some blistering guitar pyrotechnics paired with soaring organ chords and anthemic hooks, but within an expansive, twisting and turning song structure that nods at voodoo, Latin rock and psych rock, while lyrically the song evokes the anxious awareness that the end is coming — and quickly.

Directed and edited by Milja Rossi, the recently released hallucinatory video for the song features the black clad members of the band performing the song near a lake in glorious sunshine and quick cuts to volcanos erupting, explosions and other natural phenomenon shot at weird angles to evoke an abstractness and the influence of hallucinogens. 

The Los Angeles, CA-based desert punk act, ExSage is essentially the solo, recording project of its creative mastermind, primary songwriter, multi-instrumentalist and frontwoman Kate Clover, who throughout the project’s run has chosen local musicians as part of her touring band, although with the project’s recently released sophomore EP, Total Devotion, Clover has specifically chosen an all female backing band. As it turns out, Clover had initially overlooked being the only woman member of the project, and she believes that it’s a highly symbolic (and necessary) change, that she hopes will inspire women to pursue what they believe in — especially grabbing instruments and kicking ass.

Interestingly, the project’s sophomore EP was inspired by a midnight drive through the Los Angeles area and she was driving, she heard Suicide’s “Ghost Rider” on a left-of-the-dial radio station. Returning home, Clover feverishly wrote new material — with a deeply personal mission: to be true to herself, no matter the cost. Additionally, the material on the EP is reportedly inspired by the work of PJ HarveyLet Love In-era Nick Cave and Black Sabbath while lyrically, the material draws from French Surrealistic poetry — namely the work of Charles Baudelaire and Arthur Rimbaud. And although  “Under Your Spell,” the EP’s first single is inspired by Suicide, sonically the song to my ears, reminds me much of Only in Dreams and Too True-era Dum Dum Girls, PJ Harvey and Josh Homme’s renowned Desert Sessions compilation, thanks to a blazing psych rock meets stoner rock-like power chord-based turn towards the song’s last one-third, but the song is under-pinned by a urgent and insatiable desire.

 

New Audio: Portland-based JOVM Mainstays R.I.P. Return with a Blistering and Feral New Single

Over the past year or so, the Portland, OR-based doom metal quartet, R.I.P has added themselves to a lengthy and eclectic list of mainstay artists I’ve written about throughout the history of this site. And as you may recall, the Portland-based doom metal quartet have long operated off the belief that heavy metal crawled up out of the gutter, where it writhed to life in the grit and grime of the streets — and unsurprisingly, the band dubbed their scuzzy and grimy approach to doom metal as “street doom;” however, interestingly enough if you heard Black Leather” and “Tremble,” off their full-length debut In The Wind, the band’s sound seemed to be indebted to  Black Sabbath, Led Zeppelin, Hawkwind and Soundgarden.

Street Reaper, R.I.P.’s highly-anticipated sophomore effort is slated for an October 13, 2017 release through RidingEasy Records, and the album is reportedly inspired by Rick Rubin‘s legendary and influential 80s productions — think The Beastie Boys, Run DMC and LL Cool J among others — and Murder Dog Magazine, and as a result, the members of the band have crafted material with a streamlined and punishingly,  raw ferocity,  meant to evoke the days when metal and hip-hop were reviled by the mainstream the work of thugs intent on destroying the very fabric of America and its youth. And unlike their debut, Street Reaper reveals a subtly expanded songwriting approach, rooted in their belief that doom metal shouldn’t be pigeonholed into a particular tuning or time signature but rather, a particular mood that inspires doom — in this case, terror, uncertainty, chaos, war, etc. 

Unsurprisingly, the material on Street Reaper is influenced not by doom metal’s typical sci-fi, fantasy or mysticism but within an inescapable, horrible and fearful present, full of what seems to be the impending collapse of democracy as we know it in the US, of economic failure, dwindling resources, increasing inequity and inequality, nuclear war, civil war, and a primal fight for survival; in fact, album single “The Other Side” may have arguably been the the Portland-based band’s most blistering and impassionaied playing — and while it may be a desperate howl into a growing void, there’s a feral urgency within the material that sets them apart from their contemporaries. 

“Unmarked Grave,” continues in a similar vein as its predecessor as it features  blistering, impassioned, face-melting power chords, a motorik groove, forceful drumming, an arena friendly hook and howled vocals, and while being equally urgent, the material manages to sound as though it were indebted to Badmotorfinger-era Soundgarden, Queens of the Stone Age and Ozzy Osbourne, complete with a sweaty, whiskey and hallucinogen-fueled frenzy. 

New Audio: Monolord Returns with a Sludgy Yet Subtle Expansion of Their Sound

The Gothenburg, Sweden-based doom metal trio Monolord has become a JOVM mainstay over the past 15-16 months, and as you’d likely recall the trio, comprised of Thomas Jäger, Esben Willems, and Mika Häkki can trace their origins back to 2013, when its founding members Jäger and Willems, started the band as a side project that gave them the opportunity to play much heavier and darker material away from their primary gig as members of boogie rock outfit Marulk. Jäger and Willems then recruited Häkki, best known for stints in The Don Darlings and Rotten Sound to complete the band’s lineup and to flesh out their sound. And while the trio was writing and recording their critically applauded debut Empress Riding, they discovered they had a special creative chemistry that necessitated making the project a full-time gig; but interestingly enough, the project also marks the first time that Jäger has taken vocal duties.

2015’s sophomore effort Vænir resulted in the band receiving a growing national and international project, and they built upon that buzz with the “Lord of Suffering”/”Die in a Haze” 10 inch single, which they released last year and as you may recall, “Die in a Haze,” featured sludgy, dirge-like power chords paired with thunderous drumming within an enveloping mix, while Lord of Suffering” managed to nod at space rock and psych rock — in fashion that reminded me of  Black Sabbath‘s “Planet Caravan.”
The “Nirvana of doom” as their fans have referred to them will be releasing their third full-length album Rust through RidingEasy Records on September 29, 2017 and as the band’s Esben Willems says in press notes, “A heavy groove that contains both bombastic overkill and a lot of dynamics is what we always aim for in Monolord; in playing, in song writing and arranging, in recording.” The album’s first single and title track “Rust,” which featured guest spots from Mondo Drag‘s John Gamino on keys and Beastmaker’s Trevor Church, who contributes an incredible guitar solo towards the end of the song further cemented the Swedish’s trio reputation for crafting slow-burning, sludgy and forceful metal but upon repeated listens, the song reveals that the band has been subtly expanding upon their overall sound and songwriting as it possesses an expansive vibe with an oceanic heft. “Where Death Meets the Sea,” Rust’s second and latest single continues in a similar vein as its predecessor as its possesses an oceanic heft, which is unsurprising considering the song’s title, complete with sludgy power chords and thundering drumming but it reveals impressive guitar work within an slow-burning yet expansive song structure. And at the end of the day, Rust’s first two singles will remind listeners that the band is one of the world’s best doom metal bands.