Tag: Sleep

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 StereolabDe La SoulKraftwerkBlack SabbathBlue 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.


New Audio: Perth Australia’s Mt. Mountain Releases a Hypnotic New Single

With the release of their first three albums, 2016’s Cosmos Terros, 2017’s Dust, 2018’s Golden Rise, the Perth, Australia-based psych rock quintet Mt. Mountain — Stephen Bailey (vocals, organ, flute), Thomas Cahill (drums), Glenn Palmer (guitar, synth), Brendan Shanley (bass) and Derrick Treatch (guitar) — developed and honed a sprawling, motorik-driven, minimal-as -maximal approach inspired by the likes of NEU! and CAN. And through a wildly all-consuming live show, the Aussie psych rockers have added their names to a an impressive list of contemporaries including Moon Duo, Kikagaku Moyo and Minami Deutsch while sharing stages with JOVM mainstays King Gizzard and The Lizard Wizard, ORB, Sleep, MONO, Thee Oh Sees, Acid Mothers Temple and the aforementioned Moon Duo.

The Aussie quintet recently signed to London-based Fuzz Club Records, who will be releasing the band’s fourth album Centre. Slated for a February 26, 2021 release, Centre continues the band’s long-held reputation for crafting material from long, improvised jams with much of the album recorded live to tape, capturing the band at their most freewheeling. Thematically, the album reportedly is centered around a dissection of faith — both spiritual and secular — and Stephen Bailey’s personal, often complicated relationship to it. “The album for me, lyrically, is mostly about my experience of religion. It explores these concepts and the rules that were told to me from childhood to adulthood and my thoughts on my own connection to them,” Bailey explains. “Similar themes arise between the tracks whether it be lyrically or structural, both a play on repetition and simplicity. ”

“Aplomb,” Centre’s hypnotic and brooding first single features an expansive, booze and hallucinogen-fueled song structure driven by rolling rhythms, a motorik groove, droning keys, a looping and shimmering guitar line paired with Bailey’s yearning vocals — and the end result is a deeply textured, painterly take on psych rock.

“‘Aplomb’ is essentially the voice that I hear in my head, reminding me to not rush and slow down, and to have the confidence to bring this into practice in everyday life,” Mt. Mountain’s Stephen Bailey explains in press notes. “We wanted there to be this clear contrast here between the tempo of the song and the lyrical content, an approach which appears throughout the album.”

New Audio: Stockholm’s DOMKRAFT’s Scorching Live Version of “The Rift” Off Soon-to-Be Released Live Album

DOMKRAFT is a Stockholm-based doom metal trio that can trace their origins to when its members met and bonded over a mutual love of Spacemen 3, Monster Magnet, Sleep and Hawkwind. Drawing from those influences, the trio have crafted a sound and songwriting approach that blends towering dirges, mind-bending psychedelia and trance-inducing minimalism, embodied by the act’s first two albums, released by Magnetic Eye Records — 2016’s full-length debut, The End of Electricity and 2018’s sophomore effort, Flood.

Comprised of Titus Brown, Matt Lambert and Jim Crook, the Atlanta, GA-based indie rock All The Saints can trace their origins back to Alabama, where they were raised on a diet of Crimson Tide/SEC football and loud “college rock.” In the early aughts, Brown, Lambert and Crook relocated to Atlanta, where they were signed by Touch & Go Records; in fact, they have the distinction of being the last band signed to the label before it shut down daily operations.

Over the next decade, the members of All The Saints honed their craft while developing an expansive, explosive sound, which made their live show a must-see; however, over the past few years, live gigs became infrequent. Interestingly, the folks at Chunklet Industries contacted the Atlanta-based act and suggested that the band should work on a full-length album with Jason Kingsland, an acclaimed producer, who has worked with Deerhunter, Band of Horses and others.

Slated for release next month, the Atlanta-based indie rock trio’s long-awaited third full-length album Look Like You’re Going Somewhere was recorded over the course of three days at Maze Studios, and the album reportedly at parts finds the band sounding like Spacemen 3, The Jesus Lizard, Sonic Youth and Sleep simultaneously — all while capturing their live sound.

“Creak,” Look Like You’re Going Somewhere‘s expansive and thunderous lead single is a smoldering and murky track centered by a a serpentine bass line, a slow, driving rhythm and shimmering guitars, snarled and howled vocals before ending in scorching feedback reminiscent of Nirvana’s “Radio Friendly Unit Shifter” — but at its core is a uneasy, sinister vibe.

 

New Audio: Austin-based Doom Rockers The Well Release a Murky and Uneasy Ripper

Comprised of Ian Graham (guitar, vocals), Lisa Alley (bass, vocals) and Jason Sullivan (drums), the Austin TX-based heavy psych rock/heavy metal act The Well can trace their origins to when Graham was fired from his previous band. Determined to redirect his musical focus, Graham hooked up with Alley and the two began picking out riffs in their garage. Completing the lineup, Graham and Alley stole Sullivan from Graham’s old band — partially out of vengeance and partially out of karma. The members of the trio are huge fans of cult horror films, and are inspired by early 70s psych rock and proto-metal and as a result their material revels in dark themes and haunting echoes. Interestingly, with their first few releases the Austin-based trio have developed a reputation for a sound that has been compared to Black Sabbath, Sleep, Electric Wizard and Uncle Acid and The Deadbeats. And adding to a growing profile, the band has shared stages with the likes of Kadavar, Orchid, Fu Manchu, High on Fire, NAAM, Orange Goblin, Pentagram, Dead Meadow and others. 

Slated for an April 26, 2019 release through Riding Easy Records, The Well’s forthcoming, third album Death and Consolation reportedly may be the darkest and most intense album of the band’s growing catalog. As the band’s Ian Graham says in press notes, “This one is a little more personal. 2018 was a strange, dark year. A lot of change was going on in my life, there was a lot of depression and coming out of it over the last year.” And while darker, the album continues their ongoing collaboration with longtime producer and engineer Chico Jones and finds the band expanding upon their sound and approach, at points nodding at Joy Division and The Cure — but also while being a bit of a continuation of 2016’s critically applauded Pagan Science. Death by Consolation’s latest single is the monstrous and murky ripper “Raven.” Centered around enormous and extremely downtuned, power chords and bass chords,  thunderous drumming paired around Layne Staley-delivered vocals, the song evokes a sense of unease and dread, familiar to classic horror movies — and stumbling around graveyards late at night. But more important, the song captures a band that kicks ass, takes names and will frighten  the shit out of you. 

New Video: JOVM Mainstays WINDHAND Release a Roger Corman-Influenced Video for Pummeling Dirge “Red Cloud”

Throughout the past few years of the site’s eight-plus year history, I’ve written quite a bit about the  Richmond, Virginia-based doom metal band WINDHAND, and as you may recall, the band which is currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums) can trace their origins back to 2009. Within a year of their formation, they released a two-track self-recorded CD that quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath. Building upon a growing profile, their 2012 self-titled debut became an underground hit and sold out multiple vinyl pressings within a few months. 

Released in 2013 through Relapse Records, the Northern Virginia-based band’s critically applauded sophomore album Soma received praise 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 breakthrough year, the band spend the bulk of 2013 and 2014 touring North American, the European Union and Australia supporting Soma with Sleep, High on Fire, Dead Meadow and Kvelertak — and they made stops on the international festival circuit with sets at Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest. 
2015’s Jack Endino-produced, third full-length album, Grief’s Infernal Flower managed to further cement their reputation for crafting sludgy, murky, punishing power chord-based dirges. Released earlier this month, WINDHAND’s fourth, full-length album Eternal Return finds the band continuing their collaboration with renowned producer Jack Endino — and the album thematically is centered around observations and reflections on life’s ups and downs, joys and sorrows, beginnings and ends. Between Grief’s Infernal Flower and their recently released album, the members of the band welcomed the births of children, experienced a number of lineup changes and mourned an unexpected and tragic death. And unsurprisingly, as a result, the album’s material and the sequential order of its song are the direct result of those experiences — while sonically, the band crafts material that balances heavy and brooding dirges with psychedelic and meditative passages.  Album single “Grey Gardens” was part of an early batch of album singles that were among the heaviest batches of material they recorded — and while being a thunderous and slow-burning dirge, the single finds the band’s sound and approach subtly moving towards Screaming Life/Foppand Badmotorfinger-era Soundgarden, complete with a lysergic bridge. “Red Cloud,” Eternal Return’s latest single continues in a similar vein as its predecessor as it’s a heavy and psychedelic dirge, centered by some explosive guitar work, rumbling low end, thundering drumming, Dorthia Cottrell’s smoky vocals and an anthemic hook; but unlike it’s predecessor there’s a sense of foreboding doom at its core. 

Directed and animated by Zev Deans, the recently released video  features a seamless blend of live-action and animated scenery, as it follows a washed-up and hopelessly incompetent warlock and imbecilic and hunch-backed henchman as they try to kidnap The Scarlet Woman. Visually, the video is reportedly a homage to the horror films of the early 1960s, specifically Roger Corman’s Edgar Allan Poe series — and naturally, it’s perfect for the Halloween season. 

New Audio: Ancestors Release a Shoegazer Take on Doom Metal

Earlier this summer, I wrote about the Los Angeles-based metal/doom metal/psych rock/stoner rock quintet Ancestors, and as you may recall, the band which is currently comprised of founding duo Justin Maranga (guitar, vocals) and Nick Long (bass, vocals) along with Jason Watkins (organ, piano, electric piano, mellotron, vocals), Matt Barks (modular synthesizer, Moog synthesizer, guitar, vocals) and Daniel Pouliot can trace their origins back to 2006 when Maranga, Long, and Brandon Pierce began the band as a trio; Englishman Chico Foley, who had met Pierce shortly after relocating to Los Angeles joined the band. Jason Watkins joined to complete the band’s initial line up. Their full-length debut was released in 2008 through North Atlantic Sound Records in Europe and Tee Pee Records in the States — and the album featured artwork by Arik Roper, who has done artwork of the likes of Sleep, High on Fire, and Earth. Their 2009 sophomore Of Sound Mind was produced by the band and Pete Lyman and featured collaborations with Melvins‘, Unwound and Slug’s David Scott Stone, Black Math Horseman‘s Sera Timms and cellist Ramiro Zapata.

2010 saw the first of several lineup changes as Chico Foley left the band and was replaced by Matt Barks and with a new lineup, they went into the studio to write and record the Kenny Woods-produced Invisible White EP.  And despite, a series of lineup changes, the band’s sound generally draws from prog rock, psych rock, stoner rock and doom metal — but they’ve also at points increasingly incorporated elements of experimental rock and musique concrete among others.  The Los Angeles-based rock quintet’s forthcoming album Suspended In Reflections is slated for release later on this month through Pelagic Records, and from album single “Gone,” the  single and the album itself reportedly reflects a different take on their sound and approach as the single is a slow-burning dirge that manages to bridge shoegaze and doom metal as it features enormous power chords, played through tons of effects pedals, soaring and ethereal synths within an expansive yet moody song structure that nods a bit at prog rock.

“Through A Window,” Suspended In Reflections’ latest single is a slow-burning and brooding dirge centered around shimmering guitar chords, soaring hooks and dramatic drumming — and interestingly enough, the single finds the band leaning heavily towards a mediative and thoughtful shoegazer territory.

New Video: JOVM Mainstays WINDHAND Return with 90s Grunge Take on Doom Metal

Over the past few years, I’ve written quite a bit about the Richmond, Virginia-based doom metal band WINDHAND, and as you may recall, the band which is currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums), the Northern Virginia-based metal act formed back in 2009 — and by the following year, they released a two track, self-recorded CD that quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath. Building upon a growing profile, their 2012 self-titled debut became an underground hit and sold out multiple vinyl pressings within a few months.

2013 saw WINDHAND sign to Relapse Records, who released their sophomore album Soma to critical praise 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 breakthrough year, the members of the Richmond, VA-based doom metal band had spent the bulk of 2013 and 2014 touring North America, the European Union, and Australia with Sleep, High on Fire, Dead Meadow and Kvelertak, as well as the festival circuit, wth appearances at Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest.

2015’s Jack Endino-produced, third full-length album, Grief’s Infernal Flower featured album singles Crypt Key.” and “Two Urns” which managed to further cement their reputation for crafting sludgy, murky, punishing and downtempo dirges. Slated for an October 5, 2018 release, the Richmond, VA-based doom metal act’s forthcoming Jack Endino-produced Eternal Return is reportedly an observation and reflection of life’s ups and downs, joys and sorrows and beginnings and ends. Between 2015’s Grief’s Infernal Flower and their forthcoming album, the members of the band welcomed new life, experienced a number of lineup changes and mourned unexpected and tragic death — and as a result, the album’s material and the sequential order of its songs are the direct result of those experiences. Sonically, the album also finds the band growing artistically with the material balancing heavy, psychedelic and meditative, and in a way that have drawn early comparisons to Soundgarden, an act known for stretching genre boundaries.

Eternal Return’s latest single “Grey Gardens” was part of an early batch of album singles that were among the heaviest batches of material they recorded — and while being a thunderous and slow-burning dirge, the single finds the band’s sound and approach subtly moving towards Screaming Life/Fopp and Badmotorfinger-era Soundgarden, complete with a lysergic bridge. Directed by Jordan Vance, the recently released video for “Grey Gardens” features some trippy and murky stock footage that evokes a foreboding sense of dread at its core.

New Audio: Los Angeles-based Quintet Ancestors Release a Slow-buring Shoegazer Take on Doom Metal

Currently comprised of founding duo Justin Maranga (guitar, vocals) and Nick Long (bass, vocals) along with Jason Watkins (organ, piano, electric piano, mellotron, vocals), Matt Barks (modular synthesizer, Moog synthesizer, guitar, vocals) and Daniel Pouliot (drums), the Los Angeles-based metal/doom metal/psych rock/stoner rock quintet Ancestors can trace their origins back to 2006 when Maranga, Long, and Brandon Pierce began the band as a trio; Englishman Chico Foley, who had met Pierce shortly after relocating to Los Angeles joined the band. Jason Watkins joined to complete the band’s initial line up. Their full-length debut was released in 2008 through North Atlantic Sound Records in Europe and Tee Pee Records in the States — and the album featured artwork by Arik Roper, who has done artwork of the likes of Sleep, High on Fire, and Earth. Their 2009 sophomore Of Sound Mind was produced by the band and Pete Lyman and featured collaborations with Melvins’, Unwound and Slug’s David Scott Stone, Black Math Horseman’s Sera Timms and cellist Ramiro Zapata.

2010 saw the first of several lineup changes as Chico Foley left the band and was replaced by Matt Barks and with a new lineup, they went into the studio to write and record the Kenny Woods-produced Invisible White EP.  And despite, a series of lineup changes, the band’s sound generally draws from prog rock, psych rock, stoner rock and doom metal — but they’ve also at points increasingly incorporated elements of experimental rock and musique concrete among others.  The Los Angeles-based rock quintet’s forthcoming album Suspended In Reflections is slated for an August 24, 2018 release through Pelagic Records, and from the album’s latest single “Gone,” the new single and the album itself reportedly reflects a different take on their sound and approach as the single is a slow-burning dirge that manages to bridge shoegaze and doom metal as it features enormous power chords, played through tons of effects pedals, soaring and ethereal synths within an expansive yet moody song structure that nods a bit at prog rock.