Reviews: King Of The North,My Left Boot

Do yourself a favour and go see some live,local music.Here's two brand spankin' new releases from hard and heavy Melbourne bands,King Of The Nroth and My Left Boot.

King Of The North- Self Titled E.P

After being filled in on the game of thrones sample that opens,this E.P rips into some fat sleazy riffs straight away.I'm glad to say,fat sleazy riffs are an underlying theme to this E.P.The very idea of recording King Of The North poses an stark challenge.How do you capture the Bonham-esque drumming of Danny Leo,complete with every detail of the ferocious and entertaining live show? You can't see his great big smile on a record. The E.P is good,but nothing compares to seeing this guy live.He's half the show,quite literally. The other half is made up of singer,guitarist and faux bass player Andrew Higgs. Given the freedom of studio trickery,one would expect the E.P to be topped off with all sorts of extra production,but this is not the case.Everything you hear is pretty much the way it turns out live.There is certainly sufficient low end for the casual listener to believe the band has a bass player. The song writing is catchy as hell, and the E.P remains a consistently interesting sample of what this band has to offer. 'Into Your Eyes' is my favourite.

King Of The North play the Barwon Club on Dec. 15th,and the Espy with the Datsuns & The redcoats on December 20th & 21st.
King Of The North

My Left Boot- Summer songs

Warning: This album may contain vocal styles that distress some listeners.I'll be straight up.you're either going to like vocalist Matt 'Chappy' Chapman's high range howls,or they're going to turn you off completely.It's hard to knock a nice guy,but somewhere between sounding like a Robert Plant or Ian Gillan,a hint of Axl Rose has creeped into his voice,and damn I hate Axl Rose.If you can get past that though,I can get onto telling you how good the rest of it is.
My Left Boot play some sweet fuzz rock,with a heavy QOTSA sound.Drumming is sharp and concise,used wisely with bass guitar for some cool inter-play in the rhythm section,especially on 'Sharks In The Water'.Some of you might recognize drummer Liam Cuffley from Melbourne based stoner rockers Matt Sonic & The High Times.
One of my favourite aspects of this band has to be the guitar playing.Inventive and refreshing,Daniel Firth sticks to no recipe,instead just bringing cool riffs and lead guitar to the mix.'Good Mutt' has an exceptionally cool guitar part.
As much as I have said how I dislike the higher vocal ranges on here,that's not to say Chappy is a one trick pony.The vocal harmony on 'Your Ancient Bones' sounds strikingly similar to a QOTSA song,but I just cannot think of which one.His vocal style makes alot more sense live,un-doubtedly capturing every pair of ears in the room with a strong,powerful delivery.
The title track, 'Summer Song' is worthy,and there is no doubting that someone was listening to heaps of Unida when they wrote 'Sometimes Love'.
Overall,whilst some parts of Summer Songs are not my cup of tea,it is a solid release from the band,and I'd recommend catching them in the flesh.

Album Launch, December 22nd at the Cherry Bar
My Left Boot


Coming soon,a review of the new L.P from No Anchor,and a live review for Earthless.
Stay fuzzy

Interview- Luke 'Scabs' Scibberas,Motionless Me

Geelong's Alt/hard rock trio Motionless Me Swiftly turned many heads upon their debut last year.Having laid low whilst the band completed year 12,Motionless Me are back in action.I spoke to guitarist Luke Sciberras,otherwise known as Scabs to get the low down.

(Photo: Jeremy Palmer)

What instrument did you start on, and what do you play now?

I started my musical journey playing guitar, starting in early 2008. I’ve stuck loyally to guitar and it is still my number one weapon of choice.

When was your first gig and how'd it go?
My first gig was in mid-2010 as part of a VET music course I did at a different school to what I was attending. I felt that the gig went very well and was definitely good for all of us as we came out of our shells onstage. Plus, won the honour of being the loudest band of the night. (I may have been involved with this and the producing said volume)

What drives you to play? What motivates you to go that extra mile to play music?
I guess what drives me to play music is just sheer love for it, my personal philosophy is that ‘I’d gladly die tomorrow knowing that people will remember me for something I’ve created’. I guess that philosophy also states my drive to go far in music, I want to create something that people can share and happily listen to and enjoy. As well as that, music is the only thing I am apparently good at, and that is a real positive for me because I’ve never really been fantastic at anything before. There’s also that endless quest of trying to reach a new level of playing, that’s another thing that I am willing to go that extra yard for.

Best gig you’ve played? Worst?
I guess the best gig I’ve played was in august of 2012, at my band’s comeback show from our 5 month absence. I guess just all the stress and worry over the incident we had with our ‘was to be’ E.P (that’s another story for later) kind of left me broken a bit and I had lost close to all my confidence. To come back with the response we had and the crowd we had at that show. . Wow man, something I wasn't expecting in the slightest. 100 fans at a small venue going mental crowd surfing, onstage with you and violently head banging just leaves you in a state of euphoria, can’t help but be happy knowing something you have done has made so many happy and enjoying themselves. Now, the worst show.. Come to think of it, we haven’t really had any nightmare shows. We did however have this one issue at a venue in Ballarat called Karova Lounge. This show was our 3rd show so we still had our vocalist John at this point, during our set, there was this majorly strange interference between the guitar and the sound system. According to the sound guy the only ‘plausible’ solution was to take ALL guitars out of the mix entirely so onstage and in the audience, the band’s mix was just drums bass and vocals.

Influences: What are your top 5 albums?
I don’t as such have ‘top’ bands or albums as I love all my music equally so I guess to answer this I will just list 5 albums in no particular order that I really like.
1. ‘Make Yourself’ – Incubus
2. ‘Train Of Thought’ – Dream Theatre
3. ‘The New Normal’ – Cog
4. ‘Hybrid Theory’ – Linkin Park
5. ‘Themata’ – Karnivool

What's the best gig you've ever seen?
I haven’t really seen many gigs to be honest, I’ve only gone to a handful of local shows and like two arena shows which were AC/DC (2008) were and Bullet for my Valentine (2010). I will say one of the best live performances I have seen though was actually at our comeback show, ‘Branch Arterial’ totally destroyed the place and their set was ridiculously tight and intricate which is just how I like a set! You give energy to the crowd and they appreciate it!
What have you been listening to lately?
I’ve been stuck with this strong case of writers block so to combat I’ve been listening to a wide variety of stuff, varying from 30-40’s swing groups like; Benny Goodman, Big Bad Voodoo Daddy and Les Paul and Mary Ford to more contemporary, technical bands like Gru’s ‘Cosmogenesis’ album. I’ve really been indulging in Radiohead, Dead Letter Circus and Pink Floyd too recently. I just try keeping an open mind about listening to new things all the time, throws a new twist in your writing!
What's a band you dig that no one would expect you would like?
I am a total sucker for soul/funk bands, so I am hugely into Rick James! I love all that kind of funk stuff. Believe me if there was one style I wish I could write, it would be funk/soul. I also really love Earth Wind and Fire; I’ve got their whole discography!

Motionless Me: For those who don't know who Motionless Me are, bring us up to speed on the band. Who are you? And what do you do?
Okay well, Motionless Me is an instrumental rock band from Geelong. We are one of those bands that people have a hard time categorising as we tend to bring in some elements that make us more left of center for people to decipher. I guess it’s true, we throw in elements of Progressive music, to alternative and rock music, so I guess ‘Instrumental alternative hard rock’ is the best bet. We are just a bunch of mates together making music and doing what we love, trying to get our music out to wider audiences and having fun along the way.
I know you had a lot of trouble trying to get a band together, and once you did, you lost a vocalist. What do you feel the other members bring to the band, and how do you all approach the challenge of being completely instrumental?
It was a pretty big shift in dynamics to lose what most people consider the crux of a band so all of had to really kick it up a notch to compensate. As a result, we had to become A LOT more polished and tight as a band whilst remaining technicality so that audiences wouldn't get bored of us. I think each member brings something different to the band in the way that we approach things, Dean is a more go with the flow kind of guy in the sense that he’s keen for whatever pops up and does his best to rise to the occasion. Jake brings a more dynamic role in the band in the fact that he, as a drummer has a lot of pressure to maintain consistency in the songs so he practices regularly and that helps us be a lot more refined, plus being a really technical music i.e. Dream Theater and Periphery, he is able to find the fine line between technicality and consistency which some people tend to cross, that helps us sound a lot more like a unit and ‘progressive’ in a way. I am a control freak and can admit to that, I’m always organizing and booking and everything and keeping tabs over what the guys are doing (occasionally telling them that they should be practicing) but in my other time I practice frantically, both rhythm and lead which helps make the music a lot more interesting as I can interchange between a solid and fat rhythm to a lead break or solo while the guys have dynamically met me at the point of change.
How does the song writing process work for the band? and what unique twist do believe you bring to your genre?
Our writing process is very simple and very close minded, I essentially write up a complete tab of a song that I have been working on/finished which is complete with bass, drums, keys and whatever else I may choose to throw in for studio dubs and whatnot down the track. I’ll send it to the guys and say ‘this is what’s going on in my head, don’t feel obliged to follow it in any way it’s just what I hear in this’ and then they will go off and learn it, adding their own little twists….sometimes. I think classifying something as unique these days is hard because we live in a second hand world were everything is borrowed from somewhere in some way, like influences. When we have asked fans what they like about us and they bring up the word unique, it’s more or so the idea that the riffs or chord progression I’ll write with are labelled as ‘motionless me’ as I tend to use extravagant and big chords, at times mixed with licks and other fancy stuff in-between. I just don’t get much satisfaction out of your standard power chord as everybody uses them, I find something like a suspended chord so much more interesting!
Like myself,you are all in the final year of high school.What's the plan post year 12? I believe an E.P is in the works? (this question was asked a while ago now)Well, an E.P is always in the works I guess but as recording at the places we want too can be expensive, we are looking at more gigging for a while and just earning enough cash and fans over the time to fully justify an E.P. We also plan to focus a lot more on Melbourne next year as Geelong’s music scene isn’t really good for us, despite being our home town and where our allegiance lies, Geelong’s music scene as many would know is very one sided in that metal has and probably always will rule the town. We are also potentially scheming an interstate show or two..

The musical thing- For this I ask that you send me a photo of something cool and music related.It can be anything,so long as muso's can relate to it.E.G: a stereo,a favourite guitar,a well loved record.The more creative the better.
So for this I chose the first record I ever received. I got this off a brother’s co-worker back in 2008 when I was still very new to guitar and rock music as a whole. I remember listening to it on my record player that I stole out of my brother’s room and being completely enticed in the music. This record hooked me on guitar and I knew then that it was the instrument I wanted to play forever, despite my doubts after I struggled to grip the basics initially. So yeah, very sentimental to me. Plus the album cover is pretty cool and my record’s sleeve has a, let’s say ‘distinctive’ smell to it from it’s previous owner, a somewhat narcotic smell…

Motionless Me
28th December @ The Barwon Club w/
Our Lady Of Pain
The Greeting Method
Insygnial

Review- Cherryfest 2012

After the riotous success of cherry rock earlier this year,and the threat of a high density residential apartment building looming over the cherry bar,it was no surprise that once again,AC/DC lane was transformed into a massive outdoor stage.
After dashing from the train station, my accomplice insistent that we see Dern Rutlidge,we arrived half way through their set.Having disbanded in 2003, Dern Rutlidge were doing a one off string string of shows. For some bands,even 9 years off can't wipe the vibe away,but unfortunately this was not the case. As the band tried to blow out the cobwebs, the rusty gears creaked through a set never quite swung into gear.All in good humour,but a bit less than spectacular.Perhaps the next show will be back to full strength.
For those who haven't been to a festival at the cherry before,a stage is setup and the end of the alleyway outside the venue,to complement the stage inside,meaning there is never a minute of silence.Cherryfest was definitely down on numbers,the advantage being that squeezing through the 3 small doorways in between was far easier.
Local favourites King Gizzard & The Lizard Wizard hit the outdoor stage next.Despite their large size,King Gizzard are a band that need to be seen in the smallest room possible,i.e my bed room, to achieve maximum fezziness. 4 shows in a row had taken a toll on Stu's vocal chords,the poor man barely able to speak let alone holler and howl.The Cherry is undoubtedly a heavy rock venue,so a band like King Gizzard were little out of place,but talking to some punters, their filthy garage surf was a refreshing twist.
Inside,King Parrot hit the other end of the scale,putting on a full blown metal show.Proper metal too.With a front man in and out of the crowd,chugging metal riffs,head banging and dropping left,right and center,King Parrot are metal all over.If you're into that kind of metal,they've got a good live show.
Now it was time to dart back out to AC/DC lane for Tumbleweed.Australia's stoner rock legends re-united in 2009,and have since been touring and writing for a new album.Despite the fact that these are clearly not the youthful muso's they once were,there is no denying that Tumbleweed have still got it.The fuzzed out riffs were blasted along AC/DC lane to the enjoyment of everyone watching,young an old.It didn't matter if you were a new fan,or a one of the 'I haven't seen Tumbleweed in 15 years' group,the band delivered delivered a killer set.Playing a good mix of old material,and new songs set to be released on the up-coming album.Closing track Ocean was phenomenal,the band definitely did not miss a beat.I for one am really looking forward to the new album.
Next up were locals My Left Boot.Scoring a prime spot,My Left Boot played through some psychedelic fuzz rock,with shades of Zeppelin and QOTSA.Guitarist Daniel Frith can coax some really cool sounds out of his tele,without ever going over the top, matched by Chappy's powerful,prominent vocals.With a solid rhythm section to round out the band,My Left Boot took a good opportunity and played a great set.Go see My Left Boot,you will not regret it.
Out in the alley again,and the Omar Rodriguez-Lopez Group were warming up.I'll be straight up,I didn't like this band.At all.Omar Rodriguez is best known as a member of the Mars Volta and At The Drive In.Whilst variety is the spice of life,I think this band was a bad choice for the cherry.Too many synthesizers,at a guitar band dominated festival.I did enjoy the bat shit crazy front woman,whose antics included jumping on P.A's,bouncers and crowd members,before throwing an un-suspecting punter onto the stage.There's entertainment in that,but the music to match just wasn't there.Synth players are boring to watch.At the end of the set, a man in a skin tight purple one piece,with a space helmet,complete with balloons and a phone,guitar in hand ran past me.That's right,it was time for the legendary Bob Log III.
The guy looks like a ghost buster crossed with mortein,playing crazy lo fi swamp blues.I thought the front woman from Omar Rodriguez was wild,but Bob Log III is mental.Words cannot describe how this one guy can single handedly own the room.With his legs flailing on percussion mounted at his feet,space helmet swaying and an endless riff raff coming out of his guitar,Bob Log III puts on a show like no other.Surely the woman invited to 'come sit on my purple sparkly knee' would have been torn between embaressment and hilarity,but it takes alot of,uh...talent...to get member of the audience to dip their boob in a cup of beer,and then drink it.A wild,crazy show,possibly even the highlight of the day.He was still riding around someones shoulder up the back of the room,when Eyehategod started outside.And everyone was still inside watching Bob Log III.
Eyehategod were wickedly heavy,and spouting all kinds of evil.Drinking like camels and smoking like chimney's whilst delivering some sludgy heavy riffs,Eyehategod are not for the faint-hearted.Surprisingly,a big concrete alleyway actually sounds pretty damn good acoustically once its packed with punters.Big,fat bass waves pulsated through the audience whilst beer flew over the top.Props to the punter who threw an empty plastic bottle in the air,not realizing it bounced straight into a bin 10 meters behind them.Eyehategod played a strong set,definitely for fans of Electric wizard.Slow,sludgy riffs abound.
The setup for festivals at the Cherry Bar works brilliantly,with non stop music all day,and good sound/good viewing for all.Cherry fest didn't quite fill the big shoes of the earlier Cherry rock (my god Fu Manchu were amazing),but the formula is there.Whilst line up did try to appeal to a broad range of tastes,people were perhaps not willing to shell out the coin to see 2 or 3 bands they like,when most of them play locally fairly often.If the rumors of a certain Scandavian stoner rock band are true,Cherry rock next year will be a fantastic way to give a nice big middle finger to the high rise apartment building set to be behind it.

Short and sharp with King Of The North

Low Sound Desert-A tribute to stoner rock,looms this friday the 23rd at the Cherry Bar.I caught up with Higgsy from King Of The North,who will be headlining the event.

Tell us,who are King Of The North,and what do you do?
KOTN is a hard rock guitar/ drums duo that sounds like a 4-5 piece band. We play Riff based Rock n Roll
What are some the influences that have shaped King Of The North?
We are fans of Classic Rock, Hard Rock, Punk and Stoner but we never set out to sound like anybody. We do what we do within the limited framework we have to work with. The thing is, your limitations are really your strength.
What's been the highlight of playing so far?
Supporting Cold Chisel at Festival Hall in April would have to be up there. That was just massive! Playing Cherry Rock 2 weeks later seeing/ being on the same bill as Fu Manchu was quiet an honour too. For the band though it would be playing packed out E.P launches in Adl, Bendigo, The Evelyn and The Espy in July- Sept this year.
Being a two piece,what do you do to fill out that extra space,and keep things interesting?
Well sonically speaking KOTN is no different to a band with drums, 2 guitars and a bass. All the sonic landscape that those instruments take up is in the KOTN sound. It's peoples eyes that deceive them, when they see us live they see two dudes and hear a phat sound but don't realise what's really going on. Without giving it all away, it's all in the amp configurations and pedal set up there are no prerecorded loops or triggers everything is played live.

What have you got in store for Low sound Melbourne?

Well being a big fan of Stoner Rock, I'm swapping my usual JMP rock sound for my Big Muff and we'll be playing some classic fuzzed out Stoner Rock! We have a two other awesome acts in My Left Boot and Battle Axe Howlers who will be stonering up a storm! Plus with DJ Big Muff (this might be me) spinning killer Stoner Rock in between the bands... we're pretty happy with the night we've put together! It will be all time!

Cherry Bar,this Friday,23rd
$15 entry
kick off at 8
Come generate some mondo

Album Review- The Sword,Apocryphon

Having weathered the drummer storm,The Sword are back with a brand new album,and a ridiculous title to go with it.For the record,'Apocryphon' refers to secret biblical texts,banned from being publicly taught, reserved for only trusted disciples.

That might sound like some deep tripper business,but of course that's what the Sword are all about.Witches,Wizards and all things Lovecraft,paired with thunderous doom riffs that sound like Sleep's Holy Mountain juiced up on speed.Well, at least that's what they played when I came across their debut, Age Of Winters. 7 years on, and 4 albums down the track, The Sword have progressed to sound a bit less evil,and Apocryphon certainly follows many more musical conventions than previous works.

The guitars are still big, with a smattering of lead breaks thrown about the place, but the ominous feel has definitely been left behind. New drummer, Santiago 'Jimmy' Vela III has certainly slipped into the band easily, not only filling the very large shoes of Trivett Wingo, but bringing his own touch. Whilst accented high hats and cow bells would have been un-thinkable in the past, these elements have taken their place very well.
Frontman J.Cronise has elaborated that some of the lyrical themes are more in touch with this world than that of Warp Riders, and has taken to using his song writing as a tool for expression, writing about a variety of real world issues. Where as vocal lines have previously been short and direct, applied in liberal drops that don't stand in the way of guitar riffs, lines here are long, and full, encompassing more melodic interest.
The big change is in the song structures, Where previously the band would gallop from one chug-fest to another, the songs off Apocryphon reveal themselves as being more conventionally structured,with clear cut verses, and catchy choruses. 'Cloak Of Feathers' even sees each instrumentalist take a turn at soloing for a bar or two,before passing it on to another member. Whilst Warp Riders hinted this direction,Aporcyphon takes it to the next level.
Many of the band's contemporaries list bands 70's heavy metal bands such as Black Sabbath,Thin Lizzy and Deep Purple as their influences, there's a taste of Texas on 'Arcane Montane', which has Z.Z Top written all over it.
Although synthesizers are not new to the band, they have been used in new ways on this record,demonstrated clearly in the title track,which was our first taste of the new material. Putting out a track with a distinct, Electronic intro was a very risky move for the band, as the first couple seconds have surely turned off a heap of metal heads. And lets not even mention that stupid thing about arranging the symbols on their website to unlock a stream of the album. That really didn't make much sense to me.
Overall, Apocryphon is another step down the musical path for the band, which has led them from a niche market of the stoner/doom crowd to a much wider metal audience. It's not a departure from the band we know and love, but it's a step in a direction that might distance many of the bands' original fans. It will take a while for it to grow on you, so give it a few chances before you decide if you would rather this stayed a secret that wasn't shared.

Album Of The Week- Yawning Man,Vista Point

The grand pappies of the palm desert generator parties,Yawning Man play mellow,groovey desert/surf jams,that echo the tranquility of the vast open desert plains.Kyuss fans,read on.

Vista Point,a compilation of the bands first two E.P's, sounds like surf rock that uses boogie boards to slide down sand dunes instead of waves.The band started in 1986,however didn't release any material until 2005,preferring to remain somewhat of a secret. Guitarist Gary Arce has a very distinctive guitar style,playing without a pick and jamming out some chill riffs with a heap of reverb vibrato's. Previous members have included the Lalli brothers,Mario and Larry of Fatso Jetson/Across the River Fame,and Alfredo Hernandez of Kyuss/Queens Of The Stone Age. Infact, Catamaran,off the Kyuss' last album is a yawning man cover.
In the words of Brant Bjork (Kyuss) 'They were kinda like a house band', playing endless generator parties that gave rise to bands like Kyuss,Unida,Slo Burn and eventually Queens Of The Stone Age.
Recommended for fans of Dick Dale,Earthless, and stoner rock in general.
Rock Formations
Perpetual Oyster
Airport Boulevard
With a different line up,new album in the works,and a more regular touring schedlue, Yawning Man have left the generator parties behind,and are now riding the crystal voyage of sand.

Still working on a interview,and wrapping my ears around the record from The Sword.

Album Of The Week- Ufomammut,Idolum

Italy's finest in super heavy,psychedelic doom metal,Ufomammut sound like a particularly satanic Hawkwind

Blending a super heavy rhythm section with some psychedelic synth/keyboard stuff, to my ears Ufomammut take space rock to another planet. Playing down somewhere around drop-B, there is no denying that Ufomammut are stupendously heavy,and that's exactly what it says on the box.Ufomammut translated is meant to mean 'big spaceship', or something like that,and that's essentially what they sound like. If an alien master race was to ever enslave humanity,they'd do it to the soundtrack of Idolum.Essentially flowing as one piece, the satanic fury of the first couple of tracks is metered out by some deeper,more dynamic voids within the album,helped by some interesting use of female vocals. The bands are excellent at building tension and suspense with their music,most notably with the last track, Void/Elephantom.The droning outro may sound completely stupid,but leave your stereo cranked and listen to the whole thing-you may find an evil surprise.Especially if you just tune out for a bit and drift with it.
Recommended for fans of Sunn 0))),Hawkwind,Toner Low
Stigma
Hellectric:
Ammonia

Album Of The Week-Sorry,I'm really busy

'nough said

Double Review- Witchcraft-Legend & Colour Haze-She Said

Playing retro rock presents a challenge to any musician,let alone the accomplished ones of Colour Haze and Witchcraft.How do you play music reminiscent of another era,whilst staying fresh and interesting?
When you've got one foot firmly in the past,it can be difficult to place the other one in the door.
Doing that once is a challenge enough,but with both bands having many albums under their belts,and creating an influence that results in many people covering the same kind of territory as yourself,how do you put out a new album that isn't just more of the same?

Witchcraft- Legend

Swedish Pentragram worshippers (the band,not the symbol...although probably that too) first flew the flag for Sabbath style heaviness in 2004,with a self titled ripper.Now some 8 years later,with two albums in between,Witchcraft are back,with a mostly new line up.If their self titled was Paranoid re-invented,the new album Legend is definitely more influenced by something post Dio.I know what you're thinking...Sabbath with Dio wasn't exactly a bright time,it's ok thuogh,they pull it off.Legend is much more a metal revival than a classic rock re-invention.With shredding lead guitars and palm muted riffage,the album fits in alongside The Sword,and Thin Lizzy.
Much more upbeat than their earlier efforts,the band leadership of  the only original member Magnus Pelander is clear.He has said he's putting down the guitar to focus more on singing,and the vocal lines are definitely much more prominent and varied on this release.The only time I've noticed a European accent really shine through on an English spoken record,'An Alternative To Freedom' has a line "Karma works in rivers".Of course,being Swedish,it's 'Karma works in REEVERS",with thick nordic pronunciation.
Deconstruction
Legend is a faster moving,more focused release than previous Witchcraft material,with a much higher production value.Gone is the deliberate lo-fi sound,replaced by a thick,clear,modern mix.The drums are loud and clear,and low behold,this guys actually uses tom fills!
The song writing is excellent,with thick,slow paced riffs blended alongside thundering metal gallops.The more complex riffs of Legend do create a large departure from C-tuned power chords of old,keeping a fresh face.
Magnus Pelander clearly is a man with something to say,the band having had material banned in their home country.Leading the charge in attacks on the system is a ripper track titled 'Democracy',taking aim at the media and authorities through the use of heavy metal.
Democracy
The wickendess of old is definitely still present,alongside grander aspects of a metal album that is a solid release expanding on the ideas and concepts of metal from a time before it started spiking its hair and wearing lycra.
For fans of Thin Lizzy,The Sword,Heaven and Hell,Judas Priest,etc

Colour Haze-She Said

Where do I even start with this? She Said is absolutely amazing.How about I fill you in? Who the hell are Colour Haze?
Colour Haze are the finest in European Stoner/Psych rock,flying the flag for trippers in a country that was still healing from decades of fall out from the events of the 20th century when they began playing heavy music.Forming in 1994,Colour Haze take on board elements of everything good.Kinda like Hendrix jamming on Kyuss riffs,they play some of the best long,stoner psych jams that their are.If there were any rules,Stefan Koglek and Co. have completely ignored them for nearly two decades,just noodling away with countless albums under their belt.Their influence has spawned a new generation of psych rock in Europe,evidenced in bands like Sungrazer,The Samsara Blues Experiment and Casua Sui.These grand pappies of the scene even started their own record label 'Elektrohasch',which has successfully gone onto to publish and promote their sound.
Their most recent release She Said has been a long time in the making.Some 4 years it's been since their last album All.That's not to say they've been taking it easy.Having spent 2 years in their own home studio, things haven't exactly gone swimmingly.Having had to scrap and re-record,remix,remaster,has certainly taken it's time.But my god,has the hard work paid off.She Said is nothing short of breathtaking.
Coming in at around 120 minutes,the band have pulled out all the stops for this double album. Piano,organ,theremin,a horn section,percussion and violin join the guitar,bass,drums and vocals of the trio,aswell as several guest musicians.And on that note,I've gotta say,bass player Philipp Rasthofer  has gotta be one of the nerdiest looking people in rock'n'roll.
The album isn't particularly pushing into completely new territory for the band,rather expanding on what they have been doing already.One noticeably different feature of this album however,is the extra tid bits put in between songs,now that the band has the freedom to record and produce independently,which brings me onto the track,'Transformation'.
Transformation
Holey mary and jesus,click that shit like your life depends on it.
Right from the psychedelic sounds in the intro,Transformation just blows me away.Drifiting between the endless jams Colour Haze are known for,and a tight focused structure,'Transformation' has some stunningly beautiful textures.The bass is thick,and at times has a sense of liquidity.The guitar is boundless,and the drums...oh the drums.You wait till you get to the crescendo.Tasteful beats are replaced with all out mayhem.Manfred Merwald,I tip my hat to you.The music is that good,it speaks for itself.
It seems that the idea of keeping songs shortened to a pop format,or trying to have a single,is an idea completely lost on the band,as the album rolls through tracks that seemingly don't end.That said,as much as I love endless stoner rock,it does feel as if there are places the band could have trimmed a bit of fat off some tracks,for a tighter,more focused record.The band conjures up mountains of sound from a liquid sea of coolness and jamming,all the time maintaining the ability to drop back down into a more free flowing form,or change the heaviness down a gear into some killer riff.A band strongly based in the live setting,She Said is a wonderful portrait of a very tight band,with a wonderful control over their insturments,and an ability to weave in and out of each other.
Album closer 'Grace' is another truly epic piece of music from the band,that sits alongside their overseas contemporaries, as the heavy stoner rock bands get older and wiser,and seek to take their compositions to a higher level,beyond simple C-tuned Sabbath worship,into more musically diverse territory.'Grace' has strong shades of Hendrix's Bold As Love,with some cool backwards guitar parts that fly over the top of a rising heaviness.
Grace
Overall,She Said is a monumental achievement,truly the best Colour Haze we have ever seen.It may have taken many frustrating years to make,but the band truly have a masterpiece to be proud of.After many years out of the spot light,but behind the scenes helping the new acts they have spawned,She Said sees the founders of cool return to the top of the psychedelic tree.This album is definitely one of my top picks for the year,but it does raise a strong concern in me.How the hell are they ever going to top this?
With nearly 20 years behind them,where will Colour Haze go to next?
Now if only I lived in Europe to catch the album tour,where the band will play super long extended sets,complete with guest musicians and crazy over the top light show.

Album Of The Week- The Powder Monkeys,Time Wounds All Heels

Joe Matera of Australian guitar magazine called this album 'criminally under rated'.That's a nice place to start,but that still doesn't quite go far enough.

Forming from the splinters of legendary Geelong punk band Bored! ,The Powder Monkeys were a band let down by the business side of music,screwed over by Mr 10%. Their second album, Time Wounds All Heels is a killer piece of music that fell through the cracks of success,and yet is still renowned as one of the best Australian rock albums of its time.One only needs to look at the walls of the Tote to know that the reputation of this band remains to this day.
Right from the opening beat of 'In The Doldrums' to the finishing moments of '2000 Sins', Time Wounds is a thunderous,hair raising image of a band that belonged on the stage. Timmy Jack Ray's drumming just doesn't stop- every half a second there's a snare fill,or a great big tom roll that sets a blistering pace. The crunchy riffs of John Nolan are matched by brilliant lead work,and growl of front man Tim Hemmensly's bass is echoed in his gutteral,snarling vocals,forever preaching his cause.
This album was not recorded by a hot shot producer in L.A,with an un-limited label budget for rock'n'roll excesses.Far from it,this was recorded in the heart of the institute for old people and cowboys,the ABC studios in Melbourne,produced by Chris Thompson.The results are jaw dropping.Big drums,thick bass and killer guitar sounds.The list of people who have used a Les Paul and Marshall Plexi is endless,but none of them can top the guitar sounds on this album.A prime example of a producer bringing that extra ingredient to a band,to make this album sound phenomenal.
Unfortunately, the Powder Monkeys coincided with a heroin epidemic that gripped the Melbourne arts community,and tragically, Tim Hemmensly died of a heroin overdose in 2003.
A powerful album that's definitely one of my most recommended,regardless of musical taste.You might be hard pressed to find a copy, but you could probably find a download on the internet downloading hurts record labels.Should you find a CD,skim through the liner notes for 'Simon Hawkins-Roadie Extraordinaire'.Such was the financial struggle of the band that his copy doesn't have a sleeve,although I'm assured it's on there.
And if you still aren't convinced that this really is the best thing since sliced bread:
Straight Until Morning
http://www.youtube.com/watch?v=R7CV2qjid1U
Wasn't Born Yesterday
http://www.youtube.com/watch?v=LVm19F3HY00
2,000 Sins
http://www.youtube.com/watch?v=cjeFnDmwhGM&feature=relmfu

Support drummer Timmy Jack Ray's current band 'The Roobs'
http://www.facebook.com/pages/The-Roobs/219602248063178?fref=ts

Mile stone

My little view counter is just about to click over to 1000,so I'll take this opportunity to say a big thank you to everyone who has been reading,and I hope you've found some cool new music.After all,that's the reason I run this.And thank you to everyone who has passed this on, and shared it around.
Feel free to make use of the comments system if you feel you have something to say,and don't forget you can find this blog mirrored here > http://www.tumblr.com/blog/smalltowndisease <
Time permitting,I've got alot to bring you this week.
Anyone tuned in enough will know that there have been 2 big releases in stoner rock this past week,with the return of Wtchcraft and their new album Legend,and long awaited release of Colour Haze's She Said.I'll do a double review of those two.
I also have an interview with a local metal head in the works.
To top this post off,here's the preview track from the The Sword's upcoming album.
http://www.youtube.com/watch?v=lBOVJESA8uc
Album of the week will be up later tonight.

Album Of The Week- Black Cobra,Invernal

One for the absolute metal heads and sinners.

San Francisco duo,Black Cobra,play heavy thrash metal,through and through.With former Acid King bassist Rafael Martinez pounding the skins and Jason Landrian playing guitar, the pair are phenomenally heavy for just two members.Landrian approaches the challenge of filling out space in an intriguing way,taking a standard tuned guitar,and dropping the top string down to A,creating a doubling up an octave apart-brutal-guitarists,give it a try,its pretty fun.
The bands latest,Invernal,is a much more polished record than their earlier material,straying away from the hardcore punk/metal origins, and heading toward the more textured Stoner/Thrash metal of bands like the Sword and High On Fire.Palm muted chugs, and revolving tom fills and thrashing vocals,the band do occasionally tone down from all out brutality into deep voids.
Caught the pair at Cherry rock a few months ago.God dam they were loud,with a couple fullstacks, some bass amps and impressively, a single kick rather than a wanky double kick.Couldn't hear a word of vocals though.Oh well,enjoy some Stoner/Thrash/Doom metal
The Crimson Blade:
http://www.youtube.com/watch?v=p-eXOgOd_rU
Beyond:
http://www.youtube.com/watch?v=SbtdJCKObc0
Abyss:
http://www.youtube.com/watch?v=tC7nZbUCkxg

Not to forget the wicked cool album art by a favourite of mine,Arik Roper.
Metal heads stay tuned,I'm setting up another interview,this time in drop-Z.

Live Review- Earth @ The Corner Hotel

On a rainy Sunday night in Richmond,Seattle Drone legends Earth were set to play the final leg of their first ever  Australian tour. As I entered the venue,it was clear that this was a gig for the outcasts and diehards,also known as musicians.Opening up the night were local band 'The Margins'.Never heard of em either.Curiously,all the members of the band opted to sit down.for the duration of the set.Effect laden and experimental,The Margins played a set filled with textural voids and some strange rhythmic patterns.I even picked up on a gear junkie bassist playing with a slide.Interesting,and certainly a fairly intimate performance,but I wasn't blown away.
Next up was a girl by the name of Bonnie Mercer.Now a lot of soloists don't do much for me,and I really wasn't sure what to expect.Bonnie took to the stage and instead of chords and melodies,she unleashed the doom,all on her own.With biting feedback,and gutteral growls,I simply do not understand how that girl got so much low end out of one little guitar!
Playing one 20 minute instrumental drone piece,reminiscent of a scaled down Sunn 0))),Bonnie Mercer had a fast filling band room captivated perfectly,using only drones and noise.Good stuff.
However, no one was in any doubt that the huge crowd assembled was here for one thing and one thing only.To catch the inventors of drone,and in my opinion,one of the most continuously ground breaking bands going around. Earth are a strange part of the Seattle explosion,whom I have covered here, and never before in their 21 years of defying any kind of norm have they visited our shores.The band took to the stage to a huge roar from an attentive band room,all so excited they could hardly speak. Frontman Dylan Carlson has clearly taken a hard road in the business,evidenced in a man aged beyond his years. He and his partner,drummer Adrienne Davies were joined by a mysterious man on bass,whom I believe is relatively new to the band.Much like a UFO flying overhead,Earth were a captivating rarity from another place.In between sets, no one uttered a word.You could hear a pin drop through out the entire venue,as Earth played through an intimate set that spanned their entire career.Given the varied nature of their discography, and the 're-birth' if you like around 2006,one wouldn't have expected the mixed bag of Earth tunes played through the night.Everything from a long,drawn out,dis jointed version of 'The Bees Made Honey In The Lions Skull',to the the repetitive,yet purely thoroughly evil 'Ouroboros Is Broken',and the strangely tuned 'Tallahassee',played in a very different manner. The band had some new arrangements of old favourites, some medleys of previous tracks (brilliantly transitioned I might add) as well as some new material,a track titled 'Badger'.
Earth,in this 3 piece incarnation were much grittier, and dirtier than the recent studio recordings,and I felt having at least one of the many instruments included on the studio recordings could have added a lot.Some Piano,or Cello to add some character to the drone,but I guess Australian tours are not the most convenient to do.Seeing Adrienne Davies method of drumming live has put much of her studio work into perspective.She plays with an exact timing,bringing her arms up and around,much like a conductor leading an orchestra,and landing with exact precision and dynamic variation,which counter balances the continuous drone of the guitar.I particularly liked Dylan Carlson's introduction to 'Old Black': "some say it's about a guitar,but we all know it's actually about a cat".10 minute drone song about a cat-right on.
After playing a lengthy set,the band were more than happy to oblige the cries for an encore,whipping out another 20 minutes of medley/down tune freak out jam to end a set with class and dignity.
With new material,and the promise of a return visit within another 21 years,hopefully next year,the Sunn is shining brightly on Earth as an Australian favorite.

Album Of The Week- The Saints,Eternally Yours

Australia's answer to the Ramones,but with a whole lot of shtick and cool ideas 

1978.Buzz saw guitars,2 minute songs and preachers of punk are viewed as dangerous radicals at the edge of society.The Saints emerged from Brisbane in the mid 70's as a rebellious menace,finding little traction with Australian society.Their cult debut release saw them find commercial success in the U.K,as punk became the hip thing for labels to sell. The Saints soon became part of a commercialization of the underground,much to their disgust.And so their second release Eternally Yours was a complete rejection of what they were told to do.
The raw edgy guitars are still there,and pounding rhythm section still thunders,but the record opens with a ripper brass section,makes good use of acoustic guitar and even features harmonica and organ.Chris Bailey is a man with something to say,and doesn't get sucked into any kind of gimmick.Whilst some bands were advocating 'fuck the system',here's what Chris Bailey had to say on the second track,lost and found:
'They say you gotta respect the system
But there ain't no respect in that system for me'
Right on brother.

The other half of the creative team,guitarist Ed Kuepper is a down right legendary guitarist, fusing ripper punk riffs with some brilliant lead guitar.
A very approachable band for alot of listeners.
Know Your Product:
http://www.youtube.com/watch?v=NLbyaNbhHdU
Lost And Found:
http://www.youtube.com/watch?v=oFF6WnzlBlg
This Perfect Day,Live:
http://www.youtube.com/watch?v=1MjxIQJ4duA

Review- King Gizzard & Lizard Wizard @ The Nash

As I stepped into the Nash,it didn't take long to work out that I was in for a good night of rock'n'roll,with plenty of like minded crew gathering round the band room door.
First up were the Kremlings.I've heard all about these lads from various people,but often bands that get hyped like this turn out to be a let down. Not the Kremlings.They play legitimate punk with a serious attitude.This band was every bit as good as I had been told and more.From the minute the front man started throwing talcum powder every where,he was flying for the rest of the set.I've got no idea what the fuck he said the whole time,but whatever he said,he did it well.Sometimes you go the Nash and you wonder, 'how did that thing get so fucked up?' or 'when did that get broken'.The answer- It was probably the Kremlings.Being the first band on,the crowd wasn't fully prepared for complete anarchy,but who gives a shit.These guys seem like they give every gig 110%, and it's great.
Get their free E.P in the links at the bottom and then go see them.Don't be afraid to get right up close either,they don't bite,but you might get messy.
After the intensity of the Kremlings, the up beat ,mid tempo garage R'n'B of the Murlocs looked like nice boys playing nice music.But as soon as the Nash started swinging, The Murlocs took complete control and really began to boogie.Having recently sold out the Tote, The Murlocs proved a hit,belting out their two E.P's in order.Pounding the skins with some serious shuffle and tempo,Matt Blach created a solid rhythm for the more furious blues freak outs, whilst guitars wailed and Ambrose howled and harped, The Murlocs swung and grooved the night away.My only criticism was the bass.Yeah it I could hear it,but it lacked that real belting depth that creates a fuller sound.But maybe I'm just being too much of a bassist and not enough of a drunk punter.He was having fun anyway,so it makes no difference.
With the band room packed out, Melbourne surf garage band King Gizzard & The Lizard Wizard (who I'm sure you've heard all about by now) took over every inch of stage that they could.I call them a band,but really they're more like a fucked up party.A wild,wild out of control jam party.Right down to the guy smoking a casual J and getting freakey with a theremin, and the drum kit thrust from the usual relegation at the back of the stage to the front and center. Howling through a brand new album King Gizzard have got filthy down to an art,perhaps to their detriment at times.Staying that wild and spontaneous show after show has obviously taught the band a thing or two as they work together like a really feral sports team.Standing right at the front means you WILL cop a gizzard to the face,or as the case was,a harp mic to the head,or a Stu to front as he rolled around the rafters.The new material fit in seamlessly alongside old favourites,with a cover of a Jay Retard song (can't remember the name) to seal the set.
As I stepped and staggered out of the Nash into the streets of Geelong, a town full dolled up phonies, I realised how great a place like the Nash is.Where anyone can go along and do whatever they like without having some big dancing oaf forced upon them,or copping the sides of a bogan brawl.All whilst supporting some great bands doing what they love.

The Kremlings
http://www.facebook.com/thekremlingsband
http://kremlings.bandcamp.com/
The Murlocs
http://www.facebook.com/themurlocs
http://themurlocs.bandcamp.com/
King Gizzard & The Lizard Wizard
http://www.facebook.com/kinggizzardandthelizardwizard
http://kinggizzardandthelizardwizard.com/

Stream the new King Gizzard Album- 12 Bar Bruise

Melbourne psych/surf/garage group King Gizzard And The Lizard Wizard are putting out their debut album 12 Bar Bruise this Friday,and have today begun streaming it online here:
http://www.pagesdigital.com/groupie-exclusive-king-gizzard-the-lizard-wizard-stream/

Get your filthy ears around this festy nugget of music,and get yourselves to the Nash this Saturday to catch them in the flesh

Album Of The Week- Earth,The Bees Made Honey In The Lions Skull

Earth's The Bees Made Honey In The Lions Skull is amongst my favorites.Earth approach drone/doom music in a completely different,clean,mellow way,creating drone...something...country? folk? jazz? it's somewhere in there.

First of all some background.Who the hell are Earth?
Earth were a curious part of the Seattle grunge scene of the early 1990's. Frontman Dylan Carlson is infamous for being the guy who gave his good friend Kurt Cobain a shot gun.That's gotta be rough.
The Earth of old played a major role in creating Drone/Doom metal,helping to inspire Ambient doom legends  Sunn 0))).Fast forward through some 10 years of drug addictions,line up changes,legal battles and health problems,and Earth re-emerged with something new and beautiful.The music is still slow, repetitive,minimalistic and droning,but gone is the metal element.Clean guitars,piano,organ and drums so slow it's hard to tell what's going on.
The Bees Made Honey In The Lions Skull is the second installment in 'new' Earth,and undoubtedly a high point for the band.Everything has a sense of airiness, and the instruments have a huge element of space to them. The band fits so much expression into so few notes,it really astounds me. They still play drone/doom,but its from another world.The ultimate mellow music.
Higly recommended to everyone.
The front cover is by Arik Roper,a wonderful artist whose work graces the covers of many a heavy album.I recommend you look into him.
Miami Morning Coming Down II (Shine)-A beautiful piece of music
http://www.youtube.com/watch?v=EFSpuOgH8xQ
Engine Of Ruin
http://www.youtube.com/watch?v=qcLic3qg-90
The Bees Made Honey In The Lions Skull- The most relaxed piece of psychedelic drone you've never heard
http://www.youtube.com/watch?v=xYcQT8F58OU

Earth make their maiden voyage to Australia this month,playing the Toff In Town Wednesday the 12th and the Corner Hotel Sunday the 16th.Needless to say,I'll do a review from front and fucking center.

Album Of The Week- Monster Magnet,Dopes To Infinity

Whilst undoubtedly a major departure from the Hawkwind worship of the doped up space lords,Monster Magnet,Dopes To Infinity is a more approachable gateway into heavy riffs and psychedelic sounds for those new to stoner rock.

 

Dopes To Infinity has a much more 'song' oriented approach than the strung out,space jams of previous Monster Magnet records,and proved to be the key to success for the band. The heavy riffs are (for the most part) retained,and the weird and wonderful sounds still bounce from speaker to speaker,however this record brought much more focus into more approachable song structures and more meaningful lyrical content,most likely in the wave that followed the Seattle explosion. Gone are the 32 minute drone riffs and the vocals so washed in delays and phaser that words are indistinguishable, and in it's place are some profound messages and solid riffing. The album is cleverly sewn together, allowing songs to be broken up into chunks,whilst still maintaining a cohesive piece that stoners dig.I wish I could say I saw these Lords Of Light,live in full glory,but unfortunately Dave Wyndorf (frontman) is essentially a show piece in the Monster Magnet of today,also known as the lazy old man experience.
Recommended for grungers looking for something a little more,or those lose looking to venture into stoner rock.Yes,there was something going on outside Seattle in the 90's.
Negasonic Teenage Warhead
http://www.youtube.com/watch?v=aKj5cJ9_KSg
Third Alternative: Some dope heavy guitar going on here
http://www.youtube.com/watch?v=q7Ndw1GO7RI

Q&A with Lucas Skinner- King Gizzard & Lizard Wizard,Atolls

I can still remember the very first time I met Lucas.My very first band had just finished our first gig,and Lucas' then band,The Houses were on after us at the Anglesea pub's young band night.The Houses then proceeded to completely blow my crappy AC/DC cover out of the water.
5 years on,and Lucas is a long way from a boring pub in the middle of no where,as bass player for Melbourne surf/garage group King Gizzard And The Lizard Wizard,a band about which I'm sure enough has been said already.With the release of 12 Bar Bruise not too far away,and a new side project, Atolls, in the works,I asked Lucas a few questions via email.

What instrument did you start on,and what do you play now?
I first learnt classical guitar when I was 8, but I didn't really last long. I just learnt for the sake of learning an instrument. It wasn't until I was about 12 that I actually started listening to and getting into good music and wanting to be able to play it. So I started lessons again (not classical) and learnt how to read tabs and started to write my own music.
What instrument did you start on,and what do you play now?

I started learning guitar first, then bought a cheap bass when we kicked out the bass player of my first band and I kinda took over that role. That was a natural progression from guitar and I really dug the bass - which I still do - I guess that's what I play most in bands at the moment. I learnt piano for a couple of years too and I love playing the it in all it's forms - organ/synth.
When was your first gig and how'd it go?
It was at Courthouse Youth Arts Centre in Geelong. It went pretty well, we had a small crowd of close friends and it was a very exciting and new experience.

What drives you to play? What motivates you to go that extra mile to play music?

Playing live is fucking exciting - I know it's a cliché but you just lose yourself in this weird headspace full of adrenaline. Recording is different but just as rewarding - it can be a slow, tiresome process sometimes but persistence pays off. I labour over recording my songs - I love meticulously layering them for hours. I guess that's my artistic process and I find it progressive and rewarding.
Best gig you've played? Worst?

Best - Opening Meredith last year to definitely the biggest crowd I've ever played to. It's the only gig I've ever been ridiculously nervous for - butterflies and everything. It meant a lot to us to play on that stage - we've seen some of my all time favourite musicians and artists on stages so it was an honour and privilege. Just being backstage and in bandcamp was scary/exciting. 

Worst - there's actually fucking tons, I can't nail it down to one. You gotta play a hell of a lot of shit gigs when you're starting out - and you still get em every now and then, and they can be fucking demoralising. But the good ones make it worth it.

Fucking Elephants-Fucking aces

Influences:

What are your top 5 albums?

Neutral Milk Hotel - In an Aeroplane Over The Sea

This album, musically and lyrically is the most expressive thing I've heard. I can't describe it, just listen to it right now. 

Animal Collective - Feels

This album broke a lot of rules for me and opened my eyes to endless experimentation and creativity. The first song I heard was Purple Bottle - It was like nothing I've never heard before. 

Smog - Knock Knock

Amazing Songwriter - ominous, deep voice. Classic album 

Neil Young - Everybody Knows this is Nowhere.

I could literally stem most of my lead guitar style to Down by the River and nothing else. Such an influence album for me.

T-Rex - Electric Warrior.

Amazing album, so definitive of Marc Bolan's sound.

I feel like this could change if you ask me next week - It's too hard to nail a list like this down.
What's the best gig you've ever seen?

Most recently would be Charles Bradley at Plains. I literally had a panic attack halfway through "Lovin' You, Baby".

What have you been listening to lately?
I recently discovered My Bloody Valentine and I fucking love em - been listening to Loveless on repeat. I've also been listening to heaps of Soul - motown/stax and everything good. Also a lot of old school Reggae and Ska - compilations from the Jamaican Label called studio one - they did reggae covers of soul hits and there's some gems in there.

What's a band you dig that no one would expect you would like?
I dig tasteful electro pop and can really appreciate when button pushers do it well - I listen to Toro Y Moi, Baths, James Blake and Ratatat a lot.

King Gizzard:

The bloody Ripper single was a bit of a curveball (edit:In a good way),whilst Elbow fits right alongside the festy garage/surf rock Gizzard are known for.With a new album just around the corner,are there many surprises in store,and what have you done to keep things fresh?

I guess it was a bit different for what we've become known for - I think we just wanted to go with something poppier for a single and people didn't expect it. I still think it's a brutal song, it just has some nice pop sensibilities. I guess it's cool that we've got some kind of reputation/expectation - but at the same time that's kind of annoying too -  regardless we'll always write and record the music we want to. The album is pretty varied, I think I've listened to it too much to judge it critically - but I'm proud of what we've done. I'm looking forward to what people have to say about it.

From what I gather,in the early days of the band,the song writing was as simplistic as possible to cope with a fluctuating line up.Now that a more rigid,committed line up is in place,do you find yourselves still writing for simplicity,or do you really try and use such a large band to it's full potential?

 Yeah early days the structures were so simple - our songs literally had a quiet and a loud part. We still write as a 3 piece and the structures are more varied and interesting. We write all the other parts through overdubs while recording then everyone learns their parts kinda one by one to ready them for the live context. So yeah we definitely try to use all the instruments smarter rather than to be loud - not to say we don't use it for that as well.

Looking beyond the album,is there anything exciting planned?
We're touring in Sep/Oct which is always a bunch of fun. We've already started recording a new album - it'll be very different.

Cover art for King Gizzard & The Lizard Wizard's new album, 12 Bar Bruise,out on Sept.7th,with a big arse tour to go with it.Artwork by Jason Galea

Atolls:

I know pretty much nothing about this band.Fill us in?
We've recorded a single and a b-side which we're gonna release in mid Sep and Launch in Oct. I guess Atolls is my creative pursuit - I've never been the principal songwriter/frontman in a band and that's what this is - I've been slowly writing new songs and we're in the process of getting a set together to start gigging which will be fun. As for genre, my brother described it very aptly:
Atolls’ sound is built on shifting layers of loops and fuzz, with lead breaks purling out of hissing feedback, like Dinosaur Jr. played through a torn speaker cone. Weird ambient undercurrents swirl under hazy guitar squall. But pop melodies beat down this wall of noise – they’re oddly familiar but kind of cracked and offbeat like Woods or Ty Segal. Atolls’ debut single – Mumble – drops on 17th September and some pretty wild and compelling live shows will follow its release.
The Musical thing:
For this I asked Lucas to send me a photo of  something cool and music related

I recently got this Santo & Johnny record - I've been looking for it for ages. It's a 1958 original. Everywhere I've seen it online it's usually around $100 but I found it cheap. Definitely one of my favourite surf guitar records - my guitar teacher was a surf nut which rubbed off on me a lot. This record has the original version of "Sleepwalk" which is just a the dreamiest fucking thing I've ever heard. I want a lap steel but I reckon they'd be hard to play.

King Gizzard & The Lizard Wizard Links:
They have shirts and albums and shit for sale-get around it.I bought their last album and it came with a photo of Lucas tucked into the sleeve,signed on the back with 'Lets kiss,xox,Lucas'
http://kinggizzardandthelizardwizard.com/
http://www.facebook.com/kinggizzardandthelizardwizard
Atolls:
http://www.facebook.com/atollsband

Many thanks to Lucas for taking the time to have a chat.
If you don't go along to a Gizzard show in their up-coming tour,there's something wrong with you
September 8th @ The Nash
October 6 & 7th @ The Tote

Album Of The Week-Earthless,Rhythms From A Cosmic Sky

Are you looking at the Meredith line-up and saying to yourself,'who the hell is Earthless?'
Then look no further,for Earthless are the bomb

If I had to sum up San Diego three piece Earthless in one line,I would quote a very drunk Cory Balloch on the topic of what guitarists do-'they just go man'.Rhythms From A Cosmic Sky takes the crazy acid jams of  late 60's and early 70's and ramps it up a notch,with each track going for 20 minutes,and I get the feeling they would go longer if you could fit that much music onto one side of a 12" LP.How many 12 year old kids say they want to be a rock star,or a professional skater? Well,drummer Mario Rubalcaba is both-pretty fucking boss hey?
The real chops in the group lay in guitarist Isaiah Mitchell.I'm fairly convinced he has something super human about him.He can noodle away at an epic guitar solo the entire time,and yet every lick is just as tasty as the last,without going overboard into flashy shred territory.
Highly recommended for fans of Hendrix,Cream,Zeppelin,Wolfmother,etc.
Touring nationally in December.
As the album is only 3 tracks,I'll put them all up here
Godspeed-The bees fucking knees
http://www.youtube.com/watch?v=_05oqmdjfUc
Sonic Prayer
http://www.youtube.com/watch?v=VNsmRDUoMyQ&feature=related
Cherry Red-Bonus track,a cover,and the only Earthless track to feature vocals
http://www.youtube.com/watch?v=kvqgz9hbBMQ

Smalltownextra: I've been lacking in the reviews/interviews lately,but I have a Bloody Ripper of an interview lined up
Stay tuned

Stay tuned for something groovey

Sorry for the slowdown,but real life is more important at the moment.
But never fear,I've got something cool in the works
Till then,enjoy Thee Oh Sees King Gizzard & The Lizard Wizard
http://soundcloud.com/king-gizzard/elbow

Album Of The Week-Sungrazer,Mirador

Straight up Psychedelic Stoner Rock.No one does it better than Europeans.

Sungrazer's album Mirador,which followed on from their earlier effort,a self titled E.P takes the Netherlands finest 3 piece and gives them an endless platform on which to lay down their groovey tunes,creating mellow vibes that are under pinned by strong riffs and a heavy rhythm.If you know Colour Haze,you will love Mirdaor.Sungrazer create that same heavy,psychedelic,almost blues based jamming of Colour Haze,Kyuss or even something similar to Hendrix and kick in the fuzz.Mirdaor sees the band extend out the riffage of the self titled and go further into the psychedelic realm.Would recommend for fans Wolfmother's first album

Behind- A long journey through some soft guitars and into some tight stoner rock

http://www.youtube.com/watch?v=GrAVSTUGl-Q

Mirador- A dam fine drum beat that welds itself to the bass,and guitars that swim in pools of delay

http://www.youtube.com/watch?v=BTW5LKYxvDg 

On another topic-Live review of The Matt Sonic and the High Times playing Kyuss didn't come together due to school pressures.Sorry about that one.

Album Of The Week- Toner Low,II

Floor shakingly heavy,creepy Dutch doom metal.Try to imagine Sleep or Sunn 0))) writing a soundtrack to a horror movie,and you've got Toner Low's II.

Toner Low play doom metal with an extra element that I can't quite put my finger on.Often using strange sounds,and make scarce use of vocals,Toner Low use some good production to make doom metal that really is an artwork.II is a darker,more menacing feel to it than the previous record,a self titled.The album is split up into four tracks that a sub-divided into separate 'movements' if you like,which is a bit of a pain,but it all flows together nicely.Some really strange vocal sounds make lyrics almost indistinguishable from the colossal mountains of guitars and the deep,DEEP powerful bass,accompanied by some fairly metronomic drums.Track two features a solo saxophone section,not something one would expect in a genre like this,before powering into some riffs that could easily fit into Dopesmoker or Holy Mountain.Track four features some super creepy story telling,much like Murphy's Law off their last album,and a dope heavy build into the mondo.
For fans of Electric Wizard,Sleep,Sunn 0)),etc,etc
Track I
http://www.youtube.com/watch?v=2KNmu8H5p5M
Fast forwarded past the first song,track II
http://www.youtube.com/watch?v=tyt1n0hy9wI&feature=player_detailpage#t=272s

Review-Om,Advaitic Songs

Never before have you heard distorted,doom metal bass work with Cello,or Arabic Female vocals.Om truly push new territory,following on from the major leap made in their last album God Is Good.

Who are these trippers I hear you ask?
Om were a two peice,formed from the suspicious ashes of Stoner/Doom Legends Sleep.With just drums,bass and vocals,the band played doom metal that was structured like Tibetan Chanting,and lyrics touching on mystical,ancient religious themes.After taking on new drummer Emil Amos in 2008,the band has taken a new direction,recently becoming a 3 piece with the addition of Robert Lowe.Now using sitars,cello's and flutes,and occasionally kicking in the overdrive for some sabbath worship,Advaitic Songs is hard to understand at first.
Most bands write an album all in the one language.Not Om.Opening track,Addis, begins with a solo female vocalist,providing some hypnotic middle eastern gibberish (I'm sure it actually means something pretty mind blowing),before the band kicks in with drums,bass,tabla and cello.Truly unlike anything they have previously written.
It's not until track two,State Of Non-Return,that we hear some of the heavy drum/bass riffage that the band are known for,however in a slightly different way,the song ending on some fantastic,natural melodies combined with the that Cisneros rhythm.
Track 4,Sinai,is where things really start to make sense for me.Once again starting with some mysterious language, accompanied by
ethereal noises,but the deep rumblings of a Rickenbacker provide a complete drop into the void of Cisnerosity.
At times,it can feel as though the band are taking the whole religious/middle eastern theme a little be too seriously,the meaning of which is very easily lost on the listener.Perhaps the band has moved a little too far forward,as though there's some kind of missing album in between Advaitic Songs and the previous effort,God Is Good,that would demonstrate the progression to the current release.After more than a few listens,the picture becomes clearer,with some rich textures and fantastic use of melody,an element which previous Om records have been almost completely devoid of.If you were expecting another Conference Of The Birds,with its minimalist Doom metal,you will be disappointed.Take the time however to let it sink in,you will realise just how 'heavy' this record is,despite being not heavy at all in the traditional sense.
With this album,Om hold the flag of a curious offshoot from the Stoner/Doom genre,joined by bands like Earth and Grails (of whom Emil Amos is a founding member).This stream is moving away from the C tuned,deep,distorted heavy vibe of the past and ushering a completely different approach,using acoustic and world instruments to create the same,heavy,droning feel,but in a completely relaxed way.
I would have loved to have heard more of a marriage of the traditional heaviness with with this deep,textured vibe the band now has,but it's wrong to expect anything of such progressive musicians,who are always one step ahead,keeping it fresh and interesting.Rather,just sit back and enjoy what the band has created.

Getting My Head around the new Om Album-LSD might help

Has hell frozen over?
The new Om album,Advatitic Songs,has got acoustic guitar on it!
I'll need a few days to make sense of this and bring you a review
Stay trippy my friends

Album Of The Week-Kyuss,Blues For The Red Sun

Everyone who is anyone should know why this one is album of the week.

This landmark album recently celebrated it's 20th anniversary (more on that later), and yet two decades on,it remains a milestone in the progression of heavy music.

Lets start with my favourite thing about this record-the album cover-god damn,I don't what it's supposed to be,but it looks like some dope shit's about to go down right?
And that's exactly what happens.After the disappointment of the bands first effort,Blues For The Red Sun could be considered the 'Nevermind' of stoner rock.The band fused their angry punk/metal sound with some serious psychedelic vibes,and created the foundation of 'Stoner Rock'.One of the more important elements that's really made this album came from outside of the band,producer Chris Goss stepping in,helping the band to finally nail their sound.
At a time of labels trying to milk grunge for all it was worth,Blues For The Red Sun was overshadowed by Seattle's explosion.Too different,too heavy,misunderstood music from another place,from the desert scene that had largely remained a secret.
Taking influences from hard core punk,heavy metal and whatever strange drugs you find in the desert,Blues For The Red Sun is a much more focused effort than the last,although at time,still lacks a bit of direction.The last track,Mondo Generator never really seems to get anywhere,Capsized sounds like an amazing number,cut short.
Whilst personally not my favourite Kyuss album,Blues is as good a place to start as any,for fans of Black Sabbath,Metallica and pot.
Thumb-Intimidatingly heavy
http://www.youtube.com/watch?v=ftS-zFZTSc8
Green Machine-Cars,cowboys and desert rock.What's not to love?
http://www.youtube.com/watch?v=Fc-7FXzbeA0
Kyuss are bigger now than they have ever been,helped partially by Guitarist Josh Homme losing his cool and starting Queens Of The Stone Age,but two decades of influence is not hard to spot.You can catch the album being played in its entirety by Matt Sonic And The High Times,a killer live band,nexy Saturday night ath the Cherry Bar,with support from the mighty Battle Axe Howlers,(whose frontman Mike was interviewed on here recently).Expect a review.