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Demons

SKU: 48362
Label:
Inside Out Music
Category:
Stoner Rock
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"Anyone who's familiar with Michael Amott through his work with Arch Enemy, Carcass, Carnage, or any othe extreme metal band he played with (Candlemass, Kreator) might be quite surprised upon hearing his second band Spiritual Beggars. This band has been around since 1992 and finds Amott exploring a more groove-laden stoner rock type of music that is somewhat reminiscent of Trouble and the more classic 70's rock bands that run the gamut from Deep Purple to Uriah Heep to Black Sabbath.

Demons is the follow-up to their critically acclaimed 2002 release On Fire which was the debut release for current singer JB (Grand Magus). Supporting Amott are his Arch Enemy bandmate Sharlee D'Angelo (formerly of Mercyful Fate and Dismember), new Opeth keyboardist Per Wiberg, and Ludwig Witt on drums. The fact that the lineup hasn't changed for the last couple of years has resulted in a collective musical vision of the band members. The songs are very organic sounding, as if they were parts of jam sessions. Along with the classic 70's rock songs "Throwing Your Life Away" and "Salt in Your Wounds", there are also groove-filled darker cuts in the form of "Dying Every Day" and "Treading Water". Whilst it's Sharlee D'Angelo's throbbing bass work on the more straightforward songs that will catch your attention right away, the stoner tracks see keyboardist Per Wiberg shining. Wiberg uses plenty of Hammond organ sounds that bring Uriah Heep's earlier work to mind during the instrumental workout on the longest song "Dying Every Day". He also incorporates various Deep Purple-like analog keys and marries them with Amott's expressive guitar solos.

Granted there aren't any hits like "Left Brain Ambassadors" or "Killing Time" on Demons, this album is still Spiritual Beggars' darkest and most midtempo sounding work. It also branches out from the classic Beggars sound lending itself to varied influences and experimenting with more uncommon themes such as the pianos blending with exquisite cello and violion work on the short instrumental "Born to Die (reprise)". Older Spiritual Beggars may not get into it on the first listen, but it certainly is worth checking out, especially for Amott's terrific guitar playing and the whole band proving themselves as a tight unit who are eager to pay their influences a nice homage. Last but not least, Fredrik Nordstrom's production work is nothing but stellar." - Sea Of Tranquility

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  • "Doomdelic instrumental space prog rockers L'ira Del Baccano are back with their fourth album on Subsound Records, Cosmic Evoked Potentials. The album release will be preceded by a video for the single "The Strange Dream of My Old Sun". Producer and guitarist Alessandro Santori says about the album: Cosmic Evoked Potentials is a rite of passage, the end of a cycle and already blooming of another. Surely their most instinctive effort so far. The band went back to their roots of live recording, this time instead of a stage they chose an old mansion from late 1700s outside Rome. The atmosphere there was so charming and stimulating that 13 minutes of a 45-minute-long improvisation ended up in the album."
    $15.00
  • "If their last was an odyssey, this is a rock n roll masterclassOf all the rock n roll bands that have looked to the past to find their own future, it’s fair to say that Hoirsont have probably been a cut above the rest – certainly in Europe.Now 10 years into their career, perhaps such milestones bring their own pressure. A decade, after all, makes them classic rockers in their own right, never mind the bands they love.If it was their sophomore record – “Second Assault” from 2012 – that firmly established them as favourites in the eyes of many, then it was the incredible “Odyssey” album from 2015, that marked them out as genuine front-runners in the pack.That one saw them work with Tom Sutton (Order of Israfel etc) and write what amounted to a space rock record. “About Time” on the other hand, sees them occupy some kind of middle ground between the “….Assault” and “Oddysey” and melding works absolutely brilliantly.Nowhere better, actually, than on the third track here. The quite wonderful “Without Warning” which begins with some prog synth -think Keith Emerson on the Moog all those years ago, and morphs into a song that Think Lizzy would have been proud of.The ghost of Philip Parris Lynott and the greatest hard rock band of them all is all over “About Time”. “Night Line” basically amounts to a homage, “Boston Gold” has the same gleeful ebullience – but adds a keyboard riff to the gallop  – and “Hungry Love” kicks off with the most perfect twin guitar harmony this side of Scott Gorham and Brian Robertson.Impressively short – the majority of these songs pack their fun into less than four minutes – things kick off with “The Hive” which manages to sound grandiose in the time it would take Yes to do an overture, while “Electrical” is suitably charged with energy.There is something truly special about this album. “Dark Sides” knows its way through rock n roll history but still manages to sound fresh. Its acoustic work gives a hint of The Hellacopters at their most mellow (with Axel sounding a little like Nicke Andersson here) but they can’t resist subverting the formula and overlaying the thing with a keyboard solo.That track morphs into the closing title track, and this too is slightly different from the others, as it belongs in a slightly more psychedelic headspace – and it’s soaring yet lush guitar work is melodic and marvellous.In amongst all this is a song in their native tongue. “Letare”, however, is merely copper bottomed proof that rock n roll is a universal language.It is but one harmony filled highlight in a record that might just stand scrutiny as their best ever. Certainly it is one that offers more with each listen and is compelling, interesting and above all, fun.Horisont often get wrongly labelled as “Retro Rock”. Nothing retro could ever sound this fresh. Perhaps this one will see them get the recognition – and commercial success – they so richly deserve. It is “About Time”, after all." - MaximunVolumeMusic
    $11.00
  • "At one time I considered myself to be Norse Pagan, and though I don’t follow that path anymore, I still have an affinity for Norse Mythology and the lessons contained within their stories. So, when I discovered that the upcoming Mr. Bison album, Echoes Of The Universe, was based upon The Norns, I was more than intrigued, I was downright ecstatic with anticipation. Let’s jump into things with a brief description of The Norns, and why they were so important to Viking Culture.The Norns are three sisters named Urd, Verdandi, and Skuld. They lived underneath Yggdrasil, the world tree, where they work to, according to the albums press statement, ‘weave the threads of universal destiny on a tapestry, in which all existence, in a continuous mix of past, present and future, intersect and influence each other, thereby generating a kaleidoscopic vortex of infinite and unpredictable possibilities’. In other words, they create the fate of each person before birth, and their choices can either be of benefit to that person, or a hindrance that has the power to negatively impact their lives. The Norns hold the keys to our destiny, and they turn them at will.As intriguing as that description may be, it pales in comparison to the music that Mr. Bison recorded for this album. Mixing progressive rock, heavy psych, stoner and psychedelic rock, the band brings us music that takes us on a journey filled with riffs, exceptional vocals and a keen knack for storytelling. It’s also worthy to note that the people that these songs are about are never mentioned by name, leaving the listener to really dig in in order to glean their true meanings. However, the band hooked me up with the info, and for the tracks that we discuss, I will be naming them for you.Echoes Of The Universe begins with The Child Of The Night Sky, a tale of the great wolf Fenrir, son of the trickster God named Loki and a giantess named Angrboða. Fenrir is the bringer of the end of the world, also known as Ragnarok, killer of Odin, and eater of the sun. This song details how the Gods betrayed and trapped Fenrir in order to change their destiny, but The Norns had already written out the fates of the Gods. The music on this treads common ground with progressive bands like Yes and Rush, mostly Yes though. The vocals of Matteo Sciocchetto seem to float perfectly over the music, and the stoner based riffs fit in with style and precision.Dead In The Eye is Odin’s talk with The Norns, in which they discussed his vision of Ragnarok. I would never have gotten that from the lyrics, as they come across as quite cryptic, but from what I can tell, the lyrics are indeed a back and forth conversation. The music and performances are where the song really shines though, as Mr. Bison are skilled players, weaving a tapestry of sounds that go from mellow to aggressive and back again. The vocals are outstanding, but if you know this band at all, then you knew that this would be the case.Another standout is The Veil, a song about trying to escape the destiny written out before your birth, and in my humble opinion, this is the best of the seven songs. The main riff is a bit hypnotic, there’s an element to it I found myself focusing on, losing the outside world to venture into the world that Mr. Bison is in, and it enhanced my listening experience. Literally everything about this song is exceptional, the riffs, the melody, the progressive tendencies, it’s all absolutely fantastic.There are four other songs on this album, but I’ll leave them for you to dissect on your own because part of the experience of this album is figuring out the meanings to the lyrics. However, I will assure you that these songs are incredibly strong, and they all exemplify the best songwriting that this band has had to date." - The Sleeping Shaman
    $15.00
  • Digipak edition with 2 bonus tracks."I have written enough about the vintage rock revival that I don't want to take up a lot of space rehashing myself, so I'll try to sum it up in one sentence; Graveyard is amazing, Blues Pills and The Black Marbles each had one fantastic record, and everyone else is struggling to figure it out. That includes Horisont, who mine the past without ever striking gold. Despite sounding like an artifact of the past, their records have never stuck with me, and have never seemed as interested in developing their songwriting as developing their skills in mimicking the production choices of 1975.This time, we actually move even further back in time. "Revolution" opens up the album with a total throwback to the days of The Beatles. From the piano that leads the track, to the harmonized vocals, to the textural guitars in the background, the song is entirely a pastiche of that period. It also happens to be more interesting than yet another band trying to play Zeppelin styled riffs without any of the power, so they are taking from the best. That's an improvement right there.But the old issues pop back up not long after. "Pushin' The Line" is a typical up-tempo rocker, but the song doesn't really have a chorus hook to it. The verses blend right into what should be the crux of the song, and it sounds like two verses and a guitar solo. There isn't enough attention being paid to making sure the vocals and the songwriting are delivering something memorable. Like a lot of vintage rock, it all feels content on relying on the sound to do all the work, which is such a horrible decision.Even when they don't deliver on that front, it's at least more tolerable when they step outside the usual rock format. "Into The Night" has a sax in the intro, and more pianos that add depth to the mix. Those details go a long way to elevating the song above its weaknesses in a way that just guitar/bass/drums isn't able to. There needs to be a part to focus on, and that is actually the piano, which opens up new tones and possibilities for the band.Likewise, the dramatic turn taken by "Standing Here" sounds fresh and exciting. The band is finally realizing that classic rock is far more expansive a term than we often think about. Stretching your boundaries and exploring was a huge part of that, and those are the songs where Horisont are at their best. Adding something to the sound beyond the stereotype is everything to this record. That's the case with the Swedish-sung "Graa Dagar", which has more Beatles swagger and plenty of detailed instrumentation. It's one of the best songs Horisont has ever put together, which may be in part because they're more comfortable fitting melodies to their own language.So we're left with a record that has a few pieces struggling to fit together. Their more experimental side, especially where the piano is present, is all good stuff. The songs that are more straight-forward rock are harder to get excited about. Horisont has never been a band with a lot of hooks to their music, so when they don't at least have the details to focus on, they can be a bit vanilla. Fortunately, they branch out more often than ever here, which makes this easily their best record. No, it doesn't reach the heights of Graveyard's classic trilogy, but I'm not expecting that. Horisont has finally taken a big step forward, so that should be commended." - Bloody Good Music
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  • Third album from this Swedish stoner rock band takes equal parts Mastodon, Pink Floyd, and Baroness and jumbles it together.  Toss in a touch of retro-folk in places (I guess that would make it unequal).  It can get a bit sludgy at times and then turns around and blasts off into space.  All I know is I want what they're smoking!"New Keepers Of The Water Towers are a Stoner Metal Band who have been going since 2006 and have a loyal following within the Stoner Metal scene. They have released two well-received albums – 2009’s Chronicles and 2011’s The Calydonian Hunt.Their blend of high voltage Stoner Metal riffs mixed with Fuzz and a slight hint of Sludge Rock made these hugely talented Swedes a band to look out for. Well things are about to change big time for the band thanks to their stunning new album – Cosmic Child.For the 3rd album – the band have went under a spacey transformation of sorts. Cosmic Child sees the band incorporating huge elements of Progressive Rock and Space Rock into their already set great sound.So if you’re a fan of Pink Floyd and Mastodon then your surely going to dig this like I did. Cosmic Child is the band’s creative and most daring work to date. They are a band reborn. This is New Keepers Of The Water Towers like you have never heard before. The band has reflected this in the 47 minute running time. An almost epic length by their standards.First track – The Great Leveller – is the perfect 6-minute introduction to show you the bands new sound and outlook on all things Stoner Metal. Blending Progressive Rock riffs with Space Rock shows you this band have taken a more direct Sci-Fi vibe to their music. What else would you expect with the excellent album cover and cool title?Imagine if NASA wanted the world’s finest Stoner Metal bands to record an album about Space Exploration then The Cosmic Child would be that awesome result. New Keepers have created an astonishing album that will take you to different galaxies and dimensions without ever leaving the comforts of your own home.2nd track – Visions Of Death – might start as a cheerful Space Rock opera but listen to the lyrics and you find something dark and mysterious lurking in the background. Before the album takes you off for an epic journey into the cosmos. 9 mins on show here feel like light-years instead of mins. However, you will not know the difference as you will be enjoying the ride too much. Just more action-packed riffs to show you that New Keepers Of The Water Towers have evolved as musicians and writers since their last release. Wait until the 5:30 minute mark before an amazing Space infused Stoner Rock riff comes out of nowhere.3rd Track – Pyre For The Red Sage – is another magical epic journey through Time and Space. Well 12 minute to be precise but you get another outstanding track, which takes time building the listeners emotions before letting rip with more top-notch Space Rock riffs. Throw in great vocals and lyrics and this album is now firmly in the realm of brilliance. This is a love letter to Pink Floyd as it contains some highly recognisable rock passages that legendary band were known for.I had the feeling when listening to the album that the band had been reading or watching 2001 – A Space Odyssey or other philosophical sci-fi classics as some of their ideas on the album might actually need a degree of some sort to fully understand. However, the riffs contained on the album will keep fans happy for many years to come.The last 3 songs follow the same path as the first 3 songs. More epic progressive space rock riffs blended with sublime Stoner Metal riffs. 18 more mins to keep you transfixed from start to finish.Best track of the remaining 3 is the 12:32 minute instrumental epic – Lapse – which showcases some of the bands finest instrumental work to date. Ambient noises have been beautifully added to create a world that is unnerving as it is exciting. Damn – this track is a work of art at times. Moods and atmospheres collide with intent and purpose. Just close your eyes and let the riffs take you on another great journey into the vastness of space.All in all – The Cosmic Child – is a wonderful album for everyone to experience. It has soul and heart like you would never imagine. It’s expertly produced and played by all involved.The Cosmic Child is going to launch New Keepers Of The Water Tower onto another level within the Stoner Metal scene.Excellent and Highly Recommended." - The Sludgelord Blogspot
    $7.00
  • "Anyone who's familiar with Michael Amott through his work with Arch Enemy, Carcass, Carnage, or any othe extreme metal band he played with (Candlemass, Kreator) might be quite surprised upon hearing his second band Spiritual Beggars. This band has been around since 1992 and finds Amott exploring a more groove-laden stoner rock type of music that is somewhat reminiscent of Trouble and the more classic 70's rock bands that run the gamut from Deep Purple to Uriah Heep to Black Sabbath.Demons is the follow-up to their critically acclaimed 2002 release On Fire which was the debut release for current singer JB (Grand Magus). Supporting Amott are his Arch Enemy bandmate Sharlee D'Angelo (formerly of Mercyful Fate and Dismember), new Opeth keyboardist Per Wiberg, and Ludwig Witt on drums. The fact that the lineup hasn't changed for the last couple of years has resulted in a collective musical vision of the band members. The songs are very organic sounding, as if they were parts of jam sessions. Along with the classic 70's rock songs "Throwing Your Life Away" and "Salt in Your Wounds", there are also groove-filled darker cuts in the form of "Dying Every Day" and "Treading Water". Whilst it's Sharlee D'Angelo's throbbing bass work on the more straightforward songs that will catch your attention right away, the stoner tracks see keyboardist Per Wiberg shining. Wiberg uses plenty of Hammond organ sounds that bring Uriah Heep's earlier work to mind during the instrumental workout on the longest song "Dying Every Day". He also incorporates various Deep Purple-like analog keys and marries them with Amott's expressive guitar solos.Granted there aren't any hits like "Left Brain Ambassadors" or "Killing Time" on Demons, this album is still Spiritual Beggars' darkest and most midtempo sounding work. It also branches out from the classic Beggars sound lending itself to varied influences and experimenting with more uncommon themes such as the pianos blending with exquisite cello and violion work on the short instrumental "Born to Die (reprise)". Older Spiritual Beggars may not get into it on the first listen, but it certainly is worth checking out, especially for Amott's terrific guitar playing and the whole band proving themselves as a tight unit who are eager to pay their influences a nice homage. Last but not least, Fredrik Nordstrom's production work is nothing but stellar." - Sea Of Tranquility
    $9.00
  • Its been seven years since we heard from this great Canadian band.  Covid held them back but here they are with their fifth album.  This Canadian quartet champions a retro-prog/doom sound that could almost make you think its some long lost recording from the early 70s.  The band is fronted by Alia O'Brien who also plays flute and organ.  There is a touch of the occult going on here, reminiscent of The Devil's Blood.  Toss in a little Jethro Tull, maybe an even greater helping of Black Sabbath and it will put you in the right direction.  BUY OR DIE!Mesmerizing and multi-faceted, Blood Ceremony have spent the last several years blurring the lines between heavy music’s past and present. Formed in Toronto, Canada, in 2006, they were swiftly heralded as a cut above the retro rock pack, armed as they were with a sound that incorporated the riff-driven power of doom, the woozy, warm glow of psychedelia and the flute-fueled magick of acid folk and rootsy prog. After releasing their self-titled debut album through Rise Above Records in 2008, Blood Ceremony have been a superlative presence in the underground; expanding their sonic vision in multiple directions, as albums like 2013’s The Eldritch Dark and, most recently, Lord of Misrule (2016) set a new standard for kaleidoscopic, analogue fervor.Seven years have passed since Blood Ceremony last released a full-length album, but that all changes in 2023. Pieced together during lockdown months, and brought to fruition with a host of esteemed special guests, the Canadians’ fifth album, The Old Ways Remain, is set to emerge in the spring. Diverse, hypnotic and eminently groovy, the new songs push Blood Ceremony’s sound into new territory while also honoring the atavistic ethos that has led them to such triumphs in the past. Initial plans to repeat the successful formula that birthed Lord of Misrule and fly to the UK to record again at Toe Rag Studios in London fell victim to Covid restrictions, and so Sean and his comrades – Alia O’Brien (vocals/flute/organ), Lucas Gadke (bass) and Michael Carrillo (drums) – switched to a simpler but equally satisfying Plan B.“By late 2021, we realized that if we were ever going to finish a new album, we’d just have to record locally and do it ourselves,” says guitarist Sean Kennedy. “And that’s what we did. We started rehearsing the material again and were still really excited by it. Once we revisited everything, we had a new burst of energy. We found a local studio that had what we needed and we were off! Recording nearby allowed us to bring in friends like Laura Bates from (fellow folk-doom crew) Völur to play fiddle, Joseph Shabason added saxophone to Eugenie, and Mike Eckert played pedal steel on Hecate. We produced ourselves, along with our friend, Paul Kehayas. We worked with an engineer named Chris Snow who immediately got what we were trying to do. Richard Whittaker mixed the tracks at his London, UK, studio, and we think he did a great job.”A vital testament to Blood Ceremony’s collective efficacy, The Old Ways Remain is an album for those who love great songs, great riffs and cryptic tales from the outer limits. Along the way, there are strident, balls-out psych rockers like sizzling opener The Hellfire Club (which Sean Kennedy is at pains to say was written before Netflix smash Stranger Things co-opted the phrase!), the swinging, occult stomp of Ipsissimus, the sharp and catchy Hecate, and the absurdly groovy Lolly Willows (previously released as a single in 2019); while the more expansive likes of Eugenie, The Bonfires At Belloc Coombe and wistful closer Song Of The Morrow take the band’s music into gently unfamiliar territory, as their sonorous blend of heaviness and hallucination truly takes flight.“This album is a continuation of our sound, although with every album we try to push ourselves in some new musical directions,” Sean notes. “The album has some folk-rock songs, as well as some heavier tracks, and others with more of a pop vibe. Having said that, we can’t escape ourselves, and I think it will fit alongside our previous releases. One big difference with this record is that we included a song that wasn’t written by a band member. My wife, Amy Bowles, wrote Mossy Wood, which I think is a great folk-rock song. She had written it for an earlier group that she and I were in. It really fit the overall vibe of the record.”And what a vibe that is. The Old Ways Remain stays true to Blood Ceremony’s illustrious past, and yet its reach is longer and broader than on any previous album. Nonetheless, the record’s title comes across as a renewed statement of intent, as the unwavering power of the riff and a huge dose of imagination collide once again, but with more style, class, and enduring impact than ever before.“The Old Ways Remain is taken from a line in an earlier Blood Ceremony song,” Sean explains. “It seems appropriate, actually. We always seem to come back to this idea of the ancient world haunting the present. Arthur Machen explored this in books like The Hill of Dreams and his writing has been a big influence.”Undeniably long-awaited but very much worth the wait, Blood Ceremony’s return promises to inject some otherworldly charm back into the underground. As their songwriting prowess grows and their music takes on deeper and brighter colors in response, the quartet are perfectly poised to renew their special relationship with nostalgic riff-worshippers everywhere. Come the spring, the Old Ways will cast their spell all over again.“We’re looking forward to releasing The Old Ways Remain. It’s been a long time coming, so we’re eager to finally get the songs out there and we hope people enjoy them,” Sean concludes. We have a UK and European tour coming up in May 2023 with Uncle Acid and the Deadbeats which will be a great time. It’s been a rough few years, but the old ways remain and the ancient gods live on!”"
    $16.00
  • "REVERB! It’s one of my favorite effects. I’ve tried a few different pedals and played with some built-in amp reverb. With each unique sound, my obsession grows, and I want to collect them all like Pokémon. (Sorry the kids are watching that as I write this.) I love King Buffalo’s sound, especially the spacey tones. With their new album Acheron, I’ve realized to achieve these massive sounds, I won’t need to buy a reverb pedal but an entire cave. This hobby is getting expensive.A flowing stream from inside Howe Caverns is the perfect opening sound and as it fades behind the beautiful guitar work by Sean McVay. Instant chills. As Dan Reynolds and Scott Donaldson join in on bass and drums respectively, even more emotions are felt. One of those feelings was that of jealousy towards JJ Koczan. He got to experience the first song, titled Acheron, first hand inside the cave! Although technical difficulties, and a long load in, prevented him from hearing the remaining three songs, I bet it was an incredible experience.At about ten minutes long, Acheron weaves between those beautiful soft, clean tones with a crunchy distortion that is multiplied as it bounces back off the cave walls. It’s such a full sound and as the distortion cuts out it echoes for seemingly eternity as McVay continues the single note picking. The dynamics are what I love most about King Buffalo as they take it to new heights by weaving serenity with sheer distorted power.Zephyr starts off with a cool drumbeat by Donaldson with droning guitars and layered riffs on top. The music builds little by little and McVay’s voice becomes more intense leading up to a solo that has an insane tone with a lot more of that echoing. Again chills. I’m also fond of how it cuts out abruptly and back to the calm intro, but this time with some spacey vibes. One reason I love King Buffalo is how they completely switch up the song in the middle. With Zephyr, at five minutes in there is the gnarliest crunchy riff that continues with thundering drums and heavy bass. This goes on for a while, adding in a sweet solo, and then wraps up with the beginning of the song seamlessly.three outstanding musicians have created a captivating song [Cerberus] that draws energy from the cave to the sound waves that hit your ear…The rhythm section of the band really shines here. Shadows starts with a simple, yet awesome sounding, drumbeat using the kick and rim of the snare. Reynolds shows off a little here with a moving bass line. The spacey guitars aren’t far behind and are placed over top. One lyric McVay sings is ‘there’s no horizon’ and I know they aren’t singing about their career, but what they’ve put out this last year alone as King Buffalo has an endless horizon to travel.Cerberus concludes this four, long song, album with the near ten-minute epic conclusion. The droning siren intro and psychedelic sounds blend into the background as the drums take the lead in the beginning. Then, the signature triplet palm muted riffs come flooding in towards the middle. The riff actually reminds me of the music playing during the car chase scene on The Matrix Reloaded (the only good part of that movie). These three outstanding musicians have created a captivating song that draws energy from the cave to the sound waves that hit your ear.The Burden Of Restlessness is still on repeat for me but only to be bumped by Acheron now. The cave setting has elevated this album as the music is epic. I hope King Buffalo do a cave tour in the future and if they’re reading this, there’s a cave in Pelham, Tennessee called The Caverns that also happens to be a concert venue and I can provide any information they need to get that show booked!" - The Sleeping Shaman
    $10.00
  • "It feels like a long since I reviewed Saint Karloff’s second album Interstellar Voodoo back in 2019. In those heady days, I was younger, thinner and, possibly, ever so slightly less bald. I was definitely more naïve as well – there’s no way that I’d volunteer to review an album consisting of a single 30+ minute-long track these days. Good, bad or indifferent that’s just too much like actual work.Things have changed for Saint Karloff as well but in more profound ways. Founding member and bass player Ole Sletner passed away in 2021 even as work on this next album was underway. Fortunately for us, the band decided to soldier on with the help of Ole’s brother Elvind as lyricist and Jointhugger’s Nico Munkvold playing bass at live performances. The result is Paleolithic War Crimes and it’s a real treat.I’ll be honest with you: I don’t remember a great deal about Interstellar Voodoo beyond it being a total bitch to review. I recall it being heavy on the vintage-flavoured stoner doom and having some proggy flourishes, but it didn’t make a massive impression on me. This time round, Saint Karloff have turned everything up to 11 to produce an absolute corker of an album. Without being self-consciously retro it has a definite ‘70s all-analogue flavour, mixing the expected stoner doom with an even bigger dollop of prog. Best of all, there are numerous moments that had me remembering a whole slew of classic stoner rock albums from the turn of the millennium which always makes me happy.Psychedelic Man opens with a pounding, mesmeric riff before slowing down into one of those menacing stoner-doom sections that we all know and love. We then have some nice alternating between the two, and just for yucks, Saint Karloff chuck in some bouncy old school stoner sections. It’s a really awesome way to kick of a record – more groove than you could shake a gnarly stick at and with enough switching around between kick-ass riffs to keep even the most easily bored listener interested.Blood Meridian immediately gets toes tapping with a strutting boogie riff before wandering off down an unexpected proggy path with swirly keys and some interesting drumming. That wouldn’t necessarily be quite my bag, but Saint Karloff do it so well and keep things plenty heavy that I’ve no grounds for complaint. Next up we have Among Stone Columns, the obligatory Planet Caravan-style interlude. It’s nicely played, brings to mind balmy summer evenings and only lasts two minutes. I’m good with that.Bone Cave Escape is the centrepiece of the album, appearing as it does in the, um, middle and being really good. This one really harks back to the heyday of stoner rock, kicking things off with four minutes off full-throttle, foot-to-the-floor heavy rock that belong on a record with some sort of muscle car on the front (possibly with Earth rising over the horizon). Cool vocals, a sweet guitar solo leading into a stomping section that really reminded me of QOTSA’s Tension Head and oodles of strutting ‘70s attitude. Brilliant stuff. Just to keep you on your toes though, in typical Saint Karloff fashion, the final two minutes introduces flute, acoustic guitars and performs a complete 180. Awesome on many, many levels.Nothing To Come does the opposite, beginning as a mellow, acoustic proggy number that you could imagine someone donning medieval garb to play. After the bass kicks in, we have a minute or two of flat-out rocking, before settling on a middle ground that combines elements of each section. Death Don’t Have No Mercy has the sort of bluesy feel that you’d expect from the bad grammar in the title, played through a filter of classic stoner rock – very much in the vein of fellow Norwegians Lonely Kamel. I loved the guitar tone on this one, straight from somewhere in Sweden back in 1999, and it marks another one of the subtle changes of mood across the record. Saint Karloff close things out with Supralux Voyager, the sort of epic slow-burn prog odyssey that feels like the only way to end a record like this. A thoroughly satisfying conclusion.Paleolithic War Crimes is such a good record on so many levels: it’s heavy, it swings, it’s brilliantly played and it’s surprisingly diverse. People deal with grief and loss in different ways and it’s not for me to say whether any of them are right or wrong. However, if Saint Karloff were looking to honour the memory of their former friend and band member by releasing one of the rocking-est albums of the year, then I reckon they’ve very much succeeded." - The Sleeping Shaman 
    $20.00
  • Siena Root has been one of Sweden's best kept musical secrets over the past decade or so.  The roots (no pun intended) of the band are clearly in a 70s sound - a bit hard rock - a bit psychedelic.  Their earlier albums have a looser, jammier feel.  A Dream Of Lasting Peace finds them walking a similar path but the material is a bit more focused.  The DNA is still there - the sound is sort of like Deep Purple meets Allman Brothers.  No Southern twang here but the heavy organ work of Erik Petersson definitely reminds more than a little bit of Gregg Allman and at times some Jon Lord as well.  New vocalist Samuel Björö is simply phenomenal.  The guy has a great set of pipes.  So essentially in 2017 we find Siena Root refining and focusing their sound a bit, distilling it down to its purest essence.  So yeah the tunes might be a little bit shorter but you won't feel it.  You'll feel 40 years younger listening to this one - I promise!  BUY OR DIE!!
    $17.00
  • "The story unfolds in space, be it outer or inner. The path is dark, but the dog will lead the way, just like the hieroglyphs hewn in the eternal oak. The time has come. The claws of the machine accelerate as we thrust into the abyss. From here, a distant light grows like a faint sound from within - getting louder and louder until we realize - there will be no sleep this year. The journey ends where birds used to sing. Sølvhjerneskaller (The Silver Brain Shells) is the second album from Måneskjold following the critically acclaimed Kometen Kommer from 2016. The record is heavily inspired by the space rock sounds that characterized the first album but has a bigger emphasis on the heavier stoner rock sound of the band. Ranging from acoustic psych rock over droning, hypnotic jams to almost prog rock sounding epics, Sølvhjerneskaller is a far more varied and more mature album than its predecessor. Måneskjold pays more attention to song writing while spending a little less time on jamming. The result is a more focused album firmly rooted in the old sound of the band but with plenty of new ideas realized throughout. Sølvhjerneskaller follows two narratives that lead the way through side A and B respectively. Both deal with the theme of destruction and rebirth. Side A follows the legend of the silver brain shells: a story of inner turmoil presented as an intergalactic odyssey of the search for the missing parts of our narrator. From the harvesting of raw materials on faraway planets and back to the forests of planet earth the search seems to be never ending. Side B tells the story of Primus: a man deadly scarred by the destruction of earth through natural catastrophes, who is reawakened onboard a spaceship. Upon reawakening he realizes that his body and consciousness is beginning to merge with the space craft. These two storylines have inspired the gatefold cover where a comic reinterprets the narrative of the songs and turn them into surrealist strips. The comic strips were made by NMAAR while the front was made by Michael Bech Hussein. "
    $6.00
  • Sweden's New Keepers Of The Water Towers is a five piece space rock collective from Sweden.  They are a bit different from a lot of the other bands mining this field.  These guys serve it up low and slow.  Its heavy and spacey as all heavy but its not high energy.  This beast rumbles along at a slow pace but will rock the ground beneath your feet and explode the sky above.  Highly recommended."Sweden’s New Keepers of the Water Towers’ fourth album is another amazingly psychedelic trip through the cosmos. Mixing the influences of heroes such as Pink Floyd and King Crimson along with modern day prog masters such as Opeth and Steven Wilson is not an easy trick, but New Keepers …pull it off excellently.With seven tracks making up the other worldly opus, “Infernal Machine” has a clutch of epic compositions that twist and turn through an array of landscapes.Opener, “The Forever War”, is a ten minute plus track that moves from crushing guitars to delicate ambient sections whilst retaining an intensely sinister edge throughout. With the band playing slowing in pace and becoming hypnotic and mesmerising, the layers of orchestration on the track make for a rich song that will play with your emotions. The sparse solos that breaks out towards the end of the track is uneasy and spine tingling and leads to a Steven Wilson-esque instrumental outro.With such a mammoth opening, you have to strap yourself back in. “Tracks Over Carcosa” sees the band return to a more rigid formation in their delivery. The space rock style baseline that adorns the opening pulsates throughout the instrumental track with more electronic motifs employed, along with a musical aura that could play out over a Ridley Scott sci-fi epic! “Escape Aleph Minor” repeats many of these styles, but the solo work feels a lot warmer and you can hear a David Gilmour influence in the playing before a return to the colder style used in “The Forever War”. The grim sounding piano in “Escape Aleph Minor” also shows the talent amongst the ranks of New Keepers of the Water Towers.“Tachyon Deep” ramps up the Pink Floyd influence with a nod to their 1969 collection; “A Saucerful of Secrets”. An undulating drum rhythm, that like its predecessors bass line, repeats ad infinitum throughout the track. Again, the extra layers to the music are captivating. Some post-rock guitar work takes the track to its close. The guitar styles change again on the penultimate track, “Jorden”. The guitar work is particularly heavy; the heaviest on the album. The tempo is doom ridden. The slow crashes of drums and guitar are devastating. Masterfully though, the band still pull out their sound to a place of beauty. The title track closes the album. Again, another monumental track that is instrumental. When the music speaks to you so much, you don’t need lyrics to tell the story. The multi-layered approach of the band is a joy to behold.To get the full sonic experience of the album, you need to afford “Infernal Machine time”. Preferably with headphones on, and no distractions. Whilst the tracks are lengthy, the album as a whole does not feel too long. Not once will you find yourself wanting to hit skip. New Keepers of the Water Towers are a hidden gem of a band. Hopefully they will find time to stop off in England and treat us to their genre mashing collection of psychedelia." - The Sludgelord
    $7.00
  • "Mike Eginton, Mario Rubalcaba, and Isaiah Mitchell. Three flawless musicians on their own, but together tap into this otherworldly energy and fuse it into this outstanding music I never want to turn off. Earthless has spilled through my speakers for years with Sonic Prayer being a random vinyl purchase a while back because it looked cool but little did I know I would be hooked for life. Needless to say, January 28th was highlighted on my calendar since the day the news broke for the release of Night Parade Of One Hundred Demons.I pressed play with overwhelming excitement and a bit of nervousness. It can be difficult to listen to a new album from a beloved band because you always have an expectation of how you want the album to go, even if you go in with an open mind. It can be disheartening when you don’t connect with the newer music from bands you’ve listened to for years and we’ve all been there. I won’t point any fingers at anyone, Pearl Jam.Ahhh, who am I kidding, Earthless can do no wrong. I’m two seconds into the opening track and it has already captured my attention. Night Parade Of One Hundred Demons, Pt. 1 starts with a volume swell of crashing cymbals and the greatest guitar tone. The slightly broken-up clean tone from the perfectly pushed amp combined with a reverb and delay create my personal favorite sounds. The seemingly random lead guitar puts you into a trance and it’s absolutely beautiful to listen to. The cavernous guitar accompanied by more cymbals and spacey droning soundscapes continues for six minutes. I personally love the use of Wah, where Isaiah plays a faster lead but slowly sweeps the Wah. The opposite of Tim Sult of Clutch’s record-breaking foot speed, which also sounds cool, just different.Six minutes and forty seconds in and we reach a moment of silence. But only a moment because pummeling drums and explosive riffs fill the air in a powerful way. Play it loud enough and you can feel the air being displaced in the room. Earthless only tease the ambient nature of the album and feed long-time fans with an epic thirteen extra minutes of classic Earthless to complete this masterpiece.Eginton and Rubalcaba lock in the rhythm section and move between the sections effortlessly, creating the platform for which Mitchell can sing with his guitar…Night Parade Of One Hundred Demons, Pt. 2 takes us back down and this time it’s Mario’s time to shine. The instantly catchy drum beat repeats with little variations and fills. Easily one of my favorite drum beats. It lays a perfect foundation for Isaiah’s haunting space-like tones to ebb and flow over the top. Mario keeps the pace going with the jungle-esque drum line, but the soothing psychedelic mood becomes more intense as the song progresses. By the end, each member is playing to their fullest, it’s quite amazing to hear. There is a powerful wall of sound that closes out Part 2 and leads us into the finale.As the third track begins, you can witness the musicianship by focusing on how Eginton and Rubalcaba lock in the rhythm section and move between the sections effortlessly, creating the platform for which Mitchell can sing with his guitar. Who needs a singer when the guitar melodies he creates can, and will, capture your attention as good as any vocalist. To prove that theory, I’ve been listening to this album, I keep getting drawn into the music where I find time slips away and even after the songs have ended, the melodies continue to dance in my mind.I digress, Death To The Red Sun, concludes this album in a grand way. The tempos increase as the song progresses and Isaiah shows what he is truly capable of with a guitar in his hands. Mike holds down the bass matching the speed and skill of Isaiah with ease, while Mario pummels the shit out of the drums to the point where I’d think he’d need a backup kit at a live gig. The ambient beginnings of this album are satisfied by the strong epic conclusion, and this has everything I could ever want in an album tucked nicely into the three track LP.Earthless have some high-ranking albums in my book, and I haven’t had the opportunity to see them live yet. When I finally do, there are some older songs I would like to experience live, but having said that, if they only played Night Parade Of One Hundred Demons in its entirety, I would leave the show one happy guy." - The Sleeping Shaman
    $12.00
  • 2CD edition comes with a bonus live disc recorded at the Loud Park 2010 festival."Taking a cue from where post-psychedelic and hard rock left off in the seventies before our hard rock heroes either went disco or into questionable directions, Spiritual Beggars’ picks up the pieces, just like Grunge did in its heyday; but adding a little more balls to the mix as an authentic force to be reckoned with. A supergroup featuring members of Arch Enemy, Opeth, Firewind, Carcass, and other extensions, the amped up sound of this Swedish powerhouse throws the pretentious mannerisms of out of the mix, gaining them a status that has created a solid dichotomy between them and many other stoner rock bands.Even as these guys are native to extreme and symphonic metal bands, the tunage gets to the point, reflecting Black Sabbath, Deep Purple, Blue Oyster Cult and early-Priest, as the heavy blues & R&B flavored upbeat moods have always raised the roof. Inflamed by grinding riffage and screaming Hammond organ, Earth Blues again sees Spiritual Beggars taking no retreat from their enigmatic rock and roll feast. The opening track “Wise as a Serpent” immediately spurs the dark groove into power pop territories, yet more intricate sides are heard on the multi-faceted “Sweet Magic Pain” & the dark 1-2 punch of “Kingmaker,” both offering up a salvo of to a Sabotage-meets-Agents of Fortune attitude. Without reckless abandon, these guys also explore a psych/funk mindset on “Turn the Tide,” plus you have “One Man’s Curse” which could have been a long last tune from Come Taste the Band.Even on the ballad “Dreamer” and the low key rocker “Dead End Town,” the band flexes their ideology the same way Zeppelin did at times; and that ideology is further expressed by way of  a set of live tracks on a bonus disc, proving they can hit the road with the attitude to kick ass. Still, whatever way you hear Spiritual Beggars, there will be no denying that their solid foundation of hard rock possesses intrigue, forgoing all the poser musicianship and letting the songs, the true grit of emotion, and the conviction to simply rock out speak loud for Earth Blues. Heavy, commanding, & sophisticated, Spiritual Beggars continue to map out their presence with bold, sharp, & gripping, metallic grandeur, affording no shame whatsoever." - Ytsejam.com
    $9.00