It all started with spaceship Albatross, whose mission was to find a place somewhere in the Milky Way as an alternative planet where people could continue to live. After a long journey, the ship disappeared into a wormhole and landed on a planet full of Greek gods. This is a very concise summary of 10,000 years’ debut EP, which was released last year.
Just like the previous one, Mojo Rising, a collaboration between the Danish Cursed Tongue Records and the American Ripple Music.
Records and CD’s are often provided with a promotional sticker on the cover. This gives you a short and catchy description of the record and its content. Sometimes in combination with excellent figures from various media. These stickers are placed because it is not always possible to listen to the music instore, or it must convince the hasty person.
I get a terrible itch on my perineum from one instrument, which is, besides the “didgeri-don’t, the sitar. Not that I have anything against people like Ravi Shankar or bands like the Beatles. On the contrary. But the sound of this instrument gives me a sick, subcutaneous feeling. And now let Lord of Poisons, the first song of the self-titled debut of Las Historias start with sitar sounds…
Ik begin de recensie maar meteen met de conclusie: Wow, wat een plaat! Want goed dat is Rose of Jericho. Verplichte kost voor eenieder die van het genre (stoner rock) houdt, er een beetje van houdt of op muzikale ontdekkingstocht naar het genre is.
When Akuma Kin, the debut of the Australian band Lucifungus, was released in 2019, I was literally blown away. Heavy riffs, sparse with vocals, raw and unpolished. For a moment I had the feeling that my favorite band The Melvins had cloned their selves and moved to Australia. After inquiring with the band itself, this turned out not to be the case.
April 2020 finally, for me, the long-awaited second was released, entitled Derek. Released on vinyl by Black Farm Records. A label that always succeeds in making something special out of it. The album has seven heavy and raw songs that are played in just over thirty minutes. It seems the two band members have called themselves Derek and Derrick because of the album’s title. The two immediately start to blow you away with the first track Ball Shaker. It feels a bit like that: by a way of warming up, flapping the balls (the ladies can shake their lips for a moment, I think). You get almost four minutes of instrumental pounding and riffing. The duo clearly shows that they get their mustard from Melvins’ King Buzzo. The second track, Burn the World, sounds more Sabbathian, iboth in riff usage and melody, without losing the aforementioned rudeness. Burn the World is also the first song with vocals. Albeit limited and in the background. It does makes it complete.
What Lucifungu’s lyrics are about is a mystery to me. When I asked one of them for it via FaceBook Messenger, I got the answer: “I don’t have them, then I would have to write them down.” (The lyrics are now on their Bandcamp page, ed.).
Transpyramid, the third song, sounds a bit more bare and quiet than the previous two. The fourth song with the expectant title, Take the potion (a tribute to Lee Dorrian and Tom G. Warrior) is lyrically not a highlight (“Ooohh. Well hey”, that’s all), but it hits the nail very hard: it indeed sounds like a tribute without sounding too much like a Celtic Frost song. Except for the lyrics then. Lucifungus, the sixth and longest song starts funky and with a bit of imagination it does sound a bit like Cathedral (with Take the Potion still in mind). It sounds unwieldy and heavy with vocals that sound more like talking. After a few minutes the song has a short break where the guitar and drum sounds are reduced to a minimum. Then the duo rumbles on again. The closing track Manicanimals is just the right one to end Derek nicely.
Although Derek sounds a lot less raw than its predecessor, the album is not inferior to Akuma Kin in terms of sound: it still sounds just as rude, raw, unwieldy and loud. I’ve seen the sludge duo Mantar live a few times. They produce a huge amount of volume. I wonder if these two Aussies can do that live as well. I bet they do. In fact, how great would it be to be able to see both bands in one evening, or at a festival of two-man (m / f) formations?
What bothers me lately is that more and more records don’t last longer than let’s say, thirty minutes. This is also for There’s no Light without Darkness, the second studio album by the Chilean power trio Dixie Goat, released on the Italian Electric Valley Records. It is absolutely not a show stopper, but still wanted to get rid of it.
What immediately stands out is the sound. The record has already been compared to the NOLA-sound of amongst others Corrosion of Conformity. Grunge influences were already clearly hearable on their debut. They also return on There’s no light without Darkness. Obviously, this has to do with the fact that no other than Jack Endino produced the record. For those who don’t know him, Endino was affiliated in the early days with the grunge label Sub Pop, played in the band Skin Yard and also produced albums by Windhand, High on Fire and Toxic Holocaust.
Back to There’s no light without Darkness. The first track, which is also the title track, is instrumental, starts with a mellow, dark riff and has a wonderful bass sound. The NOLA- sound cannot be neglected. As is the case with all the songs on the album. The song is interrupted halfway through a sample from the Sci-fi horror Demon Seed.
Dancin ‘on your Grave is strongly reminiscent of Corrosion of Conformity with Keenan playing: the structure of the song, the angular riffs and of course the sound.
The third song, Two Faces, is a lot more mellow and has an exciting beginning. Guitarist and vocalist Nikk clearly let us know that Ozzy is one of his inspiration (The cover of Dixie Goat’s first LP Black Sun Child is a 1 on 1 copy of Black Sabbath’s Master of Reality).
After listening to the first three songs, it is clear that the thread runs through the bass player, KF. He thunders audibly through all the songs and ensures that they are provided with a thick melodic groove. There’s nothing wrong with the other two band members. Nikk provides the songs with Sabbathian riffs and drummer Seb knows how to hit the skins well and hard. On Green Karma, the tempo goes up a bit again and you hear the NOLA-sound extra clearly. The album closes with From one Hell to Another. The longest song on the record and it’s all Sabbath worship: slow, heavy bass, thick riffs and heavy drumming.
There’s no light without Darkness is not all excellent, but surely not an album to skip. In fact, with the beautiful weather coming up and bulging parks, it is a wonderful album to listen to: headphones on, between the rosé drinking Karens, playing the air guitar or -drum and occasionally a burping roar.
Zwaremetalen, zware metalen, 2021, muziekrecensie, review, recensie, dixie goat, there’s no light without darkness, Santiago, chili, electric valley records, nola-sound, corrosion of conformity, black sabbath, jack endino, skin yard, grunge, heavy psych, blues, doom, windhand, high on fire, toxic holocaust, master of reality, sabbath worship, from one hell to another, black sun child, demon seed, horror, sample, heavy psych, stoner, groove
.There’s No Light Without Darkness 04:44
2.Dancin’ On Your Grave 02:56
3.Two Faces 05:35
4.Widow’s Tear 04:39
5.Green Karma 03:02
8.From One Hell To Another 06:04
Nikk: Vocals, Guitars
In 2008 the Germans Rene Roggmann and Rene Sitte started the instrumental band Mountain Witch, not to be confused with Witch Mountain from Portland.