Howling Giant - Alteration

Happy 4/20 everybody! Hot off the presses for the occasion, today we focus on a release from a band that’s rapidly becoming a household name in the stoner rock scene: Howling Giant. The Nashville, Tennessee quartet decided to put out an instrumental EP made up of some of their Twitch jams, polishing them up and recording them in the studio. The end result is a four-song EP titled Alteration.

Hot on the heels of some terrific releases in 2020, Howling Giant deliver the goods yet again with Alteration. While they didn’t have a full-length album out last year, they covered Black Sabbath’s “Lord of this World” to perfection and also performed a stunning rendition of Alice in Chains’ “Rooster” on Magnetic Eye Records’ Sabbath and AIC tribute albums respectively. Their most noteworthy accomplishment of 2020 though remains what is in my opinion the most epic psych/stoner song of the year released as part of a split with Sergeant Thunderhoof on Ripple Music’s Turned To Stone Chapter 2. Their song titled “Masamune” is an absolute master class in crafting an epic piece of rock music.

Alteration is an in-between album to tide us over until their next full-length record. We can witness and hear the band evolving on these instrumental pieces. Every track has its own distinct persona. “Understudy” kicks things off with a riff that makes you wanna yell “Hell, yeah!” It gives off some cool prog rock vibes and is one heck of a fun jam. “Luring Alluring Rings” really nails Howling Giant’s signature sound. More than any other cut, this piece is instantly recognizable as a Howling Giant song, akin to the way one can differentiate a Jimmy Page, Eddie Van Halen, or David Gilmour guitar riff/solo mere seconds into it. The penultimate track, “Enemy of My Anemone”, starts off slower but spirals into a quicker pace. I wonder what this one would sound like with lyrics. It feels like it would be a great song! We end this 21-minute trip with “Farmer Maggot’s Crop”, featuring country blues/bluegrass guitar virtuoso Mike T. Kerr. The shortest track on the EP, but far from the worst; it has a multitude of sonic layers that feel almost comforting, like gazing at stars in a cloudless sky at night.

There isn’t a single dud on this short but incredibly replayable EP. Howling Giant was already a band that I loved, but this set of instrumentals has given me a newfound appreciation of their musical talents. I am eagerly anticipating their next full-length album. If you wanna celebrate 4/20 in style or are just looking for some damn fine stoner/psych/desert rock music, then throw a fiver their way and pick up Alteration.

Howling Giant’s Bandcamp page: https://howlinggiant.bandcamp.com/music

Robot Death Monkey - Druid Odyssey

Scotland’s Robot Death Monkey (or RDM abbreviated) has redefined what a fun stoner rock album should sound like. In fact, the word “FUN” should now have the alternate spelling of “RDM”. Their latest EP, Druid Odyssey, is more fun than playing Barrel of Monkeys drunk in a room full of naked women. Well, almost.

Get yourself a cold six-pack of beers, light up a joint, sit back and relax as Druid Odyssey begins. Things kick off with “Escape from Hentai Mountain (Part 1)”, a superb blues-infused, desert rock instrumental. Then we move on to my favorite track of the album, “Bubba Ho-Tep”, an insanely infectious homage to the cult classic Don Coscarelli-directed Bruce Campbell movie. The catchy chorus will stick with you for the rest of the day—and night. “Blood Wizard” is a fast and furious, riff-heavy little number. Next up is a song that would make Machete proud: “Trejo”, a Mexican-flavored, head-bobbing party song. The penultimate track is an ass-kicker, “The Green Bastard”, which I assume refers to the big green monster on the album’s cover art. Speaking of which, that thing is a beauty with its graphic reference to Alien. Closing time comes to the tune of “Gary Dunham”, a strong shredder of a song.

These Scottish dudes sure know how to put together some kick-ass party tunes! Druid Odyssey is a festival of stoner gems, chock-full of humor, filled to the brim with addictive riffs and cool licks with movie and pop culture references galore. This quartet is sure to enhance your Friday night and get your weekend started on a good note. The final verdict: get into some Robot Death Monkey shenanigans, your ears will thank you. The album is a “Name Your Price” on Bandcamp so there’s no reason you shouldn’t join the fun.

Robot Death Monkey’s Bandcamp page: https://robotdeathmonkey.bandcamp.com/

Planeetta 9 - Pirun Piiska

Life might be real strange and quite hard right now in these times of pandemic, but when it comes to music, these are some of the most exciting times to live in. We have access to music at the click of a button, from anywhere in the world. I for one am grateful to be discovering new music that I otherwise would never find out about if it weren’t for this blog and the album submissions I get from labels and bands for reviews. This week’s completely blew me away. The spotlight shines on a heavy metal sextet from Southern Finland, a band by the name of Planeetta 9 (“Planet 9” in English). And fellas, these guys can play.

Their latest release is an EP titled Pirun piiska. The songs are in Finnish so it just goes to show how music is a universal language as it doesn’t deter at all from the experience of enjoying this gem of an EP, much like listening to opera in Italian or German. For the purposes of this review, I’ll list the Finnish song titles and in parentheses is the rough English translation, courtesy of Google.  The opening cut is the album title track, “Pirun piiska” (The Devil’s Whip). I could hear echoes of Dream Theater, Dio-era Sabbath, and even a splash of Queensryche. Singer Jukka Salo’s vocals take us on a riff-heavy trip, complete with organ-driven rhythms. The second track, “Sama hauta” (Same Grave), is a doomier number, and puts the band’s versatility on display. The third track, “Juoksuhiekka” (Running Sand), caught me off-guard: a subdued, quieter song with cello, violin, and piano that really made me wish I could understand what he was singing about as you can feel Salo’s pain/sadness coming through. I wasn’t able to get a translation for the last song, “Vakuumilapset”, but it’s got a catchy melody with a ballad-like tempo, perhaps a song of hope for the future. And that’s it, folks, the EP comes to a close. It made me wish there were four more songs as I was really digging this different blend of metal than what I’m used to hearing.

Planeetta 9 has released a terrific EP, extremely melodic, and reminiscent of late ‘90s/early 2000s metal. Don’t let the fact that the songs are in Finnish prevent you from getting in on this old school homage to the legendary Metal bands that came before them. An eclectic showcase of Heavy Metal, Doom, and even Folk at times, this offering of four tracks delivers plenty and leaves us wanting more. The burgeoning Finnish Metal scene can add another strong ambassador to its ranks with Planeetta 9. I am eagerly looking forward to a full-length album from this band and they will now be on my radar. Treat yourself and pick up a copy of Pirun piiska.

Planeetta 9’s Bandcamp page: https://planeetta9.bandcamp.com/

Holy Monitor - Southern Lights

I’d never heard of Holy Monitor before Southern Lights landed in my lap. I was surprised to discover that this is their third full-length record. Why am I only finding out about this awesome band now? Holy Monitor is a psychedelic/progressive rock quintet hailing from Athens, Greece.

To be honest, on first listen, while I was blown away by the craftsmanship of the musicians, I wasn’t sure singer/guitarist George Nikas’s vocals worked for me. It took a couple more spins and then I got it. Yes, it absolutely fits this band and their music to perfection. Much like prog rock giants Yes’s Jon Anderson and Rush’s Geddy Lee’s vocals might have taken a little while to get used to upon first listens back in the day for those bands, Nikas’s voice has textures that give Holy Monitor their trademark sound. This band is tight and everyone’s contribution is equally strong and important, resulting in a fantastic album.

The beautiful opening track, “River”, to me says, “Welcome to a retro journey, my friends, have we got some great gems in store for you!” It feels like we’re embarking on a very special trip. “Naked in the Rain” is groovy and feels instantly familiar. Next up is “Blue Whale”, a pure psychedelic delight. I love the retro vibe of this song. The title track, “Southern Lights”, is a dreamy tune with its rhythmic guitars that paint rainbows in the psychedelic skies. “The Sky is Falling Down”, the longest cut of the album, is nothing short of epic and is a song that has something likely to please everyone. From there we segue into “Hourglass”, the sole instrumental track. It’s hypnotic and spacey and would have fit like a glove on an early Pink Floyd album. “Ocean Trail” is the perfect bridge to the finale, the laidback “Under the Sea” which brings this 40-minute voyage to a close. The entire set of songs has a very cohesive quality to it, at times feeling almost like you’re listening to a concept album.

Holy Monitor’s Southern Lights is a magical album. It’s one of those records that you can just put on, shut your eyes, and let your mind wander far away to the sound of the music for the full duration. It’s a very polished record from a band of skilled instrumentalists that has the gift of effortlessly drawing images with music. If psychedelic rock with a slice of prog is your thing, then Southern Lights is a no-brainer of a purchase. Highly recommended!

Holy Monitor’s Bandcamp page: https://holymonitor.bandcamp.com/

Lords of the Opium Church - Lords of the Opium Church

As a Canadian, I always enjoy discovering a new Canadian band. Lords of the Opium Church (LOTOC) is a Canuck trio hailing from Edmonton, Alberta. Their self-titled debut album is a perfect blend of ‘70s Rock ‘n’ Roll, old school metal from the ‘80s sprinkled with a good dose of stoner rock. Let’s dive in, shall we?

The party kicks off with the bluesy, head-bobbing “Opium Church”, showcasing a Deep Purplesque organ, and serves as an accurate snapshot of what to expect from the rest of the album. Then it’s on to “Trial & Terror”, with its melodic vocals, followed by the extremely catchy “Left Behind”, which features a scorching guitar solo and is a strong contender for my fave song on the LP. Track number 4, “Thunderhead”, has a real radio-friendly quality to it and makes great use of piano and strings in its outro. The head-banging “Electric Temple” has the band letting loose for our aural pleasure; definitely one of the highlights of the album. The doomy “Superstitions”, the shortest song on the album, is full of cool riffs. “Caged” is a total blast with its big arena sound and once again displays the band’s tight playing. It brings us to the final cut, “Banshee”, with tolling bells to add to the sonic atmosphere.

LOTOC deliver a well-rounded, diverse eponymous album; a band of talented musicians with vocals that have a timeless quality to them. The expression “all killer no filler” certainly applies here. If I were to nitpick, it’d be about the album’s running time—at just under 30 minutes, it makes for an EP-sized listen. An extra two songs to bring the count to 10 would’ve easily fixed that issue. It’s really the only gripe I have with it: it’s too short! But, to quote Eldon Tyrell in Blade Runner: “The light that burns twice as bright burns for half as long.” In any case, I wholeheartedly recommend picking it up if you’re a fan of old school metal and/or classic rock; you won’t be disappointed!

Lords of the Opium Church’s Bandcamp page: https://lordsoftheopiumchurch.bandcamp.com/

Indus Valley Kings - Indus Valley Kings

It’s been a while coming (mostly due to an ongoing health issue), but I finally have my first review of the year for you, folks, and hot damn, what a way to kick things off! You know when you walk into a liquor store and come across a new beer or a wine you’ve never tried, and once you get a taste, it goes down so smooth and easy that before you know it, it’s all gone? This is the best analogy I can give you regarding Indus Valley Kings’ eponymous debut album.

Indus Valley Kings (IVK) is a trio hailing from the Bronze Age of Antiquity via Long Island, New York. The band’s name no doubt references the Indus Valley Civilization, which along with Ancient Egypt and Mesopotamia was one of the three early civilizations of the Near East and South Asia. The Indus Valley culture thrived some 4,000 years ago, and bound together more than a thousand cities and settlements scattered across Pakistan and Northwestern India. All right, history lesson aside, on to the music. In this day and age where it’s hard to stand out from the pack, IVK succeed in crafting an album that is incredibly diverse; from stoner rock to groovy blues with echoes of ‘90s metal, and peppered with ‘70s hard rock influences. I can definitely hear a bit of Helmet, some nods to Kyuss, and even the doom of the mighty Sabbath throughout their songs. They remind me of some of the cool metal bands I went to see in concert in my youth during the 1990s with an updated sound for the 21st century.

IVK’s self-titled LP has strong vocals and awesome guitar solos throughout, courtesy of singer/guitarist Billy Fridrich who is backed up by a powerful rhythm section consisting of Jonathan Lesley Habers on bass/backing vocals and Dan Lofaro on drums. The ceremony begins with “Angels”, a grungy track dripping with desert heat that immediately holds your attention. “Cactus People” is a song you can absolutely bob your head to with its catchy rhythm. Next up is the doomy “The Method” which switches to a faster tempo and a great guitar solo mid-song. It’s followed by “Remains of Yesterday”, a terrific number with the band really showcasing their musical diversity and songwriting skills—and also features my favorite guitar solo of the album. It brings us to “Devil”, one of the highlights of the album with its foreboding bass opening. This song oozes with atmosphere and turns into a barn-burner, serving as a perfect opportunity for the band to let loose and rip it up. Mark my words, you’ll be singing “You can’t escape the soultaker” long after the album comes to a close. “Phoenix” and “Scapegoat” keep the festivities going, once again demonstrating just how well the bandmates complement one another; pounding bass, rhythmic drumming, and guitar shredding on full display. “Rest in Waste” is a hypnotic, doomy affair with groovy bass and drum, and scorching guitars. The closing track, “1,000 Wicked Souls”, has a meaner sound to it, with its chugging guitar and bass, and is the perfect way to let the musical dust settle after this eclectic 48-minute sonic journey.

The band puts out a polished album all-around and sound really tight playing together. I have a feeling they’d be a great act to see live. Indus Valley Kings manage to carve out a unique sound for themselves, marking their debut with a solid LP that has immense replay value. Take them for a spin on Bandcamp (link below) and show them some love by picking up a copy of their album. You’ll be glad you did.

Indus Valley Kings’ Bandcamp page: https://indusvalleykings.bandcamp.com/releases

Happy Holidays and Thank You!!!

I’d like to take this opportunity to wish all my friends, fellow music lovers, bands, and my blog readers the safest of Holidays. May this coming year bring you all that your heart desires, good health in these dark times, financial abundance so your mind can be at ease, lots of love to warm your heart, and let’s all cross our fingers that we can get some semblance of normalcy back to life sometime during the course of 2021.

I’d also like to take a moment to thank all the bands, singers, musicians, record labels, streaming services, record stores, and anyone out there who created/produced/distributed music in 2020 to help us get through this very challenging year. I’ve always found solace in music when life gets tough and more than ever music has been a healer and source of hope and happiness for me this year. I thank you from the bottom of my heart and if I’ve reviewed an album of yours, it was a great pleasure to take some time to pour some words on the proverbial page to express how I felt about a set of songs that has made my life a little easier while I listened to them. Hopefully it helped spread the word and get more folks aware of the artists/bands reviewed on the Harbinger of D.O.O.M. blog. I will return in January for a brand new year filled with great music, I’m sure. Till then, drink some fine wine, eat some good food, hug the people you love, and stay safe!

Ripple Music - The Revolution Lives

For my final review of the year (which will be more of an endorsement than a review, really), I picked a Heavy Psych compilation chock-full of bands compiled by the fine folks at Ripple Music in conjunction with Vegas Rock Revolution. In general, compilations tend to be a hit or miss affair. Not so for this one; The Revolution Lives is a collection of a who’s who of the best Doom/Heavy Psych/Stoner bands from Ripple’s impressive, ever-growing catalogue. If this were a movie, it’d get a 97% fresh rating on Rotten Tomatoes!

The 90-plus minute album comprised of 22 songs—21 upon release two weeks ago, with a new song popping up as of late—provides us with a great sampling of songs released on the label between 2018 and 2020. You get established icons like Wino (of The Obsessed and Saint Vitus fame), Wo Fat, Mos Generator, The Watchers, Salem’s Bend, and Mothership all the way to lesser-known/up-and-coming bands (to my knowledge anyway) like War Cloud, High Priestess, Shotgun Sawyer, and Freedom Hawk. Highlights for me are the hypnotic Wino track, “Isolation”, the energetic opening song from Freedom Hawk, “Brutal Winds”, High Priestess’s brooding “Hour Glass”, and Mothership’s terrific live rendition of  “City Nights.”

This one has it all, folks. It also solidifies Ripple Music as one of the top-tier indie labels and go-to place for your Doom/Stoner Rock/Heavy Psych needs. And you know what’s even better? It’s a “Pay what you want” release on Bandcamp! Seriously, what more could you ask for? Stop reading this and go throw a couple (or a lot) of bucks their way and support these hard-working bands in what has been a very trying year for us all but a particularly challenging one for artists. The Revolution Lives is a benefit for the bands, so buy a copy and take it for a spin on your favorite MP3 player/cell phone/old school sound system.

Ripple Music’s Bandcamp page: https://ripplemusic.bandcamp.com/

The Revolution Lives’ Bandcamp page: https://ripplemusic.bandcamp.com/album/ripple-vrr-the-revolution-lives

Loot the Body - The Barrier Peaks Songbook

I’ve always loved concept albums. From Rush and Pink Floyd’s heyday to Genesis and Yes, those bands released some classic concept albums. One of my faves of all-time though, and which I wore out on tape back in my teenage years, was Queensryche’s Operation: Mindcrime. That album rocked my world for a number of years and I’m still fond of it to this day. Concept albums seem to be less prevalent nowadays, or at least quality ones worthy of mention or deserving of a slot on our digital playlists are hard to come by. I was pleasantly surprised to come across Loot the Body’s The Barrier Peaks Songbook, a concept album absolutely worthy of a choice spot in my (and your) digital album collection.

Concept albums have to have a theme, of course, and this one, as the name of the band suggests for those familiar with it, is Dungeons & Dragons. Dungeons & Dragons (D&D) needs no introduction but for the uninitiated, in a nutshell, it’s a fantasy tabletop role-playing game (RPG) with an extended mythology that skyrocketed to fame in the ‘80s and that is still quite popular today. As a kid growing up in the ‘80s, it was impossible not to be aware of it as it was everywhere: ads in comic books, kids playing D&D after school or on weekends, a cartoon series on Saturday mornings, and even computer and Nintendo games. It’s one of those things that I always wanted to try but never got around to. But I digress. Anyway, Expedition to the Barrier Peaks was one of the most popular D&D fantasy modules released in 1980 that also contained elements of science-fiction. Loot the Body’s The Barrier Peaks Songbook is a psych/prog rock concept album inspired by the aforementioned D&D adventure.

On to the album. This has all the foundations for a very interesting musical adventure and to my delight—and hopefully yours as well—it fulfills that potential admirably. The whole album feels very cohesive, multi-layered with a palette of musical genres while preserving a melodic sound with some catchy lyrics to boot. What’s even more impressive is that Loot the Body is a one-man band, the brainchild of multi-instrumentalist/singer Levi Nunez. His voice has a warm and comforting—for lack of a better word—quality to it that gives off a Beatlesque vibe. The overall sound of the album has a nice retro feel going for it; it could almost have been released in the ‘70s to be rediscovered some forty odd years later. It does have modern sensibilities that keep it fresh and contemporary. I can hear echoes of Peter Gabriel-era Genesis, only more accessible, with a sprinkle of Wishbone Ash (their album Argus comes to mind.) The finished product is a polished LP that is clearly a labor of love.

The opening song, “Expedition to the Barrier Peaks”, sets the tone for what follows and is definitely a stand-out track with its layered sonic arrangements. “We’re the Vegepygmies” is all kinds of spacey and a fun song. “Robot Police” is an ear-worm.  Clever lyrics and a catchy chorus that’ll get stuck in your head for some time after you’re done listening to the album “cuz no one fucks with the robot police.” “The Doctor” may very well be the strongest track of the lot, musically atmospheric with its use of a vocoder and lyrically reminiscent of Floyd. “The Days Had a Number”, the lengthiest track on the album, is another good song that samples vintage ads about computers and how they are the future. “Layers of Your Mind” keeps your head bobbing throughout and has some sharp guitar licks. “Bunny on a Stump” is a dreamy little psychedelic number; you can easily picture a swirling rainbow in the sky with shining stars when you listen to this song. Next up is “Froghemoth”, a more somber tune lyrically with a fine guitar riff and thunderous drumming. Things come to a close with a more down-tempo song, “Shedu Liberation”, a lovely coda to bring forth a happy ending to this sonic journey. 

The Barrier Peaks Songbook truly is a songbook; the Bandcamp download comes with a 24-page illustrated PDF with complete lyrics and chords. How cool is that! And since this is a very visual album, I encourage you to visit Loot the Body’s YouTube channel to watch some of the awesome videos he’s put together for this album and other D&D-inspired tunes. Great stuff!

If I had to use one word to sum up this album it would be “fun.” Like any great concept album, you don’t need any prior knowledge of the source material to fully enjoy it; the music does the talking as the saying goes. It’s a very accessible set of songs that should appeal to anyone who fancies psych, prog rock, and concept albums in general as well as sci-fi/fantasy stories. Give it a spin and I promise you you’ll want to revisit it often.

Loot the Body’s Bandcamp page: https://lootthebody.bandcamp.com/

Loot the Body’s YouTube Channel

Electric Hydra - Electric Hydra

The Eighties are gone but they never left. Sweden’s heavy rock quintet Electric Hydra is leaving an indelible mark on the retro hard rock scene in a big way. Swedish Doom/heavy rock label Majestic Mountain Records released the band’s eponymous first full-length album last week and it keeps getting better with every listen.

Following last year’s promising self-released singles “The Last of Us”, “The Burden”, along with a contribution to the much celebrated Doomed & Stoned album series with a song titled “World Domination”, Electric Hydra proves they are no flash in the pan.  This 35-minute scorcher of an album is relentless in pace from top to bottom without a single dud. From the first two catchy tracks, “It comes Alive” and “Won’t Go to War (with Myself)”, you know you’re in for a hell of a good time. The chugging guitars, pulsating bassline, and thunderous drumming led by the charismatic Sanne Karlsson on vocals, this female-fronted band delivers on its promise to rock our heads out. Karlsson’s vocals are reminiscent of Blondie’s Debbie Harry at times and to me at least, contribute to the throwback experience this album brings. My favorite cut has to be “Blackened Eyes” for which the band shot a very cool videoclip. You can check it out on their YouTube channel.

At the halfway mark, what could very well be the best song on the album, a doomier number titled “Iron Lung”, we’re treated to dual vocals in which guitarist Jonathan Möller chimes in to bring a nice change of style to the festivities. There’s the timely “End of Days” which is also a stand-out track, followed by “Rebel” with Möller returning on vocal duties; this song’s sole purpose in life is to set your speakers on fire! We close things out with “Rise from Below”, the slowest-paced song of the album but one of the very best that does a good job of filling the sonic space and leaves us on our appetite to hear what this exciting band’s next musical journey will be.

Electric Hydra’s self-titled album fires on all cylinders, folks, and it’s here to wake up your neighbors. I can’t really put my finger on what it is, but it has that ‘80s American hard rock/hair metal sound with a fresh edge to it. If you long for those bygone days when Mötley Crüe, Aerosmith, Van Halen, and arena rock ruled the land, then look no further: Electric Hydra’s got your fix.

Electric Hydra’s Bandcamp page: https://electrichydra.bandcamp.com/

Majestic Mountain Records’ Bandcamp page: https://majesticmountainrecords.bandcamp.com/