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/

Magnetic Eye Records - Best of Black Sabbath & Volume 4 Redux

Happy Halloween! I have the perfect music review/recommendation to celebrate this spooky holiday: not one but two Black Sabbath tribute albums hot off the presses from the fine folks at Magnetic Eye Records!

Us Sabbath fans have been spoiled as of late with Zakk Sabbath’s Vertigo album, HAZEMAZE’s Paranoid Sessions and now this, a Redux of Sabbath’s underrated Volume 4 and a proper tribute collection comprised of covers from a who’s who of the best Doom/Heavy Psych/Metal bands performing today.

First up, Volume 4 Redux, continuing Magnetic Eye’s Redux series as they have done with Jimi Hendrix’s Electric Ladyland, Pink Floyd’s The Wall, and Alice in Chains’ Dirt, we get a different band covering every song in chronological order of this classic album. Apart from the opener, “Wheels of Confusion” by the band Thou which I can’t even sit through entirely, the rest of the album is a great, well-rounded update on the original. My gripe with bands like Thou (and Rwake on the “Best of” collection) is that all the screaming/ear-splitting growling really isn’t my cup of tea. To me it’s like fingernails on a chalkboard. I’m sorry but I just can’t stand death/black metal or whatever that kind of music is called. That gripe aside, for me some of the highlights are the always reliable High Reeper’s piano-less take on “Changes”, adding some teeth to the melancholic Ozzy ballad. Spirit Adrift’s terrific rendition of “Supernaut”, and in my humble opinion, the stand-out track is the closing number, “Under the Sun” by Zakk Sabbath. I’d heard them play it a few times on live bootlegs but this studio version is pitch-perfect.

Onto the meatier of the two releases, Best of Black Sabbath, featuring 15 different bands covering 15 different tracks spread out through the Sabbath with Ozzy era. We get a lot of variety and fusion of styles here, some nice deep cuts are covered, and a handful of female-fronted bands as well join in to re-imagine beloved Sabbath classics. I was familiar with most of the bands in this collection but it also made me discover some new ones that made me want to further explore their catalogue. That’s the cool thing about compilations like this; you get a generous sample of bands you might not necessarily hear about otherwise. Caustic Casanova’s take on “Wicked World” is fresh and just as relevant today as when the song was written. A female-fronted band I’d never heard of, Mooner, does a stellar rework of “The Wizard”, substituting the harmonica for the flute. Fan-favorites Howling Giant deliver the goods in spades on “Lord of this World”, and Brume blew my socks off with their luscious interpretation of “Solitude”.

Those are just some of the highlights of a fantastic tribute album in Best of Black Sabbath, and a very strong Redux with Volume 4. In all, it’s 25 Sabbath covers dropping all at once to send the fan in you to Sabbath heaven. Or if you prefer, you can sample the songs on Bandcamp, pick and choose the ones you like, and make your own tribute album. In any case, both of these releases come highly recommended.

Magnetic Eye Records’ Bandcamp page: https://store.merhq.com/

Volume 4 Redux’s Bandcamp page: https://store.merhq.com/album/volume-4-redux

Best of Black Sabbath’s Bandcamp page: https://store.merhq.com/album/best-of-black-sabbath

Grave Disgrace - Rest in Peace

Halloween is almost upon us and what better time to dig into some spooky atmospheric Doom music! I first became aware of Grave Disgrace about two years ago with the release of their Sabbatharium album. While that album was a solid effort and definitely made me take notice of them, I wasn’t expecting this past summer’s Rest in Peace to blow my socks off the way it did. Released through fine purveyors of Stoner/Doom/Heavy music The Swamp Records (Fuzzy Cracklins Presents), the Russian Federation power trio has concocted a near flawless Doom masterpiece.

I haven’t had a chance to listen to the rest of their catalogue yet but these guys know how to deliver the goods, having been around for over a decade now with more than half a dozen releases under their belt. Before we even hit the “Play” button, we’re treated to a gorgeous album cover art evoking Boris Karloff’s The Mummy. A slower and heavier album than its predecessor, it begins with hypnotic drumming to get the procession going with “End of the World” which flows smoothly into the next track, “Time After Time”. It’s the shortest song of the lot, running at close to 8 minutes, with vocals eerily reminiscent of early Sabbath back when Ozzy was just a young lad. Next we move on to the longest cut of the album running at just about 11 minutes titled “Dancing on My Grave”, a slower, thicker, graveyard doom-infused number. This one will linger with you long after the record stops spinning. From there we bleed into the excellent heavier than thou “Day of the Dead” with its infectious chorus and this song solidifies the album’s cohesiveness, making it almost feel like a concept album. We then get to the album’s last proper song, the title track “Rest in Peace” which is my personal favorite. A stunning anthem with haunting vocals channeling Ozzy at his peak, it’s followed by a one-minute instrumental coda titled “Hellhound Express” which brings us to the end of a stellar ceremony.

Rest in Peace is a strong contender for Doom album of the year in my humble opinion. It’s even more accessible than their previous album and I honestly can’t think of any reason why someone who loves Doom/Heavy Psych would not enjoy this record. Highly recommended, ideal music for a picnic in the graveyard, and a perfect soundtrack for the Halloween season!

Grave Disgrace’s Bandcamp page: https://gravedisgrace.bandcamp.com/

Fuzzy Cracklins’ Bandcamp page: https://theswamprecords.bandcamp.com/music

A Conversation with Mos Eisley Spaceport

From time to time, I’ll be conducting interviews and having conversations with bands, record label folks, and other music aficionados. For the blog’s very first interview, it’s with great pleasure that I was able to shoot the breeze with Psych Rock trio Mos Eisley Spaceport, whose stellar debut EP I reviewed a few weeks ago.

Mos Eisley Spaceport is:

Daniel - Voice and guitar wizardry
Sebastian - Bass and synths sorcerer
Guido - Master of drums and thunder

First off, congratulations on the release of your first EP, The Best of their Early Year. It’s been gathering a lot of great feedback on Bandcamp and on various social media platforms and deservedly so as it’s a blast to listen to from start to finish. You already have such a polished sound as a band; how long have you guys been playing together and how did you meet?

Daniel: Well, thanks for your great compliment. There's indeed a whole lot of energy coming through our music. We've been playing together just for a short period of time now. We first met in November 2019 at a small, but very cool bar called Karo in Bremen. My bandmates were looking for musicians via the Internet. I wasn't very interested at first, but my girlfriend, she's a singer, was looking for a music project and she told them she knew a guy who played bass. So I joined the first meeting, we were drinking and talking and arranged a first jam session. At the session, I played Sebastian's awesome six string bass and after some songs I asked if I could play the guitar. It was stunning! We played a funky blues and after that I think it was clear that they had found their new guitar player. I really like to thank my girlfriend that she took me to the meeting.

Guido: Yes, it`s awesome feedback we got in the last few days! We never expected our music to be so popular so soon. In fact, you can say that we found “our own sound” pretty quickly. As the name of the album “The Best of Their Early Year” suggests, we actually haven't even been around for a year.

Sebastian: Guido and I had also just gotten to know each other in August. We had experimented with different sounds, styles and instruments for a few weeks but didn’t really know where to go. When we met Daniel more or less by accident, it just clicked and it somehow was really easy to write songs together. All of us have played in bands before, we know how to arrange and record songs. But I think most important is that we all are able to express musical ideas, but also to be very open towards the ideas of our band members and to understand the band sound as more than just the sum of its parts. It certainly also helps that I have collected a broad palette of fuzz boxes over the years, so we could add interesting new flavours to the different songs.

Daniel

The band’s name and EP artwork are direct references to Star Wars. How did you guys decide on naming yourselves after that famous spaceport on Tatooine and how big of an influence was Star Wars on your music?

Guido: I think Sebastian can tell the story best. But one thing should be made clear from the get-go. We figured out pretty quickly that there are three guys and neither of them is a Trekkie.

Sebastian: About ten years ago, I was on a festival near an airport with all the transmission poles and the lights everywhere and it somehow reminded me of Mos Eisley Spaceport and I thought, “that would be a great band name”. It simply tells a great rock ’n’ roll story: There’s the boy from the farm, somewhere in the middle of nowhere, who suddenly gets in trouble with the authorities. He makes it to this place that he was always warned against by his family: Mos Eisley, a dangerous and wild spaceport full of outlaws and freaks. And this is where the story really takes off: He visits a very obscure and shady jazz bar, meets a couple of strange criminals, escapes into space and eventually becomes the superstar of the revolution. How cool is that? And when it turned out that we would be some kind of psychedelic space rock band, the boys were quickly sold on the idea. Like Guido said: No Trekkie among us…

Sebastian

The Best of their Early Year features a broad palette of musical genres from Psych rock to Blues. In terms of music, what genres and what bands inspired you to pick up the guitar/bass/synths/drums?

Sebastian: Regarding Mos Eisley Spaceport, especially during the recordings for “The Best of Their Early Year”, I was very inspired by early Santana lately. That’s why we have so many shakers, cowbells and bongos on the EP. The boogie rhythm in “Drop Out” came from listening to “Peter Green’s Fleetwood Mac”, one of my favourite albums ever. Initially the song was a lot slower and had a very straight rhythm.

It’s mostly older stuff I listen to, Krautrock, a lot of Reggae, Folk, but also electronic music like Binkbeats or High Tone. Since we started Mos Eisley Spaceport, I started listening to bands like UFO or Kadavar, but to be honest, I’m not so familiar with all the typical stoner or doom bands, apart from Black Sabbath, of course. But when I was living in Berlin, I went a lot to very small venues and festivals and saw some very fantastic bands and bought their records on vinyl: Cliffsight became good friends of mine, their album “Kokoro” is incredibly creative and varied. Kaskadeur is a super heavy prog band that’s just super fun. They just released a new album and the first thing I did when I had heard it was to send a link to Daniel and Guido. And I’m a huge fan of Coogans Bluff. Well, they are certainly not a “small band” anymore, but they are just super amazing.

Guido: Basically, I think, less is more - and what’s left for me as the drummer must be tight on bass and guitar. But if I had to name bands, then I would say, of course, Black Keys. Their music probably influences my musical mindset more than I guess. Then, furthermore to mention … maybe various albums from Nine Inch Nails and the music from “Cage the Elephant”. I just love it! - just like thick bass sounds and droning and sliding ‘70s guitar sounds.

Daniel: For me it was just Jimi Hendrix, period!

Guido

As musicians in this Do-It-Yourself era where seemingly thousands of new bands pop up every year, do you find it a blessing to be able to put out music in a much quicker and easier fashion where you have more creative control or is it detrimental and much more challenging to stand out from the pack?

Guido: I think there's truth to both of them, but of course it's cool to be independent and still reach people. And that's actually what we're about. Make good music and give people great moments!

Daniel: We don't see it as challenging. The world is a rat’s race and we don't want to belong to that. We just love music and want to play music that we love to hear. It's only love.

Sebastian: Let's be honest: You can't really control it anyways. The Internet is a great tool for musicians, but whether or not you hit a certain nerve, whether or not a lot of people or “the right” people like what you do – it's not in your hands. I've seen brilliant bands touring through the shittiest clubs for years and years and then there are other bands … you know the game.

Have you guys played a lot of live shows? What would be the ultimate dream stage, concert venue or festival for you to play at if you could play anywhere in the world (in a fantasy Covid-free world, that is)?

Daniel: If I could jump in a time machine, I would pick Woodstock.

Guido: Woodstock actually would be awesome! Unfortunately, being in 1972, we just missed it.

Sebastian: Being in 1972 on a small desert planet somewhere in a galaxy far, far away, that is! No, I just want to go on tour and have a blast. That's the coolest thing about being in a band: You just get the chance to visit places and meet people, and that's pretty much what it's all about for me. I don't need to play the Madison Square Garden if I can have a fantastic time on a small festival in the French Alps or somewhere. I would love to play a club tour in Sweden and Norway. I've never been there before.

Practice Room

One last question and I’ll let you guys get back to making awesome music. Where do you see Mos Eisley Spaceport two years from now; a couple of EPs or albums under your belts, perhaps, playing to big crowds with other bands opening for you, maybe? I thank you for taking the time to let me pick your brains and I’m sure I’m not alone in looking forward to your next song/album release.

Daniel: I don't know. At least we're still existing. A band is progress and where it's going to lead us, I couldn't say. As I said before, I love making music and making music with those crazy dudes and I hope we'll still be making music together in heaven.

Sebastian: I don't know about that heaven part, to be honest… But seriously: Most important is that venues, festivals, bands, artists, promoters, all the grumpy old sound men and all the people involved in cultural work survive the current crisis. We three do not make our living from the music, but of course we depend on people who do. So, until we can talk about big crowds again, those people’ll need a lot of solidarity, a lot of fighting spirit, a shitload of patience and, let’s face it, money. So keep buying records, keep buying T-Shirts, stickers, downloads, tickets, whatever, and support your local scene.

Daniel: Yes, and we also want to thank those who are supporting us. You guys give us wings and we're working on new awesome material that you folks are hopefully looking forward to.

All photographs by Jan Vaceanu-Staicov.

 

Read my review of The Best of Their Early Year here.

Mos Eisley Spaceport on Bandcamp

Mos Eisley Spaceport on YouTube

Mos Eisley Spaceport on Facebook

Mos Eisley Spaceport on Instagram

Zakk Sabbath - Vertigo

Black Sabbath. About a dozen bands in the history of music have had such a lasting impact that continues to this very day. The founding fathers of Heavy Metal and Doom/Stoner Rock. Thousands of bands cite Sabbath has one of their top inspirations for wanting to join a band and make music. There’s no denying that the legacy Black Sabbath has forged for itself is legendary. This will be more of an article than a review; basically my thoughts and opinions on a life-long love for this band. Ever since I first heard “Paranoid” in my teens, I’ve been a Sabbath fan.

Let’s go back to the beginning, shall we? Black Sabbath’s first album, the self-titled masterpiece Black Sabbath, was released on Friday the 13th of February, 1970. It was recorded in a single day in October 1969. It’s widely regarded as the very first Heavy Metal album. Black Sabbath went on to become legends with albums such as Paranoid, Master of Reality and Sabbath Bloody Sabbath. The four blokes from Birmingham who used to go by the band name of “Earth” went on to become Metal/Doom pioneers. With Ozzy Osbourne on lead vocals, Tony Iommi’s slow, heavy guitar riffs, Geezer Butler’s doomy lyrics and pulse-pounding bass, and Bill Ward’s thunderous drumming, the band stood out as a force to be reckoned with.

Fast forward 50 years. Former Ozzy guitarist and Black Label Society singer/guitar God Zakk Wylde and his Sabbath cover band, Zakk Sabbath, decide to cover the entire Black Sabbath album from top to bottom, in sequence, no less. For the uninitiated, Zakk Sabbath was formed in 2014, features Zakk Wylde on guitar and vocals, and current members bassist Rob "Blasko" Nicholson (who’s performed on Rob Zombie’s solo albums as well as currently being part of Ozzy’s band), and drummer Joey Castillo (of Danzig and Queens of the Stone Age, among many others). They’ve toured intermittently over the years and released a three-song EP exclusively available on vinyl titled “Live in Detroit” on the Southern Lord label in 2017. Wondering what to do next, the power trio thought it’d be a great way to celebrate Sabbath’s 50 years of Doom by covering their legendary eponymous album. They decided they would do it the same way it was originally recorded: in a single day! Since the original album was released through the UK record company Vertigo Records, launched in 1969 and specializing in Prog Rock, Zakk Sabbath’s tribute album would be appropriately titled Vertigo.

Indie New York Heavy Psych/Doom label Magnetic Eye Records would distribute it and it would be a strictly old-school affair: no digital release. The only way to get your hands on this bad boy is to purchase a physical copy, either on vinyl or on CD, to experience it the way we used to (still not so long ago) listen to music before the digital age of MP3s.

September 4th, 2020, Vertigo is released and, man, the fuzz is strong with this one! It’s basically a note-for-note remake of Sabbath’s debut album, and while that might not be everyone’s cup of tea, it’s in line with what Zakk Sabbath have been doing live in concert since day one. They are, after all, a super group/cover band of Black Sabbath. So under those terms, I think recreating Black Sabbath’s eponymous album while only diverging ever so slightly from the source material is entirely justified, with Wylde adding a few notes, filling some space here and there on the guitar as he is known to do. Besides, I think it’s a great way for the new generation of kids/teens not so familiar with Sabbath’s first record to discover this outstanding album. Here’s a rundown of Vertigo’s five tracks with brief notes on each song.

1.    “Black Sabbath” – What an opener for my favorite Black Sabbath song of all-time! Wylde sounds very soulful here and his vocals are eerily similar to Ozzy’s. The mood of this song is just as palpable as the original. This rendition is now tied as best cover of the titular song with Type O Negative’s 1994 version found on the superb Nativity in Black tribute album.

2.    “The Wizard” – Another great piece, which Wylde had already covered on his Pride & Glory album (on the 1999 reissue, not the original 1994 release). The band’s playing is really tight on this one. The Zakk Sabbath version is superior to that of Pride & Glory’s in my opinion.

3.     “Wasp / Behind the Wall of Sleep / Bassically / N.I.B.” – The second longest song of the album running at 10 minutes, a medley of sorts culminating with the loud, doomy “N.I.B.” I’ve always loved that long bass intro to “N.I.B.” and it’s just as powerful here. My name is Lucifer, please take my hand will stay in your head for hours afterwards. A stellar rendition of its original counterpart.

4.    “Wicked World” – It’s always been a fun song but nothing special and my least favorite of the album, if I had to pick one. This cover is once again very faithful to the original, but doesn’t make me love it more.

5.    “A Bit of Finger / Sleeping Village / Warning” – Final track and longest one, another medley, clocking in at 15 minutes. I love Wylde’s soloing throughout this one. This song to me has always felt like a long improvised jam and you get that same vibe here. The trio skillfully complement themselves to bring the ceremony to a close.

I may be biased as Black Sabbath’s first album is my second favorite of theirs (behind Master of Reality) and the title track is my favorite Sabbath song (okay, maybe tied with “Children of the Grave”). I’m also a huge fan of Zakk Wylde’s music output in all its shapes and forms, but this is a gem of a cover album, folks. For hardcore Black Sabbath and Black Label Society fans, I’d say this is absolutely worth the trouble of purchasing a vinyl or a CD (even if, like me, you hadn’t bought a CD in five years). Wylde is in terrific form when it comes to swinging his proverbial axe and taking care of vocal duties. Blasko and Castillo are a thunderous rhythm section, Sabbath-worthy of Geezer Butler and Bill Ward. Together Zakk Sabbath breathe new life into a fantastic classic album, one you might enjoy re-discovering (or discovering) through a fresh set of ears.

Magnetic Eye Records’ Zakk Sabbath Bandcamp page: https://store.merhq.com/album/vertigo

Zakk Sabbath’s Bandcamp page: https://zakksabbath.bandcamp.com/

Surf Sabbath Covers Black Sabbath

When it comes to Doom music, anything related to Black Sabbath immediately sparks my interest. This weekend I stumbled upon a really cool tribute album of sorts dedicated to the beloved founding fathers of Doom. It’s a Surf music band aptly named Surf Sabbath. In the interest of talking/reviewing all things Sabbath-related, I thought it’d be a fun thing to share with you. They have an EP/album titled Surf Sabbath available as a free download on Bandcamp as well as a “Name Your Price” double single of two more Sabbath songs for a combined total of eight songs.

If you’re a Sabbath fan and enjoy instrumental Surf music like I do, then this is right up your alley. Think Dick Dale & The Deltones, or The Ventures, or better yet, Link Wray meets Black Sabbath and you get a good idea of the kind of vibe this album evokes. It features instrumental covers of “Children of the Grave”, “Sabbath Bloody Sabbath” (a bodacious rendition!), “Hole in the Sky”, “Into the Void” (possibly my favorite cover), “Paranoid”, and “Sweet Penetration” which covers part of Sabbath’s “Sweet Leaf” and part of “Penetration”, a Surf song from vintage California Surf band The Pyramids. The double single consists of long instrumental versions of “Symptom of the Universe” and “Wicked World”. The 6-song album was released in 2016 while the double single was released in March of this year and in my opinion shows the band’s evolution and sounds awesome. You can tell these three surfer dudes (they apparently don’t surf!) had a blast doing this project. When they’re not putting on wigs and paying tribute to the almighty Sabbath, they’re a legit Surf band from Burlington, Vermont that goes by the name The High Breaks with a good number of albums/singles out. I sampled some of their music on Bandcamp and it’s definitely worth a spin, so you might wanna check them out as well.

Dare I say these Surf Sabbath releases are worth the price when they’re pretty much free of charge? Trust me, click on the links below and hit that download button and throw a couple of bucks their way, you’ll be glad you did. It might also be something fun to put on in the background and share with your girlfriend/significant other who might not necessarily be into heavier/gloomier music like Sabbath and the likes. 

Surf Sabbath’s Bandcamp page: https://surfsabbath.bandcamp.com/

Check out their Surf music page as The High Breaks: https://thehighbreaks.bandcamp.com/music