EXCLUSIVE VIDEO: Gramma Vedetta – “Hangup My Boots” 

The badasses in Gramma Vedetta are back with a new video for their song “Hangup My Boots”! They might be putting their boots away but they brought the riffs and swagger they have become known for as one of the up and coming bands in the UK right now! The video is a spazzed out acid-trip on a daydream that definitely sells the rocking song. Gramma has found fast fans in the desert scene, but also if you dig Monster Magnet, QOTSA, Cutch, COC, and the like – this band is in your wheelhouse. “Hangup My Boots” comes from their recent EP, A.C.I.D. COMPLIANT, which is available today for Bandcamp Friday in a “pay what you want” option at the link below! Check out the clip and support these guys! 

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ALBUM REVIEW: All Them Witches – Nothing As The Ideal

With All Them Witches recently becoming a power trio after five albums as a quartet, it’s easy to imagine that their sixth full-length would reflect a changed dynamic. But for the most part, the Nashvillians’ vision is largely undeterred on Nothing As The Ideal (New West Records). The overall runtime may be the band’s shortest to date at only forty-three minutes long, but their signature mix of Fuzz Blues, Americana, and tripped out ambiance allows for plenty of exploration. Not much has changed on the surface but there are certainly ways to show off the more straightforward approach.

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ALBUM REVIEW: Louise Patricia Crane – Deep Blue

Cutting her professional teeth among serious pedigree as a member of Psych-Rock collective The Eden House Orchestra, the ethereal vocals of Belfast’s Louise Patricia Crane have dripped honey with such luminaries as Monica Richards and Julianne Regan. Debut solo album Deep Blue (Peculiar Doll Records) sees a host of Rock legends lend a hand to create a work of strange, wistful charm, paying due deference to a number of influences in the process. Continue reading

Bask Share New Music Video, New Album Incoming

North Carolinian Psychedelic rock group Bask will release their third studio album, dubbed III, on November 8 via Season of Mist, their debut label debut. The band only recently announced their signing. The album was recorded and mixed by Matt Bayles (Pearl Jam, Mastodon, Minus The Bear, etc.). The album art and complete track-listing can be found below. Watch the video for the first single ‘New Dominion’ now! Continue reading

Dead Witches – The Final Exorcism

If you’ve worn out your copy of Dopethrone (Rise Above) and have still got a hankering for a dirty heap of occult-themed Sabbath worship, you could do a lot worse than UK Doom outfit Dead Witches. Continue reading

Thunder Horse – Thunder Horse

Fancy that, Thunder Horse (BC/TX) just happens to be the debut LP from well, err, Thunder Horse. I’m only surprised because even the youngest bands today seem to have a trail of EPs and singles before jumping onto the hollowed full length. And as far as musical maiden journeys go, this San Antonio outfit has hit the ground running. Continue reading

AWOOGA – Conduit

You think I’d have learned with Slugdge. That whole book/cover, band/band name thing is long established by now… So, let me start by saying loud and clear, judge Awooga by their band name maybe not at your peril, but most certainly at your immense loss. Because debut full-length Conduit (Rockosmos) is truly excellent ,and if every person that finds something of interest in the barrage of words I’m about to spew about them goes and checks them out, and passes on the name to a friend or two, we have a chance of getting this quite special new band the coverage they deserve. Continue reading

Monster Magnet – Mindfucker

I don’t think we were ever able to put the finger on Monster Magnet’s sound. Since 1989 Dave Wyndorf (who’s 61 and still doing the damn thing) and his changing roster have dabbled in Stoner Rock, Psychedelia, and even some Sludge. So, what’s the recipe for studio album eleven, Mindfucker (Napalm)? The take here is straightforward Rock music. Continue reading

The Heavy Eyes – He Dreams Of Lions


He Dreams Of Lions is the third album from Memphis based heavy psych/blues rock trio The Heavy Eyes, taking what they did with 2012’s Maera (both Kozmik Artifactz) and adding more definition to their rough and reverberated retro-sound; a sound which they described as being similar to “a skeleton driving a speedboat on a flaming Mississippi river headed back to 1969”…  which to be fair is an image fully deserving of the accompanying t-shirt!

The album flows with distorted heavy fuzz and echo which comes together in order to shape a substantial sound, especially for a trio. This is most notable on stand out tracks such as the stompy ‘Smoke Signals’ and ‘Hail To The King, Baby’ which sounds more like Clutch than the Duke Nukem expected from that title.

Throughout the album there’s a nice heavy stomp of Blues riff n’ groove coupled with a raw feel, particularly on tracks like ‘Saint’. Given this is Ghost Cult the use of heavy of course is subjective, for their genre The Heavy Eyes are indeed fairly hefty especially on the heavy ‘Z-bo’ in the rhythm section: courtesy of Wally Anderson on bass and Eric Garcia on drums. Some of the tracks skirt around the 1969 feel of Sabbath or Zeppelin, with some hints at elements of proto-sludge.

The music is satisfying, but it can feel quite similar at times, and the tracks seem to flow into one another sometimes a little too fluidly and it’s notable that at times there’s a disconnect between the lyrical content and the music, particularly on tracks such as ‘Old Saltillo Road’ which, despite being one of the stand out tracks on the album, has possibly the most dissonance between the lyrical content and the accompanying music. Like a stoner watching a fire rather than anyone with any particular sense of urgency. This is followed by the title track; another strong outing with some nice heavy riffs juxtaposing nicely with the woo-hoo-hoo chorus and multiple phases of tempo and intensity, held together with yet more great rhythm section work.

This is a good album with some genuine highlights, and yet by the same token a significant similarity lies throughout out which allows the overall album to flow together very nicely indeed, but can also be a bit samey towards the end, though it is easier to get hooked into the strutting vibe of the album as a whole rather than any particular riffs or songs.