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(Desert Spotlight) Big Scenic Nowhere – The Long Morrow

BSN is often described as a mix of stoner/psychedelic and desert rock, drawing on the desert landscape and rock music traditions of Southern California’s Coachella Valley. The Long Morrow is the band’s fourth release and, along with 2020’s EP Lavender Blues, is the output from recording sessions in 2019. For trivia buffs out there The Long Morrow was an episode of 60’s show The Twilight Zone, maybe an influence on the band?

The band is known for creating songs with extended jams that taken as a whole create a unique sonic canvas almost as if creating a concept album. Having said that, the songs here can stand on their own, while still fitting within the broader album. Murder Klipp might be considered a darker song on the album, with odd time signatures and more progressive rock stylings along with twin vocals. This track is heavier than the others on the album.

Defector (Of Future Days) is a short, direct, hard rocking track. This track is more of a straight-ahead riff-rocker without the familiar psych stylings. The vocal reminds me a little of Mike Patton era Tomahawk. Lavender Bleu opens with calmness and haunting vocals and the verses are in this style, while the choruses and solo passages are a bit heavier, making for a varied and quite satisfying experience. The fourth and shortest track on the album LeDu follows another straightforward desert rock tune for its near three-minute run time.

To close things out the band embarks on The Long Morrow, the near 20-minute trip through various sonic landscapes that include heavy riffing, organ flourishes, blazing solos and twin guitar attack riffing that complements all the sonic canvasses of the previous tracks on the album. With all of the various sections and vibes here you could turn this on close your eyes and see the desert, moon, cactus and really be transported there. This track has so many interesting elements I could see the band releasing it as a one track EP. The very definition of extended play!

In regards to the guitar playing, to quote Biggie Smalls, “If you don’t know, now you know”. Bob Balch and Gary Arce can shred in various styles and as much as you need. The closer has so many great riffs it’s really fun to listen to wondering where they go next. Throw in some phaser and reverb along with the metal solo riffing and you really get your money’s worth! Both players have their unique styles and really complement each other here. On a path to the end of all things is the last lyric to close out The Long Morrow before concluding with more guitar soloing to close things out.

Lineup:
Gary Arce: Guitar
Bob Balch: Guitar
Tony Reed: Bass/Vocals/Synth/Guitar
Bill Stinson: Drums

Track List

  1. Defector (Of Future Days)
  2. Murder Klipp
  3. Lavender Bleu
  4. LeDu
  5. The Long Morrow

Monster Magnet – A Better Dystopia (2021)

“These were not the popular hits of the time. This was like a playlist from the 4th dimension… strange bits of musical obscurity, mostly dredged up from that inglorious and freaky “twilight zone” time that preceded Arena Rock, Heavy Metal, Reggae and Disco. A no-man’s land of hard rock that still had remnants of psychedelia and garage punk but had abandoned any notion of “flower power” or frat house fun. And of course, they rocked. Yeah, these songs were it.

The great bands whose music we lovingly interpret here were (and some still are) on the fringe, underrated, and in our opinion, really, really cool. I think that’s reason enough for us to do this album. Furthermore, A Better Dystopia is a collection of songs that I think reflect (knowingly or unknowingly) a paranoid time in history, but also deflect that same paranoia by owning it, fully. And of course, it ROCKS.”

— Dave Wyndorf, Official Statement via The Obelisk

Track “Mr. Destroyer” (Poo-Bah) has big riffs and swirling vocal stylings that fuse a blend of hard rock and psychedelia. “Motorcycle (Straight To Hell)” (Table Scraps) is straight old school punk, sounding like a cross between Iggy Pop and Motörhead. The Magnet takes off on the hard rock classic “”Learning To Die”” (Dust) and a rocking version of a Stooges style Goth jam, “”Solid Gold Hell”” (The Scientists).

Lineup

Dave Wyndorf – Guitar, Keyboards, Vocals, Producer
Phil Caivano – Guitar, Bass, Backing Vocals, Engineer, Producer
Bob Pantella – Drums, Percussion, Engineer, Producer
Garrett Sweeny – Guitar
Alec Morton – Bass
Carrie Wyndorf – Additional Vocals (3)
Betty Wyndorf – Additional Vocals (13)

Track List

  1. The Diamond Mine (1:58) (Dave Diamond)
  2. Born to Go (5:47) (Hawkwind)
  3. Epitaph for a Head (2:08) (JD Blackfoot)
  4. Solid Gold Hell (3:27) (The Scientists)
  5. Be Forewarned (3:26) (Macabre)
  6. Mr. Destroyer (5:41) (Poobah)
  7. When The Wolf Sits (4:58) (Jerusalem)
  8. Death (2:58) (The Pretty Things)
  9. Situation (2:16) (Josefus)
  10. It’s Trash (2:10) (The Cave Men)
  11. Motorcycle (Straight to Hell) (3:24) (Table Scraps)
  12. Learning to Die (6:28) (Dust)
  13. Welcome to The Void (3:21) (Morgen)

Name of Kings – Night Errant (Single)

Name of Kings was originally formed in Prague in the late 1990s, and has since reformed and is now primarily based in Bucharest, Romania. The primary members of the band are Bohemond Pasha and Majid Majnun. Pasha is the lead vocalist and guitarist with Majnun playing keyboards, percussion, and creating the musical arrangements. “Night Errant” is the 3rd track of of their upcoming May of 2023 release, “Yurt”. In support of this new release the band are in the stages of planning a European tour to follow later in 2023.

“Night Errant” starts off with an acoustic riff layered with a pulsing bassline and synth in the background. Interesting to note the percussion is lower in the mix with the guitar, bass and organ really driving the song. The vocals have a relaxed blues rock vibe with psychedelic undertones. The background vocals having delay and panning from left to right in the mix add atmospherics and assist with the psychedelic vibe There is is some really interesting instrumentation with the interplay between the acoustic guitar, bass and organ with the organ taking center stage with various fills and leads.

Line Up

Bohemond Pasha – Vocals, Acoustic Guitar, Percussion

Majid Majnun – Acoustic Guitar, Bass, Keys, Percussion, Barbat, Ocarina, String and Horn Arrangements

Single and Album Purchase

Pre-order the album on Bandcamp: https://nameofkings.bandcamp.com/album/yurt-2

Purchase the track on Bandcamp: https://nameofkings.bandcamp.com/album/night-errant

(Desert Spotlight) John Garcia and the Band of Gold

Released in January of 2019 Kyuss vocalist and founder of desert rock bands such as Unida, Slo-Burn, Hermano and Vista Chino returned with his next project: John Garcia & The Band Of Gold. Coming in at just under 41 minutes with 11 tracks you’ll get a tighter affair than extended jams. Songs with groove take center stage over extended jams and those who are familiar with the stoner, desert rock vibes will know what to expect

Track 1, the instrumental “Space Vato” gets things cooking with a slow distorted guitar line with another guitar layering a clean delay line over the top. A few bars in this leads to the up-tempo rock out section of the song.

Track 2,”Jim’s Whiskers” has a desert blues vibe leading into Garcia’s familiar vocals stylings. This track demonstrates Garcia has not lost a thing vocally, if anything after years of making records he knows when to let it rip and if needed dial things back to accommodate the song.

Track 9, “Don’t Even Think About It” starts off with an almost Kim Thayil “Badmotorfinger” style riff before dropping off into heavy driving groove. At three minutes in the band breaks out into a double time section rolling into a wah driven guitar solo before closing out.

Track 10, Cheyletiella has a really great driving groove and is one of the more hook laden choruses on this release. Album closer, “Softer Side” is a great way to slow things down and chill with delay heavy guitar lines and pulled back vocals for the majority of the track with a shout of, “I can’t do anything right!”, before going back to the mellowness at the start of the track and fading out.

Chris Goss (Masters of Reality) who also produced Kyuss and the Queens of the Stone Age is the producer here. Overall this is a good release with a locked in rhythm section, passionate, expressive vocals and heavy guitar riffs and solos to fill out the sound.

Track List

1. Space Vato

2. Jim’s Whiskers

3. Chicken Delight

4. Kentucky II

5. My Everything

6. Lillianna

7. Popcorn (Hit Me When You Can)

8. Apache Junction

9. Don’t Even Think About It

10. Cheyletiella

11. Softer Side

Line Up

John Garcia – Vocals

Ehren Groban – Gutar

Mike Pygmie – Bass

Greg Saenz – Percussion

Samsara Joyride – Self Titled 2022

Located in Vienna, Austria, Samsara Joyride started as two guitarists, Michael Haumer and Florian Miehe in a living room in early 2020. Only a few months later an at-home recorded EP was released and received positive reviews and interest, leading to Daniel Batliner – Bass and Andi Mittermühlner – Drums being added to the group. Now with a full band dynamic in place, the band started work on new material for their upcoming first full-length album released October 22, 2022. Shaped around guitar-driven melodies and stirring rhythms, Samsara Joyride’s sound is a smooth blend of mesmerizing riffs, intense guitar solos, and striking baritone vocals. The genre is best described as blues rock, with strong psychedelic elements and a desert rock vibe.

Coming in at 68 minutes with nine songs means you’ll get some extended jams with multiple guitar solos which includes the album closer, “Lingering Thoughts” at twelve and a half minutes. Opener “Kingdom of Fear Pt. 1” has a solid rock riff building to the chorus section of vocalists and guitarists Miehe, and Haumer. Next the song builds into a slow, heavy groove, followed by a heavy, Sabbath-like breakdown and finally into an extended guitar solo. Track 2, “Playing War” opens with guitar volume swells and vibrato and a second guitar playing a delay heavy line with drummer Mittermühlner playing crash cymbal accents and cross-stick beats. At 2:30 minutes in straight-ahead rock chording takes over during the first verse. At 4:00 minutes tom fills signify a change to a heavier riff and solo type fills into another verse and into a psychedelic passage with volume swells, feedback and delay.

Track 3, “Who Am I” starts off with a similar slow burn groove as Track 2’s, “Playing War” but with the introduction of a guitar solo and doubled guitar lines. Miehe’s lyrics here provide some introspection many of us can relate to with lines such as, “Where would I go if I were free?” and “We build our own prison cells, create our own little hell.” The last chorus breaks out into a ripping guitar solo with octave slides and is one of the best on the album.

Track 5, “Kingdom of Fear Pt. 2” which is a natural break at the midway point of the album goes in to an entirely new direction with Haumer taking center stage on vocals and slide guitar. This is straight ahead 60’s -70’s style blues in the tradition of Howlin Wolf, Eric Clapton, or The Allman Brothers. With a soulful delivery and first-rate guitar techniques, this is a great track for any fan of a traditional blues sound.

There is a tremendous amount of talent on display here. With two distinct vocal styles, Miehe with the deep baritone with some similarities to ZZ Top’s Billy Gibbons to Haumer’s higher more mid-range delivery. The two work well together in the chorus sections of songs and on their own lead vocal turns, both bring their own unique style. The rhythm section of Batliner on bass and Mittermühlner on drums are locked in doing their part by giving space during the quiet sections of the songs, but turning on the power when the heavy riffs take over. Mittermühlner is very adept at providing accents to the songs with hi-hat, floor tom fills, and cross-stick snare beats. The twin guitar attack is often exciting to listen to with slower reverb and delay-affected passages, heavy Sabbath-style riffing, acoustic lines, and the aforementioned slide guitar. With as much talent as is on display here, the future seems very bright for the band. For additional info on songwriting, future albums, and tour plans check out our interview with the band on October 22, 2022.

Lineup
Florian Miehe – Vocals/Guitar

Daniel Batliner – Bass

Andi Mittermühlner – Drums

Michael Haumer – Vocals/Guitar

Track List

  1. Kingdom of Fear Pt.1
  2. Playing War
  3. Who Am I?
  4. Shadow of a Man
  5. Kingdom of Fear Pt.2
  6. Feed on Me
  7. When Gods Were Man
  8. Wild Woman
  9. Lingering Thoughts


(Desert Spotlight) – Pescaterritory

Pescaterritory is an award winning rock n roll band from the Coachella Valley in Southern California. Together since 2019, the band consists of bassist Gavin Lopez, vocalist Aiden Schaeffer, drummer Nick Willman and guitarist Jason Zembo. Pescaterritory blends the styles of rock n roll music from several decades to form their own brand of rock.

Their self titled debut album released in 2020 contains nine tracks with a run time of 40 minutes which includes the 10 minute closing track “The War”. Album opener, “King Street” with cowbell count in, muscular guitar riffs, slide guitar, and big chorus is a great opener. Track 2, “Running Away” starts off with a heavy speed grunge type intro and with massive drums and and hook filled chorus that really drive this track. With two explosive rockers to open the album the band takes a breather with track 3, :Dream Inside a Dream” with it’s clean phaser guitar line and out front harmonized vocals of singer Aiden Schaffer, before moving in to a mid tempo rock chorus.

The muscianship here is first rate with the rhythm section of drummer Nick Willman and bassist Gavin Lopez locked in to provide the low end and drive the rock focused tunes. Lopez has a great mid range tone bass lines and even jams a short distorted solo on Track 2 “Running Away”. Guitarist Jason Zembo is throws out heavy riff after riff and has no problem blasting out solos that any shredder would appreciate. In addition to the heavy rock riffs, Zembo can also change course with Track 6 mid tempo acoustic jam “I’m Fine” and the acoustic intro on Track 4 “Better Off Dead”. Willman has his moments throughout the album, but really makes his mark on Track 6 “Rise” with some double time machine gun style snare fills. Singer Aiden Schaeffer displays his vocal chops and many tracks, but especially shines on the chorus of “Rise” and “Running Away”.

The band has an upcoming slot on Saturday October 22, 2022 at the 15th annual Concert for Autism in Indio California. Check their social channel and website for info on their new single “Another Day”. The band also joined us for a live interview in September for a discussion on their influences, style of music and future plans for world domination. Check out the interview here.

Imaad Wasif – So Long Mr. Fear

Imaad Wasif is an LA based Indian musician. He has released six solo albums as well as numerous collaborations. Credits include The Folk Implosion, Lowercase, Alaska! Grim Tower, EFG and ACID. He is also a touring and recording member of Yeah Yeah Yeahs.

His new 2022 release the appropriately titled “So Long Mr. Fear” is
comprised of 11 tracks with a runtime of around 37 minutes. Overall, So
Long Mr. Fear
is more of an acoustic, piano driven affair, emphasizing Wasif’s vocal stylings and lyrics. This release has a stripped-down singer/songwriter vibe, which is a departure from his previous indie rock outings with EFG and earlier solo works. This release was produced by longtime collaborator Bobb Bruno (Best Coast) and mixed by Lewis Pesacov (Nikki Lane, FIDLAR, Local Natives).  Guest vocals are provided by Jen Wood, as well as Karen O (Yeah Yeah Yeahs).

Track 10 “Jealous Kind” with swirls of synth and phaser guitar lines has an almost melancholy end of summer vibe to it. With lines such as, “something in your memory keeps your island in the stream, if you walk alone, you’ll never know who you are” with lines like this there is definitely an introspective meditation on memory and knowing oneself.

Track 6 “Poet of the Damned” with backing vocals from Karen O (Yeah Yeah Yeahs) has a darker lyrical quality with lines such as, “I caught you crawling out of a newfound wasteland, to see my downfall as the poet of the damned.” With another line such as this one, “I’ve held the key to the doomsday machine” Wasif makes his intention clear that this track is not going to let the light in. With primarily acoustic guitar, backing vocals and limited instrumentation the vocals and lyrics are front and center.

The album having been created during the pandemic without many opportunities for in person collaboration may have contributed to a more introspective outing than would otherwise be the case, in fact Wasif brings up this challenge when discussing his tracking with collaborator Bobb Bruno, Wasif states, “We built a tunnel through the goddamned pandemic… Though we never saw each other during the making of this, we wereconnected in the ether, sending songs back and forth to arrive at their completion.”

Line up:
Bobb Bruno – bass, guitar, drums, percussion, synths
Greg Burns – pedal steel on ‘fader’
Evan Haros – sitar on ‘elemental’ and ‘regeneration’
Karen O – backing vocals on ‘poet of the damned’
Imaad Wasif – voice, guitar, piano, Nosferatu organ
Jen Wood – backing vocals on ‘fader’

Zoltar – Bury

Zoltar is a down to earth stoner metal trio from three cities in Sweden: Gothenburg, Uppsala and Östersund. Starting out as a local riff-o-rama-project in East coastal city of Uppsala just before the start of the COVID pandemic, soon the project turned into something too good to disappear into nothingness, the two founding members called for sibling backup and Kara Kusack joined to complete the lineup.

Shortly after completing the trio lineup, the two first tracks were produced, the vocals recorded and sent from the West coast of Sweden, all the composing and communication done via file transfer and digital means. In under two months the bands first two tracks were released independently; presenting fuzz grinding guitars partnered with fierce female vocals and anthemic choruses.

Striving for a genuine, distorted rock sound with a fresh context, the trio brings in elements from Black Sabbath and Kyuss as well as more sludge metal acts like Melvins and Red Fang with some overtones of early 90’s Olympia, Washington grunge. Zoltar brings you a punchy and powerful vibe to get your juices going. With influences rooted in punk, death, and rock ‘n roll Zoltar’s brand of dark stoner influenced jams have a pragmatic and powerful sound with loads of energy. The songs with synth bring a space rock element and along with Kara Kusack’s vocal range and different stylings there is a lot to like with the jams.

Th most recent track released August 18th, “Bury”, according to bassist and vocalist Kara Kusack was inspired by and a tribute to former Entombed singer (R.I.P) Lars-Göran Petrov. With a distorted phaser guitar line and a gravely growling vocal and a heavy anvil powered drum groove you can’t help but feel ready to rock. About three minutes in there is a synth solo before going back to the verse and makes for a really interesting transition.

There are some recent tracks available to listen to here and more music is on the way in the near future. Check out an interview with Kara Kusack for more band info and stay tuned!

Lineup:
Kara Kusack, Vocals, Bass, Synth
Crille Lampa, Guitar
Patrik, Drums

UFO over Lappland Interview

DRU: Who decided on the band name and how did it come about?

UOL: Our bass player came up with the idea, it’s a reference to a small Swedish sci-fi movie from 1959, also refers to a record by a local psychedelic rock band that made a record called “Flying saucers over Lappland” Our new record “Spökraketer” also refers to unknown objects that have been seen over the very huge areas up in Lappland, where there’s almost no people, just huge areas of forests and mountains.

DRU: Who are your biggest influences?

UOL: I think we in the band have different influences and it also changes all the time, but stuff that we all like is for example Neu, Faust, Hawkwind and I also listen a lot to more “modern” post rock and minimal electronic drone/ambient stuff.

DRU: Any specific guitar player, bass player or drummer influences?

UOL: Christer, our bass player has always been a fan of Lemmy, Andreas (the drummer) likes Tool, I don’t think I can choose a guitarist, but I prefer those with a personal style and that can make weird sounds with guitars before perfectly playing.

DRU: What role does synth play in the band? Is it for textural elements to compliment the sound or more in front to complement the guitar lines?

UOL: It’s to complete the sound and also to add the extra “space feeling”.

DRU: How would you describe your sound? Do you hear any similarities to Kraftwerk as is often mentioned?

UOL: I say that we play repetitive minimal psychedelic rock with influences from post-rock. I don’t see much similarities to Kraftwerk (has also seen that mention, we never mentioned them as inspiration, they are great, but not an influence, I guess it has to do with that Kraftwerk was a part of the early German kraut-rock scene).

DRU: How did the band form and come together?

UOL: Three of us was already playing together in a band called the magic lantern, some of us have been making music together in different constellations for more than twenty years now.

DRU: What’s your songwriting process?

UOL: Most of the times we just go down to the rehearsal space and jam, we record and listen and choose parts we like and then we work on those parts, add stuff or remove stuff, sometimes someone has a riff or a rhythm to start with but not always.

DRU: Best format? Vinyl records, cassettes, CDs or downloads? (Regardless of current popularity)

UOL: Vinyl, three of us are vinyl collectors, I also run a small tape label, so I like tapes too, but vinyl is like “the real thing”.

DRU: One or two artists/bands you would like to collaborate with.

UOL: If we could do something like that, I think it would be fun to make something with someone that does something completely different from what we do, like Joanna Newsome on harp or with Loscil (minimal electronics).

DRU: How has the natural environment in Northern Sweden influenced your sound if at all?

UOL: Hard to say, but I think out long dark winters sets us in another mood than if you’re living, we’re the sun is shining all of the year.

DRU: Any plans for an upcoming European tour?

UOL: No plans for touring right now.

DRU: Describe the Umea music scene, is it influenced by the local college and artists?

UOL: The musical scene in Umeå is diverse and living, the DIY scene is quite big and bands in different genres help each other to organize shows, but during the pandemic some places have been closed and some people have moved, but still have hope for the future and so many people here know that a living musical scene is something worth fighting for.

DRU: Is the recording process completed by sending files to each other or is everyone in the studio?

UOL: We were all together in the studio, most of the records are recorded live in the studio, with just some overdubs.

DRU: How has the band changed or not coming out of COVID now that most countries are open to live music again?

UOL: One of us have moved to another town quite far away and that makes it harder both to rehearse and to play live, but let’s just see what the future has to give.

DRU: Any social channels or band sites fans should check out for release, merchandise or tour information?

UOL: Where not too active here, but I try to update at Instagram @ufooverlappland and Facebook.com/ufooverlappland

Peace/Krister, guitars in UFO över Lappland.

(Desert Spotlight) Unsound – Melt

Active from 1987-1994 desert punk rockers Unsound were one of a handful of bands who defined the late 80’s – mid 90’s Coachella Valley rock scene. With a DIY, play anywhere ethos the band frequented all of the historical non-venues such as The Colony, and the famous desert generator parties.

Released in 1993 on the Hemi Music label this was to be Unsound’s swan song, but what a way to go out. This release was a 7″ EP recorded at Westbeach Studios in Los Angeles. The band played for another year and in 1994 broke up except for a few one-off shows in 2010, 2012 and 2019. While earlier releases were more straight up raw, speed punk, this release has the band moving in a direction that mixed their familiar punk sound with a hardcore driven twin guitar attack along with time shifting progressions and Ian Taylor’s fast vocal blitz delivery. Donnell Cameron was the producer here, who went on to work with such artists as Sublime and Blink-182; as well as producing the Avenged Sevenfold album Sounding the Seventh Trumpet.

One of the aspects of seeing Unsound live was that you had to be ready to have your face melted off. There were no half efforts here, it was full tilt all the way through with Jeff Bowman hitting the drums hard enough to break his drumheads, Brian Maloney’s blazing leads through the loudest Randall amp in the universe, Ian Taylor’s high energy stage presence and (R.I.P) Britt Killen’s mid-range bass blasts.

While this release is likely out of print select one the song links below for a sample of the jams.

Lineup:
Brian Maloney – Guitar
Ian Taylor – Vocals, Guitar

Britt Killen – Bass
Jeff Bowman – Drums

Track list:

StoryTime
Product
Between
Outrage Is