Tag: noise rock

Unwound at the Teragram Ballroom (Los Angeles, Sept 13, 2025)

by desertrockunited3960, posted in Music Reviews

On September 13, 2025, Unwound returned to Los Angeles for a sold-out show at the Teragram Ballroom, marking a powerful stop on their “30 Years of The Future of What” tour. For longtime fans and curious newcomers alike, the night was more than a nostalgia trip—it was a visceral reminder of why Unwound remains a cornerstone of post-hardcore, noise rock, and experimental sound.

The Venue & Vibe

Teragram Ballroom, with its intimate 600-person capacity and general admission setup, was the perfect crucible for Unwound’s sonic intensity. The crowd leaned in—literally and emotionally. From the front rows to the edges, people swayed, surged, and occasionally moshed, feeding off the band’s energy. While the acoustics weren’t flawless throughout the venue, the sound hit hard and clean where it mattered most.

Opening the night was lowercase, whose own version of noise rock with post-hardcore elements offered a precursor of noise that set the stage for what was to come. Imaad Wasif was in fine form with angsty almost screamed vocals at points with Brian Girgus’s hard hitting drums driving each song forward, along with Tiber Scheer’s propulsive bass lines holding down the low end. At certain points the dynamics of the songs would have benefitted by an additional boost to Wasif’s guitar level in the live mix.

Setlist Deep Dive

Unwound’s set leaned heavily into The Future of What, with over a dozen tracks from the album anchoring the performance. But they didn’t stop there—gems from Fake Train and Repetition surfaced, giving the show a layered emotional arc.

Highlights included:

  • “New Energy” as the opener: taut, confrontational, and instantly immersive.
  • “Demolished,” “Natural Disasters,” “Re-Enact the Crime”: balancing noise and nuance, these tracks showcased the band’s dynamic range.
  • “Kantina,” “Valentine Card,” “Were Are and Was or Is”: early fan favorites that landed with raw emotional force.
  • A mid-set taped interlude with “Pardon My French” added unexpected texture, breaking the live momentum in a way that felt intentional and atmospheric.

Musicianship & Dynamics

Unwound’s performance was tight, deliberate, and emotionally charged. The band navigated chaos and calm with precision, never letting one overwhelm the other.

  • Sara Lund’s drumming was a standout: aggressive yet controlled, anchoring the band while injecting bursts of disruption.
  • Guitar and noise elements were masterfully balanced—abrasive when needed, ambient when the moment called for it. The twin guitar attack of Justin Trosper and Scott Seckington provided a sonic blast of dissonance and distortion and gave many of the most familiar tracks an extra heaviness.
  • Bass work Jared Warren (Big Business, Melvins) held the low end with clarity and weight, supporting the mix without muddying it. Filling the massive shoes of Vern Rumsey is not easy to do and Warren was more than capable.

The transitions between songs felt seamless, with tension building and releasing in waves. It was a set that demanded attention and rewarded it.

What Worked / ⚠️ What Could’ve Been Better

What Worked:

  • A clear thematic focus on The Future of What gave the show cohesion.
  • Smart pacing and dynamic contrasts kept the hour-long set compelling.
  • The mix of old and new material satisfied both diehard fans and curious newcomers.

Could’ve Been Better:

  • Vocals occasionally got buried under guitar layers, especially in louder moments.
  • A couple of quieter songs in succession slightly dulled momentum.
  • Another track or two from the “Repetition” album might have provided a more balanced set.

Final Thoughts

Unwound’s performance at Teragram Ballroom was a masterclass in tension, texture, and emotional resonance. Thirty years on, The Future of What still feels urgent—and Unwound still knows how to make it hit. The show wasn’t just a look back; it was a statement of continued relevance.

Rating: 8.5/10 For fans, it was a cathartic celebration. For newcomers, a compelling initiation.

 

SOLACE – Further (2025 Reissue)

by desertrockunited3960, posted in Music Reviews

 

 

 

 

 

 

 

 

 

When Further first dropped in 2000, it marked the arrival of Solace as one of the East Coast’s most punishing and inventive stoner doom outfits. Twenty-five years later, Magnetic Eye Records has given the record a new lease on life, remastering the band’s debut and pairing it with a treasure trove of bonus material. Sadly, this reissue doubles as an unintended tribute to original frontman Jason L., who passed away earlier this year. His presence looms large across the record—raw, feral, and commanding—and this edition ensures his voice will continue to rattle speakers for years to come.

If Further were released as a brand-new album today, it would still feel like a major statement. The remaster sharpens its edges without sanding down the grit, giving the riffs more bite and the low end more weight.

The album’s opening run of songs sets the tone brilliantly:

“Man Dog” erupts with chugging riffs and Jason’s throat-tearing vocals, a track that feels halfway between Motörhead’s reckless charge and Sabbath’s oppressive stomp. It’s the kind of opener that makes a mission statement loud and clear.

“Black Unholy Ground” follows with a darker, more lumbering feel. The riffs here are suffocating, crushing down like concrete slabs, while Jason’s vocal delivery leans into apocalyptic sermon territory.

“Followed” drags things into the swamp. The tempo sinks, the distortion thickens, and the song oozes menace—perfect for fans who prefer their doom with an extra layer of grime.

“Whistle Pig” kicks the energy back up, riding a surging groove with a riff that borders on classic rock swagger, though twisted through Solace’s dirt-metal filter. It’s one of the album’s more driving tracks.

“Hungry Mother” pivots again, starting with a slow, foreboding build before exploding into one of the record’s heaviest climaxes. The song embodies Solace’s signature push-and-pull between sludge and fury.

This pendulum swing between ferocity and sludge, between heavy rock swagger and doom-laden crawl, is what keeps Further gripping even as it stretches past the hour mark.

Highlights from the remainder of the set include “Suspicious Towers,” which slips in a spoken-word lift from the cult sci-fi flick The Creation of Humanoids. Normally a gimmick, here it lands with eerie effectiveness, a perfect prelude to the song’s lurching menace.

The reissue doesn’t stop at polishing the core album. Six bonus tracks expand the picture, including covers of Iron Maiden (“Another Life”), Lynyrd Skynyrd (“On the Hunt”), Misfits (“We Bite”), and James Gang (“Funk #49,” captured live in Tokyo back in ’98). Far from throwaways, these renditions showcase Solace’s ability to bend other genres into their own brand of what they once called “dirt metal”—part doom, part hardcore muscle, part Jersey grit.

The remastered Further clocks in at over 90 minutes, but it never feels bloated. Instead, it plays like a reminder of just how vital this band was at the turn of the millennium—and how much Jason L.’s guttural roar defined their sound. This reissue doesn’t just honor an album; it honors a legacy.

Verdict: A powerhouse debut given new fire, Further (2025) is both a fitting tribute and a record that still competes with the best of the genre today. Pour one out for Jason, crank this loud, and let Solace’s dirt metal thunder roll.

Tracklist
1. Man Dog (2025 Remaster)
2. Black Unholy Ground (2025 Remaster)
3. Followed (2025 Remaster)
4. Whistle Pig (2025 Remaster)
5. Hungry Mother (2025 Remaster)
6. Angels Dreaming (2025 Remaster)
7. Suspicious Tower (2025 Remaster)
8. Heavy Birth/2-Fisted (2025 Remaster)
9. Another Life
10. We Bite
11. On the Hunt
12. Heavy Birth/2-Fisted (Distanced from Reality version)
13. Dirt
14. Funk #49 (Live in Tokyo ’98)

Recording line-up
Jason – voice, lyrics
Tommy Southard – guitars
Bill “Bixby” Belford – drums
Rob Hultz – bass

Onioroshi – Shrine

by desertrockunited3960, posted in Music Reviews

 

 

 

 

 

 

 

 

 

Background of the Band 

Onioroshi is a progressive-psych power trio hailing from Cervia, Italy. The three members of Onioroshi met for the first time in early 2014 during the Kimono Lights project, a dreampop-shoegaze independent band which recorded 2 LPs and an EP in three years and played in venues around Italy. In early 2018 Kimono Lights called it quits and soon after Onioroshi was formed and their debut album Beyond These Mountains was created.

While the band was trying to find its place in the music industry the pandemic struck the world of music and forced them to change their plans. In early 2020 Onioroshi started working on a new LP, investing the next three years into creating music with passion and a new sonic direction. The new LP “Shrine” is the result of this meticulous work of sound and structured research, with the three musicians searching for ways beyond limits, trying to create a completely new experience for the listener. Similar to their debut album, their second LP was recorded, mixed and mastered at Dunastudio by Andrea Scardovi.

Introduction to Onioroshi’s “Shrine”

Lasting 54 minutes while featuring 3 tracks focusing various sound layers, shifting time signatures, auditory dynamics.

Musical Style and Influences

A blend of experimental, psychedelic, noise rock and progressive riffing that creates an immersive auditory trip through the vastness of space and time. According to the band, “We like mind trips, odd times, drowning in noise and partial darkness.” Fans of desert denizens Big Scenic Nowhere will most likely enjoy this release as there are long psychedelic passages, many guitar riffs/solos with various phase, reverb and delay effects.

Track Analysis

Opening Track: “Pyramid”

Opening up with a clean flanger/phase guitar line with heavy reverb played various times with crashing cymbals with a rumbling distorted bass line. At around 4 minutes in the vocals begin with an up-tempo noise rock vibe until the vocals become more aggressive with drummer Enrico Piraccini forcing the issue with crashing cymbals and drum fills working to create a wall of sound. At 5:50 the time signature shifts to a heavy arpeggio riff and then shifting again the music stops entirely with a distorted bass line coming in with the phase effected guitar line and various tom fills and aggressive vocals to bring up the intensity again. The band really enjoys dynamics with calm slow passages building to massive and aggressive crescendos.

Opening Track: “Laborintus”

At 15 minutes this is the shortest track of the album. The track gets started right away with a treble sounding bass line with and lead guitar line with high pitched vocals leading to a phaser effect washing over the track which morphs into dark aggressive vocals and the familiar crashing cymbal fills. The vocal in this section has some similarity to Tomahawk era Mike Patton. As the track moves along the vocals become more ethereal with an underlying synth taking center stage. With this section starting around 9 minutes in the band moves in a more melodic way that give way to the outgoing section of guitar solos and driving rhythms until the track closes out.

Closing Track: “Egg”

Album closer begins with the heaviest riff of the release with a crunching guitar riff with the vocals a little more out in front and more direct than other sections during the album.
Ay 2 minutes in a wave of phaser effects and tom drum fills take center stage. Next the music starts to fade out and starts up again with a repetitive reverb heavy guitar line and haunting vocals along with distorted bass notes play in the background. At approximately the 11 minutes in the band ups the intensity with a driving drum beat and propulsive bass layered with a driving reverb heavy guitar riff. At 15 minutes in a long passage with a guitar solo takes over with drummer Piraccini using his China cymbal as a crash and beating it into submission. As this is the longest track on the album with various movement of sonic bombast, at the end you may want to take a break to ground yourself and return to sanity!

Track List

1.Pyramid-18:19

2.Laborintus-15:36

3. Egg-20:32

Manuel Fabbri: Bass, Vocals
Enrico Piraccini: Drums, Vocals
Matteo Sama: Guitar

https://onioroshi.bandcamp.com/

Desert Collider – Generation Ship: Endless Drift Through Infinity

by desertrockunited3960, posted in Music Reviews

Background of the Band 

Desert Collider out of Cesena Italy was conceived in 2023 as a convergence of the individual and diverse experiences of Federico C (Deploy the Cowcatcher, FR), Federico G (So Long, IT), Andrea, and Manuel (Moon Circle, IT). From the very beginning, the band’s primary focus has been the search for a distinctive sound, finding in stoner rock the perfect answer to the emotional and musical needs that emerged from the band members previous individual projects.

Desert Collider’s “Generation Ship Endless Drift Through Infinity” offers a mesmerizing musical journey that transcends boundaries of genre and imagination. In this album review, we delve into the depths of Desert Collider’s sonic universe, exploring their unique blend of influences, intricate instrumentation, and thought-provoking lyrical themes. From the opening track to the final notes, this album captivates listeners with its artistry and innovation, leaving a lasting impact that resonates through infinity.

Introduction to Desert Collider’s “Generation Ship Endless Drift Through Infinity”

Desert Collider’s latest album, “Generation Ship Endless Drift Through Infinity,” is like a musical odyssey through the vast expanse of space. With its cosmic themes and eclectic sounds, this album promises to take listeners on a journey beyond the stars. From the opening track to the final notes, this album captivates listeners with its artistry and innovation, leaving a lasting impact that resonates through infinity.

The album features eight tracks that revolve around themes of self-loss and rediscovery, a yearning for the primordial, and the inner journey as the sole mission and pathway to redemption. The album takes quiet yet deliberate steps on the pages of Robert A.
Heinlein’s masterpiece “Orphans of the Sky” and lays the groundwork for a creative approach that aspires to the “conceptual,” free of artistic limits or preconceptions.

Musical Style and Influences

Drawing inspiration from stoner rock pioneers like Kyuss, and Nebula along with a fusion of genres including the garage/post-punk of Karma to Burn, and Buzzcocks. At times the band delves into subtle psychedelic tones, and space rock undertones which often gives rise to a tight and aggressive sound that evolves into a forceful stoner rock sound: both raw and sophisticated. Desert Collider’s music is a homage to the past while pushing the boundaries of the future.

Exploring the Instrumentation and Arrangements

From swirling synths to pulsating basslines, each track on the album is a masterclass in sonic experimentation. Desert Collider’s attention to detail in their arrangements creates a lush and immersive listening experience. Aside from the heavy punishing stoner type riffs, the band is often slowing things down and developing mellow soundscapes with acoustic guitar, synth and reverb heavy, ethereal vocals.

Track Analysis

Let’s take a cosmic journey through some of the tracks of “Generation Ship Endless Drift Through Infinity.”

Opening Track: “Orphans of the Sky Part I: Generation Ship”

The album kicks off with “Orphans of the Sky Part I: Generation Ship,” a track that sets the tone for the interstellar adventure that lies ahead. With hypnotic rhythms and ethereal melodies, this song captures the essence of space exploration through sound. At a run time of 7:48 this song has various movements beginning with a slow psychedelic clean guitar tone which turns into a full heavy guitar assault with the main riff of the song at around 1:48. At 4 minutes the song takes another turn to a slower passage with synth effects, then begins a slow burn of a repetitive riff overlayed with distorted vocals sung in Italian building to a massive crescendo then fading out into the void.

Orhans of the Sky Part II: Disembark

As the track takes off with a rocket ship launch sound effect into a slow Melvins style stomp with drummer Andrea pounding his ride cymbal into oblivion you might be fearful of what may come next! The band next downshifts to a slow clean melodic guitar riff with reverb heavy vocals then once again turn on the jets with a full blast of aggressive vocals and distorted guitar lines. At 10:54 this track has multiple sections alternating between heavy and slow to psychedelic and slow with synth taking center stage around 6 minutes in.

Nomads of the Red Sun

This track is a mellow atmospheric instrumental that is primarily acoustic guitar with some percussion and synth effects. A great transition from some of the aggressiveness and bombast of earlier tracks.

Nebuchadnezzar

Headbangers unite! The album closer wastes no time getting right to the point with the drums coming in first with a distorted driving riff, guitar feedback and aggressive vocal. About halfway through a wah wah fuzzed out guitar solo is played over the riffing which leads to a slower breakdown with only a phaser or chorus pedal effected bassline. This leads back to the whole band coming back in on the main riff and driving the track home.

Tracklist:
1. Orphans of the Sky Part I: Generation Ship
2. Floating Space Hand
3. Sonic Carver
4. Orphans of the Sky Part II: Disembark
6. ThumpeRRR
7. Nomads of the Red Sun
9. Far Centaurus: Drifting without Guidance through Interstellar Space
10. Nebuchadnezzar

https://desertcollider.bandcamp.com/album/album-preview-generation-ship-endless-drift-through-infinity

 

Tundra Rock: A Sonic Exploration for Stoner Rock Enthusiasts

by desertrockunited3960, posted in Music Reviews

 

 

 

 

 

 

 

 

Tundra Rock: A Sonic Exploration for Stoner Rock Enthusiasts

For fans of stoner rock, the genre has always been rooted in heavy riffs, gritty vocals, and an overall sense of euphoria that invites listeners to drift into a blissful haze. However, SLOMOSA’s latest album, *Tundra Rock,* represents an evolution in the stoner rock landscape, intricately weaving together melody, emotion, and atmospheric depth. With this release, SLOMOSA pushes the boundaries of the genre, offering a listening experience that’s both familiar and refreshingly new.

At its core, *Tundra Rock* captivates the heart with its melodic foundation. Unlike some of their contemporaries who may lean heavily on raw aggression or repetitive structures, SLOMOSA has utilized melody as a key component in their songwriting. This approach transforms the listener’s experience into something more introspective, allowing for a richer exploration of complex emotions and subject matter. Each track serves as an auditory canvas, inviting fans to immerse themselves in the music’s atmospheric qualities.

SLOMOSA has garnered attention for their intriguing blend of grunge and stoner rock elements, and this album sees them embracing these influences more than ever. Drawing palpable inspiration from legendary bands like Nirvana, Soundgarden, and Alice in Chains, the quartet—comprised of Benjamin Berdous (Vocals, Guitar), Marie Moe (vocals, bass), Tor Erik Bye (guitar), and Jard Hole (drums)—crafts a sound that is both nostalgic and innovative. The vocal delivery of Marie Moe echoes the raw emotional power of 90s grunge while melded with the heavy, slow-driving riffs characteristic of the stoner rock genre.

One of the standout aspects of *Tundra Rock* is its ability to balance intensity with atmospheric exploration. The percussion, skillfully executed by Jard Hole, sets a foundation that is both relentless and hypnotic, serving the dual purpose of grounding the listener while also allowing them to drift into the ethereal layers of the music. Tor Erik Bye’s guitar work is outstanding, layering complex riffs and textures that give each song a unique identity. There are moments of outright heaviness, but these are often juxtaposed with segments of quiet reflection that deepen the listener’s emotional engagement.

Furthermore, the lyrical content on *Tundra Rock* should not go overlooked. SLOMOSA bravely delves into themes taken from both personal and universal experiences. These narratives, revealed through Marie Moe’s evocative lyrics, resonate with listeners, making them feel understood and connected. The topics traverse a range of human experiences—from strife and sorrow to moments of euphoria and enlightenment—capturing the essence of being human in a way that is inherently relatable.

In conclusion, *Tundra Rock* is a testament to SLOMOSA’s extraordinary ability to blend the familiar sonic signatures of stoner and grunge rock with innovative melody and atmospheric depth. For stoner rock fans seeking new emotional vistas within the genre, this album is an indispensable addition to any collection. As they explore the intricacies of *Tundra Rock*, listeners will find themselves drawn into its rich layers, ultimately emerging with a deeper appreciation for the artistry that defines SLOMOSA. This is not just music to enjoy; it is music to experience, paving the way for further exploration in the evolving world of stoner rock.

Track List:

1.  Afghansk Rev 03:11
2. Rice 05:25
3. Cabin Fever 05:17
4. Red Thundra 05:23
5. Good Mourning 00:41
6. Battling Guns 04:55
7. Monomann 03:49
8. MJ 04:06
9. Dune 05:27

Line Up:
Benjamin Berdous – Guitar, Vocals
Marie Moe – Bass, Vocals
Tor Erik Bye – Guitar
Jard Hole – Drums

▶︎ Tundra Rock | Slomosa

HUM – INLET

by desertrockunited3960, posted in Music Reviews

Released in 2020 this is 90’s alternative noise rockers Hum’s first full length since 1998’s Downward is Heavenward. With a run time of 55:31 and 8 songs, it is clear the band is navigating the line of prog rock length tracks. If Torche, Helmet and My Bloody Valentine had a baby this would be what it sounded like when crying in the night! Walls of heavy distorted guitars, somewhat monotone vocals mixed only slightly above the instrument tracks, and in the case of track 7 Folding twin delay and reverb heavy melodic guitar lines weaving in and out like waves. If there is a radio friendly track it would be Step Into You with a 4 minute run time, melodic soloing and accessible chorus.

The 5th track The Summoning has an intro that channels Soundgarden’s Kim Thayil style riffage, before quickly moving to the familiar Hum guitar lines and harmonics. Interesting to note, often it sounds as if there is synth being played on some tracks, but there are no mentions of anyone playing synth so guitar with serious delay it must be. On a sad note drummer Bryan St. Pere passed away earlier this year. His drumming will live on for all to enjoy, which is the beauty of playing music.

SURVIVAL KNIFE – LOOSE POWER

by desertrockunited3960, posted in Music Reviews

This release on Glacial Pace Recordings is from 2014 and probably flew under the radar a bit. Justin Trosper of Unwound fame is running point on guitar and vocals with original Unwound drummer Brandt Sandeno on guitar for this outing. Rounding out the lineup is Meg Cunnigham on bass and Kris Cunningham on drums. If you are longing for some post-punk, tuneful, noise rock this might be your jam. Coming at just under 45 minutes with 7 songs you get the full spectrum. From direct and even somewhat pop-sounding (For Trosper) tracks Fell Runner and Divine Mob, along with the more expansive, extended jams of Cut the Quick and Heaven Has No Eyes.

With a full four-piece with two guitars, there is definitely more heft rhythm-wise than Unwound and the twin guitar attack makes for some cool interplay between the two guitars. For those of you who yearn for that familiar dissonant scarcity of Trosper’s playing, you get that here on Cut the Quick. While there are tinges of the early 90s indie Olympia sound this is definitely not a rehash of leftover Unwound riffs. Gold Widow starts out with a heavy Melvins type riff with this vocal line “California’s getting old, moving north to find some gold” then moves on to to a chugging riff, then into the chorus. Check it out!