Australian rockers Full Tone Generator are back and they’ve
brought a friend from the Californian desert with them this time, Mr Nick
Oliveri. Listening to Nick talk about this on Kyuss World Radio a few weeks
back, you know you’re getting something special here.
Stoner Rock mixed with Punk Rock, that is short, sharp, like
a kick in the head, and if you’re wondering what side of the pond the Punk Rock
will favour? Think GBH, The Damned and Sub-Humans.
Without A Sound starts with the riff, the slight feedback of
the instruments plugging in, the classic drum roll build up, Nick’s trademark
scream and we’re off. Imagine Full Tone Generator removing any effects pedals
and just plugging in and turning it up to eleven. Classic punk rock riffs
pummel you and Nick’s voice sounds even more demonic than normal. The repetitive
riff with added clapping appears a couple of times, like what Nick always did
with Mondo Generator and Queens of the Stone Age, and I dare you not to clap along.
Throw in the odd early 80’s five second guitar solo, and it’s all packed in to
two minutes and three seconds.
Clocking in at less than 2 minutes on If You Want Me, there’s
full on raw riffs from the beginning with slightly more guitar work this time. Nick’s
vocals are abrasive and in your face (like you’d expect anything else?) and the
chorus isn’t something you will be blasting out the car window when you’re
picking the kids up. There’s even a quick punk rock ‘out of control’ solo in
there.
Released between Tuff Cuff Records and Ruined Vibes, there’s
a limited vinyl run of black and orange editions and a couple of deluxe
versions. By the time you read this I expect everything will already be sold
out, so happy hunting.
Australia’s The Black Armada have barely been together a
year and have already been dishing out their big groove driven stoner rock
supporting the likes of John Garcia & The Band of Gold, Earthless and 1000
Mods. It looked as though music was to be put to tape until the departure of
their vocalist a few months back and the current situation around the world has
obviously adjusted their plans a bit. I have no doubt through, that after
watching their latest live recordings, good things will be coming out The Gold
Coast soon. Back to the song on hand, a twist of fate saw them cross
paths and play with a certain Nick Oliveri as he toured Australia last year and
a musical friendship was formed, which turned into the track we have here, Up
and Down Under.
Starting with a few formidable punk rock chords backed with
Nick’s in your face vocals, the riffs kick in early and don’t let up for the
next three minutes. Switching between Christian Tryhorn’s big “hit the pedal” driving
guitar grooves and the more melodic guitar work entwined with the driving
basslines. Up and Down Under tells the tale of Jekyll and Hide which is very
fitting for the two musical styles coming together so well, and hearing Nick
scream the words is oh so him. Everything is held together with some big drum
work from Liam Burgan and the production/mix only makes it sound bigger. I also
have to mention how Nick’s voice seems to be getting stronger with every new
recording he does lately.
Head over to Bandcampto get yourself a digital copy for the
collection.
The fruition of Bob Balch and Gary Arce’s Big Scenic Nowhere
project was 2019’s Dying on the Mountain EP, three songs showcasing their mix
of prog rock and desert psychedelia. With their other bands still in full
rotation I had no expectation for the band to regroup at any time soon, so the
news of their return to the studio and the penning of an album deal with Heavy
Psych Sounds showed that they meant business and the collaboration of the
various players had already come together to work on something rather special.
With this recording the line-up consists of Gary Arce
(Yawning Man), Bob Balch (Fu Manchu), Tony Reed (Mos Generator), Mario Lalli
(Fatso Jetson, Yawning Man), Per Wilberg (Spiritual Beggars, ex-Opeth), Nick
Oliveri (Mondo Generator, ex-Kyuss, QOTSA), Bill Stinson (Yawning Man) Lisa
Alley and Ian Graham (The Well), and Alain Johannes (Them Crooked Vultures,
Chris Cornell, Eleven).
I had read a couple of reviews of the record before its
release and they talked about this super group had produced a desert rock or
stoner rock classic, but after a few listens I have to question if they have
really listened to it properly because the core of the band take the listener
in several different directions and Vision Beyond Horizon offer so much more
than expected. To say it’s just stoner rock or Fu Manchu or Yawning Man can be
heard in all the writing does this collaboration a dis-service. As much as I
like both the bands, this is a collaboration and release that cannot be pigeon
holed or compared to anything else. The first time you listen to the record,
you will understand.
The Glim starts with a big stomping riff that hooks you
straight in before one of several quick guitar solos. The song as a whole has a
mid-pace loud David Bowie channelling a psychedelic space rock Soundgarden kind
of vibe, if that makes sense? It sounds big and bold with layer after layer of
guitars that roll over you like the oceans tide and the waves of dark psychedelia
already have you hooked.
If your still somewhere between the layers of The Glim then The
Paranoid grabs you by the throat for the next ninety seconds with something
that took me by surprise. I remember a few years ago talking to Gary about his
love of 80’s punk rock and this is definitely a homage to the likes of The
Exploited, UK Subs and GBH. Fast, manic and in your face.
Then I Was Gone has a really fuzzy guitar tone to it with
the bigger riffs sounding like they’ve been turned up to eleven. Between the
surges of guitar, the over-layered dual male/female vocals add a more complex melody
to the haunting wizardry that Master of Reality continuously perfected, mixed
with the darker vibe that played heavy on many of the tracks from QOTSA’s
Lullabies to Paralyse. I really like how the appearance of a few keyboard lines
hang nicely off the vocals and fill a gap that you don’t even realise is there.
Mirror Image starts ever so slightly up in the clouds before
the big mantra chanting vocal lines implant themselves deep in your mind. Half
way through a huge slow monolithic like riff starts with one guitar, then the
second guitar adds to it and that’s it, this is the band that I keep subliminally
hearing but can’t quite put my finger on, its Cathedral. The riff is pure
Cathedral at their finest. The vocals kick straight in after that before the epic
sounding guitar solo and it all makes sense now. In no way is this replicating
something Cathedral have written, it just has that vibe and gives me that
feeling of doomy rock n roll with that haunting like Lee Dorrian voice.
Hidden Wall floats you to a laid back place that I picture
as those moments before the dawn sun appears from the night sky. It’s trippy,
it’s psychedelic and it takes you on an adventure across the sprawling
landscapes that are seeing the first glimmers of the light. If you wanted a
reference point away from any of the members’ bands then the band the King
Buffalo have blossomed into is definitely it. The song grows and evolves and
has sown the seeds in to what could be an epic 15-20 minute opus, unfortunately
it ends on seven minutes.
Shadows from the Altar slides back into the doom n roll with
the deep layered drifting vocals that sit between two riffs which the song is
built around. The first being something of a rolling wave and the other being
big rock riff that deserves a fist pump and “oi” chant after it.
En Las Sombras is again going into the territory of King
Buffalo but this is the song that takes all the drifting magical waves of the
desert mystery courtesy of the Yawning Man connection. The trippy verses roll
in and out against the deep meandering baseline which creates a magical
journey, taking you “in the shadows”. To top this off, there’s a combination of
two kick ass guitar solos.
Tragic Motion Lines is a mix of psychedelic stoner rock and
some riffs and melodies that come from the darker side of an Alice in Chains
record.
As the album draws to a close with The War Years, the
channeling of their inner Pink Floyd concludes what is a quite magical
collaboration. The strumming of acoustic guitars, the tapping of keys, the
light yet powerful drums and a variety of keyboards and synthesizer work that
builds a small passage into the inner mind. You can almost picture the setting
on a small boat on a small stream, drifting slowly towards the horizon.
Vision Beyond Horizon is full of musical surprises and will
hold its own for many years to come. With the incoming success of the record
and a debut live performance planned for Stoned & Dusted, I really hope
2020 see’s Big Scenic Nowhere bring their live performance over the pond in
some way or another. I can also honestly say that each of the nine songs has
something for the listener, meaning that there is no filler on this record,
it’s that good. Shout out for the quality album artwork as well.
Sunday morning starts with the news that Naxatras have had to cancel due to travel issues. It does sort my problem of having to sprint between The Roundhouse and The Underworld, but that’s the 2nd band on my must see list that’s cancelled over the weekend. This is the 3rd year that Desertfest has taken over The Roundhouse on a Sunday. The famous old venue is big and has an impressive overpowering feel to it and must look good if you are standing on stage looking outwards towards the crowd, but the grumble has always been the sound. I remember last year’s sound being hit and miss for no real reason, so fingers crossed this year will be sorted. With 99% of festivals that you mention the name Colour Haze at, they’re headlining, so it’s a strange site to see them being the opening band on what is a very strong line up. They had an hour to play which will be more like a warm up compared to the usual 3 hour sets, but you know it’s going to be one hell of an hour. Expanding to a 4 piece a few years back has made something extremely special even more special as the keyboards from Jan compliment that unique original sound that Stefan, Philipp and Manfred have fine-tuned over the years. Every Colour Haze song is like a magic trip into the beyond and as the rhythm section of the band keeps you moving through what is the backbone of every trip, Stefan’s guitar lifts you that little higher and you feel like you are floating away and the sound of the Hammond and keyboards tie everything together perfectly. Whichever way you look in the crowd, people are experiencing the same joy and it’s hard to see someone who doesn’t have a smile on their face. “Uberall” takes you driving along the desert pass, “Labyrinthe” shows how the band have evolved and (my personal favourite, thank you, thank you, thank you for playing it) “Temple”, the song that must have inspired so many to pick up an instrument, is flawless. But just as they are slipping in to that groove, it comes to an end. The outpouring of love and appreciation that went with the rapturous applause at the end is something else. 25 years after the band started, you can see how much they love doing what they do and the mutual respect. It’s a shame that you didn’t have their full lightshow with them as it would have lit The Roundhouse up a treat, maybe next time.
So how do you match that? Well if anyone can then Earthless can. It’s like a dream come true, two masters of heavy psych from eather side of the Atlantic playing back to back. Having seen Earthless grow and grow over the years and always backing it up with their extra special live shows, I seem to have been cursed since the release of “Black Heaven” as every time they’ve played the UK I haven’t been here. I’m really excited to see the latest songs performed that included singing for a change. Every Earthless show I have attended has turned into a sonic trip with songs of epic proportion and the following 60 minutes certainly doesn’t disappoint.
“Electric Flame” and “Gifted by the Wind” are absolutely flawless. The sound and the mix are perfect and the sound feels so much fuller in The Roundhouse this time. Then the openings of “Godspeed” kicks in and this is when Earthless take you to that place where out of body experiences happen. For the next 30 minutes they take you on a cosmic journey through time and space. Mike and Mario don’t even have to look at each other to know what the other one is playing, leaving Isaiah to do what he does best with his guitar.
They have a special way, live, of taking a riff or a song to the point of thinking it’s coming to an end, then it just roll’s back over itself and keeps on going. I don’t know if the attached videos do the show justice but that really was a special 60 minutes that should go down in Desertfest history.
Witch are a band that I was always aware of but we never really crossed paths. I guess since it’s been 11 years since their last record, maybe it wasn’t supposed to be. Anyway, I revisited “Paralyzed” and “Witch” for a few plays prior to today and I have questioned why it took me so long. They do the doomier side of stoner rock and they do it well. Songs that have stood the test of time, full of head nodding hooks and Sabbath like time changes. Time definitely makes the heart grow fonder with Witch as a lot of people have been building up to seeing this. I’m not sure if there’s any new music on the horizon or a chance of any more love shows, but the crowd are making sure they enjoy every moment.
All Them Witches seem to be getting more and more of a buzz around them lately and tonight shows a lot of people why. Playing in clubs they have the ability to create a vibe in the room and hold the crowd in the palm of their hands as they immerse you in their unique style of heavy psychedelic blues. Earlier records have had the band take you through the heavy fuzz end of psych as well as the more experimental side of their writing which all translates really well live, so I’m excited to see how their more stripped back new tracks from “ATW” sound live. With The Roundhouse now being extremely full, it didn’t take long before everyone in the room had fallen under their spell into some sort of trance. “Harvest Feast” delivers 11 minutes of emotive blues and “Workhorse” slowly builds and builds before some sublime guitar work and “Diamond” is such an awesome song live. The crowd may be getting lost in a song one minute but, just like the band, aren’t afraid to rock out with songs such as “the dance song”“Alabaster”. Be it a small club or somewhere as big as The Roundhouse, All Them Witches have crafted their work through relentless touring to make every show truly magical.
When we all start talking about who still needs to headline Desertfest, there was probably only one name left in the hat, Fu Manchu. It’s surprising that it’s been this long but it was more than worth the wait. They play the UK every time they’re touring so it’s not like any of us haven’t seen the band before, but there’s always an extra special feeling at festivals (probably all the day drinking). They take the stage to a hero’s welcome and from the moment the opening riff of “Pigeon Toe” kicks in, BOOM, we’re off, 75 minutes of pure Southern California stoner rock fuzz and they don’t let up. They have so many classics that they could play from a huge back catalogue and tonight’s choice cuts include “Hell on Wheels”, “Evil Eye”, “King of the Road” and “Weird Beard”. The crowd are loving it and the place goes off. I could wax lyrical all day about how much I love Fu Manchu and how good this song is or that riff is and even after 30+ years, I can honestly say that the band sound better than ever. They blast through “Saturn III” and even though I know the fan favourite “Godzilla” is coming, I have to make the dash down to The Underworld for one last band.
On a final note about The Roundhouse, the sound was so much better this year. It was more than a quick dash to get to The Underworld to see Mondo Generator and to be honest I had my doubts that we would get in, even if it was close to midnight, but after a few minutes of queueing, the dash was worth it. It doesn’t take long for the place to fill up and knowing that this was the last band of the entire festival and the Kyuss connection, once I had my place I wasn’t moving. The band hit the stage, Nick Oliveri is as raw, unapologetic and full of energy as ever. They kick off with Kyuss’ “Molten Universe”, then “13th Floor” and back to Kyuss with “Love has passed me by”. The Underworld which is probably fuller than it should have been literally explodes. The lucky few who managed to get in seem to be consuming all remaining alcohol on site, supposedly to cool themselves down as it must be 100 degrees in here now. They pile drive through Mondo songs such as “Up Against the Void”, “Dead Silence” and “I Never Sleep” as well as dropping QOTSA’s “Gonna Leave You”. For the encore we’re treated to “Green Machine” and “Allen’s Wrench” before the closer “You think I ain’t worth a Dollar”. Nick returns to the stage to rapturous applause before one final stage dive.
And that was it, another successful Desertfest. Drunken festival goers stagger off into the night, with some of us forgetting that the tube was already closed which then turned into an Uber nightmare. See you next year.
