Turtle Skull – Digital Download // Band Shirt Bundles
Self Released – releases May 17, 2018
Terry “The Ancient One” Cuyler
Surfing the Psychedelic Sound Waves
Tracklist: No News is Bad News – 6:56 Take it or Leave It – 8:27 Eden – 6:08 Empty Ships – 8:23
Ah…Spring has sprung. The trees are leafing and flowers blooming and I feel the urge to leave my cave behind and go bike riding. But to do that I need some good riding music and in my collection I have quite a bit to choose that covers a wide spectrum of styles.
Most recently I added a “Self Titled” EP by the self described Flower Doom rockers from Sydney Australia called Turtle Skull who will be debuting the download of their EP on Bandcamp this May 17th 2018. Available for Pre – order now for $1 US I’d feel like I was ripping them off if I didn’t pay $5. Offering up what sounds to me like surf music infused with psychedelic feel good fuzz I find it easy to not care about trivial things when I listen to it. While I am not going to claim Turtle Skull is the next Earthless I feel pretty safe saying they have a lot of potential and I’d buy a full length album if they produce one.
Opening the EP is No News is Bad News a trippy fuzzadelic song about tuning out the talking heads on TV that encourage us to buy into their vision of a plastic paradise that we all to often buy into. What I like most about this are the droning vocals and guitars that feel like they are coming from the deep.
With a steady mid tempo rhythm that keeps things simple Take It Or Leave It has the rolling feel of a classic surf song. Overall, what I enjoyed was its catchy feel.
Nothing like having drums and guitars create a rhythm which Turtle Skull does masterfully.
Moving into a more visceral sound is Eden the 3rd track is my favorite on the EP. What I like most is that naughty guitar played by vocalist guitarist Dean.
Closing “Turtle Skull” is the psychedelic blues song Empty Ships that feels like a midnight swim under the stars. Deans smooth vocals and guitar along with Dan on synth set the mood for the song and proved to me they can do more than just sound more fuzzed. This debut album is an excellent start for this promising band. I look forward to what they have in store for us in the near future. Highly Recommend!!
Tracklist: Rise Of Beesus 07:31
6ft Under Box 03:55
Sonic Doom/Stoner Youth 06:21
Mata La Vergüenza 04:41
Beesus In Dope 07:40
Earlier this year the band made a Pledge Music page to promote and raise money for there second album. It is now closed (of course) and, luckily, reached 101% of its goal. It had some interesting options like, a cover song of your choice, a in your house performance, and an executive producer credit. Sadly the website doesn’t tell you how much of each option was bought so I can’t tell you what got bought the most. But anyway to the review…
Beesus’ second album has more of a venom and late 80s grunge, noise rock feel. The production and playing on this album has tightened up. There is also a more punk feel and the fuzz is still present but is toned down.
For a couple of songs the band have introduced a vocoder. It makes it’s entrance in “I Don’t Wanna Be” and it’s exit is “Beaux”.
The “Intro” and “Outro” are a strange mix of keys and maybe a garage door opening.
“El Dude” starts with a lot of noise and a solid bass riff. It also sounds like it could be the first part to a later track (I Don’t Wanna Be).
“Dubblegum Boom Metla” has four movements the first part which is medium passed and has a repeating riff and speeds up as it gets to the the second which is faster and then it speeds up and suddenly slows to the background screaming and slow churning fuzzy guitars. It then speeds up again, back to the second pace, but only briefly and then it fades out.
“Nuña y Freña” is somewhat of a throwback to their first album kind of like “Kusa”.
“Reichl” is the roughest and noisiest of the main tracks. “Take the cure, my man” is repeated many times throughout the song. Sonic Youth will definitely approve!
“I Don’t Wanna” be is a mix of stoner, punk, and a few moments of rapid, almost rapped vocals. This is the first track with the vocoder. It is in the background emphasizing some of the vocals.
“Junk Around” has the most affects added to it. Strangely enough it is also the most punk of the tracks. There is “You’ll succumb to me.” and “On your knees” are the phrases for this song.
In “Beaux”, the vocoder returns. It is more prominent. This song is also the slowest, and longest, on the album. Has a well executed sludgy feel to it.
“Sgt. Beesus and the lonely ass Gangbang!” is definitely an improvement on their first album and I am excited to hear some of those cover songs if anyone bought that perk.
Independent – Released – Mar 23 2018 on MP3, FLAC // CD
LP May 30, 2018 (approx.)
Reviewed by Mike Hackenschmidt
“lonely loners on a lonely road… alone”
Review: Sunnata is a Buddhist term meaning emptiness… sort of. The actual meaning totally depends upon context. Considering this, along with the Middle Eastern style writing on the album cover, it’s a bit of a surprise to me that the band is from Warsaw. Last I checked that’s still in Poland.
Be that as it may, the origin of these “lonely loners” being a bit different from the “lonely road” they’ve chosen to walk is not the most interesting contrast of “Outlands”. Instead, it’s the clash of styles Sunnata has merged together, which works!! If you’ve perhaps started the stream then let’s address the 350lb rooster in the room… and that’s the fact that “Outlands” has an undeniable vibe resembling a certain well-known 90’s band.
In fact the first time I listened to this I was struggling to remember who they sound like and I found myself getting off track…
“Into some-thing again
Yadda yadda, blah, blah, blah
So I made big mistake
Something, something was my way”
So, turns out I’m not a huge Alice in Chains fan and ‘Would?’ is almost the only song I know by them. Actually, I don’t really know it. I can just kind of catch the tune and mumble a few correct and otherwise mostly incorrect words to absolutely murder it. But hey, it’s a good tune. I mean… when they do it. The only other AIC song I remember is the god-awful ‘Man In the Box’ that’s probably not as bad as I remember, just that I got thru the 90’s having heard it too many times involuntarily and I’m a bit burnt out on it.
Thankfully Sunnata keeps things fresh and creates a very cool sound by blending the AIC vibe with Eastern folk and doom – I want to say stoner doom but actually, I’m not sure if that’s really accurate. There is a psychedelic feel but the mind bending might be inspired more by meditation and a fascination with the metaphysics. Obviously, sometimes these go hand-in-hand so it might be difficult to differentiate between the two without some understanding of the lyrical content. Unfortunately, I don’t have that.
For the most part, the vocals are distorted and somewhat mumbled, much like my above rendition of ‘Would?’. Maybe if I were a bit more present and relaxed, I could slip into a state of elevated consciousness and be able to decipher what’s being said. Perhaps some other enhancements would help. Unfortunately, I’m sober and watching hockey so I’m otherwise clueless.
Considering the meaning of Sunnata, the album title and the wicked album art, I’m quite disappointed that I can’t dig a little deeper to understand the lyrics. I feel like they would be fascinating, possibly with some ideas I’ve not yet encountered invoking thought and furthering my understanding of the world.
Check it out and experience your own interpretation of this well crafted release. Highly Recommend!!
Tracklist: Lactomeda 01:49
Known by the Ancients 07:01
Dead Blood for the Royal Weather 07:14
Two Temple Place 09:36
Stellar Drone 10:59
Are we Drowning in Digits 06:13
Magical Train 05:07
Review: The band have their album described as an “Addictive cosmic journey, one entrancing hybrid embracing heavy psych riffs and sweet vocal harmonies.” The album does have those elements of that. When Hermano is singing it sounds like Jane’s Addiction but heavier and more distortion on the voice. The parts when Sara takes over it sounds like either Belly or Hole. When they sing together it sounds almost new, but still has those influences. So in shorter terms; they gave their album a good description.
Lactomeda – Is a Spanish term for the Milky Way Collision with Andromeda. The cover even seems to be depicting it. The song is a collision of Noise Rock and Space Rock. It is almost sludgy for a noise song but in pace but it is also fast for a space song. It is a good intro for what the rest of the album holds.
Known by the Ancients – Here is where the Jane’s Addiction comes in (Especially in the 3 minute area). This song is more of noise than of space origin. This is a heavy rock song, Hermano comes in at the last two minutes and makes the song seem even heavier.
Dead Blood for the Royal Weather – This is one of the more radio friendly songs, even though it is eight minutes. It plays it safe and doesn’t do anything too crazy. It stays on the cusp of being space and noise.
Two Temple Place – This is the first true Space Rock sounding sounds and as it moves along it introduces some of the harmonies the description on bandcamp mentions. It is a slow song with slow vocals with stretched out chords with reverb and drum fill. That is until the 3 minute mark; more drums and distortion to the guitar is added and everything gets slightly faster. At around the four minute mark the tempo changes again and is like Known by the Ancients.
Stellar Drone (Favorite track) – This track is more spacey than the previous track but it is also faster and more distorted and changes tempo a few more times.
Are we Drowning in Digits – This song is almost like a continuation of Two Temple Place. It sounds very similar but has more “Normal” Rock influences.
Magical Train – This is the most radio friendly track and could have been released as a single to promote the album. It is also the song that reminds my the most of Hole (the first album.) Sara really goes in on this track and gives a great performance. It is like the previous track but stays on the heavy rock side of music.
Review (Continued): Musically, Earth Drive are bringing back the 90’s Noise Rock and helping to bring back Space Rock (in the more expansive tracks). During the mostly instrumental parts it sounds almost like a soundtrack to a late 80’s sci-fi movie. In some ways it sounds like it is two separate ideas for an album that were pieced together but it is done well so it doesn’t sound too different. To paraphrase the TV Series “Stranger Things” – ‘The Upside Down'”.
This is a very easy first listen and is also very accessible because the stretches of odyssey are in between more pop/rock radio-ish oriented tracks. If you have any interest in Space Rock or a modern take on it with influences with 90’s Noise Rock, you should take a listen.
There are two choices either from the Raging Planet (For a physical and/or digital) Bandcamp HERE or the band’s HERE !!! (Where you can get the full digital discography)
Tracklist: Follow The Holy Riff 06:44
Hobo Magic 06:48
The Poet 04:32
The World Today 06:28
Lady Of The Groove 09:27
Hobo Magic are Stoner Rock band from Noosa, Australia.
But classifying them as just stoner wouldn’t give you a true description of what you are going to hear. The band use their influences of Black Sabbath, Blues, some Jazz rhythms and at some points even Metal.
This whole album is very similar and in the sonic universe of Sabbath’s Paranoid and Master of Reality era. As you listen along you will hear it too. They stay very much in the time period and sounds that can be produced in that time.
Follow The Holy Riff Which should be subtitled “Children of the Groove”, is a groovy tune. Most of the song is spent on keeping an almost sludgy repeating riff (which might be the holy riff) with breaks in between of a melodic reverbed guitar and great slow solo. The time scale shifts continually but they never sound like they are interrupting the flow of the jam.
Hobo Magic This song is less “intense” than the last. It starts of sludgy but slowly picks up pace and becomes faster. It isn’t a heavy but still has a repeating riff and it revs up and up until the ending much like the guitar began at the start of the song. After 1:50 the jamming starts now that the almost warm up sounding beginning.
The Poet The Poet starts off very strangely in contrast to the previous two songs; there is no distortion. This song is more of a melancholy tune, there is just a slow revered riff with slow and vocals that are a little distorted making the song feel cold.
The World Today The title track is a shift from the previous and is back to the norm that the first two tracks set us up for. It is also the most Sabbath sounding sound, the shouted high(er) pitched vocals, more of a jam song with little bits of vocals. Ask a simple question… About the world today. This track straight rips!!
Frostbite This song is more like the first one; the tempo/timescale change quite a bit, and is a repeated bit with subtle changes. It even has moments that sound close to The Poet. The vocals are processed in a similar way. The song is almost eight minutes and feels like it. Kind of slow, like frostbite.
Lady Of The Groove (Favorite) This song is a LOT like “Children of the Grave” (I’m pretty sure they meant it to as well.) The song also works as a way to remind and wrap up all the previous motifs that were in the past few songs. This is a great way to wrap up the album for just that reason.
In a way they are like a band named Magma. Hobo Magic are sticking to the mythos that they have created; all about the groove, the story of the lady finding and jamming to the groove, even their Facebook is curated in a way to complement the mythos just look at their About Us page.
Like I mentioned before, Hobo Magic are descendants from that 1970-1 period of Black Sabbath and they work really well in changing it into their own thing, different riffs, story, and singing. If you are a fan of Sabbath‘s 2nd and 3rd albums then you will definitely DIG this album.
Electric Orange is:
Dirk Jan Müller
Tracklist: CD #1
Under The Nun (16:01)
Misophonia IV (20:05)
Misophonia V (16:36)
There’s an old adage that insists that patience is a virtue. Such a sentiment can seem laughable – after all, isn’t instant gratification almost always preferable? However, every now and then, that adage proves itself true: retaining one’s sanity whilst waiting in line at the secretary of state, not crumbling under the pressure of waiting to hear the results of a medical test, and most recently reaping the rewards of listening to an album like Electric Orange’s EOXXV.
Review: If the above paragraph didn’t make it clear enough, EOXXV is a tough nut to crack! It is a 135-minute leviathan of relentless sonic experimentation, and such a beast could very easily prove insurmountable to the common listener. Many may find it meandering or even aimless, but those with a tremendous degree of musical patience will eventually come to a metaphorical clearing….one where everything opens up and even almost makes sense.
This is obviously not a very concise experience, but it is without question a fulfilling one. There is a point that one reaches when listening to this album at which the listener and the album achieve a sense of spiritual resonance and the listener enters a groove when you finally reach the point that you not only enjoy the music, but you are prepared to hear more: I reached this point during the gargantuan two-parter of “Misophonia IV” and “Misophonia V”.
It would be an out-and-out lie to say this release is for everyone though. I cannot recommend this album to listeners looking for an emotional experience – this is more an album of vibes and atmosphere than one of emotional release. This album simply doesn’t trifle very much in the realm of emotional release or scenarios one can relate to. That said, this is my experience. You may have a completely different experience as this is the beauty of MUSIC…..Right?? With 25 years of blowing minds under their belt, Electric Orange once again serves up a platter of Sonic Sensations that transcend words.
Human nature seems foreign in the land of EOXXV. It is a totally alien experience, one that can’t be felt or heard anywhere else. To put it simply, if Michael Gira’s equally experimental work with Swans is the soundtrack to an indie horror film taking place in a cabin in the forest of the Pacific Northwest, than the catalog of Electric Orange is the soundtrack to a Science Fiction film taking place onboard an otherwise uninhabited space station, on which the only life forms are you and a hostile extraterrestrial.
It is expansive, yet isolated. You feel alone, yet somehow watched. Most importantly, you feel paranoid and perhaps even frightened, but you inexplicably want to continue. Maybe it’s out of curiosity, maybe it’s just longing for a sense of completion, but this bizarre and unique experience just begs to be finished, and you are more than happy to do so. Just make sure you are equipped with a preparedness to experience something new and plenty of patience. Here’s to 25 years Electric Orange!!
Tracklist: Whispering of the Ancients (1:39)
Wakan Tanka (12:02)
March of Spiritu (10:55)
Drum of the Deathless (7:29)
Sword of the Deathless (9:29)
Light of Self (7:28)
Ethereal Riffian is:
Val Korniev – guitar/vocal/didgeridoo
Olexander Korniev – bass
Max Yuhimenko – lead guitar
Nikita Shipovskoi – drums
Live albums are a risky endeavor: If a band has not yet achieved worldwide success, then releasing such material is a gamble on its potential success, and essentially risking a good deal of money on the production, recording, and packaging of a single concert with the hopes that enough people will want to experience that singular show. Thankfully, Ethereal Riffian is not a band that seems to care about gambling.
Ethereal Riffian are a Rock band from Kiev, Ukraine. I simply say “Rock” in such a sub genre-obsessed genre because Ethereal Riffian is sort of their own thing- Somewhere between Progressive Rock, Doom Rock, Spiritual Rock, Stoner and Psychedelic Rock. It might paint a clearer picture to call them something along the lines of “Meditative Rock”. Their drum-based composition and vocals reminiscent of Gregorian or Tibetan Chanting are extremely conducive to sitting down on the floor, crossing legs, entering a groove (which there are many), and just listening and enjoying.
“Since 2013 I wanted to have a single release that can give a versatile overview of the band’s creative work – its music, philosophy, approach to limited editions and live potential. And now we have it,” says Val Kornev, the frontman of the band. “With this release we, on one hand, aim to crystallize all our work and ideas since the inception of the band, and on the other hand, we want to show the quintessential component which unites all spiritual paths. For the band this release marks the end of the first chapter in its history and the beginning of the new one.”
It’s important to keep in mind, though, that this is a live album. This was indeed recorded live, and I wouldn’t believe it had it not been accompanied by the occasional applause of the probably all too small audience. Ethereal Riffian does an excellent job of bringing their intricate and lengthy compositions to the stage, to the point of getting the listener to almost smell burning incense and experience visions of what must be the most intense temple experience one could ever feel.
One thing that must be emphasized is that if you can afford their unbelievably extravagant limited edition packages, certainly do. Almost all of Ethereal Riffian’s releases have an absolutely beautiful package that is hand-crafted with a degree of dedication and love for the craft that is practically never seen elsewhere, and naturally, the best way to ensure that these packages to continue to be made is by buying them. The band’s many releases are worth buying for the package alone. For example, their album “Æonian” is packaged with a full-length original hardcover novel.
All in all, “Afterlight” is a fantastic release by a band that obviously has an unparalleled passion for all things artistic and this passion reflects in all aspects of the release- composition, performance, and packaging. If you are not averse to live albums, I would highly recommend you purchase this album. Finally, if you do: please, please get the limited edition version. You won’t regret it.
Aaron Esterby – Bass/Vocals
Chad Heille – Drums
Ryan Grahn – Guitar (MK I)
Neal Stein – Guitar (MK II)
Previous Releases –
“S/T” EP (2009) / “Become The Sun” (2013) / “Cyclopeans Riffs” single (2013) / “Elsupremo” (2013) / “Endless Flight” EP (2015)
The story of EGYPT, as told by the band is as follows…
Quote “Back in 2005, an unknown heavy rock trio from Fargo, North Dakota, released a self-titled demo on a CD-R, and it turned out to be a record that just wouldn’t go away. Egypt’s “Egypt” smoldered for the next several years on the basis of underground word-of-mouth, to the point that Lyderhorn Records put it out on vinyl in 2007 and cult stoner imprint MeteorCity picked it up for a CD release in 2009. By then, it had outlasted the band – bassist/vocalist Aaron Esterby, guitarist Ryan Grahn and drummer Chad Heille – who called it quits in 2006. They reunited for a one-off hometown gig in May 2010, and it wasn’t long after that rumors started circulating of new material in the works. Grahn would leave the band before “Become the Sun” was finished and be replaced by Neal Stein, who also recorded the album. When they were done, ten years and one breakup later, they finally had a proper full-length debut, selling out initial pressings of both formats, CD and vinyl. Later 2013 brought the “Cyclopean Riffs” single, and in 2014, Doomentia repressed “Become the Sun” on vinyl. The “Self-Titled” also got yet another reissue, this time on vinyl and in time for Egypt to embark on a Midwest tour with a slot at Wisconsin’s ‘Days of the Doomed’ fest at its center. More than a decade after starting out, Egypt were more active and more widely known than they’d ever been. There’s nothing happenstance about it, in an age where word can travel faster than it ever has, Egypt have slow-burned their way to the fore of the American stoner rock… for a band who regrouped by popular demand, and have only gathered momentum since, Egypt are just beginning to shape their empire.” enquote.
With this latest Album, “Cracks and Lines,” there is no question that this power trio is ready to take their place in the hierarchy of doom/stoner metal elite and have delivered the heaviest, most cohesive record to date. Five tracks and 39+ minutes of sonic bass lines supported by a drumline that could blow your speakers with the brutality of attack and a guitar line that is slathered on with abandon covered with vocals that is the quintessential ‘gravy on the potatoes’ for this masterpiece.
From opener ‘Final Heist’ with the lone guitar opening, to title track ‘Cracks And Lines’ with the full-on band rolling over a snare blast to ‘Dirge’ with the slow-fade intro that stays ‘slow and low’ throughout, there is no wonder why Egypt is still gathering momentum with such precisely executed compositions that show they are still true to their roots, especially as demonstrated by the updated KISS classic ‘Watching You’ that is an absolute salute in delivery and are yet able to spread their wings even further than before with the closing track and any stoner’s ‘wet-dream’, ‘What Lights This Ocean’. Opening with a guitar line that could be from any Robin Trower session complete with spaced out soloing and an almost whispered vocal delivery to guest Andrew Steinberg‘s Hammond organ giving even more body to this thirteen minute tome of absolute satiation, that is still not enough…
An absolute MUST-HAVE, go get it RIGHT NOW if you haven’t already, make SURE to see them in a live-setting if given the chance and share it with anyone and everyone as music of this caliber DESERVES the be heard, and as always, keep it LOUD!!
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Members – Darcy – Vocal, Danahé – Guitar, Taylor – Guitar, JP – Bass, Vince – Keys, Maxx – Drums
Self described as “Six dudes with an appetite for LOUD, HEAVY rock-n-roll” that were brought together by a mutual love for BLACK SABBATH. Labeled as a stoner rock band, they list as influenced by the sounds of PENTAGRAM, Black Sabbath and KYUSS, WhiteNails add an edge of a psychedelic visual touch to their performances and we end up with the first offering in the form of the EP ‘First Trip’.
Citing an evening of “…a few beers and shots of whiskey”, they decided they needed to throw on the guitars and see what kind of noise would come forth. End result is eight songs clocking in just over 41 minutes and is filled with all of the trappings and then some of the kind of music that you HAVE to crank up and raise your ‘favorite beverage’ to and just MOVE. Twin guitars, thick-sliced bass line, heavy-handed drummer with enough splash to soak you through and a vocal range from punk-screams to heart-ripped vibrato, WhiteNails has brought it all to the table with this release. From the first pick slide of ‘Shanghaied’, the tone is set and the pace is rolling as you are the “Next in line…” The air gets darker as the guitar gets even thicker, screaming tortured wails and screams over hyper fuzzed chords catching in the sudden fade that runs straight into a VERY Sabbath sounding progression of palm-muting accented by that hauntingly smoked-up and hazy soloing that makes up the first minute and a half of ‘Done And Gone’ that chugs along like a train. ‘Dead In Time’ is full-on power-sludge glory featuring guest Gab Shonk and has that triple-roll tempo that forces you to keep up and then gets as smoke-filled just past midpoint again and for the last section, back to full slam…
‘In My Blood’ comes out faster and has that KYUSS vibe for real giving a nod to their mentioned influences where ‘Damn Judas’ is more of a power anthem hitting with full presence of attitude and staggered guitar notes in your face. ‘Silver Linings’ is slower in entry but there is zero shortage of power chords here. ‘Brazen Bull’ begins with a fast drum roll and jumps into more of the tortured guitar lines that take hold and don’t let go. This gets us to my personal favorite ‘The Crooked Lake’ . This track is different from the rest yet shows a complete summation of the first seven tracks brought into this over seven-minute opus. Slow fade in, each musician’s presence viable in the aggregate perfection that is this entire composition. One of those that grabbed me in my chest and I didn’t want it to let go, even as the end hit. I would hope this is one of their live signature songs and could EASILY end up being one of those 20 minute encore songs… and not ONE person would want it any other way.
For a first outing, all I can say is HOLY SHIT!! If this is any kind of signification of what is to come from these guys, HELL yes, bring it!! Get this one when out comes out and support them live if you get the chance and especially keep this one LOUD!!
Hello all!! I’m back from one of my many epic quests through cyberspace in search of all that rocks ‘n’ rolls. Recently I’ve been listening to allot of Greek, Spanish and Italian rock which seems to come in many varieties from a bustling underground rock scene which I will write an article about at some later date. Right now I’d like to tell you about: Alessandro “Drughito” Santori, Roberto Malerba, Sandro “fred” Salvi, and Ivan Contini Bacchisio – a self described Doomdelic Instrumental Rock Quartet from Rome called L’ira Del Baccano.
Formed in 1998 as LOOSIN’o’FREQUENCIES, the band decided to reform itself as a purely instrumental act in 2007 as L’ira Del Baccano. The change in name and what they chose to play turned out to be a real shot in the arm band. In a conversation with Alessandro the bands guitarist I learned the band was not even thinking actively touring and had no idea how big of an influence the internet would be for them until they recorded their first gig in 3 years and put it up as a free download and found they had generated a buzz.
After releasing two albums, and a split album with Watermelon Time,L’ira Del Baccano has released a third album Paradox – Hourglass on Subsound Records. I’ve listened to this album both actively and inactively and what I enjoy most about it is the musics mercurial nature. Opening with “Paradox Hourglass-Part I” the album begins simply enough with a rolling guitar riff that transforms into an 11-minute psychedelic jam then again transforms into something that sounds not like but akin to Carlos Santana jamming with Geezer in ‘Paradox Hourglass-Part II’.
After getting me hooked with the 1st two songs comes a bluesy heavy psych song called ‘Abilene’, followed by my favorite track with it’s Doomaphonic sound ‘Blind Phoenix Rising’. In just four songs Paradox – Hourglass takes you on a journey outside of space and time and into the spirit realm with L’ira Del Baccano’s blend of heavy, psychedelic, and progressive music. If L’ira Del Baccano continues making albums like Paradox-Hourglass I can easily see them developing a cult following like the Grateful Dead and playing for years.
L’ira Del Baccano is:
Alessandro “Drughito” Santori – guitar/direction and architecture of Baccano
Roberto Malerba – guitar/synth
Sandro “fred” Salvi – drums
Ivan Contini Bacchisio – bass
L’ira Del Baccano Live at the Stoned Hand Of Doom Fest 2009