Sunday, 26 October 2014

Trysth - Soulchambers (Album Reviews)

Album Type: Full Length
Date Released: 08/11/2014
Label: Self Release/Serpent Eve Records

'Soulchambers' CD/Cassette/DD track listing:

1). Descend (01:17)
2). Spine of Snakes (06:08)
3). Ordeal Vision (13:06)
4). Sever the Stars (10:23)
5). Weeping Orbits (04:31)
6). The Undying (16:14)

The Band:

Georgi Yoshovski | drums
Asen Santev | guitars
Yavor Dimov | bass/vocals


In order to really enjoy Trysth’s album ‘Soulchambers’, you have to have some faith. As with any good music in the doom metal genre, there are some boring moments on the album if they’re taken out of context. When listened to as a cohesive bit of art, though, ‘Soulchambers’ is like a journey, always one step ahead of the listener, toying with them.

The first seven minutes of the album, a one minute instrumental intro followed by the six minute ‘Spine of Snakes’ (also instrumental), are a masterpiece themselves as far as tension building goes. The distortion doesn’t even drop until two minutes into the song, leaving the album with a three minute intro of just abstract noises and trippy guitar coupled with an almost tribal drumbeat. Once the nice, heavy first riff of ‘Spine of Snakes’ comes in, you can feel it even more, and you’re waiting for it to go all the way – ready for someone to start screaming at you, ready for some shredding fuzzed out, wah-heavy solo, ready for a chorus, a verse, anything, but Trysth isn’t going to give it to you that easy. The steady increase in tempo subsides eventually coupled with a slow outro solo to usher in ‘Ordeal Vision’, which is where the album really kicks it into overdrive.

This thirteen minute epic initially picks up where ‘Spine of Snakes’ left off, keeping up with the slow intense riffing that you can feel all the way in your gut, even if the volume isn’t turned up all the way (but if that’s how you’re listening to the album, fuck off). Once Yavor Dimov’s vocals come in, you realize why this first verse deserved what was essentially nine minutes of intro by this point. As soon as he opens his mouth, you feel like he’s ready to rip your heart out and eat it – he can belt out an evil throaty growl that doesn’t sound cheesy, doesn’t sound forced, just sounds like the perfect embodiment of anger and suffering.

By this point alone, Trysth had me won over, I liked the album… then they started their crazy chanting in the middle of the song, feeling like it could worm its way into your brain and really fuck things up. Now I definitely liked this album. I could be mistaken, but it sounds like he’s using the Tuvan throat singing method at this point (look that up, its nuts). So many stoner/doom bands these days use chanting in their music, and I feel like it can really be a cop out at times. Here, though, it just feels so natural. Dimov’s screaming is so intense that you’ll feel like you need to just sit back and listen to some weird fucking Tuvan throat singing chanting in between verses before you come back for more.

By the time I had listened through all of ‘Ordeal Vision’, I was almost worried that they had peaked. The first 20 minutes was so goddamn intense and, excuse the cliché, it was like a roller coaster of emotions, going between blistering, evil, heavily soul crushing riffs and screaming to their deep soulful clean bits, that I didn’t know where the rest of the album could go from there.  ‘Sever the Stars’, though, the 10 minute fourth track of the album, is the most important song on the album. At first, it tricks you into thinking its just filler to come after ‘Ordeal Vision’. It starts out with so much reverb you feel like you’re in the bottom of mile-deep cave, and it drones on for four repetitive minutes. Trysth seems to know how the listener is going to feel by this point – impressed with the start of the album, but probably a little bit bored with the four minute intro to ‘Sever the Stars’. It brings you intro a trance, and you let your down your guard, so that when they unleash the ridiculously heavy, damningly powerful riffs during the remainder of this song, you’re totally knocked off your feet. They really know how to bring the hammer down here. And when the hammer comes down in this song, it comes down fucking HARD. Like knock the wind out of your chest, hard.

I said earlier that this album was like a journey. ‘Sever the Stars’ is the destination. The first 20 minutes of the album got you so pumped up for the badassery unleashed on this song, and the 20 minutes after it serve as an outro for this song, the nice short interlude ‘Weeping Orbits’ followed by ‘The Undying’ slowly bringing you back to reality, while still being a great song on it’s own. If someone were to tell me this whole album is based off of one awesome song, and yet the whole album is still one cohesive bit of interesting music, it might be hard to believe. But Trysth knows what they’re doing, they know how to build the pressure, they know how to kick your ass, and they know how to usher you out once you’re done.

Words by: Alex D.

You can stream the track ‘Sever the Stars’ here

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Saturday, 25 October 2014

Beneath - The Barren Throne (Album Review)

Album Type: Full Length
Date Released: 29/4/2014
Label: Unique Leader Records

‘The Barren Throne’ CD/DD track listing:

1. Depleted Kingdom
2. Chalice
3. The Barren Throne
4. Putrid Seed of Affection
5. Iron Jaw
6. Sovereign Carnal Passion
7. Sky Burial
8. Veil of Mercy
9. Mass Extinction Codex
10. Storm Drainer
11. Unearthed


Formed in the winter of 2007/2008, the members of BENEATH have all been active in the Icelandic metal scene for some years, with current and former connections to Sororicide, Changer, Atrum, Azoic and Diabolus to name a few. After making their live debut supporting The Black Dahlia Murder in January 2009 and after winning the inaugural Icelandic finals for the Wacken Open Air Metal Battle they became the first Icelandic band to perform at the Wacken Open Air festival in August 2009. More festival appearances followed, amongst others Death Feast Open Air in 2010 and Neurotic Deathfest in 2011. In February 2010, BENEATH released their debut Hollow Empty Void EP on Mordbrann Musikk which landed them a record deal with Unique Leader Records. In 2012 the band released their first full-length, Enslaved By Fear, which was mixed by Daniel Bergstrand at Dug Out studios in Uppsala, Sweden.In 2013, singer and founder Gisli Sigmundsson left the band and was replaced by Benedikt Natanael Bjarnason (Azoic).

The Band:

Benedikt Natanael Bjarnason | vocals
Jóhann Ingi Sigurðsson | guitar
Unnar Sigurðsson | guitar
Gísli Rúnar Guðmundsson | bass
Ragnar Sverrisson | drums


‘The Barren Throne’ is a great release from Beneath, showcasing loads of talent. It's a mix of Black, Death, and a little bit of Prog, all mixed within a cauldron of dark imagery and a tale of a dark being awakening and creating a world of despair and destruction. 

The opener, ‘Depleted Kingdom’, is a massive 7+ minutes of heaviness, with a beautiful clean guitar section to introduce it and the music really takes off from there, with more technical and melodic guitar sections sprinkled throughout, balancing the brutality of the black and death metal influences. It's a very heavy album that likes to go up for air and then right back into the blackened depths. The album has the band projecting a destroyed landscape, that is only going to waste away now that a dark god, or similar being, has awoken, and it’s captured well by the overall sound.

It’s very dark and brooding, with overdrive and distortion galore, knifing at the listener with harmonics and squeals, and rasping with speed runs along the tortured guitars. It’s a grand sound, and brings you right into the world they are describing at length.  

Another great track is the titular ‘The Barren Throne’, which gives some room for the drummer to really give it to the listener. He is fast, not too concerned with driving the listener to insanity with crash and splash, and holds both guitar and bass with his rhythmic pummeling of what I assume are flayed skins of failed groupies. Production on the album is pretty spot on, all the way around. No one out balances the others, the guitars are clear and heavy, drums are balanced, and the singer is gargly yet clear, like tortured static coming at you through an instrument of flesh and sinew, with everything meshing well to the ear. It’s never muddy or distorted, and this is a very big plus. You don’t want to miss any detail on this release, as madness never riffed this good! 

The album is rounded out with some stellar artwork, displaying the titular being, and the destruction pontificated throughout the album. It's beautifully done, and shows that some of the money went pretty far. It's a great album to snag, and will compliment any music collection. Just make sure it doesn’t summon wanton destruction when you’re not looking!

Words by: Hunter Young

You can pick up a copy here

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Demonauta - Caminando en la Luna LP (Album Review)

Album Type: Full Length
Date Released: 21/11/2014
Label: Bilocation Records/Kozmik-Artifactz

‘Caminando en la Luna’ LP track listing:

A1. Hotel (5:57)
A2. Hacia el 6to Sol (04:48)
A3. Caminando en la Luna (05:40)
A4. Mr. Magnet (03:20)
B1. Al Viento Entender (03:51)
B2. Camaleón (03:02(
B3. El Refugio (04:18(
B4. Kom-v (04:10(
B5. Seamos Libres (04:47)

Total: 39:53 Min.


Demonauta were founded back in 2008 in Santiago de Chile with David on guitar and vocals, Giovanni on guitar, Ronnie on bass and Rodrigo at the drums. In 2009 the first 6-track Demo was recorded and released on several blogs in the net.

After several line-up changes (now with David/v&g, Miguel Angel/b and Ale/d) the band went to studio again in 2011 to record their first full length called "Vol. 1", which received great reviews all over the planet. In 2012 the next full length followed, called "Caminando en la luna". The second full length is a big step forward: Demonauta never sounded more intense, sharp and to the point. The riffs are simply amazing mixing the intensity of stoner metal with the sun-drenched sounds of desert rock and fuzz rock superbly. One minute absolutely heavy and the next some superb fuzz riffs. Demonauta cultivate stoner fuzz rock in the best South-American tradition.

The Band:

David | Vocals, guitars
Miguel Angel | Bass
Ale | Drums


Chile seems to be oozing out the sludgiest heavy rock from its borders of late. Standing far to the front of this pack roars Demonauta with their second album “Caminando en la Luna” now availiable on vinyl, which without looking at a translation program I believe means ‘walking on (or in) the moon’ roughly. Looking it up it does (I still got it Ms. Duckworth and Mr. Fallico!); the album name is an apt description of the tripped out fury that awaits you.

Boasting a slurry of explosive riffs and blistering leads, their sound is the closest comparison to Palm Desert scene, without actually sounding derivative. Indeed Demonauta sound fresh, with their laid out chilled grooves and the deep rhythm section interplay, it is unmistakeable throughout the record.

Some of the nuggets separating Demonauta from their peers, is their heavy, HEAVY 80s metal groove, balls to the wall on the second track “Hacia el 6to Sol” and the amazing solo on the title track. Turn up the solo on the title track and watch it echo through your brain, it is an EXCEPTIONAL solo and one of the best I've heard in years.  This track alone is worth purchasing “Caminando en la Luna.”

Moving deeper into the review, I would like to begin with stating that the fourth song is named “Mr. Magnet,” which clearly is an amazing name marking an amazing song. The riffing on “Camaleon” reminds me quite a bit of “Whitewater” era Kyuss with those big sliding power chords riffs. The most unusual track on the album is “El Refugio” which crosses into a lot of different sonic territory, with a very interesting clean almost funk chord verse riff which seques into a heavy chorus.  The outro of the chorus section is pretty unusual sonically and sounds quite unlike anything I've heard. Then it gets even weirder with a minimalist solo over what sounds like a very jazzy walking bassline in waltz time.

Oddball stuff but great, a bit reminiscent of the song writing on Captain Beyond's S/T; it's always a pleasure to see when these kind of unusual experiments turn out great.

I feel like mentioning the mix now. This is a perfect example of how to mix heavy music, everything is clearly audible and the vocals are a touch recessed back in volume, but still clear giving the instrumentation room to rock you. In addition, the tones present are ‘godly’, particularly the fuzzed bass tone in the title track which crushes like a tanker hitting a bridge.  Not to belittle the guitars thought, because the ‘wah’ work here is outstanding and the maturity displayed on the leads throughout is breathtaking. The drumming is outstanding with busy fills in the right places and some fantastic propulsive grooves, this guy swings a 4 on the floor harder then almost anyone I've ever heard and his drumming reminds me of Nick Lucero and Gene Trautmann, who mostly played on QOTSA's “Rated R.”

In closing then, all I have to say about “Caminando en la Luna” is the grooves are infectious, the beards are luxurious, and the tones are sublime. Treat yourself to what is one of the better albums you will hear from recent years and certainly check out the new vinyl. Check it out below.

Words by: Chris Tedor

You can pick up a copy here


- 150x transparent red with white
- 150x black
- all high-quality heavy 180g vinyl
- pressed in Germany
- matt laquered 300gsm gatefold cover
- handnumbered
- especially mastered for vinyl by Tony Reed

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Intercostal - S/T (Album Review)

Album Type: Full Length
Date Released: 01/12/2013
Label: GBS Prod

‘Intercostal’ CD/DD/LP track listing:

1). Hellfire Helix (03:05)
2). Sea’s Calling (03:07)
3). Barrels (03:22)
4). Tools of War (02:40)
5). Wrath (02:42)
6). Lay Down Arms (02:56)
7). Tons of Humans (03:10)
8). Hammered (02:09)
9). The End of Knowledge (03:47)
10). Blood Runs Cold (02:58)
11). Sagawa (03:24)
12). Aftermath (04:11)


INTERCOSTAL is a 4 piece massive down-tuned progressive stoner band from Geneva.

The Band:

Batist | guitar
Tavern | guitar
Fred | bass
Mario | drums


If you have been watching the NOLA documentary series that is currently running on Noisey and has been for the last couple of weeks, you would have been reminded about the vast array of kick ass metal that has emerged from that part of the world over the past twenty or so years. Well for fans of all things NOLA, Intercostal (despite hailing from the bayou formally known as Geneva Switzerland) will take you on a walking tour of all the best of southern metal

Ranging from the progressive stoner vibes of Torche, to riffs reminiscent of ‘Remission’ era Mastodon to the Southern Carolina groove of ‘Deliverance’ era Corrosion of Conformity, throw in the occasional sludge of Crowbar with a lot of pot and you’ve got Intercostal.  The bands self titled album manages to contain all these varied influences whilst at points balance many of the flavours of the NOLA scene at the same time.

The mostly instrumental album is packed with twists and turns, it ploughs through its succession of groovy riffs and are backed up by a high quality rhythm section, held together mostly by an insanely dirty rumbling bass sound that bellows throughout the record alongside the thundering drum beats.

It may not being doing something completely innovative or even bothering to think about possibly having a go at reinventing the wheel. But Intercostal’s self titled album is a solid release which would fit well into any stoner or sludge fans record collection. This is surely an album that will appease its intended fans without question with its Southern NOLA influences, mixed with a blend of stoner rock, making the bands output boom whilst sounding as massive as Andre The Giant on stilts.

Words by: Dan O’Brien

You can pick up a copy here

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The Art Of Burning Water - Living Is For Giving, Dying Is For Getting (Album Review)

Album Type: Full Length
Date Released: 20/10/2014
Label: Riot Season

‘Living Is For Giving, Dying Is For Getting’ CD/DD/LP track listing:

1. No Day Is Tragedy Free
2. You Get What You're Given
3. Happiness Always Ends In Tears
4. At The Hands Of Them
5. Feast Of Testicles
6. Snake State Nausea
7. It Will All Make Sense When We're Dead
8. December 14th 1990 (Sadness Begins)
9. Great British Hope Destroyer
10. How To Be A Worrier


Noise was made and dance halls emptied. Tears were shed and sorrow was aplenty. Laughter filled the vans and the smoke filled our lungs. With tinnitus to unite us, only we can make failure fun. Beats and noise strength in the face of some grim and harsh times. Intestinal fortitude tenfold. We'd make Mr. Balboa proud

The Band:

MIKE | Drums and P.M.A
KUNAL | Sub noize
GRIEF | High noise and throat


I’m not entirely sure how or why I thought The Art of Burning Water were some kind of quirky indie band, until I came across them a few years back. Since this point, I have come to associate them with bands such as Palehorse and the Afternoon Gentleman, and whilst different to the utter misery of the former and raging grind of the latter, they are definitely pushing their own kind of extremity.

Which brings us nicely to their latest; ‘Living is for giving, Dying is For Getting.’ After a brief sample ‘No Day Is Tragedy Free’ drags itself along in reluctant malice with white noise screams searing over the top and then, without warning they blast into the hyper punk of ‘You get what you’re given.’ It’s pretty clear that accessibility is not much of a priority, there is no feeling that they are making music for anyone other than themselves and as a result they go wherever they please and make a brutal but intelligent racket in the process.

Sonically they fall somewhere between Knut and various grind / noisecore bands, although there are some (relatively) straight up and memorable riffs  to be found in the likes of ‘At the hands of them.’ and ‘It will all make sense when we’re dead’, which makes a good contrast and holds your attention without becoming monotonous.  There is some interesting times signatures and clever flips in rhythm in the middle of “It will all make sense when we’re dead” and genuinely sinister chord progressions in “Snake state nausea” add variety and make for a listen that seems more progressive and intriguing on each listen.

At the time of writing there are still new elements coming to light which highlight how much thought has been put into the record.  The playing is impeccable, well planned and clearly they are all masters of their respective instruments.

The vocals are never anything less than all out fury and desperation. Serving almost as the proverbial nails down the board in the background, it’s as if they are there purely to be unpleasant for the sake of it (which by the way is meant as a compliment).  The riffs and aforementioned dynamics and technical changes carry the overall sound and for me are what form the songs, rather than relying on standard structure / verse / chorus.

If you’re looking for pure nihilism and fury and an example of a band pushing themselves to the extreme, with no regard for others opinion and with the intention of making a hideous racket, then look no further. At 20 minutes long it’s a little brief, but needs to be no longer. This is a crushing work of utter despondency which I can’t recommend enough.

Reference points; - Knut, Ken Mode, Eyehategod


Words by: Chris Wilson

You can pick up a copy here

'That's A Fact, Jack!' - An Interview with Brant Bjork

Here I am about to interviewing one of my all-time fave musicians, Brant Bjork for the 2nd time within 12 months. Last time I interviewed Brant was when he was drumming for Vista Chino. Now Brant is back to promote his brilliant new album 'Black Flower Power' with Brant Bjork And The Low Desert Punk Band.

The band recently completed a short 4 date mini UK tour and I was given the chance to interview Brant before the gig at Leeds Belgrave Hall on Sunday October 19th 2014.

So lets get down to business with one of the coolest musicians around, Mr Brant Bjork.

SL – Hi Brant. Thanks for doing this interview. How has the tour been going so far.

BB – Tour has been great. We're almost done. Got another 4 or 5 shows. Yeah it's all good.

SL – How have the new songs gone down with the crowd.

BB – The songs are going well. Their new songs and it takes time for everyone to understand. The initial response has been really positive.

SL – Your new album, 'Black Flower Power', is a fantastic album. It's one of your heaviest albums so far.

BB – Thanks. Yeah for sure but in terms of emotion and sonics, it's kind of a whole trip. I felt that I needed to make a really mean record.

SL – The album feels like a tribute to your musical heroes such as Black Sabbath. It that something you wanted to do with this album.

BB- It's both, as when I was younger I was attracted to music that was heavy and sounded so emotional. And it had the blues with feeling and because I felt that way. That's what brought me into music like bands such as Black Sabbath and Black Flag. Heavy Music was where it was at with me. These last few years have been exhausting and trying for me. I felt like I needed to go back to  that 13 year old kid inside of me. That just wanted to 'FUCKIN SCREAM AND FUCKIN TURN IT UP'.

Wasn't a whole lot of feeling going on. I assembled this band, a combination of players who come from the same musical background as Rock and Punk Rock. First of all, they're friends. It was going back to basics with the record.

SL – The album is a lot more bluesier as well.

BB – Yeah. Black Sabbath is definitely an influence and one of my fave bands growing up. The were were masters of combining American Blues Rock with British Hard Rock. I am very much an American Musician and this is very much an American Rock Record in terms of what it is with style and stuff. Having said there are a lot of British Rock Bands that I love over the years such as Cream.

SL – Was this an easy album to write and record for.

BB – I wouldn't be as bold to use the word easy, but it really was when coming time to write it. I began writing and I was exhausted, frustrated and angry and I just started writing as I hadn't worked in so long. All this music came pouring out of me. It felt good. But I was keep saying – 'That's Not It'. 'That's Not It'.

It felt like a painful exercise and I was sweating shit out and I finally exhausted myself where I went to my most primal effort. And that's where I said that's it. I wanted that exhausted primal feeling, where I almost kind of given up on something.

SL -Was it an easy decision to sign with Napalm Records.

BB – You know I had been doing things myself for so many years and that was another exhausting thing. I am married and I have kids and stuff. I just can't be quite as hands on and I can't obsess on everything. I have to relinquish a little bit of control for time management. Napalm, characteristically, are a label I assumed I wouldn't be interested in me and vice-versa.

But they had been pulling on my shirt for 4 years and they really kind of offered me deals which is kind of hard to turn turn down. So we looked at the mechanicals of it all and they do really good distribution of music in my main market which is Europe. They got a little funky with my artwork but we managed to sort that out. Other than that, they let me do anything, whatever I want.  It's been a really positive experience, but lets just see when the record comes out.

SL – What inspired you writing the record.

BB – To me this is my version of a Punk Rock Record. It's like Punk Rock in the most basic spirit of that genre. Where the original wave of Punk Rock was really trying to get to the most primal essence of rock and roll music. Also taking action as artists and creative people. So you have bands such as MC5, The Stooges, The Ramones, The Sex Pistols and all that original shit was really there.

Along with my love of Blue Cheer, Cream and Sabbath. To me Punk Rock is involving it all. The spirit of Punk Rock is what it's all about. I combine all the stuff I was loving as kid.

SL – I am surprised you come out with a record so quickly, because you had a busy couple of years with Vista Chino. I thought you would of taken a break.

BB – I am one of those musicians for better or worse who cannot afford to take break. I think musically it was meant to be, as I haven't done my own thing for a while. There was a lot of positive element to my turn to Kyuss Lives and Vista Chino. But as a solo artist that's my main focus and my main passion. It was time to open that door again.

SL – You have just done a US Tour with Corrosion Of Conformity, BLAST and Lord Dying. How did that go.

BB – That was fun. That was good. Mike Dean called me up and said - “I have this idea, What do you think?” - I was like that would be awesome to do. I thought it would be a great idea to get people in the States up to date with where we were at. Break the band in. I was surprised as I feel optimistic with people in the States and where they feel rock music is at.

SL – You had Lord Dying on that tour. Totally different sound to yourselves.

BB – Lord Dying. Yeah they were great. That's why it was a such a cool tour as it had all 4 corners of Rock there on that tour. It was great and the crowds were good. We still have some work to do in the States but it's getting better.

SL – So after this tour is that it. Or are you coming back to Europe next year.

BB – No, No. We have already booked some Festivals in April and May 2015 lined up to promote the record. Probably fill them with a couple of dates. Makes sense for the terms of the tour.

SL – You don't have to answer this question. Nick Olivieri recently did an interview where he said Vista Chino is over. Can you tell us what is happening with Vista Chino.

BB – I think that John, Nick, Bruno and I coming back putting Kyuss back together, we celebrated that and it made a lot of sense on every level. When the shit hit the fan and we forced spiritually and conceptionally to change what it was. It changed things and I could tell. When John and I are working together in terms of return to Kyuss, it can work together but outside of that it doesn't really work or make music sense. I prefer to go and do my own thing. I don't see VC happening again. Anything can happen but right now we're not doing anything. I think VC ends part of a journey in what we were doing. Me and the guys in the band should be lucky we were able to squeeze that record.

SL – 'Peace' was a great record to come out with.

BB – I see it as a great adventure and what we wanted to accomplish and I think we did it. I think the story is over.

SL – Would you ever form another new band or just focus on your own thing.

BB – I think that whole couple of years with Kyuss Lives and Vista Chino just made me realise this is what I really want to do. I needed to do this. I need to kind of do my own thing and the way I wanted to do it with this band and this record. It's a perfect representation of me on the road back to home.

SL – You were supposed to release 'Jacuzzi' last year. What happened.

BB – Yeah (Brant laughs) – This record gets a lot of attention. The reality is, I was doing my first solo record for Napalm Records and in the middle of that solo session and this has happened before. Something flicked a switch when recording it and it turned into a whole other different record. It became more Jazz and Funk influenced. I kind of wrapped the session up. I didn't really have any formal idea of what I would do with the record. I had a bunch of songs sitting there all recorded and that's when John called saying:

“Let's get the band back together. Lets do this”

That was really an appealing opportunity and it was perfect timing with 'Jacuzzi'. It's really the sound of me exhausted as a solo artist. I was like 'FUCK' I have been working so hard. So it just sat there ever since. I have been wanting to get it out and distributed by Randy at Cobraside in LA who has distributed my labels over the years. He really wanted to get it out. Then because of my deal with Napalm and because of my work with John. It started to become so complicated. So now I have returned back to my world. I am free now to put it out. Though I was so intent on releasing 'Black Flower Power' as it expresses more about where I am at and hopefully within the next 6 months I will release 'Jacuzzi'.

SL – Last time we spoke we talked about you producing Black Pussy debut album and it's still not out.

BB – I don't know what Dustin is doing as I have spoken to him a couple of times. The music business is really changing constantly as music consumption relies so much on technology now. Technology is always evolving and devolving. So I get the scent that certain musicians and some of the people I know are kind of sitting back to see where things go. 9 months before they drop a bomb. See what windows open and what kind of windows close.

SL – What records are you currently digging right now.

BB – I am proud to say that the record I am loving now as I don't listen to much nowadays is Tom Petty new album 'Hypnotic Eye'. It sounds good and the lyrics are super, super fresh and meaningful. I have never gone on record saying I was a Tom Petty fan. His music is good and he's a great songwriter. For a guy at his point in his career and what's going on right now in the States and to make that record is a pretty courageous thing to do. I am pretty stoked on that record.

SL – Are you more at ease being considered a Stoner Rock Pioneer.

BB – It's funny that, as I saw that online the other day. He said that he played Stoner Rock, Classic Rock and Punk Rock. I was thinking that guy was delirious. I thought it was cool. I know that he's a stoner for sure. I didn't know if he knew what that term was. Though I have started to see the word Stoner being used in high places. I have seen it to describe a Jack White song.

I have seen it to describe so many different things. Stoner Rock in the States has always been considered a low brow word and dirty term. It's finally started to be looked at as a legitimate art form or art style and music style.

SL – You have artists such as yourselves, the Kyuss guys, Fu Manchu and Dave Wyndorf still rocking at almost 58 years of age. Can you see yourself doing for that long or will your retire by then.

BB – It's hard for all us to do what we do and not being part of something we didn't want to be apart of in the 1st place. We always did what we did. Dave always back in the Monster Magnet days and even Kyuss and Fu Manchu, we had a kinship amongst us because we weren't playing Punk Rock, Metal or Grunge. We we're kind of doing our own thing. We were all very different to each other. There was no idea to think there was a term for it. When someone came up with a term to describe our music. We never got to choose what to call it.

Stoner Rock to me means – Non Commercial Rock Music.

SL – Brant, Thanks for doing this interview. Best of luck with tonight's show and the album launch. It's a superb album.

BB – Thanks a lot man.

Thanks to Brant Bjork for taking the time out to talk to me at Sludgelord HQ. Thanks to Mona and Andy at Napalm Records for arranging this interview. 'Black Flower Power' will be available to buy on Napalm Records and from here. You can read Marc's incredible review here

Words by Steve Howe

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