Play It Again: Arbouretum - The Gathering

I touched on Arbouretum a bit at the beginning of May, and having just listened to The Gathering again, I think they deserve another mention. I'd been listening to their cover of The Highwaymen ("The Highwayman") a lot recently, and I really enjoy it. The really laid back and spacey style is really well conveyed. It made me want to listen to their album as a whole over again, so that's what I did.

There is just something about David Heumann's voice (he's the singer, by the way) that really makes this record what it is. His cool, melodic-yet-monotone style just washes over you like a gentle silk sheet. I think he truly makes The Gathering an enjoyable record. Sure, they could have gotten another singer who may have been just as good, the music just as listenable, but with Heumann they have something special. I don't think this album sung any other way would be nearly as listenable.

New Band: Tia Carrera

When I got the Small Stone care package (the recording company's full 2011 line-up albums) I was a bit confused to see Tia Carrera included with the group. A quick google search led me to believe (for a short while) that she was the chick from Wayne's World - the actress' name is Tia Carrere so it's close. It turns out that she has a band that she fronts, when she's not making the one movie a decade. I was initially confused because I couldn't imagine her playing anything that would constitute a stay on the stoner label of Small Stone. A little more digging got me to the right act, and I have to say I'm happy that it turned out this way, as Tia Carrera (the band) kicks some stoney ass!

Cosmic Priestess is one doomy-instrumental-stoner-extravaganza. It sounds half carefully planned and half made up on the spot; part jam, part craft, all rock. The album opens and closes with the simplest and shortest songs - not a shortcoming as both are over seven minutes in length - very astutely bookending the LP with a similar style. The first song, "Slave Cylinder," is a build-up track, never quite reaching it's full potential, but accurately setting the stage for the later works. The last track of the album, "A Wolf in Wolf's Clothing," is a very groovy and semi-funky song, first focusing solely on the the groove, but eventually shifting the focus to a more drum and guitar back-and-forth. It's a great outro, and puts a memorable ending spin on Tia Carrera's latest release.

Weekly Dose of Prog: Bigelf - Cheat The Gallows

I've gone into Bigelf before, but now that I've listened to Cheat The Gallows a few times, some of the more subtle nuances have come into the foreground. The album begins and ends with 'the show' theme, something sort of like Sgt. Pepper's Lonely Hearts Club Band from The Beatles, but it's not an oppressive theme. It just adds to the ambiance.

Cheat The Gallows is an interesting mix of prog, psych and 70s hard rock. Songs like "Blackball" and "Superstar" strike me as a little more progressive version of Aerosmith, with simple and catchy verses and choruses. While songs like "Gravest Show On Earth" and "The Evils of Rock & Roll" come across as something more akin to the late 60s rock, albeit much heavier. In my original breakdown of the group I equated them as a mix of Pink Floyd and The Beatles and I really do have to stick to my guns, just this time I'm adding in the hard rock aspect.

5 Quick Album Reviews

SardoniS - SardoniS

Damn good instrumental metal. SardoniS was sent to me by Reg at Heavy Planet to listen and review. I had actually already owned the album, but I appreciated the thought. That was back in September or October, and I just now listened to their debut album. I was in no rush because of it's instrumental nature and I've never been a huge fan of the genre. Like sludge metal, I think that I am not the ideal person to review instrumental music, just because I am tainted against it from the get-go. But I had just woken up and I wanted something simple to enter the day with so I turned on SardoniS. What followed was anything but simple, SardoniS is one of the most complex and richly sounding instrumental bands I've ever heard. The album transcends genres, all of which sounded at least half-way decent. This is something very difficult to do without the aid of vocals of any kind, and they somehow kept it all fresh throughout the album, something else that is difficult (for me) with instrumental bands. While not all the tracks were winners - it had it's share of ups and downs - it was an easy album to get through, and I didn't find myself wandering away in thought as I do with most bands. I was continuously surprised and entranced with the differences of sound, track to track. This is something to listen to, if you're a fan of instrumental stoner metal or not.

Top 20 of 2010: 16 - 20

Finishing up my Top 20 of 2010 (besides the honorable mentions of course) almost brings a tear to my eye. It's been a year full of ups and downs - both personal and within the musical soundscape. The year was rocked by the monumental deaths of Ronnie James Dio (Elf, Rainbow, Black Sabbath, Solo, Heaven & Hell) and Peter Steele (Carnivore, Type O Negative), and I'm sure others. But we move on, being stronger and more metal with each passing day.

16. sHEAVY - Disfigurine
One of my favorite bands, and another act to release two albums within one year, sHEAVY continues to do the seemingly impossible: consistently evolve their sound, and yet stay the same. Eight albums in, and I can still hear the basic influences of Black Sabbath and Kyuss that was present on the first record. Disfigurine keeps up the tradition of a sHEAVY album every two or three years, except that this time, it was predated by the sonically different The Golden Age of Daredevils, which was released in May of this year. You see The Golden Age of Daredevils was given birth through the group competing in the RPM Challenge, held every February, which holds that musicians of all genres complete a full album (10 songs or 30 minutes) within the month. There are lots of applicants, and one of the bands I like quite a bit, Snailface, is directly from this challenge. Anyway, so sHEAVY joined the challenge, recorded The Golden Age of Daredevils and decided to release it (why not, seeing as you've already recorded it). The album from the RPM Challenge was a bit different then previous LPs from the group so I was a tad worried about their future, but all my worries were cast aside after I heard Disfigurine. The group picked up a new guitarist, so the sound has evolved a bit, this album being more straight-forward stoner rock, then their very doomy predecessors, but it's still all good. It's just the beginning of a new chapter for the band. While Disfigurine is not their best release, how could I compile a list of the best albums of the year without including these amazing rockers?

Top 20 of 2010: 11 - 15

This seems to be the more predominately 'stoner' segment of the Top 20 of 2010, but hey, it's all in alphabetical order, so it's of no fault of my own.

11. Monster Magnet - Mastermind (See Review)
Mastermind is one of the best releases in the long list of Monster Magnet albums. It is regarded (by myself and most other reviewers) as a return to the classic era of the group, along the lines of Powertrip or Dopes To Infinity. In my mind, while it doesn't have the few songs that act as hooks for the rest of the album (as most other Monster Magnet albums do), the overall song quality within Mastermind is much more level. I've been a long time listener of Monster Magnet, and while I like their spin-off act, The Atomic Bitchwax, a bit more, the group has always had a soft spot in my rock and groove heart. AllMusic already has a posting of the next Monster Magnet album, The Lowdown (albeit, it's not much), to be released sometime in 2011. If this is a full studio album, not a 'best of' or a live album, then it will be the quickest turn around for Monster Magnet LPs sense their first two (Spine of God in '92 followed by Tab...25 in '93 - which was really an extended EP but it's over 55 minutes long so I count it). After the superb release in 2010, I am with baited breath, waiting for this supposed album.

New Album: The Divine Baze Orchestra - Dead But Dreaming

Also seen on Heavy Planet: 

With Dead But Dreaming, The Divine Baze Orchestra picks up where their last album, Once We Were Born..., left off. It follows the same spaced-out, psychedelia trippy-rock that made their debut so successful. Most of the songs are pretty long (not Rush long, but you get the idea) and are minimalist on music and vocals - at least with having both at the same time. The songs are filled with sound and vocals that lead the listener to believe that there is a hidden meaning behind them, but for the most part, when the guitar and bass are playing their dueling tunes, the singer seems to be elsewhere. And when he does sing, there is usually only a simple drum rhythm (for the song "Origins" it sounds like a man hammering in a railway spike) or a repeating, droning guitar in the background. Very rarely are all of the parts in music harmony.

New Band: Samsara Blues Experiment

Also seen on Heavy Planet

I'm just finishing up Samsara Blues Experiment's debut (after a couple of demos) album, Long Distance Trip, and I'm pretty impressed. The album is only made up of six songs, but it lasts over an hour, so you can imagine. This album isn't all long songs though (if you hate a track over 10 min - not me), two are a little over four minutes long, one in nine, two are around twelve minutes, but the ending track is damn close to half of a hour (twenty-three minutes) long - as I haven't finished the album yet, I can't say if it is actually twenty-three minutes, or if it ten minutes followed by ten of silence then onto a 'hidden track.' God I hope not, one of these days I need to write an article about my disdain for these so-called 'hidden tracks' and their uselessness in the current age of music....but another time.