Tag Archives: stoner

paralyzed

Paralyzed

Know how you’ll be in the queue at the supermarket when it dawns, though you have no idea who they are, the person stood behind you is a sportsman / sportswoman of some fame? Or you’re at a gig and as they take to the stage, before even striking a note, you know the unknown support band are going to be great? Or you hear a band, previously unknown to you, in Bandcamp and realize within seconds they are class; top quality and playing just the sounds you like to hear?

What connects the three examples above, is they have ‘presence.’ There is an aura surrounding these people that sets them distinct to others in their field.

Such is the case with Paralyzed. a hard rock band from Bamberg, Germany.

Paralyzed

You only have to look as far as the MUSIC PAST page on this very blog to see what kind of music excites me – and more to the point, excites me sufficiently to make more people aware… and write about it.

And all that helps explain what attracted me to this band the moment I clicked on their new album, ‘Heavy Road.’

I have to concede knowing very little about Paralyzed other that they formed in 2019, and have just released their second album, a follow-up to January 2021’s eponymous debut LP.

There was also an excellent value, seven track, thirty-four minutes long, EP release ‘Hidden Sun‘ back in the year of their formation, and a seven minute long digital single release, ‘This Woman’ in 2020. (Tracks fromHeavy Road,’ ‘Paralyzed’ and Hidden Sun form the ‘live’ set that features at the end of this piece.)

‘Heavy Road’ album artwork

‘Heavy Road’ comprises eight tracks over around forty minutes duration. It is pretty much rooted in a ’70s Rock feel, and thus, just my bag!

Album opener is ‘Devil’s Bride.’ From the opening vocal, there’s a very distinctive sense of Jim Morrison / Doors, which hooked me right away. It ‘modern’ terms, you’d say the riff, for the first three minutes of the seven and a half, is quite doom laden. The song then erupts in intensity and pace. Vocalist Michael Binder seems to morph into a Ian Astbury (The Cult) while executing a couple of searing guitar solos. A terrific start.

‘Orange Carpet,‘ has a real chugging riff. No nonsense hard rock, pure and simple. ‘Mayday’ is more of a mid-tempo, smokey, bluesy number, again with head-nod inducing riff. ‘Black Trees Pt 1‘ opens in dark mood; heavy blues at its finest – slightly rasping vocals over the top of moody, wah wah type guitar solos and deep, resounding bass lines.

Paralyzed.

‘Pilgrim Boots,‘ is the second track, after the opener, to breach the seven minute mark. Again, there is an undeniable Doors comparison to be made, but hey – that’s all pretty cool by me! Caterina Bohner’s organ work is more noticable on this one, and overall, the track has a vibrant, boogie feel to it.

Black Trees Pt 2‘ chugs away for three and a half minutes – all upbeat and again with a couple neat guitar solos thrown in. ‘Coal Mine’ is another slow burner. Building as it progresses, the bass line adopts a doom style feel, threatening; menacing. Michael’s vocal seem to become angrier and his guitar raging.

And then we’re at the album closer, ‘White Jar.‘ Straight off we’re into a short guitar solo, with the organ dancing in the background. More ‘wah wah’ guitar blends in mid-track alongside an almost funky bass line this time. A strong fnish!

I’ve made reference to Paralyzed being very ’70s rock inspired. And they are – or at least they sound that way. Yet – there is more to them than a band living in the past. They have incorporated modern elements into their music, but without going overboard in trying to be ‘different.’

Hard, driving rock will never die. And certainly not when the band producing it has such ‘presence.

One thing you sure won’t be on buying and listening to this album, is Paralyzed.

PARALYZED

Michael Binder – Vocals / Lead Guitar
Caterina Bohner – Organ / Rhythm Guitar
Philipp Engelbrecht – Bass
Florian Thiele – Drums

Paralyzed

man in the woods

Man! This is one LOUD band!

For the best part of fifty-two minutes, the power and maelstrom that is Man In The Woods raged around me. Yes, their new album, ‘Badlands ‘ runs to around fifty-two minutes – that’s a lot of bang for your buck, and I do mean ‘BANG.’

Man in the Woods

Formed in 2016, this four-piece heavy rock band from Isle of Man released their debut EP, ‘Badlands Part 1‘ in 2018. This consisted four tracks: ‘Icarus Landing‘; ‘Speedeater‘; ‘Toxicology,’ and ‘Angel of Gasoline.’

The intention was to write more tracks that would fit the narrative and release ‘Part 2’ at a later date. But of course, The World took a bit of a wrong turning and, well …

So now, with the additional five tracks written and recorded, the decision was taken to release both parts as one complete tale. Hence the longer than normal length of the new album.

‘Badlands’ album artwork.

In a sense, it was darkly ironic the pandemic and ensuing worldwide lockdown should delay the project. For the inspiration behind the music of Man In The Woods, is one of desolation; of depopulation; annihilation.

I hate to use the description ‘concept album’ because I think that may create an errant perception, but it is certainly ‘themed’ around the inspiration. in their own words:

” …  the album looks at the apocalypse which starts with an alien invasion documented in ‘Signals, Saucers and Satellites.’  The album is not in order of events and we chose to order the tracks in regards to the sound rather than the story.  In a way we have ended up with a Pulp Fiction, Citizen Kane narrative setup where sections of the story are not in order.  But both those films and the concept is quite cool.

“So once the world has been pretty much depopulated by the invasion we look at individual stories within the same universe that don’t all link into one another but set a scene.  If you imagine piecing together lots of letters written during WW1 in order to build up a picture of what people experienced, ‘Badlands’ does a similar thing.   ‘Trenchfoot‘ is about the soldiers going to war; ‘Iron Strider‘ is about a lone vigilante type character, like Mad Max, who seeks revenge; ‘Angel of Gasoline‘ is about a priest who sacrifices himself after he believes God has left him.  Over all each story hopefully leaves you feeling like it’s a shit environment to live.

Musically, Man In The Woods have been tagged with just about every ‘heavy’ music related hashtag: ‘stoner,’ ‘doom,’ ‘psych,’ ‘rock,’ ‘desert rock,’ ‘sludge,’ …. it doesn’t really matter. I’ll probably do the same at the end of this piece! Truth is, ‘Badlands‘ really encapsulates them all at various points.

In a nutshell, the music throughout is typified by Marc’s gruff, rasping and growled vocals laying over the top of a heavy and, yes, at times, doom-laden bass line. Christian’s pounding a crushing drums permeate every track, while James and David provide the powerful guitar riffs that drive, rhythm and share some intricate solos.

Album opener is ‘Icarus Landing.

‘Speedeater,’ to me sounds a bit like a sped-up ‘stoner’ track, if that makes any sense. ‘The Abduction of Barney Hill‘ follows. This is one of my favourite tracks on the album. Here’s why:

Philosorapture’ maintains the intensity and pace with a buzzing guitar riff, while ‘Toxicology,‘ slows things down a little as the mood seems to darken with more of a rumbling backing. ‘Trenchfoot‘ as you imagine with it being about soldiers being called to war, is angry and totally psyched up; ‘Angel of Gasoline‘ is the shortest, and I believe, the first song the band wrote together. It’s pretty straight up heavy rock, and rages from start to finish.

I’ve so far omitted tracks #5 and # 9. These are the two longest on the album. The former, ‘Iron Strider,’ breaches the ten minute mark, while closer ‘Signals, Saucers, Satellites‘ is only about thirty seconds shy of that.

I did initially wonder about having such lengthy tracks on an album of this overall duration. I needn’t have worried – they are my two favourites of the nine! (‘Iron Strider‘ just shades it, actually.)

Both, to the musically untrained ear at least,follow pretty much the same structure: with slow builds moving to heavy, steady paced mid sections, before picking up pace, bigger riffs and searing guitar towards the final two / three minutes.

And that’s it – and then there was silence.

Man In The Woods touch base with so many rock sub-genres on this album, I’m sure ‘Badlands’ will have such a wide appeal. You can check out the whole album from 29th July on Bandcamp.

Then you can buy it! And play it LOUD!

MAN IN THE WOODS

Marc Vincent – Bass / Vocals
James Oxtoby – Guitar
David Murray – Guitar
Christian Hardman – Drums

Man In The Woods

psychlona

I have a new favourite band!

‘1975’ – taken from the Psychlona’s latest album, due on August 19th 2022. (See below.)

I know – I say this just about every week – I’m so fickle. I’m a short-arse with even shorter attention span, but if there’s a band out there right now likely to grab my focus and lock it in a strangle-hold, then it’s Psychlona.

Formed in Bradford, England seven years ago, this is a band whose career is most definitely on a steeply upward trajectory. With two full length releases under their belt, I really don’t know how I’ve failed to hit upon their music before.

Psychlona are billed as a ‘stoner’ band, but that doesn’t do them proper justice. They have so much more in their locker. For instance, ‘Blast Off’ as you can hear, leans more to a ‘space rock’ vibe, with, I think shades of krautrock peeking through.

This track is taken from the band’s second album, ‘Venus Skytrip‘ which was released on Ripple Music / Cursed Tongue Records in 2020. On the same LP, there is the growling doom riffs on ‘10,000 volts’ and album closer, ‘The Owl’; the chugging, driving, heavy rock and infectious chorus of ‘Blow,‘ and the simple out-and-out rocker that I could envisage Motorhead playing – ‘Star.

And then there’s this, which just about covers all bases!

What initially attracted me to the music of Psychlona was this ability to meld various sub-genres of music, not only onto one LP, but at times within individual songs. On their debut album, ‘Mojo Rising‘ from 2018, opener ‘Stone‘ is pretty doom laden, but it also rocks along big time, mid-section. The following track though, ‘Ride‘ is much faster paced and believe it or not actually reminded me of The Damned and ‘Neat Neat Neat‘ with the throbbing bass line and vocals at the start of each verse. ( I know – I live in my own wee world sometimes.)

This though is what I’m getting at – Psychlona are not simply a ‘stoner’ band. Well,, they are … but you know what I mean. Their ability to move effortlessly between space rock, stoner, heavy rock and desert rock is certainly to be admired.

Psychlona

Now, having recently signed with Las Vegas label Psycho Waxx, the in-house label for the famous Psycho Las Vegas festival, Psychlona are set to embark upon a U.S. tour with other scene luminaries: Church of the Cosmic Skull; Black Box Revelation and Lord Buffalo. Dates include shows in Oakland; West Hollywood; Costa Mesa; Phoenix; San Diego, and winding up at the aforementioned festival in Las Vegas.

More! They have a new album due for release on August 19th. ‘Palo Verde‘ is their third album, and though I was fortunate enough to pre-order one of the remaining four from seven hundred Limited Edition vinyl copies, I have only yet heard the excellent ‘1975‘ which plays at the top of this post.

You know that feeling as a kid on the run-up to Christmas, or your birthday? Sometimes it never leaves you. Roll on August 19th!

1st album: ‘Mojo Rising’
2nd album: ‘Venus Skytrip’
3rd album: ‘Palo Verde’

Psychlona music can be bought / ordered / heard at their Bandcamp page – here.

PSYCHLONA

Phil Hey – Guitar / Vocals
Dave Wainfor – Guitar
Martyn Birchall – Bass
Scott Frankling – Drums

Psychlona

captain beyond

(Suggested by Twitter handle: @SeventiesLegend)

(Taken from the debut, eponymous album)

Every day’s a school day here at Loud Horizon. Well, it is for me, at least.

From that, you’ll deduce I have no Captain Beyond records in my collection … and cannot profess to being a big fan of Deep Purple either. (Yes, I like them fine – just not as much as millions of others do.)

If you’re wondering why I have linked the two bands above, then I guess we’re pretty much in the same boat.

Let’s check back a little.

Captain Beyond were formed when psychedelic rock band Iron Butterfly suddenly broke up in 1971. Guitarist Larry Reinhardt and bass player Lee Dorman called on Drummer Bobby Caldwell ( who would later go on to play with both The Allman Brothers Band and that of Johnny Winter) and a certain Rod Evans.

(Rod was a founder member, and original vocalist of Deep Purple. He sang on the band’s first single ‘Hush‘ but had been asked to leave the band in 1969 when they decided to go with a heavier sound, being replaced with Ian Gillan.)

The band were initially signed to Capricorn Records, which I found strange when I read this fact. That label, throughout the Seventies had a reputation for producing records by ‘southern rock’ bands. Bands like Grinderswitch (whose ‘Pickin’ The Blues’ track was used as theme music to the iconic John Peel radio shows in UK,) Marshall Tucker Band and of course, The Allman Brothers Band.

Captain Beyond would soon find the decision strange too. Their debut album sold well. It was heavy rock in its primitive form; it was ‘stoner’ rock at its finest, incorporating ‘space’ rock influences, and included the track that opens this post and this, probably my favourite from that album.

(Again, from the eponymous, debut album.)

Sales however, I assume, did not match those of label mates, The Allman Brothers, for by the time Captain Beyond came to record their follow-up album, Capricorn Records seemed to have had a change of heart. They pressed for the band to adopt a more Southern Rock image and feel, which of course was an impossible ask.

It ‘s no coincidence then, that the band’s fortunes, if not their sound, headed south after that. The label, it seems, did all the could to obstruct the band, signing for them to support slots with headlining bands whose music was far, far removed from that of Captain Beyond.

(Paying gig fans don’t take kindly to this – Greenslade supporting Rory Gallagher, anyone?)

They soldiered on however, and in 1973, still signed to Capricorn, they released their second album, ‘Sufficiently Breathless.‘ By this time, drummer Bobby Caldwell had left as relationships within the band became fractious. He had not been keen on the direction the band were headed, or the music they were making.

From the tracks I’ve heard, I totally concur. I don’t mean to upset anyone, but tracks such as this, while still build on a decent riff, do not match the rawness and energy of the first.

(From the band’s second album, ‘Sufficiently Breathless.’)

The album bombed, though over time, and perhaps because of the band’s now almost cult-like status, it is now regarded with a certain reverence.

It wouldn’t be long though, before vocalist Rod Evans would leave the band. He had done this before, but this time it was for good – and none of the band knew why. He broke off all contact with the remaining band members, and to this day, his whereabouts are unknown.

(I do believe that in the early Eighties there were legal implications of his touring with a band and using the Deep Purple name)

Auditions were held to find a replacement for Rod, and eventually, Willie Daffern was offered the gig.

In 1977, now signed with Warner Bros, and the backing of an almost cult-like following, the band released their third album, ‘Dawn Explosion.’

(From the third album, ‘Dawn Explosion.’)

Unfortunately, not long after the album release, ‘new’ vocalist Daffren decided to go solo, and in 1978, the band just kind of dissolved as they were on the verge of gaining wider acceptance.

Over the years there have been various reincarnations of the band that have lasted for short periods. There have also been re-pressings of the original three albums, together with some ‘live’ recordings and compilations.

Unfortunately, none in my opinion, can match the excitement and menace of their debut offering.

CAPTAIN BEYOND

(Original line-up)
Rod Evans – Vocals
Larry ‘Rhino’ Reinhardt – Guitar
Lee Dorman – Bass
Bobby Caldwell – Drums

TITLEFORMATLABELYEARNOTES
Thousand Days Of Yesterday7″ singleCapricorn Records1972Listings relate only to releases prior to the initial dissolution of the band in 1978. Subsequent compilations and ‘live’ recordings are also available.
Sufficiently Breathless7″ singleCapricorn Records1973
Captain BeyondLPCapricorn Records 1972
Sufficiently BreathlessLPCapricorn Records1973
Dawn ExplosionLPWarner Bros. Records1977