The lockdown was tough on all of us, but especially for bands whose bread and butter is touring and selling merch. Some, like Nashville’s Howling Giant, have had to get creative in order to endure the quarantine. With regular Twitch streams as a way to connect with fans, including live jam sessions on Saturday nights, the progressive stoner rockers began creating impromptu instrumental jams to names created by audience members. Alteration, the new EP by the band, features four of these jams, crafted and refined in the studio. Look for the release on 4/20 and for now, check out their new single, Luring Alluring Rings.
With a rich psychedelic atmosphere, the track features an epic chord progressions, huge drum sound, and ethereal keyboard tones. The song has a beautifully melodic theme. In the middle of the track, listen for the soaring guitar solos and heavy chugging changeup, right before the triumphant return of the main theme in the last third of the song. Listen to Howling Giant’s new track, Luring Alluring Rings, and make sure to check out the full EP, Alteration, available for $5 on their Bandcamp page, out on 4/20.
King Buffalo has been dealing heavy psych music since 2013 and have big plans for 2021. The Rochester, NY trio, who has toured with stoner rock giants The Sword, Elder, and All Them Witches, has announced that they will be releasing three full length albums this year and have already listed dates for a fall tour. The first album, titled The Burden of Restlessness, is set for a June 4 release and the first single is out now. The second two releases are being kept under wraps, although the band has hinted that each album will be distinct and recorded with different methods.
Hebetation is the new track from The Burden of Restlessness, and expands King Buffalo’s sound into progressive new audioscapes. Although I was a fan of the heavy psych atmosphere of their first two full lengths, Orion and Longing to be the Mountain, it sometimes felt like the band was stuck in repetitive musical territory. However, with their third full-length, Dead Star, the band showed they weren’t afraid to infuse their rock with more aggressive and driving sections, giving them a more diverse and well-rounded sound. The best thing about it was that the band never changed their core style, but simply expanded it. With Hebetation, we see that evolution continuing, with an even more progressive, heavy sound, all while maintaining their own trance-inducing psychedeliscapes.
SEP 10 Larimer Lounge – Denver, CO
SEP 11 Larimer Lounge – Denver, CO
SEP 14 The Moroccan Lounge – Los Angeles, CA
SEP 15 Bottom Of the Hill – San Francisco, CA
SEP 17 Barboza – Seattle, WA
SEP 18 Barboza – Seattle, WA
SEP 19 Lola’s Room – Portland, OR
OCT 1 Higher Ground – South Burlington, VT
OCT 2 Space Ballroom – Hamden, CT
OCT 15 The Middle East Restaurant and Nightclub – Cambridge, MA
NOV 4 DC9 – Washington, DC
NOV 5 Johnny Brenda’s – Philadelphia, PA
NOV 6 Mercury Lounge – New York, NY
NOV 11 Club Cafe – Pittsburgh, PA
NOV 12 The Loving Touch – Ferndale, MI
NOV 13 Hi-Fi – Indianapolis, IN
NOV 14 Off Broadway – St. Louis, MO
NOV 16 The Winnebago – Madison, WI
NOV 17 7th St Entry – Minneapolis, MN
NOV 18 The Back Room @ Colectivo – Milwaukee, WI
NOV 19 Lincoln Hall – Chicago, IL
NOV 20 Beachland Ballroom & Tavern – Cleveland, OH
Goatriders is a four piece band from Linköping, Sweden. The band serves up a riffy mix of desert rock with plenty of hypnotic and spacey interludes. The band released their first EP 15/12, in December, 2018 and just followed it up with The Magician’s Keep, on January 27, 2020.
The Magician’s Keep was released by Ozium Records. Mixed and mastered by friend of the band, Petter Kindström, the album clocks in at 36 minutes and is made up of five tracks. With each track between five and 10 minutes, the songs are on the longer side and each is an immersive experience of diverse and spacey sound textures. The album is characterized by walls of fuzz, psychedelic guitar tones, crisp and clear drums, a growly bass tone that isn’t afraid to explore the fret board, and lots and lots of groove. If you enjoy bands like Naxatras, you will love what Goatriders has to serve up.
Amitte Diem 7:43
Hound of the Gods 5:24
Pitch Black Blues 6:47
Songs from Mars 10:41
Check out the band on Bandcamp where you can support the band by buying the digital album. The album will be available on vinyl and CD later this year. You can also check out the band on Instagram. Thank you for reading The Sonic Sofa. You can find The Sonic Sofa on Stitcher, Soundcloud, thesonicsofa.blog, and Twitter. Please consider donating to The Sonic Sofa on PayPal or Patreon. Go in peace and rock on, Sofanauts.
Isak is a stoner rock trio from Glasgow, Scotland. The group is made up of Joe McGarrity on vocals and guitar, Mark Tait on bass, and Robert “Twigs” McLean drums. The band has been producing riffy space rock since 2012 and just announced their first full length album, The Great Expanse, via their Facebook page.
The Great Expanse will be a followup up to Isak EP, released in July, 2013, and EP2, which was released in January, 2018. The Great Expanse is a sonically compelling stoner rock album that will take you to the edge of space and beyond. The album tells the story of traveler journeying across the galaxy. As he embarks across the endless cosmos, he begins to wonder if he is alone or if he is being guided. More than half instrumental, but employing the sparse, melodic vocals in a focused and effective way, the album is the soundtrack to the traveler’s story. It unfolds dynamically over the course of 45 minutes and seven tracks. The record was recorded at 16 Ohm Studio in Glasgow, with Tommy Duffin of Cosmic Dead and John McBain of Monster Magnet completing the mastering.
The Great Expanse 6:46
Beyond the Karman Line 6:24
Falling Satellite 11:39
Out of Reach 5:50
Call of the Void 4:00
The album opens with The Great Expanse, a riffy track with a driving bass and rhythm section. With thoughtful, melodic lyrics such as “set sail on infinite seas” and “explore the great beyond,” space exploration quickly becomes the theme of the album. The lyrics disappear after the first half (they return on the fifth track), and the band members let the instruments continue the story. A spacey jam finishes things out and it fades seamlessly into the second song.
The Karman Line is the altitude where Earth ends and space begins, 62 miles above the surface. The second track, Beyond the Karman Line, begins low key with a catchy clean guitar line, but then the song builds and accelerates the heaviness, as if it were the second stage of a rocket flinging us into the vastness of space. The track has a creative drum pattern and bass rhythm, topped off by a fuzzy, psychedelic guitar tone.
Falling Satellite is the longest song on the album, close to 12 minutes. It starts with thick bass tones and cymbal swells. The guitar materializes from spacey, atmospheric sounds into a cohesive pattern, and the other instruments develop with it, creating a cosmic jam that plays out over the first half of the song. The second half transforms into a heavier, driving riff with a progressive poly-rhythm that has echoes of Tool. The track continues to form and explore for the last half, featuring a singing guitar lead and progressively building and building before fading out, with the cymbals swells and thick bass tones from the beginning making a return.
Opening with ethereal organ tones and cosmic guitar notes, Interstellar builds into a short but nice bass-heavy progression. The hypnotic pattern continues for a few minutes before fading into the next track, Ablaze, which takes us into more of a crunchier, riffier territory. This track is where the lyrics return, making their presence at the beginning and end of the track. Meanwhile, the band provides plenty of cool stoner rock change-ups, complex rhythm patterns, and plenty of cool, wandering guitar leads that weave in and out of the musical fabric.
Out of Reach starts right in with a swingy, heavy riff. The drums produce a decent shuffle pattern and some huge sounding cymbal crashes alongside a growly bass. While the opening track’s lyrics felt broad and hopeful, optimistically talking of exploring the “infinite seas” of space, the lyrics in Out of Reach come across as more desperate, searching, and claustrophobic, as if the traveler is searching for meaning, or anything, in the empty reaches of space.
At the beginning of the last track, Call of the Void, the band changes it up with harmonic, angelic vocals over a clean guitar line. It’s unsure if the harmonic lyrics represents the voice of a heavenly guide leading our traveler to some kind of salvation, or perhaps the last hallucination of a dying astronaut drifting endless into cold space, but somehow both scenarios seem hopeful, and a fitting end to an awesome stoner rock odyssey.
The album is set for release in late February, and will be available on Bandcamp, alongside their two previous EPs. Make sure to also check out the band on Facebook and Twitter. Check out The Sonic Sofa on Stitcher, Soundcloud, thesonicsofa.blog, and Twitter. Please support the bands by buying their music and merch. If you have music, a band, or an original music review or press release that you think should be featured on the blog or podcast, contact The Purlenaut at firstname.lastname@example.org. If you enjoy the content provided on this blog and want to see more, please consider donating to The Sonic Sofa on PayPal or Patreon. Go in peace and rock on, Sofanauts.
Moonstone is stoner doom band hailing from Kraków, Poland. Formed in 2017, the group is made up of guitarist and vocalist Jan Maniewski, bassist Wiktor Kozak, and drummer Kacper Kubień. The trio pumps out rounds upon rounds of fuzzy, downtuned riffs and sparse, chantlike vocals on top of a hypnotic rhythm sections that chugs along like a freight train, plowing away everything in its groovy path.
Their debut self-titled album was released on December 28. The five song, 35 minute album is heavy from start to finish summoning the hypnotic riffing force of bands like Sleep and Belzebong, and infusing it with some bluesy Sabbathian groove. Moonstone keeps their arrangements fairly simple and straighforward, but the crushing weight of their riffs and rhythm, as well as several key change-ups, keeps things fresh even on the longer tracks.
1. The Oncoming 1:33 2. Mushroom King 5:21 3. Pale Void 10:20 4. Ash and Stone 9:05 5. SulphurEye 8:34
The album opens up with The Oncoming, a brief but atmospheric intro that uses some amazing bass tones and some seriously heavy power chords to tease the onslaught of riffage to come. Flowing seemlessly into Mushroom King with a fitting audio sample about viral mushroom spores, the track opens with a swingy riff over a shuffling drum pattern. The band takes the riff to absolute overdrive and adds some brief, eerie vocals at the end, before changing things up with an “Into the Void” like transition that will finish off your ear drums with sufficient power.
Pale Void opens with a slow and heavy riff and some complex drum work. The bass and drums create what is almost like a super-slowed down, reggae-like dub beat. When the vocals kick in, they are chant-like and occasionally employ some simple and tasty harmonies. The song features several heavy buildups, as well as a nice bass lead that transitions the song to a heavy ending.
Ash and Stone opens with another sludgy doom riff. Featuring some awesomely low power chords, the track is a total headbanger. The vocals are eerie and haunting, ringing out clear melodies over the heavy, fuzzy riffs. A cool switchup at the end kicks the song into high gear. On the album closer, Sulphereye, it starts with a muscular guitar tone and one of the darkest sounding riffs on the album. Aided by an equally dark film audio clip and some scary vocals, the track makes for a heavy, sludgy end to a heavy, sludgy album.
The album is available on CD and digital download on Bandcamp. Also check out the group on Facebook. Thank you for reading The Sonic Sofa. Stay tuned for the January podcast and for now, check out one of the past episodes for more great music. Go in peace and rock on, Sofanauts.
It has been seven years since Om’s last album, the critically acclaimed Advaitic Songs, was released, but the members have proven that patience is a virtue when it comes to their work. The core of the avant-garde rock group is vocalist and bassist, Al Cisneros of Sleep, and drummer, Emil Amos of Holy Sons and Grails. They are currently joined by keyboardist, Tyler Trotter of Bonnie Stillwatter. Between the triumphant return of Sleep and Emil Amos’s prolific solo output in Holy Sons, Om was relegated to short tours and occasional festivals such as Desertfest and Monolith on the Mesa, but in October, fans were surprised by the physical release of the band’s latest live album: the carefully recorded and engineered BBC Radio 1, Om’s highest quality live album to date, and the second with the current lineup.
BBC Radio 1 was released on October 9, 2019 on the Drag City record label. It was recorded in Maida Vale Studios in London in May, and the care and attention of both the band and the studio engineers is apparent on the final product. The instruments are impressively clear and the sound of the room is present on the recording. Unfortunately, the album is short, clocking in at just short of 30 minutes. It’s composed of four tracks: Gethsemane and State of Non-Return from Advaitic Songs, followed by Cremation Ghat and Cremation Ghat II from 2009’s God is Good. The classic songs have slightly changed, evolving over the years as the band has continually toured and improved their compositions and arrangements.
1. Gethsemane 11:19 2. State of Non-Return 8:22 3. Cremation Ghat 3:43 4. Cremation Ghat II 5:37
Cisneros’s bass tones on the album, carefully crafted and honed over decades, are rich and diverse, laying down a heavy bottom line for each song song. On Gethsemane, slow, meditative patterns guide us through the song with deep, clear tones. It’s followed by State of Non-Return’s fuzzy, overcharged sound; perhaps one of the heaviest bass tones ever committed to vinyl. The jazzier feel on the Cremation Ghat suite is matched by a groovy, clean tone that in part II, features some amazing Iommic sounding hooks that have been improvised since the studio release.
Emil Amos’s drumming style is like a cross between meditative stoner rock beats and flowing dub rhythms. As the songs progress, he regularly peppers in phenomenally complex fills, dancing within and around the beat, all while holding down the meter like a human metronome. His drums ring out with incredible clarity, capturing the the sound and breadth of the studio in their resonance. Carefully chosen cymbals, notably the outstanding ride bell and large china, add shimmering brilliance to the atmosphere of the album.
Trotter’s keyboard samples accurately represent the original recorded strings and ethnic instruments. All of his work tastefully fills out the album, adding texture and deepening the complexity of each track. Over it all, the esoteric lyrics are sparsely though thoughtfully placed for full impact. Blending characters, places, and concepts from multiple geographic areas and religions, Cisneros weaves a lyrical tapestry which is both meditatively therapeutic and thought-provoking.
Om has a number of tour dates lined up for 2019. If you get out to see the band on tour, you will be treated to an album quality performance. We saw the band last May at the Taos Brewery for the Monolith on the Mesa festival, and the result was electrifying. Some highlights of the show were Cisneros percussively slapping the bass, Amos in a trance-induced drumming state, Trotter employing a mixture of keyboards and physical instruments, and the whole scene of the desert earthship stage being bathed in dynamic, kaleidoscopic oil lights.
Although it looks like Sleep may be taking a break after releasing The Sciences and extensively touring The U.S. and Europe, this may be acceptable news for fans who have been waiting for a new Om studio album, as the break could allow the members of Om to join once again and unite their powers in song. No matter what the band decides to put out, you can be sure it will be worth the wait. For now, listen to the new live album and support the band by buying the high quality digital download from Bandcamp, or the two-record vinyl release with mixed green and black wax.
Thanks for reading The Sonic Sofa. This will be the last article of 2019, but we’ll be back and stronger for 2020. Happy holidays, go in peace, and rock on, Sofanauts.
Feb 21 Austin, TX – Mohawk
Feb 22 Houston, TX – Brash Brewing
Feb 23 Dallas, TX – Gas Monkey Bar N’ Grill
Feb 24 Fayetteville, AR – George’s Majestic Lounge
All Them Witches is a three-piece rock band from Nashville, TN. The band has a propensity for experimenting in different styles including doom, heavy blues, stoner rock, with elements of Americana and folk, as well as a prolific music output and touring circuit. Their catalog since forming in 2012, includes five full length studio albums, two live albums, four EP’s, and a string of non-album singles.
The band released their newest non-album single, 1X1, on October 31st. Unlike 2018’s full length, ATW, which was stripped down and less heavy, 1X1 is noticeably heavier. It’s tempting to compare the new track to the style on heavier past albums, such as 2016’s Lightning at the Door, but doing so would be a mistake: Lightning at the Door was more riffy with doom elements, while this track zeroes in on the drone. Guitarist Ben McLeod creates slow, heavy walls of detuned guitars while Charles Parks’s bass sound achieves something like a mixture of heavy blues and slow dub, with its deep, groovy tones. Drummer Robby Staebler accents the slow meter with heavy crashing cymbals and washy hi-hats, accomplishing some impressive OM-esque drum fills at the end of the track. The vocals and lead guitar lean towards heavy blues and sound much more like the band’s past work. Despite their influential presence on ATW, the keyboards are left behind on 1X1. The result of all of these finely tuned components is a sound that is even heavier and somehow even more raw sounding than most of their past work.
It’s tempting to compare 1X1 to other albums or songs by All Them Witches, but it’s difficult to. The track is an expression of the band’s desire to find new and innovative directions for their sound, so just kick back, put on your headphones, and let the band’s creativity and heaviness take you to sonic realms not yet explored. Pick up the track today for free or name your price on Bandcamp. Also, make sure to check out the band’s tour dates for an energetic live show. Thank you for reading The Sonic Sofa. Go in peace and rock on, Sofanauts.
Nov 18 The SSE Hydro – Glasgow, UK
Nov 20 3Arena – Dublin, Ireland
Nov 22 SSE Arena Wembley – London, UK
Nov 23 First Direct Arena – Leeds, UK
Nov 25 Orange Club – Kiel, Germany
Dec 14 Kulturhaus Stattbahnhof – Schweinfurt, Germany
Ryte, a four-piece stoner rock band from Vienna, Austria, is one of the latest additions to Heavy Psych Sounds Records, home to bands such as Crypt Trip and Brant Bjork. Ryte recently announced their debut self-titled album, set for release on January 17, 2020. The album will contain four long tracks, written and crafted over the course of a year a half. Invaders, the heavy first single from that album is out now.
Invaders is a massive sounding track, and it’s long, clocking in a 7:55. It’s driven by dual guitars which play in unison throughout the track, creating beautiful harmonies, driving leads, and ominously slow and heavy chugging riffs. The bass is detuned and distorted, confidently grooving throughout the song and cutting through the mix nicely, and the drums sound huge with ringing cymbals and thunderous percussion. Channeling an Ozzy-esque, Hand of Doom quality, the sparse vocals are melodic in an evil sounding way, warning of psychic “night creatures” and “space invaders.” The track has plenty of stoner rock changeups with fast, chugging sections, dual guitar leads, slow and heavy doom sections, wah pedal accents, plenty of complex progressive moments, and even a sick theramin space-battle at the end.
The album is available for pre-order on Bandcamp and on Heavy Psych Sounds, giving you one track now and the rest on January 17th. You can also pre-order the album on vinyl in many styles, including transparent orange, clear water green, as well as black. The album will also be available on CD. All of the physical releases are limited, so get on it. Also, check out the band on Facebook. Thank you for reading The Sonic Sofa. Go in peace and rock on, Sofanauts.
Pseudo Mind Hive is a psychedelic stoner rock band from Melbourne, Australia. They formed in 2007. The five member band is made up of Jack Ainsworth on bass, Samuel Drew-Rumoro on drums, Christopher Hockey on guitar, Mark Vincini on guitar, and new member Jess Joannou on organ and synths. All members contribute vocals. They just released their second full length, Of Seers and Sirens, a followup to their debut album, From Elsewhere, which was released in 2018. The band is signed to Salty Dog Records, a label based in Brunswick East, Australia.
“rounds of progressive patterns and guitar leads”
Though the definition varies according to who you ask, most will agree that stoner rock requires a few basic ingredients: fuzzy, overdriven guitars with heavy riffs, thunderous drums and crashing cymbals, a fat bass sound, rounds of progressive patterns and guitar leads, complex turnarounds and changeups, psychedelic lyrics, and it doesn’t hurt if your vocalist sounds just a little bit like Ozzy. Throw in a some spacey synthesizers and grinding organs for good measure and Pseudo Mind Hive checks all of these marks, cementing themselves firmly in the scene with their brand of heavy, psychedelic stoner rock. If you enjoy bands like Elder or Howling Giant, you’re going to dig Pseudo Mind Hive.
Of Seers and Sirenswas released on October 25, 2019. It’s a heavy concept album filled with psychedelic textures, mythical lyrics, complex, progressive arrangements, and hypnotic dynamics. It’s also not afraid of being solely instrumental as shown on the heavy bonus track, Solstice. The album has a mythical, Homeric vibe and many of the songs reference ocean voyages and adventures, such as the mention of sirens on the title track. There’s also a tip of the hat to the famous scientist in the sprawling epic track, Gaze of Ptolemy. The artwork by Max Loeffler, famed for his work with Elder, is also very Greek in style and seems to reference Odysseus and his journeys.
1. Sails At Dawn 4:14 2. The Dreamer’s Burning Door 4:25 3. Of Seers & Sirens 6:36 4. Solstice “Bonus Track” 5:51 5. Gaze Of Ptolemy 9:16 6. Equinox 8:13 7. Broken Colours 8:09
In a statement provided by the band, the story concept of the album is as follows, “In short, Of Seers and Sirens loosely follows the journey of an explorer who is lost at sea and, due to forces that are ambiguous in their nature as either supernatural or hallucinatory, finds himself amongst scenes and figures from various mythologies and points in human history. However, each song is hoped to conjour many and varied interpretations and meanings to each individual listener.”
Check out the album on Bandcamp where you can download the digital album for $7 Australian, or roughly $4.25 U.S. The record is available for sale on Salty Dog’s Website. You can also check out Pseudo Mind Hive on Facebook and Instagram, and they can be contacted at email@example.com. Thanks for reading The Sonic Sofa. Go in peace and rock on, Sofanauts.
Write about the band: Dimetrodon is a three piece instrumental rock band from Austin, Texas. Their music is a progressive blend of synthy heavy psych and stoner rock. The members of the band are Jim Lecheler on bass, Ian McKinney on synths and guitar, and Rene Moncivais on drums. Their debut album, II, was released on October 11, 2019.
According to a statement by the band, “The 12 instrumental tracks of Dimetrodon’s *II* loosely follow the story of a savage barbarian as he faces off against a wizard and his monster friends in the windswept deserts of Mars. Drawing from stoner, prog, proto-metal, krautrock, and other influences, *II* is a window into of the mind of a boomer dad describing the airbrushing on the cargo van he had back when he was your age.” The album has no lyrics, but the full-blooded song titles like are enough to put an interesting picture in your mind and the music itself will take you there. There are really heavy songs like Dragonslayer, Antimagic Field, and Bonestorm, but there are also plenty of of reflective, softer tracks like Ogre Horde and The Druid’s Funeral. The album is a virtual kaleidoscope of psychedelic sound textures, running the gamut from chunky stoner rock riffs to dreamy psychedelic synth tones.
1. Dragon’s Lair 1:57 2. Dragonslayer 4:14 3. Antimagic Field 6:18 4. Ogre Horde 5:03 5. The Druid’s Funeral 3:16 6. Finger of Death 4:30 7. Hobgoblin 2:37 8. Stalactites 2:32 9. ☠️Bonestorm☠️ 2:40 10. Dispel Evil and Good 2:19 11. Sunbeam 2:13 12. Grimlock 2:52
The whole album sounds like something that could have been produced in a garage in the 70’s. You can hear early doom influences from Black Sabbath and Electric Wizard as well as krautrock such as Neu! and Amon Duul II. You can also hear healthy doses of modern psych as well as synth-forward film score influence peppered into the mixture. Whether you’re you’re perusing Frank Frazetta paintings, playing Dungeons and Dragons, or just putting on music for a spacey drive in the car, Dimetrodon makes a great soundtrack. Purchase a digital download of the album today on Bandcamp for $7. Also, make sure to check out the band on Facebook and Instagram. As always, thanks for reading The Sonic Sofa. Go in peace and rock on, Sofanauts.