Archive for Stoner Rock

ASG sign to Relapse

Posted in News with tags , , , on December 9, 2011 by Underneath A Dying Sun

North Carolina Stoner Punk (or whtever you want to call it…) act ASG has recently signed a deal with Relapse, thus becoming label mates with the likes of Red Fang, Black Tusk, Howl and Baroness, to name a few. A new album, produced by no other than Matt Hyde, is to be expected at the end of 2012.
A Southern US tour has been confirmed already, as well as a special appearance  at next year’s Hellfest in France.
Stay tuned for more and enjoy the video for “Right Death Before”, the first track of Win Us Over (Volcom Records, 2007):

New video to be completed by Red Fang

Posted in News with tags , , , , , , , on December 8, 2011 by Underneath A Dying Sun

Red Fang (from Portland, Oregon) have just completed the video shoot for their song “Hank Is Dead”, taken from this year’s critically acclaimed album Murder The Mountains. Some stills can be seen at the band’s Facebook page. The video will be aired in a few weeks and was directed by Rob “Whitey” McConnaughy, who was also responsible for the “Prehistoric Dogs” as well as videos by Turbonegro and Mudhoney.

A free downlaod of the track “Number Thirteen”, also from Murder The Mountains, is available here. The song is featured in a new video game called Rocksmith.

Gettin’ High in the Lowlands: Sungrazer’s “Mirador”

Posted in Reviews with tags , , , , on November 8, 2011 by Underneath A Dying Sun

With their support slot for My Sleeping Karma (in Viersen, Germany, December 17th, 2011) ahead, I once again gave Sungrazer’s Mirador a spin. I got the CD at this year’s Stoned From The Underground Festival, after getting blown away by the energetic live performance of the band.

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Trippin’ on those ‘shrooms takes you to other places, dude! – Pacific Living by Titan

Posted in Obscurities, Reviews with tags , , , on October 28, 2011 by Underneath A Dying Sun

While having a chat with Green & Wood bass player Josh Anzano after the gig with Saviours at the Sonic Ballroom in Cologne (read the interview here), he told me that he also plays guitar in Titan. For those of you unfamiliar with this band: hailing from Brooklyn, NY, this awesome four piece features a jammed out, psychedelic sound with a strong Kraut Rock/early Progressive feeling. Somehow their brilliant 2010 effort Sweet Dreams, which came out on Relapse, seemed to drown in the wake of the whole 70’s/retro hype that exists these days.

Anyway, Josh gave me a tape by Titan called Pacific Living, containing a jam session from 2008, recorded at KYC Studios in Los Altos, CA. It is now out on German DIY label “Who Can You Trust? Records”. As far as I know, only 150 copies exist, so be sure to grab one of these while stock lasts!

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The Saviours talk about women with shotguns, Mordor, Mariah Carey and Japanese drum kits…

Posted in Interviews with tags , , , , on October 26, 2011 by Underneath A Dying Sun

American (Stoner) Metal band Saviours played the Sonic Ballroom in Cologne on October 19th (check out some photos at my flickr-page). Right before the show, I was able to conduct an interview with drummer Scott Batiste and guitar player/singer Austin Barber.

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Rollin’ Thunder from the Lone Star State: “Let It Roll” by Dixie Witch

Posted in Reviews with tags , , , , on October 17, 2011 by Underneath A Dying Sun

Let It Roll by Dixie Witch represents Small Stone Records at its best: southern fried Heavy Rock beefed up with fat riffing and charismatic vocals. I checked out this band for the first time back in 2008 via myspace and really liked them, so I’m glad they are still going strong.

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Review: “The Hunter” by Mastodon

Posted in Reviews with tags , , , , , on October 6, 2011 by Underneath A Dying Sun

I recently bought the latest Mastodon album, called “The Hunter”. So what’s up with the successor of their opus magnum (up to now, that is…) “Crack The Skye”? Well, it follows the footsteps of “Blood Mountain” and “Leviathan”, therefore much emphasis is put on riff-laden, mostly short and hard-hitting stompers and by that the album moves away from the epic conceptual approach that made up their 2009 masterpiece.

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