Slomatics / Yanomamö Split EP

David Majury, the guitarist of Slomatics met Jason Higson of Yanomamö searching the internet for fuzz guitars and amps. Big ‘hobbies’ of both men and hence this Split EP which is released by Iommium Records.

Yanomamö, a four-headed monster truck from Sydney, was unknown to me. The band has been around for ten years and has released a number of splits, a 10” and an LP. Their latest release is this split with Slomatics.


Side A is for Yanomamö’s Dig Two Graves: slow and heavy sludge that immediately grabs you by the throat. Speaking of throats. Singer Scott Tabone has a voice that makes you shiver. It sounds like it’s coming right from his toes and beyond.

Dig Two Graves is one slow and heavy riff. This continues until three quarters of the track. Bassist Clarence Wandren Albatross then takes over: a slow and distorted bass sound is all you hear with Tabone singing like his sludgey growls are coming right out of his neighbor’s toes: intense! The track ends with some awesome stoner riffs. Yenomamö does not disappoint, quite the contrary. After hearing Dig Two Graves I just want to hear more from these guys.

Slomatics needs no further introduction. Split EPs and LPs are not uncommon for these three gentlemen from Belfast. Earlier this year a split LP with Ungraven was released: a side project of Conan’s Jon Davis. One of a don’t-listen-but-buy-immediately.

Slomatics has re-recorded Griefhound. The track previously appeared on the 2007 released Kalceanna. The song dates from a time when the band members had a dystopian view of the world. Their world view is currently a lot more positive, but Griefhound fits perfectly in the current Covid misery.


Where Dig Two Graves excels in a brutal assault for your ears, Slomatics has a more subtle approach. The song sounds like a slow thick wall of distorted, low tuned guitar sounds. Slomatics has two guitar players and no bass player, which results in a perfect, almost creepy, distorted sound. The subtler part is mainly due to the modest but intense screaming of drummer and singer Marty. When Griefhound is finished it echoes in my head for a long time.

In short, this split is one that should not be missed in your (digital) record collection.

Slomatics / Yanomamö Split EP

Circle Jerks – Group Sex

Keith Morris, currently the lead singer of OFF!, started his career as co-founder and singer of Black Flag. Due to creative differences with the rest of the band (read: Morris couldn’t keep his nose out of the Chinese marching powder and was married to alcohol. The story is that Black Flag’s Six Pack is dedicated to Morris) he founded Circle Jerks a small year after breaking up with Black Flag. Circle Jerks was everything Black Flag was not: having fun instead of dealing with the seriousness and political correctness Greg Ginn and co stood for.

Circle Jerks - group sex

In the beginning there was some ‘hatred’ and envy going back and forwards. Morris, for example, never mentioned on Group Sex that the song I don’t Care was written by Ginn. Hence Black Flag rewrote the song and give it the more ‘appropriate’ title: ‘You bet We’ve Got Something Personal Against You’, which appeared on the Jealous Again EP released the same year Group Sex was released. For further entertainment, I recommend the book written by Morris entitled: ‘My Damage: The story of a Punk Rock Survivor’.

Group Sex, the album this review’s about, hit the record stores in 1980 and it didn’t take long to sell out. You’ll have to pay some serious money on Discogs to get the original. Reason enough for the recently founded Trust Records to re-release the album. The label focusses on long sold out Hardcore and Punk records and Group Sex is their first. Funny thing is that this one sold out within 24 hours and already pressed a second batch.

Fantastic! A true classic; should be in any punk fans’ collection. Favorite track: Live Fast Die Young.

Group Sex was very well received after its release in 1980 and is seen as a milestone of South Californian Hardcore. Even today, the record still stands as a skyscraper in Dubai and sounds anything but outdated. In fact, the short and fast songs are still, or again, very up to date. For example, Beverly Hills is about the sad and fake life the jet set in Los Angeles live. In operation he wants to be neutered because the world is already overcrowded and he sees no point in contributing to even more people in this world. In paid vacation he sings about the soldiers who fought in Vietnam just for the sake of oil. After losing that war the soldiers were sent to Afghanistan. The title track, Group Sex, was co-written by Jeffrey Lee Pierce, later front man of The Gun Club who Morris shared an apartment with. The phone number mentioned in the song was one of the band members real number: he still got phone calls from horny men years after the album was released.

circle jerks - group sex - trust records

The Trust Records release has been remastered without losing the original aggressive and rawness. The label also put a lot of effort by enclosing a twenty-page booklet. Not only with old photos, flyers and memories of the band members. Most fun to read are the memories from friends of the band, or people who are inspired by the album. Movie director Alex Cox tells that he insisted on having Circle Jerks playing in the movie Repo Man and that Morris and co had to wait hours and hours to perform. J. Mascis from Dinosaur Jr. explains how jealous he was of drummer Lucky Lehrer’s fast drumming. Speed ​​was an obsession for Mascis at that time and for his then-band Deep Wound. When Turbonegro’s Happy Tom feels a bit depressed, he listens to Beverly Hills to cheer him up.

This album has four extra songs recorded in their rehearsal room at that time. It’s nice to listen how they sounded while practicing, but to me, they aren’t really necessary. Without these extras, this reissue is already perfect.

Circle Jerks – Group Sex

Hekate – Sermons to the Black Owl

Do you ever get the feeling when listening to a record for the first time and it immediately blows your brains out left dripping from the ceiling? If not, I hope you’ll ever get that experience. If it sounds familiar, I don’t have to explain this is exactly what happened to me when I put on Hekate’s debut album Sermons to the black owl for the first time.

Hekate, hailing from Australia (Sydney and Canberra to be more precisely) is a relatively new band, but those familiar with Australian Doom metal bands must have heard the name of the Hekate’s lead singer, Marcus de Pasquale, before: he is also the lead singer of Witchskull. Knowing this, Hekate is absolutely not a copy of Witchskull. The band plays more ‘traditional’ doom and is clearly inspired by bands form the seventies; Black Sabbath included.

This is due to the fact that all members have been breastfed, according to their own words, with DNA of Black Sabbath, St Vitus and the likes of them. This made me curious on how this would’ve tasted and affected me.

Sermons to the Black Owl, released on the French Black Farm Records, starts off strong with Isobel’s Chambers. Think heavy riffs and pounding drums; not too fast, not too slow. The quartet plays with two guitarists: that is clearly noticeable in the sound of the record and off course the riffs.

Hekate have been weened on the DNA and breast milk of Sabbath and Saint Vitus.

As soon as Marcus opens his throat, my arm hair starts to rise. The beginning of the second song, Winter Void, could just as well be the beginning of a Black Sabbath song: a soft and calm beginning, after which a wonderful-sounding riff is slowly introduced: must be the effect of the breast milk. Halfway through the song gets calm like in the beginning for a while until guitarist Ashley turns his volume knobs back to eleven. Both in Winter Void and in the next track, Child of Black Magick, you can clearly hear those two guitarists are at work which makes the songs richer in volume and detail.

Burning Mask starts with a lovely riff that slowly makes you bang your head softly. Marcus’ vocals give me goosebumps again. Especially when he uses his voice louder in volume and higher in tone. Obscene Godess has a somewhat hypnotic effect: a repetition of riffs and the somewhat tense structure of the song. At the end it falls into a bit too much guitar fidgeting. Not too long though before the riffs are coming back to finish Obscene Godess. The seventh and final track (the Acoustic Outro not included) Cassowary Dreaming is my favorite. It’s an intense mini-trip of just over three minutes, pounding on your skull and once again showing that two guitarists really add something.

Sermons to the Black Owl surprised me and knocked me off my socks from start to finish. The mother’s milk that the band members drank as babies has certainly shaped the band: masterful seventies retro doom, or proto-metal, or … well, listen for yourself and let yourself be carried away in the tight thirty minutes that the record lasts.

As the physical record just hit the streets, I recently received an email from guitarist Ashley that the band has returned to the studio to record the second album. Until then, Sermons to the Black Owl will be on repeat mode with the volume at 11.

Hekate on Bandcamp


Black Farm Records

Hekate – Sermons to the Black Owl

10,000 Years – II

It all started with spaceship Albatross, whose mission was to find a place somewhere in the Milky Way as an alternative planet where people could continue to live. After a long journey, the ship disappeared into a wormhole and landed on a planet full of Greek gods. This is a very concise summary of 10,000 years’ debut EP, which was released last year.

10,000 Years – II

Curse the Son – Excruciation

Records and CD’s are often provided with a promotional sticker on the cover. This gives you a short and catchy description of the record and its content. Sometimes in combination with excellent figures from various media. These stickers are placed because it is not always possible to listen to the music instore, or it must convince the hasty person.

Curse the Son – Excruciation

Las historias – las historias

I get a terrible itch on my perineum from one instrument, which is, besides the “didgeri-don’t, the sitar. Not that I have anything against people like Ravi Shankar or bands like the Beatles. On the contrary. But the sound of this instrument gives me a sick, subcutaneous feeling. And now let Lord of Poisons, the first song of the self-titled debut of Las Historias start with sitar sounds…

Las historias – las historias

Komatsu – Rose of Jericho

Ik begin de recensie maar meteen met de conclusie: Wow, wat een plaat! Want goed dat is Rose of Jericho. Verplichte kost voor eenieder die van het genre (stoner rock) houdt, er een beetje van houdt of op muzikale ontdekkingstocht naar het genre is.

Komatsu – Rose of Jericho

Lucifungus – Derek

When Akuma Kin, the debut of the Australian band Lucifungus, was released in 2019, I was literally blown away. Heavy riffs, sparse with vocals, raw and unpolished. For a moment I had the feeling that my favorite band The Melvins had cloned their selves and moved to Australia. After inquiring with the band itself, this turned out not to be the case.

lucifungus – derek

April 2020 finally, for me, the long-awaited second was released, entitled Derek. Released on vinyl by Black Farm Records. A label that always succeeds in making something special out of it. The album has seven heavy and raw songs that are played in just over thirty minutes. It seems the two band members have called themselves Derek and Derrick because of the album’s title. The two immediately start to blow you away with the first track Ball Shaker. It feels a bit like that: by a way of warming up, flapping the balls (the ladies can shake their lips for a moment, I think). You get almost four minutes of instrumental pounding and riffing. The duo clearly shows that they get their mustard from Melvins’ King Buzzo. The second track, Burn the World, sounds more Sabbathian, iboth in riff usage and melody, without losing the aforementioned rudeness. Burn the World is also the first song with vocals. Albeit limited and in the background. It does makes it complete.

What Lucifungu’s lyrics are about is a mystery to me. When I asked one of them for it via FaceBook Messenger, I got the answer: “I don’t have them, then I would have to write them down.” (The lyrics are now on their Bandcamp page, ed.).

Transpyramid, the third song, sounds a bit more bare and quiet than the previous two. The fourth song with the expectant title, Take the potion (a tribute to Lee Dorrian and Tom G. Warrior) is lyrically not a highlight (“Ooohh. Well hey”, that’s all), but it hits the nail very hard: it indeed sounds like a tribute without sounding too much like a Celtic Frost song. Except for the lyrics then. Lucifungus, the sixth and longest song starts funky and with a bit of imagination it does sound a bit like Cathedral (with Take the Potion still in mind). It sounds unwieldy and heavy with vocals that sound more like talking. After a few minutes the song has a short break where the guitar and drum sounds are reduced to a minimum. Then the duo rumbles on again. The closing track Manicanimals is just the right one to end Derek nicely.

Although Derek sounds a lot less raw than its predecessor, the album is not inferior to Akuma Kin in terms of sound: it still sounds just as rude, raw, unwieldy and loud. I’ve seen the sludge duo Mantar live a few times. They produce a huge amount of volume. I wonder if these two Aussies can do that live as well. I bet they do. In fact, how great would it be to be able to see both bands in one evening, or at a festival of two-man (m / f) formations?

Lucifungus – Derek

hazzerd- delirium

Anyone who is familiar with South Park knows that Canada produces pure trash called The Queef Sisters. A show in a show about two sisters who do nothing but enjoy giving pussyfarts in other people’s faces.

hazzerd- delirium

Mountain Tamer – live in the mojave desert vol 5

Los Angeles Mountain Tamer kicks off this live series of 5 (Mountain Tamer, Stöner, Spirit Mother, Nebula and Earthless) released by the Italian label Heavy Psych Sounds Records.  Mountain Tamer is a band that you either have to get used to, or they take you straight to psych heaven. The “getting used to” is mainly due to the vocals of singer Andrew Hall. Sometimes he sings, sometimes he screams, sometimes he just talks. In any case, do not expect singing within the lines. The songs they play live in the Mojave Desert are all songs from their latest studio album Psychosis Ritual (except the title track), added with two older songs from Goldfortune / Dark Matters (A salient detail is that each album of theirs has been released by a different label). Personally, I think that is a missed opportunity. With Psychosis Rituals still fresh in my mind.

mountain tamer – bandphoto

Mountain Tamer: the first band of the five to perform in this live series. Somewhere in the middle of the day in the desert. I read in an interview that the sun was very bright and that it was a “challenge” for singer, guitarist Andrew Hall to find his pedals: typical desert problems. “A Fucking pain in the ass”, also that the pedals were partly buried under the sand. That might be the reason that the first two songs, Warlock and Turoc Maximus Antonis sound a bit messy and lack inspiration. The moment they start playing Chained, Hall was very frustrated and angry. You can hear that anger: snarling guitar sounds are flying right in your ears. Also, the bass sound as if the strings were smeared with desert sand. Resulting in wonderfully dirty psych and that in broad daylight. One thing is definitely for sure: Mountain Tamer sounds a lot heavier, rougher and dirtier live than on their studio releases. The band really goes wild in the last three songs. Whether this is due to the positive influences of the sun, the frustrations or because of something “different”: it certainly sounds greasy!

Unfortunately their set is quite short: 36 minutes. There is a lot going on here: a lot of psych, fuzzy guitar sound, grunge melodies, gritty bass lines, not to mention the screams and vocal lines that seem to echo in the empty desert.

Mountain Tamer – Psychosis Rituals review

Mountain Tamer Bandcamp

Heavy Psych Sounds Records

Mountain Tamer – live in the mojave desert vol 5

Dixie Goat – There’s no light without darkness

What bothers me lately is that more and more records don’t last longer than let’s say, thirty minutes. This is also for There’s no Light without Darkness, the second studio album by the Chilean power trio Dixie Goat, released on the Italian Electric Valley Records. It is absolutely not a show stopper, but still wanted to get rid of it.

What immediately stands out is the sound. The record has already been compared to the NOLA-sound of amongst others Corrosion of Conformity. Grunge influences were already clearly hearable on their debut. They also return on There’s no light without Darkness. Obviously, this has to do with the fact that no other than Jack Endino produced the record. For those who don’t know him, Endino was affiliated in the early days with the grunge label Sub Pop, played in the band Skin Yard and also produced albums by Windhand, High on Fire and Toxic Holocaust.

Back to There’s no light without Darkness. The first track, which is also the title track, is instrumental, starts with a mellow, dark riff and has a wonderful bass sound. The NOLA- sound cannot be neglected. As is the case with all the songs on the album. The song is interrupted halfway through a sample from the Sci-fi horror Demon Seed.

Dancin ‘on your Grave is strongly reminiscent of Corrosion of Conformity with Keenan playing: the structure of the song, the angular riffs and of course the sound.

dixie goat
dixie goat – bandphoto

The third song, Two Faces, is a lot more mellow and has an exciting beginning. Guitarist and vocalist Nikk clearly let us know that Ozzy is one of his inspiration (The cover of Dixie Goat’s first LP Black Sun Child is a 1 on 1 copy of Black Sabbath’s Master of Reality).

After listening to the first three songs, it is clear that the thread runs through the bass player, KF. He thunders audibly through all the songs and ensures that they are provided with a thick melodic groove. There’s nothing wrong with the other two band members. Nikk provides the songs with Sabbathian riffs and drummer Seb knows how to hit the skins well and hard. On Green Karma, the tempo goes up a bit again and you hear the NOLA-sound extra clearly. The album closes with From one Hell to Another. The longest song on the record and it’s all Sabbath worship: slow, heavy bass, thick riffs and heavy drumming.

There’s no light without Darkness is not all excellent, but surely not an album to skip. In fact, with the beautiful weather coming up and bulging parks, it is a wonderful album to listen to: headphones on, between the rosé drinking Karens, playing the air guitar or -drum and occasionally a burping roar.

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.There’s No Light Without Darkness 04:44
2.Dancin’ On Your Grave 02:56
3.Two Faces 05:35
4.Widow’s Tear 04:39
5.Green Karma 03:02 

6.Zuma 02:09
7.Supershit 02:35
8.From One Hell To Another 06:04


Nikk: Vocals, Guitars
KF: Bass
Seb: Drums

Dixie Goat – There’s no light without darkness