The Shrine

"On the night of November 6th, 1979 Black Sabbath was at their most drug addled and explosive standing. They were on tour supporting their newly released Never Say Die album and had a night off in Los Angeles. After knocking back a few drinks at the infamous Rainbow Bar, they decided to check out the local rock scene at the Whiskey A-Go-Go. Arriving late, they caught the tail end of a set by The Circle Jerks. Feeling intimidated yet inspired, they rented a rehearsal space and spent the rest of the night jamming. For an unknown reason they exclusively played Thin Lizzy material and Keith Moon was sitting in… These events never took place. But if they did, the results may have sounded similar to Los Angeles's The Shrine. Formed in 2008, The Shrine play a houserocking breed of heavy, psychedelic, riff based Rock n' Roll. Their debut, recorded on vintage reel-to-reel tape, by local hero Dave O. Jones and under the auspices of the notorious Chuck Dukowski, is the perfect soundtrack to any debaucherous gathering of longhairs. If you and your rag-tag group of riff-raff friends are planning a road trip to Humboldt County to "Score", this is the album you need to be listening to on the way. The Shrine is Josh Landau on guitar/vocals, Courtland Murphy on bass, and Jeff Murray on Drums. Dig It."

Death and Consolation is without a doubt a weighty album title. And, The Well is among the heaviest heavy psych bands in existence. So when we say that there's even more darkness and intensity to the band's third album than previous efforts, take heed. It's a deep sea diving bell of enveloping heaviness and longing.

"This one is a little more personal," says guitarist/vocalist Ian Graham. "2018 was a strange, dark year. A lot of change going on in my life, there was a lot of depression and coming out of it over the last year. I wanted to call this Death and Consolation, because in life that's a constant."

While The Well continue to walk an intriguing line between authentic early 70s doom/heavy psych and frayed weirdness of dark folk - especially with their haunting unison male/female vocals - the new album also adds the stark vibe of post-punk acts like Joy Division and early The Cure. "I feel like this album is almost more gothic. We're big fans of post-punk," Graham says. There's also much less jamming, the songs are tight and concise. And, did we mention, heavy? The band tuned down a full step to C-standard tuning for this album, which gives the proceedings its monstrous sound.

Sonically, Death and Consolation picks up where The Well -- Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan -- left off with their widely heralded 2016 RidingEasy album Pagan Science. The band once again recorded with longtime producer/engineer Chico Jones at Estuary Studio in 2018, who has turned the knobs for all three of their albums (Jones engineered the band's debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013.) Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and Pagan Science among the Best of 2016 from the Doom Charts collective. Likewise, the band's intense -- some even say "possessed" -- live performances have earned them featured slots at Austin's Levitation Fest, as well as tours with Kadavar, All Them Witches, Black Tusk and more.

"This album might be a little less produced, because I didn't want to push technical stuff as much," Graham says. "I'm so scared of getting too complicated when getting better at guitar. This is still kind of punk rock."

"Road tards, rat milk, magic frogs and motorbikes. ghost pirates, trailer park babysitters, king kong bundy and werewolf santas. nwobhm, early metallica, the wipers, budgie and bobby soxx. it ain't retro, it's total fucking recall. get me off this dying rock. escape from la while you still have the chance. over."

—Randy 2024

In the year 2014 in the ruins of the city once known as Los Angeles, three underworld dwellers with one job, one hot tub and one unkillable riff between them knew they had to make a ripping record—or die trying. This is their story.

Guitarist Jed, bassist Patrick, and drummer Bobby started in a room lit by a single green light, which changed them from humans to Zig Zags in the summer of 2010. Within the next four years, they'd record a song with Iggy Pop and an album with Ty Segall and go from playing house parties for pizza to staring off the stage at the Fillmore West. But back then that was still in the future.

Before them had come giants—bands like Kiss and Sabbath whose names were carved into desks in detention for decades. Before them had come mutants, heavy metal and punk bands like the Dictators and Pentagram that spun into the void of history after failed orbital rendezvous with the fame they'd deserved. And before them had come freaks, one-known-copy private press insanities like J.T. IV, White Boy and the Average Rat Band, the bands that happened when someone with a guitar thought FUCK IT loud enough for the tape to pick up. Those were visionaries, each of them, even if most of them paid—or never got paid—for it.

And Zig Zags had a vision, too. It was a dark and weird one, the kind of thing you see flickering on the monitor when your stolen spaceship wakes you up from cryosleep, or the kind of thing that flashes across the inside of your forehead when you wake up hungover from sleeping in your van. Theirs was the nightmare of the insane and the all-too-normal, the Bermuda Triangle between sci-fi and lo-fi and no-budget, the Twilight Zone twist ending where it turns out everyone ELSE was an alien the whole time.

When Cliff Burton wore that Misfits shirt—Zig Zags. When the Emergency Broadcast System interrupts that John Carpenter movie—Zig Zags. When a soggy pile of Thrasher mags and Jack Kirby comics spill out of a dumpster behind the Sunday School—Zig Zags. When the Ramones were scared of the basement and the Angry Samoans couldn't find the right side of their mind—Zig Zags. When a kid breaks his elbow copying a WWF heel's piledriver and starts laughing instead of crying—Zig Zags. And when the electricity goes off forever and torchlight reflects off chrome—Zig Zags.

All of this and more becomes real on the Zig Zags' self-titled debut LP, recorded and produced by Ty Segall for In The Red. In 12 songs, they chainsaw through weirdo film and caveman rock and space noise and make smart sound so dumb it turns inside-out and becomes brilliant. Their very first 7" had a song scalled "Scavenger" cuz that's what Zig Zags do—dig through garbage to find genius. In 2014, it turns out they did make their ripping record. But it's up to you to figure out the twist ending.

In The Company Of Serpents

In the Company of Serpents are a doom/sludge two-piece from Denver, Colorado. Founded in early 2011, the band came into being when vocalist/guitarist Grant Netzorg met drummer JJ Anselmi at a show their former bands were playing. Later that Spring they recorded a 4 song demo in a friend's basement studio, which they paid for in AR-15 Ammunition and beer. Shortly afterwards, In the Company of Serpents entered Moduel Overload studios in Denver to record their self-titled debut, which was subsequently self-released on cassette in early 2012.

In late 2011 JJ left the band on amicable terms, and Joseph Weller Myer has been slaying the skins in his stead ever since. In May of 2013 Joe & Grant entered the studio to record their follow-up, Of the Flock, which was subsequently mixed and mastered by Billy Anderson. Of the Flock was self-released on vinyl on Halloween of 2013.

DUEL is heavy psychedelic stoner doom metal from Austin, Texas. Hugely influenced by the darker sounds of early 70's Proto-metal. Features two ex Scorpion Child (Nuclear Blast)members. Their sound is menacing and brutally old school. Total purists, their tunes cut right to the bone with heavy, deep groove and blistering tone. Tough and Loud! Hard rock as it should be!

Malahierba

Chell master/rock mexicano

Cloud Catcher

"With its gnarly odes to voodoo children and celestial empresses, Trails of Kozmic Dust finds Colorado’s Cloud Catcher settling further into their swampy, vintage sound. These eight slices of bluesy psych-rock capture heavy metal at its most classic. With a record store’s worth of riffs at his disposal, vocalist and guitarist Rory Rummings’ extended solos—equal parts cosmic grandeur and classic rock worship—are the record’s highlight. The whole album serves as a reminder that space might represent our projections of the future, but it’s been there long before any of us. “We’ll leave this world far behind/Believer in ancient times,” Rummings sings optimistically in closing track “Righteous Ruler.” And just like that, the great unknown feels a bit more familiar." - PITCHFORK

"Trails of Kozmic Dust feels like the output of a band that’s survived decades (and multiple musical trends) together, yet it’s only Cloud Catcher’s second album since forming in 2013. They already get it. Clearly, the next step should be a co-headlining tour with Earthless to completely disintegrate what’s left of our brains." - INVISIBLE ORANGES

The Munsens

Desperation from a Colfax dungeon.

Love Gang

4-piece heavy rock 'n rollers from Denver, Colorado, Love Gang is an ode to the golden days of rock when amps were loud, hair was long, and the drugs were cheap.

Channelling sounds of psychedelia, blues, space, and proggressive rock, Love Gang features Kam Wentworth on guitar/vocals, Leo Munoz on organ/flute, bolstered by the driving rhythm section of Grady O'Donnell and Shaun Goodwin; bass and drums respectively.

Formed in September of 2015 Love Gang intends to take all with them and trip out on heavy acid-dosed riffs, taking you to the deepest, darkest corners of your mind. If you aren't losing your mind yet, you will... DO IT!!!

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