Chybucca Sounds

Mothershine emerged last year shrouded in mystery with nothing but a Facebook image of one man plugging away intently on his six-string, to their name.

Since then, the man in question (and the band’s other hidden members) have been revealed as: Clauds (guitar), Tia (bass) and Lucz (drums); three young Italians with a knack of creating ambient, garage-psych gems. Now in their fifth year and a festival appearance to their name – see aforementioned Facebook image – Mothershine have decided to share their improvised jams online for the first time. Mystery solved.

It seems as if every blues guitar-orientated duo gets compared to modern greats such as the White Stripes and the Black Keys; and in the case of White Chocolate and the Cigarettes: the comparisons are justified.

Born and raised in Arizona, Michael Whitbylife and Chase Spross relocated to Portland: “a scene that needed help in the loud ass rock and roll department.” High on confidence, the bands self-titled demo is: loud, brash and incredibly raw; as Whitbylife’s chainsaw grooves piece through Spross’ cymbal-smashing seizures, with blistering intent.

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For a demo to be recommended is a little unusual. Sure, a band can show potential, but that’s usually as far as it goes: potential, nothing more.

Enshrouded in mystery – to everyone apart from their niche, North London followers – Throne are, to coin an overused phase: “everything that this genre should be about.” With Electric Wizard, Orange Amplifiers and Jack Daniels whiskey listed as interests; the talented trio are the latest band to prove that ‘slow and heavy’ is still Britain’s raison d’être.

Although Slingshot may be situated in Vienna – one of the coldest cities in Europe – their early work represents a time and place that is suited to warmer surroundings: Merging sun-kissed grooves with Detroit funk.

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The ironically-named Italians are the latest stoner-worshipping ensemble, to embrace California’s vast open spaces: Large amps, low-slung guitars and plenty of chugging.

Gringo denotes like so: A four-piece from Raleigh, North Carolina, the band’s highly infectious thick, pedal-to-the-floor fuzz, is a pummeling combination of desert-doom; heavy as Gozu and as direct and fluid as Fu Manchu, it is only a matter of time before underground labels come knocking. Gringo is here to stay.

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If there was a cash prize for the amount of times that ‘Mountain’ has been used in rock and metal folklore, the global economy would be in a much healthily position. Like their distantly named cousins, ‘Black Mountain’ the Canadian duo of Josh MacSween and Will Waldron are hoping to breathe new life into the psychedelic-blues genre, by looking to the past for inspiration: vintage fuzz, heavy distortion and randomly assembled track titles.

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First of all, if ever a band had chosen the wrong moniker, it’s this one; as there is nothing gloomy or depressing, about this alcohol-fuelled collection of high-octave tracks.

Instead, Funeral – in this case anyway – is three bearded Swedes, playing fuzz-filled rock ‘n’ roll, with a never-say-die attitude. In essence, Funeral is all about: distorted guitars, pulsating bass riffs, cymbal-crashing beats and, slightly unhinged vocals. Grab a beer, put the shaver away, and crank up the volume.

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“We’re on drugs!” proclaims Viktor Balkewitschh, and some would argue he’s right. Black Eagle Zombiefield, the brainchild of Balkewitschh and Tobias Alpadie, is a two-man entity that is exploring the noisy, lo-fi world of space-rock, with only an electric six-string and “drums from outer space” for company. The duo’s journey can be tracked, and listened to, here.

Fuzzy dirges complete with psychedelic overtones can only mean one thing: the unmistakable sound of desert rock – or in this case, ‘stoner rock’ would probably be more appropriate. Despite the unmistakable outline of three, fully-grown cactuses on the cover, Zyonara’s link to the desert is simply spiritual; as the German’s early teasers are comprised of instinctive heavy riffing and roaring, drawn-out vocals.

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