Chybucca Sounds

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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The Ravenna Arsenal’s influences may be obvious; but this doesn’t take away from this impressive collection of tracks.

Firstly, the biggest compliment that one could possibly give this Ohio four-piece is that their amalgam of styles borrows from rock and metal’s thinkers. Taking the angular riffs of Mastodon, the progressive dynamics of tool – as well as their nihilistic, yet wistful heaviness – is a sonic assault on the senses.

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For a man whose back catalogue includes Groan’s The Sleeping Wizard , the early recordings of Mazzereth’s solo project, were always going to be worth a listen.

Having parted ways with his Iommi-inspired Riff Wizard in June, Groan’s former vocalist has abandoned the Sabbathian riffage of his previous band; opting instead for a collection of tracks that favors the more amiable aspects of 60s garage as well as the overblown eccentricities of 70s glam.

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Athens: a landmark city that is blessed with rich, historical heritage, has never been a mecca for heavy-sounding rock; something which Desert Hound is hoping to change.

Steeped in the slow, sludgy blues of modern-day stoner; the booze-loving quartet – led by guitarist ‘Biohazard’ – drown the listener with mammoth riffs and throaty vocals, in three tension-filled live recordings, that captures the band at their raw and passionate best.

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With the ink still wet on their Kerosene Records contract, Caravan of Whores’ typically British style of doom, is sure to leave its Banbury roots.

Not hampered by the usual sonic limitations that you’d expect form an independently recorded set of tracks, the band certainly lives up to their billing as an “original doom band”. Fusing doom-laden guitar work and Wino-inspired vocals, the trio’s stripped-down sound borrows from the likes of Cathedral and Trouble, while leaning towards the darker side of ‘70s rock. Bearing in mind that this is only the band’s first stab of unifying their “stonercore” sound, their potential for greatness is vast.

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Roughly translated as ‘Soylent Green’, the unsigned Paris four-piece put the riff-heavy rock of Fu Manchu, through a roaring blend of sludge and hardcore punk that is sure to satisfy anyone who isn’t dead from the neck up.

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A label like ‘psychedelic-doom’ requires a band to be zoned-out and limitless, while bludgeoning the listener with slow, oppressive riffs.

Limited to 100 copies, and clocking in at an average of eight minutes, Häshcut’s early collection of tracks blaze and smoulder in turn, while shifting between a trance-inducing mantra that is as expansive and nihilistic as its ‘psychedelic-doom’ tag suggests.

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Alain Vandenberghe is fast becoming one of the leading lights of Belgian rock. Having celebrated the release of Naughty Mouse’s debut in March, Vandenberghe is already experimenting with the soulful side of desert rock.

Joined by Laurent Sterckx, Blows is “an aerial, mix of feelings and moods,” that are brought to life by the sun-drenched sound of neo-folk and heavy blues. Blessed with unbounded creativity, Blows is a hauntingly beautiful concept.

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