Omar A. Rodriguez-Lopez - Old Money (2008)

Given its range, depth, and breadth, it's utterly fitting that Old Money, the January 2009 offering from the increasingly prolific Omar Rodriguez-Lopez (guitarist, producer, composer, and arranger for the Mars Volta), is his debut for the mind-bending Stone's Throw imprint. On this conceptual recording very loosely based around themes of childhood dreams, nightmares, and colonial capitalism, Rodriguez-Lopez and his musical partners -- who include Juan Alderete de la Peña on bass; Marcel Rodriguez-Lopez on percussion and synths; Deantoni Parks, Cedric Bixler-Zavala, and Jon Theodore alternating on drums; and Adrian Terrazas-Gonzaleson winds -- whip up the most ambitious stew he's ever created. As a guitarist, Omar has continued absorbing the knotty winding path blazed by Frank Zappa. He's also learned from him compositionally. This music may sound unhinged, loose, and utterly mind-melting in terms of its madness, but rest assured, it is scripted and recorded quite carefully. Check "Population Council's Wet Dream," as the trio of Omar (on theremin and synths as well as guitar), Alderete de la Peña, and Theodore create a power trio of a track that would not have sounded out of place on either Zappa's Hot Rats or Billy Cobham's Spectrum. The crisscrossing rhythms, key shifts, and dynamic changes that occur within this driving, intensely focused composition may feel at times like a jam, but it's far too intricate for that. "Private Fortunes" is like its mirror image, even as Omar, who plays various keys and synths as well as bass and guitar, duets with Marcel. The faux strings, rubbery keyboard sounds, and blazing guitar solo interact beautifully with Marcel's hand drums and Latin rhythms. The closest thing to an all-out jam here is the humorously titled "I Like the Rockefellers' First Two Records, But After That...," where layers of guitars and keyboards swirl around each other but are tempered by a dubby rhythm section keeping everything anchored in a single time signature -- seemingly. But even it stretches and morphs after a bit. The set closes with the title track, the longest track here. It begins like one of Omar's soundtrack compositions, with muted fuzzy guitars layered in wah-wah and reverb as well as controlled feedback and playing in harmonic extensions of one another, with killer breaks by Marcel and Alderete de la Peña's popping bassline urging on the guitars. Marcel adds a clavinet to make things even more mutantly funky, but it just ROCKS! This may be the most over the top rock recording that Omar Rodriguez-Lopez has released to date, but it nonetheless contains all the imaginative and sophisticated musical elements that have made him so compelling as an artist. In fact, Old Money is so far-reaching, it will likely piss off some of his fans while making others nearly swoon with its unwieldy rockist excesses. As for winning new fans to his cause? You bet. (Thom Jurek, allmusic)

Download: http://bit.ly/2DJJSq

Hypnos 69 – The Intrigue Of Perception

É sempre complicado pra alguém falar sobre seus discos favoritos. Ainda mais quando um desses discos se trata de um trabalho de uma desconhecida banda da Bélgica. Esta banda é o Hypnos 69, e este disco se chama The Intrigue Of Perception. No quarto de seus cinco full lenghts, a banda que mistura atmosferas dignas de trabalhos do Pink Floyd, um excelente trabalho de guitarra, às vezes limpa, às vezes cheia de fuzz, uma cozinha poderosa, teclados de ótimo gosto e um saxofonista (que é um dos grandes diferenciais da banda), conseguiu fazer um trabalho de altíssima qualidade. A produção, os timbres, os solos, as letras... Está tudo ali, perfeito. A segunda faixa, Good Sinner, Bad Saint, com seus quase 10 minutos e seu viajadíssimo solo, e o baixo funcionando com o sax, remete à Money, do Pink Floyd. A belíssima Third Nature, que tem um dos solos mais bonitos que já escutei na vida é minha favorita, junto da Intrigue Of Perception I. Não espere guitarras super distorcidas, músicas para bater cabeça, e sim timbres vintage (os caras da banda só usam equipamentos antigos, não faltam guitarras SG, pedais da Electro Harmonix, amplificadores Ampeg). Esse é um disco daqueles pra se colocar no som, encostar no sofá e viajar, talvez com a ajuda de “aditivos”. No mais, recomendadíssimo!

Set: The Endless Void / Good Sinner, Bad Saint / Third Nature / Twisting The Knife / The Intrigue Of Perception I / The Intrigue Of Perception II / The Intrigue Of Perception III / Absent Friends

Download: http://lix.in/-32eefd

Colour Haze - Roadburn Festival 2006

Que o Roadburn é fodão e disponibiliza todos os shows no seu próprio site, todo mundo sabe. Mas como fazer pra ripar os arquivos de lá e ter no próprio PC é meio impossível de saber... e é por causa disso que eu ripei, converti e upei mais esse ao vivo aqui, que mostra uma das figurinhas carimbadas do Festival "stoner" mais famoso do mundo. Inclusive, o Colour Haze já está confirmado para a edição de 2009, que também contará com a presença do Orange Goblin, Saint Vitus e Cathedral, entre outros. Que venham mais bootlegs pra subir aqui no blog! Mas voltando à edição de 2006, aqui vai o set do que o CH tocou naquele ano, uma hora e meia de psicodelia:


Plazmakeks / Roses / Tao Nr. 43 / Zen / Outside / Peace, Brothers And Sisters! / Sundazed / Love / Inside / American Woman (The Guess Who) / Into The Sun (Grand Funk Railroad)


Download: http://www.mediafire.com/?gmyj3yj2w2w


E é isso. Em breve algumas reformulações aqui pelo blog.

Dead Meadow - Peel Session (01-01-2001)

Outro bootleg classe A. Naquela, qualidade foda e a performance melhor ainda.

Set: Dusty Nothing / Good Moanin' / Drifting / Wondering Thunder / Jam.


Download (mp3 @ 256 kbps):
http://www.mediafire.com/?g0gwoylrm1z


Tem mais umas coisas aqui pra compartilhar nos próximos dias, pra compensar o tempo de ausência. Fiquem ligados!

Siena Root - Live at Rockpalast / Crossroads (24.03.2006)

Eu não sei o nome do cara que entrou no lugar da Sanya (e nem tou a fim de saber, na verdade) para cantar em Far From The Sun, mas eu sei que eles perderam MUITO em tirar a gata do posto. Achei esses vídeos no YouTube, duma apresentação da banda no Rockpalast em 2006. Nem sei se é o show inteiro, mas ouvir Coming Home e Shine na voz da Sanya é do caralho.

01. Ridin' Slow
http://www.youtube.com/watch?v=YWtg6M2pJSo

02. Shine
http://www.youtube.com/watch?v=38ujLKFQRp4

03. Blues 276
http://www.youtube.com/watch?v=BWZ09SP6X8I

04. Mountain I
http://www.youtube.com/watch?v=3BV06gGDIW0

05. There and Back Again
http://www.youtube.com/watch?v=wtVxXUJHbz4

06. Reverberations
Parte I: http://www.youtube.com/watch?v=bbw794vBbe8
Parte II: http://www.youtube.com/watch?v=Gc8azek8xbk

07. The Rat
http://www.youtube.com/watch?v=iWA3ryyctYs

08. Coming Home
http://www.youtube.com/watch?v=rPoUt86Ow7U

Funkadelic - Funkadelic (1970)

Funkadelic's self-titled 1970 debut is one of the group's best early- to mid-'70s albums. Not only is it laden with great songs -- "I'll Bet You" and "I Got a Thing..." are obvious highlights -- but it retains perhaps a greater sense of classic '60s soul and R&B than any successive George Clinton-affiliated album. Recording for the Detroit-based Westbound label, at the time Funkadelic were in the same boat as psychedelic soul groups such as the Temptations, who had just recorded their landmark Cloud Nine album across town at Motown, and other similar groups. Yet no group had managed to effectively balance big, gnarly rock guitars with crooning, heartfelt soul at this point in time quite like Funkadelic. Clinton's songs are essentially conventional soul songs in the spirit of Motown or Stax -- steady rhythms, dense arrangements, choruses of vocals -- but with a loud, overdriven, fuzzy guitar lurking high in the mix. And when Clinton's songs went into their chaotic moments of jamming, there was no mistaking the Hendrix influence. Furthermore, Clinton's half-quirky, half-trippy ad libs during "Mommy, What's a Funkadelic?" and "What Is Soul" can be mistaken for no one else -- they're pure-cut P-Funk. Successive albums portray Funkadelic drifting further toward rock, funk, and eventually disco, especially once Bernie Worrell began playing a larger role in the group. Never again would the band be this attuned to its '60s roots, making self-titled release a revealing and unique record that's certainly not short on significance, clearly marking the crossroads between '60s soul and '70s funk.
(Jason Birchmeier, AllMusic)


Download: http://lix.in/cc09c35b

earthlings? - Human Beans 10" Box Set (2000)

"The earthlings? and the Queens Of The Stone Age are sort of twins. Two bands that've been so closely linked through the years (even they sound radically different) since the first ever QOTSA album, recorded at the Rancho de la Luna, Fred Drake's own studio (Fred died of cancer in 2002). The earthlings? is pretty hard to label and impossible to pigeonhole. As if a Krautrock band was playing some acoustic Stoner with weird electronic textures and stuff. 'Human Beans' is a beautiful triple 10" boxset released on Man's Ruin in 2000. Three beautiful white 10". Dave Grohl, Josh Homme and Mark Lanegan (among others) appear on this release." - Fonte: http://vinylconspiracy.blogspot.com/

Além disso, o Box conta com nada mais nada menos do que sete bônus tracks que diferem da versão lançada em cd, porém duas músicas (o cover de "Johnny B. Goodie" e "Piano Falls And Kills"), foram deixadas de fora. Coisa rara de se achar, e em 192 kbp/s!


Download: http://lix.in/808ea8ec

Om - Conference of the Birds (2006)

Om is the rhythm section of stoner rock wig-out band Sleep -- bassist Al Cisneros and drummer Chris Haikus. There are two long cuts on this slab totaling a little over 33 minutes. While it's true that having two instruments play repetitive droning grooves over and again leaves room for little true variation, it hardly matters. Conference of the Birds has the ability to get underneath the skin of the listener and keep burrowing. There are small rests in each composition, with cosmic, acid-drenched lyrics: "traverse the Cheopian field/Rides out from the red sun high above...." Yeah, but so what. These guys have Syd Barrett's sense of efficacy -- slow, slower, slowest -- clear Sisyphean trudges toward some unholy and unseen peak that ends pretty much in the same place they began. It's in between that counts. And here, slowly skittering snares and drums creep mercilessly along to a bass playing a melody line that offers itself as a bassline. Psychedelic? Yep. Boring as all get out? Only if you take the parts separately. While "At Gina" suffers a tiny bit from the seaminess of the vocals, it still slithers along to displace time and space. Yet it's "Flight of the Eagle" that actually carries the ever-darkening day, simply by the sheer force of that bass. It's a pure, wide-range, low-end throb that pushes no agenda other than sonic mantra, cleaving itself inseparably into the melting brain of the listener who becomes not only a willing participant, but also an active supplicant at the altar of an eternal shadow of the transcendent expando-flex mind -- or some such twaddle. Conference of the Birds rocks terribly, terribly slowly and maniacally in a lazy, trance-inducing way; it will melt your inhibitions -- or send you screaming from the room -- without the use of drugs or alcohol.
(Thom Jurek, AllMusic)


Download: http://lix.in/da38b0

Dead Meadow - Howls From the Hills (2001)

Hailing from the nation's capital and looking rather like the teenage cast from the cult film Rushmore, Dead Meadow garnered many an accolade with its first album's surprisingly accomplished and highly authentic brand of psychedelic rock. The young musicians' subtle yet dazzling technical interplay lies at the core of this formula, where power chords and all other such outbursts are usually hinted at, but rarely fully vented through the soft haze of the group's stoner musings. With its flowing grooves and measured, slow stomp, the band's self-titled debut was a discreetly seductive affair, slowly creeping up on the listener when least expected. Quickly released later the same year, second opus Howls from the Hills reprises this same M.O., with only slightly inferior results. Solid opener "Drifting Down Streams" lazily swims into gear over its eight-minute sprawl and the more concise Zeppelin-inspired "Dusty Nothing" delivers some early fireworks, but occasionally plodding tracks like "Jusiamere Farm" and "The White Worm" come off rather like first album leftovers. It would be easy to peg these underwhelming moments as unfocused, yet "focus" is a tricky word when describing Dead Meadow, since a seemingly casual (or possibly carefully orchestrated) lack thereof is an essential component of the group's unique identity. And, like its predecessor, Howls from the Hills' best trips are saved for last, and include the haunting acoustics of "The One I Don't Know," the epic "One and Old," and the excellent "The Breeze Always Blows." A strong effort all around, Howls from the Hills makes up for its occasional shortcomings with a palpable sense of promise, marking this as a band to watch.
(Ed Rivadavia, AllMusic)


Download: http://lix.in/0f0b74

Loop - Heaven's End (1987)

Quando este peculiaríssimo emergiu como um OVNI no seio do rock inglês em meados dos anos 1980, a imprensa dita 'especializada' apressou-se em caracterizá-lo como uma banda 'neopsicodélica'; hoje, com a perspectiva que só a distância dos anos proporciona, é possível constatar como tal classificação estava equivocada: banda indubitavelmente à frente de seu tempo, Loop poderia ser descrito como uma colisão blasfema entre emanações de avant noise psychedelia e peso stoner, atualizando, via Stooges, MC5 e Blue Cheer, a vertente mais alucinógena do krautrock (Guru Guru, Ash Ra Tempel, Silberbart, etc.) para a garotada dos anos 80: guitarras encharcadas de fuzz e wah wah's emanados diretamente dos mais ignotos confins do Cosmo; percussões catatônicas propelindo atmosferas lisérgicas e obsessivas; drones abissais gerando brumas oscilantes de desorientação sônica. Numa palavra: ESSENCIAL!
(Alfredo de Sousa)


Download: http://lix.in/75d702


* Upload por Alfredo

Bigelf - Closer to Doom (1996)

Black Sabbath meets Pink Floyd meets Atomic Rooster meets King Crimson meets The Beatles. Se essa descrição não for suficiente para ouvir com calma o debut do Bigelf, juro que não sei o que você faz neste blog.

You know they say…"downloading is killing cd sales"… bullshit, bad music and homogenized entertainment are killing cd sales, period."
(Bigelf)


Download: http://lix.in/fc7eb5

Bigelf - Hex (2003)

Here they come again!!! After almost three years since "Money Machine" Bigelf is back and in their best form ever! "Hex", in my opinion, is their best album up 'til now. "Madhatter" should take the award for "Best Goddamn Song From The Last Ten Years"! Holy shit, there's no way on earth you can listen to this song and not get psyched. But that's just the beginning of "Hex"! The power-vibe keeps goin' on songs like "Pain Killers" (which should get an award too) and "Carry The Load" with its six minutes of pure tripping heavy music. But hey! There's more, the trilogy of "Bats In The Belfry" is completed now with its 1st and 2nd parts (the third one is on "The Madhatter EP") and now you can play them in sequence and feel the heavy progressive vibe of Bigelf's crazy alchemists. "Disappear" and "Black Moth" are some kind of crossing between psychedelia and heaviness, Syd Barret's Pink Floyd and Black Sabbath's Sabbath Bloody Sabbath era. "Burning Bridges" gets into a Beatlesque kind of mood (there's a part of the song where the keyboards remind me of "Because" from the fab four), with lots of Hammond and blues feelings. "Rock And Roll Contract" and "Sunshine Suicide" follow that Beatle-mood, especially on the harmonies and vocals. There it is, I know this album has just been released, but I can't wait for their next doom opus!! Do as you wish, but HAVE this album in your collection!
(Álcio Villalobos)


Download: http://lix.in/0bd4fb

Shocking Blue - At Home (1969)

American listeners tend to remember Shocking Blue as the one-hit wonder behind the chart-topper "Venus," a melting pot of rock rhythms, country guitar licks, organ riffs, and Mariska Veres' heavily accented vocals. Sounding something like a cross between "96 Tears" and "Sugar, Sugar," "Venus" was not entirely representative of the group's first album, At Home. Like their fellow countrymen Golden Earring, Shocking Blue purveyed a mild strain of psychedelic rock, but leaned more toward country and folk music than bubblegum. Guitarist and principal songwriter Robby Van Leeuwen was already preoccupied with Americana at this early stage, from "Harley Davidson" and "California Here I Come" to a surprising rendition of the folk song "Boll Weevil" that sets the traditional lyrics to music reminiscent of the Easybeats' "Good Times." (The group's country music fixation would manifest itself more overtly on later albums). Van Leeuwen's sitar is pictured on the album cover and dominates the instrumental "Acka Raga," but, thankfully, is not overused. "Mighty Joe" and "Never Marry a Railroad Man" were minor U.S. chart hits that few people remember, but "Love Buzz" gained a measure of fame decades later when Nirvana covered it. Veres has great presence -- like a gypsy incarnation of Grace Slick -- but Van Leeuwen's English-language lyrics can be awkward at times. On "Venus," all the components clicked perfectly into place, but there is much more to Shocking Blue than their biggest hit.
(Greg Adams, AllMusic)


Download: http://lix.in/385913

Electric Wizard - We Live (2004)

2004's We Live witnessed the birth of Electric Wizard Mark II, as lone remaining founding member Jus Osborn -- tired of years of internal strife -- decided to "upgrade" the doom metal stalwarts from a power trio to a twin-guitar quartet. However, with or without the cosmetic improvement brought on by the addition of second guitarist Liz Buckingham, it's important to point out that this incarnation of Electric Wizard has little in common with the original article of ten years prior. Rather, as previewed by 2002's slightly more subdued Let Us Prey opus, this, the Wizard's fifth album finds the Dorset doom masters' original, overwhelming force largely replaced by a deep-seated sense of dread. Here, said vibe is established by the sphinx-like, ten-minute, two-part opener "Eko Eko Azarak: 1. Invocation; 2. Ritual," which quickly puts that second six-string to good use with minor key melodic lines backing up the band's characteristic power riffing. Then again, the ensuing title track, with its spoken word intro undoubtedly lifted from some crappy hammer horror movie, will surprise none among the band's devotees; and the fact that it goes on a little longer than necessary may be less a factor of bad form than overt familiarity with Electric Wizard's habits (again, depending on the listener). Both the typically sloth-like "Flower of Evil a.k.a. Malfiore" and the requisite "fast number," "Another Perfect Day?" also have their share of memorable moments -- but not enough, and the second in particular definitely overstays its welcome with useless repetition. So it's with great relief that this rare swoon is vengefully redeemed by two positively awesome compositions: the bottomless despairing "The Sun Has Turned to Black," where the band's second guitar is put to its best use yet; and the final, devastating mass that is 15-minute monolith "Saturn's Children," which spins back the clock to sit comfortably alongside Electric Wizard's greatest achievements of yore. Taken as a whole, however, We Live's clearly uneven attributes will probably not see it going down as Electric Wizard's finest hour; but even so, and taking into account the group's recent transformation, it does offer conclusive proof that, even on a mixed day, this band never drops too far off the top of the doom class.
(Ed Rivadavia, AllMusic)


Download (Remastered CD Version): http://lix.in/7d74af
Download (LP Version): http://lix.in/7a20e2


* Upload por Felipe

Electric Wizard - Let Us Prey (2002) [Remaster]

A band whose creative process has often been as lethargic as their drawn-out doom dirges, Electric Wizard surprised many fans when they announced the imminent release of their fourth album, Let Us Prey a mere year and a half after 2000's monolithic Dopethrone -- itself preceded by nearly four years of silence. Probably for this very reason, Let Us Prey weighs in at a comparatively trim 45 minutes or so and makes for a significantly easier meal to digest than its epic predecessor; but it also falls short of Dopethrone in delivering what many consider to be the final word in doom metal. In fact, it appears that, having stuffed those four years of frustration into Dopethrone's perfectly colossal mass, the world's most doleful trio used Let Us Prey to take a concerted step back from the edge, and allow themselves the privilege to explore a few new directions. A good case in point, first track "A Chosen Few" immediately finds them scaling back their extreme volume and feedback in order to make room for added guitar textures; and second offering "We, the Undead" sees them stepping on the gas and embarking upon a manic thrash-out the likes of which they've rarely attempted (topped by ultra-distorted screaming from singer Jus Osborn). Both are also uncharacteristically short and to the point, but the two-part instrumental "Master of Alchemy: I. House of Whipchord/II. The Black Drug" is more familiar. At nearly ten minutes, it resurrects the vintage, head nodding Wizard of old, and may just qualify as the greatest incidental horror movie soundtrack ever committed to tape. Sadly, its also the album's last unquestionable winner, as subsequent stoner epics "The Outsider" and "Priestess of Mars," while still offering plenty of doom for your buck, start to sound somewhat automatic and recycled. Also, separating the two is an eyebrow-raising anomaly called "Night of the Shape" consisting of piano and saxophone mood music (shock!) splayed out over a nearly electronic drumbeat. Ultimately, Let Us Prey's riskier experiments and occasional inconsistencies, however small, are bound to disappoint Electric Wizard fanatics accustomed to magnum opus after magnum opus; but the fact of the matter is that it still leaves most competitors coughing in the band's pot smoke.
(Ed Rivadavia, AllMusic)


Download: http://lix.in/f40530 *


* Upload por Felipe

Electric Wizard - Supercoven (1998)

Electric Wizard purveys the sort of grungy, sludgy, psychedelic heavy metal epitomized in the 1990s by Monster Magnet (and pioneered by Black Sabbath and Hawkwind). Supercoven is only 32 minutes long, but it provides a concise, concentrated burst of the band's signature, druggy sound.
(Steve Huey, AllMusic)

Supercoven is an EP by doom metal band Electric Wizard. It was originally released in 1998 by Bad Acid, and then re-released in 2000 by Southern Lord with two extra tracks: Wizards of Gore from the band's 1994 demo, and Electric Wizard from a live recording in Alkmaar in the Netherlands.
(Wikipedia)


Download: http://lix.in/08200f *


* Upload por Felipe

Electric Wizard - Dopethrone (2000)

As Deep Purple's Roger Glover once said, "Heavy isn't about volume, it's about attitude." And no band better illustrates this statement than England's Electric Wizard -- the reputed heaviest band in the universe -- whose every album has managed to push the boundaries of down-tuned, grinding, monolithic doom metal to unprecedented depths. Sure, they pack plenty of volume as well, but none of it could possibly work without the band's uncompromising worship of weed and all things gothic and malevolent. After a long hiatus (during which they were no doubt traveling the cosmos without ever leaving their parent's basements or putting down their bongs), Electric Wizard finally returned to action in the year 2000. The resulting dirge masterpiece, Dopethrone, delivers walls of sound so dense that at first they seem too big to fit into your ears. At a paltry three minutes, the opener "Vinum Sabbathi" may be the Wizards' first true candidate for an actual "single," but it really serves as a teaser for what's to come. Introduced by short spoken intros taken from B-movies a la White Zombie, extended riff-monsters like "Funeralopolis," "I, the Witchfinder," and the three-part colossus "Weird Tales" are vintage Electric Wizard. Though they never exceed a snail's pace, they somehow manage to build in intensity, from single note guitar lines to huge power chords with deliberate, maddening certainty. First-time listeners will find it easier to cope with more compact offerings like "Barbarian" and "We Hate You," but with time, they'll see the light and embrace the obscenely heavy title track, with its patented "Iron Man" oscillating riff. In short, with Dopethrone, Electric Wizard has raised the bar for doom metal achievement in the new millennium -- good luck to the competition.
(Ed Rivadavia, AllMusic)

[UPDATE]
Download: http://lix.in/2c6673
Download (REMASTERED Edition): http://lix.in/ff696c *



* Upload por Felipe

Electric Wizard - Come My Fanatics... (1997) [Remaster]

Upon its release, Electric Wizard's excellent debut carved a Titanic-sized swath through the heavy metal landscape, burying much that had come before under an avalanche of amp distortion, detuned riffs, and billows of marijuana smoke. And yet, impossible as it may seem, the band's absolutely colossal second effort, Come My Fanatics..., while somewhat less immediate than its predecessor, somehow upped the sonic ante through a wall of sludge so thick that even the most experienced of metal heads couldn't help but be overwhelmed by its power. Opening number "Return Trip" is quite simply a heavy metal landmark, from its sudden, feedback-induced (and bowel-releasing) opening chord to the anguished screams of main man Jus Oborn through to its final coughing denouement ten minutes later. The barely discernible lyrics to second track "Wizard in Black" (another monster at eight minutes) gradually emerge from the trio's cyclopean grind, intoning "I am a God...I am the One" -- and by gum if by now you're not ready to believe just that! Ensuing acid-metal behemoths like "Doom-Mantia" and "Son of Nothing" (the album's shortest track at almost seven minutes) will test the patience of uninitiated listeners before drifting into focus through billowing clouds of smoke, but the ultimate religious experience is well worth the lengthy conversion process. And though less memorable, instrumentals like "Ivixor B/Phase Inducer," (a full-fledged space rock feedback freak-out) and closer "Solarian 13" slot right into the album's imposing mass. Essential doom.
(Ed Rivadavia, AllMusic)


Download: http://lix.in/380eb3

Siena Root - Kaleidoscope (2006)

"Last year Siena Root played several highly acclaimed performances at big festivals and took the hearts by storm. With this -their second album- the band managed to enhance their honest and natural sound without loosing contact to their musical roots. The amazing and charismatic blues-tinged voice of female singer Sanya gives a real kick to the Siena Root sound. The album is a kaleidoscope with '1970' facets. It's spectrum ranges from tight and bluesy organ-based, psyched heavy rock to beautiful eastern-influenced ragas with sitar and hippiesque flute. Nevertheless there's enough space for some well dosed jamming and improvisational intervals."
(Nasoni Records)


Download: http://lix.in/422fae

Electric Wizard - Electric Wizard (1995)

"When Electric Wizard first emerged, seemingly fully formed from the hallowed wombs of the doom metal gods (well, Dorset, England, anyway), all most listeners could do was stand in dumbfounded awe -- such was the power and magnitude with which the trio delivered its monolithic epics. Taking up the torch from doom pioneers like Saint Vitus, Sleep, and more recently Britain's own Cathedral, the eternally stoned-out trio went about setting a new standard for slothful, detuned heavy metal noisemaking; yet -- amazingly, compared to subsequent efforts -- their eponymous debut's crushing wall of sludge would soon seem almost lightweight. Most of the songs on Electric Wizard crawl along at a snail's pace, their mind-numbing riffs exploring the lowest imaginable sonic frequencies still within human range. Except for the trippy space rock guitar of "Mountains of Mars," the entire record revels in the purest, uncompromising post-Sabbath doom metal dirge, a great part of which may prove too sluggish and impenetrable for inexperienced listeners. But for knowledgeable consumers of the genre, weed-worshipping anthems like "Stone Magnet," "Devil's Bride," and the group's awesome namesake, "Electric Wizard" (which is introduced by a long, highly suspicious exhaled breath), amount to a mind-shattering experience...prepare to be enlightened."
(Ed Rivadavia, AllMusic)


Download: http://lix.in/8bee45