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!

On a Pale Horse – Self Titled (2005)

Des Moines, Iowa’s On a Pale Horse can be placed in the niche of American Hard Rock, alongside bands like Greatdayforup. On a more exposed level, this would include Black Label Society, Corrosion of Conformity, Down, or any of the meathead acts that Clear Channel loves to pimp out. The higher visibility of those low rent meatheaded groups is a damn shame, as On a Pale Horse rock better and smarter and thusly are more deserving of the spotlight. This album continues on the path set by their debut, Black Is Not the Darkest Colour. Their formula is simple – keep the riffs thick and the choruses catchy. It starts strong with the one-two punch of “Penchant for the Divine” and “Amplify the Circle,” hits a high point with “Let It Flow,” gets even better with “No Eagle Lies in Potters Field,” and ends on a solid note with “Stand Up (All Rise).” Warren Riker’s production gives the songs a deep, rich sound (and on “King Brimstone,” some unfortunate Phil Anselmo mutter-vocal stylings). Lyrically, the band offers more than the usual beer drinkin’ and hell raisin’ hey-ho attitude. They’ve got a more spiritual, positive energy vibe, even when vocalist Aaron Peltz is screaming bloody murder. Another distinct part of On a Pale Horse is that they eschew the usual clichéd angst. While the definition of what constitutes hard rock and metal continues to mutate and splinter, On a Pale Horse stick with the basics. Good for them – they’re a talented group and their self titled album is a cut above the rest.
(John Pegoraro, StonerRock.com)


Download: http://lix.in/bcbc39 (upload por Jader)

On A Pale Horse - Black Is Not The Darkest Colour (2004)

The band: Iowa's On a Pale Horse was formed in 2000 out of the remnants of the heavy rock band Painface, when former members Jerry Spragur (guitar) and Jerry Easley (bass) decided to form a band that fit more in line with the kind of sound they wanted. Adding vocalist Aaron Peltz, drummer Nick Svoboda, and former Slipknot guitarist Josh Brainard, the line-up was complete. The band then headed into the studio to record Black is Not the Darkest Colour which was done without studio gadgetry but the old fashioned way: it was recorded live.

The songs: Black is Not the Darkest Colour is a record that really needs to be cranked to appreciate its true glory. Songs like "Come On" and "Steps" have a nice greasy southern swagger to them and at times almost give off a boogie-woogie vibe. There is no piano listed in the musician credits but you could almost swear there is one layered into these tunes. Though the majority of tunes on this record are mid-paced rockers, On a Pale Horse isn't afraid to throw in first gear and creep along with a slow, ugly but decidedly tasty Sabbathesque groove as evidenced on "The Day Has Come." The entire album is interesting because the listener can almost point out passages of, say, Kyuss or Nebula, but there is no mistaking that this is a decidedly heavy southern rock affair. The final tune, "The Darkest Colour," which clocks in at 12:56 in time, is undeniably the highlight of the album. The song starts off with quiet riffing and nice slide guitar and slowly crescendos into a furious, molten orgy of heavy goodness. It's definitely one of those songs that have an epic feel to it. The production of this album, in terms of sound, is terrific. For an album that was essentially recorded "live," it has a very professional quality about it.
(Jasen Chipman, StonerRock.com)


Download: http://lix.in/87e7cc (upload por Jader)

Dozer - In the Tail of a Comet (2000)

Fat, warm and fuzzy! That’s how I would describe Dozer’s sound, especially the excessively fuzzed out guitars.. "In the Tail of a Comet" is one of these records that you can listen to really loud with headphones and it doesn’t hurt your ears at all.. The production is too muddy, the guitars are too fuzzy and the bass is too loud!! And this is why it sounds so good, so warm and so easy on the ears. I love this stuff as you can tell, I much prefer Dozer’s type of sound over any tinny, eardrum peircing heavy metal even if it doesn’t turn out as clear and crisp on disc.

"In the Tail of a Comet" is Dozer’s debut full length album and it clocks in at 9 songs in just under 40 minutes… That’s 40 minutes of super groovy Kyuss and Fu Manchu inspired Swedish Fuzz Rock anthems that you can get down and boogie to. The range of songs do tend to ‘all sound the same’ on the first several listens if you’re not really paying attention.. But if you lie back with a good quality set of headphones with the bass cranked right up you start to understand a lot more where these guys are coming from.. On closer listen the dynamics in these 9 songs become much more evident. Dozer like to use a lot of creative vocal effects, there are lots of different tempos, and even some really enjoyable, and ultra-fuzzy guitar solos.. I must say that I much preferred the slower tempo songs like “Riding the Machine” and “High Roller” because of their flowing, organic textures and desert rock inspired mellow grooves.
(Dan Beland, StonerRock.com)


Download: http://lix.in/5cd7e8

Sleep - Dopesmoker (2003)

The saga of Sleep's Dopesmoker was already almost ten years in the making by the time of its belated release in 2003. Originally slated to follow closely behind their second album of a decade earlier, the landmark Sleep's Holy Mountain, it lingered in unreleased limbo instead -- the subject of a vicious legal dispute between the Northern California trio and their record company, London, which refused to release Dopesmoker as delivered by the band -- that is, a single, 60-minute-long song! The impasse eventually led to the stubborn band's ignominious dissolution circa 1997 rather than conform to the label's demands, leaving fans waiting for an album that most assumed would never be heard. But come 1999, an incomplete, disjointed version of the recordings was cobbled together and released by Rise Above Records with the title Jerusalem. Unfortunately, this version sounded oddly ragged in places, with senseless digital song divisions and an abrupt, obviously chopped-off ending; so for all intents and purposes, the ideal work as envisioned by Sleep clearly remained unrealized. Thankfully, all these glitches were finally corrected for the definitive, band-sanctioned 2003 edition of Dopesmoker, which bears a top-notch production job courtesy of Billy Anderson (Helios Creed, Natas, etc.) to boot. Revealed here at last, in all of its colossal glory, Dopesmoker is at once an instant doom metal classic -- some might even say a masterpiece -- as well as an impossibly dense, nearly impenetrable listening experience for unprepared fans (just to give you an idea, the first vocals only arrive 16 minutes in). Meticulously composed in the style of Gregorian chants as interpreted through the ears of Black Sabbath, "Dopesmoker" esoterically describes -- get this -- the "Weedian" people's pilgrimage to the "riff-filled land." But lyrics aside -- and there are precious few here to justify stressing over them -- what skeptical listeners must take into account here is that "Dopesmoker" is in fact a single song, not a series of song snippets stitched together progressive rock style. As such, this initially daunting edifice of snarling riffage requires quite a bit more patience and dedicated sampling before its secrets are unlocked and its riddles unraveled, but therein lies the crux of what is ultimately a very rewarding experience. And for Jerusalem owners still reticent to part with their hard-earned cash for this new and improved edition, Tee Pee Records has added a bonus treat in the form of a live recording of unreleased track "Sonic Titan."
(Ed Rivadavia, AllMusic)


Download: http://lix.in/3482db

Sleep - Jerusalem (1999)

Jerusalem is the ultimate celebration of smoke-filled nights spent zoning out to Black Sabbath. The album is a lyrically sparse 52-minute song that details the journey of "the weedian" to the "riff-filled land." The slow lumbering riffs in this land do the Obsessed, Blue Cheer, and the Sabs proud. Jerusalem is pure unpretentious heavy pleasure -- a smile and a nod to all who joyously kneel before the altar of Iommi with "bong in hand" in spirit and in actuality.
(Matthew Kantor, AllMusic)


Download: http://lix.in/e4d494

Sleep - Volume Two (1992)

Volume Two, já sem Justin Marler na guitarra, não é um lançamento oficial. O EP conta com cinco músicas, sendo duas versões diferentes para faixas do primeiro disco (Anguish e The Suffering), duas demos de Sleep's Holy Mountain (The Druid e Nain's Baptism), que sairia só no ano seguinte e, claro, um cover de Lord of This World. É, a capa diz tudo.


Download: http://lix.in/1830cb

Sleep - Volume One (1991)

Volume One, primeiro lançamento do Sleep, é o único álbum da banda gravado com um segundo guitarrista. Justin Marlen, o guitarrista em questão, largou o grupo e decidiu se dedicar ao estudo para se tornar um monge. Talvez por, na época, contar com doze cordas de guitarra, o Sleep ainda não tivesse caído de cara nas influências Sabbathicas (ou sei lá, quem sabe seja só merda da minha cabeça mesmo). A arte na capa do disco é um auto-retrato de Salvador Dali.


Download: http://lix.in/246a46

Siena Root - A New Day Dawning (2004)

A New Day Dawning é o primeiro disco dos suecos do Siena Root. Ainda com Oskar Lundström nos vocais (a bonita voz de Sanya tomou seu lugar logo depois), o debut é tão bom, se não melhor, que o lançamento seguinte, Kaleidoscope. Influências claras - e únicas, até - de hard rock 60/70, com direito até a uma pequena homenagem a War Pigs no final do disco. Moderninhos, esqueçam isso aqui: A New Day Dawning cheira a mofo.


Download: http://lix.in/21bdb9

Bigelf - Money Machine (2000)

I've never been much of a fan of music described as "progressive" - actually, I've avoided it like the plague (what, me narrow-minded?)! But then, something happened. I was standing at the festival area of this year's Sweden Rock Festival, enjoying a beer, talking to some people on my way to the exit and back to the tent. But something made me stop. Something made me stop and think to myself: "what the hell is this"? What I heard was some heavy guitars sliding away into long, down-tuned Sabbath-reminding solos backed up by an even heavier Hammond organ. I felt drawn towards this weird yet compelling sound and suddenly I found myself standing in the crowd, shaking my head to these hypnotic rhythms and on the stage there were three men, all wearing long hair and beards, looking like black-dressed mad prophets. Jesus on acid. Sadly, I had to return to the tent to conduct some personal business (don't ask) so I didn't get to catch the whole concert, but I was impressed with what I had heard. Bigelf, I thought to myself, I gotta remember that name. And I did and when the opportunity came to get my hands on their latest album, "Money Machine", I didn't hesitate. The press release describes the music as "the way The Beatles would have sounded with Tony Iommi from Black Sabbath on guitar and Jon Lord from Deep Purple on organ", and I gotta admit, they really hit the spot with that one! Imagine Beatles during their cannabis-back-to-India era and with a little bit of desperation thrown into their sound, mixed with fat guitars and a corresponding organ. Yeah, yeah, I know what you're thinking: don't mix this and don't mix that, it'll all get too chaotic, but trust me: it doesn't! Bigelf are very talented musicians, performing a music that could be described as very technical, still the melodies are clean and very catchy! It takes a certain amount of creativity and genius to make these parts blend together well and these guys are not only pulling it off, but also they do it terrific! The lyrics are pretty simple, yet effective when put to the music. The two first tracks, "Money Machine" and "Sellout" are, for those of you who didn't get that from the titles, a big black boot in the face of the entire music industry - well, the greedy, money-rule part of it, anyway! Corporate assholes, beware! "Neuropsychopathic Eye" (which kicks off with some distorted Ozzy-like vocals) could easily have passed as a song from any Beatles album during their rawer period and has some great baby grand handling from keyboardist Damon Fox. "Side effects" begins with some really down-tuned guitars and turns out to be the most outstanding track of the album - the chorus is so simple, yet it's remarkable! Even your parents will appreciate this! Or at least they should. "Death Walks Behind You" is creepy and atmospheric (once again with some brilliant organ usage and groovy guitars) and the closing track "The Bitter End" is slow-paced with calm vocals, soothing keyboards and long, spiraling guitar solos. Really laid-back and relaxing - a great completion of a great album. If you haven't heard of LA band Bigelf yet, I urge you to check 'em out! It didn't actually convert me to start liking progressive music, but it made me love a band within a genre I had earlier tried to keep away from and that, my friends, requires a certain quality!
(The Damnator, Sweet Suffering)


Download: http://lix.in/209383

Witchcraft - Roadburn Festival (2006)

Witchcraft ao vivo no Roadburn Festival, em 22/04/2006. Sem tracklist, pra não estragar a surpresa.

E tem nova música rolando. Como aperitivo para o novo disco, chamado The Alchemist, a banda jogou a música Walk Between the Lines no seu MySpace (http://www.myspace.com/witchcraftswe). O terceiro álbum do Witchcraft deve sair ainda este mês.


Download: http://lix.in/3a5915



* Upload por Vinícius.

Goldfish Memories - EP (2007)

"The music flies around us in every single step"! Com início em janeiro de 2006, o som de Goldfish Memories, que tem influências interessantes de stoner rock e demais estilos do rock como grunge e hard rock,chega na cena com um som carregado de riffs de peso e marcantes, com guitarras distorcidas, mas também com direito a uma viagem louca utilizando variações de efeitos e bateria agressiva!!! Basicamente esse é o som desses goianos que foram considerados como uma das bandas novas que mais se destacou no ano de 2006 em Goiânia – Goiás - Brasil. Banda é formada por: Pablo Villas Boas no vocal, Renato Cunha na guitarra, Danilo Xidan na outra guitarra e nos backing vocals, João Gabriel no baixo e Lucas Manoel na bateria.

"The music flies around us in every single step"! The band activities started at January 2006. Goldfish Memories shows up with great influences of stoner rock and using some grunge and hard rock elements to create a heavy sound with notable riffs, crazy guitars, playing around with effects and powerful drumming. Basically, that’s the sound of this band that was considered one of the greatest new bands of Goiânia/Brazil in 2006. Goldfish Memories is: Pablo Villas Boas(lead vocal), Renato Cunha(guitar), Danilo Xidan(guitar and backing vocals), João Gabriel(bass), and Lucas Manoel(drums).
(do MySpace da banda)


Download: http://lix.in/0cf969

Sonicvolt - Single 2007 (2007)

Poucas bandas têm uma árvore genealógica tão vistosa como a SonicVolt. São galhos contemporâneos vergados ao peso de Queens of the Stone Age e Nebula; um denso e sólido caule do rock ’70 de Black Sabbath, Led Zeppelin e Blue Cheer; e raízes tão diversas que vão do pré-punk de Detroit à psicoledia sessentista de cepas vigorosas, como Hendrix e Floyd.

Transitando entre o experimentalismo, a psicodelia e ainda arriscando alguns elementos de punk, esse trio pioneiro do stoner rock no Brasil sabe bem como respeitar essas origens. Exatamente por isso, mantém -- alheio a modismos -- os dois pés fixos no rock de alta-energia, como o próprio nome da banda sugere.
(Wilson Cordeiro, no release da banda)

E seguindo essa linha a Sonicvolt disponibilizou 'Single 2007', último trabalho da banda, com três músicas novas: Atômica Revelação, H.E.N.D.R.x. e Fora de Foco. Eu não sei se é impressão minha, mas cada vez mais eu começo a perceber fortes influências Atomic Bitchwaxianas no som do grupo, e isso é muito bom. Pode ser viagem mesmo, mas pouco importa. Cancele o download do disco daquele tal de Moptop, clique no link abaixo e seja feliz.


Download: http://www.sonicvolt.com.br/mp3/single_2007/
SONICVOLT-single_2007.zip

Site oficial: http://www.sonicvolt.com.br/

Pagan Altar - Volume 1 (1982)

If I were to just say they are Sabbathy heavy metal I might give the impression that they are just another proto-stoner band like Witchfinder General, but that's not quite right at all. Imagine a band heavily influenced by the riff-stylings, songwriting/arrangement, and magical/occult imagery of Sabbath, but completely without all of the psychedelic and drug influence. They don't tune down, so the doomy rumbling sound isn't there, and the songs don't go for heaviness so much as...'otherworld-liness', maybe? From what I gathered from the band's website this album is thematic and is focused on occult themes, and the music manages to grab that atmosphere of unreality and the terror a person feels when faced with something forbidden (I guess I'm thinking of Hawthorne's short story "Young Goodman Brown" where the good puritan guy goes into the woods and finds his whole town in an occult orgy...).

The music on this album seems timeless, in a way. The music is very faithful to the OLD style of heavy metal like early Sabbath and Priest, both in the riffs/arrangements and the way the bass and drums play off the guitar work. The vocals also seem very 'vintage' - frontman Terry Jones is definitely NOT a 'metal' singer, with his very high, thin vocals that actually call to mind OLD occult/rock acts like Black Widow or early Pentagram - he sounds much more 'rock' than metal in his timbre, but the vocal melodies he weaves into the songs just fit perfectly. The production helps reinforce that 'timeless' sound (though I doubt it was deliberate - this was 1982, after all...) - it's a bit brittle, like slightly overdriven analog recording equipment, with gritty but slightly thin guitars, a big, fat bass sound, and clean-but-dry drums like on the first couple of Priest albums. You could have told me this came out in 1972 and I'd believe it.
(Vic, Metal Archives)

Download: http://lix.in/722f74

Rising Dust - Rising Dust (2005)

RISING DUST is a Doom trio comprised of David (guitars/vocals), Steff (bass) and Malek (drums) – from France. Their roots clearly lie at: BLACK SABBATH, SAINT VITUS, PENTAGRAM, THE OBSESSED, TROUBLE and DEATH SS, classical Doom that is. (...) It’s old-fashioned as hell, the production stale and the song titles really clichéd in a nice way. The vocalist sounds as weird/original as Steve Sylvester in DEATH SS’ glory days. And yet I like this album better than many tuned and ho so technically boasting works… RISING DUST have soul and like to play and they come across as credible. They don’t have an image, no special outfit, they play Doom coming right from the heart! (Ralf, The Metal Observer)


Download: http://lix.in/455b3e

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

Pale Divine - Eternity Revealed (2004)

I think I’ve had the promo for this monster for 4 months. For some reason I couldn’t put the feelings into words. OK, and time was a factor too, I’m a busy guy, I got other shit going on, but mostly it was the ‘feelings to words’ thing. Sometimes I get awed enough by the magic of music to become aphasiac.

Eternity Revealed is massive. That’s the word that always comes to mind with I listen to the record. There is a lot to get your head around, and its full enjoyment potential doesn’t materialize until several listens in. The full scope and immensity just has to seep in, little by little. Eternity Revealed is the Three Mile Island of metal.

Pale Divine’s gift to doom-tinged metal is adding in a 70’s heavy psych flair and an unreal comprehension of the metal jam. I’ve always maintained these guys are the Allman Bros. of metal, and Eternity Revealed does nothing, thankfully, to change my mind. The complexity of the jams contained within are head-spinning, but the emotional power behind both these jams and the songs themselves are truly a gift.

Whereas their previous effort, Thunder Perfect Mind was an excellent work, it was hampered by…uh… less than austere production. This time they enlisted famed engineer to the DC scene, Chris Kozlowski, and the result is amazing. Eternity Revealed also has a more ‘metal’ feel than TPG, less groove and more dire. The fact that the PD’s also pulled a couple of tunes off of the famed (and also very dire) Crimson Tears demo and retooled ‘em a bit, helped color Eternity…. a bit darker than it’s predecessor.

And riffs… there is more riffs per song on ER than most modern Death Metal opuses. It’s staggering. Each song is a friggin’ rollercoaster with highs, lows, plateaus, sudden twists and sudden drops… massive. That’s it. Massive.

An exceptional release, definitely in my top ten for the year.
(Chris Barnes, Hellride Music)


Download: http://lix.in/f1c5e9

The Obsessed - The Church Within (1994)

There's a certain AC/DC quality to the Obsessed; one knows what to expect and it's okay. Though there's some damn-near thrash moments on The Church Within, the record stays true to the Obsessed blueprint of Volume 4: riffing, monotone vocals, and expressive, intelligent lead playing. Far from sounding tired, the formula is used for maximum effect -- check out "Blind Lightning," perhaps the hardest crush the group have ever committed to tape, or the dissonant doom of "Mourning" for examples. Originally released stateside as their major label debut, it's comforting that the Obsessed didn't change or conform their sound one bit on The Church Within -- it's heavy without apology.
(Matthew Kantor, AllMusic)


Download: http://lix.in/c82e36