Written by: Continuous Thunder
In the world of heavy psych-rock, the majority of influences often come from the rock bands of the ‘70s, and if we’re honest, the modern bands more resemble hard rock and early heavy metal. Ultimately, this is understandable; modern heavy psych likely comes from a desire to trace heavy music back to its roots, and the origin of heavy metal is often, though not without contention, considered to be Black Sabbath’s 1970 self-titled debut. As such, many of the sounds and aesthetics emulated in heavy psych come from the time period immediately before and after that key event. You rarely hear modern bands going for the sound of the true psychedelic rock of the mid-’60s, and that’s why The Sonic Dawn is different.
Hailing from Denmark, The Sonic Dawn completely embrace original psychedelic rock in ways few modern bands do, right down to the floral shirts and mustaches.
Move aside, typical intro. In a tidy break from the normal band bio hullabaloo, Märvel have brought a genuinely intriguing story detailing the release of their latest. As they tell it: back in the primordial aughts, three Swedish exchange students in Denver found themselves in an exciting situation--after being picked up by a US indie label, the original vers kion of this EP was recorded. And then...it didn't see the light of day. This was due, firstly, to the label not releasing it as planned, and, secondly, the untimely demise of the master tapes in 2008's Universal Studios fire. Thankfully for us slumbering Villagers (and you as well,) the four tracks that constitute Märvellous have been reborn anew.
This current iteration of those lost songs is not, however, an exact replica. In the band's words, "we wanted to play, produce and record the songs as well as we possibly could." And so here we are, listening to the pseudo-original tunes from a band who have since gone on to prove themselves worthy to shoulder the burden of rock 'n' roll revitalization.
Avatarium has a new album out today, and as I fuck off for a few hours to bask in its undoubted splendor, I'll leave you fine folks with a recycled review of their 2015 debut. The Girl With the Raven Mask fit neatly into that year's AoTY slot, both in the moment and in well-considered retrospect. Without further ado:
So here I sit, basking in the warmth of Jennie-Ann Smith's vocal stylings. In one sense, her voice is a confluence of qualities: Grace Slick's sheer force, Jess (of the Ancient One's) eerie flow, and Jex Thoth's silky smoothness. But in another sense entirely, her tone is sophisticated beyond compare. Every track is imbued with a slightly distinct (yet no less alluring) character, and it is Smith, in large, who is responsible for this brilliant dynamism.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!