Sleepy Sun "Embrace" (2009)

With greatness among my expectations, a step back to the debut record from Californian Psychedelic Rock outfit Sleepy Sun has felt like one too. Lurking in the shadows of Fever, this album was initially underwhelming in its similarities, the same sword swung with a duller blade. Many of the same key shifts, chord arrangements and harmonies occupy a well established aesthetic that runs parallel. Its jam sections, indulgences with noise and unwinding atmospheres pool from the same source yet despite wanting more of that Fever magic, it isn't quite here. I can't put my finger on the distance, is it familiarity? The folly of working in reverse? After a myriad of attempts with this record I make peace with my mediocre enjoyment of it.

The band have a beautiful aesthetic in some compositions, a soothing persuasion, soft and warm vocal phrases, gentle dusty guitars and a measured percussion that adds up to a subtle psychedelic intoxication. They also like to lean brazen on dirty distortion tones in the energetic swells of madness. It is that aspect that didn't pull off so well on this record. Its hypnotic tracks like Golden Artifact gleam in the light but the grit and gristle of mean fuzzy overdriven tones sound loose and unfocused on the other end of the spectrum with a song like Redblack.

The album doesn't get much of a flow going with the disharmony of their abrasive side interrupting the swells of mood and atmosphere some passageways cultivate. White Dove does a great job at defining an equilibrium as its opposites converge on a mighty grooving guitar riff but its lengthy nine minutes journey looses structure delving into a tangent that doesn't lead anywhere. Ive tried my best with this one and despite much similarity it feels like the musics core is missing something the next record will gain in abundance! For now I will move forward to their third.

Favorite Tracks: Lord, Golden Artifact

Rating: 6/10

Sleepy Sun "Fever" (2010)

Californian Rock band Sleepy Sun's sophomore record is a musical experience I hold in high regards. Its peaks echo shivers of the greats, Pink Floyd, Led Zeppelin and King Crimson vibes produce goosebumps however this is no nostalgia act. Fusing elements of Rock music's broader spectrum, Stoner and Psychedelic Rock vibes dominate the focus with touches of Progressive and Post-Rock coloring an ever organic unraveling of vision through inspiration. Composed of nine tracks its one of those records that commands to be lived in full. Traversing its peaks and valleys, electrified eruptions of ecstatic guitar leads engulf acute atmospheres that then descend and dissipate into sombre strolls of folksy acoustic yearnings and surfing psychedelic ambience. Suspense yearns in the shadows it casts.

 Opening with sun soaked melodies to relax the soul, rousing flares of fiery guitar noise break up the harmonica jams and earnest singing, to lead us into tribal jungle jams and choral chants. Its a naturalistic flow that Rigamarro holds over with a soft and dusky bongo led acoustic piece for the eruptions to begin again on Wild Machines. Led on by whistling tunes, unleashed swells of overdrive tonal guitars sludge out a short lived groove that eventually blossoms into a unrestrained force of inspiration as it scales up to a climax. The dynamic is riveting and Ooh Boy and Acid Love tie us down through a shift in tone as we absorb in the anticipation.

With Desert God the record tugs on the heart strings, its careful build through distant rumblings under its timeless melody at front and center let vocalist Rachel Fannan allures us with a soft, serine singing that will soon soar into a roaring of soulful voicing to rumble your belly. Its wholly captivating but far from over. With a flickering percussive rhythm of stick slapping and exotic psychedelic chord reverberations, Open Eyes sways between its entrancing grooves and falling to the soft and comforting breaks, teasing what to come. Eventually it swells up into a dramatic rise, taking both components, elevating and uniting them towards an epic hieght.

Freedom Line brings about some attitude, a sassy baseline purrs with its punchy, binary presence. The withdrawal of guitars gives drummer Brian Tice focus to vibrate a rigid groove that builds its complexity in fractions. We then come to the monumental Sandstorm Woman, a ten minute saga to see the record out with an indulgent high as we descend deep into kaleidoscopic psychedelia. Its colorful construct feels full circle as the return of the harmonica sounds. Its mid tempo pace is challenged by a roaring guitar lead that wails itself into existence. As quick as it came it disappears back into the wash of luminous radiance that is a band in unison.

The song goes on to scale further heights, a remarkable flow of inspired brilliance. This album is gorgeous, its aesthetic has texture, tone and flavor. It captures the spirit of old recordings and feels electric, as if the band were in the room with you. The drum kit sounds especially lived in, the use of effects and reverberations allows the record to ebb and surge. Their performance has a self aware, electric dynamism that the musicians seem to relish within. I can't think of anything bad to say about it other than some tracks are more preferable to others but everything fires on all cylinders and there is much packed in these forty two minuets that you won't be able to forget.

Favorite Tracks: Marina, Desert God, Open Eyes, Sandstorm Woman

Rating: 9.5/10

Mastodon "Cold Dark Place" (2017)

Hot of the back of the desert sun soaked "Emperor Of Sand", American Sludge Metal rockers Mastodon bring us four songs I hoped were b-sides from their album released earlier this year. I say that because It has grown on me greatly over the months, Mastodon have the experience and talent to write music with depth that lasts. The same could be said of these four songs however, as the title suggests, they have moved on from the warm summery sound into a "Cold Dark Place", with exception to "Toe To Toes", that song would fit snugly into Emperor Of Sand.

Climate, temperature and luminosity are highly suggestive ideas in music. The record certainly kicks off with a chilling tone, its quaint aesthetics let bustling acoustics resonate of a flute line as the song jumps straight into its moment with earthly singing, the two voices chiming with a catchy quirkiness given the sombreness setting. Its a spooky, ethereal place we drift through with an odd moment of Funk as a upbeat jive manages to penetrate this melancholic place as the song unleashes its guitar solos. The groove is rather reminiscent of CKY given the style of singing and flexing riff beneath.

"Blue Walsh" and "Cold Dark Place" are in the same realm of eerie, dark melancholy without any heavy or blunt metallic riffage. Everything is a tapestry of thoughtful riffs layers to resonate and on the first mentioned song, a rather soothing, relaxing atmosphere is conjured with strong plentiful reverberation on the vocals the drifts over the instrumentals like a graceful ghost lost in memory.

Unfortunately, this is Mastodon and so the spell of our three darker tracks are often interspersed with technically dazzling riffs that scale the fret board with pace but in doing so break the spell of this shadowy, chilling setting. The same could be said of the solos too, when the distortion picks up and the more human Rock elements come to the front, it pushes the sombre setting out of mind. I really have enjoyed this record but its kind of bitter sweet as they don't fully embrace the mysterious atmosphere they create on three of the four songs.

Favorite Tracks: North Side Star, Blue Walsh, Toe To Toes

Rating: 5/10

Mastodon "Emperor Of Sand" (2017)

The behemoths of Sludge Metal, Mastodon, have become quite the reputable group over time, climbing festival bills and delivering record after record. I myself have barely checked in with the band since their classic breakthrough record "Leviathan" and I can't help but feel I'm enjoying this record more than the average fan would. Kicking off with "Sultan's Curse" the opening riff sounds as natural as Mastodon get, immediately identifiable with Brent Hinds verile voice. It doesn't take long for the record to set its desert sweltering, sun soaked tone. The warm undercurrent of broad baselines swell, heated under colorful, tonal guitar distortions that rock and groove, swaying back and forth in there own narrative. A constant switch and swerving of melodic inflections and pumping grooves come to light when the vocals illuminate there direction with earthly, raw yet harmonic singing that's got a rough authenticity and genuine softness too. Its a chemistry that works without force.

The record is always lively, not a dull moments passes as each rolling riff delivers melody and hardness. From crunchy grooves to expansive chords, guitar solos and interludes the adventure is sweet for all fifty minutes. On some tracks the whirling of soft organs can be heard in the backdrop, like mirages in the baking sun. If not for these its mostly a straight forward setting of guitar, drums and vocals, the themes and ideas emerge from the song writing but on "Clandestiny" the song pulls back to a Progressive Rock setting and busts in with vibrant electronic leads, very reminiscent of the tone used by "Contact". A robotic voice mutters as it comes to a climax and for a moment the record is transformed to a different setting. It works but is a rather isolated event in a very consistent record.

It's criminal that I haven't given more time to this band, I believe there strengths as song writers holds this record up however It doesn't have quite the immediate intensity of songs like "Blood And Thunder". This newest record "Emperor Of Sand" is more of a theme, a place, setting, a storey that the band really own. Listening to it alone makes the room temperature a little hotter. I really do like this temperate sun soaked breed of Metal they have put together here.

Rating: 7/10

Favorite Tracks: Steambreather, Roots Remain, Word To The Wise, Jaguar God