Something strange has been happening in a certain subgenre of metal in the past few years. It started, depending on who you ask, either with the release of Wolfmother’s self-titled album or The Sword’s debut Age of Winters. The subgenre was stoner rock, and the strange thing was it was becoming…hip. Yes, hip. Well, about as hip as any sort of metal can get, which is not very. Still, Austin’s The Sword getting signed to indie label Kemado was an eyebrow-raising move, to say the least. And yet it worked. Positive reviews came steamrolling in, and the quest to make stoner rock mainstream began. And that brings us to this compilation, which feels influential already. Read the rest of this entry »

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In this Boulder, Colorado trio we have a strange case. They are a band who has radio-ready songs but is on an indie label. They are a band who are steeped in classic rock tradition but not bound by it. They are a band who, unlike most of their peers–if these boys even have true contemporaries–craft original, thoughtful songs and then play them like the bastard children of Cream and Led Zeppelin. Sign me up. Read the rest of this entry »

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Most of the reviews you’ll read for this album will barely acknowledge the lesser known of the two members of The Last Shadow Puppets, The Rascals’ Miles Kane. Nearly every word is devoted to Arctic Monkeys’ Alex Turner. And Turner certainly does shine on this album. His lyrics are as sharp as ever, his vowels as blunt. Oh, yeah, Kane’s good too. Read the rest of this entry »

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