25 Tab is the second Monster Magnet album, easily the band’s most ambitious work, and a successful attempt to make the most psychedelic album of all time.
While Avatar may not satisfy the hard psych freaks who worship earlier records, there’s room for both sides of the band’s personality in my collection.
Someone made a radio-friendly Black Label Society by toning down the aggression, lowering the metal, throwing in big hooks, and prettying up the fellas.
The live half is the only officially sanctioned live recording from the band’s early years. The second half contains their best studio work at that point.
This is a legitimately great album. Great songs are the most important part of any great album, and it’s difficult for me to find fault with any these tracks.
The band is still playing butt-shaking boogie rock, but the tempo’s a bit less frantic, and the psychedelic effects on the vocals may arch an eyebrow or two.
For whatever reason, the band’s brand of classic power-trio heavy rock seems to spring into a further dimension when the three members step onto a stage.
While I enjoyed the woodsy American rock feel of 2 Over Ten, I was hoping for a different direction on the follow-up, and I was definitely not disappointed.
Two members of Sleep, the legendary proto-stoner ’90s trio, Chris Hakius and Al Cisneros, return after a long sabbatical as bass-and-guitar stoner duo, OM.
A reasonably in-depth analysis, and even if there isn’t much new information for the hardcore geeks, the performance footage is enough to make it worthwhile.
A reasonably in-depth analysis (almost two hours), and even if there’s not much new information for the hardcore geeks, the performance footage is enough.
The boys belly-flop into the deep mud-clogged river of America and belch out steel-shod blues shorn of beer rock, record collector ass-covering, and minutiae.
The jokes are funny, but the playful sensibility that includes the liberal use of fantasy sequences and riffs on other genres keeps the laughs coming as well.
Jerky handheld work, jittery jump cuts, seemingly pointless zooms, and anarchic shifts in color palette brings to mind Fincher’s Se7en and Soderbergh’s Traffic.
I enjoyed the band’s second and third releases, but their third, The Red, White & Black, was a bit of a disappointment. @ the Barfly draws heavily from RW&B.
Whereas the first two Grand Magus full-lengths were doom with a bit of classic rock and metal, Wolf’s Return is a classic metal album with just a hint of doom.