Ain’t No Shame
Release Date: May 25, 2018
Ain’t No Shame, the eagerly anticipated second full-length from Norwegian trio Friendship, should be classified as a mood-enhancing substance. The first time I heard it, it pulled me out of the kind of piss-poor headspace that can only come from five hours cooped up in a car with two cranky children and an more than exasperated spouse. I was actually a little nervous to hit play that first time, for fear that my mental and physical exhaustion might negatively color my feeling toward the material. But by the end of the Monkees-and-Cream-playing-Cheap Trick opener “Are You Ready,” I was grinning ear to ear. Somewhere in the middle of the jazzy delight “Harmony Turns to Sound,” my dopey grin turned to slack-jawed awe. And within three seconds of the stomping funk-rock romp “Fire,” I actually laughed out loud from the combination of amazement and joy. I went to bed that night with a smile on my face and a sense of contentment in my heart, and I have Fredrik Skalstad (drums & lead vocals), Martin Morland (bass), and Sander Eriksen Nordahl (guitar) (along with their litany of guest musicians) to thank for that. It brought me up when I was down, and there’s not too many higher accolades than that.
Church of the Cosmic Skull
The surest way to stand out in a bleak and dour world? Be a beacon of light. With their matching white outfits, recurring rainbow motifs, and a fully-formed and realized rock band-as-hippie love sect mythos, Nottingham-based occult rock septet Church of the Cosmic Skull have done a more-than-admirable job setting themselves apart from the seemingly endless parade of monsters and demons and scowling young men in varying shades of black that populate today’s heavy rock scene. Their aesthetic is so refined and so well-structured, in fact, that at first glance some folks may be inclined to immediately dismiss the group out of hand as a mere novelty act or an elaborate joke. Those folks would being doing themselves a grave disservice, however, because here’s the thing: Church of the Cosmic Skull is one of the best bands in the world of retro-rock, and with their absolutely breathtaking six-part harmonies, they may be the most singular unit out there. Nobody else sounds like this. Their debut album, 2016’s Is Satan Real?, is one of the best records I’ve heard since I started writing for Metal Nexus last summer. Their newest, Science Fiction, is even better.
Four years after recording their self-titled debut, Norwegian retro-psych trio Friendship is poised to release their sophomore effort, the intoxicatingly shimmery Ain’t No Shame. It’s a forty-minute smile, a heartfelt and exquisitely crafted work that should appeal equally to fans of Cream and Kadavar, of Earth, Wind, & Fire and Grand Funk Railroad, and we here at Metal Nexus are pleased and proud to offer you an exclusive streaming premiere of the album’s infectiously swinging title track.
Heavy Psych Sounds
Released April 27, 2018
Ruben Romano has a rock and roll pedigree that can stand alongside the very best. As a founding member of both Fu Manchu and Nebula (let that sink in for a second, why don’tcha?), Romano helped draw up the plans and build the framework that stoner rock hangs on to this very day. He’s spent the last decade-plus as frontman and guiding force for L.A. based psych-rockers The Freeks, piloting their trips-‘n’-riffs-fueled funny car further and further into the cosmic realm; their newest dispatch Crazy World (released via the ever-reliable Heavy Psych Sounds) is the sound of the band-in-residency at the Garage at the Edge of the Universe, a jubilantly strident “Fuck You” in the face of oblivion.
Belgian/Dutch power trio RRRags came together a mere eight months ago, but the songs on their self-titled debut sound like the work of a band that’s been at this rock and roll game for years and years. The band’s musical telepathy is remarkably refined, and the songs are both well-crafted and catchy as all hell. They hit hard without ever plodding, emphasizing groove and atmosphere over sheer brute strength and mixing their upbeat stoner vibe with flashes of soul, funk, southern rock, and power pop. RRRags are obviously true believers and lifelong devotees, my friends, and they’ve conjured up a slab of classic rock for the here and now.
Released March 23, 2018
The latest release from Cologne, Germany’s Mouth, the intoxicating Floating, marks the group as one of the most unique and singular in the wide world of retro rock. Like the very best of the genre, they take a pile of classic influences and combine them into something fresh and new and vital. A vibrantly kaleidoscopic blend of prog, pop, krautrock, and psych that pulses and throbs with a bright, crackling electricity, Floating clearly displays the musical telepathy the trio have developed in their near-twenty year existence. The eight songs here offer the full range of sonic experience, intricate structures and full, lush orchestration combining with joyful exuberance and rock-solid musicianship to make Floating one of the most rewarding listens you’ll have this year.
Kosmik Boogie Tribe
We’re Not Here to Fu*k Spiders
Rural Rebel Rock/Tiger Records
Release Date: April 6, 2018
The third release from Norwegian quintet Kosmik Boogie Tribe, We’re Not Here to Fuck Spiders, is an incendiary slab of no-bullshit, gutbucket rock n’ roll. True to its title, it’s not here to fuck around, it’s here to get the job done, and that job just so happens to be whooping your ass. Eight songs in a shade over a half-hour, and it barely slows down to take a breath from sonically punching you repeatedly in the face and gut. No time is wasted on current events or social commentary, or hackneyed relationship analyses or sad-sack treatises on man’s inhumanity to man; instead, the primary themes here seem to be getting fucked up and fucking shit up. Raw-boned and roughly hewn, We’re Not Here to Fuck Spiders is the sound of a band for whom making a record and making a racket are the same damn thing.
Rise Above Records
Release Date: March 30, 2018
Octopus began life in Detroit in 2008, largely as a recording project between vocalist Masha Marjieh and former Electric Six guitarist J Frezzato. After adding keyboardist/studio wizard Adam Cox a year later, the band recorded a few singles and cycled through a few rhythm sections before firmly securing the pocket with ex-Big Chief bassist Matt O’Brien and Seduce/Universal Temple of Divine Power drummer Todd Glass in 2012. The years of experience and familiarity clearly show through on their spellbinding debut full-length Supernatural Alliance (Rise Above); this band is locked in tight, and these ten songs are honed sharp enough to slice. It’s a slab of heavy-hitting hard rock, spiked liberally with equal doses of sci-fi and psychedelia, the perfect soundtrack to an imaginary big-budget flick about outlaw bikers in outer space.
Release Date: March 23, 2018
Since their now-infamous 1989 demo recordings Forget About Life, I’m High on Dope and I’m Stoned, What Ya Gonna Do About It? found their way into the bloodstream of the heavy music community, nobody’s been able to pull off the whole “acid-sleaze space-rock” thing quite like New Jersey’s Monster Magnet. From the thick, lysergic swirl of Spine of God, to the revved-up MC5-meets-Hawkwind riffing of Dopes to Infinity, to the stoner-arena crossover hit Powertrip, Magnet mainman Dave Wyndorf has expertly piloted his sleek silver machine through an asteroid belt of lineup changes and health scares, substance abuse and public opinion, emerging as something of a stoner rock elder statesman. On Mindfucker, the band’s first album of original material since 2013’s Last Patrol, Wyndorf and his slam-bang gang of hellraisers throw down the gauntlet with a tough, terse set of trippy rockers that prove they’re still well in consideration for the title of Baddest Cats Around.
Made in Milan
Frontiers Music s.r.l.
Release Date: March 23, 2018
Recorded April 30, 2017 at the Frontiers Rock Festival, Made in Milan documents a then freshly-reunited Phil Lewis and Tracii Guns leading their (finally and thankfully!) unified versions of L.A. Guns through a rip-roaring, rough-and-tumble set of crowd-pleasers and deeper cuts for the diehards. It’s a monument to the undeniable chemistry between the vocalist and the guitarist; they wasted an awful lot of time sniping and grousing over the past decade-plus, and from the powerful racket they conjured and captured that spring evening, it seems like they’re doing their damnedest to make up for lost time.