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  • SCUMBACK ~ PERFECT BLUE ….. review

     

    Perusing Desert Psychlist’s unending wave of emails can be in turns informative, infuriating and gladdening and it was the last of those emotions we felt when we scrolled down to find that Russian groovsters Scumback had gifted us a download of their latest album “Perfect Blue” via Bandcamp. Some may remember us waxing lyrical on these pages over the bands second album “Sons of a Witch“, a collection of short sharp and caustic tunes that took their cues from the likes of Eyehategod, Buzzov-en, and Crowbar as much as they did from southern rock royalty like Lynyrd Skynyrd, Blackfoot and Molly Hatchet. Those who have already bought into Scumback’s blend of of hardcore, groove and southern rock /metal will be cock-a-hoop to discover that while “Perfect Blue” sees Scumback progressing musically as a band it also does not stray too far from the bands original blueprint while those new to the band will discover an outfit with the ability to both swing and brutalize in equal measure.


    Oh maaan how do you go about describing an opening number as impactful as “Murdertown“, this is a tune that leaves you feeling like you have been run over by a truck, a partly groove, partly thrash, partly industrial, partly nu-metal riff fest decorated with vocals that are constantly shifting between stoner rock like throatiness and sludgy metallic harshness., if this tune does not compel you to take a deep dive into the rest of the album then nothing will. If you have somehow managed to get up off the floor and dust yourself down then ready yourself to be knocked right back down again by “The Absolute“, this song wraps scattergun riffage and blackened rhythms beneath vocals that alternate between full on snarliness and melodic gruffness around which ear-catching motifs and searing solos are constantly swooping and swirling. There are in total 14 tracks to be found on “Perfect Blue” so please do not expect us to go in depth on each, instead we will from here on in highlight a few that we think demand attention. The first of those is the chugging stoner(ish) “Fade Away” a song that stands out thanks to its slightly more southern rock flavoured vocal inflections and its attention grabbing little hooks and catches. The next worthy of mention is the southern flavoured lament “By The River” its acoustic guitars and down-home vocal tones giving it an almost “campfire” feel. Another we think should be further investigated is the excellent “Tears of God” which, to our ears, channels a little Mississippi Bones/Clutch type swagger in its sonic attack. The truth though is that no matter where you place the needle on “Perfect Blue“, be it the full on hardcore of “25 Hours” or the lilting and Skynyrd like ballad “Wasted Paradise“, you are going to strike gold! 


    Scumback describe what they do on “Perfect Blue” as being “hardcore with touch of Lynyrd Skynyrd” and that is in a nutshell exactly what it is, an amalgamation of southern rock, groove metal, doom and sludge condensed down into small easy to swallow bites, one of the best albums of its genre you could possibly hope to hear.
    Check it out ….
       
    © 2025 Frazer Jones

  • SCUMBACK ~ PERFECT BLUE ….. review

     

    Perusing Desert Psychlist’s unending wave of emails can be in turns informative, infuriating and gladdening and it was the last of those emotions we felt when we scrolled down to find that Russian groovsters Scumback had gifted us a download of their latest album “Perfect Blue” via Bandcamp. Some may remember us waxing lyrical on these pages over the bands second album “Sons of a Witch“, a collection of short sharp and caustic tunes that took their cues from the likes of Eyehategod, Buzzov-en, and Crowbar as much as they did from southern rock royalty like Lynyrd Skynyrd, Blackfoot and Molly Hatchet. Those who have already bought into Scumback’s blend of of hardcore, groove and southern rock /metal will be cock-a-hoop to discover that while “Perfect Blue” sees Scumback progressing musically as a band it also does not stray too far from the bands original blueprint while those new to the band will discover an outfit with the ability to both swing and brutalize in equal measure.


    Oh maaan how do you go about describing an opening number as impactful as “Murdertown“, this is a tune that leaves you feeling like you have been run over by a truck, a partly groove, partly thrash, partly industrial, partly nu-metal riff fest decorated with vocals that are constantly shifting between stoner rock like throatiness and sludgy metallic harshness., if this tune does not compel you to take a deep dive into the rest of the album then nothing will. If you have somehow managed to get up off the floor and dust yourself down then ready yourself to be knocked right back down again by “The Absolute“, this song wraps scattergun riffage and blackened rhythms beneath vocals that alternate between full on snarliness and melodic gruffness around which ear-catching motifs and searing solos are constantly swooping and swirling. There are in total 14 tracks to be found on “Perfect Blue” so please do not expect us to go in depth on each, instead we will from here on in highlight a few that we think demand attention. The first of those is the chugging stoner(ish) “Fade Away” a song that stands out thanks to its slightly more southern rock flavoured vocal inflections and its attention grabbing little hooks and catches. The next worthy of mention is the southern flavoured lament “By The River” its acoustic guitars and down-home vocal tones giving it an almost “campfire” feel. Another we think should be further investigated is the excellent “Tears of God” which, to our ears, channels a little Mississippi Bones/Clutch type swagger in its sonic attack. The truth though is that no matter where you place the needle on “Perfect Blue“, be it the full on hardcore of “25 Hours” or the lilting and Skynyrd like ballad “Wasted Paradise“, you are going to strike gold! 


    Scumback describe what they do on “Perfect Blue” as being “hardcore with touch of Lynyrd Skynyrd” and that is in a nutshell exactly what it is, an amalgamation of southern rock, groove metal, doom and sludge condensed down into small easy to swallow bites, one of the best albums of its genre you could possibly hope to hear.
    Check it out ….
       
    © 2025 Frazer Jones

  • Ne Obliviscaris confirm 2025 North American headline tour

    Performing both ‘Exul’ and ‘Citadel’ in full

    Source

  • Peeling Flesh drop new single/video, “Autistimus Prime”

    Featuring Kiriakos Destounis of Embryectomy

    Source

  • Nisse Karlén, founding member of Sacramentum, dies at 50

    RIP

    Source

  • Goodbye Wudaokou – Anything Of Us

    On his second album under the Goodbye Wudaokou moniker, Manchester based DIY artist Mat Mills leans toward the Bay Area underground to further refine his heartfelt, upliftingly melancholic indiepop.

    Whilst remaining a lofi artist at heart, Mill’s compositions are frequently epic in scope, with sweeping arrangements wrapping themselves lovingly around his plaintive yet affecting vocals.

    Huge hearted pop gems such as Never Left and lead single Only Questions lay bare Goodbye Wudaokou’s guitar-driven vision, restlessly searching for truth and meaning amid the ebb and flow of life’s triumphs and challenges.

    After the slow-burn success of debut Mirror Skies and this album’s release via the ever dependable Subjangle, now is the perfect time to immerse yourself in Mat Mills’ shimmering soundscapes.

    Goodbye Wudaokou – Only Questions

    Anything Of Us is available to pre-order on CD via Subjangle here. CD’s release 1st October but full digital download is included immediately upon purchase.

  • CROP ~ S.S.R.I. ….. review


    Desert Psychlist has to hold our hands up and admit to not being aware of the existence of CROP, Marc Phillips (vocals); Zach Hunter (guitar); Braun Dabney (bass), and Andrew Beauvier (drums), until the bands latest album “S.S.R.I.” landed on our desk a few days ago. How this band got by us is still a mystery, especially since they tick all the musical boxes we love like caustic riffage, thunderous sludgy grooves and forceful gritty vocals but we’ve found them now and we are not about to let anything they put out in the future get by us again. 


    CROP’s “S.S.R.I.” is far from an easy listening experience, listeners should brace themselves mentally and physically before taking this monster on. Even “Flatline,” the album’s brief, droning instrumental intro, feels like an assault on the senses. If “Flatline” doesn’t have you fleeing in auditory distress, the next track, “Formaldehyde,” most certainly will, the song bursts out of the traps with such snarling ferocity it’ll have you taking a step back. Here we find Phillips screaming of “betrayal” over a backdrop of gnarled, noisy metal that could be described as sludgy but feels so much nastier. It has to be said that there are brief moments of respite to be found here, like when the groove shifts into more psychedelic rock territories where we find Phillips delivering his vocals slightly more subdued (if that’s the right word), but those passages aside the vibe here is mostly full on and feral  Next comes “Goddamn,” a doom-laden behemoth with gritty, caustic vocals wrapped in thick reverberating riffage driven by growling basslines and thunderous drums, if you’re not standing awestruck and soundlessly mouthing its title when this one finally rolls around to its close then you just haven’t been listening properly.. Fourth number “10-56” sees guitarist Hunter, bassist Dabney and drummer Beauvier jamming a deliciously raucous sludgy stoner metal groove, interrupted by a brief lysergic interlude,  over which Phillips tells us he’s “sick and tired of being sick and tired” in a voice that seems constantly on the verge of cracking. Every rock or metal band hailing from the southern states of America has to have at least one torch-like song in their locker and “Alone” is CROP’s, although in CROP’s case it is more a burning brand than an actual torch. Phillip’s vocal here is his best so far, gritty and gruff but full of emotion, emotion that is also reflected in Hunter’s superb guitar contributions which weave swirling lead and crunching chords around some truly outstanding bass and drum work from Dabney and Beauvier. The instrumental “Breathe” follows and although only just over one minute long comes across like something Ennio Morricone might have penned for a Sergio Leone movie… had that movie been a western horror set in the depths of space. Doom is the primary force behind final song “Break” but its a doom like no other doom that has came before it or is likely to follow, this is doom served up with side orders of southern hardcore and stoner-metal with dark thrumming riffage and thunderous rhythms bookending a fleeting but compelling section of dank ambience topped off with vocals that go from slurred and sneery to angsty and harsh, a song that is loud, mostly gnarly and utterly brilliant throughout! 


    Their are times while listening to CROP’s “S.S.R.I.” when you think that things could not  possibly get any more forceful or gnarly… and then they DO! There are also times on this album where the band wrap you up in warm blankets of unexpected languid ambience, although admittedly those moments are few and far between. “S.S.R.I.” is a super heavy if a decidedly schizophrenic release that should come with its own health warning, music this loud, this intense, this dangerous cannot be good for you, but then don’t they say that about all the best things in life.
    Check it out …. 
     
    © 2025 Frazer Jones

  • CROP ~ S.S.R.I. ….. review


    Desert Psychlist has to hold our hands up and admit to not being aware of the existence of CROP, Marc Phillips (vocals); Zach Hunter (guitar); Braun Dabney (bass), and Andrew Beauvier (drums), until the bands latest album “S.S.R.I.” landed on our desk a few days ago. How this band got by us is still a mystery, especially since they tick all the musical boxes we love like caustic riffage, thunderous sludgy grooves and forceful gritty vocals but we’ve found them now and we are not about to let anything they put out in the future get by us again. 


    CROP’s “S.S.R.I.” is far from an easy listening experience, listeners should brace themselves mentally and physically before taking this monster on. Even “Flatline,” the album’s brief, droning instrumental intro, feels like an assault on the senses. If “Flatline” doesn’t have you fleeing in auditory distress, the next track, “Formaldehyde,” most certainly will, the song bursts out of the traps with such snarling ferocity it’ll have you taking a step back. Here we find Phillips screaming of “betrayal” over a backdrop of gnarled, noisy metal that could be described as sludgy but feels so much nastier. It has to be said that there are brief moments of respite to be found here, like when the groove shifts into more psychedelic rock territories where we find Phillips delivering his vocals slightly more subdued (if that’s the right word), but those passages aside the vibe here is mostly full on and feral  Next comes “Goddamn,” a doom-laden behemoth with gritty, caustic vocals wrapped in thick reverberating riffage driven by growling basslines and thunderous drums, if you’re not standing awestruck and soundlessly mouthing its title when this one finally rolls around to its close then you just haven’t been listening properly.. Fourth number “10-56” sees guitarist Hunter, bassist Dabney and drummer Beauvier jamming a deliciously raucous sludgy stoner metal groove, interrupted by a brief lysergic interlude,  over which Phillips tells us he’s “sick and tired of being sick and tired” in a voice that seems constantly on the verge of cracking. Every rock or metal band hailing from the southern states of America has to have at least one torch-like song in their locker and “Alone” is CROP’s, although in CROP’s case it is more a burning brand than an actual torch. Phillip’s vocal here is his best so far, gritty and gruff but full of emotion, emotion that is also reflected in Hunter’s superb guitar contributions which weave swirling lead and crunching chords around some truly outstanding bass and drum work from Dabney and Beauvier. The instrumental “Breathe” follows and although only just over one minute long comes across like something Ennio Morricone might have penned for a Sergio Leone movie… had that movie been a western horror set in the depths of space. Doom is the primary force behind final song “Break” but its a doom like no other doom that has came before it or is likely to follow, this is doom served up with side orders of southern hardcore and stoner-metal with dark thrumming riffage and thunderous rhythms bookending a fleeting but compelling section of dank ambience topped off with vocals that go from slurred and sneery to angsty and harsh, a song that is loud, mostly gnarly and utterly brilliant throughout! 


    Their are times while listening to CROP’s “S.S.R.I.” when you think that things could not  possibly get any more forceful or gnarly… and then they DO! There are also times on this album where the band wrap you up in warm blankets of unexpected languid ambience, although admittedly those moments are few and far between. “S.S.R.I.” is a super heavy if a decidedly schizophrenic release that should come with its own health warning, music this loud, this intense, this dangerous cannot be good for you, but then don’t they say that about all the best things in life.
    Check it out …. 
     
    © 2025 Frazer Jones

  • New Margarita Witch Cult

     

    MARGARITA WITCH CULT: 

    STRUNG OUT IN HELL


    Two years ago, this band put out my #2 favorite album of 2023, and now they’re back with another album of the year contender.  I preordered this when I heard about it, and have been listening to it since its release on July 18th.  These guys are no nonsense; just guitar, bass and drums and an old-school hard rock attitude.  Check these out:

    The album includes a heavy version of Billy Idol’s “White Wedding”.  Here’s a live version where the vocals seem to be possibly edited but the instruments seem legit.

    Margarita Witch Cult are from Birmingham, the city that produced Black Sabbath and Judas Priest.
    They are (l-r):
       


    Scott Abbott – Vocals & Guitars
    George Caswell – Drums & Vocals
    James Brown – Bass, Vocals, Synth, Mellotron, Guitars


    Check out all nine tracks here

  • New Margarita Witch Cult

     

    MARGARITA WITCH CULT: 

    STRUNG OUT IN HELL


    Two years ago, this band put out my #2 favorite album of 2023, and now they’re back with another album of the year contender.  I preordered this when I heard about it, and have been listening to it since its release on July 18th.  These guys are no nonsense; just guitar, bass and drums and an old-school hard rock attitude.  Check these out:

    The album includes a heavy version of Billy Idol’s “White Wedding”.  Here’s a live version where the vocals seem to be possibly edited but the instruments seem legit.

    Margarita Witch Cult are from Birmingham, the city that produced Black Sabbath and Judas Priest.
    They are (l-r):
       


    Scott Abbott – Vocals & Guitars
    George Caswell – Drums & Vocals
    James Brown – Bass, Vocals, Synth, Mellotron, Guitars


    Check out all nine tracks here