Elepharmers, Go Down Records, 2016
Review by Daniele Mei, translated by Daniela Schirru
It’s a sound obtained by digging into granite, that of Erebus. Battleship that breaks stoners, having come from millennia of chaos and travels in the space.
A stoner elephant that looks around, looking for hostile, hidden life forms, but present in this primordial darkness. A red-colored night, as if the Earth still had to become what it is now, swarming of life. There is still magma and heat bubbles at billions of degrees Celsius.
El Chino and Andrea Cadeddu’s guitars create reinforced concrete blocks, supported into their heavyweight by Maurizio Mura’s drum. From the hell, still closer, the left wind created by Matteo Carta’s synthesizer.
Not being a stoner rock listener, I’m amazed at how much this musical genre is the one that keeps and evolves the true hard rock. A genre made of guitars, weaves and plots, powerful and defined riffs, infinite, psychedelic solos, slowdowns and accelerations that release the compressed energy of mind and body. That brings the blues back to elsewhere. And I find out that in Sardinia the world of stoner music is lively, pulsating with its own personality and light.
The turbulent climate and the history of our island, the difficulties and the physical and imaginary isolation, the desire to emerge with discretion, help in the birth and in the conservation of something that fails every market logic to forge high artistic manship pearls that the most attentive and passionate artists can catch. It is a dinosaur, indeed a mammoth, which is mumbling to escape extinction and repopulate the world overwhelmingly.
Spiders arrives unexpected. If the references to Erebus’s track are in the mostly stoner sound, in Spiders is like not taking care of oneself.
Nebula is a song with a haunted rhythm remarking that of certainty more metal-oriented grunge ghosts, like Alice in Chains, and with a bit of shit that almost remembers the Guns’n’Roses most obscure and interesting moments of Use Your Illusions.
It is still slowing down (Slow Slow Slow) in The River, a suite that brings you into a dreamy-doom. Black Sabbath, with El Chino’s filtered voice as that of a more human than known Ozzy. The end is overwhelming, with that bass trimming the bones and bringing in a pogo that somebody have to surrender anyway.
In Cannibal Supernova, (you can see the video here), Pranu Matteddu’s monolith, is created by an ancient population to bring to light the secrets of sacred wells’ depth,connected to the Pran’e Sanguini’s radio telescope (altopiano di sangue, blood upland), which has been used not only to observe galaxies and nebulae, but still to communicate with alien civilizations.
The result is an energy that, after a long instrumental, explodes in an angry and burning song. These Walls Of Mud and Straw (questi muri di fango e paglia) makes me think, in the distance, to a more eastern and less hard Led Zeppelin’s music. Beautiful is the Hammond’s embroidery.
The song closes in a more generic territory with Deneb, a dream stoner that returns to grunge elements. Guitaristic drones and a suffered song that almost remind me of the Deftones’s sound.
The end of the journey turns to an end, the little mouse hibernation will soon begin, the stock of hard rock is made, waiting for the moment to become the immense monster as has ever been, passing the solar storm that will strike the other bigger living forms.
A great training companion for these days, Erebus, came out in the fall of 2016 for the glorious Go Down Records, is a record that, although channeled in a specific genre like stoner rock, embraces the most diverse audience, who love both 70s rock, both grunge and psychedelic music.
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