At the end of 2022, the stoner band Thammuz from Gelderland (Netherlands) released their second full-length album Sons of the Occult in partnership with Italian label Argonauta Records. Navigating between old-school psychedelia of the 1970s and noisy grunge-infused stoner rock of the 90s, this band manages to sound contemporary even in the spoiled 2020s.
Thammuz (or Dumuzid) is a Mesopotamian god of fertility who dies and resurrects with the seasons of nature. Maybe not a very precise analogy, but regardless, Sons of the Occult reflects an inconspicuous duality, where the peak of activity and unstoppable dynamism is succeeded by slow and low-key minimalism. Moreover, this transition happens seamlessly, almost cyclically; there are no abrupt jumps or startling mood shifts – Sons of the Occult sounds surprisingly harmonious and fitting. Nevertheless, the energy of activity prevails – this music still preaches life, albeit in searing and desolate tones. Noisy yet monumental, vibrant yet immobile, cheerful yet seasoned, this music incorporates many different elements while stylistically adhering to tested traditions and conventions.
Listening to this album, you don’t fully grasp it; it sounds like traditional stoner with southern vibes, overdriven sound, low-tuned guitars, bluesy vibes, and an attitude of nonchalance bordering on a state of nirvana. But it’s not that straightforward, because the spirit of rock and roll occasionally triumphs, then glossy psychedelia takes the spotlight, and finally you find yourself immersed in the world of garage and punk rock. However, one thing is clear – this distinctive stoner’s messy and fuzzy sound constantly reminds you of the direction these Dutch musicians have chosen.
They enjoy playing with retro vibes; it is especially noticeable in the song “Guayota”. “Self-taught Man” is not far behind, offering psychedelia and rock ’n’ roll for a snack. The dynamic “Death Songs” brims with energy, whereas the self-titled “Sons of the Occult” conveys static and monumentality; this song is slow and even with a steady rhythm and vibrant soul. “People from the Sky” is the only song with acceleration from calm serenity to insane frenzy. The album concludes with “Insomnia,” naturally noisy and psychedelic, paying homage to the legends of blues and hard rock. Overall, the music sounds quite smooth and primitive, not diving headfirst into any specific musical abyss, preferring to stay afloat with chilly precision and discreet determination. These guys don’t float in the clouds; they stand firmly on scorched earth, squinting against the bright sun amidst the sounds of falling stones from the tall mountain peaks, despite still being dreamers at heart.
Stoner Rock nowadays is hard to consider a commercial style; of course, icons like Queens of the Stone Age or Monster Magnet have already earned their reputation through blood and sweat. In general, this genre is more of a lifestyle for bands than a source of income. That’s why there are many more genuine bands in such genres that follow the call of their hearts rather than trying to copy someone or follow marketing moves to gain fame. Thammuz plays sincere music while trying to find their own sound, not treading the well-worn path in the footsteps of legendary bands like Kyuss or Fu Manchu, but still respecting rules and traditions. Combining occult and mythological themes (the artwork perfectly reflects their interests), Thammuz radiates fiery drive and primitive dynamism, but in a very aesthetic and intellectual manner.
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