2011
12.05

Format: CD
Release Date: 05.12.2011
Country: France
Genre: Doom / Stoner

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Solitude Productions presents the first album of the French stoner doom metal trio continuing the great traditions of Black Sabbath. Biting riffs typical for early doom metal are organically combined in Stangala music with Celtic folk elements which is ideological and lyrical basic of the band.
«Boued Tousek Hag Traou Mat All» can be recommended to all fans of Electric Wizard, Sleep and, certainly, early Black Sabbath albums!

Tracklist:

1. Doom Rock Glazik
2. Al Lidou Esoterik An Dolmen Hud
3. Kalon An Noz
4. Sorcerezed
5. Deus Bars An Tan
6. Langoliers
7. Bigoudened An Diaoul
8. Boued Tousek Hag Traou Mat All
9. Izel Eo An Dour
10. Mij Du

33 comments so far

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  1. Review
    Kronosmortus
    8.5/10
    10.03.2013

    „Druids and witches, stoners and pagans, rockers and revivalists! Let me introduce you all to our new, common favorite band: french (or rather: bloody Breton) Stangala’s debut album is one of the greatest pieces of music I had the luck to listen to last year. Their daring experimenting with different genres, heavily doom-and-folk-focused sound building, and a certain joy you can hear in the all-too-common jam blocks and generally, all over their record, advises all of us to keep a close eye on these guys (before they send some cheerful cultist buddies of theirs to our doorsteps)…”

    First of all, these guys must be the daredevlis of their countryside. Who the f*ck else has the guts to sing in a dead language in the 21st century – and do it in an enjoyable way? Who the f*ck dares to jump from fuzz to space, from garage to occult, from stoner to pagan, all the while remaining within highly enjoyable frames of ancient heavy metal? Who the f*ck dares to use shockingly distorted guitars head-to-head with f*cking BAGPIPES and lyres? Stangala, Stangala, Stangala does. Write this name up on to your robes, friends. If they don’t lock themselves up in their ritual chambers eagerly tasting magic mushroom stew… they may soon become a force to be reckoned with.

    The album’s psychedelic lettering, distorted and after-colored, funny cover perfectly conveys visually what these 3 guys stand for. Here, take my extra +1 point for being kind enough to send me a physical copy of your work (even if through your distributor), this record becomes a treasuered piece of my collection! I’ll put them somewhere around my Black Sabbath, Hawkwind, Electric Wizard, and fresher Acrimony and Witch CDs. The Breton title roughly translates to „Magic Mushrooms and Other Good Stuff”, but there’s way more to them than this. Don’t believe me? Listen to (and buy) their album on their bandcamp. While puffing some „magic grasses”, lighting candles, and playing some good ole’ CoC or Conan. You’ll see.

    The album shows a wide range of influences and portray a nowadays rarely seen thematic build-up all the way to the end. Doom Rock Glazik is a the perfect starter. Al Lidou is like a homage to the darker times of Black Sabbath, but it spirals into a great and long jam (which sounds too seperate from the original body of the song anyway). Kalon an Noz is an evocative, only-pipes pagan interlude, a real refreshment! If Al Lidou is Sabbath’s son, than Sorcerezd must be a bastard of Electric Wizard, with it’s metalheavy distortion (producing a sound bordering on electro). Deus Bars an Tan is a beautiful, long ambient/ritual piece, the effects and echoes interlock perfectly to create a hauting harmony (and demonic howls at the end) that will stuck for long into your ears. Langoliers work as the restarter of the album with it’s manly, shady hard-rocking beats, and the following Bigoudened eases up the atmosphere once more with it’s almost comic main riff and blues structures (which is weirdly reminding me of RHCP… don’t ask). The 8th (title) track is a droneish orgy of jams sticking to trippy, dominant central riffs, in the spirit of The Machine or Atomic Bitchwax, & some funky! To and from this point, electric organs lead the way away! Izel is the summit: a real bad trip, swirling into a near-chaotic dimness of gloomy riffs, bombards and bagpipes. The closing track(s) Mij Du (and the hidden acoustic track afterwards) are a fine, even though a bit exeggerated closing. The hidden track is played completely with several different pipes, lute and clean(ish) vocals, probably outsides – this didn’t cut it to me actually, I understand it’s role, but the vocals were trembling and a little too weak for me, and the high-pitched pipes were annoying in the end.

    This album could have been even greater with: more disciplined and a tad shorter jams, more clean parts, tribal drums added into the folk-mix (definitely!), more evolved vocals and some backing choruses… But meh, this sh*t is fantastic, and becomes nearly gradiose when you realize that it’s a debut record! So dudes, don’t forget to put it out on vinyl too! I sincerely have high hopes for these guys… If they don’t become a „trveist” underground-dwelling group, tour extensively, and keep their innovative mashup of genres growing, they may be the next big deal in heavy rocking Europe. And for that, I wish them unbroken momentum, some luck… and shrooms. Hell yeah. Big f*ckin cheery boiling Breton cauldrons… full of magic shrooms…

    Author: Ambrose

  2. Review
    Metal France
    5/5
    25.01.2012

    Quimper. Ses festnoz, ses ambiances typiques de la Bretagne, ses bagads… et son metal. Et oui, la Bretagne est aussi un grand vivier de bons groupes metal de tous poils. Aujourd’hui nous nous intéressons à un groupe de stoner doom aux accents sludge : Stangala. Fort d’un premier EP en 2008, le groupe revient trois ans après nous livrer leur premier effort full-lenght. Et le moins que l’on puisse dire, c’est que ces gars-là savent nous surprendre.

    En effet dès le premier titre, les choses prennent une direction complètement barrée. Les rythmiques et les mélodies sont tout à fait naturelles pour ce genre de musique. Ce qui est moins habituel est l’utilisation de biniou, bombarde et autre instrument folklorique. Rajoutez à cela des paroles en breton et vous aurez l’idée de ce à quoi on peut s’attendre avec ce TRÈS BON album. Bon le groupe ne cache pas son affection aux divers psychotropes non plus (‘Mary Jane, Salvia & Mushrooms, The forces of the Earth’, Doom Rock Glazik) mais ça donne tout le côté mystique psychédélique de leur musique. Imaginez un peu un Spiritual Beggars crasseux et caverneux mélangé à un Black Sabbath des premières heures (le tout premier album) ainsi que des touches à la Monster Magnet et vous aurez le trio gagnant des influences de nos trois gaillards.

    C’est d’ailleurs là toute la force de ce groupe. Dès le premier morceau on est pris d’un sourire. Mais pas le sourire narquois qui dit : bande de joyeux drilles… Bien au contraire, c’est le sourire qui prend quand on est en train de découvrir une bonne petite pépite. Car si le premier titre peut s’avérer léger, son successeur lui, est bien plus lourd et sérieux. Certes, c’est du stoner comme on a déjà pu en entendre, du moins pour les plus férus de ce style. Mais Stangala sait utiliser avec brio les recettes qui font de bons morceaux pour ce style. La voix, bien en retrait mais tout de même présente donne un côté mystique aux morceaux tout en nous aidant à planer. Car c’est bien là l’exact terme pour définir la voix de Steven Le Moan : planante. Autre fait à noter, la présence de la basse. Et pas n’importe quel jeu qui plus est. Alexandre Miossec est très certainement un rejeton caché, du moins spirituellement du grand Geezer Butler. Ses lignes de basses y font penser dès les premières lignes en particulier sur Al Lidou Esoterik An Dolmen Hud. Et les surprises de continuer. Comment sur un titre aussi lourd que celui-ci peut on trouver le moyen de rajouter encore une fois ces instruments qui font de la Bretagne une région à part ?

    Il faut dire que le groupe est enclin à tout un folklore mystique. Encore un point commun au Black Sabbath des débuts. En effet, tous les titres parlent de culture païenne (au sens premier du terme). Le titre Deus Bars An Tan confirme aussi que le Sabbat Noir est une source d’inspiration, mais sans pour autant les plagier. Par certains aspects, instruments traditionnels en moins, on pourrait même penser que cet album est une suite au premier album de la bande Iommi, Osbourne, Butler & Ward. Excusez du peu !
    On s’ouvre donc sur un monde qui pourrait être issu de la mythologie Arthurienne. La culture ‘druidique’ et tout ce folklore sied au final parfaitement bien à cette musique. On embarque donc pour un voyage dans des contrées lointaines grâce à cette œuvre. Œuvre oui, car l’album s’écoute d’une traite. Il s’apparente plus à un livre musical qu’à un album de stoner tout simple. Le livret n’étant là que pour nous servir de guide et nous donner le fil conducteur du récit que nos trois bretons nous content. On se retrouve presque en pleine tradition de culture orale ancestrale. Les plus celtes d’entre nous auront sans peine la larme à l’œil quant à l’écoute de cet OVNI musical.
    Un album qui est la découverte de ce début d’année (l’album est cependant paru le 05 décembre 2011) et qui n’aura de cesse que de tourner dans la platine. A écouter sans modération. Car si le groupe nous parle des effets psychédéliques dus à différents psychotropes, le seul utile à l’écoute de ce Boued Tousek Hag Traou Mat All est notre imaginaire lié à la puissance de la musique de cet album se déroulant sans fausse note aucune.

    Author: Mindkiller

  3. Review
    Pure Nothing Worship ‘zine

    Boued Tousek Hag Traou Mat All is the debut of these doom rock druids from France. Someone said that the happy 70’s are long forgotten. Wrong! Stangala sounds like a well kept secret buried in time. The album sounds just like it was recorded in the 70’s, in the golden age when Black Sabbath, Blue Cheer and other doom rock fighters burned strong in the music scene with their dark riffs and occult lyrics. This vintage fuzzy doom rock picked up the best moments from their gods and packed them in a different package. I can’t say that there is a large amount of originality but this band has it’s own trip. This album won’t disappoint fans of bands such as Black Sabbath, Electric Wizard, Uncle Acid and the Deadbeats, Sleep, Sylvester Anfang II, etc. After more than an hour of this drug influenced vintage doom rock I can say that I’m “oh high!”. I felt as If I ate some mushrooms and then smoked some ultra strong joint and participated in a occult ritual that poisoned my mind. Order this disc (it’s cheaper than a couple of joints), crank up the volume and the smoke from the speakers will lead you high up in the sky forests were magic and nature rule.

    Author: Alex

  4. Review
    Pitchline Zine
    7/10
    15.08.2012

    Hablar del fuerte impacto que ha supuesto Electric Wizard a las legiones venideras del Doom Metal hoy en día no coge a nadie por banda, pero ahí están, reproduciéndose como conejos y surgiendo cada vez más y más. Algunos se salvan, y otros mueren en una especie de selección natural aplicada a la música, no consiguen estar a la altura y caen en el olvido más rápido del que ellos mismo esperaban.

    En el caso de Stangala consiguen salvar el precipicio, pero aún le quedan camino que recorrer y, ante todo, obstáculos que aprender a superarlos si quieren sobrevivir en esta selva. Venidos directamente desde nuestro país vecino, este trío de franceses son claramente un grupo fuertemente influenciado por Electric Wizard.

    Sin embargo, el elemento diferenciador que los separa del resto de grupos de misma índole es la introducción de elementos extraídos de la cultura céltica, llegando a encontrarnos instrumentos típicos de los celtas como en “Al Lidou Esoterik An Dolmen Hud” y claramente en el tema instrumental “Kalon An Noz”. De hecho, las letras de la banda están escritas en la lengua bretón, idioma céltico muy influenciado por el francés.

    Aquí la presencia de Electric Wizard es marca de la casa, tanto en ciertos riffs como en el sonido que han sacado para “Boued Tousek Hag Traou Mat All”, quizás con un punto más rockero. La producción del disco da a entender que ha sido tratada para darle ese toque psicodélico y retro que tanto gustan a los grupos de esta variante, no obstante se pierden detalles en el sonido, dando la sensación de que los instrumentos (y mucho más la voz) resultan lejanos.

    A pesar de ello, no se le puede achacar la falta de variedad al disco, pues podemos encontrarnos desde temas instrumentales, unos más Doom y otros más rockeros y tirando al Stoner como en la enérgica “Langoliers”, hasta temas más oscuros que toman la mano del Sludge para ayudarse de una sensación opresiva y asfixiante como ocurre en “Deus Bars An Tan”, e incluso un tema que casi alcanza los 20 minutos de duración para dar cierre a este disco como es “Mij Du”.

    Por último hay que mencionar la voz en “Sorcerezed”, donde adquiere un tono que puede recordar a Dax Riggs, vocalista de los extintos Acid Bath, a modo de curiosidad.

    Un disco variado y lleno de matices, pero que pierden impacto y consistencia al sacrificar la producción para obtener un sonido más añejo. Un grupo que ha conseguido burlar a la muerte con su debut, habrá que ver si sigue con vida hasta su próximo lanzamiento.

    Author: Soulkiller

  5. Review
    Mroczna Strefa
    9.5/10

    Bretonia to taka nieco mniej znana turystycznie część Francji. Historycznie najbardziej celtycka w Galii, została rozpropagowana w dużej mierze przez barda, piosenkarza i harfistę Alana Stivella, ale beczkę piwa temu co zna w Polsce jego twórczość jakoś szerzej (pomijam tu genialnego znawcę folka z całego świata – Wojtka Ossowskiego). Muzycy STANGALI nie ukrywają, że podkradli mu dużo pomysłów i przełożyli to na język klasycznego hard/doom/stoner metalu. Ale chyba największą inspiracją dla debiutanckiego albumu tego tercetu jest BLACK SABBATH, bo wystarczy wsłuchać się w potężne riffy, styl śpiewania Stevena Le Moana (dodam, że wokali nie ma na tej płycie aż tak wiele) i psychodeliczne wycieczki, by przekonać się jak bardzo ten legendarny zespół wpłynął na twórczość Bretończyków. Już otwierający tę niezwykłą płytę “Doom Rock Glazik” to czysty hard rock, który także brzmieniowo prezentuje się jak by był nagrywany 30 lat temu. Takich czysto sabbath’owskich kawałków jest tutaj więcej, jednak pomiędzy nimi dzieje się jeszcze więcej. Akustyczne fragmenty z nawiedzonymi, szamańskimi (druidowskimi?) zaśpiewami, celtyckie melodie wygrywane na kobzie, tajemnicze inkantacje w starobretońskim języku… Przypomina to w pewnym sensie dokonania STILLE VOLK, który również posiłkował się folkiem, tyle że z Pirenejów. Ta dziwaczna na pierwszy rzut ucha mikstura robi jednak piorunujące wrażenie i jest czymś naprawdę nowatorskim. Tym bardziej, że chwilami dźwięki spod znaku klasycznego doom metalu są wzbogacane o estetykę black metalową i dźwięki odwołujące się do progresywnego rocka z lat 70-ych, a nawet rock ‘n rolla z lat 60-ych – tak muzycznie, jak i wokalnie, a to wszystko jest co chwilę nasycone o elementy ludyczne, folkowe czy jakkolwiek to zwać. Takim przykładem jest na przykład niespełna trzyminutowy instrumental pt. “Langoliers”, który w pigule pokazuje jak można te wszystkie rzeczy ze sobą pożenić. Moc STANGALI leży więc nie tylko w tym, że to, co nagrali jest czymś świeżym, ale że potrafili to zrobić z głową i rzeczywiście po swojemu. Muzę oparli na gitarach, basie i bębnach, ale nie brakuje tu akcentów organów Hammonda, wspomnianych brzmień kobzy i różnych innych smaczkach. Improwizują śmiało i wychodzi im to świetnie. O tej płycie aż się chce pisać, ale nade wszystko chce się jej słuchać. No to mamy debiutanta przełomu 2011 i 2012 roku! A następnemu albumowi chciałbym dać maksymalną notę 🙂

    Author: Diovis

  6. Review
    Valley of Steel
    14.06.2012

    Good afternoon, Readers. How are you? This day has been dragging on forever, and I’m so glad it’s finally ending! There seems to be no amount of coffee sufficient to keep me alert today — no matter what I do, I feel like I’m stuck in slow motion and surrounded by fog. This morning I was feeling pretty terrible but then I took some allergy pills, and now I’m feeling… nothing. Just sort of dazed. Which would be totally fine if I didn’t have to be at work, and even then it might not be so bad if my job didn’t revolve around numbers and thinking and stuff. Times like this, I feel pretty nervous to come back the next day, because I’m always afraid I’ll hear about some big mistake I made where, like, I forgot how to add and I ended up being off by a million dollars someplace, or that I totally zoned out and missed a step, and some important thing didn’t get paid on-time or whatever.

    Ugh, it would totally hurt my head just thinking about it, except for the fact that at the moment I am more or less incapable of feeling any pain. So, nevermind.

    Do you ever have days like this? It’s actually not so bad, like being all cozy inside a drug-induced cloud. Of course, in this particular instance, those drugs are ones that were legally purchased from a pharmacy (actually I think they’re even Wal-Mart brand, how stupid is that), but, whatever. This afternoon I’ve been listening to some equally tripped-out, hazy, cloudy music, and I thought just maybe you’d like it if I shared it with you — keep on reading and then give it a listen; maybe you won’t even need any chemical substances to feel like you’re in an altered state!

    The band is called Stangala, and their debut album Boued Tousek Hag Traou Mat All came out last December via the Russian emporium of doom that is Solitude Productions. Stangala aren’t Russian, though — they come from Brittany, in northern France. All of the song titles (and probably the lyrics as well) are written in the Breton language, and I’ve been unable to locate a free translator online, so whatever they’re about will just have to remain a mystery.

    I suspect that understanding the words wouldn’t really clear things up all that much, anyway, considering the intense acid-washed psychedelic vibe they’ve got going on here. But, it’s my understanding that the lyrics are inspired by Celtic folklore, which makes perfect sense, considering the fact that the music also contains a strong element of Celtic folk.

    No, seriously. This stoner/doom trio’s fuzzy, spacey songs are influenced equally by psychedelic acid-jazz and traditional folk music.

    Opening track “Doom Rock Glazik” serves as an excellent introduction to the variety of sounds you will hear from this band: we start out with some pretty standard stoner-rock riffing and vocals, everything nice and fuzzy, and dripping with thick reverb as though the band was recorded inside an enormous box. But about a minute into the song, the guitar and bass riffs are now accompanied by some counterpoint riffs played on the pipes. Just reading that description, you might think it would sound strange or out of place, but actually the only shocking thing about it is how naturally it all works together.

    Even when there aren’t actually any folk instruments, there’s often still plenty of musical influence, such as some of the riffs in “Langoliers” and the main themes of “Bigoudened An Diaoul.” Along those same lines, “Boued Tousek Hag Trau Mat All” (I could also just say ‘the title track,’ but it’s much more fun to type “Boued Tousek Hag Trau Mat All”) is mostly pretty doomy, with some really dark, rumbly, bottom-heavy organ; but later in the same song there is some folk/jazz-inspired fretboard-dancing as the guitar and bass trade licks back and forth.

    Sometimes they present a more straightforward doom metal, without the folk elements, with a song like “Sorcerezed” — here they are heavier and darker, with vocals even more reverby than elsewhere. I’d go so far as to say this particular song has a bit of evilness to its sound, but nonetheless it really gets the head nodding unconsciously.

    And sometimes there’s more straightforward folk music without any metallic characteristics, as in “Kalon An Noz” a duet between two different instruments — I’m not really able to identify them for sure, but one is higher-pitched and sounds like it might be played by a bow on strings (possibly a hurdy-gurdy??), while the other is a bit lower and I’m pretty sure is played with a reed (like a cor anglais, maybe?). This track is very minimalistic, but also sort of foreboding, in a ritualistic chant kind of way.

    However, the band seems to really come into its own when combining the two; for example, “Al Lidou Esoterik An Dolmen Hud” is another very heavy and dark song, full of crunchy fuzz with a bit of organ hanging out in the background — for about five minutes, but then a bagpipe melody enters in unison with the guitar part, then the bagpipes drop into the background with some sustained notes while the guitar plays a solo. “Bigoudened An Diaoul” similarly pairs a bagpipe with a bass riff around the middle of the song. “Deus Bars An Tan” is a lengthy exercise in ambience, featuring what I believe to be throat singing and the occasional tribal-sounding percussion, but in the distant background everything is drenched in feedback; then towards the end, the track gets swallowed whole by some super-heavy monolithic doom chords coupled with torturous wailing and screaming.

    The album proper seems to end with the penultimate track, the wonderfully epic “Izel Eo An Dour,” with its repetitive sing-songy vocals, and a huge amount of atmosphere that continues to build upon itself in an ending that could rival the end of the first side of Abbey Road.

    As an encore, the band brings out the one-two punch of the tenth track: “Mij Du” starts out alternating between punishing doom riffs and sounds that could have come from a movie soundtrack (specifically, a theremin sound reminiscent of an old Sci Fi film that features little green men and UFOs; this is coupled with a lo-fi synth line that I swear I’ve heard in the castle levels of some Super Mario Brothers game). Not pulling any punches at this point, Stangala continues on its marathon romp through the world of stoner/doom for nearly a dozen minutes before sputtering out. After a few minutes’ silence, though, they fade back in with “Tri Martolod” — in case you had forgotten about the bagpipes, the remainder of the album features this solo instrument, with the simple accompaniment of a strummed acoustic guitar, and some rather emotional-sounding singing, in what resembles a tragic old love song.

    Running just over an hour in length, you’ll find the album does require a bit of a time investment, but I’m sure you’ll also find it to be well worth it, for the thoroughly unique experience it provides!

    Author: valleyofsteel

  7. Review
    Funeral Wedding
    4/5

    Como já dizia o sr. Oswaldo: – É uma psicodelia!
    Esse trio francês consegue fazer um “drug-fueled, vintage and occult doom rock” e como isso fosse pouco ” with celtic influences”. Na verdade encontramos um stoner com muitas passagens psicodélicas e algumas meio folk e até um baixo “funkeado”.
    O álbum começa bem com Doom Rock Glazik e na sequência temos Al Lidou Esoterik an Dolmen Hud ambas com uma pegada stoner, fazendo os fãs de Black Sabbath se orgulharem da Iommi Guitar Institute.
    Mas para frente a psicodelia é tamanha que deveria vir estampado na capa, aquele adesivo da Parental Advisory com os dizeres: Escute este álbum chapado.
    Não é ruim, longe disso, mas eu não consegui entender o motivo essencial para esse trabalho, talvez por não ser um “junkie”.
    Encontramos nesse trabalho três faixas instrumentais, duas que poderia ser encaradas como interlúdios e uma faixa realmente grande que segue na mesma linha da funkeada Bigoudened an Dialou, como se fosse a continuação dela.
    Bigoudened… e talvez a única a se conseguir cantarolar pois os indivíduos cantam (o álbum todo) no idioma bretão, o que ainda é dificultada pela efeito no vocal e a pronúncia.
    Se você está acostumado com as piras do Sleep, Electric Wizard e bandas do gênero poderá ir sem medo, mas se ainda é iniciante nessa área, certamente irá achar o álbum sem pé nem cabeça.

  8. Review
    Damned by Light
    9+/10

    Stangala is the French addition to the ever so popular doom scene. Technically speaking Stangala merely nods toward that direction and uses doom as the backbone of its musical vision. The question is, does Stangala really stand out in this endless flow of doom outfits re-playing riffs written in the Bible of Doom by giants like Black Sabbath, Electric Wizard and St. Vitus?

    The record is packed with spine crushing riffs and sludgy bass lines. The reverberated vocal line transforms the singer’s voice into yet another instrument, a refreshing solution that gives more room for the music by diverting the listener’s attention from interpretation to free flow. The band spices up its mix with exotic instruments from Celtic folk tradition and even throws in some grandiose synths.
    The record starts off with the listener friendly and extremely catchy “Doom Rock Glazik”. The song also sets the listener into the right kind of doomy mood. Pipes send the song into an awesome solo part towards the end of the song. “Al Lidou Esoterik An Dolmen Hud” is one of those songs you wish would never end. The chorus is surprisingly fresh sounding and every element the band uses locks into place in this particular epic. The middle part gives the listener a short breather before the riff mayhem in the second part of the song. Pure brilliance.

    Stangala have indeed a taste for drama with mellow preludes like “Kalon An Noz” and “Deus Bars An Tan”, the latter slowly growing into an eerie drone piece. “Langoliers” and “Bigoudened An Diaoul” portrays the more playful side of the band with surf guitars and upbeat notes. The genre madness continues in “Boued Tousek Hag Traou Mat All” (jazz) and “Sorcerezed” (punk). The end of the record steers back into more conventional doom grounds.

    Stangala is definitely a force to be reckoned with. The tight playing and uncompromising take on doom definitely works for the bands benefit. The mix of different styles might be too much for old school enthusiasts, but a new generation might be more receptive to Stangala’s vision. The album would be a masterpiece with small modifications here and there, mostly in length. Locking into a groove is by all means the way to do it right, but a certain progressive approach is still needed to keep it interesting. By cutting away some loose ends and brightening up the mix we would have a real masterpiece on our hands. This will do for now.

    Author: C. Huju

  9. Review
    Metal.tm
    10/10
    24.04.2012

    Solitude Productions haben mit STANGALA ein wirklich heißes Eisen im Feuer. Das Trio aus Quimper (Bretonisch Kemper) spielt den wohl zugedröhntesten Metal, den ich bisher gehört habe. Das ganze Album hat eine absolut drogengeschwängerte und coole Atmosphäre, ohne jemals auch nur den Ansatz von Langeweile durchkommen zu lassen. Fuzz-Gitarren treffen auf total abgespacete Sounds, die wiederum auf Flöten und Dudelsäcke treffen. Außerdem finde ich es auch sehr abgefahren, dass die Texte der drei Druiden in der alten, keltische Sprache Bretonisch verfasst worden sind. Aber keine Angst, sie passt wunderbar ins Gesamtbild. Eine englische Übersetzung im überaus ansprechend gestaltetem Booklet ist aber vorhanden, so dass man zu jeder Zeit nachlesen kann, auf welchem Trip man sich gerade befindet.
    Die Mucke in Worte zu fassen ist gar nicht so einfach. Der Opener “Doom Rock Glazik” hätte (ohne Dudelsack) auch gut auf der ersten KYUSS Scheibe Platz gefunden, “Al Lidou Esoterik An Dolmen Hud” ist eine astreine Doom-Nummer, stimmungsvolle Instrumental bzw. Ambient-Stücke sind auch vorhanden wie “Kalon An Noz” und das etwas lang geratene “Deus Bars An Tan”. Track 6 “Langoliers” ist wieder ein KYUSS-artiger Song in dem man sogar schönes Double-Bass Geknatter eingebaut hat, schön im Kontrast dazu steht dann Lied Nummer 7 “Bigoudened An Diaoul” in dem der schöne fuzzige wah-wah Gitarren-Sound geil zur Geltung kommt usw. usf. Diese Platte hat alles was ich mir von einem (Stoner-) Doom-Album nur wünschen kann: beschwörende Parts, drogenverseuchte Sounds, geile mitgeh-Momente und darüber hinaus sogar noch einige Mosh und Pogo-Ausbrüche. Das alles eingebettet in eine absolut fette, authentische Produktion und mit verzerrtem Gesang versehen, ist “Boued Tousek Hag Traou Mat All” eine der besten Doom Scheiben (wenn nicht sogar die Beste), die ich bisher gehört habe. Sauber eingespielt und insgesamt so abwechslungsreich, dass mir keine andere Wahl bleibt als hier die Höchstnote zu zücken. Ich hätte nie gedacht, dass ein so starkes Doom-Album aus Frankreich kommen könnte. Absoluter Geheimtipp und für Freunde von BLACK SABBATH bis ELECTRIC WIZARD Pflichtprogramm. Der perfekte Soundtrack um im Sommer besoffen und Barfuß um die heimische Feuerschale oder den Grill zu tanzen…

    Anspieltipps : Eigentlich alle, aber versucht zuerst mal den Opener “Doom Rock Glazik” danach “Langoliers” und “Izel Eo An Dour”, diese drei Songs stecken die musikalische Vielfalt des Trios ziemlich gut ab.

    Author: Sascha S.

  10. Review
    Magazyn Gitartzysta
    8/10

    Debiutancki album Stangala to jeden z najdziwniejszych krążków z doom/stonerowej zakładki, jakiego miałem okazję posłuchać od dłuższego czasu, może nawet od debiutu Aarni sprzed ośmiu lat. Jednak w tym szaleństwie jest metoda.

    Regionalizm jest we Francji niezwykle silnie rozwinięty, a jednym z najbardziej odrębnych kulturowo regionów jest Bretania. To właśnie z bretońskiego miasta Quimper wywodzi się Stangala, zespół, który postanowił odzwierciedlić w swojej muzyce przywiązanie do celtyckiego dziedzictwa tego obszaru. Nie ogranicza się to jednak wyłącznie do tytułu płyty czy tekstów pisanych w wymierającym języku bretońskim (na szczęście, w booklecie znaleźć można i angielskie tłumaczenia tekstów), ale przede wszystkim do muzyki.

    Samo w sobie nie jest to może wyjątkowe, ale folkowe patenty wykorzystywane są najczęściej przez formacje parające się innymi, bardziej heavy albo melo-deathowymi dźwiękami. Tymczasem, kapela gra vintage’owy doom z wyraźnymi stonerowymi naleciałościami (czy też, jak sama woli to określać, okultystycznego doom rocka), co w połączeniu z celtyckimi wstawkami, zagranymi przy pomocy tradycyjnych bretońskich instrumentów (biniou koz, czyli stara duda, i inne rodzaje dud oraz bombarda, to jest instrument podobny do oboju, w tradycyjnej muzyce bretońskiej towarzyszący właśnie biniou koz), daje co najmniej niecodzienny efekt. Słyszeliście kiedyś dudy w takiej muzyce? Nie? Tak myślałem.

    Zdaję sobie sprawę, że połączenie folku z doomem może zniechęcać niejednego potencjalnego słuchacza, któremu od razu do głowy przyjdą niesłuchalne gnioty w rodzaju Eluveitie. Nic z tych rzeczy. Po pierwsze, celtyckie fragmenty wykorzystywane są tu bardzo umiejętnie, a przede wszystkim z umiarem, bez wiochy i przaśności. Po drugie, Stangala doskonale porusza się w przyjętej przez zespół stylistyce. Bretończycy czują się na tyle pewnie, że niemal każdy utwór utrzymany jest w innym klimacie. “Boued Tousek Hag Traou Mat All” lśni pomysłami, i nawet jeśli za pierwszym razem zaskakuje, w trakcie kolejnych odsłuchów zastosowanie dud w typowo stonerowym “Doom Rock Glazik”, albo w kolejnym “Al Lidou Esoterik An Dolmen Hud”, gdzie słychać inspiracje Electric Wizard, przestaje dziwić. Nie mówiąc już o instrumentalnym “Kalon An Noz”, zagranym wyłącznie na tradycyjnych instrumentach.

    W wizardowym klimacie utrzymany jest także “Sorcerezed”, w którym jednak znalazło się miejsce na niespodziewane przyspieszenie, zaś “Deus Bars An Tan” to znakomity, mroczny, wręcz funeralowy kawałek, kończący się wywołującymi ciarki piekielnymi wrzaskami. A po nim, pędzący na złamanie karku instrumentalny “Langoliers”, rozciągający się od blackmetalowych riffów po stonerowo pulsujący bas. Cztery ostatnie kompozycje to solidne doomowe dźwięki, zagrane ze znakomitym feelingiem i niepozbawione smaczków, jak choćby końcówka ostatniego na płycie “Mij Du”, który jest po prostu folkową pieśnią.

    “Boued Tousek Hag Traou Mat All” to niekonwencjonalny, łamiący schematy album, oparty na bardzo solidnym doomowym fundamencie, którego nie przesłaniają folkowe wstawki. Brawa za pomysł, brawa za wykonanie. Dawno nie słyszałem tak świeżej płyty z doomowej szuflady. Sprawdźcie ją!

    Author: Szymon Kubicki

  11. Review
    Metal Library
    10/10
    09.05.2012

    Чтобы говорить на Гельском языке стоит хорошенько надраться чего-то горячительного, чтобы эти мудреные слова с совершенно безумной фонетикой оставались на языке послушными и понятными. А для чтения расплывающихся бензиновыми пятнами по обложке букв (ну, чтобы хотя бы узнать, как называется группа, альбом…) надо не просто употребить алкоголь, но и смешать его с психотропными галлюциногенными веществами в любом агрегатном состоянии, лишь бы в организм можно было запихнуть без проблем. С буклетом и содержанием, даже услужливо переведенным на английский язык примерно та же ситуация, и единственное для чего не надо вводить в себя что-то постороннее, это послушать сам альбом, который магическим образом (видать в лесу писался с мухоморами на пнях, ну и без лисьих глаз не обошлось…) заменяет все вышеупомянутое, даже поиск смысла во всем происходящем.

    Французские колдуны, взявшись за популярный ныне стиль stoner – ибо ничто другое не в состоянии выглядеть так, словно группа гномов нетрадиционной ориентации попыталась повторить шедевры мирового художественного искусства красками из поганок и крови заблудившихся грибников – сделали для него настолько аддиктивную и классическую форму одновременно, что подозреваю, даже при непоколебимой ненависти к стилю вы будете упиваться этим диском. Из-под грамотно записанного (подчеркиваю: грамотно это не “мощно”, не “современно”, не “качественно”, а именно грамотно с фуззом на ламповых усилителях, шумами, гаражными призвуками, под замечательным маринадом гудящего баса) материала гроздями вылезает, выдавливаемый приличной тяжестью гитар психодел, топорщится атмосфера 60-70 по бокам, а через верх переливается индивидуальность помноженная на талант с умением и пониманием желаемого.

    Уже после первой песни с идиотским для русского уха названием “Doom Rock Glazik” понимаешь, что оторваться от этой не быстрой, но угарной музыки невозможно. Вполне вероятно, что на время звучания диска французы научились внедрять в структуру некий вид гипноза, когда ты слушаешь хорошую, правильную песню, и вдруг в припеве тебе показывают настолько шикарный рифф, какой не смогли бы придумать сами Black Sabbath, а звучит он еще и более атмосферно, благодаря лучшим качествам записи. При этом группа любит вполне обычные, гармонические ходы, не представляя ничего нового, но в нужный момент, выдавая именно ожидаемое и типичное, но бесподобно. Есть подозрение, что эти ходы и мелодии знакомы нам по другим источникам (да, есть такие подозрения, укрепленные еще и записью в буклете, о стороннем вдохновении “то тут, то там” другими авторами). К примеру, я буду биться об заклад, а при случае и о приклад, что композиция “Izel Go An Dour” есть самая настоящая переработка, чего-то металлическо-классического. Еще часть усилия лежит на вокалисте, обладающим в целом бесцветным голосом а-ля Marilyn Manson, но придушенным лампами идеально, прямо в точку, как если бы вы застали в кустах дальнего леса на прогулке ритуал жертвоприношения девственницы. Хочется сидеть и качаться из стороны в сторону. Но последней каплей, смертью мозга на время прослушивания становится внедрение народных кельтских и бретонских мотивов в композиции через использование одурманенной гашишем волынки, различных духовых (коих мало) и даже более – вполне себе народных мелодий из рук гитариста, прямо в риффах, остающихся по-прежнему весьма думовыми. Все после этого души в коллективе чаять невозможно. Концентратом фольклора становится звучащая, словно со старой пленки третья песня, полностью отданная волынке (звучание похоже на вступления старого Cruachan), с неким хаотическим рисунком и грациозной душевной мелодией всплывающей из этого набора звуков.

    А ведь я еще не упоминал про замечательные, бесподобные соляки, занимающие по две-три минуты, но интересные, не сложные и не затянутые в надоедливые завывания. Они с легкостью развивают основную тему песни, привнося магическую лиричность. Из-за этого мелодического компонента музыка становится не просто слегка безумной, но сумасшедшей и кровавой очень по-доброму, пусть ее рубят как в последний раз на блековых скоростях и под шизоидные клавишные разливы (“Sorcerezed”). Если угодно, вылавливается ощущение сказки, странной чуть более чем любая Кэрроловская выдумка, но такой красивой, манящей в глубины своего подсознания. В поддержку следом и живая атмосфера лесного волшебного куража без очевидного музыкального наполнения, но не дающая скучать все равно. Впрочем, куда там, когда “Langoliers” не по-детски выжигает уши, отчего-то опять с блековым уклоном, если бы его взялись играть на Вудстоке в свое время… А фузз рок-н-ролл с эпическим зарубом фольклорной канители… И черта-с два я вам смогу назвать лучшую песню в едва ли не лучшем альбоме в stoner, слышанном мной, и уж точно одном из кандидатов на лучший дебют, лучший диск, и любую другую номинацию этого года (а заодно и прошлого, ибо вышло-то раньше). Возможно, ностальгически знакомых нот в сочетании с невиданным stoner фолком им не хватит на второй альбом, и придется придумать что-то новенькое, но этот альбом уже достижение музыкального искусства.

    Author: Maliceth aka Алк.

  12. Review
    Legacy #77
    13/15

    Eine von A bis Z höchst interessante Band ist uns hier ins Haus geflattert. 2006 in Quimper (Bretagne) gegründet, legen STANGALA nach zwei Demos nun ein mehr als beachtliches Debüt vor. Auf “Boued Tousek Has Traou Mat All” wird, wie es schon der Titel verrät, komplett in Bretonisch getextet und gesungen. Der unaufdringliche, gut integrierte Einsatz von keltischer Folklore (Flöte, Harfe und Dudelsack) trägt weiter dazu bei, die Combo recht eigenständig und drogenvernebelt klingen zu lassen. Und weil wir gerade beim Klang sind: Die Produktion ist sehr vintage, natürlich und erdig gehalten – was den okkulten Vibe von STANGALA gut in Szene setzt. Als Einflüsse lassen sich so unterschiedliche Bands wie King Crimson, ganz alte Black Sabbath, Electric Wizard, Sleep, Queens Of The Stone Age, Iron Butterfly und Hawkwind heraushören. Die auf dem 67-minütigen Longplayer zu entdeckende Bandbreite an lauten, leisen, harten, meditativen, chaotischen und entspannenden Momenten ist beachtlich. Einzelne Songs herauszuheben macht relativ wenig Sinn, abgesehen vom 18-minütigen Stück `Mij Du`. Diese Platte will als Gesamtkunstwerk genossen werden. Auch das sehr psychedelische Artwork und Booklet passt wie die Faust aufs Auge. “Boued Tousek Has Traou Mat All” ist eine dieser besonderen, faszinierenden Platten, die man gerne auf Dauerrotation setzt und dabei Zeit und Raum vergisst. Sicher neben Black Space Riders einer der interessantesten, originellsten Stoner-Newcomer der letzten Jahre. STANGALA geben einem das Gefühl, dass dies erst der Anfang und noch einiges mehr drin ist!

    Author: MWM

  13. Review
    Brutalism
    4/5
    04.04.2012

    ‘Boued Tousek Hag Traou Mat All’ is the debut album from French Stoner/ Rock band Stangala. It’s a bit different from the average Stoner Metal band in the sense it isn’t all about slow, distorted guitar passages in somewhat upbeat formulas with raspy singing and snarling. Most of the album is broken up by the usual vocal led tracks and then including some instrumental tracks here and there; some more random than most. The more vocal led tracks are either the upbeat, fuzzy enjoyable Rock oriented pieces like “Bigoudened An Diaoul” which sound like they take influence from Queens Of The Stone Age or Stoned Jesus, but even these are innovative by the use of fading out vocals, adding in some bagpipes, and overall keeping an atmosphere that isn’t as begrudged as some might be used to. “Doom Rock Glazik” is probably the ‘cleaner’ track on the album with a solid sound that isn’t distorted and could almost be considered mainstream for the structure. On the other hand a track like “Al Lidou Esoterik An Dolmen Hud” is much more distorted and slower, meant for the more typical appreciator of Stoner/ Sludge Metal with its pyschedelic moments of slide guitar, low fuzzy pace tinged with Grungle influence and overall depressing tone that is a huge difference from the more upbeat ones.

    The instrumentals on the album are where things really get fun (or a mind trip). “Kalon An Noz” is just bagpipes and flutes- a huge difference from the buzz of guitars. “Deus Bars An Tan” is as distorted as one can get, feeling more like a Sunn O track with a haunting, slow lo fi tone and spoken word bits right before faded screaming; it feels like ‘The Black One’ all over again- freaky stuff. Finally there is “Langoliers” which most will find themselves comfortable with for its Rock oriented rhythms and being more on par with the rest of the album and not as psychedelically influenced. Still, these little bits really help make the album feel more than just another Gloomy Sunday or Heavy Lord copy, which also resides on Solitude Prod’s label. It’s nice to hear something different for a change while not being so radically different it feels alienating.

    Author: devilmetal747

  14. Review
    The Pit of the Damned
    8.5/10
    12.04.2012

    Abbassate il cappuccio della veste sul volto e preparatevi all’album rivelazione di quest’anno. Il debut album degli Stangala (gruppo francese di nome, ma bretone di fatto) “Boued Tousek Hag Traou Mat All” è un viaggio psichedelico nello stoner-doom in chiave celtica, a suon di sacedoti druidi, sabba sfrenati e riff di chitarra duri come gli scogli che si affacciano sull’ oceano. Questo album, interamente cantato in bretone, è un inno occulto a questa regione che non si è mai sentita francese e al di la dei testi che non comprendo (tradotti in parte nel libretto contenuto nel cd), lo ritengo un diamante nel fango inutile che imperversa nella rete. Registrazione analogica, scricchioli e rumori di sottofondo degni del vinile più vecchio e consumato che avete in camera, strumenti a fiato tipici, gli Stangala (ri)creano delle sonorità che possono teletrasportarvi in un mondo tramandato a oggi oralmente, ma che avrebbe gioito di questa perfetta colonna sonora. Il primo brano “Doom Rock Glazik” riprende le sonorità dei vecchi Black Sabbath con estrema destrezza tecnica di chitarra/basso/batteria, infatti insieme creano un riff epico che percorre tutto il brano in diverse varianti. Poi è il turno di “Al Lidou Esoterik An Dolmen Hud”, personalmente il mio inno celtico, dove la chitarra passa da un’ intro in phaser ad assoli di Hendrixiana memoria. Ottimo lavoro, veramente un pezzo arrangiato con le palle. “Kalon An Noz” è un pezzo completamente strumentale, suonato da cornamusa bretone e bombarda (presente anche in altri brani), strumenti a fiato bretoni che trasmettono tristezza e orgoglio di un popolo vivo e consapevole della proprio identità. Subito si rimane spiazzati dai quattro minuti di delirio introspettivo, ma se li ascoltate con l’orecchio giusto, sarà un momento di totale raccoglimento mistico. Probabilmente è il rifacimento di una ballata bretone, ma non ci giurerei onde evitare di venire incenerito sul posto da un druido incazzato! I dieci pezzi dell’album sono notevoli, prendono spunto dai ben più famosi Electric Wizard e altri dei pagani, ma siamo sulla buona strada per creare un nuovo genere. Spendete questi 3€ per la versione download (11€ per quella fisica) altrimenti verrete sacrificati all’ombra del primo menhir…

    Author: Michele Montanari

  15. Review
    Brutalism
    4/5
    04.04.2012

    ‘Boued Tousek Hag Traou Mat All’ is the debut album from French Stoner/ Rock band Stangala. It’s a bit different from the average Stoner Metal band in the sense it isn’t all about slow, distorted guitar passages in somewhat upbeat formulas with raspy singing and snarling. Most of the album is broken up by the usual vocal led tracks and then including some instrumental tracks here and there; some more random than most. The more vocal led tracks are either the upbeat, fuzzy enjoyable Rock oriented pieces like “Bigoudened An Diaoul” which sound like they take influence from Queens Of The Stone Age or Stoned Jesus, but even these are innovative by the use of fading out vocals, adding in some bagpipes, and overall keeping an atmosphere that isn’t as begrudged as some might be used to. “Doom Rock Glazik” is probably the ‘cleaner’ track on the album with a solid sound that isn’t distorted and could almost be considered mainstream for the structure. On the other hand a track like “Al Lidou Esoterik An Dolmen Hud” is much more distorted and slower, meant for the more typical appreciator of Stoner/ Sludge Metal with its pyschedelic moments of slide guitar, low fuzzy pace tinged with Grungle influence and overall depressing tone that is a huge difference from the more upbeat ones.

    The instrumentals on the album are where things really get fun (or a mind trip). “Kalon An Noz” is just bagpipes and flutes- a huge difference from the buzz of guitars. “Deus Bars An Tan” is as distorted as one can get, feeling more like a Sunn O track with a haunting, slow lo fi tone and spoken word bits right before faded screaming; it feels like ‘The Black One’ all over again- freaky stuff. Finally there is “Langoliers” which most will find themselves comfortable with for its Rock oriented rhythms and being more on par with the rest of the album and not as psychedelically influenced. Still, these little bits really help make the album feel more than just another Gloomy Sunday or Heavy Lord copy, which also resides on Solitude Prod’s label. It’s nice to hear something different for a change while not being so radically different it feels alienating.

    Author: devilmetal747

  16. Review
    Darkview
    7.5/10
    12.03.2012

    Wat krijg je als je Bretoense folk kruist met Electric Wizard? ‘Boued Tousek Hag Traou Mat All’ is het antwoord.

    Nee, dit is geen magische toverspreuk, maar het debuutalbum van het Franse gezelschap Stangala dat probleemloos Keltische folkinstrumenten zoals fluit en doedelzak koppelt aan zompige seventiesrock en psychedelisch groovende doom. De zanger klinkt als een dronken Justin Obourn die in één of andere drugroes op Hellfest is blijven hangen en ondertussen ergens Bretoens heeft opgepikt. Een originele band dat voor de verandering wel eens buiten de lintjes durft te kleuren en zeker je aandacht verdient.

    Author: Geschreven door Samoht

  17. Review
    Femforgacs
    8/10
    12.03.2012

    A nyugat-franciaországi Bretagne-ból származó trió bemutatkozó albuma (amit lentebb teljes egészében meg is hallgathattok) igazi doom gyökerű zene, melyre a stoner jelzőt is rá lehet húzni, ráadásul abból a fajtából, amiben megtalálható az a szükséges plusz, ami kiemeli a mai zenei dömpingből. A csapat zenéjében hangsúlyos a breton származásuk, de van egyfajta okkult aspektusa is.

    Az egy óránál is hosszabb játékidejű, tíz tételes Boued Tousek hag traoù mat all című lemeznek van egyfajta vészjósló hangulata, vagy jól jellemzi, ha komornak és ünnepélyesnek, netán kis túlzással történelminek is nevezem. Nem vagyok nagy értője sem a történelemnek, sem a művészettörténetnek és a breton hagyományoknak, de néhány fantasyt olvastam, s ez a kelta/gall zene a breton nyelven előadott szövegekkel megfelelő háttere lehet az ilyen műveknek. De van egyfajta filmzenés hangulata is. Elég meghallgatni a majd hét perces Deus Bars An Tan-t, ahol a tábortűz ropogásától eljutunk az éjben felhangzó, idegborzoló sikolyokig.

    Ez után az instrumentális Langoliers szinte sláger, a maga szűk három percével is hagyományosabb megközelítésével. Csakúgy, mint az ezt követő Bigoudened An Diaoul, amiben az ének ősrock hangulatot áraszt, a szólók meg aztán pláne.
    A címadó Boued Tousek Hag Traou Mat All kezdő hangjainál szerintem csak az nem kezd hangos Black Sabbath-ozásba, aki vagy nagyon kezdő a műfajban, vagy nincs tisztában a műfaj alapítóinak munkásságával. Ez a dal a maga bő hét percével ugyan hosszúnak tűnik – s, bár a második fele átmegy szimpla jammelésbe – valamiért mégsem lesz unalmas. (Ezt egyébként magam sem értem miért érzem így,, mert nem szoktam ilyen “türelmes és elnéző” lenni. Még az albumzáró Mij du sem “fekszi meg a gyomrom”, pedig hossza majdnem eléri a tizennyolc(!) percet. Igaz, a második fele ilyen akusztikus gitáros, dudával kísért dal, ami nem lepne meg, ha népzenei feldolgozás lenne.

    A trió mellett vendégek is hallatják hangjukat vagy zenélnek a bandával, azonban a borítót böngészve kilétüket homály fedi.
    S ha már a borító szóba került, nem mehetek el szó nélkül amellett, hogy ritka az ilyen, ami ennyire elkapja a lényeget, s felkészít a lemez hangulatára. Viszont érdemi infót elég keveset szolgáltat. Ez persze nem feltétlenül hátrány (persze plusz pont se jár érte, ahogy le sem vonok miatta). Annyi azért kiderül, hogy a felvételek 2009 júliusa és 2011. áprilisa között zajlottak Franciaország és Norvégia között ingázva. Ettől függetlenül a hangzás egységes, ráadásul elég régies, ezt nevezik vintage-nek, ha jól sejtem.

    Ahogy Nagaarum kollégám a The Great Old Ones kapcsán megjegyezte a franciák az utóbbi időben törnek előre, s úgy látszik minden stílusban. Egy egyinéséggel rendelkező banda erős bemutatkozása ez.

    Author: 9000Sanyi

  18. Review
    Lords of Metal
    8.4/10

    Ik vind het altijd verfrissend als een genre zich bedient van ouderwetse instrumenten als een doedelzak om variatie en originaliteit in hun muziek te mengen. We hebben hier zware black Sabbath en Electric Wizard achtige occulte doom metal uit Frankrijk, verweven met Bretoense folk elementen als een doedelzak en bepaalde ritmes klinken erg traditioneel. Men heeft her en der wat oudere filmmomenten herschreven en herschreef men Alan Stivelli’s klassieker. Ook zingt men in het Bretons hetgeen erg origineel is, zeker in dit genre. De uitstapjes naar meer stoner en heavy metal getinte nummers zoals ‘Langoliers’, met hun verrassend spel en detail, vallen bij mij goed in de smaak. Je hoort de vreugde om dit te mogen spelen! Het imago van drie dolende druïden die dit soort metal spelen is ook een schot in de roos. Ik vraag me altijd af wat er zou gebeuren als je de exotische elementen zou wegmixen, of het imago zou wegdenken. Is datgene dan nog voldoende interessant is om te beluisteren. Met nummers als ‘Sorcerezed’ en ‘Deus Bars An Tan’ is daarin elk geval geen sprake van: de psychedelische door drugs omhulde occulte geluiden vanuit het verleden verdragen de nieuwe doom stempel prima.

    Een merkwaardige release, maar wel een originele release. Een release die past in het straatje van de (weder-)opstanding van occult klinkende seventies rock in een metaljasje. Raar detail: men heeft het over een nummer ‘Tri Matolod’, die ik nergens tref op de hoes of CD… Vreemd.

    Author: Erik

  19. Review
    Ave Noctum
    6.5/10
    10.02.2012

    Stangala are French on a Russian label and singing in Breton (which is kind of related to Welsh and other celtic languages). They are also patently barking and seem to enjoy nothing more than dressing up as monks and doing strange dances in the woods. Barefoot. Oh and singing about fairies and dwarves. And drugs. Usually all in the same song.

    Unfortunately this makes perfect sense to me…. Maybe I need a lie down?

    The cover is all green and purple and psychedelic in an old Electric Wizard kind of way and first track Doom Rock Glazik rolls out a big, fat bottom end riff with a melody curl up at the end that has so much groove it sounds like Kyuss playing in theGrand Canyon. Throw in some pipes and distant, stoned vocals and lazy leadwork and the grin just grows on your face. Lovely way to bludgeon your way into a room.

    Stoner Folk anyone?

    Al Lidou Esoterik An Dolmen Hud (its something about dwarves in a trance I think) is where things get a bit tricky for me. It kind of begins a bit early Electric Wizard but without the bile and by the end shuffles through a passage of folk pipes and keys before ending up a bit like Sleep on an off day. This minor disappointment is spliced to a folk/mediaeval instrumental track Kalon An Noz which crackles and whines for four minutes. I suspect it is supposed to conjure some sylvan scene but it mainly just annoys and seems dropped in.

    Stangala drop their big fast bottom end (!) back in on Sorcerezed and the promise of the opening is back in style with another dopesmoker of a groove. Laid back but still a nice head nodder that has a second gear hidden in it, their position midway between Kyuss/Queens Of The Stone Age and lighter drone period Electric Wizard with a sprinkling of ’60s psych coalescing nicely.

    And then they lurch into minimalist doom with the odd scream for Deus Bars An Tan which is when I feel the urge to go and make a cup of tea. Langoliers brings the boogie with some excellent network but if by now youre thinking the words inconsistent and patchy you’re looking over my shoulder.

    When they hit it, there’s no denying that this bunch of eccentrics are a class act. They find a groove effortlessly at times, toss in a folk twist with the pipes and even manage the briefest bit of psychobilly on one song but that first half of the album messes with the flow. Having variation is not just commendable but vital however it feels like a very jagged trip compared to the second half.

    The title track is an oddly light but of spacey stoner rock built on a very bouncy bassline taking the lead which is kind of a chill pill but still a nice one and it flows into Itzel Eo An Dour and slightly more doom waters by stealing the melody and going all cosmic. And Mij Du goes full tilt cosmic doom and whispered voices to end.

    Or does it?

    Yeah…. There’s a bloody hidden track. Now guys this ceased to be funny or interesting about three days after the first ever CD was released. And if it’s because said track doesn’t fit on the album, save it for an EP or a download or something. Stangala use it for a rather nice, sombre acoustic song which is a rearrangement of a song by Celtic and Breton harpist Alan Stivell. Excellent. So why hide it?

    Stangala are good. Real good. But at the moment their ideas and focus are a bit like their riffs. Fuzzed. This debut for Solitude has all the flow of a Greatest Hits album but when they finally figure out what to leave in and what to leave out they will be mining gold.

    Definitely one for the stoners to check out, they have the moves and the ideas and the feel just not yet the focus. Good but no cigar, not quite yet. But well worth an ear or three.

    Author: Gizmo

  20. Review
    Aristocrazia
    17.02.2012

    Stangala, monicker strano, per band altrettanto stravagante, al solo guardare la cover del debutto “Boued Tousek Hag Traou Mat All” con quei monaci in mezzo alla foresta e i contorni da trip-acido, non posso negare d’esserne rimasto attratto.
    E’ necessario però andare a fondo per capire chi siano questi francesi, scrutando i nomi della line-up del trio, due ero sicuro di averli già incrociati e non mi sbagliavo, il primo è quello del batterista Thomas Coïc che ricordavo in qualità di ex membro degli Arvakh, l’altro è quello di Steven Le Moan conosciuto da molti anche come Netra e mastermind dell’omonimo progetto, in entrambi i casi band dal forte connotato atmosferico ed emotivo componente fondamentale anche dello Stangala’s sound, a essi si aggiunge il bassista Alexandre Miossec.

    La formazione viene inserita nel filone stoner/doom metal, l’etichetta è alquanto restrittiva, parliamo di un modo di porsi nei confronti del rock psichedelico di fine anni Sessanta e Settanta, sì contaminato da dinamiche stoner figlie sia dei Black Sabbath che dell’operato del signor Joshua Homme, vi è però una forte connotazione folkloristica che di passo in passo fa breccia nel corso dell’ora e quasi dieci minuti della quale è composta la tracklist, la stessa scelta di eseguire le linee di voce unicamente in bretone per quanto non influisca minimamente sulla fruibilità dei brani, risulta particolareggiare e aumentare il carico ancestrale del quale si fanno portatori.
    Black Sabbath, Iron Butterfly, Black Widow, Hawkwind con una pesantezza più estrema nelle parti nelle quali il suono inprime la concetrazione più alta d’ottani “stoner” evidenti a esempio nell’opener “Doom Rock Glazik” e “Sorcerezed” molto Electric Wizard oriented, godete delle le atmosfere scure e “tangeriniane” di “Deus Bars An Tan” e della massiccia dose di nero innestata in “Izel Eo An Dour” e a esse alternate le altrettanto interessanti e intriganti fughe strumentali folkloristiche della cornamusa in “Kalon An Noz”, gli attimi più vorticosi racchiusi in “Al Lidou Esoterik An Dolmen Hud” rafforzata dalla presenza di elementari ma indovinate intrusioni solistiche, il mood devoto al rock di “Langoliers”, le contaminazioni “funky” sound (grandioso il basso) nel reparto ritmico e l’organo hammond che adornano l’interno della titletrack, direi che questo potrebbe bastare per attirare l’orecchio.
    Tanto per gradire ed è giusto per completezza, è dovuto nominare le due tracce che mancano all’appello, “Bigoudened An Diaoul” una sorta di folle pezzo nel quale s’inframezzano anche del surf, la cornamusa e vi è la presenza di una forte componente Queens Of The Stone Age e “Mij Du” che è in pratica la summa di tutto ciò che avrete sino a quel momento ascoltato, una sorta di “Bignami” delle potenzialità e qualità degli Stangala con annesso tributo alla figura di Alan Stivell colui che è considerato il fautore della rinascita della musica bretone grazie al suo prezioso lavoro di recupero di tali sonorità negli anni Settanta, “Tri Martolod” seppur in versione ri-arrangiata, è frutto dell’opera di quest’artista.
    Non mancheranno i deja-vù, non mancheranno i rimandi a pezzi strafamosi (a voi indovinare quali, due o tre sono alquanto semplici da individuare), per chi è un cultore dell’ambito folk potrà percepire il collegamento di alcuni temi portanti influenzati da melodie classiche della tradizione dalla quale attingono, è però così ben elaborato e reso coinvolgente che questi dettagli passano decisamente in secondo piano, ciò che realmente è importante, è che inserito “Boued Tousek Hag Traou Mat All” verrete risucchiati nel mondo degli Stangala, quando un disco riesce in questo, ha già vinto.

    Author: Mourning

  21. Review
    13.Brat
    13.02.2012

    Obujanje psihadeličnih tradicij v rock glasbi se nadaljuje. Stangala so še eden od množice sodobnih bendov, ki išče svoje mistične korenine v gozdovih nekdanje keltske Evrope. Ob pomanjkanju sodobnih druidov si morajo kar sami pomagati pri iskanju specifičnih rastlinic, ekološko preverjene naravne psihotike. Bend sicer prihaja iz Bretanije, deželice, ki že stoletja kljubuje centralizmu Francije. Njihov zvok je sicer kar preveč podoben Electric Wizard, manjše odstopanje pomeni predvsem uporaba klaviatur, ki zamolklo donijo iz ozadja, in tudi trub, ki pričarajo značilen zvok škotskega višavja, kar se zasliši že takoj v prvem komadu Doom Rock Glazik. V prvem planu pa je kljub temu še vedno predvsem podajanje kitarskih rifov. Vendar gredo Stangala za razliko od svojih doom sludge vzornikov vseeno korak nazaj, v hipijsko obdobje iskanja korenin v ljudski glasbi. Tako je kar nekaj intermezzov, ko lahko slišimo keltski folk, podan na nepretenciozen način in z občutkom za intimnost trenutka, daleč stran od napihnjenega folk metala, ki vsakoletno straši soške postrvi. Veliko je tudi poudarka na ambientalnih delih, ki skušajo pričarati rituale naših prednikov. Prisluhnite prasketanju ognja v Deus Bars An Tan. Pastirski doom? Mogoče. Po besedilih sodeč so tile pastirci zašli na kriva pota in s pomočjo gozdnih dobrot sklenili nova prijateljstva s škrati. Vsekakor pa gre za zelo dobro kombinacijo omenjenih vplivov, pa čeprav se mogoče zdi na prvi pogled malce neobičajna. Res da je dandanes zasedb podobne usmeritve že malo morje, vendar se mi vseeno zdi, da so Stangala neupravičeno prezrti. Boued Tousek Hag Traou Mat All je zelo dober album, za katerega se pa bojim, da bo ostal le znotraj zelo ozkega kroga ljubiteljev žanra. Če ste del tega ozkega kroga, pa že sami veste, kaj morate storiti.

    Author: Marko

  22. Review
    Iye Zine
    14.02.2012

    Quando credi di averle sentite ( quasi ) tutte, ecco arrivare un album di doom metal in bretone.

    Ed è un gran disco, poiché combina il doom di tipo classico con elementi di cultura celtica, formando un connubio di sicura efficacia. Gli Stangala fanno doom druidico, se mi si passa l’invenzione dell’ennesimo sotto genere musicale. Riffs granitici e groove doptronico si affacciano sulla penisola bretone, la regione francese che, insieme ad Iparralde ( Paesi Baschi Francesi ) e la Corsica, chiede di non stare più nella repubblica francese. Il movimento indipendentista ha creato più di un grattacapo all’Eliseo, forte di una base popolare. La Bretagna ha un retaggio di tradizioni decisamente celtico e tutto ciò lo si può ritrovare nella variegata proposta degli Stangala, che viaggiano nel mondo stoner doom e rock and roll. Come disco d’esordio è una della cose migliori che abbia mai sentito, molto originale e bello nel complesso. Da sentire guardando i dolmen di Karnak.

    Author: Massimo Argo

  23. Review
    Doom Metal Front
    9/10

    Es passieren seltsame Dinge, seitdem Stangala in den Wäldern Nordwest-Frankreichs ihr Unwesen treiben: es sollen dort angeblich druidische Rituale abgehalten, bewusstseinsverändernde Getränke aus psychoaktiven Pflanzen sowie Pilzen zusammengebraut und sich in bretonisch, einer alten keltischen Sprache, verständigt werden. Deshalb seien Touristen davor gewarnt, sich nach einsetzender Dunkelheit in diesem Gebiet aufzuhalten, weil sie sonst durch aus riesigen feuerbetriebenen Kochtöpfen aufsteigende giftige Dämpfe dauerhaft synaptische Schäden davontragen könnten. Besonders gefährlich soll es sein, sich den sirenenhaften Dudelsackklängen auszusetzen, weil diese noch verstörender auf das Nervensystem wirken als die ohnehin schon verzerrten Soli und Fuzz-Riffs. Sollte man doch in die Fänge des magischen Trios geraten, müssen die Ohren sofort mit heißem Kerzenwachs zugeschmiert werden, um nicht im Veitstanz zu verwirrenden Bass- und Schlagzeugrhythmen sowie psychedelischen Theremin-Klängen sein elendiges Ende zu finden. Überlebende berichten weiter von purer Ekstase und Glücksgefühlen und beschreiben ähnliche Erfahrungen, wie man sie auf einem LSD-Tripp erlebe. Einzig das laute Ausrufen der Druidennamen und dreimaliges Aufstampfen mit dem rechten Fuß habe Steven, Alexandre und Thomas verschwinden lassen und man sich völlig verwirrt auf einer Waldlichtung wiedergefunden. Man erinnert sich, zehn betörende Melodien vernommen zu haben, die jede für sich zuerst absolute Glücksmomente hervorriefen, aber schlussendlich in den Wahnsinn trieben. Wir empfehlen, sich mit den englischen Übersetzungen der Liedtexte in der heimlich aufgenommen und in der vom Druiden-Opfer-Selbsthilfegruppe e.V. aka Solitude Productions veröffentlichten CD namens Boued Tousek Hag Traou Mat All auseinanderzusetzen, um sich auf alle Eventualitäten vorbereiten zu können. Keine Sorge, die unterschwellig wirksamen Töne wurden angeblich hochtechnisch herausgefiltert, um die Anmut der wilden Klänge genießen zu können. Ich muss die Stangala-Druiden unbedingt sehen, ich muss, ich … NEIN! Es wirkt schon.

    Author: Sven Mihlan

  24. Review
    Heavy Music
    8/10
    02.02.2012

    Стук барабанных палочек одна о другую, отсчитывающий стандартный ритм “раз,два,три,четыре” для того, чтобы начать играть, а после- наиприятнейший психоделический, классический (стоунер) дум льётся в уши.

    Создающие гипнотическую атмосферу гитарные риффы, кажется, то удаляются, то приближаются, барабаны звучат где-то вдалеке, тарелок почти не слышно, вокал тоже, вроде он есть, а вроде и нет, и всё это обрамлено в туманную дымку расслабленности и отрешённости, словно бы музыка с вертушки старого винилового проигрывателя проникает помимо воли слушателя в его затуманенный мозг.

    Третий трек сыгран полностью на волынке, которая довольно активно используется на протяжении всего альбома и вписывается в музыкальное полотно вполне гармонично, не смотря на, якобы, абсолютную несовместимость жанра и инструмента.

    Четвёртый трек- с чуть более растянутым, резиновым звуком. А когда песня достигает места своего развития, ударные неимоверно ускоряются, а звучание вокала и других звуков становится похоже на галлюциногенные видения и голоса, пребывающего в наркотическом бреду. Под конец трека темп замедляется, словно человека отпускает. Ну или затухает…кому как больше нравится.

    Четвёртый трек- насквозь пронизан звуком пылающего костра, сопровождаемый различными шёпотами, разговорами, шумами и атмосферными клавишами. А под конец- неожиданно жёсткое гитарное звучание и истошные крики. Наркоман из предыдущего трека, видимо, всё-таки сдох и горел в аду, мучаясь и крича от боли.

    Следующий трек – какая-то дикая, неистовая пляска в недрах преисподней. То ли весёлый мотивчик, то ли злорадственный. Напоминает песня Rammstein- Benzin своим ритмом.

    А далее- вечерника в аду продолжается. Сначала очень хаотично, а потом всё более спокойно, что-то в духе американских тусовок. Интересно начинает звучать бас, впервые выделяясь из общего шума и выходя на передний план. Композиция заканчивается характерными звуками, при которых представляется передознувшийся амфетаминщик, лежащий на полу у бассейна после окончания вечеринки.

    Музыкантам отлично удалось передать атмосферу наркотического безумия в своей музыке, и звучит это гораздно лучше всяких там их “авангардно-психоделических” французских коллег.

    Author: Grimmsberg

  25. Review
    Underground Empire
    10/15

    Ich bin benommen, mehr noch, regelrecht berauscht von diesem Album! Was diese drei Burschen aus Frankreich hier darbieten kommt für mein Dafürhalten nämlich eher an einen einzigen, über eine Stunde anhaltenden Trip verdammt nahe als konventioneller Musik. Durchweg psychedelisch und in Richtung “Stoner” (wohl im wahrsten Sinne) legen es die Jungs an, verbreiten dabei aber eine spannungsgeladene Atmosphäre und verstehen ihre Handwerkskunst, die sich schlicht und ergreifend “elegische Langsamkeit” nennt durchaus. Es “doomt” also im zumeist untersten Tempobereich, läßt aber dennoch eine gewisse Leichtigkeit erkennen. Diese stammt zum Großteil von den vereinzelten Einsprengseln aus dem keltischen und irischen Kulturkreis auch wenn diese wohl eher den Trip unterstützend und integrativ angewendet werden.
    Hinsichtlich der instrumentalen Komponente ist »Boued Tousek Hag Traou Mat All« also über jeden Zweifel erhaben, durch Abstriche in Sachen Sound klingt die Chose allerdings ziemlich verwaschen. Genau darin aber sehe ich wieder eine der Stärken von STANGALA, denn eben dieser “Schmutz” läßt das Album zu einer “Klangmauer” werden. Psychotische, verstörende und wabernde Sequenzen im Sinne von ELECTRIC WIZARD oder auch RAMESSES sind ebenso Bestandteil dieses Gesamtkunstwerkes wie selbstredend auch Einflüsse der “Ursuppe” jeglicher Langsamkeit: BLACK SABBATH. Als “Würze” verwenden die “Franzeln” auch noch herzhafte, wenn auch fast schon auf manische Weise repetierte Fragmente, weshalb ich mich auch nach mehrmaligen Versuchen immer wieder dabei ertappte, keine Ahnung mehr zu haben welchen “Song” ich eben höre. Der Umstand, daß ohnehin gleich vier Instrumentals enthalten sind, macht diese “Suche” zudem nicht einfacher. Aber Songs sind hier ohnehin Schall und Rauch (hüstel). Anhören und sich auf den Trip einlassen!

    Author: Walter Scheurer

  26. Review
    Metalstorm
    7.5/10
    04.02.2012

    Can you blow me where the pampers is? Can you BLOW me where the PAMPERS is?*

    They know… they know…

    Holy crap, sorry about that. Just listening to the latest from Stangala gave me one hell of a contact high.

    This trio of Frenchmen apparently loves to run around in druid cloaks, consume mass quantities of hippie lettuce (and maybe fistfuls of magic mushrooms and other recreational pharmaceuticals) before picking up their instruments and groove to fuzzed-out retro stoner doom jams.

    The jams themselves, while nothing new, are a lot of fun. These guys have a great groove and a well-balanced sound. They toss in a few more ingredients – the opening track opens with some crackling fuzz as if when hitting “play” you dropped the needle on the record of your old hi fi, as well as a bong hit during a breakdown.

    They also show off their Celtic roots by breaking out the occasional traditional instruments, none more apparent than the shrill whine of the near-bagpipe instrument. While used subtly – or perhaps less then subtly within the context of the doom rawk jams, they add a cool layer to the whole thing. However they get annoying mighty fast when on their own, as in the entire track of “Kalon An Noz”.

    Another track, “Deus Bars An Tan” minimizes the instrumentation to a relative hypnotic drone with limited guitar riffs and instead focuses on what sounds like the crackle of burning wood and atmospheric vocal gargling chants before devolving into one serious Bad Trip. Whereas “Kalon An Noz” was annoying, this is a cool, ominous departure from the rest of the album.

    Ultimately, though, the band is at their best when doing the whole doomed power trio thing and jamming away.

    Now if you’ll pardon me, I’m done hammering away at the keyboard… I need to go. I’ve got the overwhelming urge to eat an entire apple pie.

    (* stoner reference from PCU)

    Author: BitterCOld

  27. Review
    Metal.de
    6/10
    14.01.2012

    Ich bin benommen, mehr noch regelrecht berauscht von diesem Album! Was diese drei Burschen aus Frankreich hier darbieten, kommt für mein Dafürhalten nämlich eher einem einzigen, über eine Stunde anhaltenden Trip näher, als konventioneller Musik.

    Durchwegs psychedelisch und in Richtung “Stoner” (wohl im wahrsten Sinne) legen es die Jungs an, verbreiten dabei aber eine spannungsgeladene Atmosphäre und verstehen ihre Handwerkskunst, die sich schlicht und ergreifend “elegische Langsamkeit” nennt, durchaus. Es “doomt” also im zumeist unersten Tempo-Bereich, lässt aber dennoch eine gewisse Leichtigkeit erkennen.

    Diese stammt zum Großteil von den vereinzelten Einsprengseln aus dem keltischen und irischen Kulturkreis, auch wenn diese wohl eher den Trip unterstützend und integrativ angewendet werden. Hinsichtlich der instrumentalen Komponente ist “Boued Tousek Hag Traou Mat All” also über jeden Zweifel erhaben. Nur durch Abstriche in Sachen Sound klingt die Chose dann allerdings doch ziemlich verwaschen.

    Genau darin aber sehe ich wieder eine der Stärken von STANGALA, denn eben dieser “Schmutz” lässt das Album zu einer “Klangmauer” werden. Psychotische, verstörende und wabernde Sequenzen im Sinne von ELECTRIC WIZARD oder auch RAMESSES sind ebenso Bestandteil dieses Gesamtkunstwerkes wie selbstredend auch Einflüsse der “Ursuppe” jeglicher Langsamkeit: BLACK SABBATH.

    Als “Würze” verwenden die “Franzeln” auch noch herzhafte, wenn auch fast schon auf manische Weise repetierte Fragmente, weshalb ich mich auch nach mehrmaligen Versuchen immer wieder dabei ertappte, keine Ahnung mehr zu haben, welchen “Song” ich eben höre. Der Umstand, dass ohnehin gleich vier Instrumentals enthalten sind, macht diese “Suche” zudem nicht einfacher. Aber “Songs” sind hier ohnehin Schall und Rauch (hüstel). Anhören und sich auf den Trip einlassen!

    Author: Walter.Scheurer

  28. Review
    Pavillon 666
    9/10
    13.01.2012

    Le folklore Breton a refait surface en cette fin d’année dernière avec le retour de STANGALA. Après une démo en one man band et un premier E.P en statut de “vrai groupe” (“Lutun Sativa Delirium” ou LSD), voilà que nos fiers lutins celtiques experts en produits psychotropes nous pondent enfin un premier album “Boued tousek hag traou mat all”.
    Récemment signés chez “Solitude Productions” (HEAVY LORD, DRAWERS…), on ne peut que se douter que nos Quimpérois nous servent sur un plateau un “stoner” en bonne et due forme.

    Dans un premier temps, je pense qu’il est des plus importants de signaler ce qui fait l’originalité du groupe: les titres sont tous en scandés en breton, langue d’origine de la région, qui depuis une bonne vingtaine d’années fait son retour en force dans les écoles, garantissant la sauvegarde du patrimoine local, et donc origines dont ils arborent fièrement les couleurs !
    On retrouve donc tout ce qui fait le folklore breton avec l’incorporation de cornemuse ou de bombarde, lors des titres qui ponctuent cet album.

    Maintenant, parlons du contenu. Directement influencé par des groupes comme ELECTRIC WIZARD en tête, STANGALA se veut être un “stoner” sonnant très seventies, c’est à dire guitares grésillantes, batterie lourdes et lignes de basse saturées. Le chant est aussi dans la même veine sonnant avec un certain “écho”.

    Les titres sont tour à tour très “rock’n roll” comme “Doom Rock Glazik”, “wizardien” sur “Al lidou Esoterik an dolmen hud”, ou “Sorcerezed”; incantatoires sur “Deus bars an tan”, son ambiance au feu de bois et sa suite “Langoliers” au riff principal en aller retour rappelant ces groupes de “true black metal”. On peut même décéler leur appréciation pour le groupe qu’est QUEENS OF THE STONE AGE sur “Bigoudened an diaoul” (les “Bigoudens du diable”, si je ne m’abuse) et son tempo aux accents californiens. L’album enchaîne sur “Boued Tousek hag traou mat all”, une instrumentale ravageuse, très groovy et horrifique grâce à son clavier. Enfin celui-ci se clôt, après une piste fleuve, sur une piste cachée qui n’est autre que la reprise du “Tri Martolod”, guitare accoustique à la main.

    A la fois stoner, rock’n roll et psychédélique, les compositions ponctuant cet album ont toutes leur ambiance propre, la touche les reliant étant bien cet aspect “breton” grâce à ses instruments folkloriques et ses lignes vocales. Pour ma part une de ces excellentes découvertes, qui, même sans rien inventer de nouveau, arrivent à renouveler le genre, de par un aspect bien identitaire qui vous fait planer tout au long de ce “Boued Tousek Hag Traou Mat All” et dont l’écoute fini par vous donner l’envie de danser la gavotte en cercle avec les membres du groupe dans une messe incantatoire à base de potions psychotropes. Ça fonctionne et “Breizh Dieub” !

    Author: Doc.Douggy

  29. Review
    Alternative Matter
    17.01.2012

    Hey there kids, how’s your Breton? Let me have a wager: not that great, yeah? You may therefore be a little cautious when you learn that Stangala play their doom rock entirely in Breton. However let me ask a follow up question: when has understanding exactly what the singer has been singing been entirely central to whether we like a band or not? I seem to recall that it hasn’t been a massive problem for the likes of Rammstein or Alcest so put aside any initial misgivings you may have about this not being an English language record (does anyone really care about this anyway?) and have a delve into the doom rock delights of this strangest of bands.

    The psychedelic cover, featuring the group in mad monk cowls encircled by classic acid laden sixties typography is a much better sense of the aural delights that lie within this unassuming yet beguiling record from our Gallic cousins.

    Hailing from the town of Kemper, France, Stangala have been plying their drug-fuelled, occult-drenched doom rock since 2007. Their latest record is more of the same but with the emphasis on the MORE rather than the SAME, if you will. Their PR biography suggests that theirs is a Celtic tinged work. I’m not so sure whether the odd bagpipe or traditional musical instrument constitutes Celtic but there is an undoubted earthiness and organic sense to their occult rock that is both credible and compelling.

    Opening track “Doom Rock Glazik” gives you a solid idea of what I’m talking about. The vocals are slightly ethereal, otherworldly, the influence of early Queens of the Stone Age obvious and, in this instance, welcoming. This is no desert rock epiphany though. It’s melodious, off beam and slightly obtuse; the background playing of the bagpipes reminding one of AC/DC’s ”It’s a long way to the Top” (If you wanna rock n roll) : that is, if AC/DC had been raised in a forest by a coven of abstruse witches.

    “Al Lidou Esoterik An Dolmen Hud” is much weirder, but in a thoroughly agreeable way. More Iron Butterfly than Iron Maiden, it has a queasy guitar part that is indulgent but satisfying over a riff that is all occult rock with a soupcon of spacerock thrown in for good measure. “Kalon An Noz” hurtles around your cerebellum like a benign, woodland incantation; Sorcerezed sounds more druggy than your local pharmacy, the production mix so low you think it’s been recorded underground- which, let’s face it, it may very well have been. “Longoliers” ,by contrast, is a hard driven instrumental blast straight out of the stoner rock top drawer. It has a drive and a- ahem- oomph- that would not go amiss were you driving your flatbed truck down an open highway. Josh Homme would be proud. As he would with the quirkiness of “Bigounded An Diaoul” which has all the druggy oddness one loves about stoner rock but without any of its crass self-indulgence masquerading as creativity.

    It’s not until the end of the record, however, that things turn really, really weird. ”Mij Du & Tri Mortolod” is an eighteen minute epic- in the truest sense of the word. This is a deliciously odd and inventive sprawling mess of a track with occult rock interspersed with (one assumes) drug addled conversational narrative, odd time changes and proggy influenced shredding. Despite the clunkiness of my description it’s pretty laid back and easy to listen to and finishes the record if not in a Grand Guignol style, then certainly one with a huge amount of devilment and chutzpah.

    Stangala are a weird mob- but one that I have a certain amount of endearment towards. There is a vintage feel to their rock, a real earthiness. This is a record where you can still hear the playing, still imagine the creative process and one where the invitation to join the eccentric gathering is one that will be hard to refuse.

    Author: Mat

  30. Review
    Kaosguards

    Un soir d’hiver, en l’an maudit 1970 après la naissance du faux prophète, un mini-van s’égara dans une vallée encaissée sise près de l’antique cité de Kemper.

    A son bord, quatre bardes anglais hirsutes et pas trop rassurés, qui commençaient à se douter que le choix du nom de leur confrérie, BLACK SABBATH, était à nouveau en train de leur jouer un fort méchant tour. Nul ne sait ce qui se passa au cours de cette sinistre et glaciale nuit bretonne mais il se murmure que les bardes anglais durent donner un gage au petit peuple de la vallée de Stangala. Sur les bords glacés de l’Odet, BLACK SABBATH troqua donc ses sortilèges électriques et poisseux contre un sauf conduit vers le vaste monde moderne.

    Il fallut attendre des décennies pour que trois kherriged sous l’emprise de champignons porteurs de folie et de visions s’emparent du retable contenant ces sortilèges. Envoûtés, possédés, ils invoquèrent secrètement d’autres esprits maudits, métalliques ou psychédéliques. Ainsi naquit l’entité STANGALA, héritière de BLACK SABBATH, ELECTRIC WIZARD, KYUSS, tout le space rock (HAWKWIND bien sûr) et le rock psychédélique dans son versant le plus électrique.

    Le trio insane fusionne les influences citées ci-dessus avec des éléments celtiques (instruments traditionnels et chant en Breton) pour aboutir à un Metal débridé, hypnotique, charriant un magma sonore épais, glauque, puissant. S’y confronter, c’est accepter tour à tour de se frotter contre du granit moussu, de se plonger dans des flots glacés et tortueux, de lapper un chouchen vieilli en fût. C’est à la fois fortement intriguant, déconnant (un peu) et très convaincant, au-delà des éléments folkloriques et de l’imagerie bibinne et défonce portée par le trio. L’album sonne très live, à la fois cru et puissant. Gourc’hemennoù !

    Author: Alain Lavanne

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