Wizzerd, Wizzerd (2019)

By Beert

As the host and song selector for my dumb little radio show, I’m always on the lookout for new music to play on air. I tend to search for Doom/Stoner/Sludge bands on the facespace to see what’s new. One day, I stumbled upon a link to the self-titled album by Wizzerd, who are out of Kalispell, Montana. With just a click of the wrist, I was on their bandcamp page and I started listening to this album. I was immediately caught up in their style and the quality of the song writing. I quickly became a giddy little fanboy and contacted the band to let them know. I told them that should they ever decide to come to our little town, I would love to set up a show for them. I believe it was a matter of minutes, and I had them slated to come through on July 30—if you happen to be in or around the Rapid City area on that date, I encourage you to be at the VFW that evening!

I had inquired about a vinyl release and found out that Cursed Tongue Records, out of the Netherlands, was releasing this as a double LP. If you know of Cursed Tongue Records, you know they put out solid releases of heavy music. (Anyone recollect the insanity that is the Earth Witch, Out Of The Shallow, which I raved about? Yep, on Cursed Tongue).

I had been listening to the bandcamp download of their album, which is stellar, but I ordered the vinyl as soon as pre-orders opened. Yesterday, I received the double LP. I wanted to wait to review this record once I could listen to the vinyl, so I could hear it through the stereo and take in the quality that is Wizzerd. With the physical copy in hand, and the stereo warmed up, it’s time to review what I am proclaiming to be, in my opinion, the album of the year for 2019. I give you...Wizzerdby Wizzerd.

This is a 10-song, double LP, done the way the Old Gods would require it. I have the beautiful aquamarine and purple vinyl version. 

The album starts with the song “Druggernaut,” taking up the whole first side of the vinyl. The song starts soft and melodic with a heavy kick-in just when you would expect. If I had to compare “Druggernaut,” it is reminiscent of Sleep’s Dopesmokerin tone, tempo, and style. In other words, it is heavy-as-fuck-with-no-apologies. With the first few notes, I am hooked. I get goosebumps, and I’m only 30 seconds into the song.

Lyrically, Wizzerd takes us to the pre-dawn of humanity (those were the days, eh?). The words fit with the plodding music. Everything just feels pre-historic and cosmic. As a former geology/paleontology student, I am digging this hard (get it, digging?). I don’t claim to have any ability to decipher lyrics, but I can’t help but wonder if the fellas in Wizzerd have looked into the possibility that life on earth may have initiated from amino acids being delivered to the planet on a meteor. I’m not ruling it out, and “Druggernaut” tends to steer me more towards it—I tend to like that theory anyway.

The vocal delivery of the ancient lyrics is also delivered in the vein (oh geology quips...) of Al Cisneros from the Dopesmokeralbum. It’s like a second coming, without copying. It’s reminiscent and original at the same time. As “Druggernaut” ends, the music brings us back to calm and melodic, almost as if you have seen the “Druggernaut” approach, walk by, and then walk away in a manner that shows s/he is sullen and alone, yet fulfilling some sort of doom prophecy. From the start, this album has me ready for a full day of plodding through primordial seas. And, as a bonus, this song is only available on the vinyl version of the album.

Side II has three songs: “Great Mother Gaia,” “King of Esbat,” and “The Doomed.”

“Great Mother Gaia” turns a corner with a faster tempo and more straight up “rock.” It is a blast of fury aimed at your heart. Lyrically, it is an ode to the power of Earth as the mother to us all, without getting all new-agey and weird. It is a song about what should be revered and held in highest regard. I sense an underlying meaning that perhaps Wizzerd view the earth in a reflective manner like the old gods of HP Lovecraft lore:

Our Great Mother Gaia, the Earth

Your molten heart still beats

In a restless state of eternal sleep

Your molten heart still beats

Mountains made of stone that carve the souls of the weak.

That reads with a Cthulhu feel, and I get it. I look for the day the earth will rise against those that harm her. “Great Mother Gaia” certainly makes that day seem sooner than later. The delivery of the vocals fits with the style—more singing and less droning vocals. 

“King of Esbat” starts right away, after “Great Mother Gaia” comes to an end. A bouncy drone starts the song, and then it goes into a lot of palm mutes and sustained notes, alternately. The singing extends the lyrics, and completely works with the music. The instrumentation tends to aid in the meaning of the lyrics, almost as though it is a well-written score to a story of old. The music drops almost to a medieval song you’d hear in a throne room. It just so happens that this song seems to be a sad tale of the overthrow of kings and how the laws will change with each new king, affecting the “subjects” and adding confusion with each passing of the crown. There also seems to be a story of a new king who isn’t sure if he should continue on with the way things have been going, or should he eradicate the old, oppressive ways. Of course, as I said, I’m no decipherer of lyrics, but that is what I draw out of it.

“The Doomed” serves as the last song on side II. It involves a story of the plague and how doomed we all would be. While I’m sure they didn’t intend this, but it does fit with the current times of the Anti-Vaccination movement, and how these children could be doomed to any sort of disease (which could become some version of a plague). 

Come doomed disciples

Blackest Magick, Darkest night

Plague has taken your soul

The Doomed shall soon become us all...

The song is filled with great sounds and movement. The rhythm section of Wizzerd lays down a solid backbone, with a flash of flair here and there. And the guitar work remains steady yet fluid and gives listeners great ability to bang their heads in reverence of what Wizzerd is providing.

Check out the song at: https://wizzerd.bandcamp.com/track/the-doomed

Side III is another three song epiphany including “Dragon,” “Warrior,” and “Wizard.”

“Dragon” starts off with a great doom-inspired intro. Lyrically, the song is full of fear and trepidation regarding the fiery reign of a dragon. Wizzerd does a great job of capturing the fear of what living in the time of dragons would impart on the soul of humanity. The song is strong and powerful with great vocal accents regarding this tale of doom and woe. How could this not bring a sense of dread with a simple lyric like:

I, the Dragon made of smoke

Born upon your toke

Abandon now all hope.

Musically, this has a feel of what a modern-day Black Sabbath could bring to the table with higher quality of singing. The song makes me miss Bill Ward and Geezer Butler’s solid backing, with the dark harmonies of Tony Iommi lifting this Dragon high on its wings. The song is beautiful in its darkness, and harsh (in a good way) with its almost thrash-like run as the song moves forward. The breakdown at the finish of the song requires the listener to throw up a raised fist with hairs all along the arm.

“Warrior” is a sad tale of a warrior trapped in the life of a fighter. It harkens to the tale told in the great Takashi Miike film, Blade of the Immortal. But you tell me...

Sleeping in the wood

Protector feels no pain

Dormant in the stone

Where I shall remain.

The song is heavy and plodding as though you are traveling with a lone warrior. The feeling comes across as though this warrior’s life has been nothing but battle, and s/he is tired and weary, wanting to rest and end the life of violence. Yet, this warrior knows her/his place in life and is resigned to the fact that this is the bane of her/his existence. The song has faster parts that bring to the imagination battle scenes the warrior remembers as s/he reflects on a hard-lived life.

“Wizard” starts with, yet again, a Black Sabbath feel of bass driven blackened joy. The complement of guitar work with bass lines is only enhanced by the subtle drumming that keeps everything in place. Combined with the music, the lyrics put the visions in your mind of a wizard working his craft. And while this can seem like it could come across as trite and lame, it certainly does not. This song gives a sense of the power of a wizard.

Master of space

Master of time

The black is my home

The light is my shrine.

Really, this could not be a better description of the duties of a wizard. 

Side IV is the final side, with the songs “Phoenix,” “Wraith,” and “Wizzerd.”

“Phoenix” blasts off from the first note. The thoughts of a monster epic flow through this song with images of anger, hate, and destruction caused by a bird of fire reborn from the ash. The music comes at the listener from every angle, as though there was an attack by a phoenix and there was no way tell from which direction death from above would arrive. Great guitar harmonies and solid rhythm once again send chills through the spine. The dual vocals of almost a yell and a background of singing add to the song as well. There is almost a sense of an ancient tale as told through song in this one.

He soars through blood-red skies

His rage ablaze in burning eyes

Destruction and death he soon will make

Hellfire here in a path of fate.

Dead on.

“Wraith” starts with a great synth intro that leads us to a heavy stomp of guitar. Imagine that you were trying to walk through a tar pit. There is a brutality within this song, like a burning anger. The vocals are delivered in a growl, without overpowering the trudging tempo of the song, almost like a voice from beyond the grave. I believe that is the story of the song...death from beyond, about to rise again.

As I descend

Chasms of revelation

Alchemy, sorcery

Vivid hallucination

I break free

Ossox territa.

Finally, we come to the album ender, “Wizzerd.”It has a great, energetic start, with a killer breakdown right away. This song is full of energy and really reminds me of my favorite song by Bible of the Devil, “Victory Bringer” (check it out at: https://bibleofthedevil.bandcamp.com/track/victory-bringer). This song is driving and hard with well-sung vocals. There are lots of great guitar overtones, without being wanky (Yngwie Malmsteens stay away!). The music has great transitions from power to speed, from slow and strong. My mind gathers thoughts of an ancient wizard who regales the listeners with tales of magic and sorcery. It is a great way to end this album, as it leaves the listener wanting a third record in this set. 

Check it out: https://wizzerd.bandcamp.com/track/wizzerd-2

I can’t praise Wizzerd enough for this album. As stated in the onset of this review, I give this album the accolade of album of the year from this reviewer. I have been excited to hear this on vinyl since I read that the juggernaut label Cursed Tongue Records (https://cursedtonguerecords.bigcartel.com) was putting this on a slab. Of course, the album is available for download on Wizzerd’s bandcamp page, but nothing gives the full beauty and every small nuance of an album like the vinyl. Cursed Tongue is evil in that they do limited pressings, so you have to be quick. There are still some copies of this album left at Cursed Tongue, and I suggest you get your copy soon. Or, catch Wizzerd live, as they will be touring through the midwest soon, and here’s to hoping they will have some copies with them. You will not be disappointed. Keep your eye on Wizzerd, as they have already started to blow up in the doom scene. 

If I had a rating system, I would give this a 6 out of 5 (yeah, that’s right). If you miss out on this record, you are missing out on one of the great, heavy-hitters in current doom bands.