Sons Of Otis
X (CD) 2005 Small Stone
It seems as if underground metal is more and more extreme these days, with sludge and death elements infiltrating the stoner/doom community left and right. I've got my share of faves with all that, but I'll tell you that it's damned refreshing to get a new album from blues space doom stalwarts Sons of Otis that is a smart continuation of everything they've done right in the past, with heavy nods back to the glory days of the late 90s. The lesson here is that you might improve it if it ain't broke, but you sure as hell don't need to fix it.

The album's title, 'X,' is a reference to the fact that Sons of Otis have been recording in one form or other for 10 years, despite an almost unbelievable string of bad luck that some might term "The Otis Effect", labels going bad, industry duplicity, and an ever-changing series of drummers that has solidified only in the past few years tells only part of the story. And despite the group's name, which refers to a character in the almost pornographically violent and depressing classic movie 'Henry: Portrait of a Serial Killer,' the ever-evolving Sons of Otis tale is that of a group reaching for the doomed mysteries of deep space, aided by a pharmacopoeia of illicit substances. The results have gone from the angry, edgy vibe of their initial release, the 'Paid to Suffer' EP, through the space doom blues jams of the classic 'Templeball' and 'SpaceJumboFudge' releases.

Sadly, we haven't heard much from The Sons lately, but this excellent release from Small Stone - "the patron saint label for all criminally under-appreciated heavy on the heavy rawk bands" - will rectify that in a big way. Like all of the band's best music, SoS's tuneage this go 'round is psychedelic, heavy, spacey, and doom-laden, only this time its more focused, an effect Small Stone seems to have on many on their group roster. Not that the lengthy jams of old are absent, they're just more... compact.

Highlights from 'X' include 'Relapse,' a nod to the group's history in the form of a re-make of the leadoff tune from 'Paid to Suffer'. As you might expect, this time it's both spacier and slower, but still faithful in intent. 'The Pusher' is a re-make of the Steppenwolf cover that first appeared on their beautiful vinyl-only picture disc a few years ago, and the effect is not unlike that of 'Relapse.' 'Eclipse' is so spacey and filled with echo that it sounds like it was recorded in Thingol's Cave, far underground. 'Liquid Jam' is just that, a 14 + minute slab of blues-based sludge doom colliding with Hendrix circa 'Cry of Love' or 'Band of Gypsies'. You dig? Ken Baluke's vocals are not unlike Dave Wyndorf's, only transmitted from a dust cloud in deep space, while the bass n' drums will blow your hair straight back and reprogram your heart.

This is Sons of Otis's best album yet, though I'll always have a soft spot for 'SpaceJumboFudge'. Really, it incorporates everything that's made them a staple for bong owners everywhere, regardless of the changing shifts in the winds of underground musical fashion. As such, it's probably the best introduction a neophyte could have. So spark up: the jeweled forests of Venus are closer than you think.
Album Cover

1. Way I Feel
2. Relapse
3. 1303
4. The Pusher
5. Help Me
6. Eclipse
7. Liquid Jam

Approx. 55 minutes
Reviewed by: Kevin McHugh
Queen Elephantine / Sons Of Otis Split (Split CD) 2007 Concrete Lo-Fi
A really massive heavyweight of a split. It starts with 'Tales Of Otis' by Sons Of Otis, which is a track full of incredibly slow and slightly unnerving riffage. While most of their previous works have been very stoner influenced, this would come closer to being a mixture of doom/sludge and doom/drone. The attitude is very dark and slightly agressive. In fact, this is pretty much the same kind of music that Corrupted make. The main difference would be that this track has no vocals.

The second track is more in their usual style, though still without vocals. The riffage is much less deep and jams along in a very spaced manner. High as a kite, in other words. In addition, it must be said that the melody line is incredibly relaxing while at the same time tickling the air guitar lobe in the stoner fan's mind. Clearly one of the most far out tracks in the doom/stoner genre. Exactly what any Sons Of Otis fan would be looking for.

The far out music on 'Oxazejam' is a perfect passage over to Queen Elephantine's track. While they have only half as many tracks as the direct descendants of Otis, 'The Battle OF Massacoit (The Weapon Of The King Of Gods)' lasts a whole 26 minutes and that's nearly ten minutes more than the other two tracks combined. The music is nearly as high as on 'Oxazejam', but less stonery and more droning. An interesting aspect of the music is that the regular drumwork is supplemented with what sounds like a set of bongo drums. The track even ends with the bongo drums jamming it out in a solo. It really gives the track a slightly Middle Eastern feeling. The vocals are very slow and does sound a bit drunk or drugged. All in all a very relaxing track that make you feel like you're floating around above a desert on the back of a slightly psychadelic camel.

The music from both bands fit really good together, giving the overall feeling of the split a comfortably holistic tinge. This wouldn't have been a big thing if the bands had more active and more intensely chaotic music. However, when the music is this relaxed and as chaotic in the same way an etheral wave would be, then good continuation is very welcome. Most importantly for my verdict, it enables the music to become really pleasant music for relaxation. And that's exactly what I would recommend it as. If you want something far out to allow your mind to wander, then this is probably a very good choice.
Album Cover

Sons Of Otis:
1. Tales Of Otis
2. Oxazejam

Queen Elephantine:
3. The Battle OF Massacoit (The Weapon Of The King Of Gods)

Approx. 44 minutes
Reviewed by: Arnstein H. Pettersen