Electric Wizard
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Electric Wizard , 6.5/10
Come My Fanatics , 7.5/10
Dopethrone , 7/10
Let Us Prey , 6.5/10
We Live (2004), 6/10
Witchcult Today (2007), 5.5/10
Black Masses (2010), 5/10
Time to Die (2014), 6/10
Wizard Bloody Wizard (2017), 5/10

Electric Wizard, a heavy-metal band formed in Britain by singer and guitarist Justin Oborn (ex-Eternal) in 1993, quickly established itself as one of the most versatile and eclectic stoner acts of the decade.

Electric Wizard (Rise Above, 1995) was a revelation: super-heavy nightmares such as Stone Magnet and Mourning Prayer (a bit too derivative of Black Sabbath), instrumental acid-rock jams such as Mountains Of Mars, stoner versions of melodic Cream-ian jams such as Devil's Bride and the eight-minute Black Butterfly. lengthy monoliths of depressed brooding like the ten-minute Electric Wizards and the slow-grinding nine-minute Behemoth, The holy triad of stoner-rock (Black Sabbath, Blue Cheer and Hawkwind) was bent to blaspheme cerimonies of utter nihilism. The result sounded closer to early Swans than to heavy-metal.

Come My Fanatics (Rise Above, january 1997), containing six lengthy pieces, was even more powerful (even heavier, duller, darker and more sluggish), a tidal wave of gloomy sounds. Whereas the songs of the first album contented themselves with mimicking the classics, Return Trip (10:03) managed to build an apocalyptic atmosphere out of sheer repetition with increasingly claustrophobic variations, as if heavy metal had wed Steve Reich's minimalism. An elegant balance of droning and riffing (and chanting) is achieved in Doom-Mantia (8:49). The band's sound spills over into electronic and abstract territory in two pieces. Ivixor B/Phase Inducer (8:48) borrows an idea from the Sisters Of Mercy and delves into a gothic-psychedelic atmosphere of sparse noises. The instrumental Solarian 13 (8:00) sounds like a loop of intricate guitar patterns over a steady beat that is visited by intergalactic spaceships.

The single Chrono-Naut (Man's Ruin, 1997) is a lengthy suite that rehashes all possible stereotypes of space-rock, stoner-rock and doom-metal; and Supercoven/ Burnout (Bad Acid, 1998) offers another half an hour of psychedelic doom-metal (this time a truly original work of art).

Without the slightest concession to the mainstream, Electric Wizard returned with an even heavier and spacier album, Dopethrone (MUsic Cartel, 2000 - Rise Above, 2005), a sheer overload of bad vibrations the erupts evil nebulae of incandescent magma. The eight-minute Funeralopolis is basically a blues in the vein of Led Zeppelin's first album, a lot more dynamic than their previous work. The eleven-minute I The Witchfinder is even more funereal, a protracted ritual of self-flagellation. The eleven-minute Dopethrone erets the most intimidating wall of riffs, but is also the most predictable. The sixteen-minute Weird Tales consistes of six minutes of insistent riffing followed by ten minutes of spaced-out drones. The stylistic spectrum is broader than usual, ranging from the "lively" Vinum Sabbathi (a miniscule track by their standards, at just three minutes), to Barbarian, an agonizing, moribund chant over massive, dense sludge.

(Translation by/ Tradotto da Claudio VEspignani)

Electric Wizard e' un complesso heavy metal formato in Inghilterra dal cantante/chitarrista Justin Oborn nel 1993. Electric Wizard (Rise Above 1995) fu una rivelazione: incubi pesantissimi come Stoner magnet e Behemoth, cavalcate space-rock come Mountains of Mars, monoliti lunghissimi di meditazione depressiva come Electric Wizard e Wooden pipe. La sacra triade dello stoner-rock (Black Sabbath, Blue Cheer e Hawkwind) viene messa al servizio di queste blasfeme cerimonie di solenne nichilismo. Il risultato finale suona pi— vicino ai primi Swans che all'heavy metal. Il singolo Chrono-naut (Man's Ruin 1997) e' una lunga suite che rimaneggia tutti i possibili stereotipi dello space-rock, dello stoner-rock e del doom-metal. Supercoven/Burnout (Bad Acid 1998) offre un'altra mezz'ora di doom-metal psichedelico (questa volta un lavoro davvero originale). Come my fanatics (Rise Above 1999) contiene sei lunghi pezzi. Dopo aver ascoltato Return trip, Solarian 13 e soprattutto Ivixor B, ci si sente come esser stati all'inferno. Senza la minima concessione commerciale, gli Electric Wizard sono ritornati immediatamente e con un disco ancor piu' pesante e spaziale. Dopethrone (Music Cartel 2000) e' un puro sovraccarico di cattive vibrazioni che erutta nebulose maligne di magma a lenta combustione come Vinum Sabbathi, Funeralopolis e Dopethrone.

The band that invented baroque stoner-rock crafted six more slowly grinding dirges on the impeccably produced Let Us Prey (Music Cartel, 2002). Their traditional sound is epitomized by the slow-grinding, formulaic bloodbaths of super-doomy A Chosen Few and the nine-minute Master Of Alchemy, each an aural sculpture of ugly, deep, dark sounds. The smashing ten-minute Priestess Of Mars adds a melodic quality to both the vocals and the guitar. Night Of The Shape is a failed experiment with tinkling piano and galactic synth-guitar. We The Undead, on the other hand, a gargantuan rock'n'roll, unusual in its fury and fast tempo for them, and especially the ferocious nine-minute bacchanal The Outsider successfully push the boundaries of the genre.

Justin Oborn reformed Electric Wizard with Justin Greaves on drums, Rob Al-Issa on bass and second guitarist Liz Buckingham. But We Live (Rise Above, 2004) adopts a no-nonsense doom format that relinquishes most of the previous album's innovations.

Witchcult Today (Candlelight, 2007) boasted some catchy moments (Satanic Rites Of Drugula and Torquemada 71) and a super-heavy Dunwich, but little else.

Black Masses (Metal Blade, 2010) contains the nine-minute instrumental Crypt of Drugula and little else of value.

(Translation by/ Tradotto da A.Giulio Magliulo)

La band che ha inventato questa sorta di stoner rock barocco ha realizzato con l'impeccabile Let Us Prey (Music Cartel, 2002) altre sei lente e soffocanti litanie. Il loro tradizionale suono può essere riassunto nella formula del bagno di sangue super-doom di A Chosen Few e nei nove minuti di Master Of Alchemy, scultura sonora di suoni malvagi, profondi e oscuri.
I formidabili dieci minuti di Priestess Of Mars aggiungono melodia a voce e chitarra. Night Of The Shape è un esperimento fallito con un piano tinitinnante e una galattica chitarra-synth.
We The Undead d'altro canto è un rock and roll mastodontico, insolito per loro nella sua furia e tempi veloci, e soprattutto il feroce baccanale di nove minuti di The Outsider va ben oltre i limiti del genere.

Justin Oborn ricostituisce gli Electric Wizard con Justin Greaves alla batteria, Rob Al-Issa al basso e Liz Buckingham come seconda chitarra ma We Live (Rise Above, 2004) adotta un formato doom nonsense che rinuncia per gran parte alle innovazioni del precedente album.

Witchcult Today (Candlelight, 2007) vanta episodi più   orecchiabili (Satanic Rites Of Drugula e Torquemada 71) e una Dunwich super-heavy ma poco altro.

Black Masses (Metal Blade, 2010) contiene i nove minuti strumentali di Crypt Of Drugula e poco altro di valido.

The band was unable to go beyond its own stereotypes but at least the lengthy pieces of Time to Die (2014) performed them elegantly: Incense For The Damned (10:42), I Am Nothing (11:31), We Love The Dead (9:05), Lucifer's Slaves (8:40).

Wizard Bloody Wizard (2017) was an attempt to return to the spirit of Dopethrone but with half-baked results (See You in Hell, Hear the Sirens Scream, the eleven-minute Mourning of the Magicians).

(Translation by/ Tradotto da xxx)

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