Stoner Rock

Hailing from the depths of the underground rock scene in the 1990s, stoner rock is a subgenre that emerged from grunge and heavy metal. Known for its heavy, sludgy sound and a hypnotic, slow tempo, stoner rock has since then established itself as a popular genre among music fans across the globe. The roots of stoner rock can be traced back to the 1970s, where bands like Black Sabbath, Deep Purple, and Led Zeppelin were pioneering the heavier, more experimental side of rock music. These bands experimented with guitar riffs, dynamic changes, and various tempos to create a sound that was distinct and unique. However, it was not until the late 1980s that the stoner rock as we know it today started to take shape. The key catalysts were two seminal bands: Kyuss and Sleep. Both bands were heavily influenced by the sounds of Black Sabbath and Led Zeppelin, they fused these influences with their own original sound to create a distinct type of progressive metal. Kyuss, in particular, gained a cult following for their loud, heavy sound, with the band members often describing their music as “desert rock.” Following the success of Kyuss and Sleep, the stoner rock genre began to gain more recognition and popularity. Bands like Monster Magnet, Electric Wizard, and Fu Manchu grew in popularity and helped to define the sound of stoner rock, with their heavy, fuzzed-out guitar riffs and stripped-down, no-nonsense drumming. The 1990s saw a massive surge in popularity for stoner rock, with many bands gaining international recognition and mainstream success. One of the most noteworthy bands from this era was Queens of the Stone Age, the project of Josh Homme, a former member of Kyuss. The band’s debut album, self-titled, was a massive hit, with songs like “Regular John” and “Avon” becoming instant classics. Other notable bands from this era include Corrosion of Conformity, Spiritual Beggars, and Clutch, who helped to define and solidify the sound of stoner rock, with heavy and powerfully emotive guitar riffs, and with raw and in-your-face drumming. This was the peak of the stoner rock movement and signaled the zenith of the genre’s popularity. The new millennium saw some changes in the stoner rock scene. Bands like Mastodon, Baroness, and High on Fire emerged, and they began to push the boundaries of the genre. These bands expanded the definition of stoner rock, incorporating everything from thrash to hardcore to punk, and even elements of jazz and psychedelia. One of the most significant aspects of stoner rock is the genre's tendency to incorporate subject matter that is drawing from a variety of sources. Themes explored in the stoner rock subgenre range from science fiction to horror to mysticism and the supernatural. This thematic diversity aligns stoner rock with the philosophy of rock and roll itself, a genre that has always been associated with a certain contempt for conformity and a willingness to explore multiple themes in their music.

Kyuss: considered by many to be the pioneers of stoner rock, this Californian band melded heavy riffs, psychedelic vibes, and desert rock to create a unique sound that inspired countless others in the scene. Sleep: this San Jose trio captured the essence of stoner rock with their blend of slow, sludgy riffs and mystic lyrics. Their album "Dopesmoker" is considered a classic of the genre. Electric Wizard: hailing from the UK, this band is known for their dark, ominous sound that mixes doom metal with stoner rock. Their lyrics often delve into occult themes and forbidden knowledge. Nebula: formed by members of Fu Manchu, this LA:based band combines fuzzed:out guitars, spacey jams, and melodic hooks to create a sound that's both heavy and psychedelic. Monster Magnet: led by charismatic frontman Dave Wyndorf, this New Jersey band has been a fixture in the stoner rock scene since the '90s. Their music blends classic rock, metal, and psychedelic elements into a potent brew. Colour Haze: this German trio has been pushing the boundaries of stoner rock for over two decades, with their intricate, jammy songs that fuse heavy riffs with Eastern influences and jazz:inspired improvisation. Sasquatch: this LA:based trio draws inspiration from '70s hard rock and krautrock, infusing their music with heavy grooves, spaced:out jams, and melodic hooks. Their sound is both classic and contemporary. mods: hailing from Greece, this band has been making waves in the stoner rock scene with their riff:heavy songs that draw from classic rock, grunge, and metal. They're known for their high:energy live shows. Brant Bjork: this former member of Kyuss has been a driving force in the stoner rock scene for over two decades, with his solo albums showcasing his soulful vocals, bluesy guitar work, and laid:back, desert:inspired vibe. Acid King: fronted by Lori S., this San Francisco trio has been crafting heavy psychedelic rock since the '90s, with their music drawing on influences like Black Sabbath, Hendrix, and the Melvins. Their Witchy Woman EP is considered a classic of the genre.

1. Kyuss - Blues for the Red Sun 2. Sleep - Dopesmoker 3. Electric Wizard - Dopethrone 4. Monster Magnet - Spine of God 5. Fu Manchu - The Action Is Go 6. Queens of the Stone Age - Rated R 7. High on Fire - Blessed Black Wings 8. Clutch - Blast Tyrant 9. Orange Goblin - The Big Black 10. Cathedral - The Carnival Bizarre 11. Melvins - Houdini 12. YOB - The Great Cessation 13. Acid King - Busse Woods 14. Earthless - Sonic Prayer 15. Red Fang - Murder the Mountains 16. Nebula - To the Center 17. Black Sabbath - Master of Reality 18. The Atomic Bitchwax - I 19. Witchcraft - Witchcraft 20. Black Pyramid - Black Pyramid 21. Black Mountain - In the Future 22. Uncle Acid and the Deadbeats - Blood Lust 23. Baroness - Blue Record 24. Truckfighters - Gravity X 25. The Sword - Age of Winters

One of the definitive books on stoner rock is Ian Christe's "Sound of the Beast: The Complete Headbanging History of Heavy Metal". In it, Christe describes stoner rock as "a down-tuned, dirtier version of heavy metal, almost like a mutant cousin." He goes on to explain how the genre developed, saying that "while grunge and alternative were taking over the airwaves, a few bands were playing harder, heavier, and more psychedelic music in the shadows." Another notable book on stoner rock is John Robb's "The Stone Roses and the Resurrection of British Pop". Although the book mainly focuses on the Manchester band The Stone Roses, Robb also delves into the stoner rock scene, saying that "the excitement around the Stone Roses was mirrored in the desert rock scene in California, where bands like Kyuss, Fu Manchu, and Queens of the Stone Age were emerging." He goes on to describe stoner rock as "a soundtrack for cruising highways, smoking weed, and living free." Many musicians and critics have also weighed in on stoner rock over the years. Musician Dave Grohl has said that "stoner rock is all about guitar riffs and drum beats that hit you like a ton of bricks." He cites bands like Black Sabbath, Kyuss, and Melvins as his inspirations for the genre. Music critic Robert Christgau has also expressed his admiration for stoner rock, describing it as "a sludgy, lurching, intensely grooving sound that pounds its choogling message into your soul." Not all opinions on stoner rock have been positive, however. In a review of the album "Blues for the Red Sun" by Kyuss, Pitchfork's Brent DiCrescenzo criticized the genre for its lack of originality, saying that "all these bands have the same sound, all the same influences, all the same lyrics about riding motorcycles and smoking weed." He also questioned the genre's supposed rebelliousness, saying that "the whole concept of rebelliousness gets lost when every band is doing the same thing."

A significant social factor that helped to bring Stoner Rock into existence was a growing sense of disillusionment among the youth of the time. The generation that grew up in the 1980s had witnessed the collapse of the counterculture movement of the 1960s and 1970s. They had also lived through the perceived economic incompetence and moral decline of their leaders, as well as enduring the Cold War and the dangers of nuclear proliferation. This sense of disappointment and disaffection led many young people to search for new forms of expression which would purposefully rebel against the status quo. Stoner Rock was also aided by key cultural factors, particularly the popularity of heavy metal and progressive rock of the late 1970s and early 1980s. In the late 1960s and early 1970s, heavy metal had evolved as a genre of rock music with a dark, bluesy sound and an emphasis on hard-hitting guitar riffs and thunderous rhythms. This heavy sound would become an important element of Stoner Rock's signature sound. Technologically speaking, Stoner Rock came into existence in an era of great innovation and experimentation, with many new recording techniques being developed, and digital recording becoming more affordable. This allowed for a greater range of sonic possibilities, giving artists the opportunity to experiment with the aural landscape, and create deeper, heavier sounds with greater sonic depth and richness. One notable figure within the Stoner Rock movement was the record label, Man's Ruin Records, founded by Frank Kozik in 1994. Kozik was a noted graphic designer and poster artist who had spent years working in the punk rock scene in the 1980s. Man's Ruin Records became an essential player in the development of Stoner Rock, releasing a wide variety of albums throughout the mid-to-late 1990s, including notable releases by bands such as Fu Manchu, Queens Of The Stone Age and Nebula. Journalists also played an important role in the popularisation of Stoner Rock. Joe Cardamone, chief songwriter for The Icarus Line and a noted music critic, is credited with coining the term "Stoner Rock" and defining its musical characteristics in a 1998 article for the Los Angeles Times. Around the same time, British music journalist John Robb championed the Stoner Rock sound in his influential music magazine, Sounds. In addition to its cultural and technological context, Stoner Rock's musical characteristics and sonic palette were heavily influenced by a wide variety of genres and musical styles, including blues rock, punk, heavy metal, doom metal, psychedelia and space rock. It is characterised by its slow, heavy, distorted sound, its hard-hitting drums, and its use of repetition and droning riffs to create an entrancing, hypnotic effect.