Hailing from the city which shares the name with my favourite sausage company (I feel like I’ve made this joke before), Roma, Italy’s Beesus are here to spit in the face of technical musicianship and crisp album production in the name of their god, Lord Fuzzy Overdrive. Donations to Lord Fuzzy Overdrive may be made by way of purchasing Beesus’s newest album, Rise Of Beesus, out now on Goodfellas/New Sonic Records. Now, confess your sins on the altar of Lo-Fi, and cleanse your spirit with bass and groove.
The album starts rather typically with feed-backing guitars. Eventually, that leads into some heavy as fuck riffs that are accentuated by drum punches before settling into their sweet, sweet groove. This thereby sets the tone for the next nine tracks. To my untrained and ignorant ear, singer Touis has a somewhat Lane Stanley of Alice In Chains quality to his wails which I rather like. Come to think of it, this whole record has a super 90s vibe to it. I could absolutely picture these guys being turned away by 90s music industry bigwigs for being just a little too weird for them, and thus being denied the sweet taste of worldwide fame, groupies, and millions of dollars to eventually go to their heads resulting in one of them being Courtney Love’s rebound husband.
“Stonerslam,” which I hope to god is a WWE Summerslam reference, breaks the mould a bit and starts on a particularly funky note before crashing back to earth in a hail of fire, fuzz, and heavy riff-tastic riffage. “Kusa” is a slower jaunt and sets a very somber atmosphere with the solo bass intro and eerie breathing track in the background. I’ve been down this road too many times to be lulled into a false sense of security and am prepped to be bombarded at any second. The song does kick in but settles back to somber and offers a great dynamic. It is a great addition to the record in general. For me this was their most memorable song because of that dynamic and extra dash of creepiness.
My other favourite would be “Mata La Verguenza.” It starts with a great metallic opening and continues with strong riffs that get help by the drum punches. Like “Kusa,” “Mata La Verguenza” flows into an excellent slow melancholy section for a few bars before the guitarist, “Pootchie,” puts on a guitar clinic of feel to cap off the song.
Overall, I think this is a damn good stoner and doom album that fans would eat up like Roma Sausages. I had a great time listening to it and this style is certainly not my forte. I greatly look forward to my next drug escapade so I can slam this record on as background music.
Written by Paul Ablaze
*edited by Danielle Kenedy