Band: Satan’s Satyrs
Album: Don’t Deliver Us
Label: Bad Omen Records
Satan’s Satyrs were a band that came to my attention while reading through an issue of Iron Fist (#8) early last year and was instantly taken in by the fuzzed out combination of 60’s/70’s garage rock, early punk and trad doom thrown in with the pulp-y aesthetics of 60’s biker films and occultism of the debut, Wild Beyond Belief! The sophomore effort, Die Screaming, expanded the sound more and drew in interesting inclusions of carnival-esque sounds, surf rock and an overall less raw sounding but good experience and their third album, Don’t Deliver Us, furthers the ambitious sound expansions of the previous release.
Kicking the 9 track album off with its fuzzy doom rock and keys mix is Full Moon and Empty Veins, which showcases Satan’s Satyrs’ further sound expansion out from debut’s primal concoction of biker rock/punk and doom. While Die Screaming pushed Satan’s Satyrs towards a more psych rock influenced sound, Don’t Deliver Us seems to take those psych rock sounds and drive them in a more fuzzy and doomy garage rock sound, leaving a lot of the tracks on Don’t Deliver Us with an eclectic stoner doom feel to them. This is especially so on the almost 9 minute closing track, Round the Bend, which spends a vast chunk of the track caught up in a pretty catchy Kyuss-esque jam that carries the track surprisingly well.
Two Hands, (Won’t You Be My) Gravedancer and Creepy Teens exhibit the albums more energetic cuts with garage stomping attitude in the instrumentation and Claythanas’ wails being at their most eccentric on these tracks, including a rhythmic rapid delivery in sections of Two Hands. A lot of the tracks tend to feature drops into heavy doom sections for brief periods of time, further showcasing the eclectic and dynamic elements of Don’t Deliver Us.
The odd ball track on Don’t Deliver Us is the instrumental Spooky Nuisance which starts out with an energetic version of a riff and jam Kyuss could easily be seen playing before dropping into a swing beat and a funky, camp and kinda old school spooky riff and jam. Easily the most memorable song on the album because of the off-kilter and campy mood switch but definitely hammers home Satan’s Satyrs ability to throw in ambitious changes to their sound while keeping in the niche aesthetic the band has carved out.
The guitars on Don’t Deliver Us hearken back to the guitar sound on the debut with the heavy reliance on the fuzz, helping to give the album a more stonery feel to it in general, although the album has a cleaner but still lo-fi garage sound a la Die Screaming. Overall the instruments are all well defined and even when the fuzz is at its most overwhelming the bass and drums, and even Claythanas’ vocals, can still be clearly heard punching through, giving the garage sound of the album an appreciated well roundedness to it.
Don’t Deliver Us represents Satan’s Satyrs creative ability to not be pinned in one particular sound while still very well carving out a uniquely SS niche and aesthetic as well as their ability to craft a damn good 40 minute experience – only a couple of sections throughout the album experience quality drops. Fans of Satan’s Satyrs should not pass on this, nor should anyone desiring an eclectic but firmly fuzzed out experience, definitely recommended.
Check ’em out here: https://badomenrecords.bandcamp.com/album/dont-deliver-us