New Heavy Sounds releases The Harvest, by Psychedelic/Space Rock Metal band Mammoth Weed Wizard Bastard (who have condensed their name to the acronym MWWB). Hailing from Wales, the group consists of Paul Michael Davies on synthesizer and guitar, Jessica Ball on vocals, bass and synthesizer, Stuart Sinclair on bass, and Dom McCready on drums. Wez Leon (synthesiser and guitar) and James Carrington (synthesiser and drums) were unable to take part on the album. Contrary to the belief that the last release – the third of a trilogy – would be the end of this combo, they have returned with the album they state they have always wanted to make. The release is delayed due to the life-changing injuries suffered at the hands of COVID-19 by guitarist Dave. This time, as well as their preferred genres, there is an emphasis on soundtrack music and the addition of Progressive Rock. The release is available on Limited Edition Deluxe Coloured Vinyl in two colour variants, on CD, and for Digital Download...

A very atmospheric Space effects sequence and a voiceover introduces us to 'The Harvest', a nice bombastic and yet gloomy track. With its basic theme and sound effects an all-encompassing low and bass sequence with repeating riff and female vocals is created. The originality of this just begins to wear off when the Space noise returns with the original riff. It’s a song with diminishing returns, and it’s at this point you realise the whole thing should be listened to as one uninterrupted piece. 'Interstellar Wrecking' follows with dark foreboding Electronica and a variation on the 2001: A Space Odyssey theme but achieved in a John Carpenter-influenced style. This segues into the opening riff of 'Logic Bomb', an ultra-low Doom fizzing number. The vocals are reverbed and floating over the top, a similar format to those in 'The Harvest'. The bass synth wave effects are excellent though, offering the whole a space travelling otherworldly quality. I’m not certain that the dreamlike vocals really work as well as they should, as it’s easy to tire of the unchanging flat delivery. 'Betrayal' is a synthesiser sequence very much borrowed from Pink Floyd’s 'On the Run' from Dark Side of the Moon, tinged with more John Carpenter-like base under siege moments. It’s a nice track, but the backwards vocals are a step too far.

'Altamira' is a low and heavy stopping Electronica bass for the guitar that introduces the same style of vocals. However, they seem to suit the backing of this one more comfortably. This incorporates trippy interludes, which work well but remain unchanging for the majority of the piece. 'Let’s Send These Bastards Whence' relies on very robotic sequences of synthesisers and other Electronica. I like the very late 1970s experimental style which has a multitude of soundscapes going on but remains intriguing and to a certain extent catchy. This is the standout track for me. 'Strontium' returns to the Doom backing, this time with some nice guitar playing over the top. It’s quite contradictory in its format, mainly due to the, frankly, depressing vocals. We get a change of riff halfway through, as well as the introduction of the nicely-utilised electronic sound effects, but to be honest this one long outstays its welcome. We sign-off with 'Moonrise'. A fuzzy electro-acoustic guitar accompanies clearer vocals in a stripped-back departure.

I’m in two minds about this release. I felt that when I reviewed their previous album they hinted at more potential than they actually displayed. I liked it, but I also had reservations. Similarly with this one, MWWB show real style, flair and originality in places, but it is tempered with overly long unchanging sequences and flat vocals which fail to fit the format. For me the Electronica and Doom sounds work, although I feel that the band hasn’t fully found its legs yet. Nevertheless, I’m glad the band has finally managed to bring this offering to the fans after the personal problems suffered in recent times. May I take this opportunity to wish Dave a full recovery.

7

Ty Power