Petyr United States

"Another incredible authentic stoner rock full of deep, heavy psychedelic aspects.

A California-oriented unit PETYR were founded as a stoner rock quartet by a professional skateboarder Riley HAWK. The second album "Smolyk" was released on April 30, 2018, following their first eponymous one, via Outer Battery Records. We can find their strong dignified positive intention massively inspired by stoner rock pioneers like Kyuss or Sleep, heavy rock vanguards like Black Sabbath, or psychedelic masters like Flower Travellin Band. Exactly we can say Heaven gives Riley two talents, skating and rocking. Through the whole creation, the magnificent hollowing-out sound gravity by the rhythm section - the bassist Luke DEVIGNY and the drummer Nick McDONNELL - should shape and determine their serious stoner appearance. Of course we must not avoid such a sarcastically hallucinogenic dissonance created with twin guitars by Riley and Holland REDD.

The crazy propagating combination mentioned above explodes from the very beginning of the titled masterpiece "Smolyk". Fantastically violent sound explosions cling to our heart and never let go. Such an energetic distortion in "Part 1" launched by four strengthened instruments is also addictive. In "Part 2" repetitive passion plays and loose, relaxing vocals (a bit cheesy but interesting though) remind us of the similarity to Kyuss' styles. Oh goodness this is the most stoner rock's basic of basics. "Part 3" involves quite ethnic bluesy potential and uptempo melodic activity, both of which will encourage the audience. Simple codes and movements cannot be boring. The last "Part 4" kicks our inner brain with their cool offensive music attacks. We cannot help feeling that over ten minutes pass without any breath.

Anyway the other tracks possess mysterious dark power too. "Salt Lake" features kaleidoscopic phantasmagoric melody lines, and the entity is pretty enthusiastic. Shifting vibes are also enchanting and flavourful. "Grease 'Em All" filled with speedy exciting sound bombardments makes us rather pleasant and comfortable. The first slowtempo dark slides in "Zero Time (Dark)" remind us of the topnote of "Smolyk". Sticky slimy instrumental inflammation slightly tinged with improvisational tips all around is quite effective. The last run "Distant Shores" consists of swift blues rock kicks, drone shoegaze-y moments, and dreamy bubbling phases ... guess the audience in front of PETYR would get immersed and absorbed in their colourful soundscape. It's wondrous beautiful that they run through such a production grandeur in a single-minded manner."