ALBUM REVIEW: Seaward – Mr. Bison

While it’s popularity has ebbed and flowed over time, psychedelic rock is arguably one of rock music’s longest standing traditions. From its drug-fuelled origins in the 60s, via the spaced out stoner rock of the 90s, to today, there’s always been something cool about the genre’s big riffs and long jams which has kept listeners coming back. Seaward, the third album from Italian heavy-psych rockers MR. BISON, is a record steeped in that same tradition. As the title suggests, the album focuses on a collection of narrative myths related to the sea. Despite this concept, the band can’t seem to help but conjure a strong feelings of another part of the world: the desert.

From the start, it’s hard to believe that MR. BISON is a three-piece. With two guitarists and no bass, the trio nevertheless create a massive sound throughout. Bands of MR. BISON‘s ilk are only as good as their best riffs, and the group waste no time in showing they’ve got this covered. After a brief ominous intro, the opening title track erupts with a swaggering riff instantly comparable to stoner titans SLEEP. The rest of the song sees the band show more of their 70s rock influences, as does next track From The Abyss, which draws comparisons to legends like BLACK SABBATH and PINK FLOYD.

These first two songs are good, but it’s the third track I’m The Storm that offers Seaward’s first real highlight. The song, the longest on the album, opens with ominous clean guitars before kicking into a massive slide guitar solo. From there it moves into driving riffs, shuffling proggy sections, and a gradually building verse-chorus. It’s an impressive, thought-out piece which could even draw comparisons to TOOL at their most riff-heavy.

All three members of MR. BISON, interestingly all named Matteo, handle vocal duties on Seaward. Whoever sings on I’m The Storm gives a particularly impressive performance which brings to mind the late Chris Cornell. The same Matteo appears to take the lead on a number of other tracks, but the band do mix things up from time to time. At other points the vocals draw more obvious comparisons to the 70s psych rock groups MR. BISON are so clearly influenced by. There are also multiple moments where the band make use of trippy psychedelic vocal harmonies, perhaps most noticeably on songs like From The Abyss and The Sacrifice. The use of a range of vocal styles is definitely a good thing, adding depth and diversity to the record.

Fourth track Oudeis is another highlight. Opening with a mellow, jammed organ solo, it represents a cool shift from it’s heavy hitting predecessor. The big riffs and bluesy jamming soon resume, and the song becomes another rocking good time with more impressive vocals. It’s a good summary of all the things MR. BISON do best – massive riffs, long jams, tonnes of swagger, and lots of fun.

From here the album’s final three songs are all solid, but they do feel a little repetitive. Much like second track From The Abyss, all three open with big riffs before dropping to more psychedelic verses. None are particularly weak – The Sacrifice is another fun, bouncy blues rock track, and Underwater‘s SABBATH-esque main riff is one of the album’s best – but listeners may want a little more variation by the end of Seaward’s 40 minute runtime.

That said, Seaward is still a very enjoyable record. It may not be a massive break from the psychedelic rock formula, but it’s definitely a formula which works. MR. BISON clearly know what they want to do, and they do it well. They’re a tight, exciting trio carrying the torch for a genre which has kept listeners coming back for over half a century, and, with releases like this, will surely continue to do so.

Rating: 7/10

Seaward is out now via Subsound Records.

Like MR. BISON on Facebook.