Mount the Mountain by Mammoth Mammoth

Release date: April 28, 2017
Label: Napalm Records

One glance at Australia’s desperados Mammoth Mammoth’s 5th album cover – a scantily clad woman purveying the world from the top of a mountain – will probably come as no surprise that we are indeed entering an unsubtle world of booze soaked, gasoline smelling, narcotics fuelled no nonsense biker rock ‘n’ roll.

So, let’s picture the scene: a god forsaken thirst quenching heat destroying Australian outback, a home/garage strewn of oily well used motorbikes and broken parts lying all over the floor. Brain cell destroying homebrew alcohol brewing in one corner, a chemical lab cooking up powder which kills all notions and thoughts of sleep in the other. Slabs of hacksawed meat drowning in a frying pan of brick sized lard in a kitchen that will make restaurants in Gordon Ramsey’s Kitchen Nightmares a Michelin star awarded establishment. Yeah, this is debauched territory Tom Waits portrays in ‘Filipino Box Spring Hog’, but Tom didn’t mention they were a hard rock band from Melbourne.

With a huge dosage of tongue and cheek humour (well, one assumes, and hopes!) stitched on their denim and leather jackets they hop on their steel horses with revved up riffs ready to burn. They open with the storming title track, a surprising six minutes long pumped up high octane riffage, with added talking monologue surrounded by swirling guitar, which befits the title.

The album proceeds with a batch of heads down, fully charged dispatches from rock’s hedonistic hell and are some of the finest the band have written. ‘Spellbound’ is a mad max biker on acid fighting his demons in the blazing unforgivable sun, a delirious mix of a hard-hitting rhythm and scorched sun psych riffs.

Their full throttle stoner rock fuzz possesses a kick ass amphetamine drive. We are talking influences which absorb Motörhead’s ferocious attack, and contains classic Phil Campbell styled riffs, as on the animal welfare friendly ‘Kickin’ My Dog’. ‘Epitome’ is a stripped down straightforward Orange Goblin styled no messing robust rocker.

While, Girlschool’s classic debut album Demolition’s all blazing adrenaline riffed charged enthusiasm is heard in ‘Hole in the Head’ and ‘Sleepwalker’. They are delivered with such blinkered committed gusto that, well, they sure as hell rock! At their best, it is hard to resist enjoyable smirks while head nodding along.

As the albums races towards the end there a few tracks like ‘Hard Way Down’ which, while still leading the full throttle tempo charge, along with ‘Cold Liquor’, are slightly unfermented, not quite brewed to the kick ass perfection compared to the album’s first seven tracks. And although the bonus track of Kylie Minogue’s ‘Can’t Get You Out Of My Head’ gets the Mammoth Mammoth makeover it isn’t anywhere near as preposterous and fun as it should be. And, disappointedly, there isn’t any standout outrageous over the top lyrics like “I eat Angel dust for breakfast, then microwave the cat” from the Volume IV – Hammered, Again track ‘Fuel Injected’.

This isn’t breaking any new biker/stoner/gritty hard rock ground, nor is it sophisticated, hygienic, or laced with modern values. It is loud, blunt, grease infected dirty, and smelly, which is a case of job done for fans of frenzied grinning, heart pumping, sock it to you hard rock.

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