Album muthafuckin credits:
Recorded at Zippah Studios in Brookline MA
Recorded by Tim Saroce and Eric Oligney
Assisted by Matt Jugenheimer
Intern: Jamie Scott
Vocals recorded at the Mix Hut, Cambridge MA
Recorded by Tim Saroce and Eric Oligney
Digital Editing: Tim Saroce and Eric Oligney
Mixed at Studio Metronome, Brookline NH
Mixed by Pete Peloquin
Assisted by Doug Hazelton, Tim Saroce
Mastered at New Alliance East, Cambridge MA
Mastered by Nick Zampiello
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Review from Nonelouder
GOZU
Next up is local Boston band Gozu, a fast moving, forward thinking power rock outfit. As the world of stonerrock begins to crumble and those who once relied on it start to search for a way to broaden their sound, bands like Gozu will be emerging. Gozu have the thick power grooves of a stonerrock band but have way more in the vein of dynamics and structure than stonerrock bands. They don’t rely on a single groove or just the power of fuzz to get through what they do instead they add a dash of straight up rock n roll. Vocally Gozu also try and steer away from the standard drone of groove rock or stoner by adding a power rock style. The vocals almost sound like a crazy old bastard from the mountains telling a tale until the chorus kicks in and then we’re in the presence of an ethereal rock sound.
Gozu switch between slow jams and fast paced rock songs to round out their sound and the best part is they keep it dirty without getting too fuzzed out. What they do is ugly and rural and fucking kicks much ass. Boston has always been a hotbed of amazing bands and Gozu is no different.
The band is about to drop their new self-released album in May so make sure you check it out. To hear some Gozu tunes check the band out Here.
-iann robinson
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REVIEW from StonerRock.com:
Gozu – Self Titled
Review by John Pegoraro (StonerRock.com)
Self released
Release date: February 2008
Don't expect a whole lot of Wargasm from Gozu, the new racket featuring the former's Barry Spillberg. Apart from a couple of instances of thrashy double bass, this Boston-based four-piece (along with Spillberg, there's Marc Gaffney on vocals/guitar, Ralph Whittemore on bass, and Doug Sherman on guitar) is more akin to the likes of Queens of the Stone Age.
And for those dismayed by Josh Homme and Co's recent output, this is cause for rejoicing. Apart from “Truth Weighs a Ton,†which hews just a little too closely to post-Rated R escapades, Gozu lays it on mud-thick and groove-friendly, just like the Queens' debut way back when. Even better, while there are some similarities between the two albums, Gozu doesn't dogmatically beg, borrow, and steal riffs wholesale. Sure, you might be able to draw a bead from “Meth Cowboy†to “Regular John†or from “Barry Time†to “Mexicola,†but Gozu throws in more than enough twists to make the songs their own (besides, Gaffney's a much better vocalist than Josh Homme – the dude can sing). I'm singling out “Meth Cowboy†and “Rise Up†as the best of the seven tracks, but “Northside,†with its caustic Boston attitude and “Traci Lords,†which approaches King's X territory, also deserve mention.
Boston seems to be going through another musical resurgence and Gozu's another fine example of the city's new breed of bands. These guys are definitely worth checking out.
====================================================The Noise-Boston MA
GOZU
Gozu
7-song CD
First off, this CD is for fans of Soundgarden and Queens of the Stone Age. I, being a fan of that type of sound, thoroughly enjoy this record. It begins with what sounds like a whispered prayer called “Okuda†performed by Emi Okuda. Then it slams into a song called “Meth Cowboy†with driving stoner rock riffs and soulful vocals from Marc Gaffney. From there, they light into “Northside†which features an awesome hi-hat intro from ex-Wargasm skins thrasher Barry Spillberg. “Northside†is my favorite track on the record—sick breakdowns during the choruses and infectious riffs on the verses. “Truth Weighs a Ton†has a real QOTSA vibe to it and “Rise Up†shows that these guys are not afraid of the wah-wah pedal. On “Traci Lords,†Emi Okuda returns with a haunting chant during the almost Helmet sounding bridge. The last song is a dirgey instrumental titled “Barry Time.†If you spend a good deal of time taking bong hits and singing Steppenwolf in your room, then this is the record for you.
(Duncan Wilder Johnson)
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