Available on 180 gram vinyl and CD.
Reviews for II...
I already liked the debut of US-powertrio SASQUATCH and I'm not disappointed from the successor, which has been released by Small Stone Records in 2006. 'II' didn't concern itself with passing trends - it's a timeless album strongly influenced from the 70's but still far away from any current retro stuff. SASQUATCH use heavy stomping riffs in combination with strong hook-lines and blues-drenched vocals so that the result is always effective and totally enjoyable. They've a smoking, crispy fuzz-driven guitar sound, pounding rhythms and aren't afraid to vary their sound, instead of coming up up with always the same textures. Good examples are acoustic songs like 'Nikki' and 'Catalina', who belong to the most psychedelic blues-driven stuff SASQUATCH have ever recorded until now. For my taste, they could have recorded more material like this. But the hard rockin' tracks are also damn fine like 'What have you done' with its explosive up-tempo outburst or the powerful opener 'Let it in'. I could go on and on, but I think it's boring to describe each of the here included eleven songs with a few words. This album becomes better and better with every spin until you found out that you won't live without it. Ok, I don't know how you'll feel about it, but I won't miss it. Of course, they aren't spectacular, but please what is really spectacular in heavy rock in these days? All that matters are good songs in this genre, and they've got plenty of it. SASQUATCH are here to remind everyone why rock can be very good fun in the first place, without becoming ridiculous in the same moment. Keep an eye out for this one.
-KKMarch 1st, 2008www.cosmiclava.com
There's very little difference between this album and the band's debut, yet I'm really enjoying this one, while the debut never really connected with me. It's the same heavy classic-rock power-trio thump, stoner rock by way of Walsh-era James Gang, Red Album-era Grand Funk, and Ted Nugent's debut. II doesn't sound appreciably better than the debut, and I'm pretty sure there have been no personnel upgrades.
The change, I suppose, is the songs themselves. It's been awhile since I spun the debut, but I can't bring a single tune to mind. II, on the other hand, seems to usher in a bump in songcraft. A tune like "Seven Years to Saturn," with its gradual build to a swirly, classic rock radio-worthy coda, shows a craftsmanship that I don't remember from the debut. Others, like "The Judge," combine fuzzed-out riffs with choruses that actually stick to the brain, a lamentably rare combination.
From the sound of the two records, I'm guessing Sasquatch is a band who thrive in the live setting. However, with encouraging signs like the songs I've already mentioned, the band seems to have succeeded in making a record that stands on its own merit, rather than acting merely as code for the real-deal live performance.
April 4th, 2007www.lollipop.com
Rock is such an exciting form of art. Rock has the power to turn a bad day upside down, and to make a great day even that much more memorable. Rock is the soundtrack to many of our lives, and everyone has that certain band that does it for them. Vying for position in your everyday chronicles is the mighty 3-piece hailing from LA aptly named Sasquatch. With their thick bass lines, and stoner rock groove, itĂs no wonder Small Stone has them on their roster. You can hear a definite Kyuss meets Dozer-like distortion running through the blood of this band, and I am also picking up on elements of groove from 90Ăs grunge rockers Soundgarden and Stone Temple Pilots.
Parts of the songs do sound fairly generic to me, and I canĂt say I am 100% sold, but I must say Sasquatch is one of those bands that could easily compete along side any other pretty boy rock band that does not deserve to be on the radio. No, itĂs not about fashion for this band, itĂs all about 100% balls out rock n roll. So stand loud and stand proud.
Andy SmythApril, 2007www.zeromag.com
LA dope n' rollers return from the abyss with an impressively full-bodied collection of 70's fried groove rawk. The fuzz is so corrosive it makes my eyes water and the grooves thick enough to surf on, and just to mix things up, there's a couple acoustic numbers on display: "Nikki", which sounds like a free-flowing backstage jam, and "Catalina", the pearl of the whole record, a real tequila soaked slice of desperado balladry. No shock and awe here, but this and a bag of something dubious will get you through the night, for sure.
After a boring debut in 2004, the band from Philadelphia is back with a great record! Riff rocking, bass driven, heavy as hell and with outstanding vocals they give you 11 great tracks! Really a big surprise. LET IT IN is a mid-tempo opener with great guitar driven power and the mighty voice from Keith. THE JUDGE is heavy as hell and got lead by the cool vocals again. PLEASURE TO BURN and the straight forward BARREL OF A GUN are the sign of great written Rock music. If the guitars donĂt sound so heavy, maybe we should talk about some alternative band. NIKKI is an acoustic song and will give you the first time to breath for air. But with OFF THE RAILS bring back the power and with GLASS HOUSES they create a powerful song with a hit factor in the refrain! One of the highlights on this record! CATALINA is again a mighty acoustic track with some Southern Rock influences and sounds like a Zakk Wylde track. Really great! And with WHAT HAVE YOU DONE one of the best records in 2006 ends the simple called "II". The music is really full of hit-potential and with the mighty heaviness in their sound they make it unique. For fans of the legendary SUNNSHINE, Throttlerod or other heavy tuning bands - a must have! Congratulations! A masterpiece!
The Hartford Courant
Unlike many of its peers in the so-called stoner rock movement, Sasquatch puts a premium on songwriting. This group takes its time to craft quality tunes, where the riffs serve the song and not the other way around.
That's not to say that Sasquatch doesn't have killer riffs; it's just that the Los Angeles trio avoids the riff-worship trap that snares lesser bands. "II" shows no signs of a sophomore slump, as the band takes its sound to a higher level with an exhilarating slab of straight-up, unpretentious hard rock that, with a little luck, could land Sasquatch on the radio: Think Soundgarden, but heavier and with a Southern flair (though none of the three guys in the band is from the South).
In fact, it has been a while since hard rock this cool has been on the radio. If commercial rock radio is ever going to pull itself out of an ever-lengthening slump and start playing something interesting, this is a good place to start.
Thomas PizzolaJanuary 18th, 2007www.ctnow.com
The Cutting Edge
If Audioslave were a stoner band this might be what they would sound like. Huge guitars, intelligent lyrics and a refined delivery that makes for a rewarding sophomore outing. What sets the LA-based Sasquatch apart is their focus on vocals amid their wooly guitar and rhythm romp. Singer Keith Gibbs has one of those unique rock voices that embraces the songs with emotion and sincerity. He also sounds remarkably like Chris Cornell of Soundgarden/ Audioslave fame ű hence the above reference. Of the eleven tracks featured on II we get big melodic hooks in ˘Let It In,÷ the funky groove of ˘The Judge÷ and the strong drum/bass fuzz clatter in ˘Pleasure to Burn.÷ ThereĂs even a bit southern rock with Skynyrd-soloing in ˘Barrel of a Gun÷ which joins the Sabbath/Lizzy-influenced ˘Seven Years to Saturn÷ in a tribute of sorts to guitar heroes of the Š70s.
Oddly the second half of the record showcases the better part of the bottom feeders. ˘Nikki÷ breaks the record up with its acoustic-based harmonies. Similar in feel to Norwegian band El Caco it swirls around a mid-tempo rhythm while a spacey guitar riff hovers overhead. We get back into the rock with the searing ˘Off the Rails,÷ a massive number with fuzzed-out guitar and Rick FerranteĂs drumming blowing out the speakers. The lyrically powerful ˘Glass Houses÷ and the clean guitar swagger of ˘Rattlesnake Flake÷ injects a Hellacopters/Datsons edge to darker corners culminating in the acoustic, lazy summer vibe of ˘Catalina.÷ The disc finishes up with the ripping ˘What Have You Done÷ ű a seven and a half minute barrage of Clayton Charles bass riffs powered by intense drums and sludgy guitar with Gibbs best vocal delivery yet. Check out the mid-song break ű unbelievable at full volume.
Todd K SmithMay, 2007www.thecutting-edge.net
Simply stated, Sasquatch's sophomore effort II rocks. Hard. So hard that it grooves, shakes, shimmies, and swaggers like a graceful version of its namesake. This Los Angeles trio's bell-bottom blues and sunshine acid rock is on full throttle on cuts like "Pleasure to Burn", "Off the Rails", and the mega-jam of 2007 thus far "Seven Years to Saturn", bleeding even into acoustic campfire hymns like "Catalina". Fans of Fireball Ministry, Five Horse Johnson, and good old fashioned floor-stomping, whiskey-guzzling, bong-loading raise your hands in the air rock are going to boogie all night to this one.
Mike SOSMarch 7th, 2007www.316productions.com
SasquatchĂs sophomore record treads like good stoner rock, its cracked earth littered with broken booze bottles and ashen fragments of rolling papers. Sounding less metal and more rawk than their 2003 offering, the Los Angeles trio revives the sun-baked, kegger-party energy of early stoner heroes Kyuss more than anything else. (Sasquatch includes Detroiters Rick Ferrante and Clayton Charles on drums and bass respectively.) It also seems that, when they werenĂt sitting around getting baked, Sasquatch made some time for their early Ă70s hard rock collection ¨ the trio tones down its herb-coated blasts for "Nikki," a serene rock ballad complete with bongos and guitars that trade fuzz for flange. Think a laid back GovĂt Mule covering Neil Young. An acoustic guitar is broken out here and there, for some slide and Black Crowes worship. But over the span of II, its most discernable feature is Keith GibbsĂ buzzing, bluesy guitar, which complements his liquored-up croon nicely. Sasquatch may take a well-traveled path, but with its knack for songcraft and jones for volume, itĂs creating new footprints. And that says it all.
Kent AlexanderJanuary 24th, 2007www.metrotimes.com
The Aquarian Weekly
Originally delayed because of a mastering problem that led to the first run of the album being pressed at half-speed, SasquatchĂs sophomore effort is now available through DetroitĂs stoner rock smugglers Small Stone Records. It would have been a damn tragedy if it came out and sucked after all that, especially the cost of having it re-pressed (˘Help! Help! IĂm being re-pressed!÷), but fortunately the LA band subverts the issue by kicking ass all over the 11 tracks on this little piece of plastic.
Opener ˘Let It In÷ immediately lets you know that the catchiness that made a song like ˘Money Man÷ off the self-titled so infectious is still in full swing, and follow-up tracks ˘The Judge÷ and ˘Pleasure To Burn,÷ the latter with more of a southern twang in the guitar fuzz, reinforce it with style and set the tone for the rest of the album as one of a straightforward, Š70s-inspired, fast-driving, drug-taking, other rock clich?-ing good time.
Just when the formula begins to become apparent, the acoustic album centerpiece ˘Nikki÷ comes in and changes the pace of II entirely. A sweet, layered Led Zeppelin-wah number with vocal harmonies and steady strumming, itĂs a surprising album highlight and shows that Sasquatch are more than just riffs and yarling vocals, that their songwriting is actually as strong as it seems.
Side B plays out much the same as A, acoustic track named for a woman¨this time itĂs ˘Catalina÷¨included, but the finale, ˘What Have You Done÷ is another unexpected twist. Slower, doomier and constructed from a giant wall of distortion, itĂs probably the song that was easiest to place in the sequencing process: ˘Oh man, we gotta end with this!÷
Sasquatch represent the second generation of American stoner rock. Coming up on bands like Kyuss and Monster Magnet (as well as the obvious, Blue Cheer, Black Sabbath, etc.), theyĂre taking the conventions of the genre and pushing them to new limits, all the while maintaining the simple ethic of ˘kick ass and take names÷ that rought this music out of the desert in the first place.
In A Civil Liberty: Due Process
JJ KoczanJanuary 9th, 2007www.theaquarian.com
With their second album, Sasquatch has produced a superb platter of unapologetic, ass-kicking desert rock. This monstrous power trio - foul-talkin', booze-swiggin', and mota-smokin' - cares not one whit for fashion. Instead they've chosen to concentrate on their chosen sound, taking the strong points of the first album and amplifying them through a bank of tube amps, yielding a distilled stoner brew that'll kick you before AND after you're down. Their first album was a keeper, but this one is essential.
Thanks to their superior songwriting, the album flows beautifully, going coherently from strength to strength. The vocals are clean, melodic, and passionate, the leads sharp, and the rhythm section propulsive. Of course the pluses we associate with desert rock - groove, passion, melody and tone, tone, tone - are all much in evidence. And the quieter tunes are just as good as the rest!
There's no point in dissecting the album, or calling out the best tunes. This is sweet, fuzzed out, desert perfection. Put it in your CD player, and press the pedal to the metal.
Kevin McHughJanuary 9th, 2007www.hellridemusic.com
All Music Guide
It's one thing for a power trio hailing from trendy L.A. to go consciously against the grain, embrace a musical genre as unfashionable as classic, retro-hard rock with stoner nuances, and call themselves Sasquatch, of all things. But when that band's impressive first album handily puts contemporary efforts of most other, truly backwoods-living denizens (Bigfoot and human alike) to shame, well then the triple heaping of insult upon injury upon irony must have made for quite a few hard-to-swallow chicken-fried-steak dinners in the stoner rock wilderness. Even worse (for the competition, not the fans), Sasquatch have done it all again -- and more -- with their modestly titled second album, II. The first minor but essential change worth noting is how Sasquatch have done away with a few of their debut's '90s stoner rock vestiges (creepy spoken intros recited by characters from Deliverance, for one) -- thus allowing II to sound and feel more like a timeless hard rock album, and free from subgenre associations in most every sense. But what truly sets Sasquatch apart from most competitors (and this was true for album number one, as well) is that they are obviously a group who write songs, not riffs which are later made up to look like songs. No doubt the result of an organic, in-rehearsal songwriting approach, this distinction is more important than one may initially think. After all, it's the original process by which the founding hard rock fathers set about making albums back in the '70s: sweating out tunes through serious wood-shedding in the rehearsal room, then performing them live (or semi-live) in analog studios -- not with separate tracks assembled via Pro Tools instead of human hands (or Sasquatch paws!) The proof lies in the thick, delicious, Marshall Stack pudding of rollicking cuts like "Pleasure to Burn," "Barrel of a Gun" (boasting a chorus you just have to sing along to), and "Seven Years to Saturn" (which contradicts its spacy title with one of the disc's most grounded boogie licks), as well as when acoustic guitars are whipped out for comparatively quiet moments like "Nikki" and "Catalina." And, fans of slower (and therefore even heavier) material are also given the chance to nod along to the gigantic power grooves of "The Judge" and "What Have You Done" -- the album's only true-blue stoner rock candidate, thanks to its chugging, Kyuss-like coda. In most every other respect, though, II is quite simply a great hard rock album, period. Impossible to pigeonhole so easily, and therefore all better for it.
Eduardo RivadaviaJanuary 1st, 2007www.allmusic.com
Sasquatch upholds the power trio standard for one simple reason: the band does it right. There's nothing fancy or innovative on the L.A. trio's second record II. Heavy riffs, great melodies, strong vocals, crunching but nimble rhythms as if Sasquatch has listened to and internalized every power trio worth hearing (except for Rush), filtered the best bits and put them back together for its own purposes. "Glass Houses," "What Have You Done" and "Pleasure to Burn" rock fiercely, while "Nikki" and "Catalina" go acoustic without getting wimpy. II is a rock record, loud and proud, and Sasquatch is a rock band, and if rockin' is your business, do it here, cuz business is goooood.
Michael TolandNovember 22nd, 2006http://community.livejournal.com/highbias/180948.html
Sasquatch's self titled album was a thoroughly righteous slab of riff rock when I first heard it, but as time passed, I found myself getting a little distracted towards the end. Great beginning, great middle, but the conclusion sort of fizzled out. And all those damn sound clips drove me crazy, especially since they were their own tracks.
The Los Angeles-based band (Keith Gibbs ű vocals/guitar, Clayton Charles ű bass, Rick Ferrante ű drums) must have felt the same, because their aptly titled sophomore album, II, has all of the strengths of the self titled and none of the weaknesses. There's the thick as mud tone of the guitar, the soulful yet somewhat hoarse vocals, solos galore, bass that knows when to keep the rhythm down and when to step up to the front, and the type of drumming that's straightforward enough to maintain a constant forward momentum but hardly bereft of any flash. Oh, I almost forgot to mention the most important thing - great songs. While I at first thought ˘The Judge,÷ with its classic fuzz driven riffage, would've been a better opener than ˘Let It In,÷ it all makes sense in the context of II. The album builds as it progresses, with each new song offering something new.
That's something that, in hindsight, the self titled didn't really do. Their debut was a collection of good to great songs, but without the cohesion of II. Here the three-piece offers stoner-friendly grooves (˘The Judge,÷ ˘Pleasure to Burn,÷ ˘Off the Rails,÷ ˘What Have You Done÷), a classic southern vibe (the hook-and-solo friendly ˘Barrel of a Gun÷ and ˘Seven Years to Saturn÷), an almost surprisingly melodic boogie (˘Rattlesnake Flake÷), and two acoustic songs (˘Nikki,÷ ˘Catalina÷). It shows that the band's able to mix their sound up to almost perfect results (okay, ˘Glass Houses÷ isn't that memorable).
Those two acoustic songs are a welcome addition to the Sasquatch sound. Love gone wrong is a timeless topic for rock, but it packs a bigger punch when wrapped in low-key anger. And when it's the introduction to the seething crunch of closer ˘What Have You Done÷ (which also has a nod lyrically to the self titled's ˘Chemical Lady÷), as is the case with ˘Catalina,÷ it makes for a killer ending.
I feel bad for the subject of ˘What Have You Done,÷ as Gibbs doesn't sound like he's going to get over whatever angered him any time soon (˘Step inside my world and I will show you all my pain/What have you done lately/To ease my mind?÷). But for the rest of us, sit back and enjoy Sasquatch's second album. If you're a fan of loud rock, it's pretty much everything you could ever want. Highly recommended
John PegoraroNovember 4th, 2006www.stonerrock.com