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BIGELF – HEX
KNAC.com
by Frank Meyer
 ometimes tagged as a stoner rock, doom metal or even prog rock, Bigelf are all and none of the above: a genre hoping, pill popping four-piece that gloriously refuse to acknowledge this ain't 1973 and crank out epics like Dark Side of the Moon never existed. Riding the same train as Alice Cooper, Pink Floyd, Budgie, Hawkwind, Pretty Things and post-pop era Sweet, Bigelf play majestic, multi-layered, theatrical BIG rock and make no bones about it. You want heavy? "Madhatter," "Pain Killers" and "Falling Bombs" are friggin' freight trains of riffs that would make Deep Purple jealous and make Ozzy wish he'd stole 'em for his last album. You want trippy? Man, "Bats in the Belfry II" (which proceeds "Bats in the Belfry I" by eight songs) sounds like a Syd Barrett outtake in all the best ways. You want some Mott the Hoople style boogie? Check out "Rock & Roll Suicide," baby, and get ready to shake yer ass. Quite simply, this is a stellar effort from a criminally underrated band. The fact that this is on a major label is astounding (it would have been in the '70s, but now?). But the fact that it's Warner Sweden and these guys can't even get a deal here in their homeland, the U.S., is sad, as this album is better than 99.9% of the crap out here now. Best album since Turbonegro's Apocalypse Dudes… and if you know what a heavy statement that is, then you
know to go run out and buy this.
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BIGELF – HEX
High Bias
by Michael Toland
 t ain't easy extracting the unusual from the familiar. But that's just what Los Angeles' Bigelf does on its third record "Hex". The various elements making up the Bigelf sound seem pretty obvious: Black Sabbath-style riff metal, Deep Purpleish boogie, Pink Floydian psychedelia, even some King Crimson-type prog and ELO-spiced pop. But that doesn't mean the quartet isn't more than just the sum of its parts; after all, you recognize all the ingredients of a pizza, but you don't think of it as merely a pile of tomato sauce, cheese and sausage. For Bigelf, it's only natural to combine Ace Mark's heavy six-string riffs with frontman Damon Fox's classical keyboards, lush harmonies and catchy melodies. The band can shift easily from the teeth-gritting hard rock of "Pain Killers" to the spacey undulations of "Disappear" to the widescreen progressive rock of "Bats in the Belfry" (which comes in two parts—three if you get "The Madhatter EP"). Fox and friends are most comfortable, however, mixing their musical loves into one big bloody ball, as in the fiery "Carry the Load," which moves from the hard-edged metal of the verses to the cosmic Mellotrons of the choruses, or the crunching yet hook-filled "Sunshine Suicide," which will provoke headbanging and hardy singalongs in equal measure. Perhaps best of all is "Rock and Roll Contract," an eyerolling look at the corporate slant of the music business that sounds like nothing so much as Ozzy Osbourne fronting Jellyfish. Bigelf's blatant love of past masters makes the band easy to get into, but one listen makes it difficult to say just who the band sounds like. That's the beauty of Hex, on which the band appreciates the past while keeping its feet soundly in the present.
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BIGELF – HEX
Sea Of Tranquility
by Elias Granillo
n 1997, this "unknown" band (relatively speaking) called Bigelf — one word — was contracted to fill a void left in ProgFest '97's schedule by the Swedish group, Ritual. Then-organizer Shawn Ahearn introduced the band as a group he saw perform in the region (Los Angeles), though the trio was from "Lilliput," according to the program. Aside from Jonathan Swift's novel, "Gulliver's Travels" (in which the title character awakens after a long sleep in the land of Lilliput, inhabited by people as tall as his shins), this didn't appear to be a joke, but we were unsure, considering keyboardist/vocalist Damon Fox spoke with a perfect American accent. To make a long story short, the band is originally from the States, dates back to the late '80s, and their first EP, "Closer To Doom", was recorded at Grandmaster Studios in Hollywood. Bigelf made the move, which eventually paid off, to relocate to Scandinavia (quite a change from hot to cold). Yes, the people of the north were a bit more receptive to Bigelf's stellar brand of retro-rock than America's mainly trend-driven audiences (oh, well). System Of A Down singer Serj Tankian even released "Money Machine" (the fully-fledged debut) on his own label — unfortunately, only a thousand copies were issued, and it's already out of print. To make a short story even shorter, Bigelf finally inked a deal with Warner Scandinavia after much bloodletting. The baby you hold is christened "Hex". "Hex" is a beautiful thing: everything a retro-keyboards fanatic pursues, something a classic hard rock fan will appreciate, and even vintage prog-heads can swing to these jams. Once a trio and now a quartet with the addition of a fulltime bassist, Bigelf's influences are overt yet the writing avoids plagiarism like, well, the plague. Imagine Gracious meets The Beatles meets Black Sabbath meets Pink Floyd meets MC5, and you're a level away from knowing the splendor of Bigelf. The band is Damon Fox, guitarist Ace Mark (who's also quite an artist), bassist Duffy Snowhill, and drummer Steve "Froth" Frothingham. Bigelf subscribes to a very hands-on mentality when it comes to music, and Fox is, along with Eddie Van Halen, very vocal about his aversion to the (ab)use of Pro Tools and other pro software programs which tend to suck the humanity out of music-making, today. Naturally, the band is going to sound as good live as it does on album. And they were certainly great seven years ago at ProgFest '97. Now, this album is very much Bigelf's best effort, yet; "Hex" even charted on the Scandinavian Top 10 — what's holding the band back from success in America? Isn't retro one of the currently favored trends, even? Hell, these guys even look hip enough to appeal to the Fuse-lit masses; if videos by The Darkness or Fireball Ministry (a band which faithfully apes '70s Sabbath down to the scarific Ozz-like vocals) can air on Uranium [Fuse's metal videos hour], so could Bigelf's. Head and shoulders above nearly everything presently circulating through mainstream music aisles, the album opens with the searing single, "Madhatter," a catchy Mellotron & crunch-driven hard-psych number that sounds as though Sabb's ICBM detonated above The Byrds' underground shelter. The rich tone of Gibson guitars permeates throughout, and while primarily a keyboard player (he sticks to his 'Trons, Moogs, and a Leslie'd Hammond C3 in concert), Fox does pick up a Gibson 'Flying V' to rip it up with Ace for a few bars. "Bats In The Bellfry II" isn't a page from Floyd's book so much as an addendum; filters open freely on analog synths for those ephemeral slides the likes of which Richard Wright liberally played with. "Pain Killers" is a thunderous, relentless escapist anthem, while "Disappear" is cemented by Duffy's plodding bassline and gurgling Hammond swells and 'Tron string washes topped off by a transcendent guitar solo. Lest so much attention be given to the top-notch instrumentation that one may suppose this is to make up for sub-par vocals, let us dismiss that idea, entirely. Damon's lead vocal is terrific, and he prefers a moderate range versus banshee wails or toadlike croaking. "Rock & Roll Contract" is surprisingly Supertramp-esque, boasting an infectious hook and great lyrics that slam a fist down upon the corporate rock engine — one line in particular that stands out is "We don't take time off on Sundays / We just want another #1". "R&R Contract" is also a largely piano-driven tune that allows Damon to attack the ivories with a calculated fury, and also helps to invite the Supertramp comparison; "Sunshine Suicide" is an equally hook-equipped vehicle. Halfway through the album, the proof of this band's caliber is so immense, it tends to overwhelm. Rather than spoil the fun for all of you concerning the remaining songs, I will add that "Falling Bombs" contains some fairly spectacular synth soloing, and "Hex" itself concludes with...okay, I won't. One of the best releases of the last few years. Gang: this is a no-brainer.
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BIGELF – HEX
City Beat
by Josh Sindell
 he name of Bigelf's publishing company gives the game away right at the beginning: Evil Beatle Music. Singer and band mastermind Damon Fox possesses a voice pitched somewhere between Ozzy and Lennon. On his group's third and best album, "Hex", Bigelf fuses solid chunks of "Strawberry Fields Forever" — "I Want You (She's So Heavy)" — "I Got A Feeling" — type Beatlestuff to Sabbathy manic depression loopiness. Utterly stuck in the wood-paneled, analog '70s, the Americans and Finns in Bigelf lug only vintage equipment on stage, and the result is a tripped-out time warp back to the days of beards and blacklights. The band's stubborn adherence to all things mystical and maniacal has made a fan of, among others, System Of A Down's Serj Tankian (who released Bigelf's second album, 'Money Machine', on his Serjical Strike label). Take note: This Los Angeles-based foursome isn't a heavy metal band, but a true rock group with echoes of The Fab Four, The Moody Blues, Gentle Giant, Yes, Pink Floyd, and dozens of others — often all at the same time!
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BIGELF – HEX
Travellersintime.com
by Kevin Julie
 alifornia metal act Bigelf is back with a new disc of classic 70s influenced heavy rock. Fans of Black Sabbath, Uriah Heep, Deep Purple, Atomic Rooster… take note — if you are not familiar with these guys — check this [or previous release "Money Machine"] out! Heavy, Sabbathy riffs, such as on the lead off "Madhatter" or the frantic "Sunshine Suicide" [killer guitar solo from Ace Mark] and the rough edged "Carry The Load". There's classic keyboard solos throughout and plenty of Hammond organ, Mellotrons and Moog synths with 70s retro sounds and arrangements, like on the Floyd-ish "Bats In The Belfry II", "Disappear" or the more Heep-ish "Falling Bombs" [note the Hammond solo!]. Listeners will get plenty out of this album. Singer/keyboardist Damon Fox delivers plenty of 70s keyboard sounds, as well as sinister vocals & lyrics with retro vocal effects & harmonies to keep any classic demonic metal fan, who still upholds the 1969-72 era as the best in heavy rock! And the album's best is saved for the ending [IMO] with two longer epics — "Burning Bridges" & "Bats In The Belfry I". I'd also be remiss if I didn't mention the band's Beatles' influence and knack for melodies, as on "Rock & Roll Contract", perhaps the easiest pick for radio accessibility here. With the likes of The Darkness getting so much exposure for their 70s hard rock style, it would be justice if these guys got picked up as the new masters of classic metal. Aside from Fox and Ace Mark, Bigelf also consists of drummer Froth and bass player Duffy Snowhill. Even their names are impressive!
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BIGELF – HEX
Antimusic
by Keavin Wiggins
 eal rock never dies and Bigelf is a prime example, a band that takes seemingly unrelated past rock styles and brings them together to create their very own sound for the 21st century. Imagine if members of Black Sabbath, Pink Floyd, ELO, Deep Purple and Ministry put a band together, then you will begin to get an idea of the Bigelf sonic experience. Normally we wouldn't showcase a band with an artist of the month feature that doesn't have a US release yet, but an exception had to be made for Bigelf; one of the few bands that are worth the price of an import. Unlike most bands that get tagged with a "retro" label, Bigelf is definitely not a band that you can pass judgment on after hearing only one or two songs. Most will want to include them in the "stoner rock" or "doom" category, but Bigelf doesn't appear to want to closely follow any single formula as their album, "Hex" demonstrates. What you get instead is a band that wears their influences on their sleeves BUT tries to take things in a different direction. The album opens with "Madhatter", a tune that is sure to turn on any classic Sabbath fan. The riffs would do Iommi proud but again, Bigelf bring other elements to the table and ear for writing popful melodies that doesn't cross the line into pop. Not even close. After they get your fist pounding with "Madhatter", Bigelf then take you in a totally different realm with "Bats in the Belfry II", a song that harkens to Pink Floyd but then goes off into ELO territory. Not many bands can pull off the use of a Hammond organ or a Mellotron in 2004 but Bigelf make it sound fresh and innovative. Bigelf bring you back to the heavy edge with "Painkillers" a song that mixes T-Rex with Deep Purple, only to tread back into Floyd territory with, "Disappear' a mesmerizing and fluid psychedelic tinged rocker. They keep things on the mellower side of rock with the next song "Rock & Roll Contract", song that blasts the exploitive nature of the music business and styled in a similar way to "I'm Going Home" from Rocky Horror, only to make way for the jam session outro. Then Bigelf returns to the fist pounding rock world with "Sunshine Suicide", a fun rocker but not one of the standout tracks on the CD. The next song, "Falling Bombs" however, is the pinnacle of Bigelf's efforts. In just under five minutes, the pull off a multi-directional mini-rock opera. Just when you think you know where the song is going, they take you off in another direction. It's a masterful execution that mixes Sabbath, Bowie and even a bit of The Who. "Black Moth" delves a little into Zeppelin territory with the intro guitars, but then melds into different dynamics of Rainbow meets Sabbath with a little bit of Rob Zombie thrown in. Electric rock is the order of business next with "Carry the Load", a song with fat fuzzy guitar riffs. The eerie Pink Floydish "Burning Bridges" is another highpoint for the album. A mix of dynamics that borders on the progressive. Then Bigelf bring it home with "Bats In The Belfry I", the official closing song, a perfect culmination for the album. Although the album officially ends here, Bigelf snuck a nice little bonus track gem in at the end with what sounds like a studio outtake that some fans have labeled "$". If you're tired of all the tired packaged rock that's on the radio, you should definitely give Bigelf a listen. Especially if you're a fan of classic Sabbath, Floyd, or Deep Purple. "Hex" shot to the Top 10 of the album charts in Northern Europe for a reason, they are the real deal. A band that's not afraid to take the best elements of yesteryear's rock and bridge them into today with a highly listenable collection of songs that just might touch off a music resurgence of those styles… if a large audience is given just a little taste of Bigelf. With the renewed interest into the foundations of hard rock recently seen in the US with groups like The Darkness, Bigelf should have a ready-made audience. However, unlike The Darkness, you won't get the annoying yodeling or campy presentation, Bigelf is far more respectful of the music that inspired them. But so far Bigelf's rock has proved too big for the narrow minded trend-mongering record execs in America. That hasn't stopped them and the band seems hopeful to land on their native shores with a release soon, but until then you can get your dose of Bigelf by purchasing "Hex" as an import or checking out the mp3s and videos at Bigelf.com. If you hunger for the days when Iommi riffed, Gillian wailed and Waters lamented, then Bigelf has got you covered. If you're too young to remember those days, check out Bigelf for something completely different from the corporate rock that rules the airwaves today. The ironic names aside, Bigelf does deliver respectable and memorable rock in a big way!
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BIGELF – HEX
Monster Magazine
by Geir Larzen
 ith newfound guitarist Ace Mark, Bigelf has yet again become a quartet.
Earlier this year we got a pre-taste of "Hex" in the shape of the "The
Madhatter EP", but from my point of view the use of superlatives was not in
order. Luckily, my skepticism turned out to be completely unnecessary, for
this is in fact their best album throughout a long career filled with
difficulties. The amazing sonic landscapes are still intact, but the
production lies miles ahead of "Money Machine" (their previous
masterstroke). In addition, the repertoire is nothing less than sensational.
At this moment there are no other bands who can manage to juggle such genius
rock cliches on such a high level. It's never a problem to hear where the
origin of the group is, and wisely enough they never make an attempt to hide
it either. In general there are 4 groups that spring to mind: Black Sabbath,
The Beatles, Pink Floyd and King Crimson. The incorporation of Pink Floyd's
tonality and "open landscape aesthetics" has made "Hex" an album which I
think will appeal to everyone who claims to be interested in music. I was
very relieved when I realized that the weakest moments of the album were to
be found on the EP; The rest is highly vivid, subtle and nuanced rock of an
irresistible character. The phenomenal interaction between the band members
solidly preserved by the bands personal expression makes "Hex" a musical
feast. Great melody lines are the bands focal point, while organic
instrumentation, majestic guitars and a lot of piano, Mellotron and Hammond
organ makes for a uniqueness that not one single band of our time can match.
The masterpiece "Burning Bridges" is a mixture of "Abbey Road" and "The Dark
Side of The Moon". A hint of what might be John Lennon's most beautiful
composition, "Because", works astonishingly well here, and the epic ending
will melt every progressive rock-heart in the world. The groovy and dynamic
"Disappear" (in which Mark comes very close to Ritchie Blackmore), "Rock &
Roll Contract", "Sunshine Suicide" (elegy pop which is impossible not to be
touched by), and "Black Moth" are other highlights of an album that just
keeps getting better and better. I've been a fan of The Elfs since the debut
"Closer to Doom", and there barely exists another band in the world for whom
I wish more success. Hopefully, "Hex" will be their breakthrough. I want to
encourage all our readers of the older generation (meaning those who grew up
with The Beatles, Black Sabbath and Pink Floyd) to get out of their
comfortable chairs and run down to the nearest record shop. Insist that the
man/woman behind the counter order you a copy of the album of the year. You
won't be disappointed. Hallelujah!
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BIGELF – HEX
Metal Express
by Per Olav Heimstad
here is no band like Bigelf. At least not any band that is alive today.
Bigelf is heavily influenced by the 60's and the 70's, and for that I am
thankful. I can't think of any band at all that to Bigelf's extent has got a
sound that's this, say, vintage. Bigelf delivers a sound you haven't heard
since rock was a teenager, and they take you way beyond melancholy. The
similarities with 70's Black Sabbath (e.g. Carry The Load) and Pink Floyd
(e.g. Bats In The Belfry II) are so utterly obvious, -- I'm probably only one
in a long line of critics who mentions it. Though, with Bigelf's bulletproof
self-esteem, and great musical abilities, they do it all in honor.
Plagiarism won't be a word. This is about roots. You can't say Stevie Ray
Vaughn was ripping of Robert Johnson. Bigelf is serious. I've can't remember
listening to a more creative record than "Hex" for a very long time. Here is
depth, let's talk about punchy groovers like "Pain Killers" or slowed down,
atmospheric material with Tommy Bolin-ish guitarplay like Disappear. Even
the tracks that are less fascinating melody-wise, stay as interesting and
great listening experiences due to the constantly changing inner landscape
of the arrangements. At the end of the album Bigelf salutes a variety of
rock through a three track finale with the great psychedelic hard-pop-blast
"Burning Bridges", flirting with James Bond-theme arrangements and the
jazz/rock fusion genre through "Bats In The Belfry I", and at last "$",
being a stripped down piano and vocal only effort from singer/producer Damon
Fox. I think that guy knows what he wants in the studio, and as far as I can
see he's got it.
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BIGELF – HEX
Planet Stoner
by Álcio Villalobos
 ere they come again!!! After almost three years since "Money Machine"
Bigelf is back and in their best form ever! "Hex", in my opinion, is their
best album up 'til now. "Madhatter" should take the award for "Best Goddamn
Song From The Last Ten Years"! Holy shit, there's no way on earth you can
listen to this song and not get psyched. But that's just the beginning of
"Hex"! The power-vibe keeps goin' on songs like "Pain Killers" (which should
get an award too) and "Carry The Load" with its six minutes of pure tripping
heavy music. But hey! There's more, the trilogy of "Bats In The Belfry" is
completed now with its 1st and 2nd parts (the third one is on "The Madhatter
EP") and now you can play them in sequence and feel the heavy progressive
vibe of Bigelf's crazy alchemists. "Disappear" and "Black Moth" are some
kind of crossing between psychedelia and heaviness, Syd Barret's Pink Floyd
and Black Sabbath's Sabbath Bloody Sabbath era. "Burning Bridges" gets into
a Beatlesque kind of mood (there's a part of the song where the keyboards
remind me of "Because" from the fab four), with lots of Hammond and blues
feelings. "Rock And Roll Contract" and "Sunshine Suicide" follow that
Beatle-mood, especially on the harmonies and vocals. There it is, I know
this album has just been released, but I can't wait for their next doom
opus!! Do as you wish, but HAVE this album in your collection!!
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BIGELF – HEX
Monolith
by Ozric
ave you ever considered how the evolutionary path shapes, morphs and then
delivers? Evolution as the flow of ideas, painting the face of tomorrow with
the glimpse of the past and the brush of eternal. Have you ever considered
how, after all necessary datum have been established, a vast number of
influences under the prismatic view of the individualistic motivation and
philosophy can play their part in order to produce ideas of novelty? Ideas
that may or may not work; yet no matter the actual outcome they constitute
immense beacons of inspiration procuring the essential components for all
further developments to take place in the ever going evolutionary chain.
This is how the world came to be as we know it. From the wheel and the fire
all the way to the space age, with the gap in between meticulously filled in
on a step by step procedure through the eons (well apart from the alien
conspiracy theories and the promethean theorem!). Now imagine if this
evolutionary ladder was disturbed after inception. Inception as defined
mainly by Pink Floyd, King Crimson and then by The Beatles and Black
Sabbath. The ladder being then unraveled and then raveled back in shape
through the filter of a different kind of logic. And then the drugs did
their part for the recipe to set, bringing new twists and turns to the
table. As always. Welcome then to Bigelf. A new beginning of an old theory.
A rebirth of an old world baptized in lyrical dementia and graced with the
finesse of the classical being drenched in acid. This is when inspiration is
picked up from the ether and parallel realities momentary leave their shells
of transparency, opening up throbbing portals for all willing travelers to
cross and behold. The choice now is up to them, you, us. But. Is it safe?
Strictly and having in mind their first album "Closer To Doom".
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BIGELF – HEX
Melodic.net
by Kaj
f you think music sounded better between 1971-77 where the major part of
the instruments were Hammond C3, Mellotron and electric guitars played
through Orange amplifiers, then I suggest you dig up a copy of this band's
new album "Hex". Imagine a totally insane mix of Black Sabbath, Pink Floyd
and Uriah Heep, oh yeah, might as well throw in some King Crimson into the
craziness too… Bigelf plays 70's psychedelic hard rock with the exact same
sound too! This U.S. band has been around since 1997 and visit Scandinavia
quite often so they have lots of fans over here. The opening track
"Madhatter" is like hearing Pink Floyd's - Another Brick In The Wall on
dope, 2nd track "Bats In The Belfry II" takes Pink Floyd's - Welcome To The
Machine into a Clockwork Orange rocking mode, 3rd out is the new single
"Painkillers" that should appeal to all fans of the early Sabbath era and
there's also some Heep'ness in there too. They're flirting extremely with
Pink Floyd on the album like on "Disappear", the song echoes out "Money" but
in some cool way that it never becomes a total ripoff. Then, if you consider
The Beatles and David Bowie together an interesting mix, just listen to
"Rock & Roll Contract" which is almost like having Ziggy Stardust along side
Sgt. Pepper. "Sunshine Suicide" could've been written by Leslie West in
Mountain… well you see, the list can be long with their influences. Some
people may call this stoner rock but to me it's simply classic hard rock the
70's way… the good side of it!
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