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The Fury Of A Patient Man


Gozu is:
Marc Gaffney: vox & guitar
Joe Grotto: bass
Barry Spillberg: drums
Doug Sherman: guitar

Additional musicians:
J. Canava: bass on tracks 3, 4, 5, 7 & 10.
Paul Dallaire: bass on tracks 1, 2, 6, 8 & 9.

Recorded at:
The Bridge Sound and Stage, Cambridge, MA.
Owen Curtin: Engineer
Marly Carre: Assistant
Alex Allinson: Assistant
John Lay Jr: Intern

Mad Oak Studios, Allston, MA.
Benny Grotto: Engineer
Thayer Harris: Assistant

Mixed at Metronome Studios, Brookline, NH.
Pete Peloquin: Engineer

Produced By GOZU
Executive producer: Scott Hamilton
Mastered by Chris Goosman at Baseline Audio Labs, Ann Arbor, MI.
Album Artwork and Design by Alexander von Wieding, www.zeichentier.com.

Reviews for The Fury Of A Patient Man...

The Big Takeover

It's incomprehensible how many bands continue to go back to the stoner rock well; surely the damn thing must be empty by now. Gozu say no with The Fury.  Besides wielding bruising riffs like katanas, the Cambridge, MA quartet shows an impish sense of pop culture humor with titles like "Charles Bronson Pinchot," "Disco Related Injury" and the Welcome Back, Kotter referencing "Signed, Epstein's Mom."  But the primary reasons Gozu stomps most pot smoking riffmeisters into the ground are their two frontdudes. Guitarist Doug Sherman maintains a melodic touch even as his amps scream for mercy, and singer Marc Gaffney exudes as much soul as bravado.  Check out the chugging, handclapping "Salty Thumb" for a song that by rights should rule rock radio, if such a thing still existed.

- Michael Toland

December 1st, 2013 (Issue No. 73)

Metal Sucks

So it’s the second date. First one was great – this quirky brunette made jokes you’d stowed ‘cause you worried about being impolite, and she referenced movies you hadn’t thought of in years. You mentioned wanting to try this new barbeque place downtown and she was totally game so here you both are, grinning over stripped bones and three knuckles deep in the best sauces you’ve ever tasted. The dinner crowd is clearing out, and you start to notice a pulsing rumble coming from the floor, traveling up the table legs and vibrating the emptied dishes. Your girl notices the restroom sign points down a staircase in the back and excuses herself. It’s ten minutes before you think fuck it and head down there yourself, and as the rumble resolves into amp-shaking chords and rump-shaking grooves, you notice your girl coiled on the arm of some hairy oldster guitarist pounding out the curly blues riffs. Her tongue’s in his ear, your tongue’s halfway down your own throat, you’re disgusted and dancing all at once. Gonna be a long night.

Boston’s Gozu play the tunes on their sophomore album with a pair of great grizzled gonads. We’re talking balls, people, some truly tremendous twin testes. The kind so deeply and scraggily forested that those epic ball-beards have epic ball-beards; the kind that require a high quality wide-angle lens to get any real perspective on. “Bald Bull” announces the record’s strutting, stonerific intentions from its opening burly buzz through every gristly melody and some sweet soloage. A pair of instrumentals follow, though they hardly suffer from the lack – Gozu rarely cops its charm from Marc Gaffney’s fitting but not especially standout vocals. “Salty Thumb” swings. “Disco Related Injury” melds metal tonality to rhinestone swagger; “Traci Lords” and “Ghost Wipe” tie same to a bit of radio bombast. Twenty-three-minute closer “The Ceaseless Thunder of Surf” links a series of solid ideas into a pretty great (if occasionally overly jammy) jam.

At times, The Fury of a Patient Man plays like a de-progged Mastodon after a dozen successful anger management sessions, or a laid back King Giant. The consistently competent delivery, the thick lowdown chords, dynamic proficiency and attention to density all point that direction. It’s the kind of heavy rock that just about anybody can enjoy over a few foamy brews in a hazy basement bar on a Saturday night. And when your date agrees to take the evening back to your place, you can even pretend she’s thinking of you the whole time.

- Excretakano

August 16th, 2013

Mister Growl

 After recently catching Gozu at The Eye of the Stoned Goat festival at The Acheron, Small Stone Recordings were nice enough to send me their most recent album, The Fury of a Patient Man. Let me  be the first to tell you, an album title has seldom fit an album’s sound so well. Mixing explosive metallic riffs with the buzzed fuzz of stoner rock and one of the smoothest croons in loud rock, Gozu’s music absolutely sounds like a guy who’s most often composed finally unleashing his demons and frustrations. Luckily, the result isn’t a crime spree, but a collection of catchy hooks that walks that fine line between melody and aggression with grace and confidence.

“Bald Bull” features the croon I just mentioned, a weapon provided by Marc Gaffney, that approaches falsetto without ever seeming shrill. It’s the epitome of cool, and he helms the album with a rare quiet swagger. This song is the perfect introduction to Gozu’s brand of crunchy rock and captures their style in three and a half minutes that invoke both Fu Manchu and Eagles of Death Metal while remaining a totally separate, unique entity. The album is full of memorable cuts that use pop sensibility while never feeling formulaic. “Charles Bronson Pinchot” blasts with some of the heaviest moments on the album, and even dips into psychobilly (think: Reverend Horton Heat’s “Galaxy 5000”), “Traci Lords” delivers soaring guitars (provided by Gaffney and Doug Sherman) that crash into a haunting stretch of headbanging-inspiring distortion, and “Ghost Wipe” charges ahead with the unpredictable energy of Tomahawk, just amplified one hundred time louder.

There are a few promising songs that have moments of brilliance but don’t fully click: “Disco Related Injury,” besides being my favorite song title in a long god damn while, wastes some killer opening and bridge stoner riffs with a weak chorus, and despite the fun clap-along percussion of “Salty Thumb,” the song never kicks into the next gear. The wild-card on this album is the 23+ minute closer, “The Ceaseless Thunder of Surf,” which rides its riffs like a wave and uses Barry Spillberg’s excellent drumming to escalate the potentially patience-testing song to an experience like a pleasant psychedelic trip on a beach after eating some exotic cactus meat. The song’s extended length is a risk that definitely pays off.

The Fury of a Patient Man is a versatile, dynamic release that displays significant songwriting ability and remains accessible while never betraying its roots as a heavy rock album. Gozu can groove with the likes of Acrimony and Queens of the Stone Age, who also took the foundations of stoner rock and injected the sort of personality and vitality that resulted in landmark albums for the genre. Gozu are absolutely worth your time and attention, and despite crafting songs with super-charged distortion and muscular riffs they’re never less than approachable. It’s the sort of music that acts like a gateway drug to welcome reluctant listeners to heavy music. Also, Gozu might be the band I would most like to watch a movie marathon with, starting with Escape From New York, then Serial Mom, followed by their namesake, and ending with something on the grand scale of the Bronson-starring Once Upon a Time in the West, to match their grandiose closing song. Their movie taste almost matches their musical talent, and that’s high praise from an elitist film school prick like me.

August 9th, 2013

Metal Hammer

Small Stone Records have a knack for finding the hidden treasures of desert rock.  Hailing from Boston, Gozu are another fuzzy-toned fungus to add to their collection of tasty morsels. Tracks entitled Salty Thumb and Irish Dart Fight whet the whistle for their stripped down, stoner aesthetic in all its garage floor-trembling glory, taking the likes of QOSTA and melding it with grunge melodies and beefy, palm-muted riffs.  At times this album sounds derivative, but the subtle switches in tempo keep it fresh. When those melodies kick in, like Traci Lords in the minor key, or the undulating Bald Bull, they reveal the vital moments that make this album so ear catching. Disco Related Injury is pure Californian motorcycle club fodder that encourages stoner's synaesthesia - you hear desert rock, you see an expanse of dusty highway. But the icing on their cake is the 23 minute sludgehammer of The Ceaseless Thunder Of Surf - a sluggish, psychedlic soundscape imbibing the soul of Neurosis and ending with a hearty WTF?

- Holly Wright

May 1st, 2013

The Sleeping Shaman

Gozu’s debut album “Locust Season” was an instant critical success for Small Stone and its eclectic collection of fuzzy bombs of alt rock brought to mind such disparate luminaries as QOTSA, Soundgarden and dosed it up with a little stoner rock.

So album number two is dropping and it’s very much business as usual for Gozu as they continue to craft impressive nuggets of pure song writing gold. The QOTSA comparison still holds up as crusty, fuzzed up guitars are still the order of the day playing effortlessly melodic lines over tight, motorik drumming with Marc Gaffney’s sharp melodies drifting overhead like a more ballsy Josh Homme. Opening track “Bald Bull” is pure twisted yet grinding pop whereas “Charles Bronson Pinchot” blasts ahead with the intent of High On Fire but Dave Grohl’s melodic intuition. The fact that the second and third tracks on this album are both instrumental typifies the idea that Gozu play pretty much by their own rules and bow to no pressure of conformity.

The harmonies that made such an impact on the first album are still present here but less overtly evident. To be honest, Gaffney’s vocals and melodies are strong enough to sustain each song and the dynamics of each composition would maintain the listener’s interest in even their most basic format. Each track here, with the exception of the closing loose yet structured jamming of “The Ceaseless Thunder Of Surf” which stretches to an impossible 24 minutes as much as it stretches the listeners’ patience, is a finely crafted piece of heavy pop and roll goodness all wrapped up in a coating of fuzzy guitars. “Salty Thumb” is a clear highlight as Gozu throw QOTSA a 12 bar boogie bone and fight it out to the end. At the other end of the scale “Disco Related Injury” is darker yet no less melodic with shades of Alice In Chains.

Gozu are an odd proposition for Small Stone as they sit outside of the usual stoner rock circles that the label is more commonly associated with in terms of their style and sound, yet manage to fit right in with the overall Small Stone aesthetic of creating high quality rock and roll. Fans of Gozu’s first album will lap this up yet there is much here to appeal to rock fans across the board and pull in the casual rockers who lurk around the edges of the Foo Fighters right through to the more dyed-in-the-wool Motorhead types. Small Stone hit gold…yet again.

- Ollie Stygall

May 3rd, 2013


The Fury of a Patient Man, the new record from Boston hard rock quartet Gozu, is so massive in sound and scope, it’s going to take two nights at Radio in Somerville to properly release this monster. The latest in a stellar line of New England releases from Detroit-based Small Stone Recordings (Mellow Bravo, Supermachine, Roadsaw), Fury is led by the buzzing boogie of “Salty Thumb,” which adds flash dashes of Urge Overkill to Gozu’s normally staid stoner rock template. The rest of the record is a blitzkrieg of riffage and smoky rock and roll rippers that solidifies Gozu as one of Boston’s sharpest – and heaviest -- bands.

-  Michael Marotta

May 2nd, 2013

Daykamp Music

What do you call a record with walls of solid riffs built on a foundation of heavy sludge? If you’re Gozu, you call it The Fury Of A Patient Man and you adorn it with memorable melodies, hand-claps, falsetto backing vocals and harmonies of the vocal and guitar variety. This is an album full of hooks and humor that never loses sight of the fact that its sole purpose on this planet it to melt your face via your ear canals. From the killer opening riff of “Bald Bull” to the closing, distorted gasps of “The Ceaseless Thunder Of Surf”, the guys in Gozu show off their many and varied ways to pull off said face-melting. Sometimes they do it with a soulful vocal (“Ghost Wipe”, “Snake Plissken”). Other times they hit you with majestic guitar lines (“Traci Lords”) or thrashtastic runs (“Charles Bronson Pinchot”). No matter their choice in auditory facial liquefaction tools, Gozu always get the job done.

May 1st, 2013

Power Metal (Germany)

From Google Translate

Boston's finest stoner rockers!

How this band has managed to stay almost of its life in the five years unnoticed, is one of the puzzles whose solution we will probably never track down. Just two acclaimed releases can notch up the boys from Boston, and yet GOZU until now were only an insider's theme for the die-hard community of cult label Small Stone. But no later than with the release of the new album, this situation should vanish into thin air, for "The Fury Of A Patient Man" cries out for more than just an incidental existence. In particular, fans of such bands like QUEENS OF THE STONE AGE should follow closely what fabricated the band from the American west, because of the remarkable dry fuzz sound, the general coolness in the guitar work and the sometimes hidden hooks are exactly that substance from which the first two discs of Josh Homme are made and his divorced stretching.

In the first minutes of "The Fury Of A Patient Man" is already obvious at what level here stoner references with classic hard rock are coupled before then uses the retro meat grinder and a few cleverly interwoven 70s vibes throws into the crowd . 'Bald Bull' and 'Charles Bronson Pinchot' show the aligned once to Palm Springs audience how advanced clever things, without forgetting the most important nuances on the track before 'Irish Darts Fight' and 'Disco Related Injury' then belonging to Injury. After nine smart, crunchy rock songs, the disc tends but unfortunately a far too quick end to what could possibly be the only reason for criticism of any kind.

But the subjunctive indicates, this already: This band has something up its sleeve that you just have to name just tremendous. The final, lasting less than 25 minutes 'The Ceaseless Of Thunder Surf' leads the listener into realms that he was actually opened in the past few years only of MY SLEEPING KARMA. This is heavy rock at its best, instrumental psychedelic art with amazing hypnotic fragments and a depth that is unparalleled off the competition just mentioned. The problem could literally enormous contrast effect to be monstrous closing track and the more determined composed other songs - but this is more to be feared not only black and picturesque theory. On the contrary, much rather refreshes you look at the output of these great Boston Brigade and there is the hope of the songs from "The Fury Of A Patient Man" to be able to experience live also in the near future. It is truly enormous, which images have a shoot at this thought into your head!

Playing tips: The Ceaseless Of Thunder Surf, Bald Bull, Disco Related Injury

- Bjorn Backes

April 22nd, 2013


There's a telling point on Gozu's second full-length that occurs about 3 seconds after you push play: the moment where you realise you're not playing it loud enough. This is the kind of album that screams for amplitude, bringing together a love of the greats from near and far (Alice Cooper, Kyuss, High On Fire) and throwing in some feel-good pop sensibilities for good measure, striking a formidable balance between gravel-and-granite doom, speedy aggression and songs like Salty Thumb that play out like deranged honky-tonk karaoke sessions. With the exception of the colossal, 23 minute closer, it's a punchy and to-the-point effort that leaves little room for retracing its own steps, a rock album that explores every possible niche and finds a gem in each one.

- David Bowes

April 25th, 2013


Boston’s Gozu return with a second album of adrenalised modern rock. OUT 22/4/13

Proof that Detroit label Small Stone Records is as much about rock’s present and future as it is about paying homage to ’70s rock salad days comes in the form of this latest album from Bostson’s Gozu. The Fury Of A Patient Man is the follow up to 2010′s Locust Season, it manages to mix grunge, metal, and several other strains of rock – classic, heavy, stoner and modern are all present among the record’s ten tracks, making for a surprisingly coherent one-sitting listen.

The closest comparison bandwise would be QOTSA, though there are other traceable influences; the sped up punk metal of Motorhead, Foo Fighters’ ability to mix hi-energy riffs with melody, and the grungey alt-rock of Soundgarden.

Front man Marc Gaffney’s lyrics centre on inner pain and anger, which over the band’s take-no-prisoners style of playing do indeed invoke a sense of fury. This righteous anger permeates the album though there is room for some light relief, as on Salty Thumb which sees the band flexing their glam rock chops, its stompy, brash verses giving way to falsetto sung choruses.

Disco Related Injury has the band in full on rock riff mode, stripping down their sound so it hits heavy, the closest track on the album to classic heavy rock. Former porn actress Traci Lords gets a song named after her, though it’s difficult to connect her story to the track’s lyrics. The track has a slight slowing of pace compared to the rest of the album, and a more textural feel to the band’s playing.

Charles Bronson Pinchot is Gozu at their punkiest. It’s not too difficult to imagine the song being an early Damned track given an American rock makeover. For the album’s final track, The Ceaseless Thunder Of Surf, the band stretch out after the song’s opening three minutes of standard verse/chorus rock into stoner/prog territory. Improvising with a one-chord jam for a further vocal-less twenty minutes, it highlights another side to the band, and fits in nicely with the Small Stone aesthetic.

Rating 8/10

- Duncan Fletcher

April 24th, 2013

Incognito Music

Incognito pick of the week: Gozu

The good folks at Small Stone are all right with me. First, this label deals exclusively in music that is loud and generally pretty fuzzy. Seriously, if you hear some awesome heavy rock that sounds straight out of the 70s, your first guess should be that it’s a Small Stone release. Second, this label makes entire albums available on Bandcamp. Trust me, I come across enough bands that only post a song or two that it’s refreshing to be able to listen to an entire album.

The Fury of a Patient Man by Gozu begins with a track that is everything you would want in something from Small Stone. It begins with some fuzzed-out guitar and a rhythm that you are sure to feel somewhere deep in your gut. As for the vocals, they are described on the band’s Bandcamp page this way: “Marc Gaffney has the pipes Chris Cornell used to possess before he started modeling men’s cologne.” I agree with that…to a point. The vocals in “Charles Bronson Pinchot” and “Traci Lords” certainly bring Chris Cornell to mind. Overall, Gaffney’s vocals are perfect for a heavy rock band, but also have a good amount of soul.

If you don’t feel it before then, the track “Salty Thumb” will make you feel like you’ve been magically transported back to the 70s. I’m not kidding when I tell you that this song will make you want to:

    - grow your hair (on your head and your face) long
    - break out that denim jacket with the sleeves cut off
    - play some heavy-duty air guitar.

I’ll tell you something, loyal reader. This album makes me want to set up some tower speakers by the windows of my house and blast it to everyone in my suburban, beige neighborhood. Granted, that would probably land me in dutch with the HOA fascists, but it would be worth it. The Fury of a Patient Man will be available on Tuesday 23 April. Do yourself a favor and pick this album up. And while you’re at it, check out the other good stuff that Small Stone has to offer.

- Gary Schwind

April 17th, 2013

Pennyblackmusic (UK)

The title of this Boston band’s second album is well-chosen: it’s fuelled by intense emotional and physical power, yet the musicians maintain a tight self-control that typifies the slickest hard rock.

Comparisons with Queens of the Stone Age are not original but impossible to avoid, if only because like QOTSA Gozu maintain a good melodic sense (in Marc Gaffney’s vocals and Doug Sharman’s guitarwork), even as they rock with a visceral strength. Besides Sharman and a variety of bassists, this blend is founded on Barry Spillberg’s drumming, which ranges from nimble beats to merciless pummelling. It typifies songs like the opening trio of ‘Bald Bull’, ‘Signed, Epstein’s Mom’and ‘Charles Bronson Pinchot’. The last of these is at once one of the fastest and one of the heaviest numbers on the album, with guitar ringing out behind the vocals before a slower passage opens out into epically resonating chords and a crazed sprint to the end.

The attentive reader will notice that there is a penchant for wacky titles, recalling early Blue Oyster Cult (another band that rocked without losing sight of melody). ‘Irish Dart Fight’ is another example, perhaps some strange allusion to one of the main ethnic groups in their home city although the lyrics, as so often on this album, seem born from a state of emotional distress which Gaffney conveys well.

A direct riff and handclaps propel the verses of ‘Salty Thumb’, recalling Iggy Pop’s ‘New Values’. It is hard to resist nodding along approvingly. Sharman garlands the basic song with astute guitar flourishes.

The title of “Disco Related Injury” is its most intriguing aspect, though the use of intertwined guitars is also distinctive. It’s heavy in a fairly orthodox manner, its largely slow pace only intermittently increased by outbreaks of thunderous drums.

‘Traci Lords’ is founded on a strong, rising riff. Heartfelt vocals deliver some enigmatic lyrics: “Don’t wait up for me/You’re already dead/Time won’t stay with you/It left with me instead.” Whether the song is meant to speak for the actress in some way, or has nothing to do with her at all (given the lack of obvious connection between titles and lyrics in the other tracks, this is quite possible), Gaffney’s voice and the gradual collapse of Sharman’s guitar into stuttering, incoherent noise powerfully suggest emotional disarray.

Gaffney’s distorted vocal begins at a higher register on ‘Ghost Wipe’, underpinned by chugging guitar and tom-tom bursts. The bulk of the song soon settles into a more standard kind of heavy groove, though this time lightened by expressive backing vocals. It is followed by ‘Snake Plissken’ (named after Kurt Russell’s character in two John Carpenter films), a fast rocker which once again demonstrates the band’s incredible tightness. A certain Josh Homme-toned sadness is detectable in his voice towards the end as Gaffney says over and over “I don’t need you”, then gradually overcome by mounting rage and a final scream.

This leaves ‘The Ceaseless Thunder of Surf’. Starting slow but strong, with especially fiery guitar, it would have capped the album nicely if it had stayed within the 4-5 minute limit of most of the other songs. Regrettably the band choose not to stop there but instead carry on for a further 20 minutes in a meandering jam based mainly around a droning two-note riff. Whatever the explanation for this lapse in judgement, it shouldn’t detract from the fact that this is a fine rock album, powerful and musical in its playing and songcraft. That they are not the most original of bands (I’d also add Foo Fighters and Faith No More to QOTSA as among those I hear echoed) is not the most important consideration given the quality of their playing and most of the songs. Gozu might be a musical reinvention of the wheel in some ways, but they do it very well. Let’s roll.

- Adrian Janes

April 15th, 2013


Riffs, riffs and more riffs set the table upon which GOZU's impressive first effort, 2010's "Locust Season", held its generous feast; but the menu for the Boston quartet's sophomore opus, 2013's "The Fury of a Patient Man", seems to offer a much bigger selection of grooves, grooves and more grooves as a second course.

Yes, indeed, the album recorded in neighboring Cambridge, Massachusetts and then mixed just a few leagues up the road in Brookline, New hampshire, ladles rich 'n' creamy guitars over your head, chunkier than New England clam chowder (ugh...sorry!), and it must be said the remaining ingredients round out the flavors beautifully ? sort of like a Bizarro World Clutch harboring atypical alternative rock influences.

To wit, "Fury"'s opening statement, "Bald Bull", hunkers down on a low and steady groove not even its backward-sounding guitar solo can destabilize, "Charles Bronson Pinchot" conceals a mean-as-fuck rhythmic chug unveiled midway through, and drummer Barry Spillberg frequently transforms into a Motorik-like metronome on precision heavy rockers such as "Signed, Epstein's Mom" and "Irish Dart Fight".

Later on, the aforementioned alt-rock influences grow even more pronounced in the chorused ALICE IN CHAINS vocals of "Ghost Wipe" and tilting SOUNDGARDEN tempos of "The Ceaseless Thunder of Surf" (well, the first ten minutes of the latter's 25, anyhow); then, the intriguingly named "Traci Lords" visits MAD SEASON's harrowing audio-heroin nightmares while looking every bit as legal-age as its subject (we swear, officer!).

Through it all, and though every member of the band certainly pulls his own weight, GOZU's secret weapon still remains singer Marc Gaffney: a latter day Chris Cornell who doesn't think twice about launching into falsettos that would make even MICHAEL JACKSON proud on the surprisingly funky "Salty Thumb".

Thankfully, he draws the line at "YEE-HEE!!!"

Anywhoo, at the end of the day, the songs on GOZU's second release generally differ from those found on the first in a pretty specific way: rather than slap the listener across the forehead at "hello", they boil along tensely for an improbably long time before loosening their fury ? just like the album title promised.

And you have to love a band that walks it like it talks it.

- Eduardo Rivadavia

April 14th, 2013


Gozu is the title of a movie by Japanese director Takashi Miike. The name comes from a bull-headed demon shown in the movie and is a cool band monicker of course. And where Miikes vision and movies are twisted and weird the band Gozu (from Boston) is straightforward and hard-hitting. The Fury Of A Patient Man is their second album, following Locust Season, an underrated release from 2010. The debut showed the band as a kind of harder Queens Of The Stone Age – heavy riffs mixed with catchy melodies. While there was an almost clinical precision all the way through that album, the new record features looser arrangements and a more organic sound. While both approaches work well its obvious that Gozu don’t want to stick to a formula but want to refine instead. That does not mean that Marc Gaffney (voc., guitar), Joe Grotto (bass), Barry Spillberg (drums) and Doug Sherman (guitar) are losing their bite. No, “The Fury Of A Patient Man” still throws a mighty punch.

A song like Charles Bronson Pinchot fires on all cylinders. Again, the title shows Gozu’s love for the movies. Its a wordplay on two rather different American actors, Charles Bronson and Bronson Pinchot. Two more songs pay homage to the cinema, Traci Lords to the infamous porno actress of the same name and Snake Plissken to Kurt Russells character in “Escape From New York”. Music-wise Gozu bows its head to 70s glam-rock: Salty Thumb is seriously catchy. The same goes for Signed, Epsteins Mom, the title a TV-homage for a change (from “Welcome Back, Potter”).

Disco Related Injury and Ghost Wipe do sound more like the 90s – somewhere between Helmet and Seattle-bands like Soundgarden and Alice In Chains. Irish Dart Fight is the only song that still shows some relation to Queens Of The Stone Age. But all together Gozu move farther and farther away from that band. Sure, Marc Gaffney occasionally sings in a higher register, like Josh Homme, but has a more powerful voice eventually. In the end Gozu shows a totally different side: At first, The Ceaseless Thunder Of Surf feels like the band simply left the tape running while jamming in the rehearsal room. The song is a 24-minute-long instrumental track. But its way more structured than then the first impression makes you believe. The band always returns to the simple central riff. Thrown in are breaks, fade out-parts and solos but they don’t feel like the jams of Earthless for example. The focus is the aforementioned riff. The title makes sense: The ceaseless thunder of surf indeed.

Varied without being aimless. On The Fury Of A Patient Man the members of Gozu show an impressive range. Its an album one can enjoy repeatedly – you’ll get fast, catchy songs to hum along to and slower heavier tunes, including the instrumental monster at the end, that demand more attention.

- 8 out of 10

- Geschrieben von mucke

April 9th, 2013

Paper Blog

So, Gozu. They rock. I got their new album, Fury of a Patient Man, a couple weeks ago and man....just yes.

This is a stoner rock record, sure, but it grooves, it boogies, and it funks you to death. If it was released in 2012, it would have been on the top of many lists. Since it wasn't, it will be on the top of many lists this year. Prediction 1.

There is a lot that you could say about this album, but "fun" is the big word for me. This is a fun record to listen to. Unexpected, jumpy,  lively vocal harmonies come through the grit and conjure images of the 60s, and soul. There's your standard rock fair, that kicks ass. There's some 90s alt thrown in, a little metal, etc.
However, this isn't one of those records you can say "if you like such and such, you'll like this." It's just a mishmash of sounds and songs. It's like when you eat at your grandma's place, and you have some mashed potatoes, maybe some fried okra, perhaps some green beans, fried chicken and whatever else you fattys eat; you have this plate in front of you, and you mix it up. Maybe you'll put some green beans on the fork with some potatoes, or some chicken or any combination. You wash it all down with sweet tea, before snorting cocaine with your grandpa. That's what Gozu is like.

Go buy this record.


February 3rd, 2013

Muzik Dizcovery

Kick-ass stoner rock has always been a guilty pleasure of mine. Whether it's Kyuss chugging out sludgy riffs, Red Fang LARPing on "Prehistoric Dog," or Priestess shredding on "Lay Down," it's always been a really fun genre. New England band Gozu is somewhat new on the scene (forming in 2008) but they've quickly made their mark. They've just released an excellent new album, "The Fury Of A Patient Man" on Small Stone Recordings that epitomizes everything I (and many others) like about stoner rock. "Irish Dart Fight" is a ridiculously catchy song with its straight-ahead drums and sludge-laden guitars, and it's a great example of what the band can do. Opener "Bald Bull" is one of the best songs on the album, mostly because stoner rock works really well in 6/8 time but also because its infectious power chords beg anyone listening to headbang right along. Plus, its solo shows off the chops of guitarist Doug Sherman, an excellent guitarist who fits the band perfectly. Gozu seems to be destined for great things, and they're a treat to listen to.

- Will Robinson

January 13th, 2013

Lords Of Metal

When this CD 'The Fury Of The Patient Man' by this surprising band Gozu kicks off with 'Bald Bull', you immediately recognize the fact that this will be a Queens Of The Stone Age and Kyuss filled CD. The great opening riffs tears open the song and quickly shows us that rolling drum and thunderous bass work. The clean and clear vocals are strong, stronger than I remember from their debut 'Locust Season' which was a pleasant ride o listen to. This 'The Fury Of The Patient Man' is the ultimate party soundtrack of a Hotrod meeting or a good old barbeque-fest. Again it is not a breakthrough album or an instant classic, but the fact that it's more varied by darker songs like 'Charles Bronson Pinchot' or the vibrant jam session of the twenty four minute long 'The Ceaseless Thunder Of Surf', it projectiles this band a huge distant forward!


- Erik

March 21st, 2013

Dearedevil Records (Germany)

Gozu consisting of members of bands such as WARGASM (!!) and Triphammer. And now they sign to the mighty Small Stone label. First, the artwork is very cool and untypical. Great painting - simple but cool. The music is not typical for a Small Stone release. But it fits perfect to the other bands. It is not Stoner Rock, only parts fit to that genre. GOZU is more ROCK - like a heavier version of the EAGLES OF DEATH METAL or some QUEENS OF THE STONE AGE grooves. Yeah, close to RATED R is the right direction for GOZU listeners. But the real hit is missing. Highlight is the mighty CHARLES BRONSON PINCHOT song with a great vocal melody and a cool groove. It is not a 1:1 copy of QOTSA, GOZU only use the same grooves and direction as Hommes band. TRACI LORD and DISCO RELATED INJURY is a good example. GOZU is on the way to the top. It is the right mix for a mainstream Rock audience and the underground Stoner Rock freaks. One real hit-single will bring that band on the top - believe me! Especially the vocals of Marc Gaffney are over the top and make the good music awesome. And the 24 minute long instrumental song THE CEASELESS THUNDER OF SURF (with great riffing) make the record special. Buy it!

- Jochen

February 1st, 2013


Soundgarden grunge tendencies, this Boston bunch throws a wicked pissah of a party. They only rarely slip into Sabbath-gloom mode on this third album, and they know how to keep from getting bogged down: by deploying QOTSA-style air-floating high registers, trance-jazzed instrumental sections (best in "Traci Lords") or Urge Overkill bubble-soul harmonies about sweet soul sisters (in "Salty Thumb"). They funk it up unhorribly, too, and stay concise until the finale takes a 23-minute flight to nowhere. Plus, it's about time somebody did a song called "Signed, Epstein's Mom."

- Chuck Eddy

March 15th, 2013

Paranoid Hitsophrenic

Carnac the Magnificent says: "The Godfather Part II, The Empire Strikes Back and 'The Fury of a Patient Man' ..."

The question:  Name three sequels that are superior to the original.

On this, their second full-length album, Gozu put on a clinic of fuel-injected, pavement chewing rock n' roll.  Mixing the chest pounding guitar chuggery of heavy metal with the melodic swagger and laryngeal gymnastics of rock n roll, Gozu has enough in their bag of tricks to get the blood pumping through the meekest of men and to soothe the most savage of beasts.

Satisfying riff after satisfying riff and a gallery of pounding and driving rhythms make up the entirety of this disc.  Don't get the impression that every song on the album all sounds the same, it's simply balls to the wall straight through.  All the right elements of hard rock and metal are emphasized without any one particular facet dominating above all others.  Powerful vocals, burly guitars and hammering rhythms characterize each track in full and equal measure.

However, if there has to be one aspect of 'The Fury of a Patient Man' that stands slightly above the others and does the most to distinguish the project it's the sticky vocal melodies and impressive overall performance of Marc Gaffney.  But that's not quite fair either because there's such a balance here as all members fire on all cylinders from front to back.

'The Fury of a Patient Man' is an all-around tougher affair than the first album 'Locust Season', heavier and harder in many ways while still retaining the rounded edges of 'Locust Season' provided by the  melodic and often Motown-y soulful vocals.  The more metallic approach the band employs is apparent throughout but comes to the fore three tracks in.  "Charles Bronson Pinchot" is a near High on Fire riff-tastic face-melter that shows the band exploring different intersong textures.  It's followed-up by the soulful crooning of "Irish Dart Fight".  These are expansive oceans of territory for the band to navigate through and they do it in a natural and organic way, all within an individualistic framework.  If 'Locust Season' captured a new band walking through the door searching for an identity, then this album sees the band return kicking down the door and strutting through, full of surety and fire.

The album closes on "The Ceaseless Thunder Of Surf", an extended instrumental jam which tips the scales at over 23 minutes.  Yup, this album's got a little bit of everything that's good about rock music and a lot of everything that's great about it.

Where the band's first full-length, 'Locust Season', favored a slightly blues tinged classic rock sound akin to labelmates Sun Gods in Exile or Five Horse Johnson, 'The Fury of a Patient Man' adopts a more muscular approach.  The vocals remain top notch while the guitar sound and overall sonic attack has been beefed up to the nth degree.  This one is worth grabbing for "Bald Bull" alone which is an early contender for song of the year, but don't worry, they're all pretty damn good songs.

Highlights include: "Bald Bull" and "Traci Lords"

Rating: 4.5/5

Reminds me of: Sam Cooke (?), High on Fire, Lord Fowl

- LK Ultra

March 19th, 2013

Dr. Doom's Lair

I don’t know who is responsible for recruiting in Small Stone Recordings but that guy certainly has some talent and balls. GOZU was one of the first bands I heard from that label and “Locust Season” the band’s debut was nothing less than an excellent album, no doubt one of the best records of that year and why not, one of the most powerful “new entries” of past few years.

3 years have passed since then and GOZU return with their second album “The Fury of a Patient Man”. This one was written with the near impossible to accomplish task of keeping up with the instantly classic “Locust Season”.

Once more GOZU prove that their music is probably the perfect soundtrack for a lazy day full of bear and weed under a burning sun. “The Fury of a Patient Man” reminds of some of the best moments of QUEENS OF THE STONE AGE both lyrically and stylistically. Actually, this similarity can be both one of the weakest and strongest points of the album. Like I said, songwriting wise the compositions move to highest quality standards of QUEENS OF THE STONE AGE but on the other hand… the similarities are damn strong.

Comparing to the “Locust Season”, “The Fury of a Patient Man” is a bit more “one sided” in matters of influences and has a slightly feels less personal. However, what is truly rewarding with that record is that GOZU once more have written some damn powerful and addictive riffs. “Traci Lords” and the bluesy “Disco Related Injury” for example deliver some damn fine straight to core Raaawk music. Don’t expect to go crazy as you might have with “Locust Season” but YOU SHOULD expect to find nothing less than great Rock music yet once again from this great band.

March 12th, 2013

Stoner Rock BBQ

Gozu "The Fury Of A Patient Man" - One of our favorite songs is Gozu's "Rise Up" from their 2008 self-titled debut.  That whole album smokes as does their follow up 2010 release "Locust Season", so we were really excited to hear about a new Gozu release.  2013's "The Fury Of A Patient Man" does not disappoint.   Equal parts heavy metal and desert stoner rock equals one hell of a formula.  Add in a little humor with the track titles and look out.  The album starts off with "Bald Bull".  Judging by the other track titles on the album, one can only assume this one's about the rather large bailiff of the same name from the 80's sitcom Night Court.  Humor aside, this song features a groove that is so fuzzed out it sounds like it was created in the sands of the California desert.  It's one of the best tracks on the album.  In keeping with the TV sitcom theme, the band goes back to the 70's with "Signed, Epstein's Mom", a distorted, rocking instrumental.   Rounding out the sitcom references is "Charles Bronson Pinchot".  A sinister and heavy instrumental that recalls some of the best of the 80's thrash metal.  Not what you'd expect for a song named after Balki Bartokomous.   The pace stays frenetic on "Irish Dart Fight",  which again features no words but is no less powerful.   The Eagles Of Death Metal-like "Salty Thumb" is catchy, fuzzy rock and roll boogie at its finest.   "Disco Related Injury" with its "Godzilla" like riff and tempo is a fine piece of 70's hard rock.   The Faith No More sounding "Traci Lords" comes courtesy of some very Mike Patton-esque vocals.  The music is heavy, but the vocals are melodic, very similar to FNM.   "Snake Plissken" is an awesome heavy, southern-style sludgy rocker in the same vein as Halfway To Gone or Sasquatch.  The closing track is "The Ceaseless Thunder Of Surf" at a whopping 23 1/2 minutes long.   This instrumental starts out as a heavy jam then slows the engines to something a little more atmospheric.    With the bands penchant for grooves, riffs and humor; they remind us of a heavier Puny Human, which is bestowing high praise as Puny Human flat our rocks as does Gozu.  Each album seems to be better than the one that preceded it with these guys, their whole catalog is well worth checking out.

- Slades

February 12th, 2013

The Ripple Effect

So, Gozu. They rock. I got their new album, Fury of a Patient Man, a couple weeks ago and man....just yes.
This is a stoner rock record, sure, but it grooves, it boogies, and it funks you to death. If it was released in 2012, it would have been on the top of many lists. Since it wasn't, it will be on the top of many lists this year. Prediction 1.

There is a lot that you could say about this album, but "fun" is the big word for me. This is a fun record to listen to. Unexpected, jumpy,  lively vocal harmonies come through the grit and conjure images of the 60s, and soul. There's your standard rock fair, that kicks ass. There's some 90s alt thrown in, a little metal, etc.

However, this isn't one of those records you can say "if you like such and such, you'll like this." It's just a mishmash of sounds and songs. It's like when you eat at your grandma's place, and you have some mashed potatoes, maybe some fried okra, perhaps some green beans, fried chicken and whatever else you fattys eat; you have this plate in front of you, and you mix it up. Maybe you'll put some green beans on the fork with some potatoes, or some chicken or any combination. You wash it all down with sweet tea, before snorting cocaine with your grandpa. That's what Gozu is like.

Go buy this record.

If you're in Virginia in November, catch them at Stoner Hands of Doom along with tons of other great bands, I'll be there too with my band. Be there.

Here's fun things!


February 4th, 2013

Liquid Hip

It might have taken nearly three years for Gozu to return to Mad Oak Studios and the Bridge Sound and Stage to record another album, but the wait was worth it. The Boston quartet's sophomore album, The Fury Of A Patient Man, sounds smoother, sludgier, and more coherent than any previous release.

Notably, Marc Gaffney has perfected his low and soulful melodies, delivering them with enough confidence to keep any previous need for distortions and backup vocals to a minimum. The Fury Of A Patient Man clearly catches Gaffney at his best, not because he is more weathered but because he can be clearly heard with a renewed fortitude.

Gaffney isn't the only one to show improvement. Doug Sherman steps up his consistently thick riffs and permeating groove as Barry Spillberg lays down his relentless drum work, tossing in the occasional creative roll. The band's new bassist, Joe Grotto (Motherboar), also proves to be a natural fit on an album engineered by his brother Benny Grotto along with Owen Curtin.

The Fury Of A Patient Man is a crystalizing moment for Gozu.

Gozu has always been able to deliver some densely layered onslaughts of metal, but the album opener raises the bar as it sets a stampede pace for the 10-track marathon. Bald Bull rocks.

Although best described relentless metal buzz, it's the intensely memorable guitar solo in the back third of the song that earns it a place among essential metal picks. The rest of the track is near perfect too, everything from Gaffney finding the right groove to Sherman and Spillberg delivering moments of impressively composed and well-executed metal.

With such a strong opener, the second track almost feels too relaxed to follow. In case you don't know, Signed, Epstein's Mom gives a one-off nod to the 1970s sitcom Welcome Back, Kotter and possibly actor Robert Hegyes. The best part of the track is another rousing solo tucked deep inside it.

Another attention-grabbing title is the mashup Charles Bronson Pinchot. It's heavy, humorous, and gives Gozu another opportunity to prove its potency in marrying two distinct sounds to one song. In this case, they kick off the song with some galloping trash metal but then channel a post-metal atmospheric transition before ending on a note as furious as the one they used to begin it.

What makes these grand transitions so addictive is Gozu's ability to retain an aggressive spontaneity to their song craft. After a couple if passes, you know Irish Dart Fight will eventually be hammered into something other than a whimsical rocker with a seventies swagger. And yet, you'll listen intently for the change up anyway, just in case it turns out different.

Every track feels equally unpredictable: The hook-laden Salty Thumb, sludge heavy Disco Related Injury, and the hauntingly memorable Traci Lords. And then, of course, The Ceaseless Thunder Of Surf belts out for almost a full 24 minutes, bringing the entire album to just over an hour.

This track alone, if not the entire album, sets a high water mark for stoner metal this year. The entire album is meticulously crafted and perfectly executed, with nothing left to chance even if it feels like everything was left to chance.

The Fury Of A Patient Man Burns 9.1 On The Liquid Hip Richter Scale.

If five years requires patience, then Gozu is appropriately ferocious. They have never played tighter or known precisely where they wanted to take anyone who would listen. And perhaps that is what stands out the most on The Fury Of A Patient Man. From the very first track, it's abundantly clear that Gozu knows where they want to take you — and then do it, effortlessly.

The Fury Of A Patient Man by Gozu can be found on Amazon or downloaded from iTunes. The album was originally scheduled to be released in February,  but piracy concerns prompted an early drop date. This is a band worth supporting. Every inch of the album is worth the download. Keep an eye out for tour dates in New England on Facebook.

- Richard Becker

February 1st, 2013

The Sludgelord (Blog UK)

It all starts out super-fuzzy in the shape of Bald Bull and like an enraged bull Gozu stampedes with one mission and that mission is to annihilate, rock the fuck out and to have a great time doing it.

The Fury Of A Patient Man comes blasting at me 100mph never really slowing down keeping me on my feet pogoing, thrashing, headbanging, mosh-pitting...all on my own! For me this is the ultimate lift-me-up album you could possibly think of. Ever since I heard their brutal onslaught for the first time Gozu are THE band for a bad day.

In all their heaviness they are a tongue-in-cheek band. Just check out some of the song titles and you know what I mean: Signed, Epstein's Mom, Charles Brons Pinchot, Irish Dart Fight, Disco Related Injury, Traci Lords and Snake Plissken. The humour is so apparent throught and works great in unison with their excellent music. In my opinion a band that release albums should do their very best and be serious about that, make sure studio work is as good as possible. On the other hand if a band takes itself too serious with everything they do become a parody and ultimately boring. Gozu clearly do their very best musically but they can definitely laugh at themselves as well amidst all their heaviness which in turn makes them such a breath of fresh air. And I just love it.

The band brings a lot of styles to the table and weaves it all together elegantly. It's mainly fuzzed out stoner rock and 70's heavy rock but with dollops of doom, psychedelica and even a touch of old-style death metal. Check out Charles Bronson Pinchot for that.

Most of the songs range between 3:30-5:30 minutes, however the brilliant closer The Ceaseless Thunder Of Surf clocks in at daunting 23:34, yes that's right folks. The first 8 minutes or so is all out stoner fuzz before they go all jammy and trippy on us. It's pretty brave to finish an album with an instrumental piece that long but they excel with honours! Judging from this release it is very obvious that Gozu aren't an ordinary band, so ending The Fury Of A Patient Man this way fits their grand scheme of things perfectly.

I had never heard of the band before this album was sent to me and I do have to backtrack their previous efforts anything else warrants my admittance to the nut house. Because if it's as good as The Fury Of A Patient Man I'm in for something special. And so are you when you check them out. Start with this release, you will not be disappointed and then work your way back through Gozu's recorded history. Dont' miss out because this is fucking great!

- Hakan Nyman

January 25th, 2013

The Obelisk

When Boston rockers Gozu made their debut in 2010 with Locust Season, the album was greeted with no shortage of hyperbole within the heavy rock set. Their strong sense of songwriting, ballsy riffing, diversity of approach and penchant for melody made the four-piece an immediate standout among a crowded scene, and they came out of the gate with the professionalism of a band putting out their third album, not their first. Locust Season (review here), however, was a first album, and so it’s not necessarily surprising to find that on the sophomore outing, The Fury of a Patient Man (Small Stone), Gozu seem to have undergone some shifts in sound in the three years since their last time out. The above-listed elements, thankfully, remain consistent, and if you were someone who heard and upon whom the debut made an impression, there will be little doubt when you put on The Fury of a Patient Man that you’re listening to Gozu. Guitarist/vocalist Marc Gaffney has the same soulful sensibility in his voice, a little melancholy but still able to keep pace with fellow six-stringer Doug Sherman’s riffing (bass duties are split throughout by Jay Canava and Paul Delair; Joe Grotto has since joined as a permanent bassist), and Barry Spillberg’s drums are likewise at home punctuating movements either stomping, as on “Disco Related Injury” or rife with a more furious galloping, as on “Charles Bronson Pinchot.” Gozu’s penchant for joke and/or referential song titles – another piece of the puzzle returned from the first album – winds up undercutting some (not all) of the emotionality on display throughout, as on the later “Ghost Wipe” and “Traci Lords” or even opener “Bald Bull,” but the 10 component tracks on the 62-minute album nonetheless convey a range of moods, from the earlier more rocking swagger of “Signed, Epstein’s Mom” (sorry boys, on the show it was “Signed, Epstein’s Mother”) to the echoing largesse of 24-minute closer “The Ceaseless Thunder of Surf,” and no matter what heading they’re given, the songs do a lot of speaking for themselves. I’m not sure if the tradeoff of grabbing attention with a clever play on names like “Charles Bronson Pinchot” is worth the distraction from the contents of the track, but it’s moot. They are what they are, and what matters most from the point of launch is the strength of the material.

In that department, Gozu deliver a record to justify the three-year wait since the debut. However seriously they may or may not wish to present the superficial trappings of their band-dom, Gozu are no joke. Their arrangements are rich and complex without being pretentious, and immediately from the deft switches to and from falsetto in the verse of “Bald Bull,” Gaffney leads the charge through material that shows just how much growth the band has undertaken. “Bald Bull” and “Signed, Epstein’s Mom” make a strong opening duo and effective summary of Gozu’s approach on the album – both three and a half minutes long, perfect for hard rock radio in some alternate universe – balancing soulful layering and harmonies against top quality stonerly riffing and driving heavy groove. There is just the slightest undertone of metal, and certainly “Charles Bronson Pinchot” ups that with a High on Fire-type riff that Spillberg meets with thrashy aplomb, nestling into the quickened chug clearly in his element and winding up no less at home in the increasingly dreamy midsection of the song as it develops with airier guitars and a slow build. It’s a switch from the more grooving heavy rock of the first two tracks, but that’s clearly the idea. Gozu are shifting the expectation of their audience – putting listeners where they want them – and in terms of the album as a whole, it’s the right move. Because the material is still basically accessible and “Charles Bronson Pinchot” catchy and not out of line vocally with what Gaffney brings to either “Bald Bull” or “Signed, Epstein’s Mom,” the listener is more apt to go along with the change, and likewise as “Charles Bronson Pinchot” gives way to the quirky verse of “Irish Dart Fight,” more alike to some of earlier Queens of the Stone Age’s start-stop progressions, but given different context by the vocals and the fuller payoff in the chorus. Sherman and Gaffney don’t spend much time playing off each other on guitar, but the solo in the second half of “Irish Dart Fight” sounds all the more accomplished for the backing rhythm, and it seems that altogether Gozu are tighter as a unit in terms of their performance than they were three years ago. Progress has been made.

The fuzzy shuffle of “Salty Thumb” is well set alongside “Irish Dart Fight” for expanding on some of the same musical ideas, a QOTSA-style verse giving way to a satisfying chorus, meeting with handclaps along the way. At halfway, Gozu’s classic pop and soul influence shows up, with a break of “Soul sister/Sweet soul sister” that leads back to the verse with a bit of party atmosphere. It shows up again a short time later – almost a second chorus – with well-arranged singing and a subtle build playing out from Spillberg on drums until the fadeout that leads to the jarring opening of the heavier, larger-sounding “Disco Related Injury.” They’re still well within a range of fuzz here – captured and mixed in the Small Stone tradition by Benny Grotto – just louder, with an initial verse riff that follows a classic stoner rock pattern of two hits – thud thud – and then the riff – dada da da da. “Disco Related Injury” gives up nothing of The Fury of a Patient Man’s individual feel for its familiarity, however, with one of the album’s most infectious hooks in its chorus and an all-around flow that sets the tone for the rest of the second half of the record to follow. Gozu have yet to shy away from a little pop emotion – it’s something else they seem to derive from classic soul – and “Disco Related Injury” marks the point when that begins to really surface, only to be further developed on album-highlight “Traci Lords,” which along with the best bassline of the album also features one of the best vocals from Gaffney and a memorable sing-along hook to match the melody in the guitar line. I don’t know if the track is actually about Traci Lords or not – I doubt it – but it moves into pairs of hits that lead back into the verse and finds Sherman and Gaffney working at an effective arrangement of the riff, cycling back through the hits that come apart into noise as the last minute plays out, feedback and amp noise finally taking hold to end the song. This is a quick glimpse of things to come on “The Ceaseless Thunder of Surf,” but first “Ghost Wipe” (look it up) grounds the listener with a drum thump and following progression to keep the momentum moving as the build of the verse finds its payoff in the transition from the weightier bridge into the melody of the chorus, which they’re rightly quick to revive once its initial run is over. The line “the loudness of a broken heart” is a standout much as the track as a whole is, and “Snake Plissken” seems like it’s repeating ideas already presented until the rush of the verse leads to a quick but still catchy chorus line.

At that point, the forward thrust of The Fury of a Patient Man – in terms of pacing but not necessarily emotional drive – has hit its apex, as “Snake Plissken” does make some of the same turns Gozu have already rounded on the songs preceding, but basically does it faster. It’s not close to being as memorable as “Traci Lords” or “Ghost Wipe,” but really what’s overwhelming it is the closer, which, since it clocks in at 23:57, was pretty much unavoidable anyway. Gaffney’s vocals echo in layers atop chunky, ‘90s noise-style start-stop riffing, moving naturally into and out of a brief chorus in a quickly established groove. In the first 90 seconds, they seem to have played their hand in full, but at the two-minute mark, a new progression emerges that comes to consume the next 22 minutes in various forms. There’s a verse over it to start with, but at 3:11, they stop and launch all-out into the sprawl that will close the album, repeating that riff over and over and taking it really as far as it can go, deconstructing it down to its basic parts to let it play out quietly over Spillberg’s diligent drums, only to unleash it again as the rhythmic bed for a squibbly, echoing solo, which in turn moves into another quiet space of cymbal washes and sleepy presentation, more hits (some double-kick) and an emergent groove effective but short-lived, shifting to backwards guitar psychedelics and a jammier feel. That rhythm line is never quite fully gone, though, and they use the full 24 minutes, as the drums weave in and out of beats and the guitars move here and there around the central figure, settling here, settling there, but never staying in one spot too long. At about 21:30, Spillberg announces a more active movement with his crash and they revive the proceedings for a last runthrough that will soon enough devolve into noise not unlike that capping “Traci Lords” that will end the final minute and a half. Likely by then you’ve either skipped back to the start of the album or become so hypnotized by the riff that it’s startling when the final hit rings out – they don’t leave much room between the one or the other. Still, “The Ceaseless Thunder of Surf” is one last show of Gozu’s evolution to this point; how far they’ve come and how far anyone has come who’s traveled along with the for the course of that track. It’s hard to know what the impact of The Fury of a Patient Man will be – early response is positive and rightly so – but Gozu make a sound argument for inclusion at the fore of current US heavy rock, and the blend they presented already as their own on Locust Season has only grown more so. I hope it’s not three years before the next one, but if it is, the band have established they can make that stretch worthwhile. If there’s anything they prove to know a thing or two about with The Fury of a Patient Man, it’s payoff. Also classic tv. Either way, nothing holds The Fury back from being an early 2013 highlight. Recommended.

- H.P. Taskmaster

January 24th, 2013

Pop! Blerd

With an onslaught of great MA bands set to release new material this year (Killswitch Engage, Summoner, Jack Burton vs. David LoPan), it helps to be the first out of the gates and that’s just what Gozu has done with their latest, The Fury Of A Patient Man. Take a mixture of Kyuss, The Desert Sessions discs, Hermano, and mix it with some good old fashioned rawk and roll and you’ll know what Gozu’s The Fury Of A Patient Man is all about.

You might have read our write up of  lead off Fury… song “Bald Bull” in December but that little ditty barely scratches the surface of what’s within. From there, “Signed, Epstein’s Mother” ups the boogie quotient considerably while “Charles Bronson Pinchot” is the kind of chugfest that MA heaviness is known for. Elsewhere “Irish Dart Fight” could easily have been a part of Queens of the Sone Age’s masterful 1998 debut by bringing to mind songs like “Avon” and “Mexicola”.

The coup-de-grace however is vocalist Marc Gaffney who easily gives John Garcia a run for his money when it comes to his blues soaked vocal stylings especially on tracks like the fuzzed out “Disco Related Injury” and “Traci Lords” (Both of which feature some simply incredible riffing provided by Gaffney and Doug Sherman). It’s all of Gozu that makes The Fury… work, though, and I’d be doing you a disservice if I didn’t mention how true that is after you listen to the epic “The Ceaseless Thunder Of Surf” which closes out the album after clocking in just under 24 minutes.

Grade: A

- Jesse

January 21st, 2013

Heavy Planet

Gozu have enjoyed a level of success to this point in their career, due entirely upon their superb brand of stoner/doom music, garnering attention both with their initial 7 track EP release in 2008 and the release of their 2010 LP "Locust Season" on the Small Stone Records label by playing music that is deep, rich, and unique in much of its melodic makeup. The masterful riffs are ever present, blending a wonderfully rich texture of distortion and heft with a modicum of head snapping  funk. A unique and wonderful feature of Gozu's sound are the vocals, which are vibrant and athletic, combining with well crafted melodies that are always intelligent as well as pleasing. With such a high level of accomplishment for their EP and for the "Locust Season" LP there is no denying the anticipation accompanying the 2013 release of their second LP for Small Stone Records.

When you listen to "The Fury of a Patient Man" for the first time, as a fan of Gozu and their past music, you will instantly and immediately be filled with a sense of . . . not quite relief, really, but of satisfaction, because you will recognize what you know without yet knowing it, which is exactly what you want as a devotee of a band and their past accomplishments, music that is at once familiar and fresh. Familiarity is evident immediately, and freshness soon follows as song by song unfolds with Gozu's signature sound and quintessence.

Gozu not only continue cranking out their muscular and deft brand of metal, but follow their previously established method of styling their songs after pop culture icons. One of the most notable on the new LP is the song "Charles Bronson Pinchot", a quick and melodic tank ride that combines adept and muscular riffs with Gaffney's spellbinding vocals. The song turns out to be brilliantly titled as it combines the sinewy fury of Charles Bronson with the more cultured overtones of Bronson Pinchot.

"Snake Plissken" makes an appearance in the penultimate song showcasing a more direct vocal delivery combined with hairy, heavy guitar licks in a cage match delivery of blow upon blow of sound and fury.

Drawing upon their EP from 2008 Gozu have included "Traci Lords" on "The Fury of a Patient Man", and we can only guess as to why. The song is quality, as is all the music on any of their three releases, and certainly worthy here of inclusion among the nine original offerings.

Gozu have not disappointed in releasing their second full length album as "The Fury of a Patient Man" is stellar in delivery in every way and deserves aught but positives and superlatives for the work within it. This is a significant album, not only for Gozu, for Small Stone Records, for the stoner and doom genres, but for metal music in general because it conveys quality throughout, in every angle and plane, whether relishing the superb guitar work, marveling at the gifted clarion vocals, or basking in the melodic construction of each song. It is quite simply a landmark album.

- Nuclear Dog

January 19th, 2013

The Soda Shop

First a bit of a warning, if you’re looking for more of the same that was the band’s previous effort Locust Season, you’re in the wrong place. Locust Season was Gozu’s debut album. It is a fantastic album in it’s own right (review). The Fury Of A Patient Man is a whole different story. First off, the album is a lot more mature. It’s not really a “stoner” rock album but purely a “rock” album. There’s not really any fuzz in there except for a few parts where it belongs. Most elements associated with the whole “stoner” sound are stripped down.

The band has moved towards a sound that is pretty close to a Rated R or Songs For The Deaf era Queens of The Stone Age. ”Irish Dart Fight” is a fine example, not to mention a catchy as all hell song. The next song, “Salty Thumb,” is an even catchier and more uplifting song in the same vain. That’s not to say they’re completely a QOTSA rip off band. Far from it. Listen to “Traci Lords” and “Disco Related Injury” for proof of that one. The whole album comes to an epic end with a 24 minute instrumental titled “The Ceaseless Thunder Of Surf” which is full of great riffing throughout. The combo of Doug Sherman and Marc Gaffney on guitars make for some killer riff-age on this song.

As I said before, the band has matured their sound a lot since Locust Season. This is a situation where you can look back and say that each album is totally different but yet the same. The Fury of A Patient Man certainly is taking the band in a new direction, one direction that will certainly make them better as they release more albums in the future. It’s a hard rock album with a dash of classic rock, a pinch of desert rock and a drop of stoner rock.  Add this album to your best of 2013 lists right now. This is an album that will rock your socks off. Play it loud and play it often!

The official release of the album is April through Small Stone Records but you can get it through Bandcamp and iTunes right now. CDs will be available soon and a vinyl edition will be out eventually too.

- Bill Goodman

January 15th, 2013

Sputnik Music

Summary: An exceptionally stellar take on infectious stoner rock.

Gozu have already gained proper recognition for their debut Locust Season released three years ago. Bostonian quartet's high-octane brand of stoner rock juxtaposed corpulent riffs with soulful melodies, manifesting its unflagging energy in stellar songwriting rather than unfocused jamming. Eagerly anticipated, The Fury Of A Patient Man lives up to its title derived from John Dryden's quote. Even though the foursome doesn't really ditch their inclination to tackle adventurous dynamics, the LP feels more accessible than their coveted first full-length packing an equally powerful punch.

The group's sound still revolves around Barry Spillberg's vibrant drumming and Doug Sherman's rollicking riffs that largely settle on permeating groove, but also make for various tempo changes. Aside from densely layered, monolithic onslaughts, there are moments on the album when his playing seems more restrained and atmospheric. “Charles Bronson Pinchot” may recall High On Fire in its relentless trash metal brutality, yet its second half drifts into contemplative atmospherics. On the other hand, “Disco Related Injury” benefits from a sudden shift midway through trading bluesy guitar leads for ultra-thick sections with aplomb. The track also brims with soul-echoing vocals of Marc Gaffney, which range from ferocious to wrenchingly emotional. Gaff's penchant for melody has been evident previously, yet his contribution on the new album is often riddled with personal undertones and vulnerability which clearly distinguishes Gozu from their peers.

In comparison with the outfit's debut, the highlights on The Fury Of A Patient Man happen to be even more apparent. “Irish Dart Fight” is an absolute delight and the band's most representative track whose transition from a playful build-up to a blissful, wailing guitar-driven chorus is nothing short of perfect. “Salty Thump” stands out with its joyous, bubblegum arrangement, being the most hook-laden track on the disc. In contrast, ominous “Ghost Wipe” is an exemplary exercise in releasing tension due to Gaff's infectiously unstable vocals giving way to Sherman's monstrous guitar leads and yet another unforgettable chorus. Although Gozu are at their best when they indulge themselves in short tunes based on massive hooks, they don't totally steer clear of experimentation. Lifted from their self-titled EP, “Traci Lords” contrasts their catchy style with distressing drone that also propels the record's expansive, instrumental closer.

The Fury Of A Patient Man raises the bar incredibly high for every notable stoner rock band that's planning to release an album this year. Its undeniable allure largely lies in Gozu's approach to songcraft that superbly balances blistering riffs with haunting melodies. They are still in the process of perfecting and adding new influences to their style though. If they make their presentation even more consistent, then they are bound to record a classic in next to no time.


- Greg Fisher

January 13th, 2013

Stoner Hive

Gozu has the honor of releasing the first full metal stoner blast into 2013 and the first five star mention of this year. Their new album The Fury Of A Patient Man is a DMT cannon shot into the New Year. And while yer drinking your beer as you soar to the sky you pump your fist and headbang yourself into a hallucinogenic coma. Without losing their tongue and cheek mentality they moved forward and perfect the sound they carried on their much loved record Locust Season. This time they move a tad away from the Queens Of The Stone Age, Soundgarden and Kyuss influences just enough to make their song structures sound heavier and meant for the future. They still retain that amazing air of accessibility but do not fear experimentation and exploration. As we can judge by certain rhythm changes, breaks and ofcourse the twenty-three minute long closer The Ceaseless Thunder Of Surf. And any band that pays tribute to Traci Lords deserves a full chest tattoo of her snatch and their smiling heads! Gozu; the first album that will surely make the top 20 of 2013!

- Rated: *****

- Joop Konraad

January 9th, 2013

Album Tracks

  1. Bald Bull
  2. Signed, Epstein's Mom
  3. Charles Bronson Pinchot
  4. Irish Dart Fight
  5. Salty Thumb
  6. Disco Related Injury
  7. Traci Lords
  8. Ghost Wipe
  9. Snake Plissken
  10. The Ceaseless Thunder Of Surf

More Stuff...