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Band of the Month – September 2014:


Within our band of the month feature we want to demonstrate how many and especially how diverse young bands are out there. After Slomind, with their stright-forward and direct Riff-Power, we would like to take a glance at something really different of course.

Trona Experience offer instrumental-psychedelic Rock, like which we have learnt to love from such bands as My Sleeping Karma, Colour Haze or Samsara Blues Experiment. Atmospheric, tight and throbbing. There are also Post and Prog Rock elements to be found. Like it’s the case in the song Diamond, which we are proudly presenting on our soundcloud. If you like this jammy piece of music, give their debut record White Universe a try.

Here we go.

Sneak Peek


  Founded   2009
  City   Ludwigsburg (Germany)
  Influences   Kyuss, Colour Haze, My Sleeping Karma,
Queens of the Stone Age, The Mars Volta,
King Crimson, Led Zeppelin, Pink Floyd
  Genre   Stoner Rock, Psychedelic, Post-Rock
  Trona is…
  • Niklas Menschik (Guitar/Synthesizer)
  • Daniel Iuorio (Bass-Guitar)
  • Nicoals Widmann (Drums)
  • Andy Dobler (Vocals/Guitar/Synthesizer)


Tell us about your origins. How did you came together and how has your style developed?

I’ve made music with our drummer Nico and friends, since we were kids. As this time went by, we didn’t want to stop there. Being two guys, who both have a big passion for psychedelic and progressive music from the 60s and 70s we could follow this style equally. I’ve met Daniel at my work place back then. So we were complete. He was sharing our musical taste and was psyched to start a band as we were. Daniel was offering his experience on guitar, but ultimately was convinced to take the part of the bass guitar player.

In Weil der Stadt (South Germany) you’ve opened for My Sleeping Karma. Is this a band which has influenced you? As a young band, what can you learn from bands like this, with a lot of stage experience?

My Sleeping Karma accompanied us throughout the years and they were an inspiration. We went together to some MSK gigs and afterwards the band practice always went great. Basically really pumped with new energy and inspiration. Of course, to open for My Sleeping Karma in Weil der Stadt, was a really special moment for us. What you can learn from such bands is escpecially the stage presence and the impact which you can transmit to the audience. You always should have fun yourself and also show that. If you feel comfortable the audience will as well.

How would you describe the scene down here in Stuttgart (South Germany) compared to other hot-spots like Berlin, Jena, etc.?

Unfortunately we don’t have that much experience what’s happening in the rest of Germany, but there are a few things we recognized as being very positive down here. In the South there a lot of young Stoner bands, which put together a lot of shows and small festivals. Therefore we always had the chance to show our music and the audience for such music has always been there. You almost feel like being in some kind of community. Luckily Rock ‘n’ Roll isn’t dead yet ;-)

Your Diamond Jam on YouTube sounds awesome. How should one imagine a Jam-Session of Trona? Lighting? Drugs? Mood?

Imagine a small, smoke-filled practicing room. Red carpet. Lighting comes only from behind the Amps. On the table a few empty beer bottles. Sometimes there are frinds sitting on the couch. You are just really happy, that weekend came around and you are hanging with your guys. Such a jam can take forever. You are really boosting into this feeling. Till fingers are bleeding. And with a little luck the jam catches on, like the song Dimond, which is featured on our debut record and now here on stonerrock.eu.

What can we expect from you in the future? Are you eager to push yourself and maybe go on tour?

At the moment we are busy with releasing our debut record White Universe. Actually it’s already out there. Since we have a own record now we would love to go on an extend tour to promote our album. Unfortunately we do not have further information about that yet. At the same time we are experimenting with vocals at the moment and are already thinking about a second record. Possibly with vocals ;-).

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Article by Tim.

Dot Legacy – Dot Legacy

Carried by passion – a clever debut

Dot Legacy

Dot Legacy

Having only the biggest riffs and the driest production are no longer enough. There are bands who know how to open new doors and do not have to recycle space monotonously, but fill it with emotion, melody and experiments. The French belong to them for sure. After all it goes in zig-zag through almost everything you can imagine, without dying of loss of reality.

Dot Legacy are trying themselfes out, experiment and go ways without being limited by boundaries. This applies to the songwriting, vocals and instrumentation, but also production. They make it sound somehow young and fresh and are not letting experiments degenerate into chaotic complexity or sound walls. They build clear song structures, which are held together at the thinnest points just by fine melodies and at the thickest they offer a slap in the face. If the acoustic ballad 3am or the rap in Pyramid fails to show variety in our often repetitive climates, I don’t know how to help you? Because exactly that’s how an album can remain consistently thrilling.

If you want to bring that many influences under one roof, of course you are at risk of seeing courage mutate into high spirits. Dot Legacy however manage to always keep control over their little beast and demand only attentive listening. Who does that may get served no new genre, but an interesting reinterpretation of various styles. Even by their (decorated with a fancy music video) showcase song Kennedy they demonstrate a bunch of tempo changes, nice riffs, quiet valleys and choral singing. Such hymns we find also in Days of the Weak, where they certainly encourage the listener to sing along. Thus the energy that we all love so much, is transmitted not only by instruments but also by voices. At that they do not even have to sound extraordinarily unusual or professionally. Ultimately you just have to know how and when to use your tools. Dot Legacy can claim to be aware of exactly that.

Lately I had become a bit tired of generic heavy rock. But bands like Mother’s Cake or Dot Legacy are pulling me back out of this hole. Take your time – fall in love again. It is worth it.

1. Kennedy
2. Think Of A Name
3. Days of the Weak
4. The Passage
5. Pyramid
6. Gorilla Train Station
7. Rumbera
8. The Midnight Weirdos
9. 3 a.m.

Running time: 46 min

Songs you should listen to: Kennedy, Pyramid, Gorilla Train Station

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(6 votes, average: 8,33 out of 10)

Lonely Kamel – Shit City

 Lonely Kamel – Shit City

The 4th record of the Norwegians is anything but shit

Shit City

Lonely Kamel

Lonely Kamel are a prime example of the impact of globalization on the music. On their albums songs of various genres go hand in hand – Blues, Rock n Roll, Stoner… everything is welcome, as long as it rocks. On their fourth album Shit City the Norwegians stick to their roots – which are somehow everywhere.

We approach the Shit City place name sign at incredible pace with somewhat punky-sounding tunes. Beside the simple punk guitar Lonely Kamel place some mini-solos. They don’t waste any time here. Sometimes the microphones even gets overdriven when the chorus is screamed into the microphone. After two minutes, the song seems to fade out. But the guys from Oslo just seem to want to come down a bit. With some serious bong bubbling the more riff-driven part of the song begins. Espen Nesset on the drums however doesn’t seem to be very impressed by the heaviness that bass and guitars produce, as he’s whirling around undisturbed in the background. The title track gives everyone an idea of what can be expected on this ride.
There are many classic hard rock songs like the catchy White Lines on Shit City. But Lonely Kamel wouldn’t be Lonely Kamel, if they would stop here. I Feel Sick begins similarly straight-forward like the opener, but after a few guitar solos and incredibly effective changes in tempo the track is almost unrecognizable. A repetitive riff and the voice of Thomas Brenna, which gets highlighted more and more by reverb, finally result in another incredibly high solo. On this track Brenna and Paulsen have played their fingerboards up and down. They proceed the same way on Night Jar. Since the whole record is sounding like it came from the 70’s one could easily forget that this track is a cover of the band Necromandus, which originally recorded this forty years ago. After passing the halfway mark the smasher-song almost comes to a complete halt with an Iommi riff, only to be floored again in no time. This approach is incredibly effective over and over again.
Seal The Perimeter comes closest to a classic stoner tune, but stands out by a clever ping-pong game between groovedriven, dreamy verses and a vigorous chorus with some heavy riffage. During the six minutes of Freezing, the quartet lives it up. It takes a third of the song for an extended, swelling intro. What follows is the Sabbath-like chorus and a short time for resting. One can tell that something else will follow, because of the lurking drumming and then finally the mandatory, classic headbang riff sets in. As a nightcap, the Norwegians treat us with a little more Sabbath – such variety within just a few minutes.
A trademark of the Scandinavians are Southern-Rock and Blues tracks that appear on any album of the quartet. Is It Over is a fine specimen of this sort. Immediately after the first guitar tone, the listener finds himself on the porch of a poor, little lodge overlooking the Mississippi and wonders why everything is stinking of whiskey. After repeated Robert Plant-like “Please, please, please!” pleading, Stian Helle menacing bass play turns the blues into a highly distorted guitar solo. Also BFD (short for Big Fat Dolly) proves southern charm and could run well at rodeo competitions. Falling Down begins as a catchy southern rock track, but in the course of minute-long instrumental parts, the original song structure falls apart more and more. In the dreamy center part only the distant singing of Brenna bears resemblance to the beginning. Just before the listener reaches Shit City’s limits the guitars return to the initial riff-
Lonely Kamel could’ve easily produced two good albums from the material used for Shit City. But they have created one remarkably diverse album. They achieve this by their typical genre mix and because a majority of the songs stray from their original paths through skillful changes in tempo and sound. In any case, Shit City is well worth a trip.

1. Shit City
2. White Lines
3. Is It Over?
4. I Feel Sick
5. Seal The Perimeter
6. Freezing
7. BFD
8. Falling Down
9. Nightjar

Running time: 44:09 min

You should listen to: I Feel Sick, Nightjar

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1 Star2 Stars3 Stars4 Stars5 Stars6 Stars7 Stars8 Stars9 Stars10 Stars
(3 votes, average: 9,67 out of 10)