Songs From The Pale Eclipse 
Cleopatra, 06/21/2016 
buy MP3/LP/CD on Bandcamp or iTunes

1. Only You 
2. Lonesome Bulldog 
3. Easy To Forget 
4. Dance Alone 
5. We Took All The Acid 
6. Love Is A Disease 
7. Drinking Song 
8. Special Today 
9. I Warned You 
10. The Arp Made Me Cry

Skull Worship 
Zap Banana, 11/25/2013
buy MP3 on Bandcamp or iTunes

1. Dead Generation 
2. Chameleon 
3. Endless Drops 
4. Silver & Plastic 
5. He Looks Good in Space 
6. You've Changed 
7. It's a Hard Fall 
8. Eyes Jam

Rise and Fall: EP and Rarities 
Zap Banana/Cargo Records, 10/25/2010 

1. Jam of the Witches 
2. House of Glass 
3. Skull Death Drum Jam 
4. Whips of Mercy 
5. Song for Nico 
6. Left and Right of the Moon 
7. Motorcycles 
8. Frequency Meltdown 
9. Heavy Bomber Laser Beam 
10. Cocaine Blues 
11. Song for Nico 
12. Jam of the Zombies 
13. Caveman Rock 
14. Angry Demons 
15. Jam of the Warlocks 
16. Turn the Radio On 
17. Turn the Sun Down 
18. Total Headache 
19. Dilaudid 
20. Inside/Outside (demo) 
21. Shake the Dope Out (demo) 
22. Dope Feels Good (demo)

Bandcamp,  01//10/2010
buy MP3 on Bandcamp

1.LSD Heartbeat 05:31infobuy track 
2.Don't Take My Head 01:39 
3.Take LSD 04:45 
4.Fry Your Brains 08:52 
5.Burn Your Bridges 04:58 
6.Burn Your Thumbs 08:02 
7.DMT Collage 02:27 
8.Waiting For Whatever It Is 05:29

The Mirror Explores 
Tee Pee Records, 05/19/2009  

1. Red Camera 
2. The Midnight Sun 
3. Slowly Disappearing 
4. There Is A Formula To Your Despair 
5. Standing Between The Lovers Of Hell 
6. Static Eyes 
7. You Make Me Wait 
8. Frequency Meltdown

Bobby Hecksher - Vocals, Guitar, Keys 
John Christian Rees - Guitar 
Ryan McBride - Guitar 
Jana Suzanne Risher - Bass 
Bob Mustachio - Drums 

Recorded and Mixed by Rod Cervera 
Recorded at Clear Lake Audio 
Assisted by Joey Santiago 
Produced by Rod Cervera 
Mastered by JJ Golden at Golden Mastering 
Artwork by Alvaro Sanchez 
Layout by Andy Kman 

All songs written by Bobby Hecksher for Retarded Music - ASCAP 2009

Heavy Deavy Skull Lover 
Tee Pee Records, 10/23/2007 

1. The Valley of Death 
2. Moving Mountains 
3. So Paranoid 
4. Slip Beneath 
5. Zombie Like Lovers 
6. Dreamless Days 
7. Interlude in Reverse 
8. Death, I Hear You Walking 

by Dom Gourlay ( 

Long time cohorts of the Brian Jonestown Massacre they may be, but having lived to tell the tale and then some, psychedelic drone specialists The Warlocks may just have released their best album to date. 

While not containing the obvious singles of Phoenix, the album that ultimately lifted them into the spotlight of their own accord rather than via associations with co-conspirators, Heavy Deavy Skull Lover is by far their most ambitious, sprawling and intensely defiant collection of sounds (it's hard to use the word 'songs' in the context of this record). Although it's unlikely any 45s will be lifted from this record, that can be seen more as a compliment than anything else. 

Why? Because Heavy Deavy Skull Lover is one of those albums that demands to be heard as a whole, rather than broken down into individual parts. If anything, trying to take in each of its ten tracks piece by piece results in the listener becoming a tad confused, as there are no real beginnings or endings as such. Instead, this record feels like it was constructed in one elongated jamming session, which may not be a million miles from the truth, particularly as it was recorded under the guidance of Rod Cervera, himself responsible for the band's earliest work (Rise And Fall) which was essentially just that: a collection of overtly calibrated jams. 

Now a seven-piece, with bass player Jenny Fraser and second drummer Bob Mustachio added to the line-up, The Warlocks still heavily revolve around the largely-paranoid visions of singer/guitarist Bobby Hecksher. Oddly enough, Heavy Deavy Skull Lover nearly didn't see the light of day at all, mostly down to the fact that the band's last album, 2005's Surgery, didn't exactly set the world alight, leading to their departure from Mute and a largely unfruitful search for a new label. 

Thankfully, their BJTM connections came in handy as Tee Pee Records, now the home to Anton Newcombe and his current cluster of ever-changing musicians (whoever they may be at this moment in time), presented them with the opportunity to record Heavy Deavy Skull Lover pretty much at their leisure. 

As stated previously, breaking the album down into individual compositions isn't really conducive to appreciating its overall feel, but anyone not moved by Hecksher's unnerving vocal on the countrified opener that is 'The Valley Of Death', or completely unravelled by the elegant drone of 'Slip Beneath', clearly doesn't have a heart or soul that functions to its full capability. 

As with their previous releases, The Warlocks don't rewrite the rule book as such on Heavy Deavy Skull Lover, but their sound does retain enough notable characteristics for anyone familiar with their earlier work to be fully aware that this is the 21st Century psychedelic sound of the West Coast in all its glory. 

Simply immense.

Mute, 08/23/2005 

1. Come save us 
2. It's just like surgery 
3. Gypsy nightmare 
4. Angels in heaven, angels in hell 
5. We need starpower 
6. Thursday's radiation 
7. Evil eyes again 
8. The tangent 
9. Above earth 
10. Bleed with out you babe 
11. Suicide note 

by Dom Gourlay ( 

If the myths around The Warlocks are true - and this record suggests they most probably are - then this octet's life of chemical fuelled debauchery makes people like Pete Doherty look like cast-offs from Channel 4's 'Faking It'. For real? You bet they are. 

Two years ago when the mighty 'Phoenix' was unleashed, the rest of the world was engulfed in amphetamine charged Strokes-mania or mogadon based Coldplayisms. The fact that a group of artists had made a record whilst almost exclusively indulging in a diet of class As and celebrating the fact should have ended with disastrous results. That it was quite the opposite wasn't so much an achievement, but more of a testament to the fact that the Warlocks were quite possibly the first band to take Sonic Boom's old adage of "Taking drugs to make music to take drugs to..." and use it as a blueprint so convincingly. 

After the excess of 'Phoenix' though, comes the inevitable crash. Throughout the eleven songs on 'Surgery', each one provides a document to the whats, wheres and whys the Warlocks have been up to for the past couple of years and yet despite the obvious personal traumas ('Come Save Us', 'Suicide Note', 'It's Just Like Surgery' to name but three), 'Surgery' isn't the unlistenable, depression-fest it's lyrical content threatens it to be. Instead, it's heartfelt message combined with the monstrous sound behind it make it one of the most curiously uplifting records of the year. 

Although they've enlisted the services of Beck and Badly Drawn Boy producer Tom Rothrock on this record, the band's sound is anything but watered down, instead mixing their trademark repetitive drones with a more opulent fervour usually reserved for stadium rock carnivores like Black Sabbath and Iron Maiden. This means that the bevelled sub-Mary Chain blitz of 'Angels In Heaven, Angels In Hell' now resembles a maelstrom from the most westernly confines of heaven, while title track 'It's Just Like Surgery' literally begs to explode at least half a dozen times precisely where the chorus ends. 

Lyrically, main man Bobby Hecksher appears to have used this record as an almost open apology to all and sundry about their drug-induced lifestyles. "Come save us from ourselves..." is the opening couplet on the record and by the time you've reached 'The Tangent', where Hecksher insists "I got so sick that the nurses have all quit" or the poignant 'Suicide Note', where he pleads "I'm too weak to live, to weak to care...", 'Surgery' really does resemble a public airing of someone's most private moments. Adrian Mole this most definitely isn't. 

'Bleed Without You Babe' at first sounds like a straightforward love song for a partner who's upped and left, but on closer inspection it appears that companion may be more substance based than soulmate, while 'Evil Eyes Again' - basically the Ramones on smack rather than speed - is a tale of hallucinatory fear after one too many hits of the brown stuff. 

Occasionally the mood rises above self-deprecating regret ('We Need Starpower') but on the whole, 'Surgery' is the best advert to induce "the kids" into saying no than the Carlish/Doherty double act could ever conjure up. 

Phoenix (UK) 
Mute, 06/30/2003   

1. Shake the Dope Out 
2. Hurricane Heart Attack 
3. Inside Outside 
4. Isolation 
5. Cosmic Letdown 
6. Red Rooster 
7. Baby Blue 
8. The Dope Feels Good 
9. Stickman Blues 
10. Oh Shadie 

by Michael Irvine ( 

Here's a quiztion for you pop pickers. How does a guy review the Warlocks album - finally and thankthelordly given a release on UK soil - without coming across like a bastard? Answer: he doesn't, quite simply because all of you nose pickers will look at this article and respond to it with pseudo rock geekisms about how I have said it's too good or have not said it's good enough. How I have missed an essential link between Sonic Boom and 'gurus', if you like, to the Warlocks, Spacemen 3. So I think what I'll do is choose to stare down the barrel of the gun and give it to you straight on the chin. 

It's a fucking good album. Not that the music is anything different or altogether special. It's that they have pulled off some kind of elaborate trick by looking like they belong to the 'new pants revolution' with the dusty leather, faded jeans, dirty converse and hair like your mum's kitchen mop. And they have NME writers walking in circles with bibs round their neck to catch the excess drool (DiS does not aim to offend people who drool by comparing them to NME hacks - Legal Ed). But their sound is light years above the yada yada blues rock riffola that's currently doing the rounds. The lazy, droning sleaze-fest vocals, the long drawn out drugged up feedback from the guitars. The sexy moothie (that's harmonica to English readers) and the pounding ear shattering drums, teasing you to pick up air sticks and forget about air guitar for a change. And in the same way that Quentin Tarantino wanted to be Chow Yun Fat after seeing 'Hard Boiled' I couldn't help but get the urge to dress like a James Dean anti-hero after listening to this. 

In Bobby Hecksher they have a front man who comes across cool but at the same time anti-cool, maybe even a bit geeky, almost like he's not even overly bothered whether people like him or not. And that is where the separation begins because front wo/men these days want or seem to need to be liked or adored way too much. They also have more drummers (a la The Dirtbombs) and guitarists than I have pairs of socks. 

In some instances they take the long and the drawn-out and go a little too Pink Floydian, but when they rock they do it with a certain flair that most of your current bandwagon-jumpers are too impatient to take the time to bother about. However, with titles like 'Shake The Dope Out' or 'The Dope Feels Good' don't expect it as a present from your mum. 

Overall there's just something a little bit special about it. Like the first My Bloody Valentine album, or 'The Velvet Underground and Nico', there's just something here that makes you want to play it again after it's finished. This is music to strut to, music to smoke something other than cigarettes to, possibly even music to 'get it on' to as well. Then again, probably not!! 

It's got Spacemen 3 written all over it. But there's also the rock operatic tunesmithery, and in my opinion, tidied up sound, of Spiritualized in there too. And the guys from Black Rebel Motorcycle Club are probably soiling their Sunday best at this, the sound they didn't quite manage to achieve. It's dirty, it's nasty, and it spits all over the newly polished boots of a Hell's Angel. This is devil music. This, my friends, is the good shit. Rock'n'roll the way it was originally intended. 

Overall there is an energy here and an attention to the little details like, oh I don't know, songs perhaps, that has been missing from a lot of bands of late. And on the first listen, I got a small hint of the feeling boiling up inside me that my folks might just have felt when they heard The Grateful Dead or The Stones for the first time. 

Birdman, 11/05/2002 

1. Shake the Dope Out 
2. Hurricane Heart Attack 
3. Baby Blue 
4. Stickman Blues 
5. Cosmic Letdown 
6. The Dope Feels Good 
7. Moving and Shaking 
8. Inside Outside 
9. Stone Hearts 
10. Oh Shadie

Rise and Fall (UK) 
Bomp, 2001 

1. Song for Nico 
2. Cocaine Blues 
3. Caveman Rock 
4. Skull Death Drum Jam 
5. Jam of the Witches 
6. House of Glass 
7. Whips of Mercy 
8. Motorcycles 
9. Jam of the Zombies

Rise and Fall 
Bomp, 10/16/2001 

1. Jam of the Witches 
2. House of Glass 
3. Skull Death Drum Jam 
4. Whips of Mercy 
5. Song for Nico 
6. Left and Right of the Moon 
7. Motorcycles 
8. Heavy Bomber 
9. Laser Beam 

by Bryan Thomas ( 

This nine-member group -- which includes two drummers and four guitarists -- often focuses heavily on dark, amphetamine-fueled hard rock skree and titanic singular-riff freakouts (the jagged, sawtooth guitars of the Velvet Underground's "Sister Ray" seem to be a huge influence). What's surprising, however, is that Rise and Fall kicks off and nearly reaches its apogee with the first track, "Jam of the Witches," which clocks in at nearly 15 minutes (and more than twice the length of a similarly titled "Jam of the Warlocks" from their eponymous Bomp EP). This first-take troglodyte rock juggernaut seems like it might be out of place in the sequence, but what follows isn't even remotely anti-climatic. In fact, there are a few surprises to put things back on track, including a handful of stonier ballads that wouldn't have sounded too out of place on any Pink Floyd album pre-Dark Side of the Moon. "House of Glass," one of leader/guitarist Bobby Hecksher's better vocal efforts, is a pastoral acoustic-strummed reverie (think David Gilmour's "Fat Old Sun" from Atom Heart Mother or those shambolic country-rock instros that Pink Floyd contributed to the Zabriskie Point soundtrack). A cleaner re-recording of "Song for Nico"(a rougher version appears on the band's EP) has a fuzz-soaked "Heroin"-esque vibe and comes off as a reverent tribute to the enigmatic chanteuse. A swaying stoner's waltz, "Motorcycles," lopes along nicely too. Then, after a surreptitious chunk of dead space amid a bit of guitar tuning and crowd chatter, a final lengthy jam ("Heavy Bomber") kicks in, but the spacier Spiritualized-sounding instro ultimately drifts along without going anywhere. The last track listed on the tray card, "Laser Beam," doesn't actually appear on the CD. Surely it's Hecksher's amusing way of perplexing anyone who attempts to find it buried somewhere. All in all, the Warlocks' first full-length is a solid effort from one of L.A.'s best live acts. After this release, the Warlocks signed with the Birdman record label.