The shadow of Grace Slick looms large over the Retro Psyche/Doom world of today. From Purson and Avatarium to Jess and the Ancient Ones her vocal influence and the stylings of Jefferson Airplane transcend the decades and filter into the DNA of many of the current crop of tie dyed troubadours.  One such band is Ruby the Hatchet.

Planetary Space Child is their third full length release and for this opus the quintet took themselves off to a remote 19th century estate out in the Pennsylvania woods. In an era when so much is recorded on pro tools in converted garages it is heartening that the romance of a stately home recording – the preserve of 60’s and 70’s rock giants – is still attainable.

Ruby the Hatchet comprises of vocalist Jillian Taylor, guitarist Johnny Scarps, drummer Owen Stewart, bassist Lake Muir and Sean Hurt inking the ivories.  The band have honed their chops out on the road with Uncle Acid and the Deadbeats , Earthless and The Sword amongst others and those experiences have shaped this album according to Taylor.

Hawkwindesqe instrumental “A Tear in Space and Time” opens proceedings filled with sweeping organs and space rock riffs before the title track takes over. This is a riff heavy slice of psyche Doom with Taylors vocals, though powerful and passionate, a little too low in the mix for my liking. The guitar and bass are all consuming which is great for the groove but I wanted to hear more from the front person.

Killer kicks off with a sterling rock riff oozing bluesy attitude before it is slathered in keyboards and Hurt and Scarps trade licks. This is a real thumbs in pockets, blue jean rocker that gives Taylor a chance to show she what she can do without over egging the psyche soufflé .

Pagan Ritual and The Fool slow things down with more Pscyche heavy riffs and patchouli soaked passages a la Uncle Acid with Taylor soaring above the blue smoke.  The big riffs return with the Sabbath by way of the Doors “Symphony of the Night”.  Again the vocals are low in the mix rendering the lyrics indecipherable to my battered eardrums but what I get through my waxen orifices is a damn fine slice of rock pie.

“Gemini” sounds like it should be a Kiss track from the title. (Hell the album title sounds like Ace Frehley) and the music does not disappoint. This evokes a real sense of Destroyer era with plenty of boogie for your buck. This is a real change of direction for the album and one that really stands out. With many Psyche releases the niche is carved quick and fast and both band and audience are happy to groove and wave their arms around within it until the needle reaches the end. We are not talking a sudden change to Grindcore here but the injection of boot stomping roadhouse rock keeps with the era that Ruby … are evoking whilst giving a shot of adrenaline to the THC and LSD saturated bloodstream.

Lightning Comes Again ends the collection with 7 minutes of groovy space rock that needs a lava lamp and some joss sticks to really set the scene.

Ruby the Hatchet have shown that they can hold their own in the retro rat race of the 21st Century. I would like to see Jillian Taylor sonically pushed to the front more and some more boot stompers but this is certainly a release that will get plenty of replays. Groovy baby.

(7/10 Matt Mason)

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