The Third Eye

Red Mesa is re-emerging from the desert of Albuquerque, New Mexico, to bring us their fourth full-length album, Partial Distortions, due on April 19th via Desert Records and Majestic Mountain Records. The band has been leading a new generation of desert rockers and riff worshippers by proving the genre is capable of greater expanses, and their new album is a must-have for any self-respecting stoner and desert rock fan.

Red Mesa comprises the trio of guitarist/vocalist Brad Frye, bassist/vocalist Alex Cantwell, and drummer/vocalist Roman Barham, who all contributed musically and lyrically throughout the new album. The band employs a potent three-vocal attack on Partial Distortions, and all members share vocal duties.

Partial Distortions shows Red Mesa expanding their signature heavy desert sound to include more doom and sludge metal influences. “Blackened desert” sound collages and an overall doomier and downright frightening musical path confront the listener on the new record, which is darker musically and thematically. Though Red Mesa leads us through the horrors of an empty desert night, optimism still dwells in the music that instills hope among the loss, the tragic endings, and the suffering our existence often brings.

The band says in the press release that “life is still worth living,” and this is something we can hold onto. Life can suck majorly sometimes, but holding onto hope and blaring heavy desert rock like from Red Mesa can be the cathartic experience that guides us through. The band plays “Doom for the Doomed,” proving that heavy metal often touches on depressing subjects but can still offer glimmers of hope. Isn’t that what Black Sabbath taught us?

Desert Records will release Partial Distortions on limited edition vinyl LP, CD, and cassette in North America and on digital download and streaming platforms worldwide. Majestic Mountain Records will handle a limited edition vinyl LP in Europe. Pre-sale for the record will begin in mid-February.

The six-track record features the same Red Mesa lineup from their 2020 release, The Path to the Deathless, and their 2022 single, “Forest Cathedral.” The album was recorded by Augustine Ortiz at the Decibel Foundry in Santa Fe, New Mexico, in December 2022, and it was mixed by Matthew Tobias at Empty House Studio in Albuquerque in 2023. Mastering was done by Brad Boatright at Audiosiege in Portland, Oregon, in October 2023.

For those of you keeping track at home, Red Mesa uses the following gear on the album: Reverend guitars, Fowl Sounds Pedals, Black Art Toneworks Pedals, PaulEDrums, Pig Hog Cables, Black Harbor Strings, and Dava Picks.

Now, let’s get to the music, shall we?

The album starts with a bang with the eight-minute plus “Óðr,” a blisteringly heavy song that hits us right in the mouth. As the band says, they include sludgier and doomier elements on the new record, and this opening track shows they’re not just putting us on. It’s heavy as hell.

“The Assertion” comes next, a much shorter song at four minutes and twenty-nine seconds. The pace is slower initially, and the vocals have a flair that reminds me of old-school metal. A gnarly guitar riff carries the song throughout, and the kick drumming provides even more punch.

“Dying in the Cold Sun” employs more minor chords, giving the track an epic feel that, combined with the growling vocals, reminded me of Cult of Luna. In this song, Red Mesa transcends their desert surroundings and reaches for the colder realms of outer space.

“12 Volt Shaman” has an interesting structure, with the vocals being half-sung and half-like spoken word. Like a progressive rock track, the song has several tempo changes and breakdowns, including a great guitar solo. I also noticed the pulsing bass line on this one more than the others.

“Desert March” is an excellent instrumental track that takes us through Red Mesa’s barren New Mexico landscape. It starts slow and atmospherically but continues to build over its five-minute-plus runtime like a desert sandstorm, eventually swallowing us up with a muscular fury.

“Witching Hour” closes the album in a punishing fashion with seven-plus minutes of no-holds-barred doom metal madness. In a record full of sludge and heaviness, “Witching Hour” could be the heaviest of them all, employing an occasional screaming vocal approach. But unlike some stoner bands that would simply bludgeon us to death, Red Mesa crafts an intricate song here with peaks and valleys and plenty of atmosphere. It reminded me of reading about metal and progressive bands who map out their songs with charts on the wall. “Witching Hour” doesn’t go that far and isn’t “math rock,” but it’s certainly more sophisticated than your standard desert rock song.

Partial Distortions by Red Mesa is a terrific album that fans of desert, stoner, doom, and other heavier rock genres should love. I haven’t listened to enough of Red Mesa’s previous records to know how this fits in with their discography, but I was impressed by the artistry the band applies to the desert rock genre on this record. A lot of stoner rock can end up sounding similar after a while, but Red Mesa employs techniques on Partial Distortions that go beyond what you may expect to hear on your run-in-the-mill desert or stoner rock album.

Head over to Bandcamp to pre-order Red Mesa’s upcoming record if you’re a fan of heavier bands like Nebula Drag, Acid King, or YOB. While you’re at it, check out Red Mesa’s previous work, such as 2018’s The Devil and The Desert and 2020’s The Path to the Deathless. Enjoy!

Support Red Mesa by finding them on Bandcamp or social media (Instagram, Facebook).

Support Desert Records by finding them on Bandcamp, their official website, or social media (Facebook, Instagram).

Support Majestic Mountain Records by finding them on Bandcamp, their official website, or social media (Instagram, Facebook, Twitter).

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