It has been a long time coming and now it is finally a reality! Legendary guitarist: Scott 'Wino' Weinrich (Saint Vitus, Obsessed, Spirit Caravan, Place of Skulls, The Hidden Hand) has an albums worth of 'solo' recordings in the works. Assisting Wino will on the album will be Jean-Paul Gaster (Clutch) on drums and Jon Blank (Rez n) on bass. The album will be called: 'Punctuated Equilibrium' and tracks are currently being layed down with J. Robbins (producer of the Hidden Hands: 'Mother Teacher Destroyer') in Maryland. Wino is really excited about the results so far and said: 'Punctuated Equilibrium' will bring my career into focus'.

"The energy and recklessness of youth goes a long way in the world of rock, but there's something to be said about age and experience. For those who've been around the block a good number of times, the trick is to tap the former while drawing on the latter.

And that's pretty much what Scott “Wino” Weinrich (I'm not gonna name his past bands – if you're a frequent visitor to this site and still don't know who he is, then there's no hope for you) does on his first solo album. Wino's without a doubt one of the founding fathers of doom, so it's easy to assume that Punctuated Equilibrium would continue that thread. Instead, he starts things off with “Release Me,” which sounds as far removed from Wino's legacy as possible. In fact, parts of it are more reminiscent of Clutch. That bluesy rock approach drops in on “Smilin' Road,” a jaunty number that gives Wino ample time to solo while the rest of his band – drummer Jean Paul Gaster (Clutch, Bakerton Group) and bassist Jon Blank (Rezin) – lays down a solid groove.

But it's not all feel-good jams. The title track, “The Woman in the Orange Pants,” and “Gods, Frauds, Neo-Cons, and Demagogues” are fiercely heavy, with “Punctuated” exploding with a thrash-like intensity and the latter two drawing upon the progressive sound of his last group, the politically charged Hidden Hand. And for those wondering where the doom is, look no further than “Eyes of the Flesh” (and then jump to “Silver Lining”) These are as somber and downtrodden as any classic Vitus number.

While Punctuated Equilibrium does summarize Wino's musical legacy, it's still more than a culmination of “greatest hits.” He's pushing himself in new directions and to his credit, succeeds on all counts. It's been 25 years since The Obsessed's Sodden Jackal 7” was released, but Wino truly shows no sign of slowing down with Punctuated Equilibrium. Recommended, obviously"

WINO - Punctuated Equilibrium (Southern Lord)
To be honest, I’m not even sure if I can feign impartiality on this one. Scott “Wino” Weinrich (endorsements be upon him), arguably the world’s ultimate doom head, after changing the landscape of the heavy underground over the last three decades in bands like The Obsessed, Saint (fuckin’) Vitus, Spirit Caravan and most recently The Hidden Hand, drops a first and long overdue solo album. What doesn’t rule about that, even before listening? And though its title sounds straight out of Reek Of Putrefaction-era Carcass, Punctuated Equilibrium is actually a masterful capturing of the doomed-out aesthetics Wino has worked in lo these many years. Life just got better....

Witness opener “Release Me” and its faded-too-soon jam ending leaping into the faster, Hidden Handy title-track — Wino’s political side, not to be subdued despite the personal nature of the record, pops up later on with “Gods, Frauds, Neo-Cons And Demagogues,” this is just a sound comparison. If nothing else, the opening couplet immediately confirms that what’s made the “Wino bands” so awesome all this time has in fact been Wino, contrary to the humility that typifies the guitarist/vocalist’s persona. And though by now they’ve already kicked ass for two tracks, it’s on the fuzzier instrumental “The Woman In The Orange Pants” that the dream-team rhythm section of Jean Paul Gaster (Clutch) and Jon Blank (Rezin) are given a chance to shine. And they do, particularly the former, whose thick toms and popping snare come through familiarly thanks to the production of J. Robbins (ex-Government Issue, Jawbox), who in addition to producing The Hidden Hand’s Mother Teacher Destroyer, also helmed Clutch’s Robot Hive: Exodus (also the forthcoming release from Clutch offshoot The Bakerton Group). If there’s a Maryland sound when it comes to this kind of music, his is it.

“Smilin’ Road” makes me miss summer as only the best kind of stoner rock can and is a bouncy, catchy, upbeat excursion with Gaster on the hi-hat and ride to tap out behind Wino’s declaring, “adventure is my destiny.” The joyful mood of that song slams headfirst into “Eyes Of The Flesh,” however, and the groove is pure doom; wide open crash cymbals, a downright hairy bass tone and classic/traditional riffing bearing a simplicity that staples it to your brain like laying a carpet. Side A: Yes.

Side B opens with “Wild Blue Yonder,” a heavily wah-ed instrumental cut that shows off not only Wino’s pedal board — huge — but Gaster’s drumming and Blank’s ability to hold these two incredible players to earth and ground the song. “Secret Realm Devotion” are probably the three words that, for my money, sum up the experience and attitude of the entire doom underground: Altar of the riff; worshipped in small basement clubs; unyielding dedication. Fucking a. This is religion. The song itself is psychedelic musically and lyrically, but a straightforward chorus and Wino’s innate tendency toward (at least semi-) traditional structures keep it accessible and make it an album highlight. “Water Crane” is 1:57 of far-away soloing and head-trippy braintravel, and the aforementioned “Gods, Frauds, Neo-Cons And Demagogues” features what will probably be a telling point for the age: George W. Bush samples. No coincidence I’m sure that Punctuated Equilibrium’s release was on January 20, Inauguration Day. Closer “Silver Lining” keeps the political themes going, but blends them appropriately with a message of personal perseverance before launching just after the two minute mark into a fiery backdraft of a solo that brings the album to its end.

Even at its darker points, Punctuated Equilibrium resonates a joy for songcraft, tonal warmth and class that are even more a staple of the band’s namesake player than the monstrous riffage or soloing. Coupled with this rhythm section, in this band, right now, Scott “Wino” Weinrich reminds us yet again (without ever saying so, of course) that he is one of the most criminally underrated metal gods. Already made my top 10 for 2009. -- JJ Koczan