Spacejunk Mafia - S/T

Doom-tinged psych rock with galactic ambition

In high school, there was an instrumental album I’d return to often: Scale the Summit’s Carving Desert Canyons. I specifically appreciated the band’s guitar parts, as they merged heavy distorted riffs with more atmospheric, cleaner sections. “The Great Plains”— specifically its ending solo — always amazed me as two separate layered guitar tracks played in a complex rhythmic way that made it sound like only one guitar was playing with a delay effect. It was powerful and engaging. No matter how much I listened to it, I couldn’t get enough.

Though Spacejunk Mafia, a trio from Nijmegen in the Netherlands, doesn’t sound the same sonically, their latest seven-track self-titled debut album reminds me of that album from my youth. Utilizing loud/quiet guitar-led motifs, the band merges doom metal, prog rock, and psych rock to create cinematic experiences.

Though straight-ahead drumbeats by Berry Claessen and Maarten van der Kamp’s rhythm-locking bass propel songs forward, Sander Weijers’ guitar is the focal point of the trio’s music. Alternating between head-banging moments and spacey atmospheric soloing, songs often feel like trips through star systems far from our own.

The opening track, “Hotspot Apocalypse,” sets the tone with thunderous tom beats and a funky surf-rock riff. The track slowly builds, noodling its way forward, as Weijers utilizes tremolo picking and pedal effects — every note echoes into an endless abyss. Then, unexpectedly, howling, phaser-induced power chords enter, announcing a heavier, wah-wah-induced guitar solo by Weijers. Weaving in and out of spiraling, jazzy modalities, the track becomes a breathtaking, nine-minute epic adventure.

“Rubble Transporter” quiets things down, but only for a moment. Bass and drums play a syncopated rhythm as clean guitar chords and, eventually, another expressive guitar solo dance on top. Soon enough, though, Weijers blasts into headbanging power chords for a while before cooling off into cleaner, more reflective pastures with his guitar noodling. This is one of the mainstay elements of Spacejunk Mafia, shifting their thrusters from heavier, phaser-led metal moments and moments of introspective crystalline beauty.

The riffs on “Millennial Warrior” gallop forward, feeling at times like the funky parts of Pink Floyd’s “Echoes” jam. These references to one of Britain’s greatest psychedelic exports are substantial yet often subdued. Look to “Captain’s Log” for another example, where the slower guitar parts feel “Shine on You Crazy Diamond” inspired.

Despite these comparisons to the seminal ‘70s rock band, Spacejunk Mafia still sets itself apart. There’s a consistent cohesiveness to the band’s debut that will likely connect with listeners. Though each track certainly has its own sound, each song feels like a motif on a larger piece. Or, better put, a leg of a journey to the outer reaches of the galaxy.

Weijers’ guitar stretches before transforming into roaring statements of intent, spiraling out across bridges of stardust constructed by a hard-working bass-and-drums rhythm section. “Classic Sandwich Iron” illustrates this effectively, as the group rocks with intensity before launching off into far-flung reaches of outer space, morphing heavier aspects into atmospheric introspection.

Because of these consistent tones and tricks, it’s easy to overlook the album at first. But there’s something about Spacejunk Mafia—specifically the band’s guitar parts—that drag you back in, whether it’s all the different spacey atmospheric sounds that Weijers can dial into with his guitar or the jazzy, engaging solos that seem to come from alternate universes. “Router Unknown” exemplifies this, as the whole song portrays both aspects. “Kinetic Overloader” — the album’s ender and perhaps its best track — doubles down on these motifs, likely to render the listener speechless.

For some, Spacejunk Mafia’s debut album may be underwhelming at first. Yet, its consistency and cinematic appeal ensnare the listener, further coercing them to replay it. Once they do and engage more closely with the trio’s frequency — particularly the guitar — they will slowly find the album grows on them, and it’s likely to become a favorite within their regular listening rotation.

Check it out on Bandcamp here.

This review was written by Bill Cooper, who writes about music, film, books, and pop culture in various internet corners like Spectrum Culture. His two greatest urges, discovering new music and writing, keep him up at night and going during the day. The extensive amount of coffee he drinks may also contribute.

You can follow Bill Cooper on Bluesky and his Substack, Bill’s Takes.