Friday Full-Length: Neurosis, A Sun that Never Sets

Posted in Bootleg Theater on May 26th, 2017 by JJ Koczan

Neurosis, A Sun that Never Sets (2001)

It is arguable that A Sun that Never Sets represents the moment when Neurosis most defined the course of what would come to be called post-metal. In fact, I’ve argued it several times. It’s not a hard argument to make, and if you’ve ever heard the album, which was released by Relapse Records in 2001 as the seventh outing from the Oakland-based outfit, you very likely already know where I’m going with this. It’s the riff. That riff. Neurosis end A Sun that Never Sets with “Stones from the Sky,” and to this day, every post-metal record I encounter in one way or another — often in directly ripping it off — tries to capture that moment where the sweeping final riff of the album devolves and deconstructs into a genuine cacophony of noise before cutting out like a transmission from another world has just been shut down. I’m not going to take anything away — at all — ever — from the work Neurosis did on albums like 1992’s Souls at Zero, 1993’s Enemy of the Sun, 1996’s primal Through Silver in Blood or the sprawling chaos of 1999’s Times of Grace. Neurosis‘ output has always been and still is marked and defined by a forward creative development — it continued after this record as well — but to consider A Sun that Never Sets anything less than a landmark in that process is to simply miss the point.

The difference? Patience. A sense of brooding in the title-track. The flow of arrangements in “The Tide” and “From the Hill” early on. Comprised of guitarist/vocalists Scott Kelly and Steve Von Till, bassist/vocalist Dave Edwardson, keyboardist/sampler Noah Landis and drummer Jason Roeder, Neurosis were no strangers to intensity. Going back to their earliest hardcore punk output on 1988’s Pain of Mind debut or 1990’s The Word as Law, it was an essential ingredient, and it has remained one even as they passed their 30th anniversary, but listening to songs like “Crawl Back In” and the tribalist “From Where its Roots Run,” A Sun that Never Sets brimmed with a tension that even Times of Grace had only begun to explore, and while it would ultimately be in “Stones from the Sky” that that tension found its (merciful) release, the lurch of pieces like “Watchfire” or the earlier “From the Hill” seemed nearly orchestral in its swell and cascade, providing the listener with a progressive course of ups and downs that stretched across a masterfully executed, deeply textured 68 minutes that served as one of the best and most pivotal albums of its decade — all the more an accomplishment for being released in the first year of it. From the drum march that begins the title-track to the noise experiments in intro “Erode” and the penultimate interlude “Resound,” A Sun that Never Sets turned volume into ritual, and it remains singular in its dynamic, both within the Neurosis catalog and in the wider sphere of heavy music as a whole. As many as have tried to imitate it — and who could argue with trying? — none have found results that come close to touching its power, presence or vision.

And of course, for Neurosis, it was another step along the way. They’d soon enough develop Neurot Recordings as an outlet for their own material, solo works, and other artists admired by the band, today resulting in one of the underground’s most respected imprints. 2003 brought the Neurosis & Jarboe collaboration and 2004 pushed further into atmospheric soulfulness with The Eye of Every Storm — and if you don’t know what I mean by “soulful,” revisit “A Season in the Sky” — and saw the band all but absent from touring before 2007’s Given to the Rising reintroduced a more aggressive feel and stark trades in volume. Density of intent persisted through the vast scope of 2012’s Honor Found in Decay (review here), and as they looked back on 30 years together with special live sets and a return to prominence as a touring act, last year’s Fires Within Fires (review here) continued to forge new creative ground even as it embraced some of their rawest and most seething output since their earliest days. Through these changes and the ongoing evolution of Neurosis as a project, they have always remained committed to a natural progression, and taken in succession, their albums tell a story of that progression across a span of decades in one of heavy music’s richest and most individualized histories.

Neurosis don’t exist in a vacuum, and with releases as essential as A Sun that Never Sets, the temptation is often to see them that way — which is to say it’s not the only record that helped shape post-metal — but there’s no question they stand among the most important groups of their generation, and as an audience we’re all the more fortunate that their contributions are as ongoing as they are distinctive.

As always, I hope you enjoy.

This coming Monday is the Memorial Day holiday here in the States. It is an unfortunate cause for celebration, what with the perpetual war generally and the ensuing jingoism and unthinking patriotism that always seems to accompany the day — even the baseball teams wear camo; it’s a downer — but a day off is a day off, and at this point I’ll take it.

I took today off as well and The Patient Mrs., the impending Pecan, the little dog Dio and I all came down to Connecticut last night to spend an extra day at the beach. Four day weekend? Shit yeah, son. That’s the way life should always be.

After some debate on the matter at the office this week, my final day of work is June 16. As you might imagine, my feelings on this are somewhat conflicted. Happy to not be working anymore; worried about the prospects of no income, excited, curious and a bit terrified at the notion of being a stay-at-home dad come October. Wondering if something comes next or if I’m leaving the workforce for good at 35. Kind of a scary thought.

I’ve been giving serious thought of late to taking a few classes and setting up an office as some kind of nutrition counselor, trying to help people frame how they think about food and how it interacts with their life. Since I’ve lost (just over) 170 pounds in the last year and a half, I’ve gotten many questions from people about how I did it, how I feel, how they might go about losing weight, and so on, and I think from just hearing out their stories to helping plan a week of meals, that’s something from which I might derive professional satisfaction. Plus, I’d be working for myself, which is basically the only way I would want to work at all at this point. Done with offices. Done with other people. Done with the culture of professionalism. If I can’t have my dog around when I’m working, then that’s work I don’t want to be doing.

We’ll see how that goes. I get these ideas. Pipe dreams 95 percent of the time. Plus I’ve been on anti-depressants now for about three weeks, so if I was ever going to have a I’m-gonna-change-my-life-type notion, I need to recognize that this is probably the time it would happen. Ambition as symptom of chemical change. “My brains are going into my feet,” and so on.

As regards business, here’s what’s in the notes for next week, subject to change as always:

MON: Demon Head review & Drug Honkey video.
TUE: Witchthroat Serpent track premiere & Arbouretum video.
WED: Six Dumb Questions with Abrams.
THU: Second Coming of Heavy review.
FRI: Anathema review.

Kind of a quiet week thus far, with the holiday and whatnot, but I expect things will pick up toward the end and there may be some shuffling as per usual. That Anathema review is set in stone though. The Second Coming of Heavy one I’ve already moved a few times, so that should probably get done as well. I don’t know. It’ll come together. Not worried about it.

Traditionally one barbecues for Memorial Day, and I expect my feed on Thee Facebooks this weekend will be full of showoff pictures of various smoked/smoking meat products, beers, and so on. That’s cool. Whatever you’re up to, I hope it’s a great time. Be safe and have fun. Listen to good music, because that makes good days even better.

Thanks for reading and please take some time to check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

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Stinkeye Release Llantera June 15; West Coast Tour Announced

Posted in Whathaveyou on May 26th, 2017 by JJ Koczan

Phoenix, Arizona, three-piece Stinkeye have finished work on their debut album, Llantera and are wasting no time in getting it out to the public. After catching the ear with the four-track Llantera Demos (review here) last year, the band will issue the completed seven-song record on June 15. All four songs from the demo — “Orange Man,” “Pink Clam,” “Llantera” and “Fink Ployd” — will appear on the full-length, and upon the release, Stinkeye will turn around and quickly hit the road the next night to begin supporting it on the West Coast, heading up to Oregon and back south again.

A few shows on that stint are still coming together, so if you’re in a position to help out the band with a gig or put them up for the night or give them food or whatever it is you can do, I doubt they’d argue with you. It’s the right thing to do, in any case.

I’ll hope to have more on this to come, but here are the album announcement and tour dates to start with, as sent over by the band:

stinkeye

60’s psychedelic Hash Rock trio from the scorching pavements of Phoenix, Arizona, STINKEYE release their debut album “LLANTERA” June 15th. The drums for the album were recorded at Deep Roots Studios in Tempe, AZ, but most of the record was done at Savage Tactic Studios.

Tracklisting:
1. The Calm
2. Orange Man
3. Pink Clam
4. Llantera
5. Bringer of Grief
6. No Spoon
7. Feed

The album release will followed immediately by a two-week tour through the West Coast starting June 16th. Several dates still TBA.

Stinkeye on tour:
Friday June 16 Bancroft San Diego CA*
Saturday June 17 Gnar Burger Los Angeles CA*
Sunday June 18 Black Light Long Beach CA
Monday June 19 TBA Los Angeles CA
Tuesday June 20 TBA CA
Wednesday June 21 TBA San Francisco CA
Thursday June 22 Johnny B’s Medford OR
Friday June 23 House Show Redmond OR
Saturday June 24 TBA Portland OR
Sunday June 25 TBA Eugene OR
Monday June 26 TBA Medford OR
Tuesday June 27 Winters Tavern San Francisco CA
Wednesday June 28 TBA Los Angeles CA
Thursday June 29 TBA San Diego CA
* with Colour TV

https://www.facebook.com/stinkeyeblows/
https://stinkeye666.bandcamp.com/releases

Stinkeye, Llantera Demos (2016)

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BoneHawk Announce June Tour Dates Starting at Fuzz Fest 4 & Burnin’ Turf II

Posted in Whathaveyou on May 26th, 2017 by JJ Koczan

bonehawk

I’m just going to assume that, aside from the nod to Judas Priest, BoneHawk calling their upcoming June run the ‘Screaming for Pizza Tour’ is a reference to and/or a continuation of the running gag from their prior video for the track “Los Vientos” (posted here), which also had pizza as a central theme. Can’t really argue. Who doesn’t like pizza? And who doesn’t like good-time heavy rock and roll? If BoneHawk show up with both, well, I don’t see how that isn’t a win for everybody involved. You’ll also note the tour poster below says in the top right corner, “We’re not a Judas Priest tribute band.” Probably good to clarify these things outright.

The Kalamazoo four-piece, who took part in Ripple Music‘s The Second Coming of Heavy split series last year, sharing a platter with Kingnomad (review here), will begin their stint at Fuzz Fest 4 in Ann Arbor and the Obelisk-presented Burnin’ Turf II in Ruth, MI, before heading to Chicago and elsewhere in the Midwest and Southeast. They’re reportedly working toward having a new album out, also on Ripple, in 2018, as they affirmed via the PR wire:

bonehawk screaming for pizza tour

BoneHawk Screaming For Pizza Tour Starts June 2

It’s summertime and the livin’ is sleazy! Alas, it sounds like the ripe time for our dudes in BoneHawk to pile into the Barbarian van and hit the road for a tour of epic proportions and drives so long they will most certainly have black circles under their eyes as if they had tricked each other into using binoculars with shoe polish around the lenses…but we digress!

Hornacious Wax is proud to present BoneHawk’s “Screaming For Pizza Summer 2017” tour! Starting June 2nd with the fourth annual Fuzz Fest in Ann Arbor, and ending back in the band’s hometown of Kalamazoo, Michigan, the boys will be showcasing several new tunes off their upcoming release on Ripple Music (early 2018). Also, rejoice and bemoan them at the same time in singalongs to some oldies but goodies!

Go check them out! Bring a friend! Take a picture next to the Barabarian van! Don’t forget to #lookforthebarbarian

Here are the details:
Friday, 6/2/2017 @ Fuzz Fest 4 in Ann Arbor, MI w/ Cruthu, Lo Pan, S.N.A.F.U. and more!
Saturday, 6/3/2017 @ Burnin’ Turf II in Ruth, MI w/ Bison Machine, Wild Savages, Dead Feathers, Red Stone Souls, Gear Jammer, and Rip VanRipper
Sunday, 6/4/2017 @ Reggie’s in Chicago w/ Hypnochron, Phase Order, and Strange World
Monday, 6/5/2017 @ the Sinkhole in St. Louis, MO w/ Lightning Wolf and Planet Eater
Tuesday, 6/6/2017 @ the Blue Note in Oklahoma City, OK
Wednesday, 6/7/2017 @ the Limelight in San Antonio, TX
Thursday, 6/8/2017 @ Masquerade w/ Worshipper, the Great Electric Quest, Echoes of Savages, and Stone
Friday, 6/9/2017 @ Test Pattern in Winston-Salem, NC
Saturday, 6/10/2017 @ the Wizard Saloon in Hickory, NC
Sunday, 6/11/2017 @ Spring Water Supper Club in Nashville, TN
Wednesday, 6/14/2017 @ 25 Watt Club in Richmond, VA
Thursday, 6/15/2017 @ Capone’s in Johnson City, TN w/ Mega X, Uktena, and Bones of Mary
Friday, 6/16/2017 @ Buzzbin Art & Music Shop in Canton, OH w/ White Cadillac and Lohrs
Saturday, 6/17/2017 @ Shakespeare’s Lower Level in Kalamazoo, MI w/ Telekinetic Yeti, Drink Their Blood and Chod

https://www.facebook.com/bonehawkkzoo/
https://www.instagram.com/bonehawk_band/
https://twitter.com/bonehawkmusic
http://bonehawk.bandcamp.com
http://bonehawk.bigcartel.com

BoneHawk & Kingnomad, The Second Coming of Heavy: Chapter Three (2016)

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Vokonis Premiere “The Sunken Djinn” Video; Album out June 9 on Ripple Music

Posted in Bootleg Theater on May 26th, 2017 by JJ Koczan

vokonis

In their new video for the title-track of the forthcoming The Sunken Djinn, Swedish trio Vokonis bring their audience into what might be considered their native habitat. That’s otherwise known as Studio Underjord in Norrköping, where the riff-hurling three-piece recorded The Sunken Djinn with Joona Hassinen. As the Borås-based outfit circles up to perform “The Sunken Djinn,” we can see the soft lighting, the tapestries, the posters on the wall and of course the wide array of microphones in that creative environment, and begin to get a better sense of what would lead them to want to record there in the first place. For one thing, it looks really, really clean. Cleaner than any studio I’ve ever been in, certainly.

The Sunken Djinn will serve as Vokonis‘ premiere release through Ripple Music when it arrives on June 9, following up on their well-received 2016 debut, Olde One Ascending (review here), and in addition to the video, the title-track — which also leads off the LP — was released as a 7″ single on May 13 in limited numbers with artwork calling to mind The Expanse‘s protomolecule and a live version of “Olde One,” which opened the first record. Unsurprisingly, that platter has completely sold through its three different limited editions, and I’ve no idea if the band will press up more. If you missed it — hey, I did too. That’s just how it goes sometimes.

If you’ve been paying attention, it’s been a lot of Vokonis around here lately. They led off the last podcast with this very song, they’ve already been interviewed about The Sunken Djinn, and even before I heard the record, they were in my list of 2017’s most anticipated albums. That’s not an accident. What guitarist/vocalist Simon Ohlsson, bassist Jonte Johansson and drummer Emil Larsson bring to the tenets of post-Sleep heavy riffage continues to show marked potential even as the band develops their own personality and tightens their songcraft, and I think that’s something definitely worth talking about. This won’t be the last time, either. Look for an album review and full stream on Monday, June 5, and I’m sure more to come after that as well.

Until then, you can enjoy “The Sunken Djinn” below and hopefully get a sense of where Vokonis are coming from with it, or at very least, the place that played a role in its making. Video is directed by Marcus Jehrlander.

Hope you enjoy:

Vokonis, “The Sunken Djinn” official video

Simon Ohlsson on “The Sunken Djinn”:

“When going into the studio to record some songs for an upcoming project we wanted to do a video fitting of the process. To give everyone who have an interest in us a chance to get a closer look at our recording process.”

The Sunken Djinn (LP) by Vokonis is released on 9th June on Ripple Music. Video filmed by Marcus Jehrlander at Studio Underjord.

Entitled The Sunken Djinn, for the Swedish doom trio – featuring guitarist/vocalist Simon Ohlsson, drummer Emil Larsson and bassist Jonte Johansson – this album marks a huge leap forward in sound and scope. Still loosely rooted in traditional stoner rock with enough lumbering fuzz riffs and monolithic grooves to keep you in a permanent fog of mystification, this time around their entire approach is tempered by an even darker psychedelic perspective. As best heard on the album’s epic title track, which consists of two parts sonic tapestry and one part bloodied ten-ton hammer.

Vokonis:
Simon Ohlsson – Guitars, Vocals
Emil Larsson – Drums
Jonte Johansson – Bass

Vokonis on Thee Facebooks

Vokonis on Twitter

Vokonis on Bandcamp

Ripple Music website

Ripple Music on Bandcamp

Ripple Music on Thee Facebooks

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Black Hat Bones Sign with Total Volume Booking

Posted in Whathaveyou on May 26th, 2017 by JJ Koczan

Greek heavy rockers Black Hat Bones released their second album, Born in a Thunder, in March, and it looks like they’ll soon enough be taking to the streets to support it. The Athens-based four-piece have inked a deal to work with Total Volume Booking (Geezer, Naxatras, Green Yeti, etc.) to bring their crisp energy to stages around Europe, and while dates haven’t been announced yet, the band hasn’t exactly been shy about getting out in Greece, playing Desertfest Athens last year and more besides.

If you didn’t hear Born in a Thunder, it’s basically a parade of high-energy hooks served straight up like a cold shot of AC/DC-style songwriting, and it’s streaming in full at the bottom of this post from their Bandcamp, so, you know, dig in.

From the PR wire:

black hat bones

Black Hat Bones (GR) joining forces with Total Volume

Hailing from Sparta, but currently residing in the Greek capital, we present to you Black Hat Bones!

If highly energetic performances, screaming solos, growling bass and a vocalist from which you can’t get your eyes off, are your kind of thing, then you’re in for a treat! After partying in well-known stages throughout Greece, but also taking part in notable festivals like Rockwave Festival, Desert Fest Athens, Fuzztastic planet, as well as the upcoming Ejekt Festival, it’s time for these dudes to cross the borders and spread their high-energy rock ‘n’ roll to the masses!

With their latest work, “Born in a Thunder”, already released in both digital and physical format through the band’s bandcamp, get ready to witness a, what now the guys call, “adrenaline fueled POP music party”.

Bio:

We are Black Hat Bones, a high energy / heavy rock band from Sparta(Greece) formed back in 2009. Since 2011, we moved to Athens(Greece) and we managed to release our first Ep, a digital single and our debut full length album “High Gain Devil Rockers” through Trailblazer Records. All these received some incredible feedback (zines, blogs, radio / tv stations ) from all over the world (Canada to France, UK, Italy , Poland, Netherlands, Sweden, Greece). Our latest album called “Born in a Thunder”is out now in digital & physical format (vinyl 180gr) and we’re currently touring Greece spreading rock ‘n’ roll to the masses, looking forward to cross the borders!

Long story short, we’ve been rockin’ this place for quite some time now, and we’re looking forward to come to your place! So, if you’re still reading this, press one of the links below, and let’s book a show so we can meet, dance, drink, and headbang!

https://www.facebook.com/BlackHatBones/
https://www.instagram.com/blackhatbones/
https://blackhatbones.bandcamp.com/album/born-in-a-thunder-2017
https://www.facebook.com/totalvolumebackline/
http://totalvolumeagency.com/

Black Hat Bones, Born in a Thunder (2017)

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Review & Track Premiere: Five Horse Johnson, Jake Leg Boogie

Posted in audiObelisk, Reviews on May 25th, 2017 by JJ Koczan

five-horse-johnson-jake-leg-boogie

[Click play above to stream ‘Hard Times’ from Five Horse Johnson’s Jake Leg Boogie, out June 30 on Small Stone Records.]

The world in which Jake Leg Boogie takes place is one of grit, sneak-around-the-back-door blues, cheap hooch and the kind of swagger that can only result from the imbibing thereof. Issued via Small Stone, it is the eighth album from Toledo, Ohio’s Five Horse Johnson and the first since 2013’s The Taking of Black Heart (review here), and though that world might feel like a pipedream compared to some of the grim realities of modern existence, there are few acts who can sell the idea as well as the five-piece. They reunite here with original drummer Tim Gahagan, and after 22 years, their love of heavy rock and blues continues to be the core aspect that defines their work. With the rough-edged vocals of Eric Oblander out front, the riffing of Brad Coffin (also vocals) and Phil Dürr defining the course and the righteous classic rockery of bassist Steve Smith in the rhythm section alongside Gahagan‘s swing and push, Five Horse Johnson are as they should be throughout the 39-minute 10-tracker: Kicking ass, taking names, and fostering no regrets in the process.

Through cuts like “Magic Man,” “Little Lonely” and “Daddy was a Gun,” they weave tales of sleaze and professional-grade troublemaking, starting off with the Southern-style ruckus of the hook of the opening title-track, which is among the shorter songs at 2:40 but gets down to business almost immediately with a bouncing riff, room for a harp solo from Oblander and what sounds like a bit of slide on the guitar. One way or another, Five Horse Johnson are up to no good, and that sounds just about right. “Magic Man” brings together ’70s rock and blues in a fluid push that continues to build momentum from the opener, setting its place in Springfield, Missouri, and no doubt referring to a real-life incident involving some “bad company” that’s probably best not inquired after.

For a lot of what Jake Leg Boogie will do stylistically, the ground is already set. Five Horse Johnson aren’t a band known for nuance so much as getting drunk and still blowing everyone else off the stage, but the stomp and attitude they bring to the material here as “Cryin’ Shame” rears its riff back and lurches it forward again aren’t to be understated, and neither is the quality of songcraft that lies beneath them. Like both “Jake Leg Boogie” and “Magic Man” before it, “Cryin’ Shame” complements its boozery with a righteously and unabashedly welcoming chorus, and even as the opening salvo shifts into the slower-strummed, more-subdued “Ropes and Chains” — acoustics and electrics seeming to run side by side — Five Horse Johnson refresh their audience with an engaging verse/hook interplay before turning just past three minutes into a more boogie-laden instrumental finish to provide transition into the uptempo side A finale, “Hard Times.”

Thus far, the band has worked quickly and efficiently in offering true-to-their-nature heavy blues rock, but “Hard Times” is a standout for its craftsmanship and for the classically motoring riff at its center. It is very, very American. Chevys, whiskey spelled with the extra ‘e’, consciously ogling a lady standing right next to her dude — it’s all right there. “Hard Times” pushes through its four minutes so sure of itself and its place that one almost has trouble believing the lyrics, which of course are about hard times, but as it ends the first half of Jake Leg Boogie, it also marks the shift into the ultra-effective midsection of the album, which continues its up-jumped shuffle with “Smoke Show” before moving into the longest inclusion here, “Little Lonely.”

five horse johnson

It’s worth nothing that “longest” in this context means 4:53. No matter where Five Horse Johnson head on Jake Leg Boogie, they don’t lose sight of the album’s core mission in delivering sans-frills heavy blues. After the scorching leads on “Smoke Show,” “Little Lonely” draws back on the pace somewhat but makes up for it with a sing-along chorus and sleek groove, setting up the faster return of “Overload,” which offers more primo harp from Oblander, and the semi-finale of “Daddy was a Gun” — thereby making the speaker of the song a “son of a gun,” if it’s not obvious. Perhaps the clearest blues preach on offer, “Daddy was a Gun” also speaks to the closeness between Five Horse Johnson and Clutch, with whom Oblander has guested on tour and whose drummer Jean-Paul Gaster sat in on the last Five Horse record.

Still, they retain the consistency of their approach as they move toward the end of the record, which comes with the turn of the appropriately-named “Last Song,” a surprisingly quiet and sentimental short bookend to “Jake Leg Boogie” — the opener and the closer are the only cuts under the three-minute mark — that departs from some of the swagger in favor of an airier atmosphere, still soaked by Southern humidity but with an on-the-porch blues noodling guitar line and a tambourine as its only percussion, it’s a definite change nonetheless, and after all the brash crotchal thrust they’ve brought to bear across Jake Leg Boogie, they end on a note of understatement, as though to reaffirm we-didn’t-mean-no-harm sensibility that’s behind a string of nine liquor store robberies represented by the preceding tracks. “Boys will be boys,” said the cops.

More than two decades on, Five Horse Johnson have little to prove, and Jake Leg Boogie is accordingly less about taking over the world than about the band doing what they’ve always done well in affecting a controlled but still boozy tumult. With the return of Gahagan on drums, and consistency in presentation from working with longtime producer Al Sutton at Rustbelt Studios and cover artist Mark Dancey, the band are very much in form, and the world they create for and through these songs is as inviting as it is raucous.

Five Horse Johnson on Thee Facebooks

Five Horse Johnson website

Small Stone Records on Bandcamp

Small Stone Records on Thee Facebooks

Small Stone Records website

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DVNE Announce New Album Asheran Due in July

Posted in Whathaveyou on May 25th, 2017 by JJ Koczan

dvne

Edinburgh-based four-piece DVNE have been playing shows steadily around the UK since the 2014 release of their last album, Aurora Majesty, so they haven’t been completely absent or anything like that. Their name tends to pop up in all-dayer lineups and things like that. Still, with three years between that record and the forthcoming Asheran, which the band touts as being an hour-long concept piece set to a story about a lost empire (about which you can read more below), the sense I get is that maybe this record took longer to come together than the standard “well, we’ve got eight songs and here they are”-type release might. Call me crazy.

With just over two months to go before the July 28 release through Wasted State Records, there’s no audio unveiled as yet, but you can see the Eli Quinn cover art and the tracklisting here, courtesy of the band’s Bandcamp page, where both Aurora Majesty and the prior Progenitor EP (review here) are streaming. Dig it:

dvne-asheran

DVNE – Asheran

Asheran is a 60 minute tapestry of music, an epic narrative following the tale of the rise and fall of civilisations, the return of an empire thought millennia lost, and the world-spanning events that unfold as a consequence.

Rich with themes of science fiction, environmental issues, and both dystopic and utopic visions for the future of humanity, listeners can expect the album to bring the pure heaviness vaunted during Aurora Majesty, whilst at the same time being tempered by the combination of more mature progressive, genre-spanning, and often at times melodic song-writing the band are quickly making their hallmark approach.

Releases July 28, 2017.

— I —
The Crimson Path
Viridian Bloom

— II —
Thirst
Descent Of The Asheran

— III —
Sunsets Grace
Rite Of Seven Mournings

— IV —
Edenfall
Scion

Recorded and produced by Graeme Young at Chamber Studios
chamberstudio.co.uk

Mixed and Mastered by Tom Dring at Vagrant Recordings
vagrant-recordings.co.uk

Artwork by Eli Quinn
Facebook.com/eliquinnart

DVNE is:
Victor Vicart – Guitar, Vocals, Keys
Dan Barter – Guitar & Vocals
Dudley Tait – Drums
Allan Paterson – Bass

Jenni Sneddon – Vocals (Edenfall)

Release date: 28 July 2017 by Wasted State Records
wastedstaterecords.bandcamp.com

https://songs-of-arrakis.bandcamp.com/album/asheran
https://www.instagram.com/dvne_uk/
https://twitter.com/SongsOfArrakis
https://www.facebook.com/DvneUK
wastedstaterecords.bandcamp.com

DVNE, Aurora Majesty (2014)

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Boris Touring Europe in August to Support New Album Dear

Posted in Whathaveyou on May 25th, 2017 by JJ Koczan

It begins. And by ‘it,’ I suppose I mean the touring cycle Boris will undertake to support their new album, Dear, which releases on July 14 via Sargent House and Daymare Recordings. This touring cycle — you know, as opposed to the general touring cycle that Boris never seem to leave, which in 2016 had them out performing Pink in full and which, in addition to heralding the arrival of Dear on this upcoming run, will see the Tokyo experimentalist trio celebrating their 25th anniversary. The run starts in Moscow on Aug. 3 and will include shows around Poland, Germany, Austria, Switzerland, the Netherlands, the Czech Republic, Belgium, Ireland and the UK before finishing in Finland on Aug. 25. Lots of travel, lots of volume. Boris don’t mess around when it comes to either.

If you haven’t checked it out yet, the band unveiled the first bit of audio from Dear in a video for “Absolutego” when they announced the album earlier this month. You’ll find that clip at the bottom of the post here, because it’s the internet and I can do that kind of thing.

From the PR wire:

boris dear euro tour

BORIS DEAR/25TH ANNIVERSARY TOUR ANNOUNCED, NEW ALBUM OUT VIA SARGENT HOUSE, 14 JULY

Legendary amplifier-worshipping trio Boris recently announced the release of their twenty-third studio album, Dear, which is due out July 14th on Sargent House. Today we’re pleased to share news of live shows on the horizon in support of the album and their 25th Anniversary, including festival appearances, all dates below:-

BORIS 25 ANNIVERSARY/DEAR TOUR DATES
03/08 – Moscow, Volta – RU
04/08 – St. Petersburg, ClubZal – RU
05/08 – Vienna, Szene – AT
06/08 – Katowice, OFF Festival – PL
07/08 – Leipzig, Naumans – DE
08/08 – Berlin, Lido – DE
09/08 – Jaromer, Brutal Assault – CZ
10/08 – Munich, Backstage – DE
11/08 – Frankfurt, Das Bett – DE
12/08 – Lausanne, Rock Altitude – CH
13/08 – Ieper, Ieperfest – BE
15/08 – Cologne, Underground – DE
16/08 – Hamburg, Hafenklang – DE
17/08 – Bielefeld, Forum – DE
18/08 – Amstelveen, P60 – NL
19/08 – Bristol, Arctangent Festival – UK
20/08 – Dublin, Whelans – IE
21/08 – Cork, Cyprus Avenue – IE
23/08 – Belfast – Limelight – UK
25/08 – Helsinki – Nosturi – FI

Read on for more information about the new album…

Dear marks the band’s 25th year of existence and while the 10-track album is chockfull of early-Boris calling cards, the avant-garde mavens aren’t learning on old tricks, describing the album as “heavenly—far beyond heavy.” Boris have shared the album’s first single and magnificent new music video “Absolutego”.

Though Boris have traversed a broad swath of sonic territories, they have always been consistently embraced the excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity. Eventually the band reached a crossroads in the early years of their third decade together, leaving them wondering if there were any new horizons left to explore. The renewed vitality yielded an album that fortifies their monolithic wall of sound while also allowing the individual band members to explore the nuances and intricacies of minimalist riffs played at maximum volume.

Songwriting for Dear initially yielded three albums’ worth of material by the end of 2015, but as the band was slated to spend a large chunk of 2016 on their “Performing Pink” worldwide tour, they decided to hold off on releasing any new material. The tour further rekindled their passion for the craft, spurring the band to return home to crank out even more new material while scaling down three records’ worth of sonic deluge down to one.

From the glacial pacing and earthquaking rumble of the album opener to the smouldering rock ’n roll-infused “Absolutego”, Boris have managed to find wildly thrilling work in the familiar trenches of metal. Never ones to shy away from a challenge, the trio carves even experiments with fuzz fuelled dream pop. “At the very first moment, this album began as some kind of potential farewell note of Boris,” the band said. “However, it became a sincere letter to fans and listeners… you know, like ‘Dear so-and-so, this is the new album from Boris’ or something like that. We feel so grateful we can release this album in our 25th anniversary year.”

Dear will be released to the world on July 14, 2017 on CD, 2xLP, and digital formats. Stay tuned for more news to come.

Dear Track Listing:
1. D.O.W.N. (Domination Of Waiting Noise)
2. DEADSONG
3. Absolutego
4. Beyond
5. Kagero
6. Biotope
7. The Power
8. Memento Mori
9. Dystopia -Vanishing Point-
10. Dear

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Boris, “Absolutego”

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