Linear North Premiere “Spectrum Eyes” from Mine is Yesterday, I Know Tomorrow

Posted in audiObelisk on October 8th, 2015 by H.P. Taskmaster

linear north

This weekend, Upstate New York psych rockers Linear North will mark the release of their debut album, Mine is Yesterday, I Know Tomorrow, which is out on cassette via King Pizza Records. The trio are set to play two shows — in Brooklyn, where the label is based, and Albany, where they’re based — as a celebration with like-minded labelmates Sun Voyager, and the tape is indeed something worth celebrating, following a 2012 demo and 2013 digital EP, called Singles, both of which have tracks resurfaced into the 32-minute/six-track full-length. An immediately spacious vibe on the seven-minute longest and opening cut (immediate points) “13 Year Sugar Maple” casts an echoing, sunshiny vibe, and as the record plays out, shifting into the shorter, more garage-minded “Into the Light” and through its remaining cuts, the groovy post-this-and-that vibes only grow more expansive.

Comprised of guitarist/vocalist Bob Forget, bassist Shane Williams and drummer Ryan Render, Linear North offer some of their most languid dreaminess on “Mountains,” which opened the EP, ends side one of the tape and successfully executes a subtle build in the guitar and bass while maintaining a liquid wash, patient groove, and in the drums, a linear north mine is yesterday i know tomorrowsteady roll that eases smoothly into the peak, recedes, and rises again to finish out. “Spectrum Eyes,” which starts out side two, is more straight-ahead weighted in its initial push, but has its shoegazing feel as well, Williams‘ bass pushing it into highlight territory beneath Forget‘s reverb-soaked croon. Though “Spectrum Eyes” is riffier, I think “Rapture” might have it beat for the sheer buzz factor, a spaced-out grunge taking hold and making a primarily melodic impact nonetheless by the end of it, swirling all the while.

That leaves just “Weigh,” with its low-end foundation and swinging, tambourine-inclusive rhythm, to finish out. Three years have passed since it was included on their first demo, but it makes a fitting closer for Mine is Yesterday, I Know Tomorrow, teasing an explosion in its pulsating verses while winding up on an entirely more fluid trip. Yeah, it picks up and goes nuts at the end, but that’s only half the point, and even that’s more of a morphing shift than sudden leap from quiet to loud. Pacing of transition would seem to be a specialty in what I guess one would still rightly call Linear North‘s early days.

I think you can get a sense of that even from the heavier thrust of “Spectrum Eyes,” which you can hear on the player below. I think Linear North might have the whole record on Bandcamp as well, so check there if you haven’t, but either way, I’m glad to be able to feature the track as a sampler for anyone who feels like getting lost in it.

Show info under the player. Enjoy:

October 9th “Mine is Yesterday, I Know Tomorrow” will be available on Cassette and Download courtesy of King Pizza Records. We’ll be celebrating all weekend long in Brooklyn and Albany. In the meantime check out our bandcamp and all the other awesomeness that comes from King Pizza Records!

October 9th and 10th are just around the corner. We’re looking forward to playing in Brooklyn and Albany again. The Albany show at the Fuze Box will be our 100th gig!

We also have our first show of November on Friday the 6th at The Anchor in Kingston with Geezer, Shadow Witch and King Buffalo. More dates to come!

Friday October 9th – Brooklyn, NY – Don Pedro’s w/ Sun Voyager and Wet Socks
Saturday October 10th – Albany, NY – Fuze Box w/ Sun Voyager & Mod fiction

Linear North website

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Linear North on Bandcamp

King Pizza Records

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audiObelisk Transmission 052

Posted in Podcasts on October 5th, 2015 by H.P. Taskmaster

Click Here to Download


Here is the Music Player. You need to installl flash player to show this cool thing!

Whenever the hell it was that I started really doing podcasts again on a roughly-monthly basis, I said that there would be no theme from one to the other. That’s a rule I’ve bent a couple times since, and this is one of those instances as well. This podcast takes a look at the rather extensive lineup for Desertfest Belgium 2015 (posted in full here). It was a particular challenge to keep it to what’s become the standard two-hour format, but in the end, I think the tracklisting below brings together the headliners and some of the lesser known bands in a way that speaks to the breadth of the festival itself. Or at least I hope it does. It’s a killer mix, either way.

Worth noting that this is the second podcast this year that has started with Goatsnake. That is not an accident. I tried to keep things as current as possible here, and their new one destroys. I think the only cuts not from the band’s latest album are Bongzilla, Monomyth and Monolord, and well, the songs included speak for themselves either way.

Desertfest Belgium 2015 happens this weekend at Trix in Antwerpen. If, like me, you won’t be there, hope this provides a bit of fodder escapist daydreaming. If you’re going, it’s never to early to get psyched on it. Either way, please enjoy:

First Hour:
0:00:00 Goatsnake, “House of the Moon” from Black Age Blues
0:05:17 Crystal Head, “Wouldn’t You Know” from Crystal Head
0:08:05 Orange Goblin, “Demon Blues” from Back from the Abyss
0:12:40 Ufomammut, “Temple” from Ecate
0:20:08 Fever Dog, “The Great Tree” from Second Wind
0:26:05 Causa Sui, “Echo Springs” from Euporie Tide
0:30:56 Dozer, “Flood” from Beyond Colossal
0:34:46 Monolord, “Icon” from Empress Rising
0:42:56 Mars Red Sky, “The Light Beyond” from Stranded in Arcadia
0:50:55 Stoned Jesus, “Silkworm Confessions” from The Harvest

Second Hour:
1:00:00 Fatso Jetson, “Flesh Trap Blues” from Split with Herba Mate
1:06:25 Bongzilla, “H.P. Keefmaker” from Apogee
1:16:46 Earth, “Badgers Bane” from Primitive and Deadly
1:29:05 The Machine, “Chrysalis (JAM)” from Offblast!
1:45:16 Monomyth, “Huygens” from Monomyth

Total running time: 2:02:20


Thank you for listening.

Download audiObelisk Transmission 052


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Old Man’s Will, Hard Times – Troubled Man: The Boogie Blues (Plus Album Stream!)

Posted in audiObelisk, Reviews on October 2nd, 2015 by H.P. Taskmaster

old man's will hard times troubled man

[Please note: Press play above to stream Old Man’s Will’s Hard Times – Troubled Man in full. Album is out today on RidingEasy. Thanks to the label, PR and band.]

What works so well about Hard Times – Troubled Man is the vigor with which Old Man’s Will carry across its foundation of classic boogie rock. Listening to the unpretentious Swedish four-piece, who capture warm tones in the dark cold of Umeå — a northern town known for being the birthplace of Meshuggah and Refused — they make little attempt to hide their ’70s affinities, their Graveyard influence or their penchant for swinging their way into a memorable hook, but there is a vitality at the core the material that only emphasizes how much the sound of then has become the sound of now. Comprised of eight tracks totaling a manageable 34 minutes, Hard Times – Troubled Man perhaps oversells a sense of melancholy between its cover art and title, but there’s plenty of blues to go around.

Also Purples, since the record finds vocalist Benny Åberg a commanding, Ian Gillan-type presence at the fore of opener “Fools” as guitarist Klas Holmgren, bassist Tommy Nilsson and drummer Gustav Kejving strut and stamp behind. “Troubled Man” follows with immediately locked-in groove as Åberg recounts numerous woes of losing a job, getting kicked out, etc., but the chorus and the verse alike are catchy, so even as Old Man’s Will proffer downtrodden vibes, they do so in an upbeat, good-time spirit. The contrast ends up being one of the album’s great strengths, building on what Old Man’s Will were able to do with their 2013 self-titled debut on Transubstans prior to hooking up with RidingEasy Records for this, their second album, but keeping a live feel in the proceedings that plays well alongside their roots in the heavy of yore.

One has to imagine that when they inevitably do the biopic about RidingEasy RecordsOld Man’s Will‘s “Easy Rider” will be in there someplace, but for now the track stands among the strongest hooks of Hard Times – Troubled Man, and “Ratking,” which follows, fleshes out along bluesier lines — complete with a sax solo — on what could easily become a signature piece for the band, as clever lyrically as it is in its subtle instrumental build. Coupled with “Easy Rider,” it shows the songwriting prowess at the core of what Old Man’s Will do, and while the ultimate result is bound to be familiar to those schooled in the development of the band’s genre, there’s little denying the edge that they bring to it or the skill with which they execute those tenets. Even on a cut as in-the-gutter as “Ratking,” Old Man’s Will emerge clean.

old man's will

Åberg delivers a soulful performance that’s as fluid in its range as HolmgrenNilsson and Kejving are in sleeking up around it. And in a smart bit of sequencing, the more low-end-minded fuzzer “Got It” follows, tipping back into faster swing and earning its late handclaps as “Troubled Man” earned its cowbell, Holmgren turning in a particularly engaging solo while Nilsson, from deep in the mix, holds the groove tight. I’m not sure if “Got It” is the lead-off for side B or the finale of side A — I’d guess the latter, based on runtime — but “Hazel Eyes,” which follows, brings back the cowbell to underscore another landmark hook of layered vocals, fuzz bass and drums that seem to have taken the ethic of “Easy Rider” to heart. Holmgren meters out another bluesy lead, and just when the track has lulled the listener to a pure state of hypnosis, a kind of instrumental drawl taking hold near the end, the rush of “How Could You Know” snaps one back to a reality of earthy, boogie-laden fuzz.

The dynamic that works through on side B is hopefully prescient of where Old Man’s Will are headed overall, and while they’re not the first to transpose ’70s ballad melancholy onto revivalist heavy rock, seven-minute closer “Another Seven Days” does it especially well, Mellotron adding spaciousness while the lyrics play out scenarios of too much not being enough and push coming to shove and so on, Kejving keeping it classy with light cymbal washes and tom hits as the guitars and bass play out dreamy wistfulness. One might expect the song to explode into a final bout of raucousness, but the vibe holds steady, and they cap instead with a nah-na-na sing-along that does indeed build to a head but stays well within the parameters of what the emotionality of the track has warranted. It is an inviting and engaging finale, and makes for one more instance by which Old Man’s Will showcase how they’ve made this sound their own and what they’ve been able to bring to it.

It’s a long fadeout, but one could hardly accuse them of overstaying their welcome. Instead, Hard Times – Troubled Man plays out with steady efficiency of purpose and execution, and while it may be that the band is their own method of catharsis for all that beat-down bluesery, it seems like sooner or later these guys are going to have to confront just how much fun they’re having.

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Old Man’s Will on Bandcamp

RidingEasy Records

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Wizard Eye Premiere “Stoneburner” from Self-Titled Album

Posted in audiObelisk on October 1st, 2015 by H.P. Taskmaster

wizard eye

Philly trio Wizard Eye issue their self-titled sophomore outing via Black Monk Records on Oct. 10. And yeah, it’s about riffs. And yeah, it’s about being heavy. And yeah, it’s about that crusty kind of vibe in the vocals of guitarist/thereminist Erik Caplan and bassist Dave Shahriari. It’s definitely about those things. But for me, listening to the album’s nine-track/53-minute unfurling, it’s even more about the roll. Not to say Caplan, Shahriari and drummer Mike Scarpone are entirely singular in their focus the whole time — it’s not like they’re doing the same thing over and over, in other words — but the overarching nod of Wizard Eye‘s Wizard Eye is so prevalent that no matter where they might go musically, it seems to unite the songs in a singular purpose. It turns tonal thickness into a roiling sludge goo and then serves that up chunky-style on a two-sided platter that, for those who’ve ever worshiped a riff, should be an essential pilgrimage.

Beginning with the thud-led noise of the instrumental “Eye of the Deep,” Wizard Eye work quickly to justify the anticipation for a follow-up to their 2010 debut, Orbital Rites. “Eye of the Deep” establishes the first of the record’s irresistible grooves and feeds directly into “Flying Falling,” which puts the bass tone front and center before slicking-out perfectly-paced nod-fodder, Caplan and Shahriari combining forces vocally as they do at several points in higher and lower-register gruffness. In addition to the low-end wah that emerges later, “Flying Falling” introduces another key element in the band’s arsenal — Caplan‘s theremin, which adds weirdo flavor to the late solo section and adds a spacey vibe to the album overall without actually pushing the band into space rock indulgence. Scarpone again drives the groove ahead on “Phase Return,” and Caplan and Shahriari alternate vocals between that song and the subsequent “Graybeard,” both cuts brought together by a foundation of swing that’s refreshing
for being so un-subgenred in its complete lack of pretense.

WIZARD-EYE-WIZARD-EYEFront to back, Wizard Eye gets down to business. The maybe Corrosion of Conformity-referencing “Drowning Daydream” (they did have a song called “C.O.C.” on Orbital Rites) follows, drawing the listener deeper into an instrumental languidity that winds up with a touch more swirl than they’ve yet shown, but the oddball “My Riposte is Like Lightning” — the shortest track at 3:42 and even odder for how straightforward it is — snaps back to attention ahead of the semi-plugged nine-minute “Nullarbor,” which moves from early ritualism as it nears its midpoint into the record’s most satisfying march, announced first by the bass and soon taken on by drums and guitar as well. Caplan seems in conversation with the self-titled Clutch record in his shouts on “Thunderbird Divine,” but by then the context is such that the song is entirely Wizard Eye‘s — they’ve taken stoner nod and shaped it to their will, sounding jammy without actually doing much jamming, just chill, chill, chill in its beefy swagger and readiness to vibe out into a perpetuity undercut by the harsh reality of a five-minute runtime.

What’s left to do but close out with an eight-minute affirmation of method? Ain’t exactly like they’ve been screwing around the whole time, but “Stoneburner,” which caps, feels especially well suited to its position. It doesn’t quite speak for the totality of the record — Wizard Eye don’t really give it all away in any single song; it’s an album’s album to be sure — but in its blend of a virulent hook cast into some deep region of subspace on an internal wide-band frequency and how-do-they-get-it-to-move-like-that riffing, “Stoneburner” is a more than worthy freak flag for Wizard Eye to fly on their way out, Caplan returning to the theremin one last time in the final jam to give further depth to what’s already dug in far enough to come out on the other side. And in case I haven’t yet mixed metaphors enough to give an impression of just how trippy this shit is: rutabaga.

It’s felt like a long wait for Wizard Eye‘s second to arrive. Somehow, when I put the record on for another go, time doesn’t seem to matter at all.

Get yourself a piece with the track premiere for “Stoneburner” below. PR wire info follows. Enjoy:

Philadelphia psychedelic rock trio, WIZARD EYE, will release its self-titled new full-length this Fall via Black Monk Records. Recorded in three days at Haddon Heights, New Jersey’s Gradwell House Studios with the imminently irascible and talented Steve Poponi behind the board and mastered by Dave Downham, the long-awaited follow-up to the band’s 2010 Orbital Rites debut takes WIZARD EYE’s signature brand of mind-bending riffs and kaleidoscopic soundscapes to a new level of titanic glory. A fusion of bottom-heavy grooves, fiery fuzz, churning bass, otherworldly effects and raw vocals with roots still planted firmly into the lysergic soil of ‘70s acts like Hawkwind, Budgie, Blue Cheer, Captain Beyond, Motörhead and Black Sabbath, Wizard Eye shows the band operating at the pinnacle of its creative and musical abilities.

Wizard Eye will be released via Black Monk Records on October 10th, 2015 digitally and on limited-edition swirled vinyl.

Erik Caplan – guitar, theremin, vocals
Dave Shahriari – bass, vocals
Mike Scarpone – drums, percussion

Wizard Eye on Thee Facebooks

Wizard Eye on Bandcamp

US preorder

International preorder

Black Monk Records

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Brain Pyramid Premiere “Electric Spell” from New LP Magnetosphere

Posted in audiObelisk on September 28th, 2015 by H.P. Taskmaster

brain pyramid

Relocated from Brittany in France to Barcelona, Spain, heavy rock trio Brain Pyramid have made their second long-player, Magnetosphere, available to preorder from Vincebus Eruptum Recordings. A vinyl/download available either on black or green wax, it’s their follow-up to 2014’s Chasma Hideout (stream here; review here) as well as a split with French act Missingmile and finds guitarist Gaston Lainé and drummer Baptiste Gautier-Lorenzo joined by new bassist Paul Arends. One doubts it’s completely attributable to the lineup change, but the difference between the first album and the sophomore outing is palpable, Brain Pyramid departing from structured songwriting in favor of instrumental heavy psych sprawl, Magnetosphere made up of just three tracks totaling 43 minutes.

To make matters even more spaced out, 25 of those 43 minutes are dedicated to the title-track, which serves as the entirety of side A. On side B, LainéGautier-Lorenzo and Arends offer brain pyramid magnetosphereup two more jams, “Solar Wind” and the closing “Electric Spell,” each running the better portion of nine minutes. All told, Brain Pyramid retain the natural tones and stoner grooves of their debut but branch way out into improv psychedelics, and while it may be a one-off — that is, they’ll get back to verses and choruses sooner or later; unless they don’t — if the three-piece were looking to demonstrate their newfound chemistry, they do so across these songs in the rawest form possible. Their weighted jams swell in volume and recede over the solid foundation of Gautier-Lorenzo‘s drumming, and Lainé runs through extended solos that only make the proceedings more molten as they go, each cut operating with the same live-style warmth that, whether or not Brain Pyramid decide to return from the lysergic region of subspace they’re inhabiting here will serve them well as a stylistic groundwork from which to build.

As a way of heralding Magnetosphere‘s arrival, you can stream “Electric Spell” on the player below. Something of an outlier for not being completely improvised, it nonetheless represents the general methodology well. Album info and preorder links follow. Please enjoy:

Brain Pyramid was formed in November 2012, in Rennes (Brittany—France). This is the initiative of the actual lead guitarist Gaston Lainé and the drummer Baptiste Gautier-Lorenzo.

Influenced by the sweet old Rock n Roll (Led Zeppelin, Hendrix, Sabbath, Motörhead, Blue Cheer, etc.) but also by stoner rock and actual psychedelic scene (Kyuss, Sleep, Fu Manchu, Earthless, Orange Goblin, etc.) they decided to create a band to play like these masters. After the release of their first EP «Magic Carpet Ride», the former bassman left his place to Ronan Grall from the doom band Huata. The band recorded it’s first LP called «Chasma Hideout» and release it on Acid Cosmonaut Records. After the 2014 European tour, the band proceed to another line-up change, to welcome a new bass player: Paul Arends. They made a Split with the french stoner band Missingmile, and they recorded an other LP in 2015, based on free jams, called Magnetosphere. They are now beginning a new era in the city of Barcelona.

Brain Pyramid is a Heavy Bluesy Stoner Psychedelic Rock And Roll band. They play loud enough to make you feel like blown by a lsd dose. They are actually searching for lots of gigs to expend their experience and grow up to the sun.

Brain Pyramid on Thee Facebooks

Brain Pyramid on Bandcamp

Vincebus Eruptum on Bandcamp

Vincebus Eruptum Recordings

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Reptile Master Announce In the Light of a Sinking Sun for Oct. 23 Release; Stream Title-Track

Posted in audiObelisk, Whathaveyou on September 28th, 2015 by H.P. Taskmaster

reptile master

Big-toned aggro-doomers Reptile Master will issue their debut long-player, In the Light of a Sinking Sun, on Oct. 23 via Blues for the Red Sun Records. The five-piece outfit hail from Tromsø in the north of Norway and before you’re assaulted with a barrage of cliches about how cold their sound is, I’ll go the opposite route and say rather that it’s magmic, a vicious roil no less brutal in intent than what Aussie destruction specialists Horsehunter made such a splash with earlier this year, and akin in its extremity to the drone-evil riffing that’s made Bongripper a household name among doomers.

I looked up how to say “thunder plod” in Norwegian. If you’re wondering, it’s “torden traske.” Good to know — especially as I’ve been given permission to host the title-track, “In the Light of a Sinking Sun,” for its streaming debut!

You’ll find the song under the PR wire info below. Thanks to the label for letting me host it:


Reptile Master In The Light Of A Sinking Sun (LP/CD/Digital) BFTRS 003

Debut album out October 23rd 2015

Filled with a passion for everything evil, Reptile Master from Tromsø / northern Norway is on a mission to spread the gospel of doom. With strong roots in both traditional heavy metal, post-metal and sludge, they create a new sound composed of the outermost extremes found in aggression and sorrow. Reptile Master, in cooperation with the label Blues For The Red Sun from Tromsø/Norway, now present their first full length album, which has recently been recorded and is expected to be released in October. The result is far from becoming a commercial radio hit. This is probably one of the most heavy and doomy records ever to be released from the dark north!

If you like Bongripper, OM, Indian, Thou or bigger bands like Black Sabbath, Electric Wizard or Sleep you probably will find something to dig on Reptile Master’s debut album “In The Light Of A Sinking Sun”.

Hekseprosessen I
The Sorcerer’s Weed
Butcher’s Boogie
From Crown To Dagger
Hekseprosessen II
Moon Ritual
In The Light Of A Sinking Sun

Guitar – Markus Kjelstrup Andreassen
Bass and vocals – Nicolay Tufte Østvold
Drums – Steinar Haugan
Guitar – Øystein Midtgård Johansen
Bass and vocals – Rolf Ole Rydeng Jenssen

Reptile Master, “In the Light of a Sinking Sun”

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Void of Sleep Premiere “Hidden Revelations” from New Album New World Order

Posted in audiObelisk on September 25th, 2015 by H.P. Taskmaster

void of sleep

Italian outfit Void of Sleep will release their new album, New World Order, on Oct. 19 through Aural Music. It’s their second full-length behind 2013’s Tales Between Reality and Madness and arrives anchored in the rather bleak theme of a hopeless future, not so much telling about a character’s struggle against it as reveling in the futility of that struggle to start with across seven tracks/44 minutes that only become more expansive as they go. The four-piece — guitarist/vocalist Andrea “Burdo” Burdisso, guitarist/backing vocalist Marco “Gale” Galeotti, bassist Riccardo “Paso” Pasini and drummer Andrea “Allo” Allodoli — cast a broad stylistic net, varying in poise and aggression throughout, but ultimately land in a comfortable space that blends the impact of sludge riffing with the purposefulness of prog.

Split into two sides, New World Order presents its atmosphere through its theme and through the sound of the material itself — precise but not too clean. Early on, with the opening duo of “The Devil’s Conjuration” and “Hidden Revelations,” Void of Sleep show themselves to be capable of melding complex structures with resonant hooks, the melodies and shouts banding together in order to make an individual impression as “Slaves Shall Serve” takes hold leading into the side A closer “Ordo ab Chao,” which slowsvoid of sleep new world order down and spreads out earlier intensity as a precursor to some of the second half of the album’s more grandiose sensibilities. Those manifest quickly in the side B intro “Lords of Conspiracy” — one may recognize the same from which this record derives its title from Ministry‘s use of it in “N.W.O.” circa 1992 — but only get more expansive as Void of Sleep push through the title-track and into the 14-minute closer “Ending Theme.”

Compared to what follows, the first half of New World Order is more straightforward. Its choruses are hooks and it feels put together on the basis of its individual songs. Side B, on the other hand, is meant to feed right from its intro into “New World Order” and into “Ending Theme,” which also breaks into three component parts over its extended runtime. Accordingly, Void of Sleep come across as more theatrical and narrative, though many of the elements they’re using to give that vibe are similar to what they presented earlier on — tight rhythms, crisp melodies, a generally progressive ambience around what they’re touring and why they’re doing it, and so on. As such, though it doesn’t quite account for a complete summary of what New World Order has to offer, I’m thrilled today to be able to host the premiere of “Hidden Revelations” ahead of the album’s release next month.

The longest cut on side A at 6:36, it boasts a particularly engaging interplay from the two — that’s not to say “dueling” — vocalists and an aggro mood resulting that only develops and grows richer as the rest of New World Order plays out.

Please find “Hidden Revelations” on the player below, followed by info off the PR wire, and enjoy:

Italian progressive occult metal visionaries, VOID OF SLEEP, will release their sophomore full-length next month via Aural Music. Titled, New World Order, the seven track concept album and follow-up to 2013’s acclaimed Tales Between Reality And Madness long player was captured by bassist Riccardo Pasini (Ephel Duath, The Secret) at Studio73 in Ravenna, Italy and mastered by Collin Jordan (Eyehategod, Indian, Wovenhand, Voivod etc.) at The Boiler Room in Chicago, Illinois.

“New World Orderrepresents to us a new culmination of our sound,” issues of the band of their latest compositions. “Now more than ever you can call it visionary, sludgy and progressive. It’s an occult, esoteric and wicked metaphor to the modern society as we consider it: with no positive expectations of the future of this world. This album embraces the concept of evil in its purest form. Since the beginning, man has been doomed to consume and enslave and destroy his own kind in an absurd discord to the final extinction.”

New World Order comes shrouded in the arcane cover creation of Simone Bertozzi who relays of the work, “while doing it I experienced the breath of Lucifer on my back, the Illuminati around the corner and reptilians getting ready for my abduction. Coincidence? I think not.”

New World Order Track Listing:
1. The Devil’s Conjuration
2. Hidden Revelations
3. Slaves Shall Serve
4. Ordo Ab Chao
5. Lords Of Conspiracy
6. New World Order
7. Ending Theme (l. Mourn ll. Triumphant lll. Void)

Void of Sleep on Thee Facebooks

New World Order preorders through Aural Music

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Mos Generator Premiere “Easy Evil” and Announce Acoustic Album for Early 2016

Posted in audiObelisk on September 24th, 2015 by H.P. Taskmaster

mos generator acoustic

One can hear a bit of electric guitar tucked in at the end of “Easy Evil,” but no question it’s a different listen than has come to be expected from the Tony Reed-led Port Orchard, Washington, riff specialists, who’ve probably spent more time on the road in 2015 than in the decade and a half preceding. They’ll look to keep their rather considerable momentum going into the New Year with the release of the first unplugged-style offering in the band’s history. Comprised at this point of Reed (guitar, vocals, keys, recording, studio drums) and bassist Sean BoothMos Generator have always had their foundation in memorable songwriting, and as it’s impossible to sustain an unplugged offering without that, it makes sense that sooner or later they’d wind up working in the form. As Reed notes in his comments on making the record, which will be out early 2016 on H42 Records, the project was inspired by a few acoustic shows he did earlier this year.

The album, still waiting to reveal its title and artwork, will feature material old and new. “Easy Evil” doesn’t come across so differently in structure from a lot of what Mos Generator have done across their two full-lengths — last year’s Electric Mountain Majesty (review here) and 2012’s Nomads (review here) — and sundry shorter releases, splits, etc., since returning to activity following several years’ absence. Its structure is straightforward and the guitar leads the way. Reed‘s penchant for classic rock raucousness that shows itself live is given a back seat, however, to the central melody, and that winds up being how the track makes such a memorable impression. As a first taste of a larger work yet to be revealed, it teases flourishes of arrangement in its vocal layering and the already-noted electric guitar line in the back half, but winds up in a subdued place without sounding like it’s pandering to some forced idea of moodiness. Not an easy tightrope to walk for a band on their first acoustic outing, but as ever, it’s the songwriting that stands out.

Mos Generator will release their unplugged debut on H42 Records early next year. Please find the official announcement, including Reed‘s comments, after the stream of “Easy Evil” on the player below, and enjoy:


The plugs are pulled! The very first Mos Generator acoustic album is in the works!

End of August 2015 Mos Generator went for a short first stop into the studio to records old songs as well as new songs and packed them into an acoustic garb. After their ongoing US tour with The Atomic Bitchwax they will stop for a second time in the studio to record the remaining songs for their first acoustic album.

The album appears as a limited edition Vinyl only on H42 Records early 2016!

Artwork is still in work and will be realized by the amazing Frank Popp from Germany, Berlin.

Comments Tony Reed:

This acoustic album will have some drastically different versions of songs from our back catalog and also a few new songs. I never considered doing an acoustic album for MG until I was forced to do some shows acoustically earlier this year and I realized how much different the songs were when played with open chords and sang with a mellow delivery. It’s been fun to rework the material for this style.

Album Title: TBA
Album Art: TBA by Frank Popp
Release: Early 2016
Tracklist: TBA
Label: H42 Records

Mos Generator:

H42 Records:

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