U Sco Stream New Album Treffpunkt in its Entirety

Posted in audiObelisk on September 18th, 2014 by H.P. Taskmaster

u sco

Calculated chaos abounds on Portland, Oregon, trio U Sco‘s full-length debut, Treffpunkt. The LP releases next week on New Atlantis Records and compiles eight brainbending instrumental selections of noise-gone-prog, churning high-speed math metal changes out with raw punker tones and some feedbackular hum for atmosphere and abrasion alike. It’s a dizzying array of sounds proffered by guitarist Ryan Miller, bassist Jon Scheid and drummer Phil Cleary, and if you were to follow the bouncing ball on a cut like the six-minute “Crack in the Crystal Glass,” you’d likely need more than three dimensions to do it. They turn and they drive and they shuffle and they even boogie a little bit (there’s some get-down in there), and spazz quick enough from one to the other that you’d almost be tempted to call it jazz if it didn’t already have 50 other designations. By whatever name, dudes are freaking out.

If you’re like, “Whatever, chief” and think you’re all set to hang with the bird-chirp guitar noise that starts “Tuskflower” or the litany of furies that unfold therefrom like sentient origami, knock yourself out, but be warned that Treffpunkt gets pretty brutal. Not in the growly ruh-ruh-ruh death metal sense, but throwing down a challenge anyway in u sco treffpunktits chops and technical prowess that, since it’s beyond the realm of my simpleton understanding, I’m just gonna have to assume is magic. The appearance of some standup bass in the title-track is noteworthy, and all the more so if you can find it amidst the surrounding assault, and right when the whole record seems like it’s going to burst, with the mega-noodle tap-ery of “Iguana House,” U Sco pull back and drone out on “Glm Lrkr” (which I’ll assume is pronounced “glum lurker” as opposed to some other configuration of vowels), slow riffing for a while before letting a wave of noise carry the last six minutes or so of the nine-minute track. You know, just in case you dared to think you knew what was coming or something like that.

It’s a Sept. 23 release date, and I’ve been given the nod to host the full doodad ahead of time, so find it on the player below, followed by PR wire info and order-type links, and enjoy:

Featuring members of notable, genre-bending Portland-bred projects such as Jezebel Spirit, With Eyes Abstract and Duck. Little Brother, Duck!, U Sco has been an electrifying, formidable staple of Portland’s unparalleled punk scene since their formation in 2011.

Treffpunkt was recorded and mixed by Paurl Walsh at Roadhouse Studios in Portland in the winter of 2013. Sonically, it’s the best representation of the band so far, combining the dizzying velocity of their live performances with an aural spaciousness and lucidity that highlights the group’s breathtaking consideration for musical minutiae. Treffpunkt is an immensely challenging (and equally rewarding) listen, but one should hesitate to use the word “inaccessible” – U Sco’s blood is red hot. In vulgar terms, this is progressive rock with a hardcore heart. A far cry from the emotionally-detached, irritatingly-positive, regurgitated diatonic Don Caballero-worship that characterizes most contemporary math rock. This is not happy music; this is not superficially fun music. Dissonant, propulsive, and pantonal- this is monolithic art rock, triumphant its raw, discomforting sonic catharsis.

U Sco on Thee Facebooks

U Sco on Bandcamp

New Atlantis Records

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Brain Pyramid Stream Debut Album Chasma Hideout in its Entirety

Posted in audiObelisk on September 17th, 2014 by H.P. Taskmaster

brain pyramid

It’s good to get the basics covered. Grooving riffs, songs about space and monsters, a Kyuss influence, some blues. French heavy rock trio Brain Pyramid hit their marks on their debut full-length, Chasma Hideout. The album will be released on Oct. 1 by Acid Cosmonaut Records, and shortly thereafter, the three-piece — guitarist/vocalist Gaston Lainé, bassist Ronan Grall and drummer Baptiste Gautier-Lorenzo – head out on a European tour to support. They’re newcomers, having formed just at the end of 2012, but as the seven tracks of Chasma Hideout demonstrate, they know what makes stoner rock go.

They have a structured but still jammy approach, as the Sabbathian beginning of “Lucifer” unfolds topped with psychedelic guitar effects swirl, and a crisply layered production that results in a fat, front-of-the-speaker kind of sound. The preceding “Landing on the Pyramind” offers bluesy bounce after the jammier open of “Living in the Outer Space” and subsequent shuffle of “Lazy,” and while “Lucifer” is about as far into doom as Brain Pyramid move, they never lose sight of the heavy psych elements at work in what they do. It’s their propensity for making these sounds cohesive that makes the album a satisfying listen — how Lainé tears into a solo just as the tempo kicks up or how Grall‘s bass subtly carries the melody of “Twin Headed Giant” — and while they’re far from reinventing the wheel sonically, they’re starting out ahead of the game by working to find a place of their own within thebrain pyramid chasma hideout style, learning the rules even as they determine which ones they want to break and how they want to go about it.

The boogie runs strong in “Into the Lightspeed” — if you’re wondering about the extra “the”s in that title and “Living in the Outer Space,” it could be a translation issue, it could be on purpose — and which incorporates some organ to go with the wah bass jam, spaced out guitar and Gautier-Lorenzo‘s thudding tom rolls. They ebb and flow and get hypnotic across that song and the 11-minute closing title-track, though it’s probably the latter that makes Chasma Hideout‘s definitive statement, pushing away from verses and choruses for a linear instrumental build based around psychedelic soundscaping early and extra-blown-out fuzz later on, Lainé shredding a head-turner of a solo before embarking on the riffing that will carry the record to its raucous conclusion, a wash of amp noise, rumble and feedback leading the way out in the last minute as Brain Pyramid make their exit on a final, fading tone.

While it’s true they still have some stuff they’re figuring out — vocals are a little high here and there, including on “Living in the Outer Space,” and there’s development to be undertaken all around — Chasma Hideout is all the more impressive considering these dudes have basically been a band for not quite two years’ time. Ahead of the aforementioned Oct. 1 release, I’m happy to be able to stream the album in full. Please find it on the player below, followed by their tour dates, and enjoy:

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[TBC] Friday 10/10/14 : Le Mans
[TBC] Saturday 11/10/14
[TBC] Sunday 12/10/14
Monday 13/10/14 : Caen w/ Missingmile @ Le bocal
[TBC] Tuesday 14/10/14
Wednesday 15/10/14 : Amiens/w Cheap Wine
Thursday 16/10/14 : Lyon @ Trokson
Friday 17/10/14 : Montpellier @ Le MAT
[TBC] Saturday 18/10/14 : Perpignan/Toulouse
Sunday 19/10/14 : Barcelone @ rocksound
[TBC] Monday 20/10/14 : Valencia TBC
Tuesday 21/10//14 : Madrid @ Wurlitzer Ballroom w/Mr. Wilfried
Wednesday 22/10/14 : Ourense @ Centro Cultural Auriense
Thursday 23/10/14 : Lisboa @ Stairway Club
Friday 24/10/14 : Barcelos
Saturday 25/10/14 : Viseu @ fora de rebanho
[TBC] Sunday 26/10/14 @ Xijon
Tuesday 28/10/14 : Bilbao w/ The wizards
Wednesday 29/10/14 : Bordeaux @ Le Capharnaüm
Thursday 30/10/14 : Paris @ Le Klub
Saturday 1/11/14 : Tours @ Hurricane’s w/ Crackhouse booked
Wednesday 5/11/14 : Rennes @ Le Gazoline + Cuzo
[TBC] Thursday 6/11/14 : Alençon w/Birth of Joy
Tuesday 20/11/14 : Nantes @ Scène michelet w/ Fange

Brain Pyramid on Thee Facebooks

Acid Cosmonaut Records on Bandcamp

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Truckfighters Premiere “Dig You Down” from Return of the Fuzzsplit

Posted in audiObelisk on September 15th, 2014 by H.P. Taskmaster

truckfighters

It’s worth noting that of all the bands Truckfighters have brought into the fold of their label, Fuzzorama Records – from Dexter Jones Circus Orchestra, to Asteroid, to Valley of the Sun – Austrian four-piece Witchrider are the first with whom the Örebro fuzzlords have actually teamed up for a release. Dubbed The Return of the Fuzzsplit with the heading of Truckfighters vs. Witchrider, the new 12″ is available now from Fuzzorama and hearkens back to the very first release on the imprint, “fuzz CD001,” 2003’s Fuzzsplit of the Century between Truckfigthers vs. Firestone.

That split (review here) marked a transition point for Truckfighters, since it would be the last thing bassist Oskar “Ozo” Cedermalm would release with his former band (i.e. Firestone) and, as noted, the first Truckfighters outing through their own label. 11 years later, the fuzzsplit’s return finds Truckfighters in a much different situation. Four albums out, including this year’s Universe (review here), a documentary in their honor, truckfighters vs witchrider the return of the fuzzsplitand more tours and photos of them jumping up and down than I think even they could be bothered to count at this point, Truckfighters are among the foremost purveyors of fuzz the world over. They’ve busted their collective ass and a few drummers along the way to get there — the role is currently filled by Axel “Enzo” Larsson alongside Cedermalm on bass/vocals and guitarist Niklas “Dango” Källgren — but especially live, they’re undeniable. Their slogan at this point has become “Quite Possibly the Best Band in the World,” and they play like it every night out.

Whether they’re reviving the Fuzzsplit in order to introduce Witchrider to their built-in, increasing, and loyal fanbase or just to have something to take with them on their upcoming European tour together, the endorsement speaks volumes and provides yet another example of Truckfighters‘ unwavering work ethic. The three-piece’s contribution to The Return of the Fuzzsplit is called “Dig You Down,” and I have the pleasure of premiering the audio of the track for your streaming pleasure. They’ve also got a brand new video for the song that you can find snuck in down below the dates for the impending run, which begins Oct. 10 at DesertFest Belgium and unfolds from there for the rest of the month until Truckfighters hit the UK in November.

Dig, and enjoy:

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truckfighters euro tour

We will once again bring our friends in White Miles and the new Fuzzorama Records signing Witchrider!
Check out these bands if you have not already!

Please share to make sure your friends do not miss out.
You will find ticket links at http://www.truckfighters.com/dates-2/

Complete list of dates:
Sep 18 Close Up Båten, Stockholm, Sweden
Sep 20 Reeperbahn Festival Hamburg, Germany
Oct 10 Trix (Desertfest) Antwerp, Belgium
Oct 13 Tivoli Utrecht, Netherlands
Oct 14 Effenaar Eindhoven, Netherlands
Oct 15 Die Pumpe Kiel, Germany
Oct 16 Kleine Freiheit Osnabruck, Germany
Oct 17 FZW Dortmund, Germany
Oct 18 Conne Island Leipzig, Germany
Oct 19 Kantine Augsburg, Germany
Oct 21 Keller Klub Stuttgart, Germany
Oct 22 ZOOM Frankfurt Frankfurt Am Main, Germany
Oct 23 Bei Chez Heinz Hannover, Germany
Oct 24 Kulturzentrum Lagerhaus Bremen, Germany
Oct 25 Minoga Poznan, Poland
Oct 26 Hydrozagadka Warsaw, Poland
Oct 28 Club 007 Prague, Czech Republic
Oct 29 Szene Vienna, Austria
Oct 30 Conrad Sohm Dornbirn, Austria
Oct 31 Bad Bonn Dudingen, Switzerland
Nov 01 Kiff Aarau, Switzerland
Nov 10 Brudenell Leeds, United Kingdom
Nov 11 Sound Control Manchester, United Kingdom
Nov 12 King Tuts Wah Wah Hut Glasgow, United Kingdom
Nov 13 The Basement Nottingham, United Kingdom
Nov 14 O2 Academy Islington London, United Kingdom
Nov 15 Hard Rock Hell Pwllheli, United Kingdom
Nov 16 Oobleck Birmingham, United Kingdom

Truckfighters, “Dig You Down” official video

Truckfighters on Thee Facebooks

Truckfighters vs. Witchrider at Fuzzorama Records

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The Obelisk Radio Adds: Bong, Space Mushroom Fuzz, Desert Lord, Lucifer in the Sky with Diamonds, and Plunger

Posted in Radio on September 12th, 2014 by H.P. Taskmaster

the obelisk radio

It’s been a couple weeks since the last time I was able to get together a proper round of adds to The Obelisk Radio, and the list as a result is accordingly huge. I’d have to go back and compare the last 18-plus months to be sure, but I think 40 albums is up there with what I might have uploaded during the initial buildup of the playlist, just basically getting everything I could think of and a bunch of stuff I couldn’t to expand on what was on the hard drive when I got it. We’ll be at two years since the Radio stream went live before I know it. Time goes quick, and seems to all the more when each post has a timestamp.

I say this every time, but there’s a lot of killer stuff included this week, so I hope you find something you enjoy.

The Obelisk Radio Adds for Sept. 13, 2014:

Bong, Bong Presents Haikai No Ku Ultra High Dimensionality LP

bong haikai no ku

I wouldn’t be so presumptuous as to try to ascertain what plane of being Bong are residing on these days, but suffice it to say, they’ve evolved beyond corporeal form and merged with the all-consuming distortion of the universe. At least that’s how it sounds. The maddeningly prolific UK drone-doomers present this release but aren’t actually on it, save for guitarist Mike Vest, who leads the side-project Haikai No Ku through five tracks of blissful psychout on Ultra High Dimensionality. If you’re looking for differences between the two outfits, Haikai No Ku lean less toward grim droning than Bong, and songs like “Dead in the Temple” and “Blue at Noon” roll out huge psychedelic grooves — the band is completed by bassist Jerome Smith and drummer Sam Booth – but there’s consistency to be found in the wash of noise and the complete hypnosis of their repetitions anyway, and as high as the dimensionality might be, the volume should be higher. One to get lost in for sure, and there’s enough space for everyone. Bong on Twitter, on Bandcamp.

Lucifer in the Sky with Diamonds, The Shining One

lucifer in the sky with diamonds the shining one

The pun in the moniker of Moscow double-guitar four-piece Lucifer in the Sky with Diamonds probably doesn’t need to be pointed out. Featuring The Grand Astoria collaborator Igor SuvorovLucifer in the Sky with Diamonds pull together touches of psychedelic impulsiveness and classic heavy rock structures with the production clarity and catchy songwriting of mid-era Queens of the Stone Age. There’s a danger underscoring the boogie of “How to Fix Things” from the band’s self-released debut LP, The Shining One, that seems to find payoff later in the big-groove hook of “Highlow World,” which provides one of the album’s most satisfying listens before shifting into an airier dreamspace and fading into the noisier “Lords of the Damned,” reviving the largesse of riff prior to the closing title-track. An intriguing debut for an outfit loaded with potential, the fullness of their sound boding particularly well for their confidence in their sound and the precision of their execution. One not to be missed. Lucifer in the Sky with Diamonds on Thee Facebooks, on Bandcamp.

Desert Lord, To the Unknown

desert lord to the unknown

Finnish stoner-doom foursome Desert Lord get into some Sabbath-worship on their debut long-player, To the Unknown, but manage to avoid both the trap of retro ’70s-ism that has much of Europe so firmly in its grasp and the trap of sounding like Reverend Bizarre, whose legacy in their native land isn’t to be understated. Of particular note is that Desert Lord cite The Cult as an influence. One can hear shades of that in the guitars on opener “Forlorn Caravan,” but Desert Lord quickly move into doomier fare on the subsequent nine-minute “Wonderland,” which distinguished by weeded-out wah on Roni‘s bass. Middle-ground is sought and found on “New Dimensions,” with vocalist Sampo Riihimäki reminding of Earthride‘s Dave Sherman in his movement between rougher delivery, spoken word, and accentuated screaming, also hinting at roots in more traditional metal, though “Manic Survivor’s Song” gives way to more stoner territory in the guitar, reminding of some of Eggnogg‘s stylistic turns, though with less of a mind toward tonal thickness. They’re still figuring out where they want to be, but Desert Lord‘s To the Unknown has more than a few moments worth the effort of a listen. Desert Lord on Thee Facebooks, on Bandcamp.

Space Mushroom Fuzz, Onward, to the Future

space mushroom fuzz onward to the future

Perpetually progressive and perpetually prolific bizarro psych rockers Space Mushroom Fuzz return with another new release, dubbed Onward, to the Future. The Boston outfit, led by Adam Abrams of Blue Aside, include two tracks this time out, “Onward, to the Future,” a laid back space rocker made strange in its midsection with some theremin-style keys, and the waltzing “Half the Way Down,” which shows off some classical guitar work over a subtly oompah backing rhythm with soft, brooding vocals. Is it possible to have a shoegazing waltz? Space Mushroom Fuzz never lack character in they do, Abrams periodically leading the way through jams that could and sometimes do run into indulgent (if satisfying) noodlefests, but particularly with “Half the Way Down,” there’s something more grounded and sadder at the root. “Onward, to the Future” tells a tale of alien invasion — short version: they win — and showcases the band’s exploratory side, but even that ends contemplative and relatively minimal, sort of dropping instruments one at a time by its finish on a long fade. A lesson in taming expectation, perhaps, and a fascinating, quick journey from this inventive outfit. Space Mushroom Fuzz on Thee Facebooks, on Bandcamp.

Plunger, Space Plumber

plunger space plumber

All seems to be on a course for weirdo noise punk as Los Angeles bass/drum duo Plunger get underway on their debut Space Plumber EP, some Melvins influence making itself felt on “Toxic Wrap,” and then they rumble and thump their way into the eight-minute centerpiece title-track, and it becomes apparent that there’s much more going on with twin brothers Mark (bass/vocals) and Kris Calabio (drums/vocals, also of Old Man Wizard) than it might at first seem. They quickly put their own minimalism to work for them on the faster opener “Blerg Rush,” but “Space Plumber” moves far off into sparseness, the drums barely there when they are and then gone ahead of the transition into “Sleep,” on which both Mark and Kris contribute vocals over a fuller rumble and steady roll, clearly enjoying the contrast. “Plunger” rounds out the release with a fuller take on some of the faster movement of the opener, starts and stops in the unpretentious 1;53 finale. One gets the feeling the (Super) Calabio Bros. are only going to get stranger from here, and that suits them well. Plunger on Thee Facebooks, on Bandcamp.

Once again, these are five cool releases, but there were 35 other records that join the playlist today, including full-lengths from Orange Goblin, Electric Wizard, Apostle of Solitude and on and on. A couple of these will be on the year-end list, so if you get the chance to check out The Obelisk Radio playlist and updates page, I think it’s worth a look.

Thank you for reading and listening.

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Albez Duz Premiere “Mictlan” from The Coming of Mictlan

Posted in audiObelisk on September 12th, 2014 by H.P. Taskmaster

Today marks the release date of Albez Duz‘s second album, The Coming of Mictlan, on Iron Bonehead Productions vinyl and Archaic Sound CD. The sophomore outing from the Berlin-based two-piece follows a 2009 self-titled debut and is a subgenre spanning work of depressive and extreme doom metal, seven tracks spread across two vinyl sides running a gamut from morose goth theatricality to deathly growls grueling rhythmic lurch, all with a sense of the grandiose and a dose of classic melodic melancholia to accompany. Propelled by the collaboration of multi-instrumentalist Eugen H. (also drums in black metallers Dies Ater) and vocalist Alfonso Brito Lopez, it is encompassing and masterfully conceived.

Beginning with the mystic drones and spoken word intro “Heaven’s Blind,” The Coming of Mictlan isn’t without its ritualized side, a cultish tendency and neofolk influence emerging on the album’s second half with the subdued “Drowned,” some classic prog coming late into that song with emergent keys (they also covered Black Widow on albez duz the coming of mictlanthe first record), but Albez Duz utterly refuse to be pinned to one style or another. An early rocker like “Fire Wings,” which still boasts plenty of twists and turns, sets the stage for further branching out on the subsequent “Mictlan” and “Feathered Snake,” unifying Aztec themes emerging across the record’s flowing course until the closing Tanita Tikaram cover “Twist in My Sobriety” redoes the moody New Wave pop-folk of the original as dark rock downerism.

To coincide with the album’s release, today I have the pleasure of hosting “Mictlan” for streaming. It’s not a complete summary of everything Albez Duz accomplish on The Coming of Mictlan, but it does demonstrate over its eight minutes how coherently the band ties its varied elements together, creating something individual from them and balancing an experimental sensibility with progressive songwriting. Do yourself a favor: When the song is done, and the keyboard-topped doom march has reached its conclusion, hit play again and go back to the start to remind yourself of just how far you’ve come and in how relatively short a time.

Enjoy:

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Albez Duz‘s The Coming of Mictlan is available now on Iron Bonehead Productions LP and Archaic Sound CD. More info at the links.

Albez Duz on Thee Facebooks

Albez Duz on Bandcamp

Iron Bonehead Productions

Archaic Sound

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Lark’s Tongue Stream Debut LP Narrow in Full

Posted in audiObelisk on September 10th, 2014 by H.P. Taskmaster

larks tongue

Illinois five-piece Lark’s Tongue will release their debut album, Narrow, through their own Bird Dialect Records on Sept. 20 (preorder here). The eight-song 2LP plays out in utter defiance of its title: Narrow is anything but as Lark’s Tongue explore the spaces between heavy psychedelia and post-rock, working influences from New Wave melancholia into songs like “Hecate” and concocting rich vocal harmonies to complement the airy backing of guitar effects and synth that constitute their lush, immersive sound when paired with deep bass and underlying drums that seem to hold the whole thing together. At 63 minutes, it is as ambitious a debut as one is likely to hear this year or any other, and its weight is matched by both its sonic and emotional resonance.

There are moments at which, with the spacious mix, ever-present focus on melody and heavy push, Lark’s Tongue remind of mid-period Katatonia or some of Anathema‘s former glories, but they seem to take the long way around to get there. That is, I don’t think it’s a direct influence, and rather that the wisping guitar of “Lay Me Down Slow” and the dramatic vocals of “Hermit’s Lament” come more from post-rock than the doom that took earlier inspiration from it. Still, as Narrow plays out, even in a heavier-rocking cut like “The Mask of Evil,” there’s a definite sense of clarity in Lark’s Tongue‘s vision, lark's tongue narrowand the method of expression varies widely between the dreamy opening of “Windows and Mirrors” and the drone-to-apex finale of “Brown Recluse,” but what remains consistent is the smoothness with which they execute the material and the vast range of the album’s scope, undercutting the notion of Narrow as a first album and giving away members’ experience in acts like MinskMen of FortuneDeceased Priest and JuanGoblin.

Lark’s Tongue is comprised of Chris Bennett, Jeff Hyde, Nate Lucas, Jon Wright and Andrew Sledd, and whatever else Narrow may or may not be, it’s a huge leap from where they were last year on their split with Across Tundras (streamed here). Listening to it is like diving into a pool, the way the band’s sound encompasses, especially when played at appropriate volume. Perhaps the most immersive moment is “Cold Hands,” which over the course of its 10 minutes rises from minimal guitar drones to a huge, lumbering tonal crush topped with somehow-still-under-control vocals that really emphasize just how far ahead of the game these guys are.

They’ll play two release shows for Narrow on Sept. 19 and 20. PR wire details and LP preoroder info follow the album itself, which you can hear on the player below.

Please enjoy:

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Following a debut 7″ and split 12″s with Across Tundras and Men of Fortune, Narrow is the debut full-length from Lark’s Tongue and the ninth release on the band’s own label, Bird Dialect. It features eight expansive songs across two LPs that collectively encapsulate the band’s first four years of existence.

Narrow is a pilgrimage across the vastness of psychedelic rock to places at once familiar and foreboding, severe and loving, intricate and immense. It’s the band’s first fully-formed missive: a statement of intention, a transmission of catharsis, a halcyon ode to the power of transformation.

A vinyl release show is set for September 20th at Ear in the Envelope in Peoria, Illinois, just one day after the band opens for the legendary Nik Turner’s Hawkwind at RIBCO in Rock Island.

Recorded by Jeff Gregory at ToneLab/Earth Analog
Mixed by Sanford Parker at Hypercube
Mastered by Collin Jordan at The Boiler Room

Pre-order the record at birddialect.bigcartel.com. For more information, visit birddialect.com or larkstongue.bandcamp.com.

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Old Testament Premiere “Summer Grass” from Self-Titled Debut LP

Posted in audiObelisk on September 8th, 2014 by H.P. Taskmaster

old testament

Tomorrow, Sept. 9, marks the release date of Old Testament‘s self-titled debut on Xemu Records. The (relatively) new project is spearheaded by Jason Simon of Dead Meadow and retains a bit of his signature shoegazing psychedelic meander, but meets that swath of influence head on with touches of classic blues, languid Americana rollout and organ-laced ’60s psych. Songs are lush sonically but humble in their intent, and Simon‘s drawl works well as an alternate-reality Hank Williams on the rambling “Movin’ On,” as well as on the Earth-gone-fuzz drone rock of “Trip Light.”

Instrumentation and atmosphere vary widely throughout Old Testament‘s Old Testament, as Simon and his band — which here includes Nate Ryan, formerly of The Black Angels, as well as Oak Munson, Jessica Senteno, Ryan Rapsys, toy with countryold testament cover twang on “Dallas” and raga explorations on the penultimate “Now as in Ancient Times,” but in addition to Simon‘s voice tying the material together, there’s a unifying thread of joy deep within the slow-moving material, and while the songs aren’t always happy or boisterous, the album maintains a signature American optimism that carries through even in the train-ride blues of “Josephine” or the blown-out gospel folk of closer “Time to Rest.”

“Summer Grass,” which I have the pleasure of premiering today, pulls some of the diverse vibes of the album together nicely into a cohesive, twanging but still psychedelic fluidity. The interplay of organ, guitar and what sounds an awful lot like accordion gives a melodic foundation moved forward by drums and spacious enough for the vocals to breathe out engaging and unpretentious verses. It doesn’t sum up everything Old Testament has to offer, but it’s a good place to start.

Please enjoy. PR wire info follows the player below:

OLD TESTAMENT (FEATURING JASON SIMON OF DEAD MEADOW) TO RELEASE SELF-TITLED DEBUT SEPTEMBER 9th VIA XEMU RECORDS

Xemu Records has announced a September 9th release for the self-titled debut album from Old Testament (cover artwork appears above). The Los Angeles based outfit is helmed by Jason Simon (guitarist/vocalist/songwriter for Dead Meadow) and is intended to be an on-going project to add to his work with Dead Meadow.

On the group’s debut album, Old Testament have tapped into a strain of psychedelic imbued Americana. Droning backwoods ballads and haunting blues are possessed of warbling guitars, harmonium, singing drums, blown out harmonica, and Simon’s distinctive vocal styling. It’s a musical stretch of dusty highway that resides somewhere between Fred Neil’s Raga inspired improvisations and Robert Johnson’s haunted Mississippi Delta.

Simon says “I originally started working on these songs as solo material a few years back. I was inspired by the loose and weird quality of Dylan and The Band’s Basement Tapes. I gathered some friends together in my house and we tried to capture the vibe of traditional American songs… a lot of these traditional songs remind me of the strange stories found in The Old Testament. Stories of the bizarre and fantastical, dealing with love, murder and divine vengeance.” Over Time the material tapped into something else as Simon relates: “The songs took their own course as more droning, psychedelic and even eastern elements began to filter their way through.”

The members that appear on this album include Oak Munson, Jessica Senteno, Ryan Rapsys, and Nate Ryan (ex.The Black Angels). Old Testament has been active as a live band over the past year playing throughout California with only a self-released 7” available at shows. Following the release of the full-length on September 9th, the group intends to announce new shows.

Old Testament on Thee Facebooks

Old Testament on Bandcamp

Xemu Records

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Lord Stream Alive in Golgotha EP in Full

Posted in audiObelisk on September 5th, 2014 by H.P. Taskmaster

lord

I always wanted to be in Lord. Since the days of their 2006 demo, Under the Sign of the Maker’s Mark, the Fredericksburg, Virginia, outfit has been a raging tumult of sludge extremity. Born of the same scene that gave us Valkyrie, VOG, Durga TempleOl’ ScratchAncient Astronaught and any number of other underrated acts outside the sphere of Richmond’s varied metals and Maryland’s doom yet somehow in line with both, Lord have proved over the years to be the most chaotic, the most turbulent of the pack. On the rare occasion one might see them live, they’re staggering in their intensity, and the sheer fact that they manage to hold it together somehow makes the experience all the more visceral.

The volatility has a price, however. Lord released a full-length debut in 2006’s Built Lord Tough (a play on Ford’s logo appeared on the cover), and that was it until 2011’s riotous Chief (review here), which brought a new lineup and a take more indebted to Southern metal than they had been five years earlier, but was still plenty maddening, vocalist Steven Kerchner adding experimental abrasion by manipulating his screams through a range of effects. Three years after ChiefLord return with yet another new lineup — you can see why I thought I might’ve had a shot at being in the band — and a brandlord alive in golgotha new four-song EP, Alive in Golgotha, recorded by Vince Burke (Beaten back to Pure/Hail!Hornet) at his own Sniper Studios.

Comprised here of Kerchner, guitarist/vocalist Will Rivera and drummer/bassist Stephen Sullivan — the lineup has already changed again to the four-piece pictured above; Rivera, Kerchner, bassist Chris Dugay (Reticle) and drummer Kevin “Skip” Marrimow (Ol’ Scratch, Palkoski) — Lord are no less a beast than they’ve ever been, the opening cut “We Own the Storms” setting a quick reaffirmation that time has not dulled the band’s edge or tamed their ferocity. Fast, aggressive, almost punk in its rawness, “We Own the Storms” leads to the more decidedly Southern “What You May Call the Devil is Amongst Us,” reminiscent of the last album’s grooving take. “With Reaching Hooves” jumps back and forth between grinding verses and a sludgy chorus, giving a tension/release vibe before moving into a heavy rock shuffle masterfully balanced in Burke‘s mix, and the closing semi-title-track, “Golgotha,” offers the EP’s most lethal groove of the bunch and speaks to the realization of the potential that’s been in Lord‘s chemical imbalance all along.

Lord will reportedly be hitting the studio again next month to record for a split EP with Black Blizzard, so maybe Alive in Golgotha will mark a turning point for the band in terms of activity. If history has shown anything with these guys, though, it’s that you never really know what’s coming next. I’ll never get to be in the band — Kerchner‘s a better screamer than I ever was anyway — but I’m thrilled to host a full stream of Alive in Golgotha ahead of the release on Heavy Hound Records. Please find it below, and enjoy:

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To keep up with Lord and get more info on Alive in Golgotha, as well as to score a copy, check the links.

Lord on Thee Facebooks

Heavy Hound Records

 

 

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Lo-Pan Premiere “Vox” from Colossus

Posted in audiObelisk on September 4th, 2014 by H.P. Taskmaster

lo-pan (Photo by Meghan Ralston)

If you’re looking for Lo-Pan, they’re on tour. That’s where you’ll usually find the Columbus, Ohio, heavy rockers. They’ve spent the better part of the last five years kicking up dirt across this fair land in pursuit of riffy glory, and the time and effort have paid off. Their new album, Colossus — their fourth overall and second for Small Stone Records – finds them a tighter and more efficient-sounding unit than they’ve ever been, and where their last full-length, 2011’s Salvador (review here), was a pinnacle for their songwriting’s blend of fluid groove, soulful vocals and memorable tracks, Colossus reaps the reward of all that touring in pushing Lo-Pan‘s methods even further.

So it’s a meaner, more precise Lo-Pan this time around — the band is still comprised of vocalist Jeff Martin, guitarist Brian Fristoe, bassist Scott Thompson and drummer Jesse Bartz – but they’re also branching out in terms of what their songs do. That will probably make no sense until you listen to “Vox” below. Lo-Pan have done big songs before, but “Vox” gives a spacious feeling in Martin‘s echoing voice that’s genuinely new for them — not to mention a guest spot near the end from Black Black Black‘s Jason Alexander Byers (also ex-Disengage) — and they blend it well with Fristoe‘s smooth-running riffs, Thompson‘s viscous but always moving basslines and the ever-raucous stomp from Bartz. In its hook, and in its subtle — and not so subtle — rhythmic shifts, “Vox” emphasizes a lot of the progression in Lo-Pan‘s approach, and less surprisingly, kicks a good deal of ass along the way.

Please find “Vox” on the player below, prepare yourself to spend the rest of the day listening to it on repeat, and enjoy:

Lo-Pan recorded Colossus with Andrew Schneider at Translator Audio in Brooklyn and will release the album Oct. 7 on Small Stone Records. Cover art is by Jason Alexander Byers. Lo-Pan have been on tour with Black Cobra since Aug. 28. Remaining dates for the run are as follows:

LO-PAN w/ Black Cobra:
9/04/2014 Siberia – New Orleans, LA
9/05/2014 Handlebar – Pensacola, FL
9/06/2014 Orpheum – Tampa, FL
9/07/2014 Gramps – Miami, FL
9/08/2014 Back Booth – Orlando, FL
9/09/2014 529 – Atlanta, GA
9/10/2014 The Mothlight – Asheville, NC
9/11/2014 Chop Shop – Charlotte, NC
9/12/2014 Strange Matter – Richmond, VA
9/13/2014 The Metro – Baltimore, MD
9/14/2014 Dusk – Providence, RI
9/15/2014 Nectars – Burlington, VT
9/16/2014 TT The Bears – Boston, MA
9/17/2014 Kung Fu Necktie – Philadelphia, PA
9/18/2014 Saint Vitus – New York, NY
9/19/2014 Lost Horizon – Syracuse, NY
9/20/2014 Bug Jar – Rochester, NY
9/21/2014 The Outpost – Kent, OH *
9/22/2014 Howlers – Pittsburgh, PA
9/23/2014 Reggie’s – Chicago, IL
9/24/2014 7th St Entry – Minneapolis, MN
9/26/2014 Replay – Lawrence, KS
9/27/2014 Lost Lake Lounge – Denver, CO
9/28/2014 Burt’s Tiki Bar – Salt Lake City, UT
9/29/2014 Dive Bar – Las Vegas, NV
9/30/2014 The Alley – Sparks, NV
10/01/2014 The Garage – Ventura, CA
10/02/2014 New Parish – Oakland, CA
10/04/2014 Downtown Lounge – Tulsa, OK *
*LO-PAN headlining date/No Black Cobra

Lo-Pan on Thee Facebooks

Colossus at Small Stone’s Bandcamp

Small Stone Records

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Snailking Stream “Slithering” from New LP Storm

Posted in audiObelisk on September 1st, 2014 by H.P. Taskmaster

snailking

Swedish trio Snailking will release their new album, Storm, Sept. 15 through Belgian imprint Consouling Sounds. It is their second offering behind a well-received 2012 demo/LP, Samsara (review here), and greatly widens the scope from that offering, holding onto some of the cosmic doom sensibility showed then but adding an almost Godfleshy timekeeping stomp to the drums of Karl Jonas Wijk on songs like “Premonitions” and burying guitarist Pontus Ottosson‘s vocals deep within his and bassist Frans Levin‘s collective glug of tone so that he seems to be shouting like he’s trapped underneath his own band’s cacophony.

Three of the five tracks on Storm top 10 minutes long, including the opening duo of “To Wonder” (11:03) and “Premonitions” (10:57), so it’s clear Snailking are still going for an expansive sound. As one might expect, they owe a bit of a debt to their namesake Ufomammut, from whose 2004 landmark LP they take their name, but more than on Samsara, Snailking establish themselves on Storm as a progressive unit engaged in their own evolutionary process. The onslaught of “To Wonder” and “Premonitions” isn’t to be understated — it is a doomed psychedelia to which they’re committed, even in the quiet reaches of the second cut — but the shorter “Slithering” (6:32) introduces a post-metallic feel to the well-bearded three-piece’s lumbering groove, less indebted to YOB than was snailking stormtheir last time out, but still showcasing a touch of that churning in its riffs.

Primarily, what Snailking do well on Storm is create a sense of the space in which the album unfolds, and in terms of individual pieces, it’s almost inevitable they’d do it best on “Requiem,” the longest song here at 16:57. In the YOB tradition, it begins with minimal, slow-weaving effects-laden guitar and gradually unveils its full push over the first several minutes, a slow rollout of doomed gravity that will encompass the remainder of the runtime. Hypnotic for its repetition, but crushing, its distinction comes through low, atmospherically mixed growls, screams and shouts, as much black metal as Neurosis, that serve to remind the listener that somewhere in this morass of chest-vibrating low end there is in fact a human presence. If you’re not too quickly swallowed by “Requiem” and can keep your consciousness about you, it is a stirring highlight for Storm and a moment where Snailking‘s plod is most their own.

The closer, “Void” (8:00), holds to some of this same mentality, beginning quiet and ambient before moving into a dense sonic pummel, but as Snailking finish out, Ottosson leaves out vocals and substitutes an extended, drawn-out solo instead, lending the finale a dirge-type feel, less thunderous than “Requiem” before it but all the more mournful in a European doom tradition. That lead holds firm as the other elements crash to a finish, and it as a couple seconds of feedback stumble Storm to its end, they serve as a reminder of how early into the band’s development they actually are — with the confidence of their delivery and the wide ranging feel both sides of the album present, it’s easy to forget. If this is just the beginning, then even better, since as much as Storm works to create its own space, so too do Snailking set themselves up to be that space’s sole inhabitants, working toward an individual approach that one hopes they’ll continue to forge going forward.

I have the pleasure of hosting a stream of “Slithering” today for the record. Please find it on the player below and enjoy:

Snailking‘s Storm will be out Sept. 15 on Consouling Sounds and is available now to preorder in colored vinyl (black, blue and clear; 100 copies), black vinyl (200 copies) and CD. More info at the links.

Snailking on Thee Facebooks

Preorder Storm at Consouling Sounds

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Roadburn 2014: Sets from ASG, Carlton Melton, E-Musikgruppe Lux Ohr, Gozu, Hull, Mansion, Nicklas Barker & Reine Fiske and New Keepers of the Water Towers Available to Stream

Posted in audiObelisk on August 27th, 2014 by H.P. Taskmaster

I’m always happy to post streams from Roadburn, and I think I’ve made that clear over the last half-decade, but this batch in particular features two of my favorite performances from this year’s fest, namely Brooklyn’s Hull, who played Day One, and Boston’s Gozu, who played Day Three. The two bands are pretty far from each other sonically and aesthetically, but both are fantastic at what they do and for me represent where I come from (the New York area) and where I’m at now (the Boston area). So in addition to having enjoyed watching these guys wreck up Stage01 and the Green Room, respectively, I’m happy now to have the chance to revisit those memories. Heavy riffs and fuzzy feelings.

Also cool to hear Mansion‘s set again, which was something of a sleeper, and Carlton Melton, who were so psyched out I almost broke a vinyl-buying embargo, as well as acts I missed like E-Musikgruppe Lux OhrNew Keepers of the Water Towers and ASG. As ever, all the sets were recorded by the venerable Marcel van de Vondervoort and his team, and they’ll be available into perpetuity so that future generations can know just how much they suck in comparison to the rock and roll we beheld.

So behold:

ASG – Live at Roadburn 2014

Carlton Melton – Live at Roadburn 2014

E-musikgruppe Lux Ohr – Live at Roadburn 2014

Gozu – Live at Roadburn 2014

Hull – Live at Roadburn 2014

Mansion – Live at Roadburn 2014

Nicklas Barker & Reine Fiske – Live at Roadburn 2014

New Keepers Of The Water Towers – Live at Roadburn 2014

Thanks as always to Walter and the Roadburn crew for permission to host the streams. To check out past streams from Roadburn 2014 click here, here and/or here, and to read the coverage from this year’s fest, click here.

Roadburn’s website

Marcel Van De Vondervoort on Thee Facebooks

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Windhand Stream “Orchard”from Live at Roadburn 2014

Posted in audiObelisk on August 27th, 2014 by H.P. Taskmaster

windhand

Among the many Main Stage acts on the Roadburn lineup this year, few bands left the kind of impression Richmond, Virginia’s Windhand seemed to leave. After their set, which was on the third day of the fest proper, Saturday, April 12, you could hear their name being talked about for the rest of the evening outside the 013 in Tilburg: “Dude, did you see Windhand?” The five-piece had obviously made an impression with their 2013 Relapse label debut, Soma (review here), and they followed that up with a blistering live set that, come the fall, will be available as an exclusive vinyl release on Burning World Records and Outer Battery Records.

The opener from that set, recorded and mixed by Marcel van de Vondervoort and mastered by James Plotkin, was “Orchard,” but that’s only if you want to be windhand live at roadburn 2014technical about it. Really, the opener for the set was about a solid minute of gut-wrenching feedback from which the initial riff eventually oozed. Soon enough, Windhand are underway with the track’s doomly lurch, but they’re barely there at all before you can hear the audience get into it on the recording. Roadburn may have been a stop for Windhand on a longer tour, one that seems nearly endless with the road-time the band puts in — they’re out again in the States next month (dates below) — but after listening to the captured results, there can be little question it was a landmark both for them and for those who got to see them play.

If you were there, Live at Roadburn 2014 is a chance to relive that moment. If you weren’t there, it’s still about as quality a live recording of Windhand as you’re going to get, so I don’t really see how you could lose. The LP is available now to preorder, and you can hear “Orchard” on the player below. Please enjoy:

Windhand will release the vinyl-only Live at Roadburn 2014 late September/October on Burning World Records (EU preorder here) and Outer Battery Records (US preorder here). The pressing is limited to 400 copies in the US. Windhand also head out on tour starting Sept. 4 with All Them Witches. Dates follow:

Windhand tour with All Them Witches:
9/4 Baltimore, MD – Ottobar
9/5 Pittsburgh, PA – 31st St Pub
9/6 Akron, OH – Musica
9/7 Columbus, OH – The Basement
9/9 Iowa City, IA – Gabe’s
9/10 Chicago, IL – Cobra Lounge
9/11 Minneapolis, MN – Triple Rock
9/12 Milwaukee, WI – Metal Grill
9/13 Ferndale, MI – Loving Touch
9/14 Toronto, ON – Coda
9/16 Ottawa, ON – Cafe Dekcuf
9/17 Montreal, QC – Petit Campus
9/18 Cambridge, MA – Middle East (upstairs)
9/19 Providence, RI – AS220
9/20 Brooklyn, NY – Saint Vitus Bar

Windhand on Thee Facebooks

Windhand BigCartel store

Windhand at Burning World Records

Live at Roadburn 2014 at Outer Battery Records

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Wolf Blood Stream “Witch” from Self-Titled Debut

Posted in audiObelisk on August 26th, 2014 by H.P. Taskmaster

wolf blood

The bell of the ride counts out a measure and soon enough the guitar starts in on “Witch,” the opening track from Wolf Blood‘s self-titled debut. Right away, something just seems bent. It’s like the sound is contorted somehow. It’s an otherworldly sensation and it continues throughout the Duluth, Minnesota, four-piece’s six-track offering, which follows through with a loosely cultish approach but is more geared toward general darkness and tonal space than trying to win you over to Team Lucifer. Driven by the riffs of guitarists Mike Messina and Mindy Johnson (the latter also vocals), “Witch” is the slowest of Wolf Blood‘s tracks until its complementary 12-minute closer “Procession of the Witch,” and it also provides one of the album’s signature hooks, so while it may not represent the High on Fire thrashy sensibility of “Exile,” MessinaJohnson, bassist Brian Wells and drummer/vocalist Jake Paulsrude are definitely putting their best foot forward, and they’re swinging it hard right at their audience.

Grooves and big riffs abound, but that’s nothing new to the converted, and where Wolf Blood really distinguish themselves is in the oddity of their aggression. Blending clean vocals, spoken parts and screams, they play off both metallic and heavy rock styles and craft something fluid and malevolent from them. There’s a sense of theatricality in side A finale “Dancing on Your Grave,” where much of the album’s second half seems to be more about pummel, but there’s an emerging personality at work across the board, and Wolf Blood emerge after “Procession of the Witch” unscathed by their own strangeness, having tread hard on a couple fine lines between subgenres. Ultimately, Wolf Blood is as satisfying for its brashness as it is for its density of groove.

The band released it earlier this year on two separate, sold-out tape pressings and the whole record is available to stream on the band’s Bandcamp in that original form, but Burning World Records and Outer Battery Records will have a vinyl out in October remixed and remastered by James Plotkin, and you can hear the new version of “Witch” on the player below. Please enjoy:

Wolf Blood‘s Wolf Blood is out in October through Burning World Records (EU preorder here) and Outer Battery Records (US preorder here). The band will tour beginning on Sept. 25 in support of the vinyl.

Wolf Blood Midwest Fall Tour Dates:
9/25- Duluth, MN @ The Red Star
9/26- Eau Claire, WI @ House of Rock
9/27- Dubuque, IA @ Eronel
9/28- TBA
9/29- Iowa City, IA @ TBA
9/30- Madison, WI @ The Wisco
10/1- Madison, WI @ Dragonfly Lounge
10/2- Milwaukee, WI @ Quarters
10/3- Chicago, IL @ TBA
10/4- St. Louis, MO @ TBA
10/5- Colombia, MO @ TBA
10/6- Kansas City, MO @ Vandals
10/7- Lawrence, KS @ TBA
10/8- Des moine, IA @ Vaudville Mews
10/9- Minneapolis, MN @ House show

Wolf Blood on Thee Facebooks

Wolf Blood on Bandcamp

Wolf Blood at Burning World Records

Wolf Blood at Outer Battery Records

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audiObelisk Transmission 039

Posted in Podcasts on August 26th, 2014 by H.P. Taskmaster

Click Here to Download

 

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This one’s a couple minutes shorter than the last few have been, but lacks nothing for substance, and particularly after YOB‘s “Marrow,” anything I put at the end would’ve just been filler to meet some imaginary obligation on my part. If you feel like you’re lacking the four minutes, give me a call and we’ll chat about records for the rest of that time. It’ll be a hoot. In any case, I think there’s plenty here to sink into — stuff that for a lot of people, myself included, will be on year-end lists and albums for which 2014 will be remembered when all is said and done. Two of my four current contenders for Album of the Year are featured, first and last.

Parts of this podcast are gorgeous, parts are ugly, but I think everything here holds up in terms of quality and listening back, I like the way this one gets immersive with a mix of longer tracks and shorter ones, slower and faster, etc. As always, I hope you enjoy, and I thank you sincerely for taking the time to check it out.

First Hour:
Lo-Pan, “Regulus” from Colossus (2014)
Steak, “Liquid Gold” from Slab City (2014)
The Well, “Mortal Bones” from Samsara (2014)
Orange Goblin, “The Devil’s Whip” from Back from the Abyss (2014)
Kvlthammer, “Hesh Trip” from Kvlthammer (2014)
Snailking, “To Wonder” from Storm (2014)
Earth, “From the Zodiacal Light” from Primitive and Deadly (2014)
Pallbearer, “Watcher in the Dark” from Foundations of Burden (2014)
Sorxe, “Her Majesty” from Surrounded by Shadows (2014)

Second Hour:
Humo del Cairo, “Tres” from Preludio EP (2014)
Joy, “Miles Away” from Under the Spell Of… (2014)
Megaton Leviathan, “Past 21” from Past 21: Beyond the Arctic Cell (2014)
Bong, “Blue at Noon” from Haikai No Ku – Ultra High Dimensionality LP (2014)
YOB, “Marrow” from Clearing the Path to Ascend (2014)

Total running time: 1:53:47

 

Thank you for listening.

Download audiObelisk Transmission 039

 

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Sorxe Premiere “The Mountain Man” from Surrounded by Shadows

Posted in audiObelisk on August 21st, 2014 by H.P. Taskmaster

“The Mountain Man,” the rhythmically-centered, viciously lumbering finale of Sorxe‘s self-released debut album, Surrounded by Shadows, is led directly into by the title-track, a five-minute alteration of consciousness via ambience, some touches of brooding Neurosis drone emerging amid the Phoenix-based four-piece’s own exploratory sensibility. The pummel that emerges from the drum intro is all the more devastating for the extended break beforehand. As such, before you click play below, take a deep breath.

Sorxe‘s Surrounded by Shadows draws on the best elements left from the largely washed out post-metal movement. They tradeoff atmospherics and churning, crushing riffs, vary their approach widely, and toy with structures and builds to create a full-album sensibility that each individual song feeds into. The lineup of bassists Christopher Coons and Roger Williams (the latter a founding member of Graves at Sea), guitarist/vocalist/recording engineer Tanner Crace (also synth) and drummer Shane Ocell made their debut in 2013 with an EP called Realms, and all three of those tracks reappear on Surrounded by Shadows, including the 10-minute “Make it So,” which on the full-length functions as the centerpiece around which the rest of the album swirls, darkly hued and rife with multi-directional aggression.

For having two bassists, the guitar isn’t lost in the mix — one always imagines a consuming wave of low end, as if the extra four strings preclude being able to hear anything else — but when Sorxe lock into a full-brunt weighted stretch, you can feel the impact of that extra heft. Even their quieter reflections seem to have a moody feel, and as Crace layers and alternates his vocals between cleaner singing, growls and screams, the band fluidly transcends the bounds of post-hardcore, doom, sludge and post-metal, while effectively maintaining an identity of their own that never seems content to commit to one or the other. No doubt that’s a big part of what makes Surrounded by Shadows such a satisfying front-to-back listen.

But that closer. “The Mountain Man” has its stomp and plod in rounding out the nine-track/55-minute offering, and its initial explosion in chaotic, crushing noise is high among Surrounded by Shadows‘ most satisfying moments, but there’s consciousness at work behind all that bludgeoning. It would be hard for any individual piece to completely sum up everything Sorxe have on offer with their debut, but in providing the album with its apex, “The Mountain Man” also provides a showcase for Sorxe‘s burgeoning dynamic. It is encompassing in its heaviness.

Hope you enjoy:

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Sorxe will release Surrounded by Shadows on Sept. 9 with Bandcamp streams beginning one week before. They’re also slated to appear at this year’s Southwest Terror Fest on Oct. 18 in Tucson, AZ, where they’ll share the stage with Neurosis and The Body. More info at the links below:

Sorxe on Thee Facebooks

Sorxe on Bandcamp

Southwest Terror Fest on Thee Facebooks

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