MotherSloth Premiere Video for “Shadow Witch”

Posted in Bootleg Theater on March 28th, 2017 by JJ Koczan

mothersloth

MotherSloth‘s new album, Moon Omen, is a weird one. Issued through Argonauta Records at the beginning of the month, it brings forth a cultish vision of doom that dips into influences from Alice in Chains to Danzig as it traverses a dark path of six deceptively memorable tracks — the sort of earworms that don’t beat you over the head with hooks, but wind up replaying themselves on the mental jukebox anyway in a “what just happened?” kind of retread. From the title-line howls in the opening cut “Shadow Witch” to the ambient unfolding of nine-minute closer “Moon Omen” and across the melodically resonant “Doomsday Cyborg” and mournful Cantrell-style churn of “Once Human” between, it’s a record that brings a deeply individualized context to a style of doom that draws from both modern and classic spheres. Also from who knows where else.

One would expect for any visual representation of Moon Omen to be accordingly bizarre, and the dark-hued video for “Shadow Witch” most certainly is that. I’m pretty sure the band is in there somewhere, but the whole affair is pretty obscure and willfully vague, and where later in the album, the Madrid three-piece dip into progressive melodies underscored by melancholy lead guitar on “The Firemill,” with “Shadow Witch,” it’s more about the dirge and the ritual, even unto the quiet, whispering break in the song’s second half that leads to the surprising, if brief, apex of all-out cacophony. I’m telling you, and I’m not lying, they do it strange and they do strange well. Moon Omen finds MotherSloth as much centered around atmosphere as basic songwriting, but both work together to serve an overarching purpose of bizarre evocation that’s almost bound to stay with you after the record is done, which of course is the whole idea.

If you haven’t heard Moon Omen in its entirety as yet, it’s available now through Argonauta and streaming in full on MotherSloth‘s Bandcamp page — both of which are linked at the bottom of this post. More background on the band and the video credits follow the clip itself, which you’ll find immediately below.

Hope you enjoy:

MotherSloth, “Shadow Witch” official video

Directed by: Hugo “Brutal Panacota” Martín
Production/ Film making/ Post production: Iván “Lobo” Moreno
Camera , Edition and VFX : Iván ”Lobo” Moreno
Production assistant: Malina Gancarz
Make up: Andrea Mena / Iris “Assa” Erza
Actors: Druid: Juan Carlos Zar
Punk guy: Jimmy Jazz
Witch: Leila Díaz
Witch Follower 1: MOnica Garcia .
Witch Follower 2: Iris ”Assa” Erza
Special thanks to Gloria Crespo and Mayte Moraleda for their support

MotherSloth is a Madrid-based band formed in 2008. In the band’s style, you can find several influences – ’70s inspired sounds combined with heavy guitar riffs and open chords, blended with spirally progressive melodies. After various formations, the band records demos under the title “Death Flowers” (2009), and plays live throughout Madrid with other avant-garde stoner bands. In 2012, with a more defined musical path, MotherSloth recorded their debut EP “Hazy Blur Of Life“, edited in 2013 by Peruvian underground label Dooom Records.

In late 2013, MotherSloth decided to focus on the instrumental songs they had been writing throughout the years, recording their new LP “Moribund Star” (2014), edited in 2015 with Germany’s Voodoo Chamber Records. In 2016 the band entered the studio to record their next album, consisting of 6 brand new songs, released by ARGONAUTA Records in CD/DD during Spring 2017.

MotherSloth is:
Dani – guitars and vocals
Moline – bass guitar and vocals
Oscar – drums

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Mammoth Weed Wizard Bastard Post “Y Proffwyd Dwyll” Video

Posted in Bootleg Theater on March 27th, 2017 by JJ Koczan

mammoth weed wizard bastard

Over the next couple months, ethereal Welsh doomers Mammoth Weed Wizard Bastard will take part in a slew of festivals across the UK and Europe, from Desertfest London in April to Germany’s Stoned from the Underground in July to Portugal’s SonicBlast Moledo in August. All the while, the now-fivesome from Wrexham continue to rightly reap acclaim for their 2016 New Heavy Sounds full-length, Y Proffwyd Dwyll (review here). From their attention-grabbing moniker to their floatingly melodic and keyboard-infused semi-cosmic doom, the band would seem to have struck a chord amid the crowded UK underground, and as one checks out the video for Y Proffwyd Dwyll‘s title-track below, the reasons why should be that much clearer.

Where much of the UK scene at this point is given to straight-ahead heavy rock riffing and booze-laden post-Orange Goblin riffing, Mammoth Weed Wizard Bastard manage to find a niche in doom that’s neither that, nor playing at Electric Wizard-style cultistry, nor Uncle Acid‘s garage psychedelia. Yet they bask in heavy riffs, a ritualized sensibility and psychedelic overtones — they’re just taking all of them and putting them to use in their own direction. Doesn’t seem like something that should be a novelty, but in the context of Y Proffwyd Dwyll, it’s an engagement made all the more striking by the memorable nature of cuts like “Valmasque” and “Y Proffwyd Dwyll” itself, and Mammoth Weed Wizard Bastard set a deceptive balance between hypnosis-via-atmospherics and songwriting that even if it wasn’t so outwardly grooving would still likely earn nods.

Particularly coming from their already-impressive 2015 debut, Noeth Ac Anoeth (review here), Y Proffwyd Dwyll is a significant forward step for the band, and given that they’re beginning to expand beyond their own borders and explore wider touring, one can only hope that progression will hold strong leading to whatever comes next from them. We’ve probably got a while to go before we get there — at least another year, I’d think — but in the meantime, they keep their momentum rolling with the video for “Y Proffwyd Dwyll” and the potential for more tour and festival dates still to be announced.

I’m not exactly sure what’s happening narrative-wise in the clip, but you can see it for yourself below, courtesy of the Vevo stream, followed by the credits and copious links for further digging.

Please enjoy:

Mammoth Weed Wizard Bastard, “Y Proffwyd Dwyll” official video

Last year filmaker Dimitris Kotselis decided to make a piece featuring Y Proffwyd Dwyll starring actress Penelope Tsillika and Mwwb’s own Jessica Ball. Here it is.

Artists: Mammoth Weed Wizard Bastard
Directed By: Dimitris Kotselis
Composers: Mammoth Weed Wizard Bastard
Producers: Maria Repousi
New Heavy Sounds

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Friday Full-Length: The Mystick Krewe of Clearlight, The Mystic Krewe of Clearlight

Posted in Bootleg Theater on March 24th, 2017 by JJ Koczan

The Mystick Krewe of Clearlight, The Mystick Krewe of Clearlight (2000)

Hard to believe nobody has stepped up to reissue the 2000 self-titled debut and only outing to-date from The Mystick Krewe of Clearlight, and likewise that some true believer heading a festival at home or abroad hasn’t convinced guitarist Jimmy Bower to play a reunion show under the weighty banner. Because even 17 years later, listening to this record, it’s as much a party as it is a collection of songs. True tonally to peer outfits like Spirit Caravan, Corrosion of Conformity and maybe even Sixty Watt Shaman in some of its Southern elements, the differentiating factor with The Mystick Krewe of Clearlight was the jam, and while the band may or may not have been started as a side-project from Bower looking to continue to scratch a groovier itch coming off his initial run in Southern metal supergroup Down, bringing on board Eyehategod bandmate Joe LaCaze (drums, R.I.P. 2013), bassist Andy Sheppard, fellow guitarist Paul Webb and keyboardist Ross Karpelman — whose organ work proves so crucial throughout to songs like “Ride Out” and “Trapeze” — they immediately made themselves stand out by being even more of and about their place: New Orleans. To wit, album opener “Swamp Jam” — as apt a description of their style as you’re going to come across — starts at a parade.

Let’s just assume that’s Mardi Gras, because even if it isn’t, it kicks off an absolute blast of a time. The Mystick Krewe of Clearlight was prescient in its incorporation of classic ’70s influences, and the dynamic between Bower and his cohorts comes through all the more as an instrumental band, since the jams just flow openly without the need for a rigid verse/chorus structure, allowing “Swamp Jam” to trip out in its second half, Sheppard‘s bassline holding it together as Karpelman‘s keys drive a sort of miniaturized Purple-tinged Made in Japan exploration. The tone thusly set, the band only pushes deeper into good vibes and heavy grooves. “Electrode” is the shortest track at five minutes and winds its way into some boogie, hitting into starts and stops that would seem a direct precursor for the kinds of funk Clutch would be proffering six years later, and “Ride Out” follows by smoothing its initial thrust into a slow-motion nod, the guitars milking every riff cycle for all it’s worth ahead of the aforementioned “Trapeze” delving into direct key-and-guitar conversation — not to mention the welcome advent of some cowbell from LaCaze. Also one of the more extended tracks at 7:25 along with “Swamp Jam” at the outset and 10-minute closer “El Niño Brown” still to come, “Trapeze” emphasizes how much The Mystick Krewe of Clearlight thrived in a longer-form context, and while they dip back into more straight-ahead fare with “A Fool’s Outfit,” putting some space between “Trapeze” and the finale, by then the vibe is so spread out that they basically can go wherever they want. If you’ve ever in your life uttered the phrase, “It’s all good,” side B of The Mystick Krewe of Clearlight would be a good reason why. Or side A, for that matter.

They had two splits out after the record, both in 2001. If you can get it, the Acid King split on Man’s Ruin is an absolute monster, both bands utterly on fire, and their let’s-cover-Skynyrd-and-we’ll-get-PepperKeenan-to-sing-on-it shared 7″ with The Obsessed on Southern Lord is as righteous as the concept sounds. But that’s it to-date, though a post just over a year ago on a seemingly official Thee Facebooks page read simply, “Riffs are being written….” and listed the band’s lineup as Bower on drums along with Aaron HillWebb and Kevin Bond (Superjoint, ex-Floodgate) on guitar, Sheppard on bass and Karpelman once again on keys, so who knows, maybe something will manifest. Particularly after revisiting the self-titled, you wouldn’t find me arguing. Let the parade begin again.

As always, I hope you enjoy.

Next week is the Quarterly Review, and even as I’m signing off for today ahead of not posting tomorrow or Sunday, I’ve already begun and will be continuing to put it together as much as possible over the weekend. It’s 50 reviews this time, Monday to Friday. I could’ve added a sixth day again, but opted not to. Maybe next time. Probably not. For some reason, that extra 10 writeups made a really big difference in my head last time out.

There was supposed to be a Six Dumb Questions interview today with Doctor Cyclops along with a full-stream of their new album, but technical complications prevented it from coming together in time. So it goes. I’m sure as soon as this post goes live the embed code will come through. Because that’s pretty much how things happen these days. EDIT: Exactly what happened.

Anyhoo, that will be up Monday, in addition to the first day of the Quarterly Review, which is abbreviated in my notes as QR1. Here’s the rest of what’s on tap for the week to come, all subject to change as usual:

Mon.: QR1, Doctor Cyclops Six Dumb Questions, Mammoth Weed Wizard Bastard video.
Tue.: QR2, MotherSloth video premiere.
Wed.: QR3, The Whims of the Great Magnet Six Dumb Questions/song premiere, Devil to Pay video premiere/tour announcement.
Thu.: QR4, Here Lies Man track premiere.
Fri.: QR5, Lacertilia video premiere.

Pure. Fucking. Chaos. It’s gonna be a lot to put together, and I’m thinking about taking next Friday off work in no small part just to crash out after doing all of that nonsense — and of course news and whatever else on top of it — throughout the week, but yeah. That’s the plan. It’ll all work out as much as it’s going to, and if some stuff doesn’t, like that Doctor Cyclops thing today, there will be other stuff to step in and take the place of whatever falls out. So much music. No money in writing about any of it. No way to make a living off doing this.

Speaking of, you may notice the All That is Heavy sponsorship link is gone. Deal didn’t really work out to be that beneficial for either party, so we called it off. Just like that. If you managed to get 15 percent off an order, I hope you got some good stuff. Of course I still support Dan and his endeavors all the way and recommend ATiH for your heavy shopping needs happily.

What else? I don’t know. Roadburn’s coming. I’m basically counting the days until that happens, as one does.

Family coming north this weekend, which will be good. My sister and oldest nephew. Looking forward to seeing them both, getting up in the morning to work on Quarterly Review stuff, having good coffee and drinking it slowly, and generally chilling out, hopefully getting my head right and so on. Maybe watch some baseball. Weekend stuff. You know.

Whatever you’re up to, please have a great time and a safe time. Have fun, be careful out there and stay tuned for an absolute onslaught of music starting on Monday. It’s gonna be a marathon but it’s gonna be awesome.

Thanks for reading, and please check out the forum and radio stream.

The Obelisk Forum

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Succopuss Premiere “Back in Hell” Video; Self-Titled EP out March 31

Posted in Bootleg Theater on March 24th, 2017 by JJ Koczan

succopuss

It starts out innocently enough — easy taps on the ride cymbal, a smoky, bluesy, Mark Lanegan-style vocal delivery — smooth in its inclusion of sax, in its tone and overall execution. But the song is called “Back in Hell,” so you you know trouble’s not far off, and indeed, Vienna duo Succopuss raise a bit of it before they’re through. The song comes from their upcoming StoneFree Records self-titled EP, set to release March 31 as a limited four-song 10″ vinyl. Heavy blues is the foundation but not necessarily the limit of what vocalist/guitarist Tobias Paul and drummer Krystof Hümer bring to bear in the track, and from the classic reefer-in-the-dancehall feel of the transition to the chorus to the deceptively thick guitar push that serves as payoff, “Back in Hell” plays cleverly around notions of sonic heft throughout its six-plus minutes.

As to how “Back in Hell” might stand in line with its companion cuts “Succopuss,” “Death Groove” and “Black Flash,” I don’t know as I haven’t heard the full release, but “Black Flash” and maybe the eponymous opener (though it was spelled differently) could also be found on the band’s 2013 debut full-length, Austrian Power Kush, albeit in much rawer form. Much rawer. Like garage rock. Maybe that vibe shows up in the Succopuss EP as well, but “Back in Hell” plays it with a cooler and more patient head on the whole and a fuller sound, and so makes a fitting introduction if you, like me, are taking on the band for the first time with the new offering. Likewise, the video by Christian Fischer is pastoral in its vibe emphasizing a visual flow that feeds off the energy of the song while engaging its own narrative.

If you think you might be able to dig it — and if you do, you just might — you can check out the clip for “Back in Hell” below. More info, preorder links for Succopuss‘ Succopuss EP, and other whatnot follow beneath, courtesy of the PR wire.

Hope you enjoy:

Succopuss, “Back in Hell” official video

Video-Premiere for the first Single “Back In Hell” of their upcoming EP shot by Filmmaker CHRISTIAN FISCHER.

Succopuss is the name of a rock and roll, stoner, blues duo based in Vienna, founded after Tobias Paul (vocals, guitar) and Krystof Hümer (drums) met each other at a nightclub in their hometown 2013, one dressed up as a sailorman and the other as Nick Cave. Tobias’ 24-year-old voice sounding more like he had already lived decades of rock and roll lifestyle, complementary to Krystof’s drumming, a rhythmic eardrum stimulating penetration.

Their notorious live performances, with jam passages often resulting in more or less obvious acoustic sexual innuendos, are a damage of space and time, causing the crowd flashbacks to a more analog era, when psychedelics were taken before breakfast.

They recorded their “Succopuss EP” which will be released soon as a limited 10″ Vinyl Version (Black/Mint)

Tracklisting:
Succopuss
Death Groove
Back In Hell
Black Flesh

Pre-Order for Succopuss 10” is available now and comes in a tasty limited edition via StoneFree Records, Artwork done by KVSH:
Limited to 300 Pieces – 10″ Black Vinyl 33rpm
Limited to 200 Pieces – 10″ Mint Vinyl 33rpm

Pre-Order:
http://www.stonefree.co.at/succopuss10inch.html
https://succopuss.bandcamp.com/album/succopuss-succopuss-10

Release set to 31st of March 2017

Succopuss is:
Krystof Hümer – drums, percussions
Tobias Paul – vocals, guitar

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Succopuss on Bandcamp

Succopuss at StoneFree Records

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1000mods Post “Electric Carve” Video; European Tour Begins Tomorrow

Posted in Bootleg Theater on March 22nd, 2017 by JJ Koczan

1000mods

Starting tomorrow, Greek heavy rock forerunners 1000mods hit the road in Europe. Big time. The four-piece from Chiliomodi will be on tour for more than the next month supporting their excellent late-2016 outing, Repeated Exposure To… (review here), which seems only to have picked up momentum following its release and is sure to continue to do so as the band hand-delivers it to cities across the continent, making stops along the way at Riff Ritual FestDesertfest London, Desertfest Berlin and Tubecult Festival for good measure.

To mark their going, 1000mods have a new video for the song “Electric Carve” that, rife with clips of wind-surfing, skating, the band rocking out on a suitably-rocky beach, etc., captures the easy-grooving vibe they’re going for that seems to have caught on in such a huge way across Europe. Greece has produced some killer acts across this now-waning decade and has emerged with one of Europe’s most enviable scenes along with Italy (and of course the mainstays: Germany and Sweden), but I don’t know if anyone from the Hellenic Republic has made quite the same kind of impact as 1000mods, and as they’ve done it on a foundation of quality songwriting and regularly breaking their collective ass on tours like the one they’re about to start, it’s hard to argue with the warm reception they’re getting at this point as being anything other than well-earned.

Bottom line? Keep kicking ass, gents.

The run starts in Bulgaria and finishes in Italy and you can see the complete list of dates under the “Electric Carve” clip below, which I hope you’ll enjoy:

1000mods, “Electric Carve” official video

This is our first video clip!

In collaboration with Jagged Melon Productions and G.N.P. Productions, we want to pay our tribute to all the riders who employ our music throughout these years. Electric carve is dedicated to you!

So grab your board, put your headphones on and hit the road, catch the wind, carve the mountains and the sea! Cheers to all the riders that participated in the video!

CREDITS
Directed by / Themistocles Lambridis
Produced by / Jagged Melon Productions
Assistant Producer / Alex Masmanidis
Filmed by / Steve Kekis, Alex Masmanidis, Konstantinos Kalavrezos, Dimitris Lambridis, Themistocles Lambridis, Meletis Vaxevanidis, Spiros Badios

\ Riders /
Spiros Badios, Stelios Danourdis, Nikos Matsourdelis, Meletis Vaxevanidis, Petros Martinos, Vasilis Glitsis, Lykourgos Neofotistos, Steve Kekis, Alex Masmanidis, Soulis, Dirty South Crew.

Sound of Liberation and Ouga Booga & the Mighty Oug Touring present:
1000mods – Repeated and Exposed To – European Tour 2017

23/03/2017 – SOFIA, BG | MIXTAPE5
24/03/2017 – BUCHAREST, RO | FABRICA
25/03/2017 – CLUJ NAPOCA, RO | SHELTER ((SOLD OUT))
26/03/2017 – TIMISOARA, RO | DAOS CLUB
28/03/2017 – BEOGRAD, RS | ELEKTROPIONIR
29/03/2017 – NOVI SAD, RS | THE QUARTER
30/03/2017 – ZUPANJA, HR | MKC
31/03/2017 – TBA
01/04/2017 – MUNICH, DE | UNDER THE BLACK MOON
02/04/2017 – LEIPSIG, DE | WERK 2
03/04/2017 – PRAGUE, CZ | KLUB 007
04/04/2017 – BUDAPEST, HU | DURER KERT
05/04/2017 – ZAGREB, HR | VINTAGE INDUSTRIAL BAR
06/04/2017 – INNSBRUCK, AT | PMK
07/04/2017 – NUREMBERG, DE | MUZ
08/04/2017 – CHEMNITZ, DE | AJZ
09/04/2017 – OSNABRUCK, DE | BASTARD CLUB
10/04/2017 – HAMBURG, DE | HAFFENKANG
11/04/2017 – AMSTERDAM, NL | WINSTON KINGDOM
12/04/2017 – KARLSRUHE, DE | ALTE HACKEREI
13/04/2017 – FREIBURG, DE | SLOW CLUB
14/04/2017 – OLTEN, CH | COC d’OR
15/04/2017 – WINTERTHUR, CH | GASWERK
17/04/2017 – SAN SEBASTIAN, ES | DABADABA
18/04/2017 – GIJON, ES | SALA ACAPOULCO
19/04/2017 – PORTO, PT | CAVE45
20/04/2017 – LISBON, PT | RCA CLUB
21/04/2017 – MADRID, ES | WURLITZER BALLROOM
22/04/2017 – BARCELONA, ES | RIFF RITUAL FEST
23/04/2017 – MONTPELLIER, FR | BLACK SHEEP
24/04/2017 – GENEVE, CH | KALVINGRAD
25/04/2017 – COLMAR, FR | GRILLEN
26/04/2017 – TBA
27/04/2017 – PARIS, FR | PETIT BAIN
28/04/2017 – LONDON, UK | DESERTFEST LONDON
29/04/2017 – DEVENTER, NL | BURGERWEESHUIS
30/04/2017 – BERLIN, DE | DESERTFEST BERLIN
03/05/2017 – TRIESTE, IT | TETRIS
04/05/2017 – TORINO, IT | BLAH BLAH
05/05/2017 – PISA, IT | ALBATROSS
06/05/2017 – PESCARA, IT | TUBECULT FESTIVAL
07/05/2017 – BARI, IT | ARCI OPEN SOURCE

100mods is:
Dani G. / Bass & Vox
Giannis S. / Guitars
George T. / Guitars
Labros G. / Drums

1000mods tour event page

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Cybernetic Witch Cult Premiere “Cult of the Druid” Video

Posted in Bootleg Theater on March 22nd, 2017 by JJ Koczan

cybernetic witch cult

If you haven’t yet, go ahead and add Cybernetic Witch Cult to your list of completely over-the-top British bands currently riffing their way around the UK underground. From their what-the-hell-is-that-about moniker to the what-the-hell-is-that-about cover art for their forthcoming third album, Troglodithic Trip, to how ambitiously they seem to want to live up to that title, to the simple fact that they refer to the release date using the Star Wars identifier “May the Fourth,” it’s safe to say there’s no danger of the Cornwall trio falling down a trap of taking themselves too seriously. However, as “Cult of the Druid” demonstrates in its tone, groove and hook, neither are they just screwing around in their basement rehearsal space for the sheer sake of doing so.

Add to that the fact that they’ve got tour dates over the next couple months covering a good swath of the UK and one has to wonder even less about the veracity of Cybernetic Witch Cult‘s intentions. That is to say, if they didn’t mean it, they could just as easily not mean it from home. Yeah, these guys are clearly about having a decentcybernetic witch cult troglodithic trip time, and that’s nothing to be held against them, but in a scene as crowded as that in the post-Orange Goblin UK, you gotta be loud if you want to be noticed, and they stand themselves out via a sonic blend that speaks to classic thrash via galloping double-kick drumming and Hetfieldian snarl. A silly name is one thing — there are certainly a few around — but if you don’t back it up by kicking ass, it’s going to be all you’re left with.

Check out the premiere of Cybernetic Witch Cult‘s “Cult of the Druid” video below and see what I mean. The energy of their delivery, the on-the-beat force of the song, and the scorch in that final solo? It’s all right on. Yeah, they’re writing material about druids leaving the planet or some such, and the clip is a green-screen band performance dripping in self-awareness, but the vibe is as heavy as it is tongue-in-cheek. Hope you dig in, and hope you agree.

The band’s upcoming list of tour dates includes a stint in May with Doctor Cyclops. That run and the rest of their shows can be found under the video below, along with a quote from the band about the theme behind “Cult of the Druid.”

Please enjoy:

Cybernetic Witch Cult, “Cult of the Druid” official video

Cybernetic Witch Cult on “Cult of the Druid”:

The original plan for Troglodithic Trip was to re-record our favourite tracks from the first album but with a better production and spend some more time developing the songs so they could be on par with our last release. But we got carried away, wrote two new tracks and completely changed some of the old songs! It’s sort of ‘old meets new.’

‘Cult of the Druid’ is a mini-epic about following a cult leader to Mars (imagine Elon Musk meets Charles Manson meets Merlin) as the Earth sits on the brink of nuclear war in a last ditch effort to colonise space. It’s the longest song we’ve done so far and it really gave us a chance to mix all our influences together in one song.

Cybernetic Witch Cult live:
Apr 01 Cobblestones Bridgwater, UK
Apr 07 Charlie’s Bar Redruth, UK
Apr 19 Whiskers Newquay, UK
Apr 22 Bowl Mansfield, UK
May 02 Livewire Youth Music Plymouth, UK
May 05 The Swan Ipswich, UK*
May 06 The Wheatsheaf Banbury, UK*
May 07 The Dev London, UK*
May 08 The Gryphon Bristol, UK*
May 09 The Junction Plymouth Plymouth, UK*
Jun 10 Boston Music Room London, UK
Jun 17 The Gryphon Bristol, UK
Jul 01 Oaklands Farm Cardiff, UK
Jul 08 The End Of The World Festival Plymouth, UK
* with Doctor Cyclops

Cybernetic Witch Cult is:
Alex Wyld – Vocals, guitars
Kale Deane – Bass, vocals
Lewis May – Drums

Cybernetic Witch Cult on Thee Facebooks

Cybernetic Witch Cult on Bandcamp

Cybernetic Witch Cult website

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Moab Pay Homage to Drummer Erik Herzog with “Nothing Escapes” Lyric Video

Posted in Bootleg Theater on March 21st, 2017 by JJ Koczan

moab

It’s been a while since last we heard from Los Angeles outfit Moab, and one can only wish the news was better. Toward the end of last year, the trio marked the passing of drummer Erik Herzog, and they now celebrate his life with a lyric video for the track “Nothing Escapes.” The song comes from Moab‘s second release, Billow (review here), which was released in 2014 via the now-defunct Scion A/V as a free download but is still available on CD and LP directly from the band. In addition to being tragic in its moment of arrival, the video is a reminder of the nuance that album proffered in following up 2011’s Kemado Records debut, Ab Ovo (discussed here), the sweetness of its melody and underlying Beatlesian pop bounce emblematic of the progressive bent emerging in their style at the time.

Naturally, Herzog played a major role in making that possible, so whether or not guitarist/vocalist Andrew Giacumakis and bassist Joe Fuentes will keep Moab going, I don’t know and don’t particularly want to speculate. For now, the lyrics to “Nothing Escapes” make a poignant tribute, and if in fact this does mark the end of the band, they will have offered listeners two rich outings that showed them as unafraid to look outside genre lines for inspiration as they pursued a path of individualized growth. Some groups never get that far, and while one could easily argue for Moab sounding like they still had more to say coming off of Billow — I would have, if we were debating the topic — the band’s work and that of Herzog as a part of the three-piece are able to stand on their own achievements as well and should continue to be enjoyed for years to come.

Condolences to GiacumakisFuentes and all who knew Herzog, friends and family and fans.

Please enjoy “Nothing Escapes” below:

Moab, “Nothing Escapes” lyric video

This video is our “shrine” to Erik. The song was especially significant to him as the lyrics were based on years of conversations with him about his struggles with depression. While that remained a struggle for him, he was especially proud of this song and the truth it contained. The drumming is some of his best work and the music is something we are all very proud of.

RIP Erik Herzog

Moab on Thee Facebooks

Moab website

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Phlefonyaar Premiere “Temple Bells at Midnight” Video

Posted in Bootleg Theater on March 21st, 2017 by JJ Koczan

phlefonyaar

To be perfectly honest, part of the reason I jumped on the chance to host this Phlefonyaar video premiere was because it gave me a chance to post the lyrics to the song in question. The UK sludge metal duo posted “Temple Bells at Midnight” as the first public audio from their forthcoming debut album, Septic, Bitter and Hardbitten, which is due April 14 via Cavernous Records, and I embedded the track with the release announcement at the end of last month, because, you know, it’s what you do for that kind of thing, and all the low end, and the growls, and the sludge and the groove, and Paul March and Jim Males seem really pissed off, and so on.

But along with the single itself on their Bandcamp, Phlefonyaar posted the lyrics to the track and I found them particularly striking. “Temple Bells at Midnight” talks about watching a church burn — not new territory for metal there — but instead of bragging either rightly or wrongly about having set the fire, the lyrics take kind of a resigned position with the lines: “And if we’re lucky/It will consume us all.” The fire isn’t something raging against a culturally oppressive force; it’s just a thing that happens on another shitty day. Yeah, the track caps with “Watch the end of lies,” but it feels like an afterthought compared to the core misanthropy and disaffection of the earlier verses. It’s not the church that needs to burn. It’s everything.

I don’t think it would be fair to say Phlefonyaar are taking themselves too seriously with “Temple Bells at Midnight” — March, after all, wears a “Booty Hunter” hat for the entire clip — but neither is their grueling, drum-machine-infused sludge vacuous in its antisocial position in this track. In addition, the video gives us a chance to see the bizarre, two-stringed instrument that allows Males to emit such rumbling low-end, and the we-broke-an-antique microphone through which March‘s distorted ramblings arrive. It’s a weird vibe, and like several heavy videos out of the UK of late, seems to take some influence from ’90s hip-hop in its presentation.

You’ve been duly warned. Septic, Bitter and Hardbitten is out April 14 on Cavernous Records. Video and lyrics follow.

Please enjoy:

Phlefonyaar, “Temple Bells at Midnight” official video

Phlefonyaar on “Temple Bells at Midnight”:

Gather round ladies and germs and let Phlefonyaar bring you a cure to all your happiness problems with the finest Tom Waits inspired doom skiffle this side of your worst Mike Mignola-inspired Freudian nightmares.

From the album: Septic, Bitter and Hardbitten, out via Cavernous Records on April 14 2017. Filmed and edited by: darknorthmedia.com.

Phlefonyaar, “Temple Bells at Midnight”
A blight on you and all of your kind
Screams the man with murder in mind
There’s a grave in which to lay
That will see you through now till judgment day

Mark out a place and stand in the sun
Turn guns on your own and blow them to chum
Fly kites at night over fires of bone
Raise knives to the heavens and burn in your homes

Oh there’s a fire in the church on Hawthorn Street
Where good men go to find there bad to beat
Oh there’s a fire in the church on Hawthorn Street
And if we’re lucky it will consume us all
It will consume us all

Come drink to this with me! Come
Stand by my side!
Come raise a glass with me
Come
Watch the end of lies

Phlefonyaar is:
Paul March: Iron lung, worrisome ramblings and Thunder board
Jim Males: live interpretative dance, bird calls and cable beam contortion

Phlefonyaar on Thee Facebooks

Phlefonyaar on Bandcamp

Cavernous Records on Thee Facebooks

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