High Fighter, Scars and Crosses: Trials to Bear

Posted in Reviews on July 27th, 2016 by H.P. Taskmaster

high fighter scars and crosses

What ultimately stands High Fighter‘s Svart-delivered debut long-player, Scars and Crosses apart, aesthetically, is its aggression. The Hamburg, Germany, five-piece of vocalist Mona Miluski, guitarists Christian “Shi” Pappas and Ingwer Boysen, bassist Constantin Wüst and drummer/backing vocalist Thomas Wildelau made their debut in 2014 with the impressively cohesive The Goat Ritual EP (review here), and at its foundation, the story was much the same. Though High Fighter have been duly embraced by the heavy rock community in Europe and beyond, they’re really a metal band. That’s audible in their tonality, their attention to detail, in the clean singing and screams and growls of Miluski and in the arrangements of how and when she switches between them.

Mixed and mastered by Toshi Kasai (Melvins, Leeches of Lore, etc.) from a recording by Jens Siefert at RAMA Studio in Mannheim, the album’s 41-minute span is vehemently straightforward, with some flourish of effects in the guitars and bluesy undertone, but interested primarily in thrust, and when there’s any letup at all as on the swaying start of “Portrait Mind,” it doesn’t last long. It’s an active listen, and the energy with which they deliver the included eight tracks gives the impression of an active band — punching someone in the face, after all, can be a real workout — but what’s going to be the deciding factor for many listeners particularly within the sphere of the heavy underground is whether they view High Fighter‘s metallurgy as righteous in its defiance of a genre status quo that’s only gotten lazier over the last half-decade or a group simply trying to meld styles to whatever degree of success depending on the audience’s point of view.

Listening to the command with which Miluski and the band behind her execute this material makes it easier to argue toward the former. Adrenaline is a major element at work even in the slower chug and wah of the penultimate “Down to the Sky,” but in its more intense moments — looking at you, “Blinders” — Scars and Crosses plays to modern metal sensibilities with a viscerally screamed verse and soaring clean chorus. The dual guitars of Pappas and Boysen careen through riffs of winding thrash on that song but are no less comfortable dug into the more rolling groove of the preceding “The Gatekeeper,” which also trades melody for screams between its verses and choruses, but swaps the structure to suit the groove and the linear built taking place over the song’s five and a half minutes.

high fighter

Following 6:33 opener and longest track (immediate points) “A Silver Heart” and the subsequent “Darkest Days” — which features a choice “ough” grunt from Miluski and the most satisfying direct linear build on offer — “The Gatekeeper” expands the context of Scars and Crosses to a degree, finds High Fighter leaning more toward groove than assault, but as noted, “Blinders” is perhaps the most raging cut on the record, so the balance is readjusted almost immediately as side A rounds out. What unites those two tracks, the first two, and the four still to come on side B is the songwriting and the confidence in execution that High Fighter show across the board. The Goat Ritual showed solid potential, but Scars and Crosses takes pivotal steps in positioning High Fighter where they would seem to want to be sound-wise — in a space between worlds that few bands would be so bold as to willfully inhabit.

“Portrait Mind” continues the thread at the launch of the album’s second half but also boasts a highlight guitar solo, while the subsequent “Gods” seems to nod back at “The Gatekeeper” with a desert rock riff reconstituted to suit High Fighter‘s purposes, giving a fuller look at what might become an expanded context over time for their approach. That continues in “Down to the Sky” as they draw back on some of the urgency in order to let a fluidity take hold for a few minutes in the song’s first half, Wildelau‘s kick offering firm punctuation throughout and signaling the launch of the solo section in the final third with an uptick in pace leading back to the chorus. This leaves the title-track with an even more difficult task of summarizing the album as a whole.

It does so with a central push derived in part from Kyuss‘ “Odyssey” that arrives offset by a slowdown hook and layered-in lead work that solidifies around a still-upbeat but nod-ready groove before expanding outward with effects on the guitar, vocal harmonies and a move into the apex of the record itself before a final minute filled only by the hum of feedback. Certainly that says it all as much as anything I could come up with, and “Scars and Crosses” rounds out the album by emphasizing what are already the band’s strengths in songwriting and performance while also giving a look at possible sides of their personality they might play with going forward. Make no mistake, they’re already a solid band, and I think Scars and Crosses deserves consideration among 2016’s most accomplished debuts, but High Fighter give no indication in these songs that this is the sum total of what they have to say as a unit, and that only bodes well for their future progress.

High Fighter, “Blinders” official video

High Fighter on Thee Facebooks

High Fighter website

High Fighter on Bandcamp

Svart Records website

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Augustine Azul to Release Lombramorfose Next Month on More Fuzz Records

Posted in Whathaveyou on July 27th, 2016 by H.P. Taskmaster

Brazilian boogie rockers Augustine Azul have inked a deal to release their debut album through the newly-minded More Fuzz Records. The band released their first EP — aptly-titled EP — last year and made a considerable impact thereby, enough to catch the ear of Tanguy Dupré of More Fuzz, who has set an Aug. 16 release date for the full-length. Preorders for the digital edition are up now with physical pressings reportedly to follow.

More to come on this one as we get closer to the release, but I wanted to make sure the info was out there now, so here’s background off the PR wire:

augustine azul Lombramorfose

Augustine Azul Sign to More Fuzz Records for their debut album “Lombramorfose”

Be ready for a unique blend of Instrumental Fuzziness, Insane Grooves & Progish/Bluesy Vibes!

Augustine Azul is a kickass instrumental trio from João Pessoa, Brazil consisting of João Yor (guitar), Jonathan Beltrão (Bass) and Edgard Moreira (drums). Their unique sound (yes you never heard something like that before) is focused on the progressive side of the moon, but still retains that “Heavy & Fuzzy DNA” that makes your neighbors call the cops.

After a well-acclaimed EP released in 2015, Augustine Azul come back in 2016 with their debut album “Lombramorfose”. This time even more ready to blast their fuzzy grooves to the world by signing with the newly born label of the More Fuzz blog: More Fuzz Records. The digital-only release date is set for August 16th and is already in Pre-Order on Bandcamp, physical options will come in a near future.

More Fuzz Records was created by Tanguy Dupré, also the creator of the Stoner Rock blog More Fuzz. After 2 years reviewing albums and sharing news about this Fuzzy music scene, it was the next logical step to launch a label in order to support and be even more active in this awesome community. Our Motto: “Your Fuzz Dealer.”

https://www.facebook.com/AugustineAzul/
https://morefuzzrecords.bandcamp.com/
https://www.facebook.com/morefuzzrecords/

Augustine Azul, EP (2015)

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Methra Post Video for “Dead Ram”

Posted in Bootleg Theater on July 26th, 2016 by H.P. Taskmaster

methra

As they continue to support their new album, Acolyte (review here), Tucson duo Methra have unveiled a new video for the track “Dead Ram.” The clip is apparently a prequel to their last video, which was for the song “Hartley’s Cult,” the title derived from their purported obsession with Peavey amps — something you can see manifest in the wall of them that appears to be in the band’s practice space. It’s a tale of heartbreak, murder, wandering and death-sludge, and front to back it looks like it was an absolute blast to make. Which is as it should be.

That is the prevailing impression I get from Methra at this point, and it was true of the record as well: They sound like they’re having fun. The music lacks nothing for grit — it’s raw, nasty all over the place, even when they touch on a cleaner vocal here or a melodic part there, as indeed they do in “Dead Ram” — but it’s a very specific kind of fun that guitarist Nick Genitals and drummer Andy Kratzenberg are having throughout, like every time the cameras are shut off or the recording equipment is paused, everyone starts laughing. In a realm of music that sometimes seems so averse to enjoying itself on any level, it’s refreshing to see a band doing so with such brazen abandon.

You can check out the video below, followed by some comment from the band. Acolyte is out now on Battleground Records.

Enjoy:

Methra, “Dead Ram” official video

METRHA informs viewers, “Upon completion of our ‘Hartley’s Cult’ music video, we realized the story was not complete. We asked ourselves, ‘WWGLD’ (what would George Lucas do)? The answer was simple; a prequel, with even better(worse) effects. Who was the Acolyte? What drives Him?”

METHRA’s new lo-fi visual production is the unsettling tale of one man’s descent into madness, and rebirth into The Acolyte. In the “Dead Ram” video, a crazed drifter can somehow hear METHRA practice on the other side of town….and he hates it. He’ll take an absurd trek through Tucson’s lesser known architectural wonders on a deadly mission to silence the grating sounds of disgusting music inside his head. This prequel to the “Hartley’s Cult” will horrify you. All stunts were performed with actual landmarks and operational firearms. You have been warned.

Methra on Thee Facebooks

Methra on Bandcamp

Battleground Records website

Battleground Records on Thee Facebooks

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Nathanael Larochette, Earth and Sky: Horizon Meeting (Plus Full Album Stream)

Posted in audiObelisk, Reviews on July 26th, 2016 by H.P. Taskmaster

nathanael larochette earth and sky

[Click play above to stream Nathanael Larochette’s Earth and Sky in full. Album is out July 29.]

First thing to know about Nathanael Larochette‘s solo debut, Earth and Sky, is that it’s actually two albums. Presented across a pair of CDs, one dubbed Earth and the other Sky, the complete offering presents distinct looks between its component parts, as Larochette — the Ottawa-based guitarist known for founding chamber neofolk trio Musk Ox — explores intimate pastoralia via solo classic guitar throughout the six-part initial movement before compiling a massive, 41-minute drone simply called “Sky” for the second. The separation of these two musical personae is worth exploring in itself, and we’ll get there, but the fact that Earth and Sky‘s beginning is fractured, cut up into different pieces — like the land itself — while “Sky” is presented as one larger entity should say something about the conceptual basis on which Larochette is working.

His material is complex, and songs like “Monument” show a bit of the progressive tendency also demonstrated in the likewise new 36-minute single-song full-length from Larochette‘s progressive instru-metal outfit, The Night Watch, even if the project as a whole is more related to Musk Ox for its foundations in quiet acoustic contemplations, just taken to a more pared-back place sonically. “Sky” might be more lush with keys and effects and whatnot, but I’m not sure I’d call the Earth portion of Earth and Sky minimalist in anything beyond its just-guitar, no-vocals arrangement ethic. The textures Larochette brings to life across the six tracks — and really, the seventh as well — remain vibrant and evocative.

Larochette made his solo debut in 2012 with Threshold of Transformation, a 14-track outing melding guitar, glockenspiel, cello, etc. with his own spoken word performance. Obviously Earth and Sky is looking to show a different face these four years later, but a clear expressive undertone comes through nonetheless, bolstered by the clarity of the production and the natural body of the guitar. The presentation is not overblown by any means as “Awaken” slowly takes hold to start the album, but neither is it raw, as the longer stretches of “Oceanic” and the nine-minute “Invocation” demonstrate.

nathanael-larochette

As Larochette weaves the material into and through technically and melodically complex movements without losing the emotional crux underlying, the light reverb on his guitar almost becomes a character in the play. Earth and Sky was recorded and mixed by Simon Larochette in Nova Scotia and London, Ontario, and I’m going to assume that the common last name between Nathanael and Simon is more than just coincidence. Earth and Sky sounds like it was made with a familial touch, and that helps carry through not only the musical flow, but the thematic feel and intricacy of composition as well.

Of course, 37-minutes of solo guitar followed-up by a 40-minute drone exploration is no small ask of an audience, but Larochette meets this fact head on with an easy flow and immersive ambience within his songs, so that when “Slumber” — which no doubt could just as easily have been called “Death” — rounds out the first disc, its sweet wistfulness is no less engaging than was the launch of “Awaken” at the outset. What comes next is the slow unfolding of “Sky,” a departure in form and atmosphere if not entirely in intent. Given that the entire release is instrumental and that its two parts are standalone guitar and an ethereal wash, one might be tempted to combine Earth and Sky‘s pieces, playing both at the same time.

I did precisely that — waiting until “Awaken” picked up about two minutes in before starting “Sky” — and found the impression that both halves made together a deeply rewarding listen. Larochette has referred to the two pieces as “complementary,” but I don’t know if that’s what he had in mind. Even so, with variation of volume and timing, it is another layer of depth added to a work that, on its surface, seems to be simple but ultimately has so much more to offer. Taken on its own, “Sky” brings forward a post-rock sensibility as a central electric guitar figure emerges from the surrounding undulations of tone, but as the two play out together, the experience seems all the more resonant.

Nathanael Larochette on Bandcamp

Nathanael Larochette on Thee Facebooks

Nathanael Larochette website

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40 Watt Sun Announce Wider than the Sky Album Details

Posted in Whathaveyou on July 26th, 2016 by H.P. Taskmaster

40 watt sun (Photo by Ben Sommers)

If you’re wondering to what exactly the title Wider than the Sky is referring, the answer arrives in the new teaser for the album. Set for an Oct. 14 release with vinyl through respected purveyor Svart, the record is the second from 40 Watt Sun, the ultra-melancholic Welsh doom project led by Patrick Walker, formerly of Warning. Wider than the Sky follows the band’s 2011 debut, The Inside Room (review here), which garnered massive, massive praise the world over for its depth of tone and emotionality. Thus far — and by that I mean judging by the 1:46 teaser — it seems the PR wire is right on when speaking of sparser arrangements. It will be interesting to hear what 40 Watt Sun do with the spaciousness they create.

The PR wire brings the album announcement:

40 watt sun wider than the sky

40 WATT SUN unveil details of new album, ‘Wider than the Sky’

40 WATT SUN have today unveiled details of their long-awaited second album. Wider than the Sky is the much anticipated follow-up to 2011’s critically-lauded The Inside Room.

Once again self-produced by the band, the new songs were recorded over five days at Giant Wafer Studios, isolated deep in the heart of the mid-Wales countryside.

Wider than the Sky has been an album fraught with delays and difficulties. In a move intended to regain autonomy over their own recordings and future plans as a band, 40 WATT SUN have elected to self release the album via their own label, Radiance Records.

In the spirit of the band’s previous music, Wider than the Sky, is imbued with sweeping, soaring melodies yet sparse, minimalist arrangements. However, eschewing the solidifying wall of sound that characterised their debut, 40 WATT SUN continue to progressively explore and broaden their sonic palette.

As expected, Patrick’s lyrics, strung with aching introspection and pained nostalgia, hang on his characteristic and poignant vocals and delicate guitar lines, with Christian Leitch’s sensitive and nuanced drum-work, and William Spong’s thoughtful bass guitar gently revealing themselves in the folds of the songs.

From the majestic, sweeping melodies of slow-building opener Stages, to the stark bare-boned crawl of Another Room and the vulnerable, plaintive balladry of closer Marazion, 40 WATT SUN have created an album of painfully emotive, low-key rock music; one which shimmers with some of the most evocative, stirring songs Patrick Walker has written to date.

Artwork for the release has been created by Rebecca Freeman, a Falmouth-based, mixed media artist.

Pre-orders of Wider Than The Sky are available via 40 WATT SUN HERE, ahead of the scheduled release date, October 14. A 2LP vinyl edition of Wider than the Sky will also be released through Finland’s Svart Records.

Wider than the Sky
1. Stages (16:20)
2. Beyond You (09:42)
3. Another Room (11:56)
4. Pictures (09:50)
5. Craven Road (10:31)
6. Marazion (03:56)

40 WATT SUN are:
Patrick Walker: Guitars and Vocals
Christian Leitch: Drums and Percussion
William Spong: Bass and Percussion

https://shop.40wattsun.com/product/wider-than-the-sky/
http://40wattsun.com/
https://www.facebook.com/40wattsun
https://twitter.com/40WattSun

40 Watt Sun, Wider than the Sky album trailer

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ZQKMGDZ to Release Orbit Dualkraut in Aug.

Posted in Whathaveyou on July 26th, 2016 by H.P. Taskmaster

German outfit ZQKMGDZ have signed to Pink Tank Records and made their second album, Orbit Dualkraut, available now to preorder. The band lists their full-name as 10.000 km² Gegen Die Zeit, of which I’m just going to assume translates in their native language to the acronym in question, and made their long-player debut last year with Dimension Plasma. They’ll have Orbit Dualkraut out on Aug. 26 in a number of different editions, CD, vinyl and digital, and it seems each will include some different look from the others, whether that’s in color, longer songs or a bonus track. If you’re going to put a bonus track on your record, by the way, you should probably call it “Space Golem,” which of course ZQKMGDZ do.

From the PR wire:

ZQKMGDZ orbit dualkraut

ORBIT DUALKRAUT is the long awaited second release by ZQKMGDZ. The three guys from Lübeck, Germany are nailing it again with their unique Interstellar Psycho Doom. A fantastic mixture between Stoner-, Psychedelic-, Kraut- and Doom Rock straight outta space. With ORBIT DUALKRAUT Don Alfredo (Warpguitars & Roar) & Don Libido (Subways of Doom) Don Fernando (Spacedrums) made a big step forward. Harder, louder and more angry they crank the fuzz out of their amps.

Release Date:
26th of August 2016 on limited vinyl, cd and digital
Pre-order 1st of July 2016 via Pink Tank Records

VINYL
– 500 copies total all on 180g heavyweight vinyl pressed in Germany
– 200 copies dualkraut green incl. exclusive ZQKMGDZ patch, CD & Poster (Pink Tank Records & band edition)
– 300 copies clear (wholesale edition)
– 350g heavyweight cover

CD
– 700 copies total
– 200 copies exclusive vinyl version
– 500 copies jewel case 4/4 page booklet & BONUS TRACK
– both incl. long versions of Monkraut Jupiter & Ape Apocalypse Monkey Doom

DIGITAL
– long version of Monokraut Jupiter & Ape Apocalypse Monkey Doom
TRACKS:

VINYL:
A:
Plasma Russian – 05:59
Hypergrant – 08:02
Monokraut Jupiter – 06:53
B:
Orbit Dualkraut – 06:05
Ape Apocalypse Monkey Doom – 14:47

CD
01. Plasma Russian
02. Hypergrant
03. Monokraut Jupiter (long version 11:53)
04 Orbit Dualkraut
05 Ape Apocalypse Monkey Doom
06 Space Golem (BONUS TRACK)

DIGITAL
01. Plasma Russian
02. Hypergrant
03. Monokraut Jupiter (long version 11:53)
04 Orbit Dualkraut
05 Ape Apocalypse Monkey Doom

https://www.facebook.com/ZQKMGDZ/
https://10000kmgegendiezeit.bandcamp.com/
http://www.pink-tank-records.de/label-1/the-pink-tank-family/zqkmgdz/

ZQKMGDZ, Orbit Dualkraut (2016)

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Desertfest Belgium 2016: Red Fang, Weedeater, SubRosa, Duel, Black Rainbows & Giobia Added

Posted in Whathaveyou on July 26th, 2016 by H.P. Taskmaster

One could hardly accuse Desertfest Belgium 2016 of playing it subtle. The Antwerp-based festival has upped its stakes considerably this year, bringing in Goat as its first-announced headliner and now adding Red Fang to the bill as the second of three with the third still TBA. Perhaps even more of a consideration are the acts built around these major-force names: Uncle AcidYOBPentagramWeedeaterElder and so on, that really demonstrate just how far the festival has come, adding its name to the elite class in a crowded European fall fest sphere.

Red Fang will have their new album out by the time they head over to play. Weedeater, SubRosa, Duel, Black Rainbows and Giobia have also signed on. The PR wire brings details:

desertfest belgium 2016 poster red fang

RED FANG COMES TO DESERTFEST BELGIUM! Weedeater and others also confirmed

We promised you whopping big news, so whopping big news is what you get!

It is a true pleasure and honour to announce the stoner rock phenomenon RED FANG will be headlining Desertfest Belgium for 2016. As one of the most exciting bands to break out of the scene and into the collective rock community, this is truly a dream come true for us.

Allow us to further blow your excitement level through the roof with another great addition to the line-up: Southern moguls WEEDEATER will be playing the festival as well, along with the oldschool-not-retro heavy heavy psych of DUEL and BLACK RAINBOWS. And with SUBROSA and GIOBIA, we add some truly progressive stoner sounds to the Desertfest mix.

And we’re still not done! We’ll return to you in August with the reveal of our last headliner… we promise it’ll be another mindblower.

RED FANG

How about this for a good omen: Red Fang’s new album ‘Only Ghosts’ drops on the first day of our festival… so what else could we do but try and do our stinking best to get them on board!

And so here they are – the Portlandian stonerockers who have been on the rise since 2005, earning their respect and fame the good old fashioned way: by consistently blowing the mind of whoever witnessed their rifftastic songs, their scorching liveshows, their hilarious videos. Headlining this year’s Desertfest Belgium – you bet your ass we’re psyched!

WEEDEATER

Another scene mainstay that needs no introduction. You know Weedeater’s got the heaviest tone in the business, you know last year’s album ‘Goliathan’ delivered another slab of grooves thick as molasses. You know Dixie Dave will toast us with whiskey and throw up halfway the set from sheer excitement, you know drummer Travis will juggle his sticks a lot. But most of all: you know the gums will be fuzzed straight off your teeth when Weedeater hits the stage.

DUEL

Duel from Austin, Texas bring a brand of stoner doom that is utterly menacing and brutally old school. Hugely influenced by the pure darker sounds of early 70’s Proto-metal, their tunes cut right to the bone with heavy deep groove and a blistering tone. Tough and Loud, Hard rock as it should be!

BLACK RAINBOWS

The Italian Black Rainbows have established themselves as one of the most active fuzz-fueled rock acts in Europe. Blending the drive and swagger of 70’s hard rock with the sun-baked thickness of 90’s stoner rock, their sound could be described as “Hawkwind, MC-5 and Nebula crashing cars in the middle of the Mojave desert”. For proof, look no further than this year’s killer album ‘Stellar Prophecy’.

SUBROSA

Subrosa brings you Ancient Magickal Doom from the bowels of Salt Lake City. Balancing a sludgy low-end and high volume with ultra-melodic folk and experimental elements, the haunting ambience of two electric violins makes this a singular trip that feels emotional, eerie, bleak, and beautiful.

GIOBIA

Hailing from Milan, Giöbia is a celebration of the authentic sixties psychedelic underground, brought to taste with strong shoegaze influences. and sitars, old organs and synthesizers as well as a shitload of effects. A real treat for true lovers of psychedelic music!

https://www.facebook.com/desertfestbelgium/
https://twitter.com/desertfestBE
https://www.facebook.com/events/488174281372335/
http://www.desertfest.be/tickets

Red Fang, “Flies”

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Swamp Witch Premiere “Slither into the Circle” from The Slithering Bog LP

Posted in audiObelisk on July 25th, 2016 by H.P. Taskmaster

swamp witch

The forthcoming LP edition of Swamp Witch‘s The Slithering Bog — out soon on Tribunal of the Axe — isn’t technically a reissue. Though the Californian death-doom outfit’s second full-length was released on cassette in 2015 via Transylvanian Tapes, the new version, mastered for vinyl and encompassing in its atmospheric density such that it makes even the air it fills seem heavier, is the first on a vinyl format. Built of two songs on its first side and four on its second, it’s a record that revels in the seemingly wretched. Cave-echo growls, lumbering riffs, and fervent plod are conjured with a depth of low end that feels sludged in its roots, but has turned to something even more rotten and vicious and crawling, and as the rolling “Strange Cults” leads the way into the trenches that follow, it is the utter hopelessness of the thing that stands out most. It’s like that part of the sea where the fish had to evolve their own light because the sun couldn’t get down that far.

Currently comprised of vocalist James, guitarist Ben, bassist Jacob and drummer Phil, Swamp Witch recorded The Slithering Bog two years ago in July 2014. They made their debut with Gnosis in 2011, but the second album, as it should, expands intensely on the first, digging into more of a classic death-doom style, as heard in the mournful guitar swamp-witch-the-slithering-bogof “Marsh of Delusion,” or the depressive buzz that emerges as “Slither into the Circle” leads off side B. The play from side A to B in the vinyl — moving from longer tracks to shorter ones — isn’t to be ignored, as it signals intent on the part of Swamp Witch essentially to overwhelm their listenership as much as possible at the outset and then move outward stylistically from there. To wit, the snare work on “Slither into the Circle” adds a subtle bounce cutting through all the decay and crash surrounding, and though it cuts the pace seemingly in half (actual percentages unknown), the subsequent “Bayou Tomb” lurches out some of the hugest and most engrossing tones The Slithering Bog has to offer, not necessarily moving away from the other material atmospherically, but expanding the context of the release overall and adding a sense of dynamic to the consistent, obscure ambience.

That context is pretty much set by the time Swamp Witch get down to the closing duo of “Dead Root” and “Lost Symbols,” but especially the latter continues to add layers of personality to The Slithering Bog through some post-Aldebaran or even earlier Novembers Doom-style guitar melody, not quite as emotionally wrought as the latter, and still a good deal rawer in overall approach, but potentially on a like-minded sonic path, though I’m not sure I’d trade the utter brutality of low-end they bring to bear across The Slithering Bog in favor of existential woes — it would obviously depend on how their songwriting continues to develop and the lineup takes shape and/or continues to discover its chemistry. In any case, Swamp Witch‘s second LP carries with it a tome-style impression and so feels worthy of the vinyl treatment it has received. No doubt its plunge will be too deep for many to take, but that’s precisely the intent, and The Slithering Bog lives up to it with artistry and without compromise.

The decaying sounds of The Slithering Bog were captured during July 2014 at Earhammer Studios in Oakland, California by Greg Wilkinson (Brainoil, Annihilation Time, Noothgrush, et al) and mastered at Trakworx in San Francisco by Justin Weiss (Ludicra, Slough Feg, Cormorant, et al). Initially released on cassette last year via Transylvanian Tapes, the collection of nightmare rituals that made this release so necessary and bizarre has finally oozed its way onto vinyl on three color variants (black, purple haze and swamp green) thanks to Tribunal Of The Axe Records who will unleash the offering later this month.

The Slithering Bog Track Listing:
Side A:
1. Strange Cults
2. Marsh Of Delusion
Side B:
1. Slither Into The Circle
2. Bayou Tomb
3. Dead Root
4. Lost Symbols

Swamp Witch on Thee Facebooks

Preorder at Tribunal of the Axe

Tribunal of the Axe on Thee Facebooks

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