Carousel, 2113: Strange Revelations

Posted in audiObelisk, Reviews on August 26th, 2015 by H.P. Taskmaster

carousel-2113

[NOTE: Press play above to hear the full stream of Carousel’s 2113. Thanks to the band, label and PR for letting me host the premiere.]

Don’t let its minimalist cover fool you, Carousel‘s 2113 is brimming with life. The Pittsburgh four-piece’s second offering through Tee Pee Records after a raucous debut two years ago with Jeweler’s Daughter (reviewed and streamed here), the nine-song/46-minute collection also marks the arrival of guitarist Matt Goldsborough, who doubles in labelmates The Skull. His addition to the lineup with returning guitarist/vocalist Dave Wheeler, bassist Jim Wilson and drummer Jake Leger, is even more noteworthy because, while Goldsborough is is perhaps best known for his stint replacing Victor Griffin a couple years back in PentagramLeger also doubles as the drummer for reunited heavy rockers Bang, so more than most who work in the style, Carousel can claim direct lineage to the classic form from which they take inspiration.

Accordingly, 2113 makes for some of the most seamless ’70s modernization I’ve heard since Stone Axe, songs like “Man Like Me” and the talkbox-infused “Photograph” digging deep into a ’70s-sytle aesthetic and rhythm without necessarily needing the vintage production trappings that others sometimes take on. As was the case with Jeweler’s DaughterCarousel work smoothly as a two-guitar foursome, this time around Wheeler and Goldsborough finding harmonies right from the start with opener “Trouble” that reinforce the timelessness that Thin Lizzy once so readily tapped. It’s a party vibe early, but the bulk of 2113 isn’t so easily caged into one mindset or another, much to the benefit of the album as a whole.

Wheeler‘s frontman presence is a major force throughout, but ultimately it’s his and Goldsborough‘s guitars both that lead the charge, while Wilson and Leger lock in alternately swinging and driving grooves to push songs like “Photograph” forward at an efficient but not at all rushed-sounding clip through its several included solos. The shift in approach between that cut and the subsequent “Buried Alive in Your Arms” — which almost beats the listener over the head with its hook and thus proves among the more immediately memorable inclusions — signals a sense of structural variety that continues throughout the record, but wherever they wind up, Carousel keep 2113 sounding consistent and largely effortless, swagger perhaps the album’s most unifying theme.

carousel

Fitting enough, Wilson gives a highlight bass performance on “Jim’s Song,” and the shortest track (at 2:54) winds up smartly placed to hold onto the momentum the band have thus-far built leading into the centerpiece of the tracklisting, “Highway Strut,” which is about as close as Carousel come to a mission statement on the record. Elsewhere, on “Buried Alive in Your Arms” or the later “Man Like Me,” or on the bonus track Joe Walsh cover “Turn to Stone,” one finds tales of loves lost and found, but “Highway Strut” feels like it’s in the middle for a reason. Also likely the opener of the vinyl side B, it’s a classic road song in the Grand Funk tradition of the sort that Dixie Witch once did so well, and while by the time it comes around, Leger has already broken out the cowbell once on “Photograph,” it couldn’t be more appropriate than it is highlighting the titular strut of the centerpiece.

“Strange Revelation” is about as close as Carousel get to psychedelia, with some added spaciousness in the guitar, but the prevailing vibe remains more boozy than druggy. Starting quiet, it trades back and forth for the first couple minutes until locking itself in around the halfway point through its seven-minute run, building to a satisfying apex that prefaces the title-track soon enough to follow “Man Like Me,” which like “Jim’s Song” on side A, is smartly located where it is. In this case, its straightforward thrust, dual leads and catchy chorus not only stand on their own, but act as a buffer between “Strange Revelation” and “2113.” If you want to go one farther, one can hear a touch of Joe Walsh in the guitar progression as well, tying the original song to the finale cover, but most importantly, “Man Like Me” is strong enough to sound like more than just an interlude between 2113‘s two longest tracks, the latter of which checks in at 7:42 well spent between AC/DC chug and some more of that highway strut they noted earlier.

As ever, Wheeler and Goldsborough affirm the forward position of the guitars, a layer of acoustics adding a sentimental touch to the second half of the track, which is entirely instrumental and topped with interwoven solos prior to a long fadeout. I don’t know whether “Turn to Stone” is included on the vinyl edition of the album — I’d assume not, but one wouldn’t want to feign certainty — but they fit the cut by the former Eagles/James Gang frontman smoothly into the overarching flow either way, even if after the fade of “2113,” there’s not much left that really needs to be said. It’s a quick listen, with or without “Turn to Stone” at the end of it, and Carousel‘s second makes a more than suitable answer to their debut, finding them as players working in more nuanced ideas without losing the natural spirit so essential to what they do.

Carousel on Thee Facebooks

2113 at Tee Pee Records

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Gurt and Diesel King to Tour Europe Next Month

Posted in Whathaveyou on August 26th, 2015 by H.P. Taskmaster

Two aggressive-as-hell Londoner outfits teaming up to, as they put it, “beat the shit out of Europe?” Yeah, I’d say the pairing of Gurt and Diesel King makes sense. All the more so since both bands have material recently out. Gurt issued their latest EP, D.I.Y.M.C.A. (get it?), back in April, and in June, Diesel King unleashed a free download single, beefing up Toto‘s “Hold the Line” with their particular brand of dudely extremity. Whether or not they’ll take that cover on the road, I don’t know, but it’s almost worth showing up to find out, even without the rest of the show.

You know the deal. Info and audio? Yes. Info and audio:

gurt diesel king euro tour

GURT + DIESEL KING // EURO TOUR 2015

Dead Pig Entertainment & When Planets Collide present : GURT & DIESEL KING

Beating the shit out of Europe for the first time together…

GURT take the blues and groove of 70s rock and drag it backwards through the swamps of Louisiana. The drums are thunderous, the vocals demonic and the guitars down-tuned, down-tempo and down-right sexy. This is not doom, this is not sludge, THIS IS GURT.

Diesel King play aggressive & abrasive music which has been described from sludge to hardcore to death metal. The London mob have been on various tours and have supported bands such as Corrosion of Conformity, Eyehategod, Entombed and many others. Playing in the UK and Europe and featuring on various high profile festival bills such as Bloodstock, their live shows are likened to being punched in the face repeatedly. With 2 Eps under their belt the band are set unleash their debut album in 2015 “Concrete Burial” and look to continue their dominance in the UK metal scene.

03.09 : UTRECHT (NL), dB’s
04.09 : get in touch
05.09 : SALZBURG (AT), Stonerhead Fest
06.09 : get in touch
07.09 : PARIS (F), Stoned Gatherings Klub
08.09 : LILLE (F), Le Biplan
09.09 : BRUXELLES (BE), Magasin 4

https://www.facebook.com/events/1463049980665347/
facebook.com/GURTsludge
http://gurt.bandcamp.com/
facebook.com/Dieselkinguk
http://dieselking.bandcamp.com/

Gurt, D.I.Y.M.C.A. (2015)

Diesel King, Hold the Line (2015)

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Phemüt Release The Memory of Spring Debut EP

Posted in Whathaveyou on August 25th, 2015 by H.P. Taskmaster

Stomping, plodding doom, caked equal shares in feedback and loathing, pervades the debut EP from Seattle-based Phemüt. Titled The Memory of Spring, the four-song collection takes its cues from tonal massiveness brought to bear by the familiar presence of Aaron D.C. Edge, who the last time we heard from him had fractured a vertebra in his back mountain biking and was attempting to cover even more medical expenses incurred beyond those resulting from his ongoing treatment for M.S. — not a minor financial commitment.

He’s joined in the new project — I believe that’s a milestone band #87 for Edge — by vocalist Cole Benoit of Dead Again and percussionist Penny Keats (Keeper), and much growing, deathsludge ensues, but it would be hard for a 16-minute cut like “Of Bones and Ash,” which hits second after opener “The Symbology of Ruin,” to sustain itself without a corresponding sense of atmosphere, and the EP as a whole winds up with plenty of that to go with its encompassing morass, in that song as well as “Beneath the Embers,” which follows, loud/quiet tradeoffs set the tone. Admittedly, loud wins, but that’s about right for what Phemüt are aiming at, which is destruction. “Only Death is Forever” rounds out on a suitably downtrodden note, and as it straddles the line between EP and LP, The Memory of Spring offers little by way of hope for warmth in its crushing roll.

Info and audio follow:

Phemüt the memory of spring

Phemüt: with members of Lumbar, Keeper and Dead Again…

a studio project featuring: cole benoit (dead again), penny keats (keeper), and aaron edge (lumbar and iamthethorn)
credits
released 20 August 2015

phemüt performs “the memory of spring”

cole benoit: vocals
aaron d.c. edge: strings
penny keats: percussion

electronic kit recorded by jacob lee at the doom cupboard
guitars and bass recorded by aaron edge at myelin studio
vocals recorded by russell white at the secret location
mixed by aaron edge and cole benoit
mastered by cole benoit
design by cole benoit
“hooded figures” illustration (1970) by nicholas monro

http://phemut.bandcamp.com/releases

Phemüt, The Memory of Spring (2015)

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audiObelisk Transmission 051

Posted in Podcasts on August 25th, 2015 by H.P. Taskmaster

Click Here to Download

 

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

The last one was so late, it seemed only fair to get back on track and do this one early. Not that you’re sitting and waiting with baited breath for the next podcast, I know — not deluding myself to think otherwise — but it keeps me sane to stick to some imaginary/arbitrary feeling of timeliness that changes more often than not, so I’ll just say up front that I appreciate your indulgence. Wow. Sometimes these imaginary conversations get pretty heavy.

Speaking of heavy — and speaking of masterful segues! — the new podcast has plenty of it. The second hour actually gets pretty pummeling, what with the Ahab track and all, so I made sure a little extra psychedelic stuff got in at the front. Dig that Red Mountains track. Their album’s coming out on Nasoni, which should be all the endorsement you need. I’m also very much into the Pyramidal space jam, and if you get to hear it, that Brian Ellis & Brian Grainger record (El Paraiso is putting it out) is a gem. Think a more psychedelic Six Organs of Admittance, all instrumental.

Some killer samplings to be had here, so I won’t delay further. Hope you enjoy:

First Hour:
0:00:00 Tony Reed, “Still Born Beauty (Necromandus ’73)” from The Lost Chronicles of Heavy Rock Vol. 1
0:04:02 All Them Witches, “Dirt Preachers” from Dying Surfer Meets His Maker
0:07:43 Uncle Acid and the Deadbeats, “Waiting for Blood” from The Night Creeper
0:12:33 Red Mountains, “Sleepy Desert Blues” from Down with the Sun
0:19:58 T.G. Olson, “Heavy on Your Head” from The Boom and Bust
0:23:18 Pyramidal, “Motormind” from Jams from the Sun Split with Domo
0:33:30 Brian Ellis & Brian Grainger, “Treesmoke” from At Dusk
0:37:53 Vinnum Sabbathi, “Hex II: Foundation Pioneers” from Fuzzonaut Split with Bar de Monjas
0:45:18 Spelljammer, “The Pathfinder” from Ancient of Days
0:53:41 Derelics, “Ride the Fuckin’ Snake to Valhalla” from Introducing

Second Hour:
1:02:03 Ahab, “The Weedmen” from The Boats of the Glen Carrig
1:16:56 Lost Orb, “Low Ebb’s Lament” from Low Ebb’s Lament
1:34:10 Hotel Wrecking City Traders, “Droned and Disowned” from Split with Hey Colossus

Total running time: 2:00:41

 

Thank you for listening.

Download audiObelisk Transmission 051

 

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Clutch Post First ‘The Making of Psychic Warfare‘ Video Series

Posted in Whathaveyou on August 25th, 2015 by H.P. Taskmaster

If someone were to come up to you and ask you what is best in life, I’m relatively sure the answer would be, “Clutch talking behind-the-scenes about making records.” The band has unveiled the first three installments of a series of videos about the processes at work for their upcoming 11th album, Psychic Warfare. The full-length is out Oct. 2 on Weathermaker Music and in the videos, the band talks about writing — they jam like they play — working with producer Machine again after doing so for Blast Tyrant and Earth Rocker and the work that goes into the tracks.

I’d tell you more, but Clutch do it better anyway. Here’s this off the PR wire:

clutch neil fallon

CLUTCH: THE MAKING OF “PSYCHIC WARFARE” BEHIND THE SCENES VIDEO SERIES POSTED

NEIL FALLON LYRIC INSIGHT SERIES CONTINUES

Clutch, the influential heavy rock band from Maryland, have posted “The Making of Psychic Warfare” Segment 1: Creation, Production, and Speculation via their Facebook page, facebook.com/Clutchband.

These video clips shot by David Brodsky and his company My Good Eye: Music Visuals, will give fans an unprecedented view into the studios, as well as insight into the thoughts and ideas behind the making of the new Clutch album “Psychic Warfare”. The footage in Segment 1 consists of interviews taken as the band started pre-production with Machine, who recorded, mixed and produced the record. Band members and Machine talk about the pre-production process while the album was being developed in Frederick MD.

The series will have 3 segments. The 2 upcoming segments, Segment 2: Austin Calling (September 14th) and Segment 3: Doom Saloon (September 28th) will continue to document with behind the scenes footage, the recording process as the band moves to Austin,Texas to record at the Machine Shop, to the last segment ending up with the band back in Frederick, MD putting the finishing touches to the record.

In addition to posting “The Making of Psychic Warfare” video series on the recording process, on alternating weeks, vocalist Neil Fallon will be posting his comments on the lyrical content and explain the meaning behind several songs off “Psychic Warfare” on Clutch’s facebook page.

Neil Fallon lyric commentary series:
The Affidavit & X-Ray Visions
A Quick Death In Texas
Firebirds
Sucker For The Witch
Decapitation Blues
Noble Savage

“Psychic Warfare” is the band’s eleventh studio album and will be released worldwide October 2nd via their own label Weathermaker Music. The album was produced by longtime producer Machine (Lamb Of God, Every Time I Die) and consists of 12 new tracks. Pre-order is available at Clutch’s official website pro-rock.com now. “The title ‘Psychic Warfare’ is taken from the first track, and first video we did for the record ‘X-Ray Visions” states singer Neil Fallon. “It’s a tale about an unnamed protagonist who is forced to seek refuge in a flop house motel. He is hiding from several nefarious psychic forces, the worst of which is his own sleep deprived paranoia.” The album cover was designed by renowned photographer Dan Winters.

“Psychic Warfare” track listing:
01 The Affidavit
02 X-Ray Visions
03 Firebirds
04 A Quick Death in Texas
05 Sucker For The Witch
06 Your Love is Incarceration
07 Doom Saloon
08 Our Lady of Electric Light
09 Noble Savage
10 Behold the Colossus
11 Decapitation Blues
12 Son Of Virginia

CLUTCH:
Neil Fallon – Vocals/Guitar
Tim Sult – Guitar
Dan Maines – Bass
Jean-Paul Gaster – Drums/Percussion

www.facebook.com/clutchband
www.instagram.com/clutchofficial
www.twitter.com/clutchofficial
www.pro-rock.com
www.youtube.com/user/officialclutch

Clutch, “The Making of Psychic Warfare: Creation”

Clutch, “The Making of Psychic Warfare: Speculation”

Clutch, “The Making of Psychic Warfare: Production”

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The Mountain Movers Premiere “I Watch the Sea” from New Album Death Magic

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

the mountain movers

This past weekend, New Haven, Connecticut, pastoralists The Mountain Movers played the release show for their second album, Death Magic. Out this Friday, Aug. 28, through Safety Meeting Records, it’s their fifth long-player and first since 2010’s Apple Mountain, recorded by former drummer John Miller (Titles) and boasting a natural and subtly driving sound. Shoegazing and indie airiness pervade, and there’s a weighted undertone in Ross Menze‘s drums and the bass of Rick Omonte (ex-Crooked Hook) that meshes smoothly with guitarists Dan Greene (also vocals and artwork) and Kryssi Battalene (lead) to present an organic, at times understated psychedelia. Less space, more earth, but trippy all the same.

Opener “Short Life” does very little to hide its ’90s stylization, but by the time The Mountain Movers make their way to “Floating Holiday” two tracks later, the context has already widened considerably. It continues to do so throughout Death Magic, which builds tension and releases it in periodic bouts of fuzz and post-rocking dreaminess. “Dead the mountain movers death magicTomorrow” turns its title into a morose hook and seems to presage the immersive, slow-rolling swing of “Stray Cat in the Street,” which seems to be over before its really started at 2:20. Tempo and runtime seem to be playthings as much as the instruments on Death Magic, but the album lacks nothing for flow, pushing through the more jagged riffing of “I’ve Been Moved” and its near-seven-minute psychedelic thrust into the more peaceful but still discordant plod of closer “A Bird Flew in My Shed” in a manner suited to the vibe-intensive experience throughout.

At the center of Death Magic, one finds the seemingly companion “Nightsong of the Sea” and “I Watch the Sea.” The former lulls the listener to into a sort of semi-consciousness with its blissed-out lo-fi, but when it comes around, “I Watch the Sea” is immediately more abrasive, incorporating feedback Sonic Youth-style for purposeful abrasion even before it moves into its section of full-on jamming. Its six and a half minutes are among the rougher-edged on the album as a whole, but The Mountain Movers prove more than able to contain the fire they light, turning around in the last 30 seconds of the track in order to shift back to the chorus, like it ain’t no thing.

But it is, and you can find out for yourself by listening to the track on the player below, courtesy of Safety Meeting, which again, has the album out this Friday, Aug. 28. More info on the record follows the stream.

Enjoy:

Although five years have passed since Apple Mountain, the Mountain Movers’ last full length album, the band has been working steadily, releasing a half dozen 7” EP’s and cassettes. Over the last couple years their line-up has stabilized, one of incredible chemistry, and with every live performance the band’s interpretations of Dan Greene’s song writing have become increasingly direct, focused, and tonally powerful. The result is the highly anticipated new full-length album, Death Magic.

Many bands described as “lo-fi” only begin that way, and as the artist improves, so does the level of fidelity. But the Mountain Movers have upended the usual trajectory. After their ambitious and incredibly realized album Let’s Open Up The Chest (2008), a hi-fidelity studio production, subsequent releases were grounds for experimentation and home recording, resulting in a sound that some might call lo-fi. For the Mountain Movers, this experimentation was a quest for an elusive tone, a far-off texture, and anyone who has seen their live shows over the last few years has witnessed the Mountain Movers distill their formula into something organic, pure, and unmasked. To make this album, the band set up in the modest basement studio of former member John Miller, whose production is live, transparent, and captures the feeling of what may be Greene’s best song writing to date. Death Magic is not another over-produced, ultra-digital pile of overdubs and effects. Rather, these ten tracks document an inspired, unified performance—fuzzed out, pounding, and hypnotic.

The Mountain Movers Tumblr

The Mountain Movers on Thee Facebooks

Preorder at Safety Meeting Records

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Hexvessel Sign to Century Media; Tiamat Cover Posted

Posted in Whathaveyou on August 25th, 2015 by H.P. Taskmaster

I have to admit, folks, I’m kind of scratching my head on this one. Don’t get me wrong, Hexvessel are a very cool band. I’ve dug the stuff they put out on Svart and I went out of my way to catch them when the opportunity presented itself a couple years back at Roadburn. But they’re not exactly what I’d consider a commercial property, and if you look at the bulk of the roster for Century Media, that does seem to be where the heart of their interest lies these days. Finnish psychedelic folk rock? Will that sell? Is Kerrang gonna cover that?

Also, is Kerrang still in print?

Hexvessel mark the second time in 2015 that Century Media have gotten their hands dirty to pluck a band up from the underground. You might recall they picked up skate rockers The Shrine a bit ago. Could be the label’s had a change of approach, or could be a freak thing. I guess we’ll find out over the next few months if the trend continues.

For now, here’s the Hexvessel announcement off the PR wire:

hexvessel (Photo by Maija Lahtinen)

HEXVESSEL announce signing with Century Media Records and release Tiamat “Gaia” cover version

HEXVESSEL and Century Media Records are proud to announce a worldwide deal for the upcoming releases of the Finnish psychedelic folk rock band.

Vocalist and guitarist Mat McNerney (also singer in Grave Pleasures) comments:
“In many ways the new Hexvessel songs are a new beginning for the band. The time we have invested in this next album has been very carefully spent. So we have become very focused in what we want to do and want to deliver something really special for our fans when it comes to releasing the next record. It’s very important music for us, close to the bone and nestled right up next to our hearts. We were looking for a relationship with our record label to be the same as our bond with each other in the band. It has to be real and it has to be a shared experience! The way we met Jens and the wonderful people at Century Media was at a very special time for us and them, and we felt a unique connection that has grown ever since. That they totally understand and truly feel for what we’re doing is really important. After all this is magic art we are creating and is from a personal place. We believe that with Century Media we will have the support and encouragement to take our music further than ever before. Deepest thanks to all our fans and friends without whom we are nothing, our publisher and friend Andy Farrow at AMF for his good faith, the guys at Svart Records for bringing us up and holding our hands from our inception, and hails to the good folks at Century Media for believing in Hexvessel and heralding a new dawn for us. It’ll be a bright a blessed future. Shine on!”

Jens Prueter, Head of A&R Century Media Records Europe: “I was already a fan of the previous Hexvessel albums but I got truly addicted to the band after seeing them live in early 2014 supporting Alcest. It was an ill-fated day as we had just received the bad news about the passing of Oliver Withöft, co-owner of Century Media. We found solace in music and that’s probably the greatest thing music can achieve – to quote the US free-jazz legend Albert Ayler: “Music is the healing force of the universe”. Afterwards, I met Mat a couple of times and we discovered being kindred spirits in our taste of music. There are not too many people I know who like Ultimate Spinach as much as Albert Ayler and Tiamat. Hexvessel’s cover version of “Gaia” was originally intended to be released on a 20th anniversary edition of Tiamat’s “Wildhoney” but unfortunately the project never came into being. Since “Wildhoney” is still one of the most successful Century Media releases, it’s a perfect opportunity to release the cover now and celebrate a new chapter in Hexvessel’s career that hopefully will be as successful. It certainly will include some amazing music.”

Hexvessel Live:
11.27.2015 Leafmeal Festival, Dortmund, Germany (w/ Crippled Black Phoenix, Long Distance Calling, Dead Lord, ’77 and more)
www.facebook.com/leafmealfestival

Hexvessel Line-up:
Mat McNerney – Vocals & guitar
Jukka Rämänen – Drums
Simo Kuosmanen – Lead guitar
Niini Rossi – Bass guitar
Kimmo Helén – Keys, trumpet & violin.
Marja Konttinen – backing vocals & additional percussion

Hexvessel Discography:
“Iron Marsh” EP 2013
“Vainolainen” 7″ 2012
“No Holier Temple” CD/LP 2012
“Dawnbearer” CD/LP 2011

https://www.facebook.com/hexvessel
www.centurymedia.com

Hexvessel, “Gaia” official video

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CHRCH’s Unanswered Hymns LP Available to Preorder

Posted in Whathaveyou on August 24th, 2015 by H.P. Taskmaster

chrch

Sacramento five-piece CHRCH — who were Church when they first digitally released their debut album, Unanswered Hymns (review here), back in April — are getting ready to oversee the vinyl issue of that same full-length via Battleground Records. The headline from the PR wire below cuts to the chase with its direct urging toward a preorder, and while I’m usually somewhat shy about engaging directly in telling someone to spend their money, if you take a listen to the stream of the record at the bottom of this post, you might agree a preorder makes some measure of sense. First-pressing appeal aside, the album stomps souls. A band like CHRCH doesn’t come along every day, is all I’m saying. In the end, you have to make up your own mind.

To help in that process, the PR wire:

chrch unanswered hymns

CHRCH: Preorder Unanswered Hymns On Vinyl Now

Sacramento, California’s fresh-faced psychedelic outfit CHRCH crushed their way onto the scene with their stunning debut cassette Unanswered Hymns to overwhelmingly positive response back in April, enchanting even metal’s toughest critics and bringing crowds to their knees all over the west coast.

The group signed to Battleground Records to release the vinyl version of the debut on September 18. We are proud to announce that for the first time, the LP is available for preorder. Better grab it quick–this one’s not going to last long.

Preorder Unanswered Hymns on vinyl right here: http://www.battlegroundrnr.com/product/church-unanswered-hymns-lp

The old and oft quoted adage about “the music speaking for itself” is not a callous or casual statement when applied to the Sacramento, California based doom quintet CHRCH, who have been hard at work crafting their particular brew of sound since late 2013. There is no image or campy gimmick to uphold, only the humble continuation and glorification of those fundamental musical elements that first built and then sustained the genre and it’s offshoots over the course of decades.

This purity and honesty comes across in a striking manner on the band’s debut Unanswered Hymns, a sprawling roller coaster of an album that plumbs the heights and depths of emotion, whether be it sorrow, loss, or redemption. Recorded, mixed, and mastered by Patrick Hills at Earthtone Studios in Rocklin, CA, the recording exudes a warm, organic tone that draws the listener in to music heavily influenced by traditional doom, psych rock, drone, and ambience. CHRCH cannily wields dynamic songwriting, musicianship, and raw power to spin a spellbinding tale of occult darkness that clashes with illuminating melodies and riffs drenched in grimy reverb. Minimalistic, indulgent, or straightforward, the music of CHRCH is simply whatever the listener wants it to be.

CHRCH tour dates:
August 29th – Santa Cruz, CA @ Catalyst Atrium w/ Pentagram
October 3rd – Record Release show: Sacramento, CA @ Starlite Lounge w/ Special guests
November 13th – Long Beach, CA @ The Breakers (Midnite Communion III)

CHRCH is:
Eva – Vocals
Matt – Drums
Shann – Guitar
Ben – Bass
Chris – Guitar, backing vocals

facebook.com/chrchdoomca
http://www.battlegroundrnr.com/product/church-unanswered-hymns-lp
https://churchdoom.bandcamp.com/

CHRCH, Unanswered Hymns (2015)

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