Human Impact Release New Two-Songer Transist / Subversion

Posted in Whathaveyou on June 29th, 2020 by JJ Koczan

human impact

Terminology hasn’t really caught up yet with modern the two-song release. The tradition, obviously, comes from a single’s A and B sides, and very often, that tradition is upheld, and a band releases a single as a 7″. As both songs on We are Marketing Research Thesis based in London, UK. We offer the most affordable and bespoke business plan writing services including Tier-1 Human Impact‘s new foray,  phd thesis on bilingualism http://www.hotelsb.eu/essay-on-stem-cell-research/ order of lab report essay can money buy everything Transist / Subversion, run near/at six and a half minutes, they’re a little long to fit on a 7″, and unless they’re feeling cheeky and want to do an 8″ — they wouldn’t be first — and if they’re just leaving it digital, it is what it is. When it comes to this kind of thing, I like “two-songer.” Says what it is, gives the B-side a bit of validity, and lets the audience know they’re getting more than just a “single.” If you have to specify, you might as well be specific.

So hey,  Can I pay someone to http://paraderoyunguilla.com/my-homework-app-help/? Hire us if you are looking to earn an A or B for your homework Human Impact have a new two-songer. It’s not an EP. It’s not just a single — the second track, “Subversion” is a noise wash but lacks nothing for substance in that — but for those who dug the band’s 2020 self-titled debut (review here), it’s an appreciated check-in from the corporeal-chaos noisemakers.

It’s pick-your-apocalypse these days, so we might as well take joy as it comes, huh? Here you go:

human impact transist subversion

HUMAN IMPACT SHARE TWO STANDALONE SINGLES; “TRANSIST” AND “SUBVERSION”

To find out more, visit: https://lnk.to/HumanImpact

Following the release of their debut self-titled album, Human Impact have been releasing brand new material, including the recent single, “Contact” which was written and recorded shortly before the outbreak of Covid-19. The band share two further standalone singles “Transist” and “Subversion.”

About these latest singles the band remark, “Transist” was from a group of songs that we recorded and mixed just prior to the current pandemic. The song is a reflection on what the world looks like as things fall apart. Our broken ideals, the unstable foundations of our civilization, our trusting dependence on technology and our subservience to the ruling governments/corporations. The shining object held up by society that will never be realized. All creating a pressing need for change.”

They continue, ““Subversion” emerged from a 30 minute intro from our last live show (on March 14). We started that show with a 30 minute improv noise/ambient set. All members of the band have varied histories in soundtrack work and scoring music to picture. We look forward to getting back to live shows and expanding on this more.”

HUMAN IMPACT is
Chris Spencer (Unsane, UXO): Vocals/Guitar
Jim Coleman (Cop Shoot Cop): Electonics
Chris Pravdica (Swans, Xiu Xiu): Bass
Phil Puleo (Cop Shoot Cop, Swans): Drums

https://www.facebook.com/humanimpactband/
https://www.instagram.com/humanimpactband/
https://humanimpact.bandcamp.com/
https://www.humanimpactband.com/
https://www.facebook.com/ipecac/
http://ipecac.com/
https://blixtmerchandise.shop/ipecac-music-store

Human Impact, Transist / Subversion (2020)

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Vestal Claret Self-Titled Album out Now

Posted in Whathaveyou on June 29th, 2020 by JJ Koczan

vestal claret

The 15-year history of When you face hard times in college and assignments become too difficult, the only way to keep your high grades is to help me write a 6 page paper on starfish from our Vestal Claret is nearly as murky as the cult-minded doom in which the Connecticut-based outfit specialize. Their new self-titled full-length arrives as a return for multi-instrumentalist/engineer Watch best videos about Cover follow link Jobs on our tube site! Simon Tuozzoli (also of http://ems-online.org/?dissertation-argumentation-directe-ou-indirecte. Transcription City provides expert copy editing and proofreading services. Contact us for copy editing of document such as articles Owl Maker) and vocalist Our Dissertation Thesaurus online service really believes in successful meeting the most strict deadlines our clients have every student day! Rely upon our talented team! Phil Swanson ( essays maker We Make Your Academic Life Easy! About Us; Services; Price; business plan websites; Place an Order Seamount, ex- Our Hate Crime Research Papers are written from scratch to suit your requirements. Buy custom made papers from our trustworthy service. Hour of 13, etc.), as it’s been six years since they issued Thesis Report Writing - Instead of spending time in unproductive attempts, receive professional help here receive the required essay The Cult of Vestal Claret (review here) through Our enter service comes in to take the stress out of academic paper writing. At EssayAgents.com, Cruz del Sur Music. That offering was as cohesively metal as anything the band had done up to that point, and it seems that the new one is looking elsewhere for inspiration. I dig that, and medieval folk and cult doom go together pretty well, so yeah, sign me up for this one. Do you want to complete your paper with custom go here? Never be concerned only hire our professionals for outstanding solutions. Justin de Tore on drums don’t hurt either.

Interesting though that for the record they wanted to get less metal they got a dude who’s worked with I Forgot My Homework What Do I Do - Why be concerned about the review? order the required help on the website Making a custom research paper is work through many Power Trip and http://www.tempus-help.uns.ac.rs/?georgetown-application-essay-visitation - Aiming for the top 5%? Our Professional CV Writers can help you. Contact us and our expert Resume Writing Service now! Cavalera Conspiracy to mix it.

Wonder if they’ll do shows when such a thing becomes possible? It’d be something to see http://cortedeibrut.com/?what-constitutes-a-quality-research-proposal is the seasoned writing company which helps students for their requests to someone write my essay for me or pay to write my essay online in UK. Vestal Claret live after all this time.

From the PR wire:

Vestal Claret Vestal Claret

Vestal Claret release new album

Critically acclaimed occult metal band VESTAL CLARET are pleased to announce that they have released their new self-titled album via Bandcamp.

Purchase/Stream the album here: https://thecultofvestalclaret.bandcamp.com/album/vestal-claret

After a dozen physical releases on various formats and labels, to a more and more saturated genre, Vestal Claret set off to compose something musically broader and songwriter-oriented. Cliches were avoided, as well as anything that could gallop or be muted in its riffing.

The first two songs written from the new record were “Abandoned” and “Shadows.” Their creation, released as the demo Two Stones 2017, was meant to be an experiment to pursue the possibility of stepping away from any heavy metal tendencies. Those two songs became a template for creating a new life for Vestal Claret, while also bringing the band back closer to its original intent.

Musically, the new recording relies on Simon’s natural progressive nature. Influenced by his years in the New England music scene and his love of medieval folk, the creative process for this recording was an ideal situation. He had complete freedom to perform and produce as broadly as he could imagine.

Phil wrote the lyrics while driving cross country, spending well over a year living in a van, split between the beaches of Southern California and the Sedona Arizona desert. Isolation and recluse are its strongest influence.

Mixing and mastering was provided by Arthur Rizk (Powertrip, Sacred Riech, Cromags, Cavalera Conspiracy, Code Orange, Pissed Jeans, Ghostmane, Inquisition) and drums were performed by Justin de Tore (Magic Circle, Innumerable Forms, Mind Eraser, No Tolerance, Rival Mob).

No boundaries or barriers confine this new vision of Vestal Claret. It contains as much simplicity as it does complexity. It has no intent nor idea to be a genre recording. Its only ambition is to complement the bands maturity as musicians and songwriters to the best of its current ability.

Vestal Claret is:
Phil Swanson: Vocals
Justin DeTore: Drums
Simon Tuozzoli: Guitars, Bass, Organ, Percussion, Vocals, Various Instruments

Additional musicians:
Matt Campbell: Piano
David Caldarella: Violin
Jessie May: Cello
Madeline Baldwin: Vocals
The Mother: Vocals

https://www.facebook.com/VestalClaret/
https://thecultofvestalclaret.bandcamp.com/

Vestal Claret, Vestal Claret (2020)

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The Atomic Bitchwax Post Scorpio Title-Track Video and Album Details

Posted in Whathaveyou on June 29th, 2020 by JJ Koczan

the atomic bitchwax

So I guess when Garden State speed rock treasures  The Atomic Bitchwax put out that Bowie cover video and said their new album, Scorpio, had had its release delayed owing to — DUH THE SAME SHIT THAT’S DELAYING EVERYTHING INCLUDING LIFE ITSELF — that was kind of a soft-announcement for the album itself. Fair enough. The record’s a scorcher and a groover through and through, so announce it then, announce it now, whatever. It’s gonna tear shit up just the same, whenever it gets released. It’s the Bitchwax‘s first record with Garrett Sweeny, so that’s a change, but a lot of the core mission of the band remains the same. I’d go on, but hell, I wrote the bio below, so in some ways I’ve said my piece already.

And yeah, I posted about the record before, but frankly, I like keeping these things for posterity, and it’s nice to have the official thing, plus the bio I wrote. I should probably start keeping track of when I do these things. Whatever.

Preorders are up and the video for the title-track is at the bottom of the post. Not at all shockingly, it rules:

The Atomic Bitchwax Scorpio

THE ATOMIC BITCHWAX Announce Studio New Album ‘Scorpio’ Out August 28th via Tee Pee Records

WATCH: Music Video for New Single “Scorpio”

New Jersey-based rock n’ roll trio THE ATOMIC BITCHWAX have announced their new studio album, ‘Scorpio’, which will see an August 28th release via Tee Pee Records. The group, which originally formed in the mid-90s, consists of lead vocalist/bassist Chris Kosnik, drummer Bob Pantella, and guitarist Garrett Sweeny, all of whom are past or present members of the band Monster Magnet. Scorpio is the follow up to the group’s 2017 full-length ‘Force Field’, and their eighth studio LP overall spanning more than two decades.

Pre-order ‘Scorpio’ HERE: https://orcd.co/scorpio

‘Scorpio’ Tracklisting:
1. Hope You Die
2. Energy
3. Ninja
4. Scorpio
5. Easy Action
6. Crash
7. Super Sonic
8. You Got It
9. Betting Man
10. Instant Death

BIO:

The scourge and scorch of New Jersey returns, and their sting is deadly as ever. Garden State riff rock stalwarts The Atomic Bitchwax proudly present their eighth full-length, Scorpio.

In a busy three years since NJ’s most powerful power trio issued 2017’s Force Field, they’ve toured the US and Europe multiple times over, taken part in fests far and wide, and blown past the 20th anniversary of their self-titled debut album.

Scorpio acknowledges the two-decades milestone in its opening revamp of the first song the band ever wrote with vocals, “Hope You Die,” the crash-in of which will be immediately familiar to anyone who’s seen them live. A generation later, it still gets the message across.

From then on, it’s all-go on nine fresh-made burners, founding bassist/vocalist Chris Kosnik, guitarist Garrett Sweeny, and drummer Bob Pantella toying with tempo subtly to lace songs like “Betting Man” and “Easy Action” and “Energy” with signature-style memorable hooks amid instrumentals “Ninja,” “Crash” and “Instant Death,” the head-spinning turns of which push ahead in the aggressive stance The Bitchwax began to present in 2015’s Gravitron while still remaining imbued with new character and the loyalty to classic heavy rock that underlies all their work.

Tracked in Jan. 2020 at Sound Spa in Edison, NJ, with Stephen DeAcutis engineering, Scorpio is a righteous next stage of the momentum The Atomic Bitchwax have been building through hard touring and release after release of gauntlet-throwing-down rock and roll. This is a band that never stops moving, and only ever moves forward.

http://www.theatomicbitchwax.com/
https://www.facebook.com/The-Atomic-Bitchwax-86002001659/
http://teepeerecords.com/
https://www.facebook.com/teepeerecords/

The Atomic Bitchwax, “Scorpio” official video

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1782 Premiere “Bloody Ritual”; Doom Sessions Vol. 2 Split with Acid Mammoth out Sept. 18

Posted in audiObelisk on June 29th, 2020 by JJ Koczan

1782 acid mammoth doom sessions vol 2

Here’s what you need to know: On Sept. 18, Heavy Psych Sounds will release Doom Sessions Vol. 2, bringing together Italy’s 1782 and Greece’s Acid Mammoth. Yeah, I know, Doom Sessions Vol. 1, with Conan and Deadsmoke isn’t even out until July 17, but I guess the label is trying to stay ahead of the game. What it rounds out to is more riffs, and I know damn well you’ve got room in your life for more riffs, so quit yer yappin’ and dig into 1782‘s “Bloody Ritual” on the streaming doodad below in all its premiere-y goodness. It runs five minutes and it’s got like a whole day’s worth of Vitamin Nod. Take your pills, man.

How on earth did Heavy Psych Sounds get the notion to pair up these Roman and Greek titans? Well, both bands released records through the imprint last year. For the duo 1782 — which also features in its lineup Marco Nieddu, who runs Electric Valley Records — it was their self-titled debut (review here), rife with willful primitivism of its approach, drawing from VHS horror grain and a post-EWiz groove that remains well intact on “Bloody Ritual.” Acid Mammoth‘s second album, Under Acid Hoof (review here), arrived later in the year and shared some genre-on-genre aesthetic with their labelmates, both bands favoring a rawness of approach and themes centered around ritualism, darkness, the devil and all that other spooky fun stuff.

I haven’t been graced with the full release as yet, so I can’t speak to what Acid Mammoth are doing this time — please don’t go prog; sometimes I feel like everybody’s going prog — but if it’s up to 1782 to set the tone with “Bloody Ritual,” they’re setting it for all the fuzzy decay you can handle. Like body odor and liquor breath put to tape. Full on scuzz.

Dig:

Bloody Ritual is the first single taken from the upcoming split album DOOM SESSIONS VOL.2 – 1782 // ACID MAMMOTH. This first single is from 1782.

The release will see the light September 18th via Heavy Psych Sounds.

ALBUM PRESALE:
https://heavypsychsoundsrecords.bandcamp.com/album/doom-sessions-vol-2-1782-acid-mammoth

TRACKLIST

SIDE A – 1782
Bloody Ritual
Hey Satan
Witch Death Cult

SIDE B – Acid Mammoth
Black Wedding
Sleepless Malice
Cosmic Pyres

Say 1782:
“A song that goes straight to the point, the emotions of the last moments of a ritual, fuzzy and heavy riffs, the battery like a boulder that enters your mind! Bloody Ritual is the track that opens Doom Sessions vol.2, 1782 & Acid Mammoth split album!”

1782 on Thee Facebooks

1782 on Instagram

Acid Mammoth on Thee Facebooks

Acid Mammoth on Bandcamp

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

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Friday Full-Length: Nine Inch Nails, The Fragile

Posted in Bootleg Theater on June 26th, 2020 by JJ Koczan

Nine Inch Nails The Fragile

The Fragile came out on Sept. 21, 1999, as the third Nine Inch Nails album. I’ve owned it since that day and just not listening to it to write this piece I managed to hear a detail of light atonal guitar strumming at 2:47 into “The Day the World Went Away” that I’ve never heard before. Following the gripping pop-industrial-metal of 1994’s The Downward Spiral, which produced hits “Closer,” “March of the Pigs” and its subdued atmospheric finale “Hurt,” was no easy task and auteur/frontman Trent Reznor managed to change the entire scale and framework through which the band functioned. The Fragile is as cinematic as it is aggressive, petulant in its emotionalism at times but ferocious in its delivery — Reznor‘s line about being “Too fucked up to care anymore” in opener “Somewhat Damaged” echoes “Nothing can stop me down ‘cuz I don’t care anymore” from the prior album’s “Piggy” — and its scope was like nothing the band had done, topping an hour and 43 minutes and comprising two individual discs, ‘Left’ and ‘Right’, and 23 songs in its original incarnation. It is the kind of record that, 21 years after the fact, one might just put it on and hear something new even after listening to it enough times that it seems to run through the body at the same speed as one’s own blood.

Like most double-albums, it has material that could be easily cut for time. Some of The Fragile‘s instrumentals and experiments — beginning with “The Frail,” “Just Like You Imagined,” “La Mer” and the militaristic “Pilgrimage” on ‘Left’ and including “The Mark Has Been Made,” “Complication” and closer “Ripe [With Decay]” on ‘Right’ — might feel superfluous to a cruel editorial process, but they nonetheless serve a function in enhancing the atmosphere and underscoring the absolute all-in nature of the album itself. The rhythmic chains in “The Fragile,” the electronic zapping noises set to the rhythm of “Into the Void,” the drone that backs “I’m Looking Forward to Joining You Finally,” and the way the twisting melody of what might otherwise be a guitar solo in “Even Deeper” so perfectly suits the jazzy beat behind it; with all of these and so, so, so many more, The Fragile becomes an album of richness and detail unmatched by anything Nine Inch Nails did before or has done since. Reznor‘s work since has developed an ambient side and continued the style of hooks one finds manifest in The Fragile cuts like “The Wretched,” “We’re in This Together Now,” “The Fragile,” “Even Deeper,” “Into the Void,” “Where is Everybody,” “Please,” “Starfuckers Inc.” and “The Big Come Down” as much as those songs continued a thread from The Downward Spiral and the prior 1992 EP, Broken, and 1989 debut, Pretty Hate Machine. But The Fragile represents an intersection between perfectionism of craft and unmitigated mania of self-indulgence. The prior album was certainly the commercial breakthrough, but it’s The Fragile where Reznor demonstrates the truest reach of his project. Every tone, every sound, every second of it is considered.

That extends even to The Fragile‘s most cringe-worthy inclusion, which is unquestionably “Starfuckers Inc.,” which seems to be Reznor doing his best impression of then protege Marilyn Manson — who as I recall appeared in the video — and even with the would-be sexually transgressive lines, “And when I suck you off not a drop will go to waste/It really isn’t so bad once you get past the taste,” doesn’t say nearly as much as the phallus-as-weapon comment on masculinity in the prior album’s “Big Man with a Gun,” but being over-the-top with teen-angst-esque lashing out against the commercial ecosystem in which the album would inevitably reside is the point. The fact that “Starfuckers Inc.,” with its signature weighted-buzzsaw guitar chug and driving chorus, is one of The Fragile‘s catchiest songs — and that’s saying something — is not happenstance either. Like everything else around it, there’s a point being made, even if it’s more rudimentary-feeling than the spaces cast forth in “The Great Below” or “The Day the World Went Away” or some of the many transitional drones and elements that bring one song into the next throughout.

Neither is “Starfuckers Inc.” the only point of immediacy on The Fragile. “No, You Don’t” picks up from its atmospheric introduction to a straight-ahead riff and quick-arriving verse, and though it’s more mellow in its impact, “Even Deeper” is as effective as it is in no small part for its willingness to return to the chorus, likewise “We’re in This Together” and “The Fragile.” Between ‘Left’ and ‘Right’, the former proves the more structured and the latter more abstract at least in the general listening experience — true enough to “left-brained” and “right-brained” — but while The Fragile essentially reads are two distinct entireties, each with its purposeful beginning, middle and end, the time it spends flitting between different sounds and styles throws open the bounds of expectation, and Reznor and producer Alan Moulder execute and bring the material to bear with such a feeling of control that, in combination with the high grade songwriting on display — the fact that many of these tracks are still pop songs — the album remains accessible even to the moderately adventurous listener.

I’ll happily argue for The Fragile as the peak-era of Nine Inch Nails. It would be 2005 before the band returned with the strikingly toothless With Teeth, and proceeded into atmospheres and craft that, while interesting for someone operating at the level of attention Reznor invariably would receive, were largely void of innovation. Nothing lasts forever. And in that regard, it’s all the more fortunate that The Fragile is as long and as comprehensive as it is — an expanded edition showed up some years ago as well — since this glut of material represents a deep place of personal expression to which even Reznor has said he’s not willing to return. Fair enough. More than two decades on, The Fragile stands out not only from its era — to wit, it came out the same day as Type O Negative‘s World Coming Down — but from what would follow in its wake. It was the end of one century and the beginning of another, and The Fragile didn’t so much paint a vision of the future as it did reconcile the present with what was about to be.

I love this record. I hope you enjoy it too.

Blueberry picking in Manalapan? In the back of the car, The Pecan calling out the names of different trucks, mostly accurately, and narrating the drive. “Going this way. In the grey car. Cement mixer round and round!” He’ll be three in October. There was a time we were worried about his speech. That is less the case now.

So anyway, we’re on our way to Manalapan. To pick blueberries. I don’t eat them — too much sugar — but The Patient Mrs. and The Pecan will enjoy. We found fresh strawberries last Friday after going to Space Farms, so this feels like an appropriate follow-up. Elsewhere, and not that far away, people are dying. People are marching for long-overdue freedom. We are going to pick blueberries. It is important to remember the context in which one’s actions take place.

This week was hard. Not as hard as it would be if I had COVID-19. And not as hard as it would be if I was marching for long-overdue freedom. But hard. Living in my head with Bad Voice hard.

The Patient Mrs. and I discussed this week when we might go places together again. New Jersey is starting indoor dining next week, which seems absurd and dangerous to me. I said another two weeks at least to see how things shake out before, say, she goes to a grocery store. It’s been since March, so if she’s antsy to do a thing — anything — I get it. She leaves the house plenty but doesn’t see a ton of people, and she’s much more of an extrovert than I am. The Pecan being back in part-time daycare the last two weeks (they’re off this coming week) has eased the general tension level some, but I remain an impatient, miserable shit, so I expect basically to continue ruining whatever positivity might surround me at any given point, including that emanating from my beautiful wife and child.

A contaminant, then.

New Gimme Radio show today — they’ve started calling it Gimme Metal instead of Gimme Radio, presumably because they’re branching out — Gimme Country, etc. — and I guess that makes sense. But if Gimme Radio is the umbrella under which Gimme Metal resides, the show’s still on Gimme Radio. The Obelisk Show isn’t especially metal, most of the time. I don’t know. Maybe I need to listen to more metal.

Anyway, 5PM Eastern if you’re up for it. If you’re not, that’s fine too but don’t tell them I said that. Playlist is here. Listen here: http://gimmeradio.com

Nos habitant stultitia.

Great and safe weekend. Be careful. Be well. FRM.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

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Mountain Tamer Stream “Warlock”; Psychosis Ritual Preorder Available

Posted in Whathaveyou on June 26th, 2020 by JJ Koczan

There’s been a menacing undercurrent to Mountain Tamer‘s take on psychedelia since their inception, and it would appear that the forthcoming Psychosis Ritual will continue that thread at least in some measure. The Los Angeles trio have newly unveiled “Warlock,” track two of the seven-cut release, and the song brims with freak-punk intensity, churning riffs around wide-spaced echoes that seem to radiate ill intent, not in that hey-let’s-go-kill-ladies kind of way, but definitely in some fashion that’s up to no good. And that likes being up to no good.

Dark magic, and whatnot. I said last week when the band got signed that they’d probably have a track up to go with preorders. Look at me, seeing patterns.

Preorders for Psychosis Ritual are open and available through Heavy Psych Sounds, and the album has been confirmed for a Sept. 25 release date, which also happens to be my wedding anniversary. Guess it’s a Friday this year. In 2004, it was a Saturday.

Album cover and details came down the PR wire:

mountain tamer psychosis ritual

Heavy Psych Sounds to announce MOUNTAIN TAMER brand new album PSYCHOSIS RITUAL – presale starts TODAY!!!

Today we are extremely proud to start the presale of the MOUNTAIN TAMER brand new album PSYCHOSIS RITUAL !!!

Psychosis Ritual is the sum of Mountain Tamer’s first decade of exploration into the psychedelic arts. The album takes the band on a journey through the occult rhythms and tones of worlds forgotten. Each track is a new chapter of Mountain Tamer riffing their way into uncharted territory. For this ritual, you are the sacrifice…

Mountain Tamer is Andru Hall (Guitar/Vocals), Casey Garcia (Drums), and David Teget (Bass). Psychosis Ritual was recorded and mixed by Salem’s Bend guitarist Robert Parker, with mastering by Mike Tarsia at Sigma Sounds Studios. This recording is the most cohesive and lucid experience Mountain Tamer has yet to offer.

The album artwork by photographer Dillon Vaughn and tattoo artist Derek Pratt only adds to the singular vision of Psychosis Ritual by providing beautifully lysergic visuals that are inseparable from the music itself.

ALBUM PRESALE:
https://www.heavypsychsounds.com/shop.htm#HPS137

USA PRESALE via Forced Exposure (link available soon):
https://www.forcedexposure.com/SearchResult.html?SearchType=Basic&Type=artist&Key=mountain%20tamer

RELEASE DATE: SEPTEMBER 25th

RELEASED IN :
– 20 ULTRA LTD TEST PRESS VINYL
– 150 ULTRA LTD HALF HALF – ORANGE/GREEN VINYL
– 450 LTD BLUE VINYL
– BLACK VINYL
– DIGIPAK
– DIGITAL

TRACKLIST:
1. Psychosis Ritual
2. Warlock
3. Turoc Maximus Antonis
4. Scorched Earth
5. Death In The Woods
6. Chained
7. Black Noise

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Worship Premiere “Without” from Tunnels LP out July 17

Posted in Bootleg Theater on June 26th, 2020 by JJ Koczan

worship without

Californian sludge aggressors Worship will issue their second full-length, Tunnels, on July 17. “Without” is the third single from the album to make its way to the public ahead of the release — handled directly by the Salinas (about an hour south of San Jose, near-ish to the coast) trio — and in following the title-track and “Searching for Light,” it brings a particular kind of angularity and tonal weight that my East Coast ears can’t help but relate to Swarm of the Lotus. This is a comparison I make neither lightly nor often, but while Worship touch on post-metal ambience in “Tunnels” itself and “Searching for Light” resolves in blastbeats and a charging insistence of riff, “Without” — premiering in the video stream below — brings apocalyptic chug and vocal intensity to bear in repetitions that feel like punches to the side and the harshness of the presentation overall, yeah, that takes me back.

Maybe Worship know that band and maybe they don’t — it’s not impossible since they were on Century Media for a hot minute there, but Neurosis and Converge also make sense as common root influences — and as the three tracks show together, the entirety of Tunnels holds more than just aggressive, physical push in store. I haven’t heard the full record as yet, but I find the combination of weight and depth in what Worship are doing enticing enough to be on board anyway, and the idea of seeking in “Without” — a reckoning with the lack of the divinity one was raised to believe in — is especially suited to the catharsis of the resulting anger in those screams. I’m gonna try not to wax poetic about it, but hey, if you’re looking for god and you come up empty, you might end up sounding like this. Not that I’d know.

Tunnels is up for preorder now from Worship‘s Bandcamp. Do it while you’re thinking of it.

Enjoy:

Worship, “Without” visualizer

Andrew (vocals) on “Without”:

Without is about finding god. Growing up loosely Catholic I always thought the idea of a traditional god was unsettling. Once I found Slayer all bets were off and I took the “fuck god I’m an atheist” position. In my 20s I tried to fill that void with alcohol and sex but still ended up empty, even after getting sober. At 30 I started practicing buddhism. The combination of meditation and mindfulness changed everything for me and I realized that god, or whatever you want to call it, can be found in that stillness inside all of us.

“Without” from our new album coming out July 17th on streaming platforms and vinyl.

Preorders available at: https://worshipcult.bigcartel.com/

Lyrics:
Where have you been?
Been searching for you all my life
in this maze of false endings
believing I was there
Believing I was with you

I thought I’d found you
in crowds
in people
in moments

but it was emptiness
It was temporary
I was numb

I found substance
I found love
I found sex
but still without

I was a fool
It has been
all along
right here
inside of me
in my heart
in the quiet

It’s inside you
It’s inside you
Its inside you
Its inside

now my search for god is over
its inside me
in the silence

Track List:
1. Serpents
2. Paralyze
3. Tunnels
4. Without
5. Searching For Light
6. The Cave

Worship is:
Josh- Guitar
Andrew- Vocals
Kyle- Drums
Richard- Bass

Worship, Tunnels (2020)

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The Obelisk Show on Gimme Radio Playlist: Episode 37

Posted in Radio on June 26th, 2020 by JJ Koczan

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So I guess this is the episode where I play Sleep‘s Dopesmoker in its entirety. I’ve wanted to play a full record for a while now, mostly because that’s how I like listening to stuff at home, so I figured if I’m going to do a thing, I might as well go completely over the top with it, which I’m pretty sure is also what Sleep said when they recorded that album in the first place. Works for me.

Some good new stuff in there too. I like Orsak:Oslo‘s new EP a lot, and that Empress track that premiered here kind of stuck with me. The Kairon: IRSE! is weird and I find that delightful, especially coming out of Slift and Rrrags, both of which have gotten far less coverage around here than they deserve. Kind of a fucked Spring/early Summer. Sorry. Doing my best. And I figured new-ish Goatsnake and new Brimstone Coven were good to lead off. Can’t really miss, right?

But anyway, “Dopesmoker.” It’s fucking “Dopesmoker.” I don’t know if I’ll play other full albums, make it a thing I do on the show, but it was fun this time and that’s good enough for one episode.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmeradio.com

Full playlist:

The Obelisk Show – 06.26.20

Goatsnake Breakfast with the King Breakfast with the King b/w Deathwish* 0:04:57
Brimstone Coven The Inferno The Woes of a Mortal World* 0:04:29
Orsak:Oslo 057 Passage Skimmer EP* 0:05:16
Empress Lion’s Blood Premonition* 0:09:39
VOICE TRACK
Rrrags Dark is the Day High Protein* 0:08:01
Slift Lions, Tigers & Bears Ummon* 0:13:18
Kairon: IRSE! An Bat None Polysomn* 0:06:04
VOICE TRACK
Sleep Dopesmoker Dopesmoker 1:03:31

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is July 9 (subject to change). Thanks for listening if you do.

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