The Moth Gatherer Announce New Album Esoteric Oppression out Feb. 22

Posted in Whathaveyou on December 17th, 2018 by JJ Koczan

the moth gatherer

Swedish post-metallers  http://www.sluncevdome.cz/?argumentative-essay-pdfs. Conflict resolution case study rigos primer series uniform bar exam (ube) review series multistate bar exam mbe volume 2 2014 edition The Moth Gathere writing introductions for research papers - If you need to find out how to make a good term paper, you are to learn this Find out all you have always wanted to know r have teased the release of a new single to precede their upcoming album,  Buy-Custom-Essays-Online.com is the best thesis writing services to go here online. We offers best service to our students Esoteric Oppression, out Feb. 22 on  About http://store.zionshope.org/?dissertation-and-scott-bartchy. Every online business needs a 100% unique and SEO-friendly content. But writing that content every time takes a lot of time and Agonia Records. They say the new song will be out “before the end of the year.” I’ll just assume that means that as soon as this post goes live, they’ll post the track, which will render this news immediately obsolete in terms of keeping up with the band. And if that happens, I’ll post that song here, just so I can say — to myself, mind you — I told you so. Because that’s how I do.

media dissertation ideas uk 3 paragraph essay about love term paper about youtube need someone write my paper homework help wales homework help holt algebra 1 Esoteric Oppression follows 2015’s sophomore outing,  The latest Tweets from Resume And Cv Writing Service Executive (@topdissertation). Rely on our experienced PhD writers and get a brilliant paper at http://t.co/VsKHdI1RE5. @ The Earth is the Sky (review here), which was an expansive and atmospheric push into weight of tone and ambience alike. You can stream that below, if you like, and find yourself caught in the maddening tension of 11-minute closer “In Awe Before the Rapture.” Frankly, there are far worse ways to lose your mind.

Info comes from the PR wire:

the moth gatherer esoteric oppression

THE MOTH GATHERER detail new album “Esoteric Oppression”

Sweden’s THE MOTH GATHERER, an atmospheric doom/sludge/post metal band based in Stockholm, will release its third studio album, successor to critically acclaimed “The Earth Is The Sky” (2015) on February 22nd via Agonia Records. The new album is titled “Esoteric Oppression”. Its cover artwork and tracklisting are available below, in anticipation of a new single, due out before 2019.

THE MOTH GATHERER is a band of varying genres, centered around atmospheric doom, sludge and post metal. Their prolific approach includes electric musical stylings, along with traces of melodic post-rock.

The band commented on the new album: “We’ve put our very fabric into it. Its creation has been a path paved with distress and frustration; one that has left us totally exhausted. But all our effort shows in the music and we can now say that it was worth the turmoil. We’re extremely proud to present Esoteric Oppression to you all. We hope you love it as much as we do”.

THE MOTH GATHERER emerged in 2008 on the initiative of Victor Wegeborn and Alex Stjernfeldt, as a form of therapy to help them deal with loss. The name of the band is an allegory for finding hope; similairly to moths who are always searching for the light. Operating as a duo, they released a debut album “A Bright Celestial Light” in 2010. The recording showcased an attraction towards long and complex compositions, rich in content, and exposed thet band’s urge to channel emotions and difficult experiences into music. Their sound evolved on the second and last album, “The Earth Is The Sky”, from 2015, which took the songwriting to a whole new level, and have deepened the band’s subtle, yet significant electronic aesthetic. The music clearly matured, along with the line-up, which now included Svante Karlsson on drums. Their sophomore work met with warm reception from fans and critics alike, with two singles featured on BBC Radio 1’s Rock Show with Daniel P. Carter, and numerous inclusions on year-end lists from magazines and websites. Having recruited Ronny Westphal on guitars, they later released an EP “The Comfortable Low” (2016), which featured a guest appearance from Dennis Lyxzén (Refused/INVSN) and Fred Burman (Satan Takes A Holiday). The EP also landed on Radio 1’s Rock Show, thanks to the track “This Providence Of Bones”. While the new album, “Esoteric Oppression”, follows in the same direction as previous works, the band went through a transformation, which left co-founder Alex behind. Even though he participated in writing lyrics for the album, bass duites have been taken over by Victor, who also handles vocals, guitars and electronis. Dan Hemgren has been introduced as a new bass player, who’ll continue with the group post the new album.

“Esoteric Oppression” was worked on in several recording studios. Guitars, bass and drums were tracked at Studio Underjord with Joona Hassinen, who later mixed the entire album. Electronics and vocals were recorded at The Lifestream Studio. Magnus Lindberg (Cult Of Luna) mastered the album at Redmount Studios, while the production was laid out by THE MOTH GATHERER. The recording features a guest appearance from Messy Mathi (Barst) on the track “The Drone Kingdom”. SCG prepared the album’s cover artwork and layout.

Tracklist:
1. The Drone Kingdom
2. Motionless In Oceania
3. Utopia
4. The Failure Design
5. Phosphorescent Blight

Line-up:
Ronny Westphal – guitars
Svante Karlsson – drums
Victor Wegeborn – vocals, guitars, electronics
Dan Hemgren – bass

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The Moth Gatherer, The Earth is the Sky (2015)

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The Moth Gatherer Post Video for “Probing the Descent of Man”

Posted in Bootleg Theater on October 14th, 2016 by JJ Koczan

the-moth-gatherer

It’s basically a rehearsal-space video, but even that takes on an atmospheric flair when it comes from Swedish four-piece Every http://futablog.com/dissertation-ecole-et-education/ at Chanakya Research makes it a point to work diligently towards undertaking thesis work and bringing out novel and relevant papers for clients. By understanding a specific research area, our tutors provide consultancy based on the level of complexity a given thesis task involves. The Moth Gatherer. Taken from their second album, I Have A Lot of Professional Editors For Phd Dissertation Assignments? We are Do sample cover letter for medical assistant job with no experience My College Algebra,. The Earth is the Sky (review here), which was released late last year on http://www.naur-sir.dk/?phd-thesis-on-waste-management. The human world today is inextricably intertwined with the computer world. In the modern world, having to know computer Agonia Records, the real miracle of the track “Probing the Descent of Man” might be the prescience of its title, as it’s easily the most apt description I’ve heard of the current US presidential campaign. I doubt that was Custom Writing College Paper Writing Service that offers http://www.eumed-ict.eu/?onlline-companies-that-write-papers-for-yous, thesis papers, essays. Prices start at per page. Limited November Offer! The Moth Gatherer‘s intention, but the song is instrumental, so I’m just gonna go with it anyway. Clearly they’re looking to leave a certain amount open to interpretation.

Actually, it seems like  Resume Writing Experts done by the world class writers at any time you want. All we want from you is to provide us with the information that is The Moth Gatherer were most likely talking about a more personal situation when it comes to this title and the record overall, at least if the quote below is anything to go by. Fair enough. Mixed and mastered with blog link: BUY ESSAY: 100% CUSTOM WRITTEN A+ ESSAYS, buy papers, etc. All papers are Top quality.GREAT PRICES AND DISCOUNTS.Only Satisfied Karl Daniel Lidén help on dissertation motivation of employees UK is the heart and soul of various promising scholars who are desperately seeking some support to accomplish in the field The Earth is the Sky played out with a variety of post-metallic textures, and though most of what we get in “Probing the Descent of Man” is dudes-in-a-room-style rocking and nodding, plus some ambient shots presumably outside somewhere nearby, the effect gets to a creative root that acts in their genre rarely show, preferring a somewhat less personal touch to their visuals. There’s nothing like a poster for Evil Dead 2 to humanize someone in my mind, I guess.

More info follows the clip below, courtesy of the PR wire.

Please enjoy:

The Moth Gatherer, “Probing the Descent of Man” official video

Swedish atmospheric post-rock/doom metal visionaries with ambient and electronic fangs, THE MOTH GATHERER, premiere a new music video for the song “Probing The Descent Of Man”, taken from their last year’s album “The Earth Is The Sky” released on Agonia Records. The video was directed by Albin Sköld (Illusive Illustration) and recorded at the band’s rehearsal space in Sweden earlier this year.

Commented by the band: “The Earth Is The Sky is an album where we tried to take everything as far as we could. There where points during the recording where we honestly spoke about giving up and calling it a day, it felt like we would crumble under the album. But we suffered through. The result is a desperation about how humanity drags it all to the end. Where A Bright Celestial Light (debut album) was an introvert journey into decay, The Earth Is The Sky is a journey to the highest point on Earth where you sit down and contemplate about our existence while watching the flames from the burning world”.

Line-up:
Alex Stjernfeldt: Vocals & Bass
Victor Wegeborn: Vocals, Guitars & Electronics
Svante Karlsson: Drums
Ronny Westphal: Guitars

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Quarterly Review: Corrections House, Antimatter, Colossus, Bastard Lord, Monocluster, Valley, Shatner, Australasia, The Moth Gatherer, Super Witch

Posted in Reviews on January 6th, 2016 by JJ Koczan

the obelisk quarterly review winter

Well, this is where we hit and pass the halfway point. It’s been a good week so far. Busy, but good. I hope you’ve found something that you dig or agree with or whatnot. I know it’s kind of hard to dig through 10 releases at once, but even if you see cover art that strikes a nerve, going with that impulse is rarely a bad idea, particularly when the level of commitment involved is clicking play on a Bandcamp player to get a taste. Pretty wide range today, so let’s dig in.

Quarterly review #21-30:

Corrections House, Know How to Carry a Whip

corrections house know how to carry a whip

Since they made their debut as a unit in 2013 with custom resume writing 101 - Use this company to get your sophisticated thesis delivered on time Top affordable and trustworthy academic writing help. Spend Last City Zero (also on Braftons Essay Feminine Hispanic In Mode Woman Writer remain its foundation, even as weve expanded into every aspect of content marketing strategy. Combining industry Neurot), the don’t-call-it-a-supergroup Corrections House – vocalist Mike Williams (Eyehategod), guitarist/vocalist Scott Kelly (Neurosis), saxophonist/vocalist Bruce Lamont (Yakuza, Bloodiest) and programmer Sanford Parker (Buried at Sea) – have spread their bleak gospel of totalitarian industrial vehemence to audiences in the US and Europe. Their second offering, Know How to Carry a Whip, is bolder sound-wise and retains a very human, punk rock core with Williams’ sneer playing off Kelly’s gutturalism on “White Man’s Gonna Lose” and nearly goes goth in doing the same with Lamont in the later “When Push Comes to Shank,” but across the 45-minute span, the songs remain in the key of abrasion, and ultimately that’s what most unites them. As noisy as closer “Burn the Witness” gets, I can’t help but think of the acoustic, Lamont-led centerpiece “Visions Divide” as the bleakest moment of the record, twisting folkish conventions into a dystopian soundscape, but Williams’ spoken drug-poetry on “I was Never Good at Meth” provides stiff competition.

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Neurot Recordings

Antimatter, The Judas Table

The Judas Table

Lush in its arrangements and doling out extreme measures of melancholy across its 56 minutes, Antimatter’s sixth album, The Judas Table (on Prophecy Productions), brings sonic depth to bear in rich textures of electric and acoustic guitars, keys, and the strength-through-fragility vocals of remaining founder and songwriter Mick Moss. The group’s last offering, 2012’s Fear of a Unique Identity (review here), pushed them into fuller tones, and an early cut like “Killer” builds on that, but the crux of The Judas Table is in subdued and brooding pieces like “Little Piggy,” remorseful and seething in kind as it moves through an acoustic-led arrangement marked out by strings and a sense of grace. “Integrity” asks the question, “What’s the point if no one else has any?” and sets a depressive run through one of the record’s grader builds, but Antimatter are hardly contained to one style here, as the New Wave inflection on “Can of Worms” or the rumbling apex of highlight “Stillborn Empires” demonstrate.

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Prophecy Productions

Colossus, The Breathing World

colossus the breathing world

Not to be confused with their Swedish countrymen who operated under the same moniker and whose lineup included a post-and-pre-Candlemass Messiah Marcolin, Stockholm’s Colossus play a decidedly progressive blend of Peaceville-style doom and metal, the trio of guitarist/vocalist Niklas Eriksson, bassist Peter Berg and drummer Thomas Norstedt adding a near-immediate inflection toward the epic via Primordial-style vocal patterning on opener “Yehi Aour/Wanderers” that holds for much of their 48-minute sophomore outing, The Breathing World (on Perennity Records). “Darkling Root” and more so the chugging “Fuga Mundi” delve into blackened fare in the guitar, but it’s just one of an array of genres in Colossus’ arsenal and in the case of the latter, soon enough complemented by Opethian prog noodling and soulful vocalizing. These turns, which more often than not happen in an instant, are a great strength of The Breathing World, but would fall flat without the crisp, confident delivery the band provides leading to the grand sprawl and long fade of 10-minute closer, “The Silent City.”

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Colossus on Bandcamp

Bastard Lord, Bastard Lord

bastard lord bastard lord

One thing we’ve learned about Twin Earth Records thus far into the long-established label’s recent surge of activity is that it knows tone when it hears it. Thus comes treading Bastard Lord out of Buffalo, New York, whose four-song self-titled debut was initially self-released and remastered for a CD issue, rumble-fuzzing a murky Sabbath worship that oozes from the amps of bassist/vocalist David Braymiller and guitarist Mike Hermann – hard to tell at times in 13-minute opener and longest track (immediate points) “Cimmerian” where the one instrument ends and the other begins – and set to a suitable plod by Jeremy Coupe’s drumming. It’s little surprise when they pay homage to “Snowblind” in “Wormwood,” but the psychedelic edge in Braymiller’s vocals – drowned in effects, buried in the mix; both appropriately so – gives Bastard Lord a personality of its own the holds even into the faster closer “Into the Sea,” a Toner Low-style lysergic depth unflinching through that song and “Summoner” before it as Bastard Lord emerge from the mire with their intentions clear.

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Twin Earth Records

Monocluster, Monocluster

monocluster monocluster

One might be forgiven for entering into Monocluster’s self-titled, self-released debut album with an expectation for traditional stoner rock, between the band’s moniker and album cover – and if that’s what came through in playing the 35-minute, five-track outing, I very likely wouldn’t complain – but the German-language four-piece subtly veer into and out of spacier interludes in cuts like “Dantes Inferno” and “8 Stunden” and the later “Ich Atme” pushes even further along those lines, jamming out vast and echoing over a foundational bassline that holds the track together before it stops outright and resurfaces with Monocluster’s most righteous single nod. Centerpiece “Straße” demonstrates a touch of Colour Haze influence as well, but on the whole the Cologne four-piece seem headed in a different direction, and as the 10-minute closer “12 Minuten” ranges farther and heavier than everything before it, I’m only more intrigued to find out where they might end up. Heavy psych that’s not afraid to tighten up and make a more pointed impact when it feels one is needed.

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Monocluster on Bandcamp

Valley, Sunburst

valley sunburst

I have two reasons for writing a review of Valley’s Sunburst EP, and they are both ridiculously simple. Yes, the Swedish five-piece were featured in two podcasts (one here, one here) and mentioned in the roundup of 2015’s best short releases – however, reviewing Sunburst now gives me another excuse to put it back on and it gives me something to fall back to later when I’m praising the crap out of whatever they do next and want to link a past review. Simple reasons. If you haven’t yet heard the 2015 debut outing from the Stockholm post-heavy rock instrumentalists, basked in the warm, organic psychedelia of “Tunguska” and “Kiro” or the peaceful folk-jam of “Dream Shooter, Golden!” and the tense-and-release percussion and sample-topped progressive course of “Picture Puzzle Pattern Door,” then you have quite simply missed out. I’m sure plenty have and plenty more will liken it to a desert sound – in no small part because of the cover art – but the smooth melodicism goes beyond landscape here and is made to be appreciated regardless of climate or locale.

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Version Studio Records

Shatner, EP

shatner ep

An edge of Northeastern aggression is unmistakable at the core of Shatner’s 20-minute self-released six-track EP. Based in Boston, the tree-piece boasts guitarist/vocalist Jim Healey (Black Thai, We’re all Gonna Die), bassist/backing vocalist Jesse Sherman (We’re all Gonna Die) and drummer Rob Davol (Cocked ‘n’ Loaded), and so a touch of anger isn’t unexpected given the personnel – even Healey’s acoustic work has brooding tension underlying – but if “Special” and “Black Market Liver” are variations on an ongoing theme, they’re of consistent quality in terms of songwriting, and the Thin Lizzy cover “Bad Reputation” is positioned well just past the halfway point to add variety amid a slew of potent hooks. Not their first time working together, but Healey and Sherman’s voices complement each other well on “Dead in Your Eyes” and “Death Reheated,” and with the solid foundation that Davol provides throughout, Shatner’s EP is an encouraging start to what’s hopefully an ongoing development.

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Shatner on Bandcamp

Australasia, Notturno

australasia-notturno

Harvested, sometimes manipulated samples and synthesized textures permeate Notturno, the mostly-instrumental second album from Italian atmospheric project Australasia. Comprised solely of Gian Spalluto, it’s somewhat more surprising that songs like the cascading “Lumen” and “Kern” are able to conjure such full-band progressions, but layering was bound to be a factor one way or another in Australasia’s approach, so if it’s Spalluto’s vision at play, so be it. Sonically, the impression of much of the material – including the guest-vocalized centerpiece “Invisibile” – winds up somewhere between the dystopian ambience of Red Sparowes and the brighter aspirations of post-black metallers Alcest, but songs like “Haxo” and the closing title-track, a (mostly) solo piano piece, have a cinematic edge as well. Rather than play one side against the other, Spalluto brings them together in one overarching flow that engages conceptually and sonically throughout a nine-track/39-minute course that willfully refuses to acknowledge a line between post-rock and post-metal.

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Apocalyptic Witchcraft Recordings

The Moth Gatherer, The Earth is the Sky

the moth gatherer the earth is the sky

Synth ambience and distorted severity meet head-on with the second full-length from Swedish post-metallers The Moth Gatherer, The Earth is the Sky (on Agonia Records). Produced over a two-year span with Karl Daniel Lidén (Greenleaf, VAKA, etc.), it punishes intensely on “The Black Antlers” with no less underlying fluidity than it had on the quietly atmospheric “Dyatlov Pass” preceding, the four-piece of bassist/vocalist Alex Stjernfeldt, guitarist/vocalist/programmer Victor Wegeborn, guitarist Ronny Westphal and drummer Svante Karlsson finding a place sound-wise that swaps between peaceful and threatening, delving into extreme progressive metal and electronica in kind on “Attacus Atlas” while setting up the consuming, gradual push of 11-minute closer “In Awe Before the Rapture,” which seems in conversation with the synth of the earlier “Probing the Descent of Man” in creating a layered structure of sound, while also attempting to marry the various impulses displayed throughout. Familiar to a degree, but immersive in its bringing earth and sky together.

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Agonia Records

Super Witch, Super Witch has Risen

super witch super witch has risen

You might wonder just what kind of neighborhood it is that would pair “The House that Dripped Blood” next door to “House of Warlocks” – perhaps that street is on the “Island of Lost Souls” – but then you probably wouldn’t get the crux of Memphis heavy punk foursome Super Witch’s debut full-length, Super Witch Has Risen, which has tales of horror front to back, “Spaceship Cadillac” notwithstanding. The Tennessean outfit dip into garage grunge on “Night of the Hunter” and stomp out call and response and Melvins chug on on “The Need,” show some more patient swing on “Smash Your Own Face,” but it’s “Army of Werewolves” and the opening “Super Witch Has Risen” that tell the story of the band’s intent more than the semi-swirl of “Smash Your Own Face” or the all-the-way swirl of closer “With the Lights Out,” as satisfying as the closer is in pulling off a rare feat – psychedelic punk. Split between two recording sessions, there are some changes in sound throughout, but it would take a supernatural force to derail Super Witch from their underlying purpose.

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Super Witch on Bandcamp

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