Desert Storm Announce UK & European Touring; Sentinels Due March 1

Posted in Whathaveyou on November 29th, 2017 by JJ Koczan

Hasn’t been that long since UK burldudes Desert Storm were announced as having signed to APF Records to release their next album, Sentinels, in 2018. Now in short order the Oxford troupe are back with word that not only will their fourth long-player hit on March 1, but that they’ll spend much of February and March on the road to support it, playing shows in the UK and mainland Europe throughout the Netherlands, Belgium, Germany, the Czech Republic, Slovakia, Poland and the Ukraine.

In fact, the band has gone even further and laid out appearances they’ll make all the way into next Fall, when they’ll make a stop at the end of September at the HRH Doom vs. Stoner fest in Sheffield. I wish I knew where I was gonna be next September. Or, you know, could remember what I was supposed to do this afternoon. Was it grocery shopping? Was it writing about riffs? No? Well then, I’m at a complete loss.

The PR wire has fodder for calendar-marking:

desert storm sentinels tour

DESERT STORM ANNOUNCE “SENTINELS” EUROPEAN TOUR 2018

DESERT STORM are delighted to announce details of their European Tour in the support of “SENTINELS”, their fourth album, which will be released worldwide and on formats by APF Records on 1st March 2018.

Desert Storm have been making a name for themselves since they formed in late 2007. From the beginning the band have worked hard…with 3 albums and relentless touring of the UK & Europe with the likes of Karma To Burn, Nashville Pussy, Peter Pan Speedrock, Honky and Hang The Bastard as well as support slots to the likes of Orange Goblin, Red Fang, American Head Charge, Weedeater, Crowbar, Mondo Generator, The Atomic Bitchwax and festival appearances at Bloodstock Festival, Hammerfest, Hard Rock Hell, Giants of Rock, The Bulldog Bash, Desertfest (UK/DE) & Roadkill Festival.

SENTINELS tour dates are as follows:

February
3rd UK – Manchester – The Bread Shed (headlining the APF Records Showcase All-Dayer)
17th UK – Birmingham – 02 Academy
22nd NL – Rotterdam – Baroeg
24th NL – Eindhoven – The Jack Café
25th NL – tbc
26th BEL – Antwerp – Kids Rhythm & Blues
27th GER – Berlin – Urban Spree
28th GER – Weimar – Gerber 3

March
1st GER – Dresden – Chemiefabrik
2nd CZ – Prague – Klub Baryton
3rd PL – Warsaw – Hydrozagadka
4th SK – Bratislava – Fuga
5th SK – Kosice – Collosseum
6th UKR – Lviv – Freda 61 Klub
7th PL – Wroclaw – Black Moon
8th GER – Cologne – Limes
9th NL – Zwolle – Jacks Bar
10th BEL – Brussels – Rock Classic

July
7th UK – Bradford – Underground

August
25th UK – Bolton – Alma Inn (Riff Fest 2018)

September
29th UK – Sheffield – O2 Academy (HRH Doom Vs Stoner 2018)

Desert Storm is:
Chris White: Guitar
Ryan Cole: Guitar
Chris Benoist: Bass
Elliot Cole: Drums
Matt Ryan: Vocals

https://www.facebook.com/desertstormuk/
http://twitter.com/desertstormuk
http://www.instagram.com/desertstormuk
http://desertstorm.bandcamp.com/
http://www.desertstormband.com/
https://www.facebook.com/apfrecords
https://twitter.com/apf_records
https://www.instagram.com/apfrecords/
https://apfrecords.bigcartel.com/
https://apfrecords.bandcamp.com/
http://www.apfrecords.co.uk/

Desert Storm, “Signals from Beyond” official video

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Battalions Sign to APF Records; New Album out in 2018

Posted in Whathaveyou on November 28th, 2017 by JJ Koczan

Emergent UK imprint APF Records continues to gobble up countrymen sludge outfits with the signing of Battalions to its growing roster. The Hull natives released their second long-player, Moonburn, this past summer, and will reportedly follow-up with a third sometime in 2018, touring as well alongside Pist and no doubt others in the crowded sphere of resurgent English sludge metal. Their next record will be their first as a four-piece after parting ways with guitarist Mark Wood following Moonburn, which was produced by Conan‘s Chris Fielding and which you can hear in its entirety streaming below.

In signing with APF, Battalions join the ranks of Desert Storm, the aforementioned Pist, Mastiff, BongCauldron, Diesel King, Tronald and Ba’al, among others as the imprint quickly moves into setting the standard for sludge mayhem coming out of the British Isles.

From the PR wire:

battalions

BATTALIONS SIGN TO APF RECORDS

APF RECORDS is delighted to announce that it has signed Hullensian sludge-metal titans BATTALIONS to the label. We will be issuing their third, as yet untitled, album worldwide during mid-2018.

Battalions was formed in early 2010 in the coastal city of Hull, UK. Their fanbase and support has steadily grown through incendiary live shows throughout the UK including high-profile support slots with Conan, Church Of Misery, Sworn Enemy, Ohhms, Slabdragger, Samothrace, Dopethrone and Vinnum Sabbathi. In 2017 they played on the Hobgoblin Stage at Bloodstock Open Air Festival, and headlined the Motorhead Roadcrew Stage at the 30,000-capacity Humber Street Sesh.

The band’s first two albums, 2016’s “Nothing To Lose” and this year’s Chris Fielding-produced “Moonburn” received universal critical praise. Since the writing of the latter the band has slimmed down from a quintet to a 4-piece, and since its release has continued to play live across the UK, and in the first half of 2018 will do the same – including on a full countrywide tour with label-mates Pist in April.

A warm welcome to Battalions from all at APF.

Battalions is:
Phil Wilkinson – Vocals
Peter Cross – Guitars
Matthew Dennett – Bass
Matt Walker – Drums

facebook.com/BattalionsSludge
twitter.com/BattalionsDirt
instagram.com/battalions
battalionsdirt.bandcamp.com
https://www.facebook.com/apfrecords
https://twitter.com/apf_records
https://www.instagram.com/apfrecords/
https://apfrecords.bigcartel.com/
https://apfrecords.bandcamp.com/
http://www.apfrecords.co.uk/

Battalions, Moonburn (2017)

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BongCauldron Post “Devil” Video; Binge out Nov. 30

Posted in Bootleg Theater on November 3rd, 2017 by JJ Koczan

bongcauldron

Leeds sludge beardos BongCauldron are getting ready to release their debut long-player, Binge (review here), later this month via APF Records. The album has been years in the making — it’s been half a decade since BongCauldron issued their first, self-titled EP — and though the trio have had a swath of shorter releases out in singles, 2015’s Acid Cattle two-tracker, and so on, Binge nonetheless wastes no time in getting down to the heavy, burled-up, grab-you-by-the-scruff-of-your-neck business at hand. To wit, the second cut on the thing is “Bury Your Axe in the Crania of Lesser Men.” And yeah, it’s pretty catchy.

But of course, the Chris Fielding-produced offering of rolling riffs and seething pummel has to cross paths with “Devil” before it gets to any such triumphant battling and the opener of Binge is indeed a formidable opponent. It establishes the thickness with which BongCauldron will bludgeon for most of the duration, as well as the trades between guttural growling and shoutier booziness that pervades in call and response fashion, but most importantly, it’s the first of multiple beat-you-over-the-head lumbering progressions to be found throughout Binge, and it shifts tempo so easily that the punch has landed almost before you know it. I’m not even going to tell you when it happens. But it does. Watch out for it.

Binge may have been a while in the making, but songs like “Hopeless,” the shuffling “Toxic Boglin” and the near-nine-minute Sleep-via-Dopelord stoner-sludge chicanery of the title-cut demonstrate plainly that BongCauldron haven’t been wasting their time. They’ve been spending it getting pissed off. And if that’s what it takes to get to the kind of intensity that drives the early going of “Bigfoot Reigns” — one assumes it’s the sasquatch that has also flattened the pace in the second half of the song — then so be it. Dudes should stay mad. Clearly it works for them.

You can check out the video for “Devil” below, followed by some more info from the PR wire. Like the album itself, it’s void of pretense and seems intended only to kick as many asses as are put in front of it.

So watch where you stand, and enjoy:

BongCauldron, “Devil” official video

APF Records is pleased to reveal the video for “Devil” by UK sludge band BongCauldron. The track is taken from the band’s upcoming album Binge which will be released in November.

Pre-order the album on vinyl here: http://apfrecords.bigcartel.com/product/bongcauldron-vinyl

The band commented “Devil was written on a decline into self-destructive alcoholic despair. This song envisages depression as a force that will never leave you. A disease that no one can fully see but yourself. Everywhere you go, everywhere you look, every time you speak its standing right next to you ready to smash you in the teeth”

Recorded by Chris Fielding of Conan in his Skyhammer Studio, Binge will be available on limited edition green vinyl, black vinyl, limited edition digipak CD and digital formats.

BongCauldron is:
Corky – bass, vocals
Biscuit – guitar, vocals
Jay – drums

BongCauldron on Thee Facebooks

BongCauldron on Bandcamp

APF Records on Thee Facebooks

BongCauldron at APF Records webstore

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Desert Storm Sign to APF Records; Sentinels Due March 1

Posted in Whathaveyou on October 19th, 2017 by JJ Koczan

Yeah, this one makes sense. UK imprint APF Records has worked to make itself a home-base for some of its burliest countrymen acts, fostering the extremity, sludge and otherwise unabashed dudeliness of the likes of BongCauldronTronaldUnderBa’alDiesel KingNomad and Mastiff, among others. That they’d go ahead and pick up Desert Storm and add the Oxford five-piece to that roster feels like a next logical step to me. They’ll make for good company. APF clearly knows what it’s doing in wrangling the viciousness of these acts, and as Desert Storm look to follow-up 2015’s Omniscient (review here), they’re deserving of as wide attention as they can get, particularly after touring as they have over the last year-plus with Honky and Limb in the UK and hitting the European mainland earlier in 2017.

So while it’s not necessarily the hugest of surprises conceptually, I’ll say all the more kudos to group and imprint for the logical fit, and hope for more to come from Desert Storm as we move into the New Year. The band, who also had a split 7″ with Suns of Thunder (review here) out last year on H42 Records to mark their appearance at Desertfest, will release their new album, Sentinels, in March. I’ll get my testosterone supplements ready.

APF posted the following announcement to make it official:

desert storm

We are beyond thrilled to announce that Desert Storm have signed to APF Records.

Following on from Desert Storm (2008), Forked Tongues (2010), Horizontal Life (2013) and Omniscient (2015) we will be releasing the quintet’s new album SENTINELS worldwide and on all formats on 1st March 2018.

Welcome to the family, boys.

Desert Storm is:
Chris White: Guitar
Ryan Cole: Guitar
Chris Benoist: Bass
Elliot Cole: Drums
Matt Ryan: Vocals

https://www.facebook.com/desertstormuk/
http://twitter.com/desertstormuk
http://www.instagram.com/desertstormuk
http://desertstorm.bandcamp.com/
http://www.desertstormband.com/
https://www.facebook.com/apfrecords
https://twitter.com/apf_records
https://www.instagram.com/apfrecords/
https://apfrecords.bigcartel.com/
https://apfrecords.bandcamp.com/
http://www.apfrecords.co.uk/

Desert Storm, “Signals from Beyond” official video

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Quarterly Review: Primitive Man, Black Lung & Nap, Zone Six, Spectral Haze, Cosmic Fall, Epitaph, Disastroid, Mastiff, Demons from the Dungeon Dimension, Liblikas

Posted in Reviews on October 2nd, 2017 by JJ Koczan

the obelisk quarterly review

The final round of the Fall 2017 Quarterly Review starts now. 60 reviews done. I think if this particular QR session proves anything it’s that come hell or high water, once it’s set, there’s no stopping this train. Not to toot my own horn or anything, but the site was down for half of last week and we’re still getting to 60 reviews from Monday to Monday. That’s not not impressive from where I sit, especially since I spent that downtime going out of my mind trying to get things up and running again while also trying to write posts that I didn’t even know if they were going to happen. But they happened — thanks again, Slevin and Behrang — and here we are. All is well and we can get back to normal hopefully for the rest of this week. Thanks for reading any of this if you did. Let’s get to it.

Quarterly Review #51-60:

Primitive Man, Caustic

primitive-man-caustic

Primitive Man’s Caustic is the concept of “heavy” taken to the superlative. It is a 12-track/77-minute onslaught for which no less than absolute hyperbole will suffice. In following-up their 2013 Relapse Records debut, Scorn (review here), a series of splits and 2015’s Home is Where the Hatred Is EP (review here), the Denver trio reign in terror as they make Caustic live up to its name in the crushing tones, feedback of and slow churn of “My Will,” “Commerce” “Tepid,” and “Sugar Hole,” the consuming wave of “Victim,” the blastbeating death assault of “Sterility,” and the biting atmospherics of harsh interludes “Caustic,” “Ash” and “The Weight,” which preface the nine minutes of vague noise that close on “Absolutes,” following the grueling slaughter of “Disfigured” and the rightfully-named 12-minute “Inevitable,” which seems even slower and more weighted somehow than everything before it. On the sheer level of heft for that song alone, it’s time to start thinking about Primitive Man among the heaviest bands in the world. I’m serious. Caustic is an overwhelming masterwork of unbridled extremity, and with it, Primitive Man set a new standard both for themselves and for anyone else who’d dare to try to live up to it in their wake.

Primitive Man on Thee Facebooks

Relapse Records webstore

 

Black Lung & Nap, Split

black-lung-nap-split

A heavy blues trio from Baltimore and a progressive boogie outfit from Oldenburg, Germany, might seem like an odd pairing, but by the time the 25 minutes of Black Lung and Nap’s split 12” platter (on Noisolution) are up, the release has come to make its own peculiar kind of sense. In following 2016’s See the Enemy (review here), Black Lung present two new songs in “Strange Seeds” and “Use this Stone” as well we the prior-issued Marvin Gaye cover “Inner City Blues” done in collaboration with rapper Eze Jackson, where Nap answer their debut album, Villa (review here), with the shuffle-into-psychedelia of “Djinn,” the spacious, patient rollout of the airy guitars in “Vorlaut” and the final thrust of “Teer.” Each of the two acts establishes a context for itself quickly – Black Lung brazenly defying theirs in the shift from “Use this Stone” to “Inner City Blues”; Nap expanding between “Djinn” and “Vorlaut” – and though one wouldn’t be likely to mistake one group for the other, their disparate sounds don’t at all hinder the ability of either group to make an impression during their brief time.

Nap on Thee Facebooks

Black Lung on Thee Facebooks

Noisolution webstore

 

Zone Six, Zone Six

zone-six-zone-six

Originally issued in 1998 via Early Birds Records with the lineup of bassist/synthesis/Mellotronist Dave “Sula Bassana” Schmidt, guitarist Hans-Peter Ringholz, drummer/keyboardist Claus Bühler and vocalist Jodi Barry, the self-titled debut from German space/krautrock explorationists Zone Six sees something of a redux via Sulatron Records to mark the 20th anniversary of the band’s founding. Eight minutes shorter than the original edition at 51 minutes, the new version whittles down the original 13-track presentation to two vinyl sides – titles: “Side A” (27:04) and “Side B” (24:39) – and drops the vocal tracks entirely to make it a completely instrumental release. That’s a not-insignificant change, of course, but let there be no doubt that it works in terms of highlighting the flow, which as it transitions between what used to be one song and another loses not one step and instead simply becomes an engrossing and multifaceted jam. This is truer perhaps to the band Zone Six have become – if you missed their 2015 full-length Love Monster (review here), it was glorious and it’s not too late to catch up – than the band they started out as, but Zone Six have found a way to make an old release new again, and new Zone Six is never anything to complain about, whatever the occasion.

Zone Six on Thee Facebooks

Sulatron Records? webstore

 

Spectral Haze, Turning Electric

spectral-haze-turning-electric

Space rock warriors Spectral Haze return after three years in the Gamma Quadrant with Turning Electric via Totem Cat Records, a six-song sophomore outing behind 2014’s I.E.V.: Transmutated Nebula Remains (review here) that quickly enters a wormhole of Hawkwindian thrust on opener “The Dawn of the Falcon” – perhaps that’s what’s represented on the glorious Adam Burke cover art – and takes a winding but directed course deeper and deeper into interstellar realms for its duration of what on earth is only six songs and 33 minutes. Each of the intended two vinyl sides boasts a longer track, be it “Cathexis/Mask of Transformation” on side A or “They Live” on side B, but whether it’s in those or shorter rocket boosters like the title-track, “Ajaghandi” or the aforementioned leadoff, the Oslo-based four-piece keep it dreamy and kosmiche even unto the doomlier roll of closer “Master Sorcerer,” a collection of final psychedelic proclamations that cuts off quickly at the end as though breaking a transmission from the heart of the galaxy itself. Heck of a destination, and getting there’s a blast, too.

Spectral Haze on Thee Facebooks

Totem Cat Records webstore

 

Cosmic Fall, Jams for Free

cosmic-fall-jams-for-free

Kind of a bummer how Jams for Free came about, but for the reassurance that Berlin heavy psych improvisationalists Cosmic Fall will keep going after what seems to have been an unceremonious split with now-ex-guitarist/vocalist Mathias, I’ll take it. With two new explorations, bassist Klaus and drummer Daniel introduce new guitarist Martin, and those worried they might lose the funk of their original incarnation should have their fears duly allayed by “A Calmer Sphere” (12:19) and “The Great Comet” (8:10), which begin a new era of Cosmic Fall after the remaining founders were forced to stop selling their prior works. If there’s anger or catharsis being channeled in Jams for Free, though, it comes through as fluidity and serene heavy psych, and with the resonant live-in-studio vibe, Cosmic Fall essentially seem to be picking up where they left off. With Martin making a distinguishing impression in the soloing of “A Calmer Sphere”’s second half particularly, the future continues to look bright for the German asteroid riders. Right on, guys. Keep jamming.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

Epitaph, Claws

Epitaph-Claws

Doomers of Verona Epitaph trace their origins back some 30 years, but Claws (on High Roller Records) is just their second long-player behind 2014’s Crawling out of the Crypt. Matters not. Theirs is the doom of ages one way or the other, presented in this collection of five songs in traditional fashion with an edge of the Italian bizarrist movement (think early Death SS) and, from the “Neon Knights”-style riff of “Gossamer Claws” to the “After All (The Dead)”/”Falling off the Edge of the World”-style dramaturge of “Wicked Lady,” the nods to ‘80s and early-‘90s Black Sabbath are manifold and executed with what sounds like a genuine love for that era of the band and classic metal in general. Hard to fault Epitaph that influence, particularly as they bring it to bear in the guttural riffly chug of centerpiece “Sizigia,” tonally as much as in the form of what’s actually being played. As a mission, the homage is perhaps a bit single-minded, but as they continue to build their own legacy in these classic sounds, it’s impossible to say Epitaph’s collective heart isn’t in the right place.

Epitaph on Thee Facebooks

High Roller Records webstore

 

Disastroid, Screen

disastroid-screen

The nine songs of Disastroid’s fourth self-released LP, Screen, are drawn together by a songwriting prowess that’s better heard than described and by a heft of tone that, especially on stompers like “Dinosaur” early and “Coyote” later on, proves likewise. Is the point of this review, then, that you should listen to the album? Yuppers. At a crisp 35 minutes, Screen finds the Bay Area trio willfully nestled someplace between heavy rock riffing, noise crunch, punk and metal, and they fly this refusal to commit to one style over another no less proudly than they do the hook of “Getting in the Way” or “I Didn’t Kill Myself,” which along with the push of “Choke the Falcon” and the Melvinsian “Clinical Perfection” make up a series of short burst impressions contrasted by the longer “Screen” and “New Day” at the outset and the six-minute finale “Gunslinger,” though wherever Disastroid seem to go, they bring a current of memorable craft with them, making an otherwise purposefully bumpy ride smooth and a chaos-fueled joy to undertake.

Disastroid website

Disastroid on Bandcamp

 

Mastiff, Bork

mastiff-bork

Ultimately, bludgeon-ready UK five-piece Mastiff might owe as much to grind as they do to doom or sludge – at least if “Nil by Mouth” has anything to say about it – but more than loyalty to any subgenre or other, the Hull unit’s 25-minute Bork full-length (released on CD by APF Records) is interested in presenting an extreme vision of sonic heft. Brutal pummel infects the rolling chorus of “Everything Equals Death” and the initial chug of “Tumour” alike, and where opener “Agony” was content to blast out its cacophony in fury of tempo as much as weight, as they settle in for the mosh-ready six minutes of closer “Eternal Regret,” Mastiff seem to have dug out a position between lumbering doom and early ‘00s deathcore, a telltale breakdown capping Bork in grooving and familiar fashion. Their intensity might prove a distinguishing factor over the longer term, though, and they certainly have plenty enough of it to go around.

Mastiff on Thee Facebooks

APF Records website

 

Demons from the Dungeon Dimension, An Organic Mythology

demons-from-the-dungeon-dimension-an-organic-mythology

The righteously-monikered Demons from the Dungeon Dimension made a striking and individualized – and bizarre – impression in 2016 with the There was Ogres EP (discussed here), a follow-up to the debut full-length, As the Crow Flies, released just weeks earlier. With the new single An Organic Mythology and the five-minute, raw-recorded track of the same name, the Durban, South Africa-based project is laid to rest. A burly opening and thickened distortion lead to a pushing verse with dry vocals over top – sounding very much like a home-recorded demo outright and not trying to be anything else – and soon enough the track shifts into a spoken-word-dissertation over an instrumental build that carries it into its final minute, at which point the verse kicks back in to end. As with the prior EP, which topped 25 minutes, the vibe is willfully strange throughout “An Organic Mythology,” and if this is indeed the last we’ll hear from Demons from the Dungeon Dimension (doesn’t it just sound like something TOR Books would put out?), somehow it seems right we live in an age where the material can reside in the digital ether, waiting to be stumbled on by curious parties soon to be blindsided by what they hear.

Demons from the Dungeon Dimension on Bandcamp

Demons from the Dungeon Dimension on YouTube

 

Liblikas, Unholy Moly

liblikas-unholy-moly

From the initial semi-gothic vibes from vocalist Oliver Aunver to the progressive fuzz rock that ensues on opener “Holy Underground,” Estonian five-piece Liblikas seem to specialize in the unexpected on their second full-length, Unholy Moly. Aunver, guitarists Temo Saarna (also vocals) and Henrik Harak, bassist Joosep Käsper and drummer/backing vocalist Mihkel Rebane, oversee a brisk 45-minute run across eight tracks of genre-spanning grooves, from the chugging almost-doom of “Highest Hound” to the semi-folk experimentalist interlude “Fugue Yeah! (Diary Pt. II),” which follows “Dear Diary, Yeah!” a track that starts out with what might be a Japanese-language sample and psychedelic unfolding to more cohesive, harmony-topped prog rock bounce before the fuzz emerges and meets with forward vocals and effective interplay of acoustics in the chorus. Why yes, there is a six-minute song called “Pornolord” – funny you should ask. It appears before the oud-laced “Ol’ Slime” and nine-minute closer “Keezo,” which embraces the difficult task of summing up the weirdo intensity that’s been on display throughout Liblikas’ songwriting all along, and with wispy guitar leading to a big, noisy finish, succeeds outright in doing so.

Liblikas on Thee Facebooks

Liblikas on Bandcamp

 

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Tronald Capture the Unhinged Moment in “Obelisk ov Hash” Video

Posted in Bootleg Theater on October 2nd, 2017 by JJ Koczan

tronald

Hell’s bells, you’re a thinking, considered and considerate individual, and therefore you don’t need the likes of me to tell you these are strange days in which we’re living. You read the news. You’re informed. You have opinions. Me too, and well, it’s not going to do any good to get myself all worked up laying them out for you here. If you want catharsis, though, history has shown time and again that any number of creative endeavors can provide, and listening through to the 20-minute self-titled EP from Manchester, UK, newcomers Tronald on APF Records, that seems to be exactly what’s playing out.

With Tronald, Charlie Seisay and Andy Preece aren’t so much trying to make sense of the absurd era in which we find ourselves embroiled, when basic fact is no longer a given in the face of media manipulation and outright lies go unchallenged. Hearing the chaos they and a slew of guest vocalists from outfits like Boss Keloid and Under, among others, elicit on songs like the lumbering “Vegan Gains” and the punk-grinding “Get Your Grubby Hands off My Bennell” — not to mention the eponymous plod of the title-track or rolling mass of the subsequent “Boss Keloid are Shit” — they seem rather to be simply trying to work their way through understanding what’s happening in the world around then by representing and inhabiting the chaos they see.

The longest song on the release is “Obelisk ov Hash” at five minutes flat and it bashes out its sludgy extremity with ferocious abandon. Vocals are largely indecipherable growls or spacious howling. Riffs are utterly ruthless and consuming, and whether the track is political or not in its nature — one expects not — much like the scorching finale “Burgled Senseless” or “Dlanort,” on which the only vocals are samples, including the current US president talking about how much winning his lapping-it-up audience is going to be doing, it feeds into an atmosphere of the unhinged in which anything can happen and it all seems to manifest one kind of violence or another. It would be a genuine challenge to think of something timelier than that.

Tronald‘s Tronald is out now. You’ll find the clip for “Obelisk ov Hash” below, followed by more info from the PR wire.

Whatever side of whatever argument you’re on, please enjoy:

Tronald, “Obelisk ov Hash” official video

TRONALD is a new entity formed in Manchester in early 2017. The project is spearheaded by musicians Charlie Seisay and Andy Preece (Under, Halfling’s Leaf, Thing) who decided to create the heaviest, gnarliest most down-tuned and distorted heavy music they could possibly commit to tape. Tronald is set to release its debut self-titled EP on September 30th on APF Records.

Tronald works as a collective, inviting other vocalists and musicians to guest on each track. On their eponymous first release the guest singers are members of popular North-West England acts The Hyena Kill (Steven Dobb), Boss Keloid (Alex Hurst), Mower (Jared Tuck), Under (Matt Franklin) and Riggots (Martin Battle). The sound of Tronald is colossally heavy, built on low tunings and distortion. The EP weaves in elements of Sludge Metal, Doom and Noise Rock over its 20 minute run time.

‘Tronald’ will be available as a stunning 6-panel digipak CD designed by Sam Yates of Ingested. Strictly limited edition of 100, all individually numbered. The EP will also be available in digital format. Tronald is set to play some select live performances across 2018, aiming to bring together the guest vocalists and musicians where possible. The first of such shows will be the APF Records Showcase at Ruby Lounge, Manchester on 3rd February 2018.

Tronald on Bandcamp

Tronald on Thee Facebooks

APF Records webstore

APF Records on Thee Facebooks

APF Records on Twitter

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