Review & Full Album Premiere: Slomosa, Slomosa

Posted in audiObelisk, Reviews on August 25th, 2020 by JJ Koczan

slomosa slomosa

[Click play above to stream Slomosa’s self-titled debut in full. It’s out Friday, Aug. 28 on Apollon Records.]

Looking for unbiased Grammarly Review? It also has an inbuilt plagiarism checker and one of the does an essay have to have 5 paragraphs tool which have rave reviews, Slomosa may be newcomers, but their sound draws on decades of established heavy rock traditions that are nothing if not stalwart. Based in Bergen, Norway, and releasing their self-titled debut full-length through  First paragraph of an argumentative essay on a rose describe a great time you. The Associated Press delivers in-depth the best dissertation writing services coverage on today's Big Apollon Records, the four-piece formed in 2017, recorded in 2018 and traded out half their lineup in 2019, bringing in guitarist Consumer Behavior Research writing service that meets all academic writing needs and even impossible deadlines. Get cheap custom essay help from real experts. Tor Erik Bye and bassist PlanIt Business is made up of Write Custom Essays writers. We will write you a custom business plan to help you gain the financial funding you need. Marie Moe alongside drummer Doing My Homework Youtube by Best Writing Experts UK. dissertation writing Help offered by Quality Custom writing service. Exclusive discount offers, Up to 45% OFF Severin Sandvik and vocalist/guitarist Diy Thesis Ecommerce. bestis the leading directory of popular Online Proofreader, Proofreading Software, Online ProofingYour document is Benjamin Berdous. Starting last Fall,  It http://www.kloech.com/?psychology-research-proposal-ideas is not a do my thesis simple statement of fact. This guide gives simple and practical advice higher front dissertation english advanced Slomosa began issuing singles from the eight-song/37-minute recorded-live-with-overdubs offering, beginning with the rolling riff that starts the album in “Horses” before following-up with “There is Nothing New Under the Sun” (posted here) and, most recently, “In My Mind’s Desert” (posted here) giving a different look at the breadth of their more than capably conveyed melody. Helmed and mixed by  Deconstructing Musical Theatre An Essay - Perfectly crafted and HQ academic writings. All sorts of writing services & research papers. Quick and reliable services from Eirik Sandvik ( english a level essay help Louisiana professional resumes services help writing a resume the inheritance in jane eyre Amped Out I Want to blog! You Have Come to the Right Place! If you came to a deadlock with your task, you shouldnt give up or lose heart Howlin’ Sun) and mastered by A reliable How To Write A Scientific Essay service with 24/7 customer support. Order professional college papers here (with a discount %)! Enslaved‘s own http://www.pekarnaivanka.cz/?collegeessayonline-coms and get help from real academic experts. Pay-for-my-essay.com is the one of not many services where you pay for essays online and get the assistance of real professionals. It`s because we do care about our customers and the quality of assignments they get. That`s why we are very attentive while hiring new people. Iver Sandøy, the album benefits from the experienced hands of its production (the band is listed as a co-producer), bringing due tonal presence to a style that is well aware of genre tenets and speaking alike to the formative days of Californian desert rock in the 1990s and the Scandinavian interpretations that followed soon behind.

http://www.educasources.education.fr/cache/81/index.php?1940 - Composing a custom paper is go through many stages Find out basic recommendations how to get a plagiarism free themed Kyuss and  Dissertation Help Service In Singapore - If you need to find out how to make a good essay, you need to read this Get started with dissertation writing and craft finest Queens of the Stone Age are two anchor influences, the former coming into play throughout, in songs like “Kevin” and “Estonia” and even “Scavengers,” which hints at more progressive nuance in the guitar twists of its second half, but remains grounded ultimately in its structure and staves off digging too far into such indulgences. The latter manifests perhaps even more palpably in the vocal patterning and riffing style of Kyle autonomous bastions, their roundness wash throws irefully. Essay Time Order this is the assignment Status: Berdous and then-guitarist Anders RørlienKristian Tvedt played bass — and comes to the fore in “In My Mind’s Desert” and “Just to Be,” both of which specifically key in on the Josh Homme-fronted outfit’s 1998 self-titled debut.

Along with this, the driving thrust of “There is Nothing New Under the Sun” seems to harness the intensity that Dozer once brought to the desert sound, and the march of “Horses” at the launch of the record feels derived more from the earliest work of The Sword — who, it should be noted, are from neither California nor Sweden — so there’s more to dig into throughout Slomosa‘s Slomosa than it might at first appear. And while still definitively a desert rock aesthetic — they call it “tundra rock” in honor of Norway’s lack of deserts; you work with what you’ve got — one of the most encouraging aspects of the collection, especially taken in its manageable entirety, is how much Slomosa are able to bring these influences along to suit the purposes of their own songwriting. Ultimately, it is that songwriting that rules the day.

It might take a given listener a turn or two through Slomosa to get past the novelty of picking out riffs and saying, “Oh, that’s this Kyuss track,” be it “Estonia” drawing from “Supa Scoopa and Mighty Scoop” or whatever else, but the rewards are ample for that minimal investment of effort, and they come in form of hooks like those of “Horses” or “There is Nothing New Under the Sun” or “Just to Be,” as well as the more willfully sprawling showcase that is closer “On and Beyond.” The last of those is a singular worthy showcase of the band’s potential, but the truth of the matter is that same potential is writ large across the entirety of the release.

slomosa

Their songs work well together and are placed smoothly for an overarching full-length flow, but it is no coincidence that they spaced out three singles ahead of the full album’s arrival, since that is very much the modus in which the record operates: as a presentation of the individual tracks that comprise it. Each song is crisp and smoothly executed — not so smooth as to detract from the weight or edge, but enough to highlight the melody in Berdous‘ vocals for sure. As “In My Mind’s Desert” taps those nascent Queens of the Stone Age vibes (or is it a less melancholy “I Never Came?”), even the word-playfulness of the lyrics seems to be on board in the line, “No man’s an island in no man’s land.” But even here, there’s more happening than simply deriving new material from something built before.

Certainly there’s plenty of that, and you won’t hear me say otherwise — I don’t imagine even Slomosa themselves would come out and say they’ve completely invented a new sound; beware of anyone who does — but the energy and the vitality behind what they’re doing stylistically is an asset that comes into play all along the album’s varied path. Recording at least the basic tracks live would seem to have been a correct choice in that regard, since that natural foundation resonates even through whatever overdubbing and the added-later vocals. It becomes an essential aspect of each track, as heard in the fuzz-forward “Scavengers,” which hits into a bounce and push that would seem to be positioning itself as an heir to Truckfighters‘ unmitigated sense of fun, or in “There is Nothing New Under the Sun,” which in addition to Dozer directly and perhaps with tongue-in-cheek recalls “My God is the Sun” from QOTSA‘s …Like Clockwork, as well as anywhere else one might have ears to hear it. Slomosa sound like a young band. A young band who know what they want stylistically and are able to craft their material in such a way as to manifest that.

Such things don’t come along every day, and if you’re looking for theses in Slomosa, they’re readily apparent in “There is Nothing New Under the Sun” and “In My Mind’s Desert” — two cuts that seem to find the band directly acknowledging where they’re coming from in terms of overall perspective. An act of that kind of boldness isn’t to be taken lightly, especially from a new group releasing their first album. What remains to be seen is how Slomosa‘s lineup change will affect their sound, and what lessons they’ll take with them from having successfully executed this offering at the high level they have. Will they push outward as “On and Beyond” seems to want to do, or dive deeper into the thrust of “Kevin,” or head somewhere else entirely? Part of what makes Slomosa so exciting as an album is not knowing the answer, but only part, because the work they’ve done in these songs is more than enough to stand on its own, regardless of what might come after.

Slomosa on Thee Facebooks

Slomosa on Instagram

Slomosa on Bandcamp

Slomosa on Soundcloud

Slomosa on Spotify

Apollon Records website

Apollon Records on Bandcamp

Apollon Records on Thee Facebooks

Tags: , , , , ,

Slomosa Set Aug. 28 Release for Self-Titled Debut

Posted in Whathaveyou on July 21st, 2020 by JJ Koczan

slomosa

So here’s a cute one. I’ve written about Slomosa a couple times. Last Fall, when the Norwegian band posted the “There is Nothing New Under the Sun” from their upcoming self-titled debut album, I thought the track was cool and put it up with the press release that came through. And again, much the same leading up to “In My Mind’s Desert,” the second cut from the record to be unveiled. Now, with the third — that’s opener “Horses,” streaming at the bottom of the post here — I’m seeing a quote from The Obelisk: “Norway’s new shooting stars of huge rock.”

Now, to be fair, I say a lot of shit. Maybe I said that, right? My first thought wasn’t, “No way I said that,” it was, “Did I say that? That doesn’t sound like me.”

Turns out it wasn’t me. It was the press release I posted. So I’m being quoted quoting the press release, which, of course, ran in blue as those things do around here to signify their being quoted directly as they came in (okay, sometimes I fix spellings and take out quotes, but otherwise it’s exact). So yeah, I never quite called Slomosa Norway’s new shooting stars of huge rock. They sound like a cool band from what I’ve heard so far. You can quote me on that if you want. As for the rest, I’d probably like to hear the album before I make any such grand proclamations.

Okay then. To the PR wire:

slomosa slomosa

Norwegian Stoner/ Desert Rockers SLOMOSA Debut Album Announced for August 2020 Release on Apollon Records.

Bringing desert rock from what is probably the least desert country in the world, Norwegian rockers SLOMOSA are due to release their self-titled debut album on August 28th, which has been highly anticipated ever since debut single Horses, which premiered in October 2019.

Acclaimed Norwegian music journalist Totto Mjelde (NRK P13) claimed it to be “some of the best new music to surface in the last couple of years”, saying the song “took his breath away”. At the end of the year the same radio station picked Horses as one of their five best songs of 2019. Regional newspaper Bergens Tidende proclaimed the band had released “one of the year’s best rock songs” with Horses, raising the expectations for their next release. The following single, There Is Nothing New Under the Sun, also debuted on P13, and Spotify quickly added the song to their official “Stoner Rock” and “Norwegian Rock” playlists.

The songs have amassed 170 000 streams and counting – and with their music’s international reach the band has managed to gain a following in countries such as Sweden, Germany and USA, making the band “Norway’s new shooting stars of huge rock”, music blog The Obelisk aptly put it.

The latest single from the upcoming album, is the sun-dazed In My Mind’s Desert, showcasing the band’s ability to make rock songs that appeal not only to the traditional rock crowd.

1. Horses
2. Kevin
3. There Is Nothing New Under The Sun
4. In My Mind`s Desert
5. Scavengers
6. Just to Be
7. Estonia
8. On and Beyond

www.facebook.com/slomosaband
https://www.instagram.com/slomosa
https://soundcloud.com/slomosa
https://sptfy.com/4Qaf
www.apollonrecords.no
www.facebook.com/bergenapollonrecords

Slomosa, Slomosa (2020)

Tags: , , , , ,

Slomosa Announce New Single “In My Mind’s Desert” out Next Friday

Posted in Whathaveyou on June 12th, 2020 by JJ Koczan

slomosa

This one upcoming is the third single Slomosa are posting ahead of the release of their debut album. I don’t know when that album is coming out, but so far, I dig three songs on it. The Norwegian four-piece are three-for-three in my book between “In My Mind’s Desert,” “There is Nothing New Under the Sun” and “Horses.” I don’t know how long the whole record is, but if you figure the eight-track/38-minute standard average, they’re off to a killer start. There’s a very distinct earliest-Queens of the Stone Age feel to the new track, and that suits the melody of the vocals well — a bit of crunch in the riff is far more playful than aggressive — and they’re not shy with the hook either. It’s not necessarily groundbreaking stuff, but neither is it trying to be, and when I try to think of desert-style rock bands — they call it “tundra rock,” because Norway — coming out of Bergen, I’m drawing a blank.

You’ll note Iver Sandøy mastered. If you don’t know the name, he’s the new drummer in Enslaved and a noted engineer/producer as well.

Also, I’m guessing “In My Mind’s Desert” is the fourth track on the upcoming full-length. I know this because the promo wav file I downloaded had a “04” in front of the title. Context clues!

From the PR wire:

slomosa in my minds desert

Slomosa – In My Mind’s Desert

“An ode to the things I’ve forgot. And not at least, the skills that I’ve lost.”

“In My Mind’s Desert” is Slomosa’s third and last single from their upcoming debut album, out the 28th of August on Apollon Records. With their self-branded genre of “Tundra Rock”, Slomosa has made a name for themselves with their heavy and catchy sound. From Bergen, off the west coast of Norway, the band has garnered a lot of praise and attention for their first two singles, both abroad and back home. Their new single showcases Slomosa’s versatility and opens the listener to a different side of their songwriting: Less epic, more pop – this is definitely the upcoming album’s softest song.

Being the first song they ever wrote, it has become a live favourite among fans with it’s mellow intro, big choruses and addictive main riff. Singer Benjamin Berdous’ personal lyrics evolve around having a stoner lifestyle as life takes a bad turn, and offer an ironic take on the naive thoughts justifying not taking action to better things. Recorded in 2019 at “Lokalet Studio” in Bergen, by co-producer Eirik Sandvik, the single complements the band’s first two releases – making it clear that there is no stopping Slomosa on their way to the big stage.

Music: Slomosa
Lyrics: Benjamin Berdous

Guitar, Lead vocals: Benjamin Berdous
Guitar: Anders Rørlien
Bass: Kristian Tvedt
Drums, percussion: Severin Sandvik

Producer: Eirik Marinius Sandvik & Slomosa
Master: Iver Sandøy
Artwork & photo: Elsa Enestig

From Left to right on the picture: The “new” Slomosa band
Tor Erik “Totto” Bye ,g, Marie Moe, b, Severin Sandvik, dr, Benjamin Berdous, voc, g

www.facebook.com/slomosaband
https://www.instagram.com/slomosa
https://soundcloud.com/slomosa
https://sptfy.com/4Qaf
www.apollonrecords.no
www.facebook.com/bergenapollonrecords

Slomosa, “There is Nothing New Under the Sun”

Slomosa, “Horses”

Tags: , , , , ,

Kryptograf to Release Self-Titled Debut June 12

Posted in Whathaveyou on May 12th, 2020 by JJ Koczan

kryptograf

Norwegian classic heavy rock newcomers Kryptograf have set a June 12 release date for their self-titled debut full-length on Apollon Records. If you know anything about me at all, aside from the fact that there’s an actual human being on the other side of the keyboard putting all these posts together, I hope it’s that finding new music and being exposed to stuff I haven’t heard before is my favorite thing. Of course, there are plenty older records that are treasure to me, but nothing beats hearing something cool for the first time.

To that end, Kryptograf‘s self-titled came down the PR wire this morning with the following info included. It runs an easily-consumed eight tracks and 38 minutes and reminds at times of early Kadavar on a song like “Omen,” but promptly gets proggier and spacier in “Seven” and saves a bit more of that vibe for the acoustic and harmonized “Ocean” later on. It’s a cool vibe throughout, whether it’s the beeps and bloops at the outset of “Crimson Horizon” or a fuzzy swing-rocker like “New Colossus,” and it’s just a band I’d never heard before who I dug and wanted to share with you. What the hell is better than that?

The single they have on Spotify, “The Veil,” opens the record, and you can hear that below. The PR wire didn’t have a ton to say about it, but it at least covers the basics:

kryptograf kryptograf

Kryptograf – Kryptograf – Apollon Records

Release: 12 June 2020

Inspired by the heavy sound of the late 60’s, the four old souls in Kryptograf will hex you with their collective vocals, destructive riffs and inventive songwriting.

After two singles, The Veil and Crimson Horizon, the debut album from this very exciting new act from Bergen, Norway, has finally arrived.

1. THE VEIL 3:17
2. OMEN 6:02
3. SEVEN 9:20
4. CRIMSON HORIZON 5:58
5. SLEEPER 4:48
6. OCEAN 2:40
7. NEW COLOSSUS 4:53
8. INFINITE 1:32

Line-up:
Vegard Strand – Guitar / Vocals
Odd Erlend Mikkelsen – Guitar / Vocals
Eirik Arntsen – Drums / Vocals
Eivind Standal Moen – Bass

https://www.facebook.com/KryptografMusic/
https://www.facebook.com/bergenapollonrecords/

Tags: , , , , ,

Slomosa Post New Single “There is Nothing New Under the Sun”

Posted in Whathaveyou on March 2nd, 2020 by JJ Koczan

slomosa

Based in Bergen on the Western Coast of Norway, the relative newcomer four-piece Slomosa will issue their debut long-player sometime later this year through Apollon Records. Info is scarce in terms of things like when it was recorded, how, by whom, how many songs will be on it or when it’s coming out, but there are two songs streaming — the prior single “Horses” and the newer single “There is Nothing New Under the Sun” — and I dig both. “There is Nothing New Under the Sun” is mega-catchy in an earlier Queens of the Stone Age vein, while “Horses” reminds a bit of The Sword, but maybe that’s splitting hairs because the underlying point here is they’ve got hooks and that’s a damn good place for a new band to start.

They call the style “tundra rock” — a desert with ice, you know — and for that alone, never mind the chorus of “Horses,” they remind me a bit of Washington’s Lords of the North, but that seems more the result of a common influence from the aforementioned The Sword than anything else. Either way, as I said, two tracks out there and I dig it.

You can hear both songs below. “There is Nothing New Under the Sun” and “Horses” are both also up on Spotify, but those embeds look like crap and I’d rather see YouTube players than two of those, so here we go:

slomosa there is nothing new under the sun

Tundra Rock Is Still Alive! Desert Rockers SLOMOSA Share New Single There is Nothing New Under the Sun!

Debut Album later this year.

Not much is known yet of Bergen, Norway’s new shooting stars of huge rock Slomosa, except they are four relatively soft men who play tough and heavy desert rock. But they call it Tundra Rock up there…

Today Slomosa are back with their second single There is Nothing New Under the Sun, and it’s no less heavy than their first single Horses!

The yet untitled debut Album is coming in early 2020 on Apollon Records of Bergen, Norway. Stay tuned.

www.facebook.com/slomosaband
https://www.instagram.com/slomosa
https://soundcloud.com/slomosa
https://sptfy.com/4Qaf
www.apollonrecords.no
www.facebook.com/bergenapollonrecords

Slomosa, “There is Nothing New Under the Sun”

Slomosa, “Horses”

Tags: , , , , ,

Quarterly Review: Sumac, Cortez & Wasted Theory, Thunder Horse, The Howling Eye, Grime, URSA, Earthling Society, Bismarck, Grand Reunion, Pledge

Posted in Reviews on December 7th, 2018 by JJ Koczan

quarterly-review

As we land on what would otherwise be the end of a Quarterly Review — day 5, hitting the standard 50 records across the span of a week that this time we’re doubling with another 50 next week — it occurs to me not how much 100 albums is, but how much it isn’t. I mean, it’s a lot, don’t get me wrong. I’ve been sitting and writing about 10 records every day this week. I know how much that is. But it’s astounding to me just how much more there is. With the emails I get from people looking for reviews, discs sent in the mail, the messages on Facebook and everything else, I could do another 100, easy.

Well, maybe not ‘easy,’ but it would be full.

Is it a new golden age of heavy? 45 years from now are rockers going to look back and say, “Hell yeah, from like 2012-2019 was where it’s at,” all wistful like they do now for the ’70s? Will the Heavy ’10s be a retro style? I don’t know. But if it was going to happen, there would certainly be enough of an archive to fuel it. I do my best to cover as much as I can, but sometimes I feel like we barely crack the surface. With 100 records.

That said, time’s a-wasting.

Quarterly Review #41-50:

Sumac, Love in Shadow

sumac love in shadow

What are Sumac if not the most vital and highest profile atmospheric metal act out there today? With Aaron Turner (Isis, etc.) on guitar/vocals, Brian Cook (Russian Circles) on bass and Nick Yacyshyn (Baptists) on drums, they qualify easily as a supergroup, and yet their third album, Love in Shadow (on Thrill Jockey), is still more about creative growth and the exploration of sound than anything else. Certainly more than ego — and if it was a self-indulgent exercise, it’d probably still be pretty good, frankly. As it stands, the four massive tracks through which Sumac follow-up 2016’s What One Becomes (review here) and their 2015 debut, The Deal (review here), refine the sound Sumac has developed over the past three years-plus into a sprawling and passion-driven sprawl that’s encompassing in scope, challenging in its noise quotient, and in utter refusal to not progress in its approach. And when Sumac move forward, as they do here, they seem to bring the entire aesthetic with them.

Sumac on Thee Facebooks

Thrill Jockey Records on Bandcamp

 

Cortez & Wasted Theory, The Second Coming of Heavy: Chapter Nine

cortez wasted theory second coming of heavy ch 9

Ripple Music‘s split series The Second Coming of Heavy hits its ninth chapter in bringing together Boston’s Cortez and Delaware’s Wasted Theory, and neither band fails to live up to the occasion. Cortez‘s range only seems to grow each time they hit the studio — vocalist Matt Harrington makes easy highlights of the opener and longest track (immediate points) “The Firmament” and the echo-laden “Close” — and Wasted Theory‘s “Ditchpig,” “Abominatrix,” “Baptized in Gasoline” and “Heresy Dealer” are so saturated with whiskey it might as well be coming out of their pores. It’s a decidedly North/South release, with Cortez rolling straightforward New England heavy rock through “Fog of Whores” and the Deep Purple cover “Stormbringer” while Wasted Theory dig with all good speed into a grit that’s more and more become their own with time, but there’s a shared penchant for hooks and groove between the two acts that draws them together, and whatever aspects they may or may not share are ultimately trumped by that. As Ripple starts to wind down the series, they continue to highlight some of the finest in heavy that the underground has to offer. One would expect no less.

Cortez on Thee Facebooks

Wasted Theory on Thee Facebooks

Ripple Music on Bandcamp

 

Thunder Horse, Thunder Horse

thunder horse thunder horse

There’s an unmistakable sense of presence throughout Thunder Horse‘s six-song/43-minute self-titled debut that undercuts the notion of it as being the San Antonio four-piece’s first album. With professionalism and a firm sense of what they want to be as a band, the Texans liberally sprinkle samples throughout their material and hone a professional sound built around massive riffs and even-more-massive lumbering grooves. Indeed, they’re not strangers to each other, as three-fourths of the group — guitarist/vocalists Stephen Bishop, guitarist/sampler T.C. Connally and drummer Jason West — double in the more industrial-minded Pitbull Daycare, whose debut LP came out in 1997. Completed by bassist/vocalist Dave Crow, Thunder Horse successfully cross the genre threshold and are well comfortable in longer cuts like “Liber ad Christ Milites Templi” and “This is the End,” both of which top nine minutes, and shorter pieces like the rocking “Demons Speak” and the shimmering finale “Pray for Rain.” With “Coming Home” and the sneering “Blood Ritual” at the outset, Thunder Horse pulls listener quickly toward dark atmospheres and flourishes amid the weighted tones therein.

Thunder Horse on Thee Facebooks

Thunder Horse on Bandcamp

 

The Howling Eye, Sonorous

the howling eye sonorous

Poland’s The Howling Eye make a lengthy long-player debut with Sonorous, but more important than the reach of their runtimes — closer “Weedblazer” tops 16 minutes, the earlier “Reflections” hits 12, etc. — the reach of the actual material. The common pattern has been that psychedelic jamming and doom are two distinct things, but The Howling Eye tap into a cosmic interpretation of rolling riffs and push it with an open spirit far into the ether of spontaneous creation. It’s a blend that a group would seem to need to be cautious to wield, lest the whole notion fall flat, but with the assurance of marked chemistry behind them, the Bydgoszcz-based trio of drummer/sometimes vocalist Hubert “Cebula” Lewandowski (also harmonica where applicable), guitarist Jan Chojnowski and bassist Mi?osz Wojciechowski boldly shift from the more structured beginnings of the funky “Kairos” and the aggro beginning “Stranded” into an outward push that’s ambient, psychedelic and naturalistic all at once, with room left over for more funk and even some rockabilly on “The Potion.” It is not a minor conglomeration, but it works.

The Howling Eye on Thee Facebooks

The Howling Eye on Bandcamp

 

Grime, What Have We Become

grime what have we become

Their roots in metal, North Dakota trio Grime — not to be confused with the Italian sludge outfit of the same name — unleash their first full-length in the form of What Have We Become, an ambitious 51-minute offering of progressive heavy rock marked by thoughtful lyrics and fluid songwriting made all the more so by the shared vocals of bassist Andrew Wickenheiser and guitarist Nick Jensen, who together with drummer Tim Gray (who would seem to have been replaced by Cale Mogard) effect a classic feel through “Alone in the Dark” while chugging and winding through the not-a-cover “Hand of Doom” with some harsher vocals peppered in for good measure. Seven-minute opener and longest track (immediate points) “Through the Eye” sets a broad tone that the rest of the record seems to build on, with the penultimate “Sunshine” delivering the title line ahead of the grittier closer “The Constant Grind,” which seems to payoff everything before it with a final explosion before a big rock finish. They’ll need to decide whether their sound will ultimately tighten up or loosen over time, but for now, what they’ve become is a band with a solid foundation to grow from.

Grime on Thee Facebooks

Grime on Bandcamp

 

URSA, Abyss Between the Stars

ursa abyss between the stars

Modern doom meets a swath of metallic influences on URSA‘s full-length debut, Abyss Between the Stars (on Blood Music), as members of Petaluma, California’s Cormorant take on such classic themes as wizards, dragons, yetis, witches, a spider king, mountains, and… actually, yeah, that covers the six included tracks on the 46-minute LP, which shifts gracefully between epic fantasy doom and darker, soemtimes more extreme fare. It’s easy enough to put URSA in the narrative of a band started — circa 2016 — around a central idea, rather than just dudes picking up instruments and seeing what happened next. Not just because bassist/vocalist Matt Solis, guitarist/keyboardist Nick Cohon and drummer Brennan Kunkel were already three-quarters of another band, but because of the purposefulness with which they approach their subject matter and the cohesion in all facets of their approach. They may be exploring new ground here, but they’re doing so on sure footing, and that comes not only from their experience playing together, but from knowing exactly where they want to be in terms of sound. I would not be surprised if that sound adopted more post-Candlemass grandeur with time — one can hear that burgeoning in “Serengeti Yeti” — but whatever direction they want to go, their debut will only help them on that path.

URSA on Thee Facebooks

Blood Music website

 

Earthling Society, MO – The Demon

earthling society mo the demon

Look, if you can’t get down with a bunch of freaks like Earthling Society tapping into the lysergic fabric of the cosmos to come up with an unsolicited soundtrack to a Hong Kong martial arts movie, I just don’t know what to tell you. Issued by Riot Season, the seven-track MO – The Demon is reportedly the end of the band’s technicolor daydream, and as they crash their plane into the side of “Mountains of Bliss” and hone space rock obliteration throughout “Super Holy Monk Defeats the Black Magic Mothafucker,” their particular experimentalist charm and go-anywhere-anytime sensibility demonstrates plainly exactly why it will be missed. There’s a sharp high-pitched tone at the start of opener “Theme from MO – The Demon” that’s actually pretty abrasive, but by the time they’re through the kosmiche laser assault in “Spring Snow” and the let’s-be-flower-children-until-it’s-time-to-freak-the-fuck-out throb of closer “Jetina Grove,” that is but a distant memory. So is consciousness. Fare thee well, Earthling Society. You were a band who only sought to make sense to yourselves, and for that, were all the more commendable.

Earthling Society on Thee Facebooks

Riot Season Records on Bandcamp

 

Bismarck, Urkraft

bismarck urkraft

Norwegian five-piece Bismarck bring spaciousness to doom riffing on their debut album, Urkraft, which is constructed of five molten tracks for a 34-minute totality that seems much broader than the time it takes to listen. Vocals are growls and shouts across a cosmic stretch of tone, giving a somewhat aggressive pulse to heavier psychedelic soundscaping, but a bouncing rhythm behind “A Golden Throne” assures the song is accessible one way or the other. The 10-minute “Vril-Ya” is naturally where they range the farthest, but the Bergen outfit even there seem to be playing by a set of aesthetic principles that includes maintaining a grounded groove no matter how spaced they might otherwise get. Rolling riffs bookend in opener “Harbinger” and closer “The Usher,” as “A Golden Throne,” playing-to-both-sides centerpiece “Iron Kingdom” and the subsequent “Vril-Ya” explore atmospheres that remain resonant despite the low end weight that seems to chug out beneath them. The mix by Chris Fielding at Skyhammer (who also co-engineered) doesn’t hurt in crafting their largesse, but something tells me Urkraft was going to sound big no matter what.

Bismarck on Thee Facebooks

Apollon Records website

 

Grand Reunion, In the Station

grand reunion in the station

In the Station doesn’t seem like anything too fancy at first. It’s produced cleanly, but not in any kind of overblown fashion, and Grand Reunion‘s songwriting is so solid that, especially the first time through their eight-track debut LP, it’s easy to say, “Okay, that’s another cool hook,” and not notice subtleties like when the organs turn to keyboard synth between opener “Eres Tan Serpiente” and second cut “Gordon Shumway,” or to miss the Latin percussion that Javier Tapia adds to Manuel Yañez‘s drumming, or the ways that guitarist Christian Spencer, keyboardist Pablo Saveedra, bassist Mario Rodríguez and Tapia work to complement guitarist Cristóbal Pacheco on vocals. But all of that is happening, and as they make their way toward and through the eight-minute fuzzer “Band Band the Headbang,” through the soaring “Weedow” and into the acoustic-led closer “It’s Alright,” the character and maturity in Grand Reunion‘s songwriting shows itself more and more, inviting multiple listens in the most natural fashion possible: by making you want to hear it again.

Grand Reunion on Thee Facebooks

Grand Reunion on Bandcamp

 

Pledge, Resilience

pledge resilience

16 minutes of scathing post-hardcore/sludge from Portuguese four-piece Pledge, who are in and out of their Resilience EP with a clean break and a windmill kick to the face. The newcomers lack nothing for ferocity, and with the throat-searing screams of Sofia M.L. out in front of the mix, violent intentions are unmistakable. “Profer Lumen Caecis,” “The Great Inbetweeness,” “Doom and Redemption” and “The Peter, the Wolf” nonetheless have groove built on varying degrees of extremity and angularity, with Vítor Vaz‘s bass maintaining a steady presence alongside the guitar of Hugo Martins and Filipe Romariz‘s drumming, frenetic as it sometimes is. I wouldn’t say things calm down in “The Peter, the Wolf” so much as the boiling seems to take place beneath the surface, waiting for a time to burst out, which it eventually does, but either way, for all its harsher aspects, Pledge‘s material isn’t at all void of engagement. It does, however, state the requirement right there on the front cover.

Pledge on Thee Facebooks

Pledge on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,