Sergio Ch. Premieres “El Herrero” Video

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

sergio ch

By my count, this is the third video Sergio Chotsourian has produced from his 2016 sophomore solo release, Aurora (review here). Released through his own South American Sludge Records under his Sergio Ch. moniker, it was an offering marked by its two consuming, extended and experimentalist title-pieces — “Aurora” (18:54) and “Aurora II” (15:16) — and despite any perceived budget and attention span constraints together, indeed one of the clips the Buenos Aires-based former Los Natas and current Soldati frontman was for “Aurora” (posted here), if a shortened version, while the other was for the more folkish “El Laúd” (posted here). Over the course of the last year, Chotsourian has also offered visuals for “La Historia de Hanuman” (posted here) from his 2015 solo debut, 1974 (review here) and for a raw, demo-style take on new song “El Latigo y las Riendas” (posted here), as well as for Soldati‘s “El Electricidad del Arbol Caido” (premiered here).

Clearly the lesson of all this as Chotsourian embarks on the clip for “El Herrero,” which follows “Aurora” on the album and is distinguished through its light-touch percussion and interplay of pulled notes and strumming guitar, is that showing is as much a part of his approach as telling. So be it. The title “El Herrero” translates to “the blacksmith,” and accordingly, the video brings a wealth of atmospherically-shot metallurgical works — infrastructure, gears, the things that make life go. One doesn’t have to look far to find the metaphor underlying, but given the folky context of the song, neither could one accuse the clip of overstating its case. Like “El Herrero” itself, it makes its point in fluid, human fashion, and moves on. There isn’t ultimately much more that would need to be said than it says.

Soldati have a new 7″ in the works (announced here) that I’m hoping to review sooner or later, or at least before the end of 2017, but the last few years have found Chotsourian increasingly restless on a creative level and exploring multiple avenues/outlets for that restlessness, from collaborative one-off sessions to his still-developing solo output, so I wouldn’t be surprised if he’s got a few more tricks up his sleeve for the next couple months as well.

Until whatever might follow, you can check out “El Herrero” and the full stream of Aurora below, and I hope you enjoy:

Sergio Ch., “El Herrero” official video

VIDEO OFICIAL DEL DISCO DE SERGIO CH. – “AURORA”
PRODUCIDO POR SERGIO CH.
VIDEO REALIZADO POR JUAN CRUZ TOMMASI Y LUCAS MARTINEZ

PIRAMIDE RECORDS
SOUTH AMERICAN SLUDGE RECORDS

Sergio Ch., Aurora (2016)

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South American Sludge website

South American Sludge Records on Bandcamp

Pirámide Records on Bandcamp

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Quarterly Review: Enslaved, Hour of 13, Operators, MaidaVale, Audion, Bone Man, Riff Fist, Helén, Savanah, Puta Volcano

Posted in Reviews on July 12th, 2017 by JJ Koczan

quarterly-review-summer-2017

I don’t know about you, but I could do this all day. Listening to records, writing reviews, getting things done that I’ve been trying to get done in some cases for actual months of my life — suffice it to say I’m way into this process. Wednesday is always a special day for the Quarterly Review because we pass the halfway point, and as much as I wish this edition went to 60 or even 70 releases, because rest assured even with 50 total there’s way more I could be covering if I had space/time, the good news is there’s still much more awesomeness to come. Today gets into some different vibes once again, so let’s get started.

Quarterly Review #21-30:

Enslaved, Roadburn Live

enslaved-roadburn-live

In their storied and groundbreaking career, Norwegian progressive black metallers Enslaved have never put out a live record, and it kind of makes sense as to why. The nuance of what they’ve come to do in their studio material doesn’t really lend itself to the rawness of a live album. Accordingly, Roadburn Live (on ByNorse and Burning World Records) feels almost as much of an homage to the event itself as to the performance. Captured in 2015 as Enslaved guitarist Ivar Bjørnson co-curated and the band headlined playing a special set of their more prog-focused songs – here more recent material like “In Times,” “Building with Fire,” “Daylight” from 2015’s In Times (review here) and “Death in the Eyes of Dawn” from 2012’s RIITIIR (review here) shines along with “Convoys to Nothingness” from 2001’s Monumension, “As Fire Swept Clean the Earth” from 2003’s Below the Lights and the requisite “Isa” from the 2004 landmark of the same name, and a special highlight comes at the finale when they cover Led Zeppelin’s “Immigrant Song” and bring guitarist Menno Gootjes of Dutch proggers Focus out for a guest spot. Roadburn Live might be a step away from the band’s usual modus, but Enslaved have made their career on pushing themselves beyond their comfort zone, so why stop now?

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Burning World Records website

ByNorse Music website

 

Hour of 13, Salt the Dead: The Rare and Unreleased

hour of 13 salt the dead

An overdue compilation from a band making an overdue return, Hour of 13’s Salt the Earth: The Rare and Unreleased reunites the doomers led by multi-instrumentalist Chad Davis with Shadow Kingdom Records and brings together early demos from 2007 – on which the collaboration between Davis and vocalist Phil Swanson was arguably at its most vibrant as they headed into their self-titled debut full-length later that year – with other previously unissued cuts like three songs with Davis on vocals including the Jason McCash tribute piece “Upon Black Wings We Die” (premiered here) and the original rehearsal demos that introduced Beaten Back to Pure singer Ben Hogg as Swanson’s replacement in the band in 2011 (premiered here). If you want a direct feel for the breadth of the band, look no further than the three versions of “Call to Satan” that appear on Salt the Earth. Widely varied between them in sound and overall feel, they underscore the tumult that has existed since the outset at the core of Hour of 13 even as they provide hope that the band previously laid to rest can revitalize enough to put out a fourth studio offering.

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Shadow Kingdom Records website

 

Operators, Revelers

operators revelers

Nearly four years in the making, Revelers is the third full-length from Berlin’s Operators behind 2013’s Contact High (review here) and 2012’s Operators (review here), and it starts off by smashing Uncle Acid and the Deadbeats swing headfirst into Goatsnake riffing on “Leveled Reveler,” the first of its six component tracks. Their arrangements, as ever, are marked by the featured position of organ along with guitar, bass and drums, and whether it’s a more extended jam like that opener, “Messina” or the closing “Rolling Hitch” – which boasts a guest vocal/guitar spot from Wight’s René Hofmann, who also recorded and mixed (Tony Reed of Mos Generator mastered) – or the shorter momentum-building winding course through “Pusher,” “Walkin’ on Air” (I’m not sure what’s happening at the end there, but I’m not about to spoil it) and the winning-at-song-titles “Fuzz Muncher,” Operators function with a maturity of approach that seems to have been earned during the longer stretch between releases. To wit, all the turns and pivots even out in the last movement of “Rolling Hitch” and Revelers caps with a classic heavy rock groove that’s neither in a hurry nor staid – Operators finding crucial balance amidst all their revelry, and much to their credit.

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Fuzzmatazz Records on Bandcamp

 

MaidaVale, Tales of the Wicked West

maidavale tales of the wicked west

Blues Pills. There. I said it. Now that the blues-rocking elephant in the room has been acknowledged, perhaps we can get on with Swedish four-piece MaidaVale’s debut full-length, Tales of the Wicked West (on The Sign Records). Yes, the Fårösund-based band owe a bit of their soulfulness to the aforementioned, but the nine-track/44-minute long-player thrives most of all as Linn Johannesson, Sofia Ström, Matilda Roth and Johanna Hansson purposefully meander into psychedelic flashes, as in opener “(If You Want the Smoke) Be the Fire,” the midsection of “The Greatest Story Ever Told,” the penultimate Zep-vibing/Bukowski-referencing “Find What You Love and Let it Kill You” and the 11-minute post-“Maggot Brain” closer “Heaven and Earth.” It’s in these moments and the manner in which they blend with the driving rock of “Dirty War,” the bluesy swagger of “Restless Wanderer” and the deft turns of “Colour Blind” early on that MaidaVale’s individualism is beginning to take shape, and if that’s the story that Tales of the Wicked West is telling, then it’s one well worth following through subsequent chapters.

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The Sign Records on Thee Facebooks

 

Audion, La Historia de Abraham

audion-la-histora-de-abraham

Audion’s debut, La Historia de Abraham, is immediately noteworthy in no small part because it brings the rhythm section of Los Natas back together for the first time since that band’s breakup following 2009’s excellent Nuevo Orden de la Libertad (review here). Drummer Walter Broide and bassist Gonzalo Villagra join forces in the new outfit with guitarist Dizzy Espeche, and all three contribute vocals throughout at least in backup capacity, adding variety to go with the instrumental breadth that runs from the serene end of “Llegaron Sordos” right into the rush of “La Maquina del Tiempo” and well beyond later as the interlude “Para Rosita” introduces an earthy acoustidelic feel and “El Carancho” explores ‘70s anthemic rock before the fuzz- and horn-laden finisher “Queruzalem” closes out with a surprising progressive wash. Cuts like opener “Clarence,” the title-track and “Colmillo Blanco” can call to mind Villagra and Broide’s previous work, but Audion make a fresh impression on La Historia de Abraham in the variety throughout, and as they make their way through “Lesbotrans” and “Diablo vs. Dios” and into the second half of the album, it becomes increasingly clear how distinct this first offering actually is.

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Audion on Bandcamp

 

Bone Man, III

bone man iii

To go along with the propulsive rhythm of “False Ambition” and the wash in the payoff of the earlier “These Days are Gone,” there’s a sense of gothic drama to vocalist Marian’s delivery that adds further atmosphere to Bone Man’s III (on Pink Tank Records), and in kind with the cohesive foundation of Arne’s bass, Ötzi’s drumming and his own scorch-prone guitar, that gives cuts like “Cold Echo” and the alternately brooding and explosive centerpiece – layered acoustic and electric guitar filling out the sound further – even more stylistic depth. That moodiness comes perhaps most into focus on the more subdued “Incognito,” but it’s there from the boogie-laced opener “Pollyanna” onward, and in the jagged push of “Years of Sorrow” and the more spacious finale “Amnesia” (still a tightly structured four minutes in length), it lends III a persona stretching beyond what one might think of as the standard genre fare and gives the Kiel, Germany, outfit a presence decidedly their own. It’s their third record, so maybe that’s not a surprise for a band who made their first offering eight years ago, but it serves as a major source of resonance in the material nonetheless.

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Pink Tank Records website

 

Riff Fist, King Tide

riff fist king iii

Going back to 2013, Melbourne, Australia, trio Riff Fist have basically summed up their approach in the eight letters of their name: a tight-knit approach to guitar-led heavy rock, as straightforward as a fist in your face. King Tide is their debut album after three EPs named for the Clint Eastwood Dollars trilogy of westerns – 2015’s The Good, the Loud and the Riff, 2014’s For a Few Riffs More and 2013’s Fistful of Riffs (review here) – and it significantly expands their breadth. Opening with its longest track (immediate points) in the 11-minute title cut (video premiered here), King Tide covers new, more patient and encompassing ground from bassist/vocalist Cozza, guitarist Casey and drummer Joel than anything they’ve touched on before, and while the subsequent “D.T.U.B.,” fuzz-laden “Fist Bier (Noch Eins)” and even the first half of eight-minute centerpiece “Chugg” bring that all-ahead sensibility back into focus, King Tide remains effectively and engagingly informed by its leadoff impression through its total 33-minute run, which is rounded out as “Beer and a Cigarette” melds the more spacious and atmospheric take with a still-swinging post-Clutch groove. There’s more work to do in tying the various sides together, but King Tide is a rousing introduction to the process through which the band can make that happen.

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Riff Fist on Bandcamp

 

Helén, Helén

helen helen

Hexvessel multi-instrumentalist and vocalist Kimmo Helén makes a willfully peculiar and experimentalist self-titled debut with the solo-project Helén via Svart Records, setting a course through melodic indie wash in “Uusi Olento” even as “Jumalan Hullu” threatens in its bounce and the later “Lystia” moves into yet-darker expanses. Keys, electric and acoustic guitar, sax, and of course Helén’s own Finnish-language vocals, there’s very little that feels like it might be outside his comfort zone in terms of craft, and Helén, the album, is just as effective in the plus-cello-acoustic-minimalism of the penultimate “Lopussa” as in the earlier atmospheric breadth of “Puolen Metrin Syvyydessä.” Closing out with the alternately melancholy and dreamy “Kaikki Isä,” the record brings out a full-band feel despite Helén having handled the vast majority of the instrumentation on his own and impresses in that as well as in its range of moods and overarching sense of purpose. May it be a first exploration in a series of many.

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Helén at Svart Records webstore

 

Savanah, The Healer

savanah the healer

I won’t take away from a wah-drenched rocker like “The Healer,” which still jams out plenty before digging into doomier lumbering, but where Austrian trio Savanah’s Stone Free Records debut album, The Healer, really gets its point across is in the fluidity of its longer-form material, whether that’s post-“Intro” opener “Mind,” the ebbing and flowing heavy psych instrumental “Pillars of Creation” or the over-10-minutes-apiece closing pair of the doom rocking “Black Widow” and “Panoramic View of Stormy Weather,” which effectively draws together the multiple aesthetic faces the three-piece demonstrate throughout the record preceding, culling rock, psych and doom into a single riff-driven entity and, most importantly, making it theirs. Guitar leads the way with big, natural fuzz, but the rhythm section is crucial here, and as Benny, Felix and Jakob follow-up their 2015 EP, Deep Shades, they seem to establish a path along which they can flourish and hopefully continue to capture the listener’s attention as they do here.

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StoneFree Records website

 

Puta Volcano, Harmony of Spheres

puta volcano harmony of spheres

The kind of release where by the end of the first song you want to own everything the band has ever put out. Don’t let Athens’ Puta Volcano get lost in the wash of bands coming out of Greece these days, because there are many, but if you miss out on the blend of desert-style tones and graceful melodies of “Bird,” it’s to your general detriment. I’m serious. In craft and performance, Puta Volcano’s third album, Harmony of Spheres, takes on unpretentious progressivism in songwriting and blends it with a post-Slo Burn/Hermano sense of freedom from genre. Witness the funky “Zeroth Law” or the later, more subtle post-grunge linearity of “Moebius,” the odd chanting repetitions in closer “Infinity” or the nigh-on-maddening hook of “Jovian Winds.” Really, do it. With the lineup of vocalist Luna Stoner, guitarist Alex Pi, bassist Bookies and drummer Steven Stefanidis, Puta Volcano are onto something special in aesthetic and delivery, and if Harmony of Spheres might be your first experience with the band as it’s mine, it’s one that will no doubt warrant multiple revisits. Consider it sleeper fodder for your year-end list – I know I will.

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Puta Volcano on Bandcamp

 

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Quarterly Review: Loss, BardSpec, Sinner Sinners, Cavra, Black Tremor & Sea Witch, Supersonic Blues, Masterhand, Green Lung, Benthic Realm, Lâmina

Posted in Reviews on July 11th, 2017 by JJ Koczan

quarterly-review-summer-2017

Day two of the Quarterly Review and all is chugging along. I was on the road for part of the day yesterday and will be again today, so there’s some chaos underlying what I’m sure on the surface seems like an outwardly smooth process — ha. — but yeah, things are moving forward. Today is a good mix of stuff, which makes getting through it somewhat easier on my end, as opposed to trying to find 50 different ways to say “riffy,” so I hope you take the time to sample some audio as you make your way through, to get a feel for where these bands are coming from. A couple highlights of the week in here, as always. We go.

Quarterly Review #11-20:

Loss, Horizonless

loss horizonless

Horizonless (on Profound Lore) marks a welcome if excruciating return from Nashville death-doomers Loss, who debuted six years ago with 2011’s Despond (review here) and who, much to their credit, waste no time in making up for their absence with 64 soul-crushing minutes across nine slabs of hyperbole-ready atmospheric misery. The longer, rumble-caked, slow-motion lumbering of “The Joy of all Who Sorrow,” “All Grows on Tears,” “Naught,” the title-track and closer “When Death is All” (which boasts guests spots from Leviathan’s Wrest, Dark Castle’s Stevie Floyd and producer Billy Anderson) are companioned by shorter ambient works like the creepy horror soundtrack “I.O.” and the hum of “Moved Beyond Murder,” but the deeper it goes, the more Horizonless lives up to its name in creating a sense of unremitting, skyline-engulfing darkness. That doesn’t mean it’s without an emotional center. As Loss demonstrate throughout, there’s nothing that escapes their consumptive scope, and as they shift through the organ-laced “The End Steps Forth,” “Horizonless,” “Banishment” and the long-fading wash of the finale, the album seems as much about eating its own heart as yours. A process both gorgeous and brutal.

Loss on Thee Facebooks

Profound Lore Records website

 

BardSpec, Hydrogen

bardspec hydrogen

It’s only fair to call Hydrogen an experimentalist work, but don’t necessarily take that to mean that Enslaved guitarist Ivar Bjørnson doesn’t have an overarching vision for what his BardSpec project is. With contributions along the way from Today is the Day’s Steve Austin and former Trinacria compatriot Iver Sandøy (also Manngard), Bjørnson crafts extended pieces of ambient guitar and electronica-infused beats on works like “Fire Tongue” and the thumping “Salt,” resulting in two kinds of interwoven progressive otherworldlinesses not so much battling it out as exploring the spaces around each other. Hydrogen veers toward the hypnotic even through the more manic-churning bonus track “Teeth,” but from the psych-dance transience of “Bone” (video posted here) to the unfolding wash of “Gamma,” BardSpec is engaged in creating its own aesthetic that’s not only apart from what Bjørnson is most known for in Enslaved, but apart even from its influences in modern atmospherics and classic, electronics-infused prog.

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ByNorse Music website

 

Sinner Sinners, Optimism Disorder

There’s a current of rawer punk running beneath Sinner Sinners’ songwriting – or on the surface of it if you happen to be listening to “California” or “Outsider” or “Hate Yourself” or “Preachers,” etc. – but especially when the L.A. outfit draw back on the push a bit, their Last Hurrah Records and Cadavra Records full-length Optimism Disorder bears the hallmarks of Rancho de la Luna, the studio where it was recorded. To wit, the core duo of Steve and Sam Thill lead the way through the Queens of the Stone Age-style drive of opener “Last Drop” (video posted here), “Desperation Saved Me (Out of Desperation)” and though finale “Celexa Blues” is more aggressive, its tones and overall hue, particularly in the context of the bounce of “Together We Stand” and “Too Much to Dream” earlier, still have that desert-heavy aspect working for them. It’s a line that Sinner Sinners don’t so much straddle as crash through and stomp all over, but I’m not sure Optimism Disorder would work any other way.

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Sinner Sinners on Bandcamp

Last Hurrah Records website

 

Cavra, Cavra

cavra cavra

The five-song/52-minute self-titled debut from Argentina trio Cavra was first offered digitally name-your-price-style late in 2016 and picked up subsequently by South American Sludge. There’s little reason to wonder why. Comprised of guitarist/vocalist Cristian Kocak, bassist/vocalist Fernando Caminal and drummer Matias Gallipoli, the Buenos Aires three-piece place themselves squarely in the sphere of their home country’s rich heritage in heavy rock and psychedelic fluidity, with earthy tones, a resounding spaciousness in longer cuts like the all-15-minutes-plus “2010,” “Montaña” and “Torquemada.” My mind went immediately to early and mid-period Los Natas as a reference point for how the vocals cut through the density of “Montaña,” but even as Cavra show punkier and more straightforward thrust on the shorter “Dos Soles” (4:10) and “Librianna” (2:45) – the latter also carrying a marked grunge feel – they seem to keep one foot in lysergism. Perhaps less settled than it wants to be in its quiet parts, Cavra’s Cavra nonetheless reaches out with a tonal warmth and organic approach that mark a welcome arrival.

Cavra on Thee Facebooks

South American Sludge Records on Thee Facebooks

 

Black Tremor & Sea Witch, Split

black-tremor-sea-witch-split

One has to wonder if whichever of the involved parties – be it the two acts or either of the labels, Sunmask Records or Hypnotic Dirge – had in mind a land-and-sea kind of pairing in putting together Saskatoon’s Black Tremor or Nova Scotia’s Sea Witch for this split release, because that’s basically where they wound up. Black Tremor, who issued their debut EP in 2016’s Impending (review here), answer the post-Earth vibes with more bass/drums/cello instrumental exploration on the two-part “Hexus,” while the massive tonality of duo Sea Witch answers back – though not literally; they’re also instrumental – with three cuts, “Green Tide,” “As the Crow Flies Part One” and “As the Crow Flies Part Two.” The two outfits have plenty in common atmospherically, but where Black Tremor seem to seek open spaces in their sound, Sea Witch prefer lung-crushing heft, and, well, there isn’t really a wrong answer to that question. Two distinct intentions complementing each other in fluidity and a mood that goes from grim and contemplative to deathly and bleak.

Black Tremor on Thee Facebooks

Sea Witch on Thee Facebooks

Hypnotic Dirge Records webstore

Sunmask Records webstore

 

Supersonic Blues, Supersonic Blues Theme b/w Curses on My Soul

supersonic-blues-supersonic-blues-theme

It takes Den Haag trio Supersonic Blues no more than eight minutes to bust out one of 2017’s best short releases in their Who Can You Trust? Records debut single, Supersonic Blues Theme b/w Curses on My Soul. Yes, I mean it. The young three-piece of guitarist Timothy, bassist Gianni and drummer Lennart absolutely nail a classic boogie-rock vibe on the two-tracker, and from the gotta-hear low end that starts “Curses on My Soul,” the unabashed hook of “Supersonic Blues Theme” and the blown-out garage vocals that top both, the two-tracker demonstrates clearly not only that there’s still life to be had in heavy ‘70s loyalism when brought to bear with the right kind of energy, but that Supersonic Blues are on it like fuzz on tone. Killer feel all the way and shows an exceeding amount of potential for a full-length that one can only hope won’t follow too far behind. Bonus points for recording with Guy Tavares at Motorwolf. Hopefully they do the same when it comes time for the LP.

Supersonic Blues on Thee Facebooks

Who Can You Trust? Records webstore

 

Masterhand, Mind Drifter

masterhand-mind-drifter

A neo-psych trio from Oklahoma City, Masterhand seem like the kind of group who might at a moment’s notice pack their gear and go join the legions of freaks tripping out on the West Coast. Can’t imagine they wouldn’t find welcome among that I-see-colors-everywhere underground set – at least if their debut long-player, Mind Drifter, is anything to go by. Fuzz like Fuzz, acid like Uncle, and a quick, raw energy that underlies and propels the proceedings through quick tracks like “Fear Monger” and “Lucifer’s Dream” – tense bass and drums behind more languid wah and surf guitar before a return to full-on fuzz – yeah, they make a solid grab for upstart imprint King Volume Records, which has gotten behind Mind Drifter for a cassette issue. There’s some growing to do, but the psych-garage feel of “Chocolate Cake” is right on, “Heavy Feels” is a party, and when they want, they make even quick cuts like “Paranoia Destroyer” feel expansive. That, along with the rest of the release, bodes remarkably well.

Masterhand on Thee Facebooks

King Volume Records webstore

 

Green Lung, Green Man Rising

green-lung-green-man-rising

Groove-rolling four-piece Green Lung boast former members of Oak and Tomb King, among others, and Green Man Rising, their first digital single, is the means by which they make their entry into London’s crowded underground sphere. Aside from the apparent nod to Type O Negative in the title – and the plenty of more-than-apparent nod in guitarist Scott Masson’s riffing – “Green Man Rising” and “Freak on a Peak” bask in post-Church of Misery blown-out cymbals from drummer Matt Wiseman, corresponding tones, while also engaging a sense of space via rich low end from bassist Andrew Cave and the echoing vocals of Tom Killingbeck. There’s an aesthetic identity taking shape in part around nature worship, and a burgeoning melodicism that one imagines will do likewise more over time, but they’ve got stonerly hooks in the spirit of Acrimony working in their favor and in a million years that’s never going to be a bad place to start. Cool vibe; makes it easy to look forward to more from them.

Green Lung on Thee Facebooks

Green Lung on Bandcamp

 

Benthic Realm, Benthic Realm

benthic-realm-benthic-realm

In 2016, Massachusetts-based doom metallers Second Grave issued one of the best debut albums of the year in their long-awaited Blacken the Sky (review here)… and then, quite literally days later, unexpectedly called it quits. It was like a cruel joke, teasing their potential and then cutting it short of full realization. The self-titled debut EP from Benthic Realm, which features Second Grave guitarist/vocalist Krista van Guilder (also ex-Warhorse) and bassist Maureen Murphy alongside drummer Brian Banfield (The Scimitar), would seem to continue the mission of that prior outfit if perhaps in an even more metallic direction, drawing back on some of Second Grave’s lumber in favor of a mid-paced thrust while holding firm to the melodic sensibility that worked so well across Blacken the Sky’s span. For those familiar with Second Grave, Benthic Realm is faster, not as dark, and perhaps somewhat less given to outward sonic extremity, but it’s worth remembering that “Awakening,” “Don’t Fall in Line” and “Where Serpents Dwell” are just an introduction and that van Guilder and Murphy might go on a completely different direction over the longer term after going back to square one as they do here.

Benthic Realm website

Benthic Realm on Bandcamp

 

Lâmina, Lilith

lamina-lilith

Smack dab in the middle of Lilith, the debut album from Lisbon-based doom/heavy rockers Lâmina, sits the 20-minute aberration “Maze.” It’s a curious track in a curious place on the record, surrounded by the chugging “Evil Rising” and bass-led rocker bounce of “Psychodevil,” but though it’s almost a full-length unto itself (at least an EP), Lâmina make the most of its extended and largely linear course, building on the tonal weight already shown in the earlier “Cold Blood” and “Big Black Angel” and setting up the tension of “Education for Death” and the nine-minute semi-title-track finale “In the Warmth of Lilith,” which feels a world away from the modern stonerism of “Psychodevil” in its slower and thoroughly doomed rollout. There’s a subtle play of scope happening across Lilith, drawn together by post-grunge tonal clarity and vocal melodies, and Lâmina establish themselves as potentially able to pursue any number of paths going forward from here. If they can correspondingly develop the penchant for songwriting they already show in these cuts as well, all the better.

Lâmina on Thee Facebooks

Lâmina on Bandcamp

 

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Soldati Announce New Single “El Nudo en la Soga” Coming Soon

Posted in Whathaveyou on June 13th, 2017 by JJ Koczan

sergio ch soldati in studio

Soldati check in from the studio to inform that they’ve been working on a new single to be titled El Nudo en la Soga that’s set to be released as a seven-incher via South American Sludge Records hopefully by the end of this year. Based in Buenos Aires, the trio is led by guitarist/vocalist Sergio Chotsourian, who of course is the head of South American Sludge and known for his work over the years in outfits like Los Natas, Ararat and more recently his own Sergio Ch. solo-project, which released its second album, Aurora (review here), late last year.

With Soldati, Chotsourian steps back into more of a rock frontman role, as the three-piece showed on their self-titled debut EP (discussed here), also issued in 2016. That four-track outing varied its approach almost on a per-song basis, but in so doing set up an aesthetic scope that one expects will continue to expand with El Nudo en la Soga when it arrives. Comprised of its title-track and a redux of Chotsourian‘s solo piece “El Latigo y las Riendas,” the new offering was recorded and mixed analog at El Attic Studio and helmed by Patricio Claypole.

Below you’ll find a couple pics of from the studio and confirmation of the above. More to come, including audio, as we get closer to the release, but if you missed it, you can check out Soldati‘s recent video for prior-EP-opener “La Electricidad del Arbol Caido” (originally premiered here) at the bottom of this post.

Dig it:

SOLDATI – New 7″ Coming Soon

Songs are “El Nudo en la Soga” and electric version of my piano intimate “El Latigo y las Riendas.” Recorded and mixed all analog tape 2 inch for a future single release on 7 inch vinyl thru South American Sludge Records.

Studio name is El Attic and the tracks were produced by Patricio Claypole, former Los Natas crew.

Soldati represents an intense and solid ride; a concept of heavy rock taken to the extreme, with strong lyrics, dark and visceral sound; continuing anew what Natas has bequeathed. A new journey and a new experience for lovers of Argentine stoner.

SOLDATI LINEUP:
Sergio Ch. – guitar/vocals
Lukas Hospital – bass
Ranz – drums

https://www.facebook.com/SOLDATIDOOMNACIONAL
https://sasrecords.bandcamp.com/
https://www.facebook.com/SASRECORDSARGENTINA

Soldati, “La Electricidad del Arbol Caido” official video

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The Obelisk Radio Adds: High Brian, Arduini/Balich, Audion, Grey Gallows, Smoke Mountain

Posted in Radio on June 13th, 2017 by JJ Koczan

the obelisk radio cavum

If you’re a regular denizen of The Obelisk Radio, you’ve probably already guessed by the massively expanded playlist that we’re back on the main server at this point. It’s been months on the backup, and while anyone is still reading, let me just say out loud how much I owe to the hard work Slevin has put into the back end of making this thing happen. From a huge file-recovery operation to yesterday turning the thing back on after I moved a bunch of files and screwed it up yet again, the dude is just unbelievable. Seriously. This site is coming up on nine years old, and Slevin has made it happen every step of the way from a technical standpoint. I am in awe of his prowess and generosity of spirit.

So now that we’re back up and running at full capacity, the only thing to do is to keep building it going forward. And here we are.

The Obelisk Radio adds for June 13, 2017:

High Brian, Hi Brain

high-brian-hi-brain

Though they start out with the post-Queens of the Stone Age shuffle of “Liquid Sweet,” the crux of Austrian rockers High Brian‘s playfully titled debut long-player, Hi Brain, lies in classic psychedelia, unafraid to directly make a Beatles reference or two in “Aquanautic Smoke” or name a track after Jefferson Airplane‘s Surrealistic Pillow. That song, “Surrealistic Pillow,” turns out to be one of Hi Brain‘s catchiest, but hooks about throughout the nodding “All but Certainty” and the later, Stubb-style raucousness of the pair “The Conversion” and “Blood Money” as well, while centerpiece “All the Other Faces” and the aforementioned “Aquanautic Smoke” engage effects-laden drift and poised fluidity, resulting in an overarching sense of within-genre aesthetic variety that moves easily throughout the vinyl-ready 44-minute offering. They close with the molten roll of “Time,” their longest cut at 5:52 and a bolder melodic take, as if to signal a potential direction of their growth on their way out. There are plenty of encouraging signs before they get there, certainly, but hey, one more never hurt. An impressive introduction to a project that one hopes continues to develop and expand its approach.

High Brian website

Stone Free Records website

Mountain Range Creative Factory

 

Arduini/Balich, Dawn of Ages

ARDUINI BALICH DAWN OF AGES

Words like “powerhouse” are invented for releases like Arduini/Balich‘s Dawn of Ages. The Cruz del Sur release brings together Fates Warning guitarist Victor Arduini (who also produced) and Argus vocalist Brian “Butch” Balich, and while I’ll confess that on first listen I went right to their cover of Sabbath‘s “After All (The Dead)” — fucking righteous; and there aren’t a lot of people I’d trust to take on that song or anything from the Dio era — extended pieces like “Beyond the Barricade” (17:27) and “The Wraith” (13:44) offer listeners a deep push into a heavy metal that’s progressive, powerful and doomed all at the same time, executed with a clarity and a purpose that shimmers with class and just the right balance of patience and aggression. Rest easy, traveler, for you are in the hands of masters. Rounded out by drummer Chris Judge, Arduini/Balich is what happens when heavy metal goes right, and from the doomly unfolding of opener “The Fallen” through the 2LP’s three concluding covers of Beau Brummels‘ “Wolf of Velvet Fortune,” Uriah Heep‘s “Sunrise” and the already noted Dehumanizer highlight, there isn’t one moment where they relinquish their hold on either their craft or their audience’s attention. It’s the kind of outing that might cause a last-minute revision to best-of-the-year-so-far list, to say the least of it. Not to be greedy, but I’ll take a follow-up as soon as possible. Thanks.

Arduini/Balich on Thee Facebooks

Cruz del Sur Music website

 

Audión, La Historia de Abraham

audion-la-historia-de-abraham

If the driving Motörhead-onic thrust of the title-track to Audión‘s La Historia de Abraham rings familiar, it might be because the rhythm section of the Buenos Aires trio consists of bassist Gonzalo Villagra (also vocals) and drummer Walter Broide (also backing vocals), both formerly of Los Natas. Honestly, that pedigree would probably be enough for me to get on board with the 10-track/49-minute self-released full-length, but then you get into the roll and drift of the subsequent “Llegaron Sordos” and the fluid cascade of “Colmillo Blanco,” and guitarist Dizzy Espeche makes his presence felt tonally and vocally throughout to add a new personality to whatever familiar aspects might persist. “Lesbotrans” dives into a ’70s-style swing and the blown-out “Diablo vs. Dios” follows it with the age-old question of what might happen if The Who went garage punk, but there’s flourish of psychedelia on the interlude “Para Rosita” before “El Carancho” and “Queruzalem” round out with some of La Historia de Abraham‘s weightiest impacts. I think it’s fair to say Audión have some tinge of Los Natas‘ style to them, but their first outing shows them working toward building something new from that as well, and that makes their arrival all the more welcome.

Audion on Thee Facebooks

Audion on Bandcamp

 

Grey Gallows, Underlord

grey-gallows-underlord

Not that it isn’t plenty malevolent on its surface, but there’s an even more extreme threat lurking beneath “Underlord,” the nine-minute opener, titular and longest track (immediate points) on the debut full-length from Phoenix, Arizona’s Grey Gallows. It doesn’t take long for that sense of extremity to manifest in a blackened sensibility that pervades both in the riffs of a song like “Belladonna” — the middle cut of the five included — or the overarching spaciousness that finds its way into the grime-coated “West of Hell,” which follows. With a depth of guitar worthy of filling one’s lungs, “West of Hell” churns in a manner faster and somewhat sludgier than the alternately nodding and atmospheric “Priestess” showed the Opoponax Records outing to be earlier, six-stringers Joe Distic and Cat weaving noted lines and crunch riffs around each other for seven densely grooved minutes amid low-end push from bassist Lee, adaptable and creative drumming from Shane and Zue Byrd‘s vocals, which hit in form no less distorted in the back half of “Priestess” than they are punker drawled in closer “Buzzard Dust.” Nasty. Nasty, nasty, nasty. That’s basically what the math works out to on the 35-minute outing, but it’s worth noting that even on their first album, Grey Gallows demonstrate a ready willingness to balance various stylistic impulses off each other in such a way that’s only going to make their sound richer as they proceed. Richer, and even nastier. So be it.

Grey Gallows on Thee Facebooks

Opoponax Records webstore

 

Smoke Mountain, Smoke Mountain

smoke-mountain-smoke-mountain

The first EP from this Floridian three-piece does precisely what it’s supposed to do: introduces a newcomer band with three unpretentious tracks of dirt-fuzz riffing. The immediate vibe of opener “Demon” is early Acid King as the vocals follow the riff in classic stonery fashion, but the three songs get longer as they go and “Violent Night” proves immediately more spacious en route to the eponymous march of “Smoke Mountain.” What would probably be called a demo in a prior age, Smoke Mountain‘s Smoke Mountain makes its primary impression tonally but shows potential in its songwriting as well, and as a quick sampling of what the band are getting up to in their first stages, there’s little more one could reasonably ask of it, particularly as “Smoke Mountain” hammers home its chorus in a balance of clean vocal melody and absolutely filthy guitar, bass and drum crash. That duality, should they maintain it as they move forward into whatever might come next, can only serve them well. One to keep an eye on.

Smoke Mountain on Thee Facebooks

Smoke Mountain on Bandcamp

 

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Soldati Premiere Video for “La Electricidad del Arbol Caido”

Posted in Bootleg Theater on May 1st, 2017 by JJ Koczan

soldati la electricidad del arbol caido video

There was a lot to dig about the 2016 self-titled debut EP (discussed here) from Buenos Aires trio Soldati. Enough that I considered it high among last year’s best short releases. Somewhere between a demo and a short-album-style flow, it marked the first recording (no prior singles or anything like that) from the newcomer Argentina three-piece, which is fronted by Sergio Chotsourian — best known as the guitarist/vocalist for Los Natas, but now a label head for South American Sludge Records, bassist/vocalist in Ararat and solo artist as well, operating under his long-adopted Sergio Ch. moniker — and found them dug into low-end dense heavy rock from the very start of opening track “La Electricidad del Arbol Caido.”

Perhaps building in part — at least in terms of Chotsourian‘s own contributions; Soldati is rounded out by bassist Lukas Hospital and drummer Ranz — on the direction of the most recent Ararat full-length, 2014’s Cabalgata Hacia la Luz (review here), the four-tracker proffered rawer fare. Still some sense of atmosphere, particularly in the more spacious closer “El Pastor de las Hormigas,” which followed the galloping “Los Secretos de Shiva,” but the abiding impression was something closer to a Chotsourian-minted vision of heavy garage rock. Both neatly topping eight minutes in length, “La Electricidad del Arbol Caido” and “Whiskey Negro” (video posted here) set this vibe in motion, the former with a fervent nod and push that, by the time the song is halfway through, is as much punk as it is heavy rock. Brash. Raucous. Topped late with some abrasive whistling lead. Purely badass.

The whole release is available digitally on the South American Sludge Bandcamp — physical media may or may not be in the works or may already exist, or they may simply just move onto the next offering, whatever form that will ultimately take — but with footage from the 1977 animated film Wizards (aka Los Hechiceros de la Guerra), Soldati are giving listeners another chance to get introduced to the EP. Whether you’re a longtime follower of Chotsourian‘s output or someone for whom Soldati‘s Soldati would be a first exposure, I can only recommend you take advantage of the opportunity.

Thanks to Sergio Ch. for letting me host the video premiere below.

I hope you enjoy:

Soldati, “La Electricidad del Arbol Caido” official video

OFFICIAL VIDEO OF THE DISC OF SOLDATI – “SOLDATI”
PRODUCED BY SERGIO CH.
VIDEO PERFORMED BY LUCAS MARTINEZ WITH IMAGES OF THE FILM “LOS HECHICEROS DE LA GUERRA”

SOUTH AMERICAN SLUDGE RECORDS

SERGIO CH. – Guitar & Vocals
LUKAS HOSPITAL – Bass
RANZ – Drums

Soldati on Thee Facebooks

Soldati on Bandcamp

South American Sludge Records on Thee Facebooks

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Sergio Ch. Posts Video for New Song “El Latigo y las Riendas”

Posted in Bootleg Theater on April 19th, 2017 by JJ Koczan

sergio ch

Should we be surprised that Sergio Chotsourian has new material in the works? Yeah, probably not. At all. We’re barely a month removed from his last video, an animated clip for the song “La Historia de Hanuman” (posted here) from his 2015 debut solo album, 1974 (review here), and certainly less than a year out from his issuing the 2016 follow-up, Aurora (review here), but that’s just kind of how it goes with the former Los Natas and current Soldati and Ararat frontman. Multiple projects, multiple releases in the works. Always something happening. Dude is prolific. From where I sit, that only adds to the appeal of his work.

“El Latigo y las Riendas” is the first glimpse of material post-Aurora that Chotsourian has given, and among the things it tells us is that it seems like he’ll continue to keep his focus on solo work for the time being while still playing out with Soldati. That puts Ararat on the back burner as they have been for the last couple years as the Sergio Ch. solo-project has really started to take shape around Chotsourian and various collaborators, from Miagros Arrom, who played on Aurora, to his daughter, Isabel Chotsourian, who sat in on a re-recording of the 1974 the track “La Sal y Arroz” (posted here) last Spring.

I would doubt that the version of “El Latigo y las Riendas” featured in the video below — which if the curtain in the background is anything to go by seems to have been recorded in a living room (presumably Chotsourian‘s own) before being run through a line-drawing filter — is the final one, and kind of assume that by the time the track makes it onto whatever release it does, it will be fleshed out some, though one never really knows, and Sergio Ch. has never exactly been shy about giving his listeners a raw glimpse at his songwriting process. Or, you know, could be both, since it’s not like songs haven’t shown up in different forms across different releases, sometimes even different bands. One can never really be too sure. That’s part of the appeal too.

Please enjoy “El Latigo y las Riendas” below, followed by a translated version of the announcement that was posted when the track was shared on the social medias:

Sergio Ch., “El Latigo y las Riendas” official video

happiness is only real when shared… is a phrase that I stay in some movie. For those who are and for those who left us a message. New video premiere of Sergio Ch. “El Latigo y las Riendas.” Enjoy!

South American Sludge Records on Thee Facebooks

South American Sludge website

South American Sludge Records on Bandcamp

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Quarterly Review: Unearthly Trance, Heavy Traffic, Saturn, Lucifer’s Fall, Trevor Shelley de Brauw, Scuzzy Yeti, Urn., Nebula Drag, Contra, IAH

Posted in Reviews on March 30th, 2017 by JJ Koczan

cropped-Charles-Meryon-Labside-Notre-Dame-1854

From harsh doom to urban pastoralism to heavy blues rock to rolling doom nonetheless metallic in its defiance, Day Four of the Quarterly Review spins around a swath of styles and hopefully, hopefully, finds something you dig in the doing. It’s been a long week already. You know it. I know it. But it’s also been really good to dig into this stuff and I know I’ve found a few records that have made their way onto the already-ongoing 2017 lists — best short releases, debuts, albums, etc. — so to say it’s been worth it is, as ever, an understatement. Today likewise has gems to offer, so I won’t delay.

Quarterly Review #31-40:

Unearthly Trance, Stalking the Ghost

unearthly-trance-stalking-the-ghost

Brooklyn’s Unearthly Trance make a somewhat unexpected reentry with Stalking the Ghost (on Relapse), their sixth album. In the years since 2010’s V (review here), guitarist/vocalist Ryan Lipynsky has delved into a wide variety of extreme genres, from the blackened fare of The Howling Wind to the deathly-doom of Serpentine Path, in which Unearthly Trance bassist Jay Newman and drummer Darren Verni also shared tenure, but reuniting as Unearthly Trance feels like a significant step for the three-piece, and on tracks like “Dream State Arsenal” and the darkly post-metallic “Lion Strength,” they remind of what it was that made them such a standout in the first place while demonstrating that their years away have done nothing to dull the surehandedness of their approach. At eight tracks/52 minutes, Stalking the Ghost is a significant dirge to undertake, but Unearthly Trance bring pent-up anguish to bear across this varied swath of punishing tracks, and reassert their dominance over an aesthetic sphere that, even after all this time, is thoroughly their own.

Unearthly Trance on Thee Facebooks

Relapse Records website

 

Heavy Traffic, Plastic Surgery

heavy-traffic-plastic-surgery

Probably a smart move on the part of Heavy Traffic spearhead guitarist Ian Caddick and drummer/vocalist Tav Palumbo to swap coasts from Santa Cruz to Brooklyn ahead of putting together their sixth (!) full-length in three years and Twin Earth Records debut, Plastic Surgery. Cali is awash in heavy psych anyway and Brooklyn’s been at a deficit (as much as it’s at a deficit of anything) since space forerunners Naam became one with the cosmos, so even apart from the acquisition of bassist David Grzedzinki and drummer Dan Bradica, it’s a solid call, and one finds the fruits yielded on Plastic Surgery’s dream-fuzzed blend of heft and roll, heady jams like “See Right Through,” the oh-you-like-feedback-well-here’s-all-the-feedback “Broth Drain” and winding “Medicated Bed” finding a place where shoegaze and psychedelia meet ahead of the low-end-weighted closing title-cut and the bonus track “White and Green,” which finishes with suitable push and swirl to mark a welcome and vibe-soaked arrival for the band. Hope you enjoy the Eastern Seabord. It could use you.

Heavy Traffic on Thee Facebooks

Twin Earth Records on Bandcamp

 

Saturn, Beyond Spectra

saturn beyond spectra

In the second Saturn album, Beyond Spectra, one can hear one of retro rock’s crucial next movements taking place. The Swedish four-piece, who debuted on Rise Above with 2014’s Ascending and return with a periodically explosive 10-track/45-minute outing here, find a niche for themselves in adding dual-guitar NWOBHM elements to ‘70s-style (also ‘10s-style) boogie, as on the scorching “Still Young” or opener “Orbital Command.” They’re not the only ones doing it – Rise Above alums Horisont come to mind readily – but they’re doing it well, and the last three years have clearly found them refining their approach to arrive at the tightness in the shuffle of “Wolfsson” and the creeping Priestism of “Helmet Man” later on. I’ll give bonus points for their embracing the idea of going completely over the top in naming a song “Electrosaurus Sex,” but by the time they get down to closing duo “Silfvertape” and “Sensor Data,” I’m left thinking of the subdued intro to “Orbital Command” and the interlude “Linkans Delight” and wondering if there isn’t a way to bring more of that dynamic volume and tempo breadth into the songwriting as a whole. That would really be far out. Maybe they’ll get there, maybe they won’t. Either way, Beyond Spectra, like its predecessor, makes a largely inarguable case for Saturn’s potential.

Saturn on Thee Facebooks

Rise Above Records website

 

Lucifer’s Fall, II: Cursed and Damned

lucifers-fall-cursed-and-damned

Measuring its impact between doomly traditionalism and attitudinal fuckall, Lucifer’s Fall’s II: Cursed and Damned (on Nine Records) is a doom-for-doomers affair that tops 55 minutes with its nine tracks, recalling Dio-era Sabbathian gallop on opener “Mother Superior” and landing a significant blow with the slow-rolling nine-minute push of “The Necromancer.” Shades of Candlemass, Reverend Bizarre, and the most loyal of the loyalists show themselves throughout, but whether it’s the crawl in the first half of “Cursed Priestess” or the blistering rush of the clarion centerpiece “(Fuck  You) We’re Lucifer’s Fall,” there’s an undercurrent of punk in the five-piece’s take that lends an abiding rawness to even the album’s most grueling moments. One looks to find a middle ground in songs like “The Mountains of Madness” and closer “Homunculus,” but Lucifer’s Fall instead offer NWOBHM-style guitar harmonics and soaring vocals, respectively, only pushing their stylistic breadth wider, playing by and breaking rules they’re clearly setting for themselves rather than working toward outside expectation. As a result, II: Cursed and Damned keeps its fist in the air for the duration, middle finger up.

Lucifer’s Fall on Bandcamp

Nine Records website

 

Trevor Shelley de Brauw, Uptown

trevor-shelley-de-brauw-uptown

Over the course of six-minute opener “A New Architecture,” guitarist Trevor Shelley de Brauw gradually moves the listener from abrasive noise to sweet, folkish acoustic guitar backed by amplified wavelengths. It’s a slowly unfolding change, patiently done, and it works in part to define Uptown (on The Flenser), the Pelican guitarist’s six-song solo debut long-player. Noise and drone make themselves regulars, and there’s a steady experimentalism at root in pieces like “Distinct Frequency,” the low-end hum and strum of “You Were Sure,” and the should’ve-been-on-the-soundtrack-to-Arrival “Turn up for What,” which unfurls a linear progression from minimalism to consuming swell in eight minutes ahead of the more actively droning 11-minute sendoff “From the Black Soil Poetry and Song Sprang,” but de Brauw manages to keep a human core beneath via both the occasional acoustic layer and through moments where a piece is being palpably manipulated, à la the spacious distorted churn of “They Keep Bowing.” I’m not sure how Uptown didn’t wind up on Neurot, but either way, it’s an engaging exploration of textures, and one hopes it won’t be de Brauw’s last work in this form.

Trevor Shelley de Brauw on Thee Facebooks

The Flenser website

 

Scuzzy Yeti, Scuzzy Yeti

scuzzy yeti scuzzy yeti

Someone in Scuzzy Yeti has roots in metal, and the good money’s on it being vocalist Chris Wells. Joined in the Troy, New Hampshire, five-piece by guitarists Brad Decatur and Jason Lawrence (ex-Skrogg), bassist Wayne Munson and drummer Josh Turnbull, Wells casts a sizable frontman presence across the five-tracks of Scuzzy Yeti’s self-titled debut EP, belting out “Westward” and “BTK” as the band behind him hones a blend of classic heavy rock and doom. The sound is more reminiscent of Janne Christoffersson-era Spiritual Beggars than what one might expect out of New England, and the band amass some considerable momentum as centerpiece “Conqueror” and the shorter shuffle “Knees in the Breeze” push toward slower, lead-soaked closer “Flare,” which finds the lead guitar stepping up to meet Wells head-on. They might have some work to do in finding a balance between the stylistic elements at play, but for a first outing, Scuzzy Yeti shows all the pieces are there and are being put into their rightful place, and the result is significant, marked potential.

Scuzzy Yeti on Thee Facebooks

Scuzzy Yeti on Bandcamp

 

Urn., Urn.

urn urn

The insistent push from punctuated Denver trio Urn.’s self-titled debut demo/EP is enough to remind one of the days when the primary impression of Mastodon wasn’t their complexity, but the raw savagery with which that complexity was delivered. Urn. – the three-piece of Scott Schulman, Graham Wesselhoff and Jacob Archuleta – work in some elements of more extreme metal to “Rat King” after opener “Breeder,” both songs under three minutes and successfully conveying an intense thrust. The subsequent “Stomach” ranges further and is the longest cut at 4:45, but loses none of its focus as it winds its way toward closer “To the Grave,” which in addition to maintaining the nigh-on-constant kick drum that has pervaded the three tracks prior, offers some hints of lumbering stomp to come. As a first sampling, Urn.’s Urn. is a cohesive aesthetic blast setting in motion a progression that will be worth following as it develops. Call it rager metal and try not to spill your beverage while you windmill, you wild headbanger.

Urn. on Thee Facebooks

Urn. on Bandcamp

 

Nebula Drag, Always Dying

nebula drag always dying

2016 found San Diego aggressors Nebula Drag making their self-titled, self-released debut (review here) with a record that seemed to work in willful defiance of their hometown’s psychedelic underground while at the same time occasionally nodding to it. The forebodingly-titled Always Dying three-song EP does likewise, launching with a vengeance on “Crosses” before burying the vocals and spacing out behind the crashes of the more languid-rolling title-track and giving a bit of both sides with the four-minute closer “Flying Fuckers.” It’s almost as if the three-piece of Corey Quintana, bassist Mike Finneran and drummer Stephen Varns, having thus completed their first album, decided to boil it down to its essential stylistic components and the result of that was this 14-minute outing. An intriguing prospect, but it could also be these were leftovers from the prior session with Jordan Andreen at Audio Design Recording and putting them up for a free download was an easy way to give them some purpose. In any case, if you haven’t yet been introduced to the band, Always Dying is an efficient telling of their story thus far.

Nebula Drag on Thee Facebooks

Nebula Drag on Bandcamp

 

Contra, Deny Everything

contra deny everything

If their moniker doesn’t have you immediately running through the most legendary of cheat codes, congratulations on being born after 1990. Cleveland burl-sludge metallers Contra make their full-length debut on respected purveyor Robustfellow with the 10-track/41-minute Deny Everything, and if it sounds like they have their shit together – at least sound-wise – it should make sense given the pedigree of drummer Aaron Brittain (ex-Rue), bassist/guitarist Adam Horwatt (So Long Albatross), guitarist Chris Chiera (ex-Sofa King Killer) and vocalist Larry Bent (ex-Don Austin). Be it established that songs like “Snake Goat” and “Son of Beast” are nobody’s first time at the sludge rodeo. Fair enough. Doesn’t mean Contra don’t establish their own personality in the overarching fuckall and total lack of pretense throughout Deny Everything – hell, seven-minute closer “Shrimp Cocktail” proves that on its own – just that that personality has roots. What Contra wants to do with them still kind of seems up in the air, but something about these tracks makes me think the band likes it that way. See the aforementioned “fuckall.”

Contra on Bandcamp

Robustfellow Productions on Bandcamp

 

IAH, IAH

iah iah

Comprised of four songs tracked live in the trio’s native Córdoba at 440 Estudio, the self-titled debut EP from Argentine trio IAH – guitarist Mauricio Condon, bassist Juan Pablo Lucco and drummer José Landín – would seem destined to catch the attention of South American Sludge Records if it already hasn’t. In the interim, the three-piece have made the instrumental EP available as a free download and its unpretentious heavy psychedelics and edge of rock-minded thrust on opener “Cabalgan los Cielos” and the early going of closer “Eclipsum” more than justify their intention to spread the word as much as possible. Set to a balance of post-rock guitar, the bassline of “Stolas” carries a progressive inflection, and the fuzz that emerges halfway into second track “Ouroboros” shows a desert rock influence that blends well into its surroundings as a part of a richer sonic entity. A nascent but palpable chemistry at work across its 26 minutes, IAH’s IAH could portend expansive ideas to come, and one hopes it does precisely that.

IAH on Thee Facebooks

IAH on Bandcamp

 

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