Suma Announce November European Tour Dates

Posted in Whathaveyou on October 17th, 2017 by JJ Koczan

Not that Suma were lacking for quality associations when it came to their 2016 offering, The Order of Things (review here), between releases through Argonauta and Init Records (CD), Throne Records (vinyl) and Tartarus Records (tape), but if you want to add the Netherlands’ Doomstar Bookings to that mix for presenting the Swedish band’s upcoming November run in support of the album, go for it. The Eindhoven-based booker also works with the likes of Primitive ManToner LowAgoraphobic Nosebleed and a host of others in a swath of various forms of extremity, so Suma are on yet another level keeping good company. Seems to be a thing they do.

Another thing they do? Well, on this tour they hit Belgium, Germany, France the UK and the Netherlands — so that’s a thing. If you didn’t hear the things in their proper Order, you can check out the full stream of the Billy Anderson-helmed record at the bottom of this post, and you probably should do so, because it absolutely destroys.

They have an open slot for Nov 9, so if you can help out in France/Belgium, do that too. Dates and info from the social medias:

suma-tour-poster

SUMA – November Tour

It is with great pride we announce the fall tour for Sweden’s cult spacesludgers SUMA. After their successful run with Unearthly Trance around Roadburn earlier this year they will take to the West European roads this time in support of their latest album The Order Of Things. We still have one TBA available for France/Belgium, anyone interested get in touch!

11.03 MTS Records Oldenburg Germany
11.04 Baroeg Rotterdam The Netherlands
11.05 The Pit’s Kortrijk Belgium
11.06 Underworld London UK
11.07 Le 3 Pieces Rouen France
11.08 La Scene Michelet Nantes France
11.09 TBA
11.10 The Jack Eindhoven The Netherlands

Hailing from Malmö, Sweden and formed in 2001 : SUMA has been spreading the plague of their sonic weight, noise-ridden hallucinatory doom metal on the world for the past decade and a half. Through these years they’ve lured hordes of humans into the lair with their devastatingly heavy, one way trip into the vortex live performances and crushing delivery on their recorded matters.

In 2016 they recorded their fourth album – THE ORDER OF THINGS – with legendary engine-ear BILLY ANDERSON (Pallbearer, Black Cobra, Agalloch, Tragedy) once again at the helm of the recording. This is the imminent evolution from the past’s behemoths of albums, LET THE CHURCHES BURN and ASHES.

SUMA:
>P. guitar
>J. bass/vocals
>E. drums
>R. samples/noise

https://www.facebook.com/sumanoise/
https://sumanoise.bandcamp.com/
http://www.argonautarecords.com/
http://www.initrecords.net/
http://tartarusrecords.com/
http://www.thronerecs.com/
https://www.facebook.com/doomstarbookings/

Suma, The Order of Things (2016)

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Twingiant Premiere “Kaishakunin”; Blood Feud out on Friday

Posted in audiObelisk, Reviews on October 10th, 2017 by JJ Koczan

twingiant photo nick wilson

Twingiant issue their new album, Blood Feud, this coming Friday, Oct. 13. It is the band’s third outing since getting together in 2010 and their debut for Argonauta Records, following behind the spirited riff-and-tumble of 2014’s Devil Down, 2013’s Sin Nombre EP (review here), and their self-released 2012 debut, Mass Driver, as well as an earlier-2017 split with Into the Storm that featured the tracks “Poison Control Party Line” and “Formerly Known As…,” both of which are also represented on the record proper. Through all these releases, the consistent thread from the Phoenix, Arizona-based outfit has been one of burl-driven dudecraft, and Blood Feud follows across its eight tracks, beginning a fervent opening salvo with the crisp four-minute get-off-your-ass shove of “Throttled” and pushing into the aforementioned “Poison Control Party Line” with quick-built momentum that holds firm as backing screams join bassist Jarrod LeBlanc‘s largely unipolar but effective growls on “Ride the Gun” and the subsequent “Re-Fossilized” presents a marked change in structure.

Today I have the pleasure of hosting Blood Feud‘s closing track, “Kaishakunin” as a premiere ahead of the release, and as guitarist/backing vocalist Nikos Mixas — joined in the band by LeBlanc on vocals/bass, fellow guitarist/backing vocalist Tony Gallegos and drummer Jeff Ramon — hints in the quote included after the song stream below, one might be tempted to cast Twingiant as a doom band. The truth of that is somewhat more complicated. MixasGallegos and LeBlanc definitely have heft to their tonality and that’s a likely source of much of their “file under” woes (if they’re woes), but as part of their delivery across Blood Feud — even in a song like “Re-Fossilized,” which holds back its verses compared to the three songs before it and side B leadoff “Shadow of South Mountain” after — there’s an aggressive core and an intensity of purpose that could only come from a root influence in heavy metal.

As “Shadow of South Mountain” plays out its runs of guitar and fierce growls, twingiant blood feudone can’t help but be reminded of The Mighty Nimbus or or a less distinctly Southern take on Beaten Back to Pure or Alabama Thunderpussy at their meanest. Twingiant have heavy rock elements working in their favor as regards tone, but just as their Floridian labelmates in Hollow Leg put their emphasis on the ‘metal’ in ‘sludge metal,’ so too do Twingiant bring that pissed-off mood to the chug and swing of “Formerly Known As,” which, like “Re-Fossilized,” finds them in a more instrumental modus, even going so far as to indulge a bit of swirl in the guitar solo past the halfway point before giving ground to the 6:25 longest and penultimate cut, “Last Man Standing,” which starts airy and quiet before moving into clean-sung early verse lines and hitting its full impact around two and a half minutes in before receding again. That back and forth plays out once more and stays louder the second time, coming to an apex that feeds directly into “Kaishakunin,” which unfolds atop feedback with faded in drums, vague whispers, rumbling low end and an overarching sense of violence to come.

Fitting enough. The title of the song is derived from the individual who, in the ritual suicide of seppuku, stands behind the person who has just gutted themselves and acts quickly to behead them — also presumably what’s being given devilish representation on the cover art. So be it. The song “Kaishakunin” unfolds with the most crawling pace of anything on Blood Feud, which gives its growls an especially massive feel, but picks up somewhat after its halfway mark and makes its way into an instrumental finish topped first by a drifting lead and then by another, more earthbound solo to make the trail through the crescendo. It’s not overdone by any stretch — indeed, given some of the bull-in-china-shop drive preceding, it might be understated — but it gets the job done, and the feeling that things aren’t quite done after the 41-minute record has concluded I take as a sign of the band leaving their audience wanting more. Hard to argue.

After seven years and three long-players spent honing their craft, Twingiant cast a genuine sense of arrival and give a duly sure-headed performance throughout Blood Feud; both mature in the sense of knowing who they are as a band and still vital in their execution.

Speaking of executions, you can hear the premiere of “Kaishakunin” on the player below, followed by more info from the PR wire.

Please enjoy:

Twingiant, “Kaishakunin” track premiere

Nikos Mixas on “Kaishakunin”:

“We’re so excited to be on the verge of releasing our 3rd full-length album via Argonauta Records. We’ve put a lot of work and thought into the material, the production in addition to the artwork concept and we couldn’t be happier with the results! Sometimes Twingiant gets labeled as being a doom band, and we’ve never gone out of our way to create a doom song until now with ‘Kaishakunin.'”

Critically acclaimed loud and heavy metal band TWINGIANT are pleased to announce that they will release their new album Blood Feud via Argonauta Records on October 13th 2017.

Pre-order Blood Feud digitally here: https://twingiant.bandcamp.com/album/blood-feud

Twingiant is:
Jarrod LeBlanc – Bass/Vocals
Nikos Mixas – Lead/Rhythm Guitar/Backup Vocals
Tony Gallegos – Lead/Rhythm Guitar/Backup Vocals
Jeff Ramon – Drums

Twingiant on Thee Facebooks

Twingiant on Twitter

Twingiant on Instagram

Twingiant website

Argonauta Records on Thee Facebooks

Argonauta Records website

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Greyfell Sign to Argonauta Records; Horsepower Coming in 2018

Posted in Whathaveyou on October 4th, 2017 by JJ Koczan

Wasn’t it just yesterday I was talking about how Argonauta Records‘ lineup continues to explode unabated? Yup, it was. Granted I was a few days behind on the announcement that Italian rockers Di’Aul joined the multinational roster of Argonauta acts, but I think it goes to the prove the point anyway that here we are mere hours later and Argonauta have picked up another band — enter Greyfell, from France — and announced another release, this one due in early 2018.

Titled Horsepower, it’s the second Greyfell full-length behind 2015’s name-your-price-download, very-punctuated I.Got.the.Silver Vol. 1, which is streaming here. The label said Di’Aul would be out in February, and Greyfell have an “early 2018” tag in contrast to that, but honestly, Argonauta is pretty on its stuff when it comes to actually getting this constant slew of records out, so yeah, I wouldn’t expect it to get past Spring before Horsepower shows up. Another one for the 2018 list in the meantime.

Info comes from the PR wire:

greyfell

GREYFELL – ARGONAUTA RECORDS

French Doom Metallers GREYFELL inked a deal with ARGONAUTA RECORDS.

Equally influenced by violence and hypnosis, GREYFELL doom sonorities are able to blend Black Metal, Psych and Hardcore echoes, drawing influences from the sonic heavyweights like Type O Negative, Sleep and Kickback, with a sound that proves to be celestial, telluric and all around massive.

Their second album “Horsepower” explores new territories with the arrival of a fourth member on keyboards and synths, thus going even further into massive drones and ghostly textures.

Produced entirely on their own, this new record marks the beginning of their collaboration with Argonauta and pushes the boundaries of heaviness and incantatory atmospheres.

GREYFELL “Horsepower” will be released by early 2018.

“There will be a light in the dark, there will be quiet before the storm, there will be harmony in chaos.”

Greyfell is:
Clément : gitar
Thierry : trommer
Boubakar : bassen
Hugo: Torden

https://www.facebook.com/Greyfellband/
https://greyfell.bandcamp.com/
facebook.com/argonautarecords
www.argonautarecords.com

Greyfell, I.Got.the.Silver Vol. 1 (2015)

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Di’Aul Sign to Argonauta; Nobody’s Heaven Due in February

Posted in Whathaveyou on October 3rd, 2017 by JJ Koczan

Milano rockers Di’Aul have inked a deal to release their new album, Nobody’s Heaven, this coming February, through countryman Italian imprint Argonauta Records. The last two years have seen the lineup of Argonauta absolutely explode — seriously, if I go two weeks without posting about them picking up a band, I feel like it’s a long time — but one thing the imprint has managed to do is put together a roster of talent diverse in sound enough that groups don’t really get lost in the mix as soon as they’re added to the fold. If you’d like to get a sampling of Di’Aul‘s wares, their second record, 2015’s Garden of Exile, is streaming at the bottom of this post.

Yup, pretty burly stuff. Dudery all the way. I’d expect no less when Nobody’s Heaven hits in February, all charged riffing and whatnot. More to come as we get there. Till then, this from the PR wire:

diaul

Italian Heavy Rockers DI’AUL sign to ARGONAUTA Records

We’re excited to announce we’ve inked a deal with Italian Heavy Rockers DI’AUL (read ‘The Owl’).

Formed in Milan during 2010, DI’AUL released their first EP “GV 12.31” in 2010 and the first album “And Then Came the Monsters” in 2013, followed by their second opus “Garden of Exile” (2015). The band is now working on the final touches to the new album titled “Nobody’s Heaven”, where subtle complexities are bind together to a stunning 70’s rock songwriting and 90’s metal groove. The final result is an impressive step forward of the band, thanks to a distinctive and unique sound able to blend the aggression of CROWBAR and the apocalyptic visions of KILLING JOKE.

DI’AUL “Nobody’s Heaven” is scheduled by February 2018.

More details to be revealed soon.

Di’Aul are:
MoMo Cinieri: Vocals
Lele Mella: Guitars
Jeremy Toma: Bass and Vocals
Diego Bertoni: Drums

https://www.facebook.com/DIAUL111
https://diaul.bandcamp.com/
https://www.facebook.com/ArgonautaRecords/
www.argonautarecords.com

Di’Aul, Garden of Exile (2015)

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Quarterly Review: Nibiru, The Ditch and the Delta, Cyanna Mercury, Surya Kris Peters, Golden Bats, Blind Hen, The Black Wizards, Low Flying Hawks, Brother Sister Hex, Cold Insight

Posted in Reviews on September 28th, 2017 by JJ Koczan

the obelisk quarterly review

Ready for round three of the Fall 2017 Quarterly Review? I hope so, because it’s a doozy. Things get pretty weird and pretty rockin’ in this batch, and at the risk of being completely honest, I much prefer it that way. It’s a varied group — maybe the most diverse in terms of sound throughout the entire week, though there’s stiff competition still to come — and as we hit the 30th review, that brings us to the halfway point of the Quarterly Review itself, which if all keeps proceeding according to plan will wrap up on Monday with a grand total of 60 done. Let’s hope no pianos fall on my head between now and then, literally or figuratively. Onward.

Quarterly Review #21-30:

Nibiru, Qaal Babalon

nibiru qaal babalon

The fourth full-length from Italian sludge ritualists Nibiru, Qaal Babalon (on Argonauta) is an encompassing, 57-minute grind comprised of four extended tracks, the longest of which is opener (immediate points) “Oroch” at 19:07 – a song whose depths run dark and cruel and which, even when the tempo pushes upward from its initial slow crawl, still feels massively slow. Still, the spirit behind “Oroch” as well as the following and much faster “Faboan” (10:51), the buzzsaw noise cutting avant insanity of “Bahal Gah” (16:40) and full-drone rite of “Oxex” (11:05) is less directly about the punishment itself than about the exploration enacted thereby. That is, Nibiru aren’t just heavy for heaviness’ own sake and they’re not just assaulting their listenership without reason. Though I won’t take away from its raw sonic impact, Qaal Babalon’s greatest asset is its atmospheric impression and the experimentalism it brings to bear, which moves Nibiru into a terrifying place sound-wise that they seem to have all to themselves.

Nibiru on Thee Facebooks

Argonauta Records website

 

The Ditch and the Delta, Hives in Decline

the-ditch-and-the-delta-hives-in-decline

Hailing from the unlikely heavy hotbed of Salt Lake City, Utah – though where better for a counterculture to emerge? – sludge rocking trio The Ditch and the Delta made their debut earlier in 2017 with the seven-song Hives in Decline via Battleground Records before being picked up by Prosthetic for this reissue. Comprised of bassist/vocalist Kory Quist (see also: Making Fuck), guitarist/vocalist Elliot Secrist and drummer Charles Bogus, the three-piece pummel handily throughout early cuts like opener and longest track (immediate points) “Hives in Decline” “Fuck on Asphalt” and the nodding “Sleeping Dogs,” but with the instrumental interlude “Dry Land,” they tap into post-Across Tundras heavy Americana and in that brief two-minute stretch deeply affect the mood of the release overall. They’re back to angular noise rock turns soon enough on “Till Body Quits” and the Remission-era-Mastodon-style “Mud” before alternating between lurching crush and airier prog/post-rock on closer “Dread Spectacle,” but by then the secret’s out of their underlying complexity, and rather than offset the sense of drive in the prior cuts, one finds them only enhanced by the later unfolding. Intense, and very much in the process of sorting through these impulses, but loaded with potential.

The Ditch and the Delta on Thee Facebooks

The Ditch and the Delta at Prosthetic Records

 

Cyanna Mercury, Archetypes

Cyanna-Mercury-Archetypes

From Greek dialogue in “Hermes” to the Nick Cave-style piano balladry of “Apollo” to the organ-and-handclaps Mediterranean pop underscoring “Lilith”’s boogie and the spoken verses and explosive hook of “Snake” ahead of moody closer “There will be a Time,” Cyanna Mercury’s debut long-player, Archetypes, seems to leave no sonic stone unturned. The Athens-based five-piece hone a thoroughly progressive approach across the 10-track/40-minute (plus a CD bonus track) outing, touching on heavy psych in opener “Horse Dark as Night” and injecting a darker theatricality into centerpiece “Ode to the Absent Father” and the later “Nothing We Can Do,” but refusing to relegate themselves ultimately to one sound or another. Elements of folk, heavy rock, psychedelia, classic prog, pop and more besides show themselves across what’s a legitimate head-trip of a record, and though it’s hard to get a grip on where Cyanna Mercury are ultimately headed with this sonic brew already so potent and already so much their own, they seem to be completely in control of how it all plays out in arrangement and songwriting, and they work quickly to earn the listener’s trust via a resonant overarching flow that renders Archetypes truly immersive. Will fly under most radar, but a stunningly creative debut.

Cyanna Mercury on Thee Facebooks

Cyanna Mercury on Bandcamp

 

Surya Kris Peters, 2nd Chances

surya-kris-peters-second-chances

Numerically-titled three-song EP 2nd Chances is – since we’re going by the numbers – the third release of 2017 from Surya Kris Peters, behind the synth-driven Dream Exit EP digitally-issued this past summer and January’s Holy Holy Holy (review here) full-length. With it, Samsara Blues Experiment frontman Christian Peters further expands the contextual breadth of his solo work, revisiting songs from his prior outfit Terraplane in the Mellotron-infused melancholy of “Smalltown Blues” and the quick, folkish rambling instrumental “Dark Euphoria” while also covering Jefferson Airplane’s “Come up the Years” between. All told, it’s only 10 minutes long, but Peters brings a particularly progressive psychedelic folk vibe to the tracks, and from the shimmering guitar lead that takes hold in “Come up the Years” and the intimate feel of “Smalltown Blues” despite an arrangement of keys, vocals, multiple layers of guitar and effects, an emotional and sonic resonance is still very much achieved. One never wants to guess what Peters will do next, but if he had a full-length of this kind of thing out at some point, you wouldn’t be likely to find me complaining.

Surya Kris Peters on Soundcloud

Electric Magic Records on Bandcamp

 

Golden Bats, Residual Dread

golden-bats-residual-dread

An underlying mournfulness pervades Golden BatsResidual Dread, or maybe that’s just the Brisbane-based solo-project of multi-instrumentalist/vocalist/engineer Geordie Stafford living up to the title chosen for the album on “Nothing.” Elsewhere, Residual Dread takes on guitar-as-keyboard plotted soloing in 11-minute closer “The Crows Build a Fire” and find a place between black metal and doomly roll, and add piano to tapped Godflesh-style programming on opener “Trouble in the Sewers” and bring organ to the relative bounce of “Eye Juices” as far-back echoing shouts provide the vocal presence. Setting elements against each other would seem to be a core aspect of Stafford’s intent, and the feel on Residual Dread is more about the smashing them together and seeing what happens than trying to gently meld one idea from two or three. That lends a raw, experimentalist sensibility to the lumber of “Outer Body” and “Into the Silver Valley” that serves them well, like a Large Hadron Collider driven by riffs and thickness of tone.

Golden Bats on Thee Facebooks

Haemorrhage Records webstore

 

Blind Hen, Life

blind-hen-life

In its first two minutes, Blind Hen’s “As a Monster” moves from electronica-style Euro dance rock to heavy-riffed progressive metal. Then it turns back. This is just the start of the Finnish four-piece’s four-track/21-minute Life EP, and “Titanic” follows stylistic suit with an even more intense thrust early before moving into psychedelia in its second half with an underlying tension in its beat to contrast the melodic wash overtop. The chugging “The Maze” is more guitar-led and straightforward, but even there, Blind Hen find room for nuance in their vocal arrangement, also bringing in acoustics amid the multiple layers of singing, and with a sample at the outset, closer “Catch” moves once again toward the danceability of the earlier fare, if in a via-Mr.Bungle rhythmic restlessness rather than the fusion beatmaking. Weird, weird, weird. What draws Life together is the fact that Blind Hen cross this aesthetic swath with stuck-in-your-head choruses as a constant, essentially giving the audience something to grasp onto while they go wherever they want in terms of sound. It is appreciated to say the least, and shows the band to be all the more attuned to their craft, even when they seem at their most unhinged.

Blind Hen on Thee Facebooks

Blind Hen on Bandcamp

 

The Black Wizards, What the Fuzz!

the-black-wizards-what-the-fuzz

If you’ve got 68 minutes, Portuguese four-piece The Black Wizards are ready to have a heavy blues shindig on their second 2LP full-length, What the Fuzz!, and I do believe we’re all invited. The nine-song outing emphasizes the vocals of guitarist Joana Brito, who emerges on post-intro opener “Freaks and Geeks” with a prominent kind of trilling in her voice of the sort Parker Griggs brings to Radio Moscow that holds for the duration as a steady presence. Joined by guitarist Paulo Ferreira, bassist/acoustic guitarist B and drummer/backing vocalist Helena Peixoto, Brito leads the way through the fuzzy rollout of the nine-minute “The Story of an Hopeless Drummer” (sic), stepping back to let the guitar/bass have a righteously nodding moment late in the track, but holds firm in a forward position on the short, twanging “Just Not Today” as well as the early going of the prior subdued-blues-smoker highlight “Floating Blues.” “Build Your Home,” “I Don’t Wanna Die” and the particularly-classic-sounding “Fire” revive the classic heavy rock spirit of “Freaks and Geeks,” and 16-minute finale “Everything is Good Until Trouble Comes” uses its extra runtime for a satisfying and patient execution with an expanded arrangement including choral vocals, organ and additional guitar effects. You might be boogied out by the time they’re done, but as The Black Wizards crash through their big finish, they sound like their party’s just getting started.

The Black Wizards on Thee Facebooks

The Black Wizards on Bandcamp

 

Low Flying Hawks, Genkaku

low-flying-hawks-genkaku

One might expect that with all the Melvins affiliation going on in the second Magnetic Eye Records full-length from L.A. duo Low Flying Hawks, Genkaku would sound, you know, more like the Melvins, but despite working with bassist Trevor Dunn, drummer Dale Crover and producer Toshi Kasai, and despite bringing in Buzz Osbourne for guest vocal spots on eight-minute opener/longest track (immediate points) “Smile” and side B leadoff “Space Wizard,” initials-only multi-instrumentalists EHA and AAL follow their 2016 debut, Kofuku (review here), with a sound even more their own, balancing between thick riffy rollout and post-rock atmospherics. Of course, they weird out a bit on “Smile” and the lumberingly spacious “Uncool” and “Virgin Witch,” but whether it’s the later mournfulness of “Hallucination” or “Twilight” toying with noisy fuckall while seeming to mock heavy rocker burl ahead of the melodic payoff in closer “Sinister Waves,” there’s more EHA and AAL in Low Flying Hawks than the prominent pedigree of their collaborators might lead you to believe. All the better for what becomes a richly satisfying 43-minute listen rife with depth, patience, and yes, personality.

Low Flying Hawks on Thee Facebooks

Magnetic Eye Records on Bandcamp

 

Brother Sister Hex, End Times

brother-sister-hex-end-times

Coherent songwriting rests at the core of what Denver’s Brother Sister Hex bring to their five-song third EP, End Times, which darkens up Queens of the Stone Age-circa-Songs for the Deaf vibing on its title-track (also a bit of Kyuss’ “El Rodeo” in there for good measure) before delving into more ambient fare on the centerpiece “Confessions.” Vocalist/guitarist Colfax Mingo demonstrates SubRosa-style vocal command there, but the context is more rock-based, uptempo and straightforward as she, guitarist Patrick Huddleson, bassist Drew Hicks and guest-drummer Jordan Palmer (Plastic Daggers) meld traditionalist structures with atmospheric moodiness. Opener “Hey” offers a suitable greeting through hook and groove, and the shuffle of “Sweet and Sleazy” and the rumbling fuzz (Hicks makes it a highlight) of closer “News Feed” wraps with another grunge-style QOTSA melody efficiently drawn, shouting the question “what have we done?” as it thuds into its second half. Uh, you’ve made a professional-sounding, excellently-constructed EP that shows you’re more than ready to embark on a debut full-length, permanent drummer or no. So yeah, get on that.

Brother Sister Hex on Thee Facebooks

Brother Sister Hex on Bandcamp

 

Cold Insight, Further Nowhere

cold-insight-further-nowhere

As progressive as it is brutal, Further Nowhere is ostensibly the debut release from Paris’ Cold Insight. The material seems to date back at least to 2013, if not earlier than that, when band-spearhead Sébastien Pierre (also of Enshine, Fractal Gates, and others) first issued what’s now tagged as a “pre-production album” version, but it’s hardly as though the lush, growling, melodeathly doom sounds dated. With sonic likenesses throughout to bands like Amorphis, Dark Tranquility and Paradise Lost, Cold Insight – on which Pierre, who also did the artwork, is joined by drummer Christian Netzell while Jari Lindholm adds lead guitar – hit on a very particular, very European style, and not an unfamiliar one as displayed in the righteously driving “Distance,” but the find-the-beauty-in-darkness spirit behind “Close Your Eyes” and songs like “Even Dies a Sun” and the more uptempo later piece “I Will Rise” help ensure that the formidable 12-song/66-minute run of Further Nowhere never gets too bogged down in its melancholy. It may have been a while in the making, and one hopes a follow-up won’t take as long to arrive, but the precise execution Pierre hones in these songs and the depths to which he can bring a willing audience are a fitting payoff for the years of work that went into their construction.

Cold Insight on Thee Facebooks

Cold Insight on Bandcamp

 

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Cities of Mars to Embark on Euro Tour Next Month

Posted in Whathaveyou on September 4th, 2017 by JJ Koczan

Sweden’s Cities of Mars make their full-length debut on Sept. 29 with Temporal Rifts on Argonauta Records, and the three-piece have just announced a pretty extensive European tour by which they’ll support the record. Starting out Oct. 4 in their hometown of Gothenburg, they’ll pummel and roll through Germany, Denmark, Poland, the Czech Republic, France, Spain, Portugal, the UK and Switzerland, etc. before they’re done, though it looks like a goodly portion of the dates are still coming together. Of course if you happen to live in any of the areas listen as “open” below and can make something happen, do it, because it’s the right thing and because Cities of Mars are pretty gosh darn awesome. I still haven’t heard Temporal Rifts in its entirety, but the track “Enjoy of Murder” was premiered here back in July and you can hear it as well as the bottom of this post.

The band posted the following update via their Thee Facebooks page:

cities of mars tour

CITIES OF MARS – Temporal Rifts Tour 2017!

The tour is coming together! We’ll be covering a lot of ground on this one – happy to revisit cool venues and meet friends again! Also, we’ll be sharing the stage with a whole bunch of top bands.

We still have a few dates to book, so if you are a promotor, venue owner, festival/club organizer or whatever with a possible offer, please email booking.razoragency@gmail.com!

Our new album is available for preorder here: https://citiesofmars.bandcamp.com/album/temporal-rifts

See you on the road!

Tour dates:
October 4th – Gothenburg, Sweden – The Abyss (with Vokonis)
October 5th – Esbjerg, Denmark – TBC
October 6th – Potsdam, Germany – Archiv Potsdam (w/ Big Ugly Fat Fella & sun)
October 7th – Lubbenau – Germany – Kulturhof Lübbenau (w/Långfinger)
October 8th – Warsaw, Poland – Miejsce Chwila
October 9th – Katowice, Poland – TBC
October 10th – HELP! – AUSTRIA / CZECH REPUBLIC
October 11th – HELP! – AUSTRIA / CZECH REPUBLIC
October 12th – Vienna, Austria – Derwisch (w/ECHOLOT )
October 13th – Basel, Switzerland – Hirscheneck (w/ECHOLOT & Leaden Fumes)
October 14th – Freiburg, Germany – Kiez 57
October 15th – HELP! – Belgium / Germany / Netherlands
October 16th – HELP! – Belgium / Germany / Netherlands
October 17th – HELP! – Belgium / Germany / Netherlands
October 18th – Kiel, Germany – Alte Meierei Kiel (w/Lo! )
October 19th – Strasbourg, France – TBC
October 20th – London, UK – The Dev
October 21st – HELP! – UK
October 22nd – Coventry, UK – The Phoenix (The Discussion & Silverchild)
October 23rd – Antwerp, Belgium – Kid’s Rhythm ‘n’ Blues Kaffee
October 24th – Zaragoza, Spain – Utopía Sala
October 25th – Barcelona, Spain – TBA
October 26th – Caen, France – TBC
October 27th – Oldenburg, Germany – MTS LP STORE
October 28th – Berlin, Germany – TIEFGRUND
October 29th – Helsingor, Denmark – Musikhuset Elværket Helsingør (Dirt Forge)

https://www.facebook.com/citiesofmars
http://citiesofmars.bandcamp.com
https://instagram.com/citiesofmars/
http://www.citiesofmars.se/
https://www.facebook.com/ArgonautaRecords/
http://www.argonautarecords.com/

Cities of Mars, “Envoy of Murder”

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Bible Black Tyrant to Release Regret Beyond Death in Feb. 2018

Posted in Whathaveyou on September 4th, 2017 by JJ Koczan

There’s no audio public yet, so you’re going to have to take my word for now that Bible Black Tyrant‘s upcoming debut album, Regret Beyond Death, is absolutely crushing. Claustrophobic in its tonality and atmosphere the whole way through. February is a long ways off, but with Aaron D.C. Edge (Lumbar, Roareth, Iamthethorn) at the helm, one would have to expect no less.

Edge has joined forces in Bible Black Tyrant with vocalist/guitarist/noisemaker David S. Fylstra and drummer Tyler Smith and you can see the formidable pedigree they share between them below, but consider the news that they’ll offer Regret Beyond Death through Argonauta Records (CD), Cheddar Brothers Records (LP) and Anima Recordings (tape) an early heads up, because it’s one you aren’t going to want to miss if you’ve ever enjoyed the process of feeling like your head’s about to cave in. And haven’t we all?

Here’s word from the PR wire:

bible black tyrant

Bible Black Tyrant – Regret Beyond Death

We’re excited to welcome in our roster US supergroup BIBLE BLACK TYRANT, an oppressive sonic endeavor that features Tyler Smith, Aaron D.C. Edge and David S. Fylstra (members of Eagle Twin, Lumbar, KVØID, Form of Rocket, Minor Fret, Wasting Seasons, Iamthethorn, etc.).

Their impressive album “Regret Beyond Death” will be released during February 2018 on CD/DD (Argonauta Records) – vinyl (Cheddar Brothers Records), cassette (Anima Recordings).

“Beginning with a crushing density, Bible Black Tyrant’s ‘Regret Beyond Death’ offering immediately transports the listener into the dark forests of the Pacific Northwest at dusk; conjuring images of the sun setting against indecipherable, deciduous silhouettes. The air thickens as we continue a climb along a gently worn route to an unknown, undisclosed location. As the journey – and the record – lengthens, we are granted a strong scent of smoke and hemlock, of moss. Fear swirls ’round us now, fusing with the clamorous chants of a distant, uprising swarm, a loaded weight of atmospheric composition. Onward, and as the album nears its climactic conclusion, Bible Black Tyrant’s simultaneously oppressive and liberating mass projects a clear message written in the smoldering ashes: ‘Walk this path with us’”.

Drums documented by Andy Patterson at The Boar’s Nest. Guitar and bass documented by Aaron Edge at Myelin Studio. Vocals, additional guitar and soundscapes documented by David Fylstra at Candlewolfe Sound. Drum mix by Andy Patterson. Final mix by David Fylstra and Aaron Edge at Candlewolfe Sound. Mastered by Zach Weeks.

Bible Black Tyrant is:
Aaron D.C. Edge: Guitar / Bass / Vocals
Tyler Smith: Percussion
David S. Fylstra: Additional Guitar / Vocals / Soundscapes

https://www.facebook.com/BibleBlackTyrant
https://bibleblacktyrant.bandcamp.com/
www.argonautarecords.com
facebook.com/argonautarecords

Lumbar, The First and Last Days of Unwelcome (2013)

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Ancient VVisdom Sign to Argonauta; 33 out Oct. 13; New Song Streaming

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

Just days after the announcement that frontman Nathan Opposition‘s new project, Vessel of Light, would make their debut this Fall on Argonauta Records comes word that Opposition‘s main outfit, the darkly, doomly and folkish Ancient VVisdom, have also aligned to the same imprint for the release of their impending fourth album, 33. The follow-up to 2014’s Sacrificial will also be out digitally through Magic Bullet Records and on vinyl through DHU Records, and there’s a quick glimpse of the band’s moody approach to be sampled as of today in the new track “Light of Lucifer,” which you can hear at the bottom of this post.

Opposition offers comment on the signing and the upcoming record below, via the PR wire. Dig it:

ancient vvisdom

US Occult Rockers ANCIENT VVISDOM inked a deal with ARGONAUTA Records to release their highly anticipated new album “33”, following their previous paths “A Godlike Inferno” (2011), “Deathlike” (2013) and “Sacrificial” (2014).

From the band, Nathan Opposition says: “Forging ahead, I have kept the all seeing eye on the fallen angel to keep my faith in his works. This album is a work made of worship songs to our Lord and Master Satan. The collective efforts of our unholy Trinity Lucifer, Satan and The Devil. In light of darker times, I find it necessary to express myself in a way that teaches on a higher level.”

On the record deal: “I’m very excited to release Ancient VVisdom’s 4th album “33” with 3 different amazing record labels! Argonauta Records in Italy for CD version, Magic Bullet Records out of Oceanside California doing our digital release, and DHU Records from the Netherlands is going to be doing some sick vinyl colors. It’s a collective. All excellent people, working hard to release underground and independent music. I’m a fan of many different artists and musicians, it’s quite rewarding to see everyone in an underground culture take the initiative and make things fucking happen for all of us, as fans of music and for the ones making music as well.

About the new album: “33 is a master number. It is also the age Christ was crucified. 33 is the age of the peak of existence. It is the age I am. 33 is the answer. I’ve been fortunate enough to do the devils work and continue to spread the message to the masses. This album is very important to us. It has symbolic meaning and melody that serves the words purposefully. My brother Michael and I are grateful and are pleased to give you “33”. This is our favorite offering to date and we hope you all enjoy it.”

The first single “Light of Lucifer” is out today and available here.

ANCIENT VVISDOM “33” will be released worldwide on CD edition by ARGONAUTA Records and available from October 13th, 2017. Preorders run here: http://bit.ly/2wPAOUV

TRACK-LIST:
1. Ascending eternally
2. Light of Lucifer
3. In The Name Of Satan
4. True Will
5. The Infernal One
6. Summoning Eternal Light
7. Rise Fallen Angel
8. 33
9. The Great Beast
10. Lux
11. Dispelling Darkness

https://www.facebook.com/AVVFB/
https://twitter.com/ancientvvisdom
https://www.instagram.com/officialancientvvisdom/
https://ancient-vvisdom.bandcamp.com/
http://bit.ly/2wPAOUV
https://www.facebook.com/ArgonautaRecords/
https://twitter.com/argonautarex
argonautarecords.com

Ancient VVisdom, “Light of Lucifer”

Ancient VVisdom, Sacrificial (2014)

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