Monte Luna Release Mind Control Broadcast EP Today

Posted in Whathaveyou on July 3rd, 2020 by JJ Koczan

monte luna

Well yes, that’s quite heavy. Quite fucking heavy indeed, Custom Writing Sheets - Order a 100% authentic, plagiarism-free thesis you could only imagine about in our academic writing service 100% non Monte Luna. How’s that new lineup of Hire professional purchase a dissertation journalism to ensure the quality and readability of your articles while giving them a unique new twist! Hire our article Monte Luna sound? If the issued-today Best Homework Harmful Or Helpful Service Our Custom Essay Paper Writing Service will help handle all your paper instructions according to your specifications. Mind Control Broadcast three-songer is anything to judge by, they sound rather heavy. Like over-the-top tone. All-in heavy. Even the quiet part of “Blackstar” is fucking heavy. Introducing bass was a good idea.

Guitarist/vocalist Write my http://futablog.com/essays-of-anxiety-disorders/ really cheap! - Don't worry about your writing assignments and enjoy you college life with our trusted essay writing help agency! James Cl and newcomers Great Cheap Resume Writing Services Melbourne just near with you. All your writing troubles will gone when you will use our content writing service. Try it on and you will Garth Condit (bass) and examples of essays Lab Report Citation writing a good college admissions essay intro distribution patterns in business plan Danny Marschner (drums) are premiering the tracks “Blackstar,” “Rust Goliath” and “Fear the Sun” as a part of some video thing today, and that’s super, but I guess they’re putting out the audio too in order to help Today, January 21, 2018, marks our Uta Business Degree Plan 22nd anniversary on the internet! However, even more important is the fact that this year The Lost Well in Austin. I don’t know if I’ve ever seen a show there or not because every time I was ever at Need to watch? Do you find it difficult to write an essay for college? What about a research paper or a term paper? Why do you choose SXSW I was so miserable I got blackout drunk — and no, I’m not proud of that — but helping venues when the entire country is taking a shit is probably a nice thing to do.

So: Nice and heavy. My kind of band. Maybe we could hang out. Nah, these guys are way too cool for my ass. They probably stay up, like, past 9PM and stuff. Still,  When the need arises to Need Someone Write My Paper, care should be taken to ensure that you get only from a reliable source that can promise a positive result Mind Control Broadcast is fucking righteous — exactly what sludge should sound like in this wretched horror show of a reality we’re living — and you should listen to it.

Check it out:

monte luna mind control broadcast

MONTE LUNA RELEASE ‘MIND CONTROL BROADCAST’ EP JULY 3RD

Austin, Texas Psychedelic Sludge slingers Monte Luna are making lots of noise with a new line up and a new ep.- ‘Mind Control Broadcast’

Being a band that thrives on stage, close and one with their audience, these last few months have been trying to say the least for Monte Luna. But with their strong resilience and will to make art no matter what obstacle lies ahead, they have managed to make the absolute most of their time. The band has been fortunate enough to be isolated together during Covid-19, which has created a perfect environment for artistic genius to flourish. Monte Luna might be locked down, but this beast is far from caged!

James says: “We are thankful to have been stuck together during all of this. Most of our families live elsewhere, this music scene for us is family (Austin) we are thankful for it. We aren’t sure when we will be able to play on a real stage again but we are looking forward to it, in the meantime we are trying to figure out ways to better connect with our fans! We hope this ep reflects our efforts and helps friends, followers and people around the world get to the other side of this historical and humbling time.”

James says: “Phil’s departure left some big shoes to fill, and with his blessing, we sought to expand on something we had wanted to do for a long time. Just wait till you hear the album versions of all these songs and more!”(3 more not revealed)

About release:
Monte Luna are pleased to unveil 3 new songs to unleash onto the world which is the audio from an upcoming video stream in partnership with CVLT Nation on July 3rd, and will release on the same day. A portion of the album sales will be donated to help “The Lost Well”, an Austin, Texas live music venue to help keep their doors open. The stream can be viewed here: https://youtu.be/F404rOYGJ_A

These live takes are the early demos of the bands next full length album set to debut sometime in 2021/2022, depending on the state of the world. The main goal of this ep is to raise money for a worthwhile cause, while planting the seeds of anticipation for the upcoming full length album and demonstrating the full power of Monte Luna’s brand new line-up. The album touches on the topics of fear, loss, paranoia, depression and the vastness of the universe while still holding a very Dungeons and Dragons theme.

Monte Luna says: “Sonically it’s a whole new ball park. Bringing Bass into the mix really changed what we can do as a band. We’ve always been a two piece, but wanted to move past our limitations, because creativity should be as vast as the universe itself.”

Monte Luna says: “We do this because we love our community and this is what makes us happy. We’ve all had a lot of jobs, but this is the only job that brings us true happiness.”

Track list:
1- Blackstar
2- Rust Goliath
3 – Fear the Sun

Monte Luna is:
James cl – Guitar/vox
Danny Marschner – Drums
Garth Condit – Bass

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Svärd Stream Debut EP The Rift in Full; Out Tomorrow on Argonauta Records

Posted in audiObelisk on July 2nd, 2020 by JJ Koczan

svard

I provide my links so that you can publish your eBook under your own name. I will research, structure, write and edit your eBook. Svärd — or Our Ancient Egypt Research Paper services provide cheap homework answers online for every Question. Let the best homework helper assist you now! Svaerd, if you’re not up for typing the accent, make their debut tomorrow through Media in category "University Creative Writing" The following 6 files are in this category, out of 6 total. Argonauta Records with Students all over the world break their heads against the wall trying to find a formula for the successful essay. Essay writing Research Paper On Gender Discrimination In The Workplaces The Rift. The five-track/25-minute offering is a legitimate jump in style for founding guitarist/vocalists Essay Organization Orders, Inc. 87 likes. Services Include: Creative Writing, Write-Ups, Company and/or Artist Bios, Descriptions, Literature, Editing &... Tim Nedergård and Hire top http://cheapessaywritings24.com/essay-writing-companies/ essay writing companies inexpensively from the world's largest marketplace of 28m freelancers. Getting started is Free - Receive quotes in seconds - Post Björn Pettersson, both also of In Mourning. That act over its 20 years has developed into a progressive melodic death band from its more morose beginnings, but with Svärd, the two axe-handlers start fresh and explore a more heavy-rocking mentality. While their foundation is still in a crisp, decidedly metal sound that comes through beneath the weighted riffs on The Rift — thinking particularly in the post-intro trio of cuts “A Rift in the Green,” “Palaeocene Flames” and “The Burning Asylum” — Nedergård, Pettersson, bassist/vocalist Pierre Stam and drummer Cornelius Althammer (also of Germany’s Ahab) make nods toward classic metal in the twin leads and heavy rock in the driving push of their groove. There’s aggression in the barking vocals of “A Rift in the Green,” and maybe even in the careening riff that starts “Palaeocene Flames” — certainly in the verse chug that follows — but it meets with a purpose distinctly separate from the guitarists’ other unit.

First and foremost, that purpose seems to be to have a good time. I’m sure playing In Mourning is plenty satisfying on any number of levels — a band doesn’t last 20 years if it isn’t — but listening to the lines of “Palaeocene Flames,” one can almost hear the smiles on Svärd‘s faces as they deliver the lyrics. The same goes for the twisting “The Burning Asylum,” which touches on sludge metal but boasts gang shouts and a straightened-out hook that’s part hardcore in its origin. It’s fun. They’re having fun. svard the riftThat’s not to say the songs are a goof, because they’re not — “The Burning Asylum” also has clean vocals bordering on harmonies in its chorus and a deeper sense of arrangement than either of the two cuts before it — but the band are clearly enjoying the recording process as they’re taking part in it, and that comes through The Rift as crisply as Althammer‘s snare or any guitar lead that might accompany.

That’s not the extent of Svärd‘s ambitions, however, as the band finish out The Rift with the nine-minute “The Portal” which is a more consuming and atmospheric undertaking that begins with ambient guitar noise and cymbal washes before its quiet and spacious unfolding of guitar, bass and drums takes hold. It’s a different vibe, of course, than anything the band has presented up to that point, but seems also to connect somehow to the obscure and ethereal intro “Hallowed Grounds” at the outset of the release, at least in apparent narrative, if not the direct audio. As it rolls through, it has its moments of fury and expanse, to be sure, but there’s a heavy progressive edge that is carried alongside that, so that even the swirl winding around the apex riff seems to be intentionally placed as the four-piece work their way toward the inevitable final thud. They cap with a spiral of guitar noise and break the trance that those last repetitions induced, snapping the listener back to reality in a fashion that highlights just how far out “The Portal” has gone.

With members in other concurrent bands, it’s hard to know how Svärd will ultimately fit into the bigger picture — one expects it depends in no small part on the response to the EP and unavoidable first full-length — but there’s charm here in addition to impact, and The Rift‘s coming from a metallic place brings a rare sense of character even as it obscures genre lines. It is refreshing both in its energy and aesthetic, so whatever comes next, if anything, will have a standard to meet.

At that, I’ll turn you over to the full stream of the EP, which you’ll find on the player below. PR wire info follows.

Please enjoy:

Svärd, The Rift EP official stream

It’s been a longtime and common, creative dream of both members in AHAB and IN MOURNING, when they got together in 2017 to start a new band project. Tim Nedergård and Björn Pettersson (both in IN MOURNING, SWE) teamed up with their former bandmate Pierre Stam, when drummer Cornelius Althammer of German doomsters AHAB, who has been connected to the Swedish guys in a 10 years friendship, joined this new and heavy music adventure that is SVÄRD. The Rift, a tasty appetizer for a first full-length album to come in the not so distant future, is slated for a release on July 3rd in digital formats, while a Vinyl edition will follow via Argonauta Records as well.

SVÄRD is:
Tim Nedergård – Guitars, Vocals
Björn Pettersson – Guitars, Vocals
Pierre Stam – Bass, Vocals
Cornelius Althammer – Drums

Svärd, Making The Rift (Pt. 4)

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Red Beard Wall Premieres “Tell Me the Future of Existence” Video

Posted in Bootleg Theater on June 12th, 2020 by JJ Koczan

red beard wall

Empowerment through sludge? Maybe. It’s as good a bet as anything I can give you, for sure. And Red Beard Wall make a fairly compelling case with The Fight Needs Us All, from which the new video for “Tell Me the Future of Existence” comes. The question the song is asking, “Can we destroy the world to save it/Or do we worship it to raise it?” feels particularly relevant for a reality that has changed shape multiple times over since Argonauta Records released the album in Feb. 2019. Remember how simple things were when we were only locking kids in cages? Ah, those were the days… also of horror.

Anyhoo, I have no doubt that by now you’ve dug into The Fight Needs Us All one way or the other, and in so doing, taken at least a core sample of what it is that the band’s founder, songwriter, guitarist and vocalist Aaron Wall has on offer in red beard wall tell me the future of existence lyricsterms of blending sludge with more aggressive groove-style chugging. His rasp reminds of Kenny Bones of Negative Reaction and his oft-intertwined clean vocals almost speak to a rawer Page Hamilton — at least to my child-of-’90s-aggro ears — but for what’s essentially a one-man outfit with George Trujillo playing drums live, there’s more than enough subtlety to the changes from one moment to the next to hold fickle listeners despite both the scathe and the relatively barebones production that, one suspects, does little to encompass the full tonal breadth Red Beard Wall bring on stage, despite lacking no impact in itself. That is to say, when the bounce of “To My Queen” hits into the nod, I’d imagine that standing in front of the speaker cabinets it might sound like oblivion, and intentionally so.

And if one has to go out, there are certainly worse ways. “Tell Me the Future of Existence” appears late in The Fight Needs Us All, between “Reign of Ignorance” and the closing title-track, and if the theme is having something to say, Wall certainly passes muster. As Wall explained in his recent days of rona and notes again below, a new Red Beard Wall album is in progress to follow-up The Fight Needs Us All, though perhaps since touring would seem to be something of an impossibility, perhaps it’s all the better that the still-current full-length gets the excuse for a revisit that the new video provides. Aside from the message of the song itself, which, again, is nothing if not an apt description of the times in which we live, even as those times seem to morph daily into unforeseen surrealities, and the visual accompaniment given in images of mass protest and rallying for righteous causes, the track rocks. That always helps too, as far as I’m concerned.

More to come on the new Red Beard Wall when I hear (of) it. Until then, enjoy “Tell Me the Future of Existence” below, followed by a few words from Wall himself:

Red Beard Wall, “Tell Me the Future of Existence” official video premiere

Aaron Wall on “Tell Me the Future of Existence”:

“As we record and put finishing touches on the new RBW album, we thought it very apropos and vital to release this video/song to the world. While it was written over two years ago, it speaks to NOW more than I could’ve imagined. We humbly ask ALL, to listen, stand up, and ACT. Revolt. Revolt. Revolt. Revolution is ours. The Fight Needs Us All. ALL LOVE. ALL RESPECT. ALL HAIL!!!”

Red Beard Wall, The Fight Needs Us All (2019)

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Dee Calhoun Posts “No Justice” Video; Godless Preorder Available

Posted in Whathaveyou on June 9th, 2020 by JJ Koczan

Imagine that when Dee Calhoun wrote the track “No Justice” he was talking about one incident. That was the world in the before-times, the long-long ago. And I’m not noting that to downplay the tragic loss what was the shooting of Rev. Jim Forrester of Foghound, Sixty Watt Shaman — the community around Maryland doom is still reeling from that, and rightly so — but these days one could easily look around and say, “Yeah, ‘No Justice,’ but could you be more specific?”

Calhoun‘s new record, Godless, is set to arrive on July 10 in a continued partnership with Argonauta Records. Preorders are up and for those seeking something of a dark acousti-metal flavor, I know of few parties who might be able to deliver with the boom Dee has in his voice and the passion for what he does. My two cents.

Info and video came down the PR wire:

dee calhoun

DEE CALHOUN, voice of iconic IRON MAN & SPIRAL GRAVE, releases system- critical video of “No Justice”!

Brand new album, Godless, coming out July 10th on Argonauta Records!

July 10th, 2020 will see Dee Calhoun, voice of iconic doom titans, IRON MAN, and SPIRAL GRAVE release his upcoming, third solo- album titled Godless. The haunting and dark, entirely acoustic affair, was recorded in Dee’s home studio, The DustBuster in Walkersville, MD. The mastering was done by Doug Benson in nearby Thurmont MD at the Commodore Recording Studios. Dee handled vocals, guitars and other various instruments, while Dee’s Iron Man and Spiral Grave bandmate, Louis Strachan, provided the bass tracks. Dee’s son Robert, “Little ‘Houn” Calhoun, appears on the record with percussion and backing vocals performances.

Today, Dee is presenting us a very special song taken from Godless, to the touching and system- critical track “No Justice”. “I wrote this song for the great Rev. Jim Forrester, who was bassist for Foghound and beloved by the Maryland Doom scene.“ Dee explains. “It was written on the day his murderer was acquitted, and all of us who loved Jim again felt betrayed by the system in this country. In recent days, that idea has taken on a much bigger scope. As we now sit and watch the response to injustice, we can only hope that steps are being taken to assure that there will be a change, and that betrayal, heartbreak, and death from this broken system can be eliminated.”

Dee Calhoun began his musical journey nearly 40 years ago, and first appeared on record in the late 1980s. Aside being the vocalist of Spiral Grave, he was the singer and lyricist for Doom icons Iron Man from 2010 until the passing of founding member Alfred Morris III in 2018, appearing on two of their EPs and the critically acclaimed 2013 LP South of the Earth. Calhoun released two critically acclaimed solo-albums to date, his new album Godless will be available on July 10th via Argonauta Records. The pre-sale is now available at THIS LOCATION.

‘Godless’ album lineup:
Dee Calhoun: voice, guitars, keyboards, harmonica, ukulele, kazoo
Louis Strachan: bass guitar
Robert Calhoun: backing vocals, percussion

additional performers:
Meghan Randall: flute solo on “The Day Salvation Went Away”
Alfred Morris III: guitar effects on “Prudes, Puritanicals, Puddles of Piss”

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Dee Calhoun, “No Justice” official video

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Nibiru Sign to Argonauta Records; New Album Coming This Fall

Posted in Whathaveyou on June 8th, 2020 by JJ Koczan

Okay, yeah, that makes sense. I was kind of surprised — not unpleasantly, but surprised still — that Italian dark-drone ritualists Nibiru ever left Argonauta Records to begin with. As dense and consuming and taken-to-extremes as their sound is, it’s only ever going to have so much reach in terms of audience, and while Ritual Productions was a fit for them when it came to issuing last year’s Salbrox (review here), it’s not like they’re on the road 200 days a year either, and the niche they’re in suits them. The two parties — Argonauta and Nibiru — are now reunited for the release of the band’s forthcoming sixth album this Fall. Hey, sometimes you try a thing.

No word on a title or any of that yet for the record — if history is anything to go by, it’ll be drawn out of some mythology or other — but there’s time for such things yet and if it’s an October release, that gives them plenty of time to set the atmosphere just how they like it, which is more or less essential for what the band does.

The PR wire brings the news:

nibiru

Blackened Sludge & Drone masters NIBIRU re-sign with Argonauta Records!

Brand new album coming out this Fall!

Never change a winning team. This team’s story started back in 2013, when NIBIRU released their pathbreaking debut on the ever-growing powerhouse label Argonauta Records. Together they have released four highly acclaimed full-length albums and one EP, until the band inked a deal with Ritual Productions. Today, the Italian collective announced their return to Argonauta Records, who will release NIBIRU’s forthcoming, sixth studio album in the Fall of 2020!

NIBIRU was born in 2012, following a relentless process of spiritual and emotional knowledge that involves every member of the band and is reflected in an impetuous creative approach. Since their first album Caosgon, the music of NIBIRU draw the attention as a unique identity, instinctive and difficult to label. The genre proposed by NIBIRU could be described as Ritual Psychedelic Sludge and finds no term of stylistic comparison with other active bands, although the influences of Black Sabbath, Neurosis and MZ.412 have always been pretty clear since their inception until today. But in terms of atmosphere, NIBIRU relate themselves to the post-punk/darkwave scenes of the early ’80s (Fields Of The Nephilim, Virgin Prunes, early Christian Death, Joy Division) and to the pioneers of Depressive Black Metal, then bands like Xasthur or Shining. NIBIRU is a deep experience, an evil and visceral representation that sets new rules for genres such as Black Metal, Sludge and Drone as we know them. On their journey to date, NIBIRU played prestigious stages such as Roadburn Festival as well as shows with acts alike Enisum, Oranssi Pazuzu, Uada, Suma, Nightstalker or Phantom Winter to name just a few.

Says the band: “We are very proud and happy to be part of the Argonauta family again. We think this is the right choice to better promote and enhance the band and our music.”

NIBIRU develop their musical aesthetics through the recitation of the Enochian keys, whose evocation aims at precise ritual effects, and the insertion of very intimate and disturbing verses in Italian. The band’s sources of extramusical influences are inspired by occultists and esotericists such as Aleister Crowley, Kenneth Grant, Austin Osman Spare and Julius Evola, but also psychiatric essays, a deep inner illness and a peculiar cult for the actor Klaus Kinski.

While staying true to their creative method of recording live albums, NIBIRU invite the listener to be part of their ritual. NIBIRU is a mental and apocalyptic journey of visionary magic, elemental prophecies and esoteric superomism. Tribal percussions, evocative mantras and hypnotic drones merge into a completely new interpretation of Black and Doom Metal, while psychedelic tapestries draw a fascinating and idiosyncratic art. The shrill and inhuman voice of Ardat drags us into a kingdom of mystical abandonment and possession. NIBIRU is a ritual, a heavily deep, disturbing and wild but yet atmospheric ride on every level – of your soul, spirit and body.

After their latest album, Salbrox, mastered by Audiosiege ( Sunn O))), Mantar, Converge & many more ) and released with Ritual Productions last year, the Fall of 2020 will see NIBIRU return with their sixth record on Argonauta Records. Watch out for many more details and sounds to follow in the weeks ahead!

NIBIRU is:
Ardat – guitars, percussions and vocals
RI – bass, drone and synthesizers
L.C.s Chertan – drums

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Nibiru, “Nanta” official video

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Days of Rona: Gero Lucisano of Argonauta Records

Posted in Features on May 27th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

argonauta gero

Days of Rona: Gero Lucisano of Argonauta Records & Varego (Arenzano, Italy)

How are you dealing with this crisis as a label? Have you had to rework plans at all? How is everyone’s health so far?

Health is good, even if there is so much things to do here in Argonauta. So many releases planned and a lot more on printing. With our partner ALL NOIR, we thought it’d be better to not stop any activity, rather to push each release regularly with promotion and with a distribution “digital first” method. Keeping preorders with discounted prices and waiting for better times to ship them all around. Substantially not a big rework, only some reasonable rules: to do what is possible doing in this very moment that can be turn us useful in the near future, hopefully.

What are the quarantine/isolation rules where you are?

One month of lockdown currently, now extended for another month. Schools and shops are closed and you can reach out to buy food and important genres only via a paper by the police, few hours a day. Now hopefully some shops will reopens these days and other ones next month. Schools closed till September.

How have you seen the virus affecting the community around you and in music?

Yes, unfortunately I’ve seen it, I lost two uncles and we were not able to see them even for the last time to say goodbye. I’m also reading a lot of news by bands with members affected and struggling with it.

What is the one thing you want people to know about your situation, either as a label, or personally, or anything?

The very biggest problem is that bands can’t tour, we had a lot of releases and our bands had to cancel many events and release shows. Also the pressing plants (or a part of the) are not working in the full of their capacity, thing are delayed and there is a lot of details to follow. Last but not least, shipments suffer too because of tons of flights canceled. But I’m here working to keep up all the good work. Music is so useful for me each day, helped me many times and helping me now too. I’m planning so many things and Argonauta is still here to give voice to the underground we love.

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Days of Rona: Andy Martin of Clamfight

Posted in Features on May 26th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

clamfight-andy-martin

Days of Rona: Andy Martin of Clamfight (Philadelphia, Pennsylvania)

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

As a band we currently have about half of our fourth record recorded. We were in the studio the weekend of March 13th which is pretty much when shit hit the fan in the Philly/New Jersey area so it seemed like every time I checked my phone between takes there’d be another set new of restrictions or some new horrifying statistic coming out of NYC or Italy. Since then it’s been no practice, but we talk every day and Sean’s been writing a lot.

Sean has been killing it with new material but I’ve been pretty creatively blocked for most of lock down. I wrote a novel in 2019, some friends have read it and given me great feedback but I haven’t been able to get moving on the second draft at all.

Ken from Eternal Black roped Erik from Thunderbird Divine and I into his Swarm of Flies project, and that seems to have finally gotten me moving and creating again, which is great. Now that I feel like I can write again I’m going to attack some new Clamfight stuff Sean has sent me and hopefully get on with the second draft of the novel.

Personally, I lost my job pretty quickly and that stung but I’ve been lucky enough to land with a new company and I’m back where I belong, digging holes in farm fields.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

The city of Philadelphia gave the bars St Patty’s Day weekend, and I wonder how many fewer cases our area would have had if they clamped down quicker. It was so bizarre being in the recording studio and reading about what was unfolding in New York and coming home to my neighborhood in South Philly and seeing the bars on Two Street packed. Since that first stumble I’ve got to give the city a lot of credit, they’ve handled it pretty well. Who knows though, Philly has a pretty terrible public transportation system and that may have saved more lives than the lockdown.

Parks have remained open and fishing has been allowed which has been a great way of retaining my sanity but otherwise we’re pretty similar to NJ and NY, masks in stores, with most businesses that aren’t grocery stores and Home Depot closed.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I think the response by the music community has been pretty great. Live-streams, people digging out show footage, putting out demos (Clamfight will hopefully be doing something similar soon), it’s all been gravy. As for the future of what live music looks like, I’m unfortunately less optimistic. I almost get cranky when I see people advertising shows later in the summer or even the fall, because I think the broader federal response in the US has been so criminally inept that live music, bars, restaurants, etc aren’t coming back any time soon. It just won’t be safe. Setting aside the question of how many venues even survive this, unless there’s a vaccine, playing a show or attending one is going to be a real act of a faith in the people around you. Are they being smart and safe? Would they even know if they were a carrier? That’s kind of where I’m at with the live music, it may happen, but it’s going to be a real question of who is actually willing to show up from bands or the audience.
That said, would I play a show in the woods with a generator? Yes, yes I would.

Personally, I’ve been all over the place in terms of my mood. I’ve had days where I’ve spent hours fly fishing and then made a big dinner with my girlfriend and then settle in with some wine and watched a movie, and days like that feel like vacation. And then there’s the days when I’m missing my family, or all my close friends in the UK, and those days can be crushing.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

Because there’s been comparatively little Clamfight for me recently, I’ll explain it from the fishing and archaeology side of things.

For eight years I’ve been a part of the Ness of Brodgar excavations in Orkney. It’s changed my life and joining the team has far and away been the best thing I’ve ever done. For obvious reasons, the Ness and a lot of other research excavations won’t be happening this year. On a personal level it’s a heart breaker, because the dig team is a second family to me and I don’t know when I’ll see them again, but missing a season can have huge repercussions for the dig itself. I know times are tight, but if you’re an archaeology or history buff and have a few bucks to spare it’d be worth checking to see if there’s any digs or research projects you’d like to support because without those visitor dollars, they’re all going to be hurting.

I’ve really rediscovered my love of fly fishing during lock down, and besides giving me something to do it’s restored my faith in humanity a bit during this age of performative shiftiness and a total lack of leadership from the Federal government.

Fisherman can be really chatty, but there’s been a real shift in that chatter recently. There‘a been several times during this thing where I’ve been in the middle of the creek and either another fisherman, or a retired guy getting his steps in will stop on the bank and we’ll talk. Not just the simple “catching any?” chatter, but fifteen or twenty minute conversations, that segue from fishing to health and the state of the world pretty quickly. And these conversations always end with the same two words, “stay safe.” Usually accompanied by a big open palm wave from a retired union guy with a hand like a side of beef. I don’t know what it is about these conversations but that level of openness between strangers really makes me feel better and give me hope that maybe, just maybe, we’ll come out a little better on the other side of this thing.

So that’s what I’ve got for you gang. We are clearly a very long way from the end of this thing, so stay safe.

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Dun Ringill Set July 31 Release for Library of Death

Posted in Whathaveyou on May 18th, 2020 by JJ Koczan

DUN RINGILL

With their penchant for classic metal theatrics intact, Swedish doom rockers Dun Ringill give a first glimpse at their second album, Library of Death, in the new video for “NBK.” The record, which follows behind their 2019 debut, Welcome (discussed here), will see release on July 31 through Argonauta Records, and as I haven’t heard the thing yet, I can’t help but wonder how the stateliness of the debut might coincide with what they describe below as being a rawer and darker presentation that also dives further into folk influences. Funny, I thought “classic metal” and “Nordic folk” were kind of the same thing at this point. Ha.

The acronym “NBK” stands for “natural born killer,” as the PR wire reveals, and you’ll find the video at the bottom of this post, under the album info. You know how this works. Don’t pretend you don’t.

Dun dun dun:

dun ringill library of death

DUN RINGILL (feat. members of THE ORDER OF ISRAFEL) Share Album Details + Brutal, New Music Video!

Following their highly acclaimed debut album Welcome, Swedish heavy doom rock collective Dun Ringill ( feat.members of The Order Of Israfel, Doomdogs & many more ) have just announced the release of their sophomore album titled Library of Death on July 31st 2020 via Argonauta Records!

Dun Ringill’s new album will dig deeper into the soil of Nordic folk music and at the same time, it is even darker, rawer and heavier than their debut. Recorded with mastermind Joona Hassinen at Studio Underjord and Grand Recording Studio during the winter of 2019, with Library of Death the band creates a haunting vibe of the evil wilderness and the dark woods lurking around the corner.

The album was arranged in a basement in the grey parts of Gothenburg while the lyrics were written on the high and mighty mountains of Norway. This special combination gives this album its unique aura of a beautiful darkness and malevolent feelings, that will follow you into your dreams…

Today, Dun Ringill are sharing a first track taken from the Library Of Death, and premiering an ironically brutal music video to the track “NBK” (= Natural Born Killer)!

“Killing is my Business…. and Business is good!!” The band quotes the first Megadeth album, and continues: “You are all invited to the party: A violent butcher fiesta!”

The artwork for Library of Death has been created by Henrik Jacobson / Art of Henk and is inspired by the lyrics from the album. Dun Ringill’s forthcoming record will also feature songs with guest musicians such as Opera singer Glenn Kjellberg, Per Wiberg from Kamchatka and formerly Opeth and Candlemass, Matti Norlin from the band Lugnet and Philip Lindgren of ex Hypnos.

When The Order of Israfel took a one year break from September 2017, the rhythm section Patrik Andersson Winberg (Bass) and drummer Hans Lilja (also in Lotus) grabbed the chance to create new music again together with Patrik’s old band mate from the Doomdogs era, Tomas Eriksson (Intoxicate and ex Grotesque). To make this exciting project of Dun Ringill as great as possible, the band teamed up with Gothenburg’s fella musicians, guitarists Tommy Stegemann (Silverhorse), Jens Florén (also in Lommi & ex- live guitarist for Dark Tranquillity) and Patric Grammann (SFT, Neon Leon). After the band released their critically acclaimed debut, Welcome, in March 2019 – followed by several gigs and tours with acts alike Church Of Misery, Year Of The Goat and Elder to name just a few, their new studio album Library of Death will be seeing the light of day on July 31st on Argonauta Records. With a pre-sale and more tracks to be unleashed in the weeks ahead, the band is currently also preparing for a heavy live schedule to hopefully follow more than soon.

Dun Ringill are:
Thomas Eriksson – Vocals
Hans Lilja – Drums
Patrik Andersson Winberg – Bass
Jens Florén – Guitar
Tommy Stegemann – Guitar
Patric Grammann – Guitar

www.facebook.com/DunRingillSwe
www.argonautarecords.com
www.facebook.com/ArgonautaRecords

Dun Ringill, “NBK” official video

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