Review & Full Album Stream: BBF, Outside the Noise

Posted in audiObelisk, Reviews on December 2nd, 2019 by JJ Koczan

bbf-outside-the-noise

[Click play above to stream BBF’s Outside the Noise in full. Album is out Dec. 6 on Argonauta Records.]

First thing’s first: Italian outfit BBF‘s moniker, yes, is derived from the family names of the three players involved in the band. That’s guitarist/vocalist Claudio Banelli, bassist/synthesist/vocalist Pietro Brunetti and drummer/percussionist Carlo ForgiariniB, B and F going by the initials. Easy enough, and suited to some of the more ’70s aspects of their sound on their second album and Argonauta Records debut, Outside the Noise, as some of the lead guitar shimmers on post-intro leadoff track “Third Eye” shimmers with a ’70s pastoralism à la Marshall Tucker Band checking your eyesight and solos are reserved for a reverb-laced seer that seems more drawn from the school of Eddie Hazel. “Time” bops like Ginger Baker-era Masters of Reality, “Kaleidoscope” drawls out cosmic and ethereal with a surprising patience, and the mid-album pairing of “Outside the Noise” and “Into the Light” consumes about 16 minutes of the 41-minute runtime but puts it to excellent use, running through multiple movements and moods in the title-track only to find its way in the second piece and celebrate with a highlight guitar and percussion interplay enhanced by some Rolling Stones-style blues harp.

Instrumentally, BBF show a ready adventurousness and their songs have a fluidity to them that makes the moments of drift all the more effective, but when they want to rock there’s plenty of room for that as well, as they show early in the record on “Third Eye” and “Time,” though ultimately their sonic reach proves more varied in its intention. That is to its credit and to the band’s, as they seem to have no trouble holding the proceedings together and letting their songs work in defiance of what one might generalize as some of the tropes of Italian heavy rock, eschewing influences like Fu Manchu and Nebula in favor of broader styles of songcraft, while still holding to an energy of performance that keeps the eight-track offering moving forward in interesting ways as it weaves between one expression and the next.

If, as the intro “Apollo” suggests in reading the transcription left behind by the first astronauts to touch down on the moon, BBF “came in peace for all mankind,” that’s not exactly a minor ambition. I can’t speak to the universality of its appeal — that is, what portion of “all mankind” is going to be able to get down — but their having come in peace is easy enough to grant. “Apollo” is just two minutes long before it gives over to “Third Eye,” but it plays an essential role in Outside the Noise just the same in that it adjusts the listener’s expectation at the outset for immediacy. As in, there isn’t one. And it’s smartly done, because as Outside the Noise is the band’s first offering for Argonauta, it’s an exposure to a new audience perhaps taking them on for the first time — I know I am, at least — so essentially “Apollo” works with deceptive efficiency in those two minutes to teach that new audience how to experience what’s coming on the seven cuts that follow. They’re not the first to do such a thing, and it may or may not have been a conscious decision on their part, but it’s smoothly done just the same.

bbf

And that smoothness also becomes a running theme throughout. “Third Eye” has perhaps the most prevalent hook on the record — figuratively as well as literally; the vocals are too high and dry in the chorus, which is something “Kaleidoscope” corrects later but that comes back again on the penultimate “Sun” — but even as BBF leave behind the straightforward path in favor of more open and exploratory vibes, they do so with an inviting spirit. The three movements across the 9:33 of “Outside the Noise” itself are clearly-enough marked in the track with drops to silence at 2:53 and 7:43 to draw the lines between sonic turns. The first part seems to bring in guest vocals for some soulful wailing over guitar that’s ably enough done but probably would seem all the more so with some lyrics being delivered, while the midsection taps Blind Melon wistful grunge, and the ending serves as a meditative intro to the spacier textures soon to take hold in “Into the Light” and which will continue to unfold on “Kaleidoscope,” “Sun” and the droney closer “Harvest Moon.”

The solo tone that was prefaced in “Third Eye” finds its realization in “Into the Light” and, yeah, if these guys wanted to whip out a “Maggot Brain” cover at any point, I’d be down to check it out. The guitar work is classy, not at all overwrought, and however they got it, that tone is something special and worth preserving. It stands out somewhat in contrast to the drift and post-rock of what surrounds, particularly with “Kaleidoscope” following, but that works to its benefit. It’s made to stand out, where “Kaleidoscope” is made to be hypnotic and sure enough is precisely that, running through a subtly quick 4:21 and giving way to “Sun” which enacts the final build of the record with a marked character and charged emotional progression palpable in the instruments as much as the vocals.

Its turns aren’t unexpected, but their immediate familiarity acts in their favor as it’s that much easier to follow them upward to the crescendo of Outside the Noise, leaving “Harvest Moon” as what might be a five-minute afterthought were it night such an experimentalist delight. Chimes, acoustic guitar, electric drone, quiet cymbal washes and rain sticks and in the end a consuming churn and wash of synth to cut to silence to show a band willing and ready to step outside of even the fairly wide comfort zone they’ve established over the course of the record to that point. That’s an impulse and a drive that serves them well in bidding goodbye to their second offering and holds promise for continued growth, but based on what they do here, one wouldn’t want to make any predictions on their direction for a third release, except perhaps to say that the progression underway in these tracks does not seem to be at an end point and that BBF do not seem like the kind of band to find their sound and hold still in it. There’s a restlessness here, as much as it’s coming in peace, but BBF channel that into an engaging and fascinating variety of craft on Outside the Noise, and though the record isn’t perfect, somehow it feels like if it was it would lose some of its natural spirit.

BBF on Thee Facebooks

BBF on Instagram

Argonauta Records website

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Lares Sign to Argonauta Records; Towards Nothingness out Spring 2020

Posted in Whathaveyou on November 27th, 2019 by JJ Koczan

Bit of genre-hopping going on with the first Lares album from 2017, and yes, I’ll confess that the news they’ve been picked up by Argonauta for the impending follow-up — Towards Nothingness; due Spring 2020 — is the first I’m hearing of them. The debut, Mask of Discomfort, has sludge tones down pat but pulls the vocals back off the mic a bit in its early going and right away builds a more complicated atmosphere. From there, it only continues to push outward and much to the band’s credit it never really becomes full-on post-metal or full-on any one thing over the other. I’m sure Argonauta Records — which is doing a fair amount of branching out as well these days — will have preorders up in no time flat, but until then, here’s the news that got me to check out the first record, and the stream of that album in case you’d also like to dig in.

From the PR wire:

lares

LARES Inks Worldwide Deal With Argonauta Records!

Brand new album coming in the Spring of 2020!

Berlin- based, psych blackened doom metal unit, LARES, have inked a worldwide deal with Argonauta Records, who will release the band’s sophomore album in the Spring of 2020. The four-piece collective, formed in 2015, combines the elements of post-metal, psych doom, ambient prog-rock and black metal, while adding a unique flavour to their heavily crushing sound. After LARES’ critically acclaimed, 2017- debut, followed by an extensive live schedule, the band has been hard at work on their second album titled Towards Nothingness. Once again recorded by Jan Oberg ( Earth Ship/Grin ) at the Hidden Planet Studio in Berlin and mastered by Audiosiege in Portland, OR, LARES are thrilled to have found the perfect release home in rising powerhouse label Argonauta.

“We have been working diligently in the shadows to find the right vessel for launching Towards Nothingness with a proper release.“ The band states. “Now, we are pleased to announce that this goal will be achieved by a collaboration with our fierce new ally, Argonauta Records! We could not be more satisfied with this combining of forces, and we eagerly look forward to the release of Towards Nothingness in the spring of 2020! This is a major step for us, but it is only the beginning. It is our duty to expand your consciousness, and we will take the world by storm without warning. Join us!“

Watch out for many more news, details and album sounds to come in the time ahead; to shorten your wait, check out the band’s debut, Mask of Discomfort, via their Bandcamp HERE: https://lares.bandcamp.com/

LARES is:
Flavio Cafiso – Guitars/Vocals
Jörn Zennberg – Bass
Simone Lamberti – Guitar/Synths
Mike Alksnis – Drums

www.facebook.com/laresband
www.lares.bandcamp.com/
www.argonautarecords.com
www.facebook.com/argonautarecords

Lares, Mask of Discomfort (2017)

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Denizen Premiere Video for “Shadow Dancer” from High Winds Preacher; Album out Nov. 29

Posted in Bootleg Theater on November 14th, 2019 by JJ Koczan

denizen

Later this month, French heavy rockers Denizen will release their third album and second on Argonauta Records, High Winds Preacher. After more than 15 years together, the band have been long enough set on a path toward individuality that it doesn’t seem unreasonable going into their latest work with some measure of expectation, and from the initial push of “Shadow Dancer” through the thicker-toned roll of “Among the Trees” and the let’s-make-the-riff-even-bigger “Ears Wide Opened” before the pure Orange Goblinery of “Chasing the Guru,” they take a familiar but distinct shape in following up their 2017 Songs from the Kraken: The Georges Sessions EP, and their two full-lengths, 2015’s Troubled Waters (review here) and 2011’s Whispering Wild Stories (review here), and the bulk of High Winds Preacher feels dedicated more toward conjuring those high winds via all-out thrust than doing much by way of preaching.

Either way, they do what they do in full awareness of what they’re doing while they do it. To wit, after the bit of slowdown in “Mandrake is Everywhere,” which follows the high-gear “The Beast,” the four-piece are back off and running denizen high winds preacheras they careen through “White Flamingo,” “Deaf Taint,” “Punch Out” and closer “Tomahawk” on what would be the vinyl side B, culminating — of course — in a big, big, big ol’ haymaker of a riff in the finale. Their style is playing to genre, let there be no doubt, but their songs make an impression just the same, and it’s through the sheer energy of their execution that much of that impression comes. Calisthenics as songwriting is a post-Truckfighters European specialty, but any number of bands can sound like they might jump around on stage. Denizen sound like they might jump around in the studio as well, and the fact that that’s the case after over a decade and a half is not a consideration to be taken lightly.

Reinventing the wheel? Nope. Fixing what ain’t broken? Nope. Asking to be anything more than the complement and maybe even some motivating fuel for your good time? Nope. Run with it. They are.

Again, “Shadow Dancer” kicks off the record, and you can see the video for it premiering below. Please note that a sample of the film clip that starts the video is actually in the audio version of the song as well, so kudos the Denizen cats on striving for accuracy.

High Winds Preacher is out Nov. 29.

Enjoy:

Denizen, “Shadow Dancer” official video premiere

DENIZEN formed in the south of France between Montpellier and Sète in 2003. After their demo debut Far From Common Strategy (2006), released on Prototype Records, the band participated in a split tribute to Black Sabbath with the bands Illtemper and Stuntman.

Following their first full length album, Snatches Into Uproar in 2009, DENIZEN moved towards a more rock groove with heavy sludge and stoner influences. With their 2011- release, Whispering Wild Stories, DENIZEN’s Classic Rock influences became assertive: 70’s typed riffing, the wah-wah and melodic vocals, took the band on higher levels and to tour Europe with acts alike Steak or Black Rainbows. The highly acclaimed, third album Troubled Waters (2014 on Argonauta Records) unleashed a heavy rock feeling with a healthy dose of the blues, but the band’s main concern has always been focused on the riff. DENIZEN’s brand new record, High Winds Preacher, will definitely preach the almighty riff again!

Recorded and mixed by Colin Trognée at Studio Mordor
Except drums, recorded at Buèges Valley Recording Service by Simon Pillard & Colin Trognée

Mastered by Kent Stump at Crystal Clear Sound

Artwork by Brice Cossu

DENIZEN is:
Fabien Aletto – Vocals
Yann Chinette – Guitars
Andreas Goumy – Drums
Colin Trognée – Bass

Denizen on Thee Facebooks

Denizen on Bandcamp

Argonauta Records website

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Blutbad to Release Alcohodyssey Jan. 31; New Video Posted

Posted in Whathaveyou on November 8th, 2019 by JJ Koczan

blutbad

You like stoner rock chicanery? You like dudes in space? You like charm? Well, here you go. Blutbad waste no time in tapping into stoner rock’s timeless, silly and generally-intoxicated appeal, and their beery Alcohodyssey — which, man, I’m having trouble with; I keep leaving out the ‘ho,’ so it’s just ‘alcodyssey’; these are the things that plague me — is set to release at the end of January through Argonauta Records. In honor of launching preorders, the video for “Alcohodyssey Pt. 1,” which is subtitled as “Alcohodyssey Pt. 1 (The Space Adventures of the Hopshunters)” — because of course it is — the has also come out and, well, my sincere appreciation and maybe sympathy for the dude they decided should dress like a robot for it. Everyone else got to show up mostly casual, or maybe with a little cyborg implant here and there, but my man went all out. Someone had to. Had to be done.

The art is comic style, again, because of course it is, and can be found below, with album info, preorder link, and the aforementioned video. All came down the PR wire and magically turned blue:

blutbad Alcohodyssey

BLUTBAD Signs With Argonauta Records + Unleashes Album Details & Music Video!

They are fast, loud and rude, and they will be coming for you: Italy’s heavy groove and stoner rockers, BLUTBAD, have inked a worldwide deal with the ever-growing Argonauta Records, who will release the band’s first, full length studio album, titled Alcohodyssey, on January 31st 2020!

Following their 2017, self-released Extrarock EP, BLUTBAD continue to burst into the scene with an authentic sound that mixes Rock’n’Roll’s fast guitars, heavy Stoner riffs, Punk’s Tupa Tupa and the attitude of Motörhead-alike 90s metal and heavy rock prototypes. While the band successfully manages to create a sound that is different from the usual, they are especially a lot of fun to listen to and experience live – and will be highly recommended for fans of Red Fang, Municipal Waste and alikes! Today BLUTBAD have not only announced the signing with well-respected underground label Argonauta Records, but have also unleashed the first details of their upcoming debut album plus a first and fun video to the single Alcohodyssey Part.1. Get on a space trip with BLUTBAD and watch the video HERE!

Album Tracklist:
01 Lost in Space (feat. Kristallo)
02 Alcohodyssey part.1 (The space adventures of the hopshunters)
03 Die Alone
04 Sunday of Living Dead
05 Space Trumps
06 I want to believe
07 Alcohodyssey part.2 (The great escape from Bikini planet)
08 Steam Road
09 Interstellaris 0042
10 Flash Goldon (feat. Niko from Own Paw Thee Die)
11 Arcade Mood (feat. Kristallo)

The Alcohodyssey will be taking place on January 31st 2020, on CD and in Digital formats with Argonauta Records – the pre-sale has just started at THIS LOCATION!

BLUTBAD is:
Tomi Versetti – Vocals
Manu Il Bello – Guitar/Vocals
Michael Deon – Bass
Davide Tonin – Drums

www.theblutbaden.wixsite.com/website
www.facebook.com/blutbadnoise
www.instagram.com/blutbadnoise
www.argonautarecords.com
www.facebook.com/argonautarecords

Blutbad, “Alcohodyssey Pt. 1” official video

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BBF Stream New Single “Sun”; Outside the Noise Preorders Available

Posted in Whathaveyou on October 30th, 2019 by JJ Koczan

bbf

So, the promo stuff for BBF‘s second album plays up a psych-funky aspect to their sound, and there’s certainly nothing wrong with that, as far as I’m concerned. When I listen to the new single “Sun,” though, which you can stream below, I get even more of a grunge vibe. Yeah there’s some acid funk shimmer in the lead tone and the vocals are surely carrying a good bit of soul — again, always welcome — but if it’s funk, it’s definitely not just funk, if you know what I’m saying.

While I’m refusing to disparage things, however, I’ll point out two considerations. One, the song rules. Two, diversity of sound is nearly a universal positive. So it’s a win either way. The release date for their record is in December, but I’m going to try not to let this one slip through the year-end cracks — there are so many — and will hope to have more to come before the record is out, though if you don’t want to wait, preorders are up now.

Info from the PR wire:

bbf-outside-the-noise

Psychedelic funk rock trio BBF reveal album details + first single!

Outside the Noise coming December 6th on Argonauta Records!

After rising label Argonauta Records have announced one of their recent band signings by welcoming Italy’s psychedelic, stoner and acid funk rock band BBF to their eclectic artist roster, today we finally get to hear some first tunes taken from the band’s upcoming, sophomore album Outside the Noise! Set for a release on December 6th 2019, you can now stream a first single to the soothing track Sun. Dive into the sound landscape of BBF right HERE!

BBF were formed in 2016 by Pietro Brunetti, Claudio Banelli and Carlo Forgiarini, who all share a deep-rooted passion for the sound of the 60s, 70s and everything that springs out of its creative sound and the world of rock. After the release of BBF’s first studio LP, Beside Everything We Need 70s, the band went through a period of great introspection, which helped them to become much more aware of their possibilities as musicians; new songs came to life, with a new and much more sophisticated and mature sound. In November 2018, the trio barricaded themselves in the studio to record their second album Outside The Noise, a psychedelic conceptual LP that wishes to help bodies and minds develop a greater sense of awareness and connection.

“This album was recorded entirely on tape, in an isolated home in the middle of the mountains of our region, in an environment which was completely deprived of any kind of noise.” BBF explains. “Our band was going through a pretty difficult time – things were not at all going smoothly between us and our personal life as well was going through quite a rough patch. This work therefore wishes to reflect this tough period of time and, especially, wishes to reflect our own willingness to escape all of the damn noise that was – and still is – surrounding us and flooding our minds. These 8 songs came out spontaneously, they were not planned, and they are the representation of all the difficult moments that each of us went through. They were conceptually similar to one another even before we developed the main conceptual idea of the album. The passing of time and a newly-developed awareness allowed us to align our minds and to embark upon the journey that would then become Outside the Noise.”

Outside the Noise Tracklisting:
1. Apollo
2. Third Eye
3. Time
4. Outside The Noise
5. Into The Light
6. Kaleidoscope
7. Sun
8. Harvest Moon (Ghost track)

Outside the Noise is available to pre-order via the Argonauta Records store at THIS LOCATION!

BBF is:
Pietro Brunetti (Electric bass, synth, vocals)
ClaudioBanelli (Electric and acoustic guitar, vocals)
Carlo Forgiarini (Drums and percussions)

www.facebook.com/BBFtrio
www.instagram.com/bbftrio
www.argonautarecords.com

BBF, “Sun”

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Queen Elephantine to Start Gorgon Release Tour Nov. 7

Posted in Whathaveyou on October 28th, 2019 by JJ Koczan

queen elephantine

The new Queen Elephantine album, Gorgon, is out Nov. 8 through Argonauta Records and Atypeek Music, and the night before, they’ll begin a Northeastern run to support the release, playing Philly and Baltimore and Richmond before turning back north to Pennsylvania, New York, Connecticut and Rhode Island, closing out in scenic Montclair, New Jersey. The Connecticut show is particularly notable since I think it’s their first time there and they’ll share the stage with local largesse-bringers Sea of Bones which, well, if you ever had a mind to have your entire being swallowed by tone at a gig, that might just be the night to make it happen. Also nifty that Matt Couto of Elder and Kind is sitting in on percussion (he also plays synth on the record, so there’s that) for the run alongside founding guitarist/vocalist Indrayudh Shome and a seemingly expansive cast of cohorts.

An entirely underrated band whose work genuinely deserves more attention than it’s ever gotten to this point. They should tour more, but hey, maybe this is a start.

They posted the dates on thee social medias as follows:

queen elephentine november tour

In two weeks we hit the road to celebrate the release of our new album GORGON, which drops November 8th on Argonauta Records and Atypeek Music.

We’re playing with amazing artists throughout including Brian Chase of the Yeah Yeah Yeahs doing a solo “Drums & Drones” set in Brooklyn, our cosmic friends darsombra, the ten-ton thunder of Sea of Bones, Azonic (mems of Khanate and Blind Idiot God), Baltimore heavies BLACK LUNG, noise rockers tile and Hex Machine, and in Providence the dirt royalty of The Hammer Party, and the otherworldly drone violence of Rectrix (Pippi Zornoza) and Gyna Bootleg (Steph Nieves).

The core lineup will be Indrayudh Shome (guitar/vocal), Nathanael Totushek (drums), Camden Healy (bass), Brett Zweiman (synth), Matthew Couto (percussion), with appearances from Samer Ghadry, Ian Sims, Matthew Becker, Derek Fukumori, and Srinivas Reddy.

NOVEMBER 2019
7 – Philadelphia PA (Century)
8 – Baltimore MD (The Crown)
9 – Richmond VA (Wonderland)
10 – Harrisburg PA (JB Lovedraft’s)
14 – Brooklyn NY (Sunnyvale)
15 – Hamden CT (The Cellar on Treadwell)
16 – Providence RI (AS220)
17 – Montclair NJ (The Meatlocker)

www.queenelephantine.com
www.queenelephantine.bandcamp.com
www.facebook.com/queenelephantine
www.argonautarecords.com
www.atypeekmusic.com

Queen Elephantine, “Mars”

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Monte Luna, Drowners’ Wives: Open World Gameplay

Posted in Reviews on October 25th, 2019 by JJ Koczan

monte luna drowners wives

With Drowners’ Wives, their second album, Austin, Texas’ Monte Luna not only make their debut on Argonauta Records but show a clear sense of having learned a few crucial lessons from their first about their overall direction and what they’re looking to accomplish as a band. At roughly 34 minutes long, Drowners’ Wives takes its central lyrical inspiration from The Witcher 3: Wild Hunt, with Drowners being a kind of monster one encounters that eats corpses. Fun. Despite this cohesion of theme, its shortened runtime is a bit over half the length of that 71-minute 2017 self-titled (review here), but with both albums carrying six component tracks, the change comes from writing shorter songs rather than simply including less of them. The longest cut on Drowners’ Wives, for example, is the 8:30 closer “Scenes from a Marriage,” with its deep-mixed organ, atmospheric vocal swirl in the second half, and scathing screams in its later apex capping the record. Time well spent, to be sure, and not an insignificant length by most measures. In relation to the debut, apart from the four-minute “The Burning of Elohim,” which was more or less an intro (if one with vocals), “Scenes from a Marriage” would be more than a minute shorter than the next shortest track, which itself was something of an aberration for being under 12 minutes long.

Clearly a change in intent on the part of bassist/guitarist/vocalist James Clarke and drummer/effects-specialist Phil Hook, and one that, honestly works to the benefit of allowing the material on Drowners’ Wives to shine and giving each song a better chance of being digested by the average listener. That’s not to decry a long album generally or to take anything away from Monte Luna‘s first outing, which was a grower and a righteous one at that, just to note that in this case, the approach they take is to the benefit of highlighting a more diverse sound. It is one bolstered as well by a few guest appearances throughout. Jaime Ramirez handles the aforementioned organ on “Scenes from a Marriage” and also “Man of Glass,” while Tommy Munter plays bass on the speedy-shuffling side A closer “Night of Long Fangs,” Jeff Klien guitar on chug-fuzzed second cut “The Butcher of Blaviken” and Steve Colca of Destroyer of Light on opener “The Water Hag,” which builds its riff from the ground up at the outset of the record and engages a call and response vocally during the verse between Clarke and Colca that is an effective initial hook in itself while still providing one of Drowners’ Wives‘ heaviest and most lumbering riffs. Perhaps unsurprisingly there’s stiff competition in that regard, but if anything, Monte Luna emphasize this time out that they’re not just interested in unipolarity as a band. They’re here to do more than bludgeon with tone and crash, and the manner in which they realize that assertion in these six songs suits them remarkably well, and while any record that features a list of guests that’s longer than the list of actual members runs the risk of seeing the core band’s identity subsumed, Monte Luna run into no such trouble. By the time they’re through “The Butcher of Blaviken,” it’s clear who they are. They’re the ones doing whatever the hell they want and pulling it off.

monte luna

To wit, the later reaches of “The Butcher of Blaviken” devolve the emergent plod into an outward-bound instrumental jam that seems to churn itself to pieces as it works toward its eventual end. There’s a memorable lead line included there, but still. That makes “Night of Long Fangs” all the more a punch to the face when it starts its immediately and brash sub-four-minute pummel, with early High on Fire‘s marauding sensibility given more stylistic breadth and malleable vocals. As it invariably would, the uptick of speed leads to a slowdown in the back half of “Night of Long Fangs” — about, of course, a vampire hunt — and the thicker riff that takes hold soon enough cedes ground to a drone and Hook‘s drumming on “Wild Hunt,” which, whether it’s considered an interlude on a linear format or an intro to side B of the vinyl is a well-positioned momentary breather that nonetheless expands the reach of Drowners’ Wives as a whole through its tribalism and ambient aspects, setting up a dug-in closing duo in “Man of Glass” and “Scenes from a Marriage” that feels all the more urgent upon arrival and thus all the more effective. There’s a down-to-sludge-rock-business feel that pervades the beginnings of both songs that’s enough to make me wonder if they were written first, but they’re well paired either way, both moving into harsher vocals even as the otherwise massively-toned guitars prove expansive and Clarke‘s voice presents a gamut of influences from Bongzilla to Queens of the Stone Age, depending on what the song calls for at the time.

That last part is perhaps the key to understanding where Monte Luna are coming from on Drowners’ Wives. While they’ve based the album’s theme around Witcher lore and have at least at one or two points they use samples direct from the game itself, the chief accomplishment of the album is how much the two-piece make the sound their own. It might seem counterintuitive, with itinerant company coming through even unto the organ in “Scenes from a Marriage,” but none of the contributions feels superfluous in terms of the material’s impact, which remains the central concern no matter where an individual piece might go, be it “The Water Hag” with its swinging catchiness or the intensity that crowns the finale. Monte Luna thrives in each scenario they present here not just because they add elements to arrangements of their own guitar, bass, drums and/or vocals, but because those additions make the songs a richer listening experience. It seems like a simple idea, but it’s not always so easy when it comes to execution, and having shorter tracks is a part of it as well. I won’t profess to know what they might do their next time out, but for the sense of themselves and the will toward individualism they so strongly declare across Drowners’ Wives, it’ll be all the more exciting to find out.

Monte Luna, Drowners’ Wives (2019)

Monte Luna on Thee Facebooks

Monte Luna on Bandcamp

Monte Luna on Instagram

Argonauta Records website

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Bible Black Tyrant Premiere “Valorous”; Announce New Album Encased in Iron

Posted in audiObelisk, Whathaveyou on October 18th, 2019 by JJ Koczan

bible black tyrant

Like their 2018 debut, Regret Beyond Death, Bible Black Tyrant‘s second album, the forthcoming Encased in Iron is a lesson in the sense of claustrophobia that post-metal can evoke when taken to a crushing extreme. Due out almost exactly two years to the day (just off by 12 days) from the issuance of its predecessor, on Feb. 28, 2020, through Argonauta Records, the Portland, Oregon, two-piece’s sophomore offering brings together five tracks of inhuman(e) punishment at the behest of multi-instrumentalist/vocalist Aaron D.C. Edge, whose history in sundry acts is documented enough around these parts that I don’t feel like I need to rattle off the list of bands he’s been in — a small sampling is in the PR wire info below anyhow — but Bible Black Tyrant are distinguished through the sheer intensity of the material and the atmospherics conjured. It is an intense presence brought to bear by Edge and drummer Tyler Smith (also of Eagle Twin), and all the more focused the second time around.

The fact that there even is a second album should tell you something, as generally Aaron Edge goes through bands the way most bands go through records, but one way or the other, Bible Black Tyrant‘s continuance has resulted in an all-the-more devastating aural havoc. It’s too methodical to call chaotic, but the churning intensity is undeniable, as the premiering track “Valorous” at the bottom of this post readily demonstrates. The word “tortured” gets thrown around a lot when it comes to heavy music. This or that sounds “tortured,” or “agonized,” etc. It’s a cliché of which I’m certainly guilty as well — I’m tortured about it, rest assured — but listening to Encased in Iron and then reading Edge‘s comments on the record (also below) wherein he says, “we are mistreated and then forgotten; that is the human experience,” the usage only seems to be appropriate. This record is fucking tortured. It is agonizing. It is brutal. I don’t think you could hear a song like “Panic Inducer” or even the drone-laced finale “Sickening Thrum” and say otherwise.

It’s a quick listen at 25 minutes, but don’t expect much by way of mercy in that time.

Here’s info and audio and links:

Bible Black Tyrant Encased in Iron

BIBLE BLACK TYRANT (feat. Lumbar’s Aaron Edge & Tyler Smith of Eagle Twin) Reveal Album Details And Unleash First Single Of Sophomore Record!

Encased in Iron due out in February 2020 on Argonauta Records!

Their sound pummels, you feel it in your guts. It disturbs your mind but gives you the chills to the same time. It’s the apocalypse and pure perfection of all that is heavy: Noise Doom duo BIBLE BLACK TYRANT, featuring masterminds Aaron D.C. Edge and Tyler Smith – renowned members of bands such as Eagle Twin, Lumbar, Ramprasad, Form of Rocket, Minor Fret, Canyon of the Crescent Moon and Hellvetika – returns with their sophomore album, Encased in Iron, on February 28th 2020 with Argonauta Records! Following their highly acclaimed, 2018-debut album, Regret Beyond Death, today the heavy music veterans have revealed the hotly anticipated details of their second, full-length album, and unleashed a first single!

“‘Encased in Iron’, Bible Black Tyrant’s second release, focuses on the torture that is human existence.” Aaron Edge comments. “A black curse, whispered perverse by loved ones that spit on us. Tasting bile, and the salt of our own tears in this vault. Savoring our own severed tongues. Trying to utter sounds while boiling. Do you know how you taste while trapped and locked in a box? As the steel heats, bravery is replaced with fear. Life in the iron cage, with little air to breathe, starving. We are mistreated and then forgotten; that is the human experience.”

Encased in Iron Tracklisting:
1. A Snowflake of Death’s Denial
2. Valorous
3. Panic Inducer
4. Infinite Stages of Grief
5. Sickening Thrum

BIBLE BLACK TYRANT’s upcoming album was recorded by Aaron Edge at Myelin Studio, while the drums were documented and mixed by Andy Patterson at The Boar’s Nest. With a final mix and mastering by Eric Leavell at Husk Recording, the pre-sale for Encased in Iron – available on LP, CD and Digital formats February 28th 2020 – has just begun via the Argonauta Records store at THIS LOCATION. Highly recommended for fans of Iron Monkey, Eyehategod, Cursed, Indian, Keelhaul, and Cavity!

BIBLE BLACK TYRANT is:
Aaron D.C. Edge: Guitar / Bass / Cello / Midi / Vocals
Tyler Smith: Drums

Bible Black Tyrant, “Valorous” official track premiere

Bible Black Tyrant on Thee Facebooks

Bible Black Tyrant on Bandcamp

Argonauta Records website

Argonauta Records on Thee Facebooks

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