Stinkeye Release Llantera June 15; West Coast Tour Announced

Posted in Whathaveyou on May 26th, 2017 by JJ Koczan

Phoenix, Arizona, three-piece Stinkeye have finished work on their debut album, Llantera and are wasting no time in getting it out to the public. After catching the ear with the four-track Llantera Demos (review here) last year, the band will issue the completed seven-song record on June 15. All four songs from the demo — “Orange Man,” “Pink Clam,” “Llantera” and “Fink Ployd” — will appear on the full-length, and upon the release, Stinkeye will turn around and quickly hit the road the next night to begin supporting it on the West Coast, heading up to Oregon and back south again.

A few shows on that stint are still coming together, so if you’re in a position to help out the band with a gig or put them up for the night or give them food or whatever it is you can do, I doubt they’d argue with you. It’s the right thing to do, in any case.

I’ll hope to have more on this to come, but here are the album announcement and tour dates to start with, as sent over by the band:

stinkeye

60’s psychedelic Hash Rock trio from the scorching pavements of Phoenix, Arizona, STINKEYE release their debut album “LLANTERA” June 15th. The drums for the album were recorded at Deep Roots Studios in Tempe, AZ, but most of the record was done at Savage Tactic Studios.

Tracklisting:
1. The Calm
2. Orange Man
3. Pink Clam
4. Llantera
5. Bringer of Grief
6. No Spoon
7. Feed

The album release will followed immediately by a two-week tour through the West Coast starting June 16th. Several dates still TBA.

Stinkeye on tour:
Friday June 16 Bancroft San Diego CA*
Saturday June 17 Gnar Burger Los Angeles CA*
Sunday June 18 Black Light Long Beach CA
Monday June 19 TBA Los Angeles CA
Tuesday June 20 TBA CA
Wednesday June 21 TBA San Francisco CA
Thursday June 22 Johnny B’s Medford OR
Friday June 23 House Show Redmond OR
Saturday June 24 TBA Portland OR
Sunday June 25 TBA Eugene OR
Monday June 26 TBA Medford OR
Tuesday June 27 Winters Tavern San Francisco CA
Wednesday June 28 TBA Los Angeles CA
Thursday June 29 TBA San Diego CA
* with Colour TV

https://www.facebook.com/stinkeyeblows/
https://stinkeye666.bandcamp.com/releases

Stinkeye, Llantera Demos (2016)

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Review & Full EP Stream: Godhunter, Codex Narco

Posted in audiObelisk, Reviews on May 18th, 2017 by JJ Koczan

godhunter codex narco

[Click play above to stream Godhunter’s Codex Narco EP in full. It’s out this Friday, May 19, on Battleground Records and Baby Tooth Records with sale proceeds going to Planned Parenthood.]

Tucson, Arizona’s Godhunter have always had a violent and/or aggressive edge to their approach, but most of what they’re demolishing on their latest EP, Codex Narco, are the expectations listeners might have of them. Delivered through Battleground Records and Baby Tooth Records with cover art by Bailey Illustration as the result of a few tumultuous years on the part of the once-sludge metallers, Codex Narco only tops out at about 21 minutes, and as it moves between the intro “A Dread of Some Strange Impending Doom” and outro “Distant Fading Screams of a Dying World,” rest assured, the fare is still suitably dark, but the band nonetheless hugely expand their sonic palette even from what it was two years ago on their Endsville split with Destroyer of Light (discussed here), let alone on their prior 2014 full-length, City of Dust (review here), which remains their only long-player to-date. They were a six-piece at that time and have since pared back to a core trio of guitarist/sampler David Rodgers, guitarist/keyboardist Matthew Davis and drummer Andy Kratzenberg, all of whom are spread out geographically.

The fact that Codex Narco‘s tracks were written via internet exchange between these three might ultimately be a factor in the aesthetic outcome of the EP, but that’s not to discount guest appearances from CHRCH vocalist Eva Rose on the aforementioned opening/closing pair, or Josh Thorne of Thorne on “Like Glass Under Black Fingernails” and centerpiece “Cocaine Witches and Lysergic Dreams,” or Methra‘s Nick Genitals on the penultimate Tegan and Sara cover, “Walking with a Ghost,” which here becomes a blown-out vision of doomwave with additional guitar from Clayton Bartholomew (Mountaineer) and bass from Demon Lung‘s Adam Sage. Nick Genitals contributes bass and guitar as well to the opener and closer and to the ambient “Unarmed Combat,” and Sage handles low end on “Like Glass Under Black Fingernails,” “Cocaine Witches and Lysergic Dreams” and “Walking with a Ghost” while Bartholomew also plays guitar on “Like Glass Under Black Fingernails,” “Our Blood is Poison” and “Cocaine Witches and Lysergic Dreams.”

One imagines it was quite a chain of emails by the time these songs actually started coming together, or at very least a barrage of Dropbox notifications, but however it was done, the wash that Codex Narco creates ties together this dizzying interchange of personnel, and with a headphone-ready depth of mix unlike anything Godhunter have produced before, these tracks offer atmospheric weight to coincide with their sheer tonal density. Interplay between shorter pieces like the intro and outro, the sample-topped rumble and feedback of “Our Blood is Poison” and the bass-and-drum “Unarmed Combat,” which seems to recount for 100 seconds a military experiment drugging soldiers and finding them refusing to train, the two longer tracks “Like Glass Under Black Fingernails” (5:53) and “Cocaine Witches and Lysergic Dreams” (5:45), and the unabashedly poppy “Walking with a Ghost” (2:31) ensure a steady flow from one piece to the next, and but for its runtime, Codex Narco could just as easily pass as an LP as an EP in terms of how its component pieces feed into and off of each other.

godhunter codex narco lineup

Davis‘ work on synth and keys becomes a huge factor in tying the release together as a whole, whether he’s playing to the post-punk chug and hook of “Walking with a Ghost” or adding electronica-style tension beneath the massive and blasted buzz tones of “Cocaine Witches and Lysergic Dreams.” No doubt a mastering job by the esteemed Brad Boatright had something to do with bringing the various tracks in line as well, but the handling of the synth and keys in the mix alongside the guitar and bass casts a scope behind the trades between screams and clean vocals on “Like Glass Under Black Fingernails” that proves as immersive as it is aggressive, and where in the past Godhunter have been driven to confront, to attack, Codex Narco feels more inwardly-directed as an examination, more personal, and thus more likely to draw listeners along with it on its brief but substantial path.

It’s the kind of release for which reviewers might generally fall over themselves to invent descriptors — which is an impulse that “doomwave” above notwithstanding I’m going to try to resist — but when one sees vague-eries like “post-sludge,” “sludgegaze,” “doomtronic” and so on, it’s a sign that at very least Godhunter are doing something of their own and something original, which on Codex Narco more than ever, they definitely are. RodgersDavis and Kratzenberg haven’t by any means abandoned their aggro tendencies or their underlying sense of purpose in creation — sales of the EP benefit Planned Parenthood and an anti-suicide video for “Walking with a Ghost” is reportedly in production — but they’ve successfully achieved a stylistic turn that even for those who’ve experienced their various experiments on collaborations with Secrets of the Sky (review here) and Amigo the Devil will no doubt prove a surprise. Still, even if one approaches Codex Narco anticipating the band Godhunter were on City of Dust, they’ve always warranted and encouraged a kind of open-mindedness that should make it relatively easy for listeners to get on board with the moves they have made and may or may not continue to make.

When it comes to the aftermath of this EP, that’s really the big question: whether Codex Narco, with its slew of guests and lung-collapsing soundscapes, is a sign of the future direction for Godhunter or a one-off experiment. Given the accomplishment and the fluidity of these songs, I’m inclined to hope for the former, but less than ever does it seem reasonable to predict what the band might do doing forward. Codex Narco is a quick listen, but it presents a huge shift in method and practice for Godhunter, and that’s as much palpable in the audio as it is in the context in which the EP arrives. What has remained most constant about them, however, is the boldness with which they’ve undertaken these changes, and that seems to be the thread that unites all of their work: They’re going to do what they’re going to do, on their own terms, without compromise. Whatever else might swirl around it, righteousness persists.

Godhunter on Thee Facebooks

Battleground Records on Bandcamp

Battleground Records website

Battleground Records on Twitter

Battleground Records on Instagram

Baby Tooth Records on Bandcamp

Baby Tooth Records on Thee Facebooks

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Fuzz Evil Post “Black Dread” Video; Tour with Dandy Brown Starts this Weekend

Posted in Bootleg Theater on April 10th, 2017 by JJ Koczan

fuzz evil

Ah, the public domain. Someday the greedy, soulless, oligarchical bastards who run our lives will take away that most human of notions — that something created and put into a public sphere belongs, after a time, to that sphere more than to its creator — because royalty checks, but while we’ve still got it, it’s nice to see it being put to good use. “Black Dread” is the second DIY video from Fuzz Evil‘s 2016 Battleground Records self-titled debut (review here) to cull its footage from such sources behind a lyric clip that surfaced in Nov. for “Killing the Sun” (posted here), and it uses creative editing to give a psychedelic impression from old educational cartoons filled with gloriously outdated science about atoms, space and the threat of nuclear annihilation. My mother tells stories about being told to “duck and cover” if the bomb got dropped. I’d say it was a horrifying time to be alive, but when wasn’t?

Anyhoozle, the song “Black Dread,” the title of which refers to one of Aegon Targaryen’s dragons in George R.R. Martin’s A Song of Ice and Fire — Balerion, if you’re wondering — may or may not have anything to do with the structure of atoms or humanity’s thanatos drive, but it was one of my favorite tracks on Fuzz Evil‘s Fuzz Evil, so I’m happy for the chance to revisit it. More laid back than the bulk of the record, which found the trio of guitarist/vocalist Wayne Rudell, bassist Joseph Rudell and drummer Marlin Tuttle (the latter since replaced by Daniel Graves) dug into the crisp execution of sans-frills fuzz rockers like “Good Medicine” and “My Fuzz,” it was both the longest track at nearly seven minutes and the finale of that sub-half-hour outing, leaving the audience with a dreamier impression and perhaps a sign of sonic expansion and progression to come from the Arizona-based three-piece, whose desert vibes were writ large one way or another over each groove and the laid back, unpretentious atmosphere of the record as a whole.

Fuzz Evil, it just so happens, head out this coming weekend on a run to support the self-titled, going alongside Hermano‘s Dandy Brown and his band for shows in the Southern Californian desert and in Phoenix and their hometown of Sierra Vista, AZ. You can find those dates included under the video for “Black Dread” below, which it’s my pleasure to host for your streaming enjoyment.

So please, enjoy:

Fuzz Evil, “Black Dread” official video

Music by: Fuzz Evil
Edited by: Joseph Rudell of Fuzz evil

Music written, recorded, and owned by Fuzz Evil
All Footage from The archive.org and in the public domain.

Footage from:
–“Principles of Electricity” – Published 1945 – Usage Public Domain
–“Duck and Cover” by Archer Productions, Inc. – Published 1951 – Usage Public Domain
— “Drug Addiction” by Encyclopaedia Britannica Films, Inc. – Published 1951 – Usage Public Domain
— “A is for Atom” by Sutherland (John) Productions – Published 1953 – Usage Public Domain

Fuzz Evil live w/ Dandy Brown:
Saturday – 4/15 – San Diego, CA – Tower Bar
Monday – 4/17 – Riverside, CA
Tuesday – 4/18 – Joshua Tree, CA – The Beatnik Lounge
Wednesday – 4/19 – Palm Desert, CA – The Red Barn
Thursday – 4/20 – Pheonix, AZ – Yucca Tap Room
Friday – 4/21 – Sierra Vista, AZ – The Horned Toad

Fuzz Evil on Thee Facebooks

Fuzz Evil on YouTube

Fuzz Evil on Bandcamp

LP order page at Battleground Records

Battleground Records on Thee Facebooks

Battleground Records on Bandcamp

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Quarterly Review: Grails, Expo Seventy, Coltsblood, Rhino, Cruthu, Spacetrucker, Black Habit, Stone Angels, The Black Willows, Lamagaia

Posted in Reviews on March 31st, 2017 by JJ Koczan

quarterly-review-Charles-Meryon-Labside-Notre-Dame-1854

Arrival. Welcome to the final day of The Obelisk’s Spring 2017 Quarterly Review. After today, I clean off my desktop and start over with a mind toward the next round, which in my head I’ve already scheduled for late June. You know, at the end of the next quarter. I do try to make these things make sense on some level. Anyway, before we get to the last 10 albums, let me please reiterate my thanks to you for reading and say once again that I hope you’ve found something this week that really speaks to you, as I know I have and continue to today. We finish the Quarterly Review out strong to be sure, so even if you’re thinking you’re done and you’ve had enough, you might be surprised by the time you’re through the below.

Quarterly Review #41-50:

Grails, Chalice Hymnal

grails chalice hymnal

Even if one counts the 2013 collection culled from GrailsBlack Tar Prophecies ongoing series of short releases that showed up via Temporary Residence, it’s been a long while since their last proper outing. Deep Politics (review here) was issued in 2011, but it seems the intervening time and members’ participation in other projects – among them Om and Holy Sons in the case of Emil Amos – disappear for Grails on Chalice Hymnal, which speaks directly to its predecessor in sequel pieces like “Deeper Politics,” “Deep Snow II” and “Thorns II,” taking the prog-via-TangerineDream cinematics of Deep Politics to vibrant and continually experimental places on the surprisingly vocalized “Empty Chamber,” the soundscaping “Rebecca” and the imaginative, evocative jazz homage “After the Funeral,” the album’s 10-minute closer. Hearing the John Carpenter keyboard line underpinning “Pelham,” I’m not sure I’d call Chalice Hymnal limitless in its aesthetic – Grails have definitive intentions here, as they always have – but they continue to reside in a space of their own making, and one that has yet to stop expanding its reach.

Grails on Thee Facebooks

Grails at Temporary Residence Ltd.

 

Expo Seventy, America Here and Now Sessions

expo seventy america here and now sessions

Yes. Yes. This. With extended two tracks – “First Movement” (22:17) and “Second Movement” (27:04) – unfolding one massive longform immersion that drones pastoral, delves into hypnotic bliss and fills the soul in that way that only raw exploration can, the America Here and Now Sessions from Kansas City (by way of the moon) outfit Expo Seventy is an utter joy to experience. Purposeful and patient in its execution, graceful in the instrumental chemistry – even with a second drummer sitting in amid the core trio led by guitarist Justin Wright – the album well fits the deep matte tones and nostalgic feel of its accompanying artwork, and is fluid in its movement from drone to push especially on “Second Movement,” which sandwiches a resonant cacophony around soundscapes that spread as far as the mind of the listener is willing to let them. Whether you want to sit and parse the execution over every its every subtle motion and waveform or put it on and go into full-brain-shutdown, America Here and Now Sessions delivers. Flat out. It delivers.

Expo Seventy on Thee Facebooks

Essence Music website

 

Coltsblood, Ascending into Shimmering Darkness

coltsblood ascending into shimmering darkness

After surviving the acquisition of Candlelight Records by Spinefarm, UK doom extremists Coltsblood return with their second album, Ascending into Shimmering Darkness, and follow-up 2014’s Into the Unfathomable Abyss (review here) with 54 minutes of concrete-thick atmospheric bleakness spread across five tracks. The headfuckery isn’t quite as unremitting as it was on the debut – a blend of airy and thick guitar in the intro of the opening title-cut (also the longest inclusion; immediate points) reminds of Pallbearer – but the three-piece thrive in this more-cohesive-overall context, and their lumbering miseries remain dark and triumphant in kind. A closing duo of “Ever Decreasing Circles” and “The Final Winter” also both top 12 and 13 minutes, respectively, but the shorter second track “Mortal Wound” brings blackened tendencies to the fore and centerpiece “The Legend of Abhartach” effectively leads the way from one side to the other. Still, the most complete victory here for bassist/vocalist John McNulty, guitarist Jemma McNulty and drummer Jay Plested might be “The Final Winter,” which melds its grueling, excruciatingly slow crash to overarching keyboard drama and becomes a work of cinematic depth as well as skull-crushing wretchedness. Such ambient growth fascinates and shows marked progression from their first offering, and even if the primary impression remains one from which no light escapes, don’t be fooled: Coltsblood are growing and are all the more dangerous for that.

Coltsblood on Thee Facebooks

Candlelight Records website

 

Rhino, The Law of Purity

rhino the law of purity

Once they get past the aptly-titled minute-long “Intro,” Rhino keep their foot heavy on the gas for the vast majority of The Law of Purity, their Argonauta Records debut album. The 10 included tracks veer into and out of pure desert rock loyalism – “Eat My Dust” comes across as particularly post-Kyuss, perhaps melded with some of the burl of C.O.C.’s “Shake Like You” – and the throttle of “Nuclear Space,” “Nine Months,” “A. & B. Brown” and “Cock of Dog” later on come to define the impression of straightforward push that puts the riffs forward even more than earlier inclusions like the post-“Intro” title-track or the more mid-paced “Bursting Out,” which hints at psychedelia without really ever fully diving into it. Capping with the roll of “I See the Monsters,” The Law of Purity reminds at times of earlier Astrosoniq – particularly in the vocals – but finds the Sicilian five-piece crafting solid heavy rock tunes that seem more concerned with having a couple beers and a good time than changing the world or remaking the genre. Nothing wrong with that.

Rhino on Thee Facebooks

Argonauta Records website

 

Cruthu, The Angle of Eternity

cruthu the angle of eternity

As it happens, I wrote the bio and release announcement for Cruthu’s debut album, The Angle of Eternity (posted here), and I count guitarist “Postman Dan” McCormick as a personal friend, so if you’re looking for impartiality as regards the self-released six-tracker, look elsewhere. If you’re looking for primo trad doom and classic metal vibes, the Michigan-based four-piece offer touches of progressive flourish amid the shuffle of opener “Bog of Kildare,” a grueling post-“Crystal Ball” nod in “From the Sea” and a bit of ‘70s proto-metallurgy in the closing title-track, which finds vocalist Ryan Evans at his most commanding while McCormick, bassist Erik Hemingsen (Scott Lehman appears as well) and drummer Matt Fry hold together the fluid and patient groove of weighted downer metal. The sense of Cruthu as an outfit schooled in the style is palpable through the creep of “Lady in the Lake” and the post-Trouble chug of “Séance,” but they’re beginning to cast their own identity from their influences – even the penultimate interlude “Separated from the Herd” is part of it – and the dividends of that process are immediate in these tracks.

Cruthu on Thee Facebooks

Cruthu on Bandcamp

 

Spacetrucker, Launch Sequence

spacetrucker launch sequence

From the Kozik-style artwork of their cover to the blown-out vocals on opener “New Pubes” of guitarist Matt Owen, St. Louis three-piece Spacetrucker – how was there not already a band with this name? – make no bones about their intentions on their late-2016, 26-minute Launch Sequence seven-track EP. Owen, bassist Patrick Mulvaney and drummer Del Toro push into a realm of noise-infused stoner grunge loyal to the ‘90s execution of “Supa Scoopa and Mighty Scoop” in the stops of the instrumental “Giza” even as they thicken and dirty up their tonality beyond what Kyuss laid forth. The cowbell-inclusive “Science of Us” rests easily on Mulvaney’s tone and nods toward burl without going over the top, and cuts like “Old Flower,” the penultimate roller “Trenchfoot” and the closing post-Nirvana punker blast of “Ain’t Gonna be Me” reimagine a past in which the language of heavy rock was there to explain where grunge was coming from all along. Not looking to reinvent stylistic parameters in their image at this point, Spacetrucker is nonetheless the kind of band one might’ve run into at SXSW a decade and a half ago and been made a fan for life. As it stands, the charm is not at all lost.

Spacetrucker on Thee Facebooks

Spacetrucker on Bandcamp

 

Black Habit, Black Habit

black habit self titled

Clocking in at half an hour, the self-titled debut release from viola-infused Arizona two-piece Black Habit could probably qualify as an EP or an LP. I’m inclined to consider it the latter considering the depths vocalist/guitarist/bassist Trey Edwin and violist/drummer Emily Jean plunge in the five included tracks, starting with the longest of the bunch (immediate points) in the slow-moving “Escape into Infinity” before shifting the tempo upward for “Suffer and Succumb” and digging into deep-toned sludge marked out by consistently harsh vocals. I wouldn’t be surprised if Black Habit became more melodic or at least moved into cleaner shots over time, as the doomly centerpiece “South Beach” and more fuzz-rocking “Travel Across the Ocean” seem to want to head in that direction, but it’s hard to argue with the echoing rasp that accompanies the rumble and hairy tones of finale “Lust in the Dust,” as Black Habit’s Black Habit rounds out with an especially righteous nod. An intriguing, disaffected, and raw but potential-loaded opening salvo from a two-piece discovering where their sound might take them.

Black Habit on Thee Facebooks

Black Habit on Bandcamp

 

Stone Angels, Patterns in the Ashes

stone angels patterns in the ashes

Massive. Patterns in the Ashes is a malevolent, tectonic three-song EP following up on New Zealand trio Stone Angels’ 2011 debut, Within the Witch, as well as a few shorter live/demo offerings between, and it’s an absolute beast. Launching with the seven-minute instrumental “White Light, White Noise II” – indeed the sequel to a cut from the first album – it conjures a vicious nod and bleeds one song into the next to let “Signed in Blood” further unfold the grim atmospherics underscoring and enriching all that tonal heft. Sludge is the core style, but the Christchurch three-piece’s broader intentions come through with due volume on the grueling “Signed in Blood” and when “For the Glory of None” kicks in after its sample intro, the blasts and growls that it brings push the release to new levels of extremity entirely. As a bonus, the digital edition includes all three tracks put together as one longer, 21-minute piece, so the consuming flow between them can be experienced without any interruption, as it was seemingly meant to be.

Stone Angels on Thee Facebooks

Stone Angels on Bandcamp

 

Black Willows, Samsara

the black willows samsara

If Switzerland-based resonance rockers Black Willows had only released the final two tracks, “Jewel in the Lotus” and “Morning Star,” of their late-2016 second full-length, Samsara, one would still have to call it a complete album – and not just because those songs run 15 and 25 minutes long, respectively. Throughout those extended pieces and the four shorter cuts that appear before them, a palpable meditative sensibility emerges, and Black Willows follow-up the promise of 2013’s Haze (review here) by casting an even more immersive, deeper-toned vibe in the post-Om nod of “Sin” (8:08) and the more percussive complement, “Rise” (9:28), keeping a ritualized feel prevailing but not defining. From the lead-in title-track and the spacious psych trip-out of “Mountain” that gives way to the aforementioned extended closing duo, Black Willows find their key purpose in encompassing tonality and languid grooving. Nothing is overdone, nothing loses its patience, and when they get to the linear trajectory of “Morning Star,” the sense is they’re pushing as far out as far out will go. It’s a joy to follow them on that path.

Black Willows on Thee Facebooks

Black Willows on Bandcamp

 

Lamagaia, Lamagaia

lamagaia lamagaia

Anytime you’re at all ready to quit your job and explore the recesses of your mind via the ingestion of psychedelics, rituals and meditation, Sweden’s Lamagaia would seem to stand prepared to accompany. The Gothenburg four-piece offer two extended tracks of encouragement in that direction on their self-titled 12” (released through Cardinal Fuzz and Sunrise Ocean Bender), and both “Aurora” and “Paronama Vju” carry a heady spirit of kosmiche improvisation and classically progressive willfulness. They go, go, go. Far, far, far. Vocals echo out obscure but definitely there in post-The Heads fashion, but there’s Hawkwindian thrust in the fuzzed bass and drums driving the rhythm behind the howling guitar in “Aurora,” and that only sets up the peaceful stretch that the drones and expansive spaciousness of “Paronama Vju” finds across its 18:55 as all the more of an arrival. Immersive, hypnotic, all that stuff that means gloriously psychedelic, Lamagaia’s Lamagaia offers instrumental chemistry and range for anyone willing to follow along its resonant and ultra-flowing path. Count me in. I never liked working anyway.

Lamagaia website

Cardinal Fuzz webstore

 

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Godhunter Post Codex Narco Trailer and Release Details

Posted in Whathaveyou on March 29th, 2017 by JJ Koczan

godhunter and friends

Earlier this month, when Arizona sludge-with-a-purpose outfit Godhunter announced their new release, Codex Narco, would be out in May through Baby Tooth and Battleground Records, the guest-laden offering was positioned as an EP. As I look at the seven tracks below — granted they could all be a minute long; one doesn’t want to predict or pre-judge — and take a peak at the newly-posted trailer, it’s looking more and more like a full-length album every minute. I don’t necessarily know that Godhunter give a shit about such concerns — they’ve got bigger fish to fry, aesthetically and politically — but these are the things I get hung up on, basically so I know which list something belongs on for December. Godhunter, almost invariably, will wind up on one or the other.

The PR wire brings art, the aforementioned tracklisting and the also-aforementioned trailer. Busy busy busy. Dig it:

godhunter codex narco

GODHUNTER Releases Art, Trailer, And More For Codex Narco Record Featuring Members Of CHRCH, Demon Lung, Mountaineer, Thorne, Methra, And More

GODHUNTER has issued the artwork, track listing, and a brief trailer for the band’s impending Codex Narco record, which features contributions from members of CHRCH, Demon Lung, Mountaineer, Thorne, Methra, and others.

In line with GODHUNTER’s commitment to speaking out about social issues, the proceeds of Codex Narco’s sales will be donated to Planned Parenthood, the statement reflected in the pink color scheme of the artwork by Bailey Illustration and layout by Cool Ghoul Ltd. (Ethan McCarthy of Primitive Man). Codex Narco was mastered by Brad Boatright at Audiosiege, and features a cover of Tegan & Sara’s “Walking With A Ghost,” for which a video is being created to support suicide prevention.

Codex Narco will see digital release through Battleground Records and cassette release through Baby Tooth Records on May 19th; preorders and further audio samples will be issued in the weeks ahead.

Codex Narco Track Listing:
1. A Dread Of Some Strange Impending Doom
2. Like Glass Under Black Fingernails
3. Our Blood Is Poison
4. Cocaine Witches & Lysergic Dreams
5. Unarmed Combat
6. Walking With A Ghost
7. Distant Fading Screams Of A Dying World

In September of 2015, after finishing a successful US tour with Destroyer Of Light, several members of GODHUNTER amicably split with the band, simply moving on with more family commitments and unable to commit to regular touring. Within weeks of the lineup shift, the rest of the band began writing new material together through internet conversations and individual recording sessions, as remaining guitarist/vocalist David Rodgers, drummer Andy Kratzenberg, and keyboardist Matthew Davis, currently reside on opposite ends of the country, spread across Washington, Arizona, and Georgia. Shortly into the creation process, it was realized that the band was deviating from their usual lyrical content on our deteriorating world and current events, and for the first time were instead focusing towards their own realms of inner darkness. Everyone in the band has experienced some dramatic personal trauma in recent years, a factor which is intensely reflected in the writing of Codex Narco, where dependency, depression, and loss are the driving factors, resulting in the most personal and deeply introspective material the band has ever made.

After fleshing out the main skeleton of the new material, the remaining members of GODHUNTER secured additional elements from several of the band’s closer personal and musical friends. Several of the contributors recorded a large amount of Codex Narco at Homewrecker Studios in Tucson, with the additional material recorded by each musician at their hometown studio of choice. The record features guest vocals from Eva Rose (CHRCH) and Josh Thorne (Thorne), bass from Adam Sage (Demon Lung), guitars from Clayton Bartholomew (Mountaineer, ex-Secrets Of The Sky), and vocal, bass, and guitar contributions from Nick Genitals (Methra).

http://www.facebook.com/godhuntersludge
https://battlegroundrecords.bandcamp.com
http://www.battlegroundrnr.com
https://twitter.com/BattlegroundRNR
http://instagram.com/battleground_records
https://babytoothtucson.bandcamp.com
https://www.facebook.com/babytoothtucson

Godhunter, Codex Narco trailer

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Goya, Harvester of Bongloads: And Riffs for All

Posted in Reviews on March 17th, 2017 by JJ Koczan

goya-harvester-of-bongloads-closeup

“*-Please note: Cover art is cropped above. Full cover is NSFW and can be viewed by clicking here.-*”

Kudos to whichever member of Phoenix, Arizona, trio Goya came up with the idea of calling their third album Harvester of Bongloads — a title that not only speaks to the megastoned nature of the band’s output but contains a reference to classic metal as filtered through anti-everything fuckall, which is pretty much the core of what guitarist/vocalist Jeff Owens, bassist Sonny DeCarlo and drummer Nick Lose have on offer throughout the four-track/40-minute outing.

It’s a record that revels in its own misanthropy as its core and defining principle — beyond even the inclusion of the 11-minute “Misanthropy on High” on side B — and it boils down to its very essence the appeal of Goya‘s work to-date across their albums, 2015’s Obelisk (review here) and 2013’s 777 debut, as well as the slew of shorter releases that have surrounded them, from last year’s Forever Dead, Forever Stoned demo reissue and Doomed Planet (discussed here) and The Enemy (review here) EPs and the Nirvana tribute single, Drain You b/w D-7 (review here), back through 2014’s Satan’s Fire EP (review here), etc.; the three-piece proving vibrant and prolific in terms of output despite having adopted a “drop out of life” ethic to a nigh-on-dogmatic degree. Still, with Harvester of Bongloads, loathing and consuming low end rule the day, and Owens‘ post-Jus Oborn vocal delivery tops the maddening wizard-doom roll with a thick-smoke haze that could hardly be more of a fit for a song like 20-minute opener and longest track (immediate points) “Omen,” which breaks into three component parts subtitled “I. Strange Geometry,” “II. Fade Away” and “III. Life Disintegrates.”

This, mind you, is the opener. Goya lead with this. On Harvester of Bongloads. One has to imagine it would be a challenge for the three-piece to preach more to the converted than they are here, from the wink-and-nod dogwhistle name of the record to the absolute desire to overwhelm a listener who is 100 percent looking to be overwhelmed in exactly this way — the kind of individual who might go, “Yes, please drown me in riffs.” Goya are happy to give it a shot on Harvester of Bongloads, and “Omen” is a key manifestation of that. Its slow-motion plod is marked out first on drums and some far off manipulated noise, starting “I. Strange Geometry” quietly with its bassline and an eerie tension. I’m not entirely sure where the divides between the parts of “Omen” occur, and part of the reason for that is because the changes are so fluid, but that subdued opening builds subtly over the first four-plus minutes and gives way circa 4:30 to a full-tilt lumbering, Owens entering for the first verse after a swell of cymbal.

For something that’s already been on for five minutes, the impact is immediate. He, DeCarlo and Lose ride that groove for until shortly before eight minutes in, when the drums and bass drop out and the guitar introduces the next riff in classic stoner metal fashion. Is that the start of “II. Fade Away?” The lyrical telling of politicians destroying dreams and other such decay, so I’d believe it, but the actual line “fade away” is still to come, arriving as it does past the halfway point as the band have drifted from a long solo section at almost exactly the 12-minute mark into quiet psychedelia, the guitar in chill mode as the warmth of bass comes forward. It’s hypnotic, but doesn’t last. At 14:30, they launch into resumed tonal crush that carries them into “III. Life Disintegrates,” the rumbling, mournful conclusion of “Omen,” which ends with more fervent hits and a worthy crash for what’s come before it, shifting into the two-minute riff-roller “Germination.” An epilogue for the opening track? Maybe. It’s a quick play between groove and guitar solo, instrumental and ends in feedback, like a snippet of a longer jam, but it also feeds directly into “Misanthropy on High,” so it could be just as much an intro to side B as well.

To-date, Goya have not put out a release — album, EP, single, whatever — that did not in some way build on what’s come before it. Their sound, heavily drawn from Black Sabbath, SleepElectric WizardWindhand, etc., has steadily become more their own, and Harvester of Bongloads is a next step in that process. The attitude behind “Misanthropy on High” — which if it’s not on a t-shirt yet probably should be; one has to believe it will surface as a motto for Goya at some point — is part of that, but it’s just as much the manner in which the three-piece seem to be fighting their own songs. It’s almost like “Misanthropy on High” has a will of its own as its 11-plus minutes play out, and as Goya are performing it, they’re also working to control it, like at any second the whole thing could devolve into sheer noise-drenched chaos, fall completely apart under its own weight. That they are ultimately in command of that process is a factor in making their work develop as it has over the course of their albums, and as they’ve grown into it, they’ve become immediately identifiable by sound despite whatever familiar elements might persist. “Misanthropy on High” is a near-perfect execution of that and a callout to the disaffected to join them in the toward-oblivion nod the creation of which one imagines is Goya‘s very purpose for being.

Just as “Germination” fed directly into it, it leads to the six-minute closer “Disease,” which marks a relative uptick in tempo — closer to mid-paced, on some general scale — and finishes Harvester of Bongloads in a manner both acidic and kingly, Owens tossing out a few lines early before receding and coming back after the halfway point to make sure the emphasis on global decay and death is properly conveyed before they’re done. Rest assured, it is. A bit of shred follows in the last minute and a sudden cut to feedback and two last crashes end the album. The statement has been made, the point taken, the riffs meted out with duly punishing sensibility behind them, and as if to underscore the sincerity and lack of pretense at their core, Goya finish cold where one might’ve expected a long, stonerly fade.

One could go on waxing critical about how subtle touches like that further distinguish their work from a crowded underground sphere, but I’m not sure there’s a point. Fact is, Goya have become something of a litmus test for those who’d take them on — either you get it and can dig it, or you don’t and you can’t. They don’t seem to care much either way, and perhaps that’s for the better. A group so outwardly, loudly dedicated to flipping off existence in general shouldn’t at the same time be necessarily playing at accessibility, even to a niche audience, but don’t take that to mean they aren’t likewise pushing themselves to progress in their mammoth, consuming approach. While they may be disgusted with the world around them, Harvester of Bongloads is clearly a labor of love.

Goya, Harvester of Bongloads (2017)

Goya on Thee Facebooks

Goya on Instagram

Goya on Bandcamp

Opoponax Records BigCartel store

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The Second Coming of Heavy – Chapter Five out March 24

Posted in Whathaveyou on March 10th, 2017 by JJ Koczan

The beat rolls on, the bands play on, and Ripple Music‘s The Second Coming of Heavy – Chapter Five lands on March 24, bringing new tracks with it from Desert Suns and Chiefs. This latest installment of the ongoing and deeply admirable series of split LPs marks the first of 2017, arriving just a few months after Chapter Four (review here) brought together the colorful pairing of Red Mesa and Blue Snaggletooth. One has to wonder at this point what will happen when Ripple gets to Chapter 10 — we’re halfway there — and whether the label will issue a box set of all of these together in celebration of the scope of the project. Even if they made 20 or something and charged $150-$200 for them, it seems like a worthy endeavor, particularly as all the art ties together and whatnot.

My two cents, anyhow.

The PR wire has background and audio for The Second Coming of Heavy – Chapter Five. I’ve got a pretty good track record at this point of reviewing these, and I’ll hope to maintain that with this one as well, so please keep an eye out. Till then:

second-coming-of-heavy-chapter-v-desert-suns-chiefs

The return of Ripple Music’s The Second Coming Of Heavy; Chapter V | Split album from Desert Suns and Chiefs

The Second Coming Of Heavy; Chapter V is released on vinyl on 24th March 2017

Already recognised as one of the world’s leading purveyors of Rock ‘n’ Roll, Stoner, Doom and Heavy Psych, Ripple Music upped the ante in 2015 with the arrival of one of the year’s most ambitious projects, The Second Coming Of Heavy Series.

Serving as an ongoing showcase for some of the best and heaviest bands emerging from the underground, each installment shines a light on those worthy of your attention. Consisting of one, 12” slab of multicoloured vinyl with full colour sleeves and inserts, the series is designed to be saved and treasured, like a fine anthology of books. So much so when the albums are filed next to each other, the complete collection of aligned spines form a mind-blowing image direct from the underground.

DESERT SUNS – In that space where psychedelia, blues-rock and doom coalesce, it’s there you’ll likely find Desert Suns. Formed in late 2013, from the outset the Californian quartet demonstrated a versatility rarely seen amongst their contemporaries. In no time at all they wrote, recorded and released their debut single ‘Burning Temples’ and by that same summer had already started to unload an arsenal of new sounds. Released in 2014, their self-titled debut reassured fans that they were far from one hit wonders. Containing haunting lyrics of alienation with compelling hooks, Desert Suns peddle an addictive and atmospheric energy of heavy rock familiar to fans of early ’70s proto-metal acts such as Black Sabbath, Deep Purple and Blue Cheer.

CHIEFS – Having originally begun life as a two-piece back in January of 2012 in Phoenix, AZ, after years of releasing demos, touring and playing around Phoenix Valley the duo made the decision to relocate to San Diego, CA. Shortly after, they released a four-song demo entitled Buffalo Roam, and did numerous short West Coast tours to support it. Eventually the group became a three-piece with the permanent addition of bassist Jeff Podeszwik, who filled out the low-end of the band and transformed their sound. Hot off the heels of releasing a split 7″ with Fuzz Evil through Battleground Records, Chiefs released their debut full-length album Tomorrow’s Over and are now the latest addition to Ripple Music’s much coveted SCoH’s “Hall of Fame”.

The Second Coming Of Heavy; Chapter V will get an official vinyl release on 24th March 2017 and is limited to 300 copies in three alternative versions (100 of each) – The Resurrection Edition, The Risen OBI and The Ascension Edition.

http://www.desertsunsmusic.com/
https://www.facebook.com/desertsunssd/
https://www.instagram.com/desertsunsband/
https://desertsuns.bandcamp.com/

http://www.wearechiefs.com/
https://www.facebook.com/wearechiefs
https://wearechiefs.bandcamp.com/
https://www.instagram.com/wearechiefs/
https://twitter.com/chiefsphx

http://www.ripple-music.com/
https://www.facebook.com/pages/Ripple-Music/369610860064
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/

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Godhunter Announce New EP Codex Narco Due in May

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

Tucson sludgers Godhunter taking on a more directly political lyrical bent makes sense, as the band has always been keen to offer some latent social commentary both on the local level of their home in Arizona and in the wider sphere of worldly goings on. Not to mention these are deeply politicized times blah blah blah, but yeah, that makes sense as a turn the band would make. Interestingly, they’ve called in a few friends to help them make their point. Their new EP, Codex Narco, is set to release this May on Battleground Records and Baby Tooth Records and with guest spots from CHRCH‘s Eva Rose — well that’s going to be fucking unbelievably heavy — as well as members of Methra, Demon Lung and others, although Godhunter have undergone some lineup changes over the last couple years, they still clearly know how to put a party together. Interested to hear how this one turns out.

No art or audio yet, but the PR wire has release details:

godhunter

GODHUNTER To Release Codex Narco In May; Record Features Contributors From CHRCH, Demon Lung, Mountaineer, Thorne, Methra, And More

GODHUNTER has completed a new EP titled Codex Narco, featuring a cast of fellow musicians hailing from the likes of CHRCH, Demon Lung, Mountaineer, Thorne, Methra, and others. The EP will see release in May, with the proceeds from each format going to several important charities.

In September of 2015, after finishing a successful US tour with Destroyer Of Light, several members of GODHUNTER amicably split with the band, simply moving on with more family commitments and unable to commit to regular touring. Within weeks of the lineup shift, the rest of the band began writing new material together through internet conversations and individual recording sessions, as remaining guitarist/vocalist David Rodgers, drummer Andy Kratzenberg, and keyboardist Matthew Davis, currently reside on opposite ends of the country, spread across Washington, Arizona, and Georgia.

Shortly into the creation process, it was realized that the band was deviating from their usual lyrical content on our deteriorating world and current events, and for the first time were instead focusing towards their own realms of inner darkness. Everyone in the band has experienced some dramatic personal trauma in recent years, a factor which is intensely reflected in the writing of Codex Narco, where dependency, depression, and loss are the driving factors, resulting in the most personal and deeply introspective material the band has ever made.

After fleshing out the main skeleton of the new material, the remaining members of GODHUNTER secured additional elements from several of the band’s closer personal and musical friends. Several of the contributors recorded a large amount of Codex Narco at Homewrecker Studios in Tucson, with the additional material recorded by each musician at their hometown studio of choice. The record features guest vocals from Eva Rose (CHRCH) and Josh Thorne (Thorne), bass from Adam Sage (Demon Lung), guitars from Clayton Bartholomew (Mountaineer, ex-Secrets Of The Sky), and vocal, bass, and guitar contributions from Nick Genitals (Methra).

Codex Narco was mastered by Brad Boatright at Audiosiege, and features artwork by Bailey Illustration and layout by Cool Ghoul Ltd. (Ethan McCarthy of Primitive Man). The record will see release through Battleground Records in conjunction with Baby Tooth Records who will release a cassette version, on May 19th; all profits will be donated to Planned Parenthood.

GODHUNTER’s commitment to speaking out about social issues has not changed though, and as such, the proceeds from this album will be donated to Planned Parenthood, as reflected in the pink color scheme. Mitch Wells from Thou is also making us a video for the Tegan & Sara cover song “Walking With A Ghost.” This video is being made to support suicide prevention. Even though the album is very personal, the resulting effort is all about giving back to organizations the band members care deeply about.

http://www.facebook.com/godhuntersludge
https://battlegroundrecords.bandcamp.com
http://www.battlegroundrnr.com
https://twitter.com/BattlegroundRNR
http://instagram.com/battleground_records
https://babytoothtucson.bandcamp.com
https://www.facebook.com/babytoothtucson

Godhunter vs. Destroyer of Light, Endsville (2015)

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