As ever in life, it’s important to stop and take stock of the things you know and the things you don’t know. When it comes to the two-piece Fraudband, the answer would seem to be “not much.” An instrumental duo from Melbourne, Australia, they made their debut last year with a tape released on Kasumuen Records called, appropriately, First Songs, and followed it up earlier in 2015 with a 10″ called Some Things that came with a CD version of its five tracks and hand-painted covers. The track “Keyed In,” for which they have a brand new video, seems to come from an impending first LP.
I admit, that’s not nothing. I’ve certainly posted about bands in the last six-plus years with less to go on. But who Fraudband are, the lineup, or what the name of the album is, or when it might be out, where it was recorded, or if “Keyed In,” which is mentioned as a single, will be pressed physically at all separate from the album — all that stuff is a mystery. One can peruse their Thee Facebooks and see they’ve been playing around Melbourne for about two years now, and they had a video for “Special Time” from Some Things in which you could see their faces, but beyond that, they’re somewhat obscure. Fair enough. I guess with natural-tone guitar, post-punker rhythmic fluidity and no lyrics, they might not feel there’s much else to say at this point.
That’s fine, but listening to “Keyed In,” I wouldn’t mind at all knowing when the record is coming out. Sooner or later, I suppose. There are a couple live shows in the meantime, if you happen to be in Melbourne. Dates are plugged in the info under the video.
Fraudband, “Keyed In” official video
Video single for “Keyed In” by Paul Rodgers.
Track from Fraudband’s upcoming debut long player on Kasumuen Records.
August video single launch shows – Fri 7th – Flanagans, Shepparton w/ Makeshift – Sat 8th – Record Crate, Glebe w/ Burdett n Bell + Warm Feelings + Imperial Broads
Posted in Whathaveyou on July 22nd, 2015 by H.P. Taskmaster
This one sounds like a winner. On Friday, Wild Animal Records and Bro Fidelity Records will release a split between UK outfit Hey Colossus and Melbourne’s Hotel Wrecking City Traders on 12″ vinyl that contains one extended track from each band. Apparently the two acts had been in touch for some time but finally got to play together when the Aussie duo hit Europe for a tour last year, including a slot at Desertfest in London.
I’ll admit I don’t know Hey Colossus nearly as well as Hotel Wrecking City Traders, but the six-piece band released a full-length titled In Black and Gold on Rocket Recordings, and if you know that label, that should be enough to pique your interest. In the meantime, Hotel Wrecking City Traders released their second full-length, Ikiryo (review here), last year just about the time they took off for Europe and followed it up with a single, “Loose Alcoholic,” at the end of 2014.
Split’s out at the end of the week, so here’s some PR wire info if you’d like to prepare:
HEY COLOSSUS / HOTEL WRECKING CITY TRADERS SPLIT 12 INCH
This split’s been in the pipeline since 2006, Melbourne’s HWCT + London/Somerset’s HC have been long time talkers, finally meeting when they did some shows together in 2014. The Australian duo tore it round Europe for 3 weeks, HC hooked up for 3 of the shows (including the London Desertfest).
One long tune each.
HWCT go JAM-HEAVY with ‘Droned and Disowned (Pt.2)’, ripping on some mid 80’s NY insistent guitar clang, building and building, being led by the drums, chased by the riffs, 22 smoke filled mins.
HC take it doooooown with ‘Heaven Blows’, a 3am ‘question where you’re going with your life’ come down tune, drones flying about, twinkly dream synths, vocals from outta nowhere.
Split 12 / Download is out July 24th on Wild Animals Records + Bro Fidelity Records, both labels out of Melbourne, 216 copies (Various colored vinyl).
Posted in Whathaveyou on July 17th, 2015 by H.P. Taskmaster
Sydney heavy rockers Comacozer have signed with Netherlands-based imprint HeadSpin Records. Their first album for the label — also their first album, period — will be recorded this October and is to be titled Astra Planeta, and as a precursor to its arrival early next year, HeadSpin has compiled Comacozer‘s two EPs, Deloun and Sessions, onto one LP appropriately titled Deloun Sessions and available now to preorder ahead of a Sept. 2015 release.
Word from the band and info on both releases follows, gently plucked from the PR wire:
We have recently been signed by Dutch Label, HeadSpin Records (also home to Elder, Eternal Elysium and more great bands) to release a Full Length LP early 2016 which will be titled ‘ASTRA PLANETA’ so this is extremely exciting news for us and can’t wait to get this new release out there. Album will be recorded in October at Frank St Studios with Frank Attard (Mother Mars, Frozen Planet 69 and Peppershake Records) at the mixing desk/producing and have the amazing artwork of Jasmin Meier (Harley & J Illustrations) who did the ‘Deloun’ artwork.
In the meantime, Headspin Records is releasing a special Limited Edition 12” release titled ‘DELOUN SESSIONS’ which combines our two previous EPs onto transparent green/black, silver and standard black vinyl and the two EPs completely remastered. It’s available for Pre-Order from Shiny beast Mailorder with an expected ship date of 1ast September.
‘DELOUN’ and ‘SESSIONS’ EP’s RE-MASTERED FOR THIS SPECIAL LIMITED EDITION RELEASE!!!
‘Deloun’ Recorded at Frank St Studios – January 2015 Engineered by Frank Attard (Peppershake Records / Mother Mars / Frozen Planet 69) Produced by COMACOZER Mastered by Philip Dust Artwork by Jasmin Meier (Harley & J Illustrations)
‘Sessions’ Recorded at Soundworks Studios – April 2014 Engineered & Produced by Dav Byrne (Iridium Audio) & Comacozer Mastered by Philip Dust Artwork by Rick Burke
Posted in Whathaveyou on July 16th, 2015 by H.P. Taskmaster
File this one under “Damn Those are Gonna be Some Good Shows” as Earthless and Elder pair up to tour Australia beginning Oct. 22. It’s a quick run, but an utterly badass pairing of bands, that, if I happened to be on the other side of the planet, I’d be sure to hit up. This will be Elder‘s first time down there — you might recall a couple years back they were all set to go with YOB (who will be there next month as well) but it didn’t pan out — while I’m pretty sure Earthless have made the trip before. Either way, there’s just nothing about those two getting together that doesn’t flat out rule.
News came down off the PR wire a couple minutes ago:
EARTHLESS (USA) & ELDER (USA) AUSTRALIAN TOUR OCTOBER 2015
LIFE IS NOISE is proud to announce the heavy-psych double-bill of the year, as Elder and Earthless tour Australia this October.
Earthless want you to know how it feels to touch the sky. With smoldering guitar riffs that stretch from here to infinity, the San Diego trio are at once cosmic and timeless, rooted in a profound respect for the Zeppelin/Sabbathian tradition yet with eyes firmly cast forward. Never mind the retro rock revivalists or the ’70s throwbacks – Earthless aren’t nostalgists; they’re sonic luminaries dragging psychadelia by the wah pedal into the 21st century and beyond.
Isaiah Mitchell is the kind of guitar prodigy that comes along only once in a generation. Underpinned by the military precision of Mario Rubalcaba’s drumming and Mike Eginton’s fundamental grooves, Mitchell’s chaotic fretwork is as unpredictable as it is ambitious.
Elder are a sleeper cell of colossal talent. Never has three-piece so seamlessly merged the atmosphere of doom with the depth of stoner rock and the vitality of psychedelic rock. Their latest album, Lore, is a quiet masterpiece – a blizzard of riffs that shine with melody, dynamism and songwriting sophistication well beyond the young band’s years.
Few bands have the gall to cover Jimi Hendrix, and even fewer can do it well, but Elder did just that in June when they released a rip-roaring cover of Voodoo Child (Slight Return) for the Hendrix tribute Electric Ladyland Redux. Nick DeSalvo’s guitar sounds on the brink of bursting into flames as he blazes through solo after solo.
Elder’s sonic mastery extends beyond the studio – the trio’s live documents and show-stealing sets at Roadburn and Psycho California are a testament to Elder’s limitless potential.
Elder and Earthless have never shared a stage before. There’s no telling what havoc these two riff lords will wreak. Don’t miss the psych trip of the year. Witness these two blow minds on the following dates:
Perth – The Rosemount Hotel – October 22, Melbourne –The Corner – October 23, 2015 Sydney – Newtown Social – October 24, 2015 Brisbane – Crowbar – October 26, 2015
Tickets on sale now through lifeisnoise.com, Oztix and venue outlets.
Posted in Whathaveyou on July 2nd, 2015 by H.P. Taskmaster
Congratulations to Australian riffers Aver on signing to Ripple Music, and I promise I didn’t know that was happening earlier this week when I included their Nadiralbum in the Quarterly Review. Fair enough. Ripple will have a pressing of Nadir out sometime later in 2015 — or maybe 2016, considering the year’s already more than half over — so that those who got stoked on the digital release will be able to have one to take home and put on the shelf. Maybe vinyl-size will be big enough to figure out just what the hell is going on with that cover art.
The announcement follows, courtesy of the PR wire:
Ripple Music is pleased to announce the signing of Australian band AVER and with it, the official international release of their sophomore album Nadir.
Originally self-released earlier in the year to an online fanfare from a dedicated few amid the stoner/psych community, the album has already proven itself to be one of the most exciting and distinctive alternative records of 2015. Fearlessly taking their music exactly where it needs to go, and packing enough technical nous and talent to power an exploratory vessel of sound and substance, at over an hour in length Nadir exposes listeners to soaring instrumentals, heavy psychedelia and spine-crushing progressive cadences. Weighted somewhere between the worlds, galaxies and supernovae of stoner metal and space rock, for the quartet – who originally formed on the Northern shores of Sydney back in 2008 – their signing to the Californian label heralds yet another stellar addition to the ever growing Ripple Music Family, and the beginning of a journey out of the underground and into the void.
While an official release date for the album will follow soon, in the meantime, sit back, strap yourselves in and take a trip and experience AVER’s magnificent ‘Rising Sun’.
Posted in Reviews on July 2nd, 2015 by H.P. Taskmaster
We’re on the downhill swing of this edition of the Quarterly Review, so it’s time to get into some extremes, I think. Today, between death-doom lurch, drone-as-fuck exploring, gritty aggression and a whole lot more, we pretty much get there. I’m not saying it’s one end of the universe to another, but definitely a little all-over-the-place, which is just what one might need when staring down the fourth round of 10 reviews in a row in a week’s time. Feeling good though, so let’s do it.
Quarterly Review #31-40:
Kamchatka, Long Road Made of Gold
It would really be something if Swedish blues rockers Kamchatka released six albums over the course of the last decade and didn’t know what they were doing by now. Fortunately, that’s not the case with Long Road Made of Gold (Despotz Records), their sixth, as the Verberg three-piece of guitarist/vocalist Thomas Juneor Andersson, bassist Per Wiberg (see also: Spiritual Beggars, Candlemass, Opeth, etc.) and drummer Tobias Strandvik modernize classic heavy rock with equal comfort in including a banjo on “Take Me Back Home” and progressive-style harmonies on “Rain.” They seem to get bluesier as they go, with later cuts “Mirror,” “Slowly Drifting Away,” “Long Road” and “To You” rounding out the album with Clutch-style bounce, but the prevailing impact of Long Road Made of Gold is one of unflinching class, the chemistry of its players – not to mention Wiberg’s bass tone – ringing through loud and clear from the material as Kamchatka make their way down that long road to their inevitable next outing.
I said as much when the Tokyo duo released their 2013 debut EP (review here) as well, but their first long-player Iron Scorn (on At War with False Noise) only confirms it: Legion of Andromeda are fucked. Theirs is a doomed-out death metal given further inhumanity by programmed drums and the blown-out growls of vocalist -R-, while guitarist/programmer –M- holds down grime-encrusted chug and dirge riffing. Perhaps most fucked of all is the fact that Iron Scorn uses essentially the same drum progression across its seven tracks/44 minutes, varying in tempo but holding firm to the double-kick and bell-hit timekeeping for the duration. The effect this has not only ties the material together – as it would have to – but also makes the listener feel like they’ve entered into some no-light-can-escape alternate universe in which all there is is that thud, the distortion and the growls. Not a headphone record, unless you were looking to start psychotherapy anyhow, its extremity is prevalent enough to feel like a physical force holding you down.
Relentlessly creative and geographically amorphous drone warriors Queen Elephantine compile eight tracks from eight years of their perpetual exploration for Omen on Atypeek Music, which launches with its titular cut, the oldest of the bunch, from 2007. It’s a gritty rolling groove that, even as nascent and riff-noddy as it is, still has underpinnings that might clue the listener in to what’s to come (especially in hindsight) and comes accompanied by the sludgy “The Sea Goat,” a rawer take recorded the same year in Hong Kong. Newest on Omen is the blissfully percussed “Morning Three” and an 18-minute live version of “Search for the Deathless State” from 2010’s Kailash full-length. Lineups, intent and breadth of sound vary widely, but even into the reaches of “1,000 Years” (2012, Providence, RI) and “Shamanic Procession” (2009, New York), Queen Elephantine remain unflinching in their experimentalism and the results here are likewise immersive. Vastly underrated, their work remains a world waiting to be explored.
Consuming undulations of tectonic riffing. Two of them, actually. Watchtower’s Radiant Moon EP serves as their debut on Magnetic Eye, and like their fellow-Melbourne-resident labelmates in Horsehunter, the four-piece Watchtower slam heavy-est riffs into the listener’s cerebral cortex with little concern for lasting aftereffects, all in worship of nod and volume itself. Where the two acts differ is in Watchtower’s overarching sense of grit, harsh vocals pervading both “Radiant Moon” (9:03) itself and the accompanying “Living Heads” (7:09), standalone vocalist Nico Guijt growing through the tonal fray wrought by guitarist Robbie Ingram and bassist Ben Robertson, Joel McGann’s drums pushing the emergent roll forward on “Living Heads,” a High on Fire-style startoff hitting the brakes on tempo to plod over any and all in its path. I’m trying to tell you it’s fucking heavy. Is that getting through? Watchtower had a live single out before Radiant Moon, but I’d be eager to hear what they come up with for a full-length, whether they might shift elsewhere at some point or revel in pure onslaught. Now taking bets.
The use of multiple vocalists gives Roman trio Ape Skull’s ‘70s fetishism a particularly proggy air. Fly Camel Fly is their second full-length for Heavy Psych Sounds behind a 2013 self-titled, and the boogie of “My Way” and “Early Morning,” the solo-topped groove of “Fly Camel Fly,” and the raw Hendrixology of “A is for Ape” position it as a classic rocker through and through. Vocalist/drummer Giuliano Padroni, bassist/vocalist Pierpaolo Pastorelli and guitarist/vocalist Fulvio Cartacci get down to shuffling business quick and stay that way for the 39-minute duration, the Mountainous “Heavy Santa Ana Wind” missing only the complement of a sappy, over-the-top ballad to complete its vintage believability. Even without, the triumvirate stand tall, fuzzy and swinging on Fly Camel Fly, the cowbell of “Tree Stomp” calling to mind the earthy chaos of Blue Cheer without direct mimicry. A quick listen that builds and holds its momentum, but one that holds up too on subsequent visits.
Mad-as-hell trio Hordes have had a slew of releases out over the last eight years or so – EPs, splits, full-lengths with extended tracks – but their experimental take on noise rock topped with Godfleshy shouts arrives satisfyingly stripped down on their latest self-titled five-track EP, recorded in 2013 and pressed newly to tape and CD (also digital). “Eyes Dulled Blind” dials back some of the pummeling after the bruises left by “Cold War Echo,” guitarist/vocalist Alex Hudson at the fore in the JK Broadrick tradition. Centerpiece “Summer” starts with a slow and peaceful ruse before shifting into brash and blown-out punk – Chris Martinez’s hi-hat forward in the mix to further the abrasion – and finally settles into a middle-ground between the two (mind you, the song is four minutes long), and bassist Jon Howard opens “Life Crusher,” which unfolds quickly into the most oppressive push here, while a churning atmosphere pervades the more echo-laden closer “Fall” to reinforce Hordes’ experimentalist claims and steady balance between tonal weight and noise-caked aggression.
There’s a theatrical element underlying Welsh rockers Dead Shed Jokers’ second, self-titled full-length (on Pity My Brain Records). That’s not to say its eight songs are in some way insincere, just that the five-piece of vocalist Hywel Davies, guitarists Nicky Bryant and Kristian Evans, bassist Luke Cook and drummer Ashley Jones know there’s a show going on. Davies is in the lead throughout and proves a consummate frontman presence across opener “Dafydd’s Song,” the stomping “Memoirs of Mr. Bryant” and the swinging “Rapture Riddles,” Dead Shed Jokers’ penultimate cut before the cabaret closer “Exit Stage Left (Applause),” but the instrumental backing is up to its own task, and a clear-headed production gives the entire affair a professional sensibility. They veer into and out of heavy rock tropes fluidly, but maintain a tonal fullness wherever they might be headed, and Cook’s bass late in “Made in Vietnam” seems to carry a record’s worth of weight in just its few measures at the forefront before Davies returns for the next round of proclamations.
Berlin’s These Hands Conspire aren’t through the two-minute instrumental “Intro” before they’re showing off the heft of tone that pervades their metallized debut album, Sword of Korhan, but as they demonstrate throughout the following seven tracks and the total 45-minute runtime, there’s plenty to go around. Vocalist Felix delivers an especially noteworthy performance over the dual-guitars of Tom and Stefan, the bass of Paul and Sascha’s drums, but heavy metal storytelling – the sci-fi narrative seems to be a battle in space – is just as much a part of the record’s progressive flow, longer cuts like “Praise to Nova Rider,” “The Beast Cometh,” which directly follows, and “Ambush at Antarox IV” feeding one into the next sonically and thematically. The penultimate title-track brings swinging apex to an ambitious first outing, but the foreboding, winding guitar echoes of “Outro” hint at more of the tale to be told. Could be that Sword of Korhan is just the beginning of a much longer engagement.
Maybe it doesn’t need to be said, since if it weren’t the case, they wouldn’t have paired at all, but Enos and Mangoo pair well. The UK chimp-obsessed space metallers – that’s Enos, on side A – and the Finnish modernized classic heavy rock outfit – that’s Mangoo, on side B – don’t ask much of the listener across their Son of a Gun/The Grey Belly split (on H42 Records) beyond a little over 10 minutes of time and a willingness to follow a groove. “Son of a Gun” finds Enos blending particularly well with Mangoo’s methodology via the inclusion of organ in their swinging but still forward-directed movement, and after that, it’s an easy mesh to flip the platter and find Mangoo’s “The Grey Belly” waiting, its own keys playing a huge role in carrying across the ‘70s-via-‘90s vibe the band projects so well. Flourishes of percussion in the former seem to complement the progressive guitar work in the latter, and whichever side happens to be spinning, it all works out just fine.
Born in 2007 as Spice and the RJ Band and rechristened Band of Spice in 2010 prior to their third album, Feel Like Coming Home, the Swedish unit boasting vocalist Christian “Spice” Sjöstrand (founding vocalist of Spiritual Beggars, also Mushroom River Band, currently also in Kayser) release their fourth full-length half a decade later in the form of Economic Dancers on Scarlet Records. It’s a straightforward heavy rocker in the organ-laced European tradition that Spice helped create, with some shades of quirk in the intro to “The Joe” and the arena-ready backing vocals of “In My Blood,” but mostly cutting its teeth on modernized ‘70s jams like “On the Run,” “Down by the Liquor Store” and “True Will,” though the six-minute centerpiece “You Will Call” touches on more psychedelic fare and is backed immediately by two metallers in “You Can’t Stop” and “Fly Away,” so it’s not by any means one-sided, even if at times the mix makes it feel like the 11 tracks are a showcase for the singer whose name is on the marquee.
I’ll tell you flat out because I think it makes going into listening to the song that much more enjoyable: The hook of “Fuel Injected” by Mammoth Mammoth is, “I’m a fuel injected suicide machine/And I’m built for speed.” At an efficient 4:34, the track also packs in the gem of a verse:
I eat angel dust for breakfast Then I microwave the cat No better way to start the day I can tell you that
And I’m sorry, but if you don’t think that’s fucking brilliant, we’ll just have to agree to disagree. True, this is the second video premiere the troublemaking Melbourne four-piece have brought to bear via this site, but what the hell? If giving a fuck was the order of the day, Mammoth Mammoth probably wouldn’t be involved in the first place. And though they’re inclined to wreck up the joint in booze-and-whatever-else-fueled fervor, it’s well worth having to vacuum afterwards, particularly as the new video comes just a few days before the start of Mammoth Mammoth‘s European tour supporting their latest album, Volume IV – Hammered Again, on Napalm Records.
The clip for “Fuel Injected” is somewhat less conceptual than “Lookin’ Down the Barrel” (premiere here), which played off the classic documentary The Decline of Western Civilization Part II: The Metal Years. This time around, Mammoth Mammoth — the lineup of vocalist Mikey Tucker, guitarist Ben Couzens, bassist Pete Bell and drummer Frank Trobbiani — are out somewhere in the desert, kicking ass in a dilapidated-looking wood shack of one sort or another. And where “Lookin’ Down the Barrel” was somewhat overwhelmed by the visuals that came with it — by that I mean it was fucking hilarious to the point of distraction — “Fuel Injected” gives the song a bit more room to shine.
Mammoth Mammoth‘s visit to Europe starts July 8 in Berlin with their labelmates in The Midnight Ghost Train. That’s gonna be a raucous show if ever there was one. Full list of dates follows the video below.
Mammoth Mammoth, “Fuel Injected” official video
On the eve of MAMMOTH MAMMOTH’s return to Europe, comes the video for their new single, Fuel Injected, from the band’s latest album “Volume IV – Hammered Again”. Get hammered with the band this July and catch them live!! European tour dates and ticket information atMammothmammoth.com.
HAMMERED AGAIN 2015 EUROPEAN TOUR 08.07.15 DE – Berlin / Cassiopeia *with MIDNIGHT GHOST TRAIN 09.07.15 DE – Kiel / Schaubude *with MIDNIGHT GHOST TRAIN 10.07.15 DE – Erfurt / Stoned From The Underground 11.07.15 DE – Düsseldorf / Pitcher 12.07.15 NL – Utrecht / DBs 14.07.15 DE – Würzburg / Immerhen 15.07.15 DE – München / Feierwerk 16.07.15 CH – Olten / Coq d or 17.07.15 DE – Siegen / Vortex 18.07.15 DE – Hamburg / Rock Café 20.07.15 DE – Bremen / Roemer 22.07.15 DE – Gießen / On The Rocks – Under The Rocks 23.07.15 DE – Dresden / Ostpol 24.07.15 AT – Wien / Arena 25.07.15 DE – Frankfurt / Das Bett (Sky High Festival)
Posted in Reviews on June 30th, 2015 by H.P. Taskmaster
Day one down and feeling good so far. Day two continues the thread of mixing more known quantities with bands either self-releasing or putting out demos, etc., and I like that. More than last time around — last quarter, if you want to use the business-y sounding language for it — I tried to really get a balance across this batch of reviews, posted yesterday and coming up over the next couple days. We’ll see how it works out when it’s over. It remains a ton of stuff, and I hope you dig it. Day two starts right now.
Quarterly review #11-20:
Horsehunter, Caged in Flesh
Pushing their way to the fore of Melbourne’s heavy surge, double-guitar four-piece Horsehunter proffer oppressive tonal crush on the four tracks of their 2LP Magnetic Eye Records debut, Caged in Flesh. The story goes that, unsatisfied the initial recordings weren’t heavy enough, the band – guitarists Michael Harutyanyan (also vocals) and Dan McDonald, bassist/vocalist Himi Stringer and drummer Nick Cron – went back into the studio and redid the entire thing. Mission accomplished. By the time 16-minute opener and longest track (immediate points) “Stoned to Death” is done, lungs are suitably deflated, spines are cracked, skulls cleaved, and so on. They’re hardly the only ones in the world to conjure formidable tonal heft, but it’s the deft changes in vocals – clean here, shouts there, more abrasive at the start of the title-track – and the sense of atmosphere in the three-minute penultimate interlude that really distinguish Horsehunter, as well as how smoothly that atmosphere integrates with the pummel in the second half of closer “Witchery,” attention to detail and awareness of the need for more than just sonic weight boding well for future progression.
A staggeringly heavy debut full-length from Sacramento, CA, five-piece Church, Unanswered Hymns was initially released digitally by the band and quickly picked up for a cassette issue by Transylvanian Tapes and forthcoming LP through Battleground Records. One gets the sense listening to the three extended tracks – 19-minute opener “Dawning” being the longest of the bunch (immediate points) – that those won’t be the last versions to come. Psychedelic doom blends seamlessly with vicious sludge extremity, creating a morass engulfing in its tones, spacious in its breadth and unrepentantly heavy, making it one of 2015’s best debut releases, hands down, and a glorious revelry in bleak tectonics that challenges the listener to match its level of melancholy without giving into an impulse for post-Pallbearer emotive theatrics. As thrilling as they are plodding, expect the echoes of “Dawning,” “Stargazer” and “Offering” to resonate for some time to come, and should Church show any predilection for touring in the next couple years, they have the potential to make a genuine impact on American doom. Yes, I mean it.
Recorded in a day and released by Grimoire Records, the four-track Without Form is slated as the debut from Baltimore atmospheric doomers Corpse Light, but the band have had tracks come out in drips and drabs since getting their start as Ophidian in mid-2012, even if this is their first proper release. Either way, “The Fool” sets up an immediate and grim ambience, the churning lurch from guitarists Keiran Holmes and Don Selner and bassist Aurora Raiten set to roll by Lawrence Grimes (The Osedax) and given earthy aggression by the vocals of Jim Webb. “Lying in State” fleshes out these morose aggro vibes, but it’s with the drop-everything-and-kill peak of the subsequent “R Complex” that Corpse Light hit their angriest mark. If Without Form was just about that, it would be the highlight, but the album’s 29 minutes have more to offer than pissed off tonally-weighted post-hardcore, as closer “Kenophobia”’s clever turns and deceptive forward momentum demonstrate, though a touch of that kind of thing never hurts either.
Heavy psych four-piece Sunder will make their debut this summer through Tee Pee and Crusher Records with a 7” for “Cursed Wolf,” so consider this notice of the tracks on their not-for-public-consumption demo a heads up on things to come. Their “Deadly Flower” was streamed here this past April, and the band’s previous incarnation, The Socks, released their self-titled debut (review here) on Small Stone in 2014, but with songs like the key-laced stomper “Bleeding Trees,” the ‘70s rusher “Against the Grain,” and the Uncle Acid-style swinging “Daughter of the Snows,” the Lyon, France, outfit continue to refine a style drawing together different vibes of the psychedelic era. “Deadly Flower” was also distinguished by its key work, and as for “Cursed Wolf” itself, the melody reminds of proto-psych Beatles singles (thinking “Rain” specifically), but the groove still holds firm to a sense of weight that’s thoroughly modern, and by that I mean it sounds like 1972. Keep an eye out.
Granted not everyone is going to make this immediate association, but when I first saw the moniker T-Tops, I couldn’t help think of like C-grade generic stonerisms, songs about beer and pretending to be from the South and all that. If you experienced something similar in seeing the name, rest easy. The Pittsburgh trio of guitarist/vocalist Pat Waters (ex-The Fitt, Wormrigg), bassist Jason Orr (Wormrigg) and drummer Jason Jouver (ex-Don Caballero) are down with far more sinister punk and noise on their self-titled, self-released debut full-length, riding, shooting straight and speaking truth on cuts like “Wipe Down” and the catchy “Pretty on a Girl” after the tense sampling of “A Certain Cordial Exhilaration” turns over the power-push to “Cruisin’ for a Bruisin’.” “Ralphie” is probably an inside-joke if not a Christmas Story reference, but point is these guys are way less about-to-sing-about-muscle-cars than the name implies and their tight, crisp rhythmic turns come accompanied by vicious tonal force and an utter lack of bullshit, which is a scenario far preferable to that which one might otherwise expect.
Issued by Aqulamb in the imprint’s standard 100-page art book/download format, the self-titled debut from fellow Brooklynites The Space Merchants seeks to draw a line between psychedelic rock and country. And not pretend country like people with a Johnny Cash fetish because he covered that Nine Inch Nails song one time – actual, bright, pastoral, classic country. Call the results psychtwang and applaud the effort, which works oddly well in a thoroughly vintage context to come across on “Mainline the Sun” like something from a lost ‘60s variety show. Parts of “One Cut Like the Moon” and the later fuzz of “One Thousand Years of Boredom” give away their modernity, but The Space Merchants’ push toward a stylistic niche suits them well, and the intertwined vocal arrangements from guitarist Michael Guggino, bassist Aileen Brophy and keyboardist Ani Monteleone – Carter Logan drums to round out the four-piece – add to the rich, welcoming feel that remains prevalent even as the eight-minute “Where’s the Rest of Life” slips into wah-soaked noise to finish out.
The undercurrent of black metal coursing beneath the surface of Etiolated’s debut full-length, Grey Limbs, Grey Skies, eventually comes to the surface in 10-minute opener “Internal Abyss” and 16-minute eponymous closer, which bookends, but in part it’s the tension of waiting for those rampaging surges that keeps one hooked to the Armus Productions release. Guttural death growls echo up from dense tonal reaches, and tempo shifts, whether in those longer tracks or three-minute lumbering slice “Futility” are fluid, the North Carolina five-piece executing a slow-grinding chug in centerpiece “Exsanguinate,” which seems like a murk without end until the 1:47 “For Your Hell” kicks into a speedier, more blackened rush, guest vocalist Ryan McCarthy joining guitarist/vocalists James Storelli and Walls, bassist Cody Rogers and drummer Elliot Thompson in furthering the already prevalent sense of extremism before “Etiolated,” after a surprisingly peaceful if brooding midsection, plods the album to a close. To say “not for the faint of heart” would be putting it lightly, but if I had a vest and if Etiolated had patches, the two parties would definitely meet up at some point in the near future.
It has not taken long for the discography of UK psych jammers Blown Out to become a populated murky cosmos of its own. Planetary Engineering is released on Oaken Palace Records and finds the three-piece of guitarist Mike Vest (also Bong, etc.), bassist John-Michael Hedley (also Pigs Pigs Pigs Pigs Pigs Pigs Pigs) and drummer Matt Baty (also the head of Box Records) exploring two mesmeric and sprawling instrumentals – one per side – that bend and flourish and hypnotize in organically-concocted swirl. Side A’s “Transcending Deep Infinity” tops 20 minutes and shifts from its spacey build to a low key groove at about 7:30 in, pulsing forward once more amid head-turning repetition, deep echoes and longform nod, culminating in a two-minute fadeout that brings forward “Thousand Years in the Sunshine,” an immediate bass groove and interstellar swirl no less trance-inducing than its predecessor. Cyclical drum fills morph over time behind the guitar and bass, and Planetary Engineering seems to push continually further out until, of course, it disintegrates, presumably as it crosses the galactic barrier.
I was fortunate enough to have been in attendance at Het Patronaat in Tilburg when French post-black metallers Les Discrets took the stage at Roadburn 2013. As such, it’s with some trepidation I approach their Live at Roadburn recording on Prophecy Productions – the impression they made live wasn’t something I’d want potentially spoiled or brought to earth by a document proving it was just another set. With Neige of Alcest on bass with guitarist/vocalist Fursy Teyssier, Les Discrets proved to be something really special to those who, like me, were there to catch them, and the eight-track Live at Roadburn – fortunately – captures both the majestic lushness they brought with them and the underlying weight that seemed to add impact to the material. What might sound like post-production mixing on “L’Echappée” or the wash of “Chanson D’Automne” isn’t – it really was that beautiful and that perfectly balanced coming from the stage. A vastly underrated act and a document that reminds of how stellar they were without sullying the memory in the slightest.
Brooklynite foursome Beast Modulus seem to care less about meshing with ideas of genre than sticking them in a meatgrinder and seeing what comes out. To wit the riotous chugging of “Cowboy Caligula,” and the blackened thrust of “WaSaBi!” on their self-released, self-titled outing, which leads to dueling growls and screams on the tonally weighted post-hardcore “Fabulous,” and the appropriately mathy turns of the thrashing “Tyranny of Numbers.” Inventive in their stylizations and in where the six songs included on the release actually go – hint: they go to “heavy” – the lineup of vocalist Kurt Applegate, guitarist Owen Burley, bassist Jesse Adelson and drummer Jody Smith have some post-Dillinger Escape Plan vibe in the calculated chaos of “Kalashnikov,” but closer “Killing Champion” is too impatient to even be held by that, the prevailing manic angularity of Beast Modulus ultimately crafting its own identity from the physical assault the music seems intent on perpetrating upon the listener.