Filmmaker Penelope Spheeris‘ 1988 documentary, The Decline of Western Civilization Part II: The Metal Years, was among the first genuine cinematic looks at heavy metal subculture that carried little-to-no element of condescension. While the 1986 short Heavy Metal Parking Lot was all spectacle and gags, mocking a group of people by letting them hang themselves with the noose of their own words, Spheeris‘ work chronicling ’80s metal and particularly the Sunset Strip was less judgmental, and for anyone who’s seen it — if you haven’t, consider it recommended viewing — one of its most memorable scenes involved then-WASP guitarist Chris Holmes, who, flanked by his mother and sitting fully clothed on a floating recliner in a backyard pool while downing a bottle of vodka, showcased the loneliness underlying the ultra-masculine braggadocio of metal at that time in slurred, miserable poetry.
For a movie centering around “glam,” it was a particularly human moment once you looked past the surface, and Melbourne four-piece Mammoth Mammoth recreate that scene and parody the excess of the day in their new clip for “Lookin’ Down the Barrel,” complete with back yard pool, floating bottles and mom in a lawnchair beside. It’s tongue-in-cheek, to be sure, and the band — whose new album, Volume IV: Hammered Again, is due out in April on Napalm Records – are no strangers to a boozy reputation themselves. They made their Napalm debut in late 2012 with Volume III: Hell’s Likely, and as “Lookin’ Down the Barrel” proves, the sound of vocalist Mikey Tucker, guitarist Ben Couzens, bassist Pete Bell and drummer Frank Trobbiani has only gotten more raucous. They not only recreate the pool scene from The Decline of Western Civilization Part II, quoting Holmes at the beginning of the clip as Couzens wears a WASP t-shirt just to drive the point home, but right down to the jiggling dancers, they tap into the recklessness that fueled that age and that still holds an appeal some 30 years later.
Of course, the difference is those bouncing ladies end up inflating water-wings for the band, maybe to remind us of the childishness of that kind of fantasy/objectification, but the song’s a hook-laden, heavy-riffed party one way or another, and far be it from me to stand in the way of such a thing. Volume IV: Hammered Again arrives April 7 in North America, and you can find other release dates and the preorder link following the video itself below.
Mammoth Mammoth, “Lookin’ Down the Barrel” official video
A naked, pot-smoking beauty on the cover and song titles like ‘Hammered again’ or ‘High as a kite’ – Mammoth Mammoth definitely won`t turn a good party down! The scruffy Australians deliver the soundtrack mixing dirty hard rock with a healthy dose of stoner: Volume IV – Hammered Again comes roaring down the highway with lotsa fuzz, a raw production and pure force! That`s why this fourpiece is called Mammoth Mammoth – one mammoth ain`t enough for this massive orgy…
Street Date: G/A/S/Europe/AUS 27.03.2015 UK/NO/FR/DK/IT 30.03.2015 SE/ESP 01.04.2015 USA/CAN 07.04.2015
Posted in Radio on February 16th, 2015 by H.P. Taskmaster
I know it’s not the usual custom to do Radio adds on Mondays, but what the hell, it’s not exactly like there are rules one way or another, and my desktop has hit eight rows deep of folders with albums in them, so whatever day it might be, it’s time to clear out as much of it as possible. A full 22 records join The Obelisk Radio playlist today. Some of it is very strange, some of it pretty straightforward, but one way or another, I think it all makes the stream better and more diverse, and that’s what it’s all about. For the full list of everything added, check out the Playlist and Updates page.
The Obelisk Radio adds for Feb. 16, 2015:
Primitive Man, Home is Where the Hatred Is
After their destructive 2013 Relapse Records debut, Scorn (review here), Primitive Man‘s reputation for brutality precedes them. The Denver trio’s new EP, Home is Where the Hatred Is, is only likely to further that reputation, its four tracks alternating between grueling, unrepentantly slow-lumbering, ungodly-toned extremity and fits of grinding megaviolence. The release is arranged longest to shortest so that opener “Loathe” (11:03) is sure to weed out the weaker constitutions en route to the ensuing crushers “Downfall” (8:43) and “Bag Man” (7:09). The closer, “A Marriage with Nothingness” (4:17) is a collage of noise and fedback threat topped with a sample of a woman either in ecstasy or agony — in context it’s kind of hard to tell — but the message is plain either way. One might think of that cut as an answer to Primitive Man‘s 2013 P//M Noise Tape, which also explored droning forms between covers of Portishead, Black Sabbath and Crowbar. Perhaps most foreboding of all is how smoothly Primitive Man shift between the facets of their increasingly diverse sound, since it speaks to a progression in progress in terms of bringing the various elements together. A beast is one thing, but a thinking beast seems all the more ominous. They may be in the process of outgrowing their name, but a savage force remains at the heart of their bludgeoning. Primitive Man on Thee Facebooks, Relapse Records.
Sandrider and Kinski, Sandrider + Kinski Split
With geography in common in their Seattle base of operation, Sandrider and Kinski present their Sandrider + Kinski split on Good to Die Records with three new songs from the former, including a cover of Jane’s Addiction‘s “Mountain Song,” and two from the latter, working in instrumental, textured heavy psychedelic forms that complement Sandrider‘s bombastic approach as heard on their two full-lengths to date, 2013’s Godhead (review here) and 2011’s self-titled debut (review here). Both “Beyond in Touch with My Feminine Side” (8:42) and “The Narcotic Comforts of the Status Quo” (5:17) flesh out open spaces, rich in tone and flowing movement, with the closer more of a riffy, space-rock feel while “Beyond in Touch with My Feminine Side” is more exploratory, fading out at its end is the jam sort of deconstructs below lead guitar. As for Sandrider‘s “Rain” (4:47) and “Glaive” (4:40), for anyone who’s heard the rolling punk heaviness of their albums, it should be enough to say they sound like Sandrider – upbeat and catchy and furious and kinetic — and while I’m not sure anyone ever needed to hear a Jane’s Addiction song ever again (ever.), they take what was probably the band’s best riff and re-suit it to their own purposes, which if you’re going to do it at least is the right way to go about it. Sandrider on Thee Facebooks, Kinski on Thee Facebooks, Good to Die Records.
Ultimately, Hiram-Maxim‘s self-titled Aqualamb debut reads more like an experiment in the deconstruction of sound than an album in the traditional sense, and perhaps I use the word “reads” because it’s a book. As has become Aqualamb‘s modus, the four-track release comes as a 100-page artbook and a download that contains its nonetheless-vinyl-ready darkened forms, whether it’s the brooding “One” (11:47) with backing drones and open guitars or the preceding “Can’t Stop” (11:55) with its rising current of abrasive, almost grating noise that gradually consumes whatever song was there to start with. It is a dark atmosphere, and the opener, “Visceral” (7:14), is well titled, but the pervading vibe is more exploratory than theatrical; like the listener, the Cleveland four-piece are feeling their way through these deep reaches, and when they come around to the apex of closer “Worship” (6:25), the resolution they seem to find is frantic and desolate in turn. In another universe, one might call it punk rock. Here, it is gleefully and thoroughly fucked. Hiram-Maxim on Thee Facebooks, Aqualamb.
Obrero, The Infinite Corridors of Time
The Infinite Corridors of Time, the second long-player from Stockholm old-schoolers Obrero should — contrary to their logo — appeal to fans of Hour of 13 and Argus and others who’ve made preservation of classic metal their mission, skirting the fine line between doomly Sabbath worship and proto-NWOBHM stylized forwardness of purpose. The double-guitar five-piece show some penchant for ’70s heavy rock on cuts like “Oneironaut” (6:20) and “The Axial Age” (5:40) but by and large their purposes are more metallic, meshing AC/DC and Judas Priest impulses into the keyboard-laden “Manchester Morgue” (5:01) or “Phobos and Deimos” (5:42), which stands out for its hook and successful blend alike. At eight tracks/52 minutes, The Infinite Corridors of Time is no minor undertaking — there is no song under five minutes long — but their use of keys allows Obrero to work in various moods, and for those seeking purity in their metal, the Swedish outfit offer glimpses without being wholly derivative of what’s come before. Obrero on Thee Facebooks, To the Death Records.
Elbrus, Far Away and into Space Pt. 2
If you feel like you missed out on Far Away and into Space Pt. 1, don’t worry about it. Melbourne, Australia, four-piece Elbrus are actually starting out with Pt. 2, and it’s their debut single, an 11-minute psychedelic push of heavy blues rock, stoner rollout and organ-blessed jamming. I’m not sure it’s safe yet to call what’s happening in Melbourne right now a “heavy blues revival” as acts like Elbrus and Child delve into such sonic territory — if only because with bands like Horsehunter and Hotel Wrecking City Traders out there, the city’s take on heavy isn’t so easily categorized — but one rarely recognizes such things until beaten over the head by them. Either way, “Far Away and into Space Pt. 2″ gracefully looses a molten flow over its 11:06 stretch, vocalist/organist Ollie Bradley-Smith unafraid to cut through the natural-sounding, weighted tones of guitarist Ringo Camilleri and bassist Mafi Watson while Tom Todorovic‘s drums smooth the way between volume and tempo changes and add cymbal-crash swing to both. It’s a smooth-grooved nod, and aside from making me curious to hear the first installment of “Far Away and into Space,” it makes me wonder what Elbrus might next encounter as that journey unfolds. Elbrus on Thee Facebooks, on Bandcamp.
One more time, this is not even a quarter of what’s been added today. There’s also stuff from Black Rainbows, Felipe Arcazas, Headless Kross, Warhorse, Twingiant and others, so please make sure you hit up the Obelisk Radio Playlist and Updates page to see the full list.
Posted in Whathaveyou on February 10th, 2015 by H.P. Taskmaster
Melbourne trio Child released their self-titled debut last year to wide swaths of acclaim for its heavy blues rollout, and after an initial announcement back in Sept. of Bilocation Records‘ having picked it up, presales have been opened ahead of a Feb. 20 CD and LP release. Lest life be too fair, the 111 white/orange copies have already sold — not too shabby since as I understand it preorders have been going on for less than 24 hours — but there are still red and black versions to be had, at least for the time being.
On a related note, Child will take part May 10 in Cherry Rock 015 in their hometown alongside Red Fang, New Zealand’s Beastwars, Horsehunter and others. It looks like quite a way to spend a Sunday night, should you happen to be in town.
This from the PR wire:
CHILD debut album released on 180g vinyl & CD – available on pre-sale now.
Formed in the rock n roll underground of Melbourne, Australia in 2012, Child have captured the attention of blues-heavy rock enthusiast’s from all corners of the globe.
Their self titled debut release is a look through the pinhole at a bands honest and unhindered purge of expression. Drawing influence from an ever growing, ever evolving sonic palette; You will find Child’s roots tightly entwined in and around the Blues whilst taking a heavier and more visceral approach. The group take pride in upholding the strong tradition of Australian rock that preceded them which gave birth to likes of AC/DC, The Easybeats, Rose Tattoo, Billy Thorpe and the Aztecs and Masters Apprentices to name a few.
Child are honoured to fly the flag and will leave no crack unfilled as they spread their brand of heavy psych blues across the earth. All that can be said is great things are on the horizon for this trio.
Organ on “All Dried Up” by Neil Wilkinson Recorded & Mixed By Paul Maybury at A Secret Location Studios. Mastered by Dav Byrne at Iridium Audio. Oil Painting by Nick Keller, Photo by Gil at Superteam Studios
VINYL FACTZ – 111x white hazed orange (EXCLUSIVE MAILORDER version) – 200x solid red – 200x black – Plated & pressed on high performance vinyl in Germany – Matt laquered 300gsm gatefold cover – Handnumbered – Mastered for vinyl
TRACKS 1. Trees 8:13 2. Stone by Stone 6:15 3. All Dried Up 5:13 4. Mean Square 8:06 5. Blue Overtone Storm/Yellow Planetary Sun 10:03
Posted in audiObelisk on January 13th, 2015 by H.P. Taskmaster
Brisbane four-piece Lizzard Wizzard will release a new 7″, titled Dankrupt, on Houdini Tapes. The two-track release picks up more or less where their 2013 self-titled (review here) left off, though the sound overall proves somewhat more severe this time around, if keeping to the same we-definitely-don’t-take-ourselves-too-seriously humor that made cuts like “Total Handjob Future” and “Bong Dive” such winners. Both “Dankrupt” and its companion, “The Ghost of Randy Savage” have a heaping dose of charm, guitarists Michael Clarke and Nick McKeon and bassist Stef Roselli trading vocals between all three Neurosis-style while drummer Luke Osborne holds down a Crowbar-esque plod behind: viciously lumbering, densely toned, baked at 450 degrees.
They’ve got a quick tour booked to promote the single later this month, and today I have the pleasure of hosting “Dankrupt” itself for streaming. There isn’t much mystery to why the song works — feedback and a lumbering riff kicking in out of an initial wash of noise, the molasses progression topped by wailing shouts that only further the nod. I don’t know the lyrics, but the solo that takes hold just about halfway through is no less expressive than the vocals, the whole thing feeding into the lurching movement of the song itself, which seems to get more grueling as it goes on, stopping after about four minutes in for a quick drone-out before the punishing course resumes, ending with the last line, “forever stoned.”
Rumor has it that Lizzard Wizzard will themselves be unveiling “The Ghost of Randy Savage” later this week. That song is a minute longer and no less destructive sonically, but I’ll stop there to restrain myself from spoiling the surprise. Please find “Dankrupt” on the player below, followed by the tour dates, and enjoy:
Here is the Music Player. You need to installl flash player to show this cool thing!
Lizzard Wizzard on tour: 01/22 The Old Bar, Melbourne 01/23 Crown & Anchor Hotel, Adelaide 01/24 Cosmos Rock Lounge, Marrickville 01/25 Town & Country Hotel, Sydney
Posted in Reviews on December 29th, 2014 by H.P. Taskmaster
This is it. New Year’s is this week and by Friday we’ll be into 2015. A new year always brings new hopes, concerns, records and so on, but to be completely honest, I’m just not quite done with 2014 yet. So here we are. I’ve had stacks of CDs on my desk and folders on my computer from the last couple months of stuff I have been trying to fit in, and it doesn’t seem right to me to let the year go without cramming in as much music as I possibly can.
Gotta call it something, so I went with “Last Licks,” since that’s basically what it will be. The plan is that between today and Friday, each day I’ll have another batch of 10 reviews. I’m not going to promise they’ll be the most comprehensive ever, but the idea is to do as much as I can and this seems to me the best way to turn my brains into goo. When that ball drops in Times Square, there’s a good chance I’ll be typing.
No sense in delaying. You get the idea, so let’s jump in:
Sigiriya, Darkness Died Today
Recorded live as their debut on Candlelight Records and the follow-up to 2011’s debut, Return to Earth (review here), the sophomore outing from Welsh heavy rockers Sigiriya, Darkness Died Today, is distinguished by a vocalist swap bringing in Matt Williams of Suns of Thunder. Williams has a tough job in replacing Dorian Walters, who like guitarist Stuart O’Hara, bassist Paul Bidmead and drummer Darren Ivey, is a former member of Acrimony. There are times when it works and times when it doesn’t. Along with a more barebones tonality in the guitar than appeared on the debut, Williams brings a more straightforward style in his voice, and it changes the personality of the band on songs like “Freedom Engines” and the first-album-title-track “Return to Earth.” “Tribe of the Old Oak” is a catchy highlight and I’ll almost never argue with a song called “Obelisk,” but it seems like they’re still searching for the footing here that seemed so firmly planted their last time out.
Upstate New York blues rockers Handsome Jack waste little time living up to the title Do What Comes Naturally. The name of their third album, released by Alive Naturalsound, is both mission-statement aand suggestion, and on songs like the soul-inflected “Creepin’” and the rolling “You and Me,” they make it sound like a good idea. Blues and classic soul meet garage rock across cuts like the relatively brief “Leave it all Behind,” but the tones are warm throughout the record, and guest spots on harmonica and Hammond help keep a sense of variety in the material, well-constructed but still loose in its vibe. The twang might recall The Brought Low for heavy rock heads, but one doubts Handsome Jack groove on much that came out after Psychedelic Mud. Even the CD splits into sides, and as easy as it would be for something like this to sound like a put-on, Handsome Jack prevail with closer “Wasted Time” in making an outing that’s anything but.
London doomers Serpent Venom sound like experts in the form on Of Things Seen and Unseen, their second album for The Church Within following 2011’s Carnal Altar and their initial 2010 demo (review here), a righteous 48-minute lumbering slab of heavy riffs, downerism and nod. It’s not every band who could put “Death Throes at Dawn” and “Lord of Life” next to each other, but the four-piece of vocalist Garry Ricketts, guitarist Roland Scriver, bassist Nick Davies and drummer Paul Sutherland keep their focus so utterly doomed that even the quiet, minimalist acoustic interlude “I Awake” – ostensibly a breather — comes across as trodden as the earlier “Sorrow’s Bastard,” or the Reverend Bizarre-worthy “Let Them Starve,” which follows. For those who long for trad doom that has an identity outside its Vitus and Sabbath influences, Serpent Venom prove more than ready to enter that conversation on the wah-soaked soloing in the second half of “Pilgrims of the Sun.” Right fucking on.
The artwork tells the story. Owl Glitters’ Alchemical Tones (on Heart and Crossbone Records) is a wash of color. Taking tribal rhythms and repetitions and pairing them with organic low-end, chanted vocals and periodic excursions of psych rock guitar, Arkia Jahani (who seems to be the lone creative force behind the project, though Mell Dettmer mastered) brings a ritualistic sensibility to the eight included pieces, and the flow is molten from the start of “Dervishes.” Less purposefully weird than Master Musicians of Bukkake, but farther into the cosmos than Om, there’s a folkish identity at the heart of Alchemical Tones that keeps the proceedings human even on the near-throat-singing of “Hakim Sanai” or “Poets of Shiras” and “Khalifa’s Visions” an immersive pair preceding the droning closer “By the Candlelight Our Eyes Welcome Glimmers of Eternity.” Beautifully experimental – and in the case of “Mindful of Gems,” fuzzed to the gills – Owl Glitters’ second outing engages sonic spiritualism with dogmatic command and stares back at you from the space within yourself.
Sandveiss released Scream Queen, their first full-length, late in 2013, reveling in a modern sound crisply produced and more than ably executed to feature the vocals of guitarist Luc Bourgeois, who provides frontman presence even on disc alongside guitarist Shawn Rice, bassist Daniel Girard and drummer Dzemal Trtak. Cohesiveness isn’t in question as opener and longest cut (immediate points) “Blindsided” rounds out its 6:26, leading the way into “Do You Really Know” and setting the tone for big-riffed Euro-style heavy from the Quebecois foursome, who slow down on “Bottomless Lies,” on which Trtak backs Bourgeois in you-guys-should-do-this-more fashion, and ultimately hold firm to the focus on songwriting that establishes itself early. They fuzz out on closer “Green or Gold,” but by then it’s another element of variety among the organ, guest vocals on “Scar” and tempo shifts on Sandveiss’ ambitious debut, distinguished even unto the six-panel gatefold digi-sleeve in which it arrives, the art and design by Alexandre Goulet one more standout factor on an album demanding attention.
Probably the most clearly Beatlesian moment on Octopus Syng’s Reverberating Garden Number 7 is a slight “Hey Bulldog”-style cadence on side A’s “Very Strange Trip,” and that in itself is an accomplishment (one I’m apparently not the first to observe). The Helsinki four-piece in their 15th year are led by guitarist/vocalist Jaire Pätäri and emit an oozing, serene psychedelia, peaceful and lysergic in late ‘60s exploratory fashion. Reverberating Garden Number 7 (on Mega Dodo Records) echoes out vibe to spare and is deceptively lush while keeping a humble vibe thanks in no small part to Pätäri’s restrained vocal approach and curios like “Cuckoo Clock Mystery,” which boasts an actual cuckoo clock to add bounce to its arrangement. Nine-minute closer “Listen to the Moths” is the single biggest surprise, and an album unto itself, but its unfolding is only the capstone on a collection of psychedelic wonder sincere in its stylistic intent and execution. It fills the ears like warm air in the lungs.
Destructive Australian trio Sun Shepherd put the bulk of Procession of Trampling Hoof to tape in 2011. Closing bonus track “Exploding Sun” is a demo from 2006, but it fits with their extended tracks and big riffs piled onto each other in densely-weighted fashion, if rougher in presentation. More Ramesses than High on Fire, who prove otherwise to be a key influence tonally for guitarist/vocalist Anson Antriasian, must-hear bassist Leigh Fischer and drummer Michael Barson, though their approach is decidedly less thrash-based. The first five of the six songs find Sun Shepherd’s first full-length a pummel-minded blend of sludge and doom. Antriasian’s vocals are semi-spoken, but fitting theatrically on “Goat-Head Awakening” with the grueling riff-led nod, the tension released as they pass the halfway point of the 10-minute run, a raw atmosphere bolstering the chaos of their slower-motion marauding. With the welcome flourish of stonerly soloing on “Engulfed by Ocean of Time,” one can’t help but wonder what the Melbourne natives are up to three years later.
Fuzz-toned elements of Sleep and Sabbath pervade the stoner-doomy self-titled The Church Within debut from Oslo three-piece Purple Hill Witch, who carry the bounce well in immediately familiar riffs and groove. Swinging drums from Øyvind and the inventive basslines of Andreas underscore Kristian’s purely Iommic riffage and blown-out vocals, somewhere between Witchcraft’s earliest going and Witch’s self-titled. If that gives Purple Hill Witch an even witchier feel, “Final Procession” sounds just fine with that, as do shorter tracks like the later “Aldebaranian Voyage (Into the Sun)” and centerpiece “Karmanjaka” on which the stoner side comes out in force. They finish by using all 11 minutes of the eponymous “Purple Hill Witch”’s runtime, breaking in the midsection for a murky exploration that’s creepily atmospheric without veering into cult rock cliché. They bounce resumes and slows to a crawl to close out, but the jam serves Purple Hill Witch well in expanding the band’s sonic reach and the album’s weedian sensibility. Not that they were keeping it a secret.
A burly dual-guitar five-piece with roots in Germany and Switzerland, Giant Sleep start out their self-titled, self-released first LP with a brief intro titled “Argos” before getting to the question, “Why am I angry all the time?” as the central, recurring line of “Angry Man.” That song, like “Henu” and “Reproduce,” gets its point across quick in heavy rock fashion and develops its argument from there, a progressive metal vibe pervading especially the latter, which is penultimate in the 10-song/52-minute effort, and underscores the high-grade craftsmanship accomplished throughout. “Dreamless Sleep” is probably my pick of the bunch for its airier tone and resonant minor-key hook in the guitars of Markus Ruf and Patrick Hagmann, vocalist Thomas Rosenmerkel belting out the chorus before making way for plotted solos atop Radek Stecki’s bass and Manuel Spänhauer’s drums, but it’s not so far removed from its surroundings. As a whole, the album could be more efficient, but it wants nothing for songwriting, and especially as a debut, Giant Sleep hits its marks readily.
Opener “Las Noches del Desierto” is the only one of Star Collider’s five tracks under 10 minutes. Flux seems to be the norm for Finnish post-stoners Acid Elephant, who recently brought in vocalist Martin Ahlö but here revolve around the core of bassist/guitarist/vocalist Miksa Väliverho, guitarist/vocalist Ilpo Kauppinen and drummer Roope Vähä-Aho, employing a host of others on obscure vocals, percussion and djembe throughout the 64-minute sophomore outing, recorded in 2012 and released late in 2013. Whoever they are now, Acid Elephant on Star Collider call out heavy psych, drone/jam and riff-based impulses in their extended cuts, gradually getting longer from “Red Carpet Lane” (10:46) until closer “Bog” hits 18:29. To their credit, their songs leave impressions to match their length, and even as it’s finishing its instrumental run, “Godmason” (15:58) is highlighting its resonant central riff, having emerged from a wash of feedback and amp noise at its beginning, preceded by the droning centerpiece “7th Stone.” Satisfying and unpredictable, Star Collider balances experimentation and engagement smoothly without losing its focus on individualism.
Posted in Whathaveyou on December 18th, 2014 by H.P. Taskmaster
Nearly two weeks after opening for Sleep in their native Melbourne, doomly four-piece Horsehunter have inked a deal to release their four-track debut full-length, Caged in Flesh, on Magnetic Eye Records. The Aussie band self-released the album at the end of September and have been garnering acclaim for it since, as they’ll no doubt continue to do in 2015 owing to the massive tones, throaty shouts and lumbering vibe of songs like “Stoned to Death,” which you can hear and download below following a premiere from Decibel. Its 16-minute course is no small undertaking, but they pay it off with hypnotic, bleak psychedelia that only makes the underlying rumble seem like more of a threat.
More to come, I’m sure. In the meantime, the PR wire has this:
MAGNETIC EYE RECORDS Announce Signing of Doom Quartet HORSEHUNTER | New Album out March 2015
Magnetic Eye Records is thrilled to announce the signing of Horsehunter; one of the Southern Hemisphere’s heaviest and most eagerly anticipated doom exports of 2015.
The news crowns a remarkable year for the band and one that has seen them share stages with the likes of High On Fire, Conan and Windhand, and harvest fans from all four corners of the globe through a growing, almost cult-like stir of online worship. In fact news of their signing might come as little revelation to those already baptised and burnt by the fire of Caged In Flesh, the Australian quartet’s impressive self-released debut album.
“After one listen we recognized it for what it is. It’s a masterpiece,” explains MER owner Mike Vitali. “Hands down it’s one of the most exciting albums of 2015 and we’re looking forward to making sure the double gatefold vinyl is above and beyond visually stunning.”
Canned, scrapped, rewritten and rerecorded numerous times by the band over an obsessive two-year period, the darkly lyrical and brutally heavy compositions of Caged In Flesh embody Horsehunter’s perverse and maniacal precision as a band. A testament in four parts to the psychedelic power and glory of Shrinebuilder, Neurosis and Sleep, the latter of whom join Horsehunter this month as part of a sold-out show at the Corner Hotel in Melbourne, Australia.
To celebrate the official worldwide release of Caged In Flesh on 10th March 2015, Magnetic Eye Records and Horsehunter are honoured to bring you the sixteen-minute opus ‘Stoned To Death’, available asa free download.
Two weeks from today, Brant Bjork and the Low Desert Punk set off on a West Coast US tour alongside Corrosion of Conformity, Bl’ast and Lord Dying. Earlier this summer, the four-piece outfit — Bjork himself on vocals/guitar, drummer Tony Tornay, guitarist Bubba DuPree and bassist Dave Dinsmore – took flight on an inaugural run through Australia and New Zealand that reportedly followed completion of a new album set to serve as Brant Bjork‘s long-awaited debut on Napalm Records. It’s also his first solo-ish offering since 2010’s Gods and Goddesses(review here) and the first record he’ll have out since reuniting with vocalist John Garcia in the Kyuss-offshoot Vista Chino, who released one of 2013’s best full-lengths in the form of Peace(review here), also on Napalm.
Those familiar with his 10-album solo stint between 1999’s classic Jalamantaand Gods and Goddessesalready know that Bjork (interviews here and here and Questionnaire here) is a purveyor of some of the finest sandy soul known to man. Instrumental to the coalescing of heavy rock in the ’90s as part of Kyuss and Fu Manchu, in the aughts, he dug into an inimitable style of groove that became as distinct as anything he did with either of those bands or any of his other numerous collaborations along the way — lest we forget Ché or his time with Nick Oliveri in Mondo Generator.
A four-year break between outings is the longest Bjork has had since he started putting out solo records (and yes, that counts the …and the Operators and the …and the Bros. iterations), but as is inevitable in the age of the digitally instantaneous, some new material has started to leak out from the Aussie gigs. Not much is out there that I’ve seen. A quality clip of a Star Wars-referencing track called “We Don’t Serve Their Kind” is on Vimeo, and that’s worth a look since it’s pretty close-up and you can really see the band nailing it, but the vocals are low. This version of “Requiem” is kind of far back, but the sound is clear enough to give an idea of what they’re up to — you’ll note the low-end shaking the camera — and for fans of Brant Bjork, there’s an awful lot to like.
Dates for the aforementioned West Coast tour follow the video (recorded by YouTuber “Dav Ozz”), and the band will also head to Europe this fall for gigs at Up in Smoke and Desertfest Belgium, among others. Please enjoy:
Brant Bjork, “Requiem” Live in Geelong, Australia, May 30, 2014
Corrosion of Conformity, Bl’ast, Brant Bjork and the Low Desert Punk, and Lord Dying tour dates: 8/20/2014 The Hop – Spokane, WA 8/21/2014 In The Venue – Salt Lake City, UT 8/22/2014 Summit Music Hall – Denver, CO 8/23/2014 Sister – Albuquerque, NM 8/24/2014 Club Red – Mesa, AZ 8/26/2014 Brick By Brick – San Diego, CA 8/27/2014 The Roxy – Los Angeles, CA 8/28/2014 DNA – San Francisco, CA 8/29/2014 Catalyst – Santa Cruz CA 8/30/2014 Dante’s – Portland, OR 8/31/2014 El Corazon – Seattle, WA 9/01/2014 The Rickshaw Theater – Vancouver, BC
Posted in Whathaveyou on July 7th, 2014 by H.P. Taskmaster
Australian post-black metal duo Autumn’s Dawn released their self-titled debut EP on German label Eisenwald Tonschmiede this past Spring and will have it out on vinyl in a couple weeks. In the meantime, the two-piece with drummer/guitarist/vocalist Tim “Sorrow” Yatras (also of Germ) and bassist/guitarist/keyboardist Matthew “Anguish” Bell at the helm have announced a full-length follow-up set for release through the same label on Sept. 3. No audio has surfaced yet, but since the EP is only a couple months old, it seems fair to expect it’s pretty representative of what ideas the album, titled Gone, might be looking to expand upon.
The PR wire has all the grim, depressive details:
AUTUMN’S DAWN set release date for new EISENWALD album
Today, EISENWALD announces September 3rd as the North American release date for AUTUMN’S DAWN’s highly anticipated debut album, Gone. Very aptly titled, Gone is a kaleidoscopic plummet into the depths of despair and regret. Upon a foundation of melancholic melody, AUTUMN’S DAWN create a nine-song cycle of dark, emotive energy, dynamically spanning depressive rock, post-black metal, and plenty in between. Most of Gone’s song titles – “Until My Heart Corrodes With Rust,” “Grace of the Grave,” “When the Sun Sets for the Last Time,” and “Blank Stare, Dead Eyes” among them – vividly portray its contents, and the bright ‘n’ balanced production illuminates every shadowy corner.
Although Gone is AUTUMN’S DAWN’s debut album, the Australian duo are hardly newcomers: vocalist/drummer Sorrow is the mastermind behind the critically acclaimed Germ, and did time in cult OZBM bands like Austere, Woods of Desolation, and Nazxul among others. In many ways, AUTUMN’S DAWN in general and Gone in particular can be seen as a more refined version of Grey Waters, a short-lived yet celebrated band of Sorrow; in other ways, one can imagine Sentenced and Mono squaring off with Germ and Austere. Any way you describe it, Gone is the end…and the beginning. Cover and tracklisting are as follows:
Tracklisting for AUTUMN’S DAWN’s Gone 1. The Ashes Of A Life 2. Until My Heart Corrodes With Rust 3. Into The Cold 4. Grace Of The Grave 5. When The Sun Sets For The Last Time 6. Blank Stare, Dead Eyes 7. Dawn 8. Through The Rusted Gates Of Time 9. Gone