Quarterly Review: Stuck in Motion, AVER, Massa, Alastor, Seid, Moab, Primitive Man & Unearthly Trance, Into Orbit, Super Thief, Absent

Posted in Reviews on March 18th, 2019 by JJ Koczan

quarterly-review-spring-2019

Let the games begin! The rules are the same: 10 albums per day, this time for a total of 60 between today and next Monday. It’s the Quarterly Review. Think of it like a breakfast buffet with an unending supply of pancakes except the pancakes are riffs and there’s only one dude cooking them and he’s really tired all the time and complains, complains, complains. Maybe not the best analogy. Still, it’s gonna be a ton of stuff, but there are some very, very cool records included, so please keep your eyes and your mind open for what’s coming, because you might find something here you really dig. If not, there’s always tomorrow. Let’s go.

Quarterly Review #1-10:

Stuck in Motion, Stuck in Motion

stuck in motion self-titled

The classic style cover art of Swedish trio Stuck in Motion‘s self-titled debut tells much of the story. It’s sweet-toned vintage-style soul rock, informed by Graveyard to some degree, but more aligned to retroism. The songs are bluesy and natural and not especially long, but have vibe for weeks, as demonstrated on the six-minute longest-track “Dreams of Flying,” or the flute-laden closer “Eken.” What the picture doesn’t tell you is the heavy use of clavinet in the band’s sound and just how much the vintage electric piano adds to what songs like “Slingrar” with its ultra-fluid shifts in tempo, or the sax-drenched penultimate cut “Orientalisk.” Comprised of guitarist/vocalist Max Kinnbo, drummer Gustaf Björkman and bassist/vocalist/clavinetist Adrian Norén, Stuck in Motion‘s debut successfully basks in a mellow psychedelic blues atmosphere and shows a patience for songwriting that bodes remarkably well. It should not be overlooked because you think you’re tired of vintage-style rock.

Stuck in Motion on Thee Facebooks

Stuck in Motion on Bandcamp

 

AVER, Orbis Majora

aver orbis majora

Following up their 2015 sophomore outing, Nadir (review here), which led to them getting picked up by Ripple Music, Australia’s AVER return with the progressive shove of Orbis Majora, five songs in 50 minutes of thoughtfully composed heavy progadelica, and while it’s not all so serious — closer “Hemp Fandango” well earns its title via a shuffling stonerly groove — opener “Feeding the Sun” and the subsequent “Disorder” set a mood of careful craftsmanship in longform pieces. The album’s peak might be in the 13-minute “Unanswered Prayers,” which culls together an extended linear build that’s equal parts immersive and gorgeous, but the rest of the album hardly lacks for depth or clarity of purpose. An underlying message from the Sydney four-piece would seem to be that they’re going to continue growing, even after more than a decade, because it’s not so much that they’re feeling their way toward their sound, but willfully pushing themselves to refine those parameters.

AVER on Thee Facebooks

Ripple Music on Bandcamp

 

Massa, Walls

massa walls

Flourish of keys adds nuance to Massa‘s moody, heavy post-rock style, the Rotterdam-based trio bringing an atmosphere to their second EP, Walls, across five tracks and 26 minutes marked by periodic samples from cinema and a sense of scope that seems to be born of an experimental impulse but not presented as the experiment itself. That is, they take the “let’s try this!” impulse and make a song out of it, as the chunky rhythm of instrumental centerpiece “Expedition” or the melodies in the prior “#8” show. Before finishing with the crash-into-push of the relatively brief “Intermassa,” the eight-minute “The Federal” complements winding guitar with organ to affect an engaging spirit somewhere between classic and futurist heavy, with the drums holding together proceedings that would seem to convey all the chaos of that temporal paradox. Perhaps it was opener “Shiva” that set this creator/destroyer tone, but either way, Massa bask in it and find a grim sense of identity thereby.

Massa on Thee Facebooks

Massa on Bandcamp

 

Alastor, Slave to the Grave

alastor slave to the grave

The first full-length from Swedish doomplodders Alastor and their debut on RidingEasy Records, late 2018’s Slave to the Grave is the four-piece’s most expansive offering yet in sonic scope as well as runtime. Following the 2017 EPs Blood on Satan’s Claw (review here) and Black Magic (review here), the seven-song/56-minute offering holds true to the murk-toned cultism and dense low-end rumble of the prior offerings, but the melodic resonance and sense of updating the aesthetic of traditional doom is palpable throughout the roller “Your Lives are Worthless,” while the later acoustic-led “Gone” speaks to a folkish influence that suits them surprisingly well given the heft that surrounds. They make an obvious focal point of 17-minute closer “Spider of My Love,” which though they’ve worked in longer forms before, is easily the grandest accomplishment they’ve yet unfurled. One might easily say the same applies to Slave to the Grave as a whole. Those who miss The Wounded Kings should take particular note of their trajectory.

Alastor on Thee Facebooks

RidingEasy Records website

 

Seid, Weltschmerz, Baby!

seid-weltschmerz_baby-web

If Norwegian space-psych outfit Seid are feeling weary of the world, the way they show it in Weltschmerz, Baby! is by simply leaving it behind, substituting for reality a cosmic starscape of effects and synth, the odd sample and vaguely Hawkwindian etherealism. The centerpiece title-track is a banger along those lines, a swell of rhythmic intensity born out of the finale of the prior “Satan i Blodet” and the mellow, flowing “Trollmannens Hytte” before that, but the highlight might be the subsequent “Coyoteman,” which drifts into dream-prog led by echoing layers of guitar and eventually given over to a fading strain of noise that “Moloch vs. Gud” picks up with percussive purpose and flows directly into the closer “Mir (Drogarna Börjar Värka),” rife with ’70s astro-bounce and a long fadeout that’s less about the record ending and more about leaving the galaxy behind. Starting out at a decent clip with “Haukøye,” Weltschmerz, Baby! is all about the journey and a trip well worth taking.

Seid on Thee Facebooks

Sulatron Records website

 

Moab, Trough

moab trough

A good record tinged by the tragic loss of drummer Erik Herzog during the recording and finished by guitarist/vocalist Andrew Giacumakis and bassist Joe Fuentes, the 10-track/39-minute Trough demonstrates completely just how much Moab have been underrated since their 2011 debut, Ab Ovo (discussed here), and across the 2014 follow-up, Billow (review here), as they bring a West Coast noise-infused pulse to heavy rock drive on “All Automatons” and meet an enduring punker spirit face first with “Medieval Moan,” all the while presenting a clear head for songcraft amid deep-running tones and melodies. “The Will is Weak” makes perhaps the greatest impact in terms of heft, but heft is by no means all Moab have to offer. With the very real possibility this will be their final record, it is a worthy homage to their fallen comrade and a showcase of their strengths that’s bound someday to get the attention it deserves whenever some clever label decides to reissue it as a lost classic.

Moab on Thee Facebooks

Moab on Bandcamp

 

Primitive Man & Unearthly Trance, Split

primitive man unearthly trance split

Well of course it’s a massive wash of doomed and hate-filled noise! What were you expecting, sunshine and puppies? Colorado’s Primitive Man and Brooklyn’s Unearthly Trance team up to compare misanthropic bona fides across seven tracks of blistering extremity that do Relapse Records proud. Starting with the collaborative intro “Merging,” the onslaught truly commences with Primitive Man’s 10-minute “Naked” and sinks into an abyss with the instrumental noisefest “Love Under Will,” which gradually makes its way into a swell of abrasive drone. Unearthly Trance, meanwhile, proffer immediate destructiveness with the churning “Mechanism Error” and make “Triumph” dark enough to live up to its most malevolent interpretations, while “Reverse the Day” makes me wonder what people who heard Godflesh in the ’80s must’ve thought of it and the six-minute finishing move “418” answers back to Primitive Man‘s droned-out anti-structure with a consuming void of fuckall depth. It’s like the two bands cut open their veins and recorded the disaffection that spilled out.

Primitive Man on Thee Facebooks

Unearthly Trance on Thee Facebooks

Relapse Records website

 

Into Orbit, Shifter

Into Orbit Shifter

Progressive New Zealander two-piece Into OrbitPaul Stewart on guitar and Ian Moir on drums — offer up the single Shifter as the answer to their 2017 sophomore long-player, Unearthing. The Wellington instrumentalists did likewise leading into that album with a single that later showed up as part of a broader tracklist, so it may be that they’ve got another release already in the works, but either way, the 5:50 standalone track finds them dug into a full band sound with layered or looped guitar standing tall over the mid-paced drumming, affecting an emotion-driven atmosphere as much as the cerebral nature of its craft. Beginning with a thick chug, it works into more melodic spaciousness as it heads toward and through its midsection, lead guitar kicking in with harmony lines joining soon after as the two-piece build back up to a bigger finish. Whatever their plans, Into Orbit make it clear that just because something is prog doesn’t mean it needs to be staid or lack expressiveness.

Into Orbit on Thee Facebooks

Into Orbit on Bandcamp

 

Super Thief, Eating Alone in My Car

super thief eating alone in my car

Noise-punk intensity pervades Eating Alone in My Car, the not-quite-not-an-LP from Austin four-piece Super Thief. They call it an album, and that’s good enough for me, especially since at about 20 minutes there isn’t much more I’d ask of the thing that it doesn’t deliver, whether it’s the furious out-of-mindness of minute-long highlight “Woodchipper” or the poli-sci critique of that sandwiches the offering with opener “Gone Country” immediately taking a nihilist anti-stance while closer “You Play it Like a Joke but I Know You Really Mean It” — which consumes nearly half the total runtime at 9:32 — seems to run up the walls unable to stick to the “smoke ’em if you got ’em” point of view of the earlier cut. That’s how the bastards keep you running in circles, but at least Super Thief know where to direct the frustration. “Six Months Blind” and the title-track have a more personal take, but are still worth a read lyrically as much as a listen, as the rhythm of the words only adds to the striking personality of the material.

Super Thief on Thee Facebooks

Learning Curve Records website

 

Absent, Towards the Void

absent towards the void

Recorded in 2016, released on CD in 2018 and snagged by Cursed Tongue Records for a vinyl pressing, Absent‘s Towards the Void casts a shimmering plunge of cavernous doom, with swirling post-Electric Wizard guitar and echoing vocals adding to the spaciousness of its four component tracks as the Brasilia-based trio conjure atmospheric breadth to go along with their weighted lurch in opener “Ophidian Womb.” With tracks arranged shortest to longest between eight and a half and 11 minutes, “Semen Prayer,” “Funeral Sun” and “Urine” follow suit from the opener in terms of overall approach, but “Funeral Sun” speeds things up for a stretch while “Urine” lures the listener downward with a subdued opening leading to more filth-caked distortion and degenerate noise, capping with feedback because at that point what the hell matters anyway? Little question in listening why this one’s been making the rounds for over a year now. It will likely continue to do so for some time to come.

Absent on Thee Facebooks

Cursed Tongue Records webstore

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Horsehunter Release Self-Titled Album; Streaming in Full Now

Posted in Whathaveyou on March 5th, 2019 by JJ Koczan

horsehunter

Wow, you know, when Horsehunter put out their 2015 debut, Caged in Flesh (review here), it was like, golly, this sure is heavy, but their self-titled is a complete turn. I mean, I’ve heard of selling out, but to have a band like this come out of Melbourne’s vibrant heavy scene and turn to whatever this kind of blend of pop-punk college rock is and then have the sheer gall to name the record after the band, as if to say, “Yeah, no, just kidding with all that grueling thick tone and harsh sludge and whatnot. We’re in it to play coffee houses.” Bands should be allowed to expand their sound and explore different directions and all that, but seriously. Dudes sound like they’re trying to write the soundtrack to a thoughtful slow-mo montage in a rom-com. What the fuck.

Nah I’m just playing. Of course it’s brutal as shit. Horsehunter dropped Horsehunter sans advance hype on March 2 in collusion with Magnetic Eye Records and it’s streaming in all its four-song, wreck-your-skull glory right now at the bottom of this post, courtesy of their Bandcamp. Check it out if you need to clear your sinuses.

Info from the PR wire:

horsehunter self-titled

Horsehunter – Horsehunter (New Album March 2, 2019)

Album 2 from Melbourne’s legendary doom metal heroes, Horsehunter. An unforgiving follow up to 2015’s critically acclaimed debut, Caged in Flesh. This S/T album comes equipped again, with massive tones and a lumbering vibe along with an underlying hypnotic bleak psychedelia throughout . For fans of High on Fire, Sleep and Baroness, Available 3/2/2019 on Magnetic Eye Records MER077

Artwork by Jesse Webb

Produced and Engineered by Tigglyfuzz Kokiri (the producer formerly known as Tigran Fuzzmeister)

Co-Engineered by Jon McNichol
Recorded live at Twin Earth Studios, Adelaide.
Overdubbed in various locations around Australia.

Tracklisting:
1. Horsehunter – Nuclear Rapture
2. Horsehunter – the Savage
3. Horsehunter – Bring out Yer Dead
4. Horsehunter – Collapse

Horsehunter was:
Dan Harris – Guitar
Michael Harutyunyan – Guitar & Vocals
Himiona Stringer – Bass Guitar
Nick Cron – Drums

horsehunter.bandcamp.com
facebook.com/officialhorseHunter
youtube.com/officialhorsehunter
soundcloud.com/officialhorsehunter
@horsehunterisdead
merhq.com
facebook.com/MagneticEyeRecords
store.merhq.com
twitter.com/magnetic_eye

Horsehunter, Horsehunter (2019)

Tags: , , , , ,

Wo Fat Headlining Wo Fest in Melbourne June 8

Posted in Whathaveyou on February 1st, 2019 by JJ Koczan

wo fat

I like to think that maybe all of Australia and New Zealand found out Wo Fat were heading their way and the bands were fighting over who was going to play with them in Melbourne and then finally Your Mate Bookings was like ah screw it we’ll just do a festival and you all can play. That’s probably not how it happened — for one thing, sick as this lineup is, it’s by no means all the bands — but it’s fun to pretend, and if there were multiple acts lining up to be in the lineup, you’d have to understand where they’re coming from. I mean, it’s Wo Fat. Who wouldn’t want to partake?

The Texas mavens of fuzz-based explorando will hit Aunz in June and accordingly, Wo Fest is set for Jun 8 at the famed Bendigo Hotel in Melbourne. I haven’t seen a full list of tour dates as yet, but one expects those are forthcoming, and maybe some word of a new album? Maybe? An Australia/New Zealand tour is its own excuse for being, certainly, but a new record coming out would most certainly sweeten the deal. Also the year.

Nothing concrete on that front either, just speculation to keep my brain busy. Here’s the lineup and info for Wo Fest as per the social medias:

wo fest 2019 poster

YOUR MATE Bookings, Young Henrys, Ripple Music, Rocknrollbrat Presents WO FEST

June 8, 2019

Melbourne’s Premium ALL DAY / ALL NIGHT Music, Art and Tattoo Festival

WO FEST will feature some of Australia & New Zealands greatest bands and solo artists in the Blues, Stoner, Psychedelic, Progressive, Sludge and Doom genres of Australia; Headlined by the one and only Texan Swampadelic Wizards Wo Fat & supported by NZs Pieces Of Molly along with local and interstate talent Subterranean Disposition, Turtle Skull, Motherslug, Honeybone, Pseudo Mind Hive, Full Tone Generator, Thaw, Burden Man.

Wo Fest will also feature Melbournes Jake Fraser Tattoo, a light show from Electric Light Brigade resident DJs and Artists.

This show will really go down as one to remember keeping Melbourne city at the forefront as one of the greatest musical cities in the world.

The event will be held on Saturday June 8th from midday at Bendigo Hotel in Collingwood.

!!!Strictly limited to 300 tickets!!!

Tickets On Sale now through

https://www.eventbrite.com.au/e/wo-fest-2019-tickets-55328049686?aff=eand

Art by Dan Fabris from God-Awful

https://www.facebook.com/wofest/
https://www.facebook.com/events/223410845108599/
https://www.eventbrite.com.au/e/wo-fest-2019-tickets-55328049686?aff=eand
https://www.facebook.com/yourmatebookings/

Wo Fat, “There’s Something Sinister in the Wind” Live in Dallas, TX, 2017

Tags: , , , , , , , , , , , ,

The Black Heart Death Cult Release Self-Titled LP This Week on Oak Island Records

Posted in Whathaveyou on January 16th, 2019 by JJ Koczan

the black heart death cult

The self-titled debut from Melbourne, Australia’s The Black Heart Death Cult was originally slated for release sometime around the middle of last year, and it may indeed have seen a digital issue around that time. Or, you know, any other time between 1966 and now. Or, you know, at least one or the other. It’s spaced out, I guess is the point. I don’t know if the band self-released it first or not, but Oak Island Records has it out on Friday on vinyl, and there’s little question in listening to it that that’s what the band has intended all along. If it was streaming, it’s since been taken down, but it’ll be worth your time to search out either physically or in the digital ether when it comes to it. Which, again, it will on Friday. Or it did in 1996. Screw it, time is a meaningless construct anyway. Fuzz on.

Release details from the PR wire:

the black heart death cult the black heart death cult

The Black Heart Death Cult release mesmerising debut 18th January on Oak Island Records

Melbourne psychedelic drone rock sextet “The Black Heart Death Cult” are super fuzzed about releasing their self-titled debut LP on German psych label Oak Island Records. It has been a labour of love, recorded over a sprawling 2 years with production from Ricky Maymi of The Brian Jonestown Massacre.

Welcome to the sonic bazaar! “The Black Heart Death Cult” debut LP is a beautifully constructed piece of gloomy verb-soaked psych rock that shifts seamlessly between tracks & styles and a real 60’s sensibility of melody underpins it all to reveal some deft song writing, skillful musicianship & quality production. Droney psych mantras, sonic opiates & space-glazed kaleido fuzz jams for the all too new dark age. Generous application of the volume dial is recommended.

The album is a brooding, gloomy beast that never sits still as it trips effortlessly from the one chord sitar-sling of “Setting Sun” to flute filled space rock of “She’s a Believer” then the wall-of-verb gloomgaze of “Black Rainbow” to the psy-folk interlude of “The Magic Lamp” before bringing the jams with “Aloha from Hell” & that’s just the A side.

The B side is heavier & jammier with the spaced out instrumental “Rainbow Machine”, speaker smashing bass fuzzed “Davidian Dream Beam”, the fantastical flute-filled “Seven Gods” before completely exploding into deep space with the closer “We Love You”.

The Black Heart Death Cult hope you enjoy the ride!

The Black Heart Death Cult will be released on limited edition heavyweight vinyl on the 18th January on Oak Island Records. Limted to 300 copies total pressing: 200 on clear vinyl and a special Kozmik Mailorder edition in 100 transparent green!

Available as Limited Edition Vinyl

Release Date: 18th January 2019

VINYL FACTZ
– Plated & pressed on high
performance vinyl at
Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Setting Sun
2. She’s a Believer
3. Black Rainbow
4. Seven Gods
5. Rainbow Machine
6. The Magic Lamp
7. Davidian Dream Beam
8. Aloha from Hell
9. We Love You

The Black Heart Death Cult are:
Sasha L Smith – Guitar & Vocals
Bill Patching – Guitar
Andrew Nunns – Drums
Deon Slavieros – Bass
Gab Potochnik – Keys

https://www.facebook.com/theblackheartdeathcult/
https://theblackheartdeathcult.bandcamp.com/
https://www.facebook.com/oakislandrecords/
http://shop.bilocationrecords.com/index.php?k=1072&lang=eng

The Black Heart Death Cult, Black Rainbow EP (2017)

Tags: , , , , ,

Quarterly Review: BongCauldron, Black Helium, Earthbong, Sir Collapse, Alms, Haaze, The Sledge, Red Lama, Full Tone Generator, Mountain Dust

Posted in Reviews on December 12th, 2018 by JJ Koczan

quarterly-review

Not to get off topic here, but it’s December, and god damn, I hate the fucking holidays. Christmas, even if you believe in the religious significance of the day, is pure garbage. I like giving presents well enough, don’t particularly enjoy receiving them, but even if you put aside the whole “oh it’s so commercial ‘now'” thing, like there was a time anyone now living ever saw when it wasn’t, it isn’t fun. The meal sucks. It’s dark. It’s cold. The songs are fucking endless and terrible — yes, all of them — and the whole experience is just a bummer the whole way through. If there was actually a war on it, I wish they’d drop the bomb and incinerate the entire thing.

Take Thanksgiving, make it start in November and end in December. A month-long festival for the season. You can even give gifts at the end, if you want. It could be like Ramadan, or, probably more likely and much on the opposite end of the spectrum, Oktoberfest.

There. Problem solved. Have a great day, everyone. Let’s do some reviews.

Quarterly Review #71-80:

BongCauldron, Tyke

BongCauldron Tyke

Biscuit, Corky and Jay of BongCauldron return less than 12 months out from their Binge LP (review here) with Tyke (on APF), three more cuts of weed-eating, dirt-worshiping, weed-worshiping, dirt-eating sludge, fueled as ever by fuckall and booze and banger riffs — and yes, I mean “banger” as in “bangers and mash.” There’s a lead that shows up in closer “Jezus Throat Horns” and some vocal melody that follows behind the throaty barks, but for the bulk of the three-tracker, it’s down to the business of conveying dense-toned disaffection and rolling nod. “Pisshead on the Moon” opens with a sample about alcohol killing you and works from its lumber into a bit of a shuffle for its midsection before hitting a wall in the last minute or so in order to make room for the punker blast of “Back up Bog Roll,” which tears ass and is gone as soon as it’s there, dropping some gang vocals on the way, because really, when you think about it, screw everything. Right? “Jezus Throat Horns” might be offering a bit of creative progression in closing out, but the heart of BongCauldron remains stained of finger and stank of breath — just the way it should be.

BongCauldron on Thee Facebooks

APF Records webstore

 

Black Helium, Primitive Fuck

black helium primitive fuck

Oh yes. Most definitely. From the Sabbath swing behind the chugging “Love the Drugs” and the march of “Wicked Witch” through the what-would-happen-if-Danzig-was-interesting “Summer Spells” and fuzzed-out post-punk shouts of “Videodrone” en route to the nine-minute “Curtains at the Mausoleum,” London four-piece Black Helium make heavy psychedelic songcraft into something as malleable as it should be on their Riot Season debut, Primitive Fuck, holding to underlying structures when it suits them and touching on drone bliss without ever really completely letting go. Opener “Drowsy Shores” is hypnotic. The aforementioned “Curtains at the Mausoleum” is hypnotic. Even the chug-meets-effects-blowout closing title-track is hypnotic, but on the handclap-laced “Do You Wanna Come Out Tonight?” or “Videodrone,” or even “Summer Spells,” there are hooks for the listener to latch onto, life-rafts floating in the swirling tonal abyss. The truth? There isn’t a primitive thing about it. They’re not so much lizard-brained as astral-planed, and if you want a summation of their sound, look no further than their name. It’ll make even more sense when you listen. Which you should do.

Black Helium on Thee Facebooks

Riot Season Records website

 

Earthbong, Demo 2018

earthbong demo 2018

The immediate association in terms of riff is going to be Sleep. “Drop Dead,” the 10-minute first of two songs on Earthbong‘s debut Demo 2018, rolls out with pure Dopesmoker-ism and follows the model of gradual unfolding of its weedian sludge riffery. No complaints. The Kiel, Germany, trio are obviously just getting their start, and since it’s a demo and not the “debut EP” that so many otherwise demos try to position themselves as, I’ll take it. And to boot, “Drop Dead” ultimately departs its Sleepy environs for altogether more abrasive fare, with Bongzilla-style screams and an increasingly aggressive shove, the drums crashing like the cymbals did something wrong, and feedback capping into the start of “Wanderer,” which is shorter at seven minutes and opens its assault earlier, the vocals no less distorted than the guitar or bass. There’s some space in a solo in the second half, but Earthbong again twist into harsh, crusty doom before letting feedback carry them out to the demo’s finish. Growing to do, but already their violence seethes.

Earthbong on Thee Facebooks

Earthbong on Bandcamp

 

Sir Collapse, Walk to the Moon

sir collapse walk to the moon

Grunge, noise rock and Queens of the Stone Age-style melody-making collide on Walk to the Moon, the debut full-length from German four-piece Sir Collapse, sometimes on disparate cuts, like the noisy intro given to the album by “Lower Principles,” and sometimes within the same song, as in the later “Like Me.” A jangly swing in “Mono Mantra” and the Nirvana-esque hook there soon gives way to the desert-hued thrust of “One Man Show” and the early ’90s fuzz of “Happy Planet Celebration,” while “The Great Escape” leads the way into some measure of evening out the approach in “Like Me,” “Too Late,” “Hey Ben” and “The Family,” unless that’s just the band acclimating the listener to their style. Fair enough either way. Sir Collapse round out with a return to the uptempo push shown earlier, giving their first LP an impressive sense of symmetry and whole-work presentation as layers of vocals intertwine with melody alternately lush and raw, sounding very much like a band who know the parameters in which they want to work going forward. So be it.

Sir Collapse on Thee Facebooks

Sir Collapse on Bandcamp

 

Alms, Act One

alms act one

Organ-soaked Baltimorean garage doomers Alms enter the conversation of 2018’s best debut albums with Act One on Shadow Kingdom, a collection rife with choice riffing, dynamic vocals and a nuanced blend of heft and drama. That a song like “The Toll” could be both as traditional sounding as it is and still modern enough to be called forward-thinking is nothing short of a triumph, and in the stomping “The Offering,” Alms cast forth a signature chorus that stands out from the tracks surrounding without departing the atmosphere so prevalent in their work. “Dead Water” at the outset and “For Shame” build a momentum through side A that the five-piece of keyboardist/vocalist Jess Kamen guitarists Bob Sweeney (also vocals) and Derrick Hans, bassist Andrew Harris and drummer Derrick Hans expand in the second half of the record, winding up in the early gruel of “Hollowed” only to resolve the album with speedier swing and as sure a hand as they’ve guided it all along. At six songs and 33 minutes, Act One unmistakably leaves the audience wanting more, and indeed, the plot may just be starting to unfold.

Alms on Thee Facebooks

Shadow Kingdom Records on Bandcamp

 

Haaze, Swamp Mama

Haaze Swamp Mama

It is a sharp, biting 27-minute run, but Swamp Mama isn’t just thrown together haphazardly. Alberta-based sludge metallers Haaze build a song like “35 Indians” to a head over the course of a deceptively efficient 4:44, following opening track “Beast of the Bog” with a developed sense of craft underlying the outward negativity of their sound. I’ll give the band bonus points for finishing side A with a song called “Stereotypically Doomed,” but more for the crash cymbal that seems to devour the mix. There’s a trashy undercurrent to the subsequent title-track, and as it finishes its pummel, it relinquishes ground to the acoustic interlude, “The Mechanic,” which I’m just going to assume is named for the Charles Bronson movie. That of course sets up the most extreme cut included in closer “AL,” which layers fierce growls and screams atop a rhythm clearly designed for maximum assault factor. A little more metal than sludge, it nonetheless remains tonally consistent with what comes before it, giving Swamp Mama a vicious ending and a feel that’s all the more lethal for it.

Haaze on Thee Facebooks

Haaze on Bandcamp

 

The Sledge, On the Verge of Nothing

the sledge on the verge of nothing

Copenhagen four-piece The Sledge boasts the three former members of heavy rockers Hjortene in guitarist/keyboardist/vocalist Palle, drummer/vocalist Kim and bassist Claus, so while they’ve revamped their identity and gone on to add vocalist Magnus Risby — who appears here on “179 Liars” and “Yet Untitled” — perhaps its somewhat disingenuous to consider their first album under the new moniker, On the Verge of Nothing, a debut. Issued through Kozmik Artifactz, the record collects eight tracks produced by Anders Hansen (who also worked with Hjortene) and mixed by Matt Bayles, and in listening to the cuts with Risby in the lead spot, the vibe taps into a thicker take on late-era Dozer with no less righteous melodicism. That, however, is just a fraction of the total story of On the Verge of Nothing, which taps earlier desert idolatry on “Death Drome Doline” and brings in none other than Lorenzo Woodrose himself for guest spots elsewhere. People in and out of the lineup through different tracks should make the LP disjointed, but as ever, it’s the songwriting that holds it together, and one can’t discount the core band’s experience playing together as a part of that either. Debut or not, it’s an impressive offering.

The Sledge on Thee Facebooks

Kozmik Artifactz website

 

Red Lama, Dogma

red lama dogma

One tends to think of serenity and peaceful drift when it comes to Danish heavy psych rockers Red Lama, but as the seven-piece band quickly turn around follow-up to their 2018 sophomore LP, Motions (discussed here), cuts like opener “Time” and “RLP” unfold with a particular sense of urgency, the former seeming to showcase an acknowledgement of sociopolitical circumstances in Europe and beyond in a way that seems to readjust their focus. That’s a tidy narrative, but if it’s a case of priorities being rebalanced, it’s striking nonetheless. To coincide, “RLP” has a heavier roll in its second half, and while second cut “State of the Art” and closer “Tearing up the Snow” both make their way past the five-minute mark with post-rocking pastoralia and dreamy melodies, there remains a feeling of a tighter focus in the tracks that could portend a new stage of the band’s development or could simply be a circumstance of what’s included here. The next album will tell the tale.

Red Lama on Thee Facebooks

Red Lama on Bandcamp

 

Full Tone Generator, Valley of the Universe

full tone generator valley of the universe

Fronted by Andy Fernando of Don Fernando, Full Tone Generator‘s debut long-player, Valley of the Universe, nonetheless bears the unmistakable hallmark of the Californian desert — in no small part because that’s where it was recorded. Fernando and guitarist/bassist/backing vocalist Brad Young traveled to that famed landscape to record with Bubba DuPree and Brant Bjork at Zainaland Studios, only to have the latter end up playing drums and contributing backing vocals as well to the eight-tracker. Not a bad deal, frankly. The key reference sound-wise throughout Valley of the Universe is Kyuss, particularly because of Bjork‘s involvement and Fernando‘s vocal style, but the slow-rolling “I Only Love You When I’m Loaded,” 59-second blaster “No Future” and the ending jam duo of “Preacher Man” and “Never to Return” make the ground their own, the latter with some surprise screams before it bounces its way into oblivion as though nothing ever happened. They’ve got the vibe down pat, but Full Tone Generator do more as well than simply retread desert rock’s founding principles.

Full Tone Generator on Thee Facebooks

Hurricane Music on Bandcamp

 

Mountain Dust, Seven Storms

mountain dust seven storms

Keys give Montreal four-piece Mountain Dust a tie to classic heavy blues and they use that element well to cast their identity in the spirit of a post-retro modern feel, details like the backing vocals of “White Bluffs” and the waltzing rhythm held by the snare on “Witness Marks” doing much to add complexity to the persona of the band. “You Could” goes over the top in its boozy regrets, but the dramas of “Old Chills” are full in sound and satisfyingly wistful, while closer “Stop Screaming” offers a bit of twang and slide guitar to go along with its sense of threat and consuming seven-minute finish. Tight songwriting and clean production do a lot to give Seven Storms a professional presentation, but ultimately it’s the band itself that shines through in terms of performance and as Mountain Dust follow-up their well-received 2016 debut, Nine Years, they sound confident in their approach and ready to flesh out in multiple directions while maintaining a central character to their sound that will be familiar to the converted enough to be a work of genre while setting the stage to become all the more their own as well.

Mountain Dust on Thee Facebooks

Kozmik Artifactz website

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Quarterly Review: Earthless, Satan’s Satyrs, Mantar, Child, T.G. Olson, Canyon, Circle of the Sun, Mythic Sunship, Svarta Stugan, Bast

Posted in Reviews on December 6th, 2018 by JJ Koczan

quarterly-review

There isn’t enough coffee in the universe, but I’ve got mine and I’m ready to burn the living crap out of my tongue if that’s what it takes to get through. We’ve arrived at Day 4 of the Quarterly Review, and though we’re less than halfway to the 100-album goal set by some maniac sitting at his kitchen table with a now-burnt tongue, there’s been an awful lot of good stuff so far. More even than I thought going into it, and I slate this stuff.

That said, today’s list is pretty killer. A lot of these bands will be more familiar than maybe has been the case or will be on some of the other days of this Quarterly Review. It just kind of worked out that way as I was putting it together. But hey, a few bigger bands here, a few “debut EP” demos there. It’s all good fun.

So let’s go.

Quarterly Review #31-40:

Earthless, From the West

earthless from the west

Bonus points to whatever clever cat correctly decided that Earthless‘ 2018 studio album, Black Heaven (review here), needed a companion live record. With artwork mimicking a Led Zeppelin bootleg of the same name, From the West arrives through Silver Current and Nuclear Blast capturing the most powerful of power trios earlier this year in San Francisco, and it’s like the fire emoji came to life. With Mike Eginton‘s bass as the anchor and Mario Rubalcaba‘s drums as the driving force, guitarist Isaiah Mitchell starts ripping holes in the fabric of spacetime with “Black Heaven” and doesn’t stop until 64 minutes later as “Acid Crusher” dissolves into noise. Of course “Gifted by the Wind” from the latest LP is a highlight, and suitably enough, they cover Zeppelin‘s “Communication Breakdown,” but I’m not sure anything tops the extended take on “Uluru Rock” from 2013’s From the Ages (review here) — and yes, I mean that. Of course they pair it with the 1:48 surge of “Volt Rush,” because they’re Earthless, and brilliant is what they do. Every set they play should be recorded for posterity.

Earthless website

Silver Current Records on Bandcamp

Earthless at Nuclear Blast webstore

 

Satan’s Satyrs, The Lucky Ones

satans satyrs the lucky ones

Encased in cover art that begs the Spinal Tap question, “what’s wrong with being sexy?” and the response that Fran Drescher gave it, Virginia classic heavy rockers Satan’s Satyrs return with their fourth full-length, The Lucky Ones (on RidingEasy and Bad Omen), which also marks their first record as a four-piece with guitarist Nate Towle (Wicked Inquisition) joining the returning lineup of bassist/vocalist Clayton Burgess, guitarist Jared Nettnin and drummer Stephen Fairfield, who, between the fact that Burgess founded the band and played in Electric Wizard, and all the lead guitar antics from Nettnin and Towle, might be the unsung hero of the band. His performance is not lost in the recording by Windhand‘s Garrett Morris or Burgess‘ own hefty mix, and as one would expect, Satan’s Satyrs continue to deliver deceptively refined ’70s-heavy vibes caked in cult biker horror aesthetics. Some songs hit more than others, but Satan’s Satyrs‘ dust-kicking approach continues to win converts.

Satan’s Satyrs on Thee Facebooks

RidingEasy Records on Bandcamp

Bad Omen Records on Bandcamp

 

Mantar, The Modern Art of Setting Ablaze

mantar the modern art of setting ablaze

One generally thinks of Hamburg duo Mantar as having all the subtlety of a bone saw caught on video, and yet, in listening to “Seek + Forget” from their third album, The Modern Art of Setting Ablaze (on Nuclear Blast), there are some elements that seem to be reaching out on the part of the band. Guitarist Hanno‘s vocals are more enunciated and discernible, there is a short break from the all-out blackened-sludge-punk assault that’s been their trade since their start in 2012, and “Obey the Obscene” even has an organ. Still, the bulk of the 12-track/48-minute follow-up to 2016’s Ode to the Flame (review here) is given to extremity of purpose and execution, and in pieces like the churning “Anti Eternia” and the particularly-punked “Teeth of the Sea,” they work to refine their always-present threat of violence. Closer “The Funeral” brings back some of the quiet moodiness of intro “The Knowing” and underscores the point of sonic expansion. I hope next time they use a string section.

Mantar on Thee Facebooks

Nuclear Blast website

 

Child, I

child i

It took me a few minutes to get to the heart of what my problem with Child‘s I EP is. Really, I was sitting and listening to “Age Has Left Me Behind” — the first of the three included tracks on the 20-ish-minute 12″ — and I had to ask myself, “Why is this annoying me?” The answer? Because it’s not an album. That’s it. It’s not enough. Kudos to the Melbourne, Australia, heavy blues trio on having that be the biggest concern with their latest release — it follows 2016’s righteously-grooved Blueside (review here) — and kudos to them as well for their cover of Spirit‘s “The Other Song,” but of course it’s the 10-minute jam “Going Down Swinging” on side B that’s the immersive highlight of I, as Child‘s balance of softshoe-boogie and expansive mellow-psych is second to none in their subgenre. It’s not an album, and that’s kind of sad, but as a tide-ya-over until the next long-player arrives, I still does the trick nice and easy. And not to get greedy, but I’d take a II (or would it be You?) whenever they get around to it.

Child on Thee Facebooks

Kozmik Artifactz website

 

T.G. Olson, Wasatch Valley Lady & The Man from Table Mountain

tg olson wasatch valley lady and the man from table mountain

Across Tundras frontman T.G. Olson, who by now has well lapped that band’s output with his solo catalog, would seem to have sat down with his guitar sometime in the last week and put two songs to tape. The resulting 10-minute offering is Wasatch Valley Lady & The Man from Table Mountain, its component title-tracks stripping down some of the more elaborate arrangements he’s explored of late — his latest full-length, Riding Roughshod (review pending; it’s hard to keep up), came out in October — to expose the barebones construction at root in his Rocky Mountain country folk style. “Wasatch Valley Lady” and “The Man from Table Mountain” make an engaging couple, and while Olson has a host of videos on YouTube that are similarly just him and his acoustic, something about the audio-only recordings feel like a voice out of time reaching for human connection. The first seems to have a natural fade, and the second a more prominent rhythm showcased in harder strum, but both are sweet melodies evocative as ever of open landscapes and wistful experience.

Across Tundras on Thee Facebooks

T.G. Olson/Across Tundras on Bandcamp

 

Canyon, Mk II

canyon mk ii

The Deep Purple-referential Mk II title of Canyon‘s second EP, also the follow-up to their 2017 debut LP, Radiant Light, refers to the lineup change that’s seen Dean Welsh move to drums so that he and guitarist Peter Stanko can welcome bassist/vocalist Fred Frederick to the fold. The three included songs, the hooky “Mine Your Heart,” expansively fuzzed “Morphine Dreams” and bouncing “Roam” make a hell of a first offering from the reconstituted trio, who capture classic heavy naturalism in a chemistry between players that’s mirrored in the songwriting itself. Canyon‘s 2016 self-titled debut EP (review here) held marked promise, and even after the full-length, that promise would seem to be coming to fruition here. Their tones and craft are both right on, and there’s still some gelling to do between the three of them, but they leave no doubt with Mk II that this incarnation of Canyon can get there. And, if they keep up like this, get there quickly.

Canyon on Thee Facebooks

Canyon on Bandcamp

 

Circle of the Sun, Jams of Inner Perception

Circle of the Sun Jams of Inner Perception

One man jams! Psych-jam seekers will recognize Daniel Sax as the drummer for Berlin-based trio Cosmic Fall. Circle of the Sun is a solo-project from Sax and Jams of Inner Perception collects six tracks for 39 minutes of adventuring on his own. Sax sets his own backbeat and layers bass and “effectsbass” for a full-lineup feel amid the instrumental creations, and those looking to be hypnotized by the space-rocking jams will be. Flat out. Sax is no stranger to jamming, and as one soaks in “Jamming in Paradise” or its nine-minute predecessor “Liquid Sand,” there’s little mistaking his intention. Curious timing that Circle of the Sun would take shape following a lineup change in Cosmic Fall — perhaps it was put together in the interim? — but whether Jams of Inner Perception is a one-off of the beginning of a new avenue for Sax, its turn to blues noodling on “Desert Sun,” thick-toned “Moongroove” and fuzzy roll on “Acid Dream” demonstrate there are plenty of outer realms still to explore.

Circle of the Sun on Thee Facebooks

Circle of the Sun on Bandcamp

 

Mythic Sunship, Another Shape of Psychedelic Music

Mythic Sunship Another Shape of Psychedelic Music

The simplest way to put it is that Mythic Sunship‘s Another Shape of Psychedelic Music lives up to the lofty ambitions of its title. The Danish band is comprised of guitarists Kasper Stougaard Andersen and Emil Thorenfeldt, bassist Rasmus ‘Cleaver’ Christensen, drummer Frederik Denning and saxophonist Søren Skov, and with Causa Sui‘s Jonas Munk — who also produced the album — sitting in on the extended “Backyard Voodoo” (17:41) and “Out There” (13:53) as well as overseeing the release through El Paraiso, the band indeed makes there way into the far out reaches where jazz and psychedelia meet. It’s not about pretentiously saying they’re doing something that’s never been done. You’ll note it’s “another shape” and not a “new shape” or the “shape to come.” But immersion happens quickly on opener “Resolution” (14:23), and even quicker cuts like “Last Exit,” “Way Ahead” and “Elevation” carry the compelling spirit of forward-thinking creativity through their dynamic course, and if Mythic Sunship aren’t the shape of psychedelic music to come, it’s in no small part because there are so few out there who could hope to match what they do.

Mythic Sunship on Thee Facebooks

El Paraiso Records website

 

Svarta Stugan, Islands / Öar

svarta stugan islands oar

Islands / Öar — the second word being the Swedish translation of the first — is the 40-minute debut full-length from Gothenburg atmospheric heavy post-rock instrumentalists Svarta Stugan, who demonstrate in influence from Hex-era Earth on the opener “Islands III” but go on in subsequent tracks to pull together a sound distinct in its cinematic feel and moody execution. Five out of the seven component tracks are “Islands” pieces, which are presented out of order with “Islands IV” missing and “Islands Unknown” perhaps in its place, and the respective side A/B finales “Inner Space” and “Prospects Quatsi” standing apart. Both bring to bear a style ultimately consistent with the melancholy so rife throughout Islands / Öar as a whole, but they’re obviously intended as outliers, and so they seem to be. The LP release follows a couple shorter outings, issued over the past six-plus years, and it’s clear from the depths and range on display here in the build-to-crescendo of “Inner Space” alone that Svarta Stugan haven’t misspent their time in their progression to this point.

Svarta Stugan on Thee Facebooks

Svarta Stugan on Bandcamp

 

Bast, Nanoångström

bast nanoangstrom

Largesse of scope and largesse of tone work in tandem on Bast‘s Nanoångström full-length on Black Bow, as they bring together aspects of post-metallic churn and more extreme metal methods to hone a style highly individualized, highly weighted and as much cosmic as it is crushing. Through six tracks and 57 minutes, the London trio (plus two guest spots from Chris Naughton of Winterfylleth) careen and crash and set an atmosphere of chaos without actually being chaotic, their progressive craft working to tie the songs together into a larger impression of the work as a consuming entirety. It’s the kind of record you pick up and still hear new things in by the time they put out their next one. Production from Chris Fielding at Skyhammer Studio only helps creates the heights and depths of their dynamic, and whether they’re rolling out the severity of closer “The Ghosts Which Haunt the Space Between the Stars” or laying out the soundscape of “The Beckoning Void,” Bast shape the tenets of genre to suit their needs rather than try to work within the barriers of any particular style. Nanoångström is all the more complex and satisfying for their efforts in that regard.

Bast on Thee Facebooks

Black Bow Records webstore

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Quarterly Review: Sandrider, Witchkiss, Satta Caveira, Apollo80, The Great Unwilling, Grusom, Träden, Orthodox, Disrule, Ozymandias

Posted in Reviews on December 5th, 2018 by JJ Koczan

quarterly-review

Good morning from the kitchen table. It’s a couple minutes before 4AM as I get this post started. I’ve got my coffee, my iced tea in the same cup I’ve been using for the last three days, and I’m ready to roll through the next 10 records in this massive, frankly silly, Quarterly Review. Yesterday went well enough and I’m three days into the total 10 and I don’t feel like my head is going to explode, so I’ll just say so far so good.

As ever, there’s a lot to get through, so I won’t delay. I hope you find something here you dig. I certainly have.

Quarterly Review #21-30:

Sandrider, Armada

sandrider armada

Armada is the third full-length from Seattle noiseblasters Sandrider, and at this point I’m starting to wonder what it’s going to take for this band to get their due. Produced by Matt Bayles and released through Good to Die Records, the album is an absolute monster front to back. Scathing. Beastly. And yet the songs have character. It’s the trio’s first outing since 2015’s split with Kinski (review here) and follows 2013’s Godhead (review here) and 2011’s self-titled debut (review here) in melding the band’s West Coast noise superiority with a sense of melody and depth as the trio of guitarist/vocalist Jon Weisnewski, bassist/vocalist Jesse Roberts, and omegadrummer Nat Damm course and wind their way through intense but varied material. “Banger” has been tapped for its grunge influence. Eh. Maybe in the riff, but who cares when there’s so much more going on with it? “Brambles” is out and out brutal but still has a hook, and cuts like “Industry” and the closing “Dogwater” remind of just how skilled Sandrider are at making that brutality fun. If the record was six minutes long and just had “Hollowed” on it, you’d still call it a win.

Sandrider on Thee Facebooks

Good to Die Records website

 

Witchkiss, The Austere Curtains of Our Eyes

witchkiss the austere curtains of our eyes

Goodness gracious. Cavernous echo accompanies the roars of guitarist Scott Prater that are offset by the more subdued melodies of drummer Amber Burns, but even in the most spacious reaches of 11-minute second cut “Blind Faith,” Witchkiss are fucking massive-sounding. Their debut album, The Austere Curtains of Our Eyes, presents an especially crushing take on ritualistic volume, sounding its catharsis in a song like “Spirits of the Dirt” and sounding natural as it trades between a rolling assault and the atmospheres of its quieter moments. With the departure since the recording of bassist Anthony DiBlasi, the New York-based outfit will invariably shift in dynamic somewhat coming out of this record, but with such an obvious clarity of mission, I honestly doubt their core approach will change all that much. A band doesn’t make a record like this without direct intention. They may evolve, and one hopes they do just because one always hopes for that, but this isn’t a band feeling their way through their first record. This is a band who know exactly the kind of ferocity they want to conjure, and who conjure it without regret.

Witchkiss on Thee Facebooks

Witchkiss on Bandcamp

 

Satta Caveira, MMI

Satta Caveira MMI

Argentinian instrumentalist trio Satta Caveira make a point of saying they recorded MMI, their second or third album depending on what you count, live in their home studio without edits or overdubs, click tracks or anything else. Clearly the intention then is to capture the raw spirit of the material as it’s happening. The eight songs that make up the unmanageable 62-minute listen of MMI — to be fair, 14 of those minutes are opener “Kundalini” and 23 are the sludge-into-jam-into-sludge riffer “T.H.C.” — are accordingly raw, but that in itself becomes a component of their aesthetic. Whether it’s the volume swell that seems to consume “Don Santos” in its second half, the funk of closer “Afrovoid” or the drift in “Kalifornia,” Satta Caveira manage to hone a sense of range amid all the naturalism, and with the gritty and more aggressive riffing of the title-track and the rush of the penultimate “Router,” their sound might actually work with a more elaborate production, but they’ve got a thing, it works well, and I’m not inclined to argue.

Satta Caveira on Thee Facebooks

Satta Caveira on Bandcamp

 

Apollo80, Lizard! Lizard! Lizard!

apollo 80 lizard lizard lizard

Vocalized only by spoken samples of astronauts, the thrice-exclamatory Lizard! Lizard! Lizard! is the debut EP from Perth, Australia, three-piece Apollo80, who are given mostly to exploring an outpouring of heavy molten vibes but still able to hone a bit of cacophony following the “godspeed, John Glenn” sample in second cut “FFH.” There are four songs on the 26-minute offering, and its spaciousness is brought to earth somewhat by the dirt in which the guitar and bass tones are caked, but it’s more the red dust of Mars than anything one might find kicking around a Terran desert. Unsurprisingly, the high point of the outing is the 10:46 title-track, where guitarist Luke, bassist Brano and drummer Shane push farthest into the cosmos — though that’s debatable with the interstellar drone of closer “Good Night” — but even in the impact of “Apollo” at the outset, there’s a feeling of low-oxygen in the atmosphere, and if you get lightheaded, that’s exactly how it’s supposed to be.

Apollo80 on Thee Facebooks

Apollo80 on Bandcamp

 

The Great Unwilling, EP

the great unwilling ep

The prevailing influence throughout the untitled debut EP from Minnesota’s The Great Unwilling is Queens of the Stone Age, but listening to the layer of wah intertwine with the solo on “Sanguine,” there’s more to their approach than just that, however dreamy the vocal melodies from guitarist Jesse Hoheisel might be. Hoheisel, bassist Joe Ulvi and Mark Messina present a clean four tracks and 20 minutes on their first outing, and for having been together for about 18 months, their songwriting seems to have a firm grasp on what they want to do. “If 3 was 7” rolls along at a heavy clip into an effectively drifting midsection and second half jam before returning to the initial riff, while “Current” leads off with a particularly Hommeian construction, and soon gives way to the flowing pace and apparent lyrical references of the aforementioned “Sanguine.” They finish with the dirtier tonality of “Apostasy” and cap with no more pretense than they started, bringing the short release to a close with a chorus that seems to finish with more to say. No doubt they’ll get there.

The Great Unwilling on Thee Facebooks

The Great Unwilling on Bandcamp

 

Grusom, II

grusom ii

A prominent current of organ alongside the guitars gives Grusom‘s aptly-titled second album on Kozmik Artifactz, II, a willfully classic feel, and even the lyrics of “Peace of Mind” play into that with the opening lines, “I always said I was born too late/This future is not for me,” but the presentation from the Svendborg six-piece isn’t actually all that retro-fied. Rather, the two guitars and organ work in tandem to showcase a modern take on those classic ideas, as the back and forth conversation between them in the extended jam of “Skeletons” demonstrates, and with a steady rhythmic foundation and soulful vocals overtop, Grusom‘s craft doesn’t need the superficial trappings of a ’70s influence to convey those roots in their sound. Songs like “Dead End Valley” and “Embers” have a bloozy swing as they head toward the melancholy closer “Cursed from Birth,” but even there, the proceedings are light on pretense and the atmosphere is more concerned with a natural vibe rather than pretending it’s half a century ago.

Grusom on Thee Facebooks

Kozmik Artifactz website

 

Träden, Träden

traden traden

Having originated as Träd Gräs och Stenar, the group now known as Träden is the product of a psychedelic legacy spanning generations. Founder Jakob Sjöholm has joined forces with Hanna Östergren of Hills, Reine Fiske of Dungen and Sigge Krantz of Archimedes Badkar to create a kind of supergroup of serenity, and their self-titled is blissful enough not only to life up to Träd Gräs och Stenar‘s cult status, but to capture one of its own. It’s gorgeous. Presumably the painting used on the cover is the cabin where it was recorded, and its eight tracks — sometimes mellow, sometimes more weighted, always hypnotic — are a naturalist blueprint that only make the world a better place. That sounds ridiculous, I know. But the truth is that for all the terrible, horrifying shit humanity does on a daily basis, to know that there are people on the planet making music like this with such a genuine spirit behind it is enough to instill a bit of hope for the species. This is what it’s all about. I couldn’t even make it through the Bandcamp stream without buying the CD. That never happens.

Träden on Thee Facebooks

Träden on Bandcamp

 

Orthodox, Krèas

orthodox kreas

Last year, Spanish experimentalists Orthodox released Supreme and turned their free-jazz meets low-doom into a 36-minute fracas of happening-right-now creativity. Krèas, a lone, 27-minute track with the core duo of bassist Marco Serrato and drummer Borja Díaz joined by saxophonist Achilleas Polychronidis, was recorded in the same session but somehow seems even more freaked-out. I mean, it’s gone. Gone to a degree that even the hepcats who claim to appreciate free-jazz on anything more than a theoretical level (that is, those who actually listen to it) will have their hair blown back. The rest of the universe? Well, they’ll probably continue on, blissfully unaware that Orthodox are out there smashing comets together like they are, but wow. Challenging the listener is one thing. Krèas is the stuff of dissertations. One only hopes Orthodox aren’t holding their breath waiting for humanity to catch up to what they’re doing, because, yeah, it’s gonna be a while.

Orthodox on Thee Facebooks

Alone Records webstore

 

Disrule, Sleep in Your Honour

Disrule Sleep in Your Honour

Danish bruisers Disrule run a brash gamut with their second album, Sleep in Your Honour (on Seeing Red). Leading off with the earworm hook of the title-track (premiered here), the album puts a charge into C.O.C.-style riffing and classic heavy rock, but shades of Clutch-y funk in “Going Wrong” and a lumbering bottom end in “Occult Razor” assure there’s no single angle from which they strike. “(Gotta Get Me Some) Control” elicits a blues-via-Sabbath vibe, but the drums seem to make sure Disrule are never really at rest, and so there’s a strong sense of momentum throughout the eight-song/29-minute EP, perhaps best emphasized by two-minute second cut “Death on My Mind,” which seems to throw elbows as it sprints past, though even shouted-chorus closer “Enter the Void” has an infectious energy about it. If you think something can’t be heavy and move, Disrule have a shove with your name on it.

Disrule on Thee Facebooks

Seeing Red Records on Bandcamp

 

Ozymandias, Cake!

ozymandias cake

First clue that all is not what it seems? The artwork. Definitely not a picture of cake on the cover of Ozymandias‘ debut album, Cake!, and accordingly, things don’t take long before they get too weird. “Jelly Beans” hits on harshest Nirvana — before it goes into blastbeats. “Mason Jar” scathes out organ-laced doom and vicious screaming, before “Hangman” gets all danceable like “All Pigs Must Die” earlier in the record. The wacky quotient is high, and the keyboards do a lot to add to that, but one can’t really call “Doom I – The Daisies” or the later “Doom II – The Lilies” anything but progressive in the Devin Townsend-shenanigans-metal sense of the word, and as wild as some stretches of Cake! are, the trio from Linz, Austria, are never out of control, and they never give a sense that what they’re doing is an accident. They’re just working on their own stylistic level, and to a degree that’s almost scary considering it’s their first record. I won’t claim to know where they might be headed, but it seems likely they have a plan.

Ozymandias on Thee Facebooks

StoneFree Records website

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Review & Full Album Stream: Lucifer’s Fall, Tales from the Crypt

Posted in audiObelisk, Reviews on November 30th, 2018 by JJ Koczan

lucifer's fall tales from the crypt

[Click play above to stream Lucifer’s Fall’s Tales from the Crypt in its entirety. It’s out Dec. 17 through Sun and Moon Records.]

If you want to get a sense of where Lucifer’s Fall are coming from, you don’t have to look far. They have a song called “(Fuck You) We’re Lucifer’s Fall,” and that basically sums it up. The Adelaide, Australia, five-piece of vocalist Philip “Deceiver” Howlett, guitarists Kieran “The Invocator” Provis and Blake “Heretic” Stephens, bassist Jessica “Cursed Priestess” Erceg and drummer Ben “Unknown and Unnamed” Dodunski, more than live up to that basic ethos, and their sound seems to put it in constant emphasis along with their raw take on traditionalist doom. Their roots lie in acts like Puritan and Rote Mare, and in their five years, they’ve issued two long-players in a 2014 self-titled and 2016’s II: Cursed and Damned (review here), but the impetus for their new Sun and Moon Records collection, Tales from the Crypt, lies in the smattering of singles, demos, one-offs and Bandcamp tracks they’ve issued aside from those records.

There is some overlap, as there would be with demos and live tracks included — “(Fuck You) We’re Lucifer’s Fall” also appeared on the second LP and I’m not sure how they’ll ever be able to release an album without it included; it’s their slogan and calling card — but with rehearsal tracks, studio songs and live cuts, there’s no want of variety between cuts like opener “Trapped in Satan’s Chains” or “Die Witch Die” as the compilation moves from raw to rawer, stripping doom down to its essential components and adding a lethal dose of fuckall in the spirit of the finest black ‘n’ roller primitivists. Doom worship. Metal worship. Tag on partial, “barely rehearsed” and/or live covers of Reverend BizarreExciter and Angel Witch, and you get over an hour of doomly scathe that’s drenched in attitude and unrelenting in its drive, songs like “Dirty Shits Dirty Music” and the rehearsal tape “Damnation” offering little by way of letup in a barebones sensibility that’s as punk as it is metal.

Are there tapes? There should be. Are there patches? Oh yes.

Some of the included material has been previously released — the already-noted salvo of covers that closes out Tales from the Crypt, for example, was on the limited CD-R Cursed Visions – Dungeon Demos III in 2016, which indeed was the third in a series of demos going back to the beginnings of the band in 2013 (though the “Angel Witch” here comes from 2017’s digital offering Live & Raw at Three?-?D Radio’s Sound Lounge). But I think even if you managed to snag one of the 30 CDs or 20 tapes that were pressed up at the time — long gone, of course — you might be fan enough to appreciate their appearance here as well. And if they’re new to you, or if the band is new to you, it’s hard to argue they do anything but shine in these tracks. Since so much of the point in what they do is to strip away what they might consider the excess from traditional doom and metal, their sound is remarkably well suited to the rehearsal-room feel of “Cursed Priestess,” which ends with a “yeah” from Deceiver that’s only appropriate, “Damnation,” “The Mountains of Madness” and this version of “(Fuck You) We’re Lucifer’s Fall.”

lucifer's fall

By extension, the bootleg-style recordings of “Deceiver,” “Die Witch Die” and “Death of the Mother” capture the band at their outwardly nastiest and thus most righteous. Having heard their proper studio output and the three “cleaner” inclusions here at the outset in “Trapped in Satan’s Chains,” “Dirty Shits” and “Unknown Unnamed,” I wouldn’t necessarily advocate for Lucifer’s Fall to abandon all production in the spirit of ever-more-rudimentary black metal-style tape-hiss cavernousness, but in combination with their actual albums, Tales from the Crypt helps to present a fuller picture of who they are to listeners. And granted, we know who they are — they’re Lucifer’s Fall, and you know the rest — but by culling these varied sources together, not only is more of the band’s personality put on display, which is not a minor consideration when it comes to Lucifer’s Fall, but also they get the chance to feature their work in a kind of anti-greatest-hits portrayal. This too is only fitting the band’s aesthetic. Couldn’t afford the leather, stuck with the denim.

So I guess this is the part where I sat that maybe the 13-track/61-minute assault of drunken doombashing isn’t for everybody. Fine. There’s your disclaimer. And it might be true in terms of the general brashness of the thing, but on another level, Tales from the Crypt embodies some of the best aspects not just of doom, but of being a band. It brims with fist-pumping, headbanging vitality. It taps into the spirit of collaborative creation — five individuals coming together to work toward a singular purpose and expression — and while it’s not by any means a quick listen, the band works quickly in both tempo and craft to bring the listener into their framework, so that as “Unknown Unnamed” gives way to “Deceiver” or “Death of the Mother” leads into the crawling “Cursed Priestess,” the jump in sound is easy enough to make because the whole thing isn’t necessarily about a a full album flow as much as it is about letting the audience into the rehearsal space — one imagines a basement-smelling dungeon, or crypt, or, you know, basement — or into the barroom with the shitty P.A., or just simply into their creative process.

There isn’t much ground being broken here — again, this is mostly material that’s surfaced elsewhere, and even if it wasn’t, that’s not really the point of what Lucifer’s Fall‘s approach. This is a celebration of the most basic tenets of doom and the deviant subculture around it. Call them born too late. Call them consumed with the wickedness of man. Say they’re hurling themselves face-first into the void. However you want to put it, Tales from the Crypt succeeds in bringing to light an essential facet of who Lucifer’s Fall are as a band, and with their penchant for putting out live sets, singles and demos and other sundry whatnot, it’s easy to think that the first such collection won’t by any means be the last. So be it.

Lucifer’s Fall on Thee Facebooks

Lucifer’s Fall on Bandcamp

Sun and Moon Records website

Sun and Moon Records on Thee Facebooks

Tags: , , , , ,