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: , , , , ,

Review & Full Album Stream: Frozen Planet….1969, The Heavy Medicinal Grand Exposition

Posted in audiObelisk, Reviews on October 29th, 2018 by JJ Koczan

frozen planet 1969 the heavy medicinal grand exposition

[Click play above to stream Frozen Planet….1969’s The Heavy Medicinal Grand Exposition in its entirety. Album is out Nov. 1 on Pepper Shaker Records and HeadSpin Records.]

Step right up, don’t be shy. One has to wonder when it comes to the sixth — count ’em, six — full-length outing from ellipse-inclusive Sydney/Canberra psychedelic improv specialists Frozen Planet….1969 as to which came first, the concept or the execution. That is, The Heavy Medicinal Grand Exposition is a somewhat weighty title, and obviously that’s on purpose as the classic power trio of guitarist Paul Attard, bassist Lachlan Paine and drummer Frank Attard, being entirely instrumental, lean on the cartoon artwork and the liner notes of the CD and LP — released by Pepper Shaker and HeadSpin Records, respectively — to tell the story. That’s not to say the record itself, which is comprised of one 39-minute title-track broken down into six subtitled parts and a six-minute follow-up called “Encore: A Herbal Miracle,” isn’t plenty malleable.

Indeed, in sound, open structure and form, Frozen Planet….1969 jam and jam and jam and jam their way into the greater reaches of Far Out, a naturalist production helmed by Frank keeping some human presence in mind behind all the willful instrumental meandering that, all things considered, isn’t nearly as effects-baked as it could be, even in the latest stretch of the “The Heavy Medicinal Grand Exposition” itself. But they go where they want to go, and of course, the live feel of the recording is one of its most essential facets. For something that’s at least in some part made up on the spot, that’s bound to be the case, which leads back to the initial question of which came first, the story or the jam.

Does it really matter to the listening experience? I suppose not. It’s possible to put on “The Heavy Medicinal Grand Exposition” without engaging Doctor Berner or reading in the liner notes about his traveling show selling the miracle herbal elixir to relieve pain and ward off evil, strengthen body and mind, and so on. But it’s not nearly as much fun, and Frozen Planet….1969 sound well like they’re enjoying the process of creating the album on the spot. Shouldn’t the listener endeavor to do the same with the listening experience?

Thus we meet the Swordsman, the Juggler, Sundae, Doctor Berner himself and the rest in the title-track. Conveniently, they’ve split the 39-minute piece up into subsections. On the vinyl it all plays together naturally, so whether one thinks of it as one or six different cuts is moot. On the CD and digital versions, though, we see the band purposefully linking the pieces together as the single jam that they are. The list of subsections reads accordingly:

The Heavy Medicinal Grand Exposition:
I. Oddball Sundae (00:00-05:15)
II. The Juggler (05:16-10:08)
III. Introducing… Oxandra Lanceolata (10:09-16:26)
IV. The Talking Juice (16:27-27:31)
V. Swords for Hire (27:32-31:47)
VI. Never Should Have Left Town with a Whistling Monkey by My Side (31:48-39:25)

frozen planet 1969 the heavy medicinal grand exposition liner

There’s a lot of information packed into those subtitles. ‘The Talking Juice’ refers to the potion itself. ‘Swords for Hire’ has a companion Swordsman as seen in an executioner’s hood on the front cover standing next to Oxandra Lanceolata, also on the cover holding — for some reason — a bonsai tree. The art is meant to evoke a comic book sensibility — we see Doctor Berner in the top left corner where the comic company logo and issue price might otherwise be — and that tends to give the whole affair a lighthearted feel suited to the music itself, which is laid back even at its most active points, the title-track getting funky in ‘The Juggler’ or jamming into a classic fuzz solo in ‘The Talking Juice’ after the “hubba hubba” of pulled notes and spaced-out guitar echoes in “Introducing… Oxandra Lanceolata.” Part of the fun of engaging with The Heavy Medicinal Grand Exposition becomes reading these things into it.

And yeah, if they had elected to do a futuristic sci-fi theme instead of an old traveling medicine show, it would probably be just as easy to hear a cosmic pastiche in the spacey wanderings that take hold in ‘The Talking Juice’ and the lonely reach of feedback in ‘Never Should Have Left Town with a Whistling Monkey by My Side,’ the bass and drums holding the jam together beneath the floating guitar overhead, but the point is they didn’t. The Attards and Paine created the characters and the theme they wanted to use and set about bringing that concept to life as a full experience of the album. That’s exactly why The Heavy Medicinal Grand Exposition works as well as it does. It’s a complete, multi-level realization of its central idea.

So which came first, the music or the theme? Hell if I know. What’s more important is that the two work side by side to give a whole impression through both the title-track and the complementary “Encore: A Herbal Miracle” that wants nothing either in narrative presentation or actual sonic execution. They finish the second jam with jazzy punches of guitar, bass and drums, odd-time strumming and kick cutting off suddenly to bring the record to its end, and by so doing, they reinforce the notion of The Heavy Medicinal Grand Exposition as a work of improv. It’s there while it’s there and then it’s over. There’s no real grand finale to it. The jam just concludes and then, presumably, it’ll be on to the next one.

Fair enough. The Heavy Medicinal Grand Exposition is Frozen Planet….1969‘s sixth LP since 2012, directly following 2017’s From the Centre of a Parallel Universe (review here) and Electric Smokehouse (review here), so they’re used to a quick turnaround. Whenever their next offering surfaces, the fact that they’ve put so much into the conceptual foundation of this one can only help them as they move forward, and whether they work with another specific plotline or not, the mere fact that The Heavy Medicinal Grand Exposition was approached with a sense of storytelling is bound to make the listening experience that much richer. It certainly does here.

Frozen Planet….1969 on Thee Facebooks

Pepper Shaker Records on Thee Facebooks

Pepper Shaker Records on Bandcamp

HeadSpin Records website

HeadSpin Records on Thee Facebooks

Tags: , , , , , , ,

Full Tone Generator to Release Valley of the Universe Nov. 14

Posted in Whathaveyou on October 9th, 2018 by JJ Koczan

full tone generator

Australian heavy rock outfit Full Tone Generator set a pretty high standard for themselves in the making of their debut album. The project, founded and spearheaded by guitarist/vocalist Andy Fernando, traveled to the Californian desert to record with none other than Brant Bjork at the helm as producer along with Bubba DuPree — he of Bjork‘s Low Desert Punk Band and formerly Void — and oh hey, Bjork also wound up drumming and contributing vocals to the album. Not too shabby. I’m not sure how you’d go about outdoing that for LP number two. “I went to Mars to record on Olympus Mons.”

I guess that’s something for Fernando to worry about when he gets there. As regards Valley of the Universe, it answers the call of its desert-dwelling goals, and has a few choice fuzzy jams to add variety to its more solidly structured material. Bjork makes his presence felt, of course, but is only part of the larger, sun-caked vibe.

The PR wire brings release details for the Nov. 14 digital release through Hurricane Music. Preorders are up for that now and in the works for vinyl in the US and Europe, as the PR wire tells:

full tone generator valley of the universe

Full Tone Generator started as an idea hatched on the beaches of Australia by Andy Fernando of Australian Stoner rock veterans Don Fernando, and bought to fruition in the Californian Desert by Andy Fernando, Brant Bjork and Brad Young.

While Don Fernando were on a break in early 2018 Andy was looking for another outlet for his new songs and took it upon himself to contact the one and only Brant Bjork (Kyuss, Fu Manchu, Brant Bjork and the Low Desert Punks). Andy had met Brant while touring together in Australia in 2017 and the guys had developed a friendship over their mutual love of Gin, Rock n Roll and the Ramones. After some late night text messages and emails Andy sent Brant some of his new demos and asked if he would be interested in working together on a new project.

Andy’s vision was to take his new songs into the spiritual home of stoner rock and record them with one of the forefathers of the genre, Andy needed a drummer and producer, luckily Brant is both, Brant proposed that they head out into the desert and setup a mobile studio in a remote location to record an LP with Brant playing drums and producing the record with the assistance of Bubba Dupree.

In June 2018 Andy and Brad headed over from Australia to Brant’s zainaland studio where he recently recorded his new solo album and laid down the debut album for FULL TONE GENERATOR – VALLEY OF THE UNIVERSE. The album is available now for digital and CD preorder via Bandcamp.

Presale: https://hurricanemusic1.bandcamp.com/album/valley-of-the-universe

Vinyl presales are coming soon via Ruined Vibes records in USA and Baby Gorilla Records in Europe with some limited edition colored vinyl with gatefold sleeves. The band will be hitting the road in 2019 with a lineup of killer Aussie musos.

Full Tone Generator is:
Andy Fernando: Guitar, Bass, Vocals
Brad Young: Guitar, Bass, Backing Vox
Brant Bjork: Drums, Backing Vox

https://www.facebook.com/Full-Tone-Generator-362200097605550/
https://hurricanemusic1.bandcamp.com

Full Tone Generator, “Let the Good Times Roll”

Tags: , , , , ,

Child Announce European Tour; Playing Up in Smoke, Desertfest Belgium, Keep it Low, Into the Void and Rockpalast

Posted in Whathaveyou on September 20th, 2018 by JJ Koczan

I guess when you’re crossing over Asia to go tour Europe from Australia, you want to make it worth the trip, but even so, the upcoming European jaunt from Melbourne-based heavy blues traditionalists Child is striking in its efficiency. Arriving ahead of Up in Smoke in Switzerland, the trio will spend just under three weeks on the road in the EU and finish in the UK, making stops at Desertfest Belgium 2018, Keep it Low and Into the Void festivals along the way. Of note as well is the date at Rockpalast Crossroads, which will of course be filmed and aired and is likely to make its way online as those videos regularly do. And oh yeah, a goodly portion of the dates are with Acid King, so fucking a, this is a really good god damn tour.

Child go carrying the last copies of their limited 45RPM 12″ vinyl EP, titled simply I, which was released earlier this year on Kozmik Artifactz and is another one of those outings I lost on my stolen laptop back in May before I could give it a writeup. Never too late, I suppose, with a Quarterly Review coming in the next couple weeks. Onto the list they go.

They sent the following down the PR wire:

child euro tour poster

Child – European Tour Oct. 2018

CHILD are returning to Europe in October 2018 to play ROCKPALAST CROSSROADS on German TV station WDR with US chart toppers BLACKBERRY SMOKE. Alongside this will be a selection of autumn festivals, a run of club shows with our legendary friends ACID KING and headline club shows. Remaining vinyl copies of our recent EP “I” are only available from shows and will almost certainly be sold out by the end of the tour.

Details and tickets available at www.childtheband.com

Supported by Marshall Amplification and Roger Mayer Effects Pedals

Dates:
10.04 AUT – Vienna, Szene *
10.05 DEU – Ulm, Hexenhaus
10.06 CHE – Pratteln, Z7 Konzertfabrik, Up In Smoke
10.07 DEU – Dresden, Chemiefabrik *
10.08 DEU – Hamburg, Hafenklang *
10.09 DNK – Copenhagen, KB 18 *
10.10 SWE – Gothenburg, The Abyss *
10.11 NOR – Oslo, John Dee *
10.13 DEU – Bonn, Harmonie, Rockpalast Crossroads w/ Blackberry Smoke
10.14 BEL – Antwerp, Trix, Desertfest
10.15 DEU – Cologne, MTC *
10.16 DEU – Freiburg, White Rabbit Club
10.17 ITA – Milan, Ligera *
10.18 ITA – Bologna, Freak Out Club *
10.19 DEU – Munich, Feierwerk, Keep It Low
10.20 NLD – Leeurwarden, Neushoorn, Into the Void
10.21 NLD – Utrecht, Db’s *
10.23 GBR – London, The Black Heart
* with Acid King

https://www.facebook.com/childtheband
https://www.instagram.com/childtheband/
http://www.childtheband.com
https://childtheband.bandcamp.com
https://www.youtube.com/childtheband
http://kozmik-artifactz.com/artist/child/

Child, I EP (2018)

Tags: , , , , ,

Bunny Racket Announce Live Shows; New Video Posted

Posted in Whathaveyou on September 17th, 2018 by JJ Koczan

I played the new Bunny Racket video for The Pecan, and he was coming up on naptime but still kind of into it, seeing the Australian, costumed kids’ heavy rock outfit for the first time. Bunny Racket, though directed at children, might be a little old for him yet, but he did a little dance and that usually means he’s into what’s going on. At least this wee. I’m sure next week it’ll mean something else. The dance of poopy tragedy, or some such.

Anyway, we were talking about new Bunny Racket. I don’t know where they’re at with the tv series or anything, but it seems to me that Netflix would only be dumbassed if they didn’t pick that one up and roll it out. It’s a dude in a battle vest and a bunny costume. I mean, seriously, what more do you want of television than that. Sign it up. Two seasons. If you have to raise my account cost another dollar every six months to make it happen, so be it.

The PR wire brings an update:

bunny racket

New Bunny Racket release!

Affectionately known as ‘the Motorhead of kids bands’, Bunny Racket is bringing rock to the kids.

Plain and simple!

But it isn’t just the little kids that we have in mind. Big kids, we’ve got you covered too!

Recorded with Brant Bjork in Los Angeles, this new music video for ‘We Want More!’ is a reminder of why we are doing all of this. A trip down memory lane to dig on all the things that made being a kid so great!

The series…

We raised over $50,000 through our Kickstarter campaign to create a couple of banging pilot episodes for the Bunny Racket series. Well, the pilots are finished and the Bunny Racket team have been busy pitching this series to networks and investors in every burrow, near and far!

The Bunny Racket series delivers electrifying, live action awesomeness in a super fun series that follows the musical adventures of King Bunny and his quest to bring rock ’n’ roll to all the boys and girls of the world, one hard-rockin’ song at a time.
80’s rock nostalgia at it’s best with a magical blend of Sesame Street going head to head with MTV!

2018 has been massive for the Bunny Racket Live show! Be sure to come along to a gig when we are playing near you!

Bunny Racket live:
October 7th – Byron Theatre, Byron Bay.
October 31st – Halloween at Kingscliff Beach Hotel.
December 7th – Alexandria Park, Sydney.
December 8th – Golden Age Cinema, Surry Hills.
More shows to be announced!

https://www.facebook.com/bunnyracket
https://www.instagram.com/bunnyracket/
https://twitter.com/bunnyracket
http://www.bunnyracket.com/
https://shop.bunnyracket.com/

Bunny Racket, “We Want More” official video

Tags: , , , ,