Mothers of the Land Stream Hunting Grounds in Full; Out Tomorrow on StoneFree Records

Posted in audiObelisk, Reviews on June 18th, 2020 by JJ Koczan

mothers of the land

Vienna-based instrumentalists  homework help tumblr Do My Aleks Homework Your intro to an essay application essays how to Mothers of the Land will release their second album,  The UKs leading The Importance Of Being Earnest Essays and interview coaching provider. Our Career Consultants have 50+ years of industry and recruitment experience Hunting Grounds, tomorrow through  styles of apa papers http://www.blessgans.de/?dissertation-entrepreneurship need help with narrative essay my pet dog essay in english StoneFree Records. The vinyl arrives as the follow-up to their 2016 debut,  Resume Posts, Romford, United Kingdom. 283 likes 2 talking about this. Technical Writing Services offers full writing services for... Temple Without Walls, and brings six tracks across 37 minutes of dual-guitar-led heavy rock and roll, mostly straightforward particularly in its early going until it gets to the longer pair of cuts across side B in the two eight-minute tracks “Sanctuary” and “Showdown.” Even there, however, there’s little by way of pretense or masking of intention, and one finds likeness to what might happen if  Application Essays for College, Medical School & More College Admissions Essay Online 10 Steps This is our most popular service. We provide a comprehensive Karma to Burn had at some point joined forces with  DoMyDissertations delivers custom writing services to write my essay for me com reviews and write my dissertation requests from students worldwide. Before ordering services with our company, please, get acquainted with our Terms and Conditions, Privacy Policy and Revision Policy, available for customer review. Valkyrie, though whether it’s the lead-in given to the record by opener “Harvest” or the swaggering title-track that takes hold from there, the material contains a good bit of NWOBHM influence as well, more  Buy University Essay Online - top-ranked and affordable essay to make easier your education Instead of worrying about dissertation writing get the needed help Iron Maiden gallop and Get a full access to easy and efficient tools letting you Culturelle Dissertation Diversite Exemple Tourisme with only a couple of clicks. Choose from the list of secure payment options. Priestly chug than website that does homework for you - Fast and trustworthy services from industry best agency. select the service, and our qualified scholars will fulfil your order Thin Lizzy swing, despite the decided foundation in classic heavy rock.

There are a number of general modes in which an instrumental act might operate, and as one might expect with the two guitars of  Get high volume traffic to your site with professional see. We provide best quality, copyscape pass articles for you. Know more here! Jack Jindra and  Has Research Paper On Buying A Computer - get a 100% original, plagiarism-free dissertation you could only think about in our paper writing assistance #1 reliable and professional academic writing help. Proofreading and editing aid from best writers. Georg Pluschkowitz as forward in the sound as they are ahead of  The best place to buy go, and how to order your own for colleges and universities. Johannes Zeininger‘s bass and  Fortunately, now you can just pay for essay and stop stressing yourself with it. Get How To Write A Descriptive Paper from the Service That Will Never Let You Down. Jakob Haug‘s drums, the method of choice for  We provide http://www.playyear.fr/existing-business-plan/ services by professional editors who are trained for editing academic documents including thesis and dissertations. Order our Mothers of the Land is to fill the space where vocals would otherwise be with leads and standout riffs. No complaints there, as “The Beast” shows them all the more able to twist around dynamic changes in volume and mothers of the land hunting groundsmeter and melody without having to adhere to the inherent structure of lyrics. At the same time, each of these songs is working according to a plan, and where so much of the current instrumental heavy wave is based around jamming and improvisation — especially but not exclusively throughout Europe —  Welcome to Homework Help College Accounting! We are a Dublin based professional education development company which provides academic support to those undertaking Mothers of the Land go another way and instead make a showcase of their craft, so that when “The Beast” returns to its central progression to finish out, the listener is able to follow along with the change and internalize it as all the more memorable.

Hunting Grounds is traditionalist enough to be readily familiar to heavy rock heads who might take it on, but it’s not at all void of personality, and the stomp and strut of “Queen of the Den” gives a fittingly regal impression as though to underscore the point, with the bass jutting out from beneath the winding guitars punctuated by the snare and crash in a build of tension that settles into more harmonized leads acting in a semi-chorus fashion. At just under four and a half minutes, “Queen of the Den” makes a relatively quick impression and then ends quietly in a shift to the soft and relatively patient start of “Sanctuary,” which takes hold with a more linear feel in its construction, not just enacting a build from quiet to loud necessarily, but using that as part of a greater expressive ideal. “Showdown” might be titled for the battling solo lines that take place as and after it passes the midpoint, but whether it’s that or there’s some other narrative at work across Hunting Grounds, the central purpose in summarizing what’s come before and expanding on it comes through with no less clarity than the notes themselves.

The upfront nature of their style might give one a superficial first impression of what Mothers of the Land are doing on their second album, and to a point, it’s hard to argue with that. It’s double-guitar instrumentalist heavy rock — not reinventing the form, but making it their own. Fine. But subsequent listens unveil changes and shifts in mood and/or approach that do affect a sense of atmosphere that, while straightforward, seems to be working toward finding its own place within the established aesthetic grounds it occupies. Ultimately, for the minute indulgence asked on the part of the band, the reward is plenty substantial.

You can hear for yourself with the full premiere of Hunting Grounds below, ahead of the release tomorrow.

Please enjoy:

Mothers of the Land, Hunting Grounds official premiere

Riff-Smiths “Mothers of the Land” are an instrumental Heavy Psych Rock band from Vienna, Austria founded in 2012. Known for crafting powerful vintage rock epics, centered around the spiraling psychedelia of their twin lead guitars. In June 2016, they released their live recorded DIY Debut-Album ‚Temple Without Walls‘ and gained a great international reception from listeners, artists and bloggers, resulting in fruitful collaborations around the globe.

Introducing a new era of 70‘s inspired Rock, they deliver heavy twin guitars mounted on a protometal body, rejuvenated by numerous influences reaching from NWOBHM to Stoner Rock. Having played dozens of concerts with international headliner acts like Asteroid, Elder or Red Fang, the band provides powerful performances that lure in the audiences deeply through the surreal worlds they create.

All those experiences were used to forge the new material, which finally formed their second album. “Hunting Grounds” will be released physical and digital via StoneFree Records on June 19th pressed by the state of the art pressing plant “Austrovinyl”.

Recorded and Mixed by Nino Del Carlo
Mastering by Lukas Wiltschko at LW Sonics

Members
Georg Pluschkowitz (Guitar)
Jack Jindra (Guitar)
Johannes Zeininger (Bass)
Jakob Haug (Drums)

Mothers of the Land on Bandcamp

Mothers of the Land on Thee Facebooks

Mothers of the Land on Instagram

Mothers of the Land website

StoneFree Records on Thee Facebooks

StoneFree Records website

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Weddings Release Debut Album Haunt This Week; Streaming Now

Posted in Whathaveyou on February 26th, 2020 by JJ Koczan

weddings

Fair enough for the Vienna-based three-piece Weddings calling their first album Haunt, since they’ve pretty obviously named it after the atmosphere they’re shooting for. The trio have already posted the record for streaming, and you’ll find that below, but they’ll also have vinyl out with a slightly different version of the cover at the end of the week through StoneFree Records, which is also behind the CD pressing for those of you (I think it’s me and Jose Humberto, probably one or two others) who still like discs in compact form. Any format you go with, the spaciousness comes across as a key component of what Weddings do, and to read that the band members’ origins go back to Spain, Canada and Sweden is fascinating. Wonder how they all wound up in Austria in the first place.

They’ve got a few dates in Austria and Germany lined up, and you’ll see those here courtesy of their Bandcamp, along with some background and the release info.

Dig it:

weddings haunt

Weddings – Haunt – StoneFree Records

Weddings is an explosive and moody rock power trio indebted in equal parts to grunge, desert rock, psych rock, punk and doom. The brainchild of Canadian Jay Brown (Vocals/Guitars), Spaniard Elena Rodriguez (Vocals/ Drums) and Swede Phil Nordling (Bass), the band was created in 2017 after the 3 met while living in Salzburg, Austria.

The band member’s cultural differences helped to forge and fuel Weddings’ uniqueness. Brown’s upbringing on the prairies of Canada, Rodriguez’ childhood in southern Spain and Nordling’s experiences in Gothenburg, Sweden have contributed an impressive diversity to the distinctive songs. A mutual love of bands like Queens of the Stone Age, Black Rebel Motorcycle Club, Monster Magnet and Alice in Chains helped to unify their creative direction – one that takes many left turns away from conventional rock trappings, while in pursuit of fearless creativity.

Their first single Labyrinth showcases all of their strengths – male/female vocal harmonies, powerful riffs, propulsive bass and pounding drums.

Getting caught in this maze of mesmerizing chord structures and tempo changes is equally adrenalizing and haunting. A fitting lead off for the band’s upcoming debut album entitled Haunt released digitally on Bandcamp February 20th, 2020. Vinyl and CDs available Feb. 28th on StoneFree Records.

Weddings signed with Austria’s respected rock label StoneFree in early 2020. Their album release tour will take them through Austria and Germany in Feb/March opening for heavy-hitters like Swan Valley Heights, Great Rift and Vodun.

They’ll perform almost anywhere.. except weddings.

Tracklisting:
1. Pyramids 03:20
2. Acid Heart 02:58
3. Labyrinth 04:10
4. Broken Bones 04:10
5. Trail of Blood 03:56
6. I Can’t Say No To You Anyway 04:31
7. Laughing Our Way To The Grave 04:04
8. Hidden Message 04:18

Weddings live:
Feb 28 Rockhouse Salzburg, Austria
Feb 29 Kramladen Vienna, Austria
Mar 02 Sixty Twenty Innsbruck, Austria
Mar 03 Kulturlounge Leipzig, Germany
Mar 04 Goldener Salon Hamburg, Germany
Mar 06 Tief Berlin, Germany

http://www.facebook.com/weddingstherockband
https://www.instagram.com/weddingstherockband
https://weddingstherockband.bandcamp.com/
http://www.weddingstherockband.com/
https://www.facebook.com/stonefree.co.at/
http://www.stonefree.co.at/

Weddings, Haunt (2020)

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Pastor Sign to Cursed Tongue for Unveil Vinyl Release May 8

Posted in Whathaveyou on February 21st, 2020 by JJ Koczan

pastor

What, you thought just because they’re not a band anymore that might stop a vinyl release? Oh no, no, no, my friends. Because while the members of Vienna classic-style proto-metal-tinged heavy rockers Pastor may have already moved onto new bands like Ryte, Mothers of the Land, White Scorpion, Avalanche and Galactic Pot Healer, they did so by posting their second and final album, Unveil, on Bandcamp like it wasn’t no thing. Except it was a thing. It was a cool record. And cool records get vinyl releases on Cursed Tongue. That’s just the way of life.

So don’t expect to see Pastor anytime soon on a bunch of festival lineups or think there’s a long list of tour dates coming, because really what the May 8 vinyl issue of Unveil is doing is serving as a proper sendoff and a thanks-for-kicking-ass-while-you-did to the four-piece, who released their 2015 debut album, Evoke (review here) and prior 2014 single, Wayfaring Stranger/The Oath (review here), on Who Can You Trust? Records, earning kudos all the while for their combined manner of boogie and shred. Whether or not the band end up doing anything else at any point down the line, I don’t think you can listen to Unveil and not agree it earns its platter.

Preorders start April 3, as the label informs:

pastor unveil

HEAVY PSYCH RIFF ROCKERS PASTOR SIGN TO CURSED TONGUE RECORDS FOR A GLOBAL VINYL RELEASE OF THEIR NEW ALBUM ‘UNVEIL’ MAY 8 2020

Cursed Tongue Records is very happy to announce the signing of Vienna, AU based riff-4some Pastor and look forward to release their sophomore and (potentially last) album entitled ‘Unveil’ premium vinyl. Pastor has yet again created an energetic, engaging and riff-heavy psych rock album full of heft and groove. ‘Unveil’ will kick your face in, knock you over, shred your skin to pieces, melt your brain and crush your skull to powder and all that will be left is your burned skin, shattered bones and knackered grinning skull.

Pastor is no new acquaintance to Cursed Tongue Records, as we have known about this band since their brilliant debut album ‘Evoke’ was released some 4+ years ago. So, when news about the digital release of a sophomore album pierced our radar, there was no hesitation and the quest for a vinyl release of this new album quickly formed in the deep dungeons at CTR headquarters. It didn’t take long for band and label to reach a common understanding that the world needed this album on the paramount medium and we quickly engaged in a plot to unveil the new album on vinyl.

The plot thickens, the plans solidify, and come May 8 2020 ‘Unveil’ will hit doom street and the Heavy Underground can rejoice in the heavy riffage that’s about to commence. Pre-orders for vinyl will run one months prior with a launch date scheduled for April 3rd 2020.

ALBUM BACKGROUND

‘Unveil’ is Pastor second album following a successful debut album entitled ‘Evoke’ released via Austrian label Who can you trust? Records in 2015. The band has the following insight to the story behind the creation of the follow-up album ‘Unveil’:
“So after our first record ‘Evoke’ was released we started gathering some songs. We did a couple weekenders here and there and ended up being on tour for a couple of weeks. During that time our tunes got slightly darker and more psych and we wanted to write songs reflecting the heavier side of our influences. It seemed we were going the direction we wanted to in the first place. “Unveil” documents this process very well, as we find.

In July 2017 we ended up again in lower Austria, where our first 7” was done and recorded there again. Bazoka Jürxn, who was our man of choice this time, captured perfectly what we wanted. Lots of beers were slammed and this time recording was way more of a party than a studio experience. We guess it was just because we knew what to expect and what we exactly wanted.

After the record was done we sort of mellowed out for a while. We started some new bands and Pastor kind of went on hiatus. The songs didn’t come naturally and we called it an end before writing stuff we couldn’t really identify with anymore. Our time was just up. We wanted to release “Unveil” somewhere, somehow and so we ended up putting it on Bandcamp. From there the good people from Cursed Tongue Records got aware of us and our last album and Niels was crazy enough to engage in releasing a record by a band that just split up.

We are more than happy that our last release is finding its way on vinyl, which was the way we wanted it to be right off the bat! So, sit back, grab a beverage of your preference and enjoy our last jams as Pastor called ‘Unveil’ Pastor was arik, shardik, alex & georg.”

Pastor might be done as a band (for now) in its current constellation, but the music lives on and we in Cursed Tongue Records firmly believe that music of this order demands a vinyl release no matter the situation – and we are pretty convinced that you, after having listened to ‘Unveil’, will testify to this as well! So in that in that we spirit we say: “For those about to riff, we salute you”!

https://www.facebook.com/pastorshreds/
https://www.instagram.com/pastorshreds/
https://pastor.bandcamp.com/
http://cursedtonguerecords.bigcartel.com/
https://www.facebook.com/CursedTongueRecords/

Pastor, Unveil (2019)

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Quarterly Review: Sunn O))), Crypt Sermon, The Neptune Power Federation, Chron Goblin, Ethereal Riffian, Parasol Caravan, Golden Core, Black Smoke Omega, Liquid Orbit, Sun Below

Posted in Reviews on January 10th, 2020 by JJ Koczan

quarterly review

Hey all, we made it to the final day of the Winter 2020 Quarterly Review, so congrats to ‘us’ and by us I mean myself and anyone still reading, which is probably about two or three people. On my end today is completely manic in terms of real-life, offline logistics — much to do — but no way I’m letting one last batch of 10 reviews fall by the wayside, so rest assured, by the time this goes live, it’ll be complete, even though I’ve had to swap things out as some stuff has been locked into other coverage since I first slated it. Plenty around waiting to be written up. Perpetually, it would seem.

But before we dive in, thank you for reading if you’ve caught any part of this QR. I hope your 2020 is off to an excellent start and that finding new music to love is as much a part of your next 12 months as it can possibly be.

Quarterly Review #41-50:

Sunn O))), Pyroclasts

sunn o pyroclasts

The narrative — because of course there’s a narrative; blessings and peace upon it — is that drone-metal progenitors Sunn O))), while in the studio recording earlier-2019’s Life Metal (review here) with Steve Albini, began each day doing a 12-minute improvised modal drone working in a different scale. They used a stopwatch to keep time. Thus the four tracks of Pyroclasts were born. They all hover around 11 minutes after editing, which settles neatly onto two vinyl sides, and it’s the rawer vision of Sunn O))), with just Greg Anderson and Stephen O’Malley‘s guitars, rather than some of the more elaborate arrangements which they’ve been known to undertake. That they’d put out two studio records in the same year is striking considering it had been four years since 2015’s Kannon (review here), but I think the truth of the matter is they had these tapes and decided they were worth preserving with a popular release. I wouldn’t say they were wrong, and the immersion here is a good reminder of the core appeal of Sunn O)))‘s conjured depths.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crypt Sermon, The Ruins of Fading Light

Crypt Sermon The Ruins of Fading Light

Traditional doom rarely sounds as vital as it does in the hands of Crypt Sermon. The Philly five-piece return with The Ruins of Fading Light on Dark Descent Records as an awaited follow-up to 2015’s Out of the Garden (review here) and thereby bring forth classic metal with all the urgency of thrash and the poise of the NWOBHM. Frontman Brooks Wilson — also responsible for the album art — is in command here and with the firm backing of bassist Frank Chin and drummer Enrique Sagarnaga, guitarists Steve Jannson and James Lipczynski offer sharpened-axe riffs and solo scorch offset by passages of keyboard for an all the more epic vibe. The rolling “Christ is Dead” is pure Candlemass, but the galloping “The Snake Handler” might be the highlight of the 10-track/55-minute run, though that’s not to take away either from the Dehumanizer chug of “Key of Solomon” or the melodic reach of the closing title-track either. Take your pick, really. It’s all metal as fuck and glorious for that. If they don’t sell denim jackets, they should.

Crypt Sermon on Thee Facebooks

Dark Descent Records on Bandcamp

 

The Neptune Power Federation, Memoirs of a Rat Queen

the neptune power federation memoirs of a rat queen

“Can you dig what the Imperial Priestess is laying down?” is the central question of Memoirs of a Rat Queen, the first album from Sydney, Australia’s The Neptune Power Federation to be released through Cruz Del Sur Music, and it arrives over an ELO “Don’t Bring Me Down”-style arena rock beat on leadoff “Can You Dig?” as an intro to the rest of the LP. Strange, epic, progressive, traditional, heavy and cascading rock and roll follows, as intricate as it is immediately catchy, and whether it’s “Watch Our Masters Bleed” or “I’ll Make a Man out of You,” the Imperial Priestess Screaming Loz Sutch and company make it easy to answer in the affirmative. Arrangements are willfully over the top as “Bound for Hell” and “The Reaper Comes for Thee” engage a heavy rocker take on heavy metal’s legacy, maddened laughter and all in the latter track, which closes, and the affect on the listener is nothing less than an absolute blast — a reminder of the empowering sound of early metal on a disaffected generation in the late ’70s and early ’80s and how that same fist-pump-against-the-world has become timeless. No doubt the costumes and all that make The Neptune Power Federation striking live, but as Memoirs of a Rat Queen readily steps forward to prove, the songs are there as well.

The Neptune Power Federation on Thee Facebooks

Cruz Del Sur Music on Bandcamp

 

Chron Goblin, Here Before

chron goblin here before

Have Chron Goblin been here before? The title of their album speaks to a kind of creepy deja vu feeling, and that’s emblematic of the Canadian band’s move away from the party rock of their past offerings, their last LP having been Backwater (review here) 2015. Fortunately, while they seek out some new aesthetic ground, the 11 tracks of Here Before do maintain Chron Goblin‘s penchant for straight-ahead songcraft and unpretentious execution — and frankly, that wasn’t at all broken. Neither, perhaps was the let’s-get-drunk-and-bounce-around spirit of their prior work, but they sound more mature in a song like the six-minute “Ghost” and “Slipping Under” (premiered here) successfully melds the shift in presentation with the energy of their prior output. Maybe it’s still a party but we watch horror movies? I don’t know. They’ve still got “Giving in to Fun” early in the tracklisting — worth noting it follows the swaying “Oblivion” — so maybe I’m misreading the whole thing, or maybe it’s more complex than being entirely one thing or the other might allow for. Perish the thought. Either way, can’t mess with the songs.

Chron Goblin on Thee Facebooks

Chron Goblin on Bandcamp

 

Ethereal Riffian, Legends

ethereal riffian legends

Ukrainian heavy rockers Ethereal Riffian make a pointed sonic shift with their Legends album (on Robustfellow), keeping some of the grunge spirit in their melodies as the eight-minute “Moonflower” and closer “Ethereal Path” show, but in songs like “Unconquerable” and the early salvo of “Born Again,” “Dreamgazer” and “Legends” and even the second half of “Kosmic” and “Pain to Wisdom,” they let loose from some of the more meditative aspects of their past work with a fiery drive and a theme of enlightenment through political and social change. A kind of great awakening of the self. There’s still plenty of “ethereal” to go with all that “riffian” in the intro “Sage’s Alchemy,” or the first half of “Kosmic” or the CD bonus “Yeti’s Hide,” but no question the balance has tipped toward the straightforward, and the idea seems to be that the electrified feel is as much a part of the message as the message itself. The only trouble is that since putting Legends out, Ethereal Riffian called it quits to refocus their energies elsewhere in the universe. Are they really done? I’m skeptical, but if so, then at least they went out trying new things, which always seemed to be a specialty, and on a note of directly positive attitude.

Ethereal Riffian on Thee Facebooks

Robustfellow Productions on Bandcamp

 

Parasol Caravan, Nemesis

parasol caravan nemesis

A second long-player behind 2015’s Para Solem, the eight-song/35-minute Nemesis is not only made for vinyl, but it’s made for rockers. Specifically, heavy rockers. And it’s heavy rock, for heavy rockers. Based in Linz, Austria, the double-guitar four-piece Parasol Caravan have their sound and style on lockdown, and their work, while not really keeping any secrets in terms of where it’s coming from in its ’70s-via-’90s modern take, is brought to bear with a clarity that seems particularly derived from the European heavy rock tradition. Para Solem was longer and somewhat fuzzier in tone, but the stripped down approach of the title-track at the outset and its side B counterpart, “Serpent of Time” still unfold to a swath of ground covered, whether it’s in the subdued instrumental “Acceptance” or “Transition,” which follows the driving “Blackstar” and closes the LP with a bit of a progressive metal edge. Even that has its hook, though, and that’s ultimately the point.

Parasol Caravan on Thee Facebooks

Parasol Caravan on Bandcamp

 

Golden Core, Fimbultýr

golden core fimbultyr

The title Fimbultýr translates to “mighty god” and is listed among the alternative names of Odin, which would seem to be who Oslo’s Golden Core have in mind in the leadoff title-track of their second album. Issued through Fysisk Format, it is not necessarily what one thinks of as “Viking metal” in the post-Amon Amarth or post-Enslaved context, but instead, the eight-song collection unfolds a biting modern sludge taking an edge of the earlier Mastodon lumber and bringing it to harshly-vocalized rollout. The 11-minute “Runatal” and only-seconds-shorter “Buslubben” are respective vocal points around which sides A and B of the release center, and each finds a way to give like emphasis to atmosphere and extremity, to stretch as well as pummel, and much to Golden Core‘s credit, they seem not only aware of the changes they’re presenting in their material, but in control of how and when they’re executed. The resulting linear flow of Fimbultýr, given the shifts within, isn’t to be understated as a victory on the part of the band.

Golden Core on Thee Facebooks

Fysisk Format on Bandcamp

 

Black Smoke Omega, Harbinger

Black Smoke Omega Harbinger

Harbinger may well be just that — a sign of things to come. The debut offering from Black Smoke Omega wraps progressive death-doom and gothic piano-led atmospherics around a thematic drawing from science-fiction, and while I’m not certain of the narrative being told by the Dortmund, Germany-based band, their method for telling it is fascinating. It’s not entirely seamless in its shifts, and it doesn’t seem like the band — seemingly spearheaded by multi-instrumentalist/vocalist Jack Nier, though Ashley James (The Antiquity) plays guitar on “A Man without a Heart” and Michael Tjanaka brings synth/piano to “Kainé” — want it to be, but there’s no denying that by the time “Falling Awake” seems to provide some melodic resolution to the often-slow-motion tumult prior, it’s doing so by bringing the different sides together. It’s a significant journey from the raw, barking shouts on “The Black Scrawl” and the lurching-into-chug-into-lurch of “The Man without a Heart” to get there, however. But this, too, seems to be on purpose. How it all might shake out feels like a question for the next release, but Black Smoke Omega seem poised here to leave heads spinning.

Black Smoke Omega on Thee Facebooks

Black Smoke Omega on Bandcamp

 

Liquid Orbit, Game of Promises

Liquid Orbit Game of Promises

While on the surface, Liquid Orbit might be on familiar enough ground with Game of Promises for anyone who has encountered the swath of up-and-comers working in the wake of Blues Pills, the Bremen, Germany, five-piece distinguish themselves through not just the keyboard work of Anders alongside Andree‘s guitar, Ralf‘s bass, Steve‘s drums and Sylvia‘s vocals, but also the shifts between funk, boogie, and edges of doom that play out in songs like “Shared Pain” and “Please Let Her Go,” as well as the title-track, which starts side B of the Nasoni Records-issued vinyl with a highlight guitar solo and an insistent snare tap beneath that works to bring movement to what’s still one of Game of Promises‘ shorter tracks at six and a half minutes, as opposed to the earlier eight-minute-toppers on side A or the psych-prog finale “Verlorene Karawane,” which translates in English to “lost caravan” and indeed basks in some Mideastern vibe and backward-effects vocal swirl. Bottom line, if you go into it thinking you know everything you’re getting, you’re probably selling it short.

Liquid Orbit on Thee Facebooks

Nasoni Records website

 

Sun Below, Black Volume III

Sun Below Black Volume III

As the title hints, the name-your-price Black Volume III is the third EP release from Toronto’s Sun Below. All three have been issued over roughly a year’s span, and the three-piece of guitarist/vocalist Jason Craig, drummer/backing vocalist Will Adams, bassist/backing vocalist Garrison Thordarson — who as far as I’m concerned wins this entire Quarterly Review when it comes to names; that’s an awesome name — and two have featured covers. On their debut, they took on “Dragonaut” by Sleep, and on Black Volume III, in following up the 12-minute nod-roller “Solar Burnout,” they thicken and further stonerize the catchy jaunt that is “Wires” by Red Fang. They’ve got, in other words, good taste. Black Volume III opens with “Green Visions” and thereby takes some righteous fart-fuzz for a walk both that and “Solar Burnout” show plenty of resi(n)dual Sleep influence, but honestly, it’s a self-releasing band with three dudes who sound like they’re having a really good time figuring out where they want to be in terms of sound after about a year from their first release, and if you ask anything else of Black Volume III than what it gives, you’re obviously lacking in context. Which is to say you’re fucking up. Don’t fuck up. Dig riffs instead.

Sun Below on Thee Facebooks

Sun Below on Bandcamp

 

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Quarterly Review: We Lost the Sea, Nebula Drag, Nothing is Real, Lotus Thief, Uncle Woe, Cybernetic Witch Cult, Your Highness, Deep Valley Blues, Sky Shadow Obelisk, Minus Green

Posted in Reviews on January 9th, 2020 by JJ Koczan

quarterly review

Yesterday was marked by a decisive lack of productivity. I got there, don’t get me wrong, but it took friggin’ forever to make it happen. I’m obviously hoping for a different result today and tomorrow. You would think 10 records is 10 records, but some days it’s easy flowing, bounce from one to the next without any trouble, and some days you’re me sitting there wondering how many times you can get away with using the word “style” in the same post. Punishing. The saving factor was that the music was good. Amazing how often that serves as the saving factor.

Just today and tomorrow left, so let’s dive in. Lots of different kinds of releases today, so keep your ears and mind open.

Quarterly Review #31-40:

We Lost the Sea, Triumph and Disaster

we lost the sea triumph and disaster

There is plenty of heavy post-rock floating — and I do mean floating — around these days, spreading ethereal and contemplative vibes hither and yon, but none have the emotional weight brought to bear instrumentally by Sydney, Australia’s We Lost the Sea. Across their 65-minute 2LP, Triumph and Disaster (on Translation Loss), the six-piece band recount a wordless narrative of the aftermath of the end of the world through the eyes of a mother and child on their last day. It is a touching and beautiful flow of sentiment, regret and weight that comes through the wash of three guitars and synth, bass and drums, and though 2015’s Departure Songs (review here, discussed here) worked in a similar vein in terms of style if not story, these seven tracks and 65 minutes are wholly distinguished by a willful-seeming progression on the part of the band and a patience and poise of execution as they alternate between longer and shorter pieces that only underscores how special their work truly is. At least the apocalypse is gorgeous.

We Lost the Sea on Thee Facebooks

Translation Loss store

 

Nebula Drag, Blud

nebula drag blud

Nothing against the progenitors of the form, but Nebula Drag seem with Blud to pull off the feat that Helmet never really could, bringing together a noise-rock derived dissonance of riff with a current of melody in the vocals and even moments of patience in the guitar to go along with the crunch of its more aggressive points. This inherently makes the Desert Records offering from the San Diego outfit a less outwardly intense affair than it might otherwise be, but songs like “Always Dying,” “Numb” and the closer “Mental” — as well as the album as a whole — are ultimately richer for it, and there’s still plenty of drive in opener “Dos Lados” and the shorter “Faces” and “What Went Wrong,” which arrive back to back on side B and lend the momentum that carries Nebula Drag through the remainder of the proceedings. It’s easy to hear to Blud superficially and pass it off as noise or heavy rock or this or that, but Nebula Drag earn and reward deeper listens in kind.

Nebula Drag on Thee Facebooks

Desert Records on Bandcamp

 

Nothing is Real, Pain is Joy

nothing is real pain is joy

Los Angeles oppressive and misanthropic noise project Nothing is Real manifested some of the harshest sounds I heard in 2019 on Only the Wicked are Pure (review here), and the just-months-later follow-up, Pain is Joy, reminds of the constant sensory assault under which we all seem to live. Across five extended tracks of increased production value — still raw, just not as raw — the band seems to be forming a coherent philosophical perspective in “Existence is Pain,” the guest-vocalized “Realms of Madness,” “Life is but a Dream,” “Pain is Joy,” and “We Must Break Free,” but if there’s a will to explain the punishment that is living, there’s not much by way of answer forthcoming in the sludgy riffing, grinding onslaught and surprising solo soar of “We Must Break Free,” instrumental as it is. Still, the fact that Pain is Joy allows for the possibility of joy to exist at all, in any form, ever, distinguishes it from its predecessor, and likewise the clearer sound and cogent expressive purpose. A focused attack suits Nothing is Real. I have the feeling it won’t be long before we find out where it takes the band next.

Nothing is Real on Thee Facebooks

Nothing is Real on Bandcamp

 

Lotus Thief, Oresteia

lotus thief Oresteia

If the name Oresteia isn’t immediately familiar, maybe “Agamemnon” will give some hint. San Francisco’s Lotus Thief, with their third full-length and second for Prophecy Productions, not only bring together progressive black metal, post-rock and drama-laced doom, but do so across eight-tracks and 38 minutes summarizing a 5th century Greek tragedy written in three parts. Ambitious? Yes. Successful? I’ll claim zero familiarity with the text itself, but for the eight-minute “Libation Bearers” alone — never mind any of the other immersive, beautiful wash the band emits throughout — I’m sure glad they’re engaging with it. Ambient stretches like “Banishment” and “Woe” and the barely-there “Reverence” add further character to the proceedings, but neither are “The Furies,” “Agamemnon,” “Sister in Silence” or subdued-but-tense closer “The Kindly Ones” lacking for atmosphere. Oresteia is grim, theatrical, stylistically forward-thinking and gorgeous. A perfect, perfect, perfect winter record.

Lotus Thief website

Prophecy Productions on Bandcamp

 

Uncle Woe, Our Unworn Limbs

Uncle Woe Our Unworn Limbs

Chugging, sprawling, and most of all reaching, the late-2019 debut LP, Our Unworn Limbs, from Ontario as-yet-solo-outfit Uncle Woe — composed, performed and recorded by Rain Fice — is one of marked promise, taking elements of modern progressive and cosmic doom from the likes of YOB‘s subtly angular riffing style and unfolding them across an emotionally resonant but still manageable 43-minute span. The stomp in “That’s How They Get You” is duly oppressive in following the opener “Son of the Queen,” but with the one-minute experiment “When the Night Fell Pt. 2” and jagged but harmonized “Mania for Breaking” ahead of 15-minute closer “Push the Blood Back In,” the record’s tumult and triumphs are presented with character and a welcome feeling of exploration. I would expect over time that the melodic basis and vocal presence Fice demonstrates in “Mania for Breaking” will continue to grow, but both are already significant factors in the success of that song and the album surrounding it, the first 20-plus minutes of which is spent mired in “Son of the Queen” and “That’s How They Get You,” as early proof of the sure controlling hand at the helm of the project. May it continue to be so.

Uncle Woe on Thee Facebooks

Uncle Woe on Bandcamp

 

Cybernetic Witch Cult, Absurdum ad Nauseam

cybernetic witch cult absurdam ad nauseam

Guitarist/vocalist Alex Wyld, bassist Doug MacKinnon and drummer Lewis May have processed the world around them and translated it into a riffy course of sci-fi and weirdo semi-prog thematics across Absurdum ad Nauseam. What else to call such a thing? At eight songs and 52 minutes, it stands astride the lines between heavy rock and doom and sludge in lengthier pieces like “The Cetacean,” “The Ivory Tower” and the finale “Hypercomputer Part 2,” yet when it comes to picking out discernible influences, one has to result to generalizations like Black Sabbath and Acrimony, the latter in the rolling largesse of “Spice” and “The Myth of Sisyphus” later on in the outing and the vocal effects there particularly, but neither is enough to give a sense of what Cybernetic Witch Cult are actually about in terms of the modernity of their approach and the it’s-okay-we-know-what-we’re-doing-just-trust-us vibe they bring as they rush through “Cromagnonaut” after the intro and “Hypercomputer Part 1.” I’m inclined to just go with it, which should tell you something in itself about the band’s ability to carry their listener through. They earn that trust.

Cybernetic Witch Cult on Thee Facebooks

Cybernetic Witch Cult on Bandcamp

 

Your Highness, Your Highness

Your Highness Your Highness

Heavy blues meets heavy metal on Your Highness‘ self-titled and self-released third album, collecting eight tracks that divide evenly across two sides of an LP, each half ending with a longer piece, whether it’s “Black Fever” (9:00) on side A or “Kin’s Blood” (14:14) on side B. Through these, in full-throttle movements like opener “Devil’s Delight” and “Rope as a Gift” and in nestled-in groovers like “The Flood” and “To Wood and Stone,” Your Highness don’t shy away from bringing a sense of atmosphere to their material, but maintain a focus on burl, gruffness and tonal weight, an aggressive undercurrent in a song like “Born Anew” — the riff to which is nonetheless particularly bluesy — being emblematic of the perspective on display throughout. It moves too fleetly to ever be considered entirely sludge, but Your Highness‘ 51-minute span is prone to confrontation just the same, and its ferocious aspects come to a head in satisfying fashion as the wash of crash pays off “Kin’s Blood,” shouts cutting through en route to a finish of acoustic guitar that lands as a reminder to release the breath you’ve been holding the whole time. Heavy stuff? Why yes, it is.

Your Highness on Thee Facebooks

Your Highness on Bandcamp

 

Deep Valley Blues, Demonic Sunset

Deep Valley Blues Demonic Sunset

Italy’s fervor for stoner rock is alive and well as represented in Demonic Sunset, the eight-song/34-minute debut full-length from Catanzaro’s Deep Valley Blues. Their sound works out to be more heavy rock than the desert one might imagine given the album cover, but that influence is still there, if beefed up tonally by guitarists Alessandro Morrone and Umberto Arena (the latter also backing vocals), bassist/vocalist Giando Sestito and drummer Giorgio Faini, whose fluid turns between propulsion and swing enable a song like “Dana Skully” to come together in its verse/chorus transitions. The penultimate nine-minute “Tired to Beg For” is an outlier among more straight-ahead songwriting, but they use the time well and close with the acoustic-led “Empire,” an encouraging showcase of sonic breadth to follow up on the start of “Lust Vegas” and a widening of the melodic range that one hopes Deep Valley Blues push further on subsequent releases. Centered around issues of mental health in terms of its lyrics, if somewhat vaguely, Demonic Sunset is a first LP that extends its focus to multiple levels while still keeping its feet on the ground in a way that will be familiar to experienced genre heads.

Deep Valley Blues on Thee Facebooks

Deep Valley Blues on Bandcamp

 

Sky Shadow Obelisk, The Satyr’s Path

sky shadow obelisk the satyrs path

You can toss a coin as to whether Sky Shadow Obelisk are death-doom or doom-death, but as you do, just keep an eye on the bludgeoning doled out by the solo-project of Rhode Island-based composer Peter Scartabello on his latest EP, The Satyr’s Path, because it is equal parts thorough and ferocious. Flourish of keys and melody adds a progressive edge to the proceedings across the five-track release, particularly in its two instrumentals, the centerpiece “Ouroboros” and the first half of closer “Shadow of Spring,” but amid the harnessed madness of “Chain of Hephaestus” — which from its lyrics I can only think of as a work song — and the one-two of “The Serpent’s Egg” and the title-track early on, those moments of letup carry a tension of mood that even the grand finish in “Shadow of Spring” seems to acknowledge. It’s been since 2015 that Scartabello last offered up a Sky Shadow Obelisk full-length. He shows enough scope here to cover an album’s worth of ground, but on the most basic level, I’d take more if it was on offer.

Sky Shadow Obelisk on Thee Facebooks

Yuggoth Records on Bandcamp

 

Minus Green, Equals Zero

Minus Green Equals Zero

Following up on a 2015 self-titled the material on Minus Green‘s sophomore album, Equals Zero, would seem to have at least in part been kicking around for a couple years, as the closer here, “Durial” (11:22) was released in a single version in 2016. Fair enough. If the other three cuts, opener “Primal” (9:58), “00” (11:51) and the penultimate “Kames” (10:08), have also been developed over that span, the extra rumination wouldn’t seem to have harmed them at all — they neither feel overthought to a point of staleness nor lack anything in terms of the natural vibe that their style of progressive instrumentalist heavy psychedelia warrants. The procession unfolds as a cleanly-structured LP with two songs per side arranged shorter-into-longer, and their sound is duly immersive to give an impression of exploration underway without being entirely jam-based in their structure. That is, listening to “00,” one gets the feeling it’s headed somewhere, which, fortunately it is. Where it and the record surrounding go ultimately isn’t revolutionary in aesthetic terms, but it is well performed and more than suitable for repeat visits. Contrary to the impression they might seek to give, it amounts to more than nothing.

Minus Green on Thee Facebooks

Kerberos Records website

 

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Ryte Stream “Invaders”; Self-Titled Debut out Jan. 17

Posted in Whathaveyou on October 24th, 2019 by JJ Koczan

ryte

Sure enough, we’ve been down this road a few times where Heavy Psych Sounds has unveiled a new signing and then, with preorders launched, gone ahead and posted a track with the album details. Yesterday was the day listed for Ryte when word of the pickup came through and lo, the PR wire delivered on the news with the art and indeed a track, in this case, the closer, “Invaders.” It’s nice to know what to expect, and the band had a demo of “Raging Mammoth” streaming as well, so with (some version of) the opener and the finished product of the ending out there, it’s possible for those inclined to do so to get a pretty decent idea of where they’re coming from on the record. I’ll take that.

You’ll find “Invaders” at the bottom of this post, and I’ll hope to have more to come ahead of the Jan. 17 release date as well, so maybe keep an eye out.

From the PR wire:

ryte ryte

Austrian psychedelic doom mongers RYTE deliver irresistible first single and debut album details on Heavy Psych Sounds Records!

Vienna-based psychedelic doom unit RYTE announce the release of their self-titled debut album ‘Ryte’ and unleash a trance-inducing first song right now.

“‘Invaders’ is the fourth, last and shortest track on the record. We intended to do something heavy ‘n psychedelic, so we created ‘Invaders’ which is basically about the fact that we are not the primary force in the universe. Inter-dimensional creatures from the deepest depths of another dimension, invading the minds of sleeping earthlings and forcing them into lucid dreaming. Dare to dig in!” comments the band

RYTE’s debut album is the result of an intense one-and-a-half-year writing process. The album consists of four long tracks, that pushes the boundaries of Psych rock as it is influenced by Doom, Prog Rock, Jazz and even World Music. The sound is dominated by down-tuned, sometimes doomy, sometimes epic twin guitars, dynamic and jazzy drums, distorted, playful bass lines and spacey Theremin landscapes. Drummer Hannes Ganeider recorded the LP at his own rehearsal space, while Michael Piller did the mixing and none other than the underground producer-legend Tim Green mastered the album at Louder Studios in California.

Debut album ‘Ryte’ will be available in the following formats:
– 20 Test Press vinyl
– 250 Ultra LTD Orange Transparent vinyl
– 350 LTD Clear Water Green vinyl
– Black vinyl
– CD and digital

RYTE Debut album “Ryte”
Out January 17th on Heavy Psych Sounds
PREORDER NOW: https://www.heavypsychsounds.com/

TRACK LISTING:
1. Raging Mammoth
2. Shaking Pyramid
3. Monolith
4. Invaders

RYTE is:
Lukas Götzenberger – Vocals/Bass
Hannes Ganeider: Drums, Percussions
Arik Stangl: Guitar/Vocals
Shardik: Guitar/Effects

https://www.facebook.com/rytejams/
https://www.instagram.com/rytejams/
https://rytejams.bandcamp.com/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

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Ryte Sign to Heavy Psych Sounds for Debut Album

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

I’ll give it up for Heavy Psych Sounds. With a packed roster that includes desert rock legends like Brant BjorkFatso Jetson, Yawning Man, and Nebula, as well now as Mondo Generator, the Italian imprint could easily rest on its laurels for a minute, catch its breath and at least ride out 2020 as is. Instead? Nope. Gabriele Fiori (also Black Rainbows, Killer Boogie and The Pilgrim) is relentless. Dude is out picking up brand new bands like Acid Mammoth, who were just recently announced as having signed to HPS, and Ryte below. The relative newcomer Austrian outfit boasts members of Pastor and not only are they signed, nebulously, to issue some kind of release at some point in the future, but they’re signed with preorders for their debut album set to start on Oct. 23. Expect details on the album to come then as well and maybe even some audio, if they don’t decide to roll that out separately.

Figure early-ish 2020 for a release? February, maybe March, I guess. I doubt Heavy Psych Sounds is going to waste any time in getting it out there, as no doubt their schedule is full.

From the PR wire:

ryte

Heavy Psych Sounds Records&Booking is really proud to present a NEW BAND signing *** RYTE ***

We are so stoked to welcome in our roster a brand new band. Ladies and gentlemen please welcome the Vienna based rockers RYTE !!!

The band will release its debut album via Heavy Psych Sounds.

DEBUT ALBUM PRESALE STARTS: OCTOBER 23rd

In mid- 2016, Hannes, Arik & Shardik decided to start a new project together. Arik & Shardik, at that time have already been playing several years together in „Pastor” and were looking for someone to jam with. By chance they met drummer Hannes at a Saviours show in Vienna. Shortly afterwards RYTE was founded. The only thing that was still missing was a bass-player. The band finally found the last missing part in late 2016 and was then a complete four-piece with Lukas on bass. They spent at least one intense year of continuous rehearsals and songwriting sessions in order to get a live-set and of course, an album together.

In late 2017 they set up their very first (private) show at their rehearsal space in Vienna, spiked with a mind-blowing liquid light show done by “Ufonauten”. Then, in 2018 and ’19 they were lucky enough to play festivals like Lake on Fire, Stick & Stone and share stages with amazing like-minded bands such as Sacri Monti, Golden Void and Mothers of the Land just to name a few! Since day one, the band’s goal was to play sophisticated, mostly instrumental Heavy Psych with little hints of classic Prog, Space Rock, Doom and plenty of other stuff. Speaking of influences, the band is not limited by any means as long as it sounds fresh and interesting and does the band’s initial idea of adventurous heaviness justice. RYTE’s self-titled debut album will be out soon via Heavy Psych Sounds!

SAYS THE BAND: “We are super stoked to announce that we will be collaborating with Heavy Psych Sounds records for our upcoming record. HPS is a label run by musicians for musicians and we are very happy to be part of that family!”

RYTE is:
Lukas Götzenberger – Vocals/Bass
Hannes Ganeider: Drums, Percussions
Arik Stangl: Guitar/Vocals
Shardik: Guitar/Effects

https://www.facebook.com/rytejams/
https://www.instagram.com/rytejams/
https://rytejams.bandcamp.com/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Ryte, “Raging Mammoth” (Rehearsal)

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Tentacula Sign to StoneFree Records; Tentaculove out This Month

Posted in Whathaveyou on August 9th, 2019 by JJ Koczan

tentacula

StoneFree Records aren’t messing around here. No time to waste. They’ve picked up Tentaculove, the sweet and yet horrifyingly forebodingly titled debut EP from Linz-based five-piece Tentacula for release, and they’re putting it out this month. Boom. There you go. No three-month lead-time, no “cover art reveal” milking every announcement, just here’s-a-thing-that’s-happening and then it happens. Done. I respect that.

For what it’s worth, I respect the other way too. Much respect all around.

The good news though is it means that there won’t be a long wait before anyone curious to do so can hear what Tentacula are all about. They’ve got the opening track of the record, “It’s Only a Dream,” streaming now, and with a release date purportedly before the end of the month, there’s more to come, I’m sure. The band also have a variety of shows over the next couple months, including an appearance at a “very secret festival, somewhere in Upper Austria.” How could you not be curious about that? I certainly am.

Here’s StoneFree Records‘ announcement of the pickup:

tentacula tentaculove

TENTACULA – !! BAND ANNOUNCEMENT !!

We’re lucky to add TENTACULA, a psych/surf/garage quintet from Linz to our roster.

Their first EP “TENTACULOVE” was recorded in January and February 2019 by Tom Wrench at the KAPU AUDIO SOLUTIONS Studio in Linz. All instrumental tracks were recorded live to capture the band’s raw power and dynamics. What they accomplished is an honest and pure piece of music rich in variety yet very catchy. The lyrics invite to dive down into the abyss , into the big unknown. The vastness of the sea: full of life, full of secrets – where you have to face desire and your deepest fear and might as well find clarity, enlightenment or even the perfect wave.

“TENTACULOVE” will be released by the end of August, more informations and pre-order to be announced next week.

Catch ’em live:

16.08.19. Seek Nificance Festival, Salzburg (AUT)
17.08.19 w. Minus Green & Anstaltskinda at MINOR PARTY, Böllerbauer, Haag (AUT)
23.08.19 Very Secret Festival, somewhere in Upper Austria (AUT)
10.09.19 w. Holy Serpent & Sativa Root at Venster 99, Vienna (AUT)
31.10.19 w. The Vampyres at Kramladen, Vienna (AUT)
22.-23.11. w. 10 000 Russos, Melt Downer, FVZZ POPVLI, High Brian, more tba., at KAPU, Linz (AUT)

In their own words:
“While the band’s name leaves space for interpretation it is also clearly their program! And this mystical neologism keeps its promise: dark, reverb-drenched melodies and haunting riffs create a refreshing blend, somewhere between dreamy psychedelic- and dirty garage-rock. Spiced up with a very distinct female voice that might come from the queen of darkness herself who summons the gods of Liquid Thunder together with her fellow cultists.”

Members:
Penny Slick Perry – Vocals
Markus Kapeller – Guitars & Vocals
Michael Falkner – Drums
Paul Eidenberger – Guitars
Chri Zao – Bass

https://tentacula.bandcamp.com/
https://www.facebook.com/TENTACULA
https://www.instagram.com/tentacula_official/
https://www.facebook.com/stonefree.co.at/
http://www.stonefree.co.at/tentacula.html

Tentacula, Tentaculove (2019)

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