Quarterly Review: Wucan, Lucifer in the Sky with Diamonds, Thera Roya, Ojos Rojos, Ett Rop På Hjälp, BongCauldron, Nomadic Rituals, Mental Tremors, Gin Lady, Swanmay

Posted in Reviews on September 29th, 2017 by JJ Koczan

the obelisk quarterly review

Round five of the Fall 2017 Quarterly Review begins now. After dealing with the technical issues this week and changing hosts and having the site down for – well, as I write this, it’s still down, so I don’t really have a finished count yet, though obviously by the time you’re reading it it’ll be back up – yeah, it’s made putting together a batch of 10 reviews a day seem like a breeze. “Oh, you mean you’re only writing 10 reviews today? Well now this is happening.” That kind of thing. Didn’t I say something earlier this week about a piano falling on my head? Prescient.

Plan is to finish the QR on Monday and then get back to what passes for normalcy around here. Still plenty of good stuff to come between now and then though, so let’s dive in.

Quarterly Review #41-50:

Wucan, Reap the Storm

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Bilingual heavy blues rockers Wucan offer their second full-length, Reap the Storm, through MIG Music, and with it showcase a stunning range of songwriting. The album is set up as a 2LP and runs eight songs/73 minutes from the Dresden, Germany, four-piece of vocalist Francis Tobolsky (also flute, guitar, theremin, sitar and percussion), guitarist/keyboardist Tim George, bassist Patrik Dröge and drummer Philip Knöfel, and from the expansive jamming of 10-minute opener “Wie Die Welt Sich Dreht,” it solidifies into the classic-prog-meets-heavy-boogie of “Ebb and Flute/The Eternal Groove” and nestles into driving semi-psychedelic rock on “Out of Sight out of Mind” to lead the charge on a side B marked out by the organ in “I’m Gonna Leave You,” the interplay of trippy/soulful vocals and flute on “The Rat Catcher” and the quiet, German-language post-Zeppelin acoustic folk of “Falkenlied.” Okay. Already your head’s spinning. Then Wucan dive into “Aging Ten Years in Two Seconds” and “Cosmic Guilt,” which together comprise the second of the two LPs, the former running 21:05 and the latter 18:04, and basically between them represent another album entirely, tying all of the elements previously listed together into one richly complex, progressive-but-still-warm delivery. Their breadth is met by an overarching organic feel – the flute and Tobolsky’s vocals help greatly in this – and though the results are somewhat unmanageable, Wucan remain impressively cohesive throughout the many twists and turns.

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MIG Music website

 

Lucifer in the Sky with Diamonds, Silent Echo

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The new single “Silent Echo” is an awaited return from Moscow progressive heavy rockers Lucifer in the Sky with Diamonds, who showed up with an encouraging debut, The Shining One (review here), in 2014. In the rhythmic push and balance of melody and hook, “Silent Echo” reaffirms the appeal of that album and presses it forward, and the band – now comprised of guitarist/bassist/vocalist Oleg Sakharov, guitarist Sergey Starykh, drummer Ramis Cervantes and backing vocalist Alexey Fedotov – hold fast to the underlying proggy sensibilities that fall so well in line with the crispness of their production and the clarity of intent in their songcraft. If they were German or Swedish, they’d already be signed. After three years, a new album would be welcome, but perhaps “Silent Echo” is a harbinger of things to come, and if indeed the six-minute track is all we’re getting for now, it’s got resonance enough behind it to last at least for a while. Hard to hear it though and not want more from these guys.

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Thera Roya, Masterful Universe

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Tracked a year ago in North Carolina, Thera Roya’s Masterful Universe two-songer follows behind their earlier-2017 debut long-player, Stone and Skin (review here), and continues their headfirst dive into noise-laden riotousness across the seven-minute “Static Transmission” (I’m sorry, but are those monkey sounds around the three-minute mark?) and five-minute “Confused Population,” which starts out with a sample of the bomb-riding end sequence of Dr. Strangelove, because I guess the Brooklyn/NJ trio of drummer/vocalist Ryan Smith, guitarist Christopher Eustaquio and bassist Jonny Cohn are feeling topical. Fair enough. That song pushes into cleaner vocals, almost drone-chants, for a particularly experimental feel, and keeps samples as a running theme (at least until the blackened cave-echo screams at the end), where “Static Transmission” is more scathingly aggressive at its core, but in both tracks, the message of Thera Roya getting weirder and weirder comes through clearly, and that only works to their benefit on this short but consuming offering. Run with it, dudes.

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Thera Roya on Bandcamp

 

Ojos Rojos, Sons of Love and Death

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It’s been seven years since California-based heavy psych rockers Ojos Rojos made their debut with the full-length Disappear (review here), but you’d hardly know it from the vibrancy of their new five-song/26-minute Sons of Love and Death EP, which from its opening title-track – also the longest here (immediate points) – through the rightly spacious “Atmosphere” and smoothly rolling centerpiece “Say Goodbye” affects desert-hued shoegaze engagement that asks little of the listener more than to drift along with its easy path. “A Hole Inside” (pun sense tingling) brings especially satisfying fuzz in the guitar and a swirling couple leads to complement like stars overhead, and closer “So Free” doesn’t at all let the fact that it’s so darn laid back let it stop it from strutting its start-stop groove with such swagger. All told, Sons of Love and Death is a work of drippingly lysergic vibe, reminiscent of Dead Meadow at their most languid, but it comes across neither as staid nor redundant. Be it in the rhythmic push of “Atmosphere” or the final crashes of “So Free,” Ojos Rojos find the means to portray an active ecosystem in something that, from the surface, seems still and peaceful.

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Ojos Rojos on Bandcamp

 

Ett Rop På Hjälp, Sans och Balans

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Ett Rop På Hjälp, quite simply, deserve a higher profile than they’ve got for their second album, Sans och Balans. The Gothenburg natives are a half-decade removed from their 2012 debut, Hur Svårt Kan Det Vara? (review here), on Transubstans, and the new collection is a more than worthy follow-up, offering classic-style boogie rollout on cuts like “En Djavuls Falla” and the later solo work on “Blanka Eftermiddagen,” while “Defenestration” (the only English title present, though it’s still sung in Swedish), highlights organ/keys alongside its low end depth and catchy movement, shifting at its midpoint to an instrumental jam that carries it into the bluesy build and harmonies of “Snomannen.” The penultimate “Leker Med Karlek” is particularly heavy ‘70s, but skirts the trap of sounding like Graveyard, Witchcraft or most others of that vintage ilk, and the finish in “Slutat Tro” prefaces its payoff with a subtle heft that comes to the fore late, manifesting a proto-doom working well to contrast the sweetness of the earlier vocal melody. It may be harder for those who don’t speak Swedish to grasp the verses and howling chorus of “Folkhemsdesperado” and the other inclusions here, but Sans och Balans is nothing if not worth that effort and clearly a record that earns more attention than it’s getting.

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Sans och Balans on Spotify

 

BongCauldron, Binge

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Leeds trio BongCauldron have been kicking around the UK’s fertile heavy underground for the last five-plus years since their self-titled EP, issuing a series of shorter releases and splits and gradually readying themselves for a larger attack. That arrives as their eight-song/40-minute debut full-length, Binge, which sludge-bludgeons (yes, it sludgeons) its listener into submission with thickened nod, growls and an attitude that’s best represented perhaps in the title of second cut “Bury Your Axe in the Crania of Lesser Men.” Yeah, it’s like that. “68” and closer “Yorkshire Born” offer a Motörhead/High on Fire-style gallop, but the larger impression Binge makes comes from the pairing of the title-track and “Bigfoot Reigns” in the middle of the album. These two longest tracks, back to back, pummel their viscous onslaught, and even when the latter swaps out its faster first half for the massive slowdown of its second, its shift is purely from one extreme to the other. Feels like it’s been a while in the making, and maybe it has, but BongCauldron’s first long-player has nastiness a-plenty to make up for any and all lost time.

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Nomadic Rituals, Marking the Day

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Marking the Day builds from minimalist drone over the first couple minutes of “From Nothing” into a maddeningly heavy, grueling, hour-long slog of noise-soaked and extremist post-sludge. It is the second album from Belfast, Northern Ireland, three-piece Nomadic Rituals, and its cosmically-themed lumber is utterly vicious as it plays out across six tracks, the shortest of which, “Expansion,” is just under eight minutes long. Over the course of this creation-to-destruction journey, guitarist/vocalist Peter Hunter, bassist/vocalist Craig Carson and drummer Mark Smyth (all three also contribute noise and/or synth) take listeners “From Nothing” and leave them “Face Down in the Sea of Oblivion,” and it’s that 14-minute finale and specifically the tumultuous, pushed-even-further apex thereof, that is intended to capture the grand undoing of everything. One imagines when the end comes it won’t actually sound quite so glorious, but an interpretive representation, Nomadic Rituals give brutal portrayal that seems to fit the onslaught of chaos, and the final amp hum reminds that every ending is likewise a new beginning, even one so mammoth and consuming as this.

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Nomadic Rituals on Bandcamp

 

Mental Tremors, Mental Tremors

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A duo who manage to sound like a full band on a studio album is nothing new at this point, between layering and tonal heft and whatever else might be at play in a given act’s aesthetic. Fortunately, Melbourne two-piece Mental Tremors don’t need to rely on novelty. In the fuzz of songs like “Bastard Son” and “Violently” – that’s a riff you should hear – their self-titled debut long-player offers legit chops in craft and performance, yes, sounding full, but still natural as it makes its way through the weirdo-psych nod of the six-minute “Patient Man,” solidifying as it goes, and seeming to turn the classic LP dynamic of straightforward A and more expansive B sides on its head as it rounds out with “Hunters” and “The Fevering,” individualizing catchy, post-Queens of the Stone Age impulses and hairy riff-led raucousness. Initially self-released earlier this year, Mental Tremors was picked up for a vinyl pressing by Cursed Tongue Records, and whether it’s the clarion groove of opener “Like a Broken Town” or the nods and echoes that pervade “The Cascade,” there’s no question it earns that preservation that only physical media can provide.

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Cursed Tongue Records webstore

 

Gin Lady, Electric Earth

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Modern enough in its production, Gin Lady’s fourth album, Electric Earth (on Kozmik Artifactz) is nonetheless in pretty direct conversation with the ‘60s, whether it’s “I’m Your Friend” chatting it up with Paul McCartney circa Rubber Soul or the acoustic/piano stomp of “Mercy” in a back and forth with The Rolling Stones, even going so far as to reference “Satisfaction” in the lyrics. These pop-minded textures are met with some heavier rock vibes, but at its loudest, Electric Earth still sticks to a pretty serene feel, starting off at a dancey clip with “Flower People” and capping with the quick Lennonism of “Running No More,” while in between, the four-piece of vocalist Magnus Kamebro, guitarist/vocalist Joakim Karlsson, bassist/vocalist Anthon Johansson and drummer Fredrik Normark gracefully capture bygone vibes on the wistful “The Things You Used to Do,” the jammy “Brothers of the Canyon” and the crisp, clear “Water and Sunshine,” the hook of which could’ve easily come from a lost single from 1965. It’s a niche not everyone’s playing toward at this point, but still instantly familiar and engagingly, efficiently done.

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Electric Earth at Kozmik Artifactz

 

Swanmay, Stoner Circus

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Unabashed stoner rock riff-led ideology persists throughout Stoner Circus, the hard-driving debut full-length from Linz, Austria, three-piece Swanmay. Working from a center of dense but not overblown fuzz, the rockers cast forth a clear-in-its-purposes nine tracks highlighted by “Lake on Fire,” which one can only wonder if whether or not was written in homage to the Austrian annual festival of the same name. In any case, that hook is one of several that feel particularly engaging throughout Stoner Circus, and the depth of tone on the instrumental “Dopechild” is enough to make that song memorable despite a lack of lyrics. Far from revolutionary, ultimately, but clearly not trying to be either, Swanmay’s first LP preaches its post-Kyussism on “Dharma” and in the Lowrider-style roll of “Sylvan” earlier on, but there’s an aggressive edge to it as well that comes to the fore on “Padawan” ahead of closer “Shiva,” which rounds out with a satisfying-if-telegraphed slowdown to make the point one more time about putting the groove first. So be it. As a debut, Stoner Circus gives Swanmay something to build on and already shows promise in songwriting and its well-honed execution of genre tenets.

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Swanmay on Bandcamp

 

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Review & Track Premiere: Slomatics, Futurians: Live at Roadburn

Posted in audiObelisk, Reviews on September 12th, 2017 by JJ Koczan

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[Click play above to stream the premiere of ‘Tramontane’ from Slomatics’ Futurians: Live at Roadburn. Album is out next month on Burning World/Roadburn Records with preorders posted here.]

Look. Sometimes in life you just have to do yourself a favor, and I have no problem admitting that’s my motivation behind reviewing the Futurians: Live at Roadburn release by Belfast, Northern Ireland, trio Slomatics. No problem whatsoever. I was fortunate enough to bear witness to earlier this year to the set captured at Roadburn 2017 in the Green Room of the 013 in Tilburg, the Netherlands, and as Roadburn Records/Burning World Records gears up to release it to the wider public, I feel no shame in being as stoked on it as I am. Does that make me impartial to the experience or the release itself? Fuck no. Do I every now and again enjoy approaching an album with unmitigated joy and hoping to convey some small sense of that revelry in what still might ostensibly pass as a “review?” Yeah. Every now and again. This is one of those cases.

So if you want a harsh critique of Slomatics‘ set minute-by-minute, or if you want some bland judgment about the level of their play overall throughout the eight-song/42-minute pummelfest of a set, feel free to look elsewhere. For me, much like seeing the three-piece of guitarists David Majury and Chris Couzens and drummer/vocalist/synthesist Marty Harvey taking that stage in the first place, listening to Futurians: Live at Roadburn is a complete pleasure, front to back from the “Good evening Roadburn!” that Harvey tosses in four minutes into “Electric Breath” to the guest vocal appearance from Conan frontman Jon Davis on the finale “March of the 1,000 Volt Ghost.”

Those two cuts also represent the divide between the latest Slomatics studio LP, last year’s stellar Future Echo Returns (review here), and their 2005 debut, Flooding the Weir, and though the last several years especially have brought them to prominence in greater underground consciousness thanks in part to a 2011 split with Conan (review here) and the aforementioned Davis‘ work promoting them through his Black Bow Records imprint, citing (correctly) their influence on his work, etc., the set as a whole basks in the fullness of Slomatics‘ discography, with material from 2014’s Estron (review here) like “And Yet it Moves,” “Return to Kraken” and “Tramontane” from 2012’s preceding A Hocht, “Ulysses My Father” from the late-2014 split with Holly Hunt, and “Running Battle,” also taken from the debut.

It’s a lot of ground to cover and not a lot of time to do it, but Slomatics, who’ve been proffering tonal demolition since 2004, are well up to the task. Still, given that Future Echo ReturnsEstron and A Hocht comprise a thematic and narrative trilogy — the storyline of which is still unclear, though we know that with “Supernothing” and “Into the Eternal” capping the latest record, the main character seems to at least be resigned to death if not actually dead — it’s something of a surprise they’d dip back to Flooding the Weir or the split at all, though one can hardly argue with the flow they set up across the eight tracks of Futurians: Live at Roadburn. It is a total cliché to say of heavy two-guitar bands without bass that they’re missing nothing for low end — and frankly, kind of a shitty thing to say about bassists in general, who add to the dynamic of a group even when the tonal space can be otherwise filled via effects or various methods of amplification, running guitars through bass heads, and so on — but with just Majury and Couzens as the string section, Slomatics‘ material is united regardless of its source by the unbridled weight of their distortion.

slomatics at roadburn photo jj koczan

I said in watching them at the time that they were the heaviest band I’d heard so far over the weekend. They would turn out to be the heaviest band — period — that I’d see at Roadburn this year, and that comes through in the massive roll of “Electric Breath” and the gallop of “Return to Kraken” alike, and as it did on Estron, “And Yet it Moves” lives up to its title — perhaps even more with the energy of the live delivery behind it. Indeed, one of the greatest assets that emerges from the band across Futurians: Live at Roadburn is that energy, and while my hearing it in the recording of “Tramontane” and “Supernothing” and “Ulysses My Father” may be due in part to having stood in front of the stage as it was happening, the vitality of their execution and how simply glad Slomatics were to be there comes through just the same and I believe is palpable whether a given listener saw them or not. Textual evidence? Go back to Harvey engaging the crowd in “Electric Breath,” or as they close out the set with “March of the 1,000 Volt Ghost.” The trio seem no less thrilled to be onstage than the cheering crowd is to have them.

And in kind with the bludgeoning, crushing tonality they bring to bear in the material — recorded in the Roadburnian tradition by Astrosoniq drummer Marcel van de Vondervoort and his team — it’s that spirit of joy that most pervades the release. There have been plenty of Live at Roadburn albums over the years, which is a credit in no small part to van de Vondervoort, and while some simply offer a glimpse of a professionally captured stop on a tour, or a curated setlist, whatever it might have been for a given band in a given year, with Slomatics, it was the show itself and the obvious extra effort put into the set that made it something special.

In other words, playing Roadburn clearly meant something to HarveyCouzens and Majury, and accordingly, it meant more to the audience to see it as well. I can’t speak for everyone who was there and I wouldn’t try to, but I know that for me, Slomatics hit on a particular vibe and sense of communion that in my experience only the very best of fully-bought-in Roadburn performances are able to hone. Thus it seems only more fitting that it should be preserved not only so that those who were there can have it for nostalgic purposes and the band can keep the momentum of their growth going post-Future Echo Returns, but in order to document a singular level of expression as a template for others to hopefully follow in years and fests to come.

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Roadburn Festival website

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Slomatics to Release Futurians: Live at Roadburn in October

Posted in Whathaveyou on July 19th, 2017 by JJ Koczan

slomatics (photo jj koczan)

How good were Slomatics at Roadburn 2017? Oh, they were mighty good indeed. All the more reason to put a note in your phone or mark your calendar or do whatever it is to do to remind yourself about shit — maybe just preorder it when that goes live on Sept. 12? — that the Northern Irish riff-crushing trio will issue their set from this year’s fest in Tilburg this October via Burning World/Roadburn Records under the title of Futurians: Live at Roadburn. I’m telling you, I was there. It was awesome enough that when they were done I jumped on stage and took the photo above. I never do that kind of extroverted shit. Usually my ass is hiding in the back, pronto.

Point is Slomatics killed it on this one, as they will, and whether you were there to catch it or not, keep your eye out for Futurians: Live at Roadburn because the proof, as the saying goes, is in the pudding. The riffy, riffy pudding.

The PR wire fills in on the particulars:

slomatics futurians live at roadburn

ROADBURN RECORDS TO RELEASE SLOMATICS FUTURIANS: LIVE AT ROADBURN

Slomatics will release Futurians: Live At Roadburn on vinyl and digital this october on Roadburn Records.

The band commented on their performance on the legendary festival beforehand:

“To say we’re excited about playing Roadburn would be an understatement,” says guitarist David Majury. “It’s funny how something like a music festival can take on almost mythical proportions, but if any festival has done so it’s definitely Roadburn! We’ve had an association with the festival through our records being on Burning World Records, so it feels good to be finally hauling our fuzz pedals over to Tilburg.”

With Majury and Chris Couzens on guitar and drummer / vocalist Marty Harvey also handling synth, Slomatics defy logic with their sheer amount of low-end output. As the follow-up to 2014’s Estron and 2012’s A Hocht, Future Echo Returns (2016) was the third in a trilogy of albums, rounding out an extended story that the band purposefully leaves open for interpretation.

“I’m delighted we’ll be joining the 2017 edition of Roadburn,” echoes Couzens. “We’ve seen some incredible performances in Tilburg over the years and been blown away how the locals embrace the hordes of music fans that descend on them. It’ll be fantastic to join that special atmosphere as a performer in April!”

* 300 copies on clear vinyl worldwide
* pre-sale starts september 12th 2017 on BurningWorldrecords.com

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Slomatics, “And Yet it Moves” live at Roadburn 2017

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Slomatics, Future Echo Returns: Into the Eternal (Plus Track Premiere)

Posted in audiObelisk, Reviews on June 29th, 2016 by JJ Koczan

slomatics future echo returns

[Click play above to stream a premiere of ‘Supernothing’ from Slomatics’ new album, Future Echo Returns, out Sept. 2 on Black Bow Records.]

One can only wonder if it felt like going home when Belfast’s Slomatics showed up at Skyhammer Studio to record their fifth album, Future Echo Returns, with producer Chris Fielding. The fit between engineer and band is remarkable, and in addition, it furthers an alliance between the Northern Irish sans-bass double-guitar trio and Fielding‘s own outfit, Conan, with whom Slomatics released a split in 2011 (prior to Fielding joining; review here), and whose Jon Davis co-owns Skyhammer and runs Black Bow Records, through which Future Echo Returns is released. The two acts share a decent amount of common intent, both geared toward consuming tones and lumbering rhythm, and Conan has acknowledged at several points that Slomatics — who made their debut in 2005 — were an influence.

That’s audible throughout Future Echo Returns as it was through its predecessor, 2014’s Estron (review here), but brought out even more through the Skyhammer recording, though Slomatics continue their own sonic development throughout the included seven tracks/40 minutes as well, bringing a spacious feel to go with all that crushing guitar via keyboard and synth flourish and by pushing forward with a melodic range that so much stood the last record out from its surroundings, as one can hear on the harmonized album-apex “Supernothing,” as well as in the key work on the earlier “Electric Breath,” which follows the rolling instrumental opener “Estronomicon” to begin a flow that continues all the way through 10-minute closer “Into the Eternal.”

The link between “Estronomicon” and the title of the prior outing is no accident either. Rather, after Estron and the record before it, 2012’s A HochtFuture Echo Returns is the third in something of a narrative trilogy, recently described by guitarist Chris Couzens — joined in the band by guitarist David Marjury and drummer/vocalist Marty Harvey — as a kind of moment of resignation or acceptance of one’s fate. Clearly the end of a story, but still vague enough to be left open to interpretation. That actually suits the vibe of Future Echo Returns, which only seems to offer more to dig into on repeat listens, and which weaves into and out of songs with the fluidity of book chapters so that “Estronomicon” builds into the start of “Electric Breath,” which cuts off so the chugging opening riff of “In the Grip of Fausto” can pick up on the beat, and so on.

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Having an instrumental opener nearly five minutes long also has a hypnotic effect on the listener, so that when the vocals kick in on “Electric Breath,” it’s a readjustment of head space, and that feels purposeful as well. Slomatics are toying with their audience somewhat, and at this point they have the command to do it. “Electric Breath” and “In the Grip of Fausto” both offer choice hooks, and the ease with which the band shifts into different methods of expression becomes a big part of Future Echo Returns‘ personality, as shown already with the key-laden ending to “Electric Breath,” and in the move from “In the Grip of Fausto” to the quiet atmospheric guitar and synth of “Ritual Beginnings,” a six-minute instrumental that develops some movement within its ambient context but departs boldly from the heft that surrounds it on all sides.

Still brooding and foreboding as it starts to thud into its last minute, “Ritual Beginnings” is the presumed closer of side A (also the CD/digital centerpiece), and leads into the crashing “Rat Chariot,” which may or may not feature guest vocal spots from both Fielding and Jon Davis in its second half, introduced by a break from the roll soon enough to resume and hit a particularly memorable peak that keeps going even as it fades out into the sudden jolt at the start of “Supernothing.” Again, the penultimate track on Future Echo Returns is also the apex, while “Into the Eternal” comes across as something of a denouement for this series of three albums, and it’s also the most melodically resonant chorus they offer, Harvey‘s voice harmonized in post-Floor form, as opposed to some of the Black Cobra-ish style on “In the Grip of Fausto” or “Rat Chariot.”

It’s a moment of arrival, and very much sounds like it. A slower progression only enhances the sense of grandeur, and though it’s only four minutes long, “Supernothing” leaves one of the album’s most lasting impressions, complemented by “Into the Eternal” after it, which picks up (again, on the beat) with an initial stretch of choral keys leading to a mostly instrumental lumber that moves through its runtime with similar tonal entrancement as “Estronomicon” but is airier in its midsection guitar lead and in some swaying non-lyric vocals (also harmonized) that reinforce the feeling of resignation the song is intended to convey. It’s not a riotous, unhinged finish at all, and neither is it intended to be. It’s the graceful conclusion of a longer arc that has covered the last four-plus years, and if Future Echo Returns is really the final installment of that story, “Into the Eternal” makes for a gorgeous finish. The sense of continuity it brings is all the more appropriate considering the breadth it shows and how it ties the whole album together, completing a triumph writ large over the entire span.

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Elder Druid Post Video for “The Warlock”; New EP out Now

Posted in Bootleg Theater on June 9th, 2016 by JJ Koczan

elder druid (Photo by James Hughes)

Belfast five-piece Elder Druid released their The Attic Sessions four-tracker in the early going of 2016. Presumably that’s a change of venue for the heavy grooving outfit, as their two prior 2015 singles, “Otherworld” and “The Ides of March,” were tracked under the banner of “Live Loft Sessions,” though I suppose they could’ve just renamed the loft an attic and rolled with it. Rolling is a theme of the EP, as it happens. Shades of early Clutch and Orange Goblin show up in opener “Sellsword,” and the later “Red Priestess” — both titles commonly appearing in the George R.R. Martin pantheon — has a thickness to its double-guitar approach that lends an already heavy progression even more heft.

The band’s first outing, they obviously believe enough in The Attic Sessions enough to give it away as a means to entice listeners to check it out, and it doesn’t take me much more than that, frankly. To further spread the word, they’ve got a new clip for “The Warlock,” which is the longest cut on the EP at 6:31 — “Reigning Hell” rounds out with a sludgier take — that features some basic performance footage outside of the attic, the band spread around in the woods and some burnt out looking spaces as they dig into the track. It’s a kind of basic and encouragingly unpretentious beginning for the group, who got together early in 2015, but working from a place of clear motivation and with an intent toward making themselves heard.

So be it. Find the clip for “The Warlock” below, followed by more info from the band:

Elder Druid, “The Warlock” official video

ANNOUNCEMENT & VIDEO: To celebrate the fact that Elder Druid’s ‘The Attic Sessions’ is now available on Spotify, iTunes, Apple Music, Amazon Music amongst other online music outlets and streaming services, we’ve released the whole EP on Youtube! Now you can have the Druid with you wherever you are and it’s a pretty damn awesome feeling! Big cheers to everyone for the support. Keep enjoying this Live EP for the moment and keep an eye out for NEW music on the horizons!

The official music video for ‘The Warlock’ from The Attic Sessions Live EP.

Download for FREE @ http://elderdruid.bandcamp.com/album/the-attic-sessions

Filmed and directed by Brandon Kelly.

Massive thanks to Brandon and his crew for making this a possibility.

Gregg McDowell – Vocals
Jake Wallace – Lead Guitar
Mikey Scott – Rhythm Guitar
Dale Hughes – Bass Guitar
Brien Gillen – Drums

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Slomatics Post Video for “Electric Breath”

Posted in Bootleg Theater on May 18th, 2016 by JJ Koczan

slomatics

Holy crapola is the new Slomatics record good. Like the kind of good where you just throw up your hands and turn up the volume as high as it’ll go and let the tonal wash of the thing take complete hold. Whatever else you happened to be doing at that moment in time? Forget it. For the next 40 minutes, you belong to these riffs. And if riffs were all Future Echo Returns had to offer, well, it would probably be enough, but the album also engages these broad atmospheres, organ and noise and feedback and reverberations coming together to create something that’s as much place as sound. You can hear it in the crush of “Electric Breath,” for which the Belfast trio have a new video, and in how that song fits with the tracks around it, whether that’s preceding instrumental opener “Estronomicon,” which seems to speak directly at the previous album, 2014’s Estron (review here), or the half-speed-BlackCobra push of “In the Grip of Fausto,” which follows.

Slomatics release Future Echo Returns in September through Black Bow Recordings, the imprint helmed by Conan guitarist/vocalist Jon Davis, who also happens to own Skyhammer Studio, where the album was tracked by Chris Fielding (also of Conan). The influence Slomatics, who issued their first album in 2005, must have had on Davis isn’t to be understated, but even here they refuse to be defined solely by assault as the six-minute ambient setpiece “Ritual Beginnings” leads the way with progressive foreboding into the second half of the record. As you can tell, there’s a lot to say about it, and my plan is to have a review up once I’ve had a chance to digest it a little more, but dig into “Electric Breath” below and see if you aren’t convinced. If you’re still reading, I have the feeling you will be.

Go on and have at it:

Slomatics, “Electric Breath” official video

Thanks to the incredibly talented Dermot Faloon for creating the video. Taken from our forthcoming album Future Echo Returns, which is available now for pre-order via Black Bow Records, release date 2nd September.

From the Album: Future Echo Returns.

Released via Black Bow Records Sept 2016

Created by Dermot Faloon.

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Slomatics New Album Future Echo Returns Available to Preorder

Posted in Whathaveyou on May 5th, 2016 by JJ Koczan

slomatics

By the accounts I’ve heard, Belfast’s Slomatics were a highlight of Desertfest London 2016 this past weekend. That’s easy enough to believe. Their 2014 album, Estron (review here), was a tonal admonishment that was an utter joy to receive, and their forthcoming fifth long-player, Future Echo Returns — out in September via Black Bow Records, whose honcho, Jon Davis (also Conan), sat in for a guest vocal spot during the aforementioned London set — continues the thread of progressive melodicism and unrepentantly heavy riffing. Their sound has never wanted for impact, as still-recent Black Bow reissues of their first two albums, 2005’s Flooding the Weir and 2007’s Kalceanna, showed, but to go back and listen to those outings and hear their new stuff and there’s an undeniable sense of growth there as well.

It just so happens that growth hits like a cement block to the face. But in a good way. Sometimes I wonder about these similes…

Black Bow has Future Echo Returns up for preorder now. Album art, info and links follow here:

slomatics future echo return

SLOMATICS – FUTURE ECHO RETURNS

NEW release from Belfast’s own Slomatics. Produced by Chris Fielding at Skyhammer Studio (Conan / Electric Wizard / Winterfylleth) and produced by James Plotkin (Khanate / Conan).

Orders ship on the 2nd September 2016.

Whilst the tide has come in and gone out and come in again on the shores of heavy music, Slomatics have patrolled the surf, unmoved by the shifting sands, unflinching in their dedication to tone and riff. True pioneers of what we call sludge and doom, blending elements of psychedelic rock, conjuring images of overgrown celestial bodies marshalled by undiscovered extraterrestrial entities. Name any heavy band from the last ten years and you will find Slomatics as a crucial ingredient in their own primordial soup, whether they are listed as an influence or not. Essential, irreplaceable, impeccable and peerless heavy music. Influenced by the past, here in the present, echoing a vision of the future…

https://www.facebook.com/Slomatics-196382747053529/
https://slomatics.bandcamp.com/
http://slomatics.com/
http://blackbowrecords.bigcartel.com/

Slomatics, Estron (2014)

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Slomatics Sign to Black Bow Records; New Album Due in 2016; Reissues Announced

Posted in Whathaveyou on November 9th, 2015 by JJ Koczan

slomatics

There’s good news and then there’s good news. And then, actually, there’s more good news. Belfast tonal architects — tonechitects, if you need the portmanteau — have signed to Jon Davis from Conan‘s Black Bow Records. Makes a ton of sense. Almost too much sense. Davis has sung the band’s praises for years to anyone who will listen, and anyone who’s heard Slomatics and heard Conan can tell you Slomatics were a big influence.

So that’s good news. Then there’s word that Slomatics‘ first two albums, 2005’s Flooding the Weir and 2007’s Kalceanna are being reissued digitally this month. And the really big good news? Slomatics will have a new full-length out in the Spring that will be their fifth record, also on Black Bow. It’s your basic “label signing, old stuff, new stuff” three-pronged approach. Truth be told, though, if you don’t know Slomatics and you’re still reading this, you’ll probably feel better for familiarizing.

Davis announced the signing as follows:

SLOMATICS SIGN TO BLACK BOW RECORDS

Those who know me will know how much of a massive fan I am of the band Slomatics. Back in 2005 I got a copy of Flooding The Weir on cd after being introduced to them by David Andrew Main at D*A*M. They have consistently released amazing and brutal HEAVY music and I’ve been into them ever since.

Now I can call them all good friends, and to cap it all off I am releasing their new album (due out next year) on my label Black Bow Records. Recording will commence in December 2015 and it is due for release in Spring 2016.

Before that I have lined up a digital release of their first two albums namely FLOODING THE WEIR and KALCEANNA. Both of these will be available through all reputable digital outlets from 20th November 2015.

https://www.facebook.com/Slomatics-196382747053529
http://www.slomatics.co.uk/
https://slomatics.bandcamp.com/
https://www.facebook.com/Black-Bow-Records-565275456841866/

Slomatics, “Celeste” from Flooding the Weir (2005)

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