Stone Deaf Premiere “Spitshine” Video; Royal Burnout Due May 4

Posted in Bootleg Theater on April 11th, 2018 by JJ Koczan

stone deaf photo Cody Isaman

Made up of a crisply-produced eight tracks of well-sourced heavy rock and roll, Stone Deaf‘s Royal Burnout is set to release on May 4 through Black Bow Records. The album, which is the Denver four-piece’s second behind a 2015 self-titled, is something of a departure for the label, which has to this point specialized in supporting the UK underground in its various forms of sludge, doom and heavy impulses, owned as it is by Conan guitarist/vocalist Jon Davis and affiliated as it often is with his Skyhammer Studio and the recordings done there by Chris Fielding.

Well, Stone Deaf didn’t record at Skyhammer. stone deaf royal burnoutThey tracked with guitarist/vocalist/keyboardist/drummer Dustin Chapin, who also mixed, mastered and had a hand in the design of the album along with bassist/vocalist Cody Isaman. And they don’t play sludge. They play essentially a high-desert version of low desert rock, taking a strong influence from the pop-heavy stylings of Queens of the Stone Age and perhaps imagining what they might’ve become if they’d kept working in the vein of their own debut, with songwriting crystal clear in its structure and intent and an edge of heft in their tones. And hooks. Hooks for days.

Royal Burnout, if it’s got anything, has got that. With Isaman and Chapin sharing vocal duties while Jarron French provides the bounce on drums and Scott Anderson adds further guitar and keys,there’s variety in the songs between a hand-clapper like the closing title-track and the start-stop turns of “Room #240” earlier. “Deathwish 62” crunches up classic desert-punker riffing while “Boozy Spool” engages a more urbane feel, touching on modern pop rock, but at the same time offering some of the album’s heaviest riffing.

There’s a balance to be struck between these various impulses, and Stone Deaf have command enough of their craft to find it. The leadoff cut, “Spitshine,” provides a decent summary of some of the punk and heavy rock vibes Royal Burnout works through, and I’m happy today to be able to premiere Dustin Chapin and Cody Isaman‘s video for it ahead of Royal Burnout‘s release next month. Please find the clip below, followed by more info from the PR wire.

And please enjoy:

Stone Deaf, “Spitshine” official video premiere

Stone Deaf on “Spitshine”:

“Spitshine,” the intro song to Royal Burnout, leads you into a musical freakshow. Like a rusted hardtop filled of strung out carnies and miscreants changing gears down a long desert road, and a roller coaster that guides you through the soundtrack of a fucked up circus. Showcasing fast paced rhythms and black and white melodies, it’s the first song of a tall, downwards spiraling slope, and that’s only the beginning of the show. Welcome to Royal Burnout.

Formed in late 2014 in New Castle, Colorado, STONE DEAF’s approach to music is a timeless fusion of melody and driving rhythms blending solid rock vibes, psychedelic elements, and sludgy low-end riffs. The band released their self-titled debut album in 2015 and has since spent their time fine-tuning their approach and honing their craft on stage while writing their next record, which now comes to life in Royal Burnout.

With eight new jams packed into a thirty-three-minute album, Royal Burnout was recorded produced, recorded, and mastered by Dustin Chapin at The Launch Complex, New Castle, Colorado, with photography by Marin Forcella and design by the band’s Dustin Chapin and Cody Isaman.

Royal Burnout will see release on CD and digital platforms through Black Bow Records on Friday, May 4th. STONE DEAF is booking shows in support of the album, with a short run through the Southwest being organized for mid-Summer. Stand by for audio samples, preorder info, tour dates, and more in the weeks ahead.

STONE DEAF Live:
5/11/2018 Mesa Theater – Grand Junction, CO
6/29/2018 5 Star Bar – Los Angeles, CA
7/01/2018 Yucca Tap Room – Tempe, AZ

Royal Burnout Track Listing:
1. Spitshine
2. Room #240
3. Buzzards
4. Monochrome
5. Boozy Spool
6. Deathwish 62
7. That Lefty Request
8. Royal Burnout

STONE DEAF:
Cody Isaman – bass, vocals
Scott Anderson – guitars, keys
Jarron French – drums
Dustin Chapin – guitar, vocals, keys, drums

Stone Deaf website

Stone Deaf on Bandcamp

Stone Deaf on Thee Facebooks

Black Bow Records website

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Review & Track Premiere: Mammoth Weed Wizard Bastard & Slomatics, Totems Split

Posted in audiObelisk, Reviews on January 22nd, 2018 by JJ Koczan

mammoth weed wizard bastard slomatics totems

Mammoth Weed Wizard Bastard, ‘Eagduru’ track premiere

[Stream Mammoth Weed Wizard Bastard’s ‘Eagduru’ by clicking play above. The Totems split LP with Slomatics is out in March via Black Bow Records and available to preorder here.]

“Exceptional” can be a pretty lofty mark by its nature, but Totems, hits it on a number of levels. The split release between Welsh and Northern Irish crushers Mammoth Weed Wizard Bastard and Slomatics — issued with the significant endorsement of founding Conan guitarist/vocalist Jon Davis through his Black Bow Records imprint — probably won’t offer an abundance of surprises to those familiar with the bands or their methods, but in coming together across the five tracks and two sides of this limited vinyl, they reach a degree of impact that not only few splits manage, but go even further convey a spirit of sonic kinship that the Samantha Muljat cover art would seem to recognize: a single figure standing with her back to the viewer, a sword raised to a surrounding landscape. We don’t know if it’s ritual, defiance or an attack, but there’s a sense of union between the woman and that weapon, and the same applies between Mammoth Weed Wizard Bastard and Slomatics throughout Totems in a way that is genuinely rare.

Side A brings two tracks in the extended “The Master and His Emissary” (12:30) and “Eagduru” (11:03) from Wrexham’s Mammoth Weed Wizard Bastard, whose ethereal and melodically-focused brand of riff-rolling doom was last heard on their engaging sophomore long-player,Y Proffwyd Dwyll (review here), which came out via New Heavy Sounds in 2016 and lived up to the promise the band showed in the prior grimness of Noeth Ac Anoeth (review here), their 2015 debut. Comprised of vocalist/bassist Jessica Ball, guitarists Paul Michael Davies and Wez Leon, and drummer James “Carrat” Carrington — and perhaps as their moniker would indicate — Mammoth Weed Wizard Bastard are no strangers to being willfully cumbersome.

Both of their full-lengths and the prior 2015 half-hour-long single-track EP, Nachthexen (review here), worked in longer forms, and so what they bring to Totems in “The Master and His Emissary” and “Eagduru” feels very much in their wheelhouse of grooving largesse and layers of otherworldly echoing vocals from Ball, whose harmonies lay out over top of the proceedings masterfully without dominating the mix, but there’s progression to be heard in their style as well. The elements they’re working with, from the deceptively active hook of “The Master and His Emissary” to the hypnotic tumble of “Eagduru,” which fades in with an intense build of chug before unfolding a sprawl that seems to ensnare the listener as it plays out, and, like some slow herbal poison, drain them of their consciousness — a compliment, mind you; this is precisely what the track is intended to do — are more recognizably their own, and while one can still draw a line from the likes of Windhand in terms of influence, Mammoth Weed Wizard Bastard set themselves up here to fully establish their style as individual, and thereby greatly raise expectations for the kind of achievement they might attain with their next album proper. They may not think of it this way, and in fact one hopes they don’t, but they’re throwing down a gauntlet for themselves with these tracks and setting a high standard to be surpassed.

mammoth weed wizard bastard slomatics totems 8-bit

What they’re not doing — and this is perhaps where Totems is at its most exceptional — is competing with the side B onslaught from Belfast three-piece Slomatics. In its info for the release, Black Bow calls Totems a “collaboration” rather than a “split” and while I’d generally take that to indicate the two groups were working together as one unit — which, to the best of my knowledge, they didn’t — they are exceedingly well paired to complement each other’s work. In addition, having both recorded at Skyhammer Studio with Conan bassist Chris Fielding at the helm — who’s a stranger to neither act, having produced both Y Proffwyd Dwyll and Slomatics‘ 2016 fifth LP, Future Echo Returns (review here) — there’s a consistency of sound and a blend of spacious atmosphere in “Ancient Architects” (8:29), the ambient instrumental/interlude “Silver Ships into the Future” (3:49) and “Master’s Descent” (8:30) that helps create the full-album-style flow that so much bolsters the front-to-back listening experience of Totems.

This would seem to be something of which the bands themselves were aware going into the split’s making, since we see in Slomatics‘ closing “Master’s Descent” a mirror or at least a nod toward Mammoth Weed Wizard Bastard‘s opener, “The Master and His Emissary.” Whether that’s indicative of an overarching narrative between the bands across the five tracks, I can’t confirm, but it speaks to the coherence of the delivery throughout Totems, which is yet another element making it an outlier from the norm as regards split releases in a positive way. Further, as Slomatics — the returning trio of guitarists Chris Couzens and David Marjury and drummer/vocalist Marty Harvey — tumble out riffs like they’re pushing their grooves down flights of stairs in the second half of “Ancient Architects” and roll through “Master’s Descent” in a fashion that recalls some of Future Echo Returns‘ most triumphant moments while still feeling expanded outward from them — “epic” is the word, though one is generally loath to use it — they remind via the curveball cinematic keyboard of “Silver Ships into the Future” that their approach is as much about reach as it is about crush.

While it’s easy to write off superficially as “just an interlude,” “Silver Ships into the Future”  is effective as well in emphasizing the linear feel of Totems and precisely the sort of sonic detail for which the split will no doubt stand as one of the finest joint offerings of 2018. There are a lot of reasons two groups might pair up. Maybe they’re touring together and need something for a merch table. Maybe they’re friends and just want to work together on a project. Maybe they were directed to do so by a label or shared management or something of that sort. Totems, at least going by the impression left behind from the release itself — boot-shaped-and-on-skull as it is — is once again of a rarer breed here, in that it comes across more as a creative expression than a matter of convenience or logistics. One finds shared intent between Mammoth Weed Wizard Bastard and Slomatics in aesthetic drive, and that proves to be the ultimate difference when it comes to Totems‘ exceptionality. From concept to production to execution to presentation, it works so as to make itself utterly essential. Recommended.

Mammoth Weed Wizard Bastard on Thee Facebooks

Mammoth Weed Wizard Bastard on Bandcamp

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Slomatics on Bandcamp

Black Bow Records webstore

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Throneless Sign to Black Bow Records; Cycles Coming March 23

Posted in Whathaveyou on November 13th, 2017 by JJ Koczan

throneless

For a band like Malmö, Sweden’s Throneless, who roll out huge-sounding, lumbering grooves in longform and pummeling fashion with a lysergic underflourish and cavernous crash, one can imagine few direct endorsements that might carry the weight as that of Jon Davis, guitarist/vocalist of UK crusher-destroyers Conan. Davis has signed the three-piece to his Black Bow Records imprint for the release of their second offering, Cycles, which will be out on March 23, 2018. As in five months from now. Hey, I like an early heads up as much as the next guy. Probably more, actually, since that’s about as long as it takes me to review shit sometimes.

I digress. The band made their self-titled debut in 2015 via Heavy Psych Sounds, and it’s worth noting they’re not really out of place on either label. Still, from the quote below it’s pretty plain they’re stoked to be working with Black Bow, and yeah, they should be. That record was also four songs of mega-stomping doom, so it’s nice to see they’re keeping to form with the new one. Not that I’ve heard it yet or anything, but it’s bludgeoning.

From the PR wire:

throneless cycles

Throneless – Cycles

On March 23rd 2018 Black Bow Records will release Cycles by Swedish doom metal band THRONELESS. The album is four tracks of psychedelic doom metal that is highly recommended for fans of Conan, Yob and The Slomatics.

The album is set to be released on limited edition vinyl and digital formats.

The band commented, “We’re stoked to release our second album on Black Bow Records, and getting the opportunity to work with people who totally understand the type of music and expression we stand for.”

Throneless is a doom metal band from Malmö, Sweden, that through heavy downtuned fuzz, monotone and medative riffs focuses on waking people up from the masshypnosis we call society.

Tracklisting:
1 – BORN IN VAIN 9:43
2 – CYCLES 9:12
3 – SENSELESS 6:29
4 – ORACLE 14:05

Throneless are:
Johan Sundén – Guitar & Vocals
Patrik Sundberg – Bass & Artwork
Johan Burman – Drums & Production

https://www.facebook.com/thronelessdoom
https://thronelessdoom.bandcamp.com/
www.blackbowrecords.com/
blackbowrecords.bigcartel.com/
https://blackbowrecords.bandcamp.com/
https://www.facebook.com/Black-Bow-Records-565275456841866/

Throneless, Throneless (2015)

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The Obelisk Radio Adds: Merchant, Deamon’s Child, Derelics, Cosmic Fall & Aphodyl, Theta

Posted in Radio on July 4th, 2017 by JJ Koczan

the obelisk radio cavum

Here in the States, today is Independence Day. It’s a day marked by fireworks and barbecues and ignoring all the heinous shit in which the nation has engaged over its 200-plus years of existence, and really before that as well, as a colonial enterprise, and so on. War, genocide, all that stuff. We don’t talk about it on Independence Day. Perhaps unsurprisingly, one of my favorite things to do on this day is listen to music. Really, that works for any day, but if I’m hanging out, I want some tunes on, so it seems only fair to have The Obelisk Radio going in the background, since as it happens I think the playlist is pretty reliable. If I do say so myself.

So, if this is my way of celebrating the Fourth of July, then fine. You’ll note it’s all a bunch of international bands. Ha. To see the full list of everything that hit the server today, click here.

The Obelisk Radio adds for July 4, 2017:

Merchant, Beneath

merchant beneath

With two massive, 14-minute-plus slabs of cosmic sludge viciousness, Melbourne four-piece Merchant offer the tonal siege and atmospheric cruelty of their Beneath EP, reaffirming the dual edges of space and claustrophobia that existed on 2016’s debut full-length, Suzerain (review here), and the YOB-circa-Catharsis influence that proved so central to that release. Here, “Guile as a Vice” dives into more extreme territory, with vocals buried beneath a rolling ball of molten lead, while “Succumbing” lives up to its name late in a marked devolution toward noise and feedback that feels like it’s peeling its own skin away to reveal the raw flesh underlying — pure abrasion and unwanting of anymore expression than its initial headbang-worthy slams or final howling minutes allow. A portrait of brutality brought forth in multiple shades, Beneath lives up to its name in how it seems to dig into its own execution, and even more than on Suzerain, one finds Merchant carving their identity from their pummeling, scathing take on familiar sonic aspects. “Guile as a Vice” and “Succumbing” are made all the more the band’s own by their unbridled nastiness and the skill with which the band wields it. They remain loaded with potential, but already across these initial outings, we’ve started to see that potential come to fruition. May it continue to do so.

Merchant on Thee Facebooks

Merchant at Black Bow Records’ Bandcamp

 

Deamon’s Child, Live im Lux

deamon's child live im lux

Tracked at a June 3, 2017, show at the Lux club in Hannover, Germany, Live im Lux brings seven tracks of Deutsche heavy punkers Deamon’s Child in a warts-and-all onstage context. That is, there’s no attempt to hide or mask anything about the set, flubs, righteous moments, any of it. It’s the show, as it happened. Plain and simple. They open with the thrust of “Zucker” and one finds the vocals of bassist Ana Muhi a little high in the mix, but the crowd eats it up whole, and along with guitarist Sven Missullis and drummer Tim MohrMuhi goes on to deliver highlight moments in the slower roll of “Lutscher,” the noise-infused starts and stops of “Geld” and the 11-minute exploration of “Nichts.” The majority of the material on Live im Lux comes from Deamon’s Child‘s 2016 second long-player, Scherben Müssen Sein (review here), and they give those songs a suitable roughing up throughout, right up until the calls from the crowd for an encore inspire a spirited rendition of that album’s opener, “Das Vogellied,” which is marked out by Mohr‘s thrash-worthy double-kick and the quick turns it prompts, somewhere between noise rock and metal and punk and heavy-impulse riffing, Muhi‘s vocals again at the center of the tumult. Live im Lux will probably serve as something of a curio for the band’s followers or those who were there to see the show — they’re DIY’ing a limited CDR pressing — but for anyone else who happens upon the stream, it’s going to be a welcome find.

Deamon’s Child on Thee Facebooks

Deamon’s Child on Bandcamp

 

Derelics, Guilty of Being Young

derelics guilty of being young

Not only does Guilty of Being Young have in common with Derelics‘ prior 2015 EP, Introducing (review here), that’s it’s three tracks, but in going from the six-minute “Guilty of Being Young” to the eight-minute “The Summer Song” to the five-minute “The (Wicked) Witch is Dead,” it follows the same timing pattern with just one minute trimmed off the closer. I don’t know whether the London trio had that kind of direct conversation between releases in mind when they put Guilty of Being Young together, but it comes accompanied by a marked shift in sound, pulling back on some of the aggressive edge that typified the debut in favor of a bright-toned bounce that recalls Zeppelin at their most pastoral jangle on the opener and swirls through garage-grunge moans on “The Summer Song” before “The (Wicked) Witch is Dead” mixes in some Soundgarden-ing vibes amid a tonal spread born of classic psychedelia and maybe just a touch of Blind Melon melodicism. Derelics swapped out bassists between the two short releases, bringing in Thom here alongside guitarist/vocalist Reno and drummer Rich, and while they still seem to be figuring out where they want to end up sound-wise, the progressive shift they’ve made on Guilty of Being Young has only made them more of a standout from the bulk of London’s crowded heavy underground, and the direction in which they seem to be headed fits remarkably well.

Derelics on Thee Facebooks

Derelics on Bandcamp

 

Cosmic Fall & Aphodyl, Starsplit

cosmic-fall-aphodyl-starsplit

The lesson of the PsyKA Records-issued Starsplit release from newcomer German outfit Cosmic Fall and the somewhat longer-running Aphodyl would seem to be pretty simple: If it’s not an improv-sounding psych-funk jam of at least 11 minutes in length, it can pretty much screw off. Both groups traffic in such wares, and as Cosmic Fall follow-up their single “Haumea” (premiered here) and their two quickly-arrived full-lengths, First Fall (discussed here) and Kick out the Jams (review here), and Aphodyl add to a slew of DVD and other live outings issued since their apparent founding circa 2013, immersion is the key that unites them. Across two LP sides — one per band — of 23 minutes each, Cosmic Fall and Aphodyl tap heartily into classic space/krautrock impulses and transfigure that elder progressive sensibility into an argument for a new wave of German hypnotic rock. Aphodyl get into some percussive nuance in the aptly-titled “Jam 2,” which is preceded by — you guessed it — “Jam 1,” while Cosmic Fall enact a more effects-driven swirl across “Overhead Intelligence” and “Blues at CME,” but it’s the far-out-far-outness of Starsplit as a whole that serves as the prevailing impression of the release, and those who would dig into an ever-expanding universe of kosmiche jamming will no doubt welcome the opportunity to lose themselves among the stars on this still-digestible stellar sampler, which offers lightyears of vibe in a laid back and molten complement.

Cosmic Fall on Thee Facebooks

Aphodyl on Thee Facebooks

PsyKA Records on Bandcamp

 

Theta, Obernuvshis’

theta Obernuvshis

Milan tone-crusher solo-outfit Theta makes its full-length debut with the curiously possessive Obernuvshis’, a five-track/46-minute lumber-laden offering of post-industrial doom that comes accompanied by the advice to “Listen at extremely loud volume only.” I’ll admit I didn’t, but multi-instrumentalist Mattia Pavanello (ex-Furor Gallico) got his point across anyway in the tectonics of opener “Travel Far into the Black Hole Depths,” which represents just the first steps along the grueling instrumental path toward 11-minute finale “Concrete and Foundation,” which though faster, would seem to summarize the mindset from which the project is working in the first place — setting its foundation in something remarkably solid and extremely heavy. Samples spread throughout about consumerism, religion, spirituality, etc., give songs like centerpiece “Butterfly’s Cycle” a critical edge, but as intentionally plodding as Obernuvshis’ is on the whole, it doesn’t necessarily feel heavy-handed in its social aspects, instead letting its heft do the talking when it comes to conveying a sense of being weighted down by modernity. And if one has to be dragged down by such things — which, yes, one invariably does; it’s called culture and there’s no escape from it — then the layers of noise-soaked riffing in “Harshness of A” and the vague edge of hope buried in the later lead guitar aren’t a bad way to go. Loud volume ultimately doesn’t hurt, but Theta‘s intentions ring clear one way or the other.

Theta on Thee Facebooks

Theta on Bandcamp

 

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Pyreship Premiere Video for “Die/Sect”

Posted in Bootleg Theater on June 21st, 2017 by JJ Koczan

pyreship

Houston four-piece Pyreship made their debut this Spring with The Liars Bend Low on Black Bow Records. It’s a release that brings together sludge tones and groove with post-metallic atmospheres, and as you can see in the video for “Die/Sect” from the album, the Texan outfit keep a mindful approach toward live presentation as well as crafting a moody impression. Starting off with a clip from Twin Peaks: Fire Walk with Me — or at least one from the show that says the name of the movie; I haven’t watched the new episodes yet, so no spoilers please, as much as anything might ever possibly be explained — and featuring imagery of strafing bombs and other apocalyptic this-and-that as well as footage of the band on stage.

Here’s a fun fact: First time I watched the “Die/Sect” video, I was sitting on the couch with my lovely and loving wife, The Patient Mrs., and I pointed to a guy in the front of the stage and I said, “Hey, there I am.” I told her it was a little while ago, when I was still bearded, and you know what? She believed it was me. It’s not me. I don’t know who it is, but I’ve never had the pleasure of seeing Pyreship live. They make a good case for doing so with this song and this video, but still. I haven’t gotten there. It was hilarious though, because, yeah. Dudes all look alike.

If you missed where it was mentioned above, The Liars Bend Low came out on Black Bow Records, which is the label helmed by Jon Davis, guitarist/vocalist of UK demolition experts Conan. Not a minor endorsement to have, and Pyreship recently shared the stage with Conan and Forming the Void as well as part of supporting the album, so all the more of a connection there. One can hear some influence in the roll of “Die/Sect,” which if you haven’t already skipped to it, follows immediately here.

I’ve also included the full stream of the record at the bottom of the post, because why the hell not.

Enjoy:

Pyreship, “Die/Sect” official video

Official music video for Die/Sect from Pyreship’s album “The Liars Bend Low”. Released 5/26/2017 on Black Bow Records.

You can find all the latest Pyreship news and links to our music and merch at https://pyreship.com/ check it out!

Pyreship is:
Sam -Guitar and screaming
Jason – Guitar and singing
George – Bass
Steve – Drums

Pyreship, The Liars Bend Low (2017)

Pyreship on Thee Facebooks

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Pyreship website

Pyreship at Black Bow Records Bandcamp

Black Bow Records website

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TarLung Release New Album Beyond the Black Pyramid

Posted in Whathaveyou on June 15th, 2017 by JJ Koczan

tarlung

There are some for whom the deathly growls that permeate TarLung‘s second full-length, Beyond the Black Pyramid, will simply be too much. That’s fine. I don’t think a band takes on a sound like theirs anyway if mass-accessibility is a huge concern. The record, which is the follow-up to the Vienna, Austria, trio’s 2014 self-titled debut (review here) and the 2016 self-produced Void EP, is out now via Black Bow Records and can be streamed in its entirety through the band’s page on Bandcamp, where the CD version is also available.

If you heard the first record, the new one is a noteworthy progression in sound from the Southern-style sludge previously on offer, more atmospheric and richer on the whole in terms of tone. As someone who digs the occasional blend of fuzz and gurgle, it’s kind of hard not to be charmed by what TarLung are doing. Again, I know it’s not for everyone, but it’s a good time from where I sit.

The PR wire has more info:

tarlung-beyond-the-black-pyramid

TARLUNG (Austria) – ‘Beyond The Black Pyramid’

Dense and suffocating, TARLUNG’s music crawls along ponderously, squeezing the life out of its listeners. This kind of expression in sludge is rarely done but ends up being most satisfying. The riffs command the direction, as within the mire of the deafening sludge you have catchy hooks and memorable tunes. Influences from closely related genres such as death metal and even stoner doom coalesce to form their monolithic sound. This is the band’s latest full length album and it lays waste to everything else they’ve done before. Listen to one of the heaviest albums in this style and quiver under its might.

Track list:
1. It Waits In The Dark 01:50
2. Dying Of The Light 08:16
3. Mud Town 06:27
4. Kings And Graves 09:47
5. The Prime Of Your Existence 10:56
6. Resignation 04:02
7. Born Dead 09:13
8. Beyond The Black Pyramid 07:29
9. Karma 08:21

Line up:
Rotten – Guitars
Marian Waibl – Drums
Phillip “Five” Seiler – Guitars and Vocals

Artwork – Alex Eckman Lawn (DEFEATED SANITY, MARUTA, KREIG, ZEALOTRY)

https://www.facebook.com/tarlungband
https://tarlung.bandcamp.com/
http://www.blackbowrecords.com/

TarLung, Beyond the Black Pyramid (2017)

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Elder Druid Post “Rogue Mystic” Video

Posted in Bootleg Theater on April 6th, 2017 by JJ Koczan

elder druid

“Rogue Mystic” is the second video from Elder Druid‘s 2016 debut EP, Magicka (review here), which despite sharing its title with the 2000 narrative concept album from Dio — that was Magica, minus the ‘k’ — actually pulls way more influence from the Sleepy end of tonally-dense stoneralia. Like its visually represented predecessor “The Warlock” (posted here), “Rogue Mystic” finds the Northern Irish five-piece roughing up this central influence, as vocalist Gregg McDowell brings a harsher edge to the song’s tale of a wizard who betrays his coven by stealing an amulet and is subsequently hunted down for his efforts.

That story is told over a rolling groove heavy enough that it caught the attention of Conan guitarist/vocalist Jon Davis, who issued Magicka through his Black Bow Records imprint last fall. If you needed a compliment to the tones of guitarists Jake Wallace and Mikey Scott and bassist Dale Hughes, who’s joined in the rhythm section by Brien Gillen — whose almost bouncing plod can be heard pushing this track forward — I can’t think of a better one than that. As you can hear in “Rogue Mystic,” though, they well earn it. Elder Druid have some local shows coming up this weekend and over the next few months, but I’m curious to see how long they’ll ultimately be in putting together a follow-up to Magicka and perhaps a first long-player. Revisiting this track, they certainly seem ready for that step.

You can take a listen to “Rogue Mystic” and check out the clip below, and see if you agree.

Hope you enjoy:

Elder Druid, “Rogue Mystic” official video

We’re very happy to announce the release of our brand new music video for ‘Rogue Mystic’ from our latest EP ‘Magicka. Huge thanks to Gryphus Visuals for the incredible job. Prepare yourself for some very trippy, occult viewing. Cheers!

DRACONIAN MASTER OF THE ARCANE
A MYSTIC ENIGMA WITHOUT A NAME

Elder Druid formed in early 2015 in Ballymena, Northern Ireland. Five lovers of heavy riffs and molten fuzz came together to add their stamp to the world of stoner rock and doom metal. With heavy influences from Black Sabbath, Electric Wizard, Kyuss and Sleep, the riffs began to take shape and all the elements started to fuse.

After gigging through the summer of 2016 across Northern Ireland, the band went into the studio with Andy Shields (Hornets) and recorded a 5-track EP entitled ‘Magicka’ which was released via Black Bow Records in October 2016.

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

Elder Druid on Thee Facebooks

Elder Druid on Bandcamp

Elder Druid on Instagram

Black Bow Records website

Gryphus Visuals on Thee Facebooks

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audiObelisk Transmission 060

Posted in Podcasts on December 22nd, 2016 by JJ Koczan

the obelisk podcast 60

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Consider this your usual disclaimer that, like any of this site’s coverage of year-end whatnottery, this podcast is by no means attempting to capture all of 2016’s best tracks. It is, however, over four hours long, and frankly that seems like enough to ask. If you decide to take it on and sample what I found to be some of the best material to come down the line over the last 12 months, please know you have my thanks in advance. For what it’s worth, it was a lot of fun to put together, and that’s not always the case with these.

But about the length. I’ve done double-sized year-end specials for a while now. It’s always just seemed a fair way to go. And the last few at least have been posted the week of the Xmas holiday as well, which for me is of dual significance since it just so happens four hours is right about what it takes to drive from where I live to where my family lives, so when I look at this massive slew of 34 acts, from the riff-led righteousness of Wo Fat and Curse the Son to the crush of Mammoth Weed Wizard Bastard and SubRosa to the psychedelic reaches of Zun and Øresund Space Collective (who probably show up in podcasts more than anyone, oddly enough), I also think of going to see my family, which has become my favorite part of the holidays.

Whatever associations you might draw with it, I very much hope you enjoy listening. Thanks for taking the time.

Track details follow:

First Hour:

0:00:00 Wo Fat, “There’s Something Sinister in the Wind” from Midnight Cometh
0:09:35 Greenleaf, “Howl” from Rise Above the Meadow
0:14:57 Elephant Tree, “Aphotic Blues” from Elephant Tree
0:20:49 Brant Bjork, “The Gree Heen” from Tao of the Devil
0:26:27 Sergio Ch., “El Herrero” from Aurora
0:29:44 Child, “Blue Side of the Collar” from Blueside
0:35:31 Geezer, “Bi-Polar Vortex” from Geezer
0:43:59 Zun, “Come Through the Water” from Burial Sunrise
0:49:27 Baby Woodrose, “Mind Control Machine” from Freedom
0:54:11 Curse the Son, “Hull Crush Depth” from Isolator
0:59:31 Borracho, “Shot down, Banged up, Fade Away” from Atacama

Second Hour:

1:05:50 Scissorfight, “Nature’s Cruelest Mistake” from Chaos County
1:09:19 Truckfighters, “The Contract” from V
1:16:30 Spidergawd, “El Corazon del Sol” from III
1:21:24 Fatso Jetson, “Royal Family” from Idle Hands
1:26:13 Worshipper, “Step Behind” from Shadow Hymns
1:30:57 Mammoth Weed Wizard Bastard, “Y Proffwyd Dwyll” from Y Proffwyd Dwyll
1:39:42 Druglord, “Regret to Dismember” from Deepest Regrets
1:46:34 Moon Coven, “New Season” from Moon Coven
1:52:03 Gozu, “Tin Chicken” from Revival
1:59:49 Year of the Cobra, “Vision of Three” from …In the Shadows Below

Third Hour:

2:06:53 The Munsens, “Abbey Rose” from Abbey Rose
2:14:56 Lamp of the Universe, “Mu” from Hidden Knowledge
2:21:26 1000mods, “On a Stone” from Repeated Exposure To…
2:26:45 Church of the Cosmic Skull, “Watch it Grow” from Is Satan Real?
2:30:43 Vokonis, “Acid Pilgrim” from Olde One Ascending
2:37:35 Slomatics, “Electric Breath” from Future Echo Returns
2:43:02 Droids Attack, “Sci-Fi or Die” from Sci-Fi or Die
2:47:20 King Buffalo, “Drinking from the River Rising” from Orion
2:56:51 Comet Control, “Artificial Light” from Center of the Maze

Fourth Hour:

3:06:37 Øresund Space Collective, “Above the Corner” from Visions Of…
3:22:51 Naxatras, “Garden of the Senses” from II
3:33:14 SubRosa, “Black Majesty” from For this We Fought the Battle of Ages
3:48:23 Seedy Jeezus with Isaiah Mitchell, “Escape Through the Rift” from Tranquonauts

Total running time: 4:07:32

 

Thank you for listening.

Download audiObelisk Transmission 060

 

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