Quarterly Review: Elizabeth Colour Wheel, Black Lung, Giant Dwarf, Land Mammal, Skunk, Silver Devil, Sky Burial, Wizzerd, Ian Blurton, Cosmic Fall

Posted in Reviews on July 5th, 2019 by JJ Koczan

quarterly-review

Got my laptop back. Turned out the guy had to give me a new hard drive entirely, clone all my data on it, and scrap the other drive. I’m sure if I took it to another technician they’d have said something completely different, either for better or worse, but it was $165 and I got my computer back, working, in a day, so I can’t really complain. Worth the money, obviously, even though it was $40 more than the estimate. I assume that was a mix of “new hard drive” and “this is the last thing I’m doing before a four-day weekend.” Either way, totally legit. Bit of stress on my part, but what’s a Quarterly Review without it?

This ends the week, but there’s still one more batch of 10 reviews to go on Monday, so I won’t delay further, except to say more to come.

Quarterly Review #41-50:

Elizabeth Colour Wheel, Nocebo

elizabeth colour wheel nocebo

A rare level of triumph for a first album, Elizabeth Colour Wheel‘s aesthetic scope and patience of craft on Nocebo result in a genre-spanning post-noise rock that maintains an atmospheric heft whether loud or quiet at any given moment, and a sense of unpredictability that feels born out of a genuinely forward-thinking songwriting process. It is dark, emotionally resonant, beautiful and crushing across its eight songs and 47 minutes, as the Philadelphia five-piece ebb and flow instrumentally behind a standout vocal performance that reminds of Julie Christmas circa Battle of Mice on “Life of a Flower” but is ultimately more controlled and all the more lethal for that. Bouts of extremity pop up at unexpected times and the songs flow into each other so as to make all of Nocebo feel like a single, multi-hued work, which it just might be as it moves into ambience between “Hide Behind (Emmett’s Song)” and “Bedrest” before exploding to life again in “34th” and transitioning directly into the cacophonous apex that comes with closer “Head Home.” One of the best debuts of 2019, if not the best.

Elizabeth Colour Wheel on Thee Facebooks

The Flenser on Bandcamp

 

Black Lung, Ancients

black lung ancients

Ancients is the third full-length from Baltimore’s Black Lung, whose heavy blues rock takes a moodier approach from the outset of “Mother of the Sun” onward, following an organ-led roll in that opener that calls to mind All Them Witches circa Lightning at the Door and following 2016’s See the Enemy (review here) with an even firmer grasp on their overarching intent. The title-track is shorter at 3:10 and offers some post-rock flourish in the guitar amid its otherwise straight-ahead push, but there’s a tonal depth to add atmosphere to whatever moves they’re making at the time, “The Seeker” and “Voices” rounding out side A with relatively grounded swing and traditionalist shuffle but still catching attention through pace and presentation alike. That holds true as “Gone” drifts into psychedelic jamming at the start of side B, and the chunkier “Badlands,” the dramatic “Vultures” and the controlled wash of “Dead Man Blues” take the listener into some unnamed desert without a map or exit strategy. It’s a pleasure to get lost as Ancients plays through, and Black Lung remain a well-kept secret of the East Coast underground.

Black Lung on Thee Facebooks

Ripple Music website

Noisolution website

 

Giant Dwarf, Giant Dwarf

Giant Dwarf Giant Dwarf

This just fucking rules, and I feel no need to couch my critique in any more flowery language than that. Driving, fuzzy heavy rock topped with post-Homme melodies that doesn’t sacrifice impact for attitude, the self-released, self-titled debut from Perth, Australia’s Giant Dwarf is a sans-pretense 35 minutes of groove done right. They may be playing to genre, fine, but from the cover art on down, they’re doing so with a sense of personality and a readiness to bring an individual sensibility to their sound. I dig it. Summery tones, rampant vocal melodies in layers, solid rhythmic foundation beneath. The fact that it’s the five-piece’s first album makes me look less for some kind of stylistic nuance, but it’s there to be heard anyway in “Disco Void” and the bouncing end of “High Tide Blues,” and in surrounding cuts like “Repeat After Defeat” and “Strange Wool,” Giant Dwarf set to the task before them with due vitality, imagining Songs for the Deaf with Fu Manchu tonality in “Kepler.” No big surprise, but yeah, it definitely works. Someone should be beating down the door to sign this band.

Giant Dwarf on Thee Facebooks

Giant Dwarf on Bandcamp

 

Land Mammal, Land Mammal

land mammal land mammal

Land Mammal‘s debut outing is a 14-minute, proof-of-concept four-songer EP with clarity of presentation and telegraphed intent. Marked out by the Robert Plant-style vocal heroics of Kinsley August, the band makes the most of a bluesy atmosphere behind him, with Will Weise on wah-ready guitar, Phillip PJ Soapsmith on bass, Stephen Smith on drums and True Turner on keys. On opener “Dark with Rain” and closer “Better Days,” they find a pastoral vibe that draws from ’90s alternative, thinking Blind Melon particularly in the finale, but “Earth Made Free” takes a bluesier angle and “Drippin’ Slow” is not shy about nor ashamed of its danceability, as its lyrics demonstrate. For all the crispness of the production, Land Mammal still manage to sound relatively natural, which is all the more encouraging in terms of moving forward, but it’ll be interesting to hear how they flesh out their sound over the course of a full-length, since even as an EP, this self-titled is short. They have songwriting, performance and production on their side, however, so something tells me they’ll be just fine.

Land Mammal on Thee Facebooks

Land Mammal on Bandcamp

 

Skunk, Strange Vibration

skunk strange vibration

Even before they get to the ultra-“N.I.B.” patterning of second track “Stand in the Sun,” Skunk‘s Sabbathian loyalties are well established, and they continue on that line, through the “War Pigs”-ness of “Goblin Orgy” (though I’ll give them bonus points for that title), and the slower “A National Acrobat” roll of “The Black Crown,” and while that’s not the only influence under which Skunk are working — clearly — it’s arguably the most forward. They’ve been on a traditional path since 2015’s mission-statement EP, Heavy Rock from Elder Times (review here), and as Strange Vibration is their second album behind 2017’s Doubleblind (review here), they’ve only come more into focus in terms of what they’re doing overall. They throw a bit of swagger into “Evil Eye Gone Blind” and “Star Power” toward the end of the record — more Blackmore or Leslie West than Iommi — but keep the hooks center through it all, and cap with a welcome bit of layered melody on “The Cobra’s Kiss.” Based in Oakland, they don’t quite fit in with the Californian boogie scene to the south, but standing out only seems to suit Strange Vibration all the more.

Skunk on Thee Facebooks

Skunk on Bandcamp

 

Silver Devil, Paralyzed

Silver Devil Paralyzed

Like countrymen outfits in Vokonis or to a somewhat lesser degree Cities of Mars, Gävle-based riffers Silver Devil tap into Sleep as a core influence and work outward from there. In the case of their second album, Paralyzed (on Ozium Records), they work far out indeed, bringing a sonic largesse to bear through plus-sized tonality and distorted vocals casting echoes across a wide chasm of the mix. “Rivers” or the later, slower-rolling “Octopus” rightfully present this as an individual take, and it ends up being that one way or the other, with the atmosphere becoming essential to the character of the material. There are some driving moments that call to mind later Dozer — or newer Greenleaf, if you prefer — such as the centerpiece “No Man Traveller,” but the periodic bouts of post-rock bring complexity to that assessment as well, though in the face of the galloping crescendo of “The Grand Trick,” complexity is a secondary concern to the outright righteousness with which Silver Devil take familiar elements and reshape them into something that sounds fresh and engaging. That’s basically the story of the whole record, come to think of it.

Silver Devil on Thee Facebooks

Ozium Records website

 

Sky Burial, Sokushinbutsu

sky burial Sokushinbutsu

Comprised of guitarist/vocalist/engineer Vessel 2 and drummer/vocalist Vessel 1 (also ex-Mühr), Sky Burial release their debut EP, Sokushinbutsu, through Break Free Records, and with it issue two songs of densely-weighted riff and crash, captured raw and live-sounding with an edge of visceral sludge thanks to the harsh vocals laid overtop. The prevailing spirit is as much doom as it is crust throughout “Return to Sender” (8:53) and the 10:38 title-track — the word translating from Japanese to “instant Buddha” — and as “Sokushinbutsu” kicks the tempo of the leadoff into higher gear, the release becomes a wash of blown-out tone with shouts cutting through that’s very obviously meant to be as brutal as it absolutely is. They slow down eventually, then slow down more, then slow down more — you see where this is going — until eventually the feedback seems to consume them and everything else, and the low rumble of guitar gives way to noise and biting vocalizations. As beginnings go, Sokushinbutsu is willfully wretched and animalistic, a manifested sonic nihilism that immediately stinks of death.

Sky Burial on Thee Facebooks

Break Free Records on Bandcamp

 

Wizzerd, Wizzerd

wizzerd st

One finds Montana’s Wizzerd born of a similar Upper Midwestern next-gen take on classic heavy as that of acts like Bison Machine and Midas. Their Cursed Tongue Records-delivered self-titled debut album gives a strong showing of this foundation, less boogie-based than some, with just an edge of heavy metal to the riffing and vocals that seems to derive not directly from doom, but definitely from some ’80s metal stylizations. Coupled with ’70s and ’90s heavy rocks, it’s a readily accessible blend throughout the nine-song/51-minute LP, but a will toward the epic comes through in theme as well as the general mood of the riffs, and even in the drift of “Wizard” that’s apparent. Taken in kind with the fuzzblaster “Wraith,” the winding motion of the eponymous closer and with the lumbering crash of “Warrior” earlier, the five-piece’s sound shows potential to distinguish itself further in the future through taking on fantasy subject matter lyrically as well as playing to wall-sized grooves across the board, even in the speedy first half of “Phoenix,” with its surprising crash into the wall of its own momentum.

Wizzerd on Thee Facebooks

Cursed Tongue Records webstore

 

Ian Blurton, Signals Through the Flames

Ian Blurton Signals Through the Flames

The core of Ian Blurton‘s Signals Through the Flames is in tight, sharply-executed heavy rockers like “Seven Bells” and “Days Will Remain,” classic in their root but not overly derivative, smartly and efficiently composed and performed. The Toronto-based Blurton has been making and producing music for over three decades in various guises and incarnations, and with these nine songs, he brings into focus a songcraft that is more than enough to carry song like “Nothing Left to Lose” and opener “Eye of the Needle,” which bookends with the 6:55 “Into Dust,” the closer arriving after a final salvo with the Scorpionic strut of “Kick out the Lights” and the forward-thrust-into-ether of “Night of the Black Goat.” If this was what Ghost had ended up sounding like, I’d have been cool with that. Blurton‘s years of experience surely come into play in this work, a kind of debut under his own name and/or that of Ian Blurton’s Future Now, but the songs come through as fresh regardless and “The March of Mars” grabs attention not with pedigree, but simply by virtue of its own riff, which is exactly how it should be. It’s subtle in its variety, but those willing to give it a repeat listen or two will find even more reward for doing so.

Ian Blurton on Thee Facebooks

Ian Blurton on Bandcamp

 

Cosmic Fall, Lackland

Cosmic Fall Lackland

“Lackland” is the first new material Berlin three-piece Cosmic Fall have produced since last year’s In Search of Space (review here) album, which is only surprising given the frequency with which they once jammed out a record every couple of months. The lone 8:32 track is a fitting reminder of the potency in the lineup of guitarist Marcin Morawski, bassist Klaus Friedrich and drummer Daniel Sax, and listening to the Earthless-style shred in Morawski‘s guitar, one hopes it won’t be another year before they come around again. As it stands, they make the eight minutes speed by with volcanic fervor and an improvised sensibility that feels natural despite the song’s ultimately linear trajectory. Could be a one-off, could be a precursor to a new album. I’d prefer the latter, obviously, but I’ll take what I can get, and if that’s “Lackland,” then so be it.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

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Black Lung to Release Ancients March 8 on Ripple Music; Teaser Streaming Now

Posted in Whathaveyou on January 28th, 2019 by JJ Koczan

black lung

Not really a surprise. Baltimore’s Black Lung have been working hard at honing their craft since their 2014 self-titled debut, touring at home and abroad, and as they’ve already released through Noisolution, picking up a release from Ripple Music as well just kind of makes sense for where they’re at as a band. Ancients will be their third long-player behind 2016’s See the Enemy (review here) and though the three-piece fronted by guitarist/bassist/vocalist Dave Cavalier had a split with Germany’s Nap (review here) in 2017, this will mark the first offering from the band since guitarist Adam Bufano and drummer Elias Schutzman played their final show last year with The Flying Eyes at Freak Valley in Germany. Bottom line, if I was Ripple Music, I’d have signed them too. It was time.

They’re giving a quick sampling of what Ancients portends in a teaser clip that you can see below, courtesy of the PR wire:

black lung ancients

Maryland Doom Trio BLACK LUNG (feat. ex-FLYING EYES members) to release ANCIENTS on RIPPLE MUSIC

Ancients is released on 8th March 2019 on Ripple Music (North America, Asia and Australia) and 22nd March on Noisolution (UK and Europe)

Black Lung emerged from a brutal Baltimore winter back in 2014, and from that emergence they arose victorious, wielding a trademark Maryland Doom-influenced balance of melody and power. With that vital underpinning, Adam Bufano and Elias Schutzman (founding members of The Flying Eyes), along with multi-instrumentalist Dave Cavalier, crafted a sound heavy on volume that pushed hard into experimental territory. In lieu of a bass guitarist, the three opted for an unusual setup with a sonic palette defined by a multitude of amps, drop-tuning and copious effects.

Named Best New Band by the Baltimore City Paper in 2015 with the release of their self-titled debut, Black Lung embarked on their first European tour that same year, taking in a performance at the Rockpalast Crossroads Festival on German national television. Subsequent European tours followed shortly after as the trio hit festivals such as Freak Valley and DesertFest Belgium, playing alongside the likes of Graveyard, Dead Meadow and All Them Witches. Upon returning to the US the band bed themselves back into the studio to record their follow-up album, 2016’s See The Enemy, with J. Robbins, guitarist and frontman for post-punk icons Jawbox, and producer of albums by noted bands such as The Sword and Clutch.

After several years writing songs while touring the world and back again, Black Lung return this March to release their most ambitious work yet. Produced by Frank “The Punisher” Marchand (producer of The Obsessed’s Sacred), new album Ancients is without question, a force to be reckoned with.

“The title is a reference to the ancient powers of the natural world, as seen in the album artwork and the lyrics of a song like ‘Badlands’. We embrace and pay homage to these forces while also rejecting the antiquated ideals of an old, white, conservative part of society that wants to drag us back into the past and away from the progressive values we believe in. We were searching for a sound that captured the clarity of the instruments and voice, without losing any of the heaviness that is Black Lung, and Frank really helped us achieve it. “

Ancients is released on 8th March 2019 on Ripple Music (North America, Asia and Australia) and 22nd March on Noisolution (UK and Europe)

Pre-order the album HERE: https://www.ripple-music.com/

Tracklisting:
1. Mother of the Sun
2. Ancients
3. The Seeker
4. Voices
5. Gone
6. Badlands
7. Vultures
8. Dead Man Blues

BLACK LUNG:
Adam Bufano – Guitar
Dave Cavalier – Vocals, Guitar, Bass
Elias Schutzman – Drums

https://www.facebook.com/blacklungbaltimore
https://blacklungbaltimore.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/
https://www.facebook.com/noisolution/
http://www.noisolution.de/

Black Lung, Ancients teaser clip

Black Lung, “Strange Seeds”

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Quarterly Review: Primitive Man, Black Lung & Nap, Zone Six, Spectral Haze, Cosmic Fall, Epitaph, Disastroid, Mastiff, Demons from the Dungeon Dimension, Liblikas

Posted in Reviews on October 2nd, 2017 by JJ Koczan

the obelisk quarterly review

The final round of the Fall 2017 Quarterly Review starts now. 60 reviews done. I think if this particular QR session proves anything it’s that come hell or high water, once it’s set, there’s no stopping this train. Not to toot my own horn or anything, but the site was down for half of last week and we’re still getting to 60 reviews from Monday to Monday. That’s not not impressive from where I sit, especially since I spent that downtime going out of my mind trying to get things up and running again while also trying to write posts that I didn’t even know if they were going to happen. But they happened — thanks again, Slevin and Behrang — and here we are. All is well and we can get back to normal hopefully for the rest of this week. Thanks for reading any of this if you did. Let’s get to it.

Quarterly Review #51-60:

Primitive Man, Caustic

primitive-man-caustic

Primitive Man’s Caustic is the concept of “heavy” taken to the superlative. It is a 12-track/77-minute onslaught for which no less than absolute hyperbole will suffice. In following-up their 2013 Relapse Records debut, Scorn (review here), a series of splits and 2015’s Home is Where the Hatred Is EP (review here), the Denver trio reign in terror as they make Caustic live up to its name in the crushing tones, feedback of and slow churn of “My Will,” “Commerce” “Tepid,” and “Sugar Hole,” the consuming wave of “Victim,” the blastbeating death assault of “Sterility,” and the biting atmospherics of harsh interludes “Caustic,” “Ash” and “The Weight,” which preface the nine minutes of vague noise that close on “Absolutes,” following the grueling slaughter of “Disfigured” and the rightfully-named 12-minute “Inevitable,” which seems even slower and more weighted somehow than everything before it. On the sheer level of heft for that song alone, it’s time to start thinking about Primitive Man among the heaviest bands in the world. I’m serious. Caustic is an overwhelming masterwork of unbridled extremity, and with it, Primitive Man set a new standard both for themselves and for anyone else who’d dare to try to live up to it in their wake.

Primitive Man on Thee Facebooks

Relapse Records webstore

 

Black Lung & Nap, Split

black-lung-nap-split

A heavy blues trio from Baltimore and a progressive boogie outfit from Oldenburg, Germany, might seem like an odd pairing, but by the time the 25 minutes of Black Lung and Nap’s split 12” platter (on Noisolution) are up, the release has come to make its own peculiar kind of sense. In following 2016’s See the Enemy (review here), Black Lung present two new songs in “Strange Seeds” and “Use this Stone” as well we the prior-issued Marvin Gaye cover “Inner City Blues” done in collaboration with rapper Eze Jackson, where Nap answer their debut album, Villa (review here), with the shuffle-into-psychedelia of “Djinn,” the spacious, patient rollout of the airy guitars in “Vorlaut” and the final thrust of “Teer.” Each of the two acts establishes a context for itself quickly – Black Lung brazenly defying theirs in the shift from “Use this Stone” to “Inner City Blues”; Nap expanding between “Djinn” and “Vorlaut” – and though one wouldn’t be likely to mistake one group for the other, their disparate sounds don’t at all hinder the ability of either group to make an impression during their brief time.

Nap on Thee Facebooks

Black Lung on Thee Facebooks

Noisolution webstore

 

Zone Six, Zone Six

zone-six-zone-six

Originally issued in 1998 via Early Birds Records with the lineup of bassist/synthesis/Mellotronist Dave “Sula Bassana” Schmidt, guitarist Hans-Peter Ringholz, drummer/keyboardist Claus Bühler and vocalist Jodi Barry, the self-titled debut from German space/krautrock explorationists Zone Six sees something of a redux via Sulatron Records to mark the 20th anniversary of the band’s founding. Eight minutes shorter than the original edition at 51 minutes, the new version whittles down the original 13-track presentation to two vinyl sides – titles: “Side A” (27:04) and “Side B” (24:39) – and drops the vocal tracks entirely to make it a completely instrumental release. That’s a not-insignificant change, of course, but let there be no doubt that it works in terms of highlighting the flow, which as it transitions between what used to be one song and another loses not one step and instead simply becomes an engrossing and multifaceted jam. This is truer perhaps to the band Zone Six have become – if you missed their 2015 full-length Love Monster (review here), it was glorious and it’s not too late to catch up – than the band they started out as, but Zone Six have found a way to make an old release new again, and new Zone Six is never anything to complain about, whatever the occasion.

Zone Six on Thee Facebooks

Sulatron Records? webstore

 

Spectral Haze, Turning Electric

spectral-haze-turning-electric

Space rock warriors Spectral Haze return after three years in the Gamma Quadrant with Turning Electric via Totem Cat Records, a six-song sophomore outing behind 2014’s I.E.V.: Transmutated Nebula Remains (review here) that quickly enters a wormhole of Hawkwindian thrust on opener “The Dawn of the Falcon” – perhaps that’s what’s represented on the glorious Adam Burke cover art – and takes a winding but directed course deeper and deeper into interstellar realms for its duration of what on earth is only six songs and 33 minutes. Each of the intended two vinyl sides boasts a longer track, be it “Cathexis/Mask of Transformation” on side A or “They Live” on side B, but whether it’s in those or shorter rocket boosters like the title-track, “Ajaghandi” or the aforementioned leadoff, the Oslo-based four-piece keep it dreamy and kosmiche even unto the doomlier roll of closer “Master Sorcerer,” a collection of final psychedelic proclamations that cuts off quickly at the end as though breaking a transmission from the heart of the galaxy itself. Heck of a destination, and getting there’s a blast, too.

Spectral Haze on Thee Facebooks

Totem Cat Records webstore

 

Cosmic Fall, Jams for Free

cosmic-fall-jams-for-free

Kind of a bummer how Jams for Free came about, but for the reassurance that Berlin heavy psych improvisationalists Cosmic Fall will keep going after what seems to have been an unceremonious split with now-ex-guitarist/vocalist Mathias, I’ll take it. With two new explorations, bassist Klaus and drummer Daniel introduce new guitarist Martin, and those worried they might lose the funk of their original incarnation should have their fears duly allayed by “A Calmer Sphere” (12:19) and “The Great Comet” (8:10), which begin a new era of Cosmic Fall after the remaining founders were forced to stop selling their prior works. If there’s anger or catharsis being channeled in Jams for Free, though, it comes through as fluidity and serene heavy psych, and with the resonant live-in-studio vibe, Cosmic Fall essentially seem to be picking up where they left off. With Martin making a distinguishing impression in the soloing of “A Calmer Sphere”’s second half particularly, the future continues to look bright for the German asteroid riders. Right on, guys. Keep jamming.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

Epitaph, Claws

Epitaph-Claws

Doomers of Verona Epitaph trace their origins back some 30 years, but Claws (on High Roller Records) is just their second long-player behind 2014’s Crawling out of the Crypt. Matters not. Theirs is the doom of ages one way or the other, presented in this collection of five songs in traditional fashion with an edge of the Italian bizarrist movement (think early Death SS) and, from the “Neon Knights”-style riff of “Gossamer Claws” to the “After All (The Dead)”/”Falling off the Edge of the World”-style dramaturge of “Wicked Lady,” the nods to ‘80s and early-‘90s Black Sabbath are manifold and executed with what sounds like a genuine love for that era of the band and classic metal in general. Hard to fault Epitaph that influence, particularly as they bring it to bear in the guttural riffly chug of centerpiece “Sizigia,” tonally as much as in the form of what’s actually being played. As a mission, the homage is perhaps a bit single-minded, but as they continue to build their own legacy in these classic sounds, it’s impossible to say Epitaph’s collective heart isn’t in the right place.

Epitaph on Thee Facebooks

High Roller Records webstore

 

Disastroid, Screen

disastroid-screen

The nine songs of Disastroid’s fourth self-released LP, Screen, are drawn together by a songwriting prowess that’s better heard than described and by a heft of tone that, especially on stompers like “Dinosaur” early and “Coyote” later on, proves likewise. Is the point of this review, then, that you should listen to the album? Yuppers. At a crisp 35 minutes, Screen finds the Bay Area trio willfully nestled someplace between heavy rock riffing, noise crunch, punk and metal, and they fly this refusal to commit to one style over another no less proudly than they do the hook of “Getting in the Way” or “I Didn’t Kill Myself,” which along with the push of “Choke the Falcon” and the Melvinsian “Clinical Perfection” make up a series of short burst impressions contrasted by the longer “Screen” and “New Day” at the outset and the six-minute finale “Gunslinger,” though wherever Disastroid seem to go, they bring a current of memorable craft with them, making an otherwise purposefully bumpy ride smooth and a chaos-fueled joy to undertake.

Disastroid website

Disastroid on Bandcamp

 

Mastiff, Bork

mastiff-bork

Ultimately, bludgeon-ready UK five-piece Mastiff might owe as much to grind as they do to doom or sludge – at least if “Nil by Mouth” has anything to say about it – but more than loyalty to any subgenre or other, the Hull unit’s 25-minute Bork full-length (released on CD by APF Records) is interested in presenting an extreme vision of sonic heft. Brutal pummel infects the rolling chorus of “Everything Equals Death” and the initial chug of “Tumour” alike, and where opener “Agony” was content to blast out its cacophony in fury of tempo as much as weight, as they settle in for the mosh-ready six minutes of closer “Eternal Regret,” Mastiff seem to have dug out a position between lumbering doom and early ‘00s deathcore, a telltale breakdown capping Bork in grooving and familiar fashion. Their intensity might prove a distinguishing factor over the longer term, though, and they certainly have plenty enough of it to go around.

Mastiff on Thee Facebooks

APF Records website

 

Demons from the Dungeon Dimension, An Organic Mythology

demons-from-the-dungeon-dimension-an-organic-mythology

The righteously-monikered Demons from the Dungeon Dimension made a striking and individualized – and bizarre – impression in 2016 with the There was Ogres EP (discussed here), a follow-up to the debut full-length, As the Crow Flies, released just weeks earlier. With the new single An Organic Mythology and the five-minute, raw-recorded track of the same name, the Durban, South Africa-based project is laid to rest. A burly opening and thickened distortion lead to a pushing verse with dry vocals over top – sounding very much like a home-recorded demo outright and not trying to be anything else – and soon enough the track shifts into a spoken-word-dissertation over an instrumental build that carries it into its final minute, at which point the verse kicks back in to end. As with the prior EP, which topped 25 minutes, the vibe is willfully strange throughout “An Organic Mythology,” and if this is indeed the last we’ll hear from Demons from the Dungeon Dimension (doesn’t it just sound like something TOR Books would put out?), somehow it seems right we live in an age where the material can reside in the digital ether, waiting to be stumbled on by curious parties soon to be blindsided by what they hear.

Demons from the Dungeon Dimension on Bandcamp

Demons from the Dungeon Dimension on YouTube

 

Liblikas, Unholy Moly

liblikas-unholy-moly

From the initial semi-gothic vibes from vocalist Oliver Aunver to the progressive fuzz rock that ensues on opener “Holy Underground,” Estonian five-piece Liblikas seem to specialize in the unexpected on their second full-length, Unholy Moly. Aunver, guitarists Temo Saarna (also vocals) and Henrik Harak, bassist Joosep Käsper and drummer/backing vocalist Mihkel Rebane, oversee a brisk 45-minute run across eight tracks of genre-spanning grooves, from the chugging almost-doom of “Highest Hound” to the semi-folk experimentalist interlude “Fugue Yeah! (Diary Pt. II),” which follows “Dear Diary, Yeah!” a track that starts out with what might be a Japanese-language sample and psychedelic unfolding to more cohesive, harmony-topped prog rock bounce before the fuzz emerges and meets with forward vocals and effective interplay of acoustics in the chorus. Why yes, there is a six-minute song called “Pornolord” – funny you should ask. It appears before the oud-laced “Ol’ Slime” and nine-minute closer “Keezo,” which embraces the difficult task of summing up the weirdo intensity that’s been on display throughout Liblikas’ songwriting all along, and with wispy guitar leading to a big, noisy finish, succeeds outright in doing so.

Liblikas on Thee Facebooks

Liblikas on Bandcamp

 

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Nap and Black Lung to Release Split Aug. 28; Preorder Available

Posted in Whathaveyou on August 2nd, 2017 by JJ Koczan

While Baltimore’s Black Lung and Oldenburg, Germany’s Nap both have elements of heavy psychedelia swirling at their core, there are still plenty of distinctions and disparities in their two individual sounds. Thus I can kind of understand why their forthcoming split 12″ on Noisolution might be framed as Black Lung vs. Nap, but it seems to me that — as the info below asserts — it probably works out to be less of a fight between them and more of a showcase of what each brings to the style. Complement more than competition, I guess is where my head is at, but I suppose if you’re putting out a release you have to call it something, and at least Black Lung vs. Nap gets the point across that it’s a split. Maybe I’m overthinking the whole thing.

In any case, the new release will be out by the time Black Lung return to Europe this fall to take part in Desertfest Belgium 2017 as they continue to support last year’s See the Enemy (review here) and for Nap, this split marks their first recorded output since their successful Villa (review here) debut in 2016, so brings all the more intrigue to see where they’re headed.

Info comes from Noisolution via the PR wire:

BLACK LUNG VS. NAP

Limited Split-12″with 6 unpublished tracks. White 180gr vinyl. Artwork by Alexander von Wieding.

Available from 28/08/2017 !!!!

Baltimore vs. Oldenburg.

This mini album documents a clash of two exceptional trios who are not competing but rather complementing one another. No longing to be the better, heavier or darker, but more so a friendly co-existence that turns out to be the perfect match.

A double A-side, if you wanna call it that. A split-mini-album, that more or less just came together by itself. Both bands‘ paths are crossing over and over again: first as labelmates, now on tour this fall and finally also on this shiny snowwhite piece of vinyl!

We got NAP from Oldenburg, Germany on one side, who only just made a great stir with their debut ‚Villa‘ in January. Before you knew it the first pressing was all sold out and gone. Their unique mix of Doom, Kraut and Stoner blended with epic instrumental parts quickly rewarded them with quite a fanbase, critical acclaim and a whole bunch of respect. Now on this new Split 12“ they‘re coming across somewhat more compact, more to the point, still never losing that certain playfulness that defines what became their signature sound. Adding a sprinkle of space rock as well they easily remind one of a darker version of the early Hawkwind. Something is truly growing here and we better keep an eye on what these three gentlemen will have in store for us in the future!

On the other side we got BLACK LUNG hailing from Baltimore, US. At first the band was just considered a side leap of of THE FLYING EYES‘ Adam Bufano and Elias Schutzmann who brought their psychedelic influences and shenanigans over to the new project. But eventually the trio fully established itself and an own dynamic taking over, forming their own unique and recognizable style. Two guitars that weigh down so heavily that there’s no need for a bass anymore. Completed by the hovering feverish vocals of Dave Cavalier who come as a perfect contrast, altogether creating an overwhelming wave of heavy sounds rolling over the clubs and their audience swallowing them both completely. A tiny hint of Pop and especially Soul has always been present on the previous two records. This time showing itself in a fantastic cover-version of Marvin Gayes‘ ‚Inner City Blues‘. Stonerrock mixed with sould mixed with rap: What seems completely incompatible comes together only so beautifully in this track. A truly exceptional track for a truly exceptional band in sound, style and songwriting – and a band who will absolutely blow your mind once again this time.

1. Black Lung – Strange Seed
2. Black Lung – Use This Stone
3. Black Lung – Inner City Blues
4. Nap – Djinn
5. Nap – Vorlaut
6. Nap – Teer

https://www.facebook.com/napband
https://napofficial.bandcamp.com/

https://www.facebook.com/blacklungbaltimore
https://blacklungbaltimore.bandcamp.com/

https://www.facebook.com/noisolution/
http://www.noisolution.de/shop/Vinyl/Black-Lung-vs-Nap-12-Vinyl-Strictly-limited-Weisses-180gr-Vinyl-mit-Download-Code::209.html

Nap, “Teer”

Black Lung, See the Enemy (2016)

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Desertfest Belgium 2017: Unsane, Mos Generator and Black Lung Join Lineup

Posted in Whathaveyou on July 5th, 2017 by JJ Koczan

New York noise rock stalwarts Unsane recently announced they’ll release a new full-length, titled Sterilize, via Southern Lord in September following a couple weeks on the road this month with Fashion Week. Looks like the trio are headed to Europe this Fall, as they’ve been confirmed to take part in Desertfest Belgium 2017 in the latest round of lineup additions from the festival, along with Port Orchard, Washington, heavy rockers Mos Generator and Baltimore psych-blues aficionados Black Lung.

As it turns out, both Mos Generator and Black Lung have new records in the works as well, though I’m not sure on the timing of either in terms of the actual recordings, release dates, etc. Either way, seems likely all three acts will have new material in tow when they hit Antwerp in October, keeping markedly righteous company with the likes of Saint VitusRadio MoscowGraveyard, the Melvins, All Them Witches, and so on.

From the PR wire:

desertfest-belgium-2017-poster

DF ANTWERP 2017 ADDS UNSANE, MOS GENERATOR AND BLACK LUNG

Here’s a short and quick one, but still packed full of goodness.

UNSANE is one of those bands that probably influenced a good deal of what you hear and see on our stage, so it seemed only fitting to put them on the bill. Noise rock doesn’t come any purer than this!

We are also happy to have MOS GENERATOR display their fine stage craftmanship at DF Antwerp 2017, a band that truly infects their crowd with the joy of playing music. And for some bite, we added the razorsharp groove machine BLACK LUNG to the line-up. Twin guitar power riffing – what’s not to love!

We’ll keep ’em coming, but we hope you’ll like this short update from the DF office. We’ll be back soon for more!

UNSANE

Loud, violent and in your face. Ask any nineties survivor about their recollection of an Unsane live gig, and inevitably one of these terms will drop sooner rather than later. They are also one of those bands that inspired a devoted cult-like following in the scene, giving birth to countless noise-metal bands in the process. For this and many other reasons, we are honoured to welcome them to the Fest.

MOS GENERATOR

Night after night, Mos Generator defines the word “chemistry” on stage. Just the right amount of swagger and groove, augmented by just enough improvisation to keep the songs feeling fresh each and every time. Their hefty discography shows a dedication to continually push the core heavy rocking sound of the band into exciting new directions, finding just the right mix between hard and soul.

BLACK LUNG

Black Lung emerged from the underbelly of Baltimore with unheard amounts of volume. The trio toes the line between sonic pain and psychedelic bliss, with influences ranging from raw edged blues-rock to stoned-out riffage. Don’t let the absence of a bass guitar fool you – Black Lung packs an unholy amount of bottom-heavy grooves to go with the washed-out vocals and swirling feedback.

http://www.desertfest.be/tickets
https://www.facebook.com/desertfestbelgium/
https://www.facebook.com/events/264364590656095/
https://twitter.com/DesertfestBE

Unsane, “Fix It”

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Quarterly Review: Mirrors for Psychic Warfare, Candlemass, Skuggsjá, Black Lung, Lord Vicar, Dakessian, Gypsy Chief Goliath, Inter Arma, Helgamite, Mollusk

Posted in Reviews on June 22nd, 2016 by JJ Koczan

the-obelisk-summer-2016-quarterly-review

Who’s ready for another round of 10 reviews in The Obelisk’s Quarterly Review? I know I am. We gotta hit 50 by Friday, and there’s still a lot — a lot — of ground to cover. Yesterday was all over the place style-wise and today has some of that going as well, but there’s a lot of quality in both, so hopefully you get to check some of it out. Today is the all important QR Hump Day, wherein we pass the halfway mark on our way to the total 50 reviews. If you’re wondering, it’s Lord Vicar who do the honors this time around at #25. Just kind of worked out that way, but I’ll take it. Down to business.

Quarterly Review #21-30:

Mirrors for Psychic Warfare, Mirrors for Psychic Warfare

mirrors for psychic warfare mirrors for psychic warfare

Probably fair to call Mirrors for Psychic Warfare an offshoot of Corrections House, since its two members – Scott Kelly (also Neurosis) and Sanford Parker (producer extraordinaire/also Buried at Sea) – are also in that group, but the feel of their Neurot Recordings self-titled debut is substantially different, rawer and at times harsher. Parker handles beats and electronics, creating at times a wash of abrasive noise as in the culmination of “CNN WTZ,” the centerpiece of the five tracks, and elsewhere providing an industrial backdrop for Kelly’s voice for a gothic feel, as on “A Thorn to See.” Unsurprisingly, nothing about Mirrors for Psychic Warfare makes for particularly easy listening – though opener “Oracles Hex” has some commonality with Kelly’s solo work and his voice is resonant as ever – but as they round out the album with “43,” the keys, synth and guitar find some common ground, which leaves distorted shouts from Kelly to do the work of taking listeners to task. We already knew these two worked well together, and the partnership once again bears fruit here.

Neurot Recordings on Thee Facebooks

Neurot Recordings webshop

Candlemass, Death Thy Lover

candlemass-death-thy-lover

The four-song Death Thy Lover EP (on Napalm) is the first new studio offering of original material from Swedish doom legends Candlemass since their 2012 album, Psalms for the Dead (review here), marked the end of the tenure of vocalist Robert Lowe, also of Solitude Aeturnus. His replacement is the person who nearly had the job in the first place, Mats Levén (formerly Therion), who has a kind of stateliness to his presence in opener “Death Thy Lover” but suits the plod of “Sleeping Giant” well. Of course, at the center of the band is bassist/songwriter Leif Edling, whose style is unmistakable in these tracks, whether it’s the late-Iommi-style riffing of “Sinister ‘n’ Sweet” or “Death Thy Lover”’s chugging its way toward the hook. Candlemass save the most grueling for last with “The Goose,” as guitarists Mats “Mappe” Björkman and Lars “Lasse” Johansson intertwine a chugging rhythm and extended soloing over dirge-march drums from Jan Lindh to give the short release a darkened instrumental finale.

Candlemass on Thee Facebooks

Candlemass at Napalm Records

Skuggsjá, A Piece for Mind and Mirror

skuggsja-a-piece-for-mind-and-mirror

Talk about scope. Oh, only a country’s entire cultural history is fair game for Skuggsjá, the brainchild of Norwegian artists Ivar Bjørnson (also Enslaved) and Einar Selvik (also Wardruna) that crosses the line between black metal and Norse traditionalism probably better than anyone has ever done it before. A Piece for Mind and Mirror is the studio incarnation of the work the two composers and a host of others did as commissioned for the 200th anniversary of the Norwegian constitution, and though it’s broken into 10 movements for the album, it flows together as one orchestral entirety, the gurgle of Grutle Kjellson (Enslaved) recognizable in the eponymous track amid choral backing and a richly textured blend of traditional folk instruments and metallic thrust. The lyrics are Norwegian, but whether it’s the blowing horn of “Makta Og Vanæra (I All Tid)” or the lush melodies in the march of “Bøn Om Ending – Bøn Om Byrjing,” the sense of pride and the creative accomplishment of A Piece for Mind and Mirror ring through loud and clear.

Skuggsjá on Thee Facebooks

Season of Mist webshop

Black Lung, See the Enemy

black lung see the enemy

Two years after making their self-titled debut, Baltimore heavy bluesfuzz trio Black Lung come swaggering back with the spacious vibes of See the Enemy (on Noisolution), which takes the establishing steps the first album laid out and builds on them fluidly and with a clear direction in mind. At eight tracks/45 minutes produced by J. Robbins, the album was clearly structured for vinyl, each half ending with a longer cut, the psych-jamming “Nerve” on side A, which resounds in an ending of scorching guitar from Adam Bufano atop the drums of Elias Schutzman (both of The Flying Eyes), and the closer “8MM,” on which Bufano, Schutzman, guitarist/vocalist Dave Cavalier and Robbins (who also contributes bass) roll out the record’s most massive groove and cap it with an impenetrable wall of noise. While the songs are striking in their cohesion and poise, there are moments where one wants Black Lung to really let loose, as after Trevor Shipley’s keyboard stretch in “Priestess,” but they have other ideas, feeding the title-track directly into “8MM” with no less a firm sense of control than shown earlier. All told, an excellent follow-up that deserves broader consideration among 2016’s finer offerings.

Black Lung on Thee Facebooks

Black Lung at Noisolution

Lord Vicar, Gates of Flesh

lord vicar gates of flesh

Offered through The Church Within Records as a paean to classic doom, Lord Vicar’s third LP, Gates of Flesh, nonetheless almost can’t help but put its own mark on the style. The Turku, Finland, outfit’s first album in five years, it finds guitarist Kimi Kärki (ex-Reverend Bizarre, Orne, E-Musikgruppe Lux Ohr, etc.), vocalist Chritus (also Goatess, ex-Saint Vitus, Count Raven, etc.), and drummer Gareth Millsted (ex-Centurions Ghost) — who, along with Kärki, also contributed bass after the band parted ways with Jussi Myllykoski and prior to adding Sami Hynninen as a temporary replacement — bold enough to shift into minimalist spaciousness on “A Shadow of Myself,” and really, they’re not through opener “Birth of Wine” before Kärki executes a gorgeous dual-layered solo. Trace those roots back to Trouble if you must, but there’s no question to whom the lurch of centerpiece “Breaking the Circle” or the sorrowful 10-minute closer “Leper, Leper” belongs, and the same holds true for everything that follows, be it the quiet start of “A Woman out of Snow” or the swinging second half of “Accidents.” Lord Vicar enact the doom of ages and take complete ownership of the sound, thus only adding to the canon as they go.

Lord Vicar on Thee Facebooks

The Church Within Records

Dakessian, The Poisoned Chalice

dakessian the poisoned chalice

Like the stench of rotting, Dakessian’s The Poisoned Chalice provokes a visceral and physical response. The long-in-the-making debut release from the Portland-based duo of vocalist Kenny Snarzyk (also Fister) and multi-instrumentalist Aaron D.C. Edge (Lumbar, Roareth, so many others) had its music recorded back in 2013, and the vocals were added earlier this year, throat-searing screams and growls that top the noisy, claustrophobically weighted tones from Edge’s guitar. The onslaught is unrelenting, both longer songs like “Demons” and “Ten Double Zero” and shorter cuts “Nothing Forever” and the sample-laced opener “Choose Hate” brim with aggressive misanthropy, the will against. Even the penultimate “Baerial,” which offers a glimmer of melody, continues to crush, and starting with a slow drum progression, closer “Cosmic Dissolution” barely tops two and a half minutes, but it brings thorough reassurance of the project’s destructive force before its final drone rounds out. One never knows with Edge if a given band will ever have a follow-up, but as ever, the quality is consistent. In this case, brutally so.

Dakessian on Bandcamp

Holy Mountain Printing

Gypsy Chief Goliath, Citizens of Nowhere

gypsy chief goliath citizens of nowhere

Actually, if you want to get technical about it, Gypsy Chief Goliath are citizens of Ontario, but you’d never know it from listening to their third album, Citizens of Nowhere, which if you had to pin a geographic locale on it might be more of a fit for New Orleans than Canada. The Pitch Black Records release sees the triple-guitar-plus-harmonica six-piece outfit dug deep in Southern metal grooves, marked out by the burl-bringing vocals of frontman/guitarist Al “The Yeti” Bones, formerly of Mister Bones, Serpents of Secrecy and The Mighty Nimbus and the chug-and-churn of cuts like “Black Samurai” and the shuffle of “We Died for This.” The title-track winds its central riff with thickened-up ‘70s boogie, while “Elephant in the Room” and “The Return” space out a bit more, and the closing Black Sabbath cover “Killing Yourself to Live” (a CD bonus track) plays it loyal structurally while dude’ing up the original like it was on hormone therapy.

Gypsy Chief Goliath on Thee Facebooks

Pitch Black Records on Bandcamp

Inter Arma, Paradise Gallows

inter arma paradise gallows

Hard-touring Richmond genre-benders Inter Arma are due for a landmark release. Their 2014 single-song EP, The Cavern, was wildly well received and earned every bit of praise it got. Their follow-up to that is Paradise Gallows, their third album and second for Relapse behind 2013’s Sky Burial (track stream here). Is Paradise Gallows that landmark? Hell if I know. Recorded, mixed and mastered by Mikey Allred, who also guests on trombone, bass violin, organ and noise, Inter Arma’s third brings an expansive 70 minutes of bleak progressivism, conceptually and sonically broad enough to be considered brilliant and still weighted enough that the prevailing vibe is extremity in their blend of sludge, doom, black metal, post-metal, atmospherics, and a moody acoustic closer. The only real danger is that it might take listeners time to digest – because it’s a lot to take in, all those twists and turns in “Violent Constellations,” particularly after the plod of the title-track – but I wouldn’t be the least bit surprised to find Inter Arma inhabiting any number of year-end lists for 2016. Once again, they earn it.

Inter Arma on Thee Facebooks

Inter Arma at Relapse Records

Helgamite, Hypnagogia

helgamite hypnagogia

Virginian bruisers Helgamite manage to cover a deceptive amount of sonic ground on their second LP, Hypnagogia (on CD through Lost Apparitions with vinyl soon on Flesh Vessel), spending plenty of time in dense-toned sludge metal but using that as a foundation for a wider range of explorations, winding up in blastbeats by the time 13-minute side B finale “The Secret” comes around, but by then having torn through the aggro-thrash of “Origins,” lumbered through the mosher “Æstrosion” and topped off “Shaman’s Veil” with math-metal guitar fits melded to a saxophone arrangement. Growls from vocalist William Breeden and Jonah Butler’s drums tie it all together as guitarist Casey Firkin (also sax) and bassist Matthew Beahm pull off intermittently jazzy runs, but impressively, Helgamite never sound in danger of losing sight of the songs they’re serving, and Hypnogogia is stronger for its unwillingness to waste a second of its runtime, even in the aforementioned “The Secret” or its 10-minute side A counterpart, “Snowdrifter.”

Helgamite on Thee Facebooks

Lost Apparitions Records website

Flesh Vessel Records on Thee Facebooks

Mollusk, Children of the Chron

mollusk-children-of-the-chron

Get it? Children of the Chron? I’ll admit it took me a second. While I was thinking about it, Allston, Massachusetts, duo Mollusk doled out sludge-punk-metal beatings via raw tones and shouts and a general sense of checked-out attitude, “Glacier” reminding of earliest, least-poppy Floor, but cuts like “Demon Queen” and “When You’re Gone” finding guitarist Hank Rose using a purposefully monotone vocal approach that works well over slower parts. Rose is joined in Mollusk by drummer Adam O’Day, and though I’ve already noted that the 11-track album is raw, their sound wants nothing for impact in the low end or any other end for that matter. Rather, the harsher aspects become part of the aesthetic throughout Children of the Chron and the band successfully navigates its own mire without getting lost in either its own “Torture Chamber” or “Zombie Apocalypse,” which like opener “Ride the #9,” is almost certainly a song about life in the Boston area.

Mollusk on Thee Facebooks

Mollusk at ReverbNation

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Freak Valley 2016 Completes Lineup: Black Lung, Krissy Matthews Band, Snowy Dunes and Powder for Pigeons Added

Posted in Whathaveyou on May 3rd, 2016 by JJ Koczan

freak valley 2016 header

I guess it was bound to happen eventually, but it’s still something of a surprise to find Freak Valley 2016 rounding out its lineup. Granted, the German festival takes place later this month, and granted they’ve already announced a shit-ton of groups playing — that’s a metric shit-ton, if you’re wondering; not a king’s shit-ton — but I suppose I just assumed Freak Valley 2016 announcements would go on forever. It would just cycle through one fest to the next, trade out 2016 for 2017 and pick up where they left off. Maybe they will, who knows? But we’ve hit a definite demarcation line — the lineup for this year’s Freak Valley is complete — after months of trickling out band names one at a time and months after the fest as a whole sold out.

The final four? Baltimore’s Black Lung — whose new LP, See the Enemy, is out as of last week on Noisolution — along with Krissy Matthews Band (I’ll just assume no relation), Swedish retro rock upstarts Snowy Dunes and Powder for Pigeons, who are also veterans of Desertfest Berlin.

Freak Valley gives one last rundown as follows:

freak valley 2016 last announcement

Hey Freaks – the long wait is over!! Here they are, the final 4 bands that still had to be announced:

BLACK LUNG – Doomed Black Soul Stoner Classic Rock
(feat. two members of The Flying Eyes)

Krissy Matthews Band – Heavy Bluesrock at its best

Snowy Dunes – Psychedelic FuzzRock (Vinyl release show!!)

Powder for Pigeons – The Riffs Blaster Duo !!

BLACK LUNG
This power trio came into its own in 2014 with its stately pound fully formed. Guitarist Adam Bufano and drummer Elias Mays Schutzman, both of The Flying Eyes, establish a patient rhythmic menace over which vocalist/guitarist Dave Cavalier adds distorted growls of melody and oomph. The trio’s self-titled debut on the impeccable local label Grimoire splits the difference of early Queens of the Stone Age majestic desert feel and True Widow’s hypnotic groove. After two European Black Lung will be back in 2016 with their second album.

KRISSY MATTHEWS BAND
Krissy Matthews is half-Norwegian, and half-British. He is named a wonderful child of blues. His story started when he was only 3 years old and 5 years after that he received his first electric guitar. At the age of 12 he performed with John Mayal and Bluesbreakers at Notodden Festival! The legendary musician was so amazed with the young guitar player. After the festival, Krissy Matthews became more and more popular. You’ll know why very soon!!

SNOWY DUNES
Snowy Dunes are a four piece psychedelic rock outfit hailing from Stockholm, Sweden. Even though created out of the love for vibes of old, Snowy Dunes is a unique blend of vintage hard rock, 60’s psychedelia and the fuzz rock of today.
Their debut album will be released incl. a loooong Bonustrack by Rock Freaks Records and will be available for the first time @ FVF!!

POWDER FOR PIGEONS
Powder for Pigeons is an Australian/German two piece that was founded in 2013 in the dusty regional back drop of Western Australia. Inspired by the rugged surroundings the male/female power duo has crafted a gigantic sound that fills the frequency spectrum with punchy, warm, low, fuzzy guitar riffery and thumpin drums to be heard for miles around.
You’ll love them ! Blasting tracks made of really catchy riffs, you won’t have the time to breathe !

The official running-order will be public very soon now!! Stay tuned!

FREAK VALLEY FESTIVAL – 26th-27th-28th May 2016
www.freakvalley.de www.rockfreaks.de

FVF 2016 is SOLD OUT!!

FREAK VALLEY FESTIVAL 2016: No Fillers – Just Killers

Line-up 2016:
GRAVEYARD [SW] – Vintage Rock
ORANGE GOBLIN [UK] – Heavy Metal
DEAD MEADOW [US] – Psychedelic Stonerrock
ELDER [US] – Psychedelic Rock / Heavy Prog
SPIDERGAWD [NO] – Post-Boogie
WHITE HILLS [US] – Fuzzed Out Motorik Psychedelic
THE SHRINE [US] – Psychedelic Violence Rock and Roll
BABY WOODROSE [DK]- Psychedelic Garagerock
LONELY KAMEL [NO]- Heavy Blues, Hardrock & Stoner
ROTOR [D] – Instrumental StonerRock/Psychedelic
MONOLORD [SW] – Doom/Sludge
MANTAR [D] – Death Metal Doom Punk
TOUNDRA [SP] – Postrock
FARFLUNG [US] – Spacerock for 21st Century Heads
BLACK RAINBOWS [IT] – Heavy Psych
KRISSY MATTHEWS BAND [UK] – Heavy Bluesrock
THE GOLDEN GRASS [US]- Heavy/Funk//Psych/Freakbeat
BLACK LUNG [US] – Doomed Stonerrock
SPIDERS [SW] – Hard/Glam Rock
V.I.C (Villagers of Ioannina City) [GR] – Post/Stoner/Folk/Rock
GIÖBIA [IT] – Acid Rock
THE DEVIL AND THE ALMIGHTY BLUES [NO] – HeavyBluesRock
SNOWY DUNES [SW] – Psychedelic Stonerrock
THE SONIC DAWN [DK] – Psychedelic Rock
JEREMY IRONS & THE RATGANG MALIBUS [SW] – Space Rock/Stoner/Psychedelic
GOMER PYLE [NL] – Psychedelic/Rock/Stonerrock
MOTHER ENGINE [D] – Stoner/Rock/Psychedelic
BUSHFIRE [D] – Heavy Blues Rock
POWDER FOR PIGEONS [AUS/D] – RIff Blaster

www.freakvalley.de
https://www.facebook.com/freakvalley
https://twitter.com/FreakValley
https://shop.ticketscript.com/channel/web2/start-order/rid/LYSQRABJ/language/en

Black Lung, “Transmissions”

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Black Lung Touring UK & Europe in May; See the Enemy out April 29

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

black lung

Shortly after releasing their new album, See the Enemy, on April 29 via Noisolution, Baltimorean trio Black Lung will head back to Europe for tour dates in the UK and EU. The band also reportedly have a new video in the works from the album, which was recorded by J. Robbins (ClutchThrottlerod, many, many others), which will likely make its debut before they head abroad. See the Enemy is their second record behind their 2014 self-titled debut, which if memory serves also took them overseas.

Some bands play a release show. Black Lung do a release tour. Fair enough. I’ll hope to have more in the album as we get closer to the release, but in the meantime the tour dates are below, as seen on the social medias:

black lung tour

BLACK LUNG “See The Enemy” Release Tour

Noisolution, MAGNIFICENT MUSIC and VISIONS Magazin present…

BLACK LUNG’s “See The Enemy” Album Release Tour of Europe:

May 12th Stag & Hounds w/ Mars Red Sky – Bristol, UK
May 13th The Fiddlers Elbow – London, UK
May 14th Flanders Chopper Bash – Assende, BE
May 15th- dBs – Utrecht, NL
May 17th Café Glocksee – Hannover, DE
May 18th Schaubude – Kiel, DE
May 19th Cassiopeia – Berlin, DE
May 20th Metropolool/Innocent – Henegelo, NL
May 21st Shamrock Pub – Thionville, FR
May 22nd La Mechanique Ondulatoire – Paris, FR
May 24th Arena Beisl – Vienna, AT
May 25th Sub – Graz, AT
May 26th Rockhouse Bar – Salzburg, AT
May 27th Kradhalle – Ulm, DE
May 29th Magasin 4 w/ BLACK RAINBOWS – Brussels, BE
May 31st Beatpol: Dresden, DE
June 2nd Beta w/ Horisont – Copenhagen, DK
June 3rd 1000 Fryd w/ Horisont – Aalborg, DK
June 6th Muskelrock Festival – Tyrolen, SE
June 7th Sonic Ballroom -Köln, DE
June 8th Rössli Bar – Bern, CH
June 9th pmk – Innsbruck, AT
June 10th Goethebunker – Essen, DE
June 11th Rare Guitar – Münster, DE

https://www.facebook.com/events/1697298867219586/
https://www.facebook.com/blacklungbaltimore/
https://blacklungbaltimore.bandcamp.com/
https://www.facebook.com/noisolution/
http://www.noisolution.de/
https://www.facebook.com/magnificentmusic/
http://www.magnificentmusic.de/

Black Lung, “Nerve” live video

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