Quarterly Review: Leather Nun America, Corsair, Sea, The Munsens, Gondola, Space Mushroom Fuzz, Deep Aeon, Teepee Creeper, Hellrad, Venus SleepsPosted in Reviews on April 2nd, 2015 by H.P. Taskmaster
Day four. I’d be lying if I said I wasn’t feeling it, but you know, that’s what caffeine is there for. If I push past the day’s quota of mental energy, fine. Hasn’t stopped me yet, and there are only 20 reviews of the total 50 left. Not quite the home stretch, but it’s up there on the horizon. Some cool stuff today, and that always helps as well.
Quarterly Review #31-40:
Leather Nun America, Buddha Knievel
Though they’re mostly indebted to a Wino-style Maryland doom sound, San Diego three-piece Leather Nun America touch on more dramatic fare late into their fifth album, the awesomely-titled Buddha Knievel (on Nine Records). Pairing the acoustic-led instrumental “Gloom” and 7:51 “Winter Kill,” which swirls its way to an apex of lead guitar from John Sarnie with some subtle touches of extreme metal from drummer Sergio Carlos, they expand beyond a riff-and-groove ethic – though of course they do that well too. Sarnie and bassist Francis Charles Roberts (also of Old Man Wizard) offer familiar structures but satisfying tones, cuts like “Into Abyss” taking a darker turn on some of Spirit Caravan’s road-ready groove. An intro (“Prologue”) and subsequent interludes offer further depth, but the heart of “Burning Village” and Buddha Knievel as a whole is in the three-piece’s take on doom rock, and some of the record’s most satisfying moments come from precisely that, even unto the surprisingly boogieing closer “Irish Steel.”
Corsair, One Eyed Horse
Seems longer than three years since Virginia’s Corsair made their self-titled full-length debut (review here), but with the fervent support of Shadow Kingdom Records, they return with One Eyed Horse, an album much sweeter than its somewhat disturbing cover art might indicate, the four-piece of guitarist/vocalists Marie Landragin and Paul Sebring, bassist/vocalist Jordan Brunk and drummer Michael Taylor gracefully delving further into progressive heavy rock textures in cuts like “Shadows from Breath,” which though it winds up in blastbeats, never loses its sense of pose. That’s emblematic of the masterfully-handed twists and turns One Eyed Horse presents throughout its 45 minutes, highlights like “Sparrows Cragg” soaring and immersive while elsewhere “Brothers” reminds that sometimes it’s important to just get down to business and rock out. Corsair remain a well-kept secret, and one wonders while listening to the harmonies and post-rock bliss of “Royal Stride” just how long they can stay that way. Gorgeous, heavy and definitively their own, there’s nothing one could ask of One Eyed Horse that it doesn’t deliver. And yes, I mean that.
“Seer,” “Moros” and “Chronos” are the first three tracks to be released by Boston newcomer post-metallers Sea, but already their Demo showcases an impressive atmospheric breadth. Churning riffs from guitarists Liz Walshak (who also drew the cover; ex-Rozamov) and Mike Blasi (Rhino King) are given added depth from bassist/vocalist Stephen LoVerme (Olde Growth), and propelled ahead by drummer/engineer Andrew Muro, though there’s room left in each cut for ambience as well, “Seer” trading off, “Moros” beginning a linear build, and “Chronos” finding a middle-ground in switching between harsh and clean vocals before a slowdown brings about the chugging, memorable finale. Opening with its longest cut (immediate points), Demo proves an ambitious first release, but there’s nothing Sea set out to do on it that they don’t accomplish, and I take it as a particularly encouraging sign that in three cuts, there’s just about no structural repetition to be found. That bodes well in the classic demo sense, but more than what’s to come, these songs are already worth hearing.
The Munsens, Weight of Night
Aggressive Sabbath-style doom with East Coast roots – The Munsens recorded at Moonlight Mile with Mike Moebius (Pilgrim, Kings Destroy) in NJ – Weight of Night finds the trio amidst the legal flora of Denver, Colorado, which is a fitting enough setting for the three riff-led cuts they offer on the tape. Of them, side one’s “Slave” is the most decidedly Iommic, a layered solo rounding out after “Under the Sun”-style descent — it also opens with a sample of Julie Newmar as the devil from The Twilight Zone — but both “Weight of Night” and side two’s 11-minute “The Hunt” boast the root influence as well, though the latter is invariably a standout for its crawling progression, almost Pallbearer-esque, that pushes up the tempo in its second half, arriving at a driving pace that’s even farther from where it started than the runtime would have you believe. The opening title-track works somewhat similarly, but ends with a piano interlude, and the shouting, metallic vocals hold back later on “The Hunt,” making its lumbering all the more hypnotic.
Gondola, Get Bent
Philly trio Gondola waste just about no time showing off primo guitar antics on their Budro Records-released Get Bent LP, a penchant for jamming underscoring a lot of the wah-drenched movement on opener “Brain Ghost” and its side A compatriots “Psychic Knife,” “Poison Path” and “The Hornet.” There’s a decidedly stoner influence, vocals gaze-out Dead Meadow-style on “Psychic Knife,” but a Naam jam in “Brain Ghost” and the Fu Manchu drive of side B highlight “Electric Werewolf” offer plenty of variety within that sphere, guitarist/vocalist Rocky Rinaldi, bassist/vocalist Jordan Blumling and drummer Tim Plunkett finding space to make their own thanks in no small part to a palpable chemistry between them. Heavy rock and roll, and a damn good time, Get Bent comes across more as a suggestion than an imperative by the time the arm’s returned after “Life Cult” but either way, Gondola’s jam-laden push and brainmelter leads make this one a howler not to be missed, and just because it vibes hard doesn’t meant the songs don’t move.
Space Mushroom Fuzz, Future Family
Consistently unpredictable and reliably prolific, Boston outfit Space Mushroom Fuzz – spearheaded by Adam Abrams of Blue Aside – isn’t through opener “Let’s Give Them Something to Hate About” before a sampled bong and sickly-sweet solo interwine with a progressive psychedelic jam. One never really knows what’s coming from Space Mushroom Fuzz, and on Future Family, it seems to be a blend of traditional songwriting with the project’s long-established weirdo sensibilities. “A Day in the Strife” is particularly Floydian, but even that has a structure, and “Saving all My Love for U2” has just about the heaviest, most straightforward push I’ve heard from Abrams in this context, even though there’s plenty of freakout to be had as well. What holds the release together is the persistent anything-goes vibe, which is maintained even unto the acoustic-led swirl of closer “L’Americana,” not quite fully departing an underlying cynicism, but escaping sonically the irony in some of the album’s titles in a manner that’s sincere whether or not it wants to be.
Deep Aeon, Temple of Time
The key to Deep Aeon’s Temple of Time (released on H42 Records) is in the momentum the German four-piece commence to build on opener “Element 24” and how utterly unwilling they are to relinquish it at any point over the release’s 29-minute span. Even six-minute closer “River” has a shuffle – and handclaps. Vocalist Marcel Röche keeps a gruff edge to his voice throughout, but that could just as easily be from keeping up with guitarist Alexander Weber, bassist Axel Meyer and drummer Nikolaj Marfels. Songs like “Floating” and side-B launch “With that Priest on the Back Seat” offer straightforward fuzzy heavy rock, but rhythmically, Temple of Time swings and swings and swings and there’s just no getting away from it. If the record was 50 minutes long, I’m not sure it would be sustainable – someone’s bound to need to catch their breath, band or listener – but for being in and out in under half an hour, Deep Aeon make a clean, efficient run with little use for letup. Bonus points for the Alexander von Wieding artwork.
Teepee Creeper, Ashes of the Northwest
“Come with me, let’s go get high,” urges Teepee Creeper guitarist/vocalist Jon Unruh on “Rainbow Sex Glow” from his band’s seven-track/33-minute Ashes of the Northwest full-length, recorded by Mos Generator’s Tony Reed, who also drums and whose band released a split 7” with Teepee Creeper last year (review here). I won’t say “let’s go get high” sums it all up, but a lot of it. Riffs rule the day, and deservedly so, on tracks like “Far Far Away,” the live-tracked “Crushing the Gods of Men” and “The Raven’s Eye,” which caps with a particularly righteous roll. Rounded out by bassist Jeremy Deede – no slight presence in the mix – and now featuring drummer Ian Hall, Teepee Creeper seem to get better the higher the volume goes, the impressive and open-sounding tones surrounding the listener on the aforementioned “Rainbow Sex Glow” like a meaner version of Texas’ Wo Fat, and yes, that is a compliment. The album may or may not reduce their native region to ashes, but it’s bound to turn some heads in their direction.
Hellräd, Things Never Change
How right the umlaut-happy Hellräd are when the Philly sludge slammers posit that Things Never Change. Their destructive, blown-out grime makes its nihilism plain in songs like “Homegrown Terrorist,” “My Jihad Against My Own Mind,” “Dopefiend Jesus,” and of course “Smoke More Crack,” weighted, lumbering grooves switching off at a clip with full-speed punker fuckall. Guitarist Mike Hook, noisemaker/vocalist Dirty Dave (not the same Dirty Dave from The Glasspack), bassist Herb Jowett and drummer Robert Lepor get down to all-out bludgeonry from the start of “Street Zombies,” the opener and longest track (immediate points) at 6:55, but there’s just something about the rolling groove of “Fuck Up (All I’ll Ever Be)” that hits home. Probably not as primal in its making as the energy with which it’s conveyed might lead one to believe, the ultra-nasty 38-minute debut full-length is nonetheless likely to leave a dent in your skull. Or have your skull leave a dent in something else. A wall, maybe. Or another skull.
Venus Sleeps, Dead Sun Worship
Working in longer form on the four original tracks included on Dead Sun Worship, their full-length debut, Dublin four-piece Venus Sleeps make an atmospheric centerpiece out of the Syd Barrett cover “Golden Hair,” which in the context of what surrounds it is almost an interlude. Shades of Electric Wizard show themselves on the howling “I am the Night,” but the opening duo of “Ether Sleeper” and “Dawn of Nova” is more progressive, the guitarist/vocalist Sie Carroll, guitarist/backing vocalist Steven Anderson, bassist Seán O’Connor and drummer Fergal Malone exploring a psychedelic blend of doom and heavy rock riffing that comes to the fore again on 11-minute closer “Age of Nothing,” despite that song’s healthy dose of wah. The range they show in the original material seems only bolstered by the cover, and especially as their debut, the ambition and scope Venus Sleeps showcase is admirable. There are moments when the production seems to contract when a given part wants it to expand, to sound bigger, but Dead Sun Worship lacks nothing for clarity in purpose or execution.