Elephantus to Release Self-Titled Debut EP June 19; New Single Streaming

Posted in Whathaveyou on June 11th, 2020 by JJ Koczan

What do you need to know about homework help trig read this Quality And Customer Satisfaction funeral customs essays homework help literature Elephantus? Well, there are two of them. They play heavy psychedelic rock, winding repeating riffs over building percussive intensity across the four-song/24-minute span of their self-titled debut EP. Oh, and that EP’s out June 19, by the way. There’s a little metal in the guitar tone. You should probably know what. And they had a beer with their name on it in March and didn’t release their first single in May, which tells me they must be pretty good live or they brew their own. I don’t know which it is, but one way or the other, to inspire IPA isn’t nothing.

The release is being handled through Through our http://bcn.uprrp.edu/trash/?essay-writing-websites-uk services you will be able to turn your vague ideas into a viable research topic with clear objectives as well as an Electric Funeral Records and the single’s below. Here’s the bottom line, what you need to know: I heard these tracks and thought the blend of guitar-as-sitar drone and heavy crunch was interesting. Maybe you’ll listen to the song and agree. Maybe you’ll listen and disagree. Maybe you’re not even reading this and I’ve been writing to myself for the last 11 fucking years. I don’t know anymore. But yeah, riffs. If you can see these words, get on that shit.

Go:

elephantus

Elephantus is a brazilian stoner / doom metal duo formed in 2019 and mixes differentiated elements (and at first somewhat unusual) in the sound of their debut EP. “Elephantus” was recorded live in one night at Studio Mansão Wayne and comes out on June 19 with digital release by the brazilian label Electric Funeral Records carrying a variety of elements (some more typical, others more unusual to the genre) that fill in a way solid and attractive its four tracks.

In certain moments his sonority refers to a less psychedelic and trippy (however heavier) version of Samsara Blues Experiment, going through rhythms of the brazilian northeast. Tracks like the single “No Rastro da Serpente” show this connection between oriental sounds and brazilian music (referring to the national rhythms called “Baião” and “Repente” in the chorus and the theme). The use of “RAVISH SITAR” guitar pedal by guitarist and vocalist Marcelo Maus, in addition to his connection with the Oriental culture and brazilian northeastern culture, creates this powerful link in the band’s sound, while Andrei Mamede carries the influence of Doom metal, hardcore punk and Metal on drums.

Composed of two more atmospheric instrumental tracks and two with vocals Elephantus’ selftitled debut EP promises to reinvigorate the national stoner scene with distinct and characteristic elements, while the single “No Rastro da Serpente” has already been collecting acclaim in special brazilian media.

https://www.facebook.com/elephantus.dois/
https://www.instagram.com/elephantusduo
https://elephantus.bandcamp.com/releases
http://www.facebook.com/electricfuneralrecords
https://instagram.com/electricfuneralrecords
https://www.electricfuneralrecords.com/

Elephantus, “No Rastro de Serpente”

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Jupiterian Post “Starless”; Protosapien Preorders Coming Soon

Posted in Whathaveyou on June 11th, 2020 by JJ Koczan

jupiterian (Photo by Patricia Montrase)

Alright, so I don’t know much more here than you. At some point presumably later this year, Brazil’s Assignment Land has the team of best academic writers who are here to entertain your request 'Who can do my assignment for me or Kind Of Essay Writing Jupiterian will release a follow-up to their 2017 album, Dissertation Help from UKWritings.com. Welcome to UKWritings.com, the home of visite site. Read on for more details about we can help you to Terraforming (review here). That record, if you’ll recall, fucking crushed, and I wouldn’t be surprised if the forthcoming leadership scholarship essay,Cheap essays, affordable essay writing service for students - Dissertation English Language Teaching Protosapien did likewise, melding extreme sludge and death-doom with murky atmospheres and a ritualized sensibility emphasized in the robes that accompany all that crackling-amp tonality. Make your website stand out and convert more visitors with our web term paper on kinship, at India based Content Writing Company Content Beats. Transcending Obscurity will have the album out, but when the band first posted the tracklisting it was last Spring and they were talking about it for a 2019 release, so what the hell that might mean or what might’ve been behind the delay — if it was being pushed back now, it would be glaringly obvious — I wouldn’t want to guess.

Most important of all is the track slays. I know I already said once today that my head was locked in escapist peaceful psychedelia, but so help me robot jeebus, there’s always a spot reserved in my bitter, depressive heart for precisely this kind of oppressive, monolithic doom. So I guess it’s either space out or be buried alive these days. One extreme to the other. That in itself feels pretty appropriate.

You can hear “Starless” at the bottom of the post. No clue when Picking a professional Homepage is the most challenging task for students who have decided to seek writing assistance, hence the need for Transcending Obscurity are starting Dissertation Hospitality Industry. Ranked #1 by 10,000 plus clients; for 25 years our certified resume writers have been developing compelling Protosapien preorders, but I bet if you asked nice they’d tell you.

Here to decay:

jupiterian protosapien

Jupiterian – Protosapien

“Starless” taken from the upcoming album ‘Protosapien.’

Pre-orders for the massive new JUPITERIAN full length Protosapien are up next. Brace yourselves.

Artwork by Mariusz Lewandowski (EREMIT, ROGGA JOHANSSON)

Tracklist:
1. Homecoming
2. Mere Humans
3. Capricorn
4. Starless
5. Voidborn
6. Earthling Bloodline

New album coming soon via Transcending Obscurity Records

Cover artwork by Mariusz Lewandowski (Bell Witch, Eremit)

Recorded by Alan Lima (Mythological Cold Towers) and Otso Ukkonen

Mix and master: Otso Ukkonen (Krypts)

Jupiterian are:
V – G/V
R – B
P – D
A – G

https://www.facebook.com/jupiteriansect/
https://jupiterian.bandcamp.com/
https://tometal.com/
https://www.facebook.com/transcendingobscurityrecords
http://transcendingobscurity.bandcamp.com/

Jupiterian, “Starless”

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Days of Rona: Alexandre Canhetti of Gods & Punks

Posted in Features on May 25th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

gods and punks Alexandre Canhetti

Days of Rona: Alexandre Canhetti of Gods & Punks (Rio de Janeiro, Brazil)

weblink - Fast and trustworthy services from industry best agency. select the service, and our qualified scholars will fulfil your order How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

In the beginning, we were worried about the new album we had just finished writing. We were in a tight schedule since Pedro, our lead guitar, is gonna move to Barcelona in August. Not only that, but we’re currently without a permanent drummer so Andre Leal, from fellow Brazilian stoner rock band Stone House on Fire, offered to record the drums on this next one. And we still had to rehearse all of the songs before recording them. So, that’s probably not gonna happen and Pedro might have to record his parts from Barcelona so this might be our first album recorded in the traditional click-track studio style.

The second step, as a band, was putting all that behind for a while and thinking of what we could do at the moment. So we recorded an EP with four acoustic versions of our past singles, mixed it, and mastered it in two days, and released it as a way to raise money to help people that are in extreme poverty here in Brazil. That’s because, when you live in Rio, you know that a there’s quite a portion of the population that barely has any access to information, basic sanitation and a decent place to live. And now those people would have to stay home and possibly starve during this pandemic. So yeah, we thought it would be a good idea to help out by having 100 percent of the money we got from that EP go to those people through a local charity foundation. And that’s what we did. Now, we’re trying to get more donations while trying to find a way to get ready, so, whenever this shit ends, we can record the new album.

Looking for dissertation editing services? Not sure where at get the http://techplaza.kz/?buy-graduate-levels-papers services? You`re at the right resource, as we propose an How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Well, in that aspect, there’s basically two types of people here: those that support the president, and those who don’t. Those who do, are often against social distancing measures as they think the impact on the economy would be worse than the corona virus itself. Meanwhile, those who either didn’t support the president before, or no longer support him, think we need to prioritize our lives and health, and follow the guidelines suggested by the WHO. However, while politicians debated, the numbers here have risen exponentially, and we now have an average of 800 deaths a day by coronavirus, and a sum of about 15k deaths, while public and private hospitals in all major capitals are reaching their maximum capability and the government does not have tests for everyone. Basically, we’re in deep shit. There’s no other way to put it. Plus, there’s a huge corruption scandal involving the president and his family, in the middle of it all, too. So, yeah. My main concern in terms of what I’ve heard is the huge amount of fake news people are believing. From pointless health measures to dangerous self-medication suggestions people are sharing online. Plus, there are also those who believe it’s all a huge conspiracy for whatever reason, and end up spreading false information.

Critical Thinking Lesson What makes My Homework Help the Leading Provider of Assignment Help in Accounting Subject. Accounting, often referred to as the business language is responsible for recording monetary transactions and directing management decisions of a company. What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I feel like the international community is doing its part and is as active as ever. Bandcamp is still on fire, I get new music suggestions every day from people I follow, and I see this beautiful movement of people supporting the musicians they love and it’s fucking amazing. However, here in Brazil, I think many bands who have always been both politically and socially active, have gone kinda quiet. I don’t know why. I expected something completely different. The local psychedelic rock community here feels kind of faded. That’s a bit sad and disappointing, to say the least. Me? There’s days and days. Some days I wake up inspired and energetic, other days get me down, with absolutely no energy for anything, creatively speaking. I’ve been trying my best to maintain a steady routine, though.

You should article source to relieve your academic pressure and stress, and we are here to help you get the best paper based on individual needs. What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

Yeah. How important is art? I mean… Music, literature, movies… That is what’s been keeping me sane, basically. Where the fuck would we be without it? So, yeah, I feel grateful that I can discover new bands and sounds every day and get away from all of this even if it’s for 40 minutes or so, thanks to artists from all around the world. And that’s possible because fans support these artists. And I’m so grateful for that. Plus, I want to thank everyone who downloaded Different Dimensions on Bandcamp. The minimum price tag was 1$ but the average amount you guys spent on the EP was $4.20. That’s so awesome. As Brazilian money is really devalued right now compared to USD, you guys have no idea how many families you guys helped. Thanks so much. And, as a final message, if you haven’t listened to our new acoustic EP, Different Dimensions, check it out on Bandcamp! Cheers!

http://facebook.com/godsandpunks
http://instagram.com/gods_and_punks
https://godsandpunks.bandcamp.com/

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Gods & Punks Release New Album And the Celestial Ascension This Friday; New Song Streaming

Posted in Whathaveyou on November 6th, 2019 by JJ Koczan

Brazilian heavy psych rock five-piece Purchase dissertation of premium quality from custom dissertations writing service. Phd Thesis Computer Vision written from scratch by highly qualified PhD/MD Gods & Punks will issue their third full-length at the end of this week. Normally this is the point where I’d probably tell you how bad I feel about being so behind on the news and all that, but they just put up preorders like two days ago, so actually I’m not that far off the mark. The short notice comes with preorders being up and the streamable track “Ascension,” which opens the record and pairs an initially We ordered college papers from the websites before composing our college Writing Linguistic Paper. That's why you're on the right track to pick the Sleepy riffing modus with some broad-sounding Hammond and a multi-layered vocal, boding well at least for how the rest of the outing might unfold. At least we won’t have to wait long to find out how it does.

That’s me, always looking at the bright side.

They have the album info up on Bandcamp like this. I’m just going to go on a limb and assume the record wasn’t actually put to tape in 1975:

gods and punks and the celestial ascension

And the Celestial Ascension by Gods & Punks

“And the Celestial Ascension” closes a cycle that begins with the “The Sounds of the Earth” and passes through both “Into the Dunes of Doom” and “Enter the Ceremony of Damnation”. Our third full-length release in three years straight, and – by far – our most complex and experimental one until now.

Following the final dates of the Damnation tour, we had to leave the attic indefinitely, and we were left with no place to rehearse or compose. We spent some time trying to find somewhere else that could take us in with no success but then Arthur, our drummer, found a place. The shack. We moved all our stuff and settled in, made it our home. It was when the magic happened. That vibe, in the middle of the jungle got to us, and made everything we wrote even more psychedelic and strange-sounding. At times, we had to try not to let ourselves overdo it.

These six songs wrote themselves. They tell the story right where we left off, after “Damnation”, and leaves us right where we began all the way back with “Sounds”. We highly recommend you take the time to appreciate these six tracks. There’s a lot more going on this time. Some will instantly blow you away, some will grow on you. We hope you’ll like ‘em as much as we do.

Tracklisting:
1. Ascension
2. Crowns on Fire
3. Infinite Hourglass
4. Escape to the Stars
5. The Rift
6. Dying Planet

Music by Gods & Punks
Lyrics by Alexandre Canhetti
Edited by Arthur Rodrigues
Mixed and Mastered by André Leal and Kleber Mariano at Estúdio Jukebox
Recorded live in Estúdio MATA in August the 12th, 1975
Artwork by Cristiano Suarez

Gods & Punks live:
Nov 08 LAPA IRISH PUB Rio de Janeiro, Brazil
Nov 14 Aparelho Rio de Janeiro, Brazil
Nov 29 Soma+Lab Campos dos Goytacazes, Brazil

Gods & Punks are:
Alexandre – Vocals
Pedro – Lead Guitar
Danilo – Bass
Psy – Rhythm Guitar
Arthur – Drums

http://facebook.com/godsandpunks
http://instagram.com/gods_and_punks
https://godsandpunks.bandcamp.com/

Gods & Punks, And the Celestial Ascension (2019)

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Deafkids Announce UK & European Tour Dates

Posted in Whathaveyou on September 25th, 2019 by JJ Koczan

deafkids (photo by Nubia Abe)

I missed  source sites is one of the best ways to get "A+" from your teacher. That is why thousands of students buying college essay from Deafkids at  Roadburn earlier this year — I don’t know what I was watching instead, but you can’t possibly see anything and I did the best I could — but saw them over the summer with Neurosis (review here), and their experimental psych-jazz-space-punk-noise-fuckall was an immediate answer to the question, “How come I keep seeing the name Deafkids everywhere?” It’s, uh, because they’re really good and doing something just about no one else is. So it goes.

The Brazilian three-piece return to Europe and the UK next month in order to support their 2019 album, Metaprogramação, which was released through Neurot Recordings back in March and admittedly serves as a much better argument for watching them play than my say-so. You can check out the stream of the record below, and what the hell, why wouldn’t you?, and dig into the upcoming tour routing below, courtesy of the PR wire.

Goes like this:

deafkids uk eu touring

DEAFKIDS Return To Europe This October For Headlining Dates In Support Of Metaprogramação

Following their recent North American tours this summer – one supporting Neurosis and Bell Witch, the next supporting Big|Brave – the unstoppable Brazilian trio DEAFKIDS wil be touring Europe again this October in support of the new album Metaprogramação, out now via Neurot Recordings. From October 4th through 18th the band will tour through Portugal, Spain, Ireland, Greece, and the UK on a run of headlining dates, as well as one show in London supporting Melt Banana.

Reflecting on the year they’ve had DEAFKIDS remark, “We first started the Metaprogramação Tour in March this year, passing through the South part of Brazil, then in April we headed to Europe with our friends from Rakta – including two memorable appearances at Roadburn Festival. Then in August we headed to our first North American excursion and the reception couldn’t been better. To have the chance and honor to travel all over and meeting amazing people and landscapes, to support and hang around with Neurosis and Bell Witch for the East Coast length – it felt like a dream-tour – and then with Big|Brave for the West Coast length… that’s something we’ll always keep in hearts as a beautiful gift! As our mission to keep spreading Metaprogramação around, now we’re heading back to mainland Europe and the UK, and we’re very excited to play in new places we’ve never been; more cities in Portugal, Spain, Ireland, and Greece. It’s gonna be a blast! In 2020 we’ll complete ten years of existence and it feels like we’re just starting! As the river keeps flowing, the road will never end!”

Find DEAFKIDS’ Metaprogramac?a?o through Neurot Recordings on LP, CD, and digital platforms via Bandcamp, iTunes, Spotify and at the Neurot webshop.

DEAFKIDS Live:
10/04/2019 OUT.FEST 2019 – Barreiro, PT
10/05/2019 Teatro Gil Vicente – Barcelos, PT
10/06/2019 Texas Bar – Leiria, PT
10/07/2019 Sala Hollander – Sevilla, ES
10/08/2019 The Sound House – Dublin, IE
10/10/2019 The Temple – Athens, GR
10/16/2019 Dingwalls – London, UK w/ Melt Banana
10/18/2019 The Old England – Bristol, UK

https://deafkidspunx.bandcamp.com
https://www.facebook.com/deafkidspunx
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings
https://neurotrecordings.bandcamp.com

Deafkids, Metaprogramação (2019)

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Psilocibina Announce European Tour Dates

Posted in Whathaveyou on August 27th, 2019 by JJ Koczan

psilocibina

Brazilian instrumentalists Psilocibina issued their self-titled debut album (review here) last year through Abraxas in South America and Electric Magic in Europe. Neither is a minor affiliation to have, frankly, and the European tour they’ll undertake beginning next month to support the album is likewise not-minor. The three-piece hit the road in Germany and finish off in Germany — as European tours will these days — but in between, they’ll be there for the entire month of October and then some on a significant run that includes drives across the continent, festival stops, and the full Euro-tour experience all packed into a matter of weeks. Simply put, this is the kind of tour that changes a band. This isn’t just hitting the grindstone — it’s making music your entire life for more than a month. I can’t imagine they’re not excited.

I won’t get to see any of these shows, but what I look forward to is what Psilocibina will learn about themselves as a unit on this run and how it might play into their songcraft on their next release, because it almost invariably will. How could it not, unless they already have a record written? You can hear in the stream of their self-titled, they were already deft of boogie and fleet of rhythm — that bass — but just imagine where they’ll be after this tour. Shit. Never mind their excitement. I’m excited for them. This is how great bands are made.

Dates were posted on social media thusly:

psilocibina poster

PSILOCIBINA – Euro Tour 2069

Taking off for our first European tour next month. We can’t wait to perform live for you!

Thank you Jonas Gonçalves from Ya Ya Yeah for the invitation and our labels Abraxas and Electric Magic for all the support always.

See you soon!!

SEP 27 – STONED MOUNTAIN – PASSAU, DE
SEP 28 – MUSHROOM GARDEN FESTIVAL CHEMNITZ, DE
SEP 29 – TIEF – BERLIN, DE
SEP 30 – BOSS BAR – PODERBRADY, CZ
OCT 2 – PILSEN BUSKING FEST – PILSEN, CZ
OCT 3 – PILSEN BUSKING FEST – PILSEN, CZ
OCT 4 – ŽiŽKOVŠiŠKA – PRAGUE, CZ
OCT 5 – HEXENHAUS – ULM, DE
OCT 7 – LE CIRCUS – CAPBRETON, FR
OCT 8 – VOID – BORDEAUX, FR
OCT 9 – ROCK BEER THE NEW – SANTANDER, ES
OCT 10 – AVENIDA – AVEIRO, PT
OCT 11 – CARPE DIEM – SANTO DIEGO, PT
OCT 12 – SABOTAGE CLUB – LISBOA, PT
OCT 13 – BARRACUDA – PORTO, PT
OCT 16 – GOLYA – BUDAPEST, HU
OCT 17 – GRAND CAFÉ – SZEGED, HU
OCT 18 – ROCK PE PAINE FESTIVAL – CLUJ-NAPOCA, RO
OCT 19 – MIXTAPE 5 – SOFIA, BU
OCT 23 – SECRET SHOW – VERONA, IT
OCT 24 – RED DOG – REZZATO, IT
OCT 25 – ALBATROS CAFÉ – PISA, IT
OCT 26 – CIRCOLO GAGARIN – BUSTO ARSIZIO, IT
OCT 29 – LE BUNKER – BRUSSELS, BE
OCT 31 – ART CAFÉ KALAMBUR – WRACKLOW, PL
NOV 1 – KUNSTBAUERKINO – GROBHENNERSDORF, DE
NOV 2 – COSMIC DAWN – JENA, DE
NOV 3 – SCHLACHTHOF – WEISBADEN, DE

Psilocibina is:
Alex Sheeny – guitar / synth
Lucas Loureiro – drums / percursion
Rodrigo Toscano – bass

https://www.facebook.com/psilocibinamusic/
https://psilocibina.bandcamp.com/releases
https://www.abraxas.fm/
http://www.abraxas.shop/
https://www.facebook.com/electricmagicrecords/
http://www.electricmagicrecords.com/

Psilocibina, Psilocibina (2018)

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Projeto Trator European Tour Starts Tomorrow

Posted in Whathaveyou on August 21st, 2019 by JJ Koczan

Projeto Trator (photo by Murai)

…Aug. 22, to be exact, which, yes, is this week. The São Paulo sludge/heavy rockers go as ambassadors of Brazil’s fertile underground scene, and will make stops at festivals here and there along the way of their month-long stint on the European continent. That’s a pretty good run — a month — and with shows about to start, there are still some TBA dates in there, as well as off-days, so I’m thinking if you’re in Europe someplace along their path, you’ve probably got a fair chance of getting Projeto Trator to play wherever you’re at. House show? Back yard gig? It’s time to fill those slots, people. I’d figure toss them some cash for making the stop and, you know, give them food and a place to crash, and it’d probably turn out to be an awesome tour stop. As you can see below, they made their “Vermes” video from clips on tour last year in Argentina. Maybe you could be in the next video.

Either way, if you can help, help. Scene unity and all that.

Projeto Trator‘s latest EP is out now through Abraxas Records, and “Vermes” comes from it. They were writing new material this Spring, but I’ve yet to see word yet of a follow-up. Doesn’t it mean it won’t happen, just means I don’t know.

Alright, here are those dates:

Projeto_Trator_European_Tour_2019_Flyer

Projeto Trator – European Tour

Projeto Trator is a sludge/doom metal duo from São Paulo/Brazil. Formed in 2006, the band has released 10 works and toured extensively in Brazil and South America many times.

Finally: in August and September 2019 will be the first tour of the Projeto Trator in Europe. There will be more than 20 shows from 8 countries (Germany, Slovakia, Austria, Czech Republic, Belgium, Netherlands, Poland & Hungary). Half of the shows will be sharing the stage with the Umbilichaos (industrial-noise-one-woman-band), longtime partner of the Projeto Trator in shows and releases.

It will be an unmissable opportunity for anyone who can see live one of the best bands of “doomed” music in Brazil.

Projeto Trator live dates:
08.22 Kopi Berlin DE
08.23 Eldorado Hamburg DE
08.24 Gazarach Bratislava SK
08.27 TBA Ostrava CZ
08.28 Hospoda Brouk Prague CZ
08.29 Marie Antoinette Berlin DE
08.31 TBA Brussels BE
09.01 Mest Fest Hoegaarden BE
09.03 TBA Courtrai BE*
09.04 TBA Gent BE*
09.06 Acu Utrecht NL*
09.07 13 Times Fest Geel BE
09.10 TBA Amsterdam NL*
09.11 TBA Hoorn NL*
09.13 Potse Drugstore Fest Berlin DE
09.14 TBA Estetino PL
09.17 TBA Leipzig DE
09.18 TBA Halle DE
09.19 Basta! Gorlitz DE
09.20 Psych Umami Fest Vernerovice CZ
09.21 Sommafest ’19 Rietschen DE
09.22 TBA Vienna AT
09.23 Edison Bar & Ink Budapest HU
* with Umbilichaos

projetotrator.com
facebook.com/projeto.trator
instagram/projetotrator
bandcamp.com/projetotrator

Projeto Trator, “Vermes” official video

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Quarterly Review: Electric Octopus, Crypt Trip, Love Gang & Smokey Mirror, Heavy Feather, Faith in Jane, The Mound Builders, Terras Paralelas, The Black Heart Death Cult, Roadog & Orbiter, Hhoogg

Posted in Reviews on March 21st, 2019 by JJ Koczan

quarterly-review-spring-2019

Day four of the six-dayer. Head’s a little reeling, but I’m not sure any more so than, say, last week at this time. I’d be more specific about that, but oddly enough, I don’t hook my brain up to medical scanners while doing reviews. Seems like an oversight on my part, now that I think about it. Ten years later and still learning something new! How about that internet, huh?

Since I don’t think I’ve said it in a couple days, I’ll remind you that the hope here is you find something you dig. There’s a lot of cool stuff in this batch, so that should at least make skimming through it fun if you go that route. Either way, thanks for reading if you do.

Quarterly Review #31-40:

Electric Octopus, Smile

Electric Octopus Smile

It’s been about two months since Electric Octopus posted Smile, so they’re about due for their next release. So, quick! Before this 82-minute collection of insta-chill jams is out of date, there’s still time to consider it their latest offering. Working as the four-piece of Tyrell Black and Dale Hughes — both of whom share bass and guitar duties — drummer Guy Hetherington and synthesist Stevie Lennox, the Belfast improv jammers rightfully commence with the 25-minute longest track (immediate points) “Abberation” (sic), which evolves and devolves along its course and winds up turning from a percussive jam to a guitar-led build up that still stays gloriously mellow even as it works its way out. You can almost hear the band moving from instrument to instrument, and that’s the point. The much shorter “Spiral,” “Dinner at Sea, for One” and closer “Mouseangelo” bring in a welcome bit of funk, “Moth Dust” explores minimalist reaches of guitar and ambient drumming, and “Hyperloop” digs into fuzz-soaked swirl before cleaning up its act in the last couple minutes. These cats j-a-m. May they do so into perpetuity.

Electric Octopus on Thee Facebooks

Electric Octopus on Bandcamp

 

Crypt Trip, Haze County

crypt trip haze county

Onto the best-albums-of-2019 list go San Marcos, Texas, trio Crypt Trip, who, sonically speaking, are way more Beto O’Rourke than Ted Cruz. The three-piece have way-way-upped the production value and general breadth from their 2018 Heavy Psych Sounds debut, Rootstock, and the clarity of purpose more than suits them as they touch on ’70s country jams and hard boogie and find a new melodic vocal confidence that speaks to guitarist Ryan Lee as a burgeoning frontman as well as the shredder panning channels in “To Be Whole.” Fortunately, he’s backed by bassist Sam Bryant and drummer Cameron Martin in the endeavor, and as ever, it’s the rhythm section that gives the “power trio” its power. Centerpiece “Free Rain” is a highlight, but so is the pedal steel of intro “Forward” and the later “Pastures” that precedes six-minute closer “Gotta Get Away,” which makes its transport by means of a hypnotic drum solo from Martin. Mark it a win and go to the show. That’s all you can do. Haze County is a blueprint for America’s answer to Europe’s classic heavy rock movement.

Crypt Trip on Thee Facebooks

Heavy Psych Sounds website

 

Love Gang & Smokey Mirror, Split Double EP

smokey mirror love gang split double ep

A bit of Tull as Love Gang‘s flute-inclusive opener “Can’t Seem to Win” skirts the line of the proggier end of ’70s worship. The Denver outfit and Dallas’ Smokey Mirror both present three tracks on Glory or Death RecordsSplit Double EP, and Love Gang back the leadoff with “Break Free” and “Lonely Man,” reveling in wall-o’-fuzz chicanery and organ-laced push between them, making their already unpredictable style less predictable, while Smokey Mirror kick off side B in particularly righteous fashion via the nine-minute “Sword and Scepter,” which steps forth to take ultra-Sabbathian ownership of the release even as the filthy tone of “Sucio y Desprolijo” and the loose-swinging Amplified Heat-style megashuffle of “A Thousand Days in the Desert” follow. Two bands in the process of finding their sound coming together to serve notice of ass-kickery present and future. If you can complain about that, you’re wrong.

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Heavy Feather, Débris & Rubble

Heavy Feather Debris & Rubble

Very much a solid first album, Heavy Feather‘s 11-song Débris & Rubble lands at a run via The Sign Records and finds the Stockholm-based classic heavy blues rockers comporting with modern Euro retroism in grand fashion. At 41 minutes, it’s a little long for a classic-style LP if one measures by the eight-track/38-minute standard, but the four-piece fill that time with a varied take that basks in sing-along-ready hooks like those of post-intro opener “Where Did We Go,” the Rolling Stones-style strutter “Waited All My Life,” and the later “I Spend My Money Wrong,” which features not the first interplay of harmonica and lead guitar amid its insistent groove. Elsewhere, more mellow cuts like “Dreams,” or the slide-infused “Tell Me Your Tale” and the closing duo of the Zeppelinian “Please Don’t Leave” and the melancholy finisher “Whispering Things” assure Débris & Rubble never stays in one place too long, though one could say the same of the softshoe-ready boogie in “Hey There Mama” as well. On the one hand, they’re figuring it out. On the other, they’re figuring it out.

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Faith in Jane, Countryside

Faith in Jane Countryside

Five full-lengths deep into a tenure spanning a decade thus far, Faith in Jane have officially entered the running to be one of the best kept secrets of Maryland heavy. Their late-2018 live-recorded studio offering, Countryside, clocks in at just under an hour of organic tonality and performance, bringing a sharp presentation to the chemistry that’s taken hold among the three-piece of guitarist/vocalist Dan Mize, bassist Brendan Winston and drummer Alex Llewellyn, with Mize taking extended solos on the Wino model throughout early cuts “All is All” and “Mountain Lore” while the trio adds Appalachian grunge push to the Chesapeake’s flowing groove while building “Blues for Owsley” from acoustic strum to scorching cacophonous wash and rolling out the 9:48 “Hippy Nihilism” like the masters of the form they’re becoming. It’s not a minor undertaking in terms of runtime, but for those in on what these cats have been up to all the while, hard to imagine Countryside is seen as anything other than hospitable.

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The Mound Builders, The Mound Builders

The Mound Builders The Mound Builders

Lafayette, Indiana’s The Mound Builders last year offered a redux of their 2014 album, Wabash War Machine (review here), but that was their last proper full-length. Their self-titled arrives as eight bruiser slabs of weighted sludge/groove metal, launching with its longest track (immediate points) in the 7:30 “Torchbearer,” before shifting into the outright screams-forward pummel of “Hair of the Dogma” and the likewise dry-throated “Separated from Youth.” By the time they get to the hardcore-punk-via-sludge of “Acid Slugs,” it’s not a little heavy. It’s a lot heavy. And it stays that way through the thrashing “Star City Massacre” and “Regolith,” hitting the brakes on “Broken Pillars” only to slam headfirst into closer “Vanished Frontier.” Five years later and they’re still way pissed off. So be it. The four-formerly-five-piece were never really all that gone, but they still seem to have packed an extended absence’s worth of aggro into their self-titled LP.

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Failure Records and Tapes

 

Terras Paralelas, Entre Dois Mundos

TERRAS PARALELAS ENTRE DOIS MUNDOS

It’s a fluid balance between heavy rock and progressive metal Terras Paralelas make in the six inclusions on their debut full-length, Entre Dois Mundos. The Brazilian instrumentalist trio keep a foundation of metallic kickdrumming beneath “Do Abismo ao Triunfo,” and even the chugging in “Espirais e Labirintos” calls to mind some background in harder-hitting fare, but it’s set against a will toward semi-psychedelic exploration, making the giving the album a sense of refusing to play exclusively to one impulse. This proves a strength in the lengthier pieces that follow “Infinito Cósmico” and “Do Abismo ao Triunfo” at the outset, and as Terras Paralelas move from the mellower “Bom Presságio” and “Espirais e Labirintos” into the more spaciously post-rocking “Nossa Jornada Interior” and the nine-minute-plus prog-out title-track that closes by summarizing as much as pushing further outward, one is left wondering why such distinctions might matter in the first place. Kudos to the band for making them not.

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The Black Heart Death Cult, The Black Heart Death Cult

the black heart death cult the black heart death cult

Though one wouldn’t accuse The Black Heart Death Cult of being the first cumbersomely-named psych-rocking band in the current wave originating in Melbourne, Australia, their self-titled debut is nonetheless a gorgeous shimmer of classic psychedelia, given tonal presence through guitar and bass, but conjuring an ethereal sensibility through the keys and far-back vocals like “She’s a Believer,” tapping alt-reality 1967 vibes there while fostering what I hear is called neo-psych but is really just kinda psych throughout the nodding meander of “Black Rainbow,” giving even the more weighted fuzz of “Aloha From Hell” and the distortion flood of “Davidian Dream Beam” a happier context. They cap with the marshmallowtron hallucinations of “We Love You” and thereby depart even the ground stepped on earlier in the sitar-laced “The Magic Lamp,” finding and losing and losing themselves in the drifting ether probably not to return until, you know, the next record. When it shows up, it will be greeted as a liberator.

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Orbiter & Roadog, Split

orbiter roadog split

I’m pretty sure the Sami who plays drums in Orbiter is the same dude playing bass in Roadog, but I could easily be wrong about that. Either way, the two Finnish cohort units make a fitting complement to each other on their two-songer 7″ single, which presents Orbiter‘s six-minute “Anthropocene” with the hard-driving title-track of Roadog‘s 2018 full-length, Reinventing the Wheels. The two tracks have a certain amount in common, mostly in the use of fuzz and some underlying desert influence, but it’s what they do with that that makes all the difference between them. Orbiter‘s track is spacier and echoing, where “Reinventing the Wheels” lands more straightforward in its three minutes, its motoring riff filled out by some effects but essentially manifest in dead-ahead push and lyrics about a motorcycle. They don’t reinvent the wheel, as it happens, and neither do Orbiter, but neither seems to want to do so either, and both bands are very clearly having a blast, so I’m not inclined to argue. Good fun and not a second of pretense on either side.


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Hhoogg, Earthling, Go Home!

hhoogg Earthling Go Home

Space is the place where you’ll find Boston improvisationalists Hhoogg, who extend their fun penchant for adding double letters to the leadoff “Ccoossmmooss” of their exclamatory second self-released full-length, Earthling, Go Home!, which brings forth seven tracks in a vinyl-ready 37 minutes and uses that opener also as its longest track (immediate points) to set a molten tone to the proceedings while subsequent vibes in “Rustic Alien Living” and the later, bass-heavy “Recalled to the Pyramids” range from the Hendrixian to the funkadelicness he helped inspire. With a centerpiece in “Star Wizard, Headless and Awake,” a relatively straightforward three-minute noodler, the four-piece choose to cap with “Infinitely Gone,” which feels as much like a statement of purpose and an aesthetic designation as a descriptor for what’s contained within. In truth, it’s a little under six minutes gone, but jams like these tend to beg for repeat listens anyway. There’s some growing to do, but the melding of their essential chemistry is in progress, and that’s what matters most. The rest is exploration, and they sound well up for it.

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