Desertfest New York 2019 Makes Final Lineup Announcement; Here Lies Man, Fatso Jetson, Black Cobra, Heavy Temple, Steak & More Added

Posted in Whathaveyou on February 13th, 2019 by JJ Koczan

desertfest new york 2019 banner

Desertfest New York 2019, the first one ever, has completed its lineup for this April. Taking place at The Well and Saint Vitus Bar, the three-night event will be headlined by Black CobraWindhand and Elder and will boast newly-announced performances from SteakHigh Tone Son of a BitchHeavy TempleTowerGreen Milk from the Planet OrangeDuelSun VoyagerFatso Jetson and others. It was always going to be a stacked bill, and well, it’s worked out to be a stacked bill. Obviously the Desertfest brand, with history in London, Berlin, Athens and Antwerp, are no strangers to putting on an event, and as Desertscene and Sound of Liberation partner with NY-based Tee Pee Records, there was really no way this was going to be a flop, and it looks like it won’t be.

Calendar’s marked.

Here’s the final lineup:

desertfest new york 2019 poster

THE 1ST DESERTFEST NEW YORK

FULL LINE-UP + DAY SPLITS ANNOUNCED FOR DF NYC – BLACK COBRA, WEEDEATER, HERE LIES MAN, ASG + MORE

Taking place at Saint Vitus Bar on Friday 26th April and The Well on Saturday 27th & Sunday 28th April, please welcome to the bill:

• black cobra
• Weedeater
• Here Lies Man
• ASG
• Ruby the Hatchet
• FATSO JETSON
• Electric Citizen
• HTSOB
• Steak
• Mick’s Jaguar
• DUEL
• Heavy Temple
• TOWER
• Green Milk From The Planet Orange
• Sun Voyager

Unfortunately, we also have to announce that The Atomic Bitchwax can no longer play due to touring conflicts, along with Cali rockers Dommengang. Both band conflicts were out of our control, but we apologise for any inconvenience caused.

2-day weekend passes for ‘The Well’ shows only (Sat + Sun) are still available via www.desertfest.nyc

3-day passes which include access to Saint Vitus on Friday are SOLD OUT

Desertfest NYC will take place at Saint Vitus Bar on Fri 26th April & The Well on Sat 27th April + Sun 28th April

https://www.facebook.com/events/339417893540336/
https://facebook.com/Desertfestnyc/
https://www.instagram.com/desertfest_nyc/
http://www.desertfest.nyc/

Green Milk from the Planet Orange, “Phoenix”

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The Obelisk Presents: Kings Destroy Fantasma Nera Release Tour with Gozu & Forming the Void

Posted in The Obelisk Presents on January 31st, 2019 by JJ Koczan

kings destroy

Brooklyn’s Kings Destroy are getting ready once again to fuck with the formula via their fourth long-player, Fantasma Nera, which branches into new levels of progressive songwriting and melody while turning their confrontational aspect inward as much as outward in theme and execution. Like everything they’ve done, it leaves the past in its dust. Set to release March 8 on Svart Records — which is a label of taste broad and reliable enough to suit them — its arrival will be preceded by a run up the Eastern Seaboard in the company of Gozu and Forming the Void, and it’s my sincere pleasure to be among the presenters of the tour.

They’ll be at Maryland Doom Fest 2019 as well this June — along with many, many others — but even for those planning to see them there, this is an early chance to get introduced to the songs and, presumably, pick up a copy of the album before it’s officially out. Preorders are great and available now, but there’s nothing quite like a merch table either.

The shows kick off Feb. 27 in Kingston, New York, with hometown heroes Geezer and head into Canada for a stop on Montreal before swinging through Rochester, Cleveland and Pittsburgh to finish up. I’ll be at the Brooklyn gig that has Clamfight as the much-welcome fourth for the bill, and there’s no doubt in my mind it’s going to be a party. A sweaty, sweaty party.

Poster is by Bill Kole, and you can stream the Fantasma Nera title-track below:

kings destroy tour poster

Fantasma Nera pre-orders are available now via Svartrecords.com/artist/kings-destroy with physical bundles including colored vinyl and other merchandise. Digital pre-orders include an instant download of the title track.

The band has announced an East Coast Tour prior to the week of release as well as a recently announced performance at the Maryland Doom Fest on June 20.

Kings Destroy tour dates:
February 27 Kingston, NY The Anchor w/ Geezer
February 28 Portland, ME Geno’s
March 1 Boston, MA Middle East w/ Test Meat
March 2 Brooklyn, NY Saint Vitus w/ Clamfight
March 3 Montreal QC TurboHaus
March 4 Rochester, NY Bug Jar
March 5 Cleveland, OH Now That’s Class
March 6 Pittsburgh, PA Howlers w/ Horehound

Kings Destroy is Aaron Bumpus (bass), Stephen Murphy (vocals), Carl Porcaro (guitar), Rob Sefcik (drums) and Chris Skowronski (guitar).

Kings Destroy, “Fantasma Nera”

Kings Destroy on Thee Facebooks

Kings Destroy on Instagram

Kings Destroy website

Kings Destroy on Bandcamp

Svart Records website

Svart Records on Thee Facebooks

Svart Records on Twitter

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The Golden Grass Announce European Tour Dates with Wedge

Posted in Whathaveyou on January 24th, 2019 by JJ Koczan

the golden grass

Brooklyn trio The Golden Grass are headed back to Europe this Spring and will tour in late March and throughout April in the company of German trad-rockers Wedge. Pretty good show, and they’re covering a decent swath of ground in Poland, Austria, Germany, Switzerland and Italy. Of course, The Golden Grass go supporting their 2018 third album, Absolutely (review here), and they also went to Europe last year, touring in the company of Heat. If nothing else, they know how to find a fit for bands to hit the road with.

The narrative of Absolutely was that it pulled back on some of the more meandering impulses of its predecessor, 2016’s Coming Back Again (review here), but The Golden Grass have a new EP in the works that they’ve posted a couple social media teasers for, and it seems that the boogie remains strong with their upbeat sound. Throw in some of the choicest harmonies in heavy — as they reliably do — and you’re good to go.

To Europe, in this case. I haven’t seen a release date kicked around for the EP, but wouldn’t it make an awful lot of sense if it came out before the tour? Or at least was available for them to sell on the road? Yeah, that seems reasonable to me too. More when I hear it.

Here’s the poster and info in the meantime:

WEDGE-THE GOLDEN GRASS online poster

The Golden Grass & Wedge March / April Tour

27.03. (PL) Torun Swa Swiaty
28.03. (PL) Warszawa Chmury
29.03. (PL) Krakow Alchemia
30.03. (PL) Poznan Pog Minoga
31.03. (PL) Wroclaw D.K. Luksus
01.04. (AT) Vienna 3Raum
02.04. (AT) Salzburg Rockhaus
03.04. (DE) Mannheim 7er Club
04.04. (DE) Höxter Toneburg
05.04. (DE) Chemnitz Die Zukunft
06.04. (DE) Berlin Zukunft/Ostkreuz
07.04. (DE) Leipzig Moertelwerk
08.04. (DE) TBA
09.04. (CZ) Bilina Moskva
10.04. (CZ) Brno Kabinet Muz
11.04. (AT) Innsbruck PMK
12.04. (IT) Bologna Freakout
13.04. (IT) Milano COX18
14.04. (CH) Martigny Caves du Manoir
15.04. TBA
16.04. TBA
17.04. TBA
18.04. (CH) Olten Coq d’Or
19.04. (DE) Münster Rare Guitar
20.04. (DE) Oldenburg MTS

http://www.facebook.com/thegoldengrass
http://www.twitter.com/TheeGoldenGrass
http://www.thegoldengrass.bandcamp.com
www.wedgeband.com
www.magnificentmusic.de
www.swampbooking.com
http://www.listenable.net
http://www.facebook.com/listenablerecs
http://www.twitter.com/Listenable

The Golden Grass, Absolutely (2018)

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Live Review: Yawning Man and Freedom Hawk in Brooklyn, NY, 01.17.19

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

yawning man (Photo by JJ Koczan)

It’s not the most intuitive pairing, but it worked. By the time they hit Saint Vitus Bar in Brooklyn on Jan. 17, Yawning Man had already been on the road for more than two weeks. They’d started on Jan. 2 in Arizona and made their way gradually east and north, playing Philadelphia and Boston the two nights prior and accordingly probably well familiar by then with the stretches of I-95. That’s not a fun ride. Freedom Hawk had joined the party a few nights before that, in Asheville, North Carolina, taking over the support slot from Nick Oliveri‘s Mondo Generator, and the bi-coastal complement suited both bands well — Yawning Man with their deeply atmospheric approach and Freedom Hawk more given to a straightforward classic heavy rock songwriting modus. Perhaps an odd fit on paper, but it made way more sense on stage. Kudos to Tone Deaf Touring for the vision.

Both groups released albums last year. Yawning Man had The Revolt Against Tired Noises (review here) on Heavy Psych Sounds over the summer and Freedom Hawk plowed through their fifth LP, Beast Remains (review here), before that. It had been years and years since the last time I saw the Virginia Beach outfit, as bassist Mark Cave politely reminded me — he said the last time was Small Stone‘s 2011 showcase in Philly (review here), but actually it was Small Stone‘s 2012 showcase in Boston (review here), though to be honest, that night was fuzzy in more ways than one — and it’s been a tumultuous few years for them, losing guitarist Matt Cave and deciding to continue as a three-piece, only to see Mark, guitarist/vocalist T.R. Morton and drummer Lenny Hines bring in guitarist Brendan O’Neill in 2016, moving as well from Small Stone to Ripple following 2015’s Into Your Mind (review here).

Nonetheless, what’s remained true is the following: Freedom Hawk believe in the power of heavy rock and roll, and if you’re fortunate enough to spend a little time in their company, they might make you a believer too. As one would expect and hope, much of what they played came off of Beast Remains and Into Your Mind — songs like “Blood Red Sky,” “Darkness and the Light,” “Solid Gold,” “Waterfall,” “Radar,” “Lost in Space,” and “Danger,” which Morton introduced with the choice line, “I don’t know if you guys can handle this next song. It’s a little dangerous. It’s called ‘Danger.'” Charm always goes a long way in my book, but the band wanted nothing for delivery either. That shouldn’t be surprising, as they’ve toured consistently over the course of this decade, here and there in the US as well as abroad in Europe, where just last year they played Desertfest London and Berlin and more besides. They’re veterans as well of Roadburn, Morton wore a shirt he likely picked up when they played Freak Valley in Germany, and on the most basic level, they’ve been together for 14 years, so yeah, Freedom Hawk coming across like they know what they’re doing is well enough earned.

They dipped back to 2011’s Holding On (review here) late in the set for the ultra-catchy “Indian Summer” and gave representation to their 2009 self-titled (review here) and 2008 debut, Sunlight, which Ripple reissued in 2017, but new or old, their material’s central purpose has remained true in conveying the strength of their songwriting. O’Neill, who also fronts thrashers The Pestilence Choir, is way more metal than MortonCave or Hines, at least in outward appearance, but that adds a bit of edge to the otherwise smooth corners of Freedom Hawk‘s stage presence, and they were a blast to watch. It had been too long, clearly.

A good general rule for life is any time you can see Yawning Man, do it. When I last caught them, headlining at Borderland Fuzz Fiesta (review here) in Arizona in early 2016, they were practically a family band, with keys and additional guitar and so on. For this tour, the traveling three-piece was what’s become the modern core of the group: guitarist Gary Arce, bassist Mario Lalli and drummer Bill Stinson. And they’re masters of what they do. One could go on and on about Yawning Man‘s legacy as one of the principal architects of Californian desert rock — and I have, on multiple occasions — but what gets discussed far less is just how much they stand out even from so many of the groups they helped inspire. With Arce‘s signature tone ever at the center of their instrumental, wide-open approach, their atmosphere is immediately identifiable, and the character with which they bring their material to life is as vibrant as that material is subtle. Over the course of more than three decades, they’ve carved a niche for themselves that is theirs alone.

And I’m not saying Mario Lalli was there when they invented cool or anything, but he’s definitely the guy they had in mind for it. Switching between picking and fingering his bass in such a way as to add nuance to Arce‘s echoing lines or emphasize a sonic weight with a strummed chord, Lalli — who also fronts Fatso Jetson — was locked in immediately and incredible to watch as he held down the low end. Looking kind of gaunt in a lined hoodie and with a cap pulled down over his face, he was all-business save for jumping on mic quickly to thank the crowd for showing up, etc., but just unreal to watch him play, and as Stinson held together the molten vibes encompassing the room, Lalli and Arce showed off the inimitable chemistry that’s served as the root cause for the spread of their influence. Yeah, it was cold out, and yeah, it was a weeknight, and yeah, real life loomed outside the door like some kind of invisible babadook, but as they peppered The Revolt Against Tired Noises material with “Perpetual Oyster,” it was hard to think of them as anything other than a classic band living up to their reputation.

It was an early show and they were done by 11PM, which I don’t know if that’s a capitulation to how the neighborhood around the Vitus has gentrified over the last three-to-four years or what — there didn’t seem to be a dance party starting, which sometimes happens after rock gigs elsewhere — but with more than an hour’s ride back to Jersey afterward, I took anyway. I don’t get out as often as I used to, and it’s mostly anxiety-based. I get worried about seeing people, meeting people, not remembering names of people I’ve met once or twice, taking pictures, on and on, but this was a good show and it felt good to be there. I didn’t seem to be the only one who thought so.

More pics after the jump. Thanks for reading.

Read more »

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Kings Destroy Sign to Svart Records; Fantasma Nera Due March 8

Posted in Whathaveyou on January 14th, 2019 by JJ Koczan

kings destroy photo JC Carey

It was two years ago yesterday that Kings Destroy released their 2017 single-song EP, None More (review here), which I’m still proud to say was the first tape I played on my current Walkman. Nonetheless, as they move toward four years removed from their 2015’s self-titled (review here), the good news arrives that the anti-genre five-piece have signed to the anti-genre Svart Records to release what will be their fourth long-player, Fantasma Nera. Say it in your spookiest voice. A March 8 release has been set for the album, which was produced by David Bottrill, whose bona fides extend well beyond the parenthetical below, and on which the band challenge themselves in structure and sound as they’ve yet to do in the decade they’ve been together. They have never put out the same record twice, never been predictable, and if you think you have any idea what’s in store this time around, you’re wrong again. They will surprise you.

I’ve been telling people to listen to Kings Destroy for nine years. I’d do another nine easy. Ha.

Here’s the record info and ultra-badass cover art, courtesy of the PR wire:

kings destroy fantasma nera

KINGS DESTROY RELEASE FANTASMA NERA ON MARCH 8 VIA SVART RECORDS

10-TRACK RELEASE PRODUCED BY DAVID BOTTRILL (TOOL, KING CRIMSON)

King’s Destroy, Brooklyn’s atmospheric grunge doom unit release their fourth album, and first full-length in four years, Fantasma Nera on March 8 via Svart Records.

“We upended our usual approach in creating this album,” says guitarist Carl Porcaro. “We’d been playing together for so many years, and all of our previous albums were the result of us hashing out the ideas in rehearsal and learning to play the songs live prior to going into the studio. For Fantasma Nera we put the songs first and let the material dictate the means by which the album was created. Producer David Bottrill (Tool, King Crimson) helped us find new creative approaches, and this resulted in an album that doesn’t sound like anything else we’ve ever done.”

“We challenged ourselves to make the best album we could,” adds singer Stephen Murphy. “…and we left our guts on the table. When I finished the vocals on this album, I was mentally and physically broken from the effort. I did not sing again for two months after it was recorded. I owed that effort to my bandmates, and they did the same for me.”

Fantasma Nera tracklist:
The Nightbird
Fantasma Nera
Barbarossa
Unmake It
Dead Before
Yonkers Ceiling Collapse
Seven Billion Drones
You’re The Puppet
Bleed Down The sun
Stormy Times

Pre-orders will be announced soon, as well North American tour dates. The band recently confirmed a performance at Maryland Doom Fest on June 20.

Kings Destroy is Aaron Bumpus (bass), Stephen Murphy (vocals), Carl Porcaro (guitar), Rob Sefcik (drums) and Chris Skowronski (guitar).

https://www.facebook.com/KingsDestroy/
https://www.instagram.com/kingsdestroy_band/
http://www.kingsdestroy.com/
https://kingsdestroy.bandcamp.com/
www.svartrecords.com
www.facebook.com/svartrecords
www.twitter.com/svartrecords

Kings Destroy, None More (2017)

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Desertfest NYC 2019 First Lineup Announcement: Windhand, Elder, Monolord, The Skull, The Atomic Bitchwax, Danava, Mirror Queen, Worshipper and Dommengang to Play

Posted in Whathaveyou on November 27th, 2018 by JJ Koczan

DESERTFEST NYC 2019 BANNER

I’m not trying to toot my own horn here or anything, but I’ve been posting about Desertfest lineups pretty much since the whole thing started. And to me, this already looks like a Desertfest. The first lineup announcement for Desertfest NYC 2019 has been made, and the inaugural New York incarnation of the festival brand in partnership with Sound of Liberation and Tee Pee Records seems to represent multiple sides well. Windhand and their new Relapse labelmates Monolord are given prominent showing, as are Elder — because, let’s face it, if you’re running the first-ever Desertfest on US soil and you don’t get Elder to play, you’re fucking up — and Tee Pee Records is well represented with the likes of The Skull, The Atomic Bitchwax, Danava, Mirror Queen and Worshipper.

Rounding out the bill are L.A.’s Dommengang, who would seem to be the odd band out, but one listen to their Love Jail album that Thrill Jockey put out and you’ll see it’s no mystery why they’re here. I wouldn’t be surprised if they wound up touring east with another West Coast band — Danava come immediately to mind — but of course nothing to that effect has been announced and I’m just speculating.

Point is it’s already a solid bill and in addition to the bands, we now know that the venues involved will be the Saint Vitus Bar and The Well. I’ll have more on the lineup and whatnot as soon as I see it, but early bird tickets are on sale now at the long link below.

Dig it:

DESERTFEST NYC 2019 POSTER

FIRST ACTS ANNOUNCED FOR DF NYC + EARLY-BIRDS NOW ON SALE! We are stoked to welcome Windhand, Elder, Monolord, The Skull, The Atomic Bitchwax, DANAVA, Mirror Queen, Worshipper & Dommengang to the first edition of Desertfest New York – Taking place at Saint Vitus Bar on Friday 26th April and The Well on Saturday 27th April + Sunday 28th April.

A limited amount of 3-day early-bird passes are available for $65 via the below link – https://www.ticketweb.com/event/desertfest-nyc-2019-the-well-tickets/8942735?pl=thewell&fbclid=IwAR28zNtuppWWRVoi3vCXRkeGIg4wOD4FShfPgjbIPDGiOGPDOzbL2vj_UWE

Artwork by the wildly talented Mercerrock (Brian Mercer Design)

https://facebook.com/Desertfestnyc/
http://www.desertfest.nyc/

Monolord, Rust (2017)

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Desertfest NYC Announced for April 2019

Posted in Whathaveyou on November 15th, 2018 by JJ Koczan

Well, here we are. Rumors have been kicking around for years about a Desertfest brand extension happening in the US, and the question of where has finally been answered. Seems to me it could’ve just as easily been the West Coast, but as the Desertfest crew are partnering with Tee Pee Records to make it happen, it could really only be Brooklyn. I can’t wait to find out what venues will be involved. The fest is set for April 2019 with the lineup still to be announced.

With the advent of Desertfest NYC 2019, New York joins the ranks of London, Berlin, Antwerp and Athens in playing host to a Desertfest. It’s no minor honor, and it says a lot about not only how this festival has grown into one of the premier event brands in underground heavy, but also how the American underground itself has come up over the course of this decade. No way a Desertfest NYC happens in 2013. Now? It only seems to make perfect sense.

So who will play? What will the interaction be like between Desertfest NYC and the flagship fests a couple weeks later in London and Berlin? Can I go? Can I get a photo pass? How does this economic boon compare to Amazon going to Long Island City for one of its new headquarters? All of these questions will be answered in time, and of course more are waiting to be asked.

For now, it exists. That’s enough to give me a rare moment of patriotic pride.

Here’s the announcement:

Desertfest nyc

DESERTFEST NEW YORK IS HERE

Europe’s leading stoner rock, doom, sludge and psych festival adds another city to its books with the very first U.S. weekender, taking place April 26th-28th 2019 in Brooklyn, New York.
Line-up, venues and tickets revealed next Friday 23rd Nov 10am EST/3pm GMT

Tee Pee Records | Desertfest London | DesertFest Berlin | Desertfest Belgium

https://facebook.com/Desertfestnyc/
http://www.desertfest.nyc/

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Godmaker & Somnuri, Split LP: Excerpts and Edges

Posted in Reviews on November 13th, 2018 by JJ Koczan

godmaker somnuri split

Madness ensues. Some splits seem like a nightmare to set up. Bands are on opposite sides of the planet, have disparate sounds, there are different labels involved, all this extra whatnot before anyone actually gets to the process of writing songs. I’d imagine Godmaker and Somnuri getting together for a split LP released through The Company was easier. Like sending a text: “So, split?” “Sure.” Followed by the booking of studio time. The two bands, both of whom are based in Brooklyn, tap into a progressive take on New York’s long-established concrete-crunch noise rock, and both bands showcase considerable forward-forward-forward aesthetic ambition in their two included songs on this 30-minute offering. But even more than whatever commonalities exist in terms of geography, sound and intent, these dudes know each other. They’re not strangers assembled together haphazardly.

Check the lineups. Godmaker is guitarist/vocalists Pete Ross (ex-Cleanteeth) and Carmine Laietta (ex-Hull), bassist/keyboardist/vocalist Andrew Archey (Fashion Week) and drummer Jon Lane (ex-Bröhammer), and their 13-minute “An Excerpt” features guest vocals from Kurt Applegate (Family). Meantime, Somnuri are guitarist/vocalist Justin Sherrell (ex-Bezoar, Blackout), bassist Drew Mack (ex-Hull) and drummer Phil SanGiacomo (ex-Family). If you took everyone’s bands and put them all on a bill together you could have a festival at the Saint Vitus Bar. Granted you’d have to get a couple reunions going, but I think the point stands; it isn’t exactly anyone’s first time at the dance. And frankly, both Godmaker and Somnuri sound like it.

Godmaker released their self-titled debut (review here) in 2014, and Somnuri had their own (review here) last year, but regardless of the timing, the two bands both inhabit the modern sphere of New York noise, informed not only by the likes of Unsane, but by sludge and post-metal, by sundry other genres and experiences. The result is a sense of atmosphere to complement the aggressive push in both acts that remains coherent from one to the next, and as Godmaker‘s cover of Portishead‘s “Over” gives way to Somnuri‘s “Over and Out,” the ties there seem to extend beyond the title similarities.

So okay, they fit well together. Fair enough. Actually makes a lot of sense they’d get together for a joint release. As for the madness noted at the outset, that’s really more down to the audio itself. The chief impression I carried out of Godmaker‘s self-titled four years ago was one of scathe. It was skin-peelingly abrasive, but their “An Excerpt” hones a more patient delivery, unfolding with a buzzing tension beneath a steady guitar line and nonetheless enacting a fluidity around this darker theme. Recorded and mixed by Tom Tierney at Spaceman Sound, when it kicks in with a full-toned nod at about 90 seconds, barking vocals over top for a first verse that soon shifts into a chorus that reminds of Meatjack taking on the Melvins — that’s pretty specific, so I’m going to guess it’s sonic coincidence — it makes a return to the verse and the chorus for a second runthrough before shifting into the more complex aspects of its structure, introducing cleaner vocals amid screams and a chugging instrumental surge that gives way to winding triumph and, right about at the halfway mark, a falling apart of the proceedings entirely.

They crash out to near-silence with quiet bass and guitar setting the stage for the build back up — one can’t help but be reminded of Hull‘s layered-vocal victories here — as they shove toward and through the apex and set themselves on the final outward march that consumes the last two minutes, dedicating the final of them to sustained crashes and noise. After that, I’d question the necessity of the Portishead cover, but it’s listed as a “bonus track,” and I guess if you’ve got the space on the record, use it. They bring a beefed-up arrangement to “Over,” which appeared on Portishead‘s 1997 self-titled full-length, and include samples and a current of foreboding that comes through the cleaner vocals early and the later screams the accompany. It’s a welcome enough touch and shows a breadth of influence on the part of Godmaker, which is no doubt part of the reason it’s there, but “An Excerpt” is the highlight without question.

Somnuri answer back with two originals of their own in “Over and Out” and “Edge of the Forest,” neither of which hits the runtime of Godmaker‘s “An Excerpt,” but both of which find the trio building on the promise of their first record and bringing together a dynamic that benefits from the chemistry burgeoning among the players. Sherrell, who drummed in Bezoar and plays bass in Blackout, seems to be the kind of player who can handle just about any task he might take on in a band. Vocallly he’s in easy command in switching between clean and harsh lines, and his tone and that of Mack are both righteously thick without being indistinguishable from each other — Jeff Berner recorded at Studio G, while SanGiacomo mixed. “Over and Out” moves in its second half to a tight chug and weaves a lead line overhead to give a tonal contrast, and concludes with a full-brunt crush that’s absolutely punishing.

“Edge of the Forest” is longer by nearly three full minutes at 7:21, and uses some of that time to set up a more patient buildup à la Godmaker earlier with the crash-in happening right around the two-minute mark with far-back clean vocals reminding of the last Akimbo (yes, I know: wrong coast, but they were writing about New Jersey, so eat me) before the slow roars and screams drop in the midsection to atmospheric guitar leading not to a build, but a sudden slam forward that is propelled by the drums through a fierce but still controlled crescendo given vicious screams before a final return to the chug that first enveloped after that midsection quiet part gives a last-minute sense of symmetry and the piece ends on a notably progressive assault. The temptation with a split is to think of the bands involved in competition with each other, and maybe that’s what’s happening with Godmaker and Somnuri here, but the fact of the matter is both offer an intricacy of style that adds depth to their raw and sometimes angular heaviness. They work better together than they do as adversaries, in other words, and the aim in this split seems not to be to find them pitted against each other, but acting in unison toward their shared goal of conveying some of the best aspects on New York’s modern noise movement. It’s a thoughtful madness.

Godmaker on Thee Facebooks

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Somnuri on Thee Facebooks

Somnuri on Instagram

Somnuri on Bandcamp

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