Carnivore Announce Reunion as Carnivore A.D. & Halloween Show in NYC

Posted in Whathaveyou on August 31st, 2017 by JJ Koczan

carnivore a.d.

Go ahead and raise your hand if you can honestly say you saw a Carnivore reunion coming. Yeah, that’s what I thought. Spearheaded by guitarist Marc Carnivore and drummer Louie Beato, the arrival of Carnivore A.D. finds the original members of the legendary Brooklynite outfit welcoming bassist/vocalist Baron Misuraca, who has arguably some of the biggest shoes ever to fill in those of Peter Steele, who of course went on after Carnivore disbanded to found and rise to international stardom with Type O NegativeCarnivore A.D., which will also feature Joe Branciforte on drums part-time, are set to play a Halloween show at Bowery Electric in Manhattan along with the long-running Black Sabbath tribute act, Sabbra Cadabra, and others.

Next time you think about saying “never” in rock and roll, remember this from the PR wire:

carnivore a.d. show flyer

CARNIVORE Re-Forms as “CARNIVORE A.D.” with Original Members Louie, Marc + New Members Baron Misuraca & Joe Branciforte

Halloween “SteeleTacular” Show Announced at Bowery Electric in NYC Featuring CARNIVORE A.D., NJ Thrash Kings BLOODFEAST, L’amour DJ Alex Kayne & More

After an electrifying live performance of Carnivore material at this year’s Black N Blue Bowl pre-party, guitarist Marc Carnivore is thrilled to announce that the band will officially re-form as CARNIVORE A.D., with fellow original member Louie Beato and Joe Branciforte (ex-Darkside NYC, ex-Merauder) sharing drumming duties, and introducing Baron Misuraca (ex-Vasaria) on bass, lead vocals & blood curdling screams! Baron’s debut will take place at the band’s recently announced Halloween show, “A Halloween SteeleTacular”, at Bowery Electric (327 Bowery) in New York City on Halloween night (October 31, 2017). The show is 21+, begins at 7:00 PM, and tickets start at $20. Additional monstrous support will be supplied by NJ’s Bloodfeast, the mesmerizing and magical Black Sabbath tribute band Sabbra Cadabra, Legendary L’amour DJ Alex Kayne, and other special guests TBA. Get tickets here.

The Bowery Electric bash will mark this year’s final, official celebration of the 30th anniversary of Peter Steele’s thrash-core masterpiece, RETALIATION, with provocative tracks, “Jesus Hitler” and “Race War” coming to life to join today’s headlines, just as fresh and topical as the day they were first released in 1987. Official event DJ and longtime friend of Carnivore, Alex Kayne, will create an atmospheric audio-visual tribute to Peter Steele, the early beginnings of Carnivore at L’amour, and of the band’s second rise to prominence during Type O Negative’s golden run.

The show will include an after party with a VIP Meet & Greet available ($40), and feature Kayne spinning danceable heavy tracks by the likes of Nine Inch Nails, Rob Zombie, The Cult, Rammstein, Ministry and more. A “Carnivorous Halloween Costume Contest” will take place, with meaty prizes like Kim Kardashian’s liposuction fat and real live blood from each band member. Rare photographs and “Carnivorous artifacts” (such as Peter Steele’s original handwritten Carnivore lyrics) will be displayed.

The classic “RETALIATION line-up” of the band is re-forming as Carnivore A.D., out of great respect to Peter Steele’s legacy while simultaneously distinguishing themselves from past incarnations of the band. Marc Carnivore states: “Last May, I was very fortunate to perform Carnivore music live again for the very first time in over 20 years. The jubilant and humbling reception I received confirmed to me that Peter Steele is gone, but his epic legacy is not forgotten. So this Halloween the two remaining original members of Carnivore, myself and Louie Beato, will open up the next chapter in the band’s ever evolving history. We will introduce the mighty Baron Misuraca, who’s stature and beastly growls have already awakened Peter Steele fans across the globe. A new official line-up of Carnivore will be introduced: “Carnivore A.D.”, a Carnivore for the 21st century. Everyone is invited to join us in this celebration, and to mark the 30th anniversary of Carnivore’s final LP, RETALIATION. I am also very pleased to have the honor of presenting this distinguished performance of Peter and Keith’s music to their own friends and family members here in the greatest city in the world, at New York’s Bowery Electric club. The “Carnivorous Negative family scene” is finally whole once again, and I can’t wait to see what the future brings.”

Right now, Marc Carnivore is also personally auctioning his legendary Carnivore guitar, hand-painted by Peter Steele for the band’s infamous 1995 “Soviet Invasion” show at NYC’s Limelight club. This guitar was used to record every single guitar track on RETALIATION and was a mainstay at classic Carnivore shows between 1986-1996. Any bid above $10,000 will additionally garner Steele’s original, handwritten lyrics to “Inner Conflict”, and a private guitar lesson. To make a bid, contact marccarnivore@yahoo.com.

Otherwise, Marc is currently busy with his new band, Circus of Steele – an all-original group formed in tribute to his fallen ex-bandmate & lifelong mentor, Lord Petrus Steele. Circus of Steele are currently promoting their new single, “The Downfall” (check out the video here), which cracked the “Metal Contraband” Top 50 radio charts. The single can be found on the band’s upcoming six-track EP, entitled The Zombies Rise, which will hit iTunes this fall, after the band’s first ever mainstage appearance, opening up for Sacred Reich at NYC’s premier metal venue, The Gramercy Theater. The band is currently negotiating a record deal, so visit www.circusofsteele.com for updates on this news and more.

https://www.facebook.com/Carnivore-AD-1906553286264509/
https://www.ticketfly.com/purchase/mobile/index/1548150?utm_medium=bks

Circus of Steele, “The Downfall”

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Thera Roya Announce Masterful Universe EP Due Sept. 8

Posted in Whathaveyou on August 29th, 2017 by JJ Koczan

Brooklyn/Jersey-based sludge noisemakers Thera Roya will release a new two-songer dubbed Masterful Universe on Sept. 8. Given the chaos that ensued across their debut full-length, Stone and Skin (review here), I’m just going to go ahead and assume it’s something of an ironic title and that the thesis they’re working under is not so much that the universe is subject to any kind of overriding mastery so much as it’s like a sad and brutal churn playing out over our heads in a fashion worthy of its own searing amp noise and screams. You know, because existential crisis and whatnot.

You can see the postcard-worthy art for Masterful Universe below, followed by more info from the PR wire, which would seem to coincide with my theory given the descriptions of the two tracks involved. Haven’t heard this one yet, but I always look forward to the kind of slaughter these guys bring.

Dig it:

Thera-Roya-Masterful-Universe

Thera Roya – Masterful Universe

3 piece cosmic sludge purveyors bubble back to the surface with new offering Masterful Universe. A 2 song celestial EP commenting on the hopeless world confusion state with an air of nihilistic observation. The world is burning, all the better to hunker down and write an unhinged 7 minute song with one riff (Static Transmission) and a groovy collaged sister track (Confused Population); complete with samples, other-worldly vocals and sick riffs. Teaming up with illustrator Jim Penola garnered a stylized, silly, yet clear representation of the message: the universe is sending a message, people need to tune in and start listening.

Since 2011 Brooklyn based Thera Roya have released 7 EP/Splits and 1 full length (Stone & Skin). Always pushing into different creative territory, TR stubbornly persist, unafraid to explore colors and styles in a metal scene too comfortable with black and white and fitting a mold. Any TR release can range from depressive to unhinged, ecstatic to contemplative, song by song, album to album. TR have toured extensively the past 4 years in the north-east, mid-west and south, carving a rutted name in the underground scene.

Recorded by Jake Drambus, Charlotte NC, Sept 2016. Mixed and Mastered by Jake Drambus. Additional recording/mixing by Ryan Smith. Artwork by Jim Penola.

Tracklisting:
1. Static Transmission
2. Confused Population

Thera Roya is:
Ryan Smith – Drums/Vox/Guitar
Chris Eustaquio – Guitars
Jonny Cohn – Bass

EP release show:
09/07 The Well, Brooklyn, NY w/ Black Black Black, Ereptile Destruction, Fliege
https://www.facebook.com/events/674423602746226/

https://www.facebook.com/TheraRoya/
https://theraroya.bandcamp.com/

Thera Roya, Stone and Skin (2017)

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Azonic to Release Prospect of the Deep Volume One Oct. 27

Posted in Whathaveyou on August 24th, 2017 by JJ Koczan

azonic

I guess I’m an easy mark on this one, but yeah, go ahead and sign me up for two massive, side-consuming slabs of experimentalist noise from Blind Idiot God offshoot project Azonic. The Brooklyn-based duo of guitarist Andy Hawkins and percussionist Tim Wyskida — both of whom feature in the aforementioned avant instrumentalists, and the latter of whom also counts Khanate as part of his CV — will issue Prospect of the Deep Volume One via Indivisible Music on Oct. 27 and in addition to the LP, the CD version will include a third, bonus track because, you know, there’s room for such things on the format and all, so what the hell.

No audio from the record yet, but the project seems to have been brewing for a significant amount of time before coming together around Hawkins and Wyskida. The PR wire has more background and info on the release:

azonic-prospect-of-the-deep-volume-one

NEW ALBUM FROM AZONIC FEATURING BLIND IDIOT GOD FOUNDER ANDY HAWKINS AND TIM WYSKIDA (KHANATE, BIG) TITLED, PROSPECT OF THE DEEP VOLUME ONE, DROPS 10/27/17

Indivisible Music will release the highly anticipated new album by Azonic titled, Prospect Of The Deep Volume One, on Friday, October 27th, 2017. Formats include vinyl LP, CD and digital download. Artwork by Seldon Hunt. The CD includes the bonus track “Voices Of The Drowned.” Azonic is Blind Idiot God (BIG) founder Andy Hawkins on guitars and Tim Wyskida (Khanate, BIG) on timpani, concert bass drum and gong.

During Blind Idiot God rehearsals, Hawkins was inspired by Wyskida’s more improvisational approach to imagine new possibilities for the next Azonic LP. A standard drum set did not lend itself to the long tone music of Azonic, so Hawkins acquired two timpani and a concert bass drum and Wyskida committed to an improvisational duo of guitar and orchestral percussion.

This new material was recorded with Bill Laswell (Motörhead, Herby Hancock, Sly and Robbie, George Clinton, Bootsy Collins, Method of Defiance, Laurie Anderson, Painkiller, White Zombie, Material, Golden Palaminos) at BC Studio last November. BC Studio (Swans, Sonic Youth, Cop Shoot Cop, Brian Eno, Khanate, Live Skull, Foetus, Dresden Dolls, Ramones, Iggy Pop, John Zorn, Ginger Baker, Material) was selected for its enormous tracking rooms, which are ideal for the high volume, long tone qualities of this music. The recording is highly evocative, rich in tone, focused wide and with an immense scale.

Prospect Of The Deep Volume One includes two side-length pieces, “Oblivion Of The Deep” and “The Argonaut’s Reckoning” on the vinyl LP, and a third bonus piece, “Voices Of The Drowned” on the CD. “Prospect Of The Deep” is a natural progression for Azonic,” guitarist Andy Hawkins explains. “Adding orchestral percussion to the wide angle sonic signature extends depth and the time scale. The result is oceanic in proportion, a relentless power changing the boundaries between states of matter, and the musical landscape itself. It was a long time coming, but the wave has broken.” Tim Wyskida adds “Getting away from a drum kit and behind an old, gargantuan concert bass drum, timpani and gong opened up a wide range of possibilities: longer sustains, lower tones, pitch bending — and they can better withstand a heartless assault.”

https://www.facebook.com/Azonic-311377432355442/
https://azonicsonic.bandcamp.com/
https://www.facebook.com/BlindIdiotGodOfficial
indivisiblemusic.com

Azonic, “Beyond the Pale”

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Weird Owl to Release New Album Bubblegum Brainwaves in October; Single Streaming & Preorders up Now

Posted in Whathaveyou on August 22nd, 2017 by JJ Koczan

weird owl photo hal horowitz

Brooklyn psychedelic rockers Weird Owl have set an Oct. release for their new album, Bubblegum Brainwaves. Following-up on 2015’s Interstellar Skeletal, the vibe-heavy explorers worked with Jeff Berner at Galuminum Foil Studios on the new one, and with their long-established habit of making their way overseas for fests, it seems like the intended Oct. 13 issue puts them in good stead heading into next Spring. Not that I’ve heard anything — to be clear, I haven’t — I’m just saying. They’ve also moved from A Recordings to releasing on their own, which seems like it can only further suit their ongoing will to do whatever the hell they want sonically.

Among the assets working toward that endeavor this time around? A guest appearance from Genesis Breyer P’Orridge (Psychic TV, Throbbing Gristle, etc.). Should be interesting to say the least.

The PR wire has the cover art, preorder info and more particulars on the subject of Bubblegum Brainwaves:

weird-owl-bubblegum-brainwaves

Brooklyn psych band Weird Owl has announced a new album, Bubblegum Brainwaves, due out October 13th. The band’s sixth release in a decade, it’s an album about cognitive dissonance, darkness, and uncertainty, condensed into consumable song formats and structures. Touching on themes of war, dystopias, and crumbling reality structures, it’s highly informed by the current political climate and finds the band continuing to push themselves into new realms.

Lead single “You (Sometimes Not You)” has an otherworldly quality, pairing bright synths with catchy but unexpected vocal melodies.

Since forming in 2004, Weird Owl has kept busy putting out a steady stream of new music and touring the US and UK. After self-releasing their first few albums, 2009’s Ever the Silver Cord Be Loosed and 2011’s Build Your Beast a Fire (recorded by Justin Pizzoferrato and Bishop Allen’s Justin Rice) were released by Tee Pee Records. Later demos caught the attention of The Brian Jonestown Massacre’s Anton Newcombe, who released the band’s 2013 EP, Healing, and 2015’s Interstellar Skeletal on his own A Recordings, Ltd.

Live, Weird Owl has supported BJM on tour in both the US and Europe and performed at various festivals, including the Black Angels-curated Austin Psych Fest, The Liverpool International Festival of Psychedelia, and The Netherlands’ Incubate Festival.

Bubblegum Brainwaves was recorded and produced by Psychic TV guitarist Jeffrey Berner and features a guest appearance by the legendary Genesis Breyer P-Orridge. It’s currently available for pre-order digitally and on CD & limited-edition pink vinyl.

Bubblegum Brainwaves Track Listing:
1. Invisibility Cloak
2. You (Sometimes Not You)
3. Black Never White
4. Such A Myth
5. The Lizard & The Owl
6. War
7. Bartholomew Iris (ft. Genesis Breyer P’Orridge)
8. Many Things I Saw in the Coffin
9. Tired Old Sun

Weird Owl is:
Trevor Tyrrell – Vocals, Guitar
John Cassidy – Bass, Keyboards
Sean Reynolds – Drums
Dave Nugent – Keyboards

https://weirdowl.bandcamp.com/album/bubblegum-brainwaves
https://www.facebook.com/Weird.owl.ny/
https://twitter.com/weirdowlchemy
http://www.weirdowl.net/
https://soundcloud.com/weird-owl

Weird Owl, “You (Sometimes Not You)”

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Review & Lyric Video Premiere: Eternal Black, Bleed the Days

Posted in Bootleg Theater, Reviews on August 1st, 2017 by JJ Koczan

eternal-black-bleed-the-days

[Click play above to see the premiere of the lyric video for the title-track of Eternal Black’s Bleed the Days. Album is out Aug. 8.]

Doom prevails in gritty fashion on Bleed the Days, the seven-track debut long-player from New York trio Eternal Black. Self-released through their own Obsidian Sky Records in a digipak that includes a note on its back cover to pay attention to the lyrics and those printed on its inside glossy panels, it is a grimly cast 46 minutes brimming with downer intent as led by the churning-concrete riffing of guitarist/vocalist Ken Wohlrob (also a published novelist and clearly someone for whom words matter) and with significant reinforcement provided by bassist Hal Miller and drummer Joe Wood — the latter also of long-running Long Island rockers Borgo Pass and a former bandmate of mine twice over. Because I consider him among the finest examples of a human being I’ve ever encountered, I’ll note a decided bias on my part in favor of his work here and elsewhere, so if that’s the grain of salt with which you need to take this review, so be it. I won’t fight you.

Either way, Eternal Black‘s full-length ode to downcast nodder traditionalism, recorded and mixed by Joe Kelly and Kol Marshall with mastering by Mos Generator‘s Tony Reed, follows their 2015 self-titled EP/demo (review here) and received a substantial preview earlier this year on the digital offering Live at WFMU (review here), recorded at that venerable open-format radio station in Jersey City, New Jersey, but makes its primary impression in the uniformity of its mood such that even the three-minute centerpiece interlude “Into Nothing” ties to the rest of its surroundings in speaking to the overarching theme of death and the mythology thereof, despite being instrumental. They are nothing if not focused.

But as the saying goes, if you can’t handle brain-crushing singularity of purpose, doom probably isn’t for you, and whether it’s the post-Wino riffing on opener “The Lost, the Forgotten, and the Undying” or second cut “Snake Oil and Coffin Nails,” which is led off by Miller‘s bass in the spirit perhaps of The Hidden Hand circa Mother Teacher Destroyer and shifts into faster gallop in its midsection with a highlight guitar lead, or a slower piece like the lumbering “Stained Eyes on a Setting Sun” (premiered here), Eternal Black do bring a sense of character and a developing sonic persona to the tenets of the style. Wohlrob‘s vocal delivery is a gruff and dudely semi-growl suited to tying the songs together and his lyrics — as one has been advised to regard — grow increasingly vivid as the tracklisting progresses into “Stained Eyes on a Setting Sun,” “Bleed the Days” itself and 11-minute closer “All Gods Fall,” pulling references from Biblical and other Inferno-y sources concerning death.

eternal black photo shane gardner

It’s arguable six of the seven inclusions on Bleed the Days deal directly with the motif — see also: the entirety of Western culture and the human condition — whether it’s the interaction of death and belief on “Snake Oil and Coffin Nails” and “All Gods Fall” or the grim picture-painting of “The Lost, the Forgotten, and the Undying,” “Sea of Graves,” “Into Nothing,” “Stained Eyes on a Setting Sun,” and “Bleed the Days,” but there’s also an underlying use of water imagery. The opener speaks of a ballast of the dead, snake oil is “flooding the plains,” it’s a “Sea of Graves,” bodies are thrown into the sea in “Stained Eyes on a Setting Sun,” walls of rain unleash a river in the title-track, and flames rain down and oceans reabsorb in the finale. Again, that’s six of six tracks with words in them. One can’t help but wonder if that was a purposeful aesthetic choice in the composition of the material or simply a fitting representation of the abyss. In any case, like Wohlrob‘s vocals, the tonal density of his guitar and Miller‘s low end and the ultra-solid push of Wood‘s drums, it is another aspect of Bleed the Days that serves to tie the songs together.

Taking into account Bleed the Days as Eternal Black‘s debut, the album becomes even more impressive in its establishment of theme and aesthetic — well earning the amount of purple on its Joshua M. Wilkinson cover art — and when given repeat listens, further nuance of intent gradually unveils itself, whether it’s the airy flourish of guitar layering buried in the second half of “All Gods Fall” or the force with which the overall trajectory of the trio’s procession leads them to that closer. That shift takes place between the songs themselves, which seem to grow slower from “The Lost, the Forgotten, and the Undying” onward, but “Into Nothing” becomes a crucial divide between the first three cuts and the latter three that follow, which cast a plodding and weighted mire that, even when it picks up a bit in terms of tempo in the title-track, remains enduringly bleak.

Thus “All Gods Fall” can be read as a moment of arrival for Eternal Black and their audience alike, and it meets that task ably in summarizing the atmosphere of what’s come before it, showcasing an avenue for potential forward growth on the part of the band and providing a landing point for the consistently downward push that brings it on. Like the stated subject of death, “All Gods Fall” feels inevitable by the time it hits, and its final lines, “Man faces his eternity/Standing alone,” encapsulate the perspective of Bleed the Days as a whole. There could hardly be a more fitting end for an album that stands so willfully in doomed gruel, and as “All Gods Fall” marches to its fading finish, the sound of crashing waves would seem to provide an answer as to the corresponding watery elements that so much of the material highlighted previously.

I don’t know if I’d call Bleed the Days a concept album in terms of a singular narrative playing out, but neither would I be surprised if Eternal Black went that route sometime in the future, as there is a decided interest in storytelling here, and pivotally, they back that with quality songwriting that’s no less a foundation than the roll in Wood‘s drums. They’ve left themselves room to grow in terms of branching out arrangements and style, but as doom for doomers by doomers, Eternal Black‘s first album brings a host of depressive delights.

Eternal Black, Bleed the Days (2017)

Eternal Black website

Eternal Black on Bandcamp

Eternal Black on Thee Facebooks

Eternal Black on Instagram

Eternal Black on Soundcloud

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Snail Post “Thou Art That” Live Video from The Obelisk All-Dayer

Posted in Bootleg Theater on July 24th, 2017 by JJ Koczan

snail photo adam donnelly

I really think Snail should release their set from last year’s The Obelisk All-Dayer. I’ve never started any kind of online petition, and I’m not usually one to go fishing for comments — because I live in terror that I wouldn’t get any — but yeah, you can check out the video of their 10-minute epic roller “Thou Art That” from the show and if you agree with me that the whole set should see at least a digital release or a limited tape or something, please leave a comment on this post. I’m not saying if we hit a certain number of comments they’ll put something out, but it certainly can’t hurt to try. Right?

“Thou Art That” was a highlight of 2015’s Feral (review here), which came out on Small Stone and was the perfect occasion for the trio of guitarist/vocalist Mark Johnson, bassist Matt Lynch and drummer Marty Dodson to hit the East Coast for the first time in their 20-years-plus history. They absolutely killed it at the show, with what seemed to me to be the night’s biggest crowd, and though I’d seen them on a rare tour years before in San Francisco (review here), this was obviously something special. I was lucky they could make the trip to play.

This isn’t the first live video they’ve posted from the All-Dayer either though. They had one for the title-track of 2009’s Blood (review here) that came out at the beginning of the year as well, so “Thou Art That” — shot by David Strayer with board-recorded audio by Jaime Traba and additional production from Matt Lynch — is the second time they’ve teased the prospect of doing something with that material. I already offered to write the liner notes for a tape or any other kind of release. Come on, guys. This one needs to happen.

I’ve been kicking around ideas for a second The Obelisk All-Dayer for the better part of the last year. Saint Vitus Bar in Brooklyn was on board last I checked, but I’m not sure if it’s something I want to do again, especially with a baby on the way. We’ll see. If you have an opinion on the matter, I’d love to hear it.

Oh, and if you see some schmo down in the front rocking out at the end of “Thou Art That,” well clearly that’s just somebody who very, very much enjoyed the set. Ha.

Dig it:

Snail, “Thou Art That” Live at The Obelisk All-Dayer

The almighty SNAIL playing live at The Obelisk All Dayer in Brooklyn NYC 8-20-2016.

Video: David Strayer
Audio: Jaime Traba
Production: Matt Lynch

Snail, Feral (2015)

Snail on Thee Facebooks

Snail website

Snail at Small Stone Records

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Eternal Black Announce Bleed the Days Due Aug. 8; Premiere “Stained Eyes on a Setting Sun”

Posted in audiObelisk, Whathaveyou on July 19th, 2017 by JJ Koczan

eternal black photo shane gardner

Go ahead and click play on the Eternal Black track premiere at the bottom of this post and then come back up and read the rest of this. Got it? Okay cool. Now that you’re digging into the lumbering weight of ‘Stained Eyes on a Setting Sun,’ I feel like we can really get down to business. The gruff Brooklynite doom metallers are today announcing that in less than a month’s time — Aug. 8 is the date and preorders are up through their Bandcamp — they’ll make their full-length debut with Bleed the Days.

I’m not gonna be coy here. I’ve heard the record and it’s a banger. Like, someone’s-gonna-pick-it-up-and-put-out-vinyl kind of banger. Playing to classic-minded nod, Eternal Black roll out riff after riff of dead-on, no-frills-needed doom. They’ve got seven tracks of it loaded up and ready to move, and as they build from the accomplishments of their 2015 self-titled EP (review here) and pay off the preview of new material they gave on earlier-2017’s Live at WFMU (discussed here), one would be hard pressed to find a less pretentious execution, and especially as it’s their debut, Bleed the Days shows the Maryland Doom Fest veterans as a band looking to make their mark in the sphere of the East Coast underground.

I’ll have more to come as we get closer to the Aug. 8 release, but for now, click play again and give “Stained Eyes on a Setting Sun” another listen as a portend of good things on the way, and dig into the album announcement as sent down the PR wire. You’re going to want to familiarize:

eternal-black-bleed-the-days

Eternal Black to Release Debut Full-Length Album ‘Bleed the Days’ on August 8

Premieres New Track “Stained Eyes On A Setting Sun”

Brooklyn-based doom band ETERNAL BLACK will unleash their debut full-length album, ?Bleed the Days, on August 8th, 2017. In anticipation of the album’s release, a new track, “Stained Eyes On A Setting Sun” will be available for streaming via SoundCloud and Bandcamp.

Bleed the Days is the band’s third release, following their 2015 self-titled EP and a live recording from 2017, ?Live at WFMU? . According to the band, “Sonically, we were aiming for somewhere between Black Sabbath’s ?Master of Reality and The Obsessed’s ?Lunar Womb. We wanted the album to be an obvious step forward in the progression of our sound. Darker and heavier than anything you’ve heard from us before, with the grit of old school Doom.”

Eternal Black again worked with Joe Kelly and Kol Marshall (Mercyful Fate, King Diamond, Ministry), who produced and mixed the album. It was mastered by none other than Tony Reed of Mos Generator. Joshua M. Wilkinson of The Company (Curse the Son, Doctor Doom, Keef Mountain) designed the cover and album art.

Bleed the Days will be released on August 8th, 2017 on CD and digital formats. Preorders can be placed via ?Eternal Black’s Bandcamp page?. A double-LP vinyl version with be available in Fall 2017 with limited edition variations.

Formed in late 2014, Eternal Black is made up of Joe Wood on drums (Borgo Pass), Hal Miller on bass, and Ken Wohlrob on guitar and vocals. The group came together out of a desire to create dark songs driven by fuzz-drenched riffs and old-school heavy grooves.

Bleed the Days tracklisting:
1. The Lost, The Forgotten, and The Undying
2. Snake Oil and Coffin Nails
3. Sea of Graves
4. Into Nothing
5. Stained Eyes on a Setting Sun
6. Bleed The Days
7. All Gods Fall

Eternal Black live:
JUL 20 Eternal Black, Curse the Son, Clouds Taste Satanic, Leeds Point
Lucky 13 Saloon New York, NY

AUG 5 Eternal Black, Reign of Zaius, Goat Wizard, & Begotten
Arlene’s Grocery New York, NY

SEP 23 Eternal Black, Thunderbird Divine, Goat Wizard, & King Bison
Century Philadelphia, PA

OCT 7 NY Invades MD! w/ CLOVER/CLOUDS TASTE SATANIC/ETERNAL BLACK/FAITH IN JANE
Guido’s Speakeasy Frederick, MD

http://eternalblackdoom.com
https://eternalblack.bandcamp.com
https://www.facebook.com/blackhanddoom
https://instagram.com/eternalblackdoom/
https://soundcloud.com/eternalblackdoom

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Quarterly Review: Harvestman, Beastmaker, Endless Boogie, Troubled Horse, Come to Grief, Holy Rivals, Mountain God, Dr. Space, Dirty Grave, Summoned by Giants

Posted in Reviews on July 17th, 2017 by JJ Koczan

quarterly-review-summer-2017

Bonus round! I don’t know if you’re stoked on having a sixth Quarterly Review day, but I sure am. Basically this is me doing myself favors. In terms of what’s being covered and how I’m covering it, today might be the high point for me personally of the entire Summer 2017 Quarterly Review. Some of this stuff I’m more behind on than others, but it’s all releases that I’ve wanted desperately to write about that I haven’t been able to make happen so far and I’m incredibly thankful for the opportunity to be able to do so at last. It’s a load off my mind in the best way possible, and as this is the final day of the Quarterly Review, before I dig in I’ll just say one more time thank you for reading and I hope you found something in the past week that really speaks to you, because that’s what makes it all worthwhile in the first place. One more go.

Quarterly Review #51-60:

Harvestman, Music for Megaliths

harvestman-music-for-megaliths

A new Harvestman album, like a harvest itself, is an occasion. Distinct entirely from the solo output released by Neurosis guitarist/vocalist Steve Von Till under his own name, Harvestman’s guitar-led experimentalism and ritualized psychedelia don’t happen every day – the last album was 2009’s In a Dark Tongue (review here) – and with the resonance of “Oak Drone” and the layered, drummed and vocalized textures of “Levitation,” the new collection, Music for Megaliths (on Neurot, of course), lives up to the project’s high standards of the unexpected. Pulsations beneath opener and longest track (immediate points) “The Forest is Our Temple” offer some initial threat, but the electronic beat behind the howling notes of “Ring of Sentinels” and the Vangelis-esque centerpiece “Cromlech” find more soothing ground, and though “Sundown” seems to be speaking to Neurosis “Bleeding the Pigs” from 2012’s Honor Found in Decay (review here) in its atmosphere, the spoken word that tops closer “White Horse” provides a last-minute human connection before all is brought to a quick fadeout. If you told me Music for Megaliths was assembled over a period of years, I’d believe you given its breadth, but whether it was or not, Harvestman’s latest should provide a worthy feast for a long time to come.

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Beastmaker, Inside the Skull

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Los Angeles three-piece Beastmaker continue their ascent with their second album for Rise Above Records, the unflinchingly cohesive Inside the Skull. Like its predecessor, 2016’s Lusus Naturae (review here), the quick-turnaround sophomore outing executes a modern garage doom aesthetic and unfuckwithably tight songwriting, this time bringing 10 new tracks that reimagine classic vibes – witness the Witchcraft “No Angel or Demon”-style riff of opener “Evil One” (video posted here) – and touch on some of the same ground pioneered by Uncle Acid without actually sounding like that UK band or sounding like anyone for that matter so much as themselves. They make darkened highlights of “Now Howls the Beast,” “Of Gods Creation,” the crashing “Psychic Visions,” closer “Sick Sick Demon” and the preceding “Night Bird,” which offers some welcome departure into drift prior to the solo in its final minute – all impeccably crisp in structure despite a dirt-caked production – but resonant, memorable hooks abound, and the trio affirm the potential their debut showed and offer a quick step forward that one can only imagine will find them turning more heads toward their growing cult following. They’re still growing, but Inside the Skull is confirmation Beastmaker on a path to becoming something really special.

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Beastmaker at Rise Above Records

 

Endless Boogie, Vibe Killer

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One can’t help but think there’s a bit of tongue-in-cheekery at play in the inaccuracy of Endless Boogie titling their latest album Vibe Killer. The seven-track/51-minute No Quarter release follows 2013’s Long Island (review here) and is, of course, doing everything but killing the vibe, as the New York-based outfit proffer their nestled-in raw songs crafted out of and on top of improvised jams, the semi-spoken gutturalisms of guitarist Paul “Top Dollar” Major a defining element from the laid back opening title-track onward. Moody rock classicism persists through “High Drag, Hard Doin’” and the more active “Back in ’74,” but the true peak of Vibe Killer comes in the 11-minute “Jefferson Country,” which unfolds hypnotic drone experimentation that’s as willfully ungraceful as it winds up being flowing. Bottom line: dudes know what’s up. Endless Boogie’s languid roll is second to nobody and Vibe Killer is a vision of cool jazz reinvented to feel as much at home in rock clubs of the basement and of the chic see-and-be-seen variety. Very New York, in that, but not at all given to elitism. Everyone’s invited to dig, and dig they should.

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Troubled Horse, Revolution on Repeat

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There were a few minutes there where one probably wouldn’t have been wrong to wonder if Örebro, Sweden’s Troubled Horse would have a follow-up at all to back 2012’s Step Inside (review here), but with Revolution on Repeat (out via Rise Above), the four-piece led by dynamic vocalist Martin Heppich prove among the most vital of the many heavy rock acts to emerge from their hometown, known for the likes of Witchcraft, Graveyard, Truckfighters and countless others. Heppich, lead guitarist Mikael Linder (also bass on the recording), guitarist Tom and drummer Jonas start with the boogie-fied opening salvo “Hurricane” (video premiere here) and “The Filthy Ones,” and run madcap through the memorable hooks of “Which Way to the Mob” and “Peasants” en route to the mid-paced “The Haunted” and into a second half marked by the semi-balladry of “Desperation” and “My Shit’s Fucked Up.” Soon, the standout chorus of “Track 7” (yup, that’s the title) and the penultimate funk of “Let Bastards Know” lead to a nine-minute epic finish in “Bleeding” – and all the while Troubled Horse hold firm to groove, momentum, poise, crisp production and songwriting as they tie varied landmarks together with an overarching sense of motion, Heppich’s charismatic soulfulness and deceptively subtle flourishes of arrangement to make an absolutely welcome return.

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Come to Grief, The Worst of Times

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Sometimes you just have to toss up your hands and say, “Well, that’s some of the nastiest shit I’ve ever heard.” To step back and consider them at some distance, Come to Grief aren’t near the most abrasive band on the planet, but when you’re actually listening to their debut EP, The Worst of Times, that’s much harder to believe. Launching with “Killed by Life,” the four-tracker finds the Boston outfit led by former Grief guitarist Terry Savastano – here joined by drummer Chuck Conlon, bassist Justin Christian and vocalist/guitarist Jonathan Hebert – plodding out scream-topped filth that’s actually fuller-sounding than anything Grief did back in their day and all the more devastating for its thickness. The seven-minute “No Savior” is excruciating, and though shorter, “Futility of Humanity” and even the slightly-faster closer “Junklove” bring no letup whatsoever from the onslaught. Think accessible, then go the complete other way, then bludgeon yourself. It’s kind of like that. Absolute brutality delivered by expert and unkind hands.

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Holy Rivals, Holy Rivals

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The question of whether noise rock and sludge can coexist is largely one of tempo and tone, and recently-signed-to-BlackseedRecords Pittsburgh trio Holy Rivals’ self-titled debut answers in forceful fashion. Amid more aggro punch of opener “Locked Inn” comes the crust-laden grunge of “Voices,” and whether they’re rolling out the more spacious “Sleep” or sprinting through the post-Bleach raw punkery of “Dead Ender” on their way to the more ambient and patient seven-minute finale “Into Dust,” guitarist/vocalist Jason Orr (also T-Tops), bassist Aaron Orr (whose tone features well on the closer) and drummer Matt Langille – whose adaptability is essential to the Helmet-style starts and stops of “Loathe” that emerge from the preceding roll of “Sleep” – Holy Rivals put a superficial harshness to use as a cover for what’s actually a diverse songwriting process. They’ll reportedly have a new record out in Fall 2017, so this 2016 self-release may soon be in hindsight, but in setting the foundation for growth, it offers exciting prospects caked in an abidingly raw presentation.

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Mountain God, Bread Solstice

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Around what would seem to be the core duo of guitarist/vocalist Ben Ianuzzi and bassist/keyboardist Nikhil Kamineni, Brooklyn psychedelic post-sludgers Mountain God have undergone numerous lineup shifts en route to and through the release of their debut album, Bread Solstice (on Artificial Head Records). To wit, drummer/vocalist Ryan Smith (also Thera Roya), who appears on the dark, unrelenting and abyss-crafting 40-minute six-tracker, has already been replaced by Gabriel Cruz, and there have been other changes in vocalist, keyboardist and drummer positions even since they offered their 2015 EP, Forest of the Lost (review here) to set the stage for this deeply-atmospheric, it’s-acid-rock-but-with-sulfuric-acid first long-player. In light of that tumult and the overarching commitment to abrasive noise Mountain God make in pieces like the 11-minute “Nazca Lines,” “Junglenaut” or even the brooding tension of airy instrumental “Unknown Ascent,” it’s all the more impressive that Bread Solstice is as cohesive in its cerebral horror as it is, constructing a harsh and churning vision of doom as something worthy of post-apocalyptic revelry. Far from easy listening, but of marked purpose. They should play exclusively in art galleries, no matter who winds up in the band.

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Dr. Space, Dr. Space’s Alien Planet Trip Vol. 1

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Perhaps best known for his work in spearheading the improvisational Denmark-based Øresund Space Collective, modular synth wizard Scott “Dr. Space” Heller weirds out across four cuts on the solo release Dr. Space’s Alien Planet Trip Vol. 1, which both underscores in its scope how essential he is to the aforementioned outfit and oozes beyond that group’s parameters into electronic beatmaking and waves of synthesizer drone. Pulling influence from classic progadelia, Heller unfurls longform tripping on 24-minute opener and longest track (immediate points) “5 Dimensions of the Universe” and veers into and out of somewhat abrasive swirl on “Rising Sun on Mars” before landing in the more steady atmosphere of “In Search of Life on Io” and launching once more outward with the five-minute finale “Alien Improv 2.” Just how many alien planet trips the good doctor will be undertaking remains as yet a mystery, but the breadth of this first one makes it plain to the listener that Heller’s sonic universe is wide open and, seemingly, ever-expanding.

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Space Rock Productions website

 

Dirty Grave, So Fall and Crawl Away

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Brazilian doomers Dirty Grave issue the three-song single/EP So Fall and Crawl Away (bonus points for the Alice in Chains reference) ahead of making their full-length debut reportedly any minute now with an album called Evil Desire. Comprised of two studio tracks in the eight-minute “The Black Cloud Comes” and the four-minute Howlin’ Wolf cover “Evil (Is Going On)” and with the live cut “Unholy Son – Live” as a kind of bonus track, it’s a sampling behind two similar short releases, 2014’s Vol. II and 2013’s Dirty Grave (which featured a studio version of “Unholy Son”), that sleeks through eerie doom loosely tinged with psychedelia and smoked-out vibing. “Evil (Is Going On)” is more uptempo, perhaps unsurprisingly, but is giving a likewise treatment all the same, its final solo shredding into oblivion with stoned abandon. “Unholy Son – Live” is rawer but still carries through its melody in the vocals amid a prevalent crash, and if it’s a portend of things to come on Evil Desire, then So Fall and Crawl Away serves as a warning worth heeding.

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Summoned by Giants, Stone Wind

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If you have a convenient narrative for what West Coast heavy rock has become over the last decade, Summoned by Giants’ debut album, Stone Wind, is probably too aggressive on the whole to fit it neatly. Their cleaner parts, the rolling second cut “Diamond Head” and samples throughout have aspects of that post-Red Fang party vibe, but to listen to the rawness of the bass tone that starts “Return” or closer “I Hate it When You Breathe,” or even the slurring “come at me, bro”-style rant sampled at the seven-track/27-minute album’s launch, a will toward violence is never far off. Couple that with the thickened noise punk of “Saturn” and the Weedeater sludge of the penultimate “Dying Wish,” and Summoned by Giants – guitarist/vocalist Sean Delaney, guitarist Jordan Sattelmair, bassist/vocalist Patrick Moening and drummer Mel Burris – seem more interested in doling out punishment than kicking back, making a silly video and having a good time. Well, maybe they’re having a good time, but they’re doing so while kicking your ass.

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