Posted in Whathaveyou on November 6th, 2015 by H.P. Taskmaster
The prospect of a new full-length from Devon doomers The Wounded Kings lurks on the horizon like a dark spot at sunset, just reminding ever so slightly of the horrors to come. This will be the persistently-nebulous outfit’s fifth full-length overall and their second for Candlelight Records behind last year’s chills-up-the-spine creeper Consolamentum (review here), which was as much the end of an era as it was the beginning of one, as it turns out. Always pretty fluid in their lineup around founding guitarist Steve Mills, The Wounded Kings welcomed original vocalist George Birch back into the band, and the forthcoming Visions in Bone will serve as Birch‘s first record with them since 2010’s The Shadow over Atlantis (review here).
They’re a much different band than they were when they and Birch first parted ways. For one thing, they play live. For another thing, they’re a whole band. But Birch has had some time to get adjusted over the course of this year, playing Hellfest in France this summer, preparing the new album, and so on. The Wounded Kings will be at Damnation Festival this weekend with 40 Watt Sun, Witchsorrow, Ohhms and an imperial fuckton of others, but they’ve also just announced a European tour for March 2016 that presumably will coincide one way or another with the Visions in Bone release. They had unveiled a song from the album, along with the cover art (it’s similar to the tour poster below) and some other details, but it would seem it was for a limited time only. More to come, I’m sure.
Tour poster and dates and whatnot follow. Have at it:
We will be touring Europe in 2016 and we will being playing ‘Visions In Bone’ in its full entirety. Check out dates below:
March 4th – London, UK* March 5th – Leeuwarden, Holland* March 6th – Leipzig, Germany* March 7th – Nuremberg, Germany* March 8th – Olten, Switzerland* March 9th – Parma, Italy* March 10th – Milan, Italy* March 11th – Freiburg, Germany* March 12th – Liege, Belgium*
Posted in Reviews on October 1st, 2015 by H.P. Taskmaster
We’re in the thick of it now. It’s hard sometimes putting these things together to remember that each band has worked incredibly hard to put out an album. I’ve been through that process (once), and so I know it can be harrowing at times between acts going back and forth about recording, what’s included, how to release, when, and so on. There’s a lot to cover this week — and we’re not out of the woods yet — but I hope that, just because each review is short, you don’t take that as a sign I don’t have the utmost respect for the effort that has gone into making each of these releases. It can be a tremendous pain in the ass, but of course it’s worth it when you get to the end product. We continue.
Fall 2015 Quarterly Review #31-40:
We Lost the Sea, Departure Songs
To be blunt, We Lost the Sea’s Departure Songs is the kind of album that immediately makes me want to own everything the band has done, in hard copy, for posterity. The Sydney outfit’s third full-length finds its crux in its two-part closing duo of “Challenger Part 1 – Flight” and “Challenger Part 2 – A Swan Song,” enacting a lush instrumental interpretation of the Space Shuttle Challenger flight and disaster that took place nearly 30 years ago in Jan. 1986. In its progression, patience, flow and discernable narrative thread it is nothing short of brilliant, a lush and sad beauty that serves as a genuinely affecting reminder of the hope for a better future that died with that shuttle’s civilian crew and the era of aspiration that tragedy brought to a close. I think the closing sample is the only time I’ve ever heard Ronald Reagan speak in my adult life and felt something other than anger, and that’s a testament to the ground Departure Songs covers – on the preceding three cuts as well as the final two – and the masterful execution on the part of We Lost the Sea.
There does not yet exist a name for what Finland’s Dark Buddha Rising bring to bear on the two side-consuming tracks of their Neurot Recordings debut and sixth album overall, Inversum. Self-recorded and presented following some shifts in lineup, the album swells to a massive head of bleak, noise-infused psychedelia, fully ritualized and self-aware but still vibrant as it makes its way further and further down into itself. It is bright black, based so much around contrasting ideas of form and tonality that to listen to it, one almost doesn’t believe that the band are accomplishing what they are on an aesthetic level, but the weight, chants, screams, cavernous feel and nod that “Eso” (24:05) and “Exo” (23:52) enact is ultimately real no matter how nightmarish and otherworldly the impression might be. A work that sounds as likely to digest as be digested, it constructs a temple of its own sound and then burns that temple and everything around it in a glorious final push into charred chaos.
Few endorsements carry as much weight for me as that of Germany’s Nasoni Records, so when I see that venerable imprint is on board for the release of Red Mountains’ first album, Down with the Sun, expectations immediately rise. The Norwegian four-piece don’t disappoint, calling forth a heavy psychedelia weighted enough to be immersive without really falling into the trap of sounding too post-Colour Haze or Causa Sui, finding a balance right away on opener “Six Hands” between open-vibe and structured songcraft. They toy with one side or the other, getting crunchy on “Rodents” and tripping out into ambient echoing on the penultimate “Silver Grey Sky,” but that only makes the debut seem all the more promising. Particularly satisfying is the scope between “Sun” and “Sleepy Desert Blues,” which is enough to make the listener think that grunge and desert rock happened in the same place. An engaging and already-on-the-right-track start from a band who sound like they’re only going to continue to grow.
It’s improper to think of Germany’s Black Space Riders as entirely psychedelic if only because that somehow implies a lack of clearheaded consciousness in their work, which as their fourth album, Refugeeum, demonstrates, is the very core tying all the expanses they cover together. As Europe comes to grip with its most dire refugee crisis since World War II, Black Space Riders take their thematic movement from such terrestrial issues (a first for them) and it makes a song like 11-minute centerpiece “Run to the Plains” all the more resonant. Of course, the big-chug groove of “Born a Lion (Homeless)” and the cosmic thrust of the penultimate “Walking Shades” still have a psychedelic resonance, but the balance between the earthly and the otherworldly do well to highlight the progressivism that’s been at work in the band’s sound all along. A considerable undertaking at 61 minutes, Refugeeum is an important step in an ongoing development that has just made another unexpected and welcome turn.
And so, with their third and final outing, III, Portland, Oregon, trio Lamprey reserve their strongest point for their closing argument. The two-bass trio of bassist/vocalist Blaine Burnham (now drumming in Mane of the Cur), bassist Justin Brown (now bass-ing in Witch Mountain) and drummer Spencer Norman recorded the conclusive six-tracker with Adam Pike at Toadhouse (Red Fang, Mammoth Salmon, etc.) and even the slower shifts of “Harpies” and the decidedly Conan-esque “Lament of the Deathworm” breeze right by. Like their two prior releases, 2012’S The Burden of Beasts (review here) and 2011’s Ancient Secrets (review here), III is a showcase of songcraft as much as tone, and it seems to presage its own vinyl reissue, each of the two halves starting with a shorter piece, the opener “Iron Awake” a notably vicious stomp that sets a destructive vibe that the rumble and weirdo keys and leads that finish out “Gaea” seem to be answering, a quick fade bringing an end to an underrated act. They’ll be missed.
If newcomer bruisers Godsleep seem to share some commonality of method with fellow Athenians 1000mods, it’s worth noting that on their debut, Thousand Sons of Sleep, they also share a recording engineer in George Leodis. Fair enough. The big-toned riffing and shouty burl on which Godsleep cast their foundation makes its identity felt in the post-Kyussism of “Thirteen” and stonerly grit of centerpiece “This is Mine,” which follows the extended opening salvo of “The Call,” “Thirteen” and “Wrong Turn,” the latter of which is the longest cut at 9:09 and among its most satisfyingly fuzzed nods. They’re playing to style perhaps, but doing so well, and if you’ve gotta start somewhere, recording live and coming out with a heavy-as-hell groove like what emerges in the second half of “Home” is a good place to start. Godsleep are already a year past from when they recorded Thousand Sons of Sleep in Summer 2014, so I wouldn’t be surprised if a follow-up happened sooner than later.
Slow Joe Crow & the Berserker Blues Band, We are Blues People
Kentucky-based, cumbersomely-named Slow Joe Crow and the Berserker Blues Band may indeed live up to the We are Blues People title of their debut EP, but they’re definitely riff people as well. As such, the four-track sampling of their wares draws from both sides on a cut like opener “No One Else,” the three-piece of guitarist/vocalist Austin P. Lunn, bassist Patrick Flanary and drummer Thom Hammerheart in the process of figuring out how much they want to lean to one or the other. They round out with a fuzzy take on the traditional “John the Revelator,” but the earlier “Muddy Water Rising” strikes a more effective and more authentic-feeling balance, leading to the slow jam of “Before I Go,” which adds a ‘70s rock vibe to push the bluesy feel even further and expand the palette in a manner one hopes they continue to pursue as they move forward.
Canadian trio Monobrow follow their 2014 LP, Big Sky, Black Horse (review here) with what’s essentially a new single that finds them continuing to step forward in their approach. Dubbed A Handwritten Letter from the Moon and taking its name from the 8:33 title-track, the Ottawa group’s latest offering finds the instrumental outfit smoothing out the tones a bit, still hitting into raucous grooves, but closer to Truckfighters than their prior brashness. I don’t know if it’s a method they’ll stick to going into their fourth LP next year, but the result is dynamic and suits them well. “A Handwritten Letter from the Moon” comes coupled with “Dyatlov Station 3,” a seven-minute rehearsal-space jam from 2011 that fascinatingly (and I’m sure by no coincidence) showcases some similar classic heavy rock influence. The only real shame of the release is that both these tracks are probably too long to fit on a 7”, since a small platter of vinyl would be a perfect way to hold over listeners until the next album arrives. As it stands, the digital version is hardly roughing it.
French heavy rocking four-piece Denizen issued their decidedly Clutchian debut, Whispering Wild Stories (review here), in 2011, and follow it through Argonauta Records with Troubled Waters, a more individualized 10-track outing that alternates between punkish rawness and classic upbeat grooves. Four years after their first album, their progression hasn’t come at the cost of songwriting, and while they still have work to do in distinguishing themselves in a crowded, varied European market, they deliver the material with an energy and vitality that makes even its familiar parts easy enough to get down with, be it the Southern heavy solo of “Jocelyne” or the meaner bite of “Enter Truckman.” I’ll take the pair of “King of Horses” and “Heavy Rider” as highlights, and remain interested to find out where Denizen head from here, as well as how long it might take them to get there. Four years between records gives Troubled Waters the feel of a second debut as much as a sophomore effort.
Releasing through Candlelight in their native UK, doom metal trio Witchsorrow mark a decade with their third album, No Light, Only Fire. Opener “There is No Light There is Only Fire” seems to nod immediately at Cathedral, with a speedier, chuggier take, and the record proceeds to alternate between shorter and longer tracks en route to the 14-minute closer “De Mysteriis Doom Sabbathas,” cuts like “Negative Utopia” and “Disaster Reality” sailing a black ship past the 10-minute mark on a rumbling sea of riffs and slow motion nod. They break for a minute with the acoustic interlude “Four Candles” before embarking on the finale, and the respite is appreciated once the agonizing undulations of “De Mysteriis Doom Sabbathas” are underway, using nearly every second of their 14:25 to affirm Witchsorrow’s trad doom mastery and bleak, darkened heft. No light? Maybe a little light, but it’s still pretty damn dark, and indeed, it smells like smoke.
Posted in Whathaveyou on September 16th, 2015 by H.P. Taskmaster
Already on tour this Fall with Clutch, the semi-reunited four-piece incarnation of Corrosion of Conformity have announced a run of headlining dates to follow that as they continue to mark 20 years since the release of their 1995 classic, Deliverance. At this point, aside from wanting very, very badly to see them play again, I’m curious to find out if C.O.C. will do another record with Pepper Keenan on guitar/vocals alongside bassist/vocalist Mike Dean, guitarist Woody Weatherman and drummer Reed Mullin, or if it’s just going to be live shows from here on out. Rumblings and rumors have been heard, pull quotes from interviews and so on, but that’s a far cry from a release date, and when and if it does happen, new C.O.C. is going to be a landmark.
Already it’s been a decade since the underrated In the Arms of God, which was their last album with Keenan as frontman, the band releasing a self-titled in 2012 and IX in 2014 as a trio on Candlelight Records, so you’d have to say they’re due. Support on this tour comes from Brant Bjork and the Low Desert Punk Band, Saviours and Mothership, all of which only makes it more badass.
UPDATE 9/16: I’m not sure what’s going on with this tour as some of the dates have disappeared from what’s on the poster below. The most recently-posted list of tour dates appears in blue:
UPDATE ON THE UPDATE: Okay, so it looks like the shows will go down as seen in the flyer below. Something about contracts and what was supposed to be announced and what wasn’t. I’m gonna keep the list of dates in blue as it is, and if your town’s not on there, check the flyer and maybe it’s there and the rest will work out as it will. Fun afternoon though:
C.O.C. US TOUR DATES 2015: Mon/Sep-28th Motörhead’s MotörBoat CLUTCH AND C.O.C. Sat/Oct-03 Ft. Lauderdale, FL @ Revolution Sun/Oct-04 St Petersburg, FL @ Jannus Live Tue/Oct-06 Nashville, TN @ Marathon Music Works Wed/Oct-07 Charlotte, NC @ Amos’ Southend Fri/Oct-09 Hampton Beach, NH @ Hampton Beach Casino Sat/Oct-10 Clifton Park, NY @ Upstate Concert Hall Sun/Oct-11 New Haven, CT @ Toad’s Place Tue/Oct-13 Indianapolis, IN @ The Vogue Wed/Oct-14 Chicago, IL @ House Of Blues Thu/Oct-15 Grand Rapids, MI @ Orbit Room Fri/Oct-16 Sauget, IL @ Pop’s Nightclub Sat/Oct-17 Lincoln, NE @ Bourbon Theatre Sun/Oct-18 Fargo, ND @ Scheels Arena Tue/Oct-20 Billings, MT @ Shrine Auditorium Thu/Oct-22 Spokane, WA @ Knitting Factory Concert House Fri/Oct-23 Boise, ID @ Knitting Factory Concert House SatOct-24 KNOTFEST Sun/Oct-25 COC Headline show Las Vegas @ Vinyl Hard Rock CLUTCH, MASTODON, CORROSION OF CONFORMITY: Mon/Oct-26 Tucson, AZ @ Rialto Theatre Wed/Oct-28 Austin, TX @ Austin Music Hall Thu/Oct-29 Dallas, TX @ Gas Monkey Live Fri/Oct-30 Houston, TX @ Bayou Music Center MASTODON, CORROSION OF CONFORMITY: Sat/Oct-31 New Orleans, LA @ Civic Theatre Sun/Nov-01 Birmingham @Iron City HEADLINE DATES Thu/Nov-12 Atlanta, GA @ The Loft Fri/Nov-13 Shreveport, LA @ Riverside Warehouse Mon/Nov-16 Scottsdale, AZ @ Pub Rock Tue/Nov-17 Los Angeles, CA @ Teragram Ballroom Wed/Nov-18 San Francisco, CA @ Slim’s Fri/Nov-20 Vancouver, BC @ Venue Nightclub Sat/Nov-21 Seattle, WA @ Neumo’s Mon/Nov-23 Denver, CO @ The Summit Music Hall Tue/Nov-24 Kansas City, MO @ The Riot Room Wed/Nov-25 Minneapolis, MN @ Mill City Nights Sat/Nov-28 Cleveland, OH @ The Odeon Sun/Nov-29 Philadelphia, PA @ Underground Arts Tue/Dec-01 Toronto, ON @ Opera House Thu/Dec-03 Pittsburgh, PA @ Altar Bar Mon/Dec-07 Washington, DC @ 9:30 Club Wed/Dec-09 Virginia Beach, VA @ Shaka’s Live Thu/Dec-10 Raleigh, NC @ Lincoln Theatre
Posted in Whathaveyou on September 3rd, 2015 by H.P. Taskmaster
Swedish twofer Galvano will hit the road next month across Western Europe in support of their earlier-2015 release, Trail of the Serpent, which is also their debut on Candlelight Records. They’re joined for the trek by their countrymen in Snailking and Canada’s Zaum, who I hear will have a new record out in 2016, which is surely good news for anyone who likes their heavy with a bit of ritual behind it. Which I think is just about everybody at this point. Or, at very least, me. Ha.
It’s a more than solid bill, though, with the three bands, and they’ll meet up with the likes of Pentagram and Graveyard along the way as well, so all the better. Dates and background on Trail of the Serpent follow, as well as the stream of the album, all courtesy of the PR wire:
We are hitting Europe again in November, this time with our friends in Snailking and ZAUM. Excited to return to France, this time sharing stage with the mighty Pentagram! Hope to see you out there! Go like these killer bands and share this poster. Thank you.
Galvano on Tour with Snailking and Zaum 11.13 Stengade Copenhagen DK 11.14 Astrastube Hamburg DE 11.15 TBC Rouen FR 11.17 Ferrailleur Nantes FR* 11.18 Little Devil Tilburg NL 11.19 De Onderbroek Nijmegen NL 11.20 Music City Antwerp BE 11.21 Brixton Windmill London UK 11.23 TBC Leipzig DE 11.24 Chemiefabrik Dresden DE 11.25 Alte Meierei Kiel DE 11.26 Schokoladen Berlin DE 11.27 1000Fryd Aalborg DK 11.28 Vulkan Arena Oslo NO** *with Pentagram **with Graveyard
From the deepest, nastiest recesses of Gothenburg comes crushing Swedish sludge duo Galvano. Now comprising Mattias Noojd (guitars/vocals) and Fredrik Kall (drums), Galvano originally started out as a three-piece in 2005.
Galvano embarked on their first mini tour in 2010 visiting Denmark and a set of German cities. That same year the band were asked to feature on a split so they went into the studio and recorded the epic single The Librarian which was mixed and mastered by the legendary Billy Anderson (Orange Goblin, Cathedral, Eyehategod).
This was released as a 10 in 2011 on SM Musik from Leipzig, Germany. The release was then followed up by a full European tour. After this tour the band said goodbye to their fourth bass player and decided to move on as a duo. Early in 2012 they teamed up with UK based label Devouter Records for the release of their debut full-length album Two Titans. The album was released on December 5th and was very well received by both fans and media.
Since then the band has played over 35 shows during several European tours including UK and Ireland. In January 2015, Galvano signed with Candlelight Records.
Posted in Reviews on June 29th, 2015 by H.P. Taskmaster
I said back in March that I was going to try to make the Quarterly Review a regular feature around here, and once it was put out there, the only thing to do was to live up to it. Over the last several — like, five — weeks, I’ve been compiling lists of albums to be included, and throughout the next five days, we’re going to make our way through that list. From bigger names to first demos and across a wide swath of heavy styles, there’s a lot of stuff to come, and I hope within all of it you’re able to find something that hits home or speaks to you in a special way.
No sense in delaying. Hold nose, dive in.
Quarterly Review #1-10:
Relatively newcomer trio Foehammer specialize in grueling, slow-motion punishment. Their self-titled debut EP follows a well-received 2014 demo and is three tracks/34 minutes released by Grimoire and Australopithecus Records of doomed extremity, the Virginian three-piece of guitarist Joe Cox (ex-Gradius), bassist/vocalist Jay Cardinell (ex-Gradius, ex-Durga Temple) and drummer Ben “Vang” Blanton (ex-Vog, also of The Oracle) not new to the Doom Capitol-area underground by any stretch and seeming to pool all their experience to maximize the impact of this extended material. Neither “Final Grail,” “Stormcrow” nor 14-minute closer “Jotnar” is without a sense of looming atmosphere, but Foehammer at this point are light only on drama, and the lower, sludgier and more crushing they go, the more righteous the EP is for it. Stunningly heavy and landing with a suitable shockwave, it is hopefully the beginning of a long, feedback-drenched tenure in death-doom, and if the EP is over half an hour, the prospect of a follow-up debut full-length seems overwhelming. Easily one of the year’s best short releases.
It’s not like they were lying when they decided to call a song “Shroom Doom.” Melbourne double-guitar four-piece made their self-titled debut as Holy Serpent last year, and the five-track full-length was picked up for release on RidingEasy Records no doubt for its two-front worship of Uncle Acid’s slither and jangle – especially prevalent on the eponymous opener and closer “The Wind” – and the now-classic stonerism of Sleep. That blend comes together best of all on the aforementioned finale, but neither will I take away from the north-of-10-minute righteousness of “The Plague” preceding, with its slow roll and malevolent vibe that, somehow, still sounds like a party. Comprised of guitarist/vocalist Scott Penberthy, guitarist Nick Donoughue, bassist Michael Macfie and drummer Keith Ratnan, the real test for Holy Serpent will be their second or third album – i.e., how they develop the psychedelic nodes of centerpiece “Fools Gold” along with the rest of their sound – but listening to these tracks, it’s easy to let the future worry about itself.
There are a variety of influences at work across Wicked Inquisition’s self-titled debut long-player, from the Sabbath references of its eponymous closer to the earlier thrashery of “In Shackles” and “Sun Flight,” but the core of the Minneapolis four-piece resides in a guitar-led brand of metal, whatever else they decide to build around it. Guitarist/vocalist Nate Towle, guitarist Ben Stevens, bassist Jordan Anderson and drummer Jack McKoskey align tightly around the riffs of “M.A.D.” in all-business fashion. Shades of Candlemass show up in some of the slower material, “M.A.D.” included as well as with “Crimson Odyssey,” but the start-stops of “Tomorrow Always Knows” ensure the audience is clued in that there’s more going on than just classic doom, though a Trouble influence seems to hover over the proceedings as well, waiting to be more fully explored as the band moves forward.
Clocking in at an hour flat, Sydney all-caps riffers AVER construct their second album, Nadir, largely out of familiar elements, but wind up with a blend of their own. Fuzz is prevalent in the extended nod of opener “The Devil’s Medicine” (9:46) which bookends with the longest track, finisher “Waves” (9:48), though it’s not exactly like the four-piece are shy about writing longer songs in between. The production, while clear enough, lends its focus more toward the low end, which could be pulling in another direction from the impact of some of Nadir’s psychedelia on “Rising Sun” second half solo, but neither will I take anything away from Jed’s bass tone, which could carry this hour of material were it asked. The vocals of guitarist Burdt have a distinct Acid Bathian feel, post-grunge, and that contrasts a more laid back vibe even on the acoustic-centered “Promised Lands,” but neither he, Jed, guitarist Luke or drummer Chris feel out of place here, and I’m not inclined to complain.
Sweet, classic and very, very British folk pervades the gorgeously melodic and meticulously arranged Silence and Tears by London six-piece Galley Beggar, released on Rise Above. The eight-track/40-minute album packs neatly onto a vinyl release and has near-immediate psychedelic underpinnings in the wah of opener “Adam and Eve,” and side B’s “Geordie” has some heavier-derived groove, but it’s the beauty and lushness of the harmonies throughout (finding satisfying culmination in closer “Deliver Him”) that stand Galley Beggar’s third offering out from worshipers of a ‘60s and ‘70s era aesthetic. The highlight of Silence and Tears arrives early in nine-minute second cut “Pay My Body,” a wonderfully swaying, patient excursion that gives equal time to instrumental exploration and vocal accomplishment, but to a select few who let themselves be truly hypnotized and carried along its winding course, the album’s entire span will prove a treasure to be revisited for years to come and whose sunshiny imprint will remain vivid.
With inspiration reportedly from the 1977 demon-possession horror flick Alucarda, Las Vegas doomers Demon Lung return with A Dracula, their second offering via Candlelight Records after 2013’s The Hundredth Name, and as the movie begins with a birth, so too do we get “Behold, the Daughter” following the intro “Rursumque Alucarda,” later mirrored by a penultimate interlude of the same name. Billy Anderson produced, so it’s not exactly a surprise that the slow, undulating riffs and the periodic bouts of more upbeat chug, as on “Gypsy Curse,” come through nice and viscous, but vocalist Shanda brings an ethereal melodic sensibility, not quite cult rock, but on “Mark of Jubilee” presenting momentarily some similarly bleak atmospherics to those of the UK’s Undersmile, her voice seeming to command the guitars to solidify from their initial airiness and churn out an eerie apex, which closer “Raped by the Serpent” pushes further for a raging finale.
Spirit Division’s self-titled debut full-length follows a 2014 demo that also hosted three of the tracks – opener “Spirit Division,” “Through the Rounds” and “Mountain of Lies” – but is fuller-sounding in its post-grunge tonality and doomly chug than the earlier offering, guitarist/vocalist Stephen Hoffman, bassist/vocalist Chris Latta and drummer/vocalist David Glass finding a straightforward route through moody metallurgy and weighted riffage. Some Wino-style swing shows up on “Bloodletting,” and “Cloud of Souls” has a decidedly militaristic march to its progression, while the later “Red Sky” revels in classic doom that seems to want to be just a touch slower than it is, but what ultimately unites the material is the strong sense of purpose across the album’s span and Spirit Division’s care in the vocal arrangements. The production is somewhat dry, but Spirit Division walk the line between sludge rock and doom and seem comfortable in that sphere while also sparking a creative progression that seems well worth further pursuit.
I was all set to include a different Space Mushroom Fuzz album in this roundup, but then I saw that the project was coming to an end and Until Next Time was issued as the band’s final release. The deal all along with the band headed by guitarist/vocalist Adam Abrams (also Blue Aside) has been that you never really know what he’s going to do next. Fair enough. Abrams brings it down in suitably bizarre fashion, a keyboard and guitar line backing “Class Onion” in direct mockery of Beatlesian bounce, where “The DeLorean Takes Off!” before compiles five-plus minutes of experimental noise and “Follow that DeLorean” answers with another round after. Elsewhere, opener and longest cut (immediate points) “Here Comes Trouble” resonates with its central guitar line and unfolds to further oddity with a quiet but gruff vocal, while “The Rescue” vibes like something Ween would’ve conjured after huffing roach spray (or whatever was handy) and closer “Back in ‘55” moves from progressive soloing to froggy singing and weirdo jangle. All in all a strange and fitting end to the band.
Santa Cruz trio Mountain Tamer have been kicking around the West Coast for the last several years, and since they released a full-length, Liquid Metal, in 2013, and a prior EP in 2012’s The Glad, it’s tempting to try to read some larger shift sonically into their MTN TMR Demo, as though having completely revamped their sound, the trio of guitarist/vocalist Andru, bassist/vocalist Dave Teget and drummer/vocalist Casey Garcia trying out new ideas as they redirect their approach. That may well be the case, with “Satan’s Waitin’,” “Sum People” and “Dunes of the Mind” each standing at over five-minutes of neo-stoner roll, more psychedelic than some in the growing fuck-it-let’s-skate oeuvre, but still plainly born after, or at least during, grunge. The finisher comes to a thrilling, noisy head as it rounds out the short release, and if Mountain Tamer are taking on a new path, it’s one well set to meander and I hope they continue to follow those impulses.
Like their late-2014 debut, Bloom, OHHMS’ sophomore outing, Cold, is comprised of two extended tracks. Here the Canterbury five-piece bring “The Anchor” (18:30) and “Dawn of the Swarm” (14:27), blending modern prog, sludge and post-metallic vibes to suit a melodic, ambitious purpose. Atmosphere is central from the quiet drone starting “The Anchor” and remains so as they lumber through a linear build and into an apex at about 13 minutes in, dropping out to quiet only to build back up to a striking melodic push that ends on a long fade. Side B, “Dawn of the Swarm” is more immediately post-rock in the guitar, the lineup of vocalist Paul Waller, guitarists Daniel Sargent and Marc George, bassist Chainy Chainy and drummer Max Newton moving through hypnotic sprawl into angular Isis-ism before finding their own way, the second cut pushing structurally against the first with loud/quiet tradeoffs in a well-timed back half. Clearly a band who arrived knowing their purpose, but not so cerebral as to detract from the heavy landing of the material itself.
Posted in Whathaveyou on May 1st, 2015 by H.P. Taskmaster
Las Vegas five-piece Demon Lung will issue their second album for Candlelight Records, A Dracula, in June. Produced by Billy Anderson, the eight-track release is available to preorder now from the label and finds the band, who have opened in their hometown for Saint Vitus, Pentagram and most recently High on Fire, among others, taking inspiration from the 1997 horror flick Alucarda and crafting an overarching narrative to follow-up on 2013’s The Hundredth Name.
The PR wire brings details and comment from the band:
DEMON LUNG: New Album Set For June Release Via Candlelight Records
Candlelight Records today confirms June 16th as the North American release date for A Dracula, the second full-length album from Las Vegas-based doom metal band, DEMON LUNG. Produced by Billy Anderson (Neurosis, High On Fire, Eyehategod etc.), the album will be available for preorder via Amazon, iTunes and physical retailers beginning May 26th and is available for preorder now viaCandlelight’s official web storeandBandCamp.
In mid-December, DEMON LUNG began their second pilgrimage to Oregon to work with Anderson. At the journey’s conclusion, eight dark hymns became A Dracula’s storyline. Using Juan López Moctezuma’s 1977 horror film, Alucarda, as the album’s muse, the audio is packaged with unique original art by illustrator Joshua Foster (Pallbearer). Drummer Jeremy Brenton notes, “When we started the writing process, we happened to be deep into an Alucarda obsession. [Vocalist] Shanda [Fredrick] sat down and made an outline for her take on the film and we all started crafting songs to flow with it. Fitting the mood of each riff and melody with the narrative was challenging but it is the most satisfying way for us to write.”
Fredrick adds, “Alucarda is a more relatable story for me than our last album’s subject matter; which made writing a lot more fun this time around. The heroine in this story is the daughter of Satan, who happens to fall in love with the purest of souls in the convent she resides. She coaxes this soul over to the dark, with only intentions of love but in doing so she dooms her to death by the hands of the nuns. The anger consumes her and she uses her dark powers to resurrect her love and together they kill the convent and then the world. So like I said… it’s a lot more fun this time around.”
“While we naturally continued where we left off with The Hundredth Name,” shares Brenton, “this album is definitely faster, definitely more epic. We spent twice as much time in the studio with Billy than we did last time and we had more time to experiment. This was certainly the hardest we have ever worked on anything and we’re very proud of the final product.”
A Dracula Track Listing: 1. Rursumque Alucarda 2. Behold, The Daughter 3. I Am Haunted 4. Gypsy Cursem 5. Deny The Savior 6. Mark Of Jubilee 7. Rursumque Adracula 8. Raped By The Serpent
DEMON LUNG is Shanda Fredrick and Jeremy Brenton with guitarists Phil Burns and Brent Lynch and bassist Jason Lamb. Tour dates in support of A Dracula will be announced shortly.
Posted in Whathaveyou on February 3rd, 2015 by H.P. Taskmaster
Gothenburg two-piece Galvano have signed a deal to release their next album on Candlelight Records. The guitar/drums duo of Mattias Nööjd (also vocals) and Fredrik Käll made their full-length debut with 2012’s Two Titans on Devouter Records and have been steadily playing shows and have been confirmed for an appearance at this year’s Desertfest London alongside their labelmates in Orange Goblin, who’ll headline with Red Fang.
The band sent this update down the PR wire:
Candlelight Records Sign Swedish Sludge Duo GALVANO
From the deepest, nastiest recesses of Gothenburg comes crushing Swedish sludge duo Galvano. Now comprising Mattias Nööjd (guitars/vocals) and Fredrik Käll (drums), Galvano originally started out as a three-piece in 2005. Within two years a demo was released and live shows played.
Galvano embarked on their first mini tour in 2010 visiting Denmark and a set of German cities. That same year the band were asked to feature on a split so they went into the studio and recorded the epic single “The Librarian” which was mixed and mastered by the legendary Billy Anderson (Orange Goblin, Cathedral, Eyehategod). This was released as a 10” in 2011 on SM Musik from Leipzig, Germany. The release was then followed up by a full European tour.
After this tour the band said goodbye to their fourth bass player and decided to move on as a duo. Early in 2012 they teamed up with UK based label Devouter Records for the release of their debut full-length album “Two Titans”. The album was released on December 5th and was very well received by both fans and media.
Since then the band has played over 35 shows during several European tours including UK and Ireland and are confirmed to play this year’s Desertfest in Camden, London.
In January 2015, Galvano signed with Candlelight Records and the band had this to say:
“Candlelight is a label with such an impressive roster throughout the years and we’re very happy to join the ranks alongside bands like Orange Goblin, Corrosion of Conformity and our buddies in Zatokrev just to name a few. We’re also very fond of the people working there. Looking very much forward to this release.”
Posted in Reviews on December 29th, 2014 by H.P. Taskmaster
This is it. New Year’s is this week and by Friday we’ll be into 2015. A new year always brings new hopes, concerns, records and so on, but to be completely honest, I’m just not quite done with 2014 yet. So here we are. I’ve had stacks of CDs on my desk and folders on my computer from the last couple months of stuff I have been trying to fit in, and it doesn’t seem right to me to let the year go without cramming in as much music as I possibly can.
Gotta call it something, so I went with “Last Licks,” since that’s basically what it will be. The plan is that between today and Friday, each day I’ll have another batch of 10 reviews. I’m not going to promise they’ll be the most comprehensive ever, but the idea is to do as much as I can and this seems to me the best way to turn my brains into goo. When that ball drops in Times Square, there’s a good chance I’ll be typing.
No sense in delaying. You get the idea, so let’s jump in:
Sigiriya, Darkness Died Today
Recorded live as their debut on Candlelight Records and the follow-up to 2011’s debut, Return to Earth (review here), the sophomore outing from Welsh heavy rockers Sigiriya, Darkness Died Today, is distinguished by a vocalist swap bringing in Matt Williams of Suns of Thunder. Williams has a tough job in replacing Dorian Walters, who like guitarist Stuart O’Hara, bassist Paul Bidmead and drummer Darren Ivey, is a former member of Acrimony. There are times when it works and times when it doesn’t. Along with a more barebones tonality in the guitar than appeared on the debut, Williams brings a more straightforward style in his voice, and it changes the personality of the band on songs like “Freedom Engines” and the first-album-title-track “Return to Earth.” “Tribe of the Old Oak” is a catchy highlight and I’ll almost never argue with a song called “Obelisk,” but it seems like they’re still searching for the footing here that seemed so firmly planted their last time out.
Upstate New York blues rockers Handsome Jack waste little time living up to the title Do What Comes Naturally. The name of their third album, released by Alive Naturalsound, is both mission-statement aand suggestion, and on songs like the soul-inflected “Creepin’” and the rolling “You and Me,” they make it sound like a good idea. Blues and classic soul meet garage rock across cuts like the relatively brief “Leave it all Behind,” but the tones are warm throughout the record, and guest spots on harmonica and Hammond help keep a sense of variety in the material, well-constructed but still loose in its vibe. The twang might recall The Brought Low for heavy rock heads, but one doubts Handsome Jack groove on much that came out after Psychedelic Mud. Even the CD splits into sides, and as easy as it would be for something like this to sound like a put-on, Handsome Jack prevail with closer “Wasted Time” in making an outing that’s anything but.
London doomers Serpent Venom sound like experts in the form on Of Things Seen and Unseen, their second album for The Church Within following 2011’s Carnal Altar and their initial 2010 demo (review here), a righteous 48-minute lumbering slab of heavy riffs, downerism and nod. It’s not every band who could put “Death Throes at Dawn” and “Lord of Life” next to each other, but the four-piece of vocalist Garry Ricketts, guitarist Roland Scriver, bassist Nick Davies and drummer Paul Sutherland keep their focus so utterly doomed that even the quiet, minimalist acoustic interlude “I Awake” – ostensibly a breather — comes across as trodden as the earlier “Sorrow’s Bastard,” or the Reverend Bizarre-worthy “Let Them Starve,” which follows. For those who long for trad doom that has an identity outside its Vitus and Sabbath influences, Serpent Venom prove more than ready to enter that conversation on the wah-soaked soloing in the second half of “Pilgrims of the Sun.” Right fucking on.
The artwork tells the story. Owl Glitters’ Alchemical Tones (on Heart and Crossbone Records) is a wash of color. Taking tribal rhythms and repetitions and pairing them with organic low-end, chanted vocals and periodic excursions of psych rock guitar, Arkia Jahani (who seems to be the lone creative force behind the project, though Mell Dettmer mastered) brings a ritualistic sensibility to the eight included pieces, and the flow is molten from the start of “Dervishes.” Less purposefully weird than Master Musicians of Bukkake, but farther into the cosmos than Om, there’s a folkish identity at the heart of Alchemical Tones that keeps the proceedings human even on the near-throat-singing of “Hakim Sanai” or “Poets of Shiras” and “Khalifa’s Visions” an immersive pair preceding the droning closer “By the Candlelight Our Eyes Welcome Glimmers of Eternity.” Beautifully experimental – and in the case of “Mindful of Gems,” fuzzed to the gills – Owl Glitters’ second outing engages sonic spiritualism with dogmatic command and stares back at you from the space within yourself.
Sandveiss released Scream Queen, their first full-length, late in 2013, reveling in a modern sound crisply produced and more than ably executed to feature the vocals of guitarist Luc Bourgeois, who provides frontman presence even on disc alongside guitarist Shawn Rice, bassist Daniel Girard and drummer Dzemal Trtak. Cohesiveness isn’t in question as opener and longest cut (immediate points) “Blindsided” rounds out its 6:26, leading the way into “Do You Really Know” and setting the tone for big-riffed Euro-style heavy from the Quebecois foursome, who slow down on “Bottomless Lies,” on which Trtak backs Bourgeois in you-guys-should-do-this-more fashion, and ultimately hold firm to the focus on songwriting that establishes itself early. They fuzz out on closer “Green or Gold,” but by then it’s another element of variety among the organ, guest vocals on “Scar” and tempo shifts on Sandveiss’ ambitious debut, distinguished even unto the six-panel gatefold digi-sleeve in which it arrives, the art and design by Alexandre Goulet one more standout factor on an album demanding attention.
Probably the most clearly Beatlesian moment on Octopus Syng’s Reverberating Garden Number 7 is a slight “Hey Bulldog”-style cadence on side A’s “Very Strange Trip,” and that in itself is an accomplishment (one I’m apparently not the first to observe). The Helsinki four-piece in their 15th year are led by guitarist/vocalist Jaire Pätäri and emit an oozing, serene psychedelia, peaceful and lysergic in late ‘60s exploratory fashion. Reverberating Garden Number 7 (on Mega Dodo Records) echoes out vibe to spare and is deceptively lush while keeping a humble vibe thanks in no small part to Pätäri’s restrained vocal approach and curios like “Cuckoo Clock Mystery,” which boasts an actual cuckoo clock to add bounce to its arrangement. Nine-minute closer “Listen to the Moths” is the single biggest surprise, and an album unto itself, but its unfolding is only the capstone on a collection of psychedelic wonder sincere in its stylistic intent and execution. It fills the ears like warm air in the lungs.
Destructive Australian trio Sun Shepherd put the bulk of Procession of Trampling Hoof to tape in 2011. Closing bonus track “Exploding Sun” is a demo from 2006, but it fits with their extended tracks and big riffs piled onto each other in densely-weighted fashion, if rougher in presentation. More Ramesses than High on Fire, who prove otherwise to be a key influence tonally for guitarist/vocalist Anson Antriasian, must-hear bassist Leigh Fischer and drummer Michael Barson, though their approach is decidedly less thrash-based. The first five of the six songs find Sun Shepherd’s first full-length a pummel-minded blend of sludge and doom. Antriasian’s vocals are semi-spoken, but fitting theatrically on “Goat-Head Awakening” with the grueling riff-led nod, the tension released as they pass the halfway point of the 10-minute run, a raw atmosphere bolstering the chaos of their slower-motion marauding. With the welcome flourish of stonerly soloing on “Engulfed by Ocean of Time,” one can’t help but wonder what the Melbourne natives are up to three years later.
Fuzz-toned elements of Sleep and Sabbath pervade the stoner-doomy self-titled The Church Within debut from Oslo three-piece Purple Hill Witch, who carry the bounce well in immediately familiar riffs and groove. Swinging drums from Øyvind and the inventive basslines of Andreas underscore Kristian’s purely Iommic riffage and blown-out vocals, somewhere between Witchcraft’s earliest going and Witch’s self-titled. If that gives Purple Hill Witch an even witchier feel, “Final Procession” sounds just fine with that, as do shorter tracks like the later “Aldebaranian Voyage (Into the Sun)” and centerpiece “Karmanjaka” on which the stoner side comes out in force. They finish by using all 11 minutes of the eponymous “Purple Hill Witch”’s runtime, breaking in the midsection for a murky exploration that’s creepily atmospheric without veering into cult rock cliché. They bounce resumes and slows to a crawl to close out, but the jam serves Purple Hill Witch well in expanding the band’s sonic reach and the album’s weedian sensibility. Not that they were keeping it a secret.
A burly dual-guitar five-piece with roots in Germany and Switzerland, Giant Sleep start out their self-titled, self-released first LP with a brief intro titled “Argos” before getting to the question, “Why am I angry all the time?” as the central, recurring line of “Angry Man.” That song, like “Henu” and “Reproduce,” gets its point across quick in heavy rock fashion and develops its argument from there, a progressive metal vibe pervading especially the latter, which is penultimate in the 10-song/52-minute effort, and underscores the high-grade craftsmanship accomplished throughout. “Dreamless Sleep” is probably my pick of the bunch for its airier tone and resonant minor-key hook in the guitars of Markus Ruf and Patrick Hagmann, vocalist Thomas Rosenmerkel belting out the chorus before making way for plotted solos atop Radek Stecki’s bass and Manuel Spänhauer’s drums, but it’s not so far removed from its surroundings. As a whole, the album could be more efficient, but it wants nothing for songwriting, and especially as a debut, Giant Sleep hits its marks readily.
Opener “Las Noches del Desierto” is the only one of Star Collider’s five tracks under 10 minutes. Flux seems to be the norm for Finnish post-stoners Acid Elephant, who recently brought in vocalist Martin Ahlö but here revolve around the core of bassist/guitarist/vocalist Miksa Väliverho, guitarist/vocalist Ilpo Kauppinen and drummer Roope Vähä-Aho, employing a host of others on obscure vocals, percussion and djembe throughout the 64-minute sophomore outing, recorded in 2012 and released late in 2013. Whoever they are now, Acid Elephant on Star Collider call out heavy psych, drone/jam and riff-based impulses in their extended cuts, gradually getting longer from “Red Carpet Lane” (10:46) until closer “Bog” hits 18:29. To their credit, their songs leave impressions to match their length, and even as it’s finishing its instrumental run, “Godmason” (15:58) is highlighting its resonant central riff, having emerged from a wash of feedback and amp noise at its beginning, preceded by the droning centerpiece “7th Stone.” Satisfying and unpredictable, Star Collider balances experimentation and engagement smoothly without losing its focus on individualism.