Quarterly Review: Unearthly Trance, Heavy Traffic, Saturn, Lucifer’s Fall, Trevor Shelley de Brauw, Scuzzy Yeti, Urn., Nebula Drag, Contra, IAH

Posted in Reviews on March 30th, 2017 by JJ Koczan

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From harsh doom to urban pastoralism to heavy blues rock to rolling doom nonetheless metallic in its defiance, Day Four of the Quarterly Review spins around a swath of styles and hopefully, hopefully, finds something you dig in the doing. It’s been a long week already. You know it. I know it. But it’s also been really good to dig into this stuff and I know I’ve found a few records that have made their way onto the already-ongoing 2017 lists — best short releases, debuts, albums, etc. — so to say it’s been worth it is, as ever, an understatement. Today likewise has gems to offer, so I won’t delay.

Quarterly Review #31-40:

Unearthly Trance, Stalking the Ghost

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Brooklyn’s Unearthly Trance make a somewhat unexpected reentry with Stalking the Ghost (on Relapse), their sixth album. In the years since 2010’s V (review here), guitarist/vocalist Ryan Lipynsky has delved into a wide variety of extreme genres, from the blackened fare of The Howling Wind to the deathly-doom of Serpentine Path, in which Unearthly Trance bassist Jay Newman and drummer Darren Verni also shared tenure, but reuniting as Unearthly Trance feels like a significant step for the three-piece, and on tracks like “Dream State Arsenal” and the darkly post-metallic “Lion Strength,” they remind of what it was that made them such a standout in the first place while demonstrating that their years away have done nothing to dull the surehandedness of their approach. At eight tracks/52 minutes, Stalking the Ghost is a significant dirge to undertake, but Unearthly Trance bring pent-up anguish to bear across this varied swath of punishing tracks, and reassert their dominance over an aesthetic sphere that, even after all this time, is thoroughly their own.

Unearthly Trance on Thee Facebooks

Relapse Records website

 

Heavy Traffic, Plastic Surgery

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Probably a smart move on the part of Heavy Traffic spearhead guitarist Ian Caddick and drummer/vocalist Tav Palumbo to swap coasts from Santa Cruz to Brooklyn ahead of putting together their sixth (!) full-length in three years and Twin Earth Records debut, Plastic Surgery. Cali is awash in heavy psych anyway and Brooklyn’s been at a deficit (as much as it’s at a deficit of anything) since space forerunners Naam became one with the cosmos, so even apart from the acquisition of bassist David Grzedzinki and drummer Dan Bradica, it’s a solid call, and one finds the fruits yielded on Plastic Surgery’s dream-fuzzed blend of heft and roll, heady jams like “See Right Through,” the oh-you-like-feedback-well-here’s-all-the-feedback “Broth Drain” and winding “Medicated Bed” finding a place where shoegaze and psychedelia meet ahead of the low-end-weighted closing title-cut and the bonus track “White and Green,” which finishes with suitable push and swirl to mark a welcome and vibe-soaked arrival for the band. Hope you enjoy the Eastern Seabord. It could use you.

Heavy Traffic on Thee Facebooks

Twin Earth Records on Bandcamp

 

Saturn, Beyond Spectra

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In the second Saturn album, Beyond Spectra, one can hear one of retro rock’s crucial next movements taking place. The Swedish four-piece, who debuted on Rise Above with 2014’s Ascending and return with a periodically explosive 10-track/45-minute outing here, find a niche for themselves in adding dual-guitar NWOBHM elements to ‘70s-style (also ‘10s-style) boogie, as on the scorching “Still Young” or opener “Orbital Command.” They’re not the only ones doing it – Rise Above alums Horisont come to mind readily – but they’re doing it well, and the last three years have clearly found them refining their approach to arrive at the tightness in the shuffle of “Wolfsson” and the creeping Priestism of “Helmet Man” later on. I’ll give bonus points for their embracing the idea of going completely over the top in naming a song “Electrosaurus Sex,” but by the time they get down to closing duo “Silfvertape” and “Sensor Data,” I’m left thinking of the subdued intro to “Orbital Command” and the interlude “Linkans Delight” and wondering if there isn’t a way to bring more of that dynamic volume and tempo breadth into the songwriting as a whole. That would really be far out. Maybe they’ll get there, maybe they won’t. Either way, Beyond Spectra, like its predecessor, makes a largely inarguable case for Saturn’s potential.

Saturn on Thee Facebooks

Rise Above Records website

 

Lucifer’s Fall, II: Cursed and Damned

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Measuring its impact between doomly traditionalism and attitudinal fuckall, Lucifer’s Fall’s II: Cursed and Damned (on Nine Records) is a doom-for-doomers affair that tops 55 minutes with its nine tracks, recalling Dio-era Sabbathian gallop on opener “Mother Superior” and landing a significant blow with the slow-rolling nine-minute push of “The Necromancer.” Shades of Candlemass, Reverend Bizarre, and the most loyal of the loyalists show themselves throughout, but whether it’s the crawl in the first half of “Cursed Priestess” or the blistering rush of the clarion centerpiece “(Fuck  You) We’re Lucifer’s Fall,” there’s an undercurrent of punk in the five-piece’s take that lends an abiding rawness to even the album’s most grueling moments. One looks to find a middle ground in songs like “The Mountains of Madness” and closer “Homunculus,” but Lucifer’s Fall instead offer NWOBHM-style guitar harmonics and soaring vocals, respectively, only pushing their stylistic breadth wider, playing by and breaking rules they’re clearly setting for themselves rather than working toward outside expectation. As a result, II: Cursed and Damned keeps its fist in the air for the duration, middle finger up.

Lucifer’s Fall on Bandcamp

Nine Records website

 

Trevor Shelley de Brauw, Uptown

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Over the course of six-minute opener “A New Architecture,” guitarist Trevor Shelley de Brauw gradually moves the listener from abrasive noise to sweet, folkish acoustic guitar backed by amplified wavelengths. It’s a slowly unfolding change, patiently done, and it works in part to define Uptown (on The Flenser), the Pelican guitarist’s six-song solo debut long-player. Noise and drone make themselves regulars, and there’s a steady experimentalism at root in pieces like “Distinct Frequency,” the low-end hum and strum of “You Were Sure,” and the should’ve-been-on-the-soundtrack-to-Arrival “Turn up for What,” which unfurls a linear progression from minimalism to consuming swell in eight minutes ahead of the more actively droning 11-minute sendoff “From the Black Soil Poetry and Song Sprang,” but de Brauw manages to keep a human core beneath via both the occasional acoustic layer and through moments where a piece is being palpably manipulated, à la the spacious distorted churn of “They Keep Bowing.” I’m not sure how Uptown didn’t wind up on Neurot, but either way, it’s an engaging exploration of textures, and one hopes it won’t be de Brauw’s last work in this form.

Trevor Shelley de Brauw on Thee Facebooks

The Flenser website

 

Scuzzy Yeti, Scuzzy Yeti

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Someone in Scuzzy Yeti has roots in metal, and the good money’s on it being vocalist Chris Wells. Joined in the Troy, New Hampshire, five-piece by guitarists Brad Decatur and Jason Lawrence (ex-Skrogg), bassist Wayne Munson and drummer Josh Turnbull, Wells casts a sizable frontman presence across the five-tracks of Scuzzy Yeti’s self-titled debut EP, belting out “Westward” and “BTK” as the band behind him hones a blend of classic heavy rock and doom. The sound is more reminiscent of Janne Christoffersson-era Spiritual Beggars than what one might expect out of New England, and the band amass some considerable momentum as centerpiece “Conqueror” and the shorter shuffle “Knees in the Breeze” push toward slower, lead-soaked closer “Flare,” which finds the lead guitar stepping up to meet Wells head-on. They might have some work to do in finding a balance between the stylistic elements at play, but for a first outing, Scuzzy Yeti shows all the pieces are there and are being put into their rightful place, and the result is significant, marked potential.

Scuzzy Yeti on Thee Facebooks

Scuzzy Yeti on Bandcamp

 

Urn., Urn.

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The insistent push from punctuated Denver trio Urn.’s self-titled debut demo/EP is enough to remind one of the days when the primary impression of Mastodon wasn’t their complexity, but the raw savagery with which that complexity was delivered. Urn. – the three-piece of Scott Schulman, Graham Wesselhoff and Jacob Archuleta – work in some elements of more extreme metal to “Rat King” after opener “Breeder,” both songs under three minutes and successfully conveying an intense thrust. The subsequent “Stomach” ranges further and is the longest cut at 4:45, but loses none of its focus as it winds its way toward closer “To the Grave,” which in addition to maintaining the nigh-on-constant kick drum that has pervaded the three tracks prior, offers some hints of lumbering stomp to come. As a first sampling, Urn.’s Urn. is a cohesive aesthetic blast setting in motion a progression that will be worth following as it develops. Call it rager metal and try not to spill your beverage while you windmill, you wild headbanger.

Urn. on Thee Facebooks

Urn. on Bandcamp

 

Nebula Drag, Always Dying

nebula drag always dying

2016 found San Diego aggressors Nebula Drag making their self-titled, self-released debut (review here) with a record that seemed to work in willful defiance of their hometown’s psychedelic underground while at the same time occasionally nodding to it. The forebodingly-titled Always Dying three-song EP does likewise, launching with a vengeance on “Crosses” before burying the vocals and spacing out behind the crashes of the more languid-rolling title-track and giving a bit of both sides with the four-minute closer “Flying Fuckers.” It’s almost as if the three-piece of Corey Quintana, bassist Mike Finneran and drummer Stephen Varns, having thus completed their first album, decided to boil it down to its essential stylistic components and the result of that was this 14-minute outing. An intriguing prospect, but it could also be these were leftovers from the prior session with Jordan Andreen at Audio Design Recording and putting them up for a free download was an easy way to give them some purpose. In any case, if you haven’t yet been introduced to the band, Always Dying is an efficient telling of their story thus far.

Nebula Drag on Thee Facebooks

Nebula Drag on Bandcamp

 

Contra, Deny Everything

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If their moniker doesn’t have you immediately running through the most legendary of cheat codes, congratulations on being born after 1990. Cleveland burl-sludge metallers Contra make their full-length debut on respected purveyor Robustfellow with the 10-track/41-minute Deny Everything, and if it sounds like they have their shit together – at least sound-wise – it should make sense given the pedigree of drummer Aaron Brittain (ex-Rue), bassist/guitarist Adam Horwatt (So Long Albatross), guitarist Chris Chiera (ex-Sofa King Killer) and vocalist Larry Bent (ex-Don Austin). Be it established that songs like “Snake Goat” and “Son of Beast” are nobody’s first time at the sludge rodeo. Fair enough. Doesn’t mean Contra don’t establish their own personality in the overarching fuckall and total lack of pretense throughout Deny Everything – hell, seven-minute closer “Shrimp Cocktail” proves that on its own – just that that personality has roots. What Contra wants to do with them still kind of seems up in the air, but something about these tracks makes me think the band likes it that way. See the aforementioned “fuckall.”

Contra on Bandcamp

Robustfellow Productions on Bandcamp

 

IAH, IAH

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Comprised of four songs tracked live in the trio’s native Córdoba at 440 Estudio, the self-titled debut EP from Argentine trio IAH – guitarist Mauricio Condon, bassist Juan Pablo Lucco and drummer José Landín – would seem destined to catch the attention of South American Sludge Records if it already hasn’t. In the interim, the three-piece have made the instrumental EP available as a free download and its unpretentious heavy psychedelics and edge of rock-minded thrust on opener “Cabalgan los Cielos” and the early going of closer “Eclipsum” more than justify their intention to spread the word as much as possible. Set to a balance of post-rock guitar, the bassline of “Stolas” carries a progressive inflection, and the fuzz that emerges halfway into second track “Ouroboros” shows a desert rock influence that blends well into its surroundings as a part of a richer sonic entity. A nascent but palpable chemistry at work across its 26 minutes, IAH’s IAH could portend expansive ideas to come, and one hopes it does precisely that.

IAH on Thee Facebooks

IAH on Bandcamp

 

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Drug Honkey Premiere “Pool of Failure”; Cloak of Skies out May 5

Posted in audiObelisk on March 22nd, 2017 by JJ Koczan

drug honkey

Chicago extremists Drug Honkey will release their fifth album, Cloak of Skies, May 5 via Transcending Obscurity Records. For those unfamiliar with the industrially-tinged sludge dystopias the band conjures, the opening roar of “Pool of Failure” will likely catch you off guard. Hell, even if you caught wind of their last outing, 2013’s Ghost in the Fire (review here), it’s entirely likely that Cloak of Skies will offer more than a few shocking moments in its play toward unremitting darkness, the breadth over which that darkness seems to stretch, the crushing nature of their churn and the somehow punkish undertones at work beneath cuts like “Sickening Wastoid” and “Outlet of Hatred,” which together with “Pool of Failure” form an opening salvo reimagining early C.O.C. or at times even Napalm Death through the lens of a terrible future that, one might argue, has actually come to pass.

As one might figure, Godflesh are a key influence. Enough so that the four-piece of vocalist/synthesist Paul Gillis, guitarist Gabe Grosso, bassist Ian Brown and drummer Adam Smith sought out Justin K. Broadrick to remix “Pool of Failure” as a bonus track. Vast, Jesu-style drone plays a role as well, as “(It’s Not) The Way” drug honkey cloak of skiesdemonstrates, and certainly the more extended finale duo of the 10-minute “The Oblivion of an Opiate Nod” and the eight-minute title-track have their elements of soundscaping as well, but as textured as they are, they’re full of horrors, which is Drug Honkey‘s specialty to be sure. Their roots are in noise and Chicago’s extreme metal underground, but the actual sonics the band emits are twisted beyond whatever their inspirations might be, and through layered growls and spoken lines and a steady wash of synth and effects over the grueling roll of “The Oblivion of an Opiate Nod,” Gillis feels just as much like the one calling down the storm as the one being consumed by it. A deathly expanse at its most ranging, Cloak of Skies is defined by its tortured sensibility and passes its cruelty onto the listener in hyperbole-ready fashion. However one might feel about it listening to “Pool of Failure,” chances are ambivalence won’t be a factor.

But gruesome art is still art, and the band — now also veterans of Denmark’s prestigious Roskilde Festival — are frank in the purposefulness of what they’re doing on Cloak of Skies. These songs, from “Pool of Failure” through the title-cut, are built around the intent to convey a truly misanthropic feel, and accordingly, their churn is simply going to come across as overwhelming to some listeners. That’s been the case with their work for a long time, and while if we’re going by the level of what’s happening in terms of the superficial audio it certainly doesn’t sound like anyone is coming out on top, it’s the source of Drug Honkey‘s success on the record. They revel in these miseries, and by the time “Cloak of Skies” rounds out with its looped vocals — not even words, just syllables at that point — samples, guest saxophone from Corrections House/Yakuza‘s Bruce Lamont and droning abrasion, they’ve turned them into a potent ritual that’s as immersive as it is off-putting. Imagine swirling psychedelia but every color is black. Across seven songs and 50 minutes (including the remix), Drug Honkey bask in tragedy and come out on the other side having covered themselves in filth as if to show us our own complicity in its creation. If there were any justice in the universe, they’d be playing in art galleries.

Cloak of Skies will be out May 5 on Transcending Obscurity. I’m not sure “enjoy” is the right word, but you can hear the premiere of “Pool of Failure” below, followed by more info off the PR wire.

And yes, I hope you enjoy:

US band DRUG HONKEY have always been a step ahead of their peers, if there were any in the first place. There’s a form of tenacity in their music of the same kind that will have you crawl ahead in life despite all its inherent ugliness pinning you down. They are taking things to a different level, with guest contributions from the legend himself, Justin K. Broadrick (GODFLESH, JESU) and Bruce Lamont (YAKUZA, CORRECTIONS HOUSE) with his saxophone eeriness, and having the hand-painted artwork of Paolo Girardi (INQUISITION, CHTHE’ILIST) represent the pulsating sickness of this ambitious and unconventional release.

Album lineup –
Paul Gillis (Honkey Head) – Vocals, Synths, Samples, FX
Adam Smith (BH Honkey) – Drums
Gabe Grosso (Hobbs) – Guitar
Ian Brown (Brown Honkey) – Bass

Official release date – May 5th, 2017.

Drug Honkey on Bandcamp

Drug Honkey on Thee Facebooks

Transcending Obscurity website

Transcending Obscurity Records on Thee Facebooks

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The Obelisk Radio Adds: REZN, The Fërtility Cült, Cosmic Fall, Oceanwake, Jenzeits

Posted in Radio on March 14th, 2017 by JJ Koczan

the obelisk radio cavum

Granted, we’re still running on the backup server, but it’s been a couple weeks at this point anyway, so it’s time for a new round of adds to The Obelisk Radio. Some of this stuff is brand new, some isn’t out yet, and some is older, so it’s a pretty decent mix on that front, and between REZN, The Fërtility Cült and Cosmic Fall, I certainly think we’ve got heavy psychedelia covered. Fortunately there’s the longform doom extremity of Oceanwake and the kraut-worship electronics of Jenzeits (also longform, as it happens) to offer some balance, lest we go drifting off into the universe never to be heard from again. Can’t have that happening.

Before we dig in, thanks to Slevin as ever for his diligent work in keeping the Radio afloat. He’s got a drive recovery running now that will hopefully bring back everything that was there before. It’s been a whole thing, but progress is being made and I appreciate him tossing this stuff in with the backup material in the interim. Thanks to you as well for reading and listening.

The Obelisk Radio Adds for March 14, 2017:

REZN, Let it Burn

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All-caps Chicago-based newcomers REZN make their deceptively ambitious debut with Let it Burn, a self-released 10-songer checking in at a willfully sprawling 59 minutes that blends psychedelic drift, grunge fuckall and neo-stoner fuzz consumption to welcome effect. One gets shades of Mars Red Sky from opener “Relax,” but later doomer cuts like the blown-out cosmic smash of “Harvest the Void” or the rolling “Fall into the Sky” ensures the three-piece of bassist/vocalist Phil Cangelosi, drummer Patrick Dunn and guitarist/vocalist Rob McWilliams are working on their own wavelength, and flourish of sitar from McWilliams and Dunn on the dynamic raga-infused “Rezurrection,” as well as Dunn‘s percussion and Spencer Ouellette‘s modular synth in the two-minute interlude “Pipe Dream” that leads into the initial spoken sample of the Dead Meadow-style fuzzer “The Creature” only add further checked-out-of-life charm to the offering as a whole. “Relax” and “Wake” at the outset speak to some impulse on the part of the band to tie their material together, but that comes through even more as “The Creature” transitions into “Fall into the Sky” and the suitably-spacewalking “Orbit” leads to the noisy start of rumble-laden closer “Astral Sage” later on. REZN leave themselves room to grow into their approach in moments like these, and pieces like “Harvest the Void,” “The Creature” and “Wake” certainly speak to a memorable songwriting process in development, but Let it Burn already shows them a potent brew of weighted lysergics.

REZN on Thee Facebooks

REZN on Bandcamp

 

The Fërtility Cült, A Forest of Kings

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Nestled into the heavy hotbed of Tampere, Finland, The Fërtility Cült continue their progressive push into reverb-laden heft with late-2016’s A Forest of Kings, their third long-player behind 2013’s Heavenly Bodies and their 2011 debut, Eschatology (review here). In an admirably crowded scene, the five-piece are distinguished for their tonal breadth, use-not-overuse of echo-laden saxophone and organ and general willingness to meander without giving up an underlying principal of craft or direction. All of this is on display in the A Forest of Kings opener “Blood of Kings,” but the highlight of the album has to be the centerpiece “The City on the Edge of Forever” (taking its name from the highlight episode of the original Star Trek, written by Harlan Ellison), which successfully fuses jazzy rhythm with a patient, psychedelic execution to the sacrifice of neither. Also the longest inclusion at 10:58, it’s the umlaut-happy troupe’s most resonant melody and most singularly progressive stretch, but neither will I take away from the nod of “God of Rain,” which follows, or the manner in which the apex shuffle of closer “Cycles of Time” unfurls itself from the song’s initial subdued verses. Heady vibe throughout the total 46 minutes, as one might expect, but The Fërtility Cült‘s third is less self-indulgent than it might superficially seem, and their varied arrangements never fail to service what really matters to them, which of course is the material itself rather than the exercise of playing it. Rich and graceful when it wants to be, A Forest of Kings hones an endearing landscape without getting lost in it.

The Fërtility Cült on Thee Facebooks

The Fërtility Cült on Bandcamp

 

Cosmic Fall, Kick out the Jams

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Mostly-instrumentalist trio Cosmic Fall — based in Berlin and comprised of guitarist/vocalist Mathias, bassist Klaus and drummer Daniel — formed in 2016 and worked quickly to turn around First Fall (discussed here), their first full-length of improv-based works. Kick out the Jams arrives with a fittingly quick turnaround and brings forth seven new pieces in its digital form, topping 93 minutes in its total space-bound push. More impressive than the quantity of the work — though I won’t take away from the sprawling appeal (or the delightful, influence-on-our-sleeve pun in the title) of the 21-minute “Earthfull” or 19-minute opener “Saturn Highway” — is the chemistry that seems to have immediately found root in Cosmic Fall‘s sound. They take a forward step in these tracks, to be sure, and there are more steps to be taken — a band like this, in the best case scenario, does not stop progressing, their material only comes to unfold more as a musical conversation between old friends; see Electric Moon — but as Kick out the Jams plays through its extended, immersive runtime, cuts like “Interstellar Junction” and “Stairway Jam” feel especially bold in how open they are in allowing the listener to hear that process happening. Songs are varyingly active — only “White Stone” (4:42) is under 11 minutes long — and allow for Mathias to lead the way into the spaciousness of “Purple Weed” while Daniel‘s toms propel “Cosmic Conclusion” at the album’s finish, but the core message behind Cosmic Fall less than a year into their tenure is one of ambition and the band’s deep motivation to develop the already palpable dynamic they have going. One can only look forward to hearing where their adventures take them and, indeed, where they take their audience.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

Oceanwake, Earthen

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With Earthen on ViciSolum Records, Finnish progressive death-doomers Oceanwake complete a trilogy that began on their 2013 debut Kingdom and had its second installment with 2015’s Sunless (review here). I’m not entirely sure what the overarching theme tying the releases together is — perhaps hearing the debut would help, but it’s not easily tracked down — but Earthen expounds on the blend of extremity, poise and emotional resonance the Luvia five-piece proffered their last time out, arriving as two massive tracks, opener “A Storm Sermon” (21:09) and closer “In Amidst the Silent Thrones” (24:04), both of which work in movements that shift between crushing, grueling doom and gorgeous, airy melodies. A depth of emotionalism isn’t necessarily anything new in the style — countrymen from Skepticism to Swallow the Sun have been morose for a long time — but what Oceanwake bring is a fluidity in their transitions and a sense of purpose to their songwriting beyond the usual miseries. Thus, like Sunless before it, Earthen emerges to bring significant character to familiar elements, drifting at times and explosive at others, but always under complete control, never wandering without a reason, and basking in low end that has to be heard to be believed. Earthen might fly under a lot of radars, but it shouldn’t be missed by those with an affinity for the extreme ends of doom. One hopes the now-completed trilogy project won’t be the sum total Oceanwake‘s output together.

Oceanwake on Thee Facebooks

ViciSolum Records on Bandcamp

 

Jenzeits, Jenzeits Cosmic Universe

Jenzeits-Cosmic-Universe

Jenzeits may be a new incarnation, but the project stems from a familiar source. Relocated from North Carolina to San Francisco — also, apparently, to the cosmos itself — multi-instrumentalist Chad Davis (Hour of 13SetAnuThe Sabbathian, etc.) offers up two massive synthesized soundscapes on Jenzeits Cosmic Universe, as both “Alpha” (25:00) and “Omega” (21:53) channel krautrock exploration and progressive indulgence. A due amount of the release is given to hypnotics, as one might expect — that is, it’s an easy one to put on and zone out — but Davis isn’t without some sense of motion either as he makes his way through “Alpha” and the rightfully more foreboding “Omega,” the latter delving into a movement of key runs backed by wind swirl calling to mind any number of horror and/or retro-horror soundtracks, and even minor shifts in the elements at work at any given moment become more pronounced in the grand context of the whole work. Davis usually has his hands in a number of outfits (and a number of genres) at any given time — an Hour of 13 resurgence is pending, for example — but Jenzeits‘ debut is engaging in its textures and feels like a journey just beginning.

Jenzeits on Thee Facebooks

Jenzeits on Bandcamp

More to come as we get The Obelisk Radio back up and running at full capacity. I’ve purchased a new hard drive toward that end, so we’ll have even more room to work with as well. Will update when there’s an update.

Till then, thanks again for reading and listening.

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Bible of the Devil & Leeches of Lore Split Available to Preorder

Posted in Whathaveyou on February 20th, 2017 by JJ Koczan

Chicago heavy rockers Bible of the Devil, now five years removed from their last full-length, which was 2012’s For the Love of Thugs and Fools (discussed here), have confirmed that the new track they’re planning to include on an upcoming split with hiatus-bound New Mexican weirdos Leeches of Lore is currently in the mixing stage. They’ve made the 7″ available to preorder directly from them — as in, send-us-an-email-and-we’ll-get-one-to-you — and among the easier arguments one might endeavor to make in a given afternoon is they’re a cause worth supporting through that or whatever other means. Good band, pairing with another good band, and all that.

They sent along a winter newsletter that you can see below, including a couple live dates coming up in Wisconsin and their hometown. Dig it:

bible of the devil

BOTD Winter Update 2017

We have just finishing mixing our 7″ track for our split with Albuquerque’s own Leeches of Lore to be self-released later this spring. This is another classic in the making for BOTD and we are sure you will be humming along to it soon! Pre-orders can be taken via PayPal at botdmusic@gmail.com for $6 plus $3 shipping anywhere in the US. For European orders or anywhere else, please email for pricing first. We all had a blast making this and can’t wait to make the push to get the next record done. Don’t snooze on getting a copy as this is a limited run!

BOTD also will be making two appearances this spring:

March 25th Sat. Kenosha, WI @ Hattrix w/The Miners (record release), Amulance, Burn The Witch

and then…

RAWfest!!!

RAWfest began in Chicago in 2005 as a vehicle to showcase the best of underground rock. While it has sat dormant over a decade (sometimes you get busy, you know?), we have decided to bring it back for a second edition for maximum fun. This is an incredible lineup and it’s highly suggested you buy a ticket. Poster made by Austin’s own Burger Ben.

June 3rd Sat. Chicago, IL @ Township RAWfest 2 Doors 4pm $10 adv/$12 dos w/The Safes, The Vibrolas, Buzzzard, The Evictions, Beggars, City Slang

Finally, a much anticipated tour of the south in July is being finalized as we speak. Texas, we had some weather trouble last time and will not be denied this time around! Dates coming soon.

www.facebook.com/bibleofthedevil
www.bibleofthedevil.net

Bible of the Devil, For the Love of Thugs and Fools (2012)

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Novembers Doom to Release Hamartia April 14; New Single Streaming

Posted in Whathaveyou on February 1st, 2017 by JJ Koczan

novembers doom

Just to put something the band says below to scale: Novembers Doom trace their roots back to 1989. They’re coming up on their 30th anniversary before the end of this decade, and there’s nothing to make one think they won’t get there. So when vocalist Paul Kuhr notes that the upcoming Hamartia is the first time they’ve ever had the same lineup from one album to the next, it’s a pretty striking statistic. By my count, it’s their 10th album. That’s 10 records, each marked out by some change in personnel. It’s a wonder they’ve managed to survive, let alone progress through the darkened extremities they have as one of the US’ groundbreaking death-doom acts.

The lineup that Hamartia shares last appeared on 2014’s Bled White (review here), also released through the band’s longtime label home, The End Records. April 14 is the appointed issue date for Hamartia, cover art is by Eugen Poe, there’s a gloriously gloomy new single streaming, and more album details follow here, courtesy of the PR wire.

Dig it:

novembers-doom-hamartia-eugen-poe

NOVEMBERS DOOM IS SET TO RELEASE NEW STUDIO ALBUM HAMARTIA ON APRIL 14 // PRE-ORDER

NEW TRACK & ALBUM DETAILS

Novembers Doom is set to release their tenth full-length album entitled Hamartia, out April 14 via The End Records. Formed in 1989, this release marks the band’s 28th anniversary year, and is a sonic testament to their legacy as one of the earliest U.S. dark & doom metal bands still active today. The album is available now for pre-order on iTunes, Amazon, and Google Play.

Considered by the band to be their best work to date, Harmartia’s mastery is due in part to the synergy of its lineup, who constituted their previous album Bled White: Paul Kuhr (founder/vocalist), Larry Roberts (guitars), Vito Marchese (guitars), Mike Feldman (bass), and Garry Naples (drums).

Recorded at Belle City Sound in Racine, WI, this album sees production from long-time Novembers Doom producer Chris Djuricic (Jungle Rot, Malevolence), and Mix Master metal legend Dan Swano (Opeth, Dissection, Katatonia). The album also sees guest appearances from Ben Johnson on keyboards, Rhiannon Kuhr on backing vocals (“Ever After,” “Miasma,” “Zephyr”), Andrew Craighan (My Dying Bride) on guitar melody (“Waves In The Red Cloth”), Bernt Fjellestad (Susperia) on backing vocals (“Borderline”), and Dan Swanö on backing vocals (“Borderline”).

Says vocalist Paul Kuhr, “For the first time in this band’s existence, we have the same line-up on two consecutive albums. Without the need to focus on a new element, we could concentrate on the writing process more clearly, and the synergy between the group is apparent in the end result. I actually mean it when I say in my own humble opinion, I truly feel Novembers Doom have created our very best work to date. From the writing, to the captured performances, to the overall mix and sound of this album. Hamartia is a logical evolution from Bled White but adds some of the darker elements from The Pale Haunt Departure. It’s a Novembers Doom album, through and through, and hopefully others will share my enthusiasm once they get a chance to hear it.”

The first single “Plague Bird” is available now for download and streaming. CLICK HERE to reserve your copy today!

Official Tracklist

01. Devils Light
02. Plague Bird
03. Ghost
04. Ever After
05. Hamartia
06. Apostasy
07. Miasma
08. Zephyr
09. Waves In The Red Cloth
10. Borderline

https://www.facebook.com/NovembersDoom1989/
https://twitter.com/NovembersDoom
http://www.novembersdoom.com/
https://www.facebook.com/theendrecords
https://twitter.com/theend

Novembers Doom, “Plague Bird”

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Drug Honkey Announce Cloak of Skies LP out May 5

Posted in Whathaveyou on January 17th, 2017 by JJ Koczan

drug honkey

Been looking forward to news of Drug Honkey‘s next release for a while now, and the word from the band that they’ll issue the full-length Cloak of Skies through emergent Indian imprint Transcending Obscurity Records is welcome, since there’s little question the label will know exactly how to handle the Chicago-based outfit’s particular and at times peculiar brand of extremity. Their last album was 2012’s horrifying Ghost in the Fire (review here), which came out through Transcending Obscurity predecessor Diabolical Conquest, and the new record features guest contributions from Bruce Lamont and Justin Broadrick, meaning it could be as expansive as it is brutal. Sign me up.

Cloak of Skies is out May 5 and I’ll hope to have more to come on the subject before then. The band had the following to say about it:

drug honkey cloak of skies

We are very pleased to announce the new full-length “Cloak of Skies” will be unleashed on May 5th 2017 via the booming & ever-expanding Transcending Obscurity Records label.
CD, digital, & vinyl platforms will all be available, along with some killer box set/bundle options as well.

Cover art painted by the ultra-talented Italian madman Paolo Girardi.

Avant-garde sax shaman bruce lamont (Correction House/Yakuza/Brain Tentacles) has etched his indelible mark on the title track of the album, and none other than one of our biggest influences – the main man himself; Justin K Broadrick (Godflesh/Jesu), has done an extraordinarily crushing remix/reconstruction of the opening track “Pool of Failure”, which bookends the album…

Pre-order details will be made available in the next week or so..

Tracklist:
1. Pool of Failure (5:44)
2. Sickening Wasteoid (6:12)
3. Outlet of Hatred (6:48)
4. (It’s Not) The Way (6:36)
5. The Oblivion of an Opiate Nod (10:00)
6. Cloak of Skies (8:11)
7. Pool of Failure (JK Broadrick remix) (6:29)

Paul Gillis – Vocals/Synths/Samples/FX
Adam Smith – Drums
Gabe Grosso – Guitar
Ian Brown – Bass

https://www.facebook.com/drughonkey
https://drughonkey.bandcamp.com/
https://www.facebook.com/transcendingobscurity/
http://tometal.com/

Drug Honkey, Ghost in the Fire (2012)

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Trevor Shelley de Brauw of Pelican Announces Uptown Solo LP; New Track Streaming

Posted in Whathaveyou on December 2nd, 2016 by JJ Koczan

Guitarist Trevor Shelley de Brauw of Chicago instrumentalists Pelican will make his solo debut with Uptown, a collection of ambient pieces due out early next year via The Flenser. An initial track, titled “They Keep Bowing,” reveals textural atmospherics working in layers probably looped through but perhaps built one on top of the other, either way to satisfyingly rich tonal effect. I wouldn’t necessarily call it out of the range of what one might anticipate a solo record from de Brauw would bring, knowing the kind of heavy post-rock sprawl to which Pelican can be prone, but it’s a definite expansion on the theme, if nothing else, and it seems fair to imagine that Uptown will also serve as the beginning of a broader exploration of a solo aesthetic for de Brauw, making it all the more noteworthy as his first outing.

I haven’t heard the full thing yet, but we’ve got a while to go before Feb. 10 gets here, so I’ll hope the opportunity comes my way somewhere between now and then. The cut below makes a solid argument why and arrives accompanied by PR wire details:

trevor-shelley-de-brauw-uptown

GUITARIST TREVOR SHELLEY DE BRAUW ANNOUNCES DEBUT SOLO ALBUM, PREMIERES SONG

Uptown due out February 10th, 2017 from The Flenser / Listen to “They Keep Bowing” now

Chicago-based guitarist Trevor Shelley de Brauw (Pelican, RLYR) has announced the release of his first solo album – a collection of power-ambient compositions – entitled Uptown. Due out February 10th, 2017 on San Francisco’s acclaimed experimental label The Flenser, Uptown is a stream of consciousness sustained for too long, an aural pendulum swinging between poles of murky distress and cathartic resolve that takes shape somewhere in the hazy valleys between rock, ambient and experimental music. Listen to the album’s first single, “They Keep Bowing,” today.

Trevor Shelley de Brauw’s 20 year musical career has manifested as an exploration of the vast sonic possibilities of the guitar. Uptown marks a departure from the riff-oriented song writing of Pelican, taking a plaintive approach that unravels the meditative depth of washed-out riffs, deconstructed drones, and carefully controlled feedback. The album delves into complex dimensions of deeply layered textures: an evocation of haunting melodicism that shares more common ground with Brian Eno’s ambient work and drone wizards Barn Owl than it does a metal record. Written and recorded over the span of nearly a decade, Uptown represents a scrapbook from a formative era in de Brauw’s life, bookended by a stint on a remote tobacco farm in North Carolina and his return to the anxiety-ridden urban eccentricities of Chicago’s historic Uptown neighborhood.

Uptown is due for release on Feb 10th, 2017 from The Flenser. Stay tuned for more songs to premiere and pre-order info to surface soon.

Uptown track listing:
1. A New Architecture
2. Distinct Frequency
3. They Keep Bowing
4. You Were Sure
5. Turn Up For What
6. From The Black Soil Poetry and Song Sprang

https://www.facebook.com/mgrmd/
http://migrationmedia.com/
http://theflenser.com/
https://soundcloud.com/flenserrecords/

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Bible of the Devil to Release Split 7″ with Leeches of Lore

Posted in Whathaveyou on November 1st, 2016 by JJ Koczan

They should call it the Bands Who are Way Better than People Know split. The Bands You’d Probably Really Dig split. At very least the Bands I Really Dig split. It’s been since 2012 that Chicago’s Bible of the Devil last released an album. That record, For the Love of Thugs and Fools (discussed here), followed four years after 2008’s Freedom Metal and felt late at the time, so yeah, they’re due. No word on solid release date for a next full-length, but the metal/rock genrehoppers will issue a split 7″ in the fine company of Albuquerque weirdos Leeches of Lore, whose Toshi Kasai-helmed Motel of Infinity (review here) came out in 2015. There will be a new song on that, and at this point, I’m inclined to take what I can get.

To go with a handful of shows around the Midwest this summer/fall, Bible of the Devil are set to play Alehorn of Power IX (info here) on Nov. 12 at Reggies in Chicago. Full lineup and set times can be found with the split announcement below:

bible-of-the-devil

BIBLE OF THE DEVIL UPDATE + ALEHORN OF POWER IX @ REGGIES NOV. 12TH SAT.!!

BOTD has had quite a busy fall so far with successful October dates in Indianapolis and Columbus. They are now gearing up for the next installment of Alehorn of Power in two weeks with the mighty THOR headlining! Details with set times are listed below and tickets are only $20 to witness this barrage of heavy rock! BOTD will also return to the studio in December to continue working on its new album while recording a new track to be released as a 7″ with Albuquerque’s own LEECHES OF LORE. Look for it late spring next year along with some very special road dates in the summer of 2017. Stay tuned!

Slated for Saturday, November 12, 2016 at Reggies in Chicago, this year’s Alehorn of Power features an eclectic and formidable lineup of bands with one thing on their minds: exceptional heavy metal entertainment from the independent realm.

Alehorn of Power IX
Set Times
THOR 11:50-???
Professor Black 10:55-11:35pm
Argus 10:00-10:40pm
Bible of the Devil 9:05-9:45pm
The Lurking Corpses 8:10-8:50pm
Seamstress 7:25-7:55pm

Saturday November 12, 2016
Doors 7 PM / $20 / Ages 17+
Reggies, 2101 S. State, Chicago IL USA

Long-running Chicago act BIBLE OF THE DEVIL is not only Alehorn’s spiritual guidepost but also its musical cornerstone. The band’s unmistakable brand of heavy metal rock and roll embodies every bit the twin-guitarred, big-chorused, epic FM sound perhaps most associated with the festival’s history. This year’s set will include a selection of new material alongside hits from the band’s vast catalog.

Bible of the Devil is:
Nathan Perry: Vocals, Guitars
Greg Spalding: Drums, Loathing
Darren Amaya: Bass, Vocals
Chris Grubbs: Guitars

www.facebook.com/bibleofthedevil
http://bibleofthedevil.net/
http://www.cruzdelsurmusic.com/

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