Catapult the Dead Set Nov. 15 Release for A Universal Emptiness

Posted in Whathaveyou on October 30th, 2017 by JJ Koczan

catapult the dead

It doesn’t take long into their second album, A Universal Emptiness, for Oakland post-doom six-piece Catapult the Dead to set an atmosphere as heavy emotionally as it is in its tonal substance. Doom Stew Records will have the four-track/38-minute full-length out Nov. 15 as the follow-up to the band’s 2014 debut, All is Sorrow, and while bits and pieces like some of the emergent riffing in opener “Till it Goes Away” and some of the Steve Von Till-style vocals that accompany might be traced back to Neurosis, cuts like the organ-laced “Last Breath” and the piano-topped album apex “Burning Womb” put that churn to individualized purposes.

I’ll hope to have more to come on this one. Digging the vibe a lot so far. The PR wire had this to say on it:

Catapult the Dead A Universal Emptiness

Catapult the Dead release new album on November via Doom Stew Records

Hailing from Oakland, Ca, the 6 piece crushing tribe of doom Catapult the Dead, are teaming up with San Francisco’s Doom Stew Records for their latest full length release “A Universal Emptiness”, due on November 15th, 2017.

Catapult the Dead bring to the genre their own version of musical sorrow, despondency, and longing. This unique and haunting outfit is as beautifully devastating as it is callous and brooding.

A Universal Emptiness is a 38:39 minute apocalyptic journey. Sweeping synth and organ soundscapes lead you eerily, through a dark thunderous wall of sound. With thick brutal guitars at the core, it’s rhythmic foundation is dragged angrily along by layered bass and powerful booming drums. All the while baleful roars and ghostly wales round out this bleak, crushingly dynamic, full length offering.

A Universal Emptiness will be available on November 15th. CD and LP’s are available through Doom Stew Records. Digital download and cassette tapes are available directly through Catapult the Dead. The 12″ vinyl comes in 3 special color variants to compliment thebeautiful illustrations created by Macedonian artist Pig Hands. Also featuring insert and label Illustrations by Death Ink.

Tracklisting:
1. Till It Goes Away
2. Anti-Aether
3. Last Breath
4. Burning Womb

Catapult the Dead are:
Ben Hiteman – Vocals and Percussion
Emad Dajani – Guitar
Thomas Lilliston – Guitar
Garrick O’Connor – Keyboards and Guitars
Dan Brownson – Bass
Patrick Spain – Drums

http://facebook.com/catapultthedead
https://catapultthedead.bandcamp.com
http://catapultthedead.bigcartel.com/
https://www.doomstew.com

Catapult the Dead, All is Sorrow (2014)

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Menin Announce Lord of Pain EP Due Sept. 15

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

menin

The impression made by the blown-out tone of Menin‘s Lord of Pain is immediate, resonant and righteous. Taking themes from sci-fi across its included tracks — one of which is instrumental and another a vinyl-exclusive bonus — the Doom Stew Records offering is out Sept. 15 and is the first EP release from the doubly-drummed (you can hear it on “Logrus”) Portland, Oregon, four-piece. Caked in distorted filth to match their bass-driven heft, Menin stomp their way through the title-track en route to the longer and ultimately more atmospheric “Logrus” before rolling out an effective linear build across “Mercer.”

All told, it’s a quick 22 minutes-plus that feels formative in its construction but carries forth a raw ambience to go with its nastiest stretches. It just so happens that the bonus track, “Entheogen,” is streaming at the bottom of this post, if you’d like to get introduced.

From the PR wire:

menin lord of pain

Menin EP – Lord of Pain Sept 15th

Portland, Oregon’s favorite science fiction stoner doom outfit Menin is proud to announce its allegiance with San Francisco’s Doom Stew Records to release the EP Lord of Pain on CD and 12″ vinyl September 15th.

Menin’s power has rarely been glimpsed outside of the Pacific Northwest until now. Two drummers, downtuned guitar, and towering bass bring about an involuntary slow-headbang with interlocking polyrhythmic riffs. The unhinged vocals of guitarist Chris Gray serve to further disorient and disturb the listener.

Lord of Pain launches Menin’s unrelenting heaviness into the farthest corners of the universe for all but the deafest of heshers to behold. Each track explores the power and wrath of creator/destroyer gods from works of science fiction and fantasy. Lord of Pain’s title track is named for the Shrike from Dan Simmons’s Hyperion Cantos: a 10-foot-tall, four-armed, time-traveling monster made of knives. Fellow science fiction fan and riff warrior Matt Stikker provides a horrifying illustration for the cover art, as he has done for the likes of Lord Dying, Drouth, and WVRM, among others.

Lord of Pain will be available on CD, digital download, and vinyl September 15th through Doom Stew Records. The 12″ vinyl also contains the previously-unavailable single Entheogen, an anthem to the sweet leaf.

Artist: Menin
Album: Lord of Pain
Label: Doom Stew Records
Release date: September 15th, 2017

Tracklist:
1. Lord of Pain (5:45)
2. Logrus (9:58)
3. Mercer (7:14)
4. Entheogen (5:52) (vinyl-only)

Menin is:
Chris Gray – Vocals / Guitar
Ken Neff – Bass
Devin Nowlin – Drums
Peter Schaller – Drums

http://facebook.com/meninpdx
https://www.menin666.com
https://menin.bandcamp.com
https://www.doomstew.com
https://www.facebook.com/doomstewrecords/

Menin, “Entheogen”

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Review & Track Premiere: Brume, Rooster

Posted in audiObelisk, Reviews on April 13th, 2017 by JJ Koczan

brume rooster

[Click play above to stream the premiere of ‘Reckon’ by Brume. Their debut album, Rooster, is out April 20 on DHU Records and Doom Stew Records ahead of a UK tour (info here) including a stop at Desertfest London 2017.]

A dense fog comes to rest over the 51 minutes of Brume‘s Rooster. By the end of the 10-minute opening track, it has settled in despite — or perhaps because of — the pervasive thrust the San Francisco trio have conjured, and it remains a factor for the six-track duration. Fortunately, the three-piece of bassist/vocalist Susie McMullin, guitarist Jamie McCathie and drummer Jordan Perkins-Lewis chose the most capable of navigators, Billy Anderson (NeurosisMelvinsAcid KingSleep, need I go on?), to help guide them forward. Rooster, issued through Perkins-Lewis‘ own Doom Stew Records on CD, tape and download with vinyl forthcoming from DHU Records, winds up not so much getting lost in this fog as inhaling it, plugging in, and riffing out with marked force, thickness and presence.

Their 2015 debut EP, Donkey, was a showcase of promise, and Rooster is a longer one, but in stepping forward to give their building audience a first real chance to take in the scope of what Brume — who got together in 2014 — can and will be as a band, they do not flub the opportunity. With longer pieces “Grit and Pearls” (10:06) and “Tradewind” (11:48) as bookends at the outset and finish, the fervent plod of “Harold” (7:30), “Reckon” (9:13) and the rolling “Call the Serpent’s Bluff” (9:29) between, as well as the penultimate acoustic-based “Welter” (2:55) leading into the closer, Rooster realizes the potential of the prior EP and moves forward with it, successfully melding together influences into what Perkins-Lewis might call a “doom stew” of their own recipe.

For those new to the band, with the airy, soulful melodicism of McMullin‘s voice echoing spaciously over the molasses riffery, one might hear them at first as spiritual successors to the recently-defunct Uzala, but the turns of “Grit and Pearls” immediately widen this impression with rhythmic stops drawn from the post-YOB sphere of cosmic doom and Mike Scheidt‘s particular style of angularity. The key, though, is immersion. By the time “Grit and Pearls” has finished its 10-minute course, shifting from vast plod into quiet atmospherics and back through the faster ending that’s the source of the YOB comparison above, they’ve managed to hook the listener with a repetitive nodding groove. Their sense of pacing and willingness to vary tempos emerges as something of a theme throughout, but Rooster never becomes more monotonous than it wants to be. Monolithic, perhaps.

brume

“Harold” begins by teasing the lighter strum-and-pluck that “Welter” will later bring before crashing in at full weight and unfolding its first ethereal verse, slower and more doomed than “Grit and Pearls” before it — I keep hearing early Cathedral in McCathie‘s guitar progression, but I can’t place it exactly — and they settle into a consuming roll as they move past the halfway point, the last minute of the song being the real point of departure as the central rhythm gives way to feedback and ambient noise with Perkins-Lewis‘ drums behind, a grueling end that perfectly sets up the doom-gone-TwinPeaks-barroom-blues launch of “Reckon.” The third of Rooster‘s six cuts fascinates conceptually as McMullin plays off the country music trope of the cowgirl singing the tale of meeting a mysterious stranger, but instead of a sharp-eyed, all-chin guy on horseback, he’s got a beard and rides a beat-up motorcycle. Nonetheless, the vibe that results makes “Reckon” a standout, as does its more prevalent hook and open-feeling, drum-and-chanting midsection break that swells to an apex with a layered-over guitar lead that recalls “Grit and Pearls” in its intent without necessarily retreading what’s already been done.

It seems likely that “Call the Serpent’s Bluff” will mark the start of the vinyl’s side B after “Reckon” finishes the album’s longer-by-two-minutes side A, and that break between the two songs feels somewhat essential as a factor in the flow throughout Rooster as a whole. That is, the effect of Perkins-Lewis‘ drums returning to start “Call the Serpent’s Bluff” is best experienced with the breath-catching moment provided to the listener by flipping a record. Even the digital version of “Reckon” has a couple seconds of silence at the end, and that feels very much on purpose and very correct. When it gets going, with the rumble of McMullin‘s bass and feedback from McCathie‘s guitar soon enough joining the tom runs to draw the listener into the patient groove, “Call the Serpent’s Bluff” swirls out hypnotic, doomedelic nod, an early lead giving way to more insistent pulse before spacious vocal melody transitions into slower riffing, a quiet introduction of the back-half hook and build back to the crawling, crashing finish recitations, ending with the vocals as a standalone element. That subtle moment of minimalism makes an effective transition into “Welter”; the shortest cut and starkest contrast to its surroundings, sonically if not in overall mood.

Backed by acoustic strum, McMullin echoes the bluesier feel of “Reckon” in another context, surrounded by a flourish of keys for a neofolkish stretch one might relate to Windhand but that serves all the same to further widen the breadth of Rooster ahead of “Tradewind,” which comes to life slowly over likewise quiet strum and cymbal wash before the full heft arrives at around two and a half minutes in to commence a series of loud/quiet tradeoffs that once again find Brume working in a varied structural context even as they reinforce the brooding feel of the record as a whole and offer one last deceptively catchy chorus. The nature of their craft, with a focus on longer songs meting out grueling and at times otherworldly doom, doesn’t necessarily lend itself toward the expectation of hooks, but Brume have a few throughout Rooster, as “Tradewind” duly reminds, and that seems an avenue where the trio might continue to grow as they take the lessons of their debut forward into whatever might come next. Along with the cohesive ambience and fluidity of their presentation on the whole, this underlying foundation of songwriting gives them another tradition to make their own as they begin to do in these tracks.

Brume website

Brume on Bandcamp

Brume on Thee Facebooks

Brume BigCartel webstore

Doom Stew Records website

DHU Records webstore

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Brume to Release Debut Album Rooster April 20; UK Tour with Gurt Announced

Posted in Whathaveyou on March 28th, 2017 by JJ Koczan

brume

I’m not sure when else one might expect San Francisco’s Brume to release their Billy Anderson-produced debut album, Rooster, other than April 20, but the timing works on multiple levels as that’s just a scant two days before they head overseas for the first time. They’re set to tour the UK with sludgemongers Gurt as a precursor to appearing at Desertfest London 2017 at The Underworld in Camden Town, where they’ll share the stage with Celeste, Scissorfight, Inter Arma and Bongzilla.

A worthy occasion to say the least, and certainly as they go, waving a banner like the frickin’ awesome Sean Beaudry cover art for Rooster won’t hurt. In addition to the April 20 release, which will be CD, tape and download through Doom Stew Records, the plan is to have Rooster out on vinyl through DHU Records over the summer.

Stay tuned because I’ll have more on this one leading up to the release — think, the week before. For now, the PR wire has tour dates, album info and all that good stuff:

brume rooster

San Francisco, California Doom trio Brume announce their debut album ‘Rooster’ out on DHU Records/Doom Stew Records.

Brume’s heaving dose of hallucinogenic heaviness has been crafted since their EP ‘Donkey’ released on CD (When Planets Collide), LP (DHU Records) and Cassette (Transylvanian tapes) in 2015. Returning to Sharkbite studios in Oakland, CA to record their full length but this time working alongside legendary producer Billy Anderson to lay down six songs, 51 minutes of heavy.

Progressing from Donkey’s monolithic focus, Rooster sees Brume evolve to a more dynamic songwriting approach. The west coast debut is a more sonically diverse, crushingly heavy and beautifully conflicted album. To accompany the music, the cover art was created by Savannah illustrator Sean Beaudry, best known for his work with Kylesa.

Brume will bring its riff ritual to Europe for the first time in April with a joint UK tour with Gurt in the run up to there Desertfest London slot alongside the likes of Bongzilla and Inter Arma in The Underworld, Saturday 29th.

Rooster will be available on CD, cassette and digitally on April 20th from Brume drummer Jordan Perkins-Lewis’s fledgling label, Doom Stew Records. The 2xLP will be available in a variety of limited edition variants via DHU in July.

Watch these spaces for preorders:
https://www.brumeband.com/
https://www.doomstew.com/
http://darkhedonisticunionrecords.bigcartel.com/

Artist: Brume
Album: Rooster
Label: DHU Records/Doom Stew Records
Release date: April 20th (CD) July (LP) 2017

Tracklist:
1. Grit and Pearls
2. Harold
3. Reckon
4. Call the Serpent’s Bluff
5. Welter
6. Tradewind

Brume & Gurt UK tour dates:
22/04 The Firehouse Southampton UK
23/04 The Stag and Hounds Bristol UK
24/04 Finns Weymouth UK
25/04 Rebellion Manchester UK
26/04 The Phoenix Coventry UK
29/04 Desertfest London 2017 The Underworld London UK (Brume only)

Brume are:
Susie McMullin – Vocals/Bass
Jordan Perkins-Lewis – Drums
Jamie McCathie – Guitar

https://www.brumeband.com/
https://brumesf.bandcamp.com/
https://www.facebook.com/brumeband/
http://brume.bigcartel.com/
https://www.doomstew.com/
http://darkhedonisticunionrecords.bigcartel.com/

Brume, Donkey EP (2015)

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