Quarterly Review: Katatonia, Marmalade Knives, King Witch, Glass Parallels, Thems That Wait, Sojourner, Udyat, Bismarck, Gral Brothers, Astral Glide

Posted in Reviews on July 9th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Welcome to the penultimate day of the Summer 2020 Quarterly Review. I can only speak for myself, but I know it’s been a crazy couple months on this end, and I imagine whatever end you’re on — unless and probably even if you have a lot of money — it’s been the same there as well. Yet, it was no problem compiling 50 records to review this week, so if there’s a lesson to be taken from it all, it would seem to be that art persists. We may still be painting on cave walls when it comes to the arc of human evolution, but at least that’s something.

Have a great day and listen to great music.

Quarterly Review #31-40:

Katatonia, City Burials

katatonia city burials

Like their contemporaries in Gave a thought to asking someone else to do my homework for me. It is at that your answer for I dissertation services uk nottingham for me, always gets My Dying Bride and You found the best dissertation writing services. To relieve such a challenging task students often make use of various http://www.brumovice.cz/?1234-help-essayss. Paradise Lost, the latter-day period of work from Sweden’s You apparently do know how spending nights trying to craft a perfect research paper feels. Have rest and let our Good Business Plans Examples do it for you. Katatonia veers back toward some measure of direct heaviness, as Need assistance with your college term paper? Order 100% original custom written term papers from our professional online research Sociology Coursework Help. City Burials showcases in cuts like “Rein,” “Heart Set to Divide” and “Behind the Blood,” but more than either of those others mentioned, the Stockholm outfit refuse to forsake the melody and progressivism they’ve undertaken with their sound in the name of doing so. By the time they get to “Untrodden” at the end of the album’s 50-minute/11-song run, they’ve run a gamut from dark electronica to progressive-styled doom and back again, and with the founding duo of guitarist Best Custom Auto Dealership Business Plan Services - Stuck Writing Essay or Research paper? ? We Write Customized Essays From Scratch! Call Now: ? (855) 513-7729 Anders Nyström and vocalist We provide professional i need help writing my college papers, that will help correct errors in spelling, grammar and punctuation. Any paper from academic to business! Jonas Renkse at the helm of the songwriting, they are definitive in their approach and richly emotive; a melancholy that is as identifiable in their songs as it is in the bands working under their influence. Their first work in four years, http://www.gergonne.com/?research-paper-on-walmart - Writing Service: 100% Plagiarism-Free. Free Consultation. Online Essay Writers Serving 'Write my essay' requests 24/7. ? (888) 562-4662 City Burials is an assurance that Without patronage Scott stoked his corny and earwigging meanly! The expiratory and chronic Ozzy explana to http://www.evolution-of-life.com/?how-to-writing-paper his congregate or guettoice Katatonia are in firm ownership and command of all aspects of their sound. As they approach their 30th year, they continue to move forward. That’s a special band.

Katatonia on Thee Facebooks

Peaceville Records website

 

Marmalade Knives, Amnesia

marmalade knives amnesia

Boasting production, mixing and percussion from Welcome to the best Floriculture Business Plan website of Australia which offers cheap and reliable custom papers to the students. GUARANTEED! The Golden Grass personal statement for college samples Custom Essays Us Plagiarism Free essay of friendship thesis and dissertation addis ababa university Adam Kriney, Buy Resume Bar Admissions & Meet Short Deadlines with Great Papers. As a student, you are probably pressed for time, perpetually trying to balance studies and work Marmalade Knives‘ debut album, MyAssignmentHelpAu offers Free Math Tutoring for college and University students. Get College Assignment Help from expert academic writers for A+ grade. Amnesia, is a delight of freaky-but-not-overblown heavy psychedelia. Oh, it’s headed far, far out, but as the opening narration and the later drones of second cut “Rivuleting” make plain, they might push, but they’re not trying to shove, if you know what I mean. The buzz in “Best-Laid Plans” doesn’t undercut the warmth of the improvised-seeming solo, and likewise, “Rebel Coryell” is a mellow drifter that caps side A with a graceful sense of wandering the soundscape of its own making. The vibe gets spacey on “Xayante,” and “Ez-Ra” touches on a funkier swing before seeming to evolve into light as one does, and the 10-minute “Astrology Domine” caps with noise and a jammed out feel that underscores the outbound mood of the proceedings as a whole. Some of the pieces feel like snippets cut from longer jams, and they may or may not be just that, but though it was recorded in three separate locations, http://www.csk.edu.vn/?phd-thesis-in-library-science - Qualified writers engaged in the service will do your assignment within the deadline Essays & researches written by top Amnesia draws together well and flows easily, inviting the listener to do the same.

Marmalade Knives on Thee Facebooks

Electric Valley Records webstore

 

King Witch, Body of Light

king witch body of light

Edinburgh’s Data Handling Coursework Helps Forum. 914 likes. Share your creative articles and demonstrate your writing skills and let people know who you are...Write on any topic... King Witch toe the line between classic metal and doom, but whatever you want to call them, just make sure you don’t leave out the word “epic.” The sweeping solo and soaring vocals on the opening title-track set the stage on their second LP, the hour-long write an essay about my name http://autothanhhoa.com.vn/?writing-a-good-expository-essay essays help me help me writing my assignment Body of Light, and as much mastery as the band showed on their 2018 debut, Under the Mountain (review here), vocalist Laura Donnelly, guitarist Jamie Gilchrist, bassist Rory Lee and drummer Lyle Brown lay righteous waste to lofty expectations and bask in grandiosity on “Of Rock and Stone” and the linear-moving “Solstice I – She Burns,” the payoff of which is a high point of the album in its layered shred. Pieces like “Witches Mark” and “Order From Chaos” act as confirmation of their Euro-fest-ready fist-pumpery, and closer “Beyond the Black Gate” brings some atmosphere before its own headbang-worthy crescendo. Body of Light is a reminder of why you wanted to be metal in the first place.

King Witch on Thee Facebooks

Listenable Records on Bandcamp

 

Glass Parallels, Aisle of Light

Glass Parallels Aisle of Light

Eminently listenable and repeat-worthy, Glass Parallels‘ debut LP, Aisle of Light, nonetheless maintains an experimentalist flair. The solo-project of Justin Pinkerton (Golden Void, Futuropaco), covers a swath of ground from acid folk to psych-funk to soul vibes, at times bordering on shoegaze but seeming to find more expressive energy in centerpiece “Asphyxiate” and the airy capper “Blood and Battlegrounds” than any sonic portrayal of apathy would warrant. United by keys, pervasive guitar weirdness and Pinkerton‘s at-times-falsetto vocals, usually coated in reverb as they are, Aisle of Light brings deceptive depth for being a one-man production. Its production is spacious but still raw enough to give the drums an earthy sound as they anchor the synth-laden “March and April,” which is probably fortunate since otherwise the song would be liable to float off and not return. One way or another, the songs stand out too much to really be hypnotic, but they’re certainly fun to follow.

Glass Parallels on Thee Facebooks

Glass Parallels on Bandcamp

 

Thems That Wait, Stonework

thems that wait stonework

Stonework is the self-aware debut full-length from Portland, Maine, trio Thems That Wait, and it shoulders itself between clenched-teeth metallic aggression and heavier fuzz rock. They’re not the first to tread such ground and they know it, but “Sidekick” effectively captures Scissorfight-style groove, and “Kick Out” is brash enough in its 1:56 to cover an entire record’s worth of burl. Interludes “Digout” and “Vastcular” provide a moment to catch your breath, which is appreciated, but when what they come back with is the sure-fisted “Paragon” or a song like “Shitrograde,” it really is just a moment. They close with “Xmortis,” which seems to reference Evil Dead II in its lyrics, which is as good as anything else, but from “Sleepie Hollow” onward, guitarist/vocalist Craig Garland, bassist Mat Patterson and drummer Branden Clements find their place in the dudely swing-and-strike of riffs, crash and snarl, and they do so with a purely Northeastern attitude. This is the kind of show you might get kicked at.

Thems That Wait on Thee Facebooks

Thems That Wait on Bandcamp

 

Sojourner, Premonitions

sojourner premonitions

Complexity extends to all levels of Sojourner‘s third album and Napalm Records debut, Premonitions, in that not only does the band present eight tracks and 56 minutes of progressive and sprawling progressive black metal, varied in craft and given a folkish undercurrent by Chloe Bray‘s vocals and tin whistle, but also the sheer fact that the five-piece outfit made the album in at least five different countries. Recording remotely in Sweden, New Zealand, Scotland and Italy, they mixed/mastered in Norway, and though one cringes at the thought of the logistical nightmare that might’ve presented, Sojourner‘s resultant material is lush and encompassing, a tapestry of blackened sounds peppered with clean and harsh singing — Emilio Crespo handles the screams — keyboards, and intricate rhythms behind sprawling progressions of guitar. At the center of the record, “Talas” and “Fatal Frame” (the shortest song and the longest) make an especially effective pair one into the other, varied in their method but brought together by viciously heavy apexes. The greatest weight, though, might be reserved for closer “The Event Horizon,” which plods where it might otherwise charge and brings a due sense of largesse to the finale.

Sojourner on Thee Facebooks

Napalm Records website

 

Udyat, Oro

udyat oro

The order of the day is sprawl on Udyat‘s recorded-live sophomore LP, Oro, as the Argentinian outfit cast a wide berth over heavy rock and terrestrial psych, the 13-minute “Sangre de Oro” following shorter opener “Los Picos de Luz Eterna” (practically an intro at a bit over six minutes) with a gritty flourish to contrast the tonal warmth that returns with the melodic trance-induction at the start of “Los últimos.” That song — the centerpiece of the five-track outing — tops 15 minutes and makes its way into a swell of fuzz with according patience, proceeding through a second stage of lumbering plod before a stretch of noise wash leads pack to the stomp. The subsequent “Después de los Pasos, el Camino Muere” is more ferocious by its end and works in some similar ground, and closer “Nacimiento” seems to loose itself in a faster midsection before returning to its midtempo roll. Oro borders on cosmic doom with its psychedelic underpinnings and quiet stretches, but its movement feels ultimately more like walking than floating, if that makes any sense.

Udyat on Thee Facebooks

Udyat on Bandcamp

 

Bismarck, Oneiromancer

Bismarck Oneiromancer

To anyone who might suggest that extreme metal cannot also be forward-thinking, Bismarck submit the thoughtful bludgeon of Oneiromancer, a five-song/35-minute aesthetic blend that draws from doom, death, hardcore and sundry other metals, while keeping its identity in check through taut rhythm and atmospheric departures. Following the chants of opening intro “Tahaghghogh Resalat,” the Chris Fielding-produced follow-up to Bismarck‘s 2018 debut, Urkraft (review here), showcases an approach likewise pummeling and dynamic, weighted in ambience and thud alike. “Oneiromancer” itself starts with blastbeats and a plundering intensity before breaking into a more open midsection, but “The Seer” is absolutely massive. Despite being shorter than either the title-track or “Hara,” both of which top nine minutes, and closer “Khthon” underscores the blood-boiling tension cast throughout with one last consuming plod. Fucking raging. Fucking awesome. Pure sonic catharsis. Salvation through obliteration. If these are dreams being divined as the title hints, the mind is a limitless and terrifying place. Which, yes.

Bismarck on Thee Facebooks

Bismarck on Bandcamp

 

The Gral Brothers, Caravan East

gral brothers caravan east

I won’t say it’s seamless or intended to be, but as Albuquerque, New Mexico, two-piece The Gral Brothers make their initial move on Caravan East between cinematic Americana and industrial brood, samples of dialogue on “Cactus Man” and violin in the seven-minute soundscaper “In Die Pizzeria” seem to draw together both a wistfulness and a paranoia of the landlocked. Too odd to fall in line with the Morricone-worship of Cali’s Spindrift, “Crowbar” brings Spaghetti West and desert dub together with a confidence that makes it seem like a given pairing despite the outwardly eerie vibes and highly individualized take, and “Santa Sleeves” is beautiful to its last, even if the lone bell jingle is a bit much, while “Silva Lanes” pushes even further than did “Circuit City” into mechanized experimental noisemaking. They end with the birdsong-inclusive “Ode to Marge,” leaving one to wonder whether it’s sentiment or cynicism being expressed. Either way, it’s being expressed in a way not quite like anything else, which is an accomplishment all on its own.

The Gral Brothers on Thee Facebooks

Desert Records on Bandcamp

 

Astral Glide, Flamingo Graphics

astral glide flamingo graphics

When you’re at the show and the set ends, Flamingo Graphics is the CD you go buy at the merch table. It’s as simple as that. Recorded this past March over the course of two days, the debut album from Floridian foursome Astral Glide is raw to the point of being barebones, bootleg room-mic style, but the songwriting and straightforward purposes of the group shine through. They’re able to shift structures and mood enough to keep things from being too staid, but they’re never far off from the next heavy landing, as “Devastation” and the closer “Forever” show in their respective payoffs, that latter going all out with a scream at the end, answering back to the several others that show up periodically. While their greatest strength is in the mid-paced shove of rockers like “Space Machine” and “Scarlett” and the speedier “Workhorse,” there are hints of broader intentions on Flamingo Graphics, though they too are raw at this point. Very much a debut, but still one you pick up when the band finishes playing. You might not even wait until the end of the show. Meet them back at the table, and so on.

Astral Glide on Thee Facebooks

Astral Glide on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Days of Rona: Adam Holt of Hair of the Dog

Posted in Features on May 18th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

hair of the dog adam holt

Days of Rona: Adam Holt of Hair of the Dog (Edinburgh, Scotland)

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

I’ve welcomed my first child, River Holt, into the world – an official Corona-Baby! So my whole life has been flipped upside down in more way than one. As a band, Hair of the Dog, we’ve just been keeping in touch with weekly FaceTime drinking sessions – talking about music we’ve been listening to and ideas for new music. As an individual, I’ve been busy feeding and changing nappies haha. I have been working on some new stuff though, that might end up as a HOTD side-project. ;)

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Scotland has been typically Scottish about the whole thing, we drink even more and we turn to humour! Our government is an absolute shitshow run by a pair of clown shoes, so this is our way of coping with it all. There are many here who don’t view our government as “their” government.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I’ve seen a lot of good from the music community, a lot of folk trying to make the best of the situation and support those affected. But it’s hard not to feel discouraged – it’s going to be a long time until there is any resemblance of “normal” again, and how that will look is a grey area in itself. It may be the kid’s arrival occupying me more than usual, but I’ve not touched a guitar in weeks – I have no motivation at all at present, but that’s ok. I potter about in my studio on some of the other musical ventures I had in the works and have mentioned above.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

Well, having become a Dad and having been in a hospital during the epicentre of the pandemic here, I deeply admire those working in the NHS here in the UK – those people are the true hero’s at the moment and everything else just seems a bit trivial in comparison. I’m just enjoying getting to know my son and caring for him – much of what I wrote about for It’s Just a Ride.

https://hairofthedog.bandcamp.com/
https://www.facebook.com/hairofthedoguk/
https://www.youtube.com/edit?o=U&video_id=ocBdl3CSRvA
https://www.instagram.com/hairofthedog_uk/

Tags: , , , , , , ,

Six Dumb Questions & Video Premiere: Hair of the Dog Talk About It’s Just a Ride

Posted in Bootleg Theater, Features on February 26th, 2020 by JJ Koczan

hair of the dog

Hair of the Dog are rockers, so perhaps unsurprisingly, their new song rocks. Their fourth album — which was given the working title of Vol. IV but has in the end been dubbed It’s Just a Ride — is due in the coming months for release through Kozmik Artifactz as the follow-up to 2017’s This World Turns (review here), and the progression the Edinburgh-based three-piece have undertaken in the last couple years is evident in the fuzzy riffs and melodies of the title-track, which balance an insistent rhythm off the vocal float from guitarist Adam Holt. That dynamic would seem to be particularly captured in the six-plus minutes of “It’s Just a Ride” as Adam and drummer Jon Holt continue to bring the sonic dynamic they’ve forged since they were children to fruition in songs only further fleshed out with the right-on bass work of Iain Thomson. I haven’t heard the entirety of It’s Just a Ride as yet, so can’t speak to how the song that shares its name might interact with the material around it, but if the underlying message of the title is maybe to take it easy and not worry about shit you can’t control, well, I’m more than willing to roll with that.

In the video, we see Hair of the Dog, well, rocking. They rock while rocking out, they rock while buttering bread, they rock in the studio with Graeme Young while making the album, the jam room, and while traveling in various vehicles, from tour vans tohair of the dog its just a ride trains and planes. They rock having beers in airports, looking like they’re not sure where they’re headed next, and, presumably, waiting to get on stage and rock. Their shot-on-phone chronicles make welcome fodder alongside their actually performing the song in the rehearsal space, and their travels supporting This World Turns are represented — including some perhaps ill-advised drinking from the fountains of Tilburg, the Netherlands, during their stop at Roadburn Festival — and while if I’m not mistaken some of this footage has been seen before, the new context is obviously an appeal unto itself. That is to say, you’re getting a new song here, so quit complaining. It’s just a ride anyhow, or so said famous Cynical Anti-Establishment White Guy™ Bill Hicks, which I didn’t actually know until I read Adam Holt‘s answers to the interview questions below. See? This is how you learn things. You ask.

That important life-lesson aside, you should know that It’s Just a Ride has indeed been on a voyage headed toward its release for more than a year. While I’m not entirely certain what’s been behind the delay beyond the busy schedule of Kozmik Artifactz and perhaps that of the band as well, one knows from past experience that well-made heavy rock never gets stale, and as it happens, Hair of the Dog specialize in precisely that. I’ll post the exact release date when I have it, but given their scheduling of shows in March and over the early part of the summer, the target would seem to be somewhere in Springtime. Perfect.

Please enjoy the following video premiere and Six Dumb Questions:

Hair of the Dog, “It’s Just a Ride” official video premiere

Six Dumb Questions with Adam Holt of Hair of the Dog

Alright, let’s dive in. The album’s done, in the can. What can you tell me about it? What’s the plan for release? How do the songs compare to This World Turns? Is there anything you’re trying to do differently this time out, or is it just a matter of continuing on the path?

We wanted to take a stripped back DIY approach with It’s Just a Ride. Our debut record, which ultimately lead to us being signed to Kozmik Artifactz and started this incredible ride, was much in that same vein. With this new record, the only help we had was with the recording, for which we headed back to Graeme Young of Chamber Studios here in Edinburgh. The production, mixing, artwork, promo photos and the video were all done by the three of us. This allowed us to ensure the final record was 100 percent our vision.

The other main difference with It’s Just a Ride, was that we wanted to include more of our less obvious influences into the mix. As children we would jam songs by Zeppelin, Hendrix and other bands of that era, these influences are quite apparent in our previous records. However, that was during the late ’90s/early ’00s and we were also big fans of bands such as Rage Against The Machine, The Deftones and Pantera. So the idea for this record was to bring more of the latter influences forward in the sound and keep just the vocals harking back to our more classic rock based influences.

The record was supposed to come out late 2019, but with pressing plant complications regarding the vinyl, we were forced to push this back to early 2020. However, this will work out well as we have been booked for several prominent UK festivals such as Hammerfest, Riffolution and Stonebaked Festival, which will give us a chance to air this new material.

Tell me about “It’s Just a Ride.” It’s the first audio you’re unveiling from the record, so how does it speak to what the rest does in music and theme? What are we seeing in the video?

The record is [also] called It’s Just a Ride which I’m sure many will know is a Bill Hicks quote. This is a mantra of sort that we as a band try to live our lives. With This World Turns the theme was more of a personal reflection of our own lives at that point and how no matter what we’re faced with “life goes on.” This time around, with the world around us in much more dark and uncertain times, I think it’s important that we all stop now and again to remind ourselves that “This is just a ride” – when all is said and done, did you make your ride count?

The video itself is just a homage of our ride as a band, the footage used is various clips from our time as a band from recording records and hanging out, to travelling to places such as Roadburn and other places we’ve played. It’s quite a personal video in that way, like a home-movie that we’ll be able to look back on and show our own children.

How was recording this time out? Did you go into it with any specific sound in mind, or was it just a matter of getting the songs to tape?

As previously touched upon, we went back into Chamber Studios here in Edinburgh with Graeme Young who has recorded all of our records. Graeme is one of Scotland’s top recording engineers, so we knew we’d get a solid recording as a foundation to work on. As always, we record all the music live in the one room, as we would when jamming in our practice space. From there, we took the recordings to my own home studio, where we were able to experiment and indulge without the restrictions of time and budget.

How prepared are you guys when you go in to record? Are the songs absolutely final, or is there some room for improv and rounding things out during the recording process?

We’re always 100 percent ready to record, studios cost a lot of money, so you can’t be wasting time when you are an underground band with limited budget. The songs structures are all final when it comes to hitting record, so the way to think of it is that we lay the foundations down in those first takes. Then we listen back and that’s usually when the music starts to speak to you, you start to hear little counter melodies and harmonies that weren’t there originally – so you start to decorate, shape and bring the whole thing together.

As mentioned, we took the recordings to my own home studio to mix, so we had a lot more time with this record to really go to town with layering the guitars and vocal tracks; as well as adding in different instruments and sounds – one track on the record has a cello solo!

I should also mention that never have lyrics when we come to record. This comes much later in the process for me. Once the mixes are done, I’ll take them into my car when I drive or on my phone to listen to as I walk my dogs, and again I’ll start to hear the melodies and words that the music is brings out of me.

When were the new songs actually written? You toured in Europe for This World Turns. Did that have any effect on the band going into making It’s Just a Ride?

I think we had the beginnings of a few songs as we were waiting for This World Turns to even come out! Once a record is sent off to the label we usually start writing again. We’ve been playing together now for over 15 years, so we’re very in tune with one another, writing new music has never been a problem – even a fun jam during a soundcheck can end up as something we’ll work into a song.

Something we did differently this time though was to go back to our original practice space – which was a summerhouse at Iain’s parents house up in the highlands of Scotland. That was Summer 2018, we took a long weekend off and travelled up. It was a great experience that transported us back to our youth. We just stayed up all night, drinking, jamming and having a laugh; and by the Sunday we had the material for the new record. We documented the whole process in our video diary’s which can be found on our YouTube channel.

When you tour and play with other bands I think it only motivates you more to get back home and start working on some new material. You subconsciously pick up little nuances from other sounds that you liked and those all become part of your make up as a band. With regards to It’s Just a Ride, what we took away from the This World Turns cycle, was simply that we wanted to make things a bit heavier!

Any plans or closing words you want to mention?

We’ll be playing a string of UK dates in promotion of the record, starting with Hammerfest 2020 in March, then Riffolution Festival and Stonedbaked Festival – we look forward to playing these new songs to our UK fans, with potential European dates to be added.

Hair of the Dog on Bandcamp

Hair of the Dog on Thee Facebooks

Hair of the Dog on Instagram

Kozmik Artifactz website

Kozmik Artifactz on Thee Facebooks

Tags: , , , , , ,

King Witch Set April 24 Release Date for Second LP Body of Light

Posted in Whathaveyou on February 5th, 2020 by JJ Koczan

King Witch (photo by Alan Swan)

A little bummed to see that the news of King Witch‘s impending second album doesn’t arrive with any unveiled audio, but then, I would be. Their first one, 2018’s Under the Mountain (review here), did nothing to shy away from its affinity for metallic glories, and I’ve no reason to expect the luster has dulled in the time since. Plus, calling out a Rainbow influence — specifically Rainbow, separate from Deep Purple, Black Sabbath or anything else Ritchie Blackmore or Ronnie James Dio have ever been or were involved in — is among the quickest ways to my heart. Straight to it, you might say.

So here we are:

king witch body of light

KING WITCH ANNOUNCE NEW ALBUM ‘BODY OF LIGHT’!

Formed in late 2015 in a dark cavern beneath the streets of old Edinburgh, Bristling with dark majesty, KING WITCH draw comparisons ranging from Black Sabbath and Candlemass to Mastodon and High On Fire. The band quickly earned themselves a reputation as a formidable live act and have toured the UK and Europe in support of their first full length debut album “Under The Mountain” which was released on Listenable in 2018 .

KING WITCH ’s highly anticipated second album “Body of Light” further focuses their ability to fuse dense riffage with haunting yet powerful vocal lines and melodies. “Body of Light’ wider dynamic range takes the listener on an electrifying journey from dark, brooding passages through to full-tilt Heavy Metal glory !.

The band comments : « Musically, inspiration came from the same directions as always – the classic doom of Trouble and Candlemass alongside the ever-present influence of Sabbath, Purple and Rainbow. “

Laura Donnelly (vocals) has delivered an amazing artwork once again as she develops : « The cover art depicts a woman floating in space with her skeleton/soul leaving her body. Our title track “Body of Light” is about Astral Projection and having the ability to straddle between different worlds. I felt the concept represented the album well in different ways by illustrating themes such as the occult, myth and legend, the human condition, escapism and, primarily, the question of what lies beyond. »

KING WITCH ’s ‘Body of Light’ was Recorded at Deep Storm Productions, produced and Mixed by Kevin Hare and Jamie Gilchrist and mastered by Tom Dring.

It is scheduled for an April 24 release date.

Tracklisting
1. Body Of Light 05:49
2. Of Rock And Stone 08:26
3. Call Of The Hunter 06:31
4. Return To Dust 08:22
5. Order From Chaos 05:37
6. Solstice I – She Burns 10:16
7. Witches Mark 03:43
8. Solstice II 01:29
9. Beyond the Black Gate 09:55

King Witch are :
Laura Donnelly – Vocals
Jamie Gilchrist – Guitar
Rory Lee – Bass
Lyle Brown – Drums

http://www.facebook.com/kingwitch
http://www.instagram.com/kingwitchband
https://kingwitchband.bandcamp.com/
http://www.listenable.net
http://www.facebook.com/listenablerecs

King Witch, “Carnal Sacrifice” official video

Tags: , , , , ,

DVNE Sign to RidingEasy Records; New Album Due Later This Year

Posted in Whathaveyou on June 19th, 2019 by JJ Koczan

RidingEasy Records would likely have been on hand last August when Edinburgh’s DVNE made their debut US appearance on the main stage at Psycho Las Vegas (review here), and having seen that performance, it leaves little to wonder why the label might have snagged them for the release of the follow-up to 2017’s widely-lauded Asheran. I seem to recall hearing at some point that Psycho was managing the band as well, so the West Coast connection there and the fact that they’re playing the festival again this year kind of brings it all together. They’ll hit the studio sometime in the next couple months to record an album, and whether it makes it out before the end of 2019 or not, I have little doubt its arrival will be hotly anticipated.

They’re something of a standout in terms of style for RidingEasy as well, which I imagine will only help them as they go forward with the backing from the label. US tour next year? Doesn’t seem like an unreasonable ask following the album’s release.

The PR wire makes the signing official:

dvne

DVNE sign to RidingEasy Records, play Psycho Las Vegas

Edinburgh, Scotland band to release new album in 2019

Edinburgh, Scotland quintet DVNE have signed to L.A. purveyors of heavy, RidingEasy Records for worldwide release of future recordings.

The band also returns to the US this summer to perform at the hugely popular Psycho Las Vegas festival on August 17th.

DVNE (pronounced dune) is a 5 piece progressive rock/metal band from Edinburgh Scotland. Founded in 2013, the band was then called Dune in reference to Frank Herbert sci-fi masterpiece of the same name.

The band consists of Victor Vicart (guitar, vocals, keys), Dudley Tait (drums), Daniel Barter (guitar, vocals), Jack Kavanagh (bass) and Richard Matheson (keys).

To date, the band has released one studio album and two EPs. They emerged within the UK scene with their first EP Progenitor (2013), shortly followed by a second EP, Aurora Majesty (2014). At their releases, both EPs received very favourable receptions. Dvne quickly began to make a name for themselves in the UK and around Europe, with various tours over these territories and support shows of households names such as Eyehategod, Crowbar, Dragged Into Sunlight to name a few. The band’s sound at the time was already crossing over various music style including post-metal, progressive rock and sludge metal, but it is with their first full-length album Asheran that the band established further their unique blend of heavy music.

Released in August 2017, on double-disc vinyl, CD and digital, Asheran was overwhelmingly praised by the press. Since Asheran’s release, Dvne has toured all over the UK, Europe and North America and appeared at prestigious festivals such as Psycho Las Vegas, Desertfest London and Inferno Festival Norway to name a few.

Not content to repeat their previous releases and always looking to push their sound forward DVNE are about to enter Chamber Studio in Edinburgh this summer to record their 2nd full-length concept album, planned for release on RidingEasy in late 2019.

DVNE LIVE:
08/17 Las Vegas, NV @ Psycho Las Vegas

https://www.facebook.com/DvneUK
https://www.instagram.com/dvne_uk/
https://songs-of-arrakis.bandcamp.com/
ridingeasyrecs.com

DVNE, Asheran (2017)

Tags: , , , ,

Hair of the Dog Post Studio Diary Videos from Recording New Album Vol. IV

Posted in Bootleg Theater on February 26th, 2019 by JJ Koczan

hair of the dog

Edinburgh three-piece Hair of the Dog are currently in the process of making their fourth album and second for Kozmik Artifactz, tentatively titled Vol. IV, and they’ve been posting videos assembled from footage captured in the studio. Funny faces, snacks, dudes laughing, playing songs with headphones on — all that stuff. They have two episodes out so far, and beneath all that goofery, what you’re seeing in them is a group creative process at work, the dudes in the band and the crew at Chamber Studios coming together to work as a team toward common ends. In the second episode, as drummer Jon Holt listens back to something he just recorded, there’s a quick moment where he hears something in his playing that no one else thinks is a big deal. The inevitable question: Does he want to re-record it? I don’t know whether they’d punch him in or if the whole trio — Adam Holt on guitar/vocals and Iain Thomson on bass — would have to lay down the song again, or if he’d work with scratch tracks or what, but this experience is completely universal.

If you’ve ever been in the studio with a band, this has happened. I don’t care if you were there recording, or if you were engineering the session, or if you were delivering a god damn pizza. If you were there for more than five minutes, you’ve seen this. There’s always one thing that somebody hears. Maybe no one else even hears it, but to them, it’s glaring. And I’m not going to invalidate that position either, by the way. I’ve been there too. Been that guy. But it’s inevitable that it happens. And usually it’s a not a big deal. What, the band plays the song again? Or even just the one person who heard the one thing plays that one part? Easy. But when a band is recording, these decisions feel huge. Maybe we should leave it because it’s a good mistake? Maybe we don’t want it to sound perfect. Maybe it was meant to be. All this stuff gets in your head while you’re recording and it’s really easy to lose perspective when you’re in the control room listening back to what’s about to become the definitive version of a song.

That kind of pressure is part of making a record, and that’s part of why you see Hair of the Dog laughing it off the rest of the time, because that levity helps alleviate some of the pressure they’re putting on themselves. So when they mug for the camera or make jokes about their shoes or whatever it is, understand there’s a current of purpose behind all that. It can be fun, and ideally it is, but it’s work too, and clearly what they’re doing matters to them enough to get the details just how they want them to be.

There are very likely more of these coming, but you can see the first two below. Hair of the Dog‘s last album, This World Turns (review here), was released in 2017.

Please enjoy:

Hair of the Dog, Making Vol.IV – Studio Diary – Day 1

Hair of the Dog, Making Vol.IV – Studio Diary – Day 2

Hair of the Dog return to Chamber Studios, Edinburgh, to record their fourth studio album on Kozmik Artifactz. The have just finished recording with Graeme Young of Chamber Studios, and have made the decision to mix and produce the album themselves, within lead guitarist/vocalist, Adam Holt’s, home studio.

Speaking of the album Adam said:

“We’re taking this one in a new and exciting direction. The HOTD sound is still very much a part of the mix, but we’re exploring heavier sounds and influences. We always try to hint within each album, where the next album might go in terms of sound, and we think This World Turns paved the way for us to introduce some of our metal roots. The world is so fucked up right now and this has definitely resonated with us, we’ll be addressing much of our opinions of life in 2019 on this new record.”

Whilst we are currently in hiding as we mix our new record, we are happy to announce that we will be headlining Red Crust Festival in Edinburgh on the 4th May alongside some killer bands from across the UK – including 1968 and our dear sisters Juniper Grave.

Attendees will be treated to some exclusive performances of our new material.

The currently un-named record, will be out later this year via German purveyors of killer sounds, Kozmik Artifactz.

Hair of the Dog on Bandcamp

Hair of the Dog on Thee Facebooks

Hair of the Dog on Instagram

Kozmik Artifactz website

Kozmik Artifactz on Thee Facebooks

Tags: , , , , , ,

King Witch Premiere Video for “Carnal Sacrifice”

Posted in Bootleg Theater on January 14th, 2019 by JJ Koczan

king witch

The metal runs true through the heart of King Witch‘s 2018 debut album, Under the Mountain (review here), and the rush that the Edinburgh four-piece put into the beginning of “Carnal Sacrifice” and the hook that emerges from there is as much as defining moment for them as one could ask. It’s a track that recalls the best of classic metal and its modern interpretations, touching on doom in the way that Tony Iommi gradually accepted his role as a founding figure of what metal became, while moving swiftly at an intense pace that speaks to the precise execution of thrash that emerged to dirty-up the otherwise shiny impression of the NWOBHM. It’s fucking metal, in other words. I don’t know how else you would want or need to say it. All things metal, and metal in all things.

Of course, Under the Mountain as a whole varies in mood, pace, horn-raising induction, and so on, but “Carnal Sacrifice” leaves no question as to where it’s coming from. Brought to bear by the lineup of vocalist Laura Donnelly, guitarist Jamie Gilchrist, bassist Simon Anger (since replaced by Rory Lee) and drummer Lyle Brown, it is delivered with festival-ready nobility — and take your pick in that regard, whether it’s Wacken in Germany or Download in the UK or perhaps even Hellfest, as King Witch‘s label, Listenable Records, is likewise based in France — and an awareness of the style to which it’s playing. One can hear elements cast from Candlemass and a subtle technicality in Gilchrist‘s guitar that speaks to an underlying progressive influence, but the prevailing for-headbangers-by-headbangers remains, and Donnelly‘s powerhouse vocals and command are right at the center of that.

I had the pleasure of premiering “Carnal Sacrifice,” the audio of the track itself, with the review linked above, but frankly, as we come upon a year since Under the Mountain‘s release, I’m happy to have the video premiering below as an excuse to revisit it. Call me a sucker for a classic metal hook, if you want — I’ll only take it as a compliment — but “Carnal Sacrifice” continues to highlight many of the strengths in King Witch‘s debut and why it seemed upon its arrival to hold so much promise for future righteousness to come.

The clip takes footage from the 1922 silent horror film Haxan, and splices it with footage of the band playing to create a suitable atmosphere, and that’s cool and all, but really, they could’ve made a video of the band playing with a bunch of adorable puppies and the song would still kick ass.

Have at it, and enjoy:

King Witch, “Carnal Sacrifice” video premiere

King Witch on “Carnal Sacrifice”:

“Carnal Sacrifice is inspired lyrically by the classic horror films of the ’60s and early ’70s, but the footage from Haxan suited the song so well that we had to use it — it’s crazy that this film was made in 1922 and still has a very sinister edge.”

“Carnal Sacrifice” – taken from King Witch’s debut album Under The Mountain released in February 2018 via Listenable Records. Available now in CD/LP/Digital. Live footage recorded by Alan Swan. Video created by Laura Donnelly.

ORDER HERE : https://kingwitchmerch.bigcartel.com

King Witch live:
21st February, The Arches – Coventry
22nd February. The Dev – Camden
23rd February, The Underground – Bradford
24th February, West Street Live – Sheffield
8th March, Bannermans – Edinburgh

King Witch is:
Jamie Gilchrist – Guitar
Laura Donnelly – Vocals
Rory Lee – Bass
Lyle Brown – Drums

King Witch on Thee Facebooks

King Witch on Instagram

King Witch on Bandcamp

Listenable Records website

Listenable Records on Thee Facebooks

Listenable Records on Twitter

Tags: , , , , ,

Juniper Grave Premiere “The Forest” Video; Dec. UK Dates Announced

Posted in Bootleg Theater on November 13th, 2018 by JJ Koczan

juniper grave

Dec. 7 marks the release date of Juniper Grave‘s debut album, Of Hellions and Harridans, on Wasted State Records, and that same night the Edinburgh four-piece will play a hometown release show at St. Mark’s Unitarian Church. A church seems a fitting setting for their organ-laced sound, further distinguished as it is by the harmonies brought to bear by multiple vocalists, with Jenni in the lead position backed by guitarist Shonagh and bassist Sarah while Jason drums behind. The release show is the first of a three-night weekender, and they’ve got two weekenders in a row, winding up in Manchester on Dec. 15, which is as far south in the UK as they go. Fair enough for the band to celebrate the arrival of their tales of mischief and devilry in songs like the boogieing “A Trick of the Light,” the seven-minute prog-doom centerpiece “The Bridge Between Worlds” and the well-harmonized and classically metal closer “Rest with Your Dead (Faolitighearna),” which is a cause worthy of celebration both for the realization of these songs themselves and for the potential they represent.

“The Forest,” the video for which actually takes place indoors as well as outside in the woods, is the leadoff track on Of Hellions and Harridans, offers a rousing hook to capture the listener’s attention early, and as such, it makes a fitting juniper grave of hellions and harridansopener, but while it doesn’t have the same kind of charged harmonies as in the finale or even the penultimate “Lunar Calling” before it, it also does some essential work in setting up the linear flow of the album toward those ends. The organ is established for being the crucial element that it is. The rhythm section proves crucial to the weight and groove overall, and the melody brings forward the nascent sense of command in the vocals overall that speaks to one of the band’s great potentials for arrangement and melodic/harmonic interplay going forward. That’s getting well ahead of things, but it’s there in the song all the same and becomes a subsequent theme for Juniper Grave across the album’s 40-minute, LP-ready span.

This is the first audio from the album to be made public so far as I know, so please dig in and click the tour poster to enlarge the dates should you happen to be in the region early next month. Preorders for Of Hellions and Harridans are up now through Wasted State, and you’ll find that link along with more info under the video below.

Please enjoy:

Juniper Grave, “The Forest” official video premiere

juniper grave tour poster

From the dreich, winding closes of Edinburgh come Juniper Grave. Riding out under the banner of debut album Of Hellions and Harridans, these four harbingers of doom have distilled the influence of fellow occultists Blood Ceremony and Jex Thoth into the soundtrack to a Faustian bargain.

Video shot & edited by Richie Morgan

Taken from their debut album ‘Of Hellions & Harridans’, released 7th December 2018 through Wasted State Records.

Coming as Vinyl, CD and Digital Download, the album pre-order is now available at:
http://www.wastedstate.com/releases/juniper-grave-of-hellions-harridans/

Juniper Grave are:
Lead Vocals and Organ: Jenni
Guitar and Backing Vocals: Shonagh
Bass and Backing Vocals: Sarah
Drums: Jason

Juniper Grave on Thee Facebooks

Juniper Grave on Twitter

Juniper Grave on Instagram

Juniper Grave on Bandcamp

Juniper Grave website

Wasted State Records website

Wasted State Records webstore

Wasted State Records on Bandcamp

Wasted State Records on Thee Facebooks

Tags: , , , , ,