Weed Demon Post “Sigil of the Black Moon” Video

Posted in Bootleg Theater on August 9th, 2018 by JJ Koczan

weed demon

With their debut album, Astrological Passages (review here), Columbus, Ohio, four-piece Weed Demon step into one of the country’s most vicious sludge legacies. There are few phrases that strike fear into the heart of pharmaceuticals like “Ohio sludge,” and with good reason. From Fistula and Rue to Rebreather and Sofa King Killer, the Buckeye State has produced landmarks for the genre to rival anything that’s come out of New Orleans or any of the other US hotbeds on the West or East Coasts. Issued by the band in 2017 and pressed to vinyl by Electric Valley Records, Weed Demon‘s four-tracker LP bring in shades of modern riff tectonics à la groups like Monolord and rumbles with a tonal heft that seems to extended even to the high end of their guitar solos. Vocals have a tendency to roar accordingly.

“Sigil of the Black Moon,” for which the band has a new video out, is the second-longest song on Astrological Passages at 10:46 — only closer “Jettisoned” tops it, at 12:37 — and is a fervent, lumbering beast of a track. Shades of Goya‘s ultra-stonerism pervade, but with the harsher edge, there’s little question where Weed Demon‘s collective corrupt heart lies in terms of style. You’d call it brutal and not be wrong. The band appear in the video, playing through the song in front of what looks like a really nice rock wall in someone’s living room maybe. They’ve got some candles set up around them and it’s all well and good. Then there’s another part of the video, where it cuts to this guy and his lady and they’re like covered in dirt makeup and chocolate sauce or whatever it is and making out. Don’t get me wrong, I’m not going to sit here and judge anyone’s kink, it’s just not the kind of thing you usually see in a sludge clip.

All the better, I guess. It’s pretty hilarious though to watch the guy in the mirror putting on his makeup and think of the Primordial video earlier this year that was basically their frontman doing the same thing. Context goes a long way.

The clip follows here, along with some PR wire background on its making and live dates.

Enjoy:

Weed Demon, “Sigil of the Black Moon” official video

WEED DEMON are pleased to reveal their new video for “Sigil Of The Black Moon”. The song is taken from the album Astrological Passages which is getting a fresh release on vinyl July 27th.

The band commented “We started working on the video for “Sigil” in August of last year. A handful of setbacks and numerous bowl packs later we finally got around to wrapping everything up. Seeing the final product was like a huge collective exhale for us. It’s no easy task to put together an almost 11 minute video. A huge thanks to Josh Richter for helping to keep the project moving forward. Keep it heavy. Keep it hazy.”

Weed Demon live:
Aug 10 The Green Lantern Lexington, KY
Aug 11 Urban Artifact Cincinnati, OH
Sep 13 The Spacebar Columbus, OH

Weed Demon is:
Jordan Holland – Bass, Vocals
Andy Center – Guitars, Vocals (backing)
Brian Buckley – Guitars, Vocals (backing)
Chris Windle – Drums

Weed Demon, Astrological Passages (2018)

Weed Demon on Thee Facebooks

Weed Demon on Instagram

Weed Demon on Bandcamp

Electric Valley Records on Thee Facebooks

Electric Valley Records website

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Quarterly Review: Glanville, Destroyer of Light, The Re-Stoned, Ruff Majik, Soldat Hans, High Priestess, Weed Demon, Desert Storm, Ancient Altar, Black Box Warning

Posted in Reviews on July 17th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

So Day 1’s done and it’s time to move on to Day 2. Feeling stressed and totally overwhelmed by the sheer amount of stuff still to be done? Why yes, I am. Thanks for asking. In the past, I used to handle the Quarterly Review well ahead of time. It’s always a lot to get through, but the week before, I’d be setting up back ends, chasing down links and Bandcamp players, starting reviews, etc., so that when it came time, all I had to do was the writing and plug it all into a post and I was set.

There was some prep-work done this past weekend, but especially this time, with my old laptop having been stolen in May, it’s all been way more jazz-improv. I was still adding releases as of last Friday, and writing beforehand? Shit. With the baby having just figured out how to climb? Not bloody likely. Accordingly, here we are, with much to do.

It’ll get done. I haven’t flubbed a Quarterly Review yet, and if I took an extra day to get there, I’m under no delusion that anyone else would care. So there you go. Let’s hit it for Day 2:

Quarterly Review #11-20:

Glanville, First Blood

glanville first blood

First Blood is the aptly-titled five-song debut EP from Glanville, a newcomer dual-guitar outfit with established players Philip Michel (The Earwix) on lead and Christopher West (Named by the Sun, ex-Stubb, etc.) on rhythm, Wight’s Peter-Philipp Schierhorn on bass and René Hofmann on vocals, and Thomas Hoffman (ex-Bushfire) on drums. Based in Germany and the UK, the group present 23 minutes of material on their first outing, drawing from the guitar-led likes of Thin Lizzy and Judas Priest to capture early metal and present it with a heavy rocking soulfulness and modern production. The most raucous of the cuts might be centerpiece “Durga the Great,” but neither “God is Dead” nor “Dancing on Fire” before nor “Demons” and “Time to Go” after want for action, and especially the latter builds to a furious head to close out the release. Hofmann as a standalone singer wants for nothing in range or approach, and the band behind him obviously build on their collective experience to dig into a stylistic nuance rarely executed with such confidence. They’ve found a place willfully between and are working to make it theirs. Can’t ask for more than that.

Glanville on Thee Facebooks

Glanville on Bandcamp

 

Destroyer of Light, Hopeless

destroyer of light hopeless

Having just recently signed to Argonauta Records for a new album in 2019, Austin doomers Destroyer of Light follow their 2017 long-player, Chamber of Horrors (review here), with a further auditory assault in the lumbering Hopeless. Psychedelic and yet still somehow traditional doom lingers in the brain after “Nyx” and “Drowned” have finished – the latter with an Alan Watts sample discussing alcoholism – and the band moves into demos for Chamber of Horrors cuts “Into the Smoke,” “Lux Crusher” and “Buried Alive.” Between the two previously unreleased songs and those three demos, Hopeless pushes to 39 minutes, but it’s probably still fair to call it an EP because of the makeup. Either way, from the miserable plod of “Nyx,” in which each chug in the riff cycle seems to count another woe, to the rolling nod early and surprising melody late in “Drowned,” Hopeless is anything but. Anticipation was already pretty high for Destroyer of Light’s next record after the last one, but all Hopeless does is show further depth of approach and more cleverly-wielded atmospheric murk. And the more it sounds like there’s no escape, the more Destroyer of Light seem to be in their element.

Destroyer of Light on Thee Facebooks

Destroyer of Light on Bandcamp

 

The Re-Stoned, Stories of the Astral Lizard

the re-stonEd stories of the astral lizard

The inevitable question is “Why a lizard?” and if you make it four minutes into 11-minute opener “Fractal Panorama” and don’t have your answer, go back ad start over. Moscow heavy psych instrumentalists The Re-Stoned intend the reptile as a spirit guide for their new outing Stories of the Astral Lizard (on Oak Island Records), which follows quickly behind their late-2017 offering, Chronoclasm (review here), and given the ultra-patient desert vibes in the opener, the acoustic-laced folk-prog of “Mental Print for Free,” the languid meander of “A Companion from the Outside,” the swirling sprawl of the 16-minute “Two Astral Projections” and the final cowpoke drift of “The Heather Carnival,” one might indeed just find a lizard sunning its belly amid all the atmospheric evocations and hallucinatory vibes. I’ll take “Two Astral Projections” as the highlight, but mostly because the extra length allows the band to really dig in, but really the whole album feeds together gorgeously and is a new level of achievement when it comes to atmosphere for The Re-Stoned, who were already underappreciated and find themselves only more so now.

The Re-Stoned on Thee Facebooks

Oak Island Records on Thee Facebooks

 

Ruff Majik, Seasons

Ruff Majik Seasons

Right on fuzz, right on groove, right on vibe – there isn’t much else one might say about Ruff Majik’s Seasons (on Rock Freaks Records and Forbidden Place Records) beyond “right on.” Heavy rock with twists of psychedelia, the Pretoria, South Africa, three-piece of Johni Holliday, Jimi Glass and Benni Manchino make their home on the lines of various subgenres, but wherever they go, the proceedings remain decisively heavy. To wit, a cut like “Breathing Ghosts” or the later “Birds Stole My Eyes” might dig into shuffle boogie or extreme-metal-derived thrust, but there’s a chemistry between the members and a resonant looseness that ties the material together, and as the last 14 of the total 66 minutes are dedicated to “Asleep in the Leaves,” there’s plenty of progressive weirdness in which to bask, one song moving through the next such that neither “Hanami Sakura (And the Ritual Suicide” nor the semi-doom-plodding “The Deep Blue” nor the funky twists of “Tar Black Blood” come across as predictable. Seasons might take a few listens to sink in, but it’s easily worth that effort.

Ruff Majik on Thee Facebooks

Ruff Majik at Rock Freaks Records webstore

Forbidden Place Records on Bandcamp

 

Soldat Hans, Es Taut

SOLDAT HANS ES TAUT-750

Hyperbole-worthy post-ism from Switzerland’s Soldat Hans makes their sophomore outing, Es Taut – on Wolves and Vibrancy Records as a 2LP – a forward thinking highlight. As rich in atmosphere as Crippled Black Phoenix and as lethal as Converge or Neurosis or anyone else you might dare to put next to them, the six-piece made their debut with 2014’s Dress Rehearsal (review here) and served notice of their cross-genre ambitiousness. Es Taut finds them four years later outclassing themselves and most of the rest of the planet across three extended tracks – “Story of the Flood” (26:15), “Schoner Zerbirst, Part I” (8:03) and “Schoner Zerbirst, Part II” (18:56) – that sprawl out with a confidence, poise and abrasion that is nothing short of masterful. Es Taut may be a case of a band outdoing their forebears, but whatever their legacy becomes and however many people take notice, Soldat Hans singlehandedly breathe life into the form of post-metal and prove utterly vital in so doing, not only making it their own, but pushing forward into something new in ambience and heft. This is what a band sounds like while making themselves indispensable.

Soldat Hans on Thee Facebooks

Wolves and Vibrancy Records website

 

High Priestess, High Priestess

high priestess high priestess

Calling to order a nod that’s immersive from the opening strains of leadoff/longest-track “Firefly” (still immediate points), Los Angeles trio High Priestess build out the psych-doom ritualizing of their 2017 demo (review here) to make their self-titled full-length debut through Ripple Music. The difference between the demo and the album in terms of what’s included comes down to artwork and the track “Take the Blame,” which adds its bell-of-the-ride swing between the atmosphere and melodic focus of “Banshee” and the spacious roller “Mother Forgive Me.” Potential is writ large throughout from guitarist/vocalist Katie Gilchrest, bassist/vocalist Mariana Fiel and drummer Megan Mullins, as it was on their demo, and even the harsh growls/screams on “Despise” seem to have found their place within the proceedings. As they wrap with the guitar-led jam of “Earth Dive,” High Priestess put the finishing touch on what’s hands-down one of 2018’s best debut albums and offer a reminder that as much potential as there is in their sound for future development, the accomplishments here are considerable unto themselves.

High Priestess on Thee Facebooks

Ripple Music website

 

Weed Demon, Astrological Passages

weed demon astrological passages

Four tracks of gurgling riffy plunder pervade Astrological Passages, the 41-minute – longer if you get the digital version or the tape/CD, which includes the 7:24 “Dominion of Oblivion” – debut album from Columbus, Ohio’s Weed Demon. Delivered on vinyl through Electric Valley Records, the nodder/plodder carves out a cave for itself within a mountain of tonally thick stoner metal riffing, infusing a sense of sludge with shouted and growled vocals from guitarists Andy and Brian and bassist Jordan – only drummer Chris doesn’t get a mic – and an overarching sense of bludgeoning that’s Sleep-derived if not Sleep-adjacent in terms of its actual sound. Nasty? Why, yes it is, but as “Sigil of the Black Moon” heads toward the midpoint of its 10-minute run, the repetitive groove assault makes the band’s intention plain: worship weed, worship riff. They get faster on “Primordial Genocide” and even sneak a bit of speed in amidst the crawl before the banjo takes hold in the second half of 12-minute closer “Jettisoned” – more Americana sludge please; thank you – but they never lose sight of their mission, and it’s the uniting factor that makes their debut hit like the brick to the head that it is.

Weed Demon on Thee Facebooks

Electric Valley Records website

 

Desert Storm, Sentinels

desert storm sentinels

With Sentinels, Oxford, UK, five-piece Desert Storm pass a decade since making their self-titled debut in 2008. They followed that with 2010’s Forked Tongues (review here), 2013’s Horizontal Life and 2014’s Omniscient (review here), and though they had a single out in 2014 on H42 Records as a split with Suns of Thunder (review here) in 2016, Sentinels is their first outing on APF Records and their first long-player in four years. Burl has always been an important factor in what they do, and the High on Fire-meets-Orange Goblin slamming of “The Brawl” backs that up, but Desert Storm have left much of the hyper-dudeliness behind in favor of a more complex approach, and while Sentinels isn’t a minor undertaking at 10 songs and 51 minutes, longer cuts like “Kingdom of Horns” and “Convulsion” demonstrate the maturity they’ve brought to bear, even as the one-two punch of “Drifter”  and “The Extrovert” offer swinging-fist hooks and beard-worthy chug that assures any and all testosterone quotas are met.

Desert Storm on Thee Facebooks

APF Records on Bandcamp

 

Ancient Altar, Cosmic Purge/Foie Gras

ancient altar cosmic purge foie gras

Based in Los Angeles, Ancient AltarScott Carlson (bass/vocals), Barry Kavener (guitar/vocals), Jesse Boldt (guitar) and Etay Levy (drums) – were last heard from on 2015’s dug-in atmosludger Dead Earth (review here), and they return lo these several years later with the two-tracker Cosmic Purge/Foie Gras, pushing into more extreme crush-of-riff with an abandon that’s anything but reckless. On the contrary, there’s some clear development in the 10-minute “Cosmic Purge” and 13-minute “Foie Gras,” rolling out oppressive grooves with blended screams/shouts and cleaner vocals. As with the last album, a drive toward individuality is central here, and Ancient Altar get there in tone while bringing forth a sense of scope to a sound so regularly thought of as closed off or off-putting in general. In its early going, “Foie Gras” hypnotizes with echoing melody and spaciousness only to resolve itself in a deeply weighted dirge march, furthering the pummel of “Cosmic Purge” itself. I don’t know if the EP – on vinyl through Black Voodoo Records, CD on Transcendental Void Records – will lead toward another album or not, but the sense of progression in Ancient Altar’s style is right there waiting to be heard, so here’s hoping.

Ancient Altar on Thee Facebooks

Black Voodoo Records on Thee Facebooks

 

Black Box Warning, Attendre la Mort

black box warning attendre la mort

Listen to it on headphones and the kickdrum on Black Box Warning’s Attendre la Mort is downright painful. Next-level blown-out aggro pulsations. Brutal in a physical sense. The rest of the band doesn’t follow far behind in that regard. Riffs are viscous and violent in noise rock tradition, but denser in their tone despite some underlying punkishness, and the vocals are likewise distorted and abrasive. The five-song/23-minute EP’s title translates to “Waiting for Death,” and each of the tracks is a dose: Opener “5 mg” is followed by “4 mg,” “1 mg,” “2 mg” and “3 mg.” Unsurprisingly, pills are a theme, particularly on “4 mg,” and the sense of violent threat is clear in “2 mg” and 3 mg,” which boast lines like, “Watch them all scream/Watch your enemy bleeded,” and “You are the pig/I am the butcher,” respectively. Between the lyrical and the general aural cruelty, the dis-ease is consuming and unmitigated, sludge becoming a slow-motion grindcore, and that’s clearly the point. Not stabbing, but gouging.

Black Box Warning on Thee Facebooks

Black Box Warning on Bandcamp

 

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Electric Mountain Sign to Electric Valley Records

Posted in Whathaveyou on June 12th, 2018 by JJ Koczan

Last year, Mexico City heavy rock trio Electric Mountain released their self-titled debut album through Loud, Slow, Distorted Riffs Records, and it’s newly announced that the three-piece of GibMax and JB will make their follow-up through Electric Valley Records. Well, actually, that’s a surmise, because all the word that’s really been put out at this point is that the band has signed to the label. There’s nothing said about what will actually come out — maybe a reissue of the record they did for LSDR, or maybe something new. Maybe both? Neither? The mystery is killing me.

What matters is the fuzz, and Electric Mountain pretty much live inside of it. Their self-titled starts out with the classic stoner powerhouse push of “Free Woman” and whether it’s the ’70s-style stomp of “Dune,” the acoustic interlude “Into the Maelstrom” or the Goatsnaked riffing of “Green Mountain Side” that follows to lead into the softshoe-worthy boogie of “Down on the Road,” the THC-soaked vibe remains prevalent and there isn’t anywhere that Electric Mountain go that isn’t natural sounding and seemingly in the wheelhouse for good-time-seeking riff heads. As to what their next record might bring whenever it arrives, I’ve no idea, but if they can keep the organic production of their debut intact, they should be well on their way to carving their own niche in terms of sound and aesthetic within the genre.

The self-titled is streaming at the bottom of this post. Cool shit is happening in Mexico. Dig it:

electric mountain

Electric Valley Records is proud to announce the signing of the Mexican Stoner Rock band *** ELECTRIC MOUNTAIN ***

Electric Mountain is a Stoner Rock band born in Mexico City in 2013.

Formed by Gib (guitar – voice), Max (drums) and JB (Bass), the band gives life to a series of rock influences from the Rock of the 70’s and Stoner’s 90’s, which shake walls and floors.

His powerful riffs and heavy drums are the perfect hook to stay focused on the message of his music and receive all the energy that emanates. ?

https://www.facebook.com/TheElecMountain/
https://www.instagram.com/electricmountainband/
https://www.facebook.com/electricvalleyrecords/
https://www.instagram.com/electricvalleyrecords/
www.electricvalleyrecords.com

Electric Mountain, Electric Mountain (2017)

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Stone House on Fire to Release Neverending Cycle in December

Posted in Whathaveyou on October 12th, 2016 by JJ Koczan

stone-house-on-fire

Brazilian desert-style rockers Stone House on Fire will offer up a a physical pressing of their second album, Neverending Cycle, in December. Released digitally back in June by the band — at least if the dates on Bandcamp are anything to go by — the vinyl edition will arrive courtesy of no fewer than six different imprints between Brazil and Europe, and aside from the shame of not having one Stateside one in the bunch, it’s hard not to be impressed at the amount of people who’ve gotten behind the band. Then you listen to the tracks and, yeah, yeah, you start to get it. The band, who reportedly recorded Neverending Cycle live to tape in its entirety, play to a post-Queens of the Stone Age ideology, but have plenty of psychedelic and boogie vibing going on as well. I can see wanting to get on board, even if my home nation is apparently dropping the ball here as it does with so many others when it comes to distribution. So it goes.

Info comes from H42 Records via the PR wire:

stone-house-on-fire-neverending-cycle

STONE HOUSE ON FIRE ‘NEVERENDING CYCLE’ Longplayer out December 2016

*Limited up to 300 copies*
150 on red & 150 on black vinyl
OUT: December 2016

STONE HOUSE ON FIRE are back with a new album called ‘Neverending Cycle’!

Stone House on Fire is influenced by the desert sounds and the 60’s lysergic vibe, combining heavy tones, powerful riffs that go from fast to psychedelic, lots of octaved fuzz, creating an unique sound, ready to blow some ears. Also, the energetic and daring live performances create unpredictable, explosive and mind blowing experiences.

“Neverending Cycle” is an album that leans heavily towards the psychedelic side of the stoner genre, taking it’s cues from the more lysergic orientated late 60’s than the usual mid 70’s era that is the de rigueur of many of todays stoner/psych and doom bands. Songs like “Wrath of the Sun” and “Steam Boat” channel the beads and peace sign vibes of Randy California’s Spirit and the 13th Floor Elevators and mix them with elements of the harder edged, fuzz pedal stamping, downtuned psych of today, sprinkling them with a large dose of old fashioned groove along the way…”

Release by:
Electric Valley Records (Italy)
H42 Records (Gemany)
Abraxas (Brasil)
Dinamite Records (Brasil)
Tropical FUZZ Fever Records (Brasil)
Lovely Noise Records (Brasil)

https://stonehouseonfire.bandcamp.com/
https://www.facebook.com/stonehouseonfire/
https://www.facebook.com/electricvalleyrecords/
https://www.facebook.com/H42Records/
https://www.facebook.com/abraxasevents/
https://www.facebook.com/dinamiterecs/
https://www.facebook.com/Tropical-FUZZ-Fever-Records-1768713486676256/
https://www.facebook.com/lovelynoiserecords/

Stone House on Fire, Neverending Cycle (2016)

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Ivy Garden of the Desert Post New Video for “Please”

Posted in Bootleg Theater on September 8th, 2015 by JJ Koczan

ivy garden of the desert (Photo by Vic Balica)

Italian three-piece Ivy Garden of the Desert — who’ve gotten way harder to classify as time has gone on than their “we play stoner rock” moniker implies — are getting ready to release their fourth EP later this month. Out Sept. 21, Limen follows a trilogy of shorter releases set up as a running theme but that nonetheless grew increasingly complex from one to the next. The newly-posted video for “Please” from Limen shows the three-piece continuing to progress. I’m not sure if it’s part of the same narrative thread as the trilogy or if they’re onto something else entirely in theme — they call it a “bridge,” so take that as you will — but they’ve clearly worked hard to find a progressive niche for themselves in heavy rock, and more and more they seem to be succeeding.

To wit, “Please” takes a near-industrial rhythmic foundation and sets it against a brooding prog-heavy riff, building and getting louder as it moves forward, but never quite giving up its atmospheric beginning, bolstered through an early stretch of piano and quiet vocals. If it takes a listen or two to fully sink in, that’s pretty clearly the idea, so cheers to Ivy Garden of the Desert for their continuing refusal to be pinned down to one side or the other.

If you’re sensitive to strobe, you might want to watch out for the second part of the video, after it switches from the living room to the blue flashing darkness, but even if you wind up just listening, it’s worth the time to do that. Either way, enjoy:

Ivy Garden of the Desert, “Please” official video

Electric Valley Records is pleased to announce a new release!!!

IVY GARDEN OF THE DESERT – LIMEN

“Limen” is the bridge EP that takes place between the Ivy-Trilogy concept (released by Nasoni Records) and the band’s first full-lenght (2017/2018?).
Release date: September 21th, 2015

Video credits: full production by Paolo Martini & I.G.O.T.D.

Ivy Garden of the Desert on Thee Facebooks

Electric Valley Records

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