Quarterly Review: Atomikylä, Sunnata, White Dynomite, Horehound, Sulfur Giant, New Planet Trampoline, Hypnos, Honky, Cheap Wine, Gurt & Trippy Wicked

Posted in Reviews on June 24th, 2016 by H.P. Taskmaster

the-obelisk-summer-2016-quarterly-review

This one’s for all the marbles. Or at very least tiddlywinks. The last day of The Obelisk’s Summer 2016 Quarterly Review begins. I’ll admit that when I was planning this out — started soon after the last Quarterly Review was finished in early April; that one ran late, this one has run early — I decided to take it easy on myself the last day. Still 10 reviews, so not that easy, but in terms of what’s included today, a lot of is stuff I feel pretty comfortable talking about, whether it’s bands I’ve covered before (which a lot of it is, now that I look at the list) or whatever. If you’ve been keeping up this week, thanks. I hope you found some cool music.

Quarterly Review #41-50:

Atomikylä, Keräily

atomikyla Keraily

From the Finnish hotbed of Tampere, Atomikylä made a striking impression with their 2014 Svart Records debut, Erkale (review here), giving a take on psychedelic black metal that was immediately and truly their own in its balance of elements. The band, featuring members of Dark Buddha Rising and Oranssi Pazuzu, return with doom-jazz fervor on sophomore full-length, Keräily, with three songs covering yet-unnamed stylistic reaches and offering a get-to-the-studio-and-see-what-happens experimentalism to go with their plotted course on 18-minute opener and longest track (bonus points) “Katkos,” which is followed by the building horn freakout “Risteily” (9:15), from which a space rock push takes hold on drums, resulting in maddening guitar swirl – because of course – and closer “Pakoputki” (6:55), which consumes with a darker thrust and more up-front blackened vibe that still holds onto some of the psychedelia in its layers of guitar. Keräily progresses effectively from Atomikylä’s debut and highlights just how individualized they are as a group. They continue to have the potential to do really special work, and the argument is easy to make they’re already doing it.

Atomikylä on Thee Facebooks

Svart Records

Sunnata, Zorya

sunnata zorya

As opener and longest track (bonus points) “Beasts of Prey” careens toward its apex finish near the 12-minute mark and the title-track begins is crashing, harmonized intro before moving into an Alice in Chains-via-stoner verse, the distance Poland’s Sunnata cover on their second full-length, Zorya, begins to really unveil itself. There doesn’t seem to be a genre within the heavy sphere that’s off limits. They never get into death metal, but heavy rock, doom, psychedelia, prog, sludge – it’s all in play at one point or another in Zorya’s five-track/50-minute run. The reason the album works and isn’t just a haphazard mash of styles is because Sunnata, who’ve been active in Warsaw since the last decade, make each one their own and thus bend genre to suit their purposes and not the other way around. They continue to impress through the rush of “Long Gone,” the airy expanse of “New Horizon” and the more brooding closer “Again and Against,” conjuring effective flow from what in less capable hands would be disparate components.

Sunnata on Thee Facebooks

Sunnata on Bandcamp

White Dynomite, Action O’Clock

white dynomite action oclock

I have kind of a hard time with White Dynomite. Not musically – the Boston five-piece’s new EP, Action O’Clock (on Ripple) typifies their accessible punk rock; a reminder of a time when the style used guitars – but conceptually. Their lineup features bassist Tim Catz and vocalist Craig Riggs (on drums) of Roadsaw, as well as guitarist Pete Knipfing (also Hey Zeus, Lamont), vocalist Dave Unger and guitarist John Darga, and while I can’t argue with the charm of a track like “Werewolf Underwear” or “Evil Ballerina” — the lyric “Tutu woman, too too much for me” alone makes Action O’Clock worth the price of admission, let alone “I got fangs in my pants” from “Werewolf Underwear” – but I haven’t yet been able to listen to the band in the context of it having been six years since the last time Roadsaw released an album, and thinking about years passing, priorities and whatnot. They sound they’re having a blast all the way through, and I won’t begrudge them exploring other influences, I guess I just miss that band.

White Dynomite on Thee Facebooks

Ripple Music website

Horehound, Horehound

horehound horehound

Pittsburgh newcomers Horehound formed just last year, so one might go into their self-titled debut full-length thinking it’s an early arrival, but in an unpretentious seven-track/33-minute collection of straightforward but engaging doom rockers, the five-piece demonstrate a clear idea of what they want to do sonically. While it may not represent where they’ll ultimately end up as a band, its songs sound fleshed out in terms of direction and the resultant feel on the release is much more album than demo. So be it. A particular highlight is “The Waters of Lethe,” on which a sweeter melody emerges in the guitar and vocals, but neither will I discount the low-end crunch and vocal call-and-response in closer “Waking Time” or the more uptempo thrust of second cut “Sangreal.” Not that Horehound don’t have room to grow, but their initial offering preaches well to the converted and should give them a solid foundation to work from in that process.

Horehound on Thee Facebooks

Horehound on Bandcamp

Sulfur Giant, Beyond the Hollow Mountain

sulfur giant beyond the hollow mountain

Beyond the Hollow Mountain is the first full-length from Portuguese mostly-instrumentalists Sulfur Giant, who bring together influences from classic progressive rock, psychedelia and heavy rock so that when they dip into Iommic riffing on “Vertigo,” it’s no stranger than the peaceful jamming of “Whisper at Dawn,” which follows. Friendly if not exactly innovative, Sulfur Giant’s debut makes its chief impression with the four-piece’s instrumental chemistry, which brings about an easy flow within and between the eight tracks, which having already been issued digitally will see vinyl release later this year on Pink Tank Records. It’s hard to ignore what organ adds to “Evermore,” but “Sea of Stone” sneaks in some vocals amid its thicker-riffing and Sungrazer-style exploration, and “Magnolia” and the galloping “Unleash Fears” follow suit, so Sulfur Giant have a few tricks up their collective sleeve they hold back from the initial roll and gallop of the opening title-track. All the better.

Sulfur Giant on Thee Facebooks

Pink Tank Records

New Planet Trampoline, Dark Rides and Grim Visions

new planet trampoline dark rides and grim visions

Never say never in rock and roll. From Cleveland, Ohio, the psych-rocking four-piece New Planet Trampoline called it quits in 2008, leaving behind an unfinished album. After coming back together for 2014’s The Wisconsin Witch House EP, the ‘60s-stylized outfit set themselves to the task of finishing what became Dark Rides and Grim Visions, basking in the glow of early Floyd, Beatles and others of the ilk while keeping a harder edge to songs like “Grim Visions” and a healthy cynicism to “We’ll Get What We Deserve” and the tongue-in-cheek keyboard-laced closer “Haunted as Fuck.” Of the several more extended tracks, the nine-minute “Acts of Mania” is the longest, and provides suitable patience and atmospherics to stand up to its scope. All told, Dark Rides and Grim Visions is a formidable journey at 13 songs/68 minutes, but after more than half a decade away, it’s hard to hold New Planet Trampoline having their say against them, particularly when that say is as lush and dreamy as “This is the Morning.”

New Planet Trampoline on Thee Facebooks

New Planet Trampoline on Bandcamp

Hypnos, Cold Winds

hypnos cold winds

With their second LP, Cold Winds (on Crusher Records), Gothenburg’s Hypnos seem to be betting that the next step in the retro game is NWOBHM. They make a convincing argument; it’s kind of how it went the first time around, and their songwriting offers a top-notch look at the moment where Thin Lizzy bounce became Iron Maiden gallop, as on second cut “I’m on the Run,” just minutes after opener “Start the Hunt” featured a flute solo. Broken into two sides, each one works its way toward a longer finale – “Det Kommer en Dag” (7:23) on side A and “1800” (8:32) on side B – but sonic diversity and changes in song structure throughout do much to keep Cold Winds from feeling overly plotted, and like their countrymen in Horisont, Hypnos offer a seamless melding of classic heavy rock and metal, soaring and scorching on “Descending Sun (Unrootables White)” and swinging and swaggering immediately thereafter on “Cold September,” both accomplished with unwavering command.

Hypnos on Thee Facebooks

Hypnos at Crusher Records

Honky, Corduroy

honky corduroy

Texas boogie rockers Honky were last heard from with 2012’s 421 – which I’ll assume is the “going to 11” equivalent for getting high – and their eighth outing, Corduroy, finds bassist JD Pinkus (Butthole Surfers, Melvins) and guitarist Bobby Ed Landgraf (Down) hooked up with drummer Trinidad Leal of Dixie Witch and Housecore Records for the release. To call is business as usual for the underrated outfit in the classic swing and grit they hone would only be a compliment, songs like “Baby Don’t Slow Down,” “Bad Stones” and the harmonized “Double Fine” offering soul as much as push, ‘70s influences given a modern kick in the ass throughout as a swath of guests, including Melvins drummer Dale Crover, come and go, perhaps none making their presence felt as much as Rae Comeau, whose work on “Bad Stones” makes that song a highlight – not to take away from the a capella cover of Led Zeppelin’s “Moby Dick,” here retitled as “Mopey Dick,” that closes. Chicanery ensues, booze flows, good times are had for those who’ll have them.

Honky website

Housecore Records website

Cheap Wine, Sad Queen

cheap wine sad queen

Distinguished as on centerpiece “The Rambler” by their use of organ amid a semi-retro heavy boogie style, French five-piece Cheap Wine recorded Sad Queen – as the cover art says – live for Celebration Days Records. It’s somewhere between an EP and album, and strips away some of the individual track length of their 2013 debut, Mystic Crow, in favor of maximizing the energy put into each piece, the subdued “Intro” and “Opening” that start sides A and B, respectively, aside, though as “Opening” feeds cleanly into the quiet, airy and soulful beginning of the title-track, even that seems to have a tension that builds toward its eventual release, different from the shuffling raucousness of the post-“Intro” opener “Cyclothymic” maybe, but palpable nonetheless. They close somewhat melancholy on “Yesterday’s Dream,” but the complementary guitar of Valentin Constestin and keys of Ahn Tuan aren’t to be missed, nor how well work in concert with vocalist Mathieu Devillers, bassist Valentin Lallart and drummer Louis Morati.

Cheap Wine on Thee Facebooks

Celebration Days Records website

Gurt & Trippy Wicked and teh Cosmic Children of the Knight, Guppy

gurt trippy wicked guppy

The UK heavy scene excels at not taking itself too seriously. To wit, Gurt and Trippy Wicked and the Cosmic Children of the Knight get together for a split (on When Planets Collide for CD and HeviSike cassette) and, they call it Guppy and the first two songs are “Owlmegeddon” and “Super Fun Happy Slide.” It kind of goes from there. Recorded together, sharing a drummer and collaborating on the centerpiece, “Revolting Child,” it’s basically two outfits who are close friends coming together to have a good time, but that doesn’t take away from Gurt’s sludgy intensity on “I Regret Nothing” or the nodding heavy rock Trippy Wicked hold forth on closer “Reign.” Taking its title from the two band names put together, one can only wonder if this will be the last conjoined offering Gurt and Trippy Wicked will make, or if there might be a whole school of guppies in the future. Frankly, this sounds like too good a party to only throw it once.

Gurt on Thee Facebooks

Trippy Wicked on Thee Facebooks

When Planets Collide website

HeviSike Records

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

Quarterly Review: The Order of Israfel, Landskap, Pooty Owldom, Celophys, Dunbarrow, Brutus, Vallihauta, Pater Nembrot, Floodlore, Red Cloud

Posted in Reviews on June 23rd, 2016 by H.P. Taskmaster

the-obelisk-summer-2016-quarterly-review

We continue today to make our way through The Obelisk’s Summer 2016 Quarterly Review. Yesterday we passed the halfway point, always pivotal, and today brings another batch of 10 albums from the realms of doom, heavy rock, heavy psych, boogie rock, and beyond that I’m looking forward to digging into. I’ve been waking up early mornings all week to put these together — in bed circa 10PM, out of bed at 6AM — but it’s been worth it to see the response the posts have gotten so far and, I’ll say it once again, I hope you’ve found something you dig in what’s already out there, or if not, that by the time we wrap tomorrow something piques your interest. Let’s do it.

Quarterly Review #31-40:

The Order of Israfel, Red Robes

the-order-of-israfel-red-robes

Swedish double-guitar four-piece The Order of Israfel make their second offering in Red Robes. Issued, like its 2014 predecessor, Wisdom, by Napalm Records, the new collection tops out at 59 minute/eight tracks of classically rolling doom. Guitarist/vocalist Tom Sutton (also Horisont, ex-Church of Misery) leads the charge for the Gothenburg-based unit, and along with guitarist Staffan Björck, bassist Patrik Andersson Winberg and drummer Hans Lilja, he brings to light a trad doom not so far removed in some of its impulses from some others throughout Northern Europe in the post-Reverend Bizarre sphere, but showing a personality of its own in the layered vocals of “Von Sturmer” and the acoustic “Fallen Children,” which follows, the choral arrangement in the earlier “The Red Robes” and the speedier “A Shadow in the Hills,” which precedes the crawling 16-minute closer “The Thirst,” its slow-nodding finish underscoring what The Order of Israfel bring of themselves to the classic form in songwriting and overall cohesion of purpose.

The Order of Israfel on Thee Facebooks

The Order of Israfel at Napalm Records

Landskap, III

LANDSKAP III

It’s a little bit of everything. Landskap’s aptly-titled third album, III, brings out ‘70s vibe with the organ and underlying shuffle of opener “Wayfarer’s Sacrifice,” but offers a doomier feel in the vocals and guitar, and the band go on to execute Doors-gone-prog moodiness on centerpiece “The Trick to Letting Go” and more psychedelic fuzz on the subsequent “The Hand that Takes Away.” So yeah, the London five-piece of vocalist Jake Harding, guitarist George Pan, bassist Christopher West (ex-Trippy Wicked, Groan), drummer Paul Westwood and keyboardist Kostas Panagiotou cover a good bit if ground in just five tracks, tying it all together via Harding’s vocals and a comfortable pace across the board, even on the more insistent “Awakening the Divide,” though that consistency gets toyed with some as nine-minute closer “Mask of Apathy” moves from its dreamy, spacious initial stretch into more uptempo push as payoff for the album as a whole. All the better to have Landskap shift their own methods as fluidly as they meld different styles across III’s engaging span.

Landskap on Thee Facebooks

Landskap on Bandcamp

Pooty Owldom, Pooty Owldom

pooty owldom pooty owldom

If I have a speed at this point, Pooty Owldom is pretty much it. The Virginia-based duo of Matt “Big Jim” Shively and Walter Barry – also two-thirds of the trio Olson/Shively/Barry, which released their debut, Teirra del Fuego Blues (review here), in 2014 – cross the lines between psychedelia, krautrock, folk, weirdo prog and funk with the carefree fluidity of pre-jam-band Ween on their self-titled first outing under their new moniker, and hopefully it’s not the last one, because whether it’s the soap-opera daydream keys of “The Owlet” or any number of the other owl-themed cuts here – “Fuzzy Pellet” is a personal favorite, but who could argue with the bassline/piano tap of “Owls with Big Donuts?” – there’s a considerable creative breadth at work in kind with what sounds like a really good time in progress. Not one for everybody, but for me, I’d love to hear Shively and Barry flesh these ideas out further over longer pieces – “Torus Landing” goes furthest here at 4:53 – and bring the jazzy rhythmic sunbathing of “Target: Mouse” to even greater experimental realization. However it comes, more please.

Pooty Owldom on Bandcamp

Walter Barry website

Celophys, Ammonite

celophys ammonite

A guitar/drum duo based in Cherkasy, Ukraine, Celophys issued their third album, Ammonite, last year through Robust Fellow Records. The CD arrives as yet another example of the Ukraine’s burgeoning heavy scene, along with Kiev acts like Stoned Jesus, Bomg, Soom, Mozergush, Ethereal Riffian and others, and brings a noteworthy sense of lumbering across its mostly-extended seven tracks, beginning with 12-minute opener and longest cut (immediate points) “Baron,” which melds slow-grind sludge riffing with deathly growls and rasp, which the charmingly-named “Spaceburger” and the later drumless drone-feast “Caveman Ritual” continue to build out in atmosphere and snail’s-pace intensity. Feedback, massive tonality, plodding groove – these are hardly unfamiliar elements, but drummer/vocalist Alexander Beregovoy and guitarist Miroslav Kopeyka bring about a fervent bludgeoning across Ammonite that should have even the jaded among those who approach it nodding approval. Also noteworthy is the limited-to-53 “Nautilus Pack” which comes in a hand-carved, custom-designed oversized wood case with special graffiti art, a sticker and a pin, as well as the digipak version of the album.

Celophys on Thee Facebooks

Robust Fellow Productions on Thee Facebooks

Robust Fellow Records on Bandcamp

Dunbarrow, Dunbarrow

dunbarrow dunbarrow

Dunbarrow’s self-titled debut hits at a curious moment. They might be a few years ahead of their time in returning to the roots of vintage-style heavy rock, but in so doing, they basically take up the mantle that groups like Witchcraft, Graveyard, Kadavar and Blues Pills have left behind in favor of more modern production styles. Specifically, the Norwegian four-piece, who had a handful of shorter digital releases out before, come across in direct conversation with the self-titled Witchcraft debut from 2004. Strange to think that a record with an aesthetic so bent on looking backward could actually be forward-thinking — portrait of what goes around, coming around — but Dunbarrow offer persuasive argument in favor of retro orthodoxy in the swaying “You Knew I was a Snake” and the subdued brooding of “Guillotine.” Whether their bet pays off will be something to find out over the next couple years and as their sound continues to develop, but for their first full-length, they show clever songcraft, a clear idea of what they want to do, and the potential to move that forward in intriguing ways.

Dunbarrow on Thee Facebooks

Dunbarrow on Bandcamp

Brutus, Wandering Blind

brutus wandering blind

I’ll rarely hone in on one instrument throughout an album, but the bass tone on Brutus’ third LP, Wandering Blind (on Svart), has to be heard to be believed. With a goodtime take on ‘70s shuffle, there’s plenty of room for the low end to wind its way around the guitar, and it does. Of course, that’s not all the Swedish/Norwegian five-piece have going for them in these nine live-sounding tracks, as shown in the swaying solo section of “Whirwind of Madness” or the stomp of “Blind Village.” They’re not through the opening title-track before multiple Sabbath references are dropped in the lyrics, and indeed they’re a touchstone, but the more upbeat feel of “The Killer” and the back and forth of closer “Living in a Daze” play to deeper influences from classic heavy rock and its modern incarnations, culminating in a multi-layer guitar solo backed by tambourine, bass, and drums that really seems to sum up the friendly and unpretentious vibe Brutus elicit.

Brutus on Thee Facebooks

Brutus at Svart Records

Vallihauta, Vallihauta

vallihauta vallihauta

Finnish trio Vallihauta make their self-titled debut on Future Lunch with eight raw tracks that span between the hardcore punk/death ‘n’ roll of “Puoliverinen” and the doomed churn in the early going of “Reviiri.” One can basically tell looking at the runtimes of the cuts where Vallihauta are headed with each song, and they adjust their songwriting capably to coincide with the given tempo shifts, resulting in a back and forth as playful as it is aggressive in its sound and harsh low-end buzz, but to their credit, they bring the two approaches together effectively on closer “Ote,” shifting from the record’s most gurgling rumble and tortured plod to increasingly intense punkishness that hits headfirst into a final slowdown to end the album. A multi-faceted approach is rarely something to complain about, and it certainly isn’t here, but the challenge going forward for Vallihauta will be to build on that bridging of gaps in “Ote” without losing either the ferocity of their faster material or the weight of the slower.

Vallihauta on Thee Facebooks

Vallihauta at Future Lunch webstore

Pater Nembrot, Nusun

pater nembrot nusun

The third Pater Nembrot album, Nusun (on Go Down Records), follows five years behind 2011’s Sequoia Seeds (review here), and for Italian heavy rock, it’s been a hell of a half-decade. Now recognized as one of the strongest scenes in Europe, Italy has become a hotbed and Pater Nembrot’s return couldn’t be better timed. The nine-track outing brings some genuinely expansive moments, as with the 10-minute “Architeuthis” for which Christian Peters (Samsara Blues Experiment) guests on synth, or the wah-soaked second half of “The Rich Kids of Teheran,” but even shorter pieces like “Young Rite” effectively bring together grunge and heavy psych influences. The piano-laced opener “Lostman” and acoustic-strummed closer “Dead Polygon” seem to be speaking right to each other and are somewhat at remove with the rest of the record, perhaps the minute-long bass interlude “Uknap” aside (perhaps not), but the four-piece know their game by this point and just when a song like “Overwhelmed” seems like it’s going to lose its course, they bring it around to Nusun’s most satisfying instrumental build.

Pater Nembrot on Thee Facebooks

Pater Nembrot at Go Down Records

Floodlore, When it was Written

floodlore when it was written

Almost immediately upon the band starting “Device,” the sense of ambition in Floodlore’s debut album, When it was Written, is palpable. A psych-infused trio from Northern Virginia, they range freely between the classic-minded “Justice” and fuzzy push of “Bars” before heading back to jammier fare for “Release,” which calls to mind All Them Witches for its meandering blues, and into harder-edged winding riffs for “Evening.” Both “Peace” and “Glow” continue to flesh out one side or the other, but an obvious focal point is the three-part/28-minute closer “Sun/When the Floodlore was Written/In Praise of Alan Watts,” which starts out nodding at surf rock before space-progging out for about 20 minutes, working into an out of extended solos and culminating in swirl and thrust that lives up to the band’s clear will for exploration. Some smoothing out to do in terms of balancing the mix (vocals came through high, though I’ll allow that could be my speakers), but When it was Written impresses in concept and execution and as Floodlore’s first full-length, it’s remarkably encouraging.

Floodlore on Thee Facebooks

Floodlore on Bandcamp

Red Cloud, Ursa Minor

red cloud ursa minor

When it starts to feel like maybe you’ve got a given track figured out, that seems to be the moment when Eugene, Oregon, five-piece Red Cloud turn something around on their full-length debut, Ursa Minor, and though their foundation is still very much in heavy rock, they build on that shifting into and out of desert stylizations and psychedelic swirl. The band – here guitarist/vocalist/bassist Aaron Williams, guitarist Dennis Medina, drummer/engineer Lauren Roberts and bassist/guitarist Sean Loos, though Loos seems to have left the band and bassist Mike Nemeth and keyboardist Garrett Davis come aboard – keep the material consistent by going back to that heavy rock foundation and through a clear focus on songwriting. Even in the somewhat lumbering starts and stops of “Smoke Screen,” these tracks feel worked on and carefully arranged, and though they go different places – “Ghost Dance” with its manic shuffle, closer “Sick Eagle” with its Songs for the Deaf-style drive – they universally take an efficient route to get there.

Red Cloud on Thee Facebooks

Red Cloud on Bandcamp

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

Quarterly Review: Mirrors for Psychic Warfare, Candlemass, Skuggsjá, Black Lung, Lord Vicar, Dakessian, Gypsy Chief Goliath, Inter Arma, Helgamite, Mollusk

Posted in Reviews on June 22nd, 2016 by H.P. Taskmaster

the-obelisk-summer-2016-quarterly-review

Who’s ready for another round of 10 reviews in The Obelisk’s Quarterly Review? I know I am. We gotta hit 50 by Friday, and there’s still a lot — a lot — of ground to cover. Yesterday was all over the place style-wise and today has some of that going as well, but there’s a lot of quality in both, so hopefully you get to check some of it out. Today is the all important QR Hump Day, wherein we pass the halfway mark on our way to the total 50 reviews. If you’re wondering, it’s Lord Vicar who do the honors this time around at #25. Just kind of worked out that way, but I’ll take it. Down to business.

Quarterly Review #21-30:

Mirrors for Psychic Warfare, Mirrors for Psychic Warfare

mirrors for psychic warfare mirrors for psychic warfare

Probably fair to call Mirrors for Psychic Warfare an offshoot of Corrections House, since its two members – Scott Kelly (also Neurosis) and Sanford Parker (producer extraordinaire/also Buried at Sea) – are also in that group, but the feel of their Neurot Recordings self-titled debut is substantially different, rawer and at times harsher. Parker handles beats and electronics, creating at times a wash of abrasive noise as in the culmination of “CNN WTZ,” the centerpiece of the five tracks, and elsewhere providing an industrial backdrop for Kelly’s voice for a gothic feel, as on “A Thorn to See.” Unsurprisingly, nothing about Mirrors for Psychic Warfare makes for particularly easy listening – though opener “Oracles Hex” has some commonality with Kelly’s solo work and his voice is resonant as ever – but as they round out the album with “43,” the keys, synth and guitar find some common ground, which leaves distorted shouts from Kelly to do the work of taking listeners to task. We already knew these two worked well together, and the partnership once again bears fruit here.

Neurot Recordings on Thee Facebooks

Neurot Recordings webshop

Candlemass, Death Thy Lover

candlemass-death-thy-lover

The four-song Death Thy Lover EP (on Napalm) is the first new studio offering of original material from Swedish doom legends Candlemass since their 2012 album, Psalms for the Dead (review here), marked the end of the tenure of vocalist Robert Lowe, also of Solitude Aeturnus. His replacement is the person who nearly had the job in the first place, Mats Levén (formerly Therion), who has a kind of stateliness to his presence in opener “Death Thy Lover” but suits the plod of “Sleeping Giant” well. Of course, at the center of the band is bassist/songwriter Leif Edling, whose style is unmistakable in these tracks, whether it’s the late-Iommi-style riffing of “Sinister ‘n’ Sweet” or “Death Thy Lover”’s chugging its way toward the hook. Candlemass save the most grueling for last with “The Goose,” as guitarists Mats “Mappe” Björkman and Lars “Lasse” Johansson intertwine a chugging rhythm and extended soloing over dirge-march drums from Jan Lindh to give the short release a darkened instrumental finale.

Candlemass on Thee Facebooks

Candlemass at Napalm Records

Skuggsjá, A Piece for Mind and Mirror

skuggsja-a-piece-for-mind-and-mirror

Talk about scope. Oh, only a country’s entire cultural history is fair game for Skuggsjá, the brainchild of Norwegian artists Ivar Bjørnson (also Enslaved) and Einar Selvik (also Wardruna) that crosses the line between black metal and Norse traditionalism probably better than anyone has ever done it before. A Piece for Mind and Mirror is the studio incarnation of the work the two composers and a host of others did as commissioned for the 200th anniversary of the Norwegian constitution, and though it’s broken into 10 movements for the album, it flows together as one orchestral entirety, the gurgle of Grutle Kjellson (Enslaved) recognizable in the eponymous track amid choral backing and a richly textured blend of traditional folk instruments and metallic thrust. The lyrics are Norwegian, but whether it’s the blowing horn of “Makta Og Vanæra (I All Tid)” or the lush melodies in the march of “Bøn Om Ending – Bøn Om Byrjing,” the sense of pride and the creative accomplishment of A Piece for Mind and Mirror ring through loud and clear.

Skuggsjá on Thee Facebooks

Season of Mist webshop

Black Lung, See the Enemy

black lung see the enemy

Two years after making their self-titled debut, Baltimore heavy bluesfuzz trio Black Lung come swaggering back with the spacious vibes of See the Enemy (on Noisolution), which takes the establishing steps the first album laid out and builds on them fluidly and with a clear direction in mind. At eight tracks/45 minutes produced by J. Robbins, the album was clearly structured for vinyl, each half ending with a longer cut, the psych-jamming “Nerve” on side A, which resounds in an ending of scorching guitar from Adam Bufano atop the drums of Elias Schutzman (both of The Flying Eyes), and the closer “8MM,” on which Bufano, Schutzman, guitarist/vocalist Dave Cavalier and Robbins (who also contributes bass) roll out the record’s most massive groove and cap it with an impenetrable wall of noise. While the songs are striking in their cohesion and poise, there are moments where one wants Black Lung to really let loose, as after Trevor Shipley’s keyboard stretch in “Priestess,” but they have other ideas, feeding the title-track directly into “8MM” with no less a firm sense of control than shown earlier. All told, an excellent follow-up that deserves broader consideration among 2016’s finer offerings.

Black Lung on Thee Facebooks

Black Lung at Noisolution

Lord Vicar, Gates of Flesh

lord vicar gates of flesh

Offered through The Church Within Records as a paean to classic doom, Lord Vicar’s third LP, Gates of Flesh, nonetheless almost can’t help but put its own mark on the style. The Turku, Finland, outfit’s first album in five years, it finds guitarist Kimi Kärki (ex-Reverend Bizarre, Orne, E-Musikgruppe Lux Ohr, etc.), vocalist Chritus (also Goatess, ex-Saint Vitus, Count Raven, etc.), bassist Sami Hynninen (ex-Reverend Bizarre) and drummer Jussi Myllykoski bold enough to shift into minimalist spaciousness on “A Shadow of Myself,” and really, they’re not through opener “Birth of Wine” before Kärki executes a gorgeous dual-layered solo. Trace those roots back to Trouble if you must, but there’s no question to whom the lurch of centerpiece “Breaking the Circle” or the sorrowful 10-minute closer “Leper, Leper” belongs, and the same holds true for everything that follows, be it the quiet start of “A Woman out of Snow” or the swinging second half of “Accidents.” Lord Vicar enact the doom of ages and take complete ownership of the sound, thus only adding to the canon as they go.

Lord Vicar on Thee Facebooks

The Church Within Records

Dakessian, The Poisoned Chalice

dakessian the poisoned chalice

Like the stench of rotting, Dakessian’s The Poisoned Chalice provokes a visceral and physical response. The long-in-the-making debut release from the Portland-based duo of vocalist Kenny Snarzyk (also Fister) and multi-instrumentalist Aaron D.C. Edge (Lumbar, Roareth, so many others) had its music recorded back in 2013, and the vocals were added earlier this year, throat-searing screams and growls that top the noisy, claustrophobically weighted tones from Edge’s guitar. The onslaught is unrelenting, both longer songs like “Demons” and “Ten Double Zero” and shorter cuts “Nothing Forever” and the sample-laced opener “Choose Hate” brim with aggressive misanthropy, the will against. Even the penultimate “Baerial,” which offers a glimmer of melody, continues to crush, and starting with a slow drum progression, closer “Cosmic Dissolution” barely tops two and a half minutes, but it brings thorough reassurance of the project’s destructive force before its final drone rounds out. One never knows with Edge if a given band will ever have a follow-up, but as ever, the quality is consistent. In this case, brutally so.

Dakessian on Bandcamp

Holy Mountain Printing

Gypsy Chief Goliath, Citizens of Nowhere

gypsy chief goliath citizens of nowhere

Actually, if you want to get technical about it, Gypsy Chief Goliath are citizens of Ontario, but you’d never know it from listening to their third album, Citizens of Nowhere, which if you had to pin a geographic locale on it might be more of a fit for New Orleans than Canada. The Pitch Black Records release sees the triple-guitar-plus-harmonica six-piece outfit dug deep in Southern metal grooves, marked out by the burl-bringing vocals of frontman/guitarist Al “The Yeti” Bones, formerly of Mister Bones, Serpents of Secrecy and The Mighty Nimbus and the chug-and-churn of cuts like “Black Samurai” and the shuffle of “We Died for This.” The title-track winds its central riff with thickened-up ‘70s boogie, while “Elephant in the Room” and “The Return” space out a bit more, and the closing Black Sabbath cover “Killing Yourself to Live” (a CD bonus track) plays it loyal structurally while dude’ing up the original like it was on hormone therapy.

Gypsy Chief Goliath on Thee Facebooks

Pitch Black Records on Bandcamp

Inter Arma, Paradise Gallows

inter arma paradise gallows

Hard-touring Richmond genre-benders Inter Arma are due for a landmark release. Their 2014 single-song EP, The Cavern, was wildly well received and earned every bit of praise it got. Their follow-up to that is Paradise Gallows, their third album and second for Relapse behind 2013’s Sky Burial (track stream here). Is Paradise Gallows that landmark? Hell if I know. Recorded, mixed and mastered by Mikey Allred, who also guests on trombone, bass violin, organ and noise, Inter Arma’s third brings an expansive 70 minutes of bleak progressivism, conceptually and sonically broad enough to be considered brilliant and still weighted enough that the prevailing vibe is extremity in their blend of sludge, doom, black metal, post-metal, atmospherics, and a moody acoustic closer. The only real danger is that it might take listeners time to digest – because it’s a lot to take in, all those twists and turns in “Violent Constellations,” particularly after the plod of the title-track – but I wouldn’t be the least bit surprised to find Inter Arma inhabiting any number of year-end lists for 2016. Once again, they earn it.

Inter Arma on Thee Facebooks

Inter Arma at Relapse Records

Helgamite, Hypnagogia

helgamite hypnagogia

Virginian bruisers Helgamite manage to cover a deceptive amount of sonic ground on their second LP, Hypnagogia (on CD through Lost Apparitions with vinyl soon on Flesh Vessel), spending plenty of time in dense-toned sludge metal but using that as a foundation for a wider range of explorations, winding up in blastbeats by the time 13-minute side B finale “The Secret” comes around, but by then having torn through the aggro-thrash of “Origins,” lumbered through the mosher “Æstrosion” and topped off “Shaman’s Veil” with math-metal guitar fits melded to a saxophone arrangement. Growls from vocalist William Breeden and Jonah Butler’s drums tie it all together as guitarist Casey Firkin (also sax) and bassist Matthew Beahm pull off intermittently jazzy runs, but impressively, Helgamite never sound in danger of losing sight of the songs they’re serving, and Hypnogogia is stronger for its unwillingness to waste a second of its runtime, even in the aforementioned “The Secret” or its 10-minute side A counterpart, “Snowdrifter.”

Helgamite on Thee Facebooks

Lost Apparitions Records website

Flesh Vessel Records on Thee Facebooks

Mollusk, Children of the Chron

mollusk-children-of-the-chron

Get it? Children of the Chron? I’ll admit it took me a second. While I was thinking about it, Allston, Massachusetts, duo Mollusk doled out sludge-punk-metal beatings via raw tones and shouts and a general sense of checked-out attitude, “Glacier” reminding of earliest, least-poppy Floor, but cuts like “Demon Queen” and “When You’re Gone” finding guitarist Hank Rose using a purposefully monotone vocal approach that works well over slower parts. Rose is joined in Mollusk by drummer Adam O’Day, and though I’ve already noted that the 11-track album is raw, their sound wants nothing for impact in the low end or any other end for that matter. Rather, the harsher aspects become part of the aesthetic throughout Children of the Chron and the band successfully navigates its own mire without getting lost in either its own “Torture Chamber” or “Zombie Apocalypse,” which like opener “Ride the #9,” is almost certainly a song about life in the Boston area.

Mollusk on Thee Facebooks

Mollusk at ReverbNation

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

Kaleidobolt Post “Steal My Thunder” Video

Posted in Bootleg Theater on June 8th, 2016 by H.P. Taskmaster

kaleidobolt

Tempo-blasting Finnish boogie rockers Kaleidobolt will release their second album, The Zenith Cracks (review here), July 1 via Pink Tank Records. Now veterans of Desertfest Berlin, the still-just-about-two-years-old band put a considerable performance sensibility into the new record, pushing well into a live feel and capturing an energy that feels stage-ready if not actually taken from the stage. I haven’t seen them live to compare one to the other, but as it maniacally careens from one winding riff into the next, an overarching groove floating atop all the whole, it’s clear that what Kaleidobolt are aiming for is to put boots to ass and get everything and everyone in their vicinity in motion. In terms of movement, their material is not what you would call lacking.

The trio is comprised of guitarist/vocalist Sampo Kääriäinen, bassist/vocalist Marco Menestrina and drummer Valtteri LindholmMenestrina directed their new video for “Steal My Thunder” from The Zenith Cracks, and the jerky jumps of the images in the clip really only emphasize the similar movement in the song itself, which sounds like it could come flying apart at any moment but of course never does. “Steal My Thunder” not only holds together, but offers one of The Zenith Cracks‘ strongest hooks, and while it doesn’t necessarily speak for some of the heavy psychedelic ground the band covers on the B-side of the album, it does make a fervent introduction to the record for anyone who hasn’t yet had the chance to get their limited-vinyl preorders in.

I continue to dig these cats. If you’re sensitive to quick-jumps in images (sometimes I get headaches), you might want to take the clip in stages, but even if you hit play and click off to let the song play out, I think you’ll find it’s worth the time.

Please enjoy:

Kaleidobolt, “Steal My Thunder” official video

+++ STEAL MY THUNDER BY KALEIDOBOLT +++

Brand new music video for Steal My Thunder, from The Zenith Cracks. Enjoy!

Shot and edited by Marco, except for the cabin footage, which was shot by Jutta Menestrina.

Kaleidobolt – Steal My Thunder. From the album The Zenith Cracks. Shot and edited by Marco Menestrina. Additional filming by Jutta Menestrina. All rights reserved. 2016 Pink Tank Records.

Kaleidobolt on Thee Facebooks

Kaleidobolt on Bandcamp

Kaleidobolt at Pink Tank Records

Tags: , , , , ,

Craneium Sign to Ripple Music; Explore the Void Due this Winter

Posted in Whathaveyou on May 25th, 2016 by H.P. Taskmaster

craneium

From the Finnish heavy hotbed of Turku, four-piece rockers Craneium issued their debut full-length, Explore the Void, last fall. The band has been picked up to do a pressing of the album via Ripple Music, and it’s received a “winter” release date, no doubt because the label’s schedule is so packed. Fair enough. It may be 2017 before the CD and/or LP shows up, but Explore the Void can be streamed in full now from Craneium‘s Bandcamp (also below), and boasts a fuzzy sound as true to its intent as it is the fiery skies in Alexander von Wieding‘s cover art.

You’ll find that below, followed by the release announcement from the PR wire.

Goes like this:

craneium explore the void-700

Ripple Music Signs Finnish Psych Rockers Craneium to World-wide Deal and New Album

Prepare for a huge slab of protometal leads, psychedelic riffs, rolling bass lines, with killer melodies and grooves, as Ripple Music unleashes the debut album from Finnish rockers Craneium “Explore the Void”.

Craneium was formed 2011 in Turku, Finland, but the roots of the members grow deep in rural Ostrobothnia, the bible-belt of Finland, further north where the are more Holy Books than Sabbath records on the shelves. Craneium formed around one goal – to write some seriously intense and fuzzy riff rock. Eager to play they immediately headed out for live shows as soon as they had penned together some tunes. Live the energetic nature of the band really comes alive and shines. When they perform they are one force with the music, which they projectile right into to the crowd at full volume. Needless to say, they always end a concert dripping in sweat with the audience mangled against a wall of fuzz.

The band released The Slowerdrive Tapes on cassette in 2013 and a 12″ split in 2014 with fellow ‘nauts 3rd Trip. 2014-15 they spent long hours recording the essence of these four years: “Explore The Void”, a 50 minute journey through fuzz rock mayhem. The bands sound is a constant ebb and flow of different influences. They go from atmospheric clean vibes that build up and build up, only to clash into fuzzy grooves. While they’re not trying to reinvent the wheel they’re giving it a hard spin with their own brand of fuzz rock!

Wrapped up in some stunning, artwork, this album creates a total sonic experience; the sort of thing that you can get utterly and beautifully lost in, as you travel beyond the valley and into the void.

Look for Craneium’s Ripple Music debut “Explore the Void” this winter on limited edition vinyl, world-wide vinyl, CD and digital.

https://www.facebook.com/craneiumband/
http://craneiumband.bandcamp.com/
https://www.instagram.com/craneiumband/
http://www.ripple-music.com/
https://www.facebook.com/Ripple-Music-369610860064/

Craneium, Explore the Void (2015)

Tags: , , , , ,

Kaleidobolt, The Zenith Cracks: The Spoils (Plus Track Premiere)

Posted in audiObelisk on May 17th, 2016 by H.P. Taskmaster

kaleidobolt-the-zenith-cracks

Helsinki trio Kaleidobolt will release their second album, The Zenith Cracks, on July 1 via Pink Tank Records, and as any follow-up worthy of the name should, it builds off its predecessor in noteworthy and exciting ways. That prior debut was last year’s self-titled (review here), which showcased a band barely a year old making strides suited to acts of much longer tenure. With The Zenith Cracks — topped off by Adam Burke cover art — guitarist/vocalist Sampo Kääriäinen, bassist/vocalist Marco Menestrina and drummer Valtteri Lindholm highlight creative breadth and nuance across eight tracks of boogie-laced heavy psychedelia, executing winding riffs with crispness worthy of The Atomic Bitchwax on the intro “Off the Cuff,” reveling in fuzz nod on “Inbred” and freaking out across a jam-heavy closing duo of “City of the Sun” and “Spoil.”

This is accomplished all while brandishing instrumental chemistry and toss-off vocals that seem to leave a trail of hooks behind them as they race or lumber past, songs like “Murderous Ways,” “The Crux” and “City of the Sun” landmarking memorable impressions on both of The Zenith Cracks‘ gatefold-earning sides while “Steal My Thunder” proffers madman Sabbathian blues with frantic piano deep in the mix and the prior “Helle” opens side B with, if you’ll pardon, a bit of finger to coincide.

Lindholm takes a drum solo on “City of the Sun,” and Kääriäinen‘s guitar is a guiding presence throughout, steering through the shuffle of “Murderous Ways” and the twists of “The Crux,” but Menestrina brings the true standout performance across the album’s span, his choice basslines complementing and enhancing the guitar without losing sight of their place as the rhythmic foundation of the band. To have Kääriäinen depart in “The Crux” for a winding lead and find Menestrina not just keeping pace, but building off what his bandmate is doing is a thrill often lost on the classic heavy rock set, and the power of the trio is all the more prevalent for it.

It’s something immediately apparent as “Off the Cuff” — it may well have been — takes quick flight into a dizzying array, and remains true as “Murderous Ways” spaces out in its midsection, as organ takes hold late in “The Crux,” and as “Inbred” departs its initial push and subsequent jazzy dreaminess to a more fully-fuzzed groove. I won’t take away from what Lindholm brings to the drums — his crash is the anchor as “Inbred” winds down — or what Kääriäinen is doing on guitar throughout, but Menestrina basically puts on a how-to-be-a-kickass-heavy-rock-bassist clinic without sounding like he’s putting on a clinic, and the result is one of the most resonant impressions Kaleidobolt offer with the whole of The Zenith Cracks.

kaleidobolt

A key to the debut was the flow Kaleidobolt established between the tracks, and it’s to the benefit of The Zenith Cracks that that penchant hasn’t been lost. “Helle” eases into a more broad-reaching second half of the album, its still-complex blend of acoustic and electric strum opening to the crazed forward motion of “Steal My Thunder.” KääriäinenMenestrina and Lindholm trade back and forth in tension and release before shifting in the midsection to a stretch of minimal guitar leading to a surf-type line from which they build back up in layers of vocals around the lines, “Spiraling, spiraling, spiraling further/We are spiraling further from home,” in intertwined late-’60s psychedelic chants.

The cowbell arrives — finally! — after the slower-rolling intro of “City of the Sun,” and does so with Mountain-esque abandon, the band shifting into high-gear for a Kääriäinen lead only to turn back to the aforementioned drum solo in the second half, from which they miraculously return to the slower tempo fuzz of the song’s open. It’s an exhausting stretch, but Kaleidobolt back it with the 10-minute finale, “Spoil,” which bides its time through a multi-stage intro thrust and spaced-out verses in order to setup the freakout to come as they take off instrumentally into the sunset and pull apart in an extended closing raucous enough to answer for what came before it.

Between the sonic character the band portrays here and the command they’ve taken of their sound, Kaleidobolt‘s The Zenith Cracks provides a play-it-louder response to the potential Kaleidobolt exhibited their first time out. Perhaps most telling is that even as the band’s ambition has grown in terms of aesthetic, they’ve drawn closer together as players as well, and so their material is all the more assured as it works quickly to take these forward steps. One wouldn’t begrudge Kaleidobolt taking their time after The Zenith Cracks, but we’d be lucky to get another installment from them in 2017.

Kaleidobolt on Thee Facebooks

Kaleidobolt on Bandcamp

Kaleidobolt at Pink Tank Records

Tags: , , , , ,

BlowUp Vol. 2 Adds Samothrace, Monolord and Skepticism

Posted in Whathaveyou on May 12th, 2016 by H.P. Taskmaster

blowup vol 2 header

Set for this October in Helsinki, Finland, BlowUp Vol. 2 has added MonolordSkepticism and Samothrace to its lineup. They join the ranks of Bastard NoiseConan and Oranssi Pazuzu for the event, which will also have a film component showing a banned documentary apparently filmed about 10 minutes from where I live about the treatment of patients in a mental hospital. Go figure on that one. That’ll have a live soundtrack with it, naturally.

Not sure as to how many acts will comprise the final lineup for BlowUp Vol. 2, but the six they already have already show a solid international draw, and though Europe is silly with festivals this October — BlowUp Vol. 2 is the same weekend as Desertfest Belgium 2016, albeit 26 hours away by car — the Finnish event is clearly going for establishing its own vibe.

Semi-translated info follows:

blowup vol 2 poster

BlowUp Vol. 2 is taking place 14 -15 October 2016 in Helsinki, Finland. The venue is Korjaamo Culture Factory, one of the largest independent art centres in the Nordic countries. Korjaamo was founded in an old tram depot in Töölö in 2004, and now hosts a concert venue as well as six smaller creative spaces for meetings and seminars plus movie theatre. The Vaunuhalli building is also home to Helsinki City Museum’s Tram Museum.

The new names are Swedish doom band Monolord, despair alleys of the American free-moving genre Samothrace, as well as Finnish Skepticism, whose funeral doom is playing live this year only this time in Helsinki.

Blowup Vol. 2 also offers the cinematic art. Titicut Follies is directed by Frederick Wiseman documentary in 1967, which follows the lives of Massachusetts Bridgewater inmate in a mental hospital. Although the movie was awarded with freshly festivals in Germany and Italy, the United States, it crashed into censorship. Titicut Follies was shown to the public for the first time only in 1992. At Blowup Vol 2 it is presented in the early evening on Friday, 14 October.

Titicut Follies screen will be accompanied by Veli-Matti O. “Heap” Äijälän and Markku Leinonen, duo that made new music for the movie, which will necessarily be heard a second time.

Confirmed bands so far are:
Conan (UK)
Monolord (SWE)
Skepticism (FIN)
Samothrace (US)
Bastard Noise (US)
Oranssi Pazuzu (FIN)

https://www.facebook.com/blowupthatgramophone/
https://www.facebook.com/events/977786362259558/
https://www.instagram.com/explore/tags/blowupfestival/
https://www.tiketti.fi/Blowup-Festival-Vol-2-Korjaamo-Helsinki-lippuja/36753

BlowUp Vol. 2 trailer

Tags: , , , , , , , , ,

Monsternaut Sign to Heavy Psych Sounds

Posted in Whathaveyou on May 4th, 2016 by H.P. Taskmaster

monsternaut heavy psych sounds

Today, Italy’s Heavy Psych Sounds continues its international shopping spree by signing Finnish trio Monsternaut. The Kerava trio currently have two EPs under their collective belt — a 2014 self-titled (review here) and a 2012 self-titled — and they’ll release them as their debut full-length this Fall on the label, after having featured the track “Caravan” on the recently-issued Heavy Psych Sounds Sampler alongside the likes of Mondo GeneratorBlack RainbowsIsaakFarflung and Ape Machine, among others.

“Caravan” was one of five songs on the second Monsternaut EP, which boasted a sound born out of heavy Fu Manchu influence, with a tonal touch of Queens of the Stone Age bounce and desert-bred groove. The trio of vocalist/guitarist Tuomas Heiskanen, bassist Perttu Härkönen and drummer Jani Kuusela thicken up nodding, momentum-rich riffs and offer a return to ’90s stoner heavy purity without sounding retro or like they’re 20 years behind the times — at least not any more than they want to be. The songs on their two offerings to-date offer catchy, The Action is Go-style stomp, as typified in “Black Horizon” which closes the latter release with a slower lurch that maximizes the groove at play.

Almost all the information on Monsternaut‘s debut album is still to come — is it self-titled? — but Heavy Psych Sounds has it slated to be out Fall 2016, so October seems like a realistic expectation. In addition to that, Monsternaut will tour in the EU as part of the label’s booking arm in November.

“Naturally we’re excited about signing with HPS — no news there,” said the band. “We’re looking forward to touring and meeting new bands and new people. Just to rock out with your cock out. As for the label, Gabriele [Fiori] seems like a straight shooter and has already proven to have connections here and there. We never had much expectations of the band so it was puzzling when HPS reached out to us at the end of 2015. We didn’t take it very seriously as we had no idea of the label. But since then, the macaroni jokes have decreased (not died!) and we’re left pinching ourselves to realize that this is actually happening.”

“The release itself is a combination of two older recordings. First session was back in 2012 and the second in 2014. We’re happy to have HPS release them as one bundle, but are also more or less ready to record more if the stars keep aligned. Suppose we have to wait and see what happens after this release. Fingers crossed!”

More to come.

Monsternaut is:

Tuomas Heiskanen Vocals/Guitar
Perttu Härkönen Bass
Jani Kuusela Drums

http://monsternaut.bandcamp.com/
https://www.facebook.com/Monsternaut/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Monsternaut, Monsternaut (2014)

Tags: , , ,