Friday Full-Length: Amorphis, Chapters

Posted in Bootleg Theater on September 22nd, 2023 by JJ Koczan

Twenty years ago, Relapse Records had a distro booth at the Palladium in Worcester for the New England Metal and Hardcore Festival. Coincidentally, the fest was held last weekend in roughly the same spot (it’s outdoors now). Fair enough. Relapse‘s booth was inside, as were both stages in what was apparently 2003. I was walking through from the larger downstairs area to the upstairs stage — I don’t remember whom I was seeing just then, but I know I definitely saw Stampin’ Ground up there one time, and I’m pretty sure Brand New Sin played up there at one point — and passed by the large banner and the table that had vinyl and CDs (more of the latter then) arranged in boxes with some flat on the table for display.

AmorphisChapters was one of those out. A CD and DVD with music videos — that was a big deal then — it was released in 2003 to some murmurings about an anniversary. I dug the band a lot, had seen them in Worcester a few years earlier, and it caught my eye, but it was like $20 and I know for a fact didn’t have $20 in 2003. I don’t have $20 now. And I don’t think they were taking cards at merch tables two decades ago, so I left it on the table and went about my business in the mildewy upstairs of the Palladium.

I’d return to Relapse distros many times over the subsequent years at various events — not to mention their record store, glorious as that was, in Philadelphia — and never saw another copy of Chapters in-person, there or anywhere else. It went out of print quickly, all parties seeming to silently agree that it was for the best, and languished on my Amazon wishlist basically since. I won’t say I was on some Odyssean quest to find it, scouring the earth in its many nooks and hithers and yons, but it became something of a regret of the early century in my head that I didn’t manage to make that purchase. That I let that one go.

Found it the other day on Discogs. Six bucks, plus six bucks shipping. It’s in great shape.

Since the package came in — it’s in a jewel case and just brims with turn-of-the-century thickness in its plastic; the guilt-free excesses of a world that didn’t understand how mad it had gone — I’ve been through it a couple times and I’ve tried to place it as well in the band’s history. The thing is, if Chapters was supposed to be an anniversary thing, it was off. Begun as a cavernous death metal act informed by their native Finnish folklore and eventually, by then, progressed into a melodic heavy/hard rock act with plenty enough of that metal left over to give them some edge, Amorphis marked their 10th anniversary in 2000, and their first long-player, The Karelian Isthmus, came out in 1992.

Plus — and here’s the one that’s had my eyebrow up lo these many years — Amorphis released their Story – 10th Anniversary comp in 2000, so if Chapters was somehow intended to complement that, which doesn’t amorphis chaptersseem unreasonable on its face given the two titles, the fact that it came three years later is puzzling (I’d thought it was earlier). DVDs had ‘chapters.’ Was that why they called it that? Rest assured, I continue to have no idea.

On the most basic level, it could just have been contract fulfillment, I guess. In 2003, Amorphis released Far From the Sun (highlighted by the bonus acoustic version of its title-track) as their first non-Relapse offering, through Nuclear Blast. Certainly possible they owed their former label a release and the CD/DVD was where they landed. However they go there, the audio disc is packed. In addition to the bonus tracks “Too Much to See,” a highlight of the special edition of 2001’s Am Universum (discussed here) and “Northern Lights” from the recordings of 1999’s Tuonela (discussed here), it’s got a whopping 17 songs total, culled from the band’s first decade of releases.

And in addition to any revisit to this era of Amorphis‘ catalog (and other eras as well) bringing renewed appreciation for the complexity of their arrangements, from flutes and instrumentation that helped them become credited as early practitioners of folk metal — which they never really were, but they influenced the mindset with their lyrics culled from the Kalevala, the national poem of Finland, and some of their transposed-onto-death-metal groove — the layeres melodies of the vocals as heard on Chapters resonate with depth. As they would. At this point in their history, Amorphis were fronted by Pasi Koskinen (also Ajattara, ex-Mannhai), who took over on lead vocals for 1996’s Elegy and helped make that one of the band’s most crucial landmarks. As frontman through the aforementioned Far From the Sun, Koskinen‘s contributions aren’t to be understated and the malleability of his voice to work from harsh to clean played a large role in the band’s overarching progression. He set the model that Amorphis would follow with subsequent singer Tomi Joutsen, who is about to enter his 20th year with them and is their longest-tenured vocalist.

But whether one listens to Chapters or Story, or just to the albums themselves, that progression is the narrative. It’s just presented differently, and something I appreciate about Chapters as opposed to Story is that our presents Amorphis‘ growth in reverse order such that the then-newest material, which was the Am Universum and Tuonela stuff, is up front, and the listener can trace back from there, through Tales From the Thousand Lakes, not all the way to 1991’s Disment of Soul demo, but at least to the raw first record that was built out therefrom.

And while it’s true their sound has settled from the radical shifts it presented in the decade covered by Chapters (and the earlier compilation), they continue to grow. Now signed to Nuclear Blast offshoot Atomic Fire, they oversaw a series of catalog reissues last year and put out their 14th studio LP, Halo (review here), and undertaking an ongoing full touring cycle to support. Just yesterday they released a live video for “Wrong Direction” from an upcoming third live record, Queen of Time (Live at Tavastia 2021), out on Oct. 13. They have a Fall tour in Europe lined up (of course), were in Japan earlier this month, toured the States last year, tour Finland in December and already have fests lined up for 2024, including Summer Breeze in Brazil next April. So yes, very much active.

I usually say when I write about Amorphis that they’re one of a few acts I write about to zero response, and I suspect that this being a silly contract-fulfillment comp from 20 years ago that I once passed up won’t help that. But you should know that I bought this CD with money from Obelisk merch and that I appreciate the support that let that happen.

Thank you for that, and thank you for reading. As always, I hope you enjoy.

Week was proceeding. Monday and Tuesday were recovery from Desertfest New York last weekend. Then it was just digging into the rest and getting through. Yesterday the first of what I expect will be a lifetime’s supply of emails from The Pecan’s school came in, this one from the principal asking what the hell we can possibly do with this kid who puts her fist in other kids’ faces, hits the aide in the classroom and, on Wednesday, bit her teacher. That one took the wind out of our sails a bit. She’s doing all her academic work, which is a thing upon which one might hang some kind of hat, but everything else is hard. Very much a challenge.

I told the principal I didn’t have an easy answer but reminded him as well that before the year we had a whole series of meetings on how to handle her and this was why and that the plan we agreed to at those meetings, the first of which was before last school year even ended, has yet to be put into place. We have another meeting next Friday. I expect it will be a conversation.

But it sucks to see my kid having the hard time that I think we knew she was going to have even as we parent-denial’ed ourselves into some hope otherwise. If I sound defeatist about it, I am. We have muddled through camps (until we couldn’t) and various other activities like soccer and tae kwon do, and pretty much anytime she’s somewhere with other kids her age and there’s an adult in charge, especially if she’s there more than once for longer than, say, 40 minutes, it’s going to be a problem. That’s based on past history.

But now, instead of having her own paraprofessional in class to help her stay on task and resist urges toward physical violence — biting a pregnant lady is never a good look, regardless of one’s grade level — she’s flailing, feels like a failure, and has entered a negative cycle of feeling ashamed at her behavior, scared of her surroundings and like she needs to lash out when basically any demand is put on her. I cannot properly emphasize how much the school has dropped the ball here, nor how disappointed I am in their having done so. These are legal questions and obligations.

She’s there today. Her teacher was out yesterday — one might want a day off, yes — and I don’t know what the score is today yet and won’t until we pick her up, so I exist in a nebulous zone of cluelessness, which rest assured is a big change for me. We’ve started taking her upstairs, no warning, when she hits us. It gets her to stop hitting and does nothing, apparently, to prevent the next one. Yesterday she started behavioral talk therapy in hopes of learning some strategies to cope with her brain being apparently on fire all the time, which, yes, rest assured again, is a perspective on existence I blame myself for teaching her.

Oh, and we’re getting the dog groomed like right now as I’m writing. And I taught her to spin for a treat in like three minutes the other night. And she hasn’t had an accident in the house in like two weeks. She’s a good little dog, this Tilly. Surprisingly so.

Have a great and safe weekend. Watch your head, hydrate, enjoy the emergent Fall if it’s Fall where you are. Try not to bite any pregnant ladies on your way to next Monday.

FRM.

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Cardinals Folly to Release Live by the Sword Oct. 27

Posted in Whathaveyou on September 7th, 2023 by JJ Koczan

cardinals folly

The sixth full-length from Helsinki-based trio Cardinals Folly is called Live by the Sword, and it is being released as the band’s first outing through Soulseller Records on Oct. 27. Those are the basics you need to know. To that, I’ll add that the track they’re streaming in advance, “Luciferian,” is representative of their take on dirtied-up classic metal and riff-led doom rock. Metal played with a punker ethic and a doomed mindset, maybe? Something like that on “Innsmouth Royalty” anyhow, but either way, Cardinals Folly manage to find their way into obscure aural nichery once again, having carved their path presumably in ancient times in a cave somewhere, all appropriate sacrifices made, and so on.

And I don’t know if they’re the ‘last bastions of doom’ or not — there’s an awful lot of doom out there — but let the assertion stand as testament to the band’s commitment toward what they believe in stylistically and the manner in which their songs are so methodical and still able to come across as raw in form.

Soulseller is a solid fit for a label as well, since the imprint likewise often stands between styles and carries an underlying severity born of extreme metal. Give ear to “Luciferian” and you’ll get what I mean.

From the PR wire:

Cardinals-Folly-Live-by-the-Sword

CARDINALS FOLLY – Deal with Soulseller Records – New Album ‘Live By The Sword’ coming on October 27th 2023

The Last Bastion of Doom. Those Finnish witchfinders. The ones that won’t let go. The truest of the true. The stubbornest of the stubborn. CARDINALS FOLLY. A groovy trio of which name has been echoing distantly in the metal underground for more than a decade. A wild uncontrollable force moving onwards to another record or another adventure. With relentless riffs, heavy metal hails, ride-or-die attitude and true love for the old school doom and metal.

Hailing from Helsinki, Finland and formed in 2007 by Mikko “Count Karnstein” Kääriäinen (Bass, Vocals) and his back-then compatriots, CARDINALS FOLLY has been captained by Mikko ever since then towards new conquests. After several albums, line-up changes, dramas, label disappointments and tours around the world, the current stellar constellation of “Deranged Pagan Sons” with Juho Kilpelä (Guitar) and Joni Takkunen (Drums) has been ongoing since 2014.

On the upcoming new album “Live By The Sword”, the band takes almost all that it finds good in metal and molds it into a tighter mass of unholy riffs, blasphemous pagan chants & choruses, luciferian & lovecraftian depravity and all in all a fearless ride to where the witching cauldrons boil hot and the brews are cool. Ranging from slow epic doom to galloping heavy metal and apocalyptic rock ‘n’ roll, the band loves to murder the listener with all their might. These past few years of plague and uncertainty have only made them angrier and more determined, resulting in this 42-minute onslaught of doomed heavy metal.

Band leader Mikko comments: “After these past few slightly chaotic years, it’s nice to sign with a professional powerhouse like Soulseller Records. We’re ready to go, ready to put this powerful bastard of an album out and show the world what we can do. We’ve done now six albums, and not many bands do six albums. Recently we toured in Norway, USA, Finland, Germany and Italy. It’s true love towards this deranged craft and evolving it that keeps us going. I honestly believe we’re also one of the few bands to steadily improve from day 1 onwards so far. That’s not common either. And right now it seems we’re in good hands. In a world under turmoil, I’m proud of what me, Juho and Joni have now created. This is our best album. There’s no more to tell, and real action beats all words anyway. Crank it up and blast it as loud as you can. The doomed ones ride out again! Our Cult Continues!”

Pre-order options: https://soulsellerrecords.bandcamp.com (World) +++ https://soulsellerrecords.aisamerch.com (Americas)

Cover art by Witchaser Art.

Tracklist:
1. Life Eternal
2. Ride Or Die 666
3. Luciferian
4. Priesthood of Darkness
5. Innsmouth Royalty
6. Live By The Sword
7. Ludovico
8. Last Bastions of Doom

LINE-UP
Mikko “Count Karnstein” Kääriäinen – Bass, Vocals
Juho “Nordic Wrath” Kilpelä – Guitars
Joni “Battle Ram” Takkunen – Drums

https://www.facebook.com/cardinalsfolly/
https://www.instagram.com/cardinalsfolly/
http://cardinalsfolly.bandcamp.com/

https://www.facebook.com/soulsellerrecords
https://www.instagram.com/soulsellerrecords
https://soulsellerrecords.bandcamp.com
http://www.soulsellerrecords.com

Cardinals Folly, “Luciferian”

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Quarterly Review: The Howling Eye, Avi C. Engel, Suns of the Tundra, Natskygge, Last Giant, Moonstone, Sonic Demon, From the Ages, Astral Magic, Green Inferno

Posted in Reviews on July 20th, 2023 by JJ Koczan

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Been a trip so far, has this Quarterly Review. It’s been fun to bounce from one thing to the next, drawing imaginary lines between releases that have nothing more to do with each other than being written up on the same day, and seeing the way the mind reels in adjusting from talking about one thing to the next. It’s a different kind of challenge to write 150-200 words (and often more than that; these reviews are getting too long) about a record than 1,000 words.

Less room to make your argument means you need to say what you want to say how you want to say it and punch out. If you’ve read this site with any regularity over the last however many years, or perhaps if you’re reading this very sentence right now, right here, you might guess that such efficiency isn’t a strong suit. This assessment would be correct. Fact is I suck at any number of things. A growing list.

But we’ve made it to Thursday anyhow and today this 70-record Quarterly Review passes its halfway point, and that’s always a fun thing to mark. If you’ve been digging it, I hope you continue to do so. If nothing’s hit, maybe today. If this is the first you’re seeing of any of it, well, that’s fine too. We’re all friends here. You can go back and dig in or not, as you prefer. I’ll keep going either way. Speaking of…

Quarterly Review #31-40:

The Howling Eye, List Do Borykan

The Howling Eye List Do Borykan

I don’t often say things like this, but List Do Borykan is worth it for the opening jam of “Space Dwellers, Episode 1.” That does not mean that song’s languid flow, silly stoned space-adventure spoken word narrative, and flashes of dub and psych and so on, are all that Poland’s The Howling Eye have to offer on their third full-length. It’s not. The prior single “Medival” (sic) has a thoughtful arrangement led by post-Claypool funky bass and surf-style guitar, which are swapped out for hard-riff cacophony metal in the second half of the song’s 3:35 run. That pairing sets up a back and forth between longer jams and more structured material, but it’s all pretty out there when you hear the seven song/44 minutes of the entire record, as the 10-minute “Brothers” builds from silence to organ-laced classic rock testimony and then draws itself down to let the funkier/rolling (depending on which part you’re talking about) “Space Dwellers, Episode 2” provide a swaying melodic highlight, and “Caverns” drones into jazz minimalism for nine minutes before “Space Dwellers, Episode 3” goes full-on over-the-top 92-second dance party. Finally. That leaves the closer, “Johnny,” as the landing spot where the back and forth jams/songs trades end, and they’re due a jam and provide one, but “Johnny” also follows on theme from “Space Dwellers, Episode 3” and the start of “Medival” and other funk-psych stretches, so summarizes List Do Borykan well. Again, worth it for the first song, but is much more than just that as a listening experience.

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Avi C. Engel, Sanguinaria

Clara Engel Sanguinaria

Toronto-based folk experimentalist, vocalist and multi-instrumentalist Avi C. Engel starts off the 10-song Sanguinaria with the first of its headphone-ready arrangements “Sing in Our Chains” assessing modernity and realizing, “We were better off in the trees.” In addition to Engel‘s actual voice, which is well capable of carrying records on its own, with a distinctive character, part soft and breathy in delivery but resilient with a kind of bruised grace and, as time goes on, grown more adventurous. In “Poisonous Fruit” and “The Snake in the Mirror,” folk, soul and organically-cast sprawl unfold, and where “A Silver Thread” brings in electric guitar and lap steel, “Deathless” — the longest cut at 6:33, arriving paired with the subsequent, textural “I Died Again” — is sparse at first but builds around whatever stringed instrument Engel (slow talharpa?) is playing and Paul Kolinski‘s banjo, standout vocal harmonies and a subdued keeping of rhythm. Along with Kolinski, Brad Deschamps adds lap steel to the opener and the more-forward-in-percussion “Extasis Boogie,” which is listed as an interlude but nearly five minutes long, and Lys Guillorn contributes lap steel to “A Silver Thread,” with all due landscape manifestation. Sad, complex, and beautiful, the 52-minute long-player isn’t a minor undertaking on any level, and “Personne” and the penultimate “Bridge Behind the Sun” emphasize the point of intricacy before the looping “Larvae” masterfully crafts its resonance across the last six minutes of the album.

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Suns of the Tundra, The Only Equation

suns of the tundra the only equation

Begun in 1993 as Peach, London heavy prog rockers Suns of the Tundra celebrate 30 years with the encompassing hour-long The Only Equation, their fifth album, which brings back past members of the band, has a few songs with two drummers, and is wildly sprawling across 10 still-accessible tracks that shimmer with purpose and melody. The title-track seems to harken to a ’90s push, but the twisting and volume-surging back half stave redundancy ahead of the patient drama in the 10-minute “The Rot,” which follows. On the other side of the metal-leaning “Run Boy Run,” with its big, open, floating, thudding finish representing something Suns of the Tundra do very well throughout, the three-part cycle of “Reach for the Inbetween” could probably just as easily have been one 15-minute cut, but is more palatable as three, and loses nothing of its fluidity for it, the build in the third piece giving due payoff before “The Window is Wide” caps in deceptively hooky style. Whether one approaches it with the context of their decades or not, The Only Equation is deeply welcoming. And no, its proggy prog progness won’t resonate universally, but nothing does, and that doesn’t matter anyhow. Without giving up who they are creatively, Suns of the Tundra have made it as easy as they can for one to get on board. The rest is on the listener.

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Natskygge, Eskapisme

Natskygge Eskapisme

Natskygge sneak a little “Paranoid” into “Delir,” the instrumental opener/longest track (immediate points) of their second album, Eskapisme, and that’s just fine as dogwhistles go. The Danish classic psych rockers made a well-received self-titled debut in 2020 and look to expand on that outing’s classic vibe with this 34-minute eight-tracker, which is rife with creative ambition in the slower “Lys på vej” and the piano-laced “Fjern planet,” which follows, as well as in a mover/shaker like “Titusind år,” the compact three-minute strutter “Frit fald” or what might be the side B leadoff “Feberdrøm” with its circa-1999 Brant Bjork casual groove and warm fuzz, purposefully veering into psychedelia in a way that feels like a preface for the closing duo “Livet brænder,” an organ/keyboard flourish, grounded verse and airy swirls over top leading smoothly into the likewise-peppered but acoustically-based “Den der sidst gik ud,” which conveys patience without giving up the momentum the band has amassed up to that point. I’ll note that my ignorance of the Danish language doesn’t feel like it’s holding me back as “Fjern planet” holds forth its lush melancholy or “Titusind år” signals the band’s affinity for krautrock. Not quite vintage in production, but not too far off, Eskapisme feels like it was made to be lived with, the songs engaged over a period of years, and I look forward to revisiting accordingly.

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Last Giant, Monuments

last giant monuments

Portland’s Last Giant reportedly had a bit of a time recording their fourth long-player, Monuments, in a months-long process involving multiple studios and a handful of producers, among them Adam Pike (Holy Grove, Young Hunter, Red Fang, Mammoth Salmon, etc.) recording basic tracks, Paul Malinowski (Shiner, Open Hand) mixing and three different rounds of mastering. Complicated. Working as the three-piece of founder, principal songwriter, guitarist and vocalist RFK Heise (ex-System and Station), bassist Palmer Cloud and drummer Matt Wiles — it was just Heise and Wiles on 2020’s Let the End Begin (review here) — the band effectively fill in whatever cracks may have been apparent to them in the finished product, and the 10-track/39-minute offering is pop-informed as all their output to-date has been and loaded with heart. Also a bit of trumpet on “Saviors.” There’s swagger in “Blue” and “Hell on Burnside,” and “Feels Like Water” is about as weighted and brash as I’ve heard Last Giant get — a fun contrast to the acoustic “Lost and Losing,” which closes — but wherever a given track ends up, it is deftly guided there by Heise‘s sure hand. Sounds like it was much easier to make than apparently it was.

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Moonstone, Growth

moonstone growth

Growth is either the second or third full-length from Polish heavy psych doomers Moonstone depending on what you count, but by the time you’re about three minutes into the 7:47 of second cut “Bloom” after the gets-loud-at-the-end-anyway atmospheric intro “Harvest” — which establishes an undercurrent of metal that the rest of the six-song/36-minute LP holds even in its quietest parts — ordinal numbering won’t matter anyway. “Bloom” and “Sun” (8:02), which follows, are the longest pieces on Growth, and that in itself speaks to the band stripping back some of their jammier impulses as compared to, say, late 2021’s two-song 12″ 1904 (discussed here), but while the individual tracks may be shorter, they give up nothing as regards largesse of tone or the spaces the band inhabit in the material. Flowing and doomed, “Sun” ends side A and gives over to the extra-bass-punch meditativeness of “Night,” the guitar building in the second half to solo for the payoff, while the six-minutes-each “Lust” and “Emerald” filter Electric Wizard haze and the proggy volume trades of countrymen like Spaceslug, respectively, close with due affirmation of purpose in big tone, big groove, and a noteworthy dark streak that may yet come to the fore of their approach.

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Sonic Demon, Veterans of the Psychic War

Sonic Demon Veterans of the Psychic War

It’s not quite the centerpiece, but in terms of the general perspective on the world of the record from which it comes, there’s little arguing with Sonic Demon‘s “F.O.A.D.” as the declarative statement on Veterans of the Psychic War. As with Norway’s Darkthrone, who released an LP titled F.O.A.D. in 2007, Sonic Demon‘s “F.O.A.D.” stands for ‘fuck off and die,’ and that seems to be the central ethic they’re working from. Like most of what surrounds on the Italian duo’s follow-up to 2021’s Vendetta (review here), “F.O.A.D.” is coated in tonal dirt, a nastiness of buzz in line with the stated mentality making songs like swinging opener “Electric Demon” and “Lucifer’s the Light,” which follows, raw even by post-Uncle Acid garage doom standards. There are moments of letup, as in the wah-swirling second half of “The Black Pill,” a bit of psych bookending in “Wolfblood,” or the penultimate (probably thankfully) instrumental “Sexmagick Nights,” but the forward drive in “The Gates” highlights the point of Sonic Demon hand-drilling their riffs into the listener’s skull, and the actually-stoned-sounding groove of closer “To Hell and Back” seems pleased to bask in the filth the album has wrought.

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From the Ages, II

from the ages ii

If you’re taking on From the Ages‘ deceptively-titled first full-length, II — the trio of guitarist Paul Dudziak, bassist Sean Fredrich and drummer David Tucker issued their I EP in 2021, so this is their second release overall — it is perhaps useful to know that the only inclusion with vocals is opener/longest track (immediate points) “Harbinger.” An automatic focal point for that, for its transposed Sleep influence, and for being about four minutes longer than anything else on the album, it draws well together with the five sans-vox cuts that follow, with an exploratory sensibility in its jam that feels like it may be from whence a clearly-plotted song like “Maelstrom” or the lumbering volume trades of “Tenebrous” originate. Full in tone and present in the noisy slog and pre-midpoint drift of “Epoch” as well as Dudziak‘s verses in “Harbinger,” From the Ages seem willful in their intention to try out different ideas, whether that’s the winding woe of “Obsolescence” or the acoustilectric standalone guitar of closer “Providence,” and while that can make the listener less sure of where their development might take them in stylistic terms, that only results in their being more exciting to hear in the now.

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Astral Magic, Cosmic Energy Flow

astral magic cosmic energy flow

Not only is Astral Magic‘s Cosmic Energy Flow — released in May of this year — not the first outing from the Finnish space rock outfit led by project founder and spearhead Santtu Laakso in 2023, it’s the eighth. And that doesn’t include the demo short release with a live band. It’s also not the latest Astral Magic about two months after the fact, as Laakso and company have put out two full-lengths since. Unrealistic as this level of productivity is — surely the work of dimensional timeporting — and already-out-of-date as the eight-song/42-minute LP might be, it also brings Laakso into collaboration with the late Nik Turner of Hawkwind, who plays sax on the opening title-track, as well as guitarists Ilya Lipkin of Russia’s The Re-Stoned and Stefan Olesinski (Nuns on Napalm), and vocalists Christina Poupoutsi (The Higher Craft, The Meads of Asphodel, etc.) and Kev Ellis (Dubbal, Heliotrope, etc.), and where one might think so many personnel shifts around Laakso‘s synth-forward basic tracks would result in a disjointed offering, well, anything can happen in space and when you throw open doors in such a way, expectations broaden accordingly. Maybe it’s just one thing on the way to the next, maybe it’s the record with Nik Turner. Either way, Astral Magic move inextricably deeper into the known and unknown cosmos.

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Green Inferno, Trace the Veins

Green Inferno Trace the Veins

Until the solo hits in the second half of “The Barrens,” you almost don’t realize how much space there is in the mix on Green Inferno‘s Trace the Veins. The New Jersey trio like it dank and deathly as they answer the rawness of their 2019 demo with the six Esben Willems-mastered tracks of their first album, porting over “Spellcaster” and “Unearth the Tombs” to rest in the same mud as malevolent plodders like “Carried to the Pit” and the penultimate “Vultures,” which adds higher-register screaming to the already-established low growls — I doubt it’s actually an influence, but I’m reminded of Amorphis circa Elegy — that give the whole outing such an extreme persona if the guitar and bass tones weren’t already taking care of it. The tortured feel there carries into closer “Crown the Virgin” as the three-piece attempt to stomp their own riffs into oblivion along with everything else, and one can only hope they get there. New songs or the two older tracks, doesn’t matter. At any angle you might choose, Green Inferno are slow-churned extreme sludge, death-sludge if you want, fully stoned, drenched in murk, disillusioned, misanthropic. It’s the sound of looking at the world around you and deciding it’s not worth saving. Did I mention stoned? Good.

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Quarterly Review: Bongzilla, Trevor’s Head, Vorder, Inherus, Sonic Moon, Slow Wake, The Fierce and the Dead, Mud Spencer, Kita, Embargo

Posted in Reviews on July 17th, 2023 by JJ Koczan

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Well here we are, at last. A couple weeks ago I looked at my calendar and ended up pushing this Quarterly Review to mid-July instead of the end of June, and it’s been hanging over my head in the interim to such a degree that I added two days to it to cover another 20 records. I’m sure it could be more. The amount of music is infinite. It just keeps going.

I’ll assume you know the deal, but here it is anyhow: 10 records per day, for seven days — Monday through Friday, plus Monday and Tuesday in this case — for a total of 70 reviews. Links and audio provided to the extent possible, and hopefully we all find some killer new music we didn’t know about before, or if we did know about it, just to enjoy. That doesn’t seem so crazy, right?

Quarterly Review #1-10:

Bongzilla, Dab City

Bongzilla Dab City

None higher. Following extensive touring before and (to the extent possible) after the release of their 2021 album, Weedsconsin (review here), Madison, WI, canna-worship crust sludge-launchers Bongzilla return with Dab City, proffering the harsh and the mellow as only they seem to be able to do, even among their ’90s-born original-era sludge brethren. As second track “King of Weed” demonstrates, Bongzilla are aurally dank unto themselves, both in the scathing vocals of bassist Mike “Muleboy” Makela and the layered guitar of Jeff “Spanky” Schultz and the slow-swinging groove shoving all that weighted tone forward in Mike “Magma” Henry‘s drums. Through the seven tracks and 56 minutes of dense jams like those in the opening title-cut or the 13-minute “Cannonbong (The Ballad of Burnt Reynolds as Lamented by Dixie Dave Collins” (yes, from Weedeater) or the gloriously languid finale “American Pot,” the shorter instrumental “C.A.R.T.S.,” or in the relatively uptempo nodders “Hippie Stick” and “Diamonds and Flower,” Bongzilla underscore the if-you-get-it-then-you-get-it nature of their work, at once extreme in its bite and soothing in atmosphere, uncompromising in purpose. I’m not going to tell you to get bombed out of your gourd and listen, but they almost certainly did while making it, and Dab City is nothing if not an invitation to that party.

Bongzilla on Facebook

Heavy Psych Sounds website

 

Trevor’s Head, A View From Below

Trevor's Head A View From Below

Adventures await as Redhill, UK, three-piece Trevor’s Head — guitarist/vocalist Roger Atkins, bassist/vocalist/synthesist Aaron Strachan (also kalimba), drummer/flutist/vocalist/synthesist Matt Ainsworth (also Mellotron) — signal a willfully open and progressive creativity through the heavy psych and grunge melodies of lead track “Call of the Deep” before the Primus-gone-fuzz-prog chug of “Under My Skin” and the somehow-English-pastoral “Grape Fang” balances on its multi-part harmonies and loose-feeling movement, side A trading between shorter and longer songs to end with the seven-minute, violin-inclusive folk-then-fuzz-folk highlight “Elio” before “Rumspringa” brings the proceedings to ground as only cowbell might. As relatively straight-ahead as the trio get there or in the more pointedly aggressive shover “A True Gentleman” on the other side of the Tool-ish noodling and eat-this-riff of “What Got Stuck” (answer: the thrashy gallop before the final widdly-widdly solo, in my head), they never want for complexity, and as much as it encapsulates in its depth of arrangement and linear course, closer “Don’t Make Me Ask” represents the band perhaps even more in looking forward rather than back on what was just accomplished, building on what 2018’s Soma Holiday (review here) hinted at stylistically and mindfully evolving their sound.

Trevor’s Head on Facebook

APF Records website

 

Vorder, False Haven

Vorder False Haven

Born in the ’90s as Amend, turned more extreme as V and now perhaps beginning a new era as Vorder — pronounced “vee-order” — the Dalarna, Sweden, unit return with a new rhythm section behind founding guitarists Jonas Gryth (also Unhealer) and Andreas Baier (also Besvärjelsen, Afgrund, and so on) featuring bassist Marcus Mackä Lindqvist (Blodskam, Lýsis) and drummer Daniel Liljekvist (ex-Katatonia, In Mourning, Grand Cadaver, etc.) on drums, the invigorated four-piece greet a dark dawn with due presence on False Haven, bringing Baier‘s Besvärjelsen bandmate Lea Amling Alazam for guest vocals on “The Few Remaining Lights,” which seems to be consumed after its melodic opening into a lurching and organ-laced midsection like Entombed after the Isis-esque ambience of post-apocalyptic mourning in “Introspective” and “Beyond the Horizon of Life.” Beauty and darkness are not new themes for Vorder, even if False Haven is their first release under the name, and even in the bleak ‘n’ roll of the title-track there’s still room for hope if you define hope as tambourine. Which you probably should. The penultimate “Judgement Awaits” interrupts floating post-doom with vital shove and 10:32 finale “Come Undone” provides a resonant melodic answer to “The Few Remaining Lights” while paying off the album as a whole in patience, heft and fullness. Vorder use microgenres like a polyglot might switch languages, but what’s expressed from the entirety of the work is utterly their own, whatever name they use.

Vorder on Facebook

Suicide Records website

 

Inherus, Beholden

inherus beholden

Multi-instrumentalist Beth Gladding (also of Forlesen, Botanist, Lotus Thief, etc.) shares vocal duties in New York’s Inherus with bassist Anthony DiBlasi (ex-Witchkiss) and fellow guitarist/synthesist Brian Harrigan (Grid, Swallow the Ocean), and the harsh/clean dynamic puts emphasis on the various textures presented throughout the band’s debut album. Completed by drummer Andrew Vogt (Lotus Thief, Swallow the Ocean), Inherus reach toward SubRosan melancholy on “Forgotten Kingdom,” which begins the hour-flat/six-track 2LP, and they follow with harmonies and grandeur to spare on “One More Fire” (something in that melody reminds me of Indigo Girls and I’m noting it because I can’t get my head away from it; not complaining) and “The Dagger,” which resolves in Amenra-style squibble and lurch without giving up its emotional depth. “Oh Brother” crushes enough to make one wonder where the line truly is between metal and post-metal, and the setup for closer “Lie to the Angels” in the drone-plus piece “Obliterated in the Face of the Gods” telegraphs the intensity to follow if not the progginess of that particular chug or the scope of what follows. Vogt signals the arrival at the album’s crescendo with stately but fast double-kick, and if you’re wondering who gets the last word, it’s feedback. Beholden may prove formative as Inherus move forward, but what their first full-length lays out as their stylistic range is at least as impressive as it is ambitious. Hope for more to come.

Inherus on Facebook

Hypnotic Dirge Records store

 

Sonic Moon, Return Without Any Memory

sonic moon return without any memory

Even in the second half of “Tying Up the Noose” as it leads into “Give it Time” — which is about as speedy as Sonic Moon get on their Olde Magick Records-delivered first LP, Return Without Any Memory — they’re in no particular hurry. The overarching languid pace across the Aarhus five-piece’s 41-minute/seven-tracker — which reuses only the title-track from 2019’s Usually I Don’t Care for Flowers EP — makes it hypnotic even in its most active moments, but whether it’s the Denmarkana acoustic moodiness of centerpiece “Through the Snow,” the steady nod of “Head Under the River” later or the post-All Them Witches psych-blues conveyed in opener “The Waters,” Sonic Moon are able to conjure landscapes from fuzzed tonality that could just as easily have been put to use for traditional doom as psych-leaning heavy rock, uniting the songs through that same fuzz and the melody of the vocals as “Head Under the River” spaces out ahead of its slowdown or “Hear Me Now” eschews the huge finish in favor of a more unassuming, gentler letting go, indicative of the thoughtfulness behind their craft and their presentation of the material. Familiar enough on paper and admirably, unpretentiously itself, the self-recorded Return Without Any Memory discovers its niche and comes across as being right at home in it. A welcome debut.

Sonic Moon on Facebook

Olde Magick Records on Bandcamp

 

Slow Wake, Falling Fathoms

slow wake falling fathoms

With cosmic doom via YOB meeting with progressive heavy rock à la Elder or Louisiana rollers Forming the Void and an undercurrent of metal besides in the chug and double-kick of “Controlled Burn,” Cleveland’s Slow Wake make their full-length debut culling together songs their 2022 Falling Fathoms EP and adding the prior-standalone “Black Stars” for 12 minutes’ worth of good measure at the end. The dense and jangly tones at the start of the title-track (where it’s specifically “Marrow”-y) or “In Waves” earlier on seem to draw more directly from Mike Scheidt‘s style of play, but “Relief” builds from its post-rocking outset to grow furious over its first few minutes headed toward a payoff that’s melody as much as crunch. “Black Stars” indulges a bit more psychedelic repetition, which could be a sign of things to come or just how it worked out on that longer track, but Slow Wake lay claim to significant breadth regardless, and have the structural complexity to work in longer forms without losing themselves either in jams or filler. With a strong sense of its goals, Falling Fathoms puts Slow Wake on a self-aware trajectory of growth in modern prog-heavy style. That is, they know what they’re doing and they know why. To show that alone on a first record makes it a win. Their going further lets you know to keep an eye out for next time as well.

Slow Wake on Facebook

Argonauta Records store

 

The Fierce and the Dead, News From the Invisible World

The Fierce and the Dead News From the Invisible World

Unearthing a bit of earlier-Queens of the Stone Age compression fuzz in the start-stop riff of “Shake the Jar” is not even scratching the surface as regards textures put to use by British progressive heavies The Fierce and the Dead on their fourth album, News From the Invisible World. Comprised of eight songs varied in mood and textures around a central ethic clearly intent on not sounding any more like anyone else than it has to, the collection is the first release from the band to feature vocals. Those are handled ably by bassist Kev Feazey, but it’s telling as to the all-in nature of the band that, in using singing for the first time, they employ no fewer than six guest vocalists, mostly but not exclusively on opener/intro “The Start.” From there, it’s a wild course through keyboard/synth-fed atmospheres on pieces like the Phil Collins-gone-heavy “Photogenic Love” and its side-B-capping counterpart “Nostalgia Now,” which ends like friendlier Godflesh, astrojazz experimentalism on “Non-Player,” and plenty of fuzz in “Golden Thread,” “Wonderful,” “What a Time to Be Alive,” and so on, though where a song starts is not necessarily where it’s going to end up. Given Feazey‘s apparent comfort with the task before him, it’s a wonder they didn’t make this shift earlier, but they do well in making up for lost time.

The Fierce and the Dead on Facebook

Spencer Park Music on Facebook

 

Mud Spencer, Kliwon

mud spencer Kliwon

Kliwon is the second offering from Indonesia-based meditative psych exploration unit Mud Spencer to be released through Argonauta Records after 2022’s Fuzz Soup (review here), and its four component songs find France-born multi-instrumentalist Rodolphe Bellugue (also Proots, Bedhunter, etc.) constructing material of marked presence and fluidity. Opener “Suzzanna” is halfway through its nine minutes before the drums start. “Ratu Kidul” is 16 minutes of mindful breathing (musically speaking) as shimmering guitar melody pokes out from underneath the surrounding ethereal wash, darker in tone but more than just bleak. Of course “Dead on the Heavy Funk” reminds of Mr. Bungle as it metal-chugs and energetically weirds out. And the just under 16-minute “Jasmin Eater” closes out with organ and righteous fuzz bass peppered with flourish details on guitar and languid drumming, becoming heavier and consuming as it moves toward the tempo kick that’s the apex of the album. Through these diverse tracks, an intimate psychedelic persona emerges, even without vocals, and Mud Spencer continues to look inward for expanses to be conveyed before doing precisely that.

Mud Spencer on Facebook

Argonauta Records store

 

Kita, Tyhjiö

kita Tyhjio

It would seem that in the interim between 2021’s Ocean of Acid EP and this five-song/41-minute debut full-length, Tyhjiö, Finnish psychedelic death-doomers Kita traded English lyrics for those in their native Finnish. No, I don’t speak it, but that hardly matters in the chant-like chorus of the title-track or the swirling pummel that surrounds as the band invent their own microgenre, metal-rooted and metal in affect, but laced with synth and able to veer into lysergic guitar atmospherics in the 10-minute opener “Kivi Puhuu” or the acoustic-led (actually it’s bass-led, but still) midsection leading to the triumphant chorus of bookending closer “Ataraksia,” uniting disparate ideas through strength of craft, tonal and structural coherence, and, apparently, sheer will. The title-track, “Torajyvä” and “Kärpässilmät,” with the centerpiece cut as the shortest, make for a pyramid-style presentation (broader around its base), but Kita are defined by what they do, drawing extremity from countrymen like Swallow the Sun or Amorphis, among others, and turning it into something of their own. Striking in the true sense of: it feels like being punched. But punched while you hang out on the astral plane.

Kita on Facebook

Kita on Bandcamp

 

Embargo, High Seas

embargo high seas

Greek fuzz alert! Heavy rocking three-piece Embargo hail from Thessaloniki with their first long-player, High Seas, using winding aspects of progressive metal to create tension in the starts and stops of “Billow,” “EAT” and “Candy” as spoken verses in the latter and “Alanna Finch” draw a line between the moody noise rock of Helmet, the grunge it informed, and the heavy rock that emerged (in part) from that. Running 10 tracks and 44 minutes, High Seas is quick in marking out the smoothness of its low tonality, and it veers into and out of what one might consider aggression in terms of style, “with 22 22” thoughtfully composed and sharply pointed in kind, one of several instrumentals to offset some of the gruffer stretches or a more patient melodic highlight like “Draupner,” which does little to hide its affinity for Soundgarden and is only correct to showcase it. They also finish sans-vocals in the title-track, and there’s almost a letting-loose sense to “High Seas” itself, shaking out some shuffle in the first half before peaking in the second. Greece is among Europe’s most packed and vibrant undergrounds, and with High Seas, Embargo begin to carve their place within it.

Embargo on Facebook

Embargo on Bandcamp

 

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The Obelisk Questionnaire: Jaakko Mäntymaa of Marianas Rest

Posted in Questionnaire on June 7th, 2023 by JJ Koczan

Jaakko Marianas Rest

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Jaakko Mäntymaa of Marianas Rest

How do you define what you do and how did you come to do it?

It depends a great deal on what we are talking about, but I take this as a general question about what drives us forward in life. First of all I want to be a proper parent for my kids. Secondly I want to be better at the things I enjoy. Because I think my best days at playing football are behind me, I concentrate on my musical hobbies and day job. And of course I try to be a decent human being overall.

Describe your first musical memory.

I remember going through LPs and cassettes in my uncle’s room. Iron Maiden, Metallica and Alice Cooper for example. I remember the face of Eddie in the cover of Seventh Son of a Seventh son. It made an instant impact. Of course I didn’t have permission to go rumble through my uncle’s room. When I got caught, he didn’t lecture me but educated me on the subject and played me some of his personal favourites. And I think that is the reason I got into rock and metal in the first place.

Describe your best musical memory to date.

There are so many, I choose to go down memory lane. I remember the time I bought my first cd. I had saved money from my weekly allowance and my dad brought me to a record store. Since I had money for only one cd, it was either Gun’s and Roses and half of Use Your Illusion or Roxette’s Joyride. A hard choice, but eventually I went with Joyride, which is still one of my favourite records.

When was a time when a firmly held belief was tested?

I think my kids try me out weekly. They ask me all sorts of questions to just try out if I am honest or not. They already know the answer but they want to see how I react. And I try to be as honest as possible even though I guess a white lie would be better sometimes.

Where do you feel artistic progression leads?

To different places with different people I guess. I think that overall it is totally subjective as to what is progressive and what is not.

How do you define success?

The feeling you get when you have put a lot of effort into something and can look back at it happily even if nobody else gets it. When you give it your all, no one can ask for more no matter the end result.

What is something you have seen that you wish you hadn’t?

It’s always a terrible feeling when you let someone down. And you can see it in the face of the one you have let down.

Describe something you haven’t created yet that you’d like to create.

It would be great to be a part of creating the perfect album. But I guess that’s not going to happen.

What do you believe is the most essential function of art?

To contradict, to challenge, to anger and to soothe.

Something non-musical that you’re looking forward to?

Going to a Cirque du Soleil show with my kids.

http://www.marianasrest.com
www.facebook.com/marianasrestofficial
www.instagram.com/marianasrestofficial
www.tiktok.com/@marianasrestofficial

https://www.facebook.com/napalmrecords
http://label.napalmrecords.com/

Marianas Rest, Auer (2023)

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Hexvessel to Release Polar Veil Sept. 22; “Older Than the Gods” Video Posted

Posted in Whathaveyou on May 29th, 2023 by JJ Koczan

hexvessel band

Maybe Polar Veil will be the moment where Hexvessel and principal songwriter Mat McNerney tie it all (or at least mostly) together. 2019’s All Tree (review here) and 2020’s Kindred stepped back into forest folk atmospheres after 2016’s When We Are Death (review here) blew the doors off what had been their established modus, McNerney by then having already begun a journey through side-projects like Beastmilk and Grave Pleasures, all three bands (and a swath of other influences) seeming to intermingle over the longer term as regards style. I get post-black metal vibes off Polar Veil‘s first single “Older Than the Gods,” with the wash of pretty but stark electric guitar at the forefront and the melodic vocals that accompany, but that’s a pretty superficial classification on my part and most of all it sounds like Hexvessel.

And at least for myself, I seem to enjoy this band most when they’re screwing with their own norms a bit. I wouldn’t expect one track ever to speak for the entirety of a Hexvessel LP, but if it’s representative even on a basic tonal level of the sphere they’re working in this time out, well, maybe the norms are getting what for.

From the PR wire:

hexvessel polar veil

Forest Folk Rockers HEXVESSEL Announce New Album, ‘POLAR VEIL’, Out September 22nd

Share New Single “Older Than the Gods” + Music Video

Preorder link: https://www.svartrecords.com/en/bestsearch/hexvessel?q=hexvessel

Finland’s HEXVESSEL return with their sixth album, ‘Polar Veil’, a cold, metallic hymn to the Sub Arctic North. Haunted by primal forest spirits, Mat “Kvohst” McNerney summons the ghosts of his past in a jaw-dropping, unheard-of rebirth of style and sound. At once unmistakably HEXVESSEL, ‘Polar Veil’ is also steeped in the nocturnal atmosphere of McNerney’s past, churned in the cauldron of black metal, ritual folk psychedelia and doom rock, and echoing with shivering gothic undertones.

From their inception in 2009, HEXVESSEL, created by Mat McNerney as what he described as “a free spiritual journey and a musical odyssey with no boundaries”, have captivated audiences and listeners with their evolution.

Holed up in a home-made studio in his log cabin during the winter of 2022, McNerney drew on all the fundamental elements of his music career as a shamanic shapeshifter, with only the isolation of nature’s solitude as inspiration. Painting an aura with ‘Polar Veil’ which resonates with solitary reflection and themes of personal spiritual transcendence, HEXVESSEL’s new album is a bold statement from an artist who continues to reinvent and explore nature mysticism through music.

When the components of the medicine are familiar but brewed in a completely novel concoction, the resulting side effects can be deliriously intoxicating. Peer behind this ‘Polar Veil’ for a breath of fresh tundra air with HEXVESSEL’s new single “Older Than The Gods” now.

“Nature represents freedom, darkness and the call of the wild. Black metal has always been at the borders of my sound and playing, at the heart of everything I do. Tradition, nature, ritual, mythology, mysticism and philosophy, along with clashing and jarring chords have always been synonymous with HEXVESSEL. It was natural with ‘Polar Veil’, finally now as we reach the zenith of the journey, that these influences surface to the human ear, and with the freezing cold guitar sound that the climate here demands.”

A track such as “Crepuscular Creatures”, with unhinged, discordant guitar chords, as bassist Ville Hakonen’s hand snakes up and down the frets, is at the more avant-garde end of the album. Long term drummer Jukka Rämänen thundering the toms like never before, as McNerney croons Scott Walker-esque lyrics, somewhere between Edith Södergran and Ted Hughes.

Whereas “Listen To The River” with its ominous M.R James/Folk Horror lyrics of perilous environmental warning, featuring Ben Chisholm main collaborator and multi-instrumentalist with Chelsea Wolfe on lush, haunting keys and strings, could have appeared on HEXVESSEL’s sophomore album ‘No Holier Temple’, albeit with a sound of that era, progressing out of folk.

‘Polar Veil’ features Nameless Void from Negative Plane, performing the guitar solo on the song “Ring” and on “Older Than The Gods”, Okoi from Bølzer provides guest vocals. At first an unlikely partnership but one that makes total sense as the album deepens, and threads can be drawn that reveal the place ‘Polar Veil’ is coming from.

On the process of recording ‘Polar Veil’, McNerney explains:

“I built a studio at home in the log hut on our field, surrounded by large trees, called Pine Hill, to escape from everything and everyone. ‘Polar Veil’ is what a spiritual home sounds like.”

https://www.facebook.com/hexvessel
http://instagram.com/hexvesselband
https://hexvessel.bandcamp.com/
https://www.hexvessel.com/

www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords

Hexvessel, “Older Than the Gods” official video

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Quarterly Review: Dorthia Cottrell, Fvzz Popvli, Formula 400, Abanamat, Vvon Dogma I, Orme, Artifacts & Uranium, Rainbows Are Free, Slowenya, Elkhorn

Posted in Reviews on May 11th, 2023 by JJ Koczan

the-obelisk-qr-summer-2020

Here we go day four of the Quarterly Review. I would love to tell you it’s been easy-breezy this week. That is not the case. My kid is sick, my wife is tired of my bullshit, and neither of them is as fed up with me as I am. Nonetheless, we persist. Some day, maybe, we’ll sit down and talk about why. Today let’s keep it light, hmm?

And of course by “light” I mean very, very heavy. There’s some of that in the batch of 10 releases for today, and a lot of rock to go along, so yes, another day in the QR. I hope you find something you dig. I snuck in a surprise or two.

Quarterly Review #31-40:

Dorthia Cottrell, Death Folk Country

Dorthia Cottrell Death Folk Country

Crafted for texture, Death Folk Country finds Windhand vocalist Dorthia Cottrell exploring sounds that would be minimal if not for the lushness of the melodies placed over them. Her first solo offering since 2015 runs 11 tracks and feels substantial at a manageable 42 minutes as delivered through Relapse Records. The death comes slow and soft, the folk is brooding and almost resistant in its Americana traditionalism, and the country is vast and atmospheric, and all three are present in a release that’s probably going to be called ethereal because of layering or vocal reverb but in fact is terrestrial like dry dirt. The seven-minute “Family Annihilator” is nigh on choral, and e-bow or some such droner element fills out the reaches of “Hell in My Water,” expanding on the expectation of arrangement depth set up by the chimes and swells that back “Harvester” after the album’s intro. That impulse makes Death Folk Country kin to some of earlier Wovenhand — thinking Blush Music or Consider the Birds; yes, I acknowledge the moniker similarity between Windhand and Wovenhand and stand by the point as regards ambience — and a more immersive listen than it would otherwise be, imagining future breadth to be captured as part of the claims made in the now. Do I need to say that I hope it’s not 2031 before she does a third record?

Dorthia Cottrell on Bandcamp

Relapse Records website

Fvzz Popvli, III

FVZZ POPVLI III

It’s been a quick — read: not quick — five years since Italian heavy rockers Fvzz Popvli released their second album, Magna Fvzz (review here), through Heavy Psych Sounds. Aptly titled, III is the third installment, and it’s got all the burner soloing, garage looseness and, yes, the fvzz one would hope, digging into a bit of pop-grunge on “The Last Piece of Shame,” setting a jammy expectation in the “Intro” mirrored in “Outro” with percussion, and cool-kid grooving on “Monnoratzo,” laced with hand-percussion and a bassline so thick it got made fun of in school and never lived down the trauma (a tragedy, but it rules just the same). “Post Shit” throws elbows of noise all through your favorite glassware, “20 Cent Blues” slogs out its march true to the name and “Tied” is brash even compared to what’s around it. Only hiccup so far as I can tell is “Kvng Fvzz,” which starts with a Charlie Chan-kind of guitar line and sees the vocals adopt a faux Chinese accent that’s well beyond the bounds of what one might consider ‘ill-advised.’ Cool record otherwise, but that is a significant misstep to make on a third LP.

Fvzz Popvli on Facebook

Retro Vox Records on Bandcamp

 

Formula 400, Divination

Formula 400 Divination

San Diegan riffslingers Formula 400 come roaring back with their sophomore long-player, Divination, following three (long) years behind 2020’s Heathens (review here), bringing in new drummer Lou Voutiritsas for a first appearance alongside guitarist/vocalists Dan Frick and Ian Holloway and bassist Kip Page. With a clearer, fuller recording, the solos shine through, the gruff vocals are well-positioned in the mix (not buried, not overbearing), and even as they make plays for the anthemic in “Kickstands Up,” “Rise From the Fallen” and closer “In Memoriam,” the lack of pretense is one of the elements most fortunately carried over from the debut. “Rise From the Fallen” is the only cut among the nine to top five minutes, and it fills its time with largesse-minded riffing and a hook born out of ’90s burl that’s a good distance from the shenanigans of opener “Whiskey Bent” or the righteous shove of the title-track. They’re among the best of the Ripple Music bands not yet actually signed to the label, with an underscored C.O.C. influence in “Divination” and the calmer “Bottomfeeder,” while “In Memoriam” filters ’80s metal epics through ’70s heavy and ’20s tonal weight and makes the math add up. Pretty dudely, but so it goes with dudes, and dudes are gonna be pretty excited about it, dude.

Formula 400 on Facebook

Animated Insanity Records website

No Dust Records website

 

Abanamat, Abanamat

Abanamat Abanamat

Each of the two intended sides of Abanamat‘s self-titled debut saves its longest song for its respective ending, with “Voidgazer” (8:25) capping side A and “Night Walk” (9:07) working a linear build from silence all the way up to round out side B and the album as a whole. Mostly instrumental save for those two longer pieces, the German four-piece recorded live with Richard Behrens at Big Snuff and in addition to diving back into the beginnings of the band in opener “Djinn,” they offer coherent but exploratory, almost-UncleAcidic-in-its-languidity fuzz on “Thunderbolt of Flaming Wisdom,” growing near-prog in their urgency with it on the penultimate “Amdest” but never losing the abiding mellow spirit that manifests out of the ether as “Night Walk” rounds out the album with synth and keys and guitar in a jazzy for-a-walk meander as the band make their way into a fuller realization of classic prog elements, enhanced by a return of the vocals after five minutes in. They’re there just about through the end, and fit well, but it demonstrates that Abanamat even on their debut have multiple avenues in which they might work and makes their potential that much greater, since it’s a conscious choice to include singing on a song or not rather than just a matter of no one being able to sing. The way they set it up here would get stale after a couple more records, but one hopes they continue to develop both aspects of their sonic persona, as any need to choose between them is imaginary.

Abanamat on Instagram

Interstellar Smoke Records store

 

Vvon Dogma I, The Kvlt of Glitch

Vvon Dogma I The Kvlt of Glitch

Led by nine-string bassist Frédérick “ChaotH” Filiatrault (ex-Unexpect), Montreal four-piece Vvon Dogma I are a progressive metal whirlwind, melodic in the spirit of post-return Cynic but no less informed by death metal, djent, rock, electronic music and beyond, the 10-song/45-minute self-released debut, The Kvlt of Glitch confidently establishes its methodology in “The Void” at the outset and proceeds through a succession marked by hairpin turns, stretches of heavy groove like the chorus of “Triangles and Crosses” contrasted by furious runs, dance techno on “One Eye,” melody not at all forgotten in the face of all the changes in rhythm, meter, the intermittently massive tones, and so on. Yes, the bass features as it inevitably would, but with the precision drumming of Kevin Alexander, Yoan MP‘s backflipping guitar and the synth and strings (at the end) of Blaise Borboën (also credited with production), a sound takes shape that feels like it could have been years in the making. Mind you I don’t know that it was or wasn’t, but Vvon Dogma I lead the listener through the lumbering mathematics of “Lithium Blue,” a cover of Radiohead‘s “2+2=5” and the grand finale “The Great Maze” with a sense of mastery that’s almost unheard of on what’s a first record even from experienced players. I don’t know where it fits and I like that about it, and in those moments where I’m so overwhelmed that I feel like my brain is on fire, this seems to answer that.

Vvon Dogma I on Facebook

Vvon Dogma I on Bandcamp

 

Orme, Orme

orme orme

Two sprawling slow-burners populate the self-titled debut from UK three-piece Orme. Delivered through Trepanation Recordings as a two-song 2LP, Orme deep-dives into ambient psych, doom, drone and more besides in “Nazarene” (41:58) and “Onward to Sarnath” (53:47), and obviously each one is an album unto itself. Guitarist/vocalist Tom Clements, bassist Jimmy Long (also didgeridoo) and drummer Luke Thelin — who’s also listed as contributing ‘silence,’ which is probably a joke, but open space actually plays a pretty large role in the impression Orme make — make their way into a distortion-drone-backed roller jam on “Nazarene,” some spoken vocals from Clements along the way that come earlier and more proclamatory in “Onward to Sarnath” to preface the instrumental already-gone out-there-ness as well as throat singing and other vocalizations that mark the rest of the first half-hour-plus, a heavy psych jam taking hold to close out around 46 minutes with a return of distortion and narrative after, like an old-style hidden track. It’s fairly raw, but the gravitational singularity of Orme‘s two forays into the dark are ritualistic without being cartoonishly cult, and feel as much about their experience playing as the listener’s hearing. In that way, it is a thing to be shared.

Orme on Facebook

Trepanation Recordings on Bandcamp

 

Artifacts & Uranium, The Gateless Gate

Artifacts & Uranium Gateless Gate

The UK-based experimentalist psych collaboration between Fred Laird (Earthling Society) and Mike Vest (Bong, et al) yields a third long-player as The Gateless Gate finds the duo branching out in the spirit of their 2021 self-titled and last year’s Pancosmology (review here) with instrumentalist flow and a three-dimensional sound bolstered by the various delays, organ, synth, and so on. Atop an emergent backbeat from Laird, “Twilight Chorus” (16:13) runs a linear trajectory bound toward the interstellar in an organic jam that comes apart before 12 minutes in and gives over to church organ and sampled chants soon to be countermanded by howls of guitar and distortion. Takest thou that. The B-side, “Sound of Desolation” (19:55), sets forth with a synthy wash that gives over to viol drone courtesy of Martin Ash, a gong hit marking the shift into a longform psych jam with a highlight bassline and an extended journey into hypnotics with choral keys (maybe?) arriving in the second half as the guitar begins to space out, fuzz soloing floating over a drone layer, the harder-hit drums having departed save for some residual backward/forward cymbal hits in the slow comedown. The world’s never going to be on their level, but Laird and Vest are warriors of the cosmos, and as their work to-date has shown, they have bigger fish to fry than are found on planet earth.

Artifacts & Uranium on Facebook

Riot Season Records website

Echodelick Records website

 

Rainbows Are Free, Heavy Petal Music

Rainbows Are Free Heavy Petal Music

What a show to preserve. Heavy Petal Music, while frustrating in that it’s new Rainbows Are Free and not a follow-up to 2019’s Head Pains, but as the Norman, Oklahoma, six-piece’s first outing through Ripple Music, the eight-song/43-minute live LP captures their first public performance in the post-pandemic era, and the catharsis is palpable in “Come” and “Electricity on Wax” early on and holds even as they delve into the proggier “Shapeshifter” later on, the force of their delivery consistent as they draw on material from across their three studio LPs unremitting even as their dynamic ranges between a piano-peppered bluesy swing and push-boogie like “Cadillac” and the weighted nod of “Sonic Demon” later on. The performance was at the 2021 Summer Breeze Music Festival in their hometown (not to be confused with the metal fest in Germany) and by the time they get down to the kickdrum surge backing the fuzzy twists of “Crystal Ball” — which doesn’t appear on any of their regular albums — the allegiance to Monster Magnet is unavoidable despite the fact that Rainbows Are Free have their own modus in terms of arrangements and the balance between space, psych, garage and heavy rock in their sound. Given Ripple‘s distribution, Heavy Petal Music will probably be some listeners’ first excursion with Rainbows Are Free. Somehow I have to imagine the band would be cool with that.

Rainbows Are Free on Facebook

Ripple Music website

 

Slowenya, Angel Raised Wolves b/w Horizontal Loops

slowenya angel raised wolves horizontal loops

It’s the marriage of complexity and heft, of melody and nod, that make Slowenya‘s “Angel Raised Wolves” so effective. Moving at a comfortable tempo on the drums of Timo Niskala, the song marks out a presence with tonal depth as well as a sense of space in the vocals of guitarist/synthesist Jan Trygg. They break near the midpoint of the 6:39 piece and reemerge with a harder run through the chorus, bassist Tapani Levanto stepping in with backing vocals before a roar at 4:55 precedes the turn back to the original hook, reinforcing the notion that there’s been a plan at work the whole time. An early glimpse at the Finnish psych-doom trio’s next long-player, “Angel Raised Wolves” comes paired with the shorter “Horizontal Loops,” which drops its chugging riff at the start as though well aware of the resultant thud. A tense verse opens to a chorus pretty and reverbed enough to remind of Fear Factory‘s earlier work before diving into shouts and somehow-heavier density. Growls, or some other kind of noise — I’m honestly not sure — surfaces and departs as the nod builds to an an aggressive head, but again, they turn back to where they came from, ending with the initial riff the crater from which you can still see right over there. The message is plain: keep an ear out for that record. So yes, do that.

Slowenya on Facebook

Karhuvaltio Records on Facebook

 

Elkhorn, On the Whole Universe in All Directions

Elkhorn On the Whole Universe in All Directions

Let’s start with what’s obvious and say that Elkhorn‘s four-song On the Whole Universe in All Directions, which is executed entirely on vibraphone, acoustic 12-string guitar, and drums and other percussion, is not going to be for everybody. The New York duo of Drew Gardner (said vibraphone and drums) and Jesse Sheppard (said 12-string) bring a particularly jazzy flavor to “North,” “South,” “East” and “West,” but there are shades of exploratory Americana in “South” that follow the bouncing notes of the opener, and “East” dares to hint at sitar with cymbal wash behind and rhythmic contrast in the vibraphone, a meditative feel resulting that “West” continues over its 12 minutes, somewhat ironically more of a raga than “East” despite being where the sun sets. Cymbal taps and rhythmic strums and that strike of the vibraphone — Elkhorn seem to give each note a chance to stand before following it with the next, but the 39-minute offering is never actually still or unipolar, instead proving evocative as it trades between shorter and longer songs to a duly gentle finish. Gardner formerly handled guitar, and I don’t know if this is a one-off, but as an experiment, it succeeds in bridging stylistic divides in a way that almost feels like showing off. Admirably so.

Elkhorn on Facebook

Centripetal Force Records website

Cardinal Fuzz Records BigCartel store

 

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The Obelisk Questionnaire: Asko Nousiainen and Joonas Hämäläinen from Serotonin Syndrome

Posted in Questionnaire on April 24th, 2023 by JJ Koczan

Asko Nousiainen and Joonas Hämäläinen from Serotonin Syndrome

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Asko Nousiainen and Joonas Hämäläinen from Serotonin Syndrome

How do you define what you do and how did you come to do it?

Asko: Back in time I used to sing in different bands, but nowadays I find myself more and more in the background. I organize gigs and do lots of roadie stuff for other bands.

Joonas: I started playing guitar as a teen when heavy metal came into my life. Since then, it has been a part of my life – sometimes more, sometimes less. Now I’m very pleased to play in three bands with nice and talented people with different taste of music.

Describe your first musical memory.

Asko: I think it was an instrumental rock band called The Shadows that my parents used to listen at home when I was little kid.

Joonas: I remember being in my father’s car on the way home from the daycare when I heard a popular Finnish song “Mä oon rekkamies”(“I’m a trucker”) and tried to sing along.

Describe your best musical memory to date.

Asko: There are many good memories but not one rises above others. One of best feelings is when the sense of place and time disappears. It can happen during your own or other band’s gig.

Joonas: I won a chance to go on stage with Iron Maiden at the age of 18, through a fan club. It was at Helsinki Olympic Stadium in front of 42 000 people.

When was a time when a firmly held belief was tested?

Asko: I feel this every time the road ahead seems to be filled with blocks and there is not enough belief left in my pockets.

Joonas: The release of the latest album. It took a long time and covid messed things up even more.

Where do you feel artistic progression leads?

Asko: Salvation, or to the point where there is nothing more to do or say. When the glass is empty.

Joonas: It takes you to a happy place where nothing matters, and everything goes smoothly.

How do you define success?

Asko: When you are satisfied with your own achievements and feel successful.

Joonas: When someone finds the work you’ve made to be wonderful, beautiful, or touching in some way.

What is something you have seen that you wish you hadn’t?

Asko: Some relationships have ended over the years. Fortunately, new ones have arrived.

Joonas: Once a full case of beer fell to the floor and broke.

Describe something you haven’t created yet that you’d like to create.

Asko: I aspire to create one song/album that includes all the emotions the human mind can think of.

Joonas: It would be cool to write a song that would possibly help a person in a difficult life situation or otherwise become an important song in their life.

What do you believe is the most essential function of art?

Asko: The purpose of art is to make you feel something – and very strongly. The form doesn’t matter.

Joonas: Art must evoke either positive or negative emotions. Mere confusion hasn’t worked for me, like filming cat killing videos in the name of art.

Something non-musical that you’re looking forward to?

Asko: That the spoon doesn’t exist.

Joonas: I’m waiting for the aliens to come and tell us we’re all fucked up.

https://www.facebook.com/serotonin0syndrome
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Serotonin Syndrome, Seed of Mankind (2023)

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