Quarterly Review: Pallbearer, Fulanno, Spirit Mother, Gevaudan, El Rojo, Witchwood, Gary Lee Conner, Tomorr, Temple of the Fuzz Witch, Karkara

Posted in Reviews on December 24th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

There isn’t enough caffeine in the universe to properly sustain a Quarterly Review, and yet here we are. I’ve been doing this for six years now, and once started I’ve always managed to get through it. This seven-day spectacular hits its halfway point today, which is okay by me. I decided to do this because there was a bunch of stuff I still wanted to consider for my year-end list, which I’d normally post this week. And sure enough, a few more have managed to make the cut from each day. I’ll hope to put the list together in the coming days and get it all posted next week, before the poll results at least. I’m not sure why that matters, but yeah.

Thanks for following along if you have been. Hope you’ve found something worth digging into.

Quarterly Review #31-40:

Pallbearer, Forgotten Days

pallbearer forgotten days

Their best record. I don’t want to hear anymore about their demo, or about 2012’s Best College Application Essays Ever Very enlists a contact phone number and an email in the upper left corner of the home page. You can use these contact details to call them or write an email. The site also has alive chat function, but before you can talk to anyone you need to give your name and email address and then select the questiontopic. Sorrow and Extinction (review here) or anything else. This is the album Best Quick Homework Help Services. Trusted By 3000+ Corporate Clients. Start in 30min. 12 hours delivery. From 29 $/hr. Pallbearer have been driving toward since their outset. It is an amalgam of emotive melody and tonal weight that makes epics of both the 12-minute “Silver Wings” and the four-minute “The Quicksand of Existing” that immediately follows, that hits a morose exploration of self in opener “Forgotten Days” and “Stasis” while engaging in metallic storytelling on “Vengeance and Ruination” and “Rite of Passage,” the latter incorporating classic metal melody in perhaps the broadest reach the band has ever had in that regard. So yeah. Pro Life Research Paper - professional scholars working in the company will fulfil your task within the deadline Quality reports at affordable costs available Pallbearer don’t have a ‘bad’ record. 2017’s Our recommended you read services provide everything that you need to overcome all challenges making it difficult for you to write good dissertation research. We offer a wide range of custom services targeting students from college and university. The custom services range from dissertations writing, proofreading, editing, data collection and analysis, literature reviews, and any other relevant Heartless (review here) was a step forward, to be sure. But Our website is number 1 in Auditing Assignment Help and Auditing doctoral degree no dissertation. This is preferred destination for various students to get their Audit Forgotten Days, ironically enough, is the kind of offering on which legacies are built and a touchstone for whatever I Didn't source site Because | Chaud, Benjamin, Cali, Davide | ISBN: 9781452125510 | Kostenloser Versand fur alle Bucher mit Versand und Verkauf duch Amazon. Pallbearer do from here on out.

Pallbearer on Thee Facebooks

Nuclear Blast website

 

Fulanno, Nadie Está a Salvo del Mal

fulanno Nadie está a salvo del mal

The fog rolls in thick on Argentinian doomers follow Thesis Editing Services Philippines, Buy Capstone Project Online in USA - satorihealthcare.in. I often get asked if proofreadings are allowed to use professional editors. In most universities you can and there are fee funds provided for this purpose in some cases. Brendan Brown, Director of The Expert Argumentative essay writer, an Australian price editing company that Fulanno‘s second full-length, Looking for a Buying College Papers Online that specialises in rich and unique content that is designed to help your brand find its voice? Rise with Feel Content. Nadie Está a Salvo del Mal. The seven-track/42-minute outing launches in post- Our thesis writing help services highly prefer to the students. Our tutors are highly specialized and experienced in the field of thesis statement for the researches. We provide the guidelines also that how to write thesis. Reasons: Why Students Need Apdolaf A Philosophical Dissertation On Logic And Faith . Thesis writing is a difficult task for all the students. Whether students are Electric Wizard fashion, and indeed, the drawling lumber of the Dorset legends is an influence throughout, but by no means the only one the trio of guitarist/vocalist Dissertation Projects On Marketing. We take an incredible pride because of our high number of repeat your expediency, guys, do my physics homework, Fila Frutos, bassist Finding a visite site that will write a great essay for you is harder than it may seem. Write My Essay Cheap will help you to survive in Mauro Carosela and drummer Custom Essays to Make Your College Life Better. Our high-quality but still http://www.rochepleureuse.com/creative-writing-character-profile/ are always at your disposal. Jose A. are under. They cast a doom-for-doomers vibe almost immediately, but as “Fuego en la Cruz” gives way to “Los Elegidos” and “Hombre Muerto,” the sense of going deeper is palpable. Crunching, raw tonality comes across as the clean vocals cut through, and the abiding rawness becomes a part of the aesthetic on “Los Colmillos de Satan,” a turning point ahead of the interlude “Señores de la Necrópolis,” the eight-minute “El Desierto de los Caídos” and the surprisingly resonant closing instrumental “El Libro de los Muertos.” Our blog here belongs to the list of US legal businesses. We have officially registered our entity back in the early 2000s, and our custom essay help is safe as your personal information remains confidential within the walls of our company. We would appreciate customer feedback from you. We know that there is always room for perfection, and our team has to complete all of your Fulanno are plenty atmospheric when they want to be, and one wonders if that won’t come further forward as their progression continues. Either way, they’ve staked their claim in doom and sound ready to die for the cause.

Fulanno on Thee Facebooks

Forbidden Place Records on Bandcamp

Interstellar Smoke Records on Bandcamp

 

Spirit Mother, Cadets

spirit mother cadets

Preceded by a series of singles over the last couple years, When your child needs a little extra help with homework, where do you turn on the internet? These five Czeslawa Skupien Dissertation for kids will help tackle a range Cadets is the full-length debut from Los Angeles four-piece Who can I Essay Writing Jokes for me? Where can I buy an essay? Now hiring- get paid to write academic papers! Write custom essays for pay! The internet Spirit Mother, and it packs expanse into deceptively efficient songs, seeming to loll this way and that even as it keeps an underlying forward push. The near-shoegaze vocals do a lot of the work in affecting a mellow-psych vibe, but there’s weight to Spirit Mother‘s “Ether” as well, violin, woven vocal layers, and periodic tempo kicks making songs standout from each other even as “Go Getter” keeps an experimentalist feel and “Premonitions” aces its cosmic-garage driver’s test with absolutely perfect pacing. The ultra-spacey “Shape Shifter I” and more boogie-fied “Shape Shifter II” are clear focal points, but Cadets as a whole is a marked accomplishment, particularly for a first LP, and in style, substance and atmosphere, it brings together rich textures with a laissez-faire spontaneity. The closing instrumental “Bajorek” is only one example among the 10 included tracks of Spirit Mother‘s potential, which is writ large throughout.

Spirit Mother on Thee Facebooks

Spirit Mother on Bandcamp

 

Gévaudan, Iter

gevaudan iter

UK four-piece Gévaudan made their debut in 2019 with Iter, and though I’m late to the party as ever, the five-song/53-minute offering is of marked scope and dynamic. Its soft stretches are barely there, melancholic and searching, and its surges of volume in opener “Dawntreader” are expressive without being overwrought. Not without modern influence from Pallbearer or YOB, etc., Gévaudan‘s honing in on atmospherics helps stand out Iter as the band plod-marches with “The Great Heathen Army” — the most active of inclusions and the centerpiece — en route to “Saints of Blood” (11:54) and closer “Duskwalker” (15:16), the patient dip into extremity of the latter sealing the record’s triumph; those screams feel not like a trick the band kept up their collective sleeve, but a transition earned through the grueling plunge of all the material prior. It’s one for which I’d much rather be late than never.

Gévaudan on Thee Facebooks

Gévaudan website

 

El Rojo, El Diablo Rojo

el rojo el diablo rojo

The burly heavy rock of “South” at the outset of Italian heavy rockers El Rojo‘s El Diablo Rojo doesn’t quite tell the whole tale of the band’s style, but it gives essential clues to their songwriting and abiding burl. Later pieces like the slower-rolling “Ascension” (initially, anyhow) and acoustic-inclusive “Cactus Bloom” effectively build on the foundation of bruiser riffs and vocals, branching out desert-influenced melody and spaciousness instrumentalism even as the not-at-all-slowed-down “When I Slow Down” keeps affairs grounded in their purpose and structure. Riffs are thick and lead the charge on the more straightforward pieces and the seven-minute “Colors” alike as El Rojo attempt not to reinvent heavy or stoner rocks but to find room for themselves within the established tenets of genre. They’ve been around a few years at this point, and there’s still growing to be done, but El Diablo Rojo sounds like the starting point of an engaging progression.

El Rojo on Thee Facebooks

Karma Conspiracy Records website

 

Witchwood, Before the Winter

witchwood before the winter

Deep Purple, Uriah Heep, Jethro Tull, some Led Zeppelin in “Crazy Little Lover” and a touch of opera on “Nasrid” for good measure, Witchwood‘s 62-minute Before the Winter 2LP may be well on the other side of unmanageable in terms of length, but at least it’s not wasting anyone’s time. Instead, early rockers like “Anthem for a Child” and “A Taste of Winter” and the wah-funked “Feelin'” introduce the elements that will serve as the band’s colorful palette across the whole of the album. And a piece like “No Reason to Cry” becomes a straight-ahead complement to airier material like the not-coincidentally-named “A Crimson Moon” and the winding and woodsy “Hesperus,” which caps the first LP as the 10-minute epic “Slow Colours of Shade” does likewise for the record as a whole, followed by a bonus Marc Bolan cover on the vinyl edition, to really hammer home the band’s love of the heavy ’70s, which is already readily on display in their originals.

Witchwood on Thee Facebooks

Jolly Roger Records website

 

Gary Lee Conner, Revelations in Fuzz

gary lee conner revelations in fuzz

If nothing else, Gary Lee Conner sounds like he probably has an enviable collection of 45s. The delightfully weird former Screaming Trees guitarist offers up 10 fresh delights of ’60s-style garage-psych solo works on the follow-up to 2018’s Unicorn Curry, as Revelations in Fuzz lives up to its title in tone even as cascades of organ and electric piano, sitar and acoustic guitar weave in and out of the proceedings. How no one has paired Conner with Baby Woodrose frontman Uffe Lorenzen for a collaboration is a mystery I can’t hope to solve, but in the swirling and stops of “Cheshire Cat Claws” and the descent of six-minute closer “Colonel Tangerine’s Sapphire Sunshine Dreams,” Conner reaffirms his love of that which is hypnotic and lysergic while hewing to a traditionalism of songwriting that makes cuts like “Vicious and Pretty” as catchy as they are far out. And trust me, they’re plenty far out. Conner is a master of acid rock, pure and simple. And he’s already got a follow-up to this one released, so there.

Gary Lee Conner on Thee Facebooks

Vincebus Eruptum Recordings website

 

Tomorr, Tomorr

tomorr tomorr

Formed in Italy with Albanian roots, Tomorr position themselves as rural doom, which to an American reader will sound like ‘country,’ but that’s not what’s happening here. Instead, three-piece are attempting to capture a raw, village-minded sound, with purposeful homage to the places outside the cities of Europe made into sludge riffing and the significant, angular lumber of “Grazing Land.” I’m not sure it works all the time — the riff in the second half of “Varr” calls to mind “Dopesmoker” more than anti-urbane sensibilities, and wants nothing for crush — but as it’s their debut, Tomorr deserve credit for approaching doom from an individualized mindset, and the bulk of the six-song/48-minute offering does boast a sound that is on the way to being the band’s own, if not already there. There’s room for incorporating folk progressions and instrumentation if Tomorr want to go that route, but something about the raw approach they have on their self-titled is satisfying on its own level — a meeting of impulses creative and destructive at some lost dirt crossroads.

Tomorr on Thee Facebooks

Acid Cosmonaut Records on Bandcamp

 

Temple of the Fuzz Witch, Red Tide

temple of the fuzz witch red tide

Well what the hell do you think Temple of the Fuzz Witch sounds like? They’re heavy as shit. Of course they are. The Detroiters heralded doomly procession on their 2019 self-titled demo/EP (review here), and the subsequent debut full-length Red Tide, is righteously plodding riffery, Sabbathian without just being the riff to “Electric Funeral” and oblivion-bound nod that’s so filled with smoke it’s practically coughing. What goes on behind the doors of the Temple? Volume, kid. Give me the chug of “The Others” any and every day of the week, I don’t give a fuck if Temple of the Fuzz Witch are reinventing the wheel or not. All I wanna do is put on “Ungoliant” and nod out to the riff that sounds like “The Chosen Few” and be left in peace. Fuck you man. I ain’t bothering anyone. You’re the one with the problem, not me. This guy knows what I’m talking about. Side B of this record will eat your fucking soul, but only after side A has tenderized the meat. Hyperbole? Fuck you.

Temple of the Fuzz Witch on Thee Facebooks

Interstellar Smoke Records webstore

 

Karkara, Nowhere Land

karkara nowhere land

Rife with adventurous and Middle Eastern-inflected heavy psychedelia, Nowhere Land is the follow-up to Toulouse, France-based Karkara‘s 2019 debut, Crystal Gazer (review here), and it finds the three-piece pushing accordingly into broader spaces of guitar-led freakery. Would you imagine a song called “Space Caravan” has an open vibe? You’d be correct. Same goes for “People of Nowhere Land,” which even unto its drum beat feels like some kind of folk dance turned fuzz-drenched lysergic excursion. The closing pair of “Cards” and “Witch” feel purposefully teamed up to round out the 36-minute outing, but maybe that’s just the overarching ethereal nature of the release as a whole coming through as Karkara manage to transport their listener from this place to somewhere far more liquid, languid, and encompassing, full of winding motion in “Falling Gods” and graceful post-grunge drift in “Setting Sun.”

Karkara on Thee Facebooks

Stolen Body Records website

 

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Charley No Face Releasing The Green Man LP Dec. 20

Posted in Whathaveyou on December 16th, 2020 by JJ Koczan

charley no face

I’ve barely begun to dig into Charley No Face‘s debut album, The Green Man. Just barely. And yet here I am posting about it, for a couple different reasons. One, the vinyl’s out Sunday, so there’s a time crunch — though I’ve certainly done after-the-fact, out-now kinds of stuff before as news, so not that much of a crunch. Second, and more importantly, Charley No Face remind me of Comet Control in their blend of drift, space and f-u-z-z, and among compliments I don’t give out lightly, that one’s significant.

Bits of Dead Meadow, bits of other slow-rolling distortion-drenched semi-psych awesomeness, and yeah, I’m in. This rules. Plus the album intro is in “Pts. I-IV” and only 40 seconds long and the CD’s in a jewel case. That last one feels pretty rare these days.

At heart I’m really a simple creature.

Dig the PR wire:

Charley No Face The Green Man

CHARLEY NO FACE Announces Long-Awaited Vinyl Release of Debut Album The Green Man

Vinyl out Dec. 20 via Forbidden Place Records; CD & Cassette Now Available

Portland psychedelic fuzz rockers CHARLEY NO FACE are proud to announce the impending vinyl release of their debut album The Green Man, out Dec. 20 via Forbidden Place Records.

An ode to Pennsylvanian urban legend Raymond Robinson, known to locals as The Green Man and Charley No-Face, the band’s debut features nine permeating tracks that contort a various range of influences from psychedelia and prog rock to doom metal and proto-punk.

Recorded by Cameron Spies (Blackwater Holylight) and mastered by Mike Nolte, this severely slept-on debut will be cherished by anyone into old-school production, entrancing melodies, and heavy-ass guitar straight from the garage.
CHARLEY NO FACE was formed in 2019 when Nick Wulforst (Crook and the Bluff) joined forces with Brad Larson after becoming neighbors in Portland, Oregon. Both obsessed with vintage gear and all things bluesy and heavy, they started writing songs together in an effort to create a new breed of grunge-inspired psych-rock. The duo soon enlisted drummer Tim Abel and guitarist Stephen Cameron (the latter eventually replaced by keyboardist Carina Hartley) to round out the thick wall of sound, when the drugs began to take hold—so tune in, turn up, and drop out.

Forbidden Place Records will release The Green Man on limited-edition red and yellow swirly vinyl on Dec. 20. Pre-order info can be found here, and tapes/CDs can be purchased here: https://forbiddenplacerecords.bandcamp.com/album/charley-no-face-the-green-man

CHARLEY NO FACE at the time of recording:

Nick Wulforst – vocals, guitar
Stephen Cameron – vocals, guitar
Brad Larson – bass
Tim Abel – drums

https://www.charleynoface.com
https://charleynoface.bandcamp.com
https://instagram.com/charleynoface
https://forbiddenplacerecords.com
https://forbiddenplacerecords.bandcamp.com
https://facebook.com/forbiddenplacerecords
https://twitter.com/ForbiddenPlaceR

Charley No Face, The Green Man (2020)

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Quarterly Review: Mrs. Piss, Ulcerate, Shroom Eater, Astralist, Daily Thompson, The White Swan, Dungeon Weed, Thomas V. Jäger, Cavern, Droneroom

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

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Today is what would be the last day of the Fall 2020 Quarterly Review, except, you know, it’s not. Monday is. I know it’s been a messed up time for everybody and everything, but there’s a lot of music coming out, so if you’re craving some sense of normalcy — and hey, fair enough — it’s right there. Today’s an all-over-the-place day but there’s some killer stuff in here right from the start, so jump in and good luck.

And don’t forget — back on Monday with the last 10 records. Thanks for reading.

Quarterly Review #41-50:

Mrs. Piss, Self-Surgery

mrs piss self surgery

If “Nobody Wants to Party with Us” as the alternately ambient/industrial-punk fuckall of that song posits, most likely that’s because they’re way too intimidated to even drop a text to invite Mrs. Piss over. The duo comprised of vocalist/guitarist Chelsea Wolfe and guitarist/bassist/drummer/programmer Jess Gowrie issue Self-Surgery as an act of sheer confrontation. The screams of “You Took Everything.” The chugging self-loathing largesse of “Knelt.” The fuzzed mania of ‘M.B.O.T.W.O.,” which, yes, stands for “Mega Babes of the Wild Order.” The unmitigated punk of “Downer Surrounded by Uppers” and the twisted careen-and-crash of the title-track. The declaration of purpose in the lines, “In the shit/I’m sacrosanct/I’m Mrs. Piss” in the eponymous closer. Rage against self, rage against other, rage and righteousness. Among the great many injustices this year has wrought, that Wolfe and Gowrie aren’t touring this material, playing 20-something-minute sets and destroying every stage they hit has to be right up there. It’s like rock and roll to disintegrate every tired dude cliché the genre has. Yes. Fuck. Do it.

Mrs. Piss on Instagram

Sargent House website

 

Ulcerate, Stare into Death and Be Still

Ulcerate Stare into Death and Be Still

As progressive/technical death metal enjoys a stylistic renaissance, New Zealand’s Ulcerate put out their sixth full-length, Stare into Death and Be Still and seem right in line with the moment despite having been around for nearly 20 years. So be it. What distinguishes Stare into Death and Be Still amid the speed-demon wizardry of a swath of other death metallers is the sense of atmosphere across the release and the fact that, while every note, every guitar squibbly, every sharpened turn the 58-minute album’s eight tracks make is important and serves a purpose, the band don’t simply rely on dry delivery to make an impression. To hear the cavernous echoes of the title-track or “Inversion” later on, Ulcerate seem willing to let some of the clarity go in favor of establishing a mood beyond extremity. In the penultimate “Drawn into the Next Void,” their doing so results in a triumphant build and consuming fade in a way that much of their genre simply couldn’t accomplish. There’s still plenty of blast to be found, but also a depth that would seem to evoke the central intention of the album. Don’t stare too long.

Ulcerate on Thee Facebooks

Debemur Morti Productions on Bandcamp

 

Shroom Eater, Ad.Inventum

shroom eater ad inventum

Nine songs running an utterly digestible 38 minutes of fuzz-riffed groove with samples, smooth tempos and an unabashed love for ’90s-style stoner rock, Shroom Eater‘s debut album, Ad.Inventum feels ripe for pickup by this or that heavy rock label for a physical release. LP, CD and tape. I know it’s tough economic times, but none of this vinyl-only stuff. The Indonesian five-piece not only have their riffs and tones and methods so well in place — that is, they’re schooled in the style they’re creating; the genre-converted preaching to the genre-converted, and nothing wrong with that — but there are flashes of burgeoning cultural point of view in the lead guitar of “God Isn’t One Eyed” or the lyrics of “Arogant” (sic) and the right-on riffed “Traffic Hunter” that fit well right alongside the skateboarding ode “Ride” or flourish of psychedelia in the rolling “Perspective” earlier on. Closing with “Dragon and Tiger” and “Friend in the High Places,” Ad.Inventum feels like the work of a band actively engaged in finding their sound and developing their take on fuzz, and the potential they show alongside their already memorable songwriting is significant.

Shroom Eater on Instagram

Shroom Eater on Bandcamp

 

Astralist, 2020 (Demo)

astralist 2020 demo

I’m not usually one to think bands should be aggrandizing their initial releases. It can be a disservice to call a demo a “debut EP” or album if it’s not, since you only get one shot at having an actual first record and sometimes a demo doesn’t represent a band’s sound as much as the actual, subsequent album does, leading to later regret. In the case of Cork, Ireland’s Astralist, it’s the opposite. 2020 (Demo) is no toss-off, recorded-in-the-rehearsal-space-to-put-something-on-Bandcamp outing. Or if it is, it doesn’t sound like it. Comprised of three massive slabs of atmospheric and sometimes-extreme doom, plus an intro, in scope and production value both, the 36-minute release carries the feel and the weight of a full-length album, earning its themes of cosmic destruction and shifting back and forth between melodic progressivism and death-doom or blackened onslaught. In “The Outlier,” “Entheogen” and “Zuhal, Rise” they establish a breadth and an immediate control thereof, and their will to cross genre lines gives their work a fervently individualized feel. Album or demo doesn’t ultimately matter, but what they say about Astralist‘s intentions does.

Astralist on Thee Facebooks

Astralist on Bandcamp

 

Daily Thompson, Oumuamua

daily thompson oumuamua

Lost in the narrative of initial singles released ahead of its actual arrival is the psychedelic reach Dortmund trio Daily Thompson bring to their fourth album, Oumuamua. Yes, “She’s So Cold” turns in its second half to a more straightforward heavy-blues-fuzz push, but the mellow unfurling that takes place at the outset continues to inform the proceedings from there, and even through “Sad Frank” (video posted here) and “On My Mind” (video posted here), and album-centerpiece “Slow Me Down,” the vibe remains affect by it. Side B has its own stretch in the 12-minute “Cosmic Cigar (Oumuamua),” and sandwiched between the three-minute stomper “Half Thompson” and the acoustic, harmonized grunge-blues closer “River of a Ghost,” it seems that what Daily Thompson held back about the LP is no less powerful than what they revealed. It’s still a party, it’s just a party where every room has something different happening.

Daily Thompson on Thee Facebooks

Noisolution website

 

The White Swan, Nocturnal Transmission

The White Swan Nocturnal Transmission

Following up 2018’s Touch Taste Destroy (review here), Ontario’s The White Swan present their fourth EP in Nocturnal Transmission. That’s four EPs, in a row, from 2016-2020. If the trio — which, yes, includes Kittie‘s Mercedes Lander on vocals, drums, guitar and keys — were waiting to figure out their sound before putting out a first full-length, they were there two years ago, if not before. One is left to assume that the focus on short releases is — at least for now — an aesthetic choice. Like its predecessor, Nocturnal Transmission offers three circa-five-minute big-riffers topped with Lander‘s floating melodic vocals. The highlight here is “Purple,” and unlike any of the other The White Swan EPs, this one includes a fourth track in a cover of Tracy Bonham‘s “Tell it to the Sky,” given likewise heft and largesse. I don’t know what’s stopping this band from putting out an album, but I’ll take another EP in the meantime, sure.

The White Swan on Thee Facebooks

The White Swan on Bandcamp

 

Dungeon Weed, Mind Palace of the Mushroom God

Dungeon Weed Mind Palace of the Mushroom God

A quarantine project of Dmitri Mavra from Skunk and Slow Phase, Dungeon Weed is dug-in stoner idolatry, pure and simple. Mavra, joined by drummer Chris McGrew and backing vocalist Thia Moonbrook, metes out riff after feedback-soaked, march-ready, nod-ready, dirt-toned riff, and it doesn’t matter if it’s the doomier tolling bell of “Sorcerer with the Skull Face” or the tongue-in-cheek hook of “Beholder Gonna Fuck You Up” or the brash sludge that ensues across the aptly-named “Lumbering Hell,” all layered solos and whatnot, the important thing is that by the time “Mind Palace” comes around, you’re either out or you’re in, and once you make that choice there’s no going back on it. Opener “Orcus Immortalis/Vox Mysterium” tells the tale (or part of it, as regards the overarching narrative), and if ever there was a band that could and would make a song called “Black Pudding” sound heavy, well, there’s Dungeon Weed for you. Dungeon Weed, man. Don’t overthink it.

Dungeon Weed on Thee Facebooks

Forbidden Place Records website

 

Thomas V. Jäger, A Solitary Plan

thomas v jager a solitary plan

The challenge of rendering songcraft in the nude can be a daunting one for someone in a heavy band doing a solo/acoustic release, but it’s a challenge Thomas V. Jäger of Monolord meets with ease on the home-recorded A Solitary Plan, his solo debut. Those familiar with his work in Monolord will recognize some of the effects used on his vocals, but in the much, much quieter context of the seven-song/29-minute solo release — Jäger plays everything except the Mellotron on the leadoff title-track — they lend not only a spaciousness but a feeling of acid folk serenity to “Creature of the Deep” and “It’s Alright,” which follows. Mixed/mastered by Kalle Lilja of Långfinger, A Solitary Plan is ultimately an exploration on Jäger‘s part of working in this form, but it succeeds in both its most minimal stretches and in the electric-inclusive “The Drone” and “Goodbye” ahead of the buzzing synth-laced closer “The Bitter End.” It would be a surprise if this is the only solo release Jäger ever does, since so much of what takes place throughout feels like a foundation for future work.

Thomas V. Jäger on Bandcamp

RidingEasy Records website

 

Cavern, Powdered

CAVERN POWDERED

Change has been the modus operandi of Cavern for a while now. They still show some semblance of their post-hardcore roots on their new full-length, Powdered, but having brought in bassist/vocalist Rose Heater in 2018 and sometime between then and now let out of Baltimore for Morgantown, West Virginia, their sonic allegiance to a heavier-ended post-rock comes through more than ever before. Guitarist/synthesist Zach Harkins winds lead lines around Heater‘s bass on “Grey,” and Stephen Schrock‘s drums emphasize tension to coincide, but the fluidity across the 24-minute LP is of a kind that’s genuinely new to the band, and the soul in Heater‘s vocals carries the material to someplace else entirely. A song like “Dove” presents a tonal fullness that the title-track seems just to hint at, but the emphasis here is on dynamic, not on doing one thing only or locking their approach into a single mindset. As Heater‘s debut with them, Powdered finds them refreshed and renewed of purpose.

Cavern on Thee Facebooks

Cavern on Bandcamp

 

Droneroom, …The Other Doesn’t

droneroom the other doesnt

Droneroom is the solo vehicle of guitarist Blake Edward Conley and with …The Other Doesn’t, experiments of varying length and degree of severity are brought to bear. The abiding feel is spacious, lonely and cinematic as one might expect for such guitar-based soundscaping, but “Casual-Lethal Narcissism” and “The Last Time Someone Speaks Your Name” do have some measure of peace to go with their foreboding and troubling atmospherics. An obvious focal point is the 15-minute dronefest “This Circle of Ribs,” which feels more forward and striking than someone of Droneroom‘s surrounding material, but it’s all on a relative scale, and across the board Conley remains a safe social distance away from structural traditionalist. Recorded during Summer 2020, it is an album that conveys the anxiety and paranoia of this year, and while that can be a daunting thing to face in such a way or to let oneself really engage with as a listener — shit, it’s hard enough just living through — one of the functions of good art is to challenge perceptions of what it can be. Worth keeping in mind for “Home Can Be a Frightening Place.”

Droneroom on Thee Facebooks

Humanhood Recordings on Bandcamp

 

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Dungeon Weed to Release Mind Palace of the Mushroom God LP on Forbidden Place Records

Posted in Whathaveyou on August 26th, 2020 by JJ Koczan

There comes a time in everyone’s life, I think, when you have to sit back, look at the big picture and understand that you’re 38 years old writing about a band called Dungeon Weed and a record they’ve put out called Mind Palace of the Mushroom God. What do any of those words even mean?

Well, I guess Dungeon Weed is self-explanatory. It’s weed in or from a dungeon. Fine.

Actually, the whole thing is less about specific descriptors than how it willfully positions itself in line with other records of the style. That style, as they put it, is “wizard doom,” which is a phrase I myself have used here to describe bands who play off an Electric Wizard influence. There’s some of that happening in Mind Palace of the Mushroom God, so fair enough. And they sound like they were making the most of the pandemic, and it’s Dmitri Mavra from Skunk and Slow Phase telling the story, so one way or the other you’re in good hands. Shit man, life is short. Find your fucking joy. If it’s in mind palace of a mushroom god, well, at least you didn’t have to shoot a Black person seven times in the back to get there.

Sorry.

The recording is rough, but not so much so that Forbidden Place Records hasn’t signed on to put the album out on vinyl — for which the artwork seems well suited — so take that as you will. Stream and video are at the bottom of the post if you want to dive in. Don’t mind if I do:

Dungeon Weed Mind Palace of the Mushroom God

DUNGEON WEED – Mind Palace of the Mushroom God

MIND PALACE OF THE MUSHROOM GOD is available now on cd/download, coming this winter on vinyl from Forbidden Place Records.

DUNGEON WEED is a collaboration between Dmitri Mavra (SKUNK, SLOW PHASE) and Chris McGrew, session drummer/studio engineer at San Francisco’s Wally’s Hyde Out (formerly Hyde Street Studio C).

Born from the darkness of pandemic isolation, the album features 6 lengthy tracks of “wizard doom” that reflect these dark times.

Hyper fuzzed riffs, droning synths, and massive, sludgy drumming lay the foundation for solos that range from esoteric weirdness to soaring majesty as the album obliquely tells a dream fantasy in which a wizard seeking eternal life travels through the “Mind Palace of the Mushroom God” to strike a deal with Orcus, Lord of the Underworld. Terrible creatures are encountered on his quest before his wish for eternal life is finally granted, but was it worth the price? (Spoiler: of course not!)

While Mavra is known for the retro-drenched riffs of SKUNK and SLOW PHASE, DUNGEON WEED explores a slower, heavier, feedback-tinged sludge vibe. McGrew played and recorded the drums. Mavra played and recorded everything else, and illustrated the album. Guest vocals by Thia Moonbrook.

Available now on cd and digital:
https://dungeonweeddoomsludge.bandcamp.com/album/mind-palace-of-the-mushroom-god

Vinyl Edition pre-order:
https://forbiddenplacerecords.bandcamp.com/

https://www.facebook.com/dungeonweed/
https://dungeonweeddoomsludge.bandcamp.com/
https://www.facebook.com/forbiddenplacerecords/
https://forbiddenplacerecords.bandcamp.com/

Dungeon Weed, Mind Palace of the Mushroom God (2020)

Dungeon Weed, “Sorcerer with the Skull Face” official video

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Ruff Majik Closing 2018 with Cape Town Shows

Posted in Whathaveyou on November 8th, 2018 by JJ Koczan

ruff majik

When last heard from, South African trio Ruff Majik were getting ready to hit the studio in September to track a quick-turnaround sophomore album to answer their 2018 debut, Seasons (review here). They did shows throughout the country last month following up on two European tours earlier this year, and I’d have to imagine the new record is at least finished in terms of the actual recording process, if not mixed or yet mastered. Their eye was on an early 2019 release, so hopefully that actually comes together.

In the meantime, they’ll play four shows in Cape Town to close out the year, two of which are free. That in itself is pretty nifty, but kudos the band on getting four bookings in the same city on four consecutive nights. It’s not every group in every town who could make that happen, even with a variety of openers. Clearly there’s some respect there, so right on.

The PR wire brings the dates and the whatnot:

ruff majik tour

Ruff Majik Reveal Cape Town Tour Dates for December

Pretoria’s sludge n rollers Ruff Majik have announced a couple dates for Cape Town shows in December. They’ll be joined by Cape Town based hardcore heroes Peasant for two shows along with a host of the city’s finest heavy bands including MA-AT, Monstroid, Behest, Blood Ret, Pooch, The Man Motels and more.

Pieter Jordaan from Peasant comments on the tour “Cape Town is often starved of the doomy goodness that a band like Ruff Majik can provide, so we are very stoked to have them pull through for the long weekend! With Peasant joining on two dates, and some of the best garage, fuzz and hardcore the city has to offer, the tour will be the best way to start off the holiday season right!”

Ruff Majik guitarist and vocalist Johni Holiday does on to add “Cape Town is always such a magic experience. The crowds are always intensely invested in the music, and we get the best green when we visit! This time around, we’re really excited to be joined by the dudes of Peasant and some of the finest doom, garage and hardcore bands that CPT has to offer!”

THUR 13 DEC – Black Irish – 1 Scher Street, Durbanville R40 ENTRANCE
FRI 14 DEC – Prison – 28 Somerset Rd, Green Point, Cape Town FREE ENTRANCE
SAT 15 DEC – Scary Canary – 225 Long St, Cape Town City Centre R50 ENTRANCE
SUN 16 DEC – Surfarosa – 61a Harrington St, Zonnebloem FREE ENTRANCE

Ruff Majik:
Johni Holiday – Guitar, vocals
Jimi Glass – Bass guitar
Benni Manchino – Drums

https://www.ruffmajik.com/
https://www.facebook.com/ruffmajik
https://twitter.com/ruff_majik
https://www.instagram.com/ruffmajik/
https://forbiddenplacerecords.bandcamp.com/album/ruff-majik-seasons
http://shop.rockfreaks.de/en/home/92-ruff-majik-seasons-coming-soon-.html

Ruff Majik, Seasons (2018)

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Ruff Majik to Begin Recording New Album; Announce South Africa Shows

Posted in Whathaveyou on September 7th, 2018 by JJ Koczan

South African heavy psych trio Ruff Majik are set to enter the studio to record the follow-up to their 2018 debut album, Seasons (review here), for an early 2019 release. I won’t claim to have any insight on the band’s processes, but given the live sound of the last record and the series of EPs that preceded it, it doesn’t seem out of line to expect they’ll get their sophomore full-length to tape with all good speed. That’s all the better since at the end of the month they’ll take stage at the Krank’d Up festival in Johannesburg, as one of a select round of live dates they’ll do in their home country to correspond with the European tour they undertook this past Spring following Seasons‘ release. You’ll note in the announcement below for the shows it says they’ve never played in their hometown of Lydenburg. Even knowing nothing about urban populations and demographics in South Africa, that seems astonishing to me. Smaller town, I guess? Still fascinating.

Gotta figure they’ll be back in Europe supporting the new album whenever it arrives. Hopefully that happens sooner than later.

From the PR wire:

ruff majik

Pretoria’s Ruff Majik Divulge Details for their “Season of the Witch” tour.

Coming off the back of 2 very successful European tours, South Africa’s sludge n roll kings Ruff Majik have revealed dates and details for their Season of The Witch tour.

Kicking off on the 29th September with their mainstage appearance at this year’s chapter of the mighty Krank’d Up Music Festival, the tour will see them play in Johannesburg, Pretoria, Durban and for the very 1st time in their home town of Lydenburg.

“We’re extremely excited to be hitting the road for a few select dates with some good friends! Each show will be an entirely different experience with these line-ups, so we can’t wait!” – Johni Holiday, vocals / guitar

29 September // JHB // Krank’d Up Music Festival
12 October // PTA // The Grind Bar // with from Apocalypse Later, Wolkberg
13 October // JHB // Sundowners // with Them Dirty Shrikes, Caution Boy
20 October // DBN // Winston // with Pollinator, Mad God
26 October // LYD // Jam Jar Lounge // with Wolkberg, Them Dirty Shrikes

The band released their debut full length album Seasons on the 20th April 2018 which was well received by the local and international metal and rock media.

Seasons available now on all digital platforms including BandCamp Apple Music Spotify Deezer and on CD and cassette via Forbidden Place Records

The band will be in studio in September 2018 recording the follow up to Seasons with the aim of releasing early in 2019.

Ruff Majik:
Johni Holiday – Guitar, vocals
Jimi Glass – Bass guitar
Benni Manchino – Drums

https://www.ruffmajik.com/
https://www.facebook.com/ruffmajik
https://twitter.com/ruff_majik
https://www.instagram.com/ruffmajik/
https://forbiddenplacerecords.bandcamp.com/album/ruff-majik-seasons
http://shop.rockfreaks.de/en/home/92-ruff-majik-seasons-coming-soon-.html

Ruff Majik, Seasons (2018)

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Ruff Majik Announce Seasons Physical Releases

Posted in Whathaveyou on May 17th, 2018 by JJ Koczan

ruff majik

A conceptual work wherein each batch of three songs was actually written in a different season, the suitably titled Seasons was self-released by Pretorian trio Ruff Majik digitally on April 20. As the band is set to tour Europe this summer twice, making stops first at Freak Valley and then at SonicBlast Moledo, and, you know, as the album kicks ass, it’s not a huge surprise that it’s been picked up for physical release. And it’s all the more telling that rather than trickle out one format at a time over a period of years (or seasons, for that matter), Ruff Majik are taking care of it all in one shot. The limited 2LP will be out through the Freak Valley-associated Rock Freaks Records in a variety of editions, and the CD and tape versions will arrive through US imprint Forbidden Place.

Both labels have the album up for preorder now. Here’s the PR wire to tell you pretty much exactly what I just told you using different words:

ruff-majik-seasons

Ruff Majik Reveal Details to Release SEASONS on CD, Cassette and Vinyl

2018 is turning out to be an incredible year for South African Sludge n Rollers Ruff Majik. With two European tours booked that will see them playing Freak Valley Festival and SonicBlast as well as a host of club shows.

They also released their debut full-length album Seasons on the 20th April to widespread critical acclaim. The guys are happy to announce that they have signed deals with US label Forbidden Place Records to release and distribute Seasons on CD and cassette, while German label Rock Freaks Records will be releasing three versions of the double LP: classic black, coloured (still a secret) and die-hard (very limited).

Vocalist and guitarist Johni Holiday commented on the news “Ruff Majik is immensely excited to take the next step in furthering our career by bringing out physical copies. With the backing of Rock Freaks and Forbidden Place, we’re making a lifelong dream come true!”

Pre-order Seasons on CD or Cassette here and on Vinyl here.

Tracklisting:
1. Harpy 04:49
2. Gone down in the woods today 05:15
3. Breathing ghosts 04:20
4. Last of the witches 03:53
5. It flies at night 03:48
6. Hanami Sakura (and the ritual suicide) 04:26
7. The deep blue 08:04
8. Hammered are the gods 04:42
9. Birds stole my eyes 04:17
10. Tar black blood 03:15
11. Come all ye druids 05:04
12. Asleep in the leaves 14:10

Ruff Majik:
Johni Holiday – Guitar, vocals
Jimi Glass – Bass guitar
Benni Manchino – Drums

https://www.ruffmajik.com/
https://www.facebook.com/ruffmajik
https://twitter.com/ruff_majik
https://www.instagram.com/ruffmajik/
https://forbiddenplacerecords.bandcamp.com/album/ruff-majik-seasons
http://shop.rockfreaks.de/en/home/92-ruff-majik-seasons-coming-soon-.html

Ruff Majik, Seasons (2018)

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Stahv Premiere “Jardín Infinito”; Self-Titled Debut out in January

Posted in audiObelisk on December 1st, 2017 by JJ Koczan

stahv

Seattle’s Stahv has set a January release date for its self-titled but on cassette through Solid 7 Records, with an LP edition to follow later in the year. The moody and progressive heavy ambient outfit is comprised of Solomon Arye Rosenschein, and the album basks in an insular feeling driven alternately by post-JK Broadrick electronic beatmaking on a cut like “Djinn Rumi” and swells of atmospheric, buzzing distortion and minimalist dronescapes on the penultimate “Preta Realm.” All told, it’s seven tracks in a manageable 32 minutes of solo studio experimentalism writ large. Each piece feels somewhat self-contained in its purpose — to wit, “The Test” indeed sounds like Rosenschein is trying something new out — but the whole of Stahv‘s Stahv ties together through its arrangements of guitar, bass, keys, drums and programming, as well as the evocative places its instrumental progressions lead toward.

Centerpiece “Forest Dweller” draws on Isis-style contemplation, while the subsequent “Benevolus” finds a niche between guitar solo flourish, strummed noisemaking, stahv self titledretro keyboard work and synth beats. Where Stahv most succeeds as an album, however, is in bringing these varied pieces together. Rosenschein has more to do in this regard in terms of transitioning from one track to the next, but even as it stands on this first offering, Stahv sets a tone early with opener “Jardín Infinito” that leaves the contextual foundation for everything that follows wide open. Which is to say, it’s not like one goes from the organ-topped rollout and near-Earth dronemaking of “Jardín Infinito” into “The Test” with an expectation of more of the same.

Rather, by attuning himself to the fine details of the sounds he’s composing and how each element and layer affects the whole, Rosenschein allows his scope to grow broader as each track plays out. And it just so happens to do exactly that, right through the somewhat kitchen-sink freakout of closer “Grüver,” which holds together various noises electric and electronic over a core acoustic progression. It’s a strangely fitting (and just generally strange) way to end Stahv‘s Stahv, but again, context is everything, and as far out as Rosenschein has already gone at that point, he leaves himself little reason not to push that much further.

One hopes he’ll continue to do so as Stahv undertakes its sonic development from this point on. In the meantime, I’m happy today to host the premiere of “Jardín Infinito” ahead of the album’s release next month. You’ll find it on the player below, followed by a few words from Rosenschein about its making and some more PR wire background concerning the record.

Please enjoy:

Solomon Arye Rosenschein on “Jardín Infinito”:

“‘Jardín Infinito’ is the sound of time spent in the gloaming, losing the way and finding the way and losing it again. It’s two and a half decades of ears pressed against speakers—the infernal fears of a teenage wastrel talking on the phone to Anton Newcombe about jumping off mountains. It’s placing half steps against whole steps and seeing what shakes out.

STAHV is Solomon Arye Rosenschein, one human creating instrumental post-metal incorporating shoegaze, funeral doom, psychedelia, and esoterica. The name means autumn in Hebrew and winter in both Arabic and Aramaic. For twenty years Rosenschein has released records under a variety of monikers. He lives in Seattle, where he writes fiction and creative nonfiction and is half of spectral-folk duo The Royal Oui.

STAHV’s debut will be available as a limited edition cassette with unique packaging through Solid 7 Records in January 2018 and on vinyl through Forbidden Place later in year.

Stahv on Thee Facebooks

Stahv on Soundcloud

Solid 7 Records on Bandcamp

Forbidden Place Records website

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