The countdown is on! We’re less than two weeks out from The Obelisk All-Dayer, Aug. 20 at Saint Vitus Bar in Brooklyn, NYC (get your tickets here) and it’s time to get stoked for what’s sure to be a really special day. The lineup is insane — Mars Red Sky, Death Alley, Snail, Kings Destroy, Eye, Funeral Horse, King Buffalo, Heavy Temple — the room couldn’t be more perfect, and we’re not even there yet and I’m so into the vibe I can hardly even talk about it without getting choked up. To say I’m anticipating it is underselling the facts. I’m already losing sleep.
For the next two weeks, I’ll be featuring a different band on the lineup every day in this space. Some will have premieres, and that’s the case today as we start the series with Mars Red Sky. Their song “Seen a Ghost” first arrived on 2013’s Be My Guide EP (review here) that preceded the 2014 release of their second album and Listenable Records debut, Stranded in Arcadia (review here), on which it also appeared.
The album version neatly summarizes the progressive jump the Bordeaux trio made between their 2011 self-titled debut (review here) and the subsequent full-length. Its march and its flourish combine perfectly with the breathy vocal melody from guitarist Julien Pras, and it has all the swirl of the first record while also clearly a building more individualized persona on top of that.
Mars Red Sky made a video for “Seen a Ghost” that’s never been shown anywhere until now, and I’m thrilled to be able to host the premiere of the clip. I have it on good authority — i.e. bassist Jimmy Kinast told me — they’ll be playing the song as part of their headlining set at The Obelisk All-Dayer as they have on select few occasions, and to my ears that only makes the whole thing more special.
Posted in Whathaveyou on August 1st, 2016 by H.P. Taskmaster
I remain intrigued at the prospect of an Alcest album that even the band seems to position as a return to form, if not in such direct language, as they’ve never done anything in their career that wasn’t a move forward from where they were previously and one wonders what lessons they’ll incorporate from their last outing, 2014’s Shelter (review here), as they make their way back to the post-black metal aesthetic they — as their label, Prophecy Productions, rightly asserts — helped to pioneer in their earlier work. I dug Shelter in part for the bold step away from that that it represented, but it seemed like much of their audience was missing the lush, textured emotionalism. We’ll see where their fifth album, Kodama, ends up upon its Sept. 30 release.
The band posted the artwork and tracklisting and Prophecy has preorders up now for worldwide shipping, so if you want to get in on it, you can indeed get in on it. Here goes:
We are really excited to announce that our new album “Kodama” will be out on September 30th through Prophecy Productions.
“Kodama” is the Japanese word for both “tree spirit” and “echo”. The artwork has been done by the French duo Førtifem.
Tracklist : – Kodama – Eclosion – Je suis d’ailleurs – Untouched – Oiseaux de proie – Onyx
“Kodama” the fifth album from Blackgaze pioneers, Alcest, marks the French duo’s ferocious return to the stylistic maximalism of its early albums while continuing the band’s relentless pursuit for new sounds and fresh ideas.
“Kodama” is the Japanese word for ‘tree spirit’ and ‘echo’ and from the album’s structure and dynamics to its cinematic sound, “Kodama” indeed ‘echoes’ Alcest’s 2010 classic, “Écailles De Lune”. But this is no simple back-to-the-roots album: the band has more punch, rhythm and organic feel than ever before. While clearly influenced by bands like The Smashing Pumpkins, Tool, Dinosaur Jr, Grimes and The Cure, “Kodama” ultimately reveals itself as Alcest’s ‘Japanese album’, drawing substantial inspiration from Japanese art and culture.
Originally triggered by Hayao Miyazaki’s anime film “Princess Mononoke”, “Kodama” picks up on the fate of its protagonist and, at its core, deals with the sensation of not belonging; of living in between worlds, be it city and nature or the physical and spiritual one. Duality is also crucial for the visual approach of the album, realized by French graphic designer duo Førtifem. Paying tribute to Japanese illustrators like Takato Yamamoto, the visuals portray contrasting elements like nature/urbanity, youth/death, femininity/animality and combine poetic elements with darker ones that were not present in Alcest’s earlier works.
By giving the album a cultural, stylistic and compositional narrative, Neige and Winterhalter keep “Kodama” from just being the latest improvement on the Alcest sound and instead make the album a most rare and exciting thing: a vital, relevant record from a pioneer that not only upholds the band’s trailblazing legacy but actually makes you want to see where they go next.
Available editions: – CD digipak with die-cut sleeve – LP (33rpm) on heavy-weight 180g black virgin vinyl – 2CD hardcover book (36 pages with lyrics, elaborate liner notes by Neige, Winterhalter and Fortifem, translations of the lyrics, ca. 18x18cm) incl. bonus CD with bonus track “Notre Sang Et Nos Penseées” – Deluxe 3LP box (45rpm) with vinyl etching, 6 art prints and lyric sheet; ltd. to 777 copies, split to: 200x black vinyl, 200x clear vinyl, 200x clear/black marble vinyl, 177x magenta/black marble vinyl (exclusive to the Prophecy online shop!) – “Complete Kodama Box”: 4LPs (45rpm) incl. vinyl etching and bonus track “Notre Sang Et Nos Penseées”, 2CD hardcover book (36 pages with lyrics, elaborate liner notes by Neige, Winterhalter and Fortifem, translations of the lyrics, ca. 18x18cm) incl. bonus CD with bonus track “Notre Sang Et Nos Penseées”, 6 art prints and certificate; ltd. to 777 copies, split to: 200x black vinyl, 200x clear vinyl, 200x clear/black marble vinyl, 177x magenta/black marble vinyl (exclusive to the Prophecy online shop!)
Posted in Whathaveyou on July 25th, 2016 by H.P. Taskmaster
French classic doomers Stonewitch have issued their debut album, The Cross of Doom, via Italian imprint Terror from Hell Records. The album follows the band’s demo and while I can’t profess to having heard the full thing at this point, the opener track “Eerie Valley of the Crimson Planet” seems to nod at NWOBHM gallop en route to Grand Magus-style fistpumping and some Candlemassian doomly sway. They cover Pentagram on the record, and no doubt “Sign of the Wolf” fits well in its surroundings.
It was released last month, so maybe I’m not exactly current on it, but better late than never, and if you’re looking to doom out, here’s this:
OUT NOW – Stonewitch – The Cross of Doom
Stonewitch was created in January 2014 by Aymeric (guitars) and Romain (bass and guitars) as a heavy/doom project. The tracks for the demo “The Godless” were composed by two of them, and they were helped in studio by Serge (vocals), who quickly joined Stonewitch, and Fog (drums) as session for the demo recordings. “The Godless” was recorded at Le Caveau in August 2014 and released in a limited tape edition by the Italian label Terror from Hell Records.
After the demo, Cedric (drums) and Joss (bass) joined Stonewitch as full-time members to complete the line-up in spring 2015, so the band could start to hit the road in September 2015.
In late October, the band returned to the studio Le Caveau for the recordings of six new songs, for 40 minutes of pure doom metal without compromises, “The Cross of Doom” was recorded, and again will be released by Terror from Hell Records in June 2016.
Track List: 1. Eerie Valley Of The Crimson Planet 2. Beyond The Sharp Vine 3. Unearthed (Foes & Woes) 4. Holy Smoke 5. Sign Of The Wolf (Pentagram cover) 6. The Cross Of Doom
[Click play above to stream the premiere of Los Disidentes del Sucio Motel’s ‘Departure’ from the new album, Human Collapse, out Sept 9 on Ripple Music.]
French heavy rockers Los Disidentes del Sucio Motel have been conceptually-focused since their outset, so it’s little surprise that their third full-length and Ripple Music debut, Human Collapse, would follow a similar course. What is surprising about the album is just how tight that focus has gotten when taken in consideration with the band’s songwriting. The Strasbourg-based five-piece of guitarist/vocalist Nico, bassist/vocalist Julien, guitarist Romain, keyboardist/vocalist Dany and drummer Greg began their tenure with 2011’s Soundtrack from the Motion Picture (review here), a charm-laced and uptempo run through the tropes of desert rock that stood itself out from an increasingly-crowded post-Truckfighters sphere of heavy rock by following a genuine plotline.
The inevitable follow-up, 2013’s Arcane, brought this to ideas and themes less directly related to desert rock itself, and the music followed suit, taking on a sharper edge — something that Human Collapse continues to push forward. To go with its ominous title, the band offers a lyrical journey of seemingly just one particular human — as opposed to it being the whole species collapsing; though I suppose one could stand in for the whole — from beginning to end, following a logical course of loss and redemption in song titles as the narrative seems to dictate the mood of the songs; “Community,” for instance, is a more melodic, welcoming post-rock sway after the semi-metallic tumult of “Border.” In light of Europe’s ongoing refugee crisis, it’s impossible to ignore a social context in which Human Collapse arrives, but even apart from that, the level of dynamic that has developed in Los Disidentes del Sucio Motel‘s sound would be enough on its own to carry a weightier sense of impact than either of their prior LPs.
For anyone who has followed Ripple Music over the last several years, the West Coast imprint has emerged as one of the most reliable American purveyors of heavy. Already in 2016, they’ve issued new records from heavyweights Wo Fat, Foghound and Gozu and continued their ambitious The Second Coming of Heavy split series, so to say that Human Collapse is arguably the most forward-thinking album they’ve put out to-date should not be taken as rank hyperbole or a statement disregarding of the context in which Los Disidentes del Sucio Motel‘s latest arrives.
Rather, it’s an acknowledgement of the breadth that the band covers in these 10 tracks/56 minutes, which begin with “7PM Choice” and end with “5PM Arrival,” taking us as listeners through 22 hours of travelogue musical and lyrical, a journey that starts with grand crashes and progressive melodies and moves through driving moments early in “Decision” and “Departure” presented with a commercial-production-style crispness — which, in the tradition of European heavy rock, doesn’t necessarily draw away from the impact of the songs — and only growing broader as it moves past “Border” into later stretches like “Rebirth,” “Determination,” and at last, the eight-minute “5PM Arrival.” Moods vary across the span but the prevailing impression is somewhat brooding, and the band works well with that, finding room in their multifaceted songs for vocal harmonies and resounding hooks, clever arrangements of guitar and keys, and in an earlier cut like “Trip,” clear evidence of how far their craft has come in the last half-decade delivered via efficient, progressive, still-straightforward heavy rock and roll, the screams in the second half setting up fluidity into the more lumbering “Border” that typifies the flow enacted across the entire album.
Perhaps most impressive of all is how easily Los Disidentes del Sucio Motel make it sound to blend songs that are individually catchy and that stand on their own — “Departure,” “Border,” “Community,” the thick-chugging “Determination” — with an overarching linear concept. One wouldn’t want to speculate as to which came first, the music or the concept, but either way, it’s no small feat for a group to compile material that would work so smoothly on both levels. As Los Disidentes del Sucio Motel wind up pushing through “5PM Arrival” into the melodic apex of the album, it’s no small arrival whatsoever, and it would also seem to mark their own arrival as a band working under their own impulses rather than feeding off the influence of others — at least to such a degree as to make the material distinguished in its sound.
This blend of progressive storytelling and heavy-riffed roots may continue to define them, it may not, I don’t know, but with Human Collapse, Los Disidentes del Sucio Motel would seem to realize the vision that they set out with more than five years ago, while also refining their songwriting to its most potent, resonant degree. It plays smartly to its strengths in multi-layer vocal arrangements and interweaving of guitar/key textures with big, nodding rhythms, but what it accomplishes with these elements is not to be overlooked.
Posted in Whathaveyou on July 8th, 2016 by H.P. Taskmaster
Hard to argue with the brand of psych jamming Parisian trio Domadora dig into on their second full-length, The Violent Mystical Sukuma, so I won’t try. The band were featured in a podcast earlier this spring, but they’ve made the album streaming in full, and I guess if there’s a point to the news at all, it’s “hey, this record exists.” And so it does. They’ve earned a host of Earthless comparisons along the way, and covered them as well as Tia Carrera, which should give you a fair idea of where they’re coming from, but Domadora‘s first album, 2013’s Tibetan Monk, was picked up for release by Kozmik Artifactz, and whether or not a similar fate awaits The Violent Mystical Sukuma, I guess we’ll just have to wait and see.
The PR wire brings info and links:
70’s Heavy-Psych Rockers Domadora stream new full-length album
3 years after their very well-received ‘Tibetan Monk’, French 70’s Heavy-Psych Rockers Domadora released a few week ago a brand new full-length album called ‘The Violent Mystical Sukuma’ for CD and Digital formats on Bandcamp and the main legal platforms (iTunes, Deezer, Amazon…). In addition to the release, the album is also available right now for full streaming at the same location or SoundCloud.
Influenced by the 60’s and 70’s vibes from Black Sabbath, Pink Floyd or Led Zeppelin, Heavy Psych/Rock/Stoner power-trio from France Domadora delivers psychedelic stoned jams since its birth around the shade of bands such as Fatso Jetson or Karma to Burn.
In 2013, the band released its debut full-length album acclaimed by both critics and public and then toured massively with big names such as Pentagram, Baroness, Earthless of Yawning Man before to work again on a new record.
Three years later, Domadora unleashed its very awaited new full-length effort : ‘The Violent Mystical Sukuma’.
Posted in Reviews on June 24th, 2016 by H.P. Taskmaster
This one’s for all the marbles. Or at very least tiddlywinks. The last day of The Obelisk’s Summer 2016 Quarterly Review begins. I’ll admit that when I was planning this out — started soon after the last Quarterly Review was finished in early April; that one ran late, this one has run early — I decided to take it easy on myself the last day. Still 10 reviews, so not that easy, but in terms of what’s included today, a lot of is stuff I feel pretty comfortable talking about, whether it’s bands I’ve covered before (which a lot of it is, now that I look at the list) or whatever. If you’ve been keeping up this week, thanks. I hope you found some cool music.
Quarterly Review #41-50:
From the Finnish hotbed of Tampere, Atomikylä made a striking impression with their 2014 Svart Records debut, Erkale (review here), giving a take on psychedelic black metal that was immediately and truly their own in its balance of elements. The band, featuring members of Dark Buddha Rising and Oranssi Pazuzu, return with doom-jazz fervor on sophomore full-length, Keräily, with three songs covering yet-unnamed stylistic reaches and offering a get-to-the-studio-and-see-what-happens experimentalism to go with their plotted course on 18-minute opener and longest track (bonus points) “Katkos,” which is followed by the building horn freakout “Risteily” (9:15), from which a space rock push takes hold on drums, resulting in maddening guitar swirl – because of course – and closer “Pakoputki” (6:55), which consumes with a darker thrust and more up-front blackened vibe that still holds onto some of the psychedelia in its layers of guitar. Keräily progresses effectively from Atomikylä’s debut and highlights just how individualized they are as a group. They continue to have the potential to do really special work, and the argument is easy to make they’re already doing it.
As opener and longest track (bonus points) “Beasts of Prey” careens toward its apex finish near the 12-minute mark and the title-track begins is crashing, harmonized intro before moving into an Alice in Chains-via-stoner verse, the distance Poland’s Sunnata cover on their second full-length, Zorya, begins to really unveil itself. There doesn’t seem to be a genre within the heavy sphere that’s off limits. They never get into death metal, but heavy rock, doom, psychedelia, prog, sludge – it’s all in play at one point or another in Zorya’s five-track/50-minute run. The reason the album works and isn’t just a haphazard mash of styles is because Sunnata, who’ve been active in Warsaw since the last decade, make each one their own and thus bend genre to suit their purposes and not the other way around. They continue to impress through the rush of “Long Gone,” the airy expanse of “New Horizon” and the more brooding closer “Again and Against,” conjuring effective flow from what in less capable hands would be disparate components.
I have kind of a hard time with White Dynomite. Not musically – the Boston five-piece’s new EP, Action O’Clock (on Ripple) typifies their accessible punk rock; a reminder of a time when the style used guitars – but conceptually. Their lineup features bassist Tim Catz and vocalist Craig Riggs (on drums) of Roadsaw, as well as guitarist Pete Knipfing (also Hey Zeus, Lamont), vocalist Dave Unger and guitarist John Darga, and while I can’t argue with the charm of a track like “Werewolf Underwear” or “Evil Ballerina” — the lyric “Tutu woman, too too much for me” alone makes Action O’Clock worth the price of admission, let alone “I got fangs in my pants” from “Werewolf Underwear” – but I haven’t yet been able to listen to the band in the context of it having been six years since the last time Roadsaw released an album, and thinking about years passing, priorities and whatnot. They sound they’re having a blast all the way through, and I won’t begrudge them exploring other influences, I guess I just miss that band.
Pittsburgh newcomers Horehound formed just last year, so one might go into their self-titled debut full-length thinking it’s an early arrival, but in an unpretentious seven-track/33-minute collection of straightforward but engaging doom rockers, the five-piece demonstrate a clear idea of what they want to do sonically. While it may not represent where they’ll ultimately end up as a band, its songs sound fleshed out in terms of direction and the resultant feel on the release is much more album than demo. So be it. A particular highlight is “The Waters of Lethe,” on which a sweeter melody emerges in the guitar and vocals, but neither will I discount the low-end crunch and vocal call-and-response in closer “Waking Time” or the more uptempo thrust of second cut “Sangreal.” Not that Horehound don’t have room to grow, but their initial offering preaches well to the converted and should give them a solid foundation to work from in that process.
Beyond the Hollow Mountain is the first full-length from Portuguese mostly-instrumentalists Sulfur Giant, who bring together influences from classic progressive rock, psychedelia and heavy rock so that when they dip into Iommic riffing on “Vertigo,” it’s no stranger than the peaceful jamming of “Whisper at Dawn,” which follows. Friendly if not exactly innovative, Sulfur Giant’s debut makes its chief impression with the four-piece’s instrumental chemistry, which brings about an easy flow within and between the eight tracks, which having already been issued digitally will see vinyl release later this year on Pink Tank Records. It’s hard to ignore what organ adds to “Evermore,” but “Sea of Stone” sneaks in some vocals amid its thicker-riffing and Sungrazer-style exploration, and “Magnolia” and the galloping “Unleash Fears” follow suit, so Sulfur Giant have a few tricks up their collective sleeve they hold back from the initial roll and gallop of the opening title-track. All the better.
New Planet Trampoline, Dark Rides and Grim Visions
Never say never in rock and roll. From Cleveland, Ohio, the psych-rocking four-piece New Planet Trampoline called it quits in 2008, leaving behind an unfinished album. After coming back together for 2014’s The Wisconsin Witch House EP, the ‘60s-stylized outfit set themselves to the task of finishing what became Dark Rides and Grim Visions, basking in the glow of early Floyd, Beatles and others of the ilk while keeping a harder edge to songs like “Grim Visions” and a healthy cynicism to “We’ll Get What We Deserve” and the tongue-in-cheek keyboard-laced closer “Haunted as Fuck.” Of the several more extended tracks, the nine-minute “Acts of Mania” is the longest, and provides suitable patience and atmospherics to stand up to its scope. All told, Dark Rides and Grim Visions is a formidable journey at 13 songs/68 minutes, but after more than half a decade away, it’s hard to hold New Planet Trampoline having their say against them, particularly when that say is as lush and dreamy as “This is the Morning.”
With their second LP, Cold Winds (on Crusher Records), Gothenburg’s Hypnos seem to be betting that the next step in the retro game is NWOBHM. They make a convincing argument; it’s kind of how it went the first time around, and their songwriting offers a top-notch look at the moment where Thin Lizzy bounce became Iron Maiden gallop, as on second cut “I’m on the Run,” just minutes after opener “Start the Hunt” featured a flute solo. Broken into two sides, each one works its way toward a longer finale – “Det Kommer en Dag” (7:23) on side A and “1800” (8:32) on side B – but sonic diversity and changes in song structure throughout do much to keep Cold Winds from feeling overly plotted, and like their countrymen in Horisont, Hypnos offer a seamless melding of classic heavy rock and metal, soaring and scorching on “Descending Sun (Unrootables White)” and swinging and swaggering immediately thereafter on “Cold September,” both accomplished with unwavering command.
Texas boogie rockers Honky were last heard from with 2012’s 421 – which I’ll assume is the “going to 11” equivalent for getting high – and their eighth outing, Corduroy, finds bassist JD Pinkus (Butthole Surfers, Melvins) and guitarist Bobby Ed Landgraf (Down) hooked up with drummer Trinidad Leal of Dixie Witch and Housecore Records for the release. To call is business as usual for the underrated outfit in the classic swing and grit they hone would only be a compliment, songs like “Baby Don’t Slow Down,” “Bad Stones” and the harmonized “Double Fine” offering soul as much as push, ‘70s influences given a modern kick in the ass throughout as a swath of guests, including Melvins drummer Dale Crover, come and go, perhaps none making their presence felt as much as Rae Comeau, whose work on “Bad Stones” makes that song a highlight – not to take away from the a capella cover of Led Zeppelin’s “Moby Dick,” here retitled as “Mopey Dick,” that closes. Chicanery ensues, booze flows, good times are had for those who’ll have them.
Distinguished as on centerpiece “The Rambler” by their use of organ amid a semi-retro heavy boogie style, French five-piece Cheap Wine recorded Sad Queen – as the cover art says – live for Celebration Days Records. It’s somewhere between an EP and album, and strips away some of the individual track length of their 2013 debut, Mystic Crow, in favor of maximizing the energy put into each piece, the subdued “Intro” and “Opening” that start sides A and B, respectively, aside, though as “Opening” feeds cleanly into the quiet, airy and soulful beginning of the title-track, even that seems to have a tension that builds toward its eventual release, different from the shuffling raucousness of the post-“Intro” opener “Cyclothymic” maybe, but palpable nonetheless. They close somewhat melancholy on “Yesterday’s Dream,” but the complementary guitar of Valentin Constestin and keys of Ahn Tuan aren’t to be missed, nor how well work in concert with vocalist Mathieu Devillers, bassist Valentin Lallart and drummer Louis Morati.
Gurt & Trippy Wicked and teh Cosmic Children of the Knight, Guppy
The UK heavy scene excels at not taking itself too seriously. To wit, Gurt and Trippy Wicked and the Cosmic Children of the Knight get together for a split (on When Planets Collide for CD and HeviSike cassette) and, they call it Guppy and the first two songs are “Owlmegeddon” and “Super Fun Happy Slide.” It kind of goes from there. Recorded together, sharing a drummer and collaborating on the centerpiece, “Revolting Child,” it’s basically two outfits who are close friends coming together to have a good time, but that doesn’t take away from Gurt’s sludgy intensity on “I Regret Nothing” or the nodding heavy rock Trippy Wicked hold forth on closer “Reign.” Taking its title from the two band names put together, one can only wonder if this will be the last conjoined offering Gurt and Trippy Wicked will make, or if there might be a whole school of guppies in the future. Frankly, this sounds like too good a party to only throw it once.
In addition to having them as headliners at The Obelisk All-Dayer on Aug. 20 at Saint Vitus Bar in Brooklyn, I’m thrilled to announce that The Obelisk will present the first coast-to-coast North American outing from French heavy psych mavens Mars Red Sky. Put together by Tone Deaf in conjunction with the band, Earsplit PR and Listenable Records, the tour also includes stops at Doom over Toronto, a New England warmup show, and Psycho Las Vegas before rounding out with a drive up the West Coast, concluding in Seattle.
Mars Red Sky — the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu Gazeau — recently released their third album, Apex III (Praise for the Burning Soul) (review here), the to-date peak of their progressive blend of heavy riffs, melodic resonance and expansive atmospheres. Given exceeding depth through memorable songwriting, it’s a bold step forward from their past work and an early contender for my favorite album of 2016. I could not be more thrilled to have this site included in the tour in the small way that it is if I tried. Thanks to the band and to everyone else for having The Obelisk involved.
Dates, event links, the band’s new video for “Friendly Fire” and more follow:
The Obelisk Presents: MARS RED SKY
8/19/2016 O’Brien’s Pub – Boston, MA [info]
8/20/2016 Saint Vitus Bar @ The Obelisk All-Dayer – Brooklyn, NY [info]
8/21/2016 Kung Fu Necktie – Philadelphia, PA [info]
8/22/2016 Strange Matter – Richmond, VA [info]
8/23/2016 Spirit – Pittsburgh, PA [info]
8/24/2016 Cherry St Station – Wallingford, CT [info]
8/25/2016 La Vitrola – Montreal, QC [info]
8/26/2016 The Smiling Buddha @ Doom Over Toronto Festival – Toronto, ON [info]
8/27/2016 Reggies – Chicago, IL [info]
8/28/2016 Hard Rock Hotel And Casino @ Psycho Las Vegas – Las Vegas, NV [info]
8/29/2016 Brick By Brick – San Diego, CA
8/30/2016 The Viper Room – Los Angeles, CA [info]
9/01/2016 Starlight Lounge – Sacramento, CA
9/02/2016 Panic Room – Portland, OR [info]
9/03/2016 The Funhouse – Seattle, WA [info]
Posted in Whathaveyou on June 10th, 2016 by H.P. Taskmaster
French doom trio Witchthroat Serpent will issue their second offering, Sang-Dragon, on vinyl through Svart Records on Aug. 26. The full-length was released on CD by Deadlight Entertainment earlier this year and is still available via compact-discular means, and it can also be streamed in full via Witchthroat Serpent‘s Bandcamp page, from which one will find a player embedded below.
Witchthroat Serpent‘s debut came out in 2011 through Deadlight and Michigan’s Emetic Records, so safe to say that between the two releases the band has caught some respectable ears. Sang-Dragon is my first exposure to their work, but the heads they’ve turned to this point are enough to intrigue, even if the album art is somewhat suspect.
That and more info follow, from the PR wire:
WITCHTHROAT SERPENT to release new album on vinyl through SVART RECORDS
Sanguis draconis is a thick, blood-red resin extracted from exotic trees. Since the dawn of time, it has uses in medicine, crafts, and of course. magic. And so is Witchthroat Serpent’s music: dark and heady as blood, weird as it would come from another world, and ridden with that old powerful magic men both used to practice and fear.
Witchthroat Serpent was created in November 2011 in Toulouse, France, by Fredrik Bolzann (guitar/vocals), Niko Lass (drums), and Lo Klav (bass), with the aim to spread occult and powerful doom metal. The self-titled first album was released on CD in 2014 by Deadlight Entertainment, soon followed by a tape version through Zanjeer Zani and on LP by US label Emetic Records the year after. Quickly acclaimed as a promising newcomer, the band toured extensively throughout Europe, playing both underground shows in various countries and making it to big festivals such as the Day of Doom in Barcelona and Hellfest in 2015, before a complete Spanish tour.
Witchthroat Serpent’s incantations are made of an old legacy – that of the ancestors of the doom and stoner scenes – but don’t be mistaken! Witchthroat Serpent is more than a clone. It has its own spells, and sure know how to use them to enthrall the listener: morbid groove and psychedelic tunes to seduce you to your perdition. And so is their new album, Sang-Dragon, recorded in one day at Drudenhaus Studio in September 2015. First released on CD by Deadlight Entertainment, it will be spread on noble black vinyl by Svart Records on August 26th. Before that, and just returning from a successful Spanish/French tour in May, the trio will appear onstage at Motocultor Fest on August 19th.
The witch is ravenous and restless…beware of her spells! Haven’t you heard her yet? Hear for yourself at Witchthroat Serpent’s Bandcamp HERE. Cover and tracklisting are as follows:
Tracklisting for Witchthroat Serpent’s Sang-Dragon 1. Hydra’s Bewitchment 2. A Caw Rises From My Guts 3. Siberian Mist 4. Lady Sally 5. Into The Black Wood 6. Behind Green Eyes 7. Mystical Devotee