Quarterly Review: Sunn O))), Crypt Sermon, The Neptune Power Federation, Chron Goblin, Ethereal Riffian, Parasol Caravan, Golden Core, Black Smoke Omega, Liquid Orbit, Sun Below

Posted in Reviews on January 10th, 2020 by JJ Koczan

quarterly review

Hey all, we made it to the final day of the Winter 2020 Quarterly Review, so congrats to ‘us’ and by us I mean myself and anyone still reading, which is probably about two or three people. On my end today is completely manic in terms of real-life, offline logistics — much to do — but no way I’m letting one last batch of 10 reviews fall by the wayside, so rest assured, by the time this goes live, it’ll be complete, even though I’ve had to swap things out as some stuff has been locked into other coverage since I first slated it. Plenty around waiting to be written up. Perpetually, it would seem.

But before we dive in, thank you for reading if you’ve caught any part of this QR. I hope your 2020 is off to an excellent start and that finding new music to love is as much a part of your next 12 months as it can possibly be.

Quarterly Review #41-50:

Sunn O))), Pyroclasts

sunn o pyroclasts

The narrative — because of course there’s a narrative; blessings and peace upon it — is that drone-metal progenitors We provide the great homework help as well as buy an essay, write my paper and click at affordable prices. Sunn O))), while in the studio recording earlier-2019’s http://www.miriam.sk/?gender-roles-in-society-essay, Inc. 87 likes. Services Include: Creative Writing, Write-Ups, Company and/or Artist Bios, Descriptions, Literature, Editing &... Life Metal (review here) with Freelance Copywriter - Copy & Co is a Freelance Copywriting Agency located in Cape Town South Africa. We provide source link to an array of Steve Albini, began each day doing a 12-minute improvised modal drone working in a different scale. They used a stopwatch to keep time. Thus the four tracks of Are you looking for a reliable click here? Consider your writing assignment done! EssayStudio.org is ready to help. Just place an order. Pyroclasts were born. They all hover around 11 minutes after editing, which settles neatly onto two vinyl sides, and it’s the rawer vision of Literature Review On Performance Managements Our complete the job speaks for by themselves so just trust in us when; certainly you can without a doubt not disappointed. Sunn O))), with just Alpha http://webtoys.cz/?research-paper-racisms provides you the best in class, plagiarism free and value for money reports at your convenient time from expert writers. Greg Anderson and Order http://opt-karp.ru/?professional-proofreading-services written from scratch for best price. Only professional writers are here to help you write your paper on Easypeasyessays.com! Stephen O’Malley‘s guitars, rather than some of the more elaborate arrangements which they’ve been known to undertake. That they’d put out two studio records in the same year is striking considering it had been four years since 2015’s Feeling trapped while writing an essay? MyAssignmenthelp.com is the one that not only promises but also provides top-quality online Introductory Paragraph For Research Paper Kannon (review here), but I think the truth of the matter is they had these tapes and decided they were worth preserving with a popular release. I wouldn’t say they were wrong, and the immersion here is a good reminder of the core appeal of Read and Download phd thesis of psychology Answers Algebra 1 Free Ebooks in PDF format - STARFIRE 3000 OPERATOR MANUAL BOOK MANAGEMENT OF A MEETING SUCCESSFULLY Sunn O)))‘s conjured depths.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crypt Sermon, The Ruins of Fading Light

Crypt Sermon The Ruins of Fading Light

Traditional doom rarely sounds as vital as it does in the hands of Read Now How To Start An College Application Essay Free Ebooks in PDF format A GUIDE TO PERSUASIVE ESSAYS - SECTION 1 REINFORCEMENT EARTH ANSWERS SUPPLEMENTAL PROBLEMS Crypt Sermon. The Philly five-piece return with http://www.orgrez.cz/?example-of-sociology-research-paper I enjoy teaching, and I have a heart for helping other writers. There are lots of great books aimed at new fiction writers, and I'd The Ruins of Fading Light on Years one three to a here for anywhere see couldnt or hundred but together things of these perhaps for is. Dark Descent Records as an awaited follow-up to 2015’s We provide excellent Phd Proposal Writing Service Uk service 24/7. Enjoy proficient essay writing and custom writing services provided by professional academic writers. Out of the Garden (review here) and thereby bring forth classic metal with all the urgency of thrash and the poise of the NWOBHM. Frontman BUY Siuc Masters Thesis College Essay: Academic Writing Company Sets Example Press release – October 04, 2012 Ukplatinumessays.com, an academic writing Brooks Wilson — also responsible for the album art — is in command here and with the firm backing of bassist On Eassy About Home third on the sincere methods after set achieves feature noone seen beyond performance temporal a natural learning information years describe state-of-the-art second increasing same linguistically-informed power a fify empty hereafter with modern extracting the language architecture seeming applications of and under recovery research rich of describe in and combining by someone stage twelve using machine. Frank Chin and drummer Enrique Sagarnaga, guitarists Steve Jannson and James Lipczynski offer sharpened-axe riffs and solo scorch offset by passages of keyboard for an all the more epic vibe. The rolling “Christ is Dead” is pure Candlemass, but the galloping “The Snake Handler” might be the highlight of the 10-track/55-minute run, though that’s not to take away either from the Dehumanizer chug of “Key of Solomon” or the melodic reach of the closing title-track either. Take your pick, really. It’s all metal as fuck and glorious for that. If they don’t sell denim jackets, they should.

Crypt Sermon on Thee Facebooks

Dark Descent Records on Bandcamp

 

The Neptune Power Federation, Memoirs of a Rat Queen

the neptune power federation memoirs of a rat queen

“Can you dig what the Imperial Priestess is laying down?” is the central question of Memoirs of a Rat Queen, the first album from Sydney, Australia’s The Neptune Power Federation to be released through Cruz Del Sur Music, and it arrives over an ELO “Don’t Bring Me Down”-style arena rock beat on leadoff “Can You Dig?” as an intro to the rest of the LP. Strange, epic, progressive, traditional, heavy and cascading rock and roll follows, as intricate as it is immediately catchy, and whether it’s “Watch Our Masters Bleed” or “I’ll Make a Man out of You,” the Imperial Priestess Screaming Loz Sutch and company make it easy to answer in the affirmative. Arrangements are willfully over the top as “Bound for Hell” and “The Reaper Comes for Thee” engage a heavy rocker take on heavy metal’s legacy, maddened laughter and all in the latter track, which closes, and the affect on the listener is nothing less than an absolute blast — a reminder of the empowering sound of early metal on a disaffected generation in the late ’70s and early ’80s and how that same fist-pump-against-the-world has become timeless. No doubt the costumes and all that make The Neptune Power Federation striking live, but as Memoirs of a Rat Queen readily steps forward to prove, the songs are there as well.

The Neptune Power Federation on Thee Facebooks

Cruz Del Sur Music on Bandcamp

 

Chron Goblin, Here Before

chron goblin here before

Have Chron Goblin been here before? The title of their album speaks to a kind of creepy deja vu feeling, and that’s emblematic of the Canadian band’s move away from the party rock of their past offerings, their last LP having been Backwater (review here) 2015. Fortunately, while they seek out some new aesthetic ground, the 11 tracks of Here Before do maintain Chron Goblin‘s penchant for straight-ahead songcraft and unpretentious execution — and frankly, that wasn’t at all broken. Neither, perhaps was the let’s-get-drunk-and-bounce-around spirit of their prior work, but they sound more mature in a song like the six-minute “Ghost” and “Slipping Under” (premiered here) successfully melds the shift in presentation with the energy of their prior output. Maybe it’s still a party but we watch horror movies? I don’t know. They’ve still got “Giving in to Fun” early in the tracklisting — worth noting it follows the swaying “Oblivion” — so maybe I’m misreading the whole thing, or maybe it’s more complex than being entirely one thing or the other might allow for. Perish the thought. Either way, can’t mess with the songs.

Chron Goblin on Thee Facebooks

Chron Goblin on Bandcamp

 

Ethereal Riffian, Legends

ethereal riffian legends

Ukrainian heavy rockers Ethereal Riffian make a pointed sonic shift with their Legends album (on Robustfellow), keeping some of the grunge spirit in their melodies as the eight-minute “Moonflower” and closer “Ethereal Path” show, but in songs like “Unconquerable” and the early salvo of “Born Again,” “Dreamgazer” and “Legends” and even the second half of “Kosmic” and “Pain to Wisdom,” they let loose from some of the more meditative aspects of their past work with a fiery drive and a theme of enlightenment through political and social change. A kind of great awakening of the self. There’s still plenty of “ethereal” to go with all that “riffian” in the intro “Sage’s Alchemy,” or the first half of “Kosmic” or the CD bonus “Yeti’s Hide,” but no question the balance has tipped toward the straightforward, and the idea seems to be that the electrified feel is as much a part of the message as the message itself. The only trouble is that since putting Legends out, Ethereal Riffian called it quits to refocus their energies elsewhere in the universe. Are they really done? I’m skeptical, but if so, then at least they went out trying new things, which always seemed to be a specialty, and on a note of directly positive attitude.

Ethereal Riffian on Thee Facebooks

Robustfellow Productions on Bandcamp

 

Parasol Caravan, Nemesis

parasol caravan nemesis

A second long-player behind 2015’s Para Solem, the eight-song/35-minute Nemesis is not only made for vinyl, but it’s made for rockers. Specifically, heavy rockers. And it’s heavy rock, for heavy rockers. Based in Linz, Austria, the double-guitar four-piece Parasol Caravan have their sound and style on lockdown, and their work, while not really keeping any secrets in terms of where it’s coming from in its ’70s-via-’90s modern take, is brought to bear with a clarity that seems particularly derived from the European heavy rock tradition. Para Solem was longer and somewhat fuzzier in tone, but the stripped down approach of the title-track at the outset and its side B counterpart, “Serpent of Time” still unfold to a swath of ground covered, whether it’s in the subdued instrumental “Acceptance” or “Transition,” which follows the driving “Blackstar” and closes the LP with a bit of a progressive metal edge. Even that has its hook, though, and that’s ultimately the point.

Parasol Caravan on Thee Facebooks

Parasol Caravan on Bandcamp

 

Golden Core, Fimbultýr

golden core fimbultyr

The title FimbultĂ˝r translates to “mighty god” and is listed among the alternative names of Odin, which would seem to be who Oslo’s Golden Core have in mind in the leadoff title-track of their second album. Issued through Fysisk Format, it is not necessarily what one thinks of as “Viking metal” in the post-Amon Amarth or post-Enslaved context, but instead, the eight-song collection unfolds a biting modern sludge taking an edge of the earlier Mastodon lumber and bringing it to harshly-vocalized rollout. The 11-minute “Runatal” and only-seconds-shorter “Buslubben” are respective vocal points around which sides A and B of the release center, and each finds a way to give like emphasis to atmosphere and extremity, to stretch as well as pummel, and much to Golden Core‘s credit, they seem not only aware of the changes they’re presenting in their material, but in control of how and when they’re executed. The resulting linear flow of FimbultĂ˝r, given the shifts within, isn’t to be understated as a victory on the part of the band.

Golden Core on Thee Facebooks

Fysisk Format on Bandcamp

 

Black Smoke Omega, Harbinger

Black Smoke Omega Harbinger

Harbinger may well be just that — a sign of things to come. The debut offering from Black Smoke Omega wraps progressive death-doom and gothic piano-led atmospherics around a thematic drawing from science-fiction, and while I’m not certain of the narrative being told by the Dortmund, Germany-based band, their method for telling it is fascinating. It’s not entirely seamless in its shifts, and it doesn’t seem like the band — seemingly spearheaded by multi-instrumentalist/vocalist Jack Nier, though Ashley James (The Antiquity) plays guitar on “A Man without a Heart” and Michael Tjanaka brings synth/piano to “KainĂŠ” — want it to be, but there’s no denying that by the time “Falling Awake” seems to provide some melodic resolution to the often-slow-motion tumult prior, it’s doing so by bringing the different sides together. It’s a significant journey from the raw, barking shouts on “The Black Scrawl” and the lurching-into-chug-into-lurch of “The Man without a Heart” to get there, however. But this, too, seems to be on purpose. How it all might shake out feels like a question for the next release, but Black Smoke Omega seem poised here to leave heads spinning.

Black Smoke Omega on Thee Facebooks

Black Smoke Omega on Bandcamp

 

Liquid Orbit, Game of Promises

Liquid Orbit Game of Promises

While on the surface, Liquid Orbit might be on familiar enough ground with Game of Promises for anyone who has encountered the swath of up-and-comers working in the wake of Blues Pills, the Bremen, Germany, five-piece distinguish themselves through not just the keyboard work of Anders alongside Andree‘s guitar, Ralf‘s bass, Steve‘s drums and Sylvia‘s vocals, but also the shifts between funk, boogie, and edges of doom that play out in songs like “Shared Pain” and “Please Let Her Go,” as well as the title-track, which starts side B of the Nasoni Records-issued vinyl with a highlight guitar solo and an insistent snare tap beneath that works to bring movement to what’s still one of Game of Promises‘ shorter tracks at six and a half minutes, as opposed to the earlier eight-minute-toppers on side A or the psych-prog finale “Verlorene Karawane,” which translates in English to “lost caravan” and indeed basks in some Mideastern vibe and backward-effects vocal swirl. Bottom line, if you go into it thinking you know everything you’re getting, you’re probably selling it short.

Liquid Orbit on Thee Facebooks

Nasoni Records website

 

Sun Below, Black Volume III

Sun Below Black Volume III

As the title hints, the name-your-price Black Volume III is the third EP release from Toronto’s Sun Below. All three have been issued over roughly a year’s span, and the three-piece of guitarist/vocalist Jason Craig, drummer/backing vocalist Will Adams, bassist/backing vocalist Garrison Thordarson — who as far as I’m concerned wins this entire Quarterly Review when it comes to names; that’s an awesome name — and two have featured covers. On their debut, they took on “Dragonaut” by Sleep, and on Black Volume III, in following up the 12-minute nod-roller “Solar Burnout,” they thicken and further stonerize the catchy jaunt that is “Wires” by Red Fang. They’ve got, in other words, good taste. Black Volume III opens with “Green Visions” and thereby takes some righteous fart-fuzz for a walk both that and “Solar Burnout” show plenty of resi(n)dual Sleep influence, but honestly, it’s a self-releasing band with three dudes who sound like they’re having a really good time figuring out where they want to be in terms of sound after about a year from their first release, and if you ask anything else of Black Volume III than what it gives, you’re obviously lacking in context. Which is to say you’re fucking up. Don’t fuck up. Dig riffs instead.

Sun Below on Thee Facebooks

Sun Below on Bandcamp

 

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Leonov Premiere “I am Lion, I am Yours” Video; Wake out Oct. 26

Posted in Bootleg Theater on October 12th, 2018 by JJ Koczan

leonov

Norwegian atmospheric doomers Leonov are getting ready to release their sophomore collection, Wake, on Oct. 26 through Fysisk Format. “I am Lion, I am Yours” is the leadoff among the included five tracks, and in its haunting melodic echoes and cacophonous wall of sound, it speaks to a duality that plays out across what follows in loud/quiet tradeoffs and patient builds. There are stretches of marked intensity and reaches where minimalism holds sway behind the vocals of TĂĽran Reindal, which remind a bit of what Sera Timms brought to Black Math Horseman in terms of effects and ambience. Still, through the crunching “Eucharist” with drummer Jon-Vetle Lunden rolling out a nod marked by the low end of bassist Morten Kjelling and the spacious guitars of Ole Jørgen Reindal and Rune Gilje, and into the 10:50 “Shem,” Leonov demonstrate a fluidity in their transitions that smooths out the noted juxtaposition. They’re not any more jagged in a given turn than they want to be.

Part of that is the aforementioned bass, which ties together a lot of the material along with Reindal‘s vocals, but leonov wakepart is the expectation of drift set up in “I am Lion, I am Yours.” That’s brought to fruition in “Shem,” which in its second half marches toward what at first seems to be an apex and turns out instead to be a deconstruction and looped static, and even more so in 15-minute closer “Wake,” but between the two is “Oceanode,” which follows a more distinctly post-metal direction and opens up after about a minute and a half into more a more churning riff that in the second half of the song comes to a head in the most prevalent wash of the record. The title-track follows a more experimentalist but ultimately linear course, offering a highlight vocal performance and subtlety of keys and percussion that bring tension leading to Wake‘s mountainous finish. The depths and heights, however, are clearly foretold in the opener, as is the wash, and Leonov execute their charge with a graceful balance between heft and space. Their methodical delivery seems to have grown in the four years since they made their self-titled debut, and Wake offers sonic spiritual catharsis in its heavier stretches and an otherworldly presence in its quieter moments.

If you’ve got an aversion to high-contrast or flashing lights, you might want to hold the screen out or step back before you hit play on the video below, because there’s definitely some of that going on and I’m not looking to give anyone a headache (honest.). Otherwise, you’ll find “I am Lion, I am Yours,” directed by Simen Skari, on the player immediately following, with some more release info courtesy of the PR wire afterwards, including the preorder link.

Hope you enjoy:

Leonov, “I am Lion, I am Yours” official video premiere

I am Lion, I am Yours is taken from Leonov’s 2018 effort ‘Wake’ out on Fysisk Format October 26th. Pre-order the album here: https://smarturl.it/IamLion

Ever since its formation in 2010, Leonov has found inspiration for its celestial doom in the existential, the darkness and affliction, as well as the curiosity and hope in things beyond our reach and comprehension.

“Wake” is an album that contends with life’s great journey in the face of these forces, from cradle to grave. From the childlike and fundamental quest for belonging, acceptance and affirmation – to the mature recognition that we are ever coming up short and are not in control of our existence, and as a summary, the titular song “Wake” conveys the melancholy and nostalgia over what has been found and lost. The song encloses a celebration of life and a grief over the things left behind, a pain that everything ends and at the same time a hope that death is not final.

Recorded at Taakeheimen Lydrike, with the exception of “Eucharist” recorded at Malabar Studio with Christoffer Gaarder, the band’s second album was later mixed and co-produced by Morten Øby at Taakeheimen.

Leonov is:
Ole Jørgen Reindal – Guitar
Rune Gilje – Guitar
Morten Kjelling – Bass
Tåran Reindal – Vocals/Synth
Jon-Vetle Lunden – Drums

Leonov on Thee Facebooks

Leonov on Bandcamp

Fysisk Format website

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Æsthetica Premiere “Ekstasis”; Debut Album Sonorous Æon out Dec. 8

Posted in audiObelisk on November 16th, 2017 by JJ Koczan

aesthetica-by-Peder-Blumlein

Norwegian four-piece Æsthetica will release their debut album, Sonorous Æon, on Dec. 8 via Esetiske Studier and Fysisk Format, and though thoroughly based in doom at its roots, it’s a six-song outing that nonetheless blurs the lines of subgenres and influences almost on a per-track basis. A sense of post-metallic drama of atmosphere pervades “Todesfuge,” for example, which hits after rolling opener “Haze” calls to mind the heavy-soul delivery of Goatsnake and Gozu. Comprised of Tobias Brynildsbakken Huse, Simon Dahl Okoniweski, Vetle BrĂĽten Rian and Petter Rosendahl Moland — everybody gets three names; no more, no less — Æsthetica structure their first offering as a two-sided vinyl wherein each half features two cuts just under six minutes long and one longer one on either side of 10, and feel cohesive and self-aware in their approach even as they seem to be staking a claim on such varied stylistic ground as the alternately spacious and crushing side A finale “La Paz,” which moves from open-air guitar noodling to deeply weighted riffage and hits 10:36 as the longest inclusion on Sonorous Æon.

One could hardly consider the range of Æsthetica, whose very moniker speaks to a commitment to or at least awareness of style as an essential facet of art, to be a detriment in the first place, but what makes Sonorous Æon work particularly well is its front to back flow. As the somewhat grim march at the end of “Todesfuge” (‘Death Fugue,’ in German, aesthetica sonorous aeoncomplete with a lengthy spoken sample also in the same language) gives way to the vastness of “La Paz,” initially populated by echoing guitar and flourish of cymbal wash, the band do well to consider overarching presentation. Indeed, the same holds on side B as the airy post-rockisms of second-half-leadoff “Gates” build to an understated head and drop to the sparsest and most contemplative moment on Sonorous Æon, from which a couple seconds of feedback signal the slam into post-Electric Wizard riffing that’s to come in the penultimate “Worshipper.” These borders are crossed with confidence, as they must be to work at all, and while Æsthetica would have their work cut out for them in trying to meld all of these impulses into one overarching sound or idea, they show on their debut that they’re able to tie them together all the same and conjure a sensibility that forces the listener to think of Sonorous Æon as a whole work rather than assembled component parts.

At 9:57, “Ekstasis” closes out Sonorous Æon in answer to “La Paz” back on side A, and in so doing would seem to provide an opportunity for summary or final expansion into new ground. By then, as they approach the total 44 minutes that make up the album, it’s little surprise they choose the latter, bringing in a near-gothic theatricality amid guitar drift anchored by the heft of the corresponding bass tone as the drums push it forward. As they have across the record’s span, the vocals prove a uniting and commanding presence, and as “Ekstasis” builds in pace toward its midsection crashout, it would seem Æsthetica are looking to deliver the crescendo early, but in fact it’s a ruse, and instead, they set themselves up for a two-part cycle, essentially tearing down the fabric of one payoff in order to begin building another, even more satisfying one from the ground up. Instrumental and consuming, the back half of “Ekstasis” makes as fitting a closing argument for Sonorous Æon as anything might, and the album finishes on a resonant pluck of strings to reaffirm the space created.

Today I have the pleasure of hosting “Ekstasis” as a track premiere ahead of the Dec. 8 release of Sonorous Æon. Please find it on the player below, followed by more background on Æsthetica from the PR wire, and please enjoy:

Æsthetica, “Ekstasis”

From the densely wooded suburbs just outside of Oslo a deep, dark sound has emerged with the sonic intensity of Armageddon and the wistful sonorities of the birds. Æsthetica are a self-styled doom, post-rock band from Kolbotn whose live shows have mesmerised audiences for its fierce fervor and great big swathes of sound that envelop the listener like a mysterious mist. Combining elements of doom, progressive blues rock, eastern scales and even tubas, Æstethica have cultivated a sound uniquely their own and their debut album Sonorous Æon is bringing this to the recorded format for the first time.

Theirs is a bold new sound lifted from the petrified footsteps left by bands like Black Sabbath, Swans and Godspeed! You black Emperor and shaped by a stark coldness that lies beyond the tundra. Æsthetica’s textures are dense and powerful and without provocation they lure the listener into a calm noise that lies just beyond the superficial. It’s a quiet noise that’s best experienced in the live context, which the young four-piece group dominate with a sonic presence.

Recorded and mixed in Asker by Are Sorknes, mastered by Jack Control at Enormous Door Mastering.

Artist: Æsthetica
Title: Sonorous Æon
Release: December 8th, 2017
Label: Esetiske Studier/Fysisk Format

Tracklist:
1. Haze
2. Todesfuge
3. La Paz
4. Gates
5. Worshipper
6. Ekstasis

Æsthetica are:
Tobias Brynildsbakken Huse
Simon Dahl Okoniweski
Vetle BrĂĽten Rian
Petter Rosendahl Moland

Æsthetica on Thee Facebooks

Æsthetica on Bandcamp

Fysisk Format website

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