Quarterly Review: Ecstatic Vision, Norska, Bison, Valborg, Obelyskkh, Earth Electric, Olde, Deaf Radio, Saturndust, Birnam Wood

Posted in Reviews on July 14th, 2017 by JJ Koczan

quarterly-review-summer-2017

It turns out that, yes indeed, I will be able to add another day to the Quarterly Review this coming Monday. Stoked on that. Means I’ll be trying to cram another 10 reviews into this coming weekend, but that’s not exactly a hardship as I see it, and the stuff I have picked out for it is, frankly, as much of a bonus for me as it could possibly be for anyone else, so yeah, look out for that. In the meantime, we wrap the Monday-to-Friday span of 50 records today with another swath of what’s basically me doing favors for my ears, and I hope as always for yours as well. Let’s dig in.

Quarterly Review #41-50:

Ecstatic Vision, Raw Rock Fury

ecstatic-vision-raw-rock-fury

Hard touring and a blistering debut in 2015’s Sonic Praise (review here) quickly positioned Ecstatic Vision at the forefront of a Philadelphia-based mini-boom in heavy psych (see also: Ruby the Hatchet, Meddlesome Meddlesome Meddlsome Bells, and so on), and their Relapse-issued follow-up, Raw Rock Fury, only delves further into unmitigated cosmic swirl and space-rocking crotchal thrust. The now-foursome keep a steady ground in percussion and low end even as guitar, sax, synth and echoing vocals seem to push ever more far-out, and across the record’s four tracks – variously broken up across two sides – the band continue to stake out their claim on the righteously psychedelic, be it in the all-go momentum building of “You Got it (Or You Don’t)” or the more drifting opening movement of closer “Twinkling Eye.” Shit is trippy, son. With the echoing-from-the-depths shouts of Doug Sabolik cutting through, there’s still an edge of Eastern Seaboard intensity to Ecstatic Vision, but that only seems to make Raw Rock Fury live up to its title all the more. Still lots of potential here, but it’ll be their third record that tells the tale of whether they can truly conquer space itself.

Ecstatic Vision on Thee Facebooks

Ecstatic Vision at Relapse Records website

 

Norska, Too Many Winters

norska-too-many-winters

Issued through Brutal Panda, Too Many Winters is the second full-length from Portland five-piece Norska, and its six tracks/48 minutes would seem to pick up where Rwake left off in presenting a progressive vision of what might be called post-sludge. Following an engaging 2011 self-titled debut, songs like the title-track and “This is Why We Can’t Have Nice Things” churn and careen through Sourvein-style abrasion, vaguely Neurosis-style nod and, in the case of the latter or closer “Fire Patience Backbone,” soundscaping minimalism that, in the finale, is bookended by some of the record’s most intense push following opener “Samhain” and the subsequent “Eostre.” That salvo starts Too Many Winters with a deceptive amount of thrust, but even there atmosphere is central as it is to the outing as a whole, and a penultimate interlude in the 2:22 “Wave of Regrets” does well to underscore the point before the fading-in initial onslaught of “Fire Patience Backbone.” Having Aaron Rieseberg of YOB in the lineup with Jim Lowder, Dustin Rieseberg, Rob Shaffer and Jason Oswald no doubt draws eyes their way, but Norska’s sonic persona is distinct, immersive and individualized enough to stand on its own well beyond that pedigree.

Norska on Thee Facebooks

Norska at Brutal Panda Records website

 

Bison, You are Not the Ocean You are the Patient

bison-you-are-not-the-ocean-you-are-the-patient

Think about the two choices. You are Not the Ocean You are the Patient. Isn’t it the difference between something acting – i.e., an object – and something acted upon – i.e., a subject? As British Columbian heavy rockers Bison return after half a decade via Pelagic Records, their fourth album seems to find them trying to push beyond genre lines into a broader scope. “Until the Earth is Empty,” “Drunkard,” “Anti War” and “Raiigin” still have plenty of thrust, but the mood here is darker even than 2012’s Lovelessness found the four-piece, and “Tantrum” and closer “The Water Becomes Fire” bring out a more methodical take. It’s been 10 years since Bison issued their debut Earthbound EP and signed to Metal Blade for 2008’s Quiet Earth, and the pre-Red Fang party-ready heavy rock of those early works is long gone – one smiles to remember “These are My Dress Clothes” in the context of noise-rocking centerpiece “Kenopsia” here, the title of which refers to the emptiness of a formerly occupied space – but if the choice Bison are making is to place themselves on one side or the other of the subject/object divide, they prove to be way more ocean than patient in these songs.

Bison on Thee Facebooks

Bison at Pelagic Records website

 

Valborg, Endstrand

valborg-endstrand

With its churning, swirling waves of cosmic death, one almost expects Valborg’s Endstrand (on Lupus Lounge/Prophecy Productions) to be more self-indulgent than it is, but one of the German trio’s greatest assets across the 13-track/44-minute span of their sixth album is its immediacy. The longest song, “Stossfront,” doesn’t touch five minutes, and from the 2:14 opener “Jagen” onward, Valborg reenvision punk rock as a monstrous, consuming beast on songs like “Blut am Eisen,” “Beerdigungsmaschine,” “Alter,” “Atompetze” and closer “Exodus,” all the while meting put punishment after punishment of memorable post-industrial riffing on “Orbitalwaffe,” the crashing “Ave Maria” and the noise-soaked penultimate “Strahlung,” foreboding creeper atmospherics on “Bunkerluft” and “Geisterwürde,” and landmark, perfectly-paced chug on “Plasmabrand.” Extreme in its intent and impact, Endstrand brings rare clarity to an anti-genre vision of brutality as an art form, and at any given moment, its militaristic threat feels real, sincere and like an appropriate and righteous comment on the terrors of our age. Fucking a.

Valborg on Thee Facebooks

Valborg at Prophecy Productions website

 

Obelyskkh, The Providence

obelyskkh-the-providence

Probably fair to call the current status of German post-doomers Obelyskkh in flux following the departure of guitarist Stuart West, but the band has said they’ll keep going and their fourth album, The Providence (on Exile on Mainstream) finds them capping one stage of their tenure with a decidedly forward-looking perspective. Its six-song/56-minute run borders on unmanageable, but that’s clearly the intent, and an air of proggy weirdness infects The Providence from the midsection of its opening title-track onward as the band – West, guitarist/vocalist Woitek Broslowski, bassist Seb Fischer and drummer Steve Paradise – tackle King Crimson rhythmic nuance en route to an effects-swirling vision of Lovecraftian doomadelia and massive roll. Cuts like “Raving Ones” and 13-minute side B leadoff “NYX” play out with a similarly deceptive multifaceted vibe, and by the time the penultimate “Aeons of Iconoclasm” bursts outward from its first half’s spacious minimalism into all-out High on Fire thrust ahead of the distortion-soaked churn of closer “Marzanna” – which ends, appropriately, with laughter topping residual effects noise – Obelyskkh make it abundantly clear anything goes. The most impressive aspect of The Providence is that Obelyskkh manage to control all this crunching chaos, and one hopes that as they continue forward, they’ll hold firm to that underlying consciousness.

Obelyskkh on Thee Facebooks

Exile on Mainstream Records website

 

Earth Electric, Vol. 1: Solar

earth-electric-vol-1-solar

Former Mayhem/Aura Noir guitarist Rune “Blasphemer” Ericksen leads breadth-minded Portuguese four-piece Earth Electric, and their devil-in-the-details Season of Mist debut, Vol. 1: Solar, runs a prog-metal gamut across a tightly-woven nine tracks and 35 minutes, Ericksen’s vocals and those of Carmen Susana Simões (Moonspell, ex-Ava Inferi) intertwine fluidly at the forefront of sharply angular riffing and rhythmic turns from bassist Alexandre Ribeiro and drummer Ricardo Martins. The organ-laced push of “Meditate Meditate” and “Solar” and the keyboard flourish of “Earthrise” (contributed by Dan Knight) draw as much from classic rock as metal, but the brew Earth Electric crafts from them is potent and very much the band’s own. “The Great Vast” and the shorter “Set Sail (Towards the Sun)” set up a direct flow into the title cut, and as one returns to Earth Electric for repeat listens, the actual scope of the album and the potential for how the band might continue to develop are likewise expansive, despite its many pulls into torrents of head-down riffing. Almost intimidating in its refusal to bow to genre.

Earth Electric on Thee Facebooks

Earth Electric at Season of Mist website

 

Olde, Temple

olde-temple

After debuting in 2014 with I (review here), Toronto’s Olde return via STB Records with Temple, proffering sludge-via-doom vibes and a center of weighted tonality around which the rest of their aesthetic would seem to be built, vocalist Doug McLarty’s throaty growls alternately cutting through and buried by the riffs of guitarists Greg Dawson (also production) and Chris “Hippy” Hughes, the bass of Cory McCallum and the rolling crashes of drummer Ryan Aubin (also of Sons of Otis) on tightly constructed pieces like “Now I See You” and the tempo-shifting “Centrifugal Disaster,” which reminds by its finish that sometimes all you need is nod. Olde have more to offer than just that, of course, as the plodding spaciousness of “The Ghost Narrative” and the lumbering “Maelstrom” demonstrate, but even in the turns between crush and more open spaces of the centerpiece title-track and the drifting post-heavy rock of closer “Castaway,” the underlying focus is on capital-‘h’ Heavy, and Olde wield it as only experts can.

Olde on Thee Facebooks

STB Records webstore

 

Deaf Radio, Alarm

deaf radio alarm

Based in Athens and self-releasing their debut album, Alarm, in multiple vinyl editions, the four-piece of Panos Gklinos, Dimitris Sakellariou, Antonis Mantakas and George Diathesopoulos – collectively known as Deaf Radio – make no bones about operating in the post-Queens of the Stone Age/Them Crooked Vultures sphere of heavy rock. To their credit, the songwriting throughout “Aggravation,” “Vultures and Killers” and the careening “Revolving Doors” lives up to that standard, and though even the later “Oceanic Feeling” seems to be informed by the methods of Josh Homme, there’s a melodic identity there that belongs more to Deaf Radio as well, and keeping Alarm in mind as their first long-player, it’s that identity that one hopes the band will continue to develop. Rounding out side B with the howling guitar and Rated R fuzz of the six-minute “…And We Just Pressed the Alarm Button,” Deaf Radio build to a suitable payoff for the nine-track outing and affirm the aesthetic foundation they’ve laid for themselves.

Deaf Radio on Thee Facebooks

Deaf Radio on Bandcamp

 

Saturndust, RLC

saturndust rlc

The further you go into Saturndust’s 58-minute second LP RLC, the more there is to find. At any given moment, the São Paulo, Brazil-based outfit can be playing to impulses ranging from proggy space rock, righteously doomed tonal heft, aggressive blackened thrust or spacious post-sludge – in one song. Over longform cuts like “Negative-Parallel Dimensional,” “RLC,” “Time Lapse of Existence” and closer “Saturn 12.C,” the trio cast a wide-enough swath to be not quite genreless but genuinely multi-tiered and not necessarily as disjointed as one might expect in their feel, and though when they want to, they roll out massive, lumbering riffs, that’s only one tool in a full arsenal at their apparent disposal. What tie RLC together are the sure hands of guitarist/vocalist Felipe Dalam, bassist Guilherme Cabral and drummer Douglas Oliveira guiding it, so that when the galloping-triplet chug of “Time Lapse of Existence” hits, it works as much in contrast to the synth-loaded “Titan” preceding as in conjunction with it. Rather than summarize, “Saturn 12.C” pushes far out on a wash of Dalam’s keyboards before a wide-stomping apex, seeming to take Saturndust to their farthest point beyond the stratosphere yet. Safe travels and many happy returns.

Saturndust on Thee Facebooks

Saturndust on Bandcamp

 

Birnam Wood, Triumph of Death

birnam wood triumph of death

Massachusetts doomers Birnam Wood have two prior EPs under their collective belt in 2015’s Warlord and a 2014 self-titled, but the two-songer single Triumph of Death (kudos on the Hellhammer reference) is my first exposure to their blend of modern progressive metal melody and traditional doom. They roll out both in able fashion on the single’s uptempo opening title-track and follow with the BlackSabbath-“Black-Sabbath” sparse notemaking early in their own “Birnam Wood.” All told, Triumph of Death is only a little over nine minutes long, but it makes for an encouraging sampling of Birnam Wood’s wares all the same, and as Dylan Edwards, Adam McGrath, Shaun Anzalone and Matt Wagner shift into faster swing circa the eponymous tune’s solo-topped midpoint, they do so with a genuine sense of homage that does little to take away from the sense of individuality they’ve brought to the style even in this brief context. They call it stoner metal, and there’s something to that, but if we’re going on relative balance, Triumph of Death is more doom-stoner than stoner-doom, and it revels within that niche-within-a-niche-within-a-niche sensibility.

Birnam Wood on Thee Facebooks

Birnam Wood on Bandcamp

 

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

Quarterly Review: Novembers Doom, Abrams, The Grand Astoria, Hosoi Bros, Codeia, Ealdor Bealu, Stone Lotus, Green Yeti, Seer, Bretus

Posted in Reviews on July 13th, 2017 by JJ Koczan

quarterly-review-summer-2017

So, after kvetching and hemming and hawing and all that other stuff that basically means ‘fretting and trying to shuffle a schedule around’ for the last several days, I think I’ve now found a way to add a sixth day to this Quarterly Review. Looking at all the records that still need to be covered even after doing 50, I don’t really see any other way to go. I could try to do more The Obelisk Radio adds to fit things in, but I don’t want to over-tax that new server, so yeah, I’m waiting at the moment to hear back on whether or not I can move a premiere from Monday to Tuesday to make room. Fingers crossed. I’ve already got the albums picked out that would be covered and should know by tomorrow if it’s going to happen.

Plenty to do in the meantime, so let’s get to it.

Quarterly Review #31-40:

Novembers Doom, Hamartia

novembers-doom-hamartia

Look. Let’s be honest here. More than 20 years and 10 records in, one knows at least on a superficial level what to expect from Chicago’s Novembers Doom. Since their first album arrived in 1995, they’ve played to one side or the other between the spectrum of death-doom, and their work legitimately broke ground in the style for a US band and in general. After a push over their last couple albums including 2014’s Bled White (review here) into more deathly fare, Hamartia (on The End Records) brings 10 tracks and 58 minutes of the melancholy dramas – special hello to the piano/acoustic-led title-track – and gut-wrenching, crushingly emotive miseries – special hello to “Waves in the Red Cloth” and “Ghost” – that have defined them. One doesn’t expect a radical departure from them at this point and they don’t deliver one even as they turn to another side of their overarching aesthetic, but whether it’s the still-propulsive death gallop of “Apostasy” or the lush nine-minute finale “Borderline,” Novembers Doom reinforce their position as absolute masters of the style and give their longtime fans another collection of vital woes in which to revel.

Novembers Doom on Thee Facebooks

The End Records website

 

Abrams, Morning

abrams morning

Not a hair out of place in the execution of Morning, the Sailor Records second long-player from Denver three-piece Abrams (interview here). That has its ups and downs, naturally, but is suited to the band’s take on modern progressive heavy rock à la newer Mastodon and Baroness, and with production from Andy Patterson (of SubRosa) and Dave Otero (Khemmis, Cephalic Carnage, etc.), the crisp feel is both purposeful and well earned. Their 2015 debut, Lust. Love. Loss. (review here), dealt with a similar emotional landscape, but bassist/vocalist Taylor Iversen, guitarist/vocalist Zachary Amster and drummer Geoffrey Cotton are tighter and more aggressive here on songs like opener “Worlds Away” (video posted here), “At the End,” “Rivers,” “Can’t Sleep” and “Burned” (video posted here), and “Mourning,” “In this Mask” and closer “Morning” balance in terms of tempo and overall atmosphere, making Morning more than just a collection of master-blasters and giving it a full album’s flow and depth. Like I said, not a hair out of place. Structure, performance, delivery, theme. Abrams have it all precisely where they want it.

Abrams on Thee Facebooks

Abrams on Bandcamp

 

The Grand Astoria, The Fuzz of Destiny

the-grand-astoria-the-fuzz-of-destiny

Dubbed an EP but running 29 minutes and boasting eight tracks, The Grand Astoria’s The Fuzz of Destiny is something of a conceptual release, with the St. Petersburg, Russia-based outfit paying homage to the effect itself. Each song uses a different kind of fuzz pedal, and as the ever-nuanced, progressive outfit make their way through the blown-out pastoralism of opener “Sunflower Queen” and into the nod of “Pocket Guru,” the organ-inclusive bursting fury of “Glass Walls” and the slower and more consuming title-track itself, which directly precedes closer “Eight Years Anniversary Riff” – yup, it’s a riff alright – they’re able to evoke a surprising amount of variety in terms of mood. That’s a credit to The Grand Astoria as songwriters perhaps even more than the differences in tone from song to song here – they’ve certainly shown over their tenure a will to embrace a diverse approach – but in giving tribute to fuzz, The Fuzz of Destiny successfully conveys some of the range a single idea can be used to conjure.

The Grand Astoria on Thee Facebooks

The Grand Astoria on Bandcamp

 

Hosoi Bros., Abuse Your Allusion III

hosoi-bros-abuse-your-allusion-iii

Oh, they’re up to it again, those Hosoi Bros. Their 2016 full-length, Abuse Your Allusion III, from its Guns ‘n’ Roses title reference through the Motörhead riffing of “Saint Tightus” through the stoner punk of “Topless Gnome” and the chugging scorch of the penultimate “Bitches are Nigh” offer primo charm and high-order shenanigans amid the most professional-sounding release of their career. Across a quick 10 tracks and 36 minutes, Hosoi Bros. readily place themselves across the metal/punk divide, and while there’s plenty of nonsense to be had from opener “Mortician” onward through “Lights Out” (video premiere here) and the later swagger of “Unholy Hand Grenade,” the band have never sounded more cohesive in their approach than they do on Abuse Your Allusion III, and the clean production only seems to highlight the songwriting at work underneath all the zany happenings across the record’s span, thereby doing them and the band alike a service as they make a convincing argument to their audience: Have fun. Live a little. It won’t hurt that much.

Hosoi Bros on Thee Facebooks

Hosoi Bros. on Bandcamp

 

Codeia, “Don’t be Afraid,” She Whispered and Disappeared

codeia-dont-be-afraid-she-whispered-and-disappeared

There’s actually very little that gets “Lost in Translation” in the thusly-titled 22-minute opener and longest cut (immediate points) of German post-metallers Codeia’s cumbersomely-named Backbite Records debut album, “Don’t be Afraid,” She Whispered and Disappeared. With heavy post-rock textures and an overarching sense of cerebral progressivism to its wash underscored by swells of low-end distortion, the three-piece of guitarist/backing vocalist Markus L., bassist/vocalist Denis S. and drummer Timo L. bring to bear patience out of the peak-era Isis or Cult of Luna sphere, sudden volume shifts, pervasive ambience, flourish of extremity and all. Nine-minute centerpiece “Shaping Stone” has its flash of aggression early before shifting into hypnotic and repetitive groove and subsequent blastbeaten furies, and 16-minute closer “Facing Extinction” caps the three-song/48-minute offering with nodding Russian Circles-style chug topped with growls that mask the layer of melodic drone filling out the mix beneath. They’re on familiar stylistic ground, but the breadth, depth and complexity Codeia bring to their extended structures are immersive all the same.

Codeia on Thee Facebooks

Backbite Records website

Mountain Range Creative Factory website

 

Ealdor Bealu, Dark Water at the Foot of the Mountain

ealdor-bealu-dark-water-at-the-foot-of-the-mountain

“Water Cycle,” the 13-minute opener and longest track (immediate points) of Ealdor Bealu’s debut full-length, Dark Water at the Foot of the Mountain, introduces a meditative feel and a breadth of sound that helps to define everything that follows. The ostensible side B leadoff of the self-release, “This too Shall Endure” (11:04), offers no less depth of atmosphere, and the graceful psychedelic expanses of the penultimate “Behind the Veil” continue to add to the overall scope with interplay of tempo variety and acoustic and electric guitar, but even earlier, shorter cuts like the wistful indie rocker “Deep Dark Below” and the linear-building “Behold the Sunrise” have an underlying progressivism that ties them to the longer form material, and likewise the particularly exploratory feeling “Ebb and Flow,” which though it’s the shortest cut at just over five minutes resonates as a standout jam ahead of “Behind the Veil” and subtly proggy seven-minute closer “Time Traveler.” The Boise-based four-piece of guitarist/vocalist/spearhead Carson Russell, guitarist Travis Abbott (also The Western Mystics), bassist/vocalist Rylie Collingwood and drummer/percussionist/saxophonist Alex Wargo bring the 56-minute offering to bear with marked patience and impress in the complexity of their arrangements and the identifiable human core that lies beneath them.

Ealdor Bealu on Thee Facebooks

Ealdor Bealu on Bandcamp

 

Stone Lotus, Comastone

I can take spicier foods than I ever could before.

One might consider the title of “Mountain of Filth,” the second cut on Stone Lotus’ debut album, Comastone, a mission statement for the Southwestern Australian trio’s vicious ‘n’ viscous brand of rolling, tonal-molasses sludge. Yeah, the three-piece of guitarist/vocalist Dave Baker, bassist Samuel Noire and drummer Reece Fleming bring ambience to the interlude “Aum,” the slower loud/quiet shifts in “Anthropocene” and the subsequent “Umbra” that leads into the creepy launch of the title-track – in fact, quiet starts are something of a theme throughout Comastone; even the thudding toms that begin opener “Swamp Coven” pale in comparison to the volume swell of massive distortion that follows closely behind – but it’s the rhythmic lumber and the harsh vocals from Baker that define their course through the darker recesses of sludged-out misanthropy. No complaints there, especially on a first long-player, but Stone Lotus are right to keep in mind the flourish of atmosphere their material offers, and one hopes that develops parallel to all the crushing weight of their mountainous approach.

Stone Lotus on Thee Facebooks

Stone Lotus on Bandcamp

 

Green Yeti, Desert Show

I'm not sure if that's an effect of dropping carbs or how it would be, but it's strange.

Even before it announces its heft, Green Yeti’s Desert Show casts forth its spaciousness. The second offering from the Athens-based trio in as many years dogwhistles heavy riffing intent even unto its David Paul Seymour album cover, but the five track rollout from guitarist/vocalist Michael Andresakis, bassist/producer Danis Avramidis and drummer Giannis Koutroumpis, as it shifts from the opening salvo of “Black Planets (Part 1)” and “Black Planets (Part 2)” into the Spanish-language centerpiece “Rojo” (direct homage perhaps to Los Natas? if so, effectively done) and into the broader-ranging “Bad Sleep (Part 1)” and 15-minute closer “Bad Sleep (Part 2)” builds just as much on its atmosphere as on its newer-school stoner rock groove and fuzz riffing. It is a 41-minute span that, without question, speaks to the heavy rock converted and plays to genre, but even taken next to the band’s 2016 debut, The Yeti has Landed, Desert Show demonstrates clear growth in writing and style, and stands as further proof of the emergence of Greece as a major contributor to the sphere of Europe’s heavy underground. Something special is happening in and outside of Athens. Green Yeti arrive at the perfect time to be a part of it.

Green Yeti on Thee Facebooks

Green Yeti on Bandcamp

 

Seer, Victims

seer victims

Let’s just assume that Seer won’t be asked to play at Dorney Park anytime soon. The Allentown, Pennsylvania, three-piece dig into largesse-minded instrumental riffing someplace between doom and sludge and do so on raw, formative fashion on the two-song Victims EP, which features the tracks “Victims… Aren’t We All?” and “Swollen Pit,” which is a redux from their 2015 debut short release, Vaped Remains. Some touch of Electric Wizard-style wah in Rybo’s guitar stands out in the second half of the opener, and the closer effectively moves from its initial crawl into post-Sleep stonerized idolatry, but the point of Victims isn’t nearly as much about scope as it is about Rybo, bassist Kelsi and drummer Yvonne setting forth on a stomping path of groove and riff worship, rumbling sans pretense loud enough to crack the I-78 corridor and offering the clever equalizer recommendation to put the bass, treble and mids all at six. Think about it for a second. Not too long though.

Seer on Thee Facebooks

Seer on Bandcamp

 

Bretus, From the Twilight Zone

bretus-from-the-twilight-zone

Doom! Horror! Riffs! Though it starts out with quiet acoustics and unfolds in echoing weirdness, Bretus’ new album, …From the Twilight Zone, more or less shouts these things from the proverbial cathedral rafters throughout its seven tracks. The Catanzaro, Italy, foursome weren’t shy about bringing an air of screamy sludge to their 2015 sophomore outing, The Shadow over Innsmouth (discussed here), but …From the Twilight Zone shifts more toward a Reverend Bizarre trad doom loyalism that suits the Endless Winter release remarkably well. Those acoustics pop up again in expanded-breadth centerpiece/highlight “Danza Macabra” and closer “Lizard Woman,” and thereby provide something of a narrative thread to the offering as a whole, but on the level of doom-for-doomers, there’s very little about the aesthetic that Bretus leave wanting throughout, whether it’s the faster-chug into drifting fluidity of “The Murder” or the nodding stomp of “In the Vault” (demo posted here) and crypto-NWOBHM flourish of “Old Dark House” (video posted here). Not trying to remake doom in their own image, but conjuring an eerie and engaging take in conversation with the masters of the form.

Bretus on Thee Facebooks

Endless Winter Records

 

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

Quarterly Review: Enslaved, Hour of 13, Operators, MaidaVale, Audion, Bone Man, Riff Fist, Helén, Savanah, Puta Volcano

Posted in Reviews on July 12th, 2017 by JJ Koczan

quarterly-review-summer-2017

I don’t know about you, but I could do this all day. Listening to records, writing reviews, getting things done that I’ve been trying to get done in some cases for actual months of my life — suffice it to say I’m way into this process. Wednesday is always a special day for the Quarterly Review because we pass the halfway point, and as much as I wish this edition went to 60 or even 70 releases, because rest assured even with 50 total there’s way more I could be covering if I had space/time, the good news is there’s still much more awesomeness to come. Today gets into some different vibes once again, so let’s get started.

Quarterly Review #21-30:

Enslaved, Roadburn Live

enslaved-roadburn-live

In their storied and groundbreaking career, Norwegian progressive black metallers Enslaved have never put out a live record, and it kind of makes sense as to why. The nuance of what they’ve come to do in their studio material doesn’t really lend itself to the rawness of a live album. Accordingly, Roadburn Live (on ByNorse and Burning World Records) feels almost as much of an homage to the event itself as to the performance. Captured in 2015 as Enslaved guitarist Ivar Bjørnson co-curated and the band headlined playing a special set of their more prog-focused songs – here more recent material like “In Times,” “Building with Fire,” “Daylight” from 2015’s In Times (review here) and “Death in the Eyes of Dawn” from 2012’s RIITIIR (review here) shines along with “Convoys to Nothingness” from 2001’s Monumension, “As Fire Swept Clean the Earth” from 2003’s Below the Lights and the requisite “Isa” from the 2004 landmark of the same name, and a special highlight comes at the finale when they cover Led Zeppelin’s “Immigrant Song” and bring guitarist Menno Gootjes of Dutch proggers Focus out for a guest spot. Roadburn Live might be a step away from the band’s usual modus, but Enslaved have made their career on pushing themselves beyond their comfort zone, so why stop now?

Enslaved on Thee Facebooks

Burning World Records website

ByNorse Music website

 

Hour of 13, Salt the Dead: The Rare and Unreleased

hour of 13 salt the dead

An overdue compilation from a band making an overdue return, Hour of 13’s Salt the Earth: The Rare and Unreleased reunites the doomers led by multi-instrumentalist Chad Davis with Shadow Kingdom Records and brings together early demos from 2007 – on which the collaboration between Davis and vocalist Phil Swanson was arguably at its most vibrant as they headed into their self-titled debut full-length later that year – with other previously unissued cuts like three songs with Davis on vocals including the Jason McCash tribute piece “Upon Black Wings We Die” (premiered here) and the original rehearsal demos that introduced Beaten Back to Pure singer Ben Hogg as Swanson’s replacement in the band in 2011 (premiered here). If you want a direct feel for the breadth of the band, look no further than the three versions of “Call to Satan” that appear on Salt the Earth. Widely varied between them in sound and overall feel, they underscore the tumult that has existed since the outset at the core of Hour of 13 even as they provide hope that the band previously laid to rest can revitalize enough to put out a fourth studio offering.

Hour of 13 on Thee Facebooks

Shadow Kingdom Records website

 

Operators, Revelers

operators revelers

Nearly four years in the making, Revelers is the third full-length from Berlin’s Operators behind 2013’s Contact High (review here) and 2012’s Operators (review here), and it starts off by smashing Uncle Acid and the Deadbeats swing headfirst into Goatsnake riffing on “Leveled Reveler,” the first of its six component tracks. Their arrangements, as ever, are marked by the featured position of organ along with guitar, bass and drums, and whether it’s a more extended jam like that opener, “Messina” or the closing “Rolling Hitch” – which boasts a guest vocal/guitar spot from Wight’s René Hofmann, who also recorded and mixed (Tony Reed of Mos Generator mastered) – or the shorter momentum-building winding course through “Pusher,” “Walkin’ on Air” (I’m not sure what’s happening at the end there, but I’m not about to spoil it) and the winning-at-song-titles “Fuzz Muncher,” Operators function with a maturity of approach that seems to have been earned during the longer stretch between releases. To wit, all the turns and pivots even out in the last movement of “Rolling Hitch” and Revelers caps with a classic heavy rock groove that’s neither in a hurry nor staid – Operators finding crucial balance amidst all their revelry, and much to their credit.

Operators on Thee Facebooks

Fuzzmatazz Records on Bandcamp

 

MaidaVale, Tales of the Wicked West

maidavale tales of the wicked west

Blues Pills. There. I said it. Now that the blues-rocking elephant in the room has been acknowledged, perhaps we can get on with Swedish four-piece MaidaVale’s debut full-length, Tales of the Wicked West (on The Sign Records). Yes, the Fårösund-based band owe a bit of their soulfulness to the aforementioned, but the nine-track/44-minute long-player thrives most of all as Linn Johannesson, Sofia Ström, Matilda Roth and Johanna Hansson purposefully meander into psychedelic flashes, as in opener “(If You Want the Smoke) Be the Fire,” the midsection of “The Greatest Story Ever Told,” the penultimate Zep-vibing/Bukowski-referencing “Find What You Love and Let it Kill You” and the 11-minute post-“Maggot Brain” closer “Heaven and Earth.” It’s in these moments and the manner in which they blend with the driving rock of “Dirty War,” the bluesy swagger of “Restless Wanderer” and the deft turns of “Colour Blind” early on that MaidaVale’s individualism is beginning to take shape, and if that’s the story that Tales of the Wicked West is telling, then it’s one well worth following through subsequent chapters.

MaidaVale on Thee Facebooks

The Sign Records on Thee Facebooks

 

Audion, La Historia de Abraham

audion-la-histora-de-abraham

Audion’s debut, La Historia de Abraham, is immediately noteworthy in no small part because it brings the rhythm section of Los Natas back together for the first time since that band’s breakup following 2009’s excellent Nuevo Orden de la Libertad (review here). Drummer Walter Broide and bassist Gonzalo Villagra join forces in the new outfit with guitarist Dizzy Espeche, and all three contribute vocals throughout at least in backup capacity, adding variety to go with the instrumental breadth that runs from the serene end of “Llegaron Sordos” right into the rush of “La Maquina del Tiempo” and well beyond later as the interlude “Para Rosita” introduces an earthy acoustidelic feel and “El Carancho” explores ‘70s anthemic rock before the fuzz- and horn-laden finisher “Queruzalem” closes out with a surprising progressive wash. Cuts like opener “Clarence,” the title-track and “Colmillo Blanco” can call to mind Villagra and Broide’s previous work, but Audion make a fresh impression on La Historia de Abraham in the variety throughout, and as they make their way through “Lesbotrans” and “Diablo vs. Dios” and into the second half of the album, it becomes increasingly clear how distinct this first offering actually is.

Audion on Thee Facebooks

Audion on Bandcamp

 

Bone Man, III

bone man iii

To go along with the propulsive rhythm of “False Ambition” and the wash in the payoff of the earlier “These Days are Gone,” there’s a sense of gothic drama to vocalist Marian’s delivery that adds further atmosphere to Bone Man’s III (on Pink Tank Records), and in kind with the cohesive foundation of Arne’s bass, Ötzi’s drumming and his own scorch-prone guitar, that gives cuts like “Cold Echo” and the alternately brooding and explosive centerpiece – layered acoustic and electric guitar filling out the sound further – even more stylistic depth. That moodiness comes perhaps most into focus on the more subdued “Incognito,” but it’s there from the boogie-laced opener “Pollyanna” onward, and in the jagged push of “Years of Sorrow” and the more spacious finale “Amnesia” (still a tightly structured four minutes in length), it lends III a persona stretching beyond what one might think of as the standard genre fare and gives the Kiel, Germany, outfit a presence decidedly their own. It’s their third record, so maybe that’s not a surprise for a band who made their first offering eight years ago, but it serves as a major source of resonance in the material nonetheless.

Bone Man on Thee Facebooks

Pink Tank Records website

 

Riff Fist, King Tide

riff fist king iii

Going back to 2013, Melbourne, Australia, trio Riff Fist have basically summed up their approach in the eight letters of their name: a tight-knit approach to guitar-led heavy rock, as straightforward as a fist in your face. King Tide is their debut album after three EPs named for the Clint Eastwood Dollars trilogy of westerns – 2015’s The Good, the Loud and the Riff, 2014’s For a Few Riffs More and 2013’s Fistful of Riffs (review here) – and it significantly expands their breadth. Opening with its longest track (immediate points) in the 11-minute title cut (video premiered here), King Tide covers new, more patient and encompassing ground from bassist/vocalist Cozza, guitarist Casey and drummer Joel than anything they’ve touched on before, and while the subsequent “D.T.U.B.,” fuzz-laden “Fist Bier (Noch Eins)” and even the first half of eight-minute centerpiece “Chugg” bring that all-ahead sensibility back into focus, King Tide remains effectively and engagingly informed by its leadoff impression through its total 33-minute run, which is rounded out as “Beer and a Cigarette” melds the more spacious and atmospheric take with a still-swinging post-Clutch groove. There’s more work to do in tying the various sides together, but King Tide is a rousing introduction to the process through which the band can make that happen.

Riff Fist on Thee Facebooks

Riff Fist on Bandcamp

 

Helén, Helén

helen helen

Hexvessel multi-instrumentalist and vocalist Kimmo Helén makes a willfully peculiar and experimentalist self-titled debut with the solo-project Helén via Svart Records, setting a course through melodic indie wash in “Uusi Olento” even as “Jumalan Hullu” threatens in its bounce and the later “Lystia” moves into yet-darker expanses. Keys, electric and acoustic guitar, sax, and of course Helén’s own Finnish-language vocals, there’s very little that feels like it might be outside his comfort zone in terms of craft, and Helén, the album, is just as effective in the plus-cello-acoustic-minimalism of the penultimate “Lopussa” as in the earlier atmospheric breadth of “Puolen Metrin Syvyydessä.” Closing out with the alternately melancholy and dreamy “Kaikki Isä,” the record brings out a full-band feel despite Helén having handled the vast majority of the instrumentation on his own and impresses in that as well as in its range of moods and overarching sense of purpose. May it be a first exploration in a series of many.

Helén on Thee Facebooks

Helén at Svart Records webstore

 

Savanah, The Healer

savanah the healer

I won’t take away from a wah-drenched rocker like “The Healer,” which still jams out plenty before digging into doomier lumbering, but where Austrian trio Savanah’s Stone Free Records debut album, The Healer, really gets its point across is in the fluidity of its longer-form material, whether that’s post-“Intro” opener “Mind,” the ebbing and flowing heavy psych instrumental “Pillars of Creation” or the over-10-minutes-apiece closing pair of the doom rocking “Black Widow” and “Panoramic View of Stormy Weather,” which effectively draws together the multiple aesthetic faces the three-piece demonstrate throughout the record preceding, culling rock, psych and doom into a single riff-driven entity and, most importantly, making it theirs. Guitar leads the way with big, natural fuzz, but the rhythm section is crucial here, and as Benny, Felix and Jakob follow-up their 2015 EP, Deep Shades, they seem to establish a path along which they can flourish and hopefully continue to capture the listener’s attention as they do here.

Savanah on Thee Facebooks

StoneFree Records website

 

Puta Volcano, Harmony of Spheres

puta volcano harmony of spheres

The kind of release where by the end of the first song you want to own everything the band has ever put out. Don’t let Athens’ Puta Volcano get lost in the wash of bands coming out of Greece these days, because there are many, but if you miss out on the blend of desert-style tones and graceful melodies of “Bird,” it’s to your general detriment. I’m serious. In craft and performance, Puta Volcano’s third album, Harmony of Spheres, takes on unpretentious progressivism in songwriting and blends it with a post-Slo Burn/Hermano sense of freedom from genre. Witness the funky “Zeroth Law” or the later, more subtle post-grunge linearity of “Moebius,” the odd chanting repetitions in closer “Infinity” or the nigh-on-maddening hook of “Jovian Winds.” Really, do it. With the lineup of vocalist Luna Stoner, guitarist Alex Pi, bassist Bookies and drummer Steven Stefanidis, Puta Volcano are onto something special in aesthetic and delivery, and if Harmony of Spheres might be your first experience with the band as it’s mine, it’s one that will no doubt warrant multiple revisits. Consider it sleeper fodder for your year-end list – I know I will.

Puta Volcano on Thee Facebooks

Puta Volcano on Bandcamp

 

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

Naxatras Announce Fall European Tour Dates; Third Album Coming Soon

Posted in Whathaveyou on July 7th, 2017 by JJ Koczan

naxatras

One more or less expects word of the arrival of the third Naxatras full-length any minute now — if not the actual arrival itself. The Greek heavy psych jammers, who also recently reissued their 2015 self-titled debut on gatefold vinyl (discussed here), entered the studio in May to record the follow-up to last year’s II (review here), and as their overarching penchant to-date has been for surprise-dropping new releases rather than delving into a cycle of hype beforehand, it wouldn’t be overly shocking to wake up one morning and find what may or may not be titled III sitting on their Bandcamp, waiting to be explored.

At very least, I wouldn’t complain about it if that happened — except for the fact that that would instantly put me behind in reviewing it. In the meantime, the three-piece just completed a mini-tour of the Balkans that rounded out July 1 at the Mount of Artan Festival (at which the photo included here was taken), and they’ve announced a previously-threatened Fall 2017 European tour presented by Total Volume that includes their prior-confirmed slot at Keep it Low 2017 in Munich. One assumes that by the time they hit the road again, the third record will be out one way or another, and hell, knowing these guys, the fourth may already be in progress, certainly then if not now.

And if not now, when?

Wait, what?

Here are tour dates, courtesy of Total Volume via the PR wire:

naxatras european tour

NAXATRAS EUROPEAN TOUR 2017

If you hate the feeling and the vibes following the end of the summer, worry not! Naxatras are planning to extend this year’s summer long enough to get you going!

Having the experience of 2 tours already, Naxatras are heading out to their biggest one to date, which includes 12 different countries, a bunch of festivals, as well as some specials including Keep it Low Festival, Smoke Over Warsaw, Soulstone Gathering etc.!

With 2 full length albums and 1 EP in their luggage, it will surely be a psychedelic/jazzy/funky/progressive/unearthly trip not to be missed!

Brought to you by Total Volume!
Illustration by Chris RW

Dates:
21/09 – Novi Sad (RS) @ Quarter
22/09 – Timisoara (RO) @ Daos Club
23/09 – Cluj-Napoca (RO) @ The Shelter
24/09 – Budapest (HU) @ Durer Kert
26/09 – Salzburg (AT) @ Rockhouse
28/09 – Vienna (AT) @ Viper Room
30/09 – Jena (DE) @ Kulturbahnhof
01/10 – Dresden (DE) @ Roter Baum
02/10 – Leipzig (DE) @ Black Label
04/10 – Prague (CZ) @ Klubovna
05/10 – Poznan (PL) @ u Bazyla
06/10 – Krakow (PL) @ Soulstone Gathering
07/10 – Warsaw (PL) @ Smoke over Warsaw
08/10 – Berlin (DE) @ Zukunft am Ostkreuz
10/10 – Trier (DE) @ Frankenturm
11/10 – Lille (FR) @ La Malterie
12/10 – Portsmouth (UK) @ Wave Maiden
13/10 – Brighton (UK) @ The Hope and Ruin
14/10 – Leeds (UK) @ Wharf Chambers
15/10 – London (UK) @ The Brewhouse
17/10 – Poitiers (FR) @ Cluricaume
18/10 – Nantes (FR) @ Scène Michelet
19/10 – Paris (FR) @ Gibus Live
20/10 – Lucerne (CH) @ Bruch Brothers
21/10 – Munich (DE) @ Keep it Low
22/10 – Ostfildern (DE) @ Zentrum Zinsholz
24/10 – Graz (AT) @ Music House
25/10 – Zagreb (HR) @ Klub Studenata Elektrotehnike
26/10 – Nis (RS) @ Feedback
27/10 – Sofia (BG) @ Live n Loud

Naxatras is:
John Delias – Guitar
Kostas Harizanis – Drums
John Vagenas – Bass & Vocals

https://www.facebook.com/naxatras/
https://naxatras.bandcamp.com/
https://www.facebook.com/totalvolumebackline/

Naxatras, Naxatras (2015)

Tags: , , ,

Desertfest Athens 2017 Announces Church of Misery, Stoned Jesus & Mahakala for Lineup

Posted in Whathaveyou on June 6th, 2017 by JJ Koczan

desertfest-athens-2017-banner

Desertfest Athens 2017 continues to take shape on its own terms, adding to its quality-plus-quantity lineup with Japanese/American doomers Church of Misery, Ukrainian trio Stoned Jesus and hometown metallers Mahakala. The three acts vary pretty widely between them, as does the bill of the second Desertfest Athens overall, with the legendary doom of Saint Vitus, the boogie-thrust of Radio Moscow (who’ll have a new album out, remember), the groundbreaking heavy psych of Colour Haze, the hooch-swilling pummel of Orange Goblin and the revamped soul of Graveyard at the top of the lineup, but one could hardly accuse it of not making sense. The more the merrier, and with Greek outfits like Puta Volcano, Sadhus and Allochiria already included, it seems like the fest as a whole is only getting bigger this time around.

Which, if you’ve been paying attention for the last half-decade or so, you already know is how it goes with Desertfests. That’s been the tale of Berlin and London all along, and Belgium too. As the youngest incarnation of the festival, Athens has its work cut out for it in getting to the point where the others find themselves, but Greece has one of the most active heavy undergrounds in Europe right now and I’ve no doubt that with a lineup as strong as this one already is, they’ll absolutely get there.

Fest is set for Oct. 6 and 7. Here’s the latest:

desertfest-athens-2017-new-poster

2ND DESERTFEST ATHENS

ACRO
06-07.10.2017

Graveyard
Colour Haze
Orange Goblin
Radio Moscow
Saint Vitus
Church of Misery
Stoned Jesus
Mahakala
Sadhus: The Smoking Community
Allochiria
Puta Volcano

Stoned Jesus are back in Greece!!!! They will join this year’s edition of Desertfest Athens!! Here come the Robots!!

Mahakala, Satan’s finest, will deliver their sophomore album, “The Second Fall”, in front of the Desertfest Army!!! Beware!!

Church of Misery Official live at Desertfest Athens!!! The Japanese Doomsters are the last announcement for today, but at the same time one of the most exciting additions to this year’s line up!!!

Early-bird tickets are exhausted. Now only two-day tickets are sold for 50 euros.

https://www.viva.gr/tickets/music/acro/desertfest-athens-2017/
https://www.facebook.com/events/141861139680368/
https://www.facebook.com/Desertfest-Athens-189161564797514/

Stoned Jesus, “Here Come the Robots” official video

Tags: , , , , , ,

Tuber Release New Album Out of the Blue

Posted in Whathaveyou on June 2nd, 2017 by JJ Koczan

tuber

Whatever else you might say about Tuber‘s newly-issued second full-length, Out of the Blue, it certainly lives up to its name. Last time we heard from the Greek instrumental four-piece, they were playing Desertfest Berlin 2017, thanking the crowd, and then all of a sudden, they’ve got a follow-up to their 2013 debut, Desert Overcrowded, posted on their Bandcamp. And it’s not just another record — it’s one that brings in copious keyboard elements and different styles to add progressive flair and scope to the band’s riffy underpinnings.

To wit, the whole thing’s streaming now and you can check out the synthy pulsations of “Cat Class” or the proggy post-fuzz of “Luckily Dead” as the band seem to draw inspiration from various heavy and hard rocks across the ages as they find a way to unite it all with a nod-ready groove. The sudden nature of Out of the Blue‘s arrival doesn’t make it any less welcome, certainly, and it shows quickly that while it may have taken three-plus years for Tuber to get this record out, they haven’t at all been stagnant during that time. Vinyl and CD are reportedly coming soon but can be preordered now.

I’ll have a proper review in the weeks to come, but for now, here’s all the info, audio and links, culled from the social medias and their Bandcamp page. Dig it:

tuber out of the blue

Here it is, “Out of the Blue”, our new record available NOW for digital download and physical preorder for Vinyl and CD through https://tuber.bandcamp.com/album/out-of-the-blue

You can also listen to it, at its entirety, on our YouTube channel https://goo.gl/Fk2COq

Soon also available through iTunes, Spotify, etc

Tracklisting:
1. Out Of The Blue 07:06
2. Russian 05:39
3. Cat Class 06:47
4. Noman 08:14
5. Moon Rabbit 06:30
6. Luckily Dead 07:23

Released May 31, 2017

All music written, arranged and performed by Tuber
Produced by Paris Fragkos and Tuber at Flow Recordings, Serres, GR
Mixed by Paris Fragkos www.facebook.com/flowrecordings
Mastering by Brad Blackwood at Euphonic Masters, Memphis, Tennessee.
Cover Layout by Originalreplica.gr
Photography by Panagiota Karagiorgou
Released by NEDA, June 2017

Tuber is:
Yannis Gerostathos
Yannis Artzoglou
Nickos Gerostathos
Paris Fragkos

https://www.facebook.com/tuberband/
https://tuber.bandcamp.com/album/out-of-the-blue

Tuber, Out of the Blue (2017)

Tags: , , , , ,

Black Hat Bones Sign with Total Volume Booking

Posted in Whathaveyou on May 26th, 2017 by JJ Koczan

Greek heavy rockers Black Hat Bones released their second album, Born in a Thunder, in March, and it looks like they’ll soon enough be taking to the streets to support it. The Athens-based four-piece have inked a deal to work with Total Volume Booking (Geezer, Naxatras, Green Yeti, etc.) to bring their crisp energy to stages around Europe, and while dates haven’t been announced yet, the band hasn’t exactly been shy about getting out in Greece, playing Desertfest Athens last year and more besides.

If you didn’t hear Born in a Thunder, it’s basically a parade of high-energy hooks served straight up like a cold shot of AC/DC-style songwriting, and it’s streaming in full at the bottom of this post from their Bandcamp, so, you know, dig in.

From the PR wire:

black hat bones

Black Hat Bones (GR) joining forces with Total Volume

Hailing from Sparta, but currently residing in the Greek capital, we present to you Black Hat Bones!

If highly energetic performances, screaming solos, growling bass and a vocalist from which you can’t get your eyes off, are your kind of thing, then you’re in for a treat! After partying in well-known stages throughout Greece, but also taking part in notable festivals like Rockwave Festival, Desert Fest Athens, Fuzztastic planet, as well as the upcoming Ejekt Festival, it’s time for these dudes to cross the borders and spread their high-energy rock ‘n’ roll to the masses!

With their latest work, “Born in a Thunder”, already released in both digital and physical format through the band’s bandcamp, get ready to witness a, what now the guys call, “adrenaline fueled POP music party”.

Bio:

We are Black Hat Bones, a high energy / heavy rock band from Sparta(Greece) formed back in 2009. Since 2011, we moved to Athens(Greece) and we managed to release our first Ep, a digital single and our debut full length album “High Gain Devil Rockers” through Trailblazer Records. All these received some incredible feedback (zines, blogs, radio / tv stations ) from all over the world (Canada to France, UK, Italy , Poland, Netherlands, Sweden, Greece). Our latest album called “Born in a Thunder”is out now in digital & physical format (vinyl 180gr) and we’re currently touring Greece spreading rock ‘n’ roll to the masses, looking forward to cross the borders!

Long story short, we’ve been rockin’ this place for quite some time now, and we’re looking forward to come to your place! So, if you’re still reading this, press one of the links below, and let’s book a show so we can meet, dance, drink, and headbang!

https://www.facebook.com/BlackHatBones/
https://www.instagram.com/blackhatbones/
https://blackhatbones.bandcamp.com/album/born-in-a-thunder-2017
https://www.facebook.com/totalvolumebackline/
http://totalvolumeagency.com/

Black Hat Bones, Born in a Thunder (2017)

Tags: , , ,

Green Yeti: Preorders for Desert Show Start June 2

Posted in Whathaveyou on May 23rd, 2017 by JJ Koczan

If you’ve been following along the saga of Athenian heavy rockers Green Yeti this Spring, you already know that the three-piece signed to Cursed Tongue Records earlier this month to issue their second album in as many years, Desert Show, on vinyl, merely days after giving it an independent digital release on April 21 and merely days before embarking on their first-ever round of tour dates on May 3. It’s been a busy time, to put it mildly.

The story looks set to continue into summer as Cursed Tongue has set an Aug. 21 release for the Desert Show LP and will launch preorders for the limited vinyl on June 2. There are three editions available that you can see in the banner below, and if you’re wondering, Central European Time is five hours ahead of Eastern US Daylight Time. Just in case you didn’t want to Google “what time is it?”

Here’s all the info I’ve got:

GREEN YETI PREORDERS

We are launching pre-orders for CTR-003 that is Green Yeti – Desert Show vinyl lp on June 2nd via our bigcartel store. Slated release date is August 21.

Vinyl pressing has been ordered and we are awaiting the TP’s within few weeks.

Once again remastered for vinyl by Tony Reed who has done a stellar job making everything really pop.

People familiar with the genres should already be more than acquainted with this green, Greek super nugget of a stoner monster and know what to expect from the Green Yeti band, namely deep fat bass lines, slow pounding cave-man drumming seasoned with intelligent spaced out guitar playing and memorable riffs and hooks.

Stay tuned for further info very soon as this vinyl release will be here before you know it.

Please welcome Green Yeti to the CTR-family and now let us have a good time! Kick back, grab a green (leaf or bottle), indulge in the Yeti’s second march and enjoy the desert show.

Green Yeti is:
Bass: Danis Avramidis
Guitar & Vocals: Michael Andresakis
Drums: Giannis Koutroubis

https://www.facebook.com/greenyetiband/
https://twitter.com/GreenYetiBand
https://greenyeti.bandcamp.com/album/desert-show
https://www.facebook.com/CursedTongueRecords/
http://cursedtonguerecords.bigcartel.com/

Green Yeti, Desert Show (2017)

Tags: , , , , ,