REZN Announce New Album Calm Black Water Due Oct. 10

Posted in Whathaveyou on August 10th, 2018 by JJ Koczan

rezn

After an encouraging debut in 2017’s Let it Burn (review here), Chicago psych-of-stone riffers REZN are back on the quick with a second album. Titled Calm Black Water, the new offering is set for issue on vinyl through Off the Record Label in the Netherlands (see also Stone Machine Electric), and will be pressed in three different versions all totaling 500 copies. The same imprint stood behind a vinyl edition of the first record that’s nearly sold out, so they’ll have preorders open for Calm Black Water a month in advance. Plenty of time ahead of the Oct. 10 release.

In order to give a bit of a glimpse — not too much of a glimpse, but you know, a teaser — the band have a clip posted from the track “Quantum Being,” and while the mere use of the word “quantum” in a title makes one want to compare them to YOB, the song has more in common with earlier Windhand or Electric Wizard at their foggiest, and as it rolls out a lurching, nodding groove, it only bodes well in terms of sonic largesse for whatever else the record might hold in terms of overarching atmospheric breadth/crush. I look forward to finding out.

Like the song snippet, their announcement was quick and to the point:

rezn calm black water

REZN has conjured another sonic gateway. Entitled ‘Calm Black Water’, the new full-length record embodies a deep-sea journey to the center of your mind.

Limited to 500 copies worldwide via Off The Record Label, ‘Calm Black Water’ will be available on vinyl in three exclusive colors: Blue/Clear/Black, Purple/Clear/Black, and 180g Black.

Listen to a preview of the track “Quantum Being” here.

Preorders for vinyl open September 10th and the digital/physical release date is set for October 10th, available here:
US/Canada: rezzzn.bandcamp.com
International: offtherecordlabel.bigcartel.com

Prepare your consciousness for the abyss.

REZN are:
Phil Cangelosi
Patrick Dunn
Rob McWilliams
Spencer Ouellette

facebook.com/reznhits
instagram.com/rezzzn
rezzzn.bandcamp.com
offtherecordlabel.bigcartel.com
https://www.facebook.com/Off-The-Record-1558728014411885/
https://www.offtherecordshop.nl/index.php/off-the-record-label

REZN, “Quantum Being” teaser

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The Skull Post “Ravenswood” Lyric Video

Posted in Bootleg Theater on August 6th, 2018 by JJ Koczan

the skull

Because of their origins and their moniker, one tends to think of The Skull as being a post-Trouble band, right? It’s bassist Ron Holzner and vocalist Eric Wagner, both ex-members of that legendary Chicago outfit, with guitarist Lothar Keller at the band’s core. They started out playing Trouble covers, and until they released their 2014 debut, For Those Which are Asleep (review here), that’s how they were mostly known. But with Witch Mountain‘s Rob Wrong on guitar and ex-Cathedral drummer Brian Dixon in the lineup, isn’t it only fair to call them a supergroup as they head toward the Sept. 7 release of their second full-length, The Endless Road Turns Dark?

After all, these aren’t exactly minor players who’ve come aboard,The Skull The Endless Road Turns Dark and while I don’t know the splits of who did what in the writing process — “This song is 83 percent Holzner!” and so on — it’s hard to imagine Wrong wouldn’t have a hand in writing leads. He’s so god damned good at them, it would be a wasted resource to not have him write his own parts. And Dixon rolled out grooves for one of modern doom’s formative acts. He’s well acquainted with working around a crucial riff. Listening to the two tracks they’ve so far released from sophomore record — by astounding coincidence, the first two that appear on the album — aside from the sheer impact of the Sanford Parker production, it’s striking just how much personality there is in the songs. The Skull weren’t exactly lacking character on the first record, but it’s clear their time on tour domestically and internationally has brought them together in a new way.

Preorders are up for the album now through Tee Pee Records, and you’ll find that link under the “Ravenswood” video below, along with the clip for the title-track, which I’ve included here because I didn’t get the chance to post it before because I’m terrible at everything and blah blah blah self-loathing.

Info from the PR wire follows as well.

Please enjoy:

The Skull, “Ravenswood” official lyric video

The Skull, featuring vocalist Eric Wagner and bassist Ron Holzner, formerly of metal legends Trouble, has completed work on its highly anticipated sophomore album. Titled, The Endless Road Turns Dark, the LP was recorded in Chicago’s Decade Music Studios with engineer Sanford Parker (Yob, Tombs) and builds on the foundation laid by The Skull’s debut album, For Those Which Are Asleep, a recording that landed at or near the top of a host of 2014 year-end best of lists. The Endless Road Turns Dark will be released on September 7 via Tee Pee Records.

“‘Ravenswood’ is one of my favorite lyrics on the new album, The Endless Road Turns Dark,” Wagner enthuses. “This reminds me of where I truly am in life and all that I had to go through to get here.”

The Skull, which also features longtime Cathedral drummer Brian Dixon, guitarist Lothar Keller (Sacred Dawn), and guitarist Rob Wrong (Witch Mountain), creates classic Sabbathian doom with a psych-tinged metal vision. The respected group’s impending album, The Endless Road Turns Dark, benefits greatly from the pedigree and experience of the band’s members and pushes authentic, old-school metal to heavier and more foreboding places, fueled by burly riffing, metallic groove and a crushing punch. Ethereal and wonderfully moody with a heart of heavy metal beating at its center, the record delivers definitive doom metal full of powerful builds and mesmerizing dynamic range. More than a mere throwback, The Endless Road Turns Dark is the work of a band that respects their fans, understands their own history, and still has their ears open to the current doom metal landscape. A wicked exercise in heavy metal majesty, The Endless Road Turns Dark plays like a natural extension of the musicians exemplary work during their 20-plus years with Trouble and cements The Skull as modern day doom metal royalty.

Track listing:

1.) The Endless Road Turns Dark
2.) Ravenswood
3.) Breathing Underwater
4.) The Longing
5.) From Myself Depart
6.) As the Sun Draws Near
7.) All That Remains (Is True)
8.) Thy Will Be Done

Pre-order The Endless Road Turns Dark at this location.

The Skull, “The Endless Road Turns Dark” official lyric video

The Skull on Thee Facebooks

The Skull on Twitter

The Skull website

Tee Pee Records website

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Quarterly Review: CHRCH, Bongripper, King Chiefs, Bonnacons of Doom, Boar, June Bug, Tired Lord, Bert, Zen Bison, Wheel in the Sky

Posted in Reviews on July 16th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

You know the deal by now, I’m sure: 50 reviews this week between now and Friday, in batches of 10 per day. It’s an unholy amount of music, but those who really dig in always seem to find something cool within a Quarterly Review. Frankly, with this much to choose from, I’d certainly hope so. I’m not going to delay at all, except to say thanks in advance for coming along on this one. It’s got some core-heavy and some-not-really-core-heavy stuff all bundled next to each other, so yeah, your patience is appreciated. Okay. No time like the present. Let’s do it.

Quarterly Review #1-10:

CHRCH, Light Will Consume Us All

chrch light will consume us all

Yeah, yeah, yeah, the songs are long. Blah blah blah it’s heavy as whatever kind of construction equipment you could want to name. What’s even more striking about Los Angeles doomers CHRCH’s Neurot Recordings debut, Light Will Consume Us All, is the sense of atmosphere. The follow-up to 2015’s massively well-received Unanswered Hymns (review here) is comprised of three songs presented in descending time order from opener/longest track (immediate points) “Infinite” (20:41) to centerpiece “Portals” (14:50) and closer “Aether” (9:29) and it finds CHRCH refining the unremitting patience of their rollout, so that even when “Aether” explodes in its second half to charred blastbeating and abrasive screams, the ambience is still dense enough to feel it in one’s lungs. CHRCH keep up this level of progression and soon enough someone’s going to call them post-something or other. As it stands, their second album builds righteously on the achievements of their debut, and is a revelation in its bleakness.

CHRCH on Thee Facebooks

Neurot Recordings website

 

Bongripper, Terminal

bongripper terminal

Pressed up as ever in DIY fashion, Bongripper’s Terminal presents two gargantuan slabs – one per vinyl side – that only seem to highlight the strengths in the Chicago instrumentalists’ approach. The tones are huge, the grooves nodding, the impact of each kick drum forceful. Repetition is central, that feeling of aural mass and destructiveness, but neither is Terminal – comprised of “Slow” (25:11) and “Death” (18:15) – lacking a sense of atmosphere. After 21 minutes of grueling pummel, “Slow” devolves into droning layers of noise wash and quiet guitar to finish out, and “Death” seems to hold onto an echoing lead in its closing minutes that accomplishes much the same thing in broadening the atmosphere overall. I don’t know if the two songs were composed to fit together –the titles would hint yes – but they invariably do, and as “Death” unleashes a more insistent punch before turning to a post-YOB gallop, it reconfirms Bongripper’s worship-worthy place in the stoner doom milieu, how their sound can be so familiar in its threat and yet so much their own.

Bongripper on Bandcamp

Bongripper webstore

 

King Chiefs, Blue Sonnet

King Chiefs Blue Sonnet

Born as Chiefs ahead of their 2015 debut album, Tomorrow’s Over (review here), Arizona-based four-piece King Chiefs make their own first outing in the form of the easily-digestible desert rocker Blue Sonnet (on Roosevelt Row and Cursed Tongue Records), comprised of 10 tracks running just under 40 minutes of older-school laid back heavy, swinging easy on cuts like “Surely Never” and “Drifter” while still finding some Helmeted aggressive edge in the riffs of “Slug” and “Walk the Plank.” The overarching focus is on songwriting, however, and King Chiefs hone in cleverly on ‘90s-era desert rock’s post-grunge sensibility, so that their material seems ready for an alternative radio that no longer exists. Such as it is, they do just fine without, and hooks pervade the two-guitar outfit’s material in natural and memorable fashion all the way to five-and-a-half-minute closer “Shrine of the Beholder,” which embraces some broader textures without losing the structural focus that serves so well on the songs before it.

King Chiefs on Thee Facebooks

Roosevelt Row Records website

Cursed Tongue Records website

 

Bonnacons of Doom, Bonnacons of Doom

bonnacons of doom bonnacons of doom

Heavy psychedelic experimentalism pervades the Rocket Recordings-issued self-titled debut album from Liverpool collective Bonnacons of Doom, rife with tripout ritualism and exploration of sound as it is, all chasing light and getting freaky in any sense you want to read it. Five tracks, each a voyage unto itself – even the bass-fuzzy push of shortest cut “Rhizome” (5:55) is cosmos-bound – feed into the larger weirdness at play that culminates in the undulating grooves of “Plantae” (8:39), which is perhaps the most solidified cut in terms of choruses, verses, etc., but still a molten, headphone-worthy freakout that pushes the limits of psychedelia and still holds itself together. If the album was a to-do list, it would read as follows: “Eat mushrooms. Get naked. Dance around. Repeat.” Whether you do or don’t is ultimately up to you, but Bonnacons of Doom make a pretty convincing argument in favor, and I don’t generally consider myself much of a dancer. Among the most individualized psych debuts I’ve heard in a long time.

Bonnacons of Doom on Thee Facebooks

Rocket Recordings on Bandcamp

 

Boar, Poseidon

Boar Poseidon

Poseidon, at six songs and 39 minutes, is the second long-player from Finnish four-piece Boar. Released on vinyl with no shortage of backing — Lost Pilgrims Records, Dissonant Society, Impure Muzik, S.K.O.D., Rämekuukkeli-levyt – it hurls forth a High on Fire-informed vision of noise rock on its opening title-track only to take on a slower roll in the subsequent “Shahar’s Son” and dig into massive crashing on “12.” Using echo to add a sense of depth all the while, they scream in tradeoffs à la Akimbo and boogie in “Featherless” and seem to find a post-metallic moment on “Dark Skies” before closing with the alternately brooding and scathing “Totally out of This World,” the song sort of falling apart into the feedback and noise that ends the album. There’s a persistent sense of violence happening, but it’s as much inward as outward, and though some of Boar’s most effective moments are in that rawness, there’s something to be said for the contemplation at the outset of “Shahar’s Son” and “12” as well.

Boar on Thee Facebooks

Boar on Bandcamp

 

June Bug, A Thousand Days

June bug A Thousand Days

Seemingly unrestrained by genre, the Lille, France-based duo June BugJune on vocals and multiple instruments and Beryl on backing vocals and multiple instruments – dig into some post-punk nudge on early cut “Reasons” from their debut album, A Thousand Days (Atypeek Music) after the folkish melodies of opener “Now,” but whether it’s the fuzzy indie vibes of “Freaks” or the harmonies, electronics and acoustic guitar of “Let it Rest,” or the keyboard-handclaps, lower tones and poppish instrumental hook of centerpiece “Mama,” there’s plenty of variety throughout. What ties the differing vibes and richly nuanced approach together is the vocals, which are mostly subdued and at times hyper-stylized, but never seem to fail to keep melodicism as their central operating method. That remains true on the subdued “Does it Matter” and the beat-laden “Silenced” at the album’s finish and brings everything together with an overarching sense of joy that holds firm despite shifts in mood and approach, making the complete front-to-back listen as satisfying as it might seem all over the place.

June Bug on Thee Facebooks

Atypeek Music website

 

Tired Lord, Demo

tired lord demo

Released by the band last year, the four-song Demo by San Francisco outfit Tired Lord has been picked up for an official cassette issue through From Corners Unknown Records and will reportedly be the only release from the black metal/sludge genre-benders. Presumably that means they broke up, rather than just refuse to ever record again, though the latter possibility intrigues as well and would be meta-black metal. Spearheaded by guitarist Bryce Olson, Tired Lord effectively bring a thickness of tone to charred riffing, and a balance between screams and growls brings a cast of general extremity to the material. So I guess this is the part where I’m supposed to regret their dissolution and wish they’d do a proper release. Fair enough for the brutal chug in “Serpent’s Ascent” and the 7:51 closer “Astaroth,” which one wouldn’t mind hearing fleshed out from their current form. Failing that, one of the 30 tape copies pressed of Demo seems like decent consolation. At least while they’re there for the getting and before Tired Lord go gleefully into that black metal demo tape ether where so many seem to dwell.

From Corners Unknown Records on Thee Facebooks

From Corners Unknown Records website

 

BerT, Relics from Time Zero

bert relics from time zero

Lansing, Michigan, trio BerT – bassist Phil Clark and brothers Ryan (guitar) and Rael (drums) Andrews – broke up. They even put out a posthumous rare tracks release in 2017’s The Lost Toes (review here), so what’s left? Well, another album, of course. Intended as a sequel to the sci-fi narrative of the never-released long-player Return to the Electric Church, the five-track/35-minute Relics from Time Zero is unfinished, sans vocals where they might otherwise be, and basically a look at what might’ve been had the band not dissolved. For those prior-exposed to the once-prolific heavy rock bizarros, some of the proceedings will seem familiar: riffs are plentiful and fluid in their tempo changes from driving rock to droned-out stomp, and there seems to be about 1.5 of them in the four-minute “In the Cave of the Batqueen,” so but for the fact that it’s not done, I’d just about call it business as usual for BerT. I know they’re done and all, but I still wouldn’t mind hearing these songs with some lyrics, let alone the record this one was intended to follow-up. Either way, even defunct, BerT remain on their own wavelength.

BerT on Thee Facebooks

BerT on Bandcamp

 

Zen Bison, Krautrocker

zen bison krautrocker

Classic-style heavy rock riffing pervades opener “Blow My Mind” (5:47) and the subsequent “Backseat Lovers” (5:15) – somewhere between Stubb and Radio Moscow — on Zen Bison’s debut LP, Krautrocker, but as the five-track/42-minute self-release moves into the 11-minute title-track, guitarist/vocalist Philipp Ott, bassist Steffen Fischer and drummer Martin Konopka – joined by organist Hans Kirschner and percussionist Bobby Müller –move into deeper-grooving and more psychedelic fare. That turn suits the mostly-live-recorded outfit well on the longer instrumental piece, and that leads to a side B with the likewise-sans-vocals “La Madrugada” (9:56) and the closing cover of Don Nix’s blues rocker “Going Down” (10:24), jammed out at the end in its middle and end with quick return to the chorus between. There isn’t much on Krautrocker one might actually consider krautrock in the traditional sense, but there’s certainly plenty of rock to go around on the impressive and varied first offering from the Rostock trio.

Zen Bison on Thee Facebooks

Zen Bison on Bandcamp

 

Wheel in the Sky, Beyond the Pale

wheel in the sky beyond the pale

From opener “Rivers of Dust” onward, Wheel in the Sky’s second album, Beyond the Pale (on The Sign Records), proffers classy and classic digs, informed by a heavy ‘70s uptempo spirit on its title-track and moving into more complex volume and arrangement shifts in “Burn Babylon Burn” (video premiere here) and a poppy, goth-informed hook on “The Only Dead Girl in the City,” all the while held together through a quality of songwriting that even the band’s 2015 debut, Heading for the Night (review here), seemed to hint toward. It’s a mover, to be sure, but Wheel in the Sky execute their material with poise and a sense of clear intention, and no matter where they seem to go, their tonality and natural production assures the listener has an easy time tagging along. Might be a sleeper for some, but there are going to be people who really, really dig this album, and I’ve got no argument with them.

Wheel in the Sky on Thee Facebooks

The Sign Records website

 

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Bongripper Announce New LP Terminal out July 6

Posted in Whathaveyou on June 18th, 2018 by JJ Koczan

bongripper

The two 20-minute songs that comprise Bongripper‘s new album, Terminal, are respectively dubbed ‘Slow’ and ‘Death.’ So you know, points for accuracy and whatnot. The Chicago instrumentalist riffcrushers have made preorders available for the outing through their own webstore as well as a host of others, including Burning World Records in Europe, and they’ve got tour dates scheduled following the release date on July 6 — including two nights at Saint Vitus Bar in Brooklyn, the first of which will feature them playing 2010’s Satan Worshipping Doom in full. They’ll be in Finland later this year for Blowup Festival, which may or may not be part of a larger European tour still to be announced.

Their last album, 2014’s Miserable (review here), was as excellent as he was destructive, and to expect anything less of Terminal would be folly. Bongripper‘s manifestations of hopelessness always have a tendency to remove air from the lungs.

Warning comes from the band’s social medias:

bongripper terminal

BONGRIPPER – TERMINAL LP/CD/Digital (2018)

Bongripper is set to release their seventh full-length album, ‘Terminal’, on July 6, 2018. This is the follow up to 2014’s ‘Miserable.’ The album was recorded, mixed and mastered by Bongripper’s Dennis Pleckham at Comatose Studio with artwork from Sam Alcarez, the artist behind the band’s merchandise throughout the years. ‘Terminal’ will be released through their label, The Great Barrier Records on all vinyl, CD and digital formats.

Track Listing:
1. Slow 20:15
2. Death 20:06

Bongripper is doing their first US East Coast Tour in a decade in support of the new full-length. This includes a special performance of ‘Satan Worshipping Doom’ in its entirety at Saint Vitus in New York City. They will also be appearing at Modified Ghost Festival in Vancouver and Blowup Festival in Helsinki, Finland. Tour tickets are on sale Friday, March 30.

THE TERMINAL TOUR 2018
5/25 – Vancouver, BC – Modified Ghost Festival
7/13 – Chicago, IL – The Metro – Record Release Show
7/20 – Columbus, OH – Ace of Cups
7/21 – Chapel Hill, NC – Local 506
7/22 – Richmond, VA – Strange Matter
7/23 – Washington, DC – Atlas Brew Works
7/24 – Philadelphia, PA – Kungfu Necktie
7/25 – New York, NY – Saint Vitus: Satan Worshipping Doom in Entirety
7/26 – New York, NY – Saint Vitus
7/27 – Pittsburgh, PA – Migration Festival
10/12 – Helsinki, Finland – Blowup Festival

https://www.facebook.com/bongripperdoom
https://twitter.com/Bongripperdoom/
https://bongripper.bandcamp.com/
https://bongripper.bigcartel.com/

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Novembers Doom Seek New Label for Next Album in the Works

Posted in Visual Evidence on June 7th, 2018 by JJ Koczan

Who’s gonna put out the next Novembers Doom record? That seems to be what the long-running Chicago death/doomers are wondering as well. The band spent the last 13 years under the banner of The End Records and remained a staple act even as the mission of that imprint changed around them. Their time on The End would result in six full-length albums between 2005 and 2017 — the latest of them last year’s Hamartia (review here), and I guess it’s just something of a surprise that whatever Novembers Doom do next — according to frontman Paul Kuhr, writing is in progress — it won’t come out through that label. Nothing lasts forever, apparently. Even record contracts.

The good news is I can’t imagine somebody — maybe somebody of a European persuasion? perhaps French? — won’t pick them up. They’ve been around for over 25 years and they’re an institution, helping as they did to pioneer death/doom as a movement in the US that continues to take influence from them to this day even if it doesn’t realize it. Would be nice to see them hook up with someone with an appreciation for their legacy. To me, it seems like a marketing no-brainer to position them as the innovators they are.

Word came through the PR wire of the search in progress:

novembers doom

Free Agents NOVEMBERS DOOM Seeking New Label

U.S. Doom/Death legends NOVEMBERS DOOM are on the market and seeking a new label to continue their robust legacy. Vocalist Paul Kuhr released the following statement concern the status of the long-running, critically acclaimed quintet:

“After spending over a decade working with The End Records, NOVEMBERS DOOM have fulfilled our contractual obligations, and are now exploring options for the future of the band. We are already hard at work, creating the follow up to the 2017 release of Hamartia, and we are seeking a partnership with a label who understands the importance of the European territory. We are open to talk to anyone and everyone who has a serious offer, as we said, we are exploring all of our options, and need to make the right choice, for both us, and our future home.”

Please contact Paul@novembersdoom.com to open this conversation.

https://www.facebook.com/NovembersDoom1989/
https://twitter.com/NovembersDoom
http://www.novembersdoom.com/

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Lair of the Minotaur Announce New EP and First Show in Five Years

Posted in Whathaveyou on June 5th, 2018 by JJ Koczan

Chaos belches forth once again from Chicago’s windy labyrinth. Lair of the Minotaur, who will play their first show in half a decade at the previously-discussed Scorched Tundra X on Aug. 31, have announced that their return to activity will consist of more than one live date. Much to the chagrin of eardrums everywhere, the three-piece have a new EP recorded and they’ll look to release it presumably sometime soon on their own The Grind-House Recordings imprint. Their last offering was 2013’s Godslayer two-songer, and their last full-length, Evil Power (review here), was issued in 2010.

Do Lair of the Minotaur still hold the level of demolition in their approach that first brought them to such notoriety in their days on Southern Lord? Uh, yeah, probably. At least I don’t know why they wouldn’t.

Therefore! One should look forward to the pummeling to be issued via this new EP, whatever it’ll be called and whenever it’ll arrive. Details, presumably, will patter out over the next weeks and months, but for now here’s a preliminary announcement via the PR wire:

lair of the minotaur

LAIR OF THE MINOTAUR Crawls Forth Again In 2018; New EP Recorded + Band Confirmed To Play Scorched Tundra Fest 2018

The brutalizing LAIR OF THE MINOTAUR trio rears its gnarled head once again in 2018; the band has just recorded a new EP and announced live plans for late summer.

Following an extensive hiatus sharpening their axes, the Gods have called LAIR OF THE MINOTAUR back to battle. The classic “road dog” lineup of Steven Rathbone (guitar/vocals), Donald James Barraca (bass) and Chris Wozniak (drums) gathered to record a new EP on Memorial Day weekend.

The as-yet-unnamed EP will be released in conjunction LAIR OF THE MINOTAUR’s performance at Scorched Tundra Fest 2018 in Chicago on Friday, August 31st. The Scorched Tundra Fest performance will be an exclusive date for 2018 and will also mark the band’s first show in five years. Tickets are on sale HERE.

LAIR OF THE MINOTAUR Live:
8/31/2018 Empty Bottle – Chicago, IL @ Scorched Tundra Fest w/ Monolord, Telekenetic Yeti

Formed in Chicago in 2003, LAIR OF THE MINOTAUR has released four full-length LPs, and two EPs through Southern Lord as well as their own label, The Grind-House Recordings, all interconnected concept recordings based on the bloodier tales of Greek mythology. The band has toured extensively across North America and Europe, crushing all in their path with their own brand of heavy fucking metal that has been likened to being beat to death with a spiked club.

http://www.lairoftheminotaur.net
https://lairoftheminotaur.bandcamp.com

Lair of the Minotaur, Godslayer EP (2013)

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Mirrors for Psychic Warfare to Support Godflesh; New Album in the Works

Posted in Whathaveyou on June 4th, 2018 by JJ Koczan

I was fortunate enough to catch Mirrors for Psychic Warfare live once, and the blend of elements from Scott Kelly‘s guitar and Sanford Parker‘s noisemaking mystery desk of, one assumes, a laptop, various manipulators, samplers, synth, etc., was like a physical presence in the room. One that put a hand right on your solar plexus and applied a steady pressure, with ebbs and flows, to be sure, but a pressure that, if you weren’t careful, could move you a step back. Their self-titled debut (review here) came out in 2016 via Neurot Recordings, and they have a follow-up said to be due this Fall. I for one think that would be just nifty.

They’ll also support Godflesh twice this summer, playing in Chicago and New York with the legendary industrial innovators. Talk about knowing your audience.

The PR wire puts it like this:

godflesh poster

MIRRORS FOR PSYCHIC WARFARE: Scott Kelly/Sanford Parker Collaboration To Play Two Special US Shows With Godflesh; New Record Due This Fall Via Neurot

MIRRORS FOR PSYCHIC WARFARE, the collaboration between Neurosis’ Scott Kelly and Buried At Sea’s Sanford Parker, will play two very special shows this August supporting industrial titans Godflesh! Set to take place in Chicago and New York City respectively, the August 24th appearance includes additional support from Harm’s Way and Ledge while the August 25th show features additional support from Tombs and Body Stuff. Tickets go on sale this Friday. The two performances come in advance of MIRRORS FOR PSYCHIC WARFARE’s next chapter of sonic anxiety set for release this fall via Neurot Records. Further details will be revealed in the coming weeks.

MIRRORS FOR PSYCHIC WARFARE w Godflesh:
8/24/2018 Metro, Chicago – IL w/ Harm’s Way, Ledge
8/25/2018 Gramercy Theatre – New York, NY w/ Tombs, Body Stuff

MIRRORS FOR PSYCHIC WARFARE released their self-titled debut via Neurot in 2016. A audio manifestation of insomnia, complete with the tossing, turning, and perennial dread that comes with facing a new day, the five songs that comprise Mirrors For Psychic Warfare lurch and pulsate across a sullen, desolate landscape with an almost curious obsessiveness.

https://www.facebook.com/mirrorsforpsychicwarfare
http://www.mirrorsforpsychicwarfare.bandcamp.com
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

Mirrors for Psychic Warfare, Mirrors for Psychic Warfare (2016)

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Scorched Tundra X Announces Lineup: Lair of the Minotaur, Monolord, Sumac, Yakuza & More to Play

Posted in Whathaveyou on May 25th, 2018 by JJ Koczan

Tickets are on sale now for the Chicago-based fest Scorched Tundra X, which will run two nights on Aug. 31 and Sept. 1 and feature two very particular Chicagoan outfits in its lineup. I’m talking about half-man-half-bull-in-china-shop metallers Lair of the Minotaur and pre-post-metal post-metallers Yakuza. Neither band plays out all that often, and neither band has put out a record in half a decade, so it’s definitely two performances worth catching if you can, and that’s of course to say nothing about the rest of the bill for the two-dayer, which includes Swedish riffkings Monolord, the atmospherically crushing Sumac as well as fuzzers Telekinetic Yeti opening night one and Couch Slut and In the Company of Serpents leading the way on night two.

Pretty badass, and obviously put together with a strong sense of place and vibe behind it and a drive to give those assembling for it something special to behold. I can dig.

If you can too:

scorched-tundra-x-poster

SCORCHED TUNDRA X – CHICAGO, AUG 31 & SEPT 1

Scorched Tundra is proud to announce the entire lineup for its tenth edition. The second installment of 2018 – taking place on August 31st and September 1st at The Empty Bottle in Chicago – features newcomers and veterans of the festival from across the country and abroad.

Friday August 31st
Monolord
Lair of the Minotaur
Telekinetic Yeti

Saturday September 1st
Sumac
Yakuza
In the Company of Serpents
Couch Slut

Tickets can be purchased through these links:

Friday 8/31:
http://eventbrite.com/e/scorched-tundra-x-the-empty-bottle-tickets-46205946229

Saturday: 9/1:
http://eventbrite.com/e/scorched-tundra-x-the-empty-bottle-tickets-46205078634

Scorched Tundra’s mission is to give a new generation of talented artists a unique live platform in Gothenburg and Chicago. The festival’s billing – based on sound, not stature – creates an unparalleled aural experience for its audience.

“The process of selecting bands for the tenth edition of this festival began over a year ago. For this momentous occasion, I sought bands that have forged their own space at the convergence of heavy, progressive and dark music. Scorched Tundra’s mission is to give a new generation of talented artists from Gothenburg and Chicago a unique platform. The tenth lineup achieves this, while also mixing in extremely talented musicians from around the country. I look forward to sharing this exceptional lineup at The Empty Bottle on Labor Day Weekend.” states organizer Alexi D. Front.

Tickets for August 31st and September 1st will be $20 per night, and more exciting festival details will be revealed in the coming weeks.

http://scorchedtundra.com/
https://www.facebook.com/scorchedtundra
http://eventbrite.com/e/scorched-tundra-x-the-empty-bottle-tickets-46205946229
http://eventbrite.com/e/scorched-tundra-x-the-empty-bottle-tickets-46205078634

Lair of the Minotaur, Evil Power (2013)

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