Gourd to Release Moldering Aberrations EP on May 30; New Video Streaming

Posted in Whathaveyou on May 7th, 2019 by JJ Koczan

GOURD

Once upon a time a couple years ago, I was brought to Dublin by the good care of Sid Daly, who had organized a festival of mostly-but-not-entirely-Irish bands called Emerald Haze. For me, it was a chance not only to go someplace I’d never been — airport aside — but to get an education in the thriving underground there. One of the stages was even named after this site. It was incredible, and I was fortunate to be asked. Long story short, Gourd opened the second night of the fest (review here) and they were devastating. There was plenty of heavy going around that weekend, and it took plenty of forms, but Gourd‘s ultra-malevolent atmospherics reminded me then and still remind me now of Khanate, and that is a comparison I’ll almost never make because it’s a standard to which almost nobody can live up to.

Cursed Monk Records — based in Galway — has the release on May 30 for Gourd‘s Moldering Aberrations, and you can stream the video for the title-track at the bottom of this post. Do that, but take a breath first.

From the PR wire:

gourd moldering aberrations

GOURD – Moldering Aberrations EP

On the 30th of May Cursed Monk Records will be releasing GOURD’s new EP ‘Moldering Aberrations’ on Limited edition CD, and Digital (CMR013)

GOURD is an Irish two member band that started in the summer of 2014. The band is made up of Ray (Wreck of the Hesperus, Beneath the Sod) and Hick (On Pain of Death, Coscradh). Ray plays drums and creates noise as well as visuals and videos. Hick does vocals, plays guitar and builds extra walls of gritty, cacophonous noise. GOURD attempts to write filthy, twisted songs with extras layers of rotten madness and wonky weirdness to make the music a deeply unsettling experience.

‘Moldering Aberrations’ is available for preorder now.
https://cursedmonk.bandcamp.com/album/moldering-aberrations

Watch the music video for the title track.

Tracklisting:
1. Befoulment
2. Mycelium
3. Moldering Aberrations

Gourd are:
Hick (On Pain of Death)
Ray (Wreck of the Hesperus)

https://www.facebook.com/GOURDDOOM/
https://cursedmonk.bandcamp.com/

Gourd, “Moldering Aberrations” official video

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Mount Soma to Release Nirodha EP May 1; Stream “Dark Sun Destroyer”

Posted in Whathaveyou on April 22nd, 2019 by JJ Koczan

Mount soma

Some rather lofty ideas brought to bear in the second EP, Nirodha, from Dublin four-piece Mount Soma, and some lofty riffing to correspond. The Irish sludge purveyors will issue the three-songer on May 1 and they’re streaming the opening track from it now if you’ve got the time and headspace to support listening.

A worthy endeavor, that is, and Mount Soma capture a presence at once human and based on sonic largesse, the atmosphere natural even as it departs the ground to go crush, what, everything? I’m not sure. Parts unknown. Either way, they get where they’re going and there’s plenty of crushing to be had. If the goal if the EP — along with the concept stated below — is to give their audience something to dig into before they inevitably take on the task of a longer work, then yes, that’s a target well achieved.

If you like a bit of sludge in your doom and a bit of doom in your heavy and a bit of heavy on your skull, I humbly submit the following:

mount_soma_nirodha

Mount Soma are a 4 piece heavy band based in Dublin, Ireland. Having formed in 2014 they released their debut EP ‘Origins’ in 2016.

Their second EP ‘Nirodha’ was recorded live at The Meadow studio in November 2018. Recorded and mixed by The Deaf Brothers, mastered by James Plotkin and artwork/photography by Samantha Muljat.

Track Listing:
1: Dark Sun Destroyer
2. Emerge The Wolf
3. Resurfacing

EP Concept:

Sorrow and beauty exist side by side in the realisation that we, as humans, emerge from star dust and light in vast nebula to take form here on Earth with conscious minds and open hearts and an often profound sense of loneliness stemming from our existence within a vast universe. We come raging from the stars, crashing to Earth, broken and beaten and destroyed, yet willing to rise again. We love and are loved and exhale unimaginable beauty and light into our own and each other’s existence. And yet we suffer, we lose our way, we bend under addiction, we anxiously strain at the light beneath immense skies and while much is outside our comprehension, we wonder, we evolve, we grow.

Fuck suffering – that is the theme of Nirodha. In ‘The Prophet’ by Kahlil Gibran it states ‘Much of your pain is self-chosen’ – this realisation, allied with the conscious intent to choose to be better, to choose to transcend attachment, craving and aversion, to choose to live and emerge from the cycles of suffering and dislocation, is the primal yelp at the heart of our music.

We struggle to exist as a band because life is complicated, so if this is our last transmission then let it be thus: At the heart of everything there is light, a light which connects us all, and there is in reality no point at which one of us ends and another begins. We are one, created in the furnace of exploding stars and imbued with the incredible gift of conscious awareness. This awareness comes with a price and a challenge: the price is that we are beings who suffer amidst this beauty, and the challenge is to use our ultimate human freedom, the freedom of choice, to choose how we react to that suffering and to choose how to live our lives while we are so briefly here. Love one another and do no harm. Though we rage, we choose to transcend our suffering and emerge anew.

Members:
Brian Killoran (Vocals/Guitar)
Keith Walsh (Lead Guitar)
Conrad Coyle (Bass/Backing Vocals)
Aaron Carroll (Drums)

https://mountsoma.bandcamp.com/
https://www.facebook.com/MountSomaBand/

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Ten Ton Slug Announce New Bassist & UK Shows

Posted in Whathaveyou on March 6th, 2019 by JJ Koczan

ten ton slug

In September, Irish bashers Ten Ton Slug will take stage as part of the considerable lineup for HRH Doom vs. Stoner in Sheffield, England, and that’s well worth anticipating. But rather than sit on their collective ass and wait, the band will also hit Slovenia — and reportedly elsewhere — this summer and this month do a quick run in the UK, three nights over four days, that will include a spot at Hammerfest in Wales. They’re also reportedly working on new material, which makes sense, and below, they offer the announcement officially welcoming bassist Pavol Rosa into the lineup. Clearly a busy time for them, but fortunately they’re heavy enough to live up to their name, so if they get stressed out or whatever, there’s an outlet for it. At least until they blow a fuse.

They put out a video for “Matriarch of Slime” — is it just me thinking of Futurama between that and the band’s name? Slurm, anyone? — last Fall and you’ll find that streaming below, under the info and dates. You know how we do.

Like this:

ten ton slug shows

After a hectic 2018 which saw the band support Black Label Society, Corrosion of Conformity and Conan along with releasing a video for ‘Matriarch of Slime’ and playing Metaldays, Amplified and Manorfest 2018, Ten Ton Slug have announced a change in bassists. Eoghain Wynne has made the decision to step down from bass duties and Pavol Rosa (also of Soothsayer and Zhi Ren) has stepped up to complete the lineup for what looks to be a very busy 2019.

A statement released by the band:

“We are delighted to welcome Pavol Rosa (also of Soothsayer and Zhi Ren) as our new bass Slug.

He has spilled blood for the Slug already at the Siege of Limerick, he played MetalDays 2018 with us and did an incredible job, his work ethic is unreal and he can be powered for 3 days on one cup of sparkling water – Pavol was the only choice for us all as Eoghain’s successor on bass.

Tunes are up to speed, new tunes are ready to go and we’re looking forward to hitting the road together and seeing what 2019 brings!”

Hard at work on the follow-up to 2017’s “Blood and Slime”, Ten Ton Slug embark on a short run of UK shows in late March with shows in Edinburgh (Bannermans, March 20th), an appearance at Hammerfest in Wales (Friday March 22nd) and a London headline show in the Big Red in Holloway (March 23rd). The Slug has also been announced as one of the main stage opening bands at Metaldays 2019 in Slovenia in July and are currently working on securing European dates around this appearance. A prominent slot at HRH Doom vs Stoner in Sheffield in September has also been announced, with more festival slots secured but under wraps for the minute.

Expect to hear new material off the next release on the road from March as the Slug slowly treks across Ireland, the UK and Europe.

Edinburgh, Bannerman’s bar
w/A Ritual Spirit and Hammer
Wednesday 20th March:
https://www.facebook.com/events/227890151425594/

Hammerfest Wales
Friday 22nd March:
https://www.facebook.com/events/218490435420226/

London, the Big Red, Holloway
w/Barbarian Hermit, Red Spektor, Season of the Witch + more
Saturday 23rd March:
https://www.facebook.com/events/2198117647109161/

Metaldays, Slovenia:
Main stage opening slot, Monday July 22nd
https://www.facebook.com/events/1204542853017632/

https://www.facebook.com/TenTonSlug/
https://www.instagram.com/tentonslug/
https://tentonslug.bandcamp.com/
https://tentonslug.com/

Ten Ton Slug, “Matriarch of Slime” official video

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Quarterly Review: Primordial, Dead Meadow, Taarna, MaidaVale, Black Willows, Craang, Fuzz Lord, Marijannah, Cosmic Fall, Owl

Posted in Reviews on April 9th, 2018 by JJ Koczan

Quarterly-Review-Spring-2018

Okay, so this is it. The Quarterly Review definitely ends today. I’m not sneaking in a seventh day tomorrow or anything like that. This is it. The last batch of 10, bringing us to a grand total of 60 records reviewed between last Monday and now. That’s not too bad, if you think about it. Me, I’m a little done thinking about it, and if you’ll pardon me, I’m going to enjoy the time between now and late June/early July, in which for the most part I’ll be writing about one record at a time. The thought feels like a luxury after this week.

But hey, we made it. Thanks for reading along the way.

Quarterly Review #51-60:

Primordial, Exile Amongst the Ruins

primordial exile amongst the ruins

Primordial’s flair for the epic has not at all abated over the years. The Irish post-black-metal forerunners follow-up 2014’s Where Greater Men Have Fallen with Exile Amongst the Ruins (on Metal Blade), and though there’s plenty of charge in “To Hell or the Hangman,” “Sunken Lungs” or “Upon Our Spiritual Deathbed,” with frontman Alan Averill proselytizing declarations as grandly as ever, one might read a certain amount of fatigue into the lyrics of songs like “Stolen Years” and the 10-minute closer “Last Call.” Granted, Exile Amongst the Ruins is 65 minutes long, so I don’t think the band has run out of things to say, but could it be that the cycle of writing, recording and touring is starting to wear on them some 25 years after their founding? I wouldn’t know or speculate, and like I said, Exile Amongst the Ruins retains plenty of its sonic force, the layering of the title-track and the preceding “Where Lie the Gods” offering a depth of sound to complement the complexity of their themes.

Primordial on Thee Facebooks

Primordial at Metal Blade website

 

Dead Meadow, The Nothing They Need

dead meadow The Nothing They Need

Utter masters of their domain, Los Angeles’ Dead Meadow – comprised of guitarist/vocalist Jason Simon, bassist Steve Kille and drummer Juan Londono – mark 20 years of the band with the eight songs of The Nothing They Need (on Xemu Records), bringing in former members for guest spots mostly on drums but also guitar across a rich tapestry of moods, all of which happen to be distinctly Dead Meadow’s own. The ramble in opener “Keep Your Head” or “I’m So Glad” is unmistakable, and the fuzz of the six-minute “Nobody Home” bounces with a heavy psychedelic groove that should be nothing less than a joy to the converted. Recorded in their rehearsal space, released on their own label and presented with their own particularly blend of indie pulse, psych dreamscaping and more weighted tone, a song like the swaying eight-minute “The Light” is a reminder of everything righteous Dead Meadow have accomplished in their two decades, and of the vast spread their influence has taken on in that time. Perhaps the greatest lesson of all is that no matter who’s involved, Dead Meadow sound like Dead Meadow, which is about the highest compliment I can think of to pay them.

Dead Meadow on Thee Facebooks

Xemu Records website

 

Taarna, Sanguine Ash

taarna sanguine ash

It’s not entirely clear what’s happening at the start of Taarna’s 29-minute single-song EP, Sanguine Ash, but the samples are vague and violent sounding and the noise behind them is abrasive. A strum and build takes hold as the Portland, Oregon, black metallers, who feature former members of Godhunter in their ranks, continue in the first couple minutes to develop a suicidal thematic, and six minutes in, a wash of static takes hold with drums behind it only to give way, in turn, to lush-sounding keys or guitar (could go either way) that patiently leads to a rumbling, roiling lurch of blacksludge. Cavern-vocals echo and cut through molasses tones and Taarna ride that malicious groove for the next several minutes until, at around 18:30, samples start again. This leads to more quiet guitar, resonant blackened thrust, noise, noise, more noise and a final emergent wash of caustic anti-metal that couldn’t possibly be clearer in its mission to challenge, repel and come across as completely fucked as it can. Done and done, you scathing bastards.

Taarna on Thee Facebooks

Taarna on Bandcamp

 

MaidaVale, Madness is Too Pure

maidavale madness is too pure

I already discussed a lot of what is working so well on MaidaVale’s second album, Madness is Too Pure (The Sign Records), when I put up the video for “Oh Hysteria!” (posted here), but it’s worth reemphasizing the sonic leap the Swedish four-piece have made between their 2016 debut, the bluesy and well-crafted Tales of the Wicked West (review here) and this nine-song offering, which stretches far outside the realm of blues rock and encompasses psychedelic jamming, spontaneous-sounding explorations, brazen but not at all caustic vibes, and an overarching energy of delivery that reminds both of a live presentation and, on a song like “Gold Mine,” of what Death Alley have been able to revitalize in space-punk. Memorable progressions like that of “Walk in Silence” and the freaked out “Dark Clouds” offer standout moments, but really, it’s the whole album itself that’s the standout, and if the debut showed MaidaVale’s potential, Madness is Too Pure ups that factor significantly.

MaidaVale on Thee Facebooks

The Sign Records on Thee Facebooks

 

Black Willows, Bliss

black willows bliss

About a year and a half after releasing their 2016 sophomore outing, Samsara (review here), Swiss post-doomers Black Willows return with a 19-minute single-song EP they’ve dubbed Bliss. It is utterly hypnotic. The sonic equivalent of watching a bonfire take hold of dry wood. It consumes with its dense heft of riff and then lulls the listener with stretches of minimalism and ambience, the first of which provides the intro to the piece itself. Black Willows are no strangers to working with longform material, and as Bliss also appears as the band’s half of a Bloodrock Records split with Craneium, it’s understandable they’d want to bring their best, but the weight of their groove feels unexpected even in terms of having heard their past work. So they’ve gotten heavier? Yeah, maybe. What really matters is how they wield that weight, and on Bliss, they put it to use as much as an atmospheric table-setter as in a display of sheer force. Beware the noise wash at the end. That’s all I’ll say.

Black Willows on Thee Facebooks

Black Willows on Bandcamp

 

Craang, Shine

craang shine

Greek heavy psych rockers Craang set up a dynamic quickly on their new two-song full-length, Shine (also stylized as S H IN E) that both encourages and rewards patience and trust on the part of the listener. They begin 24:52 opener and longest track (immediate points) “Horizon – Tempest” quietly and commence to unfold through ebbs and flows, clean vocals and shouts, open spaces and dense(r) riffing. There is a break near and at the halfway point that presumably is the shift between one part of “Horizon – Tempest” and the other, and the second half follows that lead with a more active presentation. The accompanying “Ocean – Cellular” (19:41) launches with a bed of synth that fades as the bass, drums and guitar enter and begin a linear build that retains a progressive edge, dropping off at about eight minutes in perhaps as another transition into “Cellular,” which indeed follows a more winding, intricate path. One can only say Craang are clear in their representation of what they want to convey, and because of that, Shine is all the more of an engaging experience, the listener essentially following the band on this journey from place to place, idea to idea.

Craang on Thee Facebooks

Craang on Bandcamp

 

Fuzz Lord, Fuzz Lord

Fuzz Lord fuzz lord

We start at “The Gates of Hell” and end up in “Infamous Evil,” so one might say Ohio trio Fuzz Lord – guitarist Steven “Fuzz Lord” joined by bassist/vocalist “Stoner” Dan Riley and drummer/vocalist Lawrence “Lord Buzz” – have their thematic well set on their eight-track self-titled debut (on Fuzzdoom Records). Likewise, their tones and the sense of space in the echoing vocals of “Kronos Visions Arise” and the later, extra-Sabbathian “World Collide” seem to know precisely where they’re headed. Riley recorded the 39-minute outing, while Justin Pizzoferrato (Elder, Dinosaur Jr., many others) mixed, and the resulting conjuration is earthbound in its low end while allowing the guitar to either roll out riffy largesse or take an airier approach. The uptempo “The Lord of the Underground” speaks to a punker underpinning, while the preceding “The Warriors Who Reign” seems to have a more classic metal take, and “Infamous Evil,” also the longest track at 7:51, peppers in layered guitar leads amid a doomier, Luciferian vibe and fervent hook.

Fuzz Lord on Thee Facebooks

Fuzzdoom Records on Thee Facebooks

 

Marijannah, Till Marijannah

Marijannah till marijannah

Comprised of members of Wormrot and The Caulfield Cult, Singapore-based newcomers Marijannah execute four tracks of blown-out tones and psychedelic cavernousness with their Pink Tank Records debut release, Till Marijannah. Touches of garage swing make their way into opener “1974,” and second cut “Snakecharmer” blazes and scorches with wah-drenched solos around crunching rhythms and melodic vocalizations. A march emerges on the nine-minute “Bride of Mine” and only gets more fervent as the track makes its way forward, and driving finale “All Hollow’s Eve” presents a cacophonous but controlled take from Marijannah that reinforces the notion of nothing on their first outing happening by accident. Impressive and just a bit frenetic, it leaves one wondering what further ground the band might look to explore from here, whether they’ve set their sonic course and will look to refine their processes along these lines or whether this is just the beginning of a wider stylistic melding, and their next offering might sound completely different than Till Marijannah. The one seems as likely as the other, and that’s incredibly refreshing.

Marijannah on Thee Facebooks

Pink Tank Records website

 

Cosmic Fall, In Search of Outer Space

cosmic fall in search of outer space

Immediate points to Berlin jammers Cosmic Fall for opening their six-song/43-minute third album, In Search of Outer Space, with the 11-minute longest track “Jabberwocky.” The three-piece introduced new guitarist Marcin Marowski last year on Jams for Free (review here), and as bassist Klaus Friedrich steps up to take the vocalist role and drummer Daniel Sax continues to hold together impossible spaciousness with a fluidity of groove, Marowski seems right at home wah-noodling in the open reaches of “Jabberwocky” and soldering shred and swirl together on the later “Lumberjam.” Some of In Search of Outer Space’s most effective moments are its quietest, as on “Purification” or second cut “Narcotic Vortex,” but neither will I decry the bass fuzz that takes hold near the finish there or the molten churn that bookends closer “Icarus,” but as “Spacejam” hits into the vastness, it seems Cosmic Fall as just as apt to float as to rocket their way out of the atmosphere. In either case, they most certainly get there.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

Owl, Orion Fenix

owl orion fenix

The solo-project of Christian Kolf of avant death-crunchers Valborg, Owl issues the 22-minute single-song EP Orion Fenix – with its chanting repetitions of “reborn in fire” – as a precursor to the upcoming LP, Nights in Distortion. Like Owl’s last EP, 2015’s wondrously dark Aeon Cult (review here), Orion Fenix is both intense churn and slow-rolling melancholy, bridging a gap between classic doom (that lead 15 minutes in) and post-doom rhythms and atmosphere. If the project’s purpose is to find beauty in darkness, Orion Fenix accomplishes this quickly enough, but the track’s runtime and lush layering allow Kolf to lend a sense of exploration to what is no doubt a meticulous creative process, since he’s handling all the instruments and vocals himself. Either way, Orion Fenix, as a herald, bodes remarkably well for forward progress on Nights in Distortion to come, and is a remarkable accomplishment on its own in both heft and spaciousness.

Owl on Thee Facebooks

Owl on Bandcamp

 

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Zhora Post Vintage-Style Animated “Riverchrist” Video

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

zhora
Irish sludgechuggers Zhora — also stylized as zhOra — released their second album, Ethos, Pathos, Logos, late last year, and in addition to its somewhat metaphysically-encompassing title, the Clonmel-based four-piece unleashed with it torrents of progressively pummeling riffs, harsh shouts and purposefully contemplative onslaught. Philosophical exploration through physical or aural punishment? They wouldn’t be the first to tap into flogging for mind expansion by any means, but I guess when something works you roll with it.

The track “Riverchrist” is the second of the total 11 on Ethos, Pathos, Logos, and its new video that you can see below is a deeply creative endeavor involving oldschool-looking animation and a narrative of human sacrifice resulting in a priest or monk of some kind meeting, trapping and — maybe — ultimately joining with his god. It gets kind of murky as these things will, but it’s visually stunning all the same and though in cases like this it’s usually something mined from the public domain or just snagged from a part of a movie or short film or something like that, nope, this one’s all original. Kudos to Goat Planet, which produced the clip.

In addition to the gigs listed below with The Faceless and Conan and MonolordZhora have been confirmed to take part in the inaugural Crypt of the Riff festival (info here) alongside Elder DruidGarganjuaHornets and others. One imagines further appearances are to come throughout 2018 as they continue to support Ethos, Pathos, Logos, but in the meantime, you can check out the “Riverchrist” video here, followed by more info from the PR wire.

Enjoy:

zhOra, “Riverchrist” official video

Irish sludge powerhouse ZHORA have released a new video for their track ‘Riverchrist’, taken from their sophomore album Ethos, Pathos, Logos which was released on 27 October 2017.

‘Riverchrist’ revolves around the fictional character ‘Sin Eater’ and his dominion over vast lands and its people. Written through a first person perspective, his malevolent yet precarious demeanor illustrates the fictional deity and his world of no mercy.

Animation by Goat Planet – https://www.facebook.com/goatplanet/

The Irish sludge metal group have also announced two upcoming shows:

February 6th with THE FACELESS
May 15th with CONAN and MONOLORD

Zhora on Thee Facebooks

Zhora on Twitter

Zhora on Bandcamp

Zhora BigCartel store

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Primordial Post “Stolen Years” Video; Exile Amongst the Ruins out March 30

Posted in Bootleg Theater on January 22nd, 2018 by JJ Koczan

primordial

Many bands, one Primordial. Going on nine records deep into a career that in 2018 hits 25 years since the release of their first demo, the Dublin-based metallers are one of a kind. Over their time, they’ve transcended black metal, pagan metal, Celtic metal, doom and however many other subgenres on their way to defining and refining their sound, and with the forthcoming Exile Amongst the Ruins — out March 30 on Metal Blade — the five-piece will once again showcase the individualized take and particular dramatic bent that makes them who they are: not only distinct sonically, but one of heavy metal’s most affecting bands, capable of stirring the soul in a way few groups can.

To whatever degree a given listener is emotionally affected — that is to say, different people buy in at different levels; investment is subjective — I firmly believe that anyone who’s seen Primordial live can at very least appreciate the landmark-style presence they bring to the stage. That is the focus, rightly, of their new Costin Chioreanu-directed videoprimordial exile amongst the ruins for “Stolen Years,” which is the first track to be unveiled from Exile Amongst the Ruins. We see the band, led as ever by frontman Alan “Nemtheanga” Averill, essentially preparing for a show. The rest of the group — founding guitarist Ciáran MacUiliam and bassist Pól MacAmlaigh, guitarist Micheál O’Floinn and drummer Simon O’Laoghaire — laughs and drinks and checks gear as Averill ritualistically dons the stage makeup he’ll wear during the set. Shot in black and white and slow motion, the spirit of the clip portrays a sense of import, of meaning, to what becomes to the band and to fans clearly more than just another night at a gig.

And as for the song itself, “Stolen Years” is something of a surprise. When one thinks of “lead single,” it’s hardly the kind of fare imagined. With a subdued melancholy and a structure that pulls away from the hooks the band often proffers, it feels more meditative than a lot of what Primordial does, but it’s still undeniably theirs. As it appears late in the tracklisting for Exile Amongst the Ruins, which you can see in the album announcement that follows the video here, it leads one to wonder what sort of atmospheres Primordial might dig into as side B of their latest offering plays through. For the time being, I can only look forward to finding out.

Check out Primordial‘s “Stolen Years” on the player below, followed by the aforementioned details courtesy of the PR wire, and please enjoy:

Primordial, “Stolen Years” official video

Primordial announces new album “Exile Amongst The Ruins” for March 30th!

Irish pagan metal gods PRIMORDIAL announces their new album Exile Amongst The Ruins for a March 30th release through Metal Blade Records. The band teamed with producer Ola Ersfjord, who worked on their 2016 live album Gods to the Godless. The record was tracked at Dublin’s Camelot Studios, located adjacent to PRIMORDIAL’s rehearsal room.

Visit metalblade.com/primordial to check out the video for the first single “Stolen Years.” At the same location, fans can pre-order Exile Amongst The Ruins in the following formats:

–ltd. 1st ed. Digibook-CD with bonus-CD
–jewelcase-CD
–ltd. ed. Artbook (incl. 5 x 10″ in golden vinyl)
–180g black vinyl
–clear gray-brown marbled vinyl (EU exclusive – limited to 700 copies)
–violet red purple marbled vinyl (EU exclusive – limited to 300 copies)
–clear pale pink/white splattered vinyl (EU eBay exclusive – limited to 100 copies)
–purple red marbled vinyl (EU exclusive – limited to 200 copies)
–transparent green vinyl (Blast exclusive – limited to 200 copies)
–dead gold marbled vinyl (Napalm exclusive – limited to 300 copies)
–rosy brown/purple marbled vinyl (US exclusive – limited to 400 copies)
–tan clear vinyl (US exclusive – limited to 200 copies)

Once again building upon their signature sound, the follow up to 2014’s Where Greater Men Have Fallen is a more raw, “old school sounding” record than its predecessor. Hitting home with what vocalist A.A. Nemtheanga describes as “a direct energy” and wielding an urgency that is undeniable, the Irish quintet once again effortlessly blend elements of tragedy and might like no one else. Likewise, the evolution in their sound continues to be organic and unforced, ensuring that Exile Amongst The Ruins is essential listening for both their long term faithful and those only now drawn into their world.

Commenting about the album’s first single, ‘Stolen Years’, A.A. Nemtheanga added: “‘Stolen Years’ may seem like a strange choice as our lead single, and on the face of if I guess it is. It’s not a blood and thunder epic about tragedy and might and the ruin of nations, nor is it 9 minute epistle of doom. Have no fear, the album does contain those also but to open this time we chose something different. This album has some surprises and this is one of them, a short and painfully simple song which almost didn’t make the final cut if you can believe so. The video, cut by Costin Chioreanu, is about the journey involved in finally getting to that moment where you walk on stage, the song itself about that last night on earth that comes to us all, sometimes we never know when that might be, hold your loved ones tight tonight, this could be it…”

Exile Amongst The Ruins track listing:
1. Nail Their Tongues
2. To Hell or the Hangman
3. Where Lie the Gods
4. Exile Amongst the Ruins
5. Upon Our Spiritual Deathbed
6. Stolen Years
7. Sunken Lungs
8. Last Call

To coincide with the album release the Irishmen have just announced two special and rather intimate album-release shows in Germany as well as their appearance on the Heathen Crusade European tour with Finnish MOONSORROW as co-headliners and German DER WEG EINER FREIHEIT as support act!

PRIMORDIAL Exile Amongst The Ruins release shows:
30/03/18 DE Berlin Cassiopeia
31/03/18 DE Köln Jungle Club

Heathen Crusade 2018
PRIMORDIAL
+ MOONSORROW
+ DER WEG EINER FREIHEIT
12/04/18 NL Leeuwarden Neushoorn
13/04/18 NL Tilburg 013
14/04/18 FR Paris Trabendo
15/04/18 BE Brugge Entrepot
16/04/18 UK London Islington Assembly Hall
17/04/18 LU Esch-sur-Alzette Kulturfabrik
18/04/18 CH Pratteln Z7
19/04/18 DE Ludwigsburg Rockfabrik
20/04/18 DE Leipzig Hellraiser
21/04/18 CZ Prague Akropolis
22/04/18 SK Kosice Colloseum
23/04/18 HU Budapest Barba Negra
24/04/18 AT Wien Szene
25/04/18 DE München Backstage
26/04/18 DE Aschaffenburg Colos-Saal
27/04/18 DE Bochum Matrix
28/04/18 DE Hamburg Markthalle

Get your tickets now: dragon-productions.eu
Further info here: facebook.com/HeathenCrusade

Further PRIMORDIAL festival appearances:
12/05/18 NO Haugesund Karmoygeddon
09/06/18 SE Sölvesborg Sweden Rock
14/07/18 DE Balingen Bang Your Head!!!
20/07/18 DE Bertingen Rock Unter Den Eichen
27/07/18 SI Tolmin Metaldays
11/08/18 ES Villena Leyendas Del Rock
12/08/18 BE Kortrijk Alcatraz Metal Festival
26/08/18 RO Suceava Bucovina Rock Castle

PRIMORDIAL line-up:
A.A. Nemtheanga – Vocals
Ciarán MacUilliam – Guitar
Michael O’Floinn – Guitar
Pól MacAmlaigh – Bass
Simon O’Laoghaire – Drums

Primordial website

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Primordial on Bandcamp

Primordial on YouTube

Primordial at Metal Blade Records

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Metal Blade Records on Twitter

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Weed Priest Premiere “Vampyr” Video

Posted in Bootleg Theater on October 23rd, 2017 by JJ Koczan

weed priest

Irish sludge nasties Weed Priest issue their four-song full-length, Consummate Darkness, on Halloween via Cursed Monk Records. There is a moment toward the chug-mad ending of album opener “Witch’s Curse” that, somehow fittingly to the title, conveys a sense of the genuinely unhinged. I don’t know if the idea was that, as his own guitar and that of Sean “The Tormentor” Sullivan and the bass of Ragas Iscariot devolve into crackling amp noise, the vocals of Adam Diavol — points all around on the names, guys; lest we forget Micheál Dúlachán on drums — shift from the lower-register extreme growing to a higher-pitched cackle. Is this the witch in “Witch’s Curse” speaking directly to the listener? I don’t know, but it sounds utterly fucked, and I’m pretty sure that’s the point. Point taken.

Weed Priest issued their thick-rolling self-titled debut long-player (review here) in 2013 and brought with their volume worship a sense of grim-hued ritualizing. Consummate Darkness feels more about rawer scathe. Set up across two vinyl sides on which a shorter track leads into a longer one —weed priest consummate darkness “Witch’s Curse” (8:04) into “Vampyr” (10:33) on side A; “SkyDaddy” (6:36) into “The Mass” (14:29) on side B — the record isn’t without a sense of structure, but as the horror sample leads to the plodding, post-Electric Wizard launch of “Vampyr,” Weed Priest find themselves engaging a grittier form of extremity, less outwardly crushing and more about the overarching filth conjured through the riffs and the rhythmic nod, the theme taking shape really in “Vampyr” and finding catchier foothold in the speedier “SkyDaddy” before “The Mass” brings about a last push into rumbling oblivion, grueling and mirroring the viciousness of “Witch’s Curse” early while finding spaciousness later in its extended solo section.

Brutal? Why yes it fucking is. That would seem to be the point. One can hear a dynamic shift between the more “rock”-based songcraft of “SkyDaddy” and “The Mass,” certainly, but Weed Priest are far less about showing off their range than they are about bludgeoning their audience with it, and that suits them. “The Mass” ends Consummate Darkness on a long-fading drum march and the funereal vibe is noteworthy; a dirge undertaken with a relished sense of dismemberment, flayed skin and any number of other medieval cruelties having been brought to bear through volume and tempo-be-damned sonic terror.

Today I have the pleasure of hosting the video premiere for “Vampyr” from Consummate Darkness, which can be preordered now via the links below. Please find it on the player here, followed by more info from the PR wire, and if you think your personal constitution is up to it, enjoy.

Here we go:

Weed Priest, “Vampyr” official video premiere

Weed Priest’s second much anticipated full length album “Consummate Darkness” is coming out on Samhain (31th of October) 2017 as vinyl, cd and digital via Cursed Monk Records.

“Lo and behold! From the depths of the smoke filled dungeons, from the tops of the mountains of madness, the priest is coming back with the new opus. Four hymns depicting the unholy ceremonies of union with darkness, four sermons of crawling doom, four spits into the face of conformity and meekness.”

Adam (guitar, vocals), Ragas (bass) and Adrian (drums) were brought together by the love of classic Black Sabbath sound, seventies psychedelic rock, doom/sludge metal and their interest in occultism in 2009. In 2011 Weed Priest released a well received demo CD. A grandiose debut self-titled full length album came out in 2013 and is now sold out. It was followed by “Worship” EP (2014). In 2014 the drum throne was taken over by Michael. Second guitar player Sean also joined. Two split releases followed: split single with Northern Irish doom brothers Astralnaut (February 2015) and split EP with Italian doomsters Black Capricorn (September 2016).

WEED PRIEST:
Adam Diavol – lead guitar/vox
Ragas Iscariot – bass
San “Balor” Sullivan – guitar
Micheál Dúlachán – drums

Weed Priest on Thee Facebooks

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Zhora Post New Track; Ethos, Pathos, Logos out This Week

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

zhora

Irish post-sludgers Zhora — also presented as zhOra, which I’m not doing, because I’m an adult and capitalizing the first letter of a proper noun is a choice I’ve made and even if it’s wrong in this instance, I’m sticking by it — are gearing up for a weekender tour starting this Friday which will take them to Siege of Limerick, where they’ll share the stage with the likes of Orange Goblin as well as Emerald Isle countrymen like Zlatanera, Kurokuma, Elder Druid, Demeter and many others. Seems as fitting an occasion as any to mark the release of their new album, the genre-spanning self-release Ethos, Pathos, Logos, from which the band has just posted the track “Infernal Liturgy” as a name-your-price download, and which is about as all-over-the-place in its sub-three-minute run as you could ask.

Cool by me. They might not be much for capitalization, but if it’s between that and weirding out, even I have to admit the weird-out is the way to go. Particularly when it’s still so heavy.

Info and audio follows, courtesy of the PR wire:

zhora ethos pathos logos

Irish Sludge Metallers ZHORA Release Free Track Download Ahead of Headline Tour

Album Ethos, Pathos, Logos Released 27 October

Irish sludge powerhouse zhOra have released the latest single ‘Infernal Liturgy’ for free download ahead of their headline tour which starts October 20th. The track is taken from forthcoming sophomore album Ethos, Pathos, Logos which is released on 27 October.

Vocalist Colin Bolger comments: “Infernal Liturgy takes place right in the middle of the story. It deals with our main character “Riverchrist” and how he convinces a group of desperate tribespeople to resort to cannibalism and devour each other. We like to think of it as our demented death metal ballad. It’s slimy yet angular and features our drummer Tom spitting a glorious vocal rhythm with some genuine venom. We took director Zoe Kavanagh, her camera crew and a group of our oldest friends to the forest for a few days in September and shot a mad new video which will be debuting soon. We used fake limbs, fire and skulls, lots of mushrooms, not enough cans and 27 litres of fake blood. Things got weird and sticky just just the way we like it and the result is a real horror show.”

Over the span of six years zhOra have quickly become one of the most recognisable names in the burgeoning Irish metal scene. In this time the band has released one EP Feet Nailed to the Ground (2011) and their debut LP Almaz (2013), both releases garnering huge praise within the scene. Now in 2017, the band is set to undertake the next stage in their journey, Ethos, Pathos, Logos.

In the only predictable aspect of the band’s sonic trajectory, Ethos, Pathos, Logos finds the band once again putting themselves under their own microscope and refining their approach. With a lush cover designed by acclaimed Visionary Artist Jake Kobrin, the record is zhOra’s first back-to-back concept album, an hour long journey through past lives and cannibalism.

Pre-orders for Ethos, Pathos, Logos are available now via Big Cartel, Bandcamp, iTunes and all other digital outlets.

Catch zhOra throughout October:
October 27 – Central Arts, Waterford
October 28 – Fozzys, Clonmel
October 29 – Siege of Limerick

https://www.facebook.com/zhOramusic/
https://twitter.com/zhoramusic
http://zhora1.bandcamp.com/
http://zhora1.bigcartel.com/products

Zhora, “Infernal Liturgy”

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