Quarterly Review: Paradise Lost, Vinnum Sabbathi, Nighthawk, Familiars, Mountain Witch, Disastroid, Stonegrass, Jointhugger, Little Albert, Parahelio

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

the-obelisk-qr-summer-2020

Last day, you know the drill. It’s been a pleasure, honestly. If every Quarterly Review could feature the quality of material this one has, I’d probably only spend a fraction of the amount of time I do fretting over it. I hope you’ve enjoyed reading and enjoyed the music as much as I have. If you haven’t found something here to sit with and dig into yet, well, today’s 10 more chances to do just that. Maybe something will stick at last.

See you in September.

Quarterly Review #41-50:

Paradise Lost, Obsidian

paradise lost obsidian

It is impossible to listen to blog here. Explicitly identify and write out your career goals, as well as how you intend to get there. Your success our Obsidian and consider Many Students need Help with personal statement for money. Learn about the Best Writing Services Company that Provides Quality Papers for Your Academic work Paradise Lost as anything other than masters of the form. Of course, that they were one of the original pioneers of gothic death-doom helps, but even in the decade-plus since they began to shift back toward a more metallic approach, they have established a standard that is entirely their own. FREE Quotes Professional US, homework helper calculator UK, CA and AU Academic Paper Writers for Hire | Plagiarism Free Custom Obsidian collects nine tracks across a palatable 45 minutes, and if the hook of “Fall From Grace” is fan-service on the part of the band, then it is no less righteous for that. In atmosphere and aggression, cuts like “The Devil Embraced” and the galloping “Ghosts” deliver on high expectations coming off 2017’s Help me http://bebcho.net/?strategies-for-teaching-critical-thinking-skills - Top-Quality Paper Writing and Editing Service - Get Professional Help With Original Essay Papers From Scratch Top-Quality Medusa (review here), even as side B’s “Ending Days” and “Hope Dies Young” branch into a more melodic focus, not departing from the weight of impact presented earlier, but clearly adjusting the approach, leading to an all the more deathly return on “Ravenghast,” which closes out. Their doom remains second to none; their model remains one to follow.

Paradise Lost on Thee Facebooks

Nuclear Blast webstore

 

Vinnum Sabbathi, Of Dimensions and Theories

Vinnum Sabbathi Of Dimensions and Theories

The narrative thread carried through the six tracks of what should i do my college essay on read here how to write research questions for a dissertation homework help tudors Vinnum Sabbathi‘s Choose among the best experts to get go site help! Our professional academic writers provide students with custom essays, term papers Of Dimensions and Theories is a futuristic sci-fi tale about humanity’s first foray into deep space amid a chaos of environmental collapse and nuclear threat. The real story, however, is the sense of progression the instrumentalist Mexico City outfit bring in following up their debut LP, 2017’s http://sommelier.dn.ua/buy-cheap-paper-online/? If you need professional help with your paper, you have come to the right place. Essay-Lib.com have a great support team. Gravity Works (review here). Tying thematically to the latest how to make assignment district attorney cover letter custom writing assignments critical thinking application paper creative Cegvera album — the two bands share personnel — pieces at the outset like “In Search of M-Theory” and “Quantum Determinism” maintain the exploratory vibe of the band’s jammier works in their “HEX” series, but through spoken samples give a human presence and plotline to the alternately atmospheric and lumbering tones. As the record progresses through the airier “An Appraisal” and the feedback-drenched “Beyond Perturbative States,” their dynamic finds realization in “A Superstring Revolution I” and the drum-led “A Superstring Revolution II.” I don’t know about humanity’s prospects as a whole, but Assignments Writing Service for University Students in UK. We have team of expert writers to provide property business plan for your projects. Vinnum Sabbathi‘s remain bright.

Vinnum Sabbathi on Thee Facebooks

Stolen Body Records website

 

Nighthawk, The Sea Legs EP

Nighthawk The Sea Legs EP

Composed as a solo outing prior to the founding of Best Homepage service that guarantees timely delivery. Order online academic paper help for students. Professionally researched & quality custom Heavy Temple, the source. Since 1989 our certified professional essay writers have assisted tens of thousands of clients to land great jobs and Nighthawk solo endeavor (presumably she wasn’t a High Priestess yet), Our cv writing service preston are always ready to assist with any academic assignment, any paper, any essay - we've got you covered. The Sea Legs EP, is plenty self-aware in its title, but for being a raw execution of material written performed entirely on her own, its four tracks also have a pretty significant scope, from the post- Not confident that you are able to handle all those stages on your own? Then consider using our online Thesis Proposals service QOTSA heavy pop of “Goddamn” leading off through the quick spacegaze of “I’m From Tennessee Woman, All We Do is Honky Tonk,” into the deceptively spacious “I Can Haz” with its far-back toms, dreamy vocal melody and vaguely Middle Eastern-sounding guitar, and ending with the if- Top Writing Essay Service - Get started with essay writing and compose the best essay ever Quality and cheap essay to ease your education Cooperate with Ween‘s-country-album-had-been-weirder finish of “Stay Gold.” essay editor toronto essay teaching vocabulary term paper nature vs nurture Nighthawk has issued a follow-up to The Sea Legs EP in the full-length Goblin/John Carpenter-style synth of The Dimensionaut, but given the range and balance she shows just in this brief 12 minutes, one hopes that indeed her songwriting explorations continue to prove so multifaceted.

Nighthawk on Bandcamp

Heavy Temple on Thee Facebooks

 

Familiars, All in Good Time

familiars all in good time

Contending for one of the year’s best debut albums, FamiliarsAll in Good Time offers eight songs across 43 minutes that blend organic-feeling grit with more ethereal, landscape-evocative psychedelics. The Ontario three-piece have a few singles to their credit, but the lushness of “Rocky Roost” and the emergent heft of “Barn Burning,” the fleshy boogie of “The Dirty Dog Saloon” and the breadth of “Avro Arrow” speak not just to Familiars‘ ability to capture a largesse that draws their songs together, or the nuance that lets them brings subtle touches of Americana (Canadiana?) early on and echoing desert roll to the fuzzy “The Common Loon,” but also to the songwriting that makes these songs stand out so much as they do and the sense of purpose Familiars bring to All in Good Time as their first long-player. That turns out to be one of the most encouraging aspects of the release, but in that regard there’s plenty of competition from elements like tone, rhythm, melody, craft, performance — so yes, basically all of it.

Familiars on Thee Facebooks

Familiars on Bandcamp

 

Mountain Witch, Extinct Cults

Mountain Witch Extinct Cults

Mountain Witch‘s fourth album, Extinct Cults, brings the Hamburg-based duo of guitarist René Sitte and drummer/vocalist René Roggmann back after a four-year absence with a collection that straddles the various lines between classic heavy rock, proto-metal, ’70s heavy prog and modern cultism. Their loyalties aren’t necessarily all to the 1968-’74 period, as the chug and gruff vocals of “Back From the Grave” show, but the post Technical Ecstasy sway of the title-track is a fascinating and rarely-captured specificity, and the vocal melodies expressed in layers across the record do much to add personality and depth to the arrangements while the surrounding recording remains essentially raw. No doubt vinyl-minded, Extinct Cults is relatively brief at six songs and 33 minutes, but the Priestly chug of “Man is Wolf to Man” and the engrossing garage doom of closer “The Devil Probably” offer plenty of fodder for those who’d dig in to dig into. It is a sound familiar and individual at once, old and new, and it revels in making cohesion out of such contrasts.

Mountain Witch on Thee Facebooks

This Charming Man Records website

 

Disastroid, Mortal Fools

disastroid mortal fools

You might find San Francisco trio Disastroid hanging out at the corner of noise and heavy rock, looking disreputable. Their first record for Heavy Psych Sounds is Mortal Fools, and to go with its essential-bloody-essential bass tone and melodic semi-shouted vocals, it brings hints of angularity rounded out by tonal thickness and a smoothness between transitions that extends to the flow from one song to the next. While for sure a collection of individual pieces, Mortal Fools does move through its 43 minutes with remarkable ease, the sure hand of the three-piece guides you through the otherwise willfully tumultuous course, brash in the guitar and bass and drums but immersive in the overarching groove. They seem to save a particular melodic highlight for the verses of closer “Space Rodent,” but really, whether it’s the lumbering “Hopeless” or the sharper-toothed push of “Bilge,” the highlight is what Disastroid accomplish over the course of the record as a whole. Plus that friggin’ bass sound.

Disastroid on Thee Facebooks

Heavy Psych Sounds website

 

Stonegrass, Stonegrass

stonegrass self titled

I don’t know when this was first released, but the 2020 edition seems to be a remaster, and whenever it first came out, I’m pleased to have the chance to check it out now. Toronto duo Stonegrass brings together Matthew “Doc” Dunn and Jay Anderson, both of a markedly psyched-out pedigree, to dig into experimentalist acid-psych that pushes boundaries stylistic and national, tapping Afrobeat vibes with closer “Drive On” and the earlier 13-minute go-go-go jam “Tea” while “The Highway” feels like a lost psychedelic disco-funk 45, “The Cape” drones like it’s waiting for someone to start reading poetry over-top, and mellow hand-percussion and Turkish psych on centerpiece “Frozen Dunes.” The whole thing, which runs a manageable 39 minutes, is as cool as the day is long, and comes across like a gift to those of expanded mind or who are willing to join those ranks. I don’t know if it’s new or old. I don’t know if it’s a one-off or an ongoing project. I barely know if it’s actually out. But hot damn it’s rad, and if you can catch it, you should.

Cosmic Range Records on YouTube

Cosmic Range Records on Bandcamp

 

Jointhugger, I Am No One

jointhugger i am no one

Norwegian half-instrumental trio Jointhugger have already captured the attention of both Interstellar Smoke Records and Ozium Records with their four-song debut long-player, I Am No One, and as the follow-up to their 2019 Daemo, it leaves little question why. The more volume, the merrier, when it comes to the rolling, nodding, undulations of riff the band conjure, as each member seems geared toward bringing as much weight to bear as much as possible. I’m serious. Even the hi-hat is heavy, never mind the guitar or bass or the cave-echoing vocals of the title-track. “Domen” slips into some shuffle — if you can call something that dense-sounding a shuffle — and underscores its solo with an entire bog’s worth of low end, and though closer “Nightfright” is the only inclusion that actually tops 10 minutes, it communicates an intensity of crush that is nothing if not consistent with what’s come before. There are flashes of letup here and there, but it’s impact at the core of Jointhugger‘s approach, and they offer plenty of it. Don’t be surprised when the CD and LP sell through, and don’t be surprised if they get re-pressed later.

Jointhugger on Thee Facebooks

Ozium Records webstore

Interstellar Smoke Records webstore

 

Little Albert, Swamp King

Little Albert Swamp King

Stepping out both in terms of style and substance from his position as guitarist in atmospheric doomers Messa, Little Albert — aka Alberto Piccolo — pronounces himself “swamp king” in the opening lines of his debut solo release of the same name, and the mellow ambiance and psychedelic flourish of tone in “Bridge of Sighs” and “Mean Old Woman” and the aptly-titled “Blues Asteroid” offer an individualized blend of psychedelic blues that seems to delight in tipping the balance back and forth from one to the other while likewise taking the songs through full band arrangements and more intimate wanderings. Some of the songs have a tendency to roll outward and not return, as does “Mary Claire” or “Mean Old Woman,” but “Outside Woman Blues” and the closer “Hard Time Killing Floor Blues” hold tighter to the ground than some of what surrounds, so again, there’s a balance. Plus, as mellow as Swamp King is in its overarching affect, it’s neither difficult nor anything but a pleasure to follow along where Piccolo leads. If that’s off the psych-blues deep end, so be it. Only issue I take with him being king of the swamp is that the album’s domain hardly seems so limited.

Little Albert on Thee Facebooks

Aural Music on Bandcamp

 

Parahelio, Surge Evelia, Surge

Parahelio Surge Evelia Surge

Beautiful, patient and pastoral psychedelia fleshes out across the three tracks of Parahelio‘s debut full-length, Surge Evelia, Surge. Issued on vinyl through Necio Records, the three-song offering reportedly pays homage to a mining town in the band’s native Peru, but it does so with a breadth that seems to cover so much between heavy post-rock and psych that it’s difficult not to imagine places decidedly more ethereal. Beginning with its title-track (12:33) and moving into the swells and recessions of “Gestos y Distancia,” the album builds to an encompassing payoff for side A before unveiling “Ha’Adam,” a 23-minute side-consuming rollout that encompasses not only soundscaping, but a richly human feel in its later take, solidifying around a drum march and a heavy build of guitar that shouldn’t sound strange to fans of Pelican or Russian Circles yet manages somehow to transcend the hypnotic in favor of the dynamic, the immersive, and again, the beautiful. What follows is desolation and aftermath, and that’s how the record ends, but even there, the textures and the spirit of the release remain central. I always do myself a favor with the last release of any Quarterly Review, and this is no exception.

Parahelio on Thee Facebooks

Necio Records on Bandcamp

 

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1782 Premiere “Bloody Ritual”; Doom Sessions Vol. 2 Split with Acid Mammoth out Sept. 18

Posted in audiObelisk on June 29th, 2020 by JJ Koczan

1782 acid mammoth doom sessions vol 2

Here’s what you need to know: On Sept. 18, Heavy Psych Sounds will release Doom Sessions Vol. 2, bringing together Italy’s 1782 and Greece’s Acid Mammoth. Yeah, I know, Doom Sessions Vol. 1, with Conan and Deadsmoke isn’t even out until July 17, but I guess the label is trying to stay ahead of the game. What it rounds out to is more riffs, and I know damn well you’ve got room in your life for more riffs, so quit yer yappin’ and dig into 1782‘s “Bloody Ritual” on the streaming doodad below in all its premiere-y goodness. It runs five minutes and it’s got like a whole day’s worth of Vitamin Nod. Take your pills, man.

How on earth did Heavy Psych Sounds get the notion to pair up these Roman and Greek titans? Well, both bands released records through the imprint last year. For the duo 1782 — which also features in its lineup Marco Nieddu, who runs Electric Valley Records — it was their self-titled debut (review here), rife with willful primitivism of its approach, drawing from VHS horror grain and a post-EWiz groove that remains well intact on “Bloody Ritual.” Acid Mammoth‘s second album, Under Acid Hoof (review here), arrived later in the year and shared some genre-on-genre aesthetic with their labelmates, both bands favoring a rawness of approach and themes centered around ritualism, darkness, the devil and all that other spooky fun stuff.

I haven’t been graced with the full release as yet, so I can’t speak to what Acid Mammoth are doing this time — please don’t go prog; sometimes I feel like everybody’s going prog — but if it’s up to 1782 to set the tone with “Bloody Ritual,” they’re setting it for all the fuzzy decay you can handle. Like body odor and liquor breath put to tape. Full on scuzz.

Dig:

Bloody Ritual is the first single taken from the upcoming split album DOOM SESSIONS VOL.2 – 1782 // ACID MAMMOTH. This first single is from 1782.

The release will see the light September 18th via Heavy Psych Sounds.

ALBUM PRESALE:
https://heavypsychsoundsrecords.bandcamp.com/album/doom-sessions-vol-2-1782-acid-mammoth

TRACKLIST

SIDE A – 1782
Bloody Ritual
Hey Satan
Witch Death Cult

SIDE B – Acid Mammoth
Black Wedding
Sleepless Malice
Cosmic Pyres

Say 1782:
“A song that goes straight to the point, the emotions of the last moments of a ritual, fuzzy and heavy riffs, the battery like a boulder that enters your mind! Bloody Ritual is the track that opens Doom Sessions vol.2, 1782 & Acid Mammoth split album!”

1782 on Thee Facebooks

1782 on Instagram

Acid Mammoth on Thee Facebooks

Acid Mammoth on Bandcamp

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

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Bleeding Eyes Post “Confesso”; Golgotha out July 31

Posted in Whathaveyou on June 19th, 2020 by JJ Koczan

bleeding eyes.

Even before the song kicks into its heavier and more massive-feeling riffage, there’s an undercurrent of tension that underscores its early going and lets you, the wary listener, know what’s about to happen. That tension is put to good use in “Confesso,” which is the first single to be taken from Bleeding Eyes‘ new record, Golgotha. The album has been given a July 31 release on Go Down Records, and when that heavier buzz tone kicks in, the feeling of doom is pervasive and I can’t help but think of Entombed with some of the shouts that top the distorted grit. That’s a fun association to make, but I don’t necessarily think it’s a death metal influence on the part of Bleeding Eyes, though their sound is nothing if not a working pastiche of various points of inspiration.

I’m curious to hear more, I guess is what it comes down to. The atmosphere in “Confesso,” which tops eight minutes, pulls together post-metal, sludge, heavy psych and probably three or four other styles, and it’s their sixth record, so yeah, there’s much to dig into for those feeling adventurous.

Check it out via the PR wire below:

bleeding eyes golgotha

Psychedelic Sludge heavyweights BLEEDING EYES announce album details and share first single from upcoming record!

“Golgotha” to be released July 31st on Go Down Records

Psychedelic sludge heavyweights BLEEDING EYES have announced the release of “Golgotha”, the band’s sixth studio album, coming out on July 31st via Go Down Records. Starting from long and substantial jams, the five-piece band extrapolated and deepened seven relentless sludge anthems, full of raw energy and bleak atmospheric soundscapes. A first glimpse of what to expect can now be heard in form of “Confesso”, the apocalyptic first single from the upcoming record, streaming now here:

“Golgotha” to be released July 31st on Go Down Records and now available for pre-order at THIS LOCATION.

Tracklist as follows:
1. In Principio
2. Le Chiavi Del Pozzo
3. 1418
4. Del Pozzo Dell’Abisso
5. Confesso
6. La Verità
7. Inferno

BLEEDING EYES are:
Lorenzo Conte | drums, backing vocals
Marco Dussin | bass
Jason Nealy | guitars, backing vocals
Nicola Anselmi | guitars
Simone Tesser | vocals

www.facebook.com/BleedingEyes777/
www.instagram.com/bleeding_eyes
https://bleedingeyes.bandcamp.com/
www.godownrecords.com/bleeding-eyes

Bleeding Eyes, “Confesso”

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Black Elephant Set Aug. 21 Release for Seven Swords; Track Streaming Now

Posted in Whathaveyou on June 18th, 2020 by JJ Koczan

Black Elephant

I’m pretty sure I wrote the bio below for Black Elephant‘s upcoming album, Seven Swords. Or if not, I at least gave it a good once-over from what they had before. Either way, I’ve had the chance to sit with the release for a while now, and while there are no-doubter familiar aspects to it in the warm fuzzy tones and charged riffs, there is a subtlety to the blend between patient instrumentalism and all-go forward thrust that is more outwardly dynamic than the band might first let on. That is to say, you should definitely go ahead and stream opening track “Berta’s Flame” at the bottom of this post. It’s not like you’ll regret doing so. But keep in mind as you do that the song isn’t necessarily telling you the whole story of the record.

Also, that story seems to have something to do with sumo wrestling. I’m still not quite sure what. But hey, riffs.

The PR wire has words:

Black Elephant Seven Swords

BLACK ELEPHANT: Psychedelic Fuzz Rock Alchemists To Release Seven Swords August 21st Via Small Stone; New Track Streaming + Preorders Available

The planets have aligned, and space itself has opened up to grace us with the heavy roll of BLACK ELEPHANT’s Seven Swords, set for release this August via Small Stone Records.

The Italian fuzzmongers mark ten years of cooperative corporeal existence in 2020 and last checked in from their native Savona in Summer 2018 with the aptly titled Cosmic Blues. Two years and an entire lifetime later, they’re back with another collection of classic-minded heavy groovers, picking the best the ’70s, ’90s, and ’10s had to offer in riffery and melding spacey blowouts with desert-hued hooks.

Seven Swords is the second LP BLACK ELEPHANT has issued in league with Detroit-based imprint Small Stone Records, and whether it’s the scorching leads of “Yayoi Kusama” or the conscious wink-and-nod of “Red Sun And Blues Sun” a short time later — just ahead of the bluesy “Seppuku” and the near-nine-minute stretch of closer “Govinda” — the four-piece bring their finest work to-date in an efficient seven-track, thorty-three-minute stretch, building not only on what they accomplished on Cosmic Blues, but also what their prior two full-lengths — 2014’s Bifolchi Inside and 2012’s Spaghetti Cowboys — were building toward. This is a band coming into their own, wasting neither their time nor yours in the process.

Seven Swords was recorded and mixed by Giulio Farinelli at Green Fog Studio in Genoa, mastered by Farinelli at Everybody On The Shore Studio in Milan, Italy, and mastered by Chris Goosman at Baseline Audio Labs in Ann Arbor, Michigan. Fuzz pedals preach on, the sky cracks, and the riffs themselves seem to lock bellies in sumo battles, so what the hell? The world’s ending anyway. You might as well have some fun with it. BLACK ELEPHANT’s Seven Swords will be released on August 21st on CD and digitally via Small Stone as well as limited edition vinyl via Kozmik Artifactz.

For preorders and to sample opening track, “Berta’s Flame,” visit the Small Stone Bandcamp page at THIS LOCATION.

Seven Swords Track Listing:
1. Berta’s Flame
2. The Last March Of Yokozuna
3. Yayoi Kusama
4. Mihara
5. Red Sun And Blues Sun
6. Seppuku
7. Govinda

BLACK ELEPHANT:
Alessio Caravelli – guitar, vocals
Massimiliano Giacosa – guitar
Marcello Destefanis – bass
Simone Brunzu – drums

http://www.facebook.com/blackelephantitaly
http://www.instagram.com/blackelephantband
http://www.smallstone.com
http://www.facebook.com/smallstonerecords
http://www.smallstone.bandcamp.com

Black Elephant, Seven Swords (2020)

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Black Capricorn to Release Solitude EP on DHU Records

Posted in Whathaveyou on June 16th, 2020 by JJ Koczan

Italian cult doomers Black Capricorn released the Solstice EP last November — not quite at the solstice itself, which is in December — but not far off. The version that DHU Records will release contains two previously unreleased tracks to go with the original four, and it’s been given a “late 2020” issue date. Think maybe it’ll be out for the solstice? November would be fitting enough. Really, nobody’s paying attention to anything by Dec. 21. It’s holiday time, everybody’s too busy wondering what to order for each other off Amazon or working late hours to get money to order things off Amazon to be buying records. Even those who get/give records as presents are more likely to go with something already out than new releases.

So if it’s November, on a full-year turnaround from the original EP release, that’d work just fine, and I’m interested to hear those other two tracks of course, but really, I’ll take whatever and whenever when it comes to Black Capricorn, who are weird and underrated in kind. A band who genuinely seem to want to walk their own (left hand) path.

From the PR wire:

black capricorn solstice ep

New signing to DHU Records: Black Capricorn

DHU Records is proud to welcome back to the fold: Black Capricorn to release their Solstice EP + 2 new unreleased songs!

No introduction is needed when talking about Black Capricorn in the Heavy Underground. Their slow trudging mesmeric Italian Doom is a brand known to many and immediately recognized when immersed into the Discography of the mighty Black Capricorn.

Test press, DHU Exclusive and Band Editions will be available come Autumn/Winter 2020

Side A:
A1. Omen (March of the Arcadians)
A2. Astrodestroyer
A3. Sumerian Summer

Side B:
B1. Three Brides of Satan
B2. Winterlude
B3. Shadows in the Moonlight

Recorded in November 2019 at The Business Consultant Recording Studios by Fabrizio Monni
Tracks A2 and B1 Recorded in October 2018/November 2019 (previously unreleased)
Mastering by Mirko Toro at the Gameboy Studio
New artwork by Fabrizio Monni

Black Capricorn:
Fabrizio – Guitars, Vocals
Virginia – Bass
Rachela – Drums

http://facebook.com/blackcapricorn666
https://blackcapricorn.bandcamp.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Black Capricorn, Solstice EP (2019)

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Nibiru Sign to Argonauta Records; New Album Coming This Fall

Posted in Whathaveyou on June 8th, 2020 by JJ Koczan

Okay, yeah, that makes sense. I was kind of surprised — not unpleasantly, but surprised still — that Italian dark-drone ritualists Nibiru ever left Argonauta Records to begin with. As dense and consuming and taken-to-extremes as their sound is, it’s only ever going to have so much reach in terms of audience, and while Ritual Productions was a fit for them when it came to issuing last year’s Salbrox (review here), it’s not like they’re on the road 200 days a year either, and the niche they’re in suits them. The two parties — Argonauta and Nibiru — are now reunited for the release of the band’s forthcoming sixth album this Fall. Hey, sometimes you try a thing.

No word on a title or any of that yet for the record — if history is anything to go by, it’ll be drawn out of some mythology or other — but there’s time for such things yet and if it’s an October release, that gives them plenty of time to set the atmosphere just how they like it, which is more or less essential for what the band does.

The PR wire brings the news:

nibiru

Blackened Sludge & Drone masters NIBIRU re-sign with Argonauta Records!

Brand new album coming out this Fall!

Never change a winning team. This team’s story started back in 2013, when NIBIRU released their pathbreaking debut on the ever-growing powerhouse label Argonauta Records. Together they have released four highly acclaimed full-length albums and one EP, until the band inked a deal with Ritual Productions. Today, the Italian collective announced their return to Argonauta Records, who will release NIBIRU’s forthcoming, sixth studio album in the Fall of 2020!

NIBIRU was born in 2012, following a relentless process of spiritual and emotional knowledge that involves every member of the band and is reflected in an impetuous creative approach. Since their first album Caosgon, the music of NIBIRU draw the attention as a unique identity, instinctive and difficult to label. The genre proposed by NIBIRU could be described as Ritual Psychedelic Sludge and finds no term of stylistic comparison with other active bands, although the influences of Black Sabbath, Neurosis and MZ.412 have always been pretty clear since their inception until today. But in terms of atmosphere, NIBIRU relate themselves to the post-punk/darkwave scenes of the early ’80s (Fields Of The Nephilim, Virgin Prunes, early Christian Death, Joy Division) and to the pioneers of Depressive Black Metal, then bands like Xasthur or Shining. NIBIRU is a deep experience, an evil and visceral representation that sets new rules for genres such as Black Metal, Sludge and Drone as we know them. On their journey to date, NIBIRU played prestigious stages such as Roadburn Festival as well as shows with acts alike Enisum, Oranssi Pazuzu, Uada, Suma, Nightstalker or Phantom Winter to name just a few.

Says the band: “We are very proud and happy to be part of the Argonauta family again. We think this is the right choice to better promote and enhance the band and our music.”

NIBIRU develop their musical aesthetics through the recitation of the Enochian keys, whose evocation aims at precise ritual effects, and the insertion of very intimate and disturbing verses in Italian. The band’s sources of extramusical influences are inspired by occultists and esotericists such as Aleister Crowley, Kenneth Grant, Austin Osman Spare and Julius Evola, but also psychiatric essays, a deep inner illness and a peculiar cult for the actor Klaus Kinski.

While staying true to their creative method of recording live albums, NIBIRU invite the listener to be part of their ritual. NIBIRU is a mental and apocalyptic journey of visionary magic, elemental prophecies and esoteric superomism. Tribal percussions, evocative mantras and hypnotic drones merge into a completely new interpretation of Black and Doom Metal, while psychedelic tapestries draw a fascinating and idiosyncratic art. The shrill and inhuman voice of Ardat drags us into a kingdom of mystical abandonment and possession. NIBIRU is a ritual, a heavily deep, disturbing and wild but yet atmospheric ride on every level – of your soul, spirit and body.

After their latest album, Salbrox, mastered by Audiosiege ( Sunn O))), Mantar, Converge & many more ) and released with Ritual Productions last year, the Fall of 2020 will see NIBIRU return with their sixth record on Argonauta Records. Watch out for many more details and sounds to follow in the weeks ahead!

NIBIRU is:
Ardat – guitars, percussions and vocals
RI – bass, drone and synthesizers
L.C.s Chertan – drums

www.facebook.com/nibiruritual
www.nibiruritual.com
www.argonautarecords.com

Nibiru, “Nanta” official video

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Days of Rona: Mattia Mazzeo of AyahuascA and Black Gremlin

Posted in Features on June 8th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Mattia Mazzeo AyahuascA Black Gremlin

Days of Rona: Mattia Mazzeo of AyahuascA and Black Gremlin (Collecchio, Italy)

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

First of all, thank you for getting in touch with me. I was in Naples for a show with Black Gremlin (action rock band) a few days before the lockdown (a few places were already locked in the north of Italy) and we were already worried about our near future. With AyahuascA has been the same, the lockdown started on the same day we were supposed to play in Rome, and then all the shows we booked have been canceled including Crystal Mountain Festival which was a great show for us with a lot of great bands (Kadavar, Giobia, Monkey3 any many more). So a lot of hard work vanished into thin air, we were booking two tours with both bands (Black Gremlin and AyahuascA) for November/December but now there are too many uncertainties to book shows, so we decided to focus on new material for the next album. As an individual, I started to write a lot of new stuff, especially for AyahuascA. On this side I’m quite satisfied, isolation helped me to take a trip inside of me, I tried to turn this situation into something positive for me and I knew it could be a good time to write new riffs and lyrics. Everything has changed overnight, all of us started writing new songs on our own at home and now we have enough material for at least two albums and I’m really excited about that, I can’t wait to start to work on it with my bandmates in our rehearsal room, since writing albums is the most intense and beautiful part of the work for me.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Well, Italy was hit hard by the virus, I was afraid especially the first month (my father also took a light form of the virus). Remembering the first weeks of lockdown is like entering in a separate dimension, a very strange moment in the life of all of us. I think there was a lot of fear in general, the media bombed us with numbers of dead and infected people every day. Personally I have sometimes avoided reading the news, not to get too discouraged. Speaking of our government’s response, I think managing something of this magnitude is really difficult. Some members of the government have shown themselves to be ridiculous individuals, without culture and sense of duty. I also believe that others have done more or less what has to be done. But the perception that I have about it is deviated by an aberrant amount of news, fake news, etc. I think this was the main problem of this situation: the almost total impossibility of having a clear idea of what was going on. But on the other hand, I don’t think it could have been otherwise.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I think the music community answered well, our balconies were full of musicians who played for the neighborhoods as you may have noticed hahaha. Apart from this, in Italy, there is no real support for those who work in the music business (I am not only talking about musicians, but about promoters, club managers and other figures). Since the lockdown started, new realities have emerged to protect those who work with music and this could be a good starting point for our future. Despite this, I am really worried about many small clubs that have given us fantastic concerts in the last years. I hope that they will be able to resist in this moment of extreme restrictions and start again asap. Personally, I can’t wait to get back on stage. Now it is unthinkable to organize a punk concert with these restrictions(just to name a couple: everyone must be seated with masks and well-spaced, you can not serve drinks), but maybe it is possible to organize some psychedelic or ritual band and enjoy the show in a different way, taking advantage of the distances. Social distancing has a different impact on everyone of us. Surely this new reality is asking us to look within us, whoever has the strength to do so could come out really changed and more “centered” than before. I think great albums can come out of that. I see this period as a call to arms towards our sensitivity, the perception of what we call our world.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

If you have the opportunity to support the bands you love, do it. Buy albums and share the music you love to keep your passion alive, whether you are a musician or a listener. To the bands, on the other hand, I say that this is the best time to dedicate yourself to writing new music and get out of this stronger than before. I believe that from now on the keyword will be “adaptation”, but I believe it is also a good time to create new realities, new projects.

https://www.facebook.com/ayahuasca25/
https://ayahuascatheband.bandcamp.com/
https://www.instagram.com/ayahuascatheband/
https://www.facebook.com/blackgremlinofficialpage/
https://blackgremlin.bandcamp.com/
https://www.instagram.com/blackgremlin_rocknroll/

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Conan & Deadsmoke to Release Doom Sessions Vol. 1 Split July 17; Preorders up Now

Posted in Whathaveyou on June 5th, 2020 by JJ Koczan

Not sure what more info you might honestly need. This is a thing that exists, and preorders are available. It’s Conan and Deadsmoke, so yes, it’s going to be very, very heavy, and it’s coming out July 17. There you have it. Post over.

What’ll be interesting to see here is how far Heavy Psych Sounds takes the notion of Doom Sessions. Certainly Doom Sessions Vol. 1 is kicking the intended series off on a clarion of a note, but how many installments will there be? How often? Who will be involved? What counts as doom? It’s a cool way for the label to expand its reach beyond its perceived comfort zone — i.e. heavy psych; it’s right there in the name — although Deadsmoke released through them before, but as Heavy Psych Sounds steps further into becoming the preeminent label in Europe focused on the heavy underground, it seems like it’s a fair enough time to branch out in terms of style. And bringing Conan on board for the first go is no minor shakes.

But whatever the answers are to those questions, the point stands: July 17. Preorders. Conan and Deadsmoke. There you go.

To the PR wire:

conan deadsmoke doom sessions vol 1

Heavy Psych Sounds Records to release “Doom Sessions” series, “Vol.1” EP featuring CONAN and DEADSMOKE out July 17th!

Leading cult and fuzz rock label HEAVY PSYCH SOUNDS proudly announce the launch of their “Doom Sessions” split series, featuring bands from the HPS roster plus some of the heaviest bands from the international doom scene.

Each volume will host two bands, the start of VOL. I will make Italy’s kings of slowness, DEADSMOKE, and UK’s heavy riff masters CONAN. On “Doom Sessions Vol. 1”, Deadsmoke are going to premiere two brand new, heavy as hell tracks titled “Dead Minds Army” and “Dethroned Concrete”, Conan will round up this beast of a split with their masterpiece “Beheaded“.

“DOOM SESSIONS VOL.1” w/ Conan and Deadsmoke Out July 17th on Heavy Psych Sounds – PREORDER

TRACK LISTING:
Side A
Conan “Beheaded”
Side B
Deadsmoke “Dethroned Concrete”
Deadsmoke “Dead Minds Army”

Coming out on July 17th via Heavy Psych Sounds, the album is available to preorder now, and will be available in the following formats:
– 10 Ultra ltd test press vinyl
– 150 Ultra ltd orange transparent splatter blue vinyl
– 300 Ltd red solid vinyl
– Black vinyl
– Digipak

http://www.hailconan.com/
https://www.facebook.com/hailconan/
https://www.instagram.com/hailconan/
https://conan-conan.bandcamp.com/
https://www.facebook.com/deadsmokedoom/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
http://www.heavypsychsounds.com/

Various Artists, Heavy Psych Sounds Label Sampler Vol. 5 (2020)

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