Snailking Begin Work on Third Album

Posted in Whathaveyou on December 29th, 2017 by JJ Koczan

It’s entirely possible that by the time they get the pre-production finished, start and complete a recording process, mix, master, press up the inevitable vinyl and secure a proper release, Snailking will be a full four years out from having issued their second full-length in the form of 2014’s Storm (review here). That record was the Jönköping, Sweden-based cosmic doom trio’s follow-up to 2012’s Samsara (review here) and their debut on Consouling Sounds, and while it’s unclear at this time if the same label will stand behind the new offering, it should be interesting to hear what the YOB-influenced outfit have come up with this time around, since in the time since Storm guitarist/vocalist Pontus Ottosson has completely revamped the rhythm section behind him.

Now comprised of Ottoson, drummer Olle Svahn (who takes the place of Karl Jonas Wijk) and bassist Anton Eng (come aboard for Frans Levin), Snailking are marking the start of what could easily be a new era for the band by kissing the old one goodbye via making Storm and Samsara as well as the 2014 Live at the Kinky Star Club available from Bandcamp in name-your-price fashion, hoping to entice listeners and build funds up for the impending studio time. If you didn’t hear it, Storm is worth the price of admission for the 17-minute roll of “Requiem” alone, never mind the more aggro take of songs like “Premonitions” and “To Wander,” but whatever your poison, there’s plenty of space-sludge to go around.

They put word out like so:

snailking photo nicky hellemans

Finally some good news, Snailking is currently doing pre-production for our next full-length album! We feel like this calls for some kind of celebration so we’re giving away both our previous albums for free on our Bandcamp. We’re also doing a sale where you can find cheap t-shirts and CDs, all sales goes to financing the recording of the next album.

Snailking is:
Olle Svahn – Drums
Anton Eng – Bass
Pontus Ottosson – Guitar & Vocals

https://www.facebook.com/SnailkingSWE/
https://snailking.bandcamp.com
http://snailking.se/

Snailking, Storm (2014)

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Review & Full Album Premiere: Grande Royale, Breaking News

Posted in audiObelisk, Reviews on August 22nd, 2017 by JJ Koczan

grande-royale-breaking-news

[Click play above to stream Breaking News by Grande Royale. Album is out Friday, Aug. 25, via The Sign Records.]

Whatever one’s associations with the phrase they’ve chosen as the title for their third album, Breaking News, that’s not Grande Royale‘s fault. Chances are the Jönköping-based heavy rockers had some motivation in mind behind the choice, but without knowing the media climate in their native Sweden, I can only go by the lyrical content of the 10-track/34-minute The Sign Records long-player, including the title-track and catchy toe-tappers like “Brake Light,” “Got to Move,” “Devil’s Place” and closer “I’m on the Loose,” and note it doesn’t seem to be a commentary either on the media or the greater sociopolitical sphere. That’s something of a relief coming from the five-piece of guitarists Gustav Wremer and Andreas Jenå, vocalist Hampus Steenberg, bassist Calle Ljungström and drummer Mackey Gustafsson, who worked with producer Nicke Andersson (The Hellacopters, Entombed, Death Breath, etc.) to instead evoke the positive, warm and bordering-on-wholesome Thin Lizzy-esque bounce of “Live with Your Lie” and classic rockers like the low-end-driven “One Second” and proto-motoring “R’N’R Business.”

Front to back across the offering, which follows Grande Royale‘s self-released 2014 debut, Cygne Noir, and the 2015 follow-up, No Fuss – A Piece by Resolute Men, the band basks in a classic heavy rock sunshine and analog depth, leaving no room for pretense when it comes to bringing forth ’70s influences as filtered through more modern garage push. Yes, The Hellacopters are a factor in their sound, but the harmonies in the four-minute “Daily Illustration” and in the hook of the suitably thrusting “Got to Move” add an individualized edge to the proceedings, and the overarching impression of Breaking News — again, despite any tragic or otherwise unfortunate connotations the words “breaking news” might convey — is so inviting and friendly to the ear that the listener is more inclined to embrace familiar aspects than be caught up in feelings of redundancy. In this way, Grande Royale effectively interpret ’70s, ’90s and ’10s rock without losing themselves in a mire of aping any one band’s sound in particular.

There’s not much mystery as to how the feat is accomplished: it’s the songwriting. I won’t take away from the natural sound Andersson‘s production brings to Jenå and Wremer‘s guitars or from Steenberg‘s crisp delivery throughout on vocals. Indeed, though the roots of their style are more toward the modern/organic than the we-only-use-amps-from-1970 vintage worship — which is expensive, time-consuming and often difficult in terms of repairing busted gear — the balance of that naturalism with the tightness of their craft is perhaps what most of all dogwhistles Grande Royale‘s three albums’ worth of experience. Otherwise, with the plays between swing and urgency among cuts like “Devil’s Place” and “One Second” — shifts in tempo and push handled fluidly by Ljungström and Gustafsson — might find the band losing their grip in a way detracting from the memorability overall, but as it stands, Breaking News makes easy transitions between 7″-worthy cuts and thereby sets up a classic-feeling full-length flow that holds on loosely for the duration and steers its audience with a subtle but firm guiding hand.

grande royale

Not that they make the journey especially difficult, either. From the opening come-on-let’s-go shove of “Know it All” through the more Southern-style organ flourish of finale “I’m on the Loose” — some Thin Lizzy again, maybe via Skynyrd — Breaking News holds onto its aural optimism, and whether it’s the channel-swapping interplay of start-stop riffs in the verses of the title-track all the while underscored by a steady bass and drum progression or the efficient mid-paced execution of “R’N’R Business,” it does so finding consistency of mood doesn’t need to necessarily come with a repetition of sonic ideas. This also relates to the quality of songcraft, but Grande Royale are able to carry through this vibe with chemistry between them and a variety of the basic impression each inclusion makes. The whole thing is even, balanced, smooth, but not at all falling into the trap of dullness to which those things might lead. There’s still an energy here in terms of the root performance.

I don’t know whether or not Grande Royale recorded Breaking News live in full, in part or at all, but the vitality they bring to their pieces would seem to have its foundation in stage-work one way or another, and the album benefits tremendously from that when it comes to tying the songs together and honing the momentum that moves from one into the next. Part of that stems as well from the fact that Breaking News, whether it’s in the individual tracks or the entirety built from them, doesn’t stick around long enough to wear out its welcome. Were it 50 minutes long instead of the tidy, ultra-manageable 34 that it is, that might not be the case, but even this correct editorial decision on the part of the band — knowing how much is enough — is a facet of their aesthetic worth appreciating, and like the clear-headedness of their verse/chorus structures, it speaks to the depth of consciousness beneath what on the surface is such an outgoing execution. That is, none of this is happening by mistake, on any level.

Rather, as one would hope for a third LP, Breaking News finds Grande Royale well in command of their style and sounding fully aware of who they are and who they want to be as a band. The tracks, while not necessarily reinventing classic heavy rock in their construction, are nonetheless refreshing for the sincerity of the group’s approach and the obvious value they place on attention to detail. As they also largely avoid the heavy ’10s boogie rock that has so largely affected the broader European underground, and as they avoid the woeful associations their choice of title could bring forth on the part of their listeners, it becomes even clearer that Breaking News is the work of professional-grade songwriters and that it is all the stronger for that. In other words: Don’t worry. It’s good news.

Grande Royale on Thee Facebooks

Grande Royale at The Sign Records Bandcamp

The Sign Records website

The Sign Records on Thee Facebooks

The Sign Records webstore

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Quarterly Review: Ulver, Forming the Void, Hidden Trails, Svvamp, Black Mirrors, Endless Floods, Tarpit Boogie, Horseburner, Vermilion Whiskey, Hex Inverter

Posted in Reviews on March 28th, 2017 by JJ Koczan

cropped-Charles-Meryon-Labside-Notre-Dame-1854

Feeling groovy heading into Day Two of the Spring 2017 Quarterly Review, and I hope you are as well. Today we dig into a pretty wide variety of whatnots, so make sure you’ve got your head with you as we go, because there are some twists and turns along the way. I mean it. Of all five days in this round, this one might be the most wild, so keep your wits intact. I’m doing my best to do the same, of course, but make no promises in that regard.

Quarterly Review #11-20:

Ulver, The Assassination of Julius Caesar

ulver-the-assassination-of-julius-caesar

Norwegian post-everything specialists Ulver have reportedly called The Assassination of Julius Caesar (on House of Mythology) “their pop album,” and while the Nik Turner-inclusive freakout in second cut “Rolling Stone” (that may or may not be him on closer “Comign Home” as well) doesn’t quite fit that mold, the beats underscoring the earlier portion of that track, opener “Nemoralia” and the melodrama of “Southern Gothic” certainly qualify. Frontman/conceptual mastermind Kristoffer Rygg’s voice is oddly suited to this form – he carries emotionally weighted hooks like a melancholy George Michael on the electronically pulsating “Transverberation” and, like most works of pop, shows an obsession with the ephemeral in a slew of cultural references in “1969,” which in no way is likely to be mistaken for the Stooges song of the same name. While “So Falls the World” proves ridiculously catchy, “Coming Home” is about as close as Ulver actually come here to modern pop progression, and the Badalamenti-style low-end and key flourish in “1969” is a smooth touch, much of what’s happening in these eight tracks is still probably too complex to qualify as pop, but The Assassination of Julius Caesar is further proof that Ulver’s scope only grows more boundless as the years pass. The only limits they ever seem to know are the ones they leave behind.

Ulver on Twitter

House of Mythology website

 

Forming the Void, Relic

forming-the-void-relic

Last year, Louisiana four-piece Forming the Void had the element of surprise working to their advantage when it came to the surprising progressive edge of their debut album, Skyward (review here). Now signed to Argonauta, the eight-song/55-minute follow-up, Relic, doesn’t need it. It finds Forming the Void once again working proggy nuance into big-riffed, spaciously vocalized fare on early cuts “After Earth” and “Endless Road,” but as the massive hook of “Biolazar” demonstrates, the process by which guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa, bassist Luke Baker and drummer Jordan Boyd meld their influences has become more cohesive and more their own. Accordingly, I’m not sure they need the 11-minute closing take on Led Zeppelin’s “Kashmir,” since by then the point is made in the lumber/plunder of “Plumes” and in the more tripped-out “Unto the Smoke” just before, but as indulgences go, it’s a relatively easy one to make. They’re still growing, but doing so quickly, and already they’ve begun to find a niche for themselves between styles that one hopes they’ll continue to explore.

Forming the Void on Thee Facebooks

Argonauta Records website

 

Hidden Trails, Instant Momentary Bliss

hidden-trails-instant-momentary-bliss

Though it keeps a wash of melodic keys in the background and its approach is resolutely laid back on the whole, “Beautiful Void” is nonetheless a major factor in the overall impression of Hidden Trails’ self-titled debut (on Elektrohasch), as its indie vibe and departure from the psychedelic prog of the first two cuts, “Lancelot” and “Mutations,” marks a major distinguishing factor between this outfit and Hypnos 69, in which the rhythm section of the Belgian trio played previously. “Ricky” goes on to meld acoustic singer-songwriterism and drones together, and “Hands Unfold” has a kind of jazzy bounce, the bassline of Dave Houtmeyers and drumming of Tom Vanlaer providing upbeat groove under Jo Neyskens’ bright guitar lead, but the anticipation of heavy psych/prog never quite leaves after the opening, and that doesn’t seem to be what the band wants to deliver. The sweetly harmonized acid folk of “Leaving Like That” is on a different wavelength, and likewise the alt-rock vibes of “Space Shuffle” and “Come and Play” and the grunge-chilled-out closer “Denser Diamond.” If there’s an issue with Hidden Trails, it’s one of the expectations I’m bringing to it as a listener and a fan of Houtmeyers’ and Vanlaer’s past work, but clearly it’s going to take me a little longer to get over the loss of their prior outfit. Maybe I’m just not ready to move on.

Hidden Trails on Thee Facebooks

Elektrohasch Schallplatten website

 

Svvamp, Svvamp

svvamp-svvamp

Naturalist vibes pervade immediately from this late-2016 self-titled Svvamp debut (on RidingEasy Records) in the bassline to “Serpent in the Sky,” and in some of the post-Blue Cheer heavy blues sensibility, the Swedish trio bring to mind some of what made early Dirty Streets so glorious. Part of the appeal of Svvamp’s Svvamp, however, is that among the lessons it’s learned from heavy ‘70s rock and from Kadavar‘s own self-titled is to keep it simple. “Fresh Cream” is a resonant blues jam… that lasts two and a half minutes. The bouncing, turning “Oh Girl?” Three. Even the longest of its cuts, the slide-infused “Time,” the subdued roller “Big Rest” and the Marshall Tucker-esque finale “Down by the River,” are under five. This allows the three-piece of Adam Johansson, Henrik Bjorklund and Erik Stahlgren to build significant momentum over the course of their 35-minute run, casting aside pretense in favor of aesthetic cohesion and an organic sensibility all the more impressive for it being their first record. Sweden has not lacked for boogie rock, but even the most relatively raucous moments here, as in the winding “Blue in the Face,” don’t seem overly concerned with what anyone else is up to, and that bodes remarkably well for Svvamp’s future output.

Svvamp on Thee Facebooks

RidingEasy Records website

 

Black Mirrors, Funky Queen

black-mirrors-funky-queen

There are few songs ever written that require whoever’s playing them to “bring it” more than MC5’s “Kick out the Jams.” True, it’s been covered many, many times over, but few have done it well. Belgium’s Black Mirrors signal riotous intent by including it as one of the four tracks of their Napalm Records debut EP, Funky Queen, along with the originals “Funky Queen,” “The Mess” and “Canard Vengeur Masqué,” and amid the post-Blues Pills stomp of “The Mess,” the mega-hook of the opening title-track and the more spacious five-plus-minute closer, which works elements of heavy psych into its bluesy push late to welcome effect, “Kick out the Jams” indeed brings a moment of relative cacophony, even if there’s no actual threat of the band losing control behind the powerful vocals of Marcella di Troia. As a first showing, Funky Queen would seem to be a harbinger, but it’s also a purposeful and somewhat calculated sampling of Black Mirrors’ wares, and I wouldn’t expect it to be long before an album follows behind expanding on the ideas presented in these tracks.

Black Mirrors on Thee Facebooks

Black Mirrors at Napalm Records

 

Endless Floods, II

endless-floods-ii

No doubt that for some who’d take it on, any words beyond “members of Monarch!” will be superfluous, but Bordeaux three-piece Endless Floods, who do indeed feature bassist/vocalist Stéphane Miollan and drummer Benjamin Sablon from that band, as well as guitarist Simon Bedy, have more to offer than pedigree on their three-song sophomore full-length, II (on Dry Cough vinyl and Breathe Plastic cassette). To wit, 24-minute opener and longest track (immediate points) “Impasse” rumbles out raw but spacious sludge that, though without keys or a glut of effects, and marked by the buried-deep screaming of Miollan, holds a potent sense of atmosphere so that the two-minute interlude “Passage” doesn’t seem out of place leading into the 19-minute lumber of “Procession,” which breaks shortly before its halfway point to bass-led minimalism in setting up the final build of the record. Slow churning intensity and longform sludge working coherently alongside ambient sensibilities and some genuinely disturbing noise? Yeah, that’ll do nicely. Thanks.

Endless Floods on Thee Facebooks

Dry Cough Records on Bandcamp

Breathe Plastic Records on Bandcamp

 

Tarpit Boogie, Couldn’t Handle… The Heavy Jam

tarpit-boogie-couldnt-handle-the-heavy-jam

Boasting four eight-plus-minute instrumentals, Couldn’t Handle… The Heavy Jam finds New Jersey trio Tarpit Boogie rife with classic style heavy rock chemistry, bassist John Eager running fills around the dense-toned riffing from guitarist George Pierro as drummer Chris Hawkins propels a surprising thrust on opener “FFF Heavy Jam.” I’ve been a fan of Pierro and Eager’s since we were bandmates a decade ago, so to hear them unfold “Chewbacca Jacket” from its tense opening to its righteously crashing finale is definitely welcome, but the 37-minute offering finds its true reasoning in the swing and shuffle of the eponymous “Tarpit Boogie,” which digs into the very challenge posed by the title – whether or not anyone taking on the album can handle its balance of sonic impact and exploratory feel – inclusive, in this case, of a drum solo that sets a foundation for a moment of Cactus-style rush ahead of a return to the song’s central progression to conclude. They round out with “1992 (Thank You Very Little),” Chevy Chase sample and all, bringing more crashing nod to a massive slowdown that makes it feel like the entire back half of the cut is one big rock finish. And so it is. A well-kept secret of Garden State heavy.

Tarpit Boogie on Thee Facebooks

Tarpit Boogie on Bandcamp

 

Horseburner, Dead Seeds, Barren Soil

horseburner-dead-seeds-barren-soil

The self-released Dead Seeds, Barren Soil is Horseburner’s second full-length, and it arrived in 2016 from the four-piece some seven years after their 2009 debut, Dirt City. They’ve had a few shorter outings in between, demos and 2013’s Strange Giant EP, but the West Virginia four-piece of Adam Nohe, Chad Ridgway, Jack Thomas and Zach Kaufman seem to be shooting for a definitive statement of intent in the blend of heavy rock and modern, Baroness-style prog that emerges on opener “David” and finds its way into the galloping “Into Black Resolution,” the multi-tiered vocals of “A Newfound Purity” and even the more straight-ahead thrust of “The Soil’s Prayer.” Marked out by the quality of its guitar work and its clearly-plotted course, Dead Seeds, Barren Soil caps with “Eleleth,” which at just under eight minutes draws the heft and the complexity together for a gargantuan finish that does justice to the ground Horseburner just flattened as they left it behind.

Horseburner on Thee Facebooks

Horseburner on Bandcamp

 

Vermilion Whiskey, Spirit of Tradition

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Lafayette, Louisiana, five-piece Vermilion Whiskey telegraph participation in the New Wave of Dude Rock to the point of addressing their audience as “boy” in second cut “The Past is Dead,” and from the cartoon cleavage on the cover to the lack of irony between naming the record Spirit of Tradition and putting a song called “The Past is Dead” on it, they sell that well. The Kent Stump-mixed/Tony Reed-mastered six-tracker is the band’s second behind 2013’s 10 South, and basks in dudely, dudely dudeliness; Southern metal born more out of the Nola style than what, say, Wasted Theory are getting up to these days, but that would still fit on a bill with that Delaware outfit. If you think you’re dude enough for a song like “One Night,” hell, maybe you are. Saddle up. Listening to that and the chunky-style riff of closer “Loaded Up,” I feel like I might need hormone therapy to hit that level of may-yun, but yeah. Coherent, well written, tightly performed and heavy. Vermilion Whiskey might as well be hand-issuing dudes invitations to come drink with them, but they make a solid case for doing so.

Vermilion Whiskey on Thee Facebooks

Vermilion Whiskey on Bandcamp

 

Hex Inverter, Revision

hex-inverter-revision

If the cover art and a song title like “I Swear I’m Not My Thoughts” weren’t enough of a tip-off, there’s a strong undercurrent of the unsettled to Hex Inverter’s second long-player, Revision. The Pennsylvania-based experimentalists utilize a heaping dose of drones to fill out arrangements of keys, guitar and noise that would otherwise be pretty minimal, and vocals come and go in pro- and depressive fashion. Texture proves the key as they embark on the linear centerpiece “Something Else,” with a first verse arriving over a sweetened bassline after four minutes into the total 9:58, and the wash of noise in “Daphne” obscures an avant neo-jazz groove late, so while opener “Cannibal Eyes” basks in foreboding ambience prior to an emotionally-driven and explosive crunch-beat payoff, one never quite knows what to expect next on Revision. That, of course, is essential to the appeal. They find an edge of rock in the aforementioned “I Swear I’m Not My Thoughts,” but as the loops and synth angularity of closer “Fled (Deadverse Mix)” make plain, their intentions speak to something wider than even an umbrella genre.

Hex Inverter on Thee Facebooks

Hex Inverter on Bandcamp

 

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Svvamp Sign to RidingEasy Records; Self-Titled Debut Due in August

Posted in Whathaveyou on May 11th, 2016 by JJ Koczan

RidingEasy Records has picked up Swedish trio Svvamp and will release their self-titled debut in the dead of summer this August. The Jönköping-based three-piece have unveiled the first audio to come from the album through their new label’s YouTube page in the form of the song “Burning Down” — which you can stream below — a sweet blues-groover sans pretense and classic in its style that somehow manages to skirt the issue of sounding like Graveyard, which at this point is an impressive feat for a new band out of Sweden. An encouraging sign for the rest of the outing, at the very least.

The PR wire brings more background:

svvamp

RidingEasy Records announce new signees SVVAMP, share first new track

Southern California label RidingEasy Records proudly announces the signing today of Swedish trio Svvamp to the roster. Hear and please share the first track from the band’s forthcoming self-titled debut, “Burning Down” via YouTube.

Swedish trio Svvamp is the real deal. Countless bands today strive to sound genuine — whether faking their way through a ProTools pastiche of carefully assembled takes, painstakingly tarnishing tracks to give them a “live feel” or simply copying the style of their favorite band. And, usually, their posturing is entirely transparent.

Every once in a while though, you find a band without self-conscious pretense that truly echoes the mood and vibe of an era when the rulebooks were burned with the draft cards and the act of playing rock’n’roll was simultaneously defiant and inherently casual. Svvamp is just that type of primordial beauty captured on a perfect 11-song debut.

Svvamp was created by three friends – Adam Johansson, Henrik Bjorklund and Erik Stahlgren – drawn together for the sake of jamming and a love of rock, folk and blues. Their resulting heavy psych sound is immediately gripping in its homespun feel and hints of Cream, Eric Bell-era Thin Lizzy, CCR and Crazy Horse.

“Our first recordings were made on a 4-channel cassette PortaPro (with microphones that we found lying around) and were really crude, recorded live to cassette,” the band explains. “We grew fond of that live feel and demo takes started to sound like finished songs. Over time, with almost everything made live in our rehearsal room, it became a full album.”

“Serpent in the Sky” kicks things off with a syncopated bluesy riff romp, while “Burning Down” echoes the stomping freeform feel of the New Yardbirds’ “How Many More Times.” Once things settle in to the laid back shuffle of “Free At Last”, Svvamp really finds its groove and lets loose like Axis: Bold As Love Jimi Hendrix. “Time” sounds almost like Ziggy Stardust era Bowie with a boogie swagger and cheeky vocals. “Set My Foot and Leave” sounds as earnest and unpretentious as The Faces (and at times like Rod Stewart’s “Maggie May”, without all that shaggy, smug Rodness). Elsewhere, “Blue In the Face” slips into a heavy groove while “Oh, Girl” bashes out stop ‘n’ go riffs with the Marshall stack dramatics of Blue Cheer. Chiming mandolin and acoustic guitars lead the charming closing anthem, “Down By The River” (not the Neil Young song).

Svvamp will be available everywhere on LP, CD and download late August 2016 via RidingEasy Records.

www.ridingeasyrecords.com
facebook.com/SwampJKPG

Svvamp, “Burning Down”

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Snailking to Release Storm on Sept. 15

Posted in Whathaveyou on August 8th, 2014 by JJ Koczan

If you don’t immediately recall Swedish trio Snailking‘s three-song Consouling Sounds debut/demo from back in 2012, Samsara (review here), the prevailing impression was a YOB-style cosmic doom, psychedelic, heavy, exploratory and cohesive. It was an impressive first outing, and today the PR wire brings news of a follow-up. Storm, also to be issued through Consouling Sounds, is due out Sept. 15.

They’re streaming a new track, “Premonitions,” that you can hear below, and whether you’re familiar with their past offering or not, it’s worth checking out. Some of the Mike Scheidt-style riffing remains — that pull-back and lurch-forward approach with hints of melody snuck in — Snailking, who are named after Ufomammut‘s landmark 2004 album, distinguish themselves with multiple vocalists and through the smoothness with which they execute the build that comprises more than the second half of the song. The ending of “Premonitions” is also notable for its noisy drone that, it’s easy enough to imagine, serves as a direct tie to “Slithering,” which follows in the tracklisting given below. If Snailking are looking to present Storm as a whole work, that tells us something else about what we might expect from the new release. I’ll hope to find out if that’s how it goes.

Deference to the PR wire:

Sweden’s Snailking Announce New Album; Reveal Brand New Track

Swedish-based sludge/doom trio SNAILKING will release their debut full-length album “Storm” via Consouling Sounds on September 15th.

Take a listen to the first audio insight, the album’s second track “Premonitions” right here.

The five-song album features the artwork of Swedish artist Johan Leion (www.johanleion.com) and will be available on two different formats, a CD version featuring an extra track and a 12” LP version limited to 300 copies that also includes the CD. Pre-orders for “Storm” will be available soon at: http://consouling.be

See the full tracklisting below.

1. To Wonder
2. Premonitions
3. Slithering
4. Requiem
5. Void

http://www.snailking.se
http://www.facebook.com/SnailkingSWE
http://snailking.bandcamp.com
http://www.consouling.be
http://www.facebook.com/pages/Consouling-Sounds/77101481816
http://twitter.com/consouling

Snailking, “Premonitions”

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