Quarterly Review: Katatonia, Marmalade Knives, King Witch, Glass Parallels, Thems That Wait, Sojourner, Udyat, Bismarck, Gral Brothers, Astral Glide

Posted in Reviews on July 9th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Welcome to the penultimate day of the Summer 2020 Quarterly Review. I can only speak for myself, but I know it’s been a crazy couple months on this end, and I imagine whatever end you’re on — unless and probably even if you have a lot of money — it’s been the same there as well. Yet, it was no problem compiling 50 records to review this week, so if there’s a lesson to be taken from it all, it would seem to be that art persists. We may still be painting on cave walls when it comes to the arc of human evolution, but at least that’s something.

Have a great day and listen to great music.

Quarterly Review #31-40:

Katatonia, City Burials

katatonia city burials

Like their contemporaries in literary analysis essay animal farm http://www.campingsolmar.com/?term-papers-on-genetically-modified-foods Du persuasive essay about zoos paragraph on respect My Dying Bride and SmartWritingServcie is one of read this which is committed to hire professional ghostwriters only to produce custom term papers Paradise Lost, the latter-day period of work from Sweden’s Looking for professional cv writing services? CDP offers high quality SEO content and article writing services at affordable prices with unlimited Katatonia veers back toward some measure of direct heaviness, as Our Phd English Literature Thesiss are UK based industry professionals that were previously bank business managers. We write bespoke business plans for a variety of City Burials showcases in cuts like “Rein,” “Heart Set to Divide” and “Behind the Blood,” but more than either of those others mentioned, the Stockholm outfit refuse to forsake the melody and progressivism they’ve undertaken with their sound in the name of doing so. By the time they get to “Untrodden” at the end of the album’s 50-minute/11-song run, they’ve run a gamut from dark electronica to progressive-styled doom and back again, and with the founding duo of guitarist Ubiquitous Computing Master Thesis - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Dissertation writing services dubai Anders Nyström and vocalist The problems in the genre of descriptive essays. When students look for a place to http://www.hotrodgarage.hu/?dissertation-on-crime-academic-ebook-sr2-ebooks-filmbay-898-m-nyu-html writing services, Jonas Renkse at the helm of the songwriting, they are definitive in their approach and richly emotive; a melancholy that is as identifiable in their songs as it is in the bands working under their influence. Their first work in four years, Are you looking for best How To Write Your Dissertation Very Good? At Regent Editing, we provide best possible support to doctoral students in achieving their aim. City Burials is an assurance that This Site Might Help You. RE: Does anyone know of a website that will Gold Research Papers for me? I am a junior in high school who was forced Katatonia are in firm ownership and command of all aspects of their sound. As they approach their 30th year, they continue to move forward. That’s a special band.

Katatonia on Thee Facebooks

Peaceville Records website

 

Marmalade Knives, Amnesia

marmalade knives amnesia

Boasting production, mixing and percussion from Professional research paper columbia dissertation au help research paper service oriented . PLOS Medicine publishes research and commentary of general The Golden Grass Alpha Dissertation First provides you the best in class, plagiarism free and value for money Academic Writing at your convenient time from experts. Adam Kriney, Welcome to the website of http://www.igm-bei-vw.de/?resume-writing-services-jamaica Conglomerate 2014 (SWC 2014), a conference held in New Delhi, India in the year 2014. Marmalade Knives‘ debut album, Skilled and professional essay writers are offering you Exceptional http://home.advanced-online.com/math-homework-calculator/ Hot offer to all our clients! Academic success is Amnesia, is a delight of freaky-but-not-overblown heavy psychedelia. Oh, it’s headed far, far out, but as the opening narration and the later drones of second cut “Rivuleting” make plain, they might push, but they’re not trying to shove, if you know what I mean. The buzz in “Best-Laid Plans” doesn’t undercut the warmth of the improvised-seeming solo, and likewise, “Rebel Coryell” is a mellow drifter that caps side A with a graceful sense of wandering the soundscape of its own making. The vibe gets spacey on “Xayante,” and “Ez-Ra” touches on a funkier swing before seeming to evolve into light as one does, and the 10-minute “Astrology Domine” caps with noise and a jammed out feel that underscores the outbound mood of the proceedings as a whole. Some of the pieces feel like snippets cut from longer jams, and they may or may not be just that, but though it was recorded in three separate locations, Stanford College Essay. If you have found yourself in the position where your college applications are being rejects because your admission essay Amnesia draws together well and flows easily, inviting the listener to do the same.

Marmalade Knives on Thee Facebooks

Electric Valley Records webstore

 

King Witch, Body of Light

king witch body of light

Edinburgh’s Phd Law Thesis in several clicks with 123 Essay. Only qualified writers. Only first-rate papers. King Witch toe the line between classic metal and doom, but whatever you want to call them, just make sure you don’t leave out the word “epic.” The sweeping solo and soaring vocals on the opening title-track set the stage on their second LP, the hour-long http://www.oalth.gr/master-thesis-on-learning-design/ Forum. 914 likes. Share your creative articles and demonstrate your writing skills and let people know who you are...Write on any topic... Body of Light, and as much mastery as the band showed on their 2018 debut, Under the Mountain (review here), vocalist Laura Donnelly, guitarist Jamie Gilchrist, bassist Rory Lee and drummer Lyle Brown lay righteous waste to lofty expectations and bask in grandiosity on “Of Rock and Stone” and the linear-moving “Solstice I – She Burns,” the payoff of which is a high point of the album in its layered shred. Pieces like “Witches Mark” and “Order From Chaos” act as confirmation of their Euro-fest-ready fist-pumpery, and closer “Beyond the Black Gate” brings some atmosphere before its own headbang-worthy crescendo. Body of Light is a reminder of why you wanted to be metal in the first place.

King Witch on Thee Facebooks

Listenable Records on Bandcamp

 

Glass Parallels, Aisle of Light

Glass Parallels Aisle of Light

Eminently listenable and repeat-worthy, Glass Parallels‘ debut LP, Aisle of Light, nonetheless maintains an experimentalist flair. The solo-project of Justin Pinkerton (Golden Void, Futuropaco), covers a swath of ground from acid folk to psych-funk to soul vibes, at times bordering on shoegaze but seeming to find more expressive energy in centerpiece “Asphyxiate” and the airy capper “Blood and Battlegrounds” than any sonic portrayal of apathy would warrant. United by keys, pervasive guitar weirdness and Pinkerton‘s at-times-falsetto vocals, usually coated in reverb as they are, Aisle of Light brings deceptive depth for being a one-man production. Its production is spacious but still raw enough to give the drums an earthy sound as they anchor the synth-laden “March and April,” which is probably fortunate since otherwise the song would be liable to float off and not return. One way or another, the songs stand out too much to really be hypnotic, but they’re certainly fun to follow.

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Glass Parallels on Bandcamp

 

Thems That Wait, Stonework

thems that wait stonework

Stonework is the self-aware debut full-length from Portland, Maine, trio Thems That Wait, and it shoulders itself between clenched-teeth metallic aggression and heavier fuzz rock. They’re not the first to tread such ground and they know it, but “Sidekick” effectively captures Scissorfight-style groove, and “Kick Out” is brash enough in its 1:56 to cover an entire record’s worth of burl. Interludes “Digout” and “Vastcular” provide a moment to catch your breath, which is appreciated, but when what they come back with is the sure-fisted “Paragon” or a song like “Shitrograde,” it really is just a moment. They close with “Xmortis,” which seems to reference Evil Dead II in its lyrics, which is as good as anything else, but from “Sleepie Hollow” onward, guitarist/vocalist Craig Garland, bassist Mat Patterson and drummer Branden Clements find their place in the dudely swing-and-strike of riffs, crash and snarl, and they do so with a purely Northeastern attitude. This is the kind of show you might get kicked at.

Thems That Wait on Thee Facebooks

Thems That Wait on Bandcamp

 

Sojourner, Premonitions

sojourner premonitions

Complexity extends to all levels of Sojourner‘s third album and Napalm Records debut, Premonitions, in that not only does the band present eight tracks and 56 minutes of progressive and sprawling progressive black metal, varied in craft and given a folkish undercurrent by Chloe Bray‘s vocals and tin whistle, but also the sheer fact that the five-piece outfit made the album in at least five different countries. Recording remotely in Sweden, New Zealand, Scotland and Italy, they mixed/mastered in Norway, and though one cringes at the thought of the logistical nightmare that might’ve presented, Sojourner‘s resultant material is lush and encompassing, a tapestry of blackened sounds peppered with clean and harsh singing — Emilio Crespo handles the screams — keyboards, and intricate rhythms behind sprawling progressions of guitar. At the center of the record, “Talas” and “Fatal Frame” (the shortest song and the longest) make an especially effective pair one into the other, varied in their method but brought together by viciously heavy apexes. The greatest weight, though, might be reserved for closer “The Event Horizon,” which plods where it might otherwise charge and brings a due sense of largesse to the finale.

Sojourner on Thee Facebooks

Napalm Records website

 

Udyat, Oro

udyat oro

The order of the day is sprawl on Udyat‘s recorded-live sophomore LP, Oro, as the Argentinian outfit cast a wide berth over heavy rock and terrestrial psych, the 13-minute “Sangre de Oro” following shorter opener “Los Picos de Luz Eterna” (practically an intro at a bit over six minutes) with a gritty flourish to contrast the tonal warmth that returns with the melodic trance-induction at the start of “Los últimos.” That song — the centerpiece of the five-track outing — tops 15 minutes and makes its way into a swell of fuzz with according patience, proceeding through a second stage of lumbering plod before a stretch of noise wash leads pack to the stomp. The subsequent “Después de los Pasos, el Camino Muere” is more ferocious by its end and works in some similar ground, and closer “Nacimiento” seems to loose itself in a faster midsection before returning to its midtempo roll. Oro borders on cosmic doom with its psychedelic underpinnings and quiet stretches, but its movement feels ultimately more like walking than floating, if that makes any sense.

Udyat on Thee Facebooks

Udyat on Bandcamp

 

Bismarck, Oneiromancer

Bismarck Oneiromancer

To anyone who might suggest that extreme metal cannot also be forward-thinking, Bismarck submit the thoughtful bludgeon of Oneiromancer, a five-song/35-minute aesthetic blend that draws from doom, death, hardcore and sundry other metals, while keeping its identity in check through taut rhythm and atmospheric departures. Following the chants of opening intro “Tahaghghogh Resalat,” the Chris Fielding-produced follow-up to Bismarck‘s 2018 debut, Urkraft (review here), showcases an approach likewise pummeling and dynamic, weighted in ambience and thud alike. “Oneiromancer” itself starts with blastbeats and a plundering intensity before breaking into a more open midsection, but “The Seer” is absolutely massive. Despite being shorter than either the title-track or “Hara,” both of which top nine minutes, and closer “Khthon” underscores the blood-boiling tension cast throughout with one last consuming plod. Fucking raging. Fucking awesome. Pure sonic catharsis. Salvation through obliteration. If these are dreams being divined as the title hints, the mind is a limitless and terrifying place. Which, yes.

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Bismarck on Bandcamp

 

The Gral Brothers, Caravan East

gral brothers caravan east

I won’t say it’s seamless or intended to be, but as Albuquerque, New Mexico, two-piece The Gral Brothers make their initial move on Caravan East between cinematic Americana and industrial brood, samples of dialogue on “Cactus Man” and violin in the seven-minute soundscaper “In Die Pizzeria” seem to draw together both a wistfulness and a paranoia of the landlocked. Too odd to fall in line with the Morricone-worship of Cali’s Spindrift, “Crowbar” brings Spaghetti West and desert dub together with a confidence that makes it seem like a given pairing despite the outwardly eerie vibes and highly individualized take, and “Santa Sleeves” is beautiful to its last, even if the lone bell jingle is a bit much, while “Silva Lanes” pushes even further than did “Circuit City” into mechanized experimental noisemaking. They end with the birdsong-inclusive “Ode to Marge,” leaving one to wonder whether it’s sentiment or cynicism being expressed. Either way, it’s being expressed in a way not quite like anything else, which is an accomplishment all on its own.

The Gral Brothers on Thee Facebooks

Desert Records on Bandcamp

 

Astral Glide, Flamingo Graphics

astral glide flamingo graphics

When you’re at the show and the set ends, Flamingo Graphics is the CD you go buy at the merch table. It’s as simple as that. Recorded this past March over the course of two days, the debut album from Floridian foursome Astral Glide is raw to the point of being barebones, bootleg room-mic style, but the songwriting and straightforward purposes of the group shine through. They’re able to shift structures and mood enough to keep things from being too staid, but they’re never far off from the next heavy landing, as “Devastation” and the closer “Forever” show in their respective payoffs, that latter going all out with a scream at the end, answering back to the several others that show up periodically. While their greatest strength is in the mid-paced shove of rockers like “Space Machine” and “Scarlett” and the speedier “Workhorse,” there are hints of broader intentions on Flamingo Graphics, though they too are raw at this point. Very much a debut, but still one you pick up when the band finishes playing. You might not even wait until the end of the show. Meet them back at the table, and so on.

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Astral Glide on Bandcamp

 

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Psycho Las Vegas 2021 Lineup Announced

Posted in Whathaveyou on June 23rd, 2020 by JJ Koczan

psycho las vegas 2021 banner

Plenty of this lineup looks familiar from what Psycho Las Vegas would’ve been in 2020, and duh, that’s the idea. You’ve still got Danzig doing Lucifuge, still got At the Gates and Katatonia and Emperor and Mercyful Fate. Still got the possibility that if I go, I can hang out after Pinback‘s set and bother Rob Crow about how badly he needs to do another Goblin Cock record. WinoFatso Jetson, Elder and Blackwater Holylight playing the pool party, six or seven curveball emo bands — all that fun stuff. Spectacle unmatched in heavy music, set in the Planet Earth’s official home for damned souls. It’s as perfect as it is incongruous.

Makes me wonder what Crowbar have going on next August.

But what you probably want to know is whether your ticket if you had one for 2020 is still good for 2021. Yes.

Behold:

psycho las vegas 2021 poster

Psycho Entertainment presents Psycho Las Vegas 2021

Psycho Las Vegas has been rescheduled to August 20th – 22nd, 2021. Psycho Swim has been rescheduled to August 19th, 2021. If you already purchased a pass for either event and want to attend in 2021, there is nothing you need to do – your passes will automatically be valid for the new dates.

80 of the 83 bands originally booked on the lineup are returning in 2021. The bands who are not joining us next year are Ty Segall, Black Rebel Motorcycle Club, and Crowbar.

Danzig, Mercyful Fate, Emperor, The Flaming Lips, Blue Oyster Cult, Down, Mayhem, Satyricon, Obituary, Warpaint, Blonde Redhead, HEALTH, Watain, Ulver, Katatonia, At the Gates, Poison The Well, Paul Cauthen, Amigo The Devil, Exhorder, Wolves in the Throne Room, Thursday, Pinback, Zola Jesus, Drab Majesty, Boris, Eyehategood, Repulsion, Immolation, Midnight, MGLA, Windhand, Cursive, Tsol, King Dude, Pig Destroyer, Brutus, Profanatica, Lower Dens, Cult of Fire, Intronaut, boysetsfire, Death by Stereo, Curl Up and Die, Adamantium, This Will Destroy You, Khemmis, Mothership, Guantanamo Baywatch, Dengue Fever, Kaelan Mikla, Black Joe Lewis, Fatso Jetson, Wino, Creeping Death, Mephistofeles, Frankie and The Witch Fingers, Toke, Foie Gras, Flavor Crystals, Silvertomb, Lord Buffalo, Warish, Alms, Bombers, Glacial Tomb, Relaxer, Black Sabbitch, Hippie Death Cult, Vaelmyst, Mother Mercury, Two Minutes to Late Night

America’s rock n’ roll bacchanal returns to Mandalay Bay Resort & Casino August 20th through August 22th, with another resort-wide casino takeover unlike any of its kind. Now approaching its fifth year in the swirling neon decadence of Las Vegas, PSYCHO will feature over seventy artists across four stages including the world-class Events Center, the iconic House Of Blues, Mandalay Bay Beach, and the vintage Vegas-style Rhythm & Riffs Lounge in the center of the casino floor. PSYCHO LAS VEGAS 2021 will continue to redefine America’s conception of what a festival can be.

Psycho Entertainment presents Psycho Swim “The Official Psycho Las Vegas Pre-Party”

Old Man Gloom, Elder, Polyrhythmics, Death Valley Girls, The Skull, Blackwater Holylight, Here Lies Man, DJ Scott Seltzer

America’s rock n’ roll pool party returns to DAYLIGHT Beach Club on August 19th for the second annual PSYCHO SWIM. This official all-day pre-party celebrates the best of previous PSYCHO LAS VEGAS lineups with performances from a host of festival alumni as well as new PSYCHO additions.

DAYLIGHT Beach Club is nestled next to the Mandalay Bay Resort And Casino and features a 4400-square-foot main pool, daybeds, cabanas, and bungalows, with an elevated stage offering unobstructed, up-close-and-personal views of artist performances.

https://www.facebook.com/events/2513255765662644/
http://www.vivapsycho.com
http://www.facebook.com/psychoLasVegas
http://www.instagram.com/psycholasvegas

A Message from Psycho Las Vegas

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The Obelisk Show on Gimme Radio Playlist: Episode 33

Posted in Radio on May 1st, 2020 by JJ Koczan

the obelisk show banner

Plenty of familiar stuff here if you’ve been hanging around the site lately, but there’s some stuff I haven’t written about yet too. The theme, such as it was — and man, themes are loose with this show anyway, but this one felt even more so — was just good stuff that happened in April. Today’s May 1, and it feels like last month was just lost on so many levels, that I wanted to highlight a few of the good things that happened despite the chaos and the dire feelings that defined so much of the time.

My point is the same as ever: Music still sounds good. If you’ve got that, you’ve got something to hold onto. If there’s nothing else, there’s music. That’s all I’m ever really saying. Sorry to spoil it. Now you don’t have to look at The Obelisk anymore. You’re all done.

You should still listen to the show though because I recorded the voice tracks for it on my phone while I was going to buy fresh mozzarella, and considering New Jersey’s got over 100,000 cases of COVID-19, the sheer Jersey-ness of the endeavor really I think shines through. Plus in the second break, if you stick it out, I say the word “awesome” like 50 times and sound like a total doofus, and that’s worth hearing. I overuse “awesome” anyway, but really, it sounds silly here. I listened back and heard it and decided to leave it in. Hell, at least it’s real.

Thanks for listening if you do.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmeradio.com

Full playlist:

The Obelisk Show – 05.01.20

Elder Halcyon Omens*
Elephant Tree Exit the Soul Habits*
Forming the Void Ancient Satellite Reverie*
BREAK
Foghound Turn Off the World Turn Off the World*
Lord Fowl The Wraith Glorious Babylon*
Soldati Solar Tse Doom Nacional*
Trippy Wicked Green Memories Three Leaves / Green Memories*
Satyrus Black Satyrus Rites*
Marrowfields Dragged to the World Below Metamorphoses*
Pale Divine Tyrants / Pawns (Easy Prey) Consequence of Time*
Paradise Lost Fall From Grace Obsidian*
Katatonia Behind the Blood City Burials*
Itus Primordial Primordial*
BREAK
River Cult Chilling Effect Chilling Effect*
Astral Bodies Mythic Phantoms Escape Death*

The Obelisk Show on Gimme Radio airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is May 15 (subject to change). Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Psycho Las Vegas Announces Complete 2020 Lineup; Danzig, Mercyful Fate & Emperor Headlining

Posted in Whathaveyou on January 30th, 2020 by JJ Koczan

Psycho Las Vegas 2020 banner style

Danzig doing the Lucifuge record, plus Emperor and Mercyful Fate on US exclusives. In the age of spectacle, Psycho Las Vegas stands apart from its otherwise-might-be peers. There’s a method to all this madness. A plan in action. These people aren’t stupid — this isn’t a stupid lineup, unless you mean “stupid” in an emphatic sense. That’s what Psycho Las Vegas is: emphasis realized. The chaos is the mission. How could there be a more suitable complement to this year, this moment in human history? This is happening at a fucking casino. In Las Vegas. Do you understand what I’m telling you? Do you understand you surreal that is? Repulsion are playing a god damned casino. On a bill with The Flaming Lips and Katatonia. This is your brain on… fire, I guess?

A couple weeks ago — days ago? hours? I have no idea what day it is or why I should be expected to know; I’ve actually set an alarm to post this at the right time in an effort not to screw it up which I probably will anyhow — I happened to have some quick email correspondence with the souls behind the genre-consuming beast of a festival that is Psycho Las Vegas 2020 and I made my BIG PITCH for coverage. Want to know what it was? What it basically boiled down to was, “How about you guys bring me out to the festival and put me up for four days, I take a bunch of mushrooms, maybe go see some bands and write whatever the hell I want?”

Their answer was yes, so that’s my plan. I think Psycho deserves nothing less than me ranting about I don’t know probably cultural decay, self-hate manifest as pretentious judgmentalism, and not eating for four days? Yeah, that sounds good. I’ll go with that.

The schedule isn’t out yet, but it’s clearly a choose-your-adventure festival. For those seeing HOT TIPS from an internet influencer, you’re on the wrong goddamn site. I’m the guy who spent half his morning cleaning up animal piss at his mom’s house. I’ll say though that along with the gargantuan proportion of the headliners — come on, Danzig doing Danzig II is brilliant and you know it — and all the indie, emo and post-hardcore stuff that, yeah okay, I get it, the aughts were a thing for some people (not for me; was too drunk to remember any of it), it’s righteous to see such a huge event in addition to telling Coachella to suck its ass continuing to commit to the heavy underground. My chosen adventure will include but not be limited to placing priority on Lord Buffalo, Blackwater Holylight, Fatso Jetson (of course), Mothership (the context is too good to pass up), Hippie Death Cult and… yes… Katatonia. Because they’re the wintriest band ever and it’ll be 100 degrees. The most Psycho move ever would be to put them on the pool stage. Keeping my fingers crossed that’s how it works out. Shit, put Mayhem out there while we’re at it.

That’s all provided I’m not too out of my mind to leave the hotel room.

Here’s a poster and words in blue. See you there, sort of:

PSYCHO LAS VEGAS 2020 – COMPLETE LINEUP

DANZIG (Celebrating 30 years of “Lucifuge”)
MERCYFUL FATE (2020 USA Exclusive)
EMPEROR (2020 USA Exclusive)
THE FLAMING LIPS
BLUE OYSTER CULT
DOWN (Celebrating 25 years of “Nola”)
BLACK REBEL MOTORCYCLE CLUB
TY SEGALL
WARPAINT
MAYHEM
SATYRICON
WATAIN
BLONDE REDHEAD
HEALTH
OBITUARY
ULVER (2020 USA Exclusive)
KATATONIA
AT THE GATES
POISON THE WELL
TSOL
CROWBAR
EXHORDER
WOLVES IN THE THRONE ROOM
THURSDAY
PINBACK
ZOLA JESUS
DRAB MAJESTY
BORIS
KING DUDE
PAUL CAUTHEN
AMIGO THE DEVIL
EYEHATEGOD
PIG DESTROYER
REPULSION
IMMOLATION
MIDNIGHT
MGLA
WINDHAND
CURSIVE
BRUTUS
PROFANATICA
LOWER DENS
BLACK JOE LEWIS
INTRONAUT
BOYSETSFIRE
DEATH BY STEREO
CURL UP AND DIE
ADAMANTIUM
THIS WILL DESTROY YOU
KHEMMIS
MOTHERSHIP
GUANTANAMO BAYWATCH
DENGUE FEVER
KAELAN MIKLA
BLACKWATER HOLYLIGHT
FATSO JETSON
WINO (ACOUSTIC)
CREEPING DEATH
MEPHISTOFELES
FRANKIE AND THE WITCH FINGERS
TOKE
FOIE GRAS
FLAVOR CRYSTALS
SILVERTOMB
LORD BUFFALO
WARISH
ALMS
BOMBERS
GLACIAL TOMB
RELAXER
HIPPIE DEATH CULT
VAELMYST
MOTHER MERCURY
DJ SCOTT SELTZER

Psycho Entertainment & MGM Entertainment present PSYCHO SWIM

Lineup:
OLD MAN GLOOM
ELDER
THE SKULL
DEATH VALLEY GIRLS
BLACKWATER HOLYLIGHT
HERE LIES MAN
POLYRHYTHMICS
DJ SCOTT SELTZER

Tickets for PSYCHO LAS VEGAS as well as the PSYCHO SWIM pre-party, which requires a separate ticket from the main festival pass, are on sale now!

Tickets for all PSYCHO LAS VEGAS events can be purchased at VivaPsycho.com or AXS.com.

https://www.facebook.com/events/3255628101138593/
http://www.vivapsycho.com
http://www.facebook.com/psychoLasVegas
http://www.instagram.com/psycholasvegas

Danzig, Danzig II: Lucifuge (1990)

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Friday Full-Length: Katatonia, Last Fair Deal Gone Down

Posted in Bootleg Theater on December 15th, 2017 by JJ Koczan

Katatonia, Last Fair Deal Gone Down (2001)

Primarily in my mind, 2001’s Last Fair Deal Gone Down is a winter album. Not at all Katatonia‘s first outing that one might think of as geared toward colder climes — their debut, after all, was 1993’s Dance of December Souls — but from the lachrymose unfolding of opener “Dispossession” and the weepy backing lines of e-bow guitar to Jonas Renkse‘s depressive vocal melodicism, the Stockholm group’s fifth long-player has always carried a chilly association. So of course it was released in May.

Issued via Peaceville Records, it’s not a record history looks back on with any particular favor, but it’s one I’d consider vastly underrated for the quality of its songs and atmosphere. More than a decade into their tenure around the core founding duo of Renkse and guitarist Anders Nyström at that point, Katatonia, like British cohorts Paradise Lost, Anathema and My Dying Bride — the so-called “Peaceville three,” of which one might think of Katatonia as the fourth but for the fact that they’re not from the UK — had cast off their earlier death/doom sound in favor of said focus on atmospheric approach. Last Fair Deal Gone Down, comprised of a CD-era swath of 11 songs spread over 50 minutes, marked the first time Nyström and Renkse joined forces with brothers Fredrik Norrman (guitar) and Mattias Norrman (bass), as well as drummer Daniel Liljekvist, and as a five-piece, they continued to flesh out the stylistic progression of 1999’s Tonight’s Decision, nestling into the unabashed emotionalism and hooks of songs like “We Must Bury You,” “Teargas,” “Tonight’s Music,” “The Future of Speech” and “Passing Bird” while referencing what was then modern alternative rock in a piece like “Sweet Nurse,” which carries echoes of Failure‘s “The Nurse Who Loved Me” from 1996’s Fantastic Planet and foreshadowing future delving into progressive doom on “I Transpire” and closer “Don’t Tell a Soul.” These pieces, as well as “Chrome” and the later “Clean Today,” arrive with a consistency of character thanks to a fluid and at times lush-sounding production, giving Last Fair Deal Gone Down a somewhat gentle touch despite being weighted in tone and at times strikingly aggressive, but it’s ultimately the songwriting that most stands the work out from Katatonia‘s vast discography and the output that their aforementioned peers were releasing at the turn of the century.

All formed roughly in the late ’80s and earliest ’90s, KatatoniaParadise LostAnathema and My Dying Bride helped greatly to establish what would become death/doom, but none of them would stay put entirely within that sphere. Paradise Lost went gothic and by 2001 were on their way toward trying their hand at radio-friendliness (because in 2001 that was a thing), and Anathema were in full-on depressive mode with A Fine Day to Exit, brooding and sad but not at all metal. My Dying Bride, who put out The Dreadful Hours the same year, arguably stayed closest to what one might think of as their core sound, but Katatonia‘s progression was particularly striking because rather than present its changes in flashes, it all carried such a sense of presentation. To listen to Last Fair Deal Gone Down, they’re clearly trying new things and working out ideas as they’d never done before, and yet the footing beneath them is so sure that there’s never any doubt they’ll pull it off in the end. And of course they do. There’s nothing angular about it. Nothing pokes you in the eye and says, “Hey, this is us doing something we haven’t done,” but the tracks are undeniably coming from a place beyond Tonight’s Decision or anything that preceded it. A strong focus on keyboard textures provide a hallmark of its era, but where others of their ilk clumsily made their way into the unknown, Katatonia on Last Fair Deal Gone Down move with a gracefulness that speaks not only to their maturity as artists, but to the idea of their having thoroughly worked on this material in fleshing it out to where they wanted it to be, refusing to make any album other than that which they wanted to make, and knowing how to realize their own vision in the actual recording process.

Katatonia have put out five-arguably-six records since Last Fair Deal Gone Down, and as it was their fifth album, it’s fair to think of it at this point as being part of a middle-period for the band. Emotional dramas — sometimes, admittedly, melodramas — would continue to persist in their sound from 2003’s Viva Emptiness across 2006’s triumphant The Great Cold Distance, 2009’s Night is the New Day (discussed here), 2012’s Dead End Kings and last year’s The Fall of Hearts (review here), and there are trace elements across all their offerings that one can follow all the way back to 1993 if one is willing to embark on such a winding path, but most importantly, they’ve never failed to on some level push themselves forward from album to album, whether it’s a matter of tightening songwriting around a new lineup or finding new modes of expression for the melancholy that seems to have taken up permanent residence in their souls. Not to wish anyone ill, but long may it reign.

As we move toward the darkest days of the year, this one seemed all the more fitting. I hope you agree, and as always, I hope you enjoy. Thanks for reading and listening.

Rougher start to the week than finish, and little question I have The Patient Mrs. to thank for that. I was kind of a wreck on Monday and Tuesday and a redirect Tuesday night involving more cloud bread and leftover pesto helped situate me for the last couple days. I’ve been in therapy for two weeks now, going Monday mornings, and this week was hard. My therapist wants me to see my primary care doctor to get an electrolyte panel and and EKG done because I have an eating disorder and I guess the concern is I could be doing damage to my heart. Fair enough. That appointment is next Thursday. I don’t anticipate there being any problems, but one never knows. Sometimes life is interesting.

In the meantime, I didn’t stay there long, and that was on purpose, but in my daily weigh-ins, I hit 150 pounds for the first time this week. When I started this whole low-carb thing about two years ago right around this time, I was 330 pounds, which means I’ve lost upwards of 180. It is utter fucking madness to see those numbers typed out.

Oh, I’m also five years sober as of last week. I didn’t even remember the date had passed. I think it was the ninth? Might’ve been the fifth. I don’t know. Either way though, that was Dec. 2012 that I “took a weekend off” drinking.

The Pecan continues his now-seven-week-long process of becoming a human being. Lots of poop, lots of puke, lots of laundry to be done. Blah blah blah, knee deep in baby stuff. He’s cute. The Patient Mrs. likes him. I like him. The Little Dog Dio isn’t so sure, but she’ll get on board eventually.

This is usually the part where I’d post my notes for next week. Well, at some point I’m going to review the next part of The Second Coming of Heavy and at some point I’m going to put up my top albums of the year, but I’m not sure when all that’s going to happen yet, so I’m keeping it vague for the moment. I’ve got a premiere slated for Bible Black Tyrant next Thursday, new videos for King Witch and Black Space Riders early in the week, and if I can I’d like to review the new C.O.C. too, but that might be the week after. Up in the air.

So there you have it. Ups and downs. Music. Life.

From my daze and days of semi-conscious infant fatigue, I wish you all the best as ever. The Patient Mrs. mom is coming north this weekend to watch The Pecan for a couple hours so we can go see the new Star Wars and I’m looking forward to that, and I’m doing a radio interview on Sunday, but other than that, some reading and work on year-end list stuff shall persist. You’ll probably see it coming, but it’ll be January before I know it.

Have a great and safe weekend, and once again, thanks for reading. Please don’t forget to check out the forum and radio stream.

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Quarterly Review: Crowbar, Katatonia, Ethereal Riffian, Dot Legacy, Salem’s Bend, Thonian Horde, Second Sun, Ten Ton Slug, Komatsu, The Blue Sunshine Family Band

Posted in Reviews on December 29th, 2016 by JJ Koczan

the obelisk winter quarterly review

We continue with day four of the Quarterly Review. This batch is numbers 31-40 of the total 60, not that the numbers really mean anything. I know it’s list season — believe me, I know — but there’s no actual ranking going on. It’s just basically so I can keep track and remember what day it is. That’s not to say this is done off the cuff. Actually, there’s an embarrassing amount of planning behind these things. Months. And when I start actually getting the posts ready and realize I’ve slated the same record on two different days — something that’s happened no fewer than three times so far, needing each time to be corrected — it’s a clear demonstration of the value of my planning. Ha. Anyway, we press on. Together. Into the thick of it. Thanks for reading.

Quarterly Review #31-40:

Crowbar, The Serpent Only Lies

crowbar the serpent only lies

More than 25 years and 11 albums into a landmark career that helped prove the existence of the hairy beast known as “sludge metal,” Crowbar don’t owe anyone anything, and since returning to activity with 2011’s Sever the Wicked Hand (review here) and 2014’s Symmetry in Black, they’ve played like it. Their third post-resurgence outing is The Serpent Only Lies (on eOne Heavy), and though it works largely to form – that is, Crowbar are going to sound like Crowbar: low, slow, seeming to lurch even when dug into fits of gallop on “I am the Storm” or the early going of “The Enemy Beside You” – one still finds progression especially in the vocal approach of frontman and founder Kirk Windstein, who self-harmonizes effectively on the title-track’s standout hook as well as the later pair “On Holy Ground” and “Song of the Dunes,” the latter also resoundingly spacious in a way that offsets much of The Serpent Only Lies’ head-down intensity. This might be flourish or a companion to the core Crowbar sound that remains intact throughout, but the truth is it’s not like it needs to be there – Crowbar’s audience would still go to the shows even if the band stopped growing – but it’s entirely to the credit of the New Orleans legends that more than a quarter-century later they continue to progress. I guess that’s how Crowbar gets to be Crowbar.

Crowbar on Thee Facebooks

eOne Heavy on Thee Facebooks

 

Katatonia, The Fall of Hearts

katatonia the fall of hearts

Depending on what you count as a full-length, The Fall of Hearts (on Peaceville) is either the 10th or 11th studio record from Sweden’s Katatonia. It follows 2013’s acoustic Dethroned and Uncrowned, which reenvisioned 2012’s Dead End Kings and brings forth over an hour of new material from founding duo Jonas Renkse (vocals/guitar/etc.) and Anders “Blakkheim” Nyström (guitar/backing vocals), as well as Niklas Sandin (bass) and Daniel Moilanen (drums), who, working with engineer Karl Daniel Lidén (ex-Greenleaf, Demon Cleaner), continue to proffer resonant melancholy in abundance. As a band, Katatonia have had a number of different phases over the years, from their deathly beginnings through the later moves into melody, but as it stands on songs like “Decima,” with its acoustic and mellotron arrangement, and the seven-minute “Serac,” which plays back and forth between serene and some of The Fall of Hearts’ most intense thrust, they remain among heavy metal’s most recognizable acts. There is no one else who sounds like them, and they sound not quite like anyone else. This collection might be more about gradual steps forward than radical shifts in approach, but Katatonia have found a way to preach to their converted and keep growing at the same time, and that’s to be commended.

Katatonia on Thee Facebooks

Peaceville Records website

 

Ethereal Riffian, I am Deathless

ethereal riffian i am deathless

Issued via Robustfellow in a range of physical editions from an oversized CD digipak to cassette bundles, the two-song I. AM. Deathless EP from yet-underrated Ukrainian progressive ritualists Ethereal Riffian warrants the ceremony with which it arrives. Its two tracks, “Drum of the Deathless” (6:19) and “Sword of the Deathless” (9:57) closed and opened, respectively, the prior 2016 live outing, Youniversal Voice (review here), and in their studio form they bring to bear a vision of psychedelic metal given to atmospheric breadth that comes at the expense neither of purpose nor impact. The opener proves the more immediate of the pair, but as “Sword of the Deathless” plays out, it finds prog-metal swirl amid low-end starts and stops intertwined layers of multi-channel spoken word, acoustic and electric guitar and percussive tension, so that as it heads into its payoff and melodic finish, the resolution is both satisfying and something of a relief from the cacophony preceding. Forward-thinking and of marked substance, I. AM. Deathless offers a quick glimpse at the band’s scope and invites listeners to dive deep therein.

Ethereal Riffian on Thee Facebooks

Robustfellow Productions on Bandcamp

 

Dot Legacy, To the Others

dot legacy to the others

There isn’t much that’s off-limits to Parisian heavy rockers Dot Legacy. To wit, the near-rap-rock mania of opener “Horizon” from their second LP, To the Others (on Setalight Records), and the laid-back psych-lounge vibes that follow on “Grey Cardinal,” only to be swept away in crashes and chants later, leading to the driving desert punkery of “211.” Three songs, three distinct feels, and Dot Legacy only get weirder from there as they toy with fuzzed momentum on “5314” and “Dakota” before the dreamy post-rock meandering of “The Twelve,” the prog-pop of “Story of Fame” and piano-laden psych-drama of closer “Pioneer.” In 35 minutes, the four-piece cover more ground than most bands do in their whole careers, but that becomes even more admirable in that they manage not to just be all over the place, but to provide a consistent quality of songwriting to complement all that quirk. Add to that the attention to detail in vocal harmonies and arrangements, and as they follow-up their 2014 self-titled debut (review here), they reveal a clear sense of a master plan at work under all the brashness and genre-hopping.

Dot Legacy on Thee Facebooks

Setalight Records website

 

Salem’s Bend, Salem’s Bend

salem's bend self-titled

Self-released by the Los Angeles trio in late-2015 and picked up for a vinyl issue through Ripple Music, the self-titled debut from Salem’s Bend leaves little wonder as to why with its classic sensibility and the vibe proliferated by the natural-toned nod of a song like “Silverstruck.” Though still prone to a bit of Hendrix-style shred when it comes to lead guitar, the three-piece of Bobby (guitar/vocals), Kevin (bass) and Zach (drums) depart from some of the post-Radio Moscow all-thrust boogie in favor of more laid back fair and on that cut and the later “Sun and Mist,” which hits into a satisfying apex in its second half without feeling overcooked, as well as the six-minute finale “A Tip of Salem,” which nods through its initial movement before bursting out toward the end. In a crowded SoCal scene, just about anything Salem’s Bend can do to stand apart will serve them, and the fluidity they hone across these seven tracks sets them up to do just that.

Salem’s Bend on Thee Facebooks

Ripple Music on Bandcamp

 

Thonian Horde, Thonian Horde

thonian horde self-titled

Given the personnel involved, the black ‘n’ roll extremity of Thonian Horde’s self-titled debut full-length will no doubt come as a surprise to listeners. Formed in Boonsboro, Maryland, by bassist/vocalist Ron “Fezz” McGinnis (Pale Divine, Admiral Browning, etc.), guitarists Darren “Dirty” Waters (Weed is Weed) and Dan “D-Mize” Mize (Faith in Jane), and drummer Tyler “The Beast” Lee (Weed is Weed), one might expect high-order Frederick-style post-The Obsessed doom. Thonian Horde have more in common with Immortal on their centerpiece track “Darkest Nights Shadow,” and even as the closing “Psychonaut” finds a rock groove in its chorus, it does so with the hooky edge of Satyricon more than any of the members’ other outfits. No doubt that’s the point: doing something different. Indeed, the nine-tracker is a refreshing aesthetic reboot for the scene from whence it comes, holding fast to their region’s crucial lack of pretense even as they brazenly walk their own path – left-hand, of course.

Thonian Horde on Thee Facebooks

Thonian Horde on Bandcamp

 

Second Sun, Tachyonregenerator

second sun tachyonregenerator

I don’t know about you, but I missed out on Hopp/Förtvivlan, which was the 2015 debut full-length from Swedish rockers Second Sun, so to have Gaphals provide gentle encouragement to check it out by getting behind the two-songer single Tachyonregenerator is most welcome. Both cuts included – “Tachyonregenerator” and “Tror Faktiskt På Dig” – bask in classic vibe without being overly showy when it comes to retroism, and are marked out by the inclusion of organ amid the natural-sounding guitar, drums and bass, the vocals presented in Swedish across both pieces. It’s a quick eight-minutes perfect for the 7” pressing it’s been given, but again, makes enough of an impression that one is inclined toward further investigation, and given that, I can’t call it anything other than a success. I’ll go ahead and chalk up one more quality Swedish act to keep track of, because Second Sun offer tight-knit progressive leanings in a crisp package on Tachyonregenerator, and even if I’m late to the party, I’m glad I got to hear it.

Second Sun on Thee Facebooks

Gaphals Records website

 

Ten Ton Slug, Brutal Gluttonous Beast

ten ton slug brutal gluttonous beast

Some pretty clear self-awareness demonstrated in Ten Ton Slug’s self-released debut EP, Brutal Gluttonous Beast. The Galway, Ireland, five-piece had a prior live-recorded two-tracker, but these four songs mark their first studio outing, and as they draw together massive sludge riffing and more extreme, death metal-style growls, there’s precious little one might say to more accurately describe a track like “Trollhunter” – the opener and longest on the release (immediate points) – than that it lives up to the title, its second-half slowdown lurch prefacing a similar move in “Bloodburns” before the more rampaging “Subterranean” and noise-soaked burl of “Unit” take hold. Intense and vicious, but not necessarily unhinged, Brutal Gluttonous Beast finds Ten Ton Slug sounding remarkably sure in their approach, and one will await the news of their traveling to England to record with Chris Fielding at Skyhammer, since that seems to be the kind of presentation for which the tonal onslaught here is begging.

Ten Ton Slug on Thee Facebooks

Ten Ton Slug on Bandcamp

 

Komatsu, Recipe for Murder One

komatsu recipe for murder one

A half-decade after releasing their self-titled EP (review here), Eindhoven heavy/noise rockers Komatsu reemerge on Argonauta Records with the follow-up full-length, Recipe for Murder One. Boasting a guest appearance from Nick Oliveri on the suitably tumultuous “Lockdown,” the album leaves little to wonder what’s in that recipe in the darker-desert vibe of “So How’s About Billy” and “There Must be Something in Your Water,” which teases airy serenity in its first half only to go full-throttle for the second, but as the bass-driven lumber of the title-track and subtle melodic expansion of “The Sea is Calm Today” show, Komatsu haven’t wasted the last five years, instead constructing their own take on sonic density and sludge impulses that seems to hit with formidable impact regardless of tempo or tension level, both of which prove to be fluid elements at the four-piece’s disposal. They get the point across quickly in the stomp of “The Long Way Home,” but find suitable resolution in the nod of closer “Breathe,” rounding out a debut of significant character and depth with one last surprise in ambience it’s only fair to call progressive.

Komatsu on Thee Facebooks

Argonauta Records website

 

The Blue Sunshine Family Band, The Blue Sunshine Family Band

the blue sunshine family band self-titled

A double-guitar instrumental four-piece from Santa Rosa, California, The Blue Sunshine Family Band make their debut with a six-song/51-minute self-titled. Tracks presented as Roman numerals “I” through “VI,” though whether or not they’re actually the first six pieces the band has written, I couldn’t say. Either way, the impression immediately draws from “Sabbath Bloody Sabbath” – that great king of nod riffs – and first-name-only guitarists Billy and Kevin, bassist Matt and drummer Quinten build outward from there, dipping below the eight-minute mark only on “V” (7:14) as they unfurl solid grooves and tonal heft, seeming to leave room for vocals either consciously or not. The converted will find engagement and immersion in the crash and swinging turn of “IV,” as well as the David Paul Seymour cover art, and if The Blue Sunshine Family Band is the sound of this foursome getting their feet under them, they manage to accomplish that preliminary feat and then some in these tracks.

The Blue Sunshine Family Band on Thee Facebooks

The Blue Sunshine Family Band on Bandcamp

 

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Katatonia Announce Spring 2017 North American Headlining Tour

Posted in Whathaveyou on December 5th, 2016 by JJ Koczan

Been a long time since I last saw Swedish masters of melancholy Katatonia, and I have to say I wouldn’t mind catching a gig at Irving Plaza in NYC in April to see them close out a North American headlining run in support of earlier 2016’s The Fall of Hearts. The intervening months will tell if I actually get there — one struggles with the four-hour drive to New York these days — but it’s a formidable month-plus Katatonia will spend on the road either way, so wherever you might be throughout the continent, from Edmonton to Charlotte, they seem to be looking to cover all, or at least most, of their bases this time around. Like they say below, it’s been three and a half years since the last time they were over here. I guess that makes them about due.

Also 10 years in 2017 since The Great Cold Distance, which they’ll reissue deluxe-style in January. This year marked 15 since Last Fair Deal Gone Down, if you needed further evidence of time in flight. Bizarre.

Copious info and dates from the PR wire:

katatonia

KATATONIA ANNOUNCE “FALLEN HEARTS OF NORTH AMERICA 2017” HEADLINE TOUR

Katatonia, the Swedish purveyors of dark progressive rock/metal, have announced they will be heading out on a headline tour of North America in March and April 2017 to support the release of their latest studio album The Fall of Hearts.

Founding Katatonia member and guitarist Anders Nyström comments, “We did three North American tours in support for Dead End Kings and it’s been three-and-a-half years since the last one when we toured with Cult of Luna, so having already embraced the new cycle of The Fall of Hearts over here, we are eager to once again cross the Atlantic to continue from where we left off and to reap what we planted over there.”

Vocalist Jonas Renkse introduces the bands they have chosen to join them on the tour, saying, “We are very excited to finally announce our headline tour in North America for The Fall of Hearts. Also invited for this run are post-rock titans Caspian and young, promising act Uncured. Come out and celebrate the downfall of hearts (and everything else) with us.”

The Fallen Hearts of North America 2017 Dates:
Thu/Mar-16 Washington, DC 9:30 Club
Fri/Mar-17 Cleveland, OH Agora
Sat/Mar-18 Pittsburgh, PA Mr. Smalls
Sun/Mar-19 Charlotte, NC The Underground
Tue/Mar-21 St. Petersburg, FL State Theatre
Thu/Mar-23 New Orleans, LA Republic
Fri/Mar-24 Houston, TX Scout Bar
Sat/Mar-25 Austin, TX Grizzly Hall
Sun/Mar-26 Dallas, TX Gas Monkey Bar & Grill
Tue/Mar-28 Mesa, AZ Club Red
Wed/Mar-29 Los Angeles, CA El Rey Theatre
Fri/Mar-31 Pomona, CA The Glass House
Sat/Apr-01 San Francisco CA Slim’s
Mon/Apr-03 Portland, OR Hawthorne Theatre
Tue/Apr-04 Seattle, WA Studio Seven
Wed/Apr-05 Vancouver, BC Venue
Fri/Apr-07 Calgary, AB The Gateway
Sat/Apr-08 Edmonton, AB Starlite Room
Mon/Apr-10 Salt Lake City, UT The Complex
Tue/Apr-11 Denver, CO Summit Music Hall
Wed/Apr-12 Lincoln, NE Bourbon Theatre
Fri/Apr-14 Minneapolis Fine Line
Sat/Apr-15 Chicago, IL Metro
Sun/Apr-16 Detroit, MI Majestic Theater
Mon/Apr-17 Toronto, ON The Opera House
Wed/Apr-19 Montreal, QC Club Soda
Thu/Apr-20 Philadelphia, PA The TLA
Fri/Apr-21 New York, NY Irving Plaza

Formed back in 1991 and hailed as one of the leaders of the death-doom genre along My Dying Bride, Paradise Lost and Anathema, Sweden’s Katatonia have spent the last 25 years ever-changing and evolving to become the much loved purveyors of dark progressive rock/metal we know today.

Their latest studio album The Fall OF Hearts, the official follow-up to 2012’s acclaimed Dead End Kings was recorded at Stockholm’s Studio Gröndahl & Tri-lamb Studio, and was self-produced by Anders Nyström & Jonas Renkse. Mixing and mastering duties were carried out by Jens Bogren (Opeth, Ihsahn, Devin Townsend) at Fascination Street Studios, with Karl Daniel Lidén (Switchblade, The Ocean, Greenleaf) brought in as engineer. It is the first record to feature new drummer Daniel ’Mojjo’ Moilanen and guitarist Roger Öjersson (Tiamat).

A new, two-disc tour edition of The Fall of Hearts is due for release on March 17, 2017 through Peaceville, the new version will feature live tracks taken from the band’s show and the band’s show in the Ancient Theater in Plovdiv Bulgaria in September 2016.

January 20, 2017 also sees the release of a limited edition tenth anniversary version of their class album The Great Cold Distance. This new, four-disc deluxe hardback 40 page, book edition of the album. It will include three bonus discs featuring B-sides and bonus songs, a new 5.1 remix of the album by Bruce Soord (Wisdom Of Crowds) and a live album of Katatonia playing the The Great Cold Distance in its entirety with the renowned Plovdiv Philharmonic Orchestra in Bulgaria, performed in September 2016. The design of this essential tenth anniversary edition has once again been taken care of by long time collaborator Travis Smith. pre-order here and here.

https://www.facebook.com/katatonia/
http://www.katatonia.com/
https://twitter.com/KatatoniaBand
https://www.instagram.com/katatoniaband/
peaceville.com

Kataonia, “Shifts” official video

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Katatonia Release The Fall of Hearts May 20

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

katatonia

After announcing back in November that they were in the studio, Swedish masters of melancholy Katatonia have confirmed a May 20 release for their upcoming 10th long-player, The Fall of Hearts, through Peaceville Records. The album was tracked by the band itself with mixing and engineering done by Jens Bogren (Opeth, Devin Townsend, etc.) and Karl Daniel Lidén (GreenleafDozerDemon Cleaner, etc.), and they’ll support it by playing a slew of European festivals this summer, including Summer Breeze — is it my imagination or is this the first Summer Breeze fest in a long time? — in Germany and Hellfest in France.

Live dates, the striking cover art and more album background follow, all off the PR wire:

katatonia the fall of hearts

KATATONIA ANNOUNCES DETAILS OF HIGHLY ANTICIPATED NEW STUDIO ALBUM, REVEALS NEW LINE-UP

10th studio album “The Fall of Hearts” out May 20 on Peaceville

Katatonia, the Swedish purveyor of dark progressive rock/metal, has revealed details of its eagerly awaited 10th studio album, The Fall of Hearts, set for release on the May 20, 2016 through the band’s long-time home of Peaceville Records.

The band commented: “This album is probably everything we unknowingly ever dreamed of to release. It’s a bleak but adventurous journey through our elements, we haven’t held back, we have pushed to get forward and backward in the ever spiraling night of our musical legacy.”

The official follow-up to 2012’s acclaimed Dead End Kings was recorded at Stockholm’s Studio Gröndahl & Tri-lamb Studio, and was self-produced by Anders Nyström and Jonas Renkse. Mixing and mastering duties were carried out by Jens Bogren (Opeth, Ihsahn, Devin Townsend) at Fascination Street Studios, with Karl Daniel Lidén (Switchblade, The Ocean, Greenleaf) brought in as engineer.

The dramatic yet desolate artwork was created by long time Katatonia designer and illustrator Travis Smith.

Katatonia has spent the past four years since the release of Dead End Kings touring the world, as well as expanding its fan base through two special albums on Kscope, the sister label of Peaceville. 2013 saw the release of Dethroned & Uncrowned which exploded the core of the songs on Dead End Kings creating new moods and textures. In 2015, the band released the live acoustic album and concert film, Sanctitude. Both releases illustrate the band’s journey toward this, its current more progressive sound.

The Fall of Hearts is the first record to feature new drummer Daniel ‘Mojjo’ Moilanen along with the addition of recently recruited guitarist Roger Öjersson (Tiamat), who came in just in time to sprinkle some blistering solos on the album. With its new lineup, Katatonia will continue to push its musical boundaries beyond its roots in the metal scene while drawing in new fans from across the musical spectrum like peers such as Opeth and Anathema have also done, cementing Katatonia’s place as one of the most revered and cherished of all bands in the world of modern heavy music.

Katatonia live:
3/12 – Gothenburg, Sweden @ Metal Town Festival
4/29 – Kopervik, Norway @ Karmoygeddon Festival
6/19 – Clisson, France @ Hellfest
7/03 – Helsinki, Finland @ Tuska Festival
7/09 – Bouckenborgh, Belgium @ Anterwerp Metal Festival
7/10 – Bouckenborgh, Belgium @ Anterwerp Metal Festival
8/05 – Corroios, Portugal @ Vagos Open Air Festival
8/17 – Dinkelsbühl, Germany @ Summer Breeze Festival
8/18 – Dinkelsbühl, Germany @ Summer Breeze Festival
8/19 – Dinkelsbühl, Germany @ Summer Breeze Festival
8/20 – Dinkelsbühl, Germany @ Summer Breeze Festival

Katatonia is:
Jonas Renkse – Vocals
Anders Nyström – Guitar
Roger Öjersson – Guitar
Niklas Sandin – Bass
Daniel Moilanen – Drums

www.katatonia.com
www.facebook.com/katatonia
https://twitter.com/KatatoniaBand

Katatonia, The Fall of Hearts teaser

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