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Quarterly Review: Siena Root, Los Mundos, Minnesota Pete Campbell, North Sea Noise Collective, Sins of Magnus, Nine Altars, The Freqs, Lord Mountain, Black Air, Bong Coffin

Posted in Reviews on April 11th, 2023 by JJ Koczan

the-obelisk-qr-summer-2020

If you missed yesterday, be advised, it’s not too late. If you miss today, be advised as well that tomorrow’s not too late. One of the things I enjoy most about the Quarterly Review is that it puts the lie to the idea that everything on the internet has to be so fucking immediate. Like if you didn’t hear some release two days before it actually came out, somehow a week, a month, a year later, you’ve irreparably missed it.

That isn’t true in the slightest, and if you want proof, I’m behind on shit ALL. THE. TIME. and nine times out of 10, it just doesn’t matter. I’ll grant that plenty of music is urgent and being in that moment when something really cool is released can be super-exciting — not taking away from that — but hell’s bells, you can sit for the rest of your life and still find cool shit you’ve never heard that was released half a century ago, let alone in January. My advice is calm down and enjoy the tunes; and yes, I’m absolutely speaking to myself as much as to you.

Quarterly Review #11-20:

Siena Root, Revelation

siena root revelation

What might be their eighth LP, depending on what counts as what, Revelation is the second from Siena Root to feature vocalist/organist Zubaida Solid up front alongside seemingly-now-lone guitarist Johan Borgström (also vocals) and the consistent foundation provided by the rhythm section of bassist Sam Riffer (also some vocals) and drummer Love “Billy” Forsberg. Speaking a bit to their own history, the long-running Swedish classic heavy rockers inject a bit of sitar (by Stian Grimstad) and hand-percussion into “Leaving the City,” but the 11-song/46-minute offering is defined in no small part by a bluesy feel, and Solid‘s vocal performance brings that aspect to “Leaving the City” as well, even if the sonic focus for Siena Root is more about classic prog and blues rock of hooky inclusions like the organ-and-guitar grooving opener “Coincidence and Fate” and the gently funky “Fighting Gravity,” or even the touch of folkish jazz in “Winter Solstice,” though the sitar does return on side B’s “Madukhauns” ahead of the organ/vocal showcase closer “Keeper of the Flame,” which calls back to the earlier “Dalecarlia Stroll” with a melancholy Deep Purple could never quite master and a swinging payoff that serves as just one final way in which Siena Root once more demonstrate they are pure class in terms of execution.

Siena Root on Facebook

Atomic Fire Records website

 

Los Mundos, Eco del Universo

los mundos eco del universo

The latest and (again) maybe-eighth full-length to arrive within the last 10 years from Monterrey, Mexico’s Los Mundos, Eco del Universo is an immersive dreamboat of mellow psychedelia, with just enough rock to not be pure drift on a song like “Hanna,” but still an element of shoegaze to bring the cool kids on board. Effects gracefully channel-swap alongside languid vocals (in Spanish, duh) with a melodicism that feels casual but is not unconsidered either in that song or the later “Rocas,” which meets Western-tinged fuzz with a combination of voices from bassist/keyboardist Luis Ángel Martínez, guitarist/synthesist/sitarist Alejandro Elizondo and/or drummer Ricardo Antúnez as the band is completed by guitarist/keyboardist/sitarist Raúl González. Yes, they have two sitarists; they need both, as well as all the keyboards, and the modular synth, and the rest of it. All of it. Because no matter what arrangement elements are put to use in the material, the songs on Eco del Universo just seem to absorb it all into one fluid approach, and if by the time the hum-drone and maybe-gong in the first minute of opener “Las Venas del Cielo” unfolds into the gently moody and gorgeous ’60s-psych pop that follows you don’t agree, go back and try again. Space temples, music engines in the quirky pop bounce of “Gente del Espacio,” the shape of air defined amid semi-krautrock experimentalism in “La Forma del Aire”; esta es la música para los lugares más allá. Vamos todos.

Los Mundos on Facebook

The Acid Test Recordings store

 

Minnesota Pete Campbell, Me, Myself & I

Minnesota Pete Campbell Me Myself and I

Well, you see, sometimes there’s a global pandemic and even the most thoroughly-banded of artists starts thinking about a solo record. Not to make light of either the plague or the decision or the result experience from “Minnesota” Pete Campbell (drummer of Pentagram, Place of Skulls, In~Graved, VulgarriGygax, Sixty Watt Shaman for a hot minute, guitarist of The Mighty Nimbus, etc.), but he kind of left himself open to it with putting “Lockdown Blues” and the generally personal nature of the songs on, Me, Myself and I, his first solo album in a career of more than two decades. The nine-song/46-minute riffy splurge is filled with love songs seemingly directed at family in pieces like “Lightbringer,” “You’re My Angel,” the eight-minute “Swimming in Layla’s Hair,” the two-minute “Uryah vs. Elmo,” so humanity and humility are part of the general vibe along with the semi-Southern grooves, easy-rolling heavy blues swing, acoustic/electric blend in the four-minute purposeful sans-singing meander of “Midnight Dreamin’,” and so on. Five of the nine inclusions feature Campbell on vocals, and are mixed for atmosphere in such a way as to make me believe he doesn’t think much of himself as a singer — there’s some yarl, but he’s better than he gives himself credit for on both the more uptempo and brash “Starlight” and the mellow-Dimebag-style “Whispers of Autumn,” which closes — but there’s a feeling-it-out sensibility to the tracks that only makes the gratitude being expressed (either lyrically or not) come through as more sincere. Heck man, do another.

Minnesota Pete Campbell on Facebook

Kozmik Artifactz website

 

North Sea Noise Collective, Roudons

North Sea Noise Collective Roudons

Based in the Netherlands, North Sea Noise Collective — sometimes also written as Northsea Noise Collective — includes vocals for the first time amid the experimental ambient drones of the four pieces on the self-released Roudons, which are reinterpretations of Frisian rockers Reboelje, weirdo-everythingist Arnold de Boer and doom legends Saint Vitus. The latter, a take on the signature piece “Born Too Late” re-titled “Dit Doarp” (‘this village’ in English), is loosely recognizable in its progression, but North Sea Noise Collective deep-dives into the elasticity of music, stretching limits of where a song begins and ends conceptually. Modular synth hums, ebbs and flows throughout “Wat moatte wy dwaan as wy gjin jild hawwe,” which follows opener “Skepper fan de skepper” and immerses further in open spaces crafted through minimalist sonic architecture, the vocals chanting like paeans to the songs themselves. It should probably go without saying that Roudons isn’t going to resonate with all listeners in the same way, but universal accessibility is pretty clearly low on the album’s priority list, and for as dug-in as Roudons is, that’s right where it should be.

North Sea Noise Collective on Facebook

North Sea Noise Collective on Bandcamp

 

Sins of Magnus, Secrets of the Cosmos

Sins of Magnus Secrets of the Cosmos

Philly merchants Sins of Magnus offer their fourth album in the 12 songs/48 minutes of Secrets of the Cosmos, and while said secrets may or may not actually be included in the record’s not-insignificant span, I’ll say that I’ve yet to find the level of volume that’s too loud for the record to take. And maybe that’s the big secret after all. In any case, the three-piece of bassist/vocalist Eric Early, guitarist/vocalist Rich Sutcliffe and drummer Sean Young tap classic heavy rock vibes and aim them on a straight-line road to riffy push. There’s room for some atmosphere and guest vocal spots on the punkier closing pair “Mother Knows Best” and “Is Anybody There?” but the grooves up front are more laid back and chunkier-style, where “Not as Advertised,” “Workhorse,” “Let’s Play a Game” and “No Sanctuary” likewise get punkier, contrasting that metal stretch in “Stoking the Flames” earlier on In any case, they’re more unpretentious than they are anything else, and that suits just fine since there’s more than enough ‘changing it up’ happening around the core heavy riffs and mean-muggin’ vibes. It’s not the most elaborate production ever put to tape, but the punker back half of the record is more effective for that, and they get their point across anyhow.

Sins of Magnus on Instagram

Sins of Magnus on Bandcamp

 

Nine Altars, The Eternal Penance

Nine Altars The Eternal Penance

Steeped in the arcane traditions of classic doom metal, Nine Altars emerge from the UK with their three-song/33-minute debut full-length, The Eternal Penance, leading with the title-track’s 13-minute metal-of-eld rollout as drummer/vocalist Kat Gillham (also Thronehammer, Lucifer’s Chalice, Enshroudment, etc.), guitarists Charlie Wesley (also also Enshroudment, Lucifer’s Chalice) and Nicolete Burbach and bassist Jamie Thomas roll with distinction into “The Fragility of Existence” (11:58), which starts reasonably slow and then makes that seem fast by comparison before picking up the pace again in the final third ahead of the more trad-NWOBHM idolatry of “Salvation Lost” (8:27). Any way they go, they’re speaking to metal born no later than 1984, and somehow for a band on their first record with two songs north of 11 minutes, they don’t come across as overly indulgent, instead borrowing what elements they want from what came before them and applying them to their longform works with fluidity of purpose and confident melodicism, Gillham‘s vocal command vital to the execution despite largely following the guitar, which of course is also straight out of the classic metal playbook. Horns, fists, whatever. Raise ’em high in the name of howling all-doom.

Nine Altars on Facebook

Good Mourning Records website

Journey’s End Records website

 

The Freqs, Poachers

The Freqs Poachers

Fuzzblasting their way out of Salem, Massachusetts, with an initial public offering of six cuts that one might legitimately call “high octane” and not feel like a complete tool, The Freqs are a relatively new presence in the Boston/adjacent heavy underground, but they keep kicking ass like this and someone’s gonna notice. Hell, I’m sure someone has. They’re in and out in 27 minutes, so Poachers is an EP, but if it was a debut album, it’d be one of the best I’ve heard in this busy first half of 2023. Fine. So it goes on a different list. The get-off-your-ass-and-move effect of “Powetrippin'” remains the same, and even in the quiet outset of the subsequent “Asphalt Rivers,” it’s plain the breakout is coming, which, satisfyingly, it does. “Sludge Rats” decelerates some, certainly compared to opener “Poacher Gets the Tusk,” but is proportionately huge-sounding in making that tradeoff, especially near the end, and “Chase Fire, Caught Smoke” rips itself open ahead of the more aggressive punches thrown in the finale “Witch,” all swagger and impact and frenetic energy as it is. Fucking a. They end noisy and crowd-chanting, leaving one wanting both a first-LP and to see this band live, which as far as debut EPs go is most likely mission accomplished. It’s a burner. Don’t skip out on it because they didn’t name the band something more generic-stoner.

The Freqs on Facebook

The Freqs on Bandcamp

 

Lord Mountain, The Oath

Lord Mountain The Oath

Doomer nod, proto-metallic duggery and post-NWOBHM flourish come together with heavy rock tonality and groove throughout Lord Mountain‘s bullshit-free recorded-in-2020/2021 debut album, issued through King Volume as the follow-up to a likewise-righteous-but-there-was-less-of-it 2016 self-titled EP (review here) and other odds and ends. Like a West Coast Magic Circle, they’ve got their pagan altars built and their generals out witchfinding, but the production is bright in Pat Moore‘s snare cutting through the guitars of Jesse Swanson (also vocals and primary songwriting) and Sean Serrano, and Andy Chism‘s bass, working against trad-metal cliché, is very much in the mix figuratively, literally, and thankfully. The chugs and winding of “The Last Crossing” flow smoothly into the mourning solo in the song’s second half, and the doom they proffer in “Serpent Temple” and the ultra-Dio Sabbath concluding title-track just might make you a believer if you weren’t one. It’s a record you probably didn’t know you were waiting for, and all the more so when you realize “The Oath” is “Four Horsemen”/”Mechanix” played slower. Awesome.

Lord Mountain on Facebook

King Volume Records store

Kozmik Artifactz store

 

Black Air, Impending Bloom

Black Air Impending Bloom

Opener “The Air at Night Smells Different” digs into HEX-era Earth‘s melancholic Americana instrumentalism and threat-underscored grayscale, but “Fog Works,” which follows, turns that around as guitarist Florian Karg moves to keys and dares to add both progressivism and melody to coincide with that existential downtrodding. Fellow guitarist Philipp Seiler, standup-bassist Stephan Leeb and drummer Marian Waibl complete the four-piece, and Impending Bloom is their first long-player as Black Air. They ultimately keep that post-Earth spirit in the seven-minute title-track, but sneak in a more active stretch after four minutes in, not so much paying off a build — that’s still to come in “A New-Found Calm” — = as reminding there’s life in the wide spaces being conjured. The penultimate “The Language of Rocks and Roots” emphasizes soul in the guitar’s swelling and receding volume, while closer “Array of Lights,” even in its heaviest part, seems to rest more comfortably on its bassline. In establishing a style, the Vienna-based outfit come through as familiar at least on a superficial listen, but there’s budding individuality in these songs, and so their debut might just be a herald of blossoming to come.

Black Air on Instagram

Black Air on Bandcamp

 

Bong Coffin, The End Beyond Doubt

Bong Coffin The End Beyond Doubt

Oh yeah, you over it? You tired of the bongslaught of six or seven dozen megasludge bands out there with ‘bong’ in their name trying to outdo each other in cannabinoid content on Bandcamp every week? Fine. I don’t care. You go be too cool. I’ll pop on “Ganjalf” and follow the smoke to oh wait what was I saying again? Fuck it. With some Dune worked in for good measure, Adelaide, Australia’s Bong Coffin build a sludge for the blacklands on “Worthy of Mordor” and shy away not a bit from the more caustic end their genre to slash through their largesse of riff like the raw blade of an uruk-hai shredding some unsuspecting villager who doesn’t even realize the evil overtaking the land. They move a bit on “Messiah” and “Shaitan” and threaten a similar shove in “Nightmare,” but it’s the gonna-read-Lovecraft-when-done-with-Tolkien screams and crow-call rasp of “Träskkungen” that gets the prize on Bong Coffin‘s debut for me, so radly wretched and sunless as it is. Extreme stoner? Caustic sludge? The doom of mellows harshed? You call it whatever fucking genre you want — or better, don’t, with your too-cool ass — and I’ll march to the obsidian temple (that riff is about my pace these days) to break my skull open and bleed out the remnants of my brain on that ancient stone.

Bong Coffin on Facebook

Bong Coffin on Bandcamp

 

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Lord Mountain Releasing The Oath in January

Posted in Whathaveyou on November 2nd, 2022 by JJ Koczan

lord mountain

Oh hi, Lord Mountain. It’s been six years since the Santa Rosa, California, four-piece wrought their impressive self-titled debut EP (review here), and that feels like plenty. In accordance with local statutes and the dictates of commonly-agreed morality, the classic-tinged outfit will offer their first full-length album, The Oath (don’t break it!), on Jan. 20.

The advent of the new release — hard to think of a first record as a comeback, but it has been a while — comes with two streaming songs in album opener “Well of Fates” and the prior-issued single “The Last Crossing.” The latter was released as a standalone in — wait for it — summer 2020 — so as you may have suspected, The Oath has been in the works for some time. Listening to “Well of Fates,” I’m reminded of bands like Hour of 13 who meld classic heavy rock and doomed traditionalism to a new style of cultish, dark metal. I’m not sure Lord Mountain will be so severe ultimately across the board, but for a first listen, the sharper corners on their riffs are duly compelling.

I’ll hope to have more to come on this one either before or sometime in January, but for now, here’s the basic info hoisted from Bandcamp:

lord mountain the oath

LORD MOUNTAIN – The Oath

Lord Mountain’s full length debut THE OATH is set for a January 20th, 2023 release date by King Volume Records and Kozmik Artifactz. The album is eight tracks of top notch heavy metal and doom. Synthesizing traditional metal and fantasy influences from the 70’s and 80’s, Lord Mountain brings a vintage style and perspective to the modern era. With nods to Pagan Altar, Pentagram, and Sabbath, Lord Mountain carries the flame of classic heavy metal forward. Filled with perilous adventure and somber laments, The Oath is a quest-like experience more than collection of songs. Jesse Swanson, the lead singer and songwriter, casts hallucinations of soaring towers and bottomless chasms, all for us to explore with sword in hand.

A professional tattoo artist by trade, Swanson has a comprehensive aesthetic mission for the band. He created original oil paintings and drawings for the album art. Lord Mountain represents the intersection of all his interests and abilities into one artistic vision.

“The Oath is one of the most fully realized pieces of art we have ever put out. Jesse has a vision that transcends his medium. The songs, his voice, his album art, all conspire to take you away on a dark journey of loss and discovery.” – Todd White, Owner of King Volume.

Pre-orders for the full length album will begin in November. With the full length on the horizon, the band is releasing exclusive singles to support the release of THE OATH.

RECEIVE TWO TRACKS NOW

Track Listing
The Last Crossing
Well of Fates
Pressing Information
1. Well of Fates
2. The Gaint
3. Beyond the Frozen Sea
4. The Last Crossing
5. Chasm of Time
6. The Sacrifice
7. Serpent Temple
8. The Oath

36 minutes of rocking old school doom!

Limited to 200 copies worldwide.

Lord Mountain:
Jesse Swanson – guitars and vocals
Sean Serrano – guitars
Andy Chism – bass
Pat Moore – drums

https://www.instagram.com/lordmountainband/
https://www.facebook.com/lordmountaindoom/
https://lordmountain1.bandcamp.com/

http://www.facebook.com/kingvolumerecords
http://www.kingvolumerecords.bandcamp.com
http://www.kingvolumerecords.limitedrun.com

http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Lord Mountain, “The Last Crossing”

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The Obelisk Radio Adds: Lord Mountain, The Giraffes, Saint Vitus, Långfinger, Soggy

Posted in Radio on January 9th, 2017 by JJ Koczan

the obelisk radio cavum

It’s been a long time. Long enough that I’m not even going to link back to the last time I did a round of Radio Adds. Life happens, and with the Quarterly Review, I guess my focus went elsewhere. Well, I just did a Quarterly Review, and that actually kind of inspired this, since I found there was yet more records that wanted covering even after that over-full round of 60 that closed out 2016 and opened 2017. So here we are.

There are, in fact, more than 50 albums being added to The Obelisk Radio playlist today. I can’t promise I’ll do Radio Adds weekly like I once did, or monthly, or again in 2017, or ever, but the opportunity presented itself and it seemed only right to take advantage. This stuff all came out last year, so it’s all readily available, and audio samples are included, because, you know, music and such.

Let’s dig in:

Lord Mountain, Lord Mountain

lord-mountain-lord-mountain

Of all the styles under the vast umbrella of “heavy,” traditional doom is among the hardest to execute – especially, I’d think, for new bands. You need a balance of atmosphere and lack of pretense, a classic vibe, riffs, and groove. On the surface, you’re playing to the past, but if you put out something that just sounds like Sabbath and bring nothing of yourself to it, you’re sunk. Santa Rosa, California’s Lord Mountain – vocalist/guitarist Jesse Swanson, guitarist Sean Serrano, bassist Dave Reed and drummer Pat Moore – would seem to have it figured out on their self-titled debut EP. Released by King Volume Records on limited tape, it brings forth four tracks in 21 minutes that are no less comfortable playing to the downer riffing of Candlemass – opener “Fenrir” – than to the epic chanting of Viking-era Bathory – “Under the Mountain” – and that find distinction for themselves in nodding to one side or the other as they make their way across the bass-y Sabbathism of “Dying World” and into the concluding solo-topped gallop of “Tomb of the Eagle” (more Dio-era there, but effectively translated tonally). As an initial offering, its presence is more stately than raw, and part of that is aesthetic, so I still think Lord Mountain will have growth to undertake, but their EP shows marked potential and brings a fresh personality to doom’s rigid traditionalism, and there’s nothing more one could reasonably ask of it. A CD would probably be too much to ask, but it’s hard to believe no one’s snagged it for a 10” release yet.

Lord Mountain on Thee Facebooks

Lord Mountain on Bandcamp

King Volume Records on Bandcamp

 

The Giraffes, Usury

the giraffes usury

Behold the winding, self-directed narrative of underrated, underutilized and underappreciated New York heavy rockers The Giraffes, who issued Usury via Silver Sleeve Records in Jan. 2016, on the cusp of their 20th anniversary and with it welcomed back frontman Aaron Lazar (also a one-time contributor to The Book of Knots, speaking of underrated) to the fold alongside guitarist Damien Paris, drummer Andrew Totolos and bassist Josh Taggart. Comprised of just six songs with a 28-minute runtime, it nonetheless holds to a full-album sentiment, with songs like the tense “Washing Machine” working in a vein not dissimilar to their righteous 2008 offering, Prime Motivator (review here), while the preceding “Facebook Rant” and “Product Placement Song” bask in a social commentary that one can only hope the ensuing decades make dated and the subsequent “White Jacket” has a melancholy danceability that one might’ve related around the time of The Giraffes’ 2005 self-titled debut related to System of a Down, but now just sounds like an enrichment of their approach overall. Usury gets off to a slow start (not a complaint, given the groove) with “Blood Will Run,” which seems to shake off its dust initially before commencing its real push and chug circa the halfway point, but by the time they get down to eight-minute finale “How it Happened to Me,” the sudden conclusion of the jam leaves one to wonder where they went and when they’ll be back, which presumably is the whole idea. Behold a band who did it before it was cool, should’ve been huge, and still kept going. The story is more complicated than that, but there are few tales more admirable.

The Giraffes on Thee Facebooks

The Giraffes website

 

Saint Vitus, Live Vol. 2

saint-vitus-live-vol-2

The first Saint Vitus live album – Live – surfaced in 1990 via Hellhound Records and captured the band in Germany in 1989. Its 2005 reissue on Southern Lord played a large role in introducing the pivotal doomers to a new generation of fans. Live Vol. 2 follows some 26 years later via Season of Mist and likewise documents a crucial era in the four-piece’s existence, having been recorded in 2013 in Luxembourg following the release of their 2012 album, Lillie: F-65 (review here), with the lineup of vocalist Scott “Wino” Weinrich, guitarist Dave Chandler, bassist Mark Adams and drummer Henry Vasquez. It’s a 59-minute set, all told – one suspects some of Chandler’s stage rants between songs were shortened or removed – and among the most striking impressions it makes is how seamlessly Lillie: F-65 cuts “Let Them Fall,” “The Bleeding Ground” and “The Waste of Time” fit in alongside classics like the speedy “War is Our Destiny” and “Look Behind You” or the more grueling “Patra (Petra)” and galloping “White Stallions.” Of course, the anthemic “Born too Late” closes out, with Chandler’s wash of feedback and all-low-end tone at the start the ultimate hallmark of what Saint Vitus have always been – a middle finger to square culture unlike any other. This era of the band may be over, with original vocalist Scott Reagers stepping back into the frontman role, but as one continues to hope for another studio album, Live Vol. 2 proves more than a stopgap and takes an active role in adding to the band’s legendary catalog.

Saint Vitus on Thee Facebooks

Season of Mist website

 

Långfinger, Crossyears

langfinger-crossyears

After two successful full-lengths in 2010’s Skygrounds and 2012’s Slow Rivers, next-gen Swedish heavy rockers Långfinger join forces with Small Stone Records for their 10-song/46-minute third album, the crisply-executed Crossyears. Like their countrymen labelmates in Jeremy Irons and the Ratgang Malibus, the Gothenburg three-piece bring modern edge and production to what a few years ago might’ve been purely retro ‘70s boogie rock, as tracks like “Fox Confessor,” “Say Jupiter,” the more languid “Atlas” and “Caesar’s Blues” bask in a showcase of tight, natural performance with a clean production style that still highlights same, bassist/keyboardist/vocalist Victor Crusner, guitarist/backing vocalist Kalle Lilja and drummer/backing vocalist Jesper Pihl proving the maturity of their songwriting while still delivering the push of “Silver Blaze” and closer “Window in the Sky” with a sense of energy behind them. Their approach so solidified, Långfinger don’t seem to leave much to chance in their sound, but Crossyears engages heavy rock tradition effectively while bridging a gap of decades across its run, and that, frankly, seems like enough for any one record to take on.

Långfinger on Thee Facebooks

Small Stone Records on Bandcamp

 

Soggy, Soggy

soggy soggy

Soggy’s self-titled LP, released in this edition by Outer Battery Records (see also Arctic, Earthless Meets Heavy Blanket), is a reissue of a 2008 collection of tracks from a span of years that find the blown-out French punkers paying direct homage to The Stooges with a cover of the seminal “I Wanna be Your Dog,” immediately drawing a line to what seems to have been the band’s most prominent influence. Some 35-plus years after they were initially put to tape, Soggy’s tracks continue to feel dangerous and raw in their frenetic proto-punkery, and that would seem to be exactly what the Soggy LP is looking to convey, digging into the vast trove of lost artifacts in heavy and punk rock and finding a treasure ripe for hindsight appreciation. As much as it just makes me want to put on the self-titled Stooges record or Fun House, I can’t argue with the success of Soggy’s Soggy or not admire its mission, even if some of its blows land harder than others.

Soggy on Bandcamp

Outer Battery Records on Thee Facebooks

 

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