Quarterly Review: All Them Witches, Anthroprophh, Orphan Gears, The Watchers, Grajo, Mythic Sunship, Empress, Monads, Nest, Redneck Spaceship

Posted in Reviews on April 6th, 2018 by JJ Koczan

Quarterly-Review-Spring-2018

Well, we’ve reached the end of the week if not the end of the Quarterly Review itself. That’s right: after hemming and hawing all week and going back and forth in my silly little brain, I’ve decided to extend this edition to a sixth day, which will be Monday. That means 60 reviews in six days, not 50 in five. Honestly, I could probably keep going for three or four more beyond that if I had the time or inclination, and I may get there someday, but I’m definitely not there now.

But hey, there have been a couple comments left along the way, so thanks for that. I appreciate you taking the time to read if you have. Here’s the last for the week and we’ll pick back up on Monday.

Quarterly Review #41-50:

All Them Witches, Lost and Found EP

all them witches lost and found ep

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All Them Witches on Thee Facebooks

All Them Witches on Bandcamp

 

Anthroprophh, Omegaville

anthroprophh omegaville

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Anthroprophh on Thee Facebooks

Rocket Recordings on Bandcamp

 

Orphan Gears, Rat Race

orphan gears rat race

I’m pretty sure Orphan Gears used the Super Mario Bros. font for their logo on the cover of their latest EP, Rat Race, and for that, they should be saluted. The gritty-riffing semi-punker London four-piece offer five tracks and 20 minutes of workaday, boozy grooves, blowing off steam after putting in a shift at this or that crappy job. They are null as regards pretense, and ask little more of their audience than perhaps a beer from the stage or whatever else might be on the menu that night. They share initials, but unlike much of the London underground, they share little ultimately with Orange Goblin in terms of style, despite the shuffle of “Tough Luck, BJ” or the harmonica at the end of “Bitch-Slapped Blues,” and by the time they get to the classic strut of the title-track, they seem to be dug into AC/DC-style groove in the verse while blending in modern heavy rock impulses around it. They clearly save their best for last.

Orphan Gears on Thee Facebooks

Orphan Gears on Bandcamp

 

The Watchers, Black Abyss

the watchers black abyss

An immediately cogent, professional debut full-length is about what you’d expect from The Watchers, the San Francisco four-piece with members of SpiralArms, Orchid and Black Gates in their ranks, particularly after their prior EP, Sabbath Highway (review here), but that doesn’t stop the songwriting from impressing across the eight-song long-player, Black Abyss (on Ripple Music). The band’s presentation is crisp and pro-shop all the way through, from the soloing on “Oklahoma Black Magic” to the keyboard-laced TonyMartin-era-Sabbathism-meets-tambourine of “Suffer Fool” later on, and with the opening salvo of the title-track and “Alien Lust” right behind it, The Watchers set a quick expectation for hooks and a high standard of delivery that, thankfully, they show no hesitation in living up to for the duration, the chug-and-roll finale “Seven Tenets” satisfies in mood and efficiency, departing into airy guitar meditation and making its way back for a suitably rocking sendoff. Dudes know what they’re doing, where they’re headed and how they want to get there. All the listener needs to do is sit back and enjoy the ride.

The Watchers on Thee Facebooks

Ripple Music on Bandcamp

 

Grajo, Slowgod II

grajo slowgod ii

A sequel to their 2015 full-length, Slowgod II (on Underground Legends Records, Spinda Records and DHU Records), sees Córdoba-based four-piece Grajo dug into a deep-toned psychedelic doom. There are flashes of Eastern influence on “Malmuerta,” with frontwoman Liz crooning over the minor-key guitar noodling of Josef, the forward motion in Félix’s drums and the heft of Pistolo’s bass. That dynamic works across Slowgod II, from opener and longest track (immediate points) “Altares” through its closing eight-minute counterpart “Malstrom,” which moves from early crunch through spacious volume swells in its middle only to regain composure and offer a heavy post-rock payoff that, somehow, still isn’t that atmospherically removed from the swinging “Horror and Pleasure” right before it or the similarly speedier “Queen Cobra” that follows “Altares” at the outset. Definitely one for the converted, Grajo deliver tones thick enough to stand on and engaging melodicism without falling into any real traps of sonic redundancy, varying their pace effectively and conjuring consuming plod on “ER” while still holding to that notion of breadth that seems to unite all their material here.

Grajo on Thee Facebooks

DHU Records webstore

 

Mythic Sunship, Upheaval

mythic sunship upheaval

It just so happens this is exactly what the fuck I’m talking about. After releasing their Land Between Rivers (review here) LP through El Paraiso Records last year, the Copenhagen four-piece of Emil Thorenfeldt, Frederik Denning, Kasper Andersen and Rasmus “Cleaver” Christensen, collectively known as Mythic Sunship, return with four more slabs of exploratory bliss on Upheaval. Either completely or partially improvised, “Tectonic Beach” (12:42), “Aether Flux” (10:55), “Cosmic Rupture” (6:44) and “Into Oblivion” (13:56) flow together like the work of masters, and with shades of patient space rock at their core, the tracks are infused with life even beyond the spontaneity of their creation. Heavy jams. Heavy, spacy jams. Molten. Swirling. Badass. Even the shorter and more forward “Cosmic Rupture” is headed out of the atmosphere, and when they come around to the noisy payoff deep in “Into Oblivion,” it’s abundantly clear they’re not joking around when it comes to the title. You can get onboard with Mythic Sunship, or you can miss out. Bands like this separate the hip from the squares.

Mythic Sunship on Thee Facebooks

El Paraiso Records webstore

 

Empress, Reminiscence

Empress reminiscence

Those who miss the days when Mastodon or Baroness howled their shouts into a landscape of crunching tonal largesse might do well to dig into what Vancouver, British Columbia’s Empress have to offer on their late-2017 debut EP, Reminiscence. The 27-minute five-tracker isn’t without its sense of melody – there’s plenty of room in eight-minute second cut “Immer” – but guitarist/vocalist Peter Sacco, bassist Brenden Gunn and drummer Chris Doyle make their primary impression via the impact of their material, and as they swap back and forth between shorter tracks and longer ones, a sense of structural playfulness results that moves through the bass openings of “Baptizer” (2:50) and “They Speak Like Trees” (9:27) into the ambient guitar finisher “Dawn,” and the feeling is that, like their stylistic forebears in at the time what was thought of as a new take on sludge metal, Empress will only grow more progressive as they move forward from this first outing. One hopes they hold firm to the tectonic weight they present here that so many others seem to have given up along the way.

Empress on Thee Facebooks

Empress on Bandcamp

 

Monads, IVIIV

monads iviiv

Released some six years after Monads’ 2011 debut, Intellectus Iudicat Veritatem, the Aesthetic Death Records-issued IVIIV was, according to the Belgian five-piece’s own accounting, in the works for most of that time in one way or another. One might say, therefore, that its creation does justice to the glacial pace of some of its slowest moments, the crawling death-doom extremity of pieces like “To a Bloodstained Shore,” or the lurch before the gallop takes hold in “Your Wounds Were My Temple.” At four songs and 50 minutes, IVIIV is indicative enough of the style, but Monads legitimately showcase a persona of their own in and out of those genre confines, the melancholic atmosphere and expanded arrangement elements (piano, etc.) of 15-minute closer “The Despair of an Aeon” creatively used if familiar, and the smoothness of the transitions in opener “Leviathan as My Lament” setting a tone of scope as well as downward emotional trajectory. Not sure I’d count on a quick turnaround for a follow-up, but if half a decade from now a new Monads record surfaces, it’ll be worth keeping an eye out for.

Monads on Thee Facebooks

Aestehetic Death Records website

 

Nest, Metempsychosis

nest metempsychosis

Rolling from its untitled intro through its untitled outro through a barrage of charred-black, bludgeoning sludge extremity, the debut album from Lexington, Kentucky’s Nest, Metempsychosis (on Sludgelord Records), refers in its title to a transmigration of the soul, an inheritance almost as much as reincarnation. The band may be talking about themselves or they may be working on a theme throughout the record’s seven proper tracks, I don’t know, but if the idea is destruction and rebirth, they certainly sound more interested in the former. Songs like “Heretic” seethe and scour, while the lumbering and spacious closer “Life’s Grief,” capping with abrasive noise, would seem to be a mission statement in itself. Individual pieces like “Jewel of Iniquity” and the preceding atmosphere-into-mega-crush “Diving into the Entrails of Sheep” – of course the centerpiece of the tracklisting – are shorter unto themselves, but like everything else that surrounds, they feed into an overarching ambience of disgust and chaos.

Nest on Thee Facebooks

Sludgelord Records on Thee Facebooks

 

Redneck Spaceship, Grand Marshal Ape

redneck spaceship grand marshall ape

There are some issues as regards the balance of the mix pushing the vocals forward ahead of the guitar to work out, but Moscow’s Redneck Spaceship impress all the same with the intent and execution of their late-2017 self-released debut, Grand Marshal Ape. In riffs and songcraft, their influences stem from the classic days of stoner rock, but from opener “The Sands of Dakar” and the later “That Sounds Nuts,” one gets a vibe of underlying punk influence, while the twang in harmonized highlight “On the Roadside” and slide guitar of “Maverick” lends a Southern, bluesy swing that the penultimate “Enchained” answers back later ahead of the sample-laden psychedelic jam-out closer, “Antariksh,” which strikes as a far cry from the ultra-straightforward presentation earlier on “Empty Pockets,” but speaks to an immediate scope in Redneck Spaceship’s sound. One hopes they continue to meld elements as they progress beyond Grand Marshal Ape and bridge the gap between one side of their moniker and the other.

Redneck Spaceship on Thee Facebooks

Redneck Spaceship on Bandcamp

 

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All Them Witches Release Lost and Found EP; New Album to be Recorded this Spring

Posted in Whathaveyou on February 26th, 2018 by JJ Koczan

Nashville’s All Them Witches have released a new free download digital EP and announced they’ll record their next full-length in April. As far as good news goes, it’s hard to fuck with that. Of course, the heavy psych/blues rockers have a long track record of dropping digital outings with little warning — hell, before they signed to New West ahead of 2015’s Dying Surfer Meets His Maker (review here), it was their primary method of release — and over the years, they’ve kept in steady touch with their audience via outings like A Sweet Release (review here), the “George ‘Dubya’ Kush” single (discussed here), their cover of “Born Under a Bad Sign” (discussed here), the Effervescent EP (review here) that later wound up on vinyl, and numerous other live outings and one-offs.

The aspect all these releases share in common? Eventually they go away. That means that if you want the just-released four-tracker Lost and Found — which sees the foursome revisit a couple of the tracks from Dying Surfer Meets His Maker with an alternate version of that album’s opener “Call Me Star” and a dub redux of “Open Passageways,” as well as covering Fleetwood Mac with “Before the Beginning” and putting their stamp on the traditional folk song “Hares on the Mountain” — then you want it now. Because if you wait, it might not be there the next time you look.

After All Them Witches are done in the studio this April, they’ll hit the road in May to tour with Primus and Mastodon. You’ll find those dates below along with their announcement of the new release, the recording info, and of course the thing itself, which you can download right from the Bandcamp player here if you’re so inclined.

And you should be so inclined.

Dig:

all them witches lost and found

Suprise, Suprise! It has been a year since we have released anything. Stoked on this. Enjoy these tunes for FREE.

ATW update, we are hitting the studio in April to record a new full length. Hope this EP holds you over till then.

Thank you for listening and please share. Produced By Ben McLeod. Mixed by Ben McLeod. “Dub Passageways” dubbed by Grant Husselman. Mastered by Mikey Allred at Dark Art Audio. Album art/layout: Robby Staebler. Courtesy of New West Records

Released February 26, 2018.

Tracklisting:
1. Hares On The Mountain 05:46
2. Before The Beginning (Fleetwood Mac) 03:42
3. Call Me Star 04:12
4. Dub Passageways 04:21

ALL THEM WITCHES Tour Dates:
MAY 3 • Rose Music Hall • COLUMBIA, MO
MAY 4 • Slowdown • OMAHA, NE
MAY 6 • Red Rocks Amphitheater • MORRISON, CO ^
MAY 8 • The Criterion • OKLAHOMA CITY, OK ^
MAY 10 • South Side Ballroom • DALLAS, TX ^
MAY 11 • Austin 360 Amphitheatre • DEL VALLE, TX ^
MAY 12 • Walmart Arkansas Music Pavilion • ROGERS, AR ^
MAY 14 • BJCC Concert Hall • BIRMINGHAM, AL ^
MAY 15 • Nashville Municipal Auditorium • NASHVILLE, TN ^
MAY 16 • Fox Theatre • ATLANTA, GA ^
MAY 18 • Portsmouth Pavilion • PORTSMOUTH, VA ^
MAY 19 • Charlotte Metro Credit Union Amphitheater • CHARLOTTE, NC ^
MAY 20 • Red Hat Amphitheater • RALEIGH, NC ^
MAY 22 • Diamond Credit Union Theatre • READING, PA ^
MAY 23 • Artpark Amphitheater • LEWISTON, NY ^
MAY 25 • Cool Insuring Arena • GLENS FALLS, NY ^
MAY 26 • Bold Point Park • EAST PROVIDENCE, RI ^
MAY 27 • Maine State Pier • PORTLAND, ME ^
MAY 29 • Blue Hills Bank Pavilion • BOSTON, MA ^
MAY 30 • Penn’s Landing – Festival Pier • PHILADELPHIA, PA ^
JUN 1 • Stone Pony Summerstage • ASBURY PARK, NJ ^
JUN 2 • Pier Six Pavilion • BALTIMORE, MD ^
JUN 3 • Ford Amphitheater at Coney Island Boardwalk • BROOKLYN, NY ^
^ w/ Primus and Mastodon

All Them Witches is:
Charles Michael Parks, Jr. – Vocals, Bass, Guitar, Mellotron, Percussion
Ben McLeod – Guitar, Bass, Mellotron, Percussion
Robby Staebler – Drums, Percussion
Allan Van Cleave – Rhodes, Organ, Piano, Mellotron

http://allthemwitches.bandcamp.com/
http://www.facebook.com/allthemwitches
https://www.instagram.com/allthemwitchesband/
https://twitter.com/allthemwitches
http://www.allthemwitches.org/

All Them Witches, Lost and Found (2018)

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