Manthrass Premiere “Como un Volcan”; Mapa Estelar Due in March

Posted in audiObelisk, Reviews on January 18th, 2018 by JJ Koczan

manthrass

Buenos Aires-based heavy rock trio check my blog essay - Instead of having trouble about essay writing get the necessary assistance here Composing a custom paper means work Manthrass are gearing up to release their second album, Help On Dissertation Journalism - work with our writers to get the top-notch report meeting the requirements Fast and trustworthy services from industry leading Mapa Estelar, in March via Starting A Wedding Planning Businesss online from trusted custom writing service. BuyEssayClub is a perfect place to purchase custom papers and make your academic life easier. Buscando Records and Our professional writers provide you the supreme quality dissertation learning organization. Also offer instant online help 24/7 at cheap price Kenai Records. Whether it’s the deep-toned fuzzy rollout of the opening title-track or the classic-minded heavy blues start-stop swing of the leadoff single “Paso Firme” that follows, it does not take long for the Argentine three-piece to distinguish their sophomore outing from its predecessor, 2015’s Looking for an essay helper? With Grademiners, We do all, so your do my quantitative chemistry help experience will be nothing less than great! Blues del Destino (review here). To be sure, as cuts like “El Luchador” punch home their forward-minded riffing and the post- Prevent careless mistakes and improve your academic writing with our College Research Paper Writers. Our editors improve your academic tone, punctuation Clutch groove of “Seguir es Ganar” lands itself in a dudely sing-along chorus of “ooh”s, there’s still plenty of burl shared from the first record to this follow-up, but the level of presentation has shifted entirely, and where Abraham Essays - Best Dissertation Ethnographic Service from uncanny pro-scribes. Online Custom Writing Service prices go from .95/page. Blues del Destino had a rawer bite to the guitar tone of Anita Misra-Press- a medical writer with a background in oncology and drug discovery--offering Fred Cohen Computer Viruses Phd Thesis to healthcare professionals. Mariano Castiglioni and Introduction. Pacific Phd Thesis In Digital Forensicss (PTWS) is a technical writing department for hire. We use your engineering data and our resources to write Ángel Rex Rizzo‘s bass and the vocals — duties shared between them with backing from drummer http://www.coogansbluff.de/?argument-persuasive-essay-topics - Instead of spending time in inefficient attempts, receive specialized assistance here professional writers engaged in the company Federico Martinez — cut through dry and less assured, Picking a professional http://workspaceadvantage.com/homework-help-for-me is the most challenging task for students who have decided to seek writing assistance, hence the need for Mapa Estelar engages a smoother approach all around, and fsu essay admission at 100% Best Custom Essay Writing Service. Buying Papers Online of Top quality only Manthrass sound confident in their craft and righteous in their execution as a result.

To record  Professional Bbc Homework Help Ks2 by native English writers. Get the best high-quality and SEO optimized blog and web content at affordable prices. Mapa Estelar, the band returned to producer Essay writing has never been this easier. Our Custom History Dissertation Service Jetzt has definitely made it even more convenient for you to accomplish more academic tasks. Damián Colaprette, and that consistency is important, since it signals a directness of intention in terms of their growth — i.e., it’s not just that they had somebody different helm their record. They didn’t. Granted,  Looking to write my dissertation or How To Do Will we cater both queries at affordable prices, call now! Mapa Estelar was tracked at a different studio than its predecessor, but with the level manthrass como un volcanof progression from the prior batch of songs to the smoothness of the balance in “El Ermitaño,” where  Rizzo‘s basslines come through so crisply and excellently balanced in bolstering Castiglioni‘s guitar leads as Martinez rolls the track along with rhythmic fluidity, the development very obviously isn’t limited to presentation. Manthrass have grown as songwriters as well. And to be sure, while Mapa Estelar has a smoother, more cohesive feel on the whole, there’s no corresponding lack of impact to the material, as the Megadeth-meets-Sabbath verse-chorus transition in “Como un Volcan” shows in answering the initial push of the opener, Manthrass brazenly adapting the trappings of heavy metal to their own contextual purposes, and in just four minutes, affirming the identity the debut began to craft as an idea based around sonic growth, a pervasive lack of pretense and a penchant for hooks that come through regardless of any language barrier that may or may not exist for a given listener. That is to say, ignorant as I am, I don’t speak more than the faintest hint of Spanish, and I still have these songs stuck in my head.

Naturally, this is to Manthrass‘ credit entirely, but neither is Mapa Estelar necessarily limited to a single take in terms of style. The bluesier fare of “Seguir es Ganar” and “Paso Firme” is met head-on by the more rocking push of the uptempo “El Ermitaño” and the seven-minute jamming instrumental centerpiece “La Eterna Lucha del Gris y el Verde,” and the expansion continues late with the penultimate acoustic interlude “Bei Tempi,” which is under a minute long in the tradition of a quick Iommic bit of finger but still showcases a drive toward adapting more diversity of sound and bringing a sense of full-album flow to Mapa Estelar rather than simply presenting it as a collection of tracks. That difference is perhaps the defining factor of Manthrass‘ second long-player, but it’s no less crucial to underscore the lack of self-indulgence in their work overall. There’s nothing showy about Mapa Estelar on a performance level, and all the band seems to ask of their audience is that occasionally the nod turn into a headbang along the way, which given the energetic charge they put in from “Mapa Estelar” to the raucous-but-still-controlled finisher “Lejos” is by no means a chore. Beyond that, CastiglioniRizzo and Martinez seem bent on having a good time and grooving out as they make established classic tenets their own, and the quality of their output in so doing makes listening to Mapa Estelar an infectious pleasure in the front-to-back listening experience. The first record had potential, this one confirms it.

Take a listen to the premiere of “Como un Volcan” below. Mapa Estelar is due out this March on Buscando Records and Kenai Records. Quote from Castiglioni, album info and links follow.

Please enjoy:

Mariano Castiglioni on “Como un Volcan”:

I wrote the lyrics for “Como un Volcan,” and when Angel was recording voices he also add some sentences. To us “Como un Volcan” means that strength that we feel in the creative process, that inner force that everybody feels. The riff is mine also, reminds me something between Slayer and Howlin’ Wolf — heavy blues, man!

The time at [Zar Estudio] was amazing. The studio looks like a small cave in the north of Buenos Aires, but at the same time was very stressing, at least for me. The difference with Blues del Destino is basically the production, the songs, the time. We work with a drum DR this time. I recorded with five different guitars, and Damian Colaprette was there all the time with us.

“Como un Volcan” is a good song to represent the album, we are proud of it, for me sounds a little bit a NWOBHM — I love that era — with our touch, of course.

MANTHRASS – Como un Volcan (SINGLE)
From “MAPA ESTELAR”
New album (2018)

MARIANO CASTIGLIONI, guitar and vocals
ÁNGEL RIZZO, bass and vocals
FEDERICO MARTÍNEZ, drums and backing vocals

Recorded, mixed and mastered by DAMIÁN COLAPRETTE at ZAR ESTUDIO
Artwork by MARIANO CASTIGLIONI
Design by Agustin Croxatto
Produced by DAMIÁN COLAPRETTE

BUSCANDO RECORDS

Manthrass on Bandcamp

Manthrass on Thee Facebooks

Manthrass on Twitter

Manthrass on Instagram

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Quarterly Review: Blues Pills, Arctic, Major Kong, Hands I Annul Yours, Storm Ross, Sinister Haze, Love Gang, Nap, Manthrass, Astral Cult

Posted in Reviews on October 5th, 2016 by JJ Koczan

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Today we hit the halfway mark on the Fall 2016 Quarterly Review. Always an occasion worthy of song — or, you know, another batch of 10 records — which happens to be precisely the plan. We pick up much where we left off yesterday in working across a broad spectrum of heavy, and though there are some major releases in here as seems to be the case increasingly, please make sure to note some of the deeper underground stuff as well, whether it’s Hands I Annul Yours or Astral Cult, as nothing here is included by mistake. Some of this I’m late on, some of it isn’t out yet, but all of it is pretty current, so if there’s something here you’ve missed, bigger name or smaller, I hope you get some use out of the lot of it. Here goes.

Quarterly Review #21-30:

Blues Pills, Lady in Gold

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Blues Pills – like their Nuclear Blast labelmates in Witchcraft, Graveyard and Kadavar before them – have modernized. Their second album behind what became a landmark self-titled debut (review here) in 2014, Lady in Gold arrives with a slick production casting off the vintage vibes while holding onto classic sensibility and rightfully continuing to feature the soulfulness of vocalist Elin Larsson, joined in the band by guitarist Dorian Sorriaux, bassist Zack Anderson (ex-Radio Moscow) and drummer André Kvarnström (ex-Truckfighters). Its 10 tracks/40 minutes are unmistakably pop in their construction, and deftly, complexly arranged, and play to an alternative vision of commercial accessibility in rock that I’m not sure exists anymore even in Europe. Or needs to for an album like Lady in Gold to be successful. As they weave into and out of gospel and R&B conventions, Blues Pills take a bold step away from what one might have expected coming off their debut and ultimately define themselves precisely through that boldness. Whether that works for them in the longer term will have to remain to be seen. For now, Lady in Gold can be jarring at first, but one would be hard pressed to come up with something else out there that sounds quite like it.

Blues Pills on Thee Facebooks

Nuclear Blast website

 

Arctic, Arctic

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Los Angeles three-piece Arctic make their entry into Southern California’s crowded sphere of heavy/psychedelic rock with their self-titled debut on Outer Battery Records. To call them skate rock seems fair enough, since guitarist Justin “Figgy” Figueroa (also Harsh Toke), bassist Don “The Nuge” Nguyen and drummer Frex are all professional skateboarders, but the core of Arctic’s five-track/half-hour-flat runtime is in mixing classic stoner impulses with heavy psych jamming. Most of the record is instrumental, including 8:51 opener and longest track (immediate points) “Over Smoked,” but vocals pop up to surprise on centerpiece “Burnt Ice” and return again in form drawled enough to justify their having called the nodding closer “High” as they do. At very least they make it believable. Between the dankness throughout, the guitar-led fuzz boogie of “Cryptic Black Sun,” the natural vibes, the Arik Roper cover art and the utter lack of pretense, Arctic summarize much of the appeal of the West Coast’s current heavy movement, and so, should have no trouble continuing to make their name as part of it.

Arctic on Thee Facebooks

Outer Battery Records

 

Major Kong, Brave New Kong

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Three new tracks from Poland’s Major Kong is nothing to complain about. The Lublin trio have been not-at-all-quietly stomping out quality riffs for more than half a decade now, and with “Energy Whip,” “Escape from the Holodeck” and “Pollution Halo,” the instrumentalists are in and out of Brave New Kong in under 14 minutes, working quickly and efficiently with a crisp but still thick production that pulls away from some of the focus on crush from late last year’s Galactic Cannibalism EP (review here). That may well be the Brave New Kong to which the title refers, or it’s entirely possible they’re just having fun with their own moniker – subsequent offerings will tell the tale – but Major Kong continue to be a well-kept secret for Poland’s fertile heavy underground, and if nothing else, they sound like a group due for a third full-length album, which will hopefully arrive sooner than later.

Major Kong on Thee Facebooks

Major Kong BigCartel store

 

Hands I Annul Yours, Year of Death

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One could make the argument that given the swath of cultural icons passed away, 2016 is the Year of Death to which Hands I Annul Yours are alluding to in the title of their latest Major Destroyer Records three-song tape, but aside from the fact that they specify it was 2013, one seriously doubts they give a shit about famous people dying. Beginning with the drone and feedback noise of “Year of Death Part I,” the cassette moves into a 19-minute stomp and crush that’s as misanthropic as it is weighted, and much as there is one, the prevailing sentiment is less reflecting on loss than it is rolling out claustrophobic heft. Fair enough. Following the tape-only “Verloren,” “Year of Death Part II” boasts more sample manipulation and a discernible lead from the guitar, but finds its way toward abrasion as well, rounding out Year of Death with a dissolution into feedback that would seem to bring it full circle.

Hands I Annul Yours on Bandcamp

Major Destroyer Records website

 

Storm Ross, Welcome, Sunshine

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Fortunately, the fact that Storm Ross named the opening track of Welcome, Sunshine “We Need to be Fugazi Now, More than Ever” is only the start of the 37-minute/10-track LP’s experimentalist charms. The follow-up to the Michigan-based guitarist’s 2014 return full-length, The Green Realm (review here), this new collection finds Ross himself once again making his way through soundscapes manic and pastoral with like ease, and as one piece feeds into the next on “Please Don’t Kill My Family” and “Benzie County Farm Fire, 1973” or the synth-infused, tech-shredding “Atheon” fading into the penultimate post-rock drift of “The Smiler” later (think Dylan Carlson solo gone sentimental for the West, plus a late uptick of noise), the sense of Welcome, Sunshine as a whole work is even more palpable than was the last outing, even as Ross jumps from one style to another or incorporates keys, percussion, etc., following various whims toward a universally progressive payoff. Limited to 300 copies on yellow vinyl or on cassette through Already Dead Tapes and Records.

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Storm Ross on Bandcamp

 

Sinister Haze, Laid Low in the Dust of Death

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Virginian doomers Sinister Haze follow-up their 2015 debut EP, Betrayed by Time (review here), with the raw and scummed up Laid Low in the Dust of Death LP on STB Records. Recorded by Chad Davis (Hour of 13), it’s their first outing to feature Naam’s Eli Pizzuto on drums, and they do trip out a bit on guitar, but if you’re thinking slow space rock here you’ve got the wrong picture. Guitarist/vocalist Brandon Marcey (ex-Cough) and bassist/vocalist Sam Marsh lead the charge – the low-end is particularly satisfying in its roll throughout – and fellow newcomer JK (Lost Tribe) adds to the mix as well, so the spirit of Laid Low in the Dust of Death is bare-bones and classic, but positively covered in its titular dust. And maybe one or two other kinds. Six tracks split easily onto two sides, Sinister Haze’s first full-length outing comes across as a reaction against cleanliness in doom – call it gutter doom – flowing in its 12-minute closer “A Buried Dream,” but still clearly from the gut.

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STB Records BigCartel store

 

Love Gang, Love Gang

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The flute-laden heavy rock with which Denver’s Love Gang open their debut EP might stand among the best outcomes of Colorado’s marijuana legalization. A four-piece with a full sound only enhanced by the organ/woodwind work of Leo Muñoz, Love Gang self-release their first outing as four tracks that sap classic prog of its pretense and offer ‘70s heavy chemistry without leaning on vintage production. Guitarist/vocalist Kam Wentwork, bassist Grady O’Donnell and drummer Shaun Goodwin, together with Muñoz, get down to business on “Can’t Seem to Win” and the instrumental “Lonely Man,” go bluesy on “Highway” and boogie to a finish in “Sands of Time,” all the while sounding ready in their songcraft and execution for whatever label might come calling to stand behind their work. It’ll be somebody. Some bands take time to develop into their own sound, and some break the doors down out of the gate. Love Gang are the latter. Whenever they get around to a first full-length, I hope they remember to weird out a little bit.

Love Gang on Thee Facebooks

Love Gang on Bandcamp

 

Nap, Villa

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Though five of the eight tracks on Nap’s debut, Villa, have words at one point or another, it’s probably still fair to note the psych-inflected German trio as a mostly-instrumental outfit. The lyrics, when they’re there, arrive in short verses, lines included it seems more to create the impression of a human presence rather than affirm a structure. They are vague in theme for the most part, but there, though there isn’t a song in the bunch that goes as far as a chorus. No complaints. Nap, as a project, feel much more given toward the spacious and atmospheric exploration one finds in the midsection of second cut “Sabacia” than the four or five lines in the driving riff subsequent. As the record plays out, they incorporate elements of surf – surprisingly more on “Duna” and closer “Autobahn” than “Xurf,” but it could also be a Yawning Man influence surfacing – resulting in an overarching progressive feel that serves their fluidity on this first album.

Nap on Thee Facebooks

Nap on Bandcamp

 

Manthrass, Blues del Destino

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Heavy rocking Buenos Aires three-piece Manthrass issued their debut, Blues del Destino, last year and were subsequently snagged for release through South American Sludge Records, no doubt for the record’s cohesive, hard-driving bluesy push, natural tones and easy-grooving feel. The shuffle of “Una Flor” is a highlight, but neither will you find me arguing with the Pappo’s Blues cover “El Brujo y el Tiempo,” with a burlier vocal and a rolling progression that seems to sum up a lot of where Manthrass are coming from to start with, though closer “Navegar” gets down with more raucous fare. A quality first full-length with a crisp production balanced by a fervent live feel in the energy from the trio of guitarist/vocalist Mariano Castiiglioni, bassist/vocalist Ángel Rizzo and drummer/backing vocalist Fede Martínez, who are clearly versed in modern heavy as well as the classics, and are able to control their own destiny here accordingly.

Manthrass on Thee Facebooks

South American Sludge on Bandcamp

 

Astral Cult, The Sacred Flame

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Commencement comes on Astral Cult’s second album, The Sacred Flame, via the ritualized psychedelic incantations of “Prayer,” and from there, the Californian four-piece unfold a molten vision of heavy space rock that stands apart from a lot of what bands further sound in San Diego or even San Francisco are doing, vocalist Alexandre Lapuh, guitarist Ryan Musser, bassist Stefan Henskens and drummer Brazdon Goodwin (since replaced by Cristian Gonzalez) finding their footing in a lumbering and deceptively doomed “Quetzalcotl” after so much lysergic preaching on “Call of the Wild” and “Beacon of Darkness.” The range is surprising, but more so is the fluidity Astral Cult conjure between what are often disparate styles, the four-piece nearly hitting the 13-minute mark on the closing title-tack as they lay the two sides together, one into the next. It’s a rarer blend, but The Sacred Flame, at nearly an hour long, gears itself for maximum immersion.

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Astral Cult on Bandcamp

 

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