Quarterly Review: Sumac, Cortez & Wasted Theory, Thunder Horse, The Howling Eye, Grime, URSA, Earthling Society, Bismarck, Grand Reunion, Pledge

Posted in Reviews on December 7th, 2018 by JJ Koczan

quarterly-review

As we land on what would otherwise be the end of a Quarterly Review — day 5, hitting the standard 50 records across the span of a week that this time we’re doubling with another 50 next week — it occurs to me not how much 100 albums is, but how much it isn’t. I mean, it’s a lot, don’t get me wrong. I’ve been sitting and writing about 10 records every day this week. I know how much that is. But it’s astounding to me just how much more there is. With the emails I get from people looking for reviews, discs sent in the mail, the messages on Facebook and everything else, I could do another 100, easy.

Well, maybe not ‘easy,’ but it would be full.

Is it a new golden age of heavy? 45 years from now are rockers going to look back and say, “Hell yeah, from like 2012-2019 was where it’s at,” all wistful like they do now for the ’70s? Will the Heavy ’10s be a retro style? I don’t know. But if it was going to happen, there would certainly be enough of an archive to fuel it. I do my best to cover as much as I can, but sometimes I feel like we barely crack the surface. With 100 records.

That said, time’s a-wasting.

Quarterly Review #41-50:

Sumac, Love in Shadow

sumac love in shadow

What are Sumac if not the most vital and highest profile atmospheric metal act out there today? With Aaron Turner (Isis, etc.) on guitar/vocals, Brian Cook (Russian Circles) on bass and Nick Yacyshyn (Baptists) on drums, they qualify easily as a supergroup, and yet their third album, Love in Shadow (on Thrill Jockey), is still more about creative growth and the exploration of sound than anything else. Certainly more than ego — and if it was a self-indulgent exercise, it’d probably still be pretty good, frankly. As it stands, the four massive tracks through which Sumac follow-up 2016’s What One Becomes (review here) and their 2015 debut, The Deal (review here), refine the sound Sumac has developed over the past three years-plus into a sprawling and passion-driven sprawl that’s encompassing in scope, challenging in its noise quotient, and in utter refusal to not progress in its approach. And when Sumac move forward, as they do here, they seem to bring the entire aesthetic with them.

Sumac on Thee Facebooks

Thrill Jockey Records on Bandcamp

 

Cortez & Wasted Theory, The Second Coming of Heavy: Chapter Nine

cortez wasted theory second coming of heavy ch 9

Ripple Music‘s split series The Second Coming of Heavy hits its ninth chapter in bringing together Boston’s Cortez and Delaware’s Wasted Theory, and neither band fails to live up to the occasion. Cortez‘s range only seems to grow each time they hit the studio — vocalist Matt Harrington makes easy highlights of the opener and longest track (immediate points) “The Firmament” and the echo-laden “Close” — and Wasted Theory‘s “Ditchpig,” “Abominatrix,” “Baptized in Gasoline” and “Heresy Dealer” are so saturated with whiskey it might as well be coming out of their pores. It’s a decidedly North/South release, with Cortez rolling straightforward New England heavy rock through “Fog of Whores” and the Deep Purple cover “Stormbringer” while Wasted Theory dig with all good speed into a grit that’s more and more become their own with time, but there’s a shared penchant for hooks and groove between the two acts that draws them together, and whatever aspects they may or may not share are ultimately trumped by that. As Ripple starts to wind down the series, they continue to highlight some of the finest in heavy that the underground has to offer. One would expect no less.

Cortez on Thee Facebooks

Wasted Theory on Thee Facebooks

Ripple Music on Bandcamp

 

Thunder Horse, Thunder Horse

thunder horse thunder horse

There’s an unmistakable sense of presence throughout Thunder Horse‘s six-song/43-minute self-titled debut that undercuts the notion of it as being the San Antonio four-piece’s first album. With professionalism and a firm sense of what they want to be as a band, the Texans liberally sprinkle samples throughout their material and hone a professional sound built around massive riffs and even-more-massive lumbering grooves. Indeed, they’re not strangers to each other, as three-fourths of the group — guitarist/vocalists Stephen Bishop, guitarist/sampler T.C. Connally and drummer Jason West — double in the more industrial-minded Pitbull Daycare, whose debut LP came out in 1997. Completed by bassist/vocalist Dave Crow, Thunder Horse successfully cross the genre threshold and are well comfortable in longer cuts like “Liber ad Christ Milites Templi” and “This is the End,” both of which top nine minutes, and shorter pieces like the rocking “Demons Speak” and the shimmering finale “Pray for Rain.” With “Coming Home” and the sneering “Blood Ritual” at the outset, Thunder Horse pulls listener quickly toward dark atmospheres and flourishes amid the weighted tones therein.

Thunder Horse on Thee Facebooks

Thunder Horse on Bandcamp

 

The Howling Eye, Sonorous

the howling eye sonorous

Poland’s The Howling Eye make a lengthy long-player debut with Sonorous, but more important than the reach of their runtimes — closer “Weedblazer” tops 16 minutes, the earlier “Reflections” hits 12, etc. — the reach of the actual material. The common pattern has been that psychedelic jamming and doom are two distinct things, but The Howling Eye tap into a cosmic interpretation of rolling riffs and push it with an open spirit far into the ether of spontaneous creation. It’s a blend that a group would seem to need to be cautious to wield, lest the whole notion fall flat, but with the assurance of marked chemistry behind them, the Bydgoszcz-based trio of drummer/sometimes vocalist Hubert “Cebula” Lewandowski (also harmonica where applicable), guitarist Jan Chojnowski and bassist Mi?osz Wojciechowski boldly shift from the more structured beginnings of the funky “Kairos” and the aggro beginning “Stranded” into an outward push that’s ambient, psychedelic and naturalistic all at once, with room left over for more funk and even some rockabilly on “The Potion.” It is not a minor conglomeration, but it works.

The Howling Eye on Thee Facebooks

The Howling Eye on Bandcamp

 

Grime, What Have We Become

grime what have we become

Their roots in metal, North Dakota trio Grime — not to be confused with the Italian sludge outfit of the same name — unleash their first full-length in the form of What Have We Become, an ambitious 51-minute offering of progressive heavy rock marked by thoughtful lyrics and fluid songwriting made all the more so by the shared vocals of bassist Andrew Wickenheiser and guitarist Nick Jensen, who together with drummer Tim Gray (who would seem to have been replaced by Cale Mogard) effect a classic feel through “Alone in the Dark” while chugging and winding through the not-a-cover “Hand of Doom” with some harsher vocals peppered in for good measure. Seven-minute opener and longest track (immediate points) “Through the Eye” sets a broad tone that the rest of the record seems to build on, with the penultimate “Sunshine” delivering the title line ahead of the grittier closer “The Constant Grind,” which seems to payoff everything before it with a final explosion before a big rock finish. They’ll need to decide whether their sound will ultimately tighten up or loosen over time, but for now, what they’ve become is a band with a solid foundation to grow from.

Grime on Thee Facebooks

Grime on Bandcamp

 

URSA, Abyss Between the Stars

ursa abyss between the stars

Modern doom meets a swath of metallic influences on URSA‘s full-length debut, Abyss Between the Stars (on Blood Music), as members of Petaluma, California’s Cormorant take on such classic themes as wizards, dragons, yetis, witches, a spider king, mountains, and… actually, yeah, that covers the six included tracks on the 46-minute LP, which shifts gracefully between epic fantasy doom and darker, soemtimes more extreme fare. It’s easy enough to put URSA in the narrative of a band started — circa 2016 — around a central idea, rather than just dudes picking up instruments and seeing what happened next. Not just because bassist/vocalist Matt Solis, guitarist/keyboardist Nick Cohon and drummer Brennan Kunkel were already three-quarters of another band, but because of the purposefulness with which they approach their subject matter and the cohesion in all facets of their approach. They may be exploring new ground here, but they’re doing so on sure footing, and that comes not only from their experience playing together, but from knowing exactly where they want to be in terms of sound. I would not be surprised if that sound adopted more post-Candlemass grandeur with time — one can hear that burgeoning in “Serengeti Yeti” — but whatever direction they want to go, their debut will only help them on that path.

URSA on Thee Facebooks

Blood Music website

 

Earthling Society, MO – The Demon

earthling society mo the demon

Look, if you can’t get down with a bunch of freaks like Earthling Society tapping into the lysergic fabric of the cosmos to come up with an unsolicited soundtrack to a Hong Kong martial arts movie, I just don’t know what to tell you. Issued by Riot Season, the seven-track MO – The Demon is reportedly the end of the band’s technicolor daydream, and as they crash their plane into the side of “Mountains of Bliss” and hone space rock obliteration throughout “Super Holy Monk Defeats the Black Magic Mothafucker,” their particular experimentalist charm and go-anywhere-anytime sensibility demonstrates plainly exactly why it will be missed. There’s a sharp high-pitched tone at the start of opener “Theme from MO – The Demon” that’s actually pretty abrasive, but by the time they’re through the kosmiche laser assault in “Spring Snow” and the let’s-be-flower-children-until-it’s-time-to-freak-the-fuck-out throb of closer “Jetina Grove,” that is but a distant memory. So is consciousness. Fare thee well, Earthling Society. You were a band who only sought to make sense to yourselves, and for that, were all the more commendable.

Earthling Society on Thee Facebooks

Riot Season Records on Bandcamp

 

Bismarck, Urkraft

bismarck urkraft

Norwegian five-piece Bismarck bring spaciousness to doom riffing on their debut album, Urkraft, which is constructed of five molten tracks for a 34-minute totality that seems much broader than the time it takes to listen. Vocals are growls and shouts across a cosmic stretch of tone, giving a somewhat aggressive pulse to heavier psychedelic soundscaping, but a bouncing rhythm behind “A Golden Throne” assures the song is accessible one way or the other. The 10-minute “Vril-Ya” is naturally where they range the farthest, but the Bergen outfit even there seem to be playing by a set of aesthetic principles that includes maintaining a grounded groove no matter how spaced they might otherwise get. Rolling riffs bookend in opener “Harbinger” and closer “The Usher,” as “A Golden Throne,” playing-to-both-sides centerpiece “Iron Kingdom” and the subsequent “Vril-Ya” explore atmospheres that remain resonant despite the low end weight that seems to chug out beneath them. The mix by Chris Fielding at Skyhammer (who also co-engineered) doesn’t hurt in crafting their largesse, but something tells me Urkraft was going to sound big no matter what.

Bismarck on Thee Facebooks

Apollon Records website

 

Grand Reunion, In the Station

grand reunion in the station

In the Station doesn’t seem like anything too fancy at first. It’s produced cleanly, but not in any kind of overblown fashion, and Grand Reunion‘s songwriting is so solid that, especially the first time through their eight-track debut LP, it’s easy to say, “Okay, that’s another cool hook,” and not notice subtleties like when the organs turn to keyboard synth between opener “Eres Tan Serpiente” and second cut “Gordon Shumway,” or to miss the Latin percussion that Javier Tapia adds to Manuel Yañez‘s drumming, or the ways that guitarist Christian Spencer, keyboardist Pablo Saveedra, bassist Mario Rodríguez and Tapia work to complement guitarist Cristóbal Pacheco on vocals. But all of that is happening, and as they make their way toward and through the eight-minute fuzzer “Band Band the Headbang,” through the soaring “Weedow” and into the acoustic-led closer “It’s Alright,” the character and maturity in Grand Reunion‘s songwriting shows itself more and more, inviting multiple listens in the most natural fashion possible: by making you want to hear it again.

Grand Reunion on Thee Facebooks

Grand Reunion on Bandcamp

 

Pledge, Resilience

pledge resilience

16 minutes of scathing post-hardcore/sludge from Portuguese four-piece Pledge, who are in and out of their Resilience EP with a clean break and a windmill kick to the face. The newcomers lack nothing for ferocity, and with the throat-searing screams of Sofia M.L. out in front of the mix, violent intentions are unmistakable. “Profer Lumen Caecis,” “The Great Inbetweeness,” “Doom and Redemption” and “The Peter, the Wolf” nonetheless have groove built on varying degrees of extremity and angularity, with Vítor Vaz‘s bass maintaining a steady presence alongside the guitar of Hugo Martins and Filipe Romariz‘s drumming, frenetic as it sometimes is. I wouldn’t say things calm down in “The Peter, the Wolf” so much as the boiling seems to take place beneath the surface, waiting for a time to burst out, which it eventually does, but either way, for all its harsher aspects, Pledge‘s material isn’t at all void of engagement. It does, however, state the requirement right there on the front cover.

Pledge on Thee Facebooks

Pledge on Bandcamp

 

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Quarterly Review: A Storm of Light, Z/28, Forrest, 1476, Owl, Brass Hearse, Craneium & Black Willows, Magmakammer, Falun Gong, Max Tovstyi

Posted in Reviews on December 4th, 2018 by JJ Koczan

quarterly-review

Day Two of the Quarterly-Review-Mega-Super-Ultra-Year-End-Wrap-Up-Spectacular-Gnarly-Edition — name in progress — begins now. First day? Smooth. Wrote it over the weekend to get a jump on the week, cruised through a morning and into baby-naps, finished with time left over to still go and read the Star Trek novel I’m currently making my way through. Easy. Also peasy.

Today? Well, apparently I turned off my alarm in my sleep because I rolled over 40 minutes later and certainly didn’t remember it going off. Whoops. Not a great start, but there is a lot of cool stuff in this batch, so we’ll get through it, even if it’s awfully early in the week to be sleeping in. Ha.

Have a great day everybody. Here are 10 more records for the QRMSUYEWUSGE. Rolls right off the tongue.

Quarterly Review #11-20:

A Storm of Light, Anthroscene

A Storm of Light Anthroscene

“America the sick and crumbling/Liberty she’s weeping/The tired and poor are huddled and dying/As the wretched ones are touched aside.” The lines, from A Storm of Light‘s “Blackout” — the second cut from their fifth LP, Anthroscene (on Translation Loss) — lead to the inevitable question: “What the fuck is wrong with us?,” and thereby summarize the central sociopolitical framework of the record. A dystopian thematic suits the band’s aesthetic, and there’s certainly no shortage of material to work from between current events and future outlook. Guitarist/vocalist/keyboardist/graphic artist Josh Graham, bassist Domenic Seita and guitarist/keyboardist Dan Hawkins are five years removed from the band’s last outing, however, so their post-apocalyptic post-metal is welcome either way, and Anthroscene taps a Killing Joke influence and turns it to its dark and churning purposes over the course of its eight tracks/51 minutes, delving into harsh shouts on “Short Term Feedback” and capping with the resistance-filled “Rosebud,” which surges forth from ambience like the anti-facist/anti-capitalist critique that it is, ending with the lyric, “When you die, we will spit on your grave,” which could hardly be more appropriate.

A Storm of Light on Thee Facebooks

Translation Loss Records on Bandcamp

 

Z28, Nobody Rides for Free

Z28 Nobody Rides for Free

Massachusetts’ Z28 — also stylized as Z/28 and Z-28; I don’t think they care so long as you get the point they’re named after the Camaro — make their full-length debut with Nobody Rides for Free on Fuzzdoom Records, and with the occasional bit of organ on songs like “Touch of Evil” and “Angst III (I Don’t Want to Die),” they nonetheless give a raw take on heavy rock laced with that particularly Northeastern aggression. Guitarist Jeff Hayward (also organ), bassist/acoustic guitarist/engineer Jason Negro and drummer Breaux Silcio all contribute vocals to the outing, and yet the minute-long instrumental intro tells much of the story of what it’s about in terms of the chemistry between them. Impressive guitar solos are rampant throughout, and the rhythm section carries over a weighted groove through cuts like “Wandering” that’s fluid in tempo but still able to create an overarching flow between the tracks. I’ll give bonus points for the Black Sabbath nods in the multi-layered lead work toward the end of “Spirit Elk (Lord of the Hunt)” as well as the title “Keep on Rockin’ (In the Invisible World),” and Z28 have something to build on here in terms of songwriting and that chemistry. It’s raw-sounding, but that doesn’t necessarily hurt it.

Z28 on Thee Facebooks

Fuzzdoom Records on Bandcamp

 

Forrest, Kickball with Russians

forrest kickball with russians

Granted, Forrest telegraph some measure of quirk by naming their debut EP Kickball with Russians, but the four-piece from Lexington, Kentucky, still seem to be rolling along in a straightforward-enough manner on six-minute instrumental opener and longest track (immediate points) “(I Dream of) Kickball with Russians,” until the keyboards start in. That turn gives their EP an edge of the unexpected that continues to inform “DAN,” “Deew” and the closing “My Son Looks Just Like Me,” and “DAN” continues the thread with gang shouts popping up over its chugging progression and receding again after about two words to let the track get quiet and build back up. And is that a velociraptor at the start of “Deew?” Either way, that song’s Mr. Bungle-style angularity, a return of the keys and intermittent heavy nod work to underscore the willful weirdness that’s very much at play in the four-piece’s work, and the closer adds Ween-style effects work into the mix while still keeping a heavy presence in tone and lumber. They’ll get weirder with time, but this is a good start toward that goal.

Forrest on Thee Facebooks

Forrest on Bandcamp

 

1476, Our Season Draws Near

1476 our season draws near

Coastal melancholy and a pervasive sense of atmosphere seem to unite the varied tracks on 1476‘s 2017 Prophecy release, Our Season Draws Near, which otherwise draw across their span from goth rock, punk, doom and extreme metal, able to blur the line especially between punk and black metal on songs like “Ettins” while acoustics pervade “Solitude (Exterior)” en route to the Anathema-gone-char rasps of “Solitude (Interior)” a short time later. I know I’m late to the party on the Salem, MA, duo, and likewise late on this record, but from opener “Our Silver Age” to closer “Our Ice Age” to the “Solitude” pairing to “Winter of Winds” — finally: David Bowie fronts Joy Division — and “Winter of Wolves,” there’s so much of Our Season Draws Near that has a bigger-picture thought process behind its construction that its impact is multi-tiered. And it’s not just that they pit genres against each other in their sound, it’s that their sound brings them together toward something new and malleable to the purposes of their songwriting. Not to be missed, so this is me, not missing it. Even though I kind of missed it.

1476 on Thee Facebooks

Prophecy Productions on Bandcamp

 

Owl, Nights in Distortion

owl nights in distortion

Joined on Nights in Distortion by bassist René Marquis as well as longtime drummer Patrick Schroeder, guitarist/vocalist/synthesist Christian Kolf (also Valborg) greatly expands his former solo-ish-project Owl with their second release of 2018 behind March’s Orion Fenix EP (review here), bringing together elements of post-metal churn with deeply atmospheric sensibilities, cuts like “Transparent Moment” churning as much as they are surprising with their underlying melody. A Type O Negative influence continues to be worked into their sometimes grueling context, but it’s hard to listen to the keyboard-laced “Inanna in Isolation” and hear Owl being anything other than who they’ve become, and their third album is the most distinct statement of that yet, airy lead guitars floating over a still-fervent, industrial-style chug amid vocals veering from barking shouts to quiet, low-register semi-spoken fare and cleaner singing. Nights in Distortion is the evolving work of a mastermind, captured in progress.

Owl on Thee Facebooks

Temple of Torturous website

 

Brass Hearse, Hollow on the Surface

Brass Hearse Hollow on the Surface

Synth-laden heavy horror garage dance rock could probably use a more succinct genre name, but while those in charge of such things sit and scratch their butts, Boston’s Brass Hearse carve out a niche unto themselves with their second EP, Hollow on the Surface. The five-track offering is in and out in 14 minutes but wants nothing for either a show of craft or arrangement, tapping into psych-folk in the strummy interlude “Dwellers in the Static Valley” after the hook-led “Death by Candlelight” and before the John Carpenter-style pulsations that underscore “The Thing from Another World.” Opener “Fading” is the only song to top four minutes and has a distinctly progressive take, but while it and the organ-ic closer “Headaches & Heartbreaks” has a theatricality to it, Brass Hearse are too cohesive to charge with being weird for weirdness’ sake, and their experimentation is presented in complete, engaging songs, rather than self-indulgent collections of parts mashed together. Would love to hear what they do over the course of a full-length.

Brass Hearse on Thee Facebooks

Playing Records on Bandcamp

 

Craneium & Black Willows, Split

Different missions from Finland’s Craneium and Switzerland’s Black Willows on their BloodRock Records split. Craneium nod through “Your Law” and mark their second inclusion, “Try, Fail, Repeat,” with a Sabbathian swing that only kicks up in tempo as it moves through its five minutes. Black Willows, on the other hand, present a single track in the 19-minute, noise-soaked post-everything “Bliss,” which trades back and forth between minimalism and crushing riffs en route to a consuming wash and long, long, long fadeout. Released in March, the outing showcases both bands well, but one is left wondering where the connection is between the two of them that they’d come together for a joint vinyl release. Either way, I won’t detract from what they do individually, whether it’s the catchiness of “Your Law” and the jam in its second half or “Bliss” with its frost-covered expanse of tonality, it’s just a marked leap from side A to side B. Maybe that was the idea all along, and if that’s the case, then one can only say they succeeded.

Craneium on Thee Facebooks

Black Willows on Thee Facebooks

BloodRock Records on Bandcamp

 

Magmakammer, Mind Tripper

magmakammer mindtripper

Following a 2015 self-titled debut EP, Oslo trio Magmakammer align with Kozmik Artifactz for their first long-player, Mindtripper, and so effect a garage doom sound that’s quickly relatable to Uncle Acid on songs like “Fat Saturn” and the chug-shuffling “Along the Crooked Roads.” Where they distinguish themselves from this core influence, though, is in the density of their tones, as opener “Druggernaut” and the rolling “Acid Times” prove thicker in their charge. Still, there’s no mistaking that swing and the blown-out sound of the vocals. Closer “Cosmic Dancers,” which is one of two tracks over seven minutes long, shows more dynamic in its loud/quiet tradeoffs, and resolves itself in a righteous nodder of a riff. It’s essentially in the same vein, but still displaying some emerging personality of Magmakammer‘s own that one hopes they continue to develop. And in the meantime, the foundation of craft and stylistic awareness they hone is still welcome, familiar or not.

Magmakammer on Thee Facebooks

Kozmik Artifactz webstore

 

Falun Gong, Figure 2

Falun Gong Figure 2

Mystique isn’t easy to come by in this Age of Access, but the anonymous London-dwelling duo Falun Gong have succeeded in piquing interest with their two-to-date singles, “Figure 1” (review here), and the eight-minute “Figure 2,” which like its predecessor is raw in the recording, sounds like it was performed live, and follows a trance-inducing course of riffing. The central groove is a slow march that makes its way through obscure voices delivered in buried fashion — the whole thing may or may not be mastered; somehow I’m thinking not, but I’ve been wrong before — through a self-aware drift that rounds out following a soulful culmination fitting the song’s lyrical theme, which would seem to be tied to the cover art about baptism in a river’s waters. There’s just something off-kilter about Falun Gong to this point, and while it’s still early going for them, they bring an eerie persona to their work that feels less performative than it so often does.

Falun Gong on Bandcamp

 

Max Tovstyi, Mesmerize

Max Tovstyi Mesmerize

Though he’s had a slew of live outings out with the Max Tovstyi Blues Band and the Max Tovstyi Blues Association, Mesmerize (LP on Nasoni) is the Ukrainian heavy blues rocker’s first solo studio outing since 2014. He’s credited with all the instruments on the 10- or 12-track offering save for a couple arrangement-flourish guest appearances, and he pulls in a classic spirit and full-band sound without any trouble on a moody piece like “World of Sin” or the bonus track “Show Me the Way,” which isn’t a Peter Frampton cover so far as I can tell but still has plenty of guitar scorch to go around. “From the Blues to the Funk” jams its way along its stated trajectory, and “Feel Like Dying Now” brings together organ and keys in a fashion far less dramatized than one might initially think. With a clean production, Tovstyi — also known for his work in The Heavy Crawls, Lucifer Rising, and others — carries through his sentimentality for blues rock’s past and finds himself well at home leading the pack of guest vocalists on “Make Up Your Mind,” which closes the album proper with a semi-country twang and sweet melody.

Max Tovstyi on Thee Facebooks

Nasoni Records website

 

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Quarterly Review: Trippy Wicked, Dunbarrow, The Vintage Caravan, Zatokrev & Minsk, Owl Maker, Orbital Junction, Bourbon, Birnam Wood, Wytch Hazel, The Soulbreaker Company

Posted in Reviews on December 3rd, 2018 by JJ Koczan

quarterly-review

You know how this goes by now, right? Well, okay, except that because I skipped the Quarterly Review that I otherwise would’ve done in September (or, more likely, October), I’m doubling-up this time. 100 reviews instead of 50. Two full weeks of 10 albums per day. Will I survive? Yeah, probably. Will it be completely overwhelming? Already is. Thanks for asking.

I’ll save the summaries of the year that was for list-time, which is fast approaching, but consider the fact that there are well more than 100 albums I could include in this roundup emblematic of just how vibrant heavy rock and doom are in the US, EU, UK, Australia and elsewhere. It’s a universal thing, and accordingly, there’s a whole universe of it to explore. This is just a sampling.

But yeah, time’s a wastin’, so let’s get to it.

Quarterly Review #1-10:

Trippy Wicked and the Cosmic Children of the Knight, Stakes n Scale

trippy wicked stakes n scale

An acoustic EP from Trippy Wicked and the Cosmic Children of the Knight — who, let’s face it, were way ahead of the curve when it comes to the UK scene’s thing for long and ridiculous band names — is a considerable departure from where they were two years ago on their split/collaboration with GurT (review here), but those familiar with the band might recall their past penchant for the occasional unplugged cover recorded for YouTube. Chris West (also Crawling for Carrion, Glanville, etc.), who engineered the recording and plays guitar, and vocalist Peter Holland (also Elephant Tree) revamp Trippy Wicked‘s “Up the Stakes” from 2012’s Going Home (review here), and cover “Scale the Mountain” by Stubb, of which both were members when the song was written. Together, they make for a nine-minute showcase for the character in Holland‘s voice and the melodies and craft at root in both tracks, and while its arrival feels like kind of a one-off, it’s certainly no less welcome for that.

Trippy Wicked on Thee Facebooks

Trippy Wicked on Bandcamp

 

Dunbarrow, II

dunbarrow ii

The novelty of new bands playing through vintage gear in order to capture a heavy ’70s sound may have faded, but like all subgenres, as time goes on, the retro-ist style continues to shift and change as bands like Dunbarrow bring new character to established tenets. Their second LP for RidingEasy is aptly-titled II and sways between honoring the likes of Pentagram and acts like Witchcraft who’ve helped craft that band’s hindsight-founded legacy. Dunbarrow‘s noodly style, restrained rhythmic shove and ride-the-riff melody on “Weary Lady” and the foresty creep of “The Demon Within” capture the vibe well, the latter occurring in a second half of II populated with “The Wolf” and “Witches of the Woods Pt. II,” a sequel to the closer of their 2016 self-titled debut (review here) that here leads to the more severe roll of the finale, “On this Night,” emblematic of the changing character of the band even as it reaffirms in its tense midsection the roots from which they sprung.

Dunbarrow on Thee Facebooks

RidingEasy Records on Bandcamp

 

The Vintage Caravan, Gateways

the vintage caravan gateways

With their third record and second for Nuclear Blast, Icelandic trio The Vintage Caravan affirm not only their passion for the boogie of old on cuts like “The Way” and the strutting “Hidden Streams,” but secure a place as being worthy of the consideration they’ve been given to a degree by the wider Continental European heavy underground. They are strikingly mature in their approach for still being a relatively young band, and their albums have worked quickly to develop a character that is becoming more and more their own. They do the fests and they tour, and so on, but they seem to be engaged in building their listenership one pair of ears at a time. Having a metal-major label behind them hasn’t hurt their promotional cause, but frankly, they’re not as big as they should be for the level of work they’re doing, and even with songs like “Reset” and “Reflections” and the composed-strictly-for-vinyl-sounding closer “Tune Out” to their credit, they’re still largely a word of mouth band, especially in the US. Well, consider this your word of mouth. If you haven’t heard Gateways yet, you should get on that.

The Vintage Caravan on Thee Facebooks

The Vintage Caravan at Nuclear Blast

 

Minsk & Zatokrev, Bigod

zatokrev minsk bigod

Post-metallic powerhouses Minsk and Zatokrev — both of whom hit their 15th anniversary last year — teamed up for a European tour this Fall. To mark the occasion, Consouling Sounds and Czar of Crickets celebrated with Bigod, a split with two tracks from each band arranged in alternating order — Minsk, then Zatokrev, etc. — intended to highlight the symmetry between them not just of circumstance and root influence in the Neurosis school of atmospheric sludge, but the fact that they share these commonalities despite their origins in Illinois and Switzerland, respectively. Each band opens with a longer track (double points) in Minsk‘s “Invoke/Revive” and Zatokrev‘s “Silent Gods,” each of which push past 13 minutes as likely at any moment to be pummeling as ambient, and follows with two shorter cuts, Minsk‘s “Salvatore” swelling theatrically from its minimalist beginnings while Zatokrev‘s “The Chalice and the Dagger” seems to explode from the foundation the prior band laid out. It must have been a hell of a tour, but whether you saw it or not, the split is a welcome conglomeration from two of post-metal’s strongest acts.

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Zatokrev on Thee Facebooks

Consouling Sounds website

Czar of Crickets Productions website

 

Owl Maker, Sky Road

owl maker sky road

Self-recording guitarist/vocalist Simon Tuozzoli (Vestal Claret, ex-Guerra, etc.) leads Connecticut-based three-piece Owl Maker through a complex thematic of Native American folklore and heavy metal classicism. The NWOBHM plays a strong role in his riffing style, but one of the two tracks included on the two-songer single Sky Road, “Owl City,” also veers into more extreme territory with a departure from clean vocals to harsher screaming. All told, it’s about eight minutes of music, but Sky Road nonetheless follows Owl Maker‘s earlier-2018 EP, Paths of the Slain (review here), with an uptick in melodic presence in the vocals of Tuozzoli and bassist Jessie May and progression in the chemistry between the two of them and drummer Chris Anderson, and with the fluidity of their transitions between various styles of heavy, their scope seems only to be growing. To wit, “Sky Road” itself is only 3:42, but still demonstrates a clear-headed compositional method based around storytelling and a subtly encompassing range. Whether it’s early warning for what they do next or a conceptual one-off, its quick run seems just to be begging for a 7″ pressing.

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Owl Maker on Bandcamp

 

Orbital Junction, Orbital Junction

Orbital Junction orbital junction

The Londonderground continues to produce acts ready and willing to worship at the altar of riffs. Orbital Junction‘s self-release debut EP makes an impression not only because of the markedly pro-shop production by Chris Fielding at Skyhammer Studios and the cover art by SoloMacello, but the hooks to live up to those high standards. “6 ft. 2” follows opener “Space Highway” with a bit of dudely chestbeating — note: I don’t know how tall any of them actually are — but the swing of EP centerpiece “Devil’s Double” and the bounce of “Gypsy Queen” speak for the four-piece’s roots and appreciation of straightforward heavy, void of pretense and tapping into an easy mid-paced fluidity that slows up somewhat on closer “Pagan” without really losing the central groove of the offering overall. They’ll have their work cut out for them in distinguishing themselves over the longer term amongst London’s burl-fueled hordes, but their first outing shows their instincts headed in the right direction in terms of songwriting, performance and presentation.

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Orbital Junction on Bandcamp

 

Bourbon, Fuente Vieja

Bourbon Fuente Vieja

Crisp but warm in its tone and presentation, rife with melody and carrying a laid back spirit despite a fervent underlying groove — the bass on “El Sendero” rests well within gotta-hear-it territory — Spanish purveyors Bourbon emobody some of the best of post-Viaje a 800 Andalusian heavy rock and roll on their third LP, Fuente Vieja (on Spinda). Their fuzz makes its presence known early on “Si Véis La Luz, Corred” and continues as a running theme as tracks like “A Punto de Arder” and the side-A-capping title-cut grow increasingly progressive. There’s room for some shuffle, of course, as side B begins with “La Triste Realidad,” and the slower “Hacia el Sol” gracefully blends electrified wah and acoustic guitars beneath a well-timed standout vocal performance, but the highlight might be eight-minute closer “Destierro,” which seems to bring everything else under one roof while tapping into a poppier structure early — acoustics and electrics aligning effectively circa two minutes in — while providing the album with a graceful and fittingly organic-sounding finale.

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Spinda Records webstore

 

Birnam Wood, Wicked Worlds

birnam wood wicked worlds

Birnam Wood don’t have time for bullshit, but they do have time for a bit of shenanigans. Thus the 1:44 surge of opener “Time of Purification” leads into the sample-laden roller groove of “Richard Dreyfuss” on their as-of-now-self-released Wicked Worlds, and the “Hole in the Sky”-style “Dunsinane” shifts into the more blown-out “Early Warning,” which, by the time its tectonic low end kicks in, is indeed something of a clarion. At seven-tracks/34-minutes, Wicked Worlds is somewhere between an EP and an LP, but I’d argue it as the latter with the flow from “Greenseer” into the massive “A Song for Jorklum” and the seven-minute finale “Return to Samarkand” making for a righteous side B, but either way, it’s a Boston-crafted assault of grit-tone and aggro doom that finds the band not overwhelmed by the heft of their own tones but able to move and manipulate them to serve the purposes of their songs. Those purposes, incidentally, are mostly about kicking ass. Which they do. Copiously.

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Birnam Wood on Bandcamp

 

Wytch Hazel, II: Sojourn

Wytch Hazel II Soujorn

It would not seem to be a coincidence that UK self-aware four-piece Wytch Hazel — guitarists Conlin Hendra (also vocals) and Alex Haslam, bassist Matt Gatley and drummer Jack Spencer nod to Wishbone Ash‘s Argus with the cover of their second LP, II: Sojourn (on Bad Omen). They do a lot of that kind of nodding, with a sound culled from a valiant blend of classic progressive and early NWOBHM styles that makes the point of how closely related the two have always been. “The Devil is Here” starts out at a fervent gallop with just an underpinning of Thin Lizzy, while the later “See My Demons” shifts from its steady roll and rousing hook into an acoustic/electric break that seems to pull from Jethro Tull as much as Scorpions. At 10 tracks/45 minutes, they have plenty of time to flesh out their ideas, and they do precisely that, whether it’s the careful unfolding around the keys and acoustics of closer “Angel Take Me” or the over-the-top instrumental push of “Chorale” or the moodier “Wait on the Wind,” the wah solo of which is a highlight on its own. There are some burgeoning harmonies in Hendra‘s vocals, which is an impulse he should follow as it would only enhance the material, but after making their debut with 2016’s Prelude, II: Sojourn finds Wytch Hazel sounding comfortable and well established in their niche.

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Bad Omen Records on Bandcamp

 

The Soulbreaker Company, Sewed with Light

the soulbreaker company sewed with light

Progressive, expansive and engaging, the sixth album from Spanish sextet The Soulbreaker Company, Sewed with Light (on Underground Legends), taps into classically Floydian influences on songs like “The Word, the Blade” while still keeping a foot in heavy rock on the prior “Together,” and setting a quick course into a varied sonic persona via the seven-minute opener and longest track (immediate points) “Inner Dark.” Hypnotizing not necessarily with drift but with sheer willful exploration, The Soulbreaker Company work with a variety of key sounds and craft-minded ranging guitar in order to effect an atmosphere of thoughtful songwriting even in their most outwardly trippy moments. The sneering semi-psychedelic rock of “Avoid the Crash” and the more stripped-down roll of “Arrhythmia” (video premiere here) lead the way into closer “In the Beginning,” which marks yet another departure with its grandeur of string sounds and electronic beats leading to a chugging big finale. As with the bulk of The Soulbreaker Company‘s work, it requires an active ear, but Sewed with Light both encourages and well earns consideration as more than background noise.

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Underground Legends on Bandcamp

 

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Gozu Post “They Probably Know Karate” Video; Join Metal Alliance Tour This Weekend

Posted in Bootleg Theater on November 12th, 2018 by JJ Koczan

gozu

This fucking band rocks, man. I don’t know how else to put it or really what more you could ask from Gozu at this point that they haven’t delivered. Dudes have locked in their lineup and realized the potential of their sound in a hard-hitting, soulful, ace-songwriting execution that’s only grown more intense with time. They’re a decade removed from their first, self-titled offering (someday, in some Boston record shop, I’ll find that CD), and this year’s Equilibrium (review here) is both their nastiest boogie yet and their highest-profile release yet, issued through Metal Blade subsidiary Blacklight Media after stints on essential US underground imprints Ripple Music and Small Stone Records. Gozu have done nothing but kill it, constantly. And really, since Gaff and Doug nailed down the lineup with Joe Grotto on bass and Mike Hubbard on drums, they’ve been the best Boston has to offer in heavy rock and roll. If there’s a tour coming through and they’re not the local support, it’s mostly because they’re busy that night doing something else.

They’ve already been back and forth to Europe in the last couple years and I’m hearing murmurs in that direction again for 2019, but this week the four-piece hook up with the Metal Alliance Tour — and if you’ve never tried High River Sauces, the presenter of the run, you should probably get on that; I’ve jazzed up many a roasted chicken thereby — for a stint that takes them to the end of the month and through the Midwest and into Canada. They’ll be on the road with Black Tusk, Goatwhore, The Casualties and Great American Ghost, so it’s a little bit of something for everybody, and it’s easy enough to expect packed houses along the way. The more aggressive edge of the material on Equilibrium and 2016’s Revival (review here) will suit them well on the tour, and to mark the occasion, they’ve got a new video for “They Probably Know Karate,” which, if you’re familiar with the band, you already know has nothing to do with karate or whatever delightful obscurity the title is referencing. Instead, it’s a somewhat apocalyptic imagery the lyrics evoke — “In the end a pale horse will ride,” etc. — and I’m not really sure what’s going on with the plague beaks and Ouija-board conjuration in the video, but hey folks, it’s heavy metal, so you know. Plague beaks and Ouija boards. It’s part of the culture of thing.

If they’re hitting somewhere you’re going to be, go see Gozu and tell them I said hi. It’s been a while since I last caught them and I miss these cats.

Dig:

Gozu, “They Probably Know Karate” official video

Boston’s rock/metal outfit Gozu will join the Metal Alliance tour, featuring Goatwhore, The Casualties, Black Tusk, and Great American Ghost. In anticipation of these upcoming shows, the band has now launched a new video for “They Probably Know Karate” (directed by Tony Simone at Zenbeast Media).

Gozu comments: “We are super excited about our new video! Tony is a super talented up and coming video director and knocked this out the park! This is also a great jump off point to the Metal Alliance Tour coming up next week!! Goatwhore, The Casualties, Black Tusk, Great American Ghost…What’s not to like?? We get to tour with bands we’re actually fans of!”

See below for all dates!

Metal Alliance Tour w/ Gozu
Featuring Goatwhore, The Casualties, Black Tusk, Great American Ghost
Nov. 18 – Aftershock – Merriam, KS
Nov. 20 – Turf Club – St. Paul, MN
Nov. 21 – Reggie’s Rock Club – Chicago, IL
Nov. 23 – Magic Stick – Detroit, MI
Nov. 24 – Overtime Sports Bar – Kingston, ON
Nov. 25 – Salle Multi Du Complex Meduse – Quebec City, QC
Nov. 26 – Les Foufounes Electriques – Montreal, QC
Nov. 28 – Gramercy Theater – New York, NY
Nov. 29 – Montage Music Hall – Rochester, NY
Nov. 30 – One Centre Square – Easton, PA

Gozu line-up:
Marc Gaffney – guitar and vocals
Joe Grotto – bass
Mike Hubbard – drums
Doug Sherman – lead guitar and sounds

Gozu on Thee Facebooks

Gozu on Bandcamp

Gozu on Instagram

Gozu on Twitter

Blacklight Media website

Blacklight Media on Thee Facebooks

Metal Blade Records website

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Birnam Wood Post “Early Warning” Video; Wicked Worlds out Nov. 19

Posted in Whathaveyou on November 8th, 2018 by JJ Koczan

Filtering circa-’75 Sabbath through the grit of Sunlight Studios tonality, Massachusetts four-piece Birnam Wood are getting ready this month to release their new album, Wicked Worlds. Set for issue Nov. 19, the record collects seven blown-out rollers in 34 minutes of heavy fuckery with “Time of Purification” and “Richard Dreyfuss” opening in blasted fashion — bonus points for including a What About Bob? sample — and unfolding Northeast aggro-stonerist doom rock from there whether it’s the swinging “Dunsinane” or the seven-and-a-half-minute, harmony-laden capper “Return to Samarkand,” slow, massive and written in homage to the ancient Uzbek city once along the key trade route between China and Europe. It’s the East Coast’s version of a good time — which means someone might get punched — and fluidly trades between tonal onslaught and more atmospheric stretches, like the opening of centerpiece “Early Warning” or the quick psychedelic departure in the subsequent “Greenseer.”

Accordingly, whether one wants to categorize them as stoner, doom, or something else, I don’t think it matters. Birnam Wood, who made their self-titled full-length debut late in 2014 and have issued two EPs since, seem far more birnam wood wicked worldsconcerned with general sonic badassness than genre adherence, though they’re well within the realm of capital-‘h’ Heavy. As their first audio-visual representation of Wicked Worlds, their new video for “Early Warning” captures the doom at root in their sound and the combustion they bring to their riffing from that foundation. There are some samples in the song to help the clip earn its VHS-style grain, and no small amount of bombast happening around them to represent well the album from whence it comes, which answers back on similar ground later with “A Song for Jorklum” ahead of the finale.

I have a hard time imagining that in today’s climate there wouldn’t be some label itching to pick Wicked Worlds up for a vinyl pressing, either in the US or abroad, so if it happens later, this is me saying I called it early. I don’t always say that kind of thing, but by the time you make your own “Return to Samarkand,” I think you’ll understand where I’m coming from. That’s a couple weeks off yet — they play the release show Nov. 23 at O’Brien’s in Allston with Leather Lung and Sundrifter also on the bill — but go ahead and dig into “Early Warning” in the meantime, which indeed serves just that for the record as a whole.

Please enjoy:

Birnam Wood, “Early Warning” official video

Birnam Wood- “Early Warning” from the album ‘Wicked Worlds’

Wicked Worlds available on bandcamp 11/19/18
https://birnamwood.bandcamp.com/

Cinematography – Rick Dorrington
Editor/VFX – Matt Wagner

Birnam Wood is:
Shaun Anzalone
Dylan Edwards
Matt Wagner
Adam McGrath

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Birnam Wood on Instagram

Birnam Wood on Bandcamp

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WarHorse Talk Reunion at Maryland Doom Fest 2019

Posted in Features on November 2nd, 2018 by JJ Koczan

In case, like me, you’re still reeling from the wallop of an announcement for the lineup of Maryland Doom Fest 2019 next June, I’ll just say there’s a ton of stuff worth highlighting up and down through the lineup. One thing that stuck out to me particularly, however, was the fact that Massachusetts’ WarHorse will reunite for the festival. Of course, the band is known for their 2001 debut/swansong long-player, As Heaven Turns to Ash… (discussed here), which was released on Southern Lord and well ahead of its time, but the history of the band goes back earlier to the mid-’90s and is the root from which acts like Conclave, Second Grave and Faces of Bayon stem, which is not to mention that drummer Mike Hubbard currently bashes away behind the kit for Gozu.

Guitarist Todd Laskowski (also Sin of Angels and others) passed away in May 2018, and founding WarHorse bassist/vocalist Jerry Orne — also a bandmate of Laskowski‘s in Desolate — was inspired to revisit the band in his honor. It’s not a minor decision. Original guitarist Krista Van Guider — who will also play Maryland Doom Fest 2019 with her current outfit, Benthic Realm, which also features Conclave drummer Dan Blomquist, giving a direct Orne/Van Guilder tie — will once more take on that role, and she, Hubbard and Orne are currently planning a set that will span all eras of the band’s nine-year run.

It’s not a major-planned reunion-thing. It’s not a comeback. They’re saying as of now that it’s a one-time happening, and whether or not that proves ultimately to be the case — there’s just about no way they won’t get offers for more — to talk about anything else beyond this one show would be baseless and, frankly, needless speculation.

One show, for now, is enough.

I had to talk to the band. It’s as simple as that. I wanted to find out more about how the reunion happened and what it might lead to, how Maryland Doom Fest wound up as the setting, and how they were feeling about revisiting WarHorse material. After all, these aren’t people who’ve disappeared and are returning out of nowhere. Benthic Realm have a debut EP out (it’s in the next Quarterly Review; stay tuned), Conclave released their debut in 2016 and Gozu are signed to an imprint of Metal Blade and touring with Goatwhore. So, you know, it’s not like they’ll be taking the stage for the first time in over a decade next June, even if it’s the first time in however long they do so together.

All three members of the band were kind enough to offer comment:

warhorse

Jerry Orne:

It’s a slightly long story, I’ll try to keep it short.

We have talked about putting the band back together many times, but for one reason or another, sometimes many reasons it never happened.

When Todd passed away last May, it hit us all really hard. Losing a longtime friend is always extremely tough. And in this case, it had the extra sting that I would never be able to hear or play these songs again.

Later in the summer, I was having a few drinks by a campfire. I started going through some of the old songs on my acoustic and I just had the feeling that I had to do something.

I got in touch with Mike Hubbard and original WarHorse guitarist Krista Van Guilder and floated the idea of doing a one-time tribute-type show. Maryland Doom Fest seemed the obvious choice, but we didn’t know if they are anywhere else would be interested. As luck would have it, a theme of this year’s Festival is the 20th anniversary of the first Stoner hands of Doom Festival, held in Manassas, Virginia, in 1999. WarHorse was on that show.

I guess it’s one of those stars aligning kind of things. Honestly, we have nothing else in the works. This isn’t a reunion or tour or anything like that. We’re getting back together just for this one show. It sounds cliche, but it’s literally about the music. We have no plans to make merchandise or new releases or anything. Just friends getting together to play. Dan Blomquist is involved with coordinating all this. He’s been really helpful.

Given the up and down history of the band, it is bittersweet, but I am thankful to have the opportunity to play these songs again with two of my longtime friends (and original lineup). And to play at an amazing Festival, with all the history of our band and every band is really something. It was always a music that held us together, even when the band was destroying itself.

Todd’s mother gave me his SG. It’s the one he recorded and toured with. We are bringing it with us to the show. So this has grown into an anniversary, reunion, tribute kind of thing.

Mike Hubbard:

I’m pretty excited about the reunion show. It’s been a very long time since I’ve played with Jerry, and even longer since playing with Krista. I’ve always been very proud of what WH did, so when people still show an interest in the band, and the album, so many years later, it’s pretty incredible. We’ve discussed possible reunions in the past, but I wasn’t ever in the right headspace to do it. That was a dark time in my life, and a lot of shit was tied to those memories.

A part of me thought a reunion would amount to living in the past, and I wanted to focus on the present and the future. But when this opportunity came up, and then hearing the positive responses to us potentially playing, it finally felt like it was time to do it. The original Stoner Hands of Doom was our first “big” show, and being invited back as a sort of anniversary thing is pretty cool. It’s a good bookend for that chapter of my life.

Looking forward to revisiting those songs, and that playing style. It’s very different from what I am doing with Gozu, and I am curious to see how the years will affect the songs.

Krista Van Guilder:

Not much to add aside from looking forward to sharing the stage with two friends after such a long time.

We’ve remained friends over the years, but everyone has been off doing their own thing. I think Todd’s sudden death renewed Jerry’s interest in reforming for one show and I think Dan just thought it would be awesome to see us all together again. The entire recent discussion regarding reuniting really happened via text — quite a few actually.

WarHorse, As Heaven Turns to Ash… (2001)

Maryland Doom Fest 2019 event page on Thee Facebooks

Maryland Doom Fest on Thee Facebooks

Maryland Doom Fest website

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High n’ Heavy Sign to Electric Valley Records; New Album in 2019

Posted in Whathaveyou on October 16th, 2018 by JJ Koczan

I think we’ve hit the stage of the year when most of the new album announcements will either be for the tail end of November or for next year. Massachusetts’ moniker-as-aesthetic heavy rockers High n’ Heavy have their fourth album in post-production now — presumably that means mixing/mastering, not CGI — and they’ve signed to Electric Valley Records for the release, but I’d be really surprised if it showed up before the end of the year. Nobody wants to do releases in December — traditionally, the music industry goes home for the holidays — and if the record’s not pressed yet because it’s not completely finished, then yeah, let’s say 2019. Pretty impressive however that even so, it’ll be the band’s fourth album in five years when it comes out. The other three, including the latest, which is 2017’s From the Flames, are all name-your-price on Bandcamp.

The label sent the following down the PR wire:

high n heavy

Electric Valley Records is proud to announce the signing of the Stoner Doom band *** HIGH N’ HEAVY ***

High n’ Heavy are a four piece instrument of destruction out of New Bedford, Massachusetts. Formed in late 2014 with The Stooges, Black Sabbath, and Motörhead in mind; their sound has evolved to perfectly embody all of their influences. Mostly playing shows in their native New England, High n’ Heavy has been gathering a following with their electrifying musicianship and high energy live sets.

From the depths of space they came. One by one. From out of the skies they fell. Now, with the magic they possess, they melt the faces of earths people. With thunderous drums, booming bass, screaming guitar solos, and mystical vocals they are… HIGH N’ HEAVY!!!

Their first 3 albums have shown the band to be at home playing everything from the most brutal of doom to the dirtiest of rock n’ roll. With their fourth already in post production, High n’ Heavy are guaranteed to melt faces and break hearts.

https://www.facebook.com/HighnHeavy
http://instagram.com/Highnheavy
https://highnheavy.bandcamp.com/
www.facebook.com/electricvalleyrecords
http://instagram.com/Electricvalleyrecords
www.electricvalleyrecords.com

High n’ Heavy, From the Flames (2017)

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Cortez and Wasted Theory Join Forces for The Second Coming of Heavy: Chapter IX

Posted in Whathaveyou on September 10th, 2018 by JJ Koczan

It is really, really hard to put together a split release. Getting one band to have their shit together enough to hit the studio and record is hard enough. But two? Or more? It is not an enviable task in the slightest. Sometimes acts have songs leftover from other sessions, and even that is hard to work with. It’s to Ripple Music‘s eternal credit that the label’s The Second Coming of Heavy series has not only made it this far without missing a beat between its chapters, but that it will finish its 10LP run having highlighted killer heavy rock and roll from the US and Europe in defiance of logistics and with a firm commitment to quality in presentation and curation alike. I know that sounds like I’m blowing smoke up the label’s ass. I’m not. If you’ve never coordinated this kind of thing, it’s fucking impossible. Every time it happens, it’s a miracle. And from what I understand, when The Second Coming of Heavy ends, that’s still just the beginning. More power to them.

Chapter IX gets down to the series’ roots with top grade heavy rock from Boston’s long-underrated practitioners Cortez and the pride of Bear, Delaware, Wasted Theory, who will follow their appearance here up with a new full-length in October. Both bands have tracks streaming at the bottom of this post.

The PR wire brings preliminaries:

the second coming of heavy chapter ix

Ripple Music announce the penultimate instalment in their Second Coming of Heavy Series | Split album from Cortez and Wasted Theory

The Second Coming of Heavy; Chapter IX is released on vinyl on 21st September 2018

Pre-order now at www.ripple-music.com

Already recognised as one of the world’s leading purveyors of Rock ‘n’ Roll, Stoner, Doom and Heavy Psych, Ripple Music upped the ante in 2015 with the arrival of one of their most ambitious projects to date, The Second Coming of Heavy Series.

Serving as a showcase for some of the best and heaviest bands emerging from the underground, each instalment shines a light on those worthy of your attention. Consisting of one, 12” slab of multi-coloured vinyl with full colour sleeves and inserts, the series is designed to be saved and treasured, much like a fine anthology of books. When the albums are filed next to each other, the complete collection of aligned spines form a mind-blowing image direct from the underground.

Bands that have already featured in the series include Geezer, Borracho, Supervoid, Red Desert, Kingnomad, Bonehawk, Red Mesa, Blue Sanggletooth, Fuzz Evil, Switchblade Jesus plus a whole host of others. For this latest instalment it’s the turn of Boston-based, fuzzed out rock and rollers Cortez and American Weed Rock supremos, Wasted Theory.

The Second Coming Of Heavy; Chapter IX will get an official vinyl release on 21st September 2018 and is limited to 300 copies in three alternative versions (100 of each) – The Resurrection Edition, The Risen OBI and The Ascension Edition.

https://www.facebook.com/cortezboston
https://www.instagram.com/cortezboston/
https://twitter.com/cortezboston
https://cortezboston.bandcamp.com/
http://www.cortezboston.com/
https://www.facebook.com/wastedtheoryband/
https://twitter.com/WastedTheory
https://wastedtheory.bandcamp.com/

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