Seedy Jeezus to Tour Europe in Aug./Sept. with Tony Reed on Bass

Posted in Whathaveyou on June 6th, 2019 by JJ Koczan

Hey, if it works, go with it. Last year, as they were getting ready to release their second album, Polaris Oblique (review here), Melbourne heavy psych rockers Seedy Jeezus announced they’d tour Europe with Tony Reed sitting in on bass. Reed, best known for his variety of musical projects including Mos Generator and his near-constant appearances in phrases like “mixed and mastered by…,” hails from Port Orchard, Washington, and had recorded with Seedy Jeezus in the past.

Clearly everybody got along pretty well, because here we are in 2019 and Seedy Jeezus will make a return to Europe toward the tail end of this summer with Reed once again handling the low end. They’ll also have Davide Straccione in tow, and my immediate response to the news was, “Live album please,” which was not greeted with an outright “no,” so I’ll take that to mean that at very least the thought isn’t abhorrent to them. That’ll do for today.

Specific dates for the run haven’t been announced yet, but here’s word from the band that it’s happening, as per the social medias:

seedy jeezus

Well folks …. it’s on !! We have snagged together enough shows to make it viable.

Seedy Jeezus ( with Tony Reed ) will be hitting the road again. Late August to Mid September.

We have shows in Germany , Poland, Belgium, Netherlands, Switzerland and France booked.

Many thanks to the folks who have helped us to put this together and to those who have offered to help us …. unfortunately we can’t travel everywhere, but we have notes for the next tour… we will be in touch.

Paul is unable to tour at this time… so Tony Reed ( the mastermind behind Mos Generator) has generously agreed to join us again along with Davide Straccione. He’s one of us now !! We love Davide

So expect venue and dates announced soon…. and please come out and say hi to us while we’re nearby.

Keep it Seedy !!

Seedy Jeezus is usually:
Mark Sibson – Drums
Lex Waterreus – Guitar/Vocals
Paul Crick – Bass/Noises

http://www.seedyjeezus.com
https://www.facebook.com/seedyjeezuspage/
https://laybarerecordings.com/
Ripple Music website
Blown Music website

Seedy Jeezus, Polaris Oblique (2018)

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Friday Full-Length: Child, Child

Posted in Bootleg Theater on March 22nd, 2019 by JJ Koczan

Melbourne-based heavy blues rockers Child released their self-titled debut on Feb. 19, 2014, just over five years ago. It was the right vibe at the right time, though quite frankly, in terms of time, now works pretty damn well too. Comprised at the time of guitarist/vocalist Mathias Northway, drummer Michael Lowe and bassist Jayden Ensor, the three-piece made their purposes plain right in the opening lines of “Trees” that set the record on its way: “Every day/Every day I have the blues.” Even in the repetition of “every day” at the start, Northway conveyed the band’s aesthetic adherence to what he was singing about. They used to call it “blue-eyed soul,” which was a nice way of saying “made by white dudes stealing from black dudes,” but whether it was Cream and Led Zeppelin, Ten Years After, John Mayall, ZZ Top or Stevie Ray Vaughan — or any of the multitudes of others who heard Robert Johnson and subsequently picked up a guitar — Child would hardly be the first to bear that tag. For what it’s worth, they wore it well on the five-track/37-minute LP. Australia’s complicated and ongoing racial history is its own thing, and I’m no expert on it, but whatever else one might say about cultural appropriation, white people in Australia didn’t hold African slaves in America, and that makes a big difference in how one should think about their relationship to African-American culture.

And while they might have the blues every day, Child weren’t shy either about expressing them in a massive wall of fuzz as “Trees” made its way through its second half. The languid opener gave way to “Stone by Stone,” a fluid jammer that underscored the whole-album sensibility of the work overall. Though “Trees” cut to silence at the end and “Stone by Stone” picked up from there, the live feel came through as an essential component of what the band were doing. Coupled with Northway‘s melodic flow in kind with the lead noodling and the bass that seemed to anchor the groove even as the drums built toward one chorus after the next, “Stone by Stone” and the tracklist-centerpiece and side A closer “All Dried Up” that followed, it became clear that the listener was experiencing a live set transposed to tape. It’s a two-sided LP in its construction, no doubt, but even as the guest organ from the mysterious Horce entered into “All Dried Up,” it was easy to imagine Child tucked into some barroom corner, maybe on a stage, maybe not, building up the track — also the shortest on the record at just over five minutes — and turning heads among those seated around them drowning their own woes. The child self titledoverarching naturalism of the recording — its tonal warmth, the relatively barebones presentation of instruments and vocals clear but not overly produced — set just a balance for the trio to make their statement in tying together heavy rock and blues traditionalism while making both sound refreshed for their handling.

I don’t want to say side B was where they really got down to business — since “Trees,” “Stone by Stone” and “All Dried Up” were nothing if not down to business — but in “Mean Square” and “Blue Overtone Storm/Yellow Planetary Sun,” Child hit another level of molten blues, and drew together the dual facets of their personality once more with an organic feel that wasn’t just indebted to the ’70s in a vintage-sense, but seemed to delve deeper, playing toward what inspired the heavy rock movement in the first place. That was, in large part, the blues, but also psychedelia, garage rock and even the pop of the day. “Mean Square” resolved itself in a hypnotic lumber, finding a place between past and present that’s as ready for repeat listens as any heavy blues I’ve ever heard, and at just over 10 minutes, “Blue Overtone Storm/Yellow Planetary Sun” reminded of the understated hooks that were present all along as the reward for those repeat listens, playing out complemented by a gloriously fuzzy lead in the first part of the song with languid drumming keeping the nod rolling beneath as the bass filled out the room with heavy bottom low end. The change happened at about four minutes in, but if you weren’t paying the strictest attention, it was easy to miss and wake up a minute later wondering what the hell happened as Child Sabbath‘ed their way into “Yellow Planetary Sun” like the intro to “War Pigs,” but slower, and the basis for the part itself rather than just an intro to depart from. The tension in the drums as Lowe never misses the beat was astonishing all the same, and one more Northway held down the kind of solo on guitar you could imagine leading the way into a 20-minute jam on stage. You would not hear me complain.

By the time they got around to following-up the self-titled with Blueside (review here), released in 2016 through Kozmik Artifactz with likewise glorious cover art by Nick Keller, Jayden Ensor was out of the band and they’d brought in Danny Smith. The live feel of the debut was brought even more to the center as an essential part of their presentation, up to including studio chatter between/before the songs, and the hooks grew as well with the employ of guest backing vocalists to enhance the soulful delivery. After Blueside, they continued the progression in 2018 with the likewise live-recorded EP I (review here), that brought together the sleek rhythm of “Age Has Left Me Behind” and the 10-minute jam “Going Down Swinging” with the Spirit cover “The Other Song,” which was only fitting for the treatment Child gave it.

They toured Europe last year and in addition to shows around Australia it looks like they’ll be back in Europe this coming summer, as they’ve already been confirmed for Black Deer Fest in Australia to the UK is a long way to go for one show. Not to say that’s impossible, but yes to say I have my eye out for a tour announcement sometime in the coming weeks.

As always, I hope you enjoy.

Man, I fucking hate the music industry. The little corner that heavy rock occupies is cool. By and large the bands are decent human beings — no rule is absolute — and the labels and PR, even when you’re not cool enough to do something, at least they kind of let you down easy. Like, man, I can’t do shit with Relapse to save my life. They don’t need me. What, I’m gonna premiere fucking Windhand when they’ve got NPR on their side? Hardly seems likely. But I get it and it’s good for the bands to get that kind of exposure, so I roll with it. What choice do I have other than banging my head into the wall? Okay then.

But I got a reminder this week of how fucking lame and terrible and faux-professional and low-stakes-pretending-to-be-high-stakes the music industry at large is, and straight up, fuck that shit. It was a reminder to me of how burnt out I was 10 years ago when I started this site in the first place. I’m just not cut out for that game. Every now and then, it’s probably good for me to remember that. I’ve always sucked at it. I don’t want to sell you shit. I just want to write.

Probably fortunate, then, that I have so much god damn writing to do. Today was a mess trying to get that All Them Witches review done in time — I finished it right before I put it up, which is rare these days; I usually let things stew at least for a while — and yesterday I was finishing today’s Quarterly Review post and starting that even as I was about to call Dave Chandler from Saint Vitus for an interview that — gawd willing — will be posted here at some point. All this while I’ve still got Weirdo Canyon Dispatch stuff hanging over my head, TWO releases of PostWax liner notes to write, and because absolutely I said yes to this when the email came in in the afternoon, a bio to write for the new Nebula record.

I. Am. So. Fucking. Stupid.

You ever want proof of my sense of self-value: I’m getting paid for none of this. That’s what I think of me. That’s how much I’m worth in real numbers (actually, it’s considerably less when you factor in debt). I got a PayPal for $18 from Dropout Merch last week for t-shirts and got excited.

My brains… are going… into my feet.

But while I sit here and tempt end-of-naptime fate, let me not waste your or my precious time bitching. Next week is also busy as we get into holy-crap-I-gotta-get-this-done-before-Roadburn mode as though anyone other than me lives and dies by that coverage and what “needs” to be finished in terms of “work” for me to leave the country with a clear conscience.

Here’s notes. Expect them to change:

MON 03/25 Quarterly Review Day 6; Pyramidal track premiere.
TUE 03/26 Stone Machine Electric vid premiere/review; Duel vid premiere/review.
WED 03/27 Chalice of Suffering track premiere; Slush track premiere.
THU 03/28 Cities of Mars track premiere.
FRI 03/29 Witchfinder premiere.

That Tuesday will determine the whole week.

It’ll work out. And I’ll get my shit done. This isn’t the busiest I’ve ever been by a longshot. A few hours here and there over the next week and a half and I’m set. And what additional factors made a part of my life say, about 17 months ago, could possibly complicate that in any way?

I’m so exhausted.

Happy Spring!

Have a great and safe weekend. Thanks for reading. Forum, Radio, and merch at Dropout.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

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Quarterly Review: Electric Octopus, Crypt Trip, Love Gang & Smokey Mirror, Heavy Feather, Faith in Jane, The Mound Builders, Terras Paralelas, The Black Heart Death Cult, Roadog & Orbiter, Hhoogg

Posted in Reviews on March 21st, 2019 by JJ Koczan

quarterly-review-spring-2019

Day four of the six-dayer. Head’s a little reeling, but I’m not sure any more so than, say, last week at this time. I’d be more specific about that, but oddly enough, I don’t hook my brain up to medical scanners while doing reviews. Seems like an oversight on my part, now that I think about it. Ten years later and still learning something new! How about that internet, huh?

Since I don’t think I’ve said it in a couple days, I’ll remind you that the hope here is you find something you dig. There’s a lot of cool stuff in this batch, so that should at least make skimming through it fun if you go that route. Either way, thanks for reading if you do.

Quarterly Review #31-40:

Electric Octopus, Smile

Electric Octopus Smile

It’s been about two months since Electric Octopus posted Smile, so they’re about due for their next release. So, quick! Before this 82-minute collection of insta-chill jams is out of date, there’s still time to consider it their latest offering. Working as the four-piece of Tyrell Black and Dale Hughes — both of whom share bass and guitar duties — drummer Guy Hetherington and synthesist Stevie Lennox, the Belfast improv jammers rightfully commence with the 25-minute longest track (immediate points) “Abberation” (sic), which evolves and devolves along its course and winds up turning from a percussive jam to a guitar-led build up that still stays gloriously mellow even as it works its way out. You can almost hear the band moving from instrument to instrument, and that’s the point. The much shorter “Spiral,” “Dinner at Sea, for One” and closer “Mouseangelo” bring in a welcome bit of funk, “Moth Dust” explores minimalist reaches of guitar and ambient drumming, and “Hyperloop” digs into fuzz-soaked swirl before cleaning up its act in the last couple minutes. These cats j-a-m. May they do so into perpetuity.

Electric Octopus on Thee Facebooks

Electric Octopus on Bandcamp

 

Crypt Trip, Haze County

crypt trip haze county

Onto the best-albums-of-2019 list go San Marcos, Texas, trio Crypt Trip, who, sonically speaking, are way more Beto O’Rourke than Ted Cruz. The three-piece have way-way-upped the production value and general breadth from their 2018 Heavy Psych Sounds debut, Rootstock, and the clarity of purpose more than suits them as they touch on ’70s country jams and hard boogie and find a new melodic vocal confidence that speaks to guitarist Ryan Lee as a burgeoning frontman as well as the shredder panning channels in “To Be Whole.” Fortunately, he’s backed by bassist Sam Bryant and drummer Cameron Martin in the endeavor, and as ever, it’s the rhythm section that gives the “power trio” its power. Centerpiece “Free Rain” is a highlight, but so is the pedal steel of intro “Forward” and the later “Pastures” that precedes six-minute closer “Gotta Get Away,” which makes its transport by means of a hypnotic drum solo from Martin. Mark it a win and go to the show. That’s all you can do. Haze County is a blueprint for America’s answer to Europe’s classic heavy rock movement.

Crypt Trip on Thee Facebooks

Heavy Psych Sounds website

 

Love Gang & Smokey Mirror, Split Double EP

smokey mirror love gang split double ep

A bit of Tull as Love Gang‘s flute-inclusive opener “Can’t Seem to Win” skirts the line of the proggier end of ’70s worship. The Denver outfit and Dallas’ Smokey Mirror both present three tracks on Glory or Death RecordsSplit Double EP, and Love Gang back the leadoff with “Break Free” and “Lonely Man,” reveling in wall-o’-fuzz chicanery and organ-laced push between them, making their already unpredictable style less predictable, while Smokey Mirror kick off side B in particularly righteous fashion via the nine-minute “Sword and Scepter,” which steps forth to take ultra-Sabbathian ownership of the release even as the filthy tone of “Sucio y Desprolijo” and the loose-swinging Amplified Heat-style megashuffle of “A Thousand Days in the Desert” follow. Two bands in the process of finding their sound coming together to serve notice of ass-kickery present and future. If you can complain about that, you’re wrong.

Love Gang on Thee Facebooks

Smokey Mirror on Thee Facebooks

Glory or Death Records BigCartel store

 

Heavy Feather, Débris & Rubble

Heavy Feather Debris & Rubble

Very much a solid first album, Heavy Feather‘s 11-song Débris & Rubble lands at a run via The Sign Records and finds the Stockholm-based classic heavy blues rockers comporting with modern Euro retroism in grand fashion. At 41 minutes, it’s a little long for a classic-style LP if one measures by the eight-track/38-minute standard, but the four-piece fill that time with a varied take that basks in sing-along-ready hooks like those of post-intro opener “Where Did We Go,” the Rolling Stones-style strutter “Waited All My Life,” and the later “I Spend My Money Wrong,” which features not the first interplay of harmonica and lead guitar amid its insistent groove. Elsewhere, more mellow cuts like “Dreams,” or the slide-infused “Tell Me Your Tale” and the closing duo of the Zeppelinian “Please Don’t Leave” and the melancholy finisher “Whispering Things” assure Débris & Rubble never stays in one place too long, though one could say the same of the softshoe-ready boogie in “Hey There Mama” as well. On the one hand, they’re figuring it out. On the other, they’re figuring it out.

Heavy Feather on Thee Facebooks

The Sign Records on Bandcamp

 

Faith in Jane, Countryside

Faith in Jane Countryside

Five full-lengths deep into a tenure spanning a decade thus far, Faith in Jane have officially entered the running to be one of the best kept secrets of Maryland heavy. Their late-2018 live-recorded studio offering, Countryside, clocks in at just under an hour of organic tonality and performance, bringing a sharp presentation to the chemistry that’s taken hold among the three-piece of guitarist/vocalist Dan Mize, bassist Brendan Winston and drummer Alex Llewellyn, with Mize taking extended solos on the Wino model throughout early cuts “All is All” and “Mountain Lore” while the trio adds Appalachian grunge push to the Chesapeake’s flowing groove while building “Blues for Owsley” from acoustic strum to scorching cacophonous wash and rolling out the 9:48 “Hippy Nihilism” like the masters of the form they’re becoming. It’s not a minor undertaking in terms of runtime, but for those in on what these cats have been up to all the while, hard to imagine Countryside is seen as anything other than hospitable.

Faith in Jane on Thee Facebooks

Faith in Jane on Bandcamp

 

The Mound Builders, The Mound Builders

The Mound Builders The Mound Builders

Lafayette, Indiana’s The Mound Builders last year offered a redux of their 2014 album, Wabash War Machine (review here), but that was their last proper full-length. Their self-titled arrives as eight bruiser slabs of weighted sludge/groove metal, launching with its longest track (immediate points) in the 7:30 “Torchbearer,” before shifting into the outright screams-forward pummel of “Hair of the Dogma” and the likewise dry-throated “Separated from Youth.” By the time they get to the hardcore-punk-via-sludge of “Acid Slugs,” it’s not a little heavy. It’s a lot heavy. And it stays that way through the thrashing “Star City Massacre” and “Regolith,” hitting the brakes on “Broken Pillars” only to slam headfirst into closer “Vanished Frontier.” Five years later and they’re still way pissed off. So be it. The four-formerly-five-piece were never really all that gone, but they still seem to have packed an extended absence’s worth of aggro into their self-titled LP.

The Mound Builders on Thee Facebooks

Failure Records and Tapes

 

Terras Paralelas, Entre Dois Mundos

TERRAS PARALELAS ENTRE DOIS MUNDOS

It’s a fluid balance between heavy rock and progressive metal Terras Paralelas make in the six inclusions on their debut full-length, Entre Dois Mundos. The Brazilian instrumentalist trio keep a foundation of metallic kickdrumming beneath “Do Abismo ao Triunfo,” and even the chugging in “Espirais e Labirintos” calls to mind some background in harder-hitting fare, but it’s set against a will toward semi-psychedelic exploration, making the giving the album a sense of refusing to play exclusively to one impulse. This proves a strength in the lengthier pieces that follow “Infinito Cósmico” and “Do Abismo ao Triunfo” at the outset, and as Terras Paralelas move from the mellower “Bom Presságio” and “Espirais e Labirintos” into the more spaciously post-rocking “Nossa Jornada Interior” and the nine-minute-plus prog-out title-track that closes by summarizing as much as pushing further outward, one is left wondering why such distinctions might matter in the first place. Kudos to the band for making them not.

Terras Paralelas on Thee Facebooks

Terras Paralelas on Bandcamp

 

The Black Heart Death Cult, The Black Heart Death Cult

the black heart death cult the black heart death cult

Though one wouldn’t accuse The Black Heart Death Cult of being the first cumbersomely-named psych-rocking band in the current wave originating in Melbourne, Australia, their self-titled debut is nonetheless a gorgeous shimmer of classic psychedelia, given tonal presence through guitar and bass, but conjuring an ethereal sensibility through the keys and far-back vocals like “She’s a Believer,” tapping alt-reality 1967 vibes there while fostering what I hear is called neo-psych but is really just kinda psych throughout the nodding meander of “Black Rainbow,” giving even the more weighted fuzz of “Aloha From Hell” and the distortion flood of “Davidian Dream Beam” a happier context. They cap with the marshmallowtron hallucinations of “We Love You” and thereby depart even the ground stepped on earlier in the sitar-laced “The Magic Lamp,” finding and losing and losing themselves in the drifting ether probably not to return until, you know, the next record. When it shows up, it will be greeted as a liberator.

The Black Heart Death Cult on Thee Facebooks

Oak Island Records webstore

 

Orbiter & Roadog, Split

orbiter roadog split

I’m pretty sure the Sami who plays drums in Orbiter is the same dude playing bass in Roadog, but I could easily be wrong about that. Either way, the two Finnish cohort units make a fitting complement to each other on their two-songer 7″ single, which presents Orbiter‘s six-minute “Anthropocene” with the hard-driving title-track of Roadog‘s 2018 full-length, Reinventing the Wheels. The two tracks have a certain amount in common, mostly in the use of fuzz and some underlying desert influence, but it’s what they do with that that makes all the difference between them. Orbiter‘s track is spacier and echoing, where “Reinventing the Wheels” lands more straightforward in its three minutes, its motoring riff filled out by some effects but essentially manifest in dead-ahead push and lyrics about a motorcycle. They don’t reinvent the wheel, as it happens, and neither do Orbiter, but neither seems to want to do so either, and both bands are very clearly having a blast, so I’m not inclined to argue. Good fun and not a second of pretense on either side.


Orbiter on Thee Facebooks

Roadog on Thee Facebooks

 

Hhoogg, Earthling, Go Home!

hhoogg Earthling Go Home

Space is the place where you’ll find Boston improvisationalists Hhoogg, who extend their fun penchant for adding double letters to the leadoff “Ccoossmmooss” of their exclamatory second self-released full-length, Earthling, Go Home!, which brings forth seven tracks in a vinyl-ready 37 minutes and uses that opener also as its longest track (immediate points) to set a molten tone to the proceedings while subsequent vibes in “Rustic Alien Living” and the later, bass-heavy “Recalled to the Pyramids” range from the Hendrixian to the funkadelicness he helped inspire. With a centerpiece in “Star Wizard, Headless and Awake,” a relatively straightforward three-minute noodler, the four-piece choose to cap with “Infinitely Gone,” which feels as much like a statement of purpose and an aesthetic designation as a descriptor for what’s contained within. In truth, it’s a little under six minutes gone, but jams like these tend to beg for repeat listens anyway. There’s some growing to do, but the melding of their essential chemistry is in progress, and that’s what matters most. The rest is exploration, and they sound well up for it.

Hhoogg on Thee Facebooks

Hhoogg on Bandcamp

 

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Horsehunter Release Self-Titled Album; Streaming in Full Now

Posted in Whathaveyou on March 5th, 2019 by JJ Koczan

horsehunter

Wow, you know, when Horsehunter put out their 2015 debut, Caged in Flesh (review here), it was like, golly, this sure is heavy, but their self-titled is a complete turn. I mean, I’ve heard of selling out, but to have a band like this come out of Melbourne’s vibrant heavy scene and turn to whatever this kind of blend of pop-punk college rock is and then have the sheer gall to name the record after the band, as if to say, “Yeah, no, just kidding with all that grueling thick tone and harsh sludge and whatnot. We’re in it to play coffee houses.” Bands should be allowed to expand their sound and explore different directions and all that, but seriously. Dudes sound like they’re trying to write the soundtrack to a thoughtful slow-mo montage in a rom-com. What the fuck.

Nah I’m just playing. Of course it’s brutal as shit. Horsehunter dropped Horsehunter sans advance hype on March 2 in collusion with Magnetic Eye Records and it’s streaming in all its four-song, wreck-your-skull glory right now at the bottom of this post, courtesy of their Bandcamp. Check it out if you need to clear your sinuses.

Info from the PR wire:

horsehunter self-titled

Horsehunter – Horsehunter (New Album March 2, 2019)

Album 2 from Melbourne’s legendary doom metal heroes, Horsehunter. An unforgiving follow up to 2015’s critically acclaimed debut, Caged in Flesh. This S/T album comes equipped again, with massive tones and a lumbering vibe along with an underlying hypnotic bleak psychedelia throughout . For fans of High on Fire, Sleep and Baroness, Available 3/2/2019 on Magnetic Eye Records MER077

Artwork by Jesse Webb

Produced and Engineered by Tigglyfuzz Kokiri (the producer formerly known as Tigran Fuzzmeister)

Co-Engineered by Jon McNichol
Recorded live at Twin Earth Studios, Adelaide.
Overdubbed in various locations around Australia.

Tracklisting:
1. Horsehunter – Nuclear Rapture
2. Horsehunter – the Savage
3. Horsehunter – Bring out Yer Dead
4. Horsehunter – Collapse

Horsehunter was:
Dan Harris – Guitar
Michael Harutyunyan – Guitar & Vocals
Himiona Stringer – Bass Guitar
Nick Cron – Drums

horsehunter.bandcamp.com
facebook.com/officialhorseHunter
youtube.com/officialhorsehunter
soundcloud.com/officialhorsehunter
@horsehunterisdead
merhq.com
facebook.com/MagneticEyeRecords
store.merhq.com
twitter.com/magnetic_eye

Horsehunter, Horsehunter (2019)

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Wo Fat Headlining Wo Fest in Melbourne June 8

Posted in Whathaveyou on February 1st, 2019 by JJ Koczan

wo fat

I like to think that maybe all of Australia and New Zealand found out Wo Fat were heading their way and the bands were fighting over who was going to play with them in Melbourne and then finally Your Mate Bookings was like ah screw it we’ll just do a festival and you all can play. That’s probably not how it happened — for one thing, sick as this lineup is, it’s by no means all the bands — but it’s fun to pretend, and if there were multiple acts lining up to be in the lineup, you’d have to understand where they’re coming from. I mean, it’s Wo Fat. Who wouldn’t want to partake?

The Texas mavens of fuzz-based explorando will hit Aunz in June and accordingly, Wo Fest is set for Jun 8 at the famed Bendigo Hotel in Melbourne. I haven’t seen a full list of tour dates as yet, but one expects those are forthcoming, and maybe some word of a new album? Maybe? An Australia/New Zealand tour is its own excuse for being, certainly, but a new record coming out would most certainly sweeten the deal. Also the year.

Nothing concrete on that front either, just speculation to keep my brain busy. Here’s the lineup and info for Wo Fest as per the social medias:

wo fest 2019 poster

YOUR MATE Bookings, Young Henrys, Ripple Music, Rocknrollbrat Presents WO FEST

June 8, 2019

Melbourne’s Premium ALL DAY / ALL NIGHT Music, Art and Tattoo Festival

WO FEST will feature some of Australia & New Zealands greatest bands and solo artists in the Blues, Stoner, Psychedelic, Progressive, Sludge and Doom genres of Australia; Headlined by the one and only Texan Swampadelic Wizards Wo Fat & supported by NZs Pieces Of Molly along with local and interstate talent Subterranean Disposition, Turtle Skull, Motherslug, Honeybone, Pseudo Mind Hive, Full Tone Generator, Thaw, Burden Man.

Wo Fest will also feature Melbournes Jake Fraser Tattoo, a light show from Electric Light Brigade resident DJs and Artists.

This show will really go down as one to remember keeping Melbourne city at the forefront as one of the greatest musical cities in the world.

The event will be held on Saturday June 8th from midday at Bendigo Hotel in Collingwood.

!!!Strictly limited to 300 tickets!!!

Tickets On Sale now through

https://www.eventbrite.com.au/e/wo-fest-2019-tickets-55328049686?aff=eand

Art by Dan Fabris from God-Awful

https://www.facebook.com/wofest/
https://www.facebook.com/events/223410845108599/
https://www.eventbrite.com.au/e/wo-fest-2019-tickets-55328049686?aff=eand
https://www.facebook.com/yourmatebookings/

Wo Fat, “There’s Something Sinister in the Wind” Live in Dallas, TX, 2017

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The Black Heart Death Cult Release Self-Titled LP This Week on Oak Island Records

Posted in Whathaveyou on January 16th, 2019 by JJ Koczan

the black heart death cult

The self-titled debut from Melbourne, Australia’s The Black Heart Death Cult was originally slated for release sometime around the middle of last year, and it may indeed have seen a digital issue around that time. Or, you know, any other time between 1966 and now. Or, you know, at least one or the other. It’s spaced out, I guess is the point. I don’t know if the band self-released it first or not, but Oak Island Records has it out on Friday on vinyl, and there’s little question in listening to it that that’s what the band has intended all along. If it was streaming, it’s since been taken down, but it’ll be worth your time to search out either physically or in the digital ether when it comes to it. Which, again, it will on Friday. Or it did in 1996. Screw it, time is a meaningless construct anyway. Fuzz on.

Release details from the PR wire:

the black heart death cult the black heart death cult

The Black Heart Death Cult release mesmerising debut 18th January on Oak Island Records

Melbourne psychedelic drone rock sextet “The Black Heart Death Cult” are super fuzzed about releasing their self-titled debut LP on German psych label Oak Island Records. It has been a labour of love, recorded over a sprawling 2 years with production from Ricky Maymi of The Brian Jonestown Massacre.

Welcome to the sonic bazaar! “The Black Heart Death Cult” debut LP is a beautifully constructed piece of gloomy verb-soaked psych rock that shifts seamlessly between tracks & styles and a real 60’s sensibility of melody underpins it all to reveal some deft song writing, skillful musicianship & quality production. Droney psych mantras, sonic opiates & space-glazed kaleido fuzz jams for the all too new dark age. Generous application of the volume dial is recommended.

The album is a brooding, gloomy beast that never sits still as it trips effortlessly from the one chord sitar-sling of “Setting Sun” to flute filled space rock of “She’s a Believer” then the wall-of-verb gloomgaze of “Black Rainbow” to the psy-folk interlude of “The Magic Lamp” before bringing the jams with “Aloha from Hell” & that’s just the A side.

The B side is heavier & jammier with the spaced out instrumental “Rainbow Machine”, speaker smashing bass fuzzed “Davidian Dream Beam”, the fantastical flute-filled “Seven Gods” before completely exploding into deep space with the closer “We Love You”.

The Black Heart Death Cult hope you enjoy the ride!

The Black Heart Death Cult will be released on limited edition heavyweight vinyl on the 18th January on Oak Island Records. Limted to 300 copies total pressing: 200 on clear vinyl and a special Kozmik Mailorder edition in 100 transparent green!

Available as Limited Edition Vinyl

Release Date: 18th January 2019

VINYL FACTZ
– Plated & pressed on high
performance vinyl at
Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Setting Sun
2. She’s a Believer
3. Black Rainbow
4. Seven Gods
5. Rainbow Machine
6. The Magic Lamp
7. Davidian Dream Beam
8. Aloha from Hell
9. We Love You

The Black Heart Death Cult are:
Sasha L Smith – Guitar & Vocals
Bill Patching – Guitar
Andrew Nunns – Drums
Deon Slavieros – Bass
Gab Potochnik – Keys

https://www.facebook.com/theblackheartdeathcult/
https://theblackheartdeathcult.bandcamp.com/
https://www.facebook.com/oakislandrecords/
http://shop.bilocationrecords.com/index.php?k=1072&lang=eng

The Black Heart Death Cult, Black Rainbow EP (2017)

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Quarterly Review: BongCauldron, Black Helium, Earthbong, Sir Collapse, Alms, Haaze, The Sledge, Red Lama, Full Tone Generator, Mountain Dust

Posted in Reviews on December 12th, 2018 by JJ Koczan

quarterly-review

Not to get off topic here, but it’s December, and god damn, I hate the fucking holidays. Christmas, even if you believe in the religious significance of the day, is pure garbage. I like giving presents well enough, don’t particularly enjoy receiving them, but even if you put aside the whole “oh it’s so commercial ‘now'” thing, like there was a time anyone now living ever saw when it wasn’t, it isn’t fun. The meal sucks. It’s dark. It’s cold. The songs are fucking endless and terrible — yes, all of them — and the whole experience is just a bummer the whole way through. If there was actually a war on it, I wish they’d drop the bomb and incinerate the entire thing.

Take Thanksgiving, make it start in November and end in December. A month-long festival for the season. You can even give gifts at the end, if you want. It could be like Ramadan, or, probably more likely and much on the opposite end of the spectrum, Oktoberfest.

There. Problem solved. Have a great day, everyone. Let’s do some reviews.

Quarterly Review #71-80:

BongCauldron, Tyke

BongCauldron Tyke

Biscuit, Corky and Jay of BongCauldron return less than 12 months out from their Binge LP (review here) with Tyke (on APF), three more cuts of weed-eating, dirt-worshiping, weed-worshiping, dirt-eating sludge, fueled as ever by fuckall and booze and banger riffs — and yes, I mean “banger” as in “bangers and mash.” There’s a lead that shows up in closer “Jezus Throat Horns” and some vocal melody that follows behind the throaty barks, but for the bulk of the three-tracker, it’s down to the business of conveying dense-toned disaffection and rolling nod. “Pisshead on the Moon” opens with a sample about alcohol killing you and works from its lumber into a bit of a shuffle for its midsection before hitting a wall in the last minute or so in order to make room for the punker blast of “Back up Bog Roll,” which tears ass and is gone as soon as it’s there, dropping some gang vocals on the way, because really, when you think about it, screw everything. Right? “Jezus Throat Horns” might be offering a bit of creative progression in closing out, but the heart of BongCauldron remains stained of finger and stank of breath — just the way it should be.

BongCauldron on Thee Facebooks

APF Records webstore

 

Black Helium, Primitive Fuck

black helium primitive fuck

Oh yes. Most definitely. From the Sabbath swing behind the chugging “Love the Drugs” and the march of “Wicked Witch” through the what-would-happen-if-Danzig-was-interesting “Summer Spells” and fuzzed-out post-punk shouts of “Videodrone” en route to the nine-minute “Curtains at the Mausoleum,” London four-piece Black Helium make heavy psychedelic songcraft into something as malleable as it should be on their Riot Season debut, Primitive Fuck, holding to underlying structures when it suits them and touching on drone bliss without ever really completely letting go. Opener “Drowsy Shores” is hypnotic. The aforementioned “Curtains at the Mausoleum” is hypnotic. Even the chug-meets-effects-blowout closing title-track is hypnotic, but on the handclap-laced “Do You Wanna Come Out Tonight?” or “Videodrone,” or even “Summer Spells,” there are hooks for the listener to latch onto, life-rafts floating in the swirling tonal abyss. The truth? There isn’t a primitive thing about it. They’re not so much lizard-brained as astral-planed, and if you want a summation of their sound, look no further than their name. It’ll make even more sense when you listen. Which you should do.

Black Helium on Thee Facebooks

Riot Season Records website

 

Earthbong, Demo 2018

earthbong demo 2018

The immediate association in terms of riff is going to be Sleep. “Drop Dead,” the 10-minute first of two songs on Earthbong‘s debut Demo 2018, rolls out with pure Dopesmoker-ism and follows the model of gradual unfolding of its weedian sludge riffery. No complaints. The Kiel, Germany, trio are obviously just getting their start, and since it’s a demo and not the “debut EP” that so many otherwise demos try to position themselves as, I’ll take it. And to boot, “Drop Dead” ultimately departs its Sleepy environs for altogether more abrasive fare, with Bongzilla-style screams and an increasingly aggressive shove, the drums crashing like the cymbals did something wrong, and feedback capping into the start of “Wanderer,” which is shorter at seven minutes and opens its assault earlier, the vocals no less distorted than the guitar or bass. There’s some space in a solo in the second half, but Earthbong again twist into harsh, crusty doom before letting feedback carry them out to the demo’s finish. Growing to do, but already their violence seethes.

Earthbong on Thee Facebooks

Earthbong on Bandcamp

 

Sir Collapse, Walk to the Moon

sir collapse walk to the moon

Grunge, noise rock and Queens of the Stone Age-style melody-making collide on Walk to the Moon, the debut full-length from German four-piece Sir Collapse, sometimes on disparate cuts, like the noisy intro given to the album by “Lower Principles,” and sometimes within the same song, as in the later “Like Me.” A jangly swing in “Mono Mantra” and the Nirvana-esque hook there soon gives way to the desert-hued thrust of “One Man Show” and the early ’90s fuzz of “Happy Planet Celebration,” while “The Great Escape” leads the way into some measure of evening out the approach in “Like Me,” “Too Late,” “Hey Ben” and “The Family,” unless that’s just the band acclimating the listener to their style. Fair enough either way. Sir Collapse round out with a return to the uptempo push shown earlier, giving their first LP an impressive sense of symmetry and whole-work presentation as layers of vocals intertwine with melody alternately lush and raw, sounding very much like a band who know the parameters in which they want to work going forward. So be it.

Sir Collapse on Thee Facebooks

Sir Collapse on Bandcamp

 

Alms, Act One

alms act one

Organ-soaked Baltimorean garage doomers Alms enter the conversation of 2018’s best debut albums with Act One on Shadow Kingdom, a collection rife with choice riffing, dynamic vocals and a nuanced blend of heft and drama. That a song like “The Toll” could be both as traditional sounding as it is and still modern enough to be called forward-thinking is nothing short of a triumph, and in the stomping “The Offering,” Alms cast forth a signature chorus that stands out from the tracks surrounding without departing the atmosphere so prevalent in their work. “Dead Water” at the outset and “For Shame” build a momentum through side A that the five-piece of keyboardist/vocalist Jess Kamen guitarists Bob Sweeney (also vocals) and Derrick Hans, bassist Andrew Harris and drummer Derrick Hans expand in the second half of the record, winding up in the early gruel of “Hollowed” only to resolve the album with speedier swing and as sure a hand as they’ve guided it all along. At six songs and 33 minutes, Act One unmistakably leaves the audience wanting more, and indeed, the plot may just be starting to unfold.

Alms on Thee Facebooks

Shadow Kingdom Records on Bandcamp

 

Haaze, Swamp Mama

Haaze Swamp Mama

It is a sharp, biting 27-minute run, but Swamp Mama isn’t just thrown together haphazardly. Alberta-based sludge metallers Haaze build a song like “35 Indians” to a head over the course of a deceptively efficient 4:44, following opening track “Beast of the Bog” with a developed sense of craft underlying the outward negativity of their sound. I’ll give the band bonus points for finishing side A with a song called “Stereotypically Doomed,” but more for the crash cymbal that seems to devour the mix. There’s a trashy undercurrent to the subsequent title-track, and as it finishes its pummel, it relinquishes ground to the acoustic interlude, “The Mechanic,” which I’m just going to assume is named for the Charles Bronson movie. That of course sets up the most extreme cut included in closer “AL,” which layers fierce growls and screams atop a rhythm clearly designed for maximum assault factor. A little more metal than sludge, it nonetheless remains tonally consistent with what comes before it, giving Swamp Mama a vicious ending and a feel that’s all the more lethal for it.

Haaze on Thee Facebooks

Haaze on Bandcamp

 

The Sledge, On the Verge of Nothing

the sledge on the verge of nothing

Copenhagen four-piece The Sledge boasts the three former members of heavy rockers Hjortene in guitarist/keyboardist/vocalist Palle, drummer/vocalist Kim and bassist Claus, so while they’ve revamped their identity and gone on to add vocalist Magnus Risby — who appears here on “179 Liars” and “Yet Untitled” — perhaps its somewhat disingenuous to consider their first album under the new moniker, On the Verge of Nothing, a debut. Issued through Kozmik Artifactz, the record collects eight tracks produced by Anders Hansen (who also worked with Hjortene) and mixed by Matt Bayles, and in listening to the cuts with Risby in the lead spot, the vibe taps into a thicker take on late-era Dozer with no less righteous melodicism. That, however, is just a fraction of the total story of On the Verge of Nothing, which taps earlier desert idolatry on “Death Drome Doline” and brings in none other than Lorenzo Woodrose himself for guest spots elsewhere. People in and out of the lineup through different tracks should make the LP disjointed, but as ever, it’s the songwriting that holds it together, and one can’t discount the core band’s experience playing together as a part of that either. Debut or not, it’s an impressive offering.

The Sledge on Thee Facebooks

Kozmik Artifactz website

 

Red Lama, Dogma

red lama dogma

One tends to think of serenity and peaceful drift when it comes to Danish heavy psych rockers Red Lama, but as the seven-piece band quickly turn around follow-up to their 2018 sophomore LP, Motions (discussed here), cuts like opener “Time” and “RLP” unfold with a particular sense of urgency, the former seeming to showcase an acknowledgement of sociopolitical circumstances in Europe and beyond in a way that seems to readjust their focus. That’s a tidy narrative, but if it’s a case of priorities being rebalanced, it’s striking nonetheless. To coincide, “RLP” has a heavier roll in its second half, and while second cut “State of the Art” and closer “Tearing up the Snow” both make their way past the five-minute mark with post-rocking pastoralia and dreamy melodies, there remains a feeling of a tighter focus in the tracks that could portend a new stage of the band’s development or could simply be a circumstance of what’s included here. The next album will tell the tale.

Red Lama on Thee Facebooks

Red Lama on Bandcamp

 

Full Tone Generator, Valley of the Universe

full tone generator valley of the universe

Fronted by Andy Fernando of Don Fernando, Full Tone Generator‘s debut long-player, Valley of the Universe, nonetheless bears the unmistakable hallmark of the Californian desert — in no small part because that’s where it was recorded. Fernando and guitarist/bassist/backing vocalist Brad Young traveled to that famed landscape to record with Bubba DuPree and Brant Bjork at Zainaland Studios, only to have the latter end up playing drums and contributing backing vocals as well to the eight-tracker. Not a bad deal, frankly. The key reference sound-wise throughout Valley of the Universe is Kyuss, particularly because of Bjork‘s involvement and Fernando‘s vocal style, but the slow-rolling “I Only Love You When I’m Loaded,” 59-second blaster “No Future” and the ending jam duo of “Preacher Man” and “Never to Return” make the ground their own, the latter with some surprise screams before it bounces its way into oblivion as though nothing ever happened. They’ve got the vibe down pat, but Full Tone Generator do more as well than simply retread desert rock’s founding principles.

Full Tone Generator on Thee Facebooks

Hurricane Music on Bandcamp

 

Mountain Dust, Seven Storms

mountain dust seven storms

Keys give Montreal four-piece Mountain Dust a tie to classic heavy blues and they use that element well to cast their identity in the spirit of a post-retro modern feel, details like the backing vocals of “White Bluffs” and the waltzing rhythm held by the snare on “Witness Marks” doing much to add complexity to the persona of the band. “You Could” goes over the top in its boozy regrets, but the dramas of “Old Chills” are full in sound and satisfyingly wistful, while closer “Stop Screaming” offers a bit of twang and slide guitar to go along with its sense of threat and consuming seven-minute finish. Tight songwriting and clean production do a lot to give Seven Storms a professional presentation, but ultimately it’s the band itself that shines through in terms of performance and as Mountain Dust follow-up their well-received 2016 debut, Nine Years, they sound confident in their approach and ready to flesh out in multiple directions while maintaining a central character to their sound that will be familiar to the converted enough to be a work of genre while setting the stage to become all the more their own as well.

Mountain Dust on Thee Facebooks

Kozmik Artifactz website

 

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Quarterly Review: Earthless, Satan’s Satyrs, Mantar, Child, T.G. Olson, Canyon, Circle of the Sun, Mythic Sunship, Svarta Stugan, Bast

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

quarterly-review

There isn’t enough coffee in the universe, but I’ve got mine and I’m ready to burn the living crap out of my tongue if that’s what it takes to get through. We’ve arrived at Day 4 of the Quarterly Review, and though we’re less than halfway to the 100-album goal set by some maniac sitting at his kitchen table with a now-burnt tongue, there’s been an awful lot of good stuff so far. More even than I thought going into it, and I slate this stuff.

That said, today’s list is pretty killer. A lot of these bands will be more familiar than maybe has been the case or will be on some of the other days of this Quarterly Review. It just kind of worked out that way as I was putting it together. But hey, a few bigger bands here, a few “debut EP” demos there. It’s all good fun.

So let’s go.

Quarterly Review #31-40:

Earthless, From the West

earthless from the west

Bonus points to whatever clever cat correctly decided that Earthless‘ 2018 studio album, Black Heaven (review here), needed a companion live record. With artwork mimicking a Led Zeppelin bootleg of the same name, From the West arrives through Silver Current and Nuclear Blast capturing the most powerful of power trios earlier this year in San Francisco, and it’s like the fire emoji came to life. With Mike Eginton‘s bass as the anchor and Mario Rubalcaba‘s drums as the driving force, guitarist Isaiah Mitchell starts ripping holes in the fabric of spacetime with “Black Heaven” and doesn’t stop until 64 minutes later as “Acid Crusher” dissolves into noise. Of course “Gifted by the Wind” from the latest LP is a highlight, and suitably enough, they cover Zeppelin‘s “Communication Breakdown,” but I’m not sure anything tops the extended take on “Uluru Rock” from 2013’s From the Ages (review here) — and yes, I mean that. Of course they pair it with the 1:48 surge of “Volt Rush,” because they’re Earthless, and brilliant is what they do. Every set they play should be recorded for posterity.

Earthless website

Silver Current Records on Bandcamp

Earthless at Nuclear Blast webstore

 

Satan’s Satyrs, The Lucky Ones

satans satyrs the lucky ones

Encased in cover art that begs the Spinal Tap question, “what’s wrong with being sexy?” and the response that Fran Drescher gave it, Virginia classic heavy rockers Satan’s Satyrs return with their fourth full-length, The Lucky Ones (on RidingEasy and Bad Omen), which also marks their first record as a four-piece with guitarist Nate Towle (Wicked Inquisition) joining the returning lineup of bassist/vocalist Clayton Burgess, guitarist Jared Nettnin and drummer Stephen Fairfield, who, between the fact that Burgess founded the band and played in Electric Wizard, and all the lead guitar antics from Nettnin and Towle, might be the unsung hero of the band. His performance is not lost in the recording by Windhand‘s Garrett Morris or Burgess‘ own hefty mix, and as one would expect, Satan’s Satyrs continue to deliver deceptively refined ’70s-heavy vibes caked in cult biker horror aesthetics. Some songs hit more than others, but Satan’s Satyrs‘ dust-kicking approach continues to win converts.

Satan’s Satyrs on Thee Facebooks

RidingEasy Records on Bandcamp

Bad Omen Records on Bandcamp

 

Mantar, The Modern Art of Setting Ablaze

mantar the modern art of setting ablaze

One generally thinks of Hamburg duo Mantar as having all the subtlety of a bone saw caught on video, and yet, in listening to “Seek + Forget” from their third album, The Modern Art of Setting Ablaze (on Nuclear Blast), there are some elements that seem to be reaching out on the part of the band. Guitarist Hanno‘s vocals are more enunciated and discernible, there is a short break from the all-out blackened-sludge-punk assault that’s been their trade since their start in 2012, and “Obey the Obscene” even has an organ. Still, the bulk of the 12-track/48-minute follow-up to 2016’s Ode to the Flame (review here) is given to extremity of purpose and execution, and in pieces like the churning “Anti Eternia” and the particularly-punked “Teeth of the Sea,” they work to refine their always-present threat of violence. Closer “The Funeral” brings back some of the quiet moodiness of intro “The Knowing” and underscores the point of sonic expansion. I hope next time they use a string section.

Mantar on Thee Facebooks

Nuclear Blast website

 

Child, I

child i

It took me a few minutes to get to the heart of what my problem with Child‘s I EP is. Really, I was sitting and listening to “Age Has Left Me Behind” — the first of the three included tracks on the 20-ish-minute 12″ — and I had to ask myself, “Why is this annoying me?” The answer? Because it’s not an album. That’s it. It’s not enough. Kudos to the Melbourne, Australia, heavy blues trio on having that be the biggest concern with their latest release — it follows 2016’s righteously-grooved Blueside (review here) — and kudos to them as well for their cover of Spirit‘s “The Other Song,” but of course it’s the 10-minute jam “Going Down Swinging” on side B that’s the immersive highlight of I, as Child‘s balance of softshoe-boogie and expansive mellow-psych is second to none in their subgenre. It’s not an album, and that’s kind of sad, but as a tide-ya-over until the next long-player arrives, I still does the trick nice and easy. And not to get greedy, but I’d take a II (or would it be You?) whenever they get around to it.

Child on Thee Facebooks

Kozmik Artifactz website

 

T.G. Olson, Wasatch Valley Lady & The Man from Table Mountain

tg olson wasatch valley lady and the man from table mountain

Across Tundras frontman T.G. Olson, who by now has well lapped that band’s output with his solo catalog, would seem to have sat down with his guitar sometime in the last week and put two songs to tape. The resulting 10-minute offering is Wasatch Valley Lady & The Man from Table Mountain, its component title-tracks stripping down some of the more elaborate arrangements he’s explored of late — his latest full-length, Riding Roughshod (review pending; it’s hard to keep up), came out in October — to expose the barebones construction at root in his Rocky Mountain country folk style. “Wasatch Valley Lady” and “The Man from Table Mountain” make an engaging couple, and while Olson has a host of videos on YouTube that are similarly just him and his acoustic, something about the audio-only recordings feel like a voice out of time reaching for human connection. The first seems to have a natural fade, and the second a more prominent rhythm showcased in harder strum, but both are sweet melodies evocative as ever of open landscapes and wistful experience.

Across Tundras on Thee Facebooks

T.G. Olson/Across Tundras on Bandcamp

 

Canyon, Mk II

canyon mk ii

The Deep Purple-referential Mk II title of Canyon‘s second EP, also the follow-up to their 2017 debut LP, Radiant Light, refers to the lineup change that’s seen Dean Welsh move to drums so that he and guitarist Peter Stanko can welcome bassist/vocalist Fred Frederick to the fold. The three included songs, the hooky “Mine Your Heart,” expansively fuzzed “Morphine Dreams” and bouncing “Roam” make a hell of a first offering from the reconstituted trio, who capture classic heavy naturalism in a chemistry between players that’s mirrored in the songwriting itself. Canyon‘s 2016 self-titled debut EP (review here) held marked promise, and even after the full-length, that promise would seem to be coming to fruition here. Their tones and craft are both right on, and there’s still some gelling to do between the three of them, but they leave no doubt with Mk II that this incarnation of Canyon can get there. And, if they keep up like this, get there quickly.

Canyon on Thee Facebooks

Canyon on Bandcamp

 

Circle of the Sun, Jams of Inner Perception

Circle of the Sun Jams of Inner Perception

One man jams! Psych-jam seekers will recognize Daniel Sax as the drummer for Berlin-based trio Cosmic Fall. Circle of the Sun is a solo-project from Sax and Jams of Inner Perception collects six tracks for 39 minutes of adventuring on his own. Sax sets his own backbeat and layers bass and “effectsbass” for a full-lineup feel amid the instrumental creations, and those looking to be hypnotized by the space-rocking jams will be. Flat out. Sax is no stranger to jamming, and as one soaks in “Jamming in Paradise” or its nine-minute predecessor “Liquid Sand,” there’s little mistaking his intention. Curious timing that Circle of the Sun would take shape following a lineup change in Cosmic Fall — perhaps it was put together in the interim? — but whether Jams of Inner Perception is a one-off of the beginning of a new avenue for Sax, its turn to blues noodling on “Desert Sun,” thick-toned “Moongroove” and fuzzy roll on “Acid Dream” demonstrate there are plenty of outer realms still to explore.

Circle of the Sun on Thee Facebooks

Circle of the Sun on Bandcamp

 

Mythic Sunship, Another Shape of Psychedelic Music

Mythic Sunship Another Shape of Psychedelic Music

The simplest way to put it is that Mythic Sunship‘s Another Shape of Psychedelic Music lives up to the lofty ambitions of its title. The Danish band is comprised of guitarists Kasper Stougaard Andersen and Emil Thorenfeldt, bassist Rasmus ‘Cleaver’ Christensen, drummer Frederik Denning and saxophonist Søren Skov, and with Causa Sui‘s Jonas Munk — who also produced the album — sitting in on the extended “Backyard Voodoo” (17:41) and “Out There” (13:53) as well as overseeing the release through El Paraiso, the band indeed makes there way into the far out reaches where jazz and psychedelia meet. It’s not about pretentiously saying they’re doing something that’s never been done. You’ll note it’s “another shape” and not a “new shape” or the “shape to come.” But immersion happens quickly on opener “Resolution” (14:23), and even quicker cuts like “Last Exit,” “Way Ahead” and “Elevation” carry the compelling spirit of forward-thinking creativity through their dynamic course, and if Mythic Sunship aren’t the shape of psychedelic music to come, it’s in no small part because there are so few out there who could hope to match what they do.

Mythic Sunship on Thee Facebooks

El Paraiso Records website

 

Svarta Stugan, Islands / Öar

svarta stugan islands oar

Islands / Öar — the second word being the Swedish translation of the first — is the 40-minute debut full-length from Gothenburg atmospheric heavy post-rock instrumentalists Svarta Stugan, who demonstrate in influence from Hex-era Earth on the opener “Islands III” but go on in subsequent tracks to pull together a sound distinct in its cinematic feel and moody execution. Five out of the seven component tracks are “Islands” pieces, which are presented out of order with “Islands IV” missing and “Islands Unknown” perhaps in its place, and the respective side A/B finales “Inner Space” and “Prospects Quatsi” standing apart. Both bring to bear a style ultimately consistent with the melancholy so rife throughout Islands / Öar as a whole, but they’re obviously intended as outliers, and so they seem to be. The LP release follows a couple shorter outings, issued over the past six-plus years, and it’s clear from the depths and range on display here in the build-to-crescendo of “Inner Space” alone that Svarta Stugan haven’t misspent their time in their progression to this point.

Svarta Stugan on Thee Facebooks

Svarta Stugan on Bandcamp

 

Bast, Nanoångström

bast nanoangstrom

Largesse of scope and largesse of tone work in tandem on Bast‘s Nanoångström full-length on Black Bow, as they bring together aspects of post-metallic churn and more extreme metal methods to hone a style highly individualized, highly weighted and as much cosmic as it is crushing. Through six tracks and 57 minutes, the London trio (plus two guest spots from Chris Naughton of Winterfylleth) careen and crash and set an atmosphere of chaos without actually being chaotic, their progressive craft working to tie the songs together into a larger impression of the work as a consuming entirety. It’s the kind of record you pick up and still hear new things in by the time they put out their next one. Production from Chris Fielding at Skyhammer Studio only helps creates the heights and depths of their dynamic, and whether they’re rolling out the severity of closer “The Ghosts Which Haunt the Space Between the Stars” or laying out the soundscape of “The Beckoning Void,” Bast shape the tenets of genre to suit their needs rather than try to work within the barriers of any particular style. Nanoångström is all the more complex and satisfying for their efforts in that regard.

Bast on Thee Facebooks

Black Bow Records webstore

 

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