Bison Machine Announce Seas of Titan Due Sept. 27; New Song Streaming

Posted in Whathaveyou on July 19th, 2019 by JJ Koczan

Even if you go by when the album came out on Kozmik Artifactz, it’s been four years since Bison Machine released their debut LP, Hoarfrost (review here), and that’s plenty long enough. They’ve done copious touring over the course of their near-decade together, and had other offerings out along the way, but if you believe in due, they’re due for a record. Fortunately, Seas of Titan will see release through Small Stone on Sept. 27 as their sophomore full-length, arriving not a moment too soon as far as I’m concerned. The album art pretty much rules, and I’ve been seeing posts on thee social medias about their widely available new t-shirt designs, so all that makes me think they’ll continue to hit the road as they have all along, and that’s only a good thing. They’re streaming the opening track from Seas of Titan now. I suggest you dig in.

PR wire info follows. I know I worked on this bio, but I think it was an update from what was already there rather than something I wrote from scratch. Kind of hard to keep it all straight in my head.

Either way, here it is:

bison machine seas of titan

BISON MACHINE: Michigan Fuzz Rockers To Release Seas Of Titan Full-Length Via Small Stone This Fall; New Track Streaming + Preorders Available

Michigan fuzz rockers BISON MACHINE will release their Seas Of Titan full-length via Small Stone this fall.

Since 2010, BISON MACHINE has been plying their trade in the dank, vinyl-smelling basements of Detroit, Michigan, the birthplace of a rock tradition for brashness and all-in physicality to music that the group lovingly upholds. Seas Of Titan is the band’s first album for Small Stone and a record years in the making. Since getting their start in early 2015 with the critically-lauded Hoarfrost, the four-piece have spent time putting out material in drips and drabs — a video here, a split there — all the while honing their craft on stages throughout the greater Midwest and beyond. This has all been in the name of chipping away at the marble that would become an awaited sophomore outing; a long-player from a band whose reputation already precedes them among the converted and who leave nothing unsaid in their sweating-blood approach to rock and roll.

Progressive and intense, the eight smoking tracks that comprise Seas Of Titan finds BISON MACHINE melding the best of classic heavy rock a la Led Zeppelin, Black Sabbath, Captain Beyond, and MC5 with a forward-thinking style that is as much class as it is likely to show up in a loincloth. Rooted now in Hamtramck, Michigan, the band are hungry to the point of starving and bring a spirit to their latest work that serves to remind why they made guitars electric in the first place. Seas Of Titan was recorded by Al Sutton (Five Horse Johnson, Don Cabellero) and Steve Lehane (Sasquatch, Luder, The Black Dahlia Murder) at Rustbelt Studios, mastered by Chris Goosman (La Chinga, Gozu, Acid King, The Glasspack) at Baseline Audio Labs and features artwork by Alan Forbes (The Black Crowes, Lucifer, Earthless, Ghost). 

BISON MACHINE’s Seas Of Titan will be released September 27th on CD and digitally via Small Stone. A limited-edition vinyl edition will also be released through Kozmik Artifacts in conjunction with Small Stone. Preorders are available at the label’s Bandcamp page at THIS LOCATION where first single, “The Tower,” can be streamed.

Seas Of Titan Track Listing:
1. The Tower
2. Knights Of The Stars
3. Cloak & Bones
4. Echoes In Space
5. Seas Of Titan
6. Star Child
7. Electric Eliminator
8. A Distant Sun

BISON MACHINE:
Casey O’ryan – guitar
Anthony Franchina – bass, moog
Breck Crandell – drums, percussion
Tom Stec – vocals

https://www.facebook.com/bisonmachinedetroit
https://www.instagram.com/bisonmachine/
https://bisonmachine.bandcamp.com/
http://www.smallstone.com
http://www.facebook.com/smallstonerecords
http://www.smallstone.bandcamp.com

Bison Machine, Seas of Titan (2019)

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Quarterly Review: Pelican, Swan Valley Heights, Mark Deutrom, Greenbeard, Mount Soma, Nibiru, Cable, Reino Ermitaño, Cardinals Folly & Lucifer’s Fall, Temple of the Fuzz Witch

Posted in Reviews on July 8th, 2019 by JJ Koczan

quarterly-review

More computer bullshit this morning. I lost about 45 minutes because my graphics driver and Windows 10 apparently hate each other and before I could disable the former, the machine decided the best it could do for me was to load a blank screen. Hard to find the Pelican record on my desktop when I can’t see my desktop. The Patient Mrs. woke up while I was trying to fix it and suggested HDMIing it to the tv. When I did that, it didn’t project as was hoped, but the display came on — because go figure — and I was able to shut off the driver, the only real advantage of which is it lets me use the night light feature so it’s easier on my eyes. That’s nice, but I’d rather have the laptop function. Not really working on a level of “give me soft red light or give me death!” at this point. I may yet get there in my life.

Today’s the last day of this beast, wrapping up the last of the 60 reviews, and I’m already in the hole for the better part of an hour thanks to this technical issue, the second of the week. Been an adventure, this one. Let’s close it out.

Quarterly Review #51-60:

Pelican, Nighttime Stories

pelican nighttime stories

Split into two LPs each with its own three-minute mood-setter — those being “WST” and “It Stared at Me,” respectively — Pelican‘s Nighttime Stories (on Southern Lord) carries the foreboding sensibility of its title into an aggressive push throughout the album, which deals from the outset with the pain of loss. The lead single “Midnight and Mescaline” represents this well in directly following “WST,” with shades of more extreme sounds in the sharp-turning guitar interplay and tense drums, but it carries through the blastbeats of “Abyssal Plain” and the bombastic crashes of presumed side B closer “Cold Hope” as well, which flow via a last tonal wash toward the melancholy “It Stared at Me” and the even-more-aggro title-track, the consuming “Arteries of Blacktop” and the eight-minute “Full Moon, Black Water,” which offers a build of maddening chug — a Pelican hallmark — before resolving in melodic serenity, moving, perhaps, forward with and through its grief. It’s been six years since Pelican‘s last LP, Forever Becoming (review here), and they’ve responded to that time differential with the hardest-hitting record they’ve ever done.

Pelican on Thee Facebooks

Southern Lord Recordings website

 

Swan Valley Heights, The Heavy Seed

swan valley heights the heavy seed

Though the peaceful beginning of 13-minute opener and longest track (immediate points) “The Heavy Seed,” for which the five-song album is named, reminds of Swan Valley Heights‘ Munich compatriots in Colour Haze, the ultimate impression the band make on their Fuzzorama Records debut and second album overall behind a 2016 self-titled (review here) is more varied in its execution, with cuts like “Vaporizer Woman” and the centerpiece “Take a Swim in God’s Washing Machine” manifesting ebbs and flows and rolling out a fuzzy largesse to lead into dream-toned ethereality and layered vocals that immediately call to mind Elephant Tree. There’s a propensity for jamming, but they’re not a jam band, and seem always to have a direction in mind. That’s true even on the three-minute instrumental “My First Knife Fight,” which unfurls around a nod riff and simple drum progression to bridge into closer “Teeth and Waves,” a bookend to The Heavy Seed‘s title-track that revives that initial grace and uses it as a stepping stone for the crunch to come. It’s a balance that works and should be well received.

Swan Valley Heights on Thee Facebooks

Fuzzorama Records on Bandcamp

 

Mark Deutrom, The Blue Bird

Mark Deutrom The Blue Bird

Released in the wee hours of 2019, Mark Deutrom‘s The Blue Bird marks the first new solo release from the prolific Austin-based songwriter/producer/multi-instrumentalist through Season of Mist, and it’s a 50-minute run of genre-spanning outsider art, bringing ’70s folk vibes to the weepy guitar echoes of “Radiant Gravity” right before “O Ye of Little Faith” dooms out for six of its seven minutes and “Our Revels Now Are Ended” basks in 77 seconds of experimentalist winding guitar. It goes like that. Vocals are intermittent enough to not necessarily be expected, but not entirely absent through the midsection of “Hell is a City,” “Somnambulist” and “Maximum Hemingway,” and if there’s traditionalism at play anywhere, it might be in “They Have Won” and “The Happiness Machine,” which, toward the back end of the album, bring a sax-laden melancholy vibe and a straightforward heavy rock feel, respectively, ahead of the closer “Nothing out There,” which ties them together, somehow accounting for the 1:34 “On Fathers Day” as well in its sweetness. Don’t go into The Blue Bird asking it to make sense on any level other than its own and you should be fine. It’s not a minor undertaking at 50 minutes, and not without its indulgences, but even the briefest of pieces helps develop the character of the whole, which of course is essential to any good story.

Mark Deutrom website

Season of Mist website

 

Greenbeard, Onward, Pillager

greenbeard onward pillager

Austin bringers of hard-boogie Greenbeard reportedly issued the three-song Onward, Pillager as a precursor to their next full-length — even the name hints toward it being something of a stopgap — but its tracks stand well on their own, whether it’s the keyboard-laced “Contact High II,” which is presumably a sequel to another track on the forthcoming record, or the chunkier roll of “WCCQ” and the catchy finisher “Kill to Love Yourself,” with its overlaid guitar solo adding to a dramatic ending. It hasn’t been that long since 2017’s Lödarödböl (review here), but clearly these guys are committed to moving forward in neo-stoner rock fashion, and their emergence as songwriters is highlighted particularly throughout “WCCQ” and “Kill to Love Yourself,” while “Contact High II” is more of an intro or a would-be interlude on the full-length. It may only be pieces of a larger, to-be-revealed picture, but Onward, Pillager shows three different sides of what Greenbeard have on offer, and the promise of more to come is one that will hopefully be kept sooner rather than later.

Greenbeard on Thee Facebooks

Sailor Records on Bandcamp

 

Mount Soma, Nirodha

mount_soma_nirodha

Each of the three songs on Mount Soma‘s densely-weighted, live-recorded self-released Nirodha EP makes some mention of suffering in its lyrics, and indeed, that seems to be the theme drawing together “Dark Sun Destroyer” (7:40), “Emerge the Wolf” (5:50) and “Resurfacing” (9:14): a quest for transcendence perhaps in part due to the volume of the music and the act itself of creating it. Whatever gets them there, the trajectory of Nirodha is such that by the time they hit into the YOB-style galloping toward the end of “Resurfacing,” the gruff shouts of “rebirth!” feel more celebratory than ambitious. Based in Dublin, the four-piece bring a fair sense of space to their otherwise crush-minded approach, and though the EP is rough — it is their second short release following 2016’s Origins — they seem to have found a way to tie together outer and inner cosmos with an earthbound sense of gravity and heft, and with the more intense shove of “Emerge the Wolf” between the two longer tracks, they prove themselves capable of bringing a noisy charge amid all that roar and crash. They did the first EP live as well. I wonder if they’d do the same for a full-length.

Mount Soma on Thee Facebooks

Mount Soma on Bandcamp

 

Nibiru, Salbrox

nibiru salbrox

One might get lost in the unmanageable 64-minute wash of Nibiru‘s fifth full-length (first for Ritual Productions), Salbrox, but the opaque nature of the proceedings is part of the point. The Italian ritualists bring forth a chaotic depth of noise and harsh semi-spoken rasps of vocals reportedly in the Enochian language, and from 14-minute opener “EHNB” — also the longest track (immediate points) — through the morass that follows in “Exarp,” “Hcoma,” “Nanta” and so on, the album is a willful slog that challenges the listener on nearly every level. This is par for the course for Nibiru, whose last outing was 2017’s Qaal Babalon (review here), and they seem to revel in the slow-churning gruel of their distortion, turning from it only to break to minimalism in the second half of the album with “Abalpt” and “Bitom” before 13-minute closer “Rziorn” storms in like a tsunami of spiritually desolate plunge. It is vicious and difficult to hear, and again, that is exactly what it’s intended to be.

Nibiru on Thee Facebooks

Ritual Productions website

 

Cable, Take the Stairs to Hell

Cable Take the Stairs to Hell

The gift of Cable was to take typically raw Northeastern disaffection and channel it into a noise rock that wasn’t quite as post-this-or-that as Isis, but still had a cerebral edge that more primitive fare lacked. They were methodical, and 10 years after their last record, the Hartford, Connecticut, outfit return with the nine-song/30-minute Take the Stairs to Hell (on Translation Loss), which brings them back into the modern sphere with a sound that is no less relevant than it was bouncing between This Dark Reign, Hydra Head and Translation Loss between 2001 and 2004. They were underrated then and may continue to be now, but the combination of melody and bite in “Black Medicine” and the gutty crunch of “Eyes Rolled Back,” the post-Southern heavy of the title-track and the lumbering pummel of “Rivers of Old” before it remind of how much of a standout Cable was in the past, reinforcing that not only were they ahead of their time then, but that they still have plenty to offer going forward. They may continue to be underrated as they always were, but their return is significant and welcome.

Cable on Instagram

Translation Loss Records webstore

 

Reino Ermitaño, Reino Ermitaño

Reino Ermitano Reino Ermitano

Originally released in 2003, the self-titled debut from Lima, Peru’s Reino Ermitaño was a beacon and landmark in Latin American doom, with a sound derived from the genre’s traditions — Sabbath, Trouble, etc. — and melded with not only Spanish-language lyrics, but elements of South American folk and stylizations. Reissued on vinyl some 16 years later, it maintains its power through the outside-time level of its craft, sliding into that unplaceable realm of doom that could be from any point from about 1985 onward, while the melodies in the guitar of Henry Guevara and the vocals of Tania Duarte hold sway over the central groove of bassist Marcos Coifman and drummer Julio “Ñaka” Almeida. Those who were turned onto the band at the time will likely know they’ve released five LPs to-date, with the latest one from 2014, but the Necio Records version marks the first time the debut has been pressed to vinyl, and so is of extra interest apart from the standard putting-it-out-there-again reissue. Collectors and a new generation of doomers alike would be well advised on an educational level, and of course the appeal of the album itself far exceeds that.

Reino Ermitaño on Thee Facebooks

Necio Records on Bandcamp

 

Cardinals Folly & Lucifer’s Fall, Split

cardinals folly lucifers fall split

Though one hails from Helsinki, Finland, and the other from Adelaide, Australia, Cardinals Folly and Lucifer’s Fall could hardly be better suited to share the six-song Cruz Del Sur split LP that they do, which checks in at 35 minutes of trad doom riffing and dirtier fare. The former is provided by Cardinals Folly, who bring a Reverend Bizarre-style stateliness to “Spiritual North” and “Walvater Proclaimed!” before betraying their extreme metal roots on “Sworn Through Odin’s and Satan’s Blood,” while the Oz contingent throw down Saint Vitus-esque punk-born fuckall through “Die Witch Die,” the crawling “Call of the Wild” and the particularly brash and speedier “The Gates of Hell.” The uniting thread of course is homage to doom itself, but each band brings enough of their own take to complement each other without either contradicting or making one or the other of them feel redundant, and rather, the split works out to be a rampaging, deeply-drunk, pagan-feeling celebration of what doom is and how it has been internalized by each of these groups. Doom over the world? Yeah, something like that.

Cardinals Folly on Thee Facebooks

Lucifer’s Fall on Thee Facebooks

Cruz Del Sur Music website

 

Temple of the Fuzz Witch, Temple of the Fuzz Witch

Temple of the Fuzz Witch Temple of the Fuzz Witch

A strong current of Electric Wizard runs through the self-titled debut full-length from Detroit’s Temple of the Fuzz Witch (on Seeing Red Records), but even to that, the outfit led by guitarist/vocalist Noah Bruner bring a nascent measure of individuality, droning into and through “Death Hails” after opening with “Bathsheba” and ahead of unveiling a harmonized vocal on “The Glowing of Satan” that suits the low end distortion surprisingly well. They continue to offer surprises throughout, whether it’s the spaciousness of centerpiece “329” and “Infidel,” which follows, or the offsetting of minimalism and crush on “The Fuzz Witch” and the creeper noise in the ending of “Servants of the Sun,” and though there are certainly familiar elements at play, Temple of the Fuzz Witch come across with an intent to take what’s been done before and make it theirs. In that regard, they would seem to be on the right track, and in their 41 minutes, they find footing in a murky aesthetic and are able to convey a sense of songwriting without sounding heavy-handed. There’s nothing else I’d ask of their first album.

Temple of the Fuzz Witch on Thee Facebooks

Seeing Red Records on Bandcamp

 

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Friday Full-Length: Beast in the Field, World Ending

Posted in Bootleg Theater on May 31st, 2019 by JJ Koczan

Beast in the Field, World Ending (2010)

beast-in-the-field-world-ending

The greatest mistake Michigan’s Beast in the Field ever made was not having their slogan as ‘WE’RE BEAST IN THE FIELD. FUCK YOU.’ for the entirety of their career. Talk about a band on whom the entire planet basically whiffed. These guys should have been huge, should have been on whatever the last good-ass tour you saw was, should have had internet dinguses like me eating out the the palm of their hand. Instead, what’ve we got? Five albums, a split, a live record and the wind that still carries outward from that big swing and a miss on the part of everyone who should have appreciated what these two dudes were doing. We’re all complicit. Don’t try to deny it.

Beast in the Field was formed in Mount Pleasant/Midland, MI, in 2007. Guitarist Jordan Pries and drummer Jamie Jahr had played together in a band called And the Sky Went Red, and as bands like Black Cobra were at the time demonstrating just how much devastation a two-piece could really wreak, I guess they figured they had all they needed with the two of them. That would turn out to be largely true. They made their debut with 2007’s Goat Isle Seance and followed it with Lechuguilla in 2009, forming their approach around and increasing density of tone and blend of bombastic production, doomed riffing, and a strong current of noise that would come further to the fore on their later output. An early allegiance to Saw Her Ghost Records persisted throughout their tenure, as the also-Michigan-based imprint released all five of their LPs, their 2014 live outing, Astral Path to Satan’s Throne (discussed here), and a 2018 split with Hellmouth that was reportedly in the making before the band even broke up in 2016. Sometimes these things take a while.

Their first two albums are both shorter and plenty heavy, but with World EndingJahr and Pries really started to figure out who they were as a band. The record was a purposefully unmanageable 67 minutes long, and it was in noise-coated extended pieces like the eponymous “Beast in the Field” and the grueling 15:45 “Hallucinations from a Silver File,” as well as in the two nine-plus-minute cuts that followed to close out, “No Hope on Earth” and the head-smashing-into-wall “Your Gods Have Died” that they most effectively explored the dynamic between the two of them. On some level, they were a tone band. Pries‘ guitar took the fuzz aspect of stoner doom and turned it into something menacing and ferocious, lending a sense of threat to the core groove, and Jahr‘s drums, even in the rawest of production settings, were precisely the right kind of punctuation that heft needed to add punch to the assault. I won’t take away from the solo-tearing in “Burning Times” (also over nine minutes) or the more uptempo riff that leads the way into the deluge on opener “Invoke the King of Hell,” but there was just something about when Beast in the Field really dug into a longer-form track that made it all the more punishing.

And as much as punishment was clearly the intent, they didn’t neglect attention to detail in that. Even on the three-minute Sabbathian blastoff “Sermon of the Black Order,” they maintained the locked-in feel that was so prevalent when they stretched out over longer runtimes, and whether it was just a shift in the riff or a change from Jahr on drums, they had a way of making each tiny movement from one part to the next count all the more for the effect they had on the listener and on the piece itself. “Sermon of the Black Order” is a speedy and efficient summary of that, but it’s true of the entirety of World Ending as well, and to make an entirely instrumental record that’s more than an hour long where those moments still stand out is no small feat. It was what Beast in the Field were best at. On paper, there was nothing so landmark about their approach — “cool tone, bro” meets “heavy drums, bro” resulting in “cool album, dudes” — but the chemistry between the two players ran deeper and that’s what most comes to fruition on World Ending, in such a way as to make the album a standout for anyone who was willing to hear it.

It might actually be “Burning Times” that best emphasizes the point, but something else Beast in the Field seemed to be able to do at a moment’s notice was bring it all down. Not just throw in a quiet part, or cut to a standalone guitar, but to really give the impression that the song was falling apart, like, “oh shit, they’ve lost it and put it on the record anyway.” But they were never actually losing it, or at least not to such a degree that they didn’t right themselves and press on into whatever level of the abyss was next on their heading. World Ending was almost (conceptually) jazzy in that way and speaks to some measure of studio improv or happy accidents in their process, but whatever it was, it gave their material another aspect of volatility that carried through in the final result in a feedback-drenched way no less brash than the loudest of riffs surrounding on either side.

After World EndingBeast in the Field dug further into a “hail Satan” thematic with Lucifer, Bearer of Light in 2011 and, having pushed that apparently as far as they were willing to go, they switched to an earthier take on cosmic destruction with 2013’s The Sacred Above, the Sacred Below (review here), their studio swansong, and, I’ll gladly argue, apex, taking the best elements of the two prior long-players and twisting them to suit an environmentalist, anti-colonialist stance that was heightened by the visceral impact of their delivery. Beast in the Field did not fuck around. Whether you got to see them with their pyramid of cabinets behind them or you’ve never heard them before, they were a band who never, never, never got their due appreciation, and whose work seems all the more prescient in its chaos as the years pass by.

As always, I hope you enjoy. Thanks for reading.

It’s coming on 2AM in Belfast. I’ve been in Ireland all week. It’s been ups and downs. Mostly downs, if I’m honest, but that’s what meds are for.

The Slomatics guys were cool.

Okay.

Next week: packed. So packed I didn’t have room for a Roadsaw premiere, which is bullshit, but true all the same. I’m gonna be pissed about that forever, but what am I gonna do, ditch out on something I’ve committed to weeks or months in advance just because something else I dig is getting released that week? Hardly seems fair. Sucked when I got dicked over a couple weeks back, certainly.

Whatever.

We leave here tomorrow for I think Galway or Sligo, and are in each for a couple days. It’s supposed to rain, I think, forever. So that’s cool, as me and Toddler McScreamy are stuck plotzing through the latest sky-spit to wherever just because he can’t really be indoors at this point. It’s been a rough trip, on the whole. And I don’t think being on a bus all day tomorrow is going to help much either.

Did I mention “whatever?”

I did some perfunctory CD shopping in Dublin at Spin Dizzy Records. No one cares anymore. I mostly just feel sad.

This is my 11,500th post on this site. I think I’d get a cookie for that except I don’t eat cookies. “No juice for you, you just get more awful.”

Fuck it.

Great and safe weekend. Forum, radio, shirts.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

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Midas Stream Solid Gold Heavy Metal Tape in Full

Posted in audiObelisk on March 12th, 2019 by JJ Koczan

midas

Well earning their two Flying Vs, Detroit newcomer four-piece make their debut with the Solid Gold Heavy Metal tape, pressed up in an edition of 100 copies and set to release in time for the band’s first live appearance on March 23 alongside Lucifer and Spell in their Motor City hometown. The new group is born out of classic heavy rockers Bison Machine and Wild Savages, who are no strangers to each other having both participated in a split alongside SLO (review here) in 2016. Midas, though, are on a different trip, deep-diving into the NWOBHM with both guitars blazing as Casey O’Ryan and Joe Kupiec (the latter also vocals) remind all with ears that it was denim and leather that brought us together, and Anthony Franchina and Breck Crandell, bass and drums, respectively, hold together the forward charge that seems ready to hijack Iron Maiden‘s private jet and fly it to glory.

Opener “Clash of Steel” is a clarion to the converted, making natural use of the NWOBHM’s Thin Lizzy influence to affect an early-metal atmosphere will still remaining modern midas solid gold heavy metal coverin terms of production value. They’re aware of the influences they’re working under and the style toward which they’re playing, of course, but there’s nothing tongue-in-cheek about Solid Gold Heavy Metal that wasn’t tongue-in-cheek about the genre four decades ago. “Gauntlet” picks up with tales of legendary battles that, you know, may or may not be based on the video game — I’d have to see a lyric sheet to confirm — and “White Lightning” ups the Priestly groove as they lock in a somewhat more mitigated tempo, and that leads smoothly into “Blackened Blade,” which complements the proceedings fluidly and taps into an easier-rolling line of lead guitar to go with its capstone hook, “Curse this blackened blade.” There’s a fifth song, hidden — don’t tell anybody — and it’s a cover, but I’ve been politely asked not to say what it is. I’ll just say it’s a riot and it fits and leave it at that.

Imagine yourself getting the tape, dubbing copies for friends and trading with other people you got in touch with after seeing their trade lists in the back of print magazines. It’s like that. You can stream Solid Gold Heavy Metal using the player below. Have fun with it, because the good times are just getting started.

Enjoy:

Rising from the ashes of two long running Michigan rock bands, MIDAS rides forth bringing SOLID GOLD HEAVY METAL to the world! With a tip of the hat to bands like Thin Lizzy, Judas Priest, Saxon, and all the late 70s precious metal, their debut promo tape spans the spectrum but is still grounded in a continuation of the progress made during their previous tenure as separate bands. A short tour is in the works for this summer and work has already begun on a full length LP.

MIDAS makes their on-stage debut at Small’s in Detroit MI alongside Sweden’s Lucifer and Canada’s Spell on March 23rd. Copies of the tape will be available at the show and for order on the MIDAS bandcamp page. Limited to 100 copies. Surprise bonus cover track only available with purchase.

MIDAS is:
Casey O’Ryan – Lead Guitar
Joe Kupiec – Vox, Rhythm Guitar
Anthony Franchina – Bass
Breck Crandell – Drums

Photo by Bambi Guthrie.

Midas on Bandcamp

Midas on Thee Facebooks

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Against the Grain Announce Tour with Hank Von Hell for Early 2019

Posted in Whathaveyou on November 13th, 2018 by JJ Koczan

against the grain

Dudes just go and go and go. Detroit’s Against the Grain wrap up 2018 with a handful of shows alongside Gwar and Iron Reagan, and then about two weeks after the New Year hits, they’re back out with Hank Von Hell on his US tour, which should well acquaint them with any of the Turbougend set for whom they might not yet be known. That run is put together by Tone Deaf Touring and is the more newly announced of the two, but the basic story here is that Against the Grain tour like bastards. They released Cheated Death (review here) earlier this year on Ripple, and it’s basically astounding they ever manage to come off the road long enough to make an album. They tour. Like bastards. Bastards who keep good company.

Dates follow, and one assumes more will show up for 2019 after these. Maybe Europe? Maybe everywhere:

hank von hell poster

We are getting very excited for our upcoming dates with Gwar and Iron Reagan ending the year. Dates:

12/27 – The Vogue – Indy, IN
12/28 – Bogarts – Cincinnati, OH (SC opens)
12/29 – 9:30 Club – Washington DC
12/30 – North Seventh – Philly, PA
12/31 – The Norva – Norfolk, VA (no IR).

It is with great excitement we get to announce our 2019 tour as direct support for Hank Von Hell (former legendary singer of Turbonegro) for his first Us and Canadian run In years. Dates:

1/15- Atlanta, GA – The Earl
1/16- Richmond, VA – Richmond Music Hall
1/17 – Brooklyn, NY – Brooklyn Bazaar
1/18 – Philly, PA – Trocadero
1/19 – Cambridge, MA – Middle East
1/20 – Montreal, QC – Bar Leritz
1/21 – Toronto, ON – Lees Palace
1/22 – Detroit, MI – El Club
1/23 – Lombard, IL – Brauerhouse
1/24 – Minneapolis, MN – 7th Street Entry
1/25 – Kansas City, MO – The Riot Room
1/26 – Denver, CO – Oriental Theatre
1/28 – Seattle, WA – Crocodile
1/29 – Portland, OR – Dante’s
1/30 – San Francisco, CA – Bottom of the Hill
1/31 – Los Angelas – Exhoplex
2/1 – Phoenix, AZ – Rebel Lounge
2/3 – Dallas, TX – Gas Monkey
2/4 – Austin, Tx – Come and Take It Live
2/5 – Houston, TX – White Oak Music Hall
2/6 – New Orleans, LA – Santos Bar

Against The Grain:
Chris Nowak – Bass, Vocals
Rob Nowak – Drums
Nick Bellomo – Guitar
Kyle Davis – Guitar

https://www.facebook.com/Againstthegraindetroit/
https://www.instagram.com/againstthegraindetroit/
https://againstthegrain-atg.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Against the Grain, Cheated Death (2018)

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Quarterly Review: CHRCH, Bongripper, King Chiefs, Bonnacons of Doom, Boar, June Bug, Tired Lord, Bert, Zen Bison, Wheel in the Sky

Posted in Reviews on July 16th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

You know the deal by now, I’m sure: 50 reviews this week between now and Friday, in batches of 10 per day. It’s an unholy amount of music, but those who really dig in always seem to find something cool within a Quarterly Review. Frankly, with this much to choose from, I’d certainly hope so. I’m not going to delay at all, except to say thanks in advance for coming along on this one. It’s got some core-heavy and some-not-really-core-heavy stuff all bundled next to each other, so yeah, your patience is appreciated. Okay. No time like the present. Let’s do it.

Quarterly Review #1-10:

CHRCH, Light Will Consume Us All

chrch light will consume us all

Yeah, yeah, yeah, the songs are long. Blah blah blah it’s heavy as whatever kind of construction equipment you could want to name. What’s even more striking about Los Angeles doomers CHRCH’s Neurot Recordings debut, Light Will Consume Us All, is the sense of atmosphere. The follow-up to 2015’s massively well-received Unanswered Hymns (review here) is comprised of three songs presented in descending time order from opener/longest track (immediate points) “Infinite” (20:41) to centerpiece “Portals” (14:50) and closer “Aether” (9:29) and it finds CHRCH refining the unremitting patience of their rollout, so that even when “Aether” explodes in its second half to charred blastbeating and abrasive screams, the ambience is still dense enough to feel it in one’s lungs. CHRCH keep up this level of progression and soon enough someone’s going to call them post-something or other. As it stands, their second album builds righteously on the achievements of their debut, and is a revelation in its bleakness.

CHRCH on Thee Facebooks

Neurot Recordings website

 

Bongripper, Terminal

bongripper terminal

Pressed up as ever in DIY fashion, Bongripper’s Terminal presents two gargantuan slabs – one per vinyl side – that only seem to highlight the strengths in the Chicago instrumentalists’ approach. The tones are huge, the grooves nodding, the impact of each kick drum forceful. Repetition is central, that feeling of aural mass and destructiveness, but neither is Terminal – comprised of “Slow” (25:11) and “Death” (18:15) – lacking a sense of atmosphere. After 21 minutes of grueling pummel, “Slow” devolves into droning layers of noise wash and quiet guitar to finish out, and “Death” seems to hold onto an echoing lead in its closing minutes that accomplishes much the same thing in broadening the atmosphere overall. I don’t know if the two songs were composed to fit together –the titles would hint yes – but they invariably do, and as “Death” unleashes a more insistent punch before turning to a post-YOB gallop, it reconfirms Bongripper’s worship-worthy place in the stoner doom milieu, how their sound can be so familiar in its threat and yet so much their own.

Bongripper on Bandcamp

Bongripper webstore

 

King Chiefs, Blue Sonnet

King Chiefs Blue Sonnet

Born as Chiefs ahead of their 2015 debut album, Tomorrow’s Over (review here), Arizona-based four-piece King Chiefs make their own first outing in the form of the easily-digestible desert rocker Blue Sonnet (on Roosevelt Row and Cursed Tongue Records), comprised of 10 tracks running just under 40 minutes of older-school laid back heavy, swinging easy on cuts like “Surely Never” and “Drifter” while still finding some Helmeted aggressive edge in the riffs of “Slug” and “Walk the Plank.” The overarching focus is on songwriting, however, and King Chiefs hone in cleverly on ‘90s-era desert rock’s post-grunge sensibility, so that their material seems ready for an alternative radio that no longer exists. Such as it is, they do just fine without, and hooks pervade the two-guitar outfit’s material in natural and memorable fashion all the way to five-and-a-half-minute closer “Shrine of the Beholder,” which embraces some broader textures without losing the structural focus that serves so well on the songs before it.

King Chiefs on Thee Facebooks

Roosevelt Row Records website

Cursed Tongue Records website

 

Bonnacons of Doom, Bonnacons of Doom

bonnacons of doom bonnacons of doom

Heavy psychedelic experimentalism pervades the Rocket Recordings-issued self-titled debut album from Liverpool collective Bonnacons of Doom, rife with tripout ritualism and exploration of sound as it is, all chasing light and getting freaky in any sense you want to read it. Five tracks, each a voyage unto itself – even the bass-fuzzy push of shortest cut “Rhizome” (5:55) is cosmos-bound – feed into the larger weirdness at play that culminates in the undulating grooves of “Plantae” (8:39), which is perhaps the most solidified cut in terms of choruses, verses, etc., but still a molten, headphone-worthy freakout that pushes the limits of psychedelia and still holds itself together. If the album was a to-do list, it would read as follows: “Eat mushrooms. Get naked. Dance around. Repeat.” Whether you do or don’t is ultimately up to you, but Bonnacons of Doom make a pretty convincing argument in favor, and I don’t generally consider myself much of a dancer. Among the most individualized psych debuts I’ve heard in a long time.

Bonnacons of Doom on Thee Facebooks

Rocket Recordings on Bandcamp

 

Boar, Poseidon

Boar Poseidon

Poseidon, at six songs and 39 minutes, is the second long-player from Finnish four-piece Boar. Released on vinyl with no shortage of backing — Lost Pilgrims Records, Dissonant Society, Impure Muzik, S.K.O.D., Rämekuukkeli-levyt – it hurls forth a High on Fire-informed vision of noise rock on its opening title-track only to take on a slower roll in the subsequent “Shahar’s Son” and dig into massive crashing on “12.” Using echo to add a sense of depth all the while, they scream in tradeoffs à la Akimbo and boogie in “Featherless” and seem to find a post-metallic moment on “Dark Skies” before closing with the alternately brooding and scathing “Totally out of This World,” the song sort of falling apart into the feedback and noise that ends the album. There’s a persistent sense of violence happening, but it’s as much inward as outward, and though some of Boar’s most effective moments are in that rawness, there’s something to be said for the contemplation at the outset of “Shahar’s Son” and “12” as well.

Boar on Thee Facebooks

Boar on Bandcamp

 

June Bug, A Thousand Days

June bug A Thousand Days

Seemingly unrestrained by genre, the Lille, France-based duo June BugJune on vocals and multiple instruments and Beryl on backing vocals and multiple instruments – dig into some post-punk nudge on early cut “Reasons” from their debut album, A Thousand Days (Atypeek Music) after the folkish melodies of opener “Now,” but whether it’s the fuzzy indie vibes of “Freaks” or the harmonies, electronics and acoustic guitar of “Let it Rest,” or the keyboard-handclaps, lower tones and poppish instrumental hook of centerpiece “Mama,” there’s plenty of variety throughout. What ties the differing vibes and richly nuanced approach together is the vocals, which are mostly subdued and at times hyper-stylized, but never seem to fail to keep melodicism as their central operating method. That remains true on the subdued “Does it Matter” and the beat-laden “Silenced” at the album’s finish and brings everything together with an overarching sense of joy that holds firm despite shifts in mood and approach, making the complete front-to-back listen as satisfying as it might seem all over the place.

June Bug on Thee Facebooks

Atypeek Music website

 

Tired Lord, Demo

tired lord demo

Released by the band last year, the four-song Demo by San Francisco outfit Tired Lord has been picked up for an official cassette issue through From Corners Unknown Records and will reportedly be the only release from the black metal/sludge genre-benders. Presumably that means they broke up, rather than just refuse to ever record again, though the latter possibility intrigues as well and would be meta-black metal. Spearheaded by guitarist Bryce Olson, Tired Lord effectively bring a thickness of tone to charred riffing, and a balance between screams and growls brings a cast of general extremity to the material. So I guess this is the part where I’m supposed to regret their dissolution and wish they’d do a proper release. Fair enough for the brutal chug in “Serpent’s Ascent” and the 7:51 closer “Astaroth,” which one wouldn’t mind hearing fleshed out from their current form. Failing that, one of the 30 tape copies pressed of Demo seems like decent consolation. At least while they’re there for the getting and before Tired Lord go gleefully into that black metal demo tape ether where so many seem to dwell.

From Corners Unknown Records on Thee Facebooks

From Corners Unknown Records website

 

BerT, Relics from Time Zero

bert relics from time zero

Lansing, Michigan, trio BerT – bassist Phil Clark and brothers Ryan (guitar) and Rael (drums) Andrews – broke up. They even put out a posthumous rare tracks release in 2017’s The Lost Toes (review here), so what’s left? Well, another album, of course. Intended as a sequel to the sci-fi narrative of the never-released long-player Return to the Electric Church, the five-track/35-minute Relics from Time Zero is unfinished, sans vocals where they might otherwise be, and basically a look at what might’ve been had the band not dissolved. For those prior-exposed to the once-prolific heavy rock bizarros, some of the proceedings will seem familiar: riffs are plentiful and fluid in their tempo changes from driving rock to droned-out stomp, and there seems to be about 1.5 of them in the four-minute “In the Cave of the Batqueen,” so but for the fact that it’s not done, I’d just about call it business as usual for BerT. I know they’re done and all, but I still wouldn’t mind hearing these songs with some lyrics, let alone the record this one was intended to follow-up. Either way, even defunct, BerT remain on their own wavelength.

BerT on Thee Facebooks

BerT on Bandcamp

 

Zen Bison, Krautrocker

zen bison krautrocker

Classic-style heavy rock riffing pervades opener “Blow My Mind” (5:47) and the subsequent “Backseat Lovers” (5:15) – somewhere between Stubb and Radio Moscow — on Zen Bison’s debut LP, Krautrocker, but as the five-track/42-minute self-release moves into the 11-minute title-track, guitarist/vocalist Philipp Ott, bassist Steffen Fischer and drummer Martin Konopka – joined by organist Hans Kirschner and percussionist Bobby Müller –move into deeper-grooving and more psychedelic fare. That turn suits the mostly-live-recorded outfit well on the longer instrumental piece, and that leads to a side B with the likewise-sans-vocals “La Madrugada” (9:56) and the closing cover of Don Nix’s blues rocker “Going Down” (10:24), jammed out at the end in its middle and end with quick return to the chorus between. There isn’t much on Krautrocker one might actually consider krautrock in the traditional sense, but there’s certainly plenty of rock to go around on the impressive and varied first offering from the Rostock trio.

Zen Bison on Thee Facebooks

Zen Bison on Bandcamp

 

Wheel in the Sky, Beyond the Pale

wheel in the sky beyond the pale

From opener “Rivers of Dust” onward, Wheel in the Sky’s second album, Beyond the Pale (on The Sign Records), proffers classy and classic digs, informed by a heavy ‘70s uptempo spirit on its title-track and moving into more complex volume and arrangement shifts in “Burn Babylon Burn” (video premiere here) and a poppy, goth-informed hook on “The Only Dead Girl in the City,” all the while held together through a quality of songwriting that even the band’s 2015 debut, Heading for the Night (review here), seemed to hint toward. It’s a mover, to be sure, but Wheel in the Sky execute their material with poise and a sense of clear intention, and no matter where they seem to go, their tonality and natural production assures the listener has an easy time tagging along. Might be a sleeper for some, but there are going to be people who really, really dig this album, and I’ve got no argument with them.

Wheel in the Sky on Thee Facebooks

The Sign Records website

 

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Quarterly Review: The Atlas Moth, Across Tundras, The Wizards of Delight, Against the Grain, Our Solar System, Dommengang, Boss Keloid, Holy Smoke, Sabel, Blackwater Prophet

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

Quarterly-Review-Spring-2018

This is a crucial moment in any Quarterly Review. Today we hit the halfway point one way or the other. I still haven’t decided if this will be a 50- or 60-album edition; kind of playing it by ear, but either way, today’s a landmark in my mind in terms of how far to go vs. how far we’ve come. Uphill vs. downhill to some extent, but I don’t want to give the impression that I’m either half-assing it from here on out or that I don’t enjoy the challenge of reviewing 10 records in a day, one after the next, for (at least) five days in a row. I’ve always been a glutton for a bit of self-flagellation. Ha.

Alright, let’s dive in.

Quarterly Review #21-30:

The Atlas Moth, Coma Noir

the atlas moth coma noir

If one still wants to consider Chicago’s The Atlas Moth post-metal after hearing Coma Noir, at least do them the courtesy of emphasizing the “metal” part of that equation. For their debut on Prosthetic Records and fourth full-length overall, the five-piece worked with producer Sanford Parker to solidify a progressive metal sound that, whether in the harsh and weighted impact of the opening title-track or the later interplay between guitarists Stavros Giannopoulos and David Kush on screams and cleaner vocals in “Furious Gold,” seems to take cues from groups like a less manic Strapping Young Lad and a less watered-down Mastodon more than Isis or Neurosis. With prominent synth from Andrew Ragin (also guitar), and the solid roll from the rhythm section of bassist Alex Klein and drummer Mike Miczek, the band brings revitalized edge to “The Streets of Bombay,” and even on the slower, more atmospheric closer “Chloroform,” they’ve never sounded more lethal. It suits them.

The Atlas Moth on Thee Facebooks

Prosthetic Records webstore

 

Across Tundras, Tumbleweeds III

across tundras tumbleweeds iii

A collection of odds and ends from Across Tundras, the 10-track/52-minute Tumbleweeds III may or may not sate anyone hoping for a follow-up to 2013’s Electric Relics (review here), but it provides some curio fodder along the way to be sure, from raw opener “Final Breath over Venom Falls” to the acoustic-percussion jam “Bullet in the Butt” to the fuller roll of “Cold Ride” and later demos for “Spinning Through the Cosmic Dust,” “Hijo del Desierto,” “Stone Crazy Horse” and “The Stacked Plain,” which later became “Seasick Serenade” on Electric Relics, it’s at very least something for fans to dig into and a fascinating listen, as Across Tundras’ rambling sound is almost eerily suited to a home-recording vibe, as the “Stone Crazy Horse” demo, featuring vocalist Shannon Allie-Murphy along with frontman Tanner Olson, sounds all the more folksome as a result of its lack of production polish. Closing with Bob Dylan’s “The Ballad of Hollis Brown,” then, could hardly be more appropriate. Still waiting for a proper long-player to surface, but happy at this point to take what comes.

Across Tundras on Thee Facebooks

Across Tundras on Bandcamp

 

The Wizards of Delight, The Wizards of Delight

the wizards of delight the wizards of delight

Like a chicanery-laced dusty vinyl with a naked lady on the cover, The Wizards of Delight emerge from the London underground to solidly declare “We’ve got the rock ‘n’ rollz.” And yes, they spell it with a ‘z.’ The presence of frontman Andreas “Mazzereth” Maslen will be familiar to anyone who ever even briefly encountered Groan – dude makes an impression, to be sure – and the four tracks he and the surrounding five-piece of guitarists/backing vocalists Dan Green’s Myth and Lenny Ray, bassist/backing vocalist Eponymous, organist/backing vocalist Henry and drummer Reece bring is both funky and classically heavy, “Gypsy” referencing Dio Sabbath in the first line while “Mountain Woman” brings a heavy ‘70s shuffle to answer the way-un-P.C. “Shogun Messiah,” which seems to be working under the thesis that because it sounds like it’s from 40 years ago, they can get away with it. I’ll give them that the track is, to an unfortunate degree, catchy. As to the rest, give me the groove of “We Got the Rock ‘n’ Rollz” any day. It’s been a while since anyone so brazenly interpreted Mk. II Deep Purple and actually pulled it off.

The Wizards of Delight on Thee Facebooks

APF Records website

 

Against the Grain, Cheated Death

against the grain cheated death

Hard-touring Detroit heavy rockers Against the Grain are known for speed, and rightly so. When they burst into high gear, as on “Sacrifice,” “No Sleep,” “Last Chance,” “Rolling Stone,” “Enough’s Not Enough,” and “Jaded and Faded” from their latest offering and Ripple Music debut, Cheated Death. The follow-up to 2015’s Road Warriors (review here) sees them no less infectious in their live energy, but it’s hard to ignore the more versatile approach that seems to be growing in their sound, from the classic rocking “Smoke” to the near-centerpiece “Devils and Angels” which ballads-out its boozy regrets before entering into an effective mid-paced build that rounds out in choice dual-soloing. Likewise, though they open at a good clip with the title-track, closer “Into the Light” finds a middle ground between thrust and groove. The truth is Against the Grain have never been just about speed, but they’ve never so directly benefited from a dynamic approach as they do on Cheated Death either.

Against the Grain on Thee Facebooks

Ripple Music on Bandcamp

 

Our Solar System, Origins

our solar system origins

Immediate kudos to Stockholm-based psychedelic progressive explorers Our Solar System – aka Vårt Solsystem – for opening their third full-length for Beyond Beyond is Beyond, the five-track/41-minute Origins, with the side-consuming 21-minute “Vulkanen.” One could hardly ask for more effective immersion in the band’s world of patiently unfurled, languid psychedelia, and with the accompaniment of “Babalon Rising,” the jazz-prog tracklist centerpiece “En Bit Av Det Tredje Klotet,” the birdsong-laced “Naturligt Samspel” and the semi-freaked-out melodic wash of “Monte Verita” on side B, a full, rich, and mind-expanding cosmos is engaged, free of restriction even as it remains thoroughly lysergic, and adherent to no structural will so much as the will to adventure into the unknown, to find out where one progression leads. As regards the long- and short-form material on Origins, it leads far, far out, and if you don’t come out the other side wanting to own everything the band has ever released, you’re decidedly in the wrong.

Our Solar System on Thee Facebooks

Beyond Beyond is Beyond website

 

Dommengang, Love Jail

dommengang love jail

Once calling Brooklyn Home, Los Angeles trio Dommengang waste no time in getting down to the business of boogie on their second album for Thrill Jockey, Love Jail. Produced by Tim Green (The Fucking Champs), the 10-track/50-minute long-player has all the room for organ/guitar mashups, righteous West Coast vibes and easy-flowing classic heavy rock one could hope for, and in the opening salvo of “Pastel City,” “Lovely Place” and “Lone Pine,” the three-piece of guitarist Dan “Sig” Wilson, bassist Brian Markham, and drummer Adam Bulgasem reaffirm mellow bluesiness as well on the title-track and dig into ‘90s-style alt bliss on the penultimate “Color out of Space.” There’s a welcoming air throughout that holds steady regardless of tempo, and in heavier moments like the second half of “I’m out Mine,” the band resonates with fuzz and noisy elements that bring just enough danger to the proceedings to keep the listener riveted. Classy, but not too classy, in other words.

Dommengang on Thee Facebooks

Thrill Jockey Records website

 

Boss Keloid, Melted on the Inch

boss keloid melted on the inch

It would seem that Wigan, UK, outfit Boss Keloid — newly signed to Holy Roar Records for the release of their third LP, Melted on the Inch – internalized a few crucial lessons from their sophomore outing, 2016’s Herb Your Enthusiasm (review here). At six tracks and 40 minutes, Melted on the Inch is about 20 minutes shorter than its predecessor. Its title isn’t a weed pun. Its cover art conveys a work of dimensionality, and most importantly, the album itself turns to be precisely that. Taking a significant step toward a more progressive sound, Boss Keloid maintain the heft of their prior outing but base it around material that, frankly, is more complex and dynamic. I won’t say that “Tarku Shavel” and “Lokannok” are without their elements of self-indulgence, but neither should they be for the five-piece to do justice to the multifaceted nature of their purpose. They still roar when they want to, but Boss Keloid strike with breadth on Melted on the Inch as well as sheer impact.

Boss Keloid on Thee Facebooks

Holy Roar Records website

 

Holy Smoke, Pipe Dream

holy smoke pipe dream

After forming in 2015, Philadelphia’s exclamatory Holy Smoke! issued their first three-track release, It’s a Demo! (review here) the next year and showed marked stylistic promise in cuts like “Rinse and Repeat” and “Blue Dreams.” Both of those tracks, as it happens, stand at the opening of the band’s latest EP, the five-song Pipe Dream, and reaffirm the potential in the group. The opener (also the longest track once again; immediate points) is a tale of workaday redundancy, the very sort of monotony that the rest of the offering seems to leave behind in favor of post-grunge heavy rock, marked by the wah-bass on finale “Asch Backwards” and the brooding sensibility of the prior “Golden Retriever,” which surges in its midsection like a lost Alice in Chains demo only to end quiet once again, a departure from the linearity of centerpiece “Missing the Mark” just before. Less psychedelic than their initial impression conveyed, they seem to have undertaken the work of crafting their own sonic niche in Philly’s increasingly crowded scene, and there’s nothing on Pipe Dream to make one think it’s not a realistic possibility they’ll get there.

Holy Smoke on Thee Facebooks

Holy Smoke on Bandcamp

 

Sabel, Re-Generation

sabel re-generation

Sabel know what they want to be and then are that thing. Their third album, Re-Generation, arrives via Oak Island Records as six tracks of to-the-converted stonerism, and from opener/longest track (immediate points) “In the Walls of Eryx,” the Swedish trio do little more than ask their listeners to smell the smoke emanating from their speaker cabinets (oddly sweet), and hone walls of fuzz that each seem to be bigger than the last. There are some elements of earliest Electric Wizard at play in “Atlantean” or the sneering “Voodoo Woman,” but belters like “Interstellar Minddweller” and “Green Priestess” stave off their sounding overly derivative, and though at the end of Re-Generation’s 42-minute run, one might feel as though they need a shower, the record itself proves well worth the dive into the muck. The band would seem to have carved their own descriptor with the title of their self-released 2015 LP, Hard Doom, and that’s as good as anything I could come up with, so let’s roll with it. They seem to.

Sabel on Thee Facebooks

Oak Island Records on Thee Facebooks

 

Blackwater Prophet, As I Watch it Freeze

blackwater prophet as i watch it freeze

Cheers to Christian Peters of Samsara Blues Experiment for putting me onto Spokane, Washington’s Blackwater Prophet, who with the seven-track As I Watch it Freeze collect various tracks recorded between 2015 and 2017. Thus something of a compilation, the 40-minute outing wants nothing for overarching flow, “In My Passing Time” leading off with a mellow psych-blues spirit that only grows more classic-feeling through “House of Stone” and the gorgeously pastoral “The Swamp.” The band have two proper full-lengths out, and if they wanted to count As I Watch it Freeze as their third, I don’t think they’d find much argument, as centerpiece “Gold in the Palm” opens like a gateway leading to the increasingly resonant “Careworn Crow,” the fuzzy swing of “Eating the Sun” and finally, the title-track itself, which answers the acoustics of “The Swamp” earlier while adding flourish of volume-swelling and swirling electric guitar and late choral vocals that only make the proceedings seem all the more complete in their engagement.

Blackwater Prophet on Thee Facebooks

Blackwater Prophet on Bandcamp

 

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Against the Grain Release Cheated Death Feb. 9; New Song Streaming

Posted in Whathaveyou on January 22nd, 2018 by JJ Koczan

against the grain

Should you be surprised when the new track Against the Grain are streaming tears ass out of your speakers like it just robbed the place? No, probably not. At least not if you heard 2015’s Road Warriors (review here) or have gotten down the with Detroit four-piece’s speed-minded fare before. What is distinct about the title-cut from their upcoming long-player, Cheated Death — out Feb. 9 on Ripple — is the underlying groove that accompanies that head-spinning presentation. Over time, Against the Grain have worked both on the road and in the studio to build a steady foundation of quality songwriting for their blazing craft, and it would seem those efforts are continuing to pay off.

You can stream “Cheated Death” at the bottom of this post because, you know, the future, and check out the wide swath of touring Against the Grain will be doing to support the record. That’s kind of their thing. Can pretty much guarantee this won’t be the last run they do this year, either. They go and go and go. And fast.

From the PR wire:

Against the Grain Cheated Death

AGAINST THE GRAIN: Motor City Mad Men Cheat Death Next Month with Ripple Music

Cheated Death is released worldwide on 9th February 2018 on Ripple Music

Living up to the title of their newest record, Against the Grain have proven themselves to be true road warriors. Blazing a trail across the US with their brand of gear-shifting, balls-to-the-wall rock, incorporating all things heavy they practically defy categorization, seamlessly blurring the lines of punk, rock, doom and thrash.

After playing fifty shows in 2009 across their home state of Michigan, their self-titled debut (released that same year) garnered a serious local fan base. Introduced to touring life by Hellmouth and The Meatmen, with their intense live show nailed and energized fan base following in support close behind, Against The Grain quickly transformed into a fully-functioning road act.

Playing seventy-five dates in 2011, they followed their debut with 2012’s Motor City Speed Rock and a further hundred fifty dates in support. Their efforts caught the attention of Self-Destructo Records, who in 2013 released their third full-length Surrounded By Snakes to such acclaim that they rereleased it soon afterward on 10” vinyl. Maintaining a DIY tour ethic, the band has since built a national fan base while quenching their thirst for fast and heavy rock and roll, right across the land. With a combined total of seven hundred and fifty dates under their belts since their formation in 2011, the band has toured alongside an impressive assemblage of notable acts that include Nashville Pussy, Valient Thorr, Bongzilla, Atomic Bitchwax, Mos Generator, Anvil, Night Demon, Church of Misery, The Hookers, Beast in the Field, Lo-Pan and many more.

Against The Grain’s heavily anticipated forth full-length, Road Warriors, was released in the summer of 2015 and pushed them even further into the electrifying realms of rock, metal and punk world. But it’s their soon-to-be released album Cheated Death that’s going to truly push them over the edge. Released this February on the California-based record label Ripple Music – widely regarded as one of the world’s leading record labels for Heavy Rock, Stoner, Doom and Heavy Psych – you can rest assured that the mad men of Michigan are going to blaze a trial across the US, the world and your mind in 2018.

Cheated Death is released worldwide on 9th February 2018 on Ripple Music

Against The Grain:
Chris Nowak – Bass, Vocals
Rob Nowak – Drums
Nick Bellomo – Guitar
Kyle Davis – Guitar
2018 Tour Dates:

2/2 – Saginaw (MI) – Hamilton St. Pub
2/3 – Indianapolis (IN) – The Melody Inn
2/4 – Grand Rapids (MI) – Tip Top Deluxe (Matinee)
3/22 – Westland (MI) – The Token Lounge
3/23 – Newport (KY) – The Southgate House Revival
3/24 – Nashville (TN) – Exit/In
3/25 – Lexington (KY) – Cosmic Charlies
3/26 – Louisville (KY) – Highlands Tap Room
3/27 – St Louis (MO) – FUBAR
3/28 – Springfield (MO) – Outland Ballroom
3/29 – Wichita (KS) – The Elbow Room
3/30 – Denver (CO) – The Gothic Theatre
3/31 – Grand Junction (CO) – The Mesa Theatre
4/1 – Salt Lake City (UT) – Metro Music Hall
4/3 – Las Vegas (NV) – The Divebar
4/4 – San Diego (CA) – The Soda Bar
4/5 – Santa Ana (CA) – The Observatory
4/6 – Bakersfield (CA) – Pyrenees Cafe and Saloon
4/7 – San Jose (CA) – The Ritz
4/8 – Santa Cruz (CA) – The Catalyst
4/10 – Sacramento (CA) – The Blue Lamp
4/12 – Grants Pass (OR) – Rogue Theatre
4/13 – Portland (OR) – Dantes
4/14 – Seattle (WA) – El Corazon
4/15 – Spokane (WA) – The Pin!
4/16 – Whitefish (MT) – Remington Bar and Casino
4/17 – Bozeman (MT) – Bozeman Eagles Club and Ballroom
4/18 – Billings (MT) – The Pub Station
4/20 – Minneapolis (MN) – Lees Liquor Lounge
4/21 – Green Bay (WI) – The Lyric Room
4/22 – Chicago (IL) – Reggies Rock Club

https://www.facebook.com/Againstthegraindetroit/
https://www.instagram.com/againstthegraindetroit/
https://againstthegrain-atg.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

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