Posted in Whathaveyou on December 8th, 2015 by JJ Koczan
Hamburg’s H42 Records has kept itself pretty busy since the 2013 release of The Flying Eyes‘ and Golden Animals‘ split single (streamed here), and the imprint will take a moment to celebrate its accomplishments as it pushes past the three-year mark next month with a new compilation called Home of the Deer Vol. I. The name of course implies it’s a series with more to come, but either way, the 16 included tracks showcase some of the killer material past, present and future in which H42 has been involved with releasing.
Nothing like starting off with some Mos Generator, and from an acoustic track from Kadavar-offshoot The Loranes to previously unreleased cuts from Mangoo, Daily Thompson, Molior Superum and others, there is much to dig into from there. Release announcement and track info follow, as seen on the PR wire:
H42 Records CD LABEL SAMPLER ,Home Of The Deer – Vol. I’ sees the light of day before X-Mas!
On 22 January 2016 the Hamburg based Label H42 Records is celebrating its third anniversary. Among other things, this will be celebrated with the Promo Label Sampler ‘Home Of The Deer Vol. 1’. From the 14th December, all songs will be streamed for two days till January 22th 2016 on the Bandcamp page (https://h42records.bandcamp.com/album/the-roaring-deer-vol-one-h42-025) of the label. Among them are well-known songs from H42 Records releases such as ‘Raise Hell’ by The Flying Eyes from H42 Records first output in 2013, but also new previously unreleased tracks as ‘The Awakening’ by Mos Generator or the brand new track ‘Supernova Remnant’ of Molior Superum. Best of all, Everyone who stocks up with vinyl from the H42 Records shop (www.h42records.8merch.com), get one of these limited promo CDs for FREE. Do not forget only available while stock lasts.
Tracklist: 01 Mos Generator – The Awakening (Reference Mix) Previously unreleased – recorded at HeavyHead Recordings 2015 02 Sons Of Alpha Centauri – 27 originally released 2012 on Bro Fidelity Split 12“-Vinyl 03 Lord Of Giant – Dust Demon taken from H42-Records release H42-006 ‚Dust Demon/Woman 7“ 04 Mangoo – Hooks (Live) previously unreleased live recording – Live at VR Studios 10.04.2012 Åbo, Finnland 05 Daily Thompson – Lo-Fi previously unreleased – recorded at MountHoven Studios Dortmund 2015 06 The Loranes – Hey You Said (Acoustic Version) previously unreleased acoustic version originally from ‚Trust‘ 2015 – recorded November 2015 07 Molior Superum – Supernova Remnant previously unreleased – recorded 2015 08 The Flying Eyes – Raise Hell taken from H42-Records release H42-001 Split with Golden Animals 7“ 09 Enos – Devil Makes Work (Live) taken from DVD ‚Live at East Slope‘ – recorded 20.04.2013 10 Dean Allen Foyd –Devil’s Path taken from H42-Records release H42-007 ‚Sunshine Song‘ 7“ 11 Black Salvation – Flickering Days previously unreleased – recorded on the ‚I am Pretended‘-Session 12 Mother Of God – Dark Sun Above taken from H42-Records release H42-003 ‚Black Ocean‘ 7“ 13 Larman Clamor -Drone Monger (Bonk Then Stomp) taken from H42-Records Release H42-020 Split with Blackwolfgoat 7“ 14 Odd Couple – Nightcrawl Taken from Odd Couples debut ‚It’s a pressure to meet you‘ 2014 15 Coogans Bluff – She Gave Her Life For A Man taken fromH42-Records release H42-010 ‚Ein Herz voller Soul‘ 7“ 16 Alpha Cat – The Last Day Of Summer originally released 2009 – first time on vinyl in 2016 on H42 Records
Posted in Reviews on October 2nd, 2015 by JJ Koczan
One thing I’ve noticed over the now-several times I’ve done this is that people have a tendency to apply some value to the ordering. It’s true that I try to lead off with a bigger release sometimes (as with today), but beyond that, there’s really no statement being made in how the albums appear. It usually has way more to do with time, when something came in and when it was added to the list, than with the quality or profile of a given outing. Just that final note that probably should’ve been said on Monday. Whoops.
Before we wrap up, I just wanted to say thank you again for checking any of it out if you did this week. It’s not a minor undertaking to do these, but it’s been completely worth it and I very much appreciate your being a part of it. Thank you. As always.
Fall 2015 Quarterly Review #41-50:
My Dying Bride, Feel the Misery
Led by founding guitarist Andrew Craighan and vocalist Aaron Stainthorpe, UK doom magnates My Dying Bride mark their 25th year with Feel the Misery, their 13th full-length and one that finds them right in their element practicing the melancholic death-doom style they helped forge on pivotal early works like As the Flower Withers (1992) and Turn Loose the Swans (1993). “And My Father Left Forever” starts Feel the Misery on a particularly deathly note, but it’s not too long before the 10-minute “To Shiver in Empty Halls” and the subsequent “A Cold New Curse” are mired in the grueling, poetic, beauty-in-darkness emotionality that is My Dying Bride’s hallmark. The album’s title-track is a chugging bit of extremity, but the record’s strongest impact winds up being made by the penultimate “I Almost Loved You,” a piano, string and e-bow (sounding) ballad that pushes further than “A Thorn of Wisdom” by daring not to get heavy and rests well between the lumbering “I Celebrate Your Skin” and the 11-minute closer, “Within a Sleeping Forest,” which fits well, but more reinforces the point than offers something new on its own. A quarter-century later, they remain an institution. One wonders how they’ve managed to stay so depressed for so long.
If French mostly-instrumentalists Glowsun are feeling pressed for time these days – and with the theme of Beyond the Wall of Time (out via Napalm Records) that shows itself in the ticking clocks that launch opener “Arrow of Time” and the like-minded titles “Last Watchmaker’s Grave,” “Against the Clock” and “Endless Caravan” – the material itself doesn’t show it. Opening with two nine-minute cuts, Glowsun’s third outing and the follow-up to 2012’s Eternal Season (discussed here) unrolls itself patiently across its seven-track span, leading one to wonder if maybe Beyond the Wall of Time isn’t intended as another means of expressing something outside of it, the expanse of tones and grooves created by guitarist/vocalist Johan Jaccob (also graphic art), bassist Ronan Chiron and drummer Fabrice Cornille on “Shadow of Dreams” and the centerpiece “Flower of Mist” intended to last after some eternal now has passed. I wouldn’t want to guess, but it’s noteworthy that the trio’s output is evocative enough to lead toward such speculations.
As with their 2012 debut, Someday You Will be Proven Correct, Washington D.C.-based trio Caustic Casanova recorded their sophomore long-player, Breaks, with J. Robbins at The Magpie Cage in Baltimore. They’re also releasing the album through Kylesa’s Retro Futurist Records imprint, so they come nothing if not well-endorsed. With bassist Francis Beringer and drummer Stefanie Zaenker sharing vocal duties throughout – the trio is completed by Andrew Yonki on guitar – they run and bounce through a gamut of upbeat post-hardcore noise rock, thick in tone but not so much as to get up and move around, tempo-wise. Yonki brings some post-rock airiness to the early going of the nine-minute “Elect My Best Friend for a Better World,” but the album on the whole feels more about impact than atmosphere, and Caustic Casanova work up considerable momentum by the time they get around to paying off the 12-minute finale, “The Painted Desert.” Its melodies open up more on repeat listens, but not at the expense of the push so well enacted throughout.
An outwardly familiar conceptual framework – instrumental space/psychedelic rock – does little to convey how much of themselves Manchester, UK, trio Dead Sea Apes put into their new full-length, Spectral Domain. Released by Cardinal Fuzz in conjunction with Sunrise Ocean Bender, it’s the band’s sixth or seventh LP, depending on what counts as such, and bookends two north-of-10-minute explorations around three shorter pieces (though not much shorter in the case of the 9:50 “True Believers”) varied in color but uniformly galaxial in intent. “Brought to Light” rings out with a wash of drumless echo and swirl, seemingly in response to the tension of centerpiece “The Unclosing Eye,” and the whole album seems to take a theme from things seen and unseen, between “Universal Interrogator” and closer “Sixth Side of the Pentagon,” a vibe persisting in some conspiracy theory exposed as blissful and immersive truth with something darker lurking just underneath. Thick but not pretentious, Spectral Domain seems to run as deep as the listener wants to go.
A ritualistic spirit arrives early on Italian heavy psych rockers Bantoriak’s debut LP, Weedooism, and does not depart for the duration of the Argonauta Records release’s six tracks, which prove spacious, psychedelic and heavy in kind, playing out with alternating flourishes of melody and noise. “Try to Sleep” seems to be talking more about the band than the act, but from “Entering the Temple” through the rumbling closer “Chant of the Stone,” Bantoriak leave an individualized stamp on their heavy vibes, and that song is no exception. If Weedooism is the dogma they’re championing on the smooth-rolling “Smoke the Magma,” they’re doing so convincingly and immersively, and while they seem to have undergone a lineup shift (?) at some point since the record was done, hopefully that means Weedooism will have a follow-up to its liquefied grooves and weedian heft before too long. In an increasingly crowded Italian heavy psych/stoner scene, Bantoriak stand out already with their first album.
Though somewhat counterintuitive for a band playing their style of doom to start with, Ahab have only been met with a rising profile over their decade-plus together, and their fourth album for Napalm Records, The Boats of the Glen Carrig, answers three years of anticipation with an expanded sonic palette over its five tracks that is afraid neither of melodic sweetness nor the seafaring tonal heft and creature-from-the-deep growling that has become their hallmark. Their extremity is intact, in other words, but they’re also clearly growing as a band. I don’t know if The Boats of the Glen Carrig is quite as colorful musically as its Sebastian Jerke cover art – inevitably one of the best covers I’ve seen this year – but whether it’s the 15-minute sprawl of “The Weedmen,” which at its crescendo sounds like peak-era Mastodon at quarter-speed or the (relatively) speedy centerpiece “Red Foam (The Great Storm),” Ahab are as expansive in atmosphere as they are relentlessly heavy, and they’re certainly plenty of that.
One would hardly know it from the discouraging title, but all-caps UK progressive metallers ZARK do manage to catch one off-guard on their debut full-length, Tales of the Expected. Duly melodic and duly complex, the eight tracks rely on straightforward components to set deceptively lush vibes, the guitar work of Sean “Bindy” Phillips and Josh Tedd leading the way through tight rhythmic turns alongside bassist Andy “Bready” Kelley and drummer Simon Spiers’ crisp grooves. Vocalist Stuart Lister carries across the aggression of “LV-426” and hopefulness of “The Robber” with equal class, and while ZARK’s first outing carries a pretty ambitious spirit, the Evesham five-piece reach the high marks they set for themselves, and in so doing set new goals for their next outing, reportedly already in progress. A strong debut from a band who sound like they’re only going to get more assured as they move forward. More “pleasant surprise” than “expected.”
Paired up by style almost as much as by geography, Alicante, Spain, acts Pyramidal and Domo picked the right title for their Jams from the Sun split – a bright, go-ahead-and-get-hypnotized psychedelic space vibe taking hold early on the Lay Bare Recordings release and not letting go as one side gives way to the other or as the noisy post-Hawkwindery of “Uróboros” closes out. Pyramidal, who made their debut in 2012 (review here), offer “Motormind” and “Hypnotic Psychotic,” two 10-minute mostly-instrumental jams that progress with liquid flow toward and through apexes in constant search for the farther-out that presumably they find at the end and that’s why they bother stopping at all, and Domo, who made their debut in 2011 (review here), counter with three cuts of their own, “Viajero del Cosmos,” “Mantra Astral” and the aforementioned “Uróboros,” switching up the mood a little between them but not so much as to interrupt the trance overarching the release as whole. I remain a sucker for a quality space jam, and Jams from the Sun has 45 minutes’ worth.
After releasing a couple internet EPs (review here) and 2013’s Call of the Mammoth EP as the duo of guitarist/vocalist/bassist Paul Dudziak and drummer Mitch Meidinger, Portland, Oregon’s Mammoth Salmon enlist bassist Alex Bateman and drummer Steve Lyons for their first full-length, the Adam Pike-produced Last Vestige of Humanity, which rolls out plus-sized Melvinsery across six amp-blowing tracks of sludgy riffing and nodding, lumbering weight. The title-track, which ends what would and probably will at some point be side A of the vinyl version, picks up the tempo in its second half, and “Memoriam” teases the same in Lyons’ drums at the start, but of course goes on to unfold the slowest progression here ahead of “Shattered Existence”’s toying with playing barely-there minimalism off full-on crush and the 10-minute “Believe Nothing” rounding out with appropriately elephantine march. Sustainable in their approach and viciously heavy, Mammoth Salmon seem to have hit reset and given themselves a new start with this lineup, and it works to their advantage on this promising debut.
“Karma is a bitch that will definitely hunt you down for what you have done,” would seem to be the standout message of “The Dream of the Fisherman’s Wife,” the third and longest (at 6:34) of the four inclusions on Molior Superum’s new EP, Electric Escapism. The non-retro Swedish heavy rockers fire up righteous heft to put them in league with countrymen Skånska Mord, but ultimately have more in common with Stubb out of the UK in the loose-sounding swing of “Försummad,” despite the different language. I had the same opinion about their full-length debut, Into the Sun (review here), and last year’s The Inconclusive Portrait 7” (review here) as well. Can’t seem to shake it, but Molior Superum’s ability to switch it up linguistics – they open and close in Swedish, with the two middle cuts in English – is an immediately distinguishing factor, and whichever they choose for a given song, they kill it here.
Posted in On Wax on December 11th, 2014 by JJ Koczan
The Inconclusive Portrait is Swedish four-piece Molior Superum‘s first offering since their 2012 full-length debut, Into the Sun (review here), and it shows the Gothenburg-based unit in a somewhat different light. Released on 7″ vinyl by H42 Records — 340 copies; 140 on black vinyl, 100 green, 50 gold exclusive to the label, and 50 die-hards on clear-purple vinyl with different art — it’s just two songs, or even two parts of one title-track, but it’s both fuller in its tone and more modern than the long-player, and the shift in style is audible. The lineup of guitarist/vocalist Carl Isaksson,guitarist Oskar Öberg, bassist/vocalist Lars Sandström and drummer/vocalist Jens Fuglede hasn’t changed, and they still bear some sonic resemblance to the UK’s Stubb, but where that band’s second album found them searching for a more natural, psychedelic meditation, Molior Superum have turned expectation on its head and opted for a more straightforward feel, less boogie (which is different from none at all), more direct dynamic between the two guitars and a thrust of groove that gives their hooks an urgency that serves the short release well.
Both sides of The Inconclusive Portrait — simply “Part 1” and “Part 2″ on back of the 7” sleeve — begin at a rush. Vocalist Joakim Segerfelt Steby of Brutus guests on “Part 1,” which is the shorter of the two, announcing its stylistic turn immediately in a modern-sounding crash and fuzz push that moves quick into the first verse. Understand, Molior Superum are still indebted to the heavy ’70s for a lot of their methods and influence, but it’s a more current feel that permeates the single than did the album. If you want to relate it to other Swedish bands, it’s more Greenleaf than Graveyard, and it works for Molior Superum, whose energy bleeds through the recording as plain to hear as the riffs themselves. Steby‘s contributions mesh smoothly, and a current of backing organ (or something thereabouts) fleshes out the chorus of “Part 1” almost in a call and response to the vocals amid the fury of chugging. At just over five minutes, “Part 2” would seem to have room for the band to flesh out some, but instead, they keep the high-impact spirit of “Part 1” pulsing through for the duration with no real letup either in vibe or volume. “Part 2” isn’t a direct continuation of “Part 1” from what I can tell, but if Molior Superum were to play one into the next live, I’m sure it would sound close enough to make sense, as it does when one listens to the single digitally, without having to flip the record.
There’s something brash about “Part 2” that makes it stand out. Its central riff is hook enough, and they put it to work, but there’s an intensity to it that feels even more prevalent than on “Part 1,” a guitar solo kicking in late before a return to the chorus, and the whole band taking what in another context, perhaps slower, would almost certainly be vintage swing and setting it to kick-in-the-teeth pace. As it is, it distinguishes Molior Superum from a still-growing league of ’70s worshipers and is a credit to the recording job by Micke Nilsson (ex-Bonafide) at Music a Matic for helping to foster this level of performance. A lot can happen to a band in two years, and I wouldn’t necessarily have expected Molior Superum to make the turn they do here, or to pull it off so well, but I think it makes them stronger, and perhaps most importantly, it builds intrigue for what they might do next. It’s a quick, eight-minute release, but says a lot about the band’s hopefully ongoing development.
Molior Superum, The Inconclusive Portrait 7″ (2014)
They may share the album title Into the Sun with Texan rockers Dixie Witch, but Gothenburg-based four-piece Molior Superum are nothing if not of their environment. The youngins have their hearts in the right place, though, blending the ’70s grooves for which their native Sweden has developed such a consuming fetish of the last decade or so — to the benefit of all, I’d argue — with more straightforward stoner influences, both ’90s-derived and the modern incarnation of desert-styled rhythm-making. In fact, the closest comparison I can make, particularly as regards the vocals, is to the British act Stubb, whose “Soul Mover” cadence seems to find reinterpretation on Into the Sunopening cut “Decibel Grand.”
Self-released and with a vinyl issue reportedly forthcoming, Into the Sun follows last year’s Towards the Haze digital single, and two of the songs on that release — namely “Towards the Haze” and the bluesy “Plainrider” — show up here as well on the recording helmed by guitarist Kalle Lilja of retro specialists Långfinger, alongside the lasting impressions left by the fuzz boogie of “Sad Man’s Boogieland” or the Swedish language “Snygg och Stark,” which deepens the call and response arrangement between guitarist Carl Isaksson, bassist Lars Sandström and drummer Jens Fuglede (or some combination of them, anyway), all of whom provide vocals throughout the course of the record.
Molior Superum is rounded out by guitarist Oskar Öberg, and though they’re young, they seem to present a clear idea across Into the Sunof what they want to sound like, so unless they change their minds (always possible), they make a decent complement for bands like Mamont, Mud Walk, Deville, Skraeckoedlan, Snailking and others up and coming from Sweden’s next generation of heavy rock-influenced acts. The entirety of Into the Sunis streaming now at Molior Superum‘s Bandcamp page (the band is also on Thee Facebooks here), from which I snagged the player below: