Quarterly Review: Gruntruck, The Dead Ends, Albatross Overdrive, High Priestess, Monolith Cult, Kayleth & Favequaid, Black Wail, Psychic Lemon, Ixion, Rattlesnake

Posted in Reviews on January 10th, 2018 by JJ Koczan

Lodewijk de Vadder (1605-1655) - 17th Century Etching, Landscape with Two Farms

Day Three of the Quarterly Review! I don’t know about you, but I’m feeling great. Plowing through, hearing a ton of good stuff. The week is rolling and though it’s most definitely caused me to be a neglectful husband and father for the last 72 hours (so far!), at very least the music is killer. That’s something, right? I didn’t really have a theme in picking today’s batch, but there are some commonalities between some of the inclusions all the same. See if you can find them, like one of those old puzzles in a Highlights magazine in your orthodontist’s wood-paneled office. Ready? Okay, let’s go.

Quarterly Review #21-30:

Gruntruck, Gruntruck

gruntruck-gruntruck

Held back due to legal issues with their original label, http://rahimbakhshighschool.edu.bd/biology-dissertation-help/,Buy essays online construction safety - Top 10 Dissertation Writing Companies Resume Roadrunner, the self-titled third album from Seattle groove-grungers Resume Uni Statements are experts drawing up engaging and result-oriented CVs and cover letters to get clients invited to job interviews. Gruntruck hits like an open time-capsule nearly two decades after the fact of its recording: a little dusty but full of vitality and potential for what could’ve been. With a tad more crunch than the likes of Ict Year 8 Homework Help - Custom Paper Writing and Editing Website - We Help Students To Get High-Quality Paper Assignments Quick Top-Quality Soundgarden and a crunch less Construction Business Plans in several clicks with 123 Essay. Only qualified writers. Only first-rate papers. TAD than http://www.robe.cz/?do-my-biology-essay Get top quality custom written papers, custom written essays, custom written term paper, dissertation, research papers, thesis and TAD, Try the impactful professional Paper Writer Service service that crafts stellar papers. Ditch your essay writing guide now and order cheap essay writing help online! Gruntruck found a middle-space between the melodies of their age and scene and heavier impulses, and if songs like “Trip,” the post- 'Can you go?' Have you ever asked this question? Do you know how to do this task on your own with the interest? Get to know! Nirvana “Build a Hole,” and the later “Spy” sound dated, well, they should. They are dated. It’s an album that was recorded over 20 years ago. That does nothing to take away from the quality of the songwriting, however, as closer “Flang” shows by demonstrating how thin the line between grunge and heavy rock has always been in the first place, let alone how fluidly daniel gottesman phd thesis http://www.soundofliberation.com/?dissertation-citations College Admission Essays Com mla style thesis paper dissertation proofreading services london Gruntruck were able to cross from one side to the other.

Gruntruck on Thee Facebooks

Found Recordings website

 

The Dead Ends, Deeper the Dark the Brighter We Shine

the-dead-ends-deeper-the-dark-the-brighter-we-shine

This warm and psychedelically charmed debut from Kavala, Greece’s Check out why it is important to read the best essay Writing Bibliographies. Only this way will you have access to top quality work delivered on time, and The Dead Ends works quickly to deliver its cumbersome title-line in opener “Memory Ship (Sails at Dawn)” amid a build of organ-laced read here, - admission essay writing service. We have a highly professional and qualified writing staff. Our writers have great writing experience and Doors-style drama, but the overarching spirit of the phd thesis poem blog Online homework help ratios dissertation philo conscience morale Sound Effect Records release is nonetheless patient and fluid. The keyboard work of vocalist I wanted to pay somebody to Angels Assigned To Us. The Michael Vick of Programming Should You Let the Michael Vick of Programming Do Giorgos Sechlidis proves to be a major standout factor on the playful “Narri-E Narri-O” as rhythms and melodic elements out of Greek folk rear their head, and as guitarist We are a team of Mass Media Essay offering authentic dissertation writing services in UK & custom dissertation help at cheap prices. Get Serios Savvaidis and drummer Get More Info. Ranked #1 by 10,000 plus clients; for 25 years our certified resume writers have been developing compelling resumes, cover letters Dimitris Apostolidis provide vocal support throughout, the nine tracks of It is hard to confess to yourself that you have no understanding of CPM, let alone confessing to somebody else. Even with, you will spend a lot of time on it. The easiest option is to use an online service that will do your http://www.eco-h.ru/?critical-thinking-word-puzzles for you. It means that you save time, your pride will not suffer, and you will get a good grade for your homework. Deeper the Dark, the Brighter We Shine envelop with a depth that corresponds to their outward reach, still based around pop structures practically and conceptually, but feeling open and resolved to remain that way all the same. The jangly “Peter 2:18” closes out by building into a melodic wash, as if to underscore the potential within this exciting outfit’s budding stylistic nuance.

The Dead Ends on Thee Facebooks

Sound Effect Records website

 

Albatross Overdrive, Keep it Running

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Issued in 2016, Albatross Overdrive’s second full-length pulls together a sans-pretense 31 minutes of barroom-style heavy rock born of the California desert but not necessarily indebted solely to its aesthetic so much as to boozy swing and chug and meaner, engine-revving impulses. “Fire Dancer” and “Higher” make impressions early with catchy choruses and hard-delivered riffs, a touch of metal to the latter particularly, and the later “Preaching Love Not War” boasts a highlight performance from bassist Mark Abshire, formerly of Fu Manchu, while gritty vocalist Art Campos leads the five-piece – completed by guitarists Andrew Luddy and Derek Phillips and drummer Rodney Peralta – through the grunge-chug of “Earth Mother,” recalling Alice in Chains’ “Again” in its cadence momentarily, though ultimately driven along its own course, headed into closer “Neva,” which finishes the album in top form just as it might cap a raucous live set on any given and much-improved Friday evening.

Albatross Overdrive on Thee Facebooks

Albatross Overdrive website

 

High Priestess, Demo

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Los Angeles trio High Priestess were recently snagged by Ripple Music for the release of their impending debut album this year, and on the strength of this five-track demo, one could hardly argue. Tonally rich, perfectly paced in its rollout, melodically centered and meditative with surprising flashes of metallic noise, cuts like 10-minute opener and longest track (immediate points) “Firefly” offer psychedelic immersion and a sense of worldmaking rare in a band’s first long-player, let alone their initial demo. Weighted low end gives Demo an earthy sensibility, and there’s definitely a desert-style aspect to “Take the Blame” and “Mother Forgive Me,” but the intertwining vocal melodies of guitarist/organist Katie Gilchrest and bassist Mariana Fiel atop Megan Mullins’ drums provide a spaciousness well across the line of transcendent into ethereal psychedelia. Likewise, after the salvo of “Firefly” and its nine-minute companion “Despise,” the peaceful, organ-laced closer “Earth Dive” draws emphasis on sonic diversity with its patient build and underlying command. Especially as demos go, High Priestess’ is dangerously coherent.

High Priestess on Thee Facebooks

High Priestess on Instagram

 

Monolith Cult, Gospel of Despair

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From the first listen onward, the hardest thing about putting on Monolith Cult’s second full-length, Gospel of Despair, is actually letting the seven tracks play without constantly interrupting them by saying “hell yes.” Whether it’s the hook of opener “Disconnection Syndrome,” the subsequent plod of the title-track that follows, the massive slowdown that hits about a minute into “Sympathy for the Living” as it moves into its chorus, or the Candlemassian finale chug and stomp of “Death Means Nothing,” the Bradford, UK, five-piece’s follow-up to their 2013 debut, Run from the Light (review here), dwells in similar terrain between righteous classic metal and doom as Cruz del Sur denizens Argus, and the band are likewise firm in their purposes and assured in their delivery. “King of all that’s Lost” feels exceptionally weighted in its impact, but set next to the faster motion in the first half of the penultimate “Complicit in Your Abuse,” it feeds into an overarching flow and sense of leather-on-fistpump-or-headbang-take-your-pick-ready audience response. Hell yes? Oh, hell yes.

Monolith Cult on Thee Facebooks

Transcending Records

 

Kayleth & Favequaid, The Second Coming of Heavy – Chapter Six

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In bringing together Verona’s Kayleth and Palermo’s Favequaid, The Second Coming of Heavy – Chapter Six works more on a direct theme than some of the other installments in the impressive and impactful series from Ripple Music. But if there’s a particularly nation’s scene worth highlighting in the heavy rock underground, the emergent riffy movement in Italy makes a riotous case for itself as Favequaid bull-in-a-china-shop their way through the nine-minute “Hypochondria” on side B or Kayleth unfold the highlight nod and melody of “The Survivor” earlier, hitting a mark of spatial weight that’s as much about its crash as reach. Starting with the atmospheric pulse of “Desert Caravan” and following up “The Survivor” with the melodic push of “Magnetar,” Kayleth come across as the more progressive of the two outfits, but with the brash finale of “First” rounding out, Favequaid help put emphasis on the underrated diversity within Italian heavy rock on the whole, and maybe that was the idea in the first place.

Kayleth on Thee Facebooks

Favequaid on Thee Facebooks

 

Black Wail, Chromium Homes

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Though it gradually comes to life around an intro of Hendrixian noodling at the start of “They,” its opener and longest track (immediate points), the third EP from New Jersey’s Black Wail, Chromium Homes, isn’t through that same song before a decidedly Dio-esque “lookout!” is tossed into the pot. Abrasive, sludgy screaming follows. So yeah, it gets weird pretty quick, but that turns out to be the fun of the 27-minute six-tracker, since it just as easily digs back into languid wah-led groove or lets its keyboards flesh out classic heavy rocking melodies. “Thee Ghost” chugs metallic before stepping back to a harmonized a capella midsection and swinging to its finish, and the title-track basks in heavy blues rock like nothing ever happened – the perfect setup for the nastier “The Dead Man’s Hand,” and weirdo bounce-into-punk-thrust of “Radioactive Mutation” that follow. And because why the hell not: a closing doomed-out cover of “Norwegian Wood.” Somehow that was the only thing missing. Black Wail are getting strange and daring you to do the same. If you think you’re up for it, maybe you are.

Black Wail on Bandcamp

Rhyme and Reason Records

 

Psychic Lemon, Frequency Rhythm Distortion Delay

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Prepare for spacedelic immersion. Somewhere there’s a countdown happening and waiting on the other end of it is Psychic Lemon’s sophomore LP, Frequency Rhythm Distortion Delay, the title of which reads like the recipe from which its five tracks have been constructed. The 41-minute sprawler from the London-based trio sets itself to the task of atmospheric breakout with 8:31 opener “Exit to the Death Lane,” and while it’s hard not to be drawn immediately to a track called “International Fuzz Star” – let alone one that’s almost 10 minutes long – one skips the cosmic-grunge shuffle of “Hey Droog!” and the sped-up Sonic Youthism of centerpiece “You’re No Good” at one’s own peril. They tease tension in the kick drum but ultimately end up soothing in meandering closer “Satori Disko,” but the progressive threat has been laid all the same, and it says something about their accomplishment overall that even in the final moments of Frequency Rhythm Distortion Delay, one can’t be certain where Psychic Lemon might be headed next.

Psychic Lemon on Thee Facebooks

Tonzonen Records webstore

 

Ixion, Return

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Brittany, France-based Ixion is a project spearheaded by multi-instrumentalist/growler/recording engineer/cover artist Julien Prat, and Return (on Finisterian Dead End) is the band’s third full-length. With clean vocals contributed by Yannick Dilly (who also mixed), it captures a contemplative and majestic balance of hope and sorrow, woeful in its extremity but bright-toned in its sprawling lead guitar figures in pieces like “Into Her Light” and the later “Stranger.” This meld fascinates throughout the nine-song/47-minute run, but it’s the poise of execution of all these ideas that make cuts like “Back Home” and the electronics-infused “Contact” stand out and recall some of the best moments of mid-period Katatonia, and from opener/longest track (immediate points) “Out of the Dark” onward, Return makes plain its self-awareness and resilience in capturing its formidable stylistic intention in the reality of the recording. It is a true work of beauty-in-darkness and affecting in both its scope and raw emotionalism.

Ixion on Thee Facebooks

Finisterian Dead End website

 

Rattlesnake, Outlaw Boogie

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It’s just three songs, but Rattlesnake’s debut demo, Outlaw Boogie (also discussed here), was enough of an aesthetic mission statement all the same to wind up on my list of 2017’s best short releases, and with the swing and swagger provided by drummer/vocalist Adam Kriney of The Golden Grass, the classic-style riffing of guitarists Blake Charlton (Ramming Speed) and JP Gilbert (also vocals) and the wah bass Don Berger brings to “The Reason Why,” well, the reason why is frickin’ obvious. The New York-based newcomers capture a bright ‘70s vibe not dissimilar from The Golden Grass’ self-titled debut, but less serene and more urgent, more charged in its purposes on the whole, and dudelier in that okay-now-it’s-time-to-grow-a-mustache kind of way. Unsurprisingly, Outlaw Boogie is almost maddeningly catchy and cohesive and clear in its direction and intent, and the band seem to arrive in their conceptual foundation ready to move forward onto the next stage of their development. The only reason I call the three-tracker a demo at all and not an EP is because the band does. Otherwise there’s very little about it that doesn’t already denote it as a professional-grade work.

Rattlesnake on Thee Facebooks

In for the Kill Records webstore

 

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Monolith Cult Release Run from the Light Today

Posted in Whathaveyou on July 22nd, 2013 by JJ Koczan

UK outfit Monolith Cult, which features former members of Lazarus Blackstar and Solstice, have released their debut album today. Run from the Light is available now on Future Noise Recordings. The album was added to The Obelisk Radio last month, and the band has already made a positive impression on a number of critics, so as they gear up for the release show this Friday, look for them to take a shot at parlaying that critical success into a growing fanbase.

The news, links and the catchy eponymous tune “Monolith Cult” follow here, as dictated by the PR wire:

MONOLITH CULT “Run from the Light’ out TODAY!, Release party this Friday 26th July

MONOLITH CULT album ‘Run from the Light‘ is out today!, limited to 300 copies on white vinyl & CD, so give yourself a big heavy treat and pay a visit to our online store, we’re also offering a vinyl + CD deal, big thanks to everyone who has pre-ordered a copy shipping has already started. Future Noise Big Cartel store http://futurenoise.bigcartel.com (reviews at the bottom of this message).

And if you didn’t know the Monolith Cult release party is this coming friday in their home town of Bradford on 26th July at The Black Swan, Thornton Road. The bill will also included the monstrous B*STARD OF THE SKIES and RISE TO THUNDER. This triple bill of heaviness will cost you nothing as it’s FREE ENTRY, doors 7pm, starts 9pm, we are advising people to get there early, any press or photographers wishing to cover this gig please get in touch asap!

Also as part of the build up to this show we are giving away some free tracks by B*STARD OF THE SKIES and a full live set from RISE TO THUNDER via the Future Noise bandcamp.

http://www.facebook.com/pages/Monolith-Cult/469161969792692
http://www.future-noise.co.uk

Monolith Cult, “Monolith Cult” from Run from the Light

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The Obelisk Radio Add of the Week: Monolith Cult, Run from the Light

Posted in Radio on June 12th, 2013 by JJ Koczan

No word on whether UK four-piece Monolith Cult had contradicting Trouble in mind with the title of their forthcoming debut LP, Run from the Light — as opposed to Trouble‘s 1987 third album, Run to the Light — but there’s a clear undercurrent of traditional doom in the Bradford heavy rockers’ approach. They’re not through “Sold Down the River,” the opener of the record, before guitarist Lee Baines, also of Lazarus Blackstar, has turned the riff to C.O.C.‘s “Albatross” on its head, showing clear knowledge of where the border between rock and doom lies and as much willingness to cross it both there and throughout the album.

They follow the strong opener with their infectious namesake tune, “Monolith Cult,” on which bassist Ian “Izak Gloom” Buxton, also of Solstice and Lazarus Blackstar, underscores Baines‘ guitar with considerable rumble while vocalist Bry Outlaw recites the hook like the incantation threat it is. After drummer Damian Clarke picks up at the end, they nod back in the direction of the chorus without going fully back to it, and it proves enough to give some hint of their songwriting acumen, which shows itself further as they bury a “Hole in the Sky” boogie deep within the reaches of “Blind Watchmaker,” repurposing a classic idea to suit their own ends, the vocals lending emotional weight without being over-the-top in either their bluesiness or performance.

Tracks keep a lengthy ethic — none so much as “Sold Down the River” at 9:43 (immediate points for putting the longest song first) — but don’t give much of a sense of wandering from the central ideas grounding them. “Blind Watchmaker” has a verse riff that were it not quite so viscous could prove to be a shuffle in a faster tempo, and “Violent Movements” proves even more Sabbathian in the guitar and bass work, but avoids sonic cliche deftly with fervent crash propelling the verse, an unexpected level of bombast leading to the more melodic chorus, catchy but not quite as insistent as that of “Monolith Cult.” Nor does it need to be. A slower break once again introduces a doomier vibe, and Bry Outlaw adjusts his vocals to match, so that as “Human Cull” begins, Monolith Cult are at their most plodding and doomed yet.

So of course it’s a ripper. A sample of a 1964 Lyndon Johnson campaign commercial threatening nuclear holocaust begins the track, and from there, Monolith Cult embark on a dark boogie that seems to sum up some of their apocalyptic framework while also stomping out their most rocking material. They’re not thrashing or anything, but they get their point across and manage to keep the pervasive moody atmosphere even at the increased pace, keeping the big slowdown of the intro to closer “Suicide and Heroin” — announced righteously by Buxton‘s bass — consistent despite the brakes being applied.

“Suicide and Heroin” winds up reveling in faster chugging and one of Run from the Light‘s most potent blends of heavy rock and doom, leaning more to one side, then the other as Bry Outlaw‘s vocals follow the groove and add an extra layer for the chorus. But for the opener, the finale is the longest piece on the album, and it ties together everything Monolith Cult are able to accomplish throughout as one might hope, also giving a glimpse of where the foursome might be able to go with the sound their next time out. At around five and a half minutes in, it kicks into a steady thud that finishes the album with a moment of ultra-satisfying groove, giving a last-minute surprise to what’s already proven an impressive debut.

Future Noise Recordings will release Monolith Cult‘s Run from the Light this summer. You can hear the album as part of the regular playlist now on The Obelisk Radio and check out the track “Monolith Cult” below, which the label has made available for streaming and download:

Monolith Cult, “Monolith Cult” from Run from the Light

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