Quarterly Review: All Them Witches, Anthroprophh, Orphan Gears, The Watchers, Grajo, Mythic Sunship, Empress, Monads, Nest, Redneck Spaceship

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

Quarterly-Review-Spring-2018

Well, we’ve reached the end of the week if not the end of the Quarterly Review itself. That’s right: after hemming and hawing all week and going back and forth in my silly little brain, I’ve decided to extend this edition to a sixth day, which will be Monday. That means 60 reviews in six days, not 50 in five. Honestly, I could probably keep going for three or four more beyond that if I had the time or inclination, and I may get there someday, but I’m definitely not there now.

But hey, there have been a couple comments left along the way, so thanks for that. I appreciate you taking the time to read if you have. Here’s the last for the week and we’ll pick back up on Monday.

Quarterly Review #41-50:

All Them Witches, Lost and Found EP

all them witches lost and found ep

If Nashville four-piece All Them Witches put together the free-download Lost and Found EP simply as a means of getting their take on the folk song “Hares on the Mountain” out there, it was worth it. In the hands of vocalist/bassist Michael Parks, Jr., guitarist Ben McLeod, Rhodes specialist/violinist Allan Van Cleave and drummer Robby Staebler, the traditional tune becomes a wide open dronescape, bristling and vague like memory itself. It’s beautiful and a little confusing in just the right way, and it comes accompanied on the short release by the Fleetwood Mac cover “Before the Beginning,” an even-more-subdued take on “Call Me Star” from 2015’s New West Records debut, Dying Surfer Meets His Maker (review here), and a dub redux of “Open Passageways” – called, of course, “Dub Passageways” – from the same album. Might be a stopgap between full-lengths, but still, at 18 minutes, it’d make a more than worthy 10” release if they were looking for something new for the merch table.

All Them Witches on Thee Facebooks

All Them Witches on Bandcamp

 

Anthroprophh, Omegaville

anthroprophh omegaville

Next time you feel like, “Hey man, I’m so freaked out and weird and wow man whatever blah blah,” just take a second to remember you live in a dimension where dudes from The Heads have side-projects. Paul Allen and Anthroprophh – his trio with Gareth Turner and Jesse Webb, otherwise known as the duo Big Naturals – are a freaked out freakout’s freakout. The stuff of psychedelic mania. And that’s only on the first disc of the 2CD Omegavlle (Rocket Recordings). By the time they get around to the three-song second disc and dig into extended trips like “Omegaille/THOTHB” (14:48) and the subsequent finale, “Journey out of Omegaville and into the…” (20:57), they’re so far gone into noise and captured, manipulated audio that who the hell knows where we’ve ended up? At 88 minutes, the limits of manageability are long left behind, but to get some of the Velvet Underground-in-space vibes of “Maschine” in trade for undertaking the undertaking it’s well worth letting go of the rigidity of things like time, place, etc.

Anthroprophh on Thee Facebooks

Rocket Recordings on Bandcamp

 

Orphan Gears, Rat Race

orphan gears rat race

I’m pretty sure Orphan Gears used the Super Mario Bros. font for their logo on the cover of their latest EP, Rat Race, and for that, they should be saluted. The gritty-riffing semi-punker London four-piece offer five tracks and 20 minutes of workaday, boozy grooves, blowing off steam after putting in a shift at this or that crappy job. They are null as regards pretense, and ask little more of their audience than perhaps a beer from the stage or whatever else might be on the menu that night. They share initials, but unlike much of the London underground, they share little ultimately with Orange Goblin in terms of style, despite the shuffle of “Tough Luck, BJ” or the harmonica at the end of “Bitch-Slapped Blues,” and by the time they get to the classic strut of the title-track, they seem to be dug into AC/DC-style groove in the verse while blending in modern heavy rock impulses around it. They clearly save their best for last.

Orphan Gears on Thee Facebooks

Orphan Gears on Bandcamp

 

The Watchers, Black Abyss

the watchers black abyss

An immediately cogent, professional debut full-length is about what you’d expect from The Watchers, the San Francisco four-piece with members of SpiralArms, Orchid and Black Gates in their ranks, particularly after their prior EP, Sabbath Highway (review here), but that doesn’t stop the songwriting from impressing across the eight-song long-player, Black Abyss (on Ripple Music). The band’s presentation is crisp and pro-shop all the way through, from the soloing on “Oklahoma Black Magic” to the keyboard-laced TonyMartin-era-Sabbathism-meets-tambourine of “Suffer Fool” later on, and with the opening salvo of the title-track and “Alien Lust” right behind it, The Watchers set a quick expectation for hooks and a high standard of delivery that, thankfully, they show no hesitation in living up to for the duration, the chug-and-roll finale “Seven Tenets” satisfies in mood and efficiency, departing into airy guitar meditation and making its way back for a suitably rocking sendoff. Dudes know what they’re doing, where they’re headed and how they want to get there. All the listener needs to do is sit back and enjoy the ride.

The Watchers on Thee Facebooks

Ripple Music on Bandcamp

 

Grajo, Slowgod II

grajo slowgod ii

A sequel to their 2015 full-length, Slowgod II (on Underground Legends Records, Spinda Records and DHU Records), sees Córdoba-based four-piece Grajo dug into a deep-toned psychedelic doom. There are flashes of Eastern influence on “Malmuerta,” with frontwoman Liz crooning over the minor-key guitar noodling of Josef, the forward motion in Félix’s drums and the heft of Pistolo’s bass. That dynamic works across Slowgod II, from opener and longest track (immediate points) “Altares” through its closing eight-minute counterpart “Malstrom,” which moves from early crunch through spacious volume swells in its middle only to regain composure and offer a heavy post-rock payoff that, somehow, still isn’t that atmospherically removed from the swinging “Horror and Pleasure” right before it or the similarly speedier “Queen Cobra” that follows “Altares” at the outset. Definitely one for the converted, Grajo deliver tones thick enough to stand on and engaging melodicism without falling into any real traps of sonic redundancy, varying their pace effectively and conjuring consuming plod on “ER” while still holding to that notion of breadth that seems to unite all their material here.

Grajo on Thee Facebooks

DHU Records webstore

 

Mythic Sunship, Upheaval

mythic sunship upheaval

It just so happens this is exactly what the fuck I’m talking about. After releasing their Land Between Rivers (review here) LP through El Paraiso Records last year, the Copenhagen four-piece of Emil Thorenfeldt, Frederik Denning, Kasper Andersen and Rasmus “Cleaver” Christensen, collectively known as Mythic Sunship, return with four more slabs of exploratory bliss on Upheaval. Either completely or partially improvised, “Tectonic Beach” (12:42), “Aether Flux” (10:55), “Cosmic Rupture” (6:44) and “Into Oblivion” (13:56) flow together like the work of masters, and with shades of patient space rock at their core, the tracks are infused with life even beyond the spontaneity of their creation. Heavy jams. Heavy, spacy jams. Molten. Swirling. Badass. Even the shorter and more forward “Cosmic Rupture” is headed out of the atmosphere, and when they come around to the noisy payoff deep in “Into Oblivion,” it’s abundantly clear they’re not joking around when it comes to the title. You can get onboard with Mythic Sunship, or you can miss out. Bands like this separate the hip from the squares.

Mythic Sunship on Thee Facebooks

El Paraiso Records webstore

 

Empress, Reminiscence

Empress reminiscence

Those who miss the days when Mastodon or Baroness howled their shouts into a landscape of crunching tonal largesse might do well to dig into what Vancouver, British Columbia’s Empress have to offer on their late-2017 debut EP, Reminiscence. The 27-minute five-tracker isn’t without its sense of melody – there’s plenty of room in eight-minute second cut “Immer” – but guitarist/vocalist Peter Sacco, bassist Brenden Gunn and drummer Chris Doyle make their primary impression via the impact of their material, and as they swap back and forth between shorter tracks and longer ones, a sense of structural playfulness results that moves through the bass openings of “Baptizer” (2:50) and “They Speak Like Trees” (9:27) into the ambient guitar finisher “Dawn,” and the feeling is that, like their stylistic forebears in at the time what was thought of as a new take on sludge metal, Empress will only grow more progressive as they move forward from this first outing. One hopes they hold firm to the tectonic weight they present here that so many others seem to have given up along the way.

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Empress on Bandcamp

 

Monads, IVIIV

monads iviiv

Released some six years after Monads’ 2011 debut, Intellectus Iudicat Veritatem, the Aesthetic Death Records-issued IVIIV was, according to the Belgian five-piece’s own accounting, in the works for most of that time in one way or another. One might say, therefore, that its creation does justice to the glacial pace of some of its slowest moments, the crawling death-doom extremity of pieces like “To a Bloodstained Shore,” or the lurch before the gallop takes hold in “Your Wounds Were My Temple.” At four songs and 50 minutes, IVIIV is indicative enough of the style, but Monads legitimately showcase a persona of their own in and out of those genre confines, the melancholic atmosphere and expanded arrangement elements (piano, etc.) of 15-minute closer “The Despair of an Aeon” creatively used if familiar, and the smoothness of the transitions in opener “Leviathan as My Lament” setting a tone of scope as well as downward emotional trajectory. Not sure I’d count on a quick turnaround for a follow-up, but if half a decade from now a new Monads record surfaces, it’ll be worth keeping an eye out for.

Monads on Thee Facebooks

Aestehetic Death Records website

 

Nest, Metempsychosis

nest metempsychosis

Rolling from its untitled intro through its untitled outro through a barrage of charred-black, bludgeoning sludge extremity, the debut album from Lexington, Kentucky’s Nest, Metempsychosis (on Sludgelord Records), refers in its title to a transmigration of the soul, an inheritance almost as much as reincarnation. The band may be talking about themselves or they may be working on a theme throughout the record’s seven proper tracks, I don’t know, but if the idea is destruction and rebirth, they certainly sound more interested in the former. Songs like “Heretic” seethe and scour, while the lumbering and spacious closer “Life’s Grief,” capping with abrasive noise, would seem to be a mission statement in itself. Individual pieces like “Jewel of Iniquity” and the preceding atmosphere-into-mega-crush “Diving into the Entrails of Sheep” – of course the centerpiece of the tracklisting – are shorter unto themselves, but like everything else that surrounds, they feed into an overarching ambience of disgust and chaos.

Nest on Thee Facebooks

Sludgelord Records on Thee Facebooks

 

Redneck Spaceship, Grand Marshal Ape

redneck spaceship grand marshall ape

There are some issues as regards the balance of the mix pushing the vocals forward ahead of the guitar to work out, but Moscow’s Redneck Spaceship impress all the same with the intent and execution of their late-2017 self-released debut, Grand Marshal Ape. In riffs and songcraft, their influences stem from the classic days of stoner rock, but from opener “The Sands of Dakar” and the later “That Sounds Nuts,” one gets a vibe of underlying punk influence, while the twang in harmonized highlight “On the Roadside” and slide guitar of “Maverick” lends a Southern, bluesy swing that the penultimate “Enchained” answers back later ahead of the sample-laden psychedelic jam-out closer, “Antariksh,” which strikes as a far cry from the ultra-straightforward presentation earlier on “Empty Pockets,” but speaks to an immediate scope in Redneck Spaceship’s sound. One hopes they continue to meld elements as they progress beyond Grand Marshal Ape and bridge the gap between one side of their moniker and the other.

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Redneck Spaceship on Bandcamp

 

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Quarterly Review: Wolves in the Throne Room, Gravy Jones, Marmora, Mouth, Les Lekin, Leather Lung, Torso, Jim Healey, Daxma, The Re-Stoned

Posted in Reviews on January 9th, 2018 by JJ Koczan

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

The Obelisk’s Quarterly Review continues today with day two of five. I don’t mind telling you — in fact I’m pretty happy to tell you — that this one’s all over the place. Black metal, post-metal, singer-songwriter stuff, psych jams, heavy rock. I feel like I’ve had to go to great pains not to use the word “weird” like 17 times. But I guess that’s what’s doing it for me these days. The universe has plenty of riffs. All the better when they start doing something different or new or even just a little strange. I think, anyhow. Alright, enough lollygagging. Time to dive in.

Quarterly Review #11-20:

Wolves in the Throne Room, Thrice Woven

wolves in the throne room thrice woven

True, it’s something of a cliché when it comes to Wolves in the Throne Room to think of their work as “an awaited return,” and perhaps that speaks to the level of anticipation with which their outings are greeted generally. Nonetheless, Thrice Woven arrives via the band’s own Artemisia Records six years after Celestial Lineage, their last proper full-length, and three after its companion, Celestite (review here), so the five-track/42-minute offering from the USBM innovators is legitimately due. The Washington-based troupe’s black-metal-of-the-land remains heavily focused on atmosphere, with a sharp, experimental-feeling turn to ambience and melody in opener “Born from the Serpent’s Eye” and the later drone interlude “Mother Owl, Father Ocean” that precedes the rampaging closer “Fires Roar in the Palace of the Moon,” which caps Thrice Woven with a long fade into the sound of rolling waves. Between them, “The Old Ones are with Us” casts a vision of blackened folk-doom that seems to pull off what Agalloch was always aiming for, and centerpiece “Angrboda” blasts through an early wash before splitting near the midsection to minimalism and rebuilding itself on a slow march. 15 years on from their beginning, Wolves in the Throne Room still sound like no one else, and continue to push themselves forward creatively.

Wolves in the Throne Room on Thee Facebooks

Artemisia Records on Bandcamp

 

Gravy Jones, Funeral Pyre

gravy jones funeral pyre

It’s a crazy world into which Gravy Jones invite their listeners on their self-issued debut full-length, Funeral Pyre, and the fire they bring is born of a molten classic psychedelic rock underpinned by low end weight and further distinguished by its use of organ and proto-metallic vocal proclamations. Opener and longest track (immediate points) “Heavens Bliss” tops 10 minutes in its weirdo roll, and subsequent cuts “The Burning of the Witch” and “It Came from the Sea” do little to dispel the off-center vibe, the former dug into rawer NWOBHM-ism and the latter, the centerpiece of the five-tracker, beaming in from some kind of alt-universe Deep Purple idolatry to lead into the particularly doomed “Gilgamesh” and the shuffle-into-noisefest onslaught of the closing title-track. All told it’s 41 minutes of bizarre excursion that’s deceptively cohesive and feels like the start of a longer-term sonic exploration. Whether or not Gravy Jones even out sound-wise or hold to such an unhinged vibe, they definitely pique interest here.

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Gravy Jones on Bandcamp

 

Marmora, Criterion

marmora criterion

Criterion – yes, like the collection – is the debut EP from Chicago four-piece Marmora, who released a single in 2013 before the core brotherly trio of Zaid (guitar), Alejandro (bass) and Ulysses (drums) Salazar hooked up with vocalist/guitarist/synthesist Allan Cardenas in 2015. The three-tracker that has resulted begins with its title-cut, which thrusts forth a wash of heavy post-rock that makes an impression in weight as much as space before turning to the more grounded, propulsive, aggressive and punkishly noise-caked “Apathy” and closer “Flowers in Your Garden,” which turns traditional heavy rock riffery on its head with frenetic drum work and rhythmic turns that feel born of modern progressive metal. Significant as the crunch factor and aggro pulsations are, Criterion isn’t at all without a corresponding sense of atmosphere, and though there isn’t much tying these three tracks together, for a first EP, there doesn’t need to be. Let that come later. For now, the boot to the ass is enough.

Marmora on Thee Facebooks

Marmora on Bandcamp

 

Mouth, Live ’71

mouth live 71

Perhaps in part as a holdover between their 2017 second album, Vortex (review here), and the impending Floating to be issued in 2018, German progressive retroists Mouth offer Live ’71. No, it was not actually recorded in 1971. Nor, to my knowledge, was it recorded in 2071 and sent back in time in a slingshot maneuver around the sun. It’s just a play on the raw, captured-from-the-stage sound of the 55-minute set, which opens at a 19-minute sprawl with “Vortex” itself and only deep-dives further from there, whether it’s into the keyboard throb of “Parade,” the nuanced twists of “Into the Light” or the more straightforward riffing of “On the Boat.” There’s room for all this scope and the stomp of “Master Volume Voice” in a Mouth set, it would seem, and if Live ’71 is indeed a stopgap, it’s one that shows off the individualized personality of the long-running band who seem to still be exploring even as they approach the 20-year mark.

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Mouth on Bandcamp

 

Les Lekin, Died with Fear

les lekin died with fear

A second full-length from Austrian heavy psych trio Les Lekin, Died with Fear is perhaps more threatening in its title than in its overall aesthetic. The four inclusions on the 43-minute follow-up to 2014’s All Black Rainbow Moon (review here) set their mission not necessarily in conveying terror or some overarching sense of darkness – though low end is a major factor throughout – as in cosmic hypnosis born of repetition and chemistry-fueled heavy psychedelic progressivism. Well at home in the extended and atmospheric “Orca” (10:41), “Inert” (10:21), “Vast” (8:59) and “Morph” (13:34), the three-piece of guitarist Peter G., bassist Beat B. and drummer Kerstin W. recorded live and in so doing held fast to what feels very much like a natural and developing dynamic between them, their material all the more fluid for it but carrying more of a sense of craft than most might expect from a release that, ostensibly, is based around jams. Sweeping and switched-on in kind, Died with Fear turns out to be remarkably vibrant for something under a banner so grim.

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Tonzonen Records webstore

 

Leather Lung, Lost in Temptation

leather lung lost in temptation

Oh, they’re mad about it, to be sure. I’m not sure what ‘it’ ultimately is, but whatever, it’s got Leather Lung good and pissed off. Still, the Boston-based onslaught specialists’ debut full-length, Lost in Temptation, has more to its cacophony than sheer violence, and though that intelligence is somewhat undercut by the hey-check-it-out-it’s-cartoon-tits-and-also-because-snakes-are-like-wieners cover art, the marriage between fuckall noise intensity on “Gin and Chronic” and trades between growl-topped thrust and more open and melodic plod on “Shadow of the Scythe” and upbeat rock on “Momentum of Misfortune.” Put it in your “go figure” file that the closer “Destination: Void,” which is marked as an outro, is the longest inclusion on the 28-minute offering, but by then due pummel has been served throughout pieces like “Deaf Adder” and “Freak Flag” amid the willful stoner idolatry of “The Spice Melange,” so there’s texture in the assault as well. Yeah though, that cover. Woof.

Leather Lung on Thee Facebooks

Leather Lung on Bandcamp

 

Torso, Limbs

torso limbs

I won’t deny the strength of approach Austria’s Torso demonstrate across Limbs, their StoneFree Records debut LP, in the straightforward structures of songs like “Meaning Existence” or “Mirror of My Mind” or “Skinny and Bony” and the semi-acoustic penultimate grown-up-grunge alternarocker “Down the Highway,” but it’s hard to listen to the nine-minute spread of “Red Moon” in the midsection of the album and not come away from its patient psychedelic execution thinking of it as a highlight. Shades of post-rock and moodier fare make themselves known in “Come Closer” and the righteously melodic “Ride Up,” and closer “Voices” delivers a resounding payoff, but it’s “Red Moon” that summarizes the atmospheric and emotional scope with which Torso are working and most draws together the various elements at play into a cohesive singularity. One hopes it’s a model they’ll follow going forward, but neither should doing so necessarily draw away from the songwriting prowess they show here. It’s a balance that, having been struck, feels ready to be manipulated.

Torso on Thee Facebooks

StoneFree Records website

 

Jim Healey, Just a Minute More

jim healey just a minute more

Companioned immediately by a digital release of the demos on which it’s based, including four other songs that didn’t make the cut of the final, studio-recorded EP, Jim Healey’s Just a Minute More conveys its sense of longing in the title and moves quickly to stake its place in a long-running canon of singer-songwriterisms. Healey, known for fronting metal and heavy rock acts like We’re all Gonna Die, Black Thai, Set Fire, etc., could easily come across as a case of dual personality in the sweetly, unabashedly sentimental, acoustic-based opener “The Road” or the more-plugged-in “You and I” at the outset, but in the fuzzed-out centerpiece “Swamp Thing,” the emotionally weighted memorable hook of “Faced,” and the piano-topped payoff of closer “Burn Up,” the 18-minute EP unfurls a sense of variety and a full-band sound that sets the project Jim Healey on its own course even apart from the man himself. Some of those other demos aren’t too bad either. Just saying.

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Jim Healey on Bandcamp

 

Daxma, The Head Which Becomes the Skull

daxma-the-head-which-becomes-the-skull

Signed to Magnetic Eye for the release, Oakland post-metal five-piece Daxma answer the ambition of their half-hour single-song 2016 debut EP, The Nowhere of Shangri-La, with the even-fuller-length The Head Which Becomes the Skull, demonstrating a clear intent toward sonic patience and ambient reach that balances subtle builds and crashes with engaging immersiveness and nod. Three of the six total inclusions top 10 minutes, and within opener “Birth” (10:53), “Abandoning All Hope” (11:34) and the penultimate “Our Lives Will be Erased by the Shifting Sands of the Desert” (13:42), one finds significant breadth, but not to be discounted either are the roll of “Wanderings/Beneath the Sky,” the avant feel of the closing title-track or even the 80-second drone interlude “Aufheben,” which like all that surrounds it, feeds into a consuming ambience that undercuts the notion of The Head Which Becomes the Skull as a debut album for its purposefulness and evocative soundscaping.

Daxma on Thee Facebooks

Magnetic Eye Records on Bandcamp

 

The Re-Stoned, Chronoclasm

the re-stoned chronoclasm

For their first new outing since they revisited their debut EP in 2016 with Reptiles Return (review here), Moscow instrumentalists The Re-Stoned cast forth Chronoclasm, a six-track long-player of new material recorded over 2015 and 2016 that ties together its near-hour-long runtime with a consistency of guitarist Ilya Lipkin’s lead tone and a steady interweaving of acoustic elements. “Human Without Body,” “Save Me Under the Emerald Glass,” “Psychedelic Soya Barbecue” and the title-track seem to have some nuance of countrified swing to their groove, but it’s lysergic swirl that ultimately rules the day throughout Chronoclasm, Yaroslav Shevchenko’s drums keeping the material grounded around Lipkin’s guitar and Vladimir Kislyakov’s bass. The trio are joined on percussion by Evgeniy Tkachev on percussion for the CD bonus track “Quartz Crystals,” which picks up from the quiet end of “Chronoclasm” itself and feels like a nine-minute improve extension of its serene mood, adding further progressive sensibility to an already wide scope.

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Oak Island Records on Thee Facebooks

 

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Quarterly Review: Wucan, Lucifer in the Sky with Diamonds, Thera Roya, Ojos Rojos, Ett Rop På Hjälp, BongCauldron, Nomadic Rituals, Mental Tremors, Gin Lady, Swanmay

Posted in Reviews on September 29th, 2017 by JJ Koczan

the obelisk quarterly review

Round five of the Fall 2017 Quarterly Review begins now. After dealing with the technical issues this week and changing hosts and having the site down for – well, as I write this, it’s still down, so I don’t really have a finished count yet, though obviously by the time you’re reading it it’ll be back up – yeah, it’s made putting together a batch of 10 reviews a day seem like a breeze. “Oh, you mean you’re only writing 10 reviews today? Well now this is happening.” That kind of thing. Didn’t I say something earlier this week about a piano falling on my head? Prescient.

Plan is to finish the QR on Monday and then get back to what passes for normalcy around here. Still plenty of good stuff to come between now and then though, so let’s dive in.

Quarterly Review #41-50:

Wucan, Reap the Storm

wucan reap the storm

Bilingual heavy blues rockers Wucan offer their second full-length, Reap the Storm, through MIG Music, and with it showcase a stunning range of songwriting. The album is set up as a 2LP and runs eight songs/73 minutes from the Dresden, Germany, four-piece of vocalist Francis Tobolsky (also flute, guitar, theremin, sitar and percussion), guitarist/keyboardist Tim George, bassist Patrik Dröge and drummer Philip Knöfel, and from the expansive jamming of 10-minute opener “Wie Die Welt Sich Dreht,” it solidifies into the classic-prog-meets-heavy-boogie of “Ebb and Flute/The Eternal Groove” and nestles into driving semi-psychedelic rock on “Out of Sight out of Mind” to lead the charge on a side B marked out by the organ in “I’m Gonna Leave You,” the interplay of trippy/soulful vocals and flute on “The Rat Catcher” and the quiet, German-language post-Zeppelin acoustic folk of “Falkenlied.” Okay. Already your head’s spinning. Then Wucan dive into “Aging Ten Years in Two Seconds” and “Cosmic Guilt,” which together comprise the second of the two LPs, the former running 21:05 and the latter 18:04, and basically between them represent another album entirely, tying all of the elements previously listed together into one richly complex, progressive-but-still-warm delivery. Their breadth is met by an overarching organic feel – the flute and Tobolsky’s vocals help greatly in this – and though the results are somewhat unmanageable, Wucan remain impressively cohesive throughout the many twists and turns.

Wucan on Thee Facebooks

MIG Music website

 

Lucifer in the Sky with Diamonds, Silent Echo

Lucifer-in-the-Sky-with-Diamonds-Silent-Echo

The new single “Silent Echo” is an awaited return from Moscow progressive heavy rockers Lucifer in the Sky with Diamonds, who showed up with an encouraging debut, The Shining One (review here), in 2014. In the rhythmic push and balance of melody and hook, “Silent Echo” reaffirms the appeal of that album and presses it forward, and the band – now comprised of guitarist/bassist/vocalist Oleg Sakharov, guitarist Sergey Starykh, drummer Ramis Cervantes and backing vocalist Alexey Fedotov – hold fast to the underlying proggy sensibilities that fall so well in line with the crispness of their production and the clarity of intent in their songcraft. If they were German or Swedish, they’d already be signed. After three years, a new album would be welcome, but perhaps “Silent Echo” is a harbinger of things to come, and if indeed the six-minute track is all we’re getting for now, it’s got resonance enough behind it to last at least for a while. Hard to hear it though and not want more from these guys.

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Lucifer in the Sky with Diamonds on Bandcamp

 

Thera Roya, Masterful Universe

thera-roya-masterful-universe

Tracked a year ago in North Carolina, Thera Roya’s Masterful Universe two-songer follows behind their earlier-2017 debut long-player, Stone and Skin (review here), and continues their headfirst dive into noise-laden riotousness across the seven-minute “Static Transmission” (I’m sorry, but are those monkey sounds around the three-minute mark?) and five-minute “Confused Population,” which starts out with a sample of the bomb-riding end sequence of Dr. Strangelove, because I guess the Brooklyn/NJ trio of drummer/vocalist Ryan Smith, guitarist Christopher Eustaquio and bassist Jonny Cohn are feeling topical. Fair enough. That song pushes into cleaner vocals, almost drone-chants, for a particularly experimental feel, and keeps samples as a running theme (at least until the blackened cave-echo screams at the end), where “Static Transmission” is more scathingly aggressive at its core, but in both tracks, the message of Thera Roya getting weirder and weirder comes through clearly, and that only works to their benefit on this short but consuming offering. Run with it, dudes.

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Thera Roya on Bandcamp

 

Ojos Rojos, Sons of Love and Death

Ojos-Rojos-Sons-of-Love-and-Death

It’s been seven years since California-based heavy psych rockers Ojos Rojos made their debut with the full-length Disappear (review here), but you’d hardly know it from the vibrancy of their new five-song/26-minute Sons of Love and Death EP, which from its opening title-track – also the longest here (immediate points) – through the rightly spacious “Atmosphere” and smoothly rolling centerpiece “Say Goodbye” affects desert-hued shoegaze engagement that asks little of the listener more than to drift along with its easy path. “A Hole Inside” (pun sense tingling) brings especially satisfying fuzz in the guitar and a swirling couple leads to complement like stars overhead, and closer “So Free” doesn’t at all let the fact that it’s so darn laid back let it stop it from strutting its start-stop groove with such swagger. All told, Sons of Love and Death is a work of drippingly lysergic vibe, reminiscent of Dead Meadow at their most languid, but it comes across neither as staid nor redundant. Be it in the rhythmic push of “Atmosphere” or the final crashes of “So Free,” Ojos Rojos find the means to portray an active ecosystem in something that, from the surface, seems still and peaceful.

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Ojos Rojos on Bandcamp

 

Ett Rop På Hjälp, Sans och Balans

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Ett Rop På Hjälp, quite simply, deserve a higher profile than they’ve got for their second album, Sans och Balans. The Gothenburg natives are a half-decade removed from their 2012 debut, Hur Svårt Kan Det Vara? (review here), on Transubstans, and the new collection is a more than worthy follow-up, offering classic-style boogie rollout on cuts like “En Djavuls Falla” and the later solo work on “Blanka Eftermiddagen,” while “Defenestration” (the only English title present, though it’s still sung in Swedish), highlights organ/keys alongside its low end depth and catchy movement, shifting at its midpoint to an instrumental jam that carries it into the bluesy build and harmonies of “Snomannen.” The penultimate “Leker Med Karlek” is particularly heavy ‘70s, but skirts the trap of sounding like Graveyard, Witchcraft or most others of that vintage ilk, and the finish in “Slutat Tro” prefaces its payoff with a subtle heft that comes to the fore late, manifesting a proto-doom working well to contrast the sweetness of the earlier vocal melody. It may be harder for those who don’t speak Swedish to grasp the verses and howling chorus of “Folkhemsdesperado” and the other inclusions here, but Sans och Balans is nothing if not worth that effort and clearly a record that earns more attention than it’s getting.

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Sans och Balans on Spotify

 

BongCauldron, Binge

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Leeds trio BongCauldron have been kicking around the UK’s fertile heavy underground for the last five-plus years since their self-titled EP, issuing a series of shorter releases and splits and gradually readying themselves for a larger attack. That arrives as their eight-song/40-minute debut full-length, Binge, which sludge-bludgeons (yes, it sludgeons) its listener into submission with thickened nod, growls and an attitude that’s best represented perhaps in the title of second cut “Bury Your Axe in the Crania of Lesser Men.” Yeah, it’s like that. “68” and closer “Yorkshire Born” offer a Motörhead/High on Fire-style gallop, but the larger impression Binge makes comes from the pairing of the title-track and “Bigfoot Reigns” in the middle of the album. These two longest tracks, back to back, pummel their viscous onslaught, and even when the latter swaps out its faster first half for the massive slowdown of its second, its shift is purely from one extreme to the other. Feels like it’s been a while in the making, and maybe it has, but BongCauldron’s first long-player has nastiness a-plenty to make up for any and all lost time.

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APF Records on Thee Facebooks

 

Nomadic Rituals, Marking the Day

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Marking the Day builds from minimalist drone over the first couple minutes of “From Nothing” into a maddeningly heavy, grueling, hour-long slog of noise-soaked and extremist post-sludge. It is the second album from Belfast, Northern Ireland, three-piece Nomadic Rituals, and its cosmically-themed lumber is utterly vicious as it plays out across six tracks, the shortest of which, “Expansion,” is just under eight minutes long. Over the course of this creation-to-destruction journey, guitarist/vocalist Peter Hunter, bassist/vocalist Craig Carson and drummer Mark Smyth (all three also contribute noise and/or synth) take listeners “From Nothing” and leave them “Face Down in the Sea of Oblivion,” and it’s that 14-minute finale and specifically the tumultuous, pushed-even-further apex thereof, that is intended to capture the grand undoing of everything. One imagines when the end comes it won’t actually sound quite so glorious, but an interpretive representation, Nomadic Rituals give brutal portrayal that seems to fit the onslaught of chaos, and the final amp hum reminds that every ending is likewise a new beginning, even one so mammoth and consuming as this.

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Nomadic Rituals on Bandcamp

 

Mental Tremors, Mental Tremors

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A duo who manage to sound like a full band on a studio album is nothing new at this point, between layering and tonal heft and whatever else might be at play in a given act’s aesthetic. Fortunately, Melbourne two-piece Mental Tremors don’t need to rely on novelty. In the fuzz of songs like “Bastard Son” and “Violently” – that’s a riff you should hear – their self-titled debut long-player offers legit chops in craft and performance, yes, sounding full, but still natural as it makes its way through the weirdo-psych nod of the six-minute “Patient Man,” solidifying as it goes, and seeming to turn the classic LP dynamic of straightforward A and more expansive B sides on its head as it rounds out with “Hunters” and “The Fevering,” individualizing catchy, post-Queens of the Stone Age impulses and hairy riff-led raucousness. Initially self-released earlier this year, Mental Tremors was picked up for a vinyl pressing by Cursed Tongue Records, and whether it’s the clarion groove of opener “Like a Broken Town” or the nods and echoes that pervade “The Cascade,” there’s no question it earns that preservation that only physical media can provide.

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Cursed Tongue Records webstore

 

Gin Lady, Electric Earth

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Modern enough in its production, Gin Lady’s fourth album, Electric Earth (on Kozmik Artifactz) is nonetheless in pretty direct conversation with the ‘60s, whether it’s “I’m Your Friend” chatting it up with Paul McCartney circa Rubber Soul or the acoustic/piano stomp of “Mercy” in a back and forth with The Rolling Stones, even going so far as to reference “Satisfaction” in the lyrics. These pop-minded textures are met with some heavier rock vibes, but at its loudest, Electric Earth still sticks to a pretty serene feel, starting off at a dancey clip with “Flower People” and capping with the quick Lennonism of “Running No More,” while in between, the four-piece of vocalist Magnus Kamebro, guitarist/vocalist Joakim Karlsson, bassist/vocalist Anthon Johansson and drummer Fredrik Normark gracefully capture bygone vibes on the wistful “The Things You Used to Do,” the jammy “Brothers of the Canyon” and the crisp, clear “Water and Sunshine,” the hook of which could’ve easily come from a lost single from 1965. It’s a niche not everyone’s playing toward at this point, but still instantly familiar and engagingly, efficiently done.

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Electric Earth at Kozmik Artifactz

 

Swanmay, Stoner Circus

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Unabashed stoner rock riff-led ideology persists throughout Stoner Circus, the hard-driving debut full-length from Linz, Austria, three-piece Swanmay. Working from a center of dense but not overblown fuzz, the rockers cast forth a clear-in-its-purposes nine tracks highlighted by “Lake on Fire,” which one can only wonder if whether or not was written in homage to the Austrian annual festival of the same name. In any case, that hook is one of several that feel particularly engaging throughout Stoner Circus, and the depth of tone on the instrumental “Dopechild” is enough to make that song memorable despite a lack of lyrics. Far from revolutionary, ultimately, but clearly not trying to be either, Swanmay’s first LP preaches its post-Kyussism on “Dharma” and in the Lowrider-style roll of “Sylvan” earlier on, but there’s an aggressive edge to it as well that comes to the fore on “Padawan” ahead of closer “Shiva,” which rounds out with a satisfying-if-telegraphed slowdown to make the point one more time about putting the groove first. So be it. As a debut, Stoner Circus gives Swanmay something to build on and already shows promise in songwriting and its well-honed execution of genre tenets.

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Swanmay on Bandcamp

 

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Quarterly Review: The Necromancers, The Asound & Intercourse, Bohr, Strobe, Astrosaur, Sun Q, Holy Mount, Sum of R, IIVII, Faces of the Bog

Posted in Reviews on September 25th, 2017 by JJ Koczan

the obelisk quarterly review

The season is changing here in the Northeastern part of the US. Leaves have just barely started to change, and the summertime haze that settles over the region for for the better parts of June, July and August has largely dissipated. It’s getting to be hoodie weather after the sun goes down. This past weekend was the equinox. All of this can only mean it’s time for another Quarterly Review — this one spanning a full Monday-to-Monday week’s worth of writeups. That’s right. 60 albums between now and a week from today. It’s going to be a genuine challenge to get through it all, but I’m (reasonably) confident we’ll get there and that when we’re on the other side, it will have been completely worth the lengthy trip to get there. Hell, you know the drill by now. Let’s not waste any time and get to it, shall we?

Quarterly Review #1-10:

The Necromancers, Servants of the Salem Girl

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A noteworthy debut from the Poitier, France-based four-piece The Necromancers, whose coming has been much heralded owing in no small part to a release through Ripple Music, the six-track/41-minute Servants of the Salem Girl lumbers through doom and cultish heavy rock with likewise ease, shifting itself fluidly between the two sides on extended early cuts like opener “Salem Girl Part I” and the nine-minute “Lucifer’s Kin,” which gets especially Sabbathian in its roll later on. The album’s midsection, with the shorter cuts “Black Marble House” (video premiere here) and “Necromancers,” continues the flow with a general uptick of pace and ties together with the opening salvo via the burly vocals of guitarist Tom, the solo work of Rob on lead guitar, and the adaptable groove from bassist Simon and drummer Ben, and as the penultimate “Grand Orbiter” engages moody spaciousness, it does so with a refusal to commit to one side or the other that makes it a highlight of the album as a whole. The Necromancers finish contrasting rhythmic tension and payoff nod on “Salem Girl Part II,” having long since thoroughly earned their hype through songwriting and immediately distinct sonic persona. There’s growth to do in melodicism, but for being “servants,” The Necromancers show an awful lot of command in structure and style.

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Ripple Music website

 

The Asound & Intercourse, Split 7″

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Noise is the order of things on the Tsuguri Records split 7” between New Haven, Connecticut’s good-luck-Googling aggressives Intercourse and North Carolinian sludge rockers The Asound. Each band offers a two-song showcase of their wares, with Intercourse blasting short jabs of post-hardcore/noise rock angularity on “Too Fucked to Yiff” and “Corricidin is a Helluva Drug” and The Asound bringing a more melodic heavy rock swing to “Slave to the Saints” while saving a more galloping charge for “Human for Human.” It’s a quick sampling, of course, and “Slave to the Saints” is the relative epic inclusion as the only one over three minutes long – it goes to 4:20, naturally – but boasts a surprisingly professional production from The Asound and an unhinged vibe from Intercourse that meets them head on in a way both competitive and complementary to the aggression of “Human for Human.” Fodder for the bands’ merch tables in its limited-to-300, one-time-only pressing, but there’s hardly anything wrong with that. All the more worth grabbing it if you can, while you can.

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Intercourse on Thee Facebooks

Tsuguri Records on Thee Facebooks

 

Bohr, Bohr

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Officially called Self-Title, this two-song outing released by Tandang Records and BTNKcllctv serves as the first release from Malaysia’s Bohr, and with shouts and growls duking it out over massive plodding tones on opener “Voyager,” they seem to take position right away in the post-Conan verve of megadoom. Peppered-in lead work showcases some welcome nuance of personality, but it’s the second track “Suria” that trips into more surprising terrain, with a faster tempo and something of a letup in thickness, allowing for a more rocking feel, still met with shouted vocals but hinting at more of a melodic reach nonetheless. The shift might be awkward in the context of a full-length, but on a debut single/EP, it works just fine to demonstrate what may or may not be a nascent breadth in Bohr’s approach. They finish “Suria” with hints of more to come in a plotted guitar lead and are done in about 10 minutes, having piqued interest with two disparate tracks that leave one to wonder what other tricks might be up their collective sleeve.

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Tandang Records on Bandcamp

BTNKcllctv on Bandcamp

 

Strobe, Bunker Sessions

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It’s worth noting outright that Strobe’s Bunker Sessions was recorded in 1994. Not because it sounds dated, but just the opposite. The Sulatron Records release from the under-exposed UK psychedelic rockers finds them jamming out in live-in-studio fashion, and if you’d told me with no other context that the resultant six-track/40-minute long-player was put to tape two months ago, I’d absolutely have believed it. This would’ve been the era of their 1994 third album, The Circle Never Ends, and while some can hear some relation between that and Bunker Sessions in the shimmering lead and warm underscoring basslines of 10-minute opener and longest track (immediate points) “Sun Birth,” the drift in “Chameleon Earth,” synth-laden space rock meandering of “Opium Dreams” and cymbal-wash-into-distortion-wash of closer “Sun Death” are on a wavelength of their own. It’s something of a curio release – a “lost album” – but it’s also bound to turn some heads onto how ahead of their time Stobe were in the ‘90s, and maybe we’ll get lucky and Sulatron will use it to kick off a full series of convenient LP reissues.

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Sulatron Records webstore

 

Astrosaur, Fade In / Space Out

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While their moniker brings to mind pure stoner idolatry, Oslo instrumentalists Astrosaur acquit themselves toward more progressive fare with Fade In // Space Out, their Bad Vibes Records debut album, finding open spaces in bookending extended opener “Necronauts” and the dramatic shift between droning experimentalism and weighted lumber of the closing title-track even as middle cuts “Space Mountain,” “Yugen” and “Fishing for Kraken” balance with fits of driving progressive metallurgy. Comprised of Eirik Kråkenes, Steinar Glas and Jonatan Eikum, Astrosaur do get fuzzy for a bit on “Yugen,” but by the time they’re there, they’ve already space-doom-jazzed their way through such a vast aesthetic swath that it becomes one more stylistic element in fair-enough play. Open in its structure and building to an affecting cacophony in its ending, Fade In // Space Out is defined in no small part by its stylistic ambition, but whether it’s in the head-spinning initial turns of “Fishing for Kraken” or the stretch of peaceful, wistful guitar after the seven-minute mark in “Necronauts,” that ambition is admirable multifaceted and wide-reaching.

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Bad Vibes Records website

 

Sun Q, Charms

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There’s an encouraging and decidedly pro-shop fullness of sound being proffered on Sun Q’s debut full-length, Charms, to match an immediate sense of songcraft and stylization that puts them somewhere between heavy psych and more driving fuzz rock. Vocalist Elena Tiron takes a forward position in opener “Petals and Thorns” over the briskly-captured tones from guitarist Ivan Shalimov and bassist Denis Baranov while drummer Pavel Poseluev pushes the proceedings along, and whether they’re bringing in Seva Timofeev’s Hammond for the subsequent bluesy vibing of “After This,” toying with pop playfulness on “Plankton,” giving Andrey Tanzu percussive room on “Dancing Souls” or going full-expanse on keyboard-laden centerpiece and aptly-titled longest cut “Space,” there’s purpose behind the variety on offer and Sun Q never seem to lose their sense of poise throughout. There are moments where the bite of the production hits a little deep – looking at you, “Plankton” – but especially as their debut, Charms lives up to the name it’s been given and establishes these Moscow natives as a presence with which to be reckoned as they move forward.

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Sun Q on Bandcamp

 

Holy Mount, The Drought

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White Dwarf Records picked up what by my count is Holy Mount’s fourth full-length, The Drought, for a vinyl issue following the Toronto foursome’s self-release last year, and with the immersive, dense heavy psych nod of “Division,” it’s little wonder why. The seven-cut LP is the second to feature the lineup of Danijel Losic, Brandon McKenzie, Troy Legree and Clayton Churcher behind 2014’s VOL, and its moments of nuance like the synth at the outset of “Blackened Log” or the blend of tense riffing and post-The Heads shoegaze-style vocal chants on the markedly insistent highlight cut “Basalt” only further the reasoning. The penultimate “Blood Cove” returns some to of the ritual sense of “Division,” and The Drought’s titular finale pierces its own wash with a lead that makes its apex all the more resonant and dynamic. Not nearly as frenetic as its cover art would have you believe, the already-sold-out vinyl brims with a vibe of creative expansiveness, and Holy Mount feel right at home in its depths.

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White Dwarf Records webstore

 

Sum of R, Orga

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Over the course of its near-hour runtime, Orga, the Czar of Crickets-issued third full-length from Bern, Switzerland, ambient outfit Sum of R deep-dives into droning atmospheric wash while effectively producing headphone-worthy depths and avoiding the trap of redundant minimalism. Chimes in a song like “Desmonema Annasethe” and ringing bells in “We Have to Mark this Entrance” give a feeling of lushness instead that serves the release well overall, and these details, nuances, take the place of what otherwise might be human voices coursing through the bleak mire of Orga’s progression. One might look to closing duo “Let us Begin with What We Do Not Want to Be” and “One After the Other” for some sense of hopefulness, and whether or not it’s actually there, it’s possible to read it into the overarching drone of the former and the percussive movement of the latter, but by then Sum of R have well set the mood in an abiding darkness, and that remains the prevailing vibe. Not quite dramatic or brooding in a human/emotional sense, Orga casts its drear in soundscapes of distant nighttime horizon.

Sum of R website

Czar of Crickets Productions website

 

IIVII, Invasion

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Noted graphic artist and post-metal songwriter Josh Graham – formerly visuals for Neurosis, but also art for Soundgarden and many others, as well as being known for his work with A Storm of Light and the woefully, vastly underrated Battle of Mice – makes his second ambient solo release in the form of IIVII’s Invasion on Belgian imprint Consouling Sounds. A soundtrack-ready feel pervades the nine tracks/44 minutes almost instantly and holds sway with opener “We Came Here from a Dying World (I)” finding complement in the centerpiece “Tomorrow You’ll be One of Us (II)” and a thematic capstone in closer “Sanctuary,” only furthering the sense of a narrative unfolding throughout. There are elements drawn in “Unclouded by Conscience” from the atmospheric and score work of Trent Reznor and/or Junkie XL, but Graham doesn’t necessarily part with the post-metallic sense of brooding that has defined much of his work even as the pairing of “We Live” and “You Die” late in the record loops its way to and through its dramatic apex. Obviously not going to be for everyone, but it does make a solid argument for Graham as a composer whose breadth is still revealing itself even after a career filled with landmarks across multiple media.

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Consouling Sounds website

 

Faces of the Bog, Ego Death

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In some of their shifts between atmospheric patience and churning intensity – not to mention in the production of Sanford ParkerFaces of the Bog remind a bit of fellow Windy City residents Minsk on their DHU Records debut album, Ego Death, but prove ultimately more aggressive in the thrust of “Drifter in the Abyss” and the later stretch of “The Serpent and the Dagger,” on which the guitars of Mark Stephen Gizewski and Trey Wedgeworth (both also vocals) delve into Mastodonic leads near the finish to set up the transition into the 10:33 title-track, which begins with a wash of static noise before Paul Bradfield’s bass sets up the slow nod that holds sway and only grows bigger as it presses forward. That cut is one of two over the 10-minute mark, and the other, closer “Blue Lotus,” unfolds even more gradually and ventures into cleaner vocals presaged on “The Weaver” and elsewhere as it makes its way toward an album-payoff crescendo marked by drummer Danny Garcia’s thudding toms and a low end rumble that’s as much a presence unto itself as a harbinger of progression to come.

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DHU Records webstore

 

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Quarterly Review: Swans, Virus, The Re-Stoned, Castle, Spirit Adrift, Robb & Pott, Family, Les Discrets, Liquido di Morte, Witchskull

Posted in Reviews on October 7th, 2016 by JJ Koczan

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Last day. As ever, I am mentally, physically and spiritually exhausted by this process, but as ever, it’s been worth it. Today I do myself a couple favors in packing out with more familiar acts, but whatever, it’s all stuff I should be covering anyway, so if the order bothers you, go write your own 50 reviews in a week and we can talk about it. Yeah, that’s right. That’s what I said. Today we start with Swans. Everything’s a confrontation.

Once again, I hope you’ve found something somewhere along this bizarre, careening path of music that has resonated with you, something that will stick with you. That’s why we’re here. You and me. If you have, I’d love to know about it. Until then, one more time here we go.

Quarterly Review #41-50:

Swans, The Glowing Man

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Oh fucking please. You want me to try to summarize The Glowing Man – the culmination and finale of an era of Swans that Michael Gira began now more than half a decade ago – in a single review? Even putting aside the fact that the record two hours long, the notion is ridiculous. If there ever was a chart, the scope here is well off it. The material unfolds and churns and is primal and lush at once on “Cloud of Forgetting,” genuinely chaotic on the 28-minute title-track, and it ends with a drone lullaby, but seriously, what the fuck? Some shit is just beyond, and if you don’t know that applies to Swans by now, it’s your own fault. You want a review? Fine. I listened to the whole thing. It ate my fucking soul, chewed it with all-canine teeth and then spit it out saying “thanks for the clarity” and left me dazed, bloodied and humbled. There’s your fucking review. Thanks for reading.

Swans on Thee Facebooks

Young God Records website

 

Virus, Memento Collider

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Oslo trio Virus have long since established that they’re a band working on their own wavelength. Memento Collider (on Karisma Records) is the jazzy post-black metallers’ first album in five years and brings together adventurous rhythms, poetic declarations, dissonant basslines and – in the case of “Rogue Fossil,” the occasional hook – in ways that are unique unto Virus. Look at this site and see how often I use the word “unique.” It doesn’t happen. Virus, however, are one of a kind. Memento Collider makes for a challenging listen front to back on its six-track/45-minute run, but it refuses to dumb itself down or dull its progressive edge, bookending its longest (that’s opener “Afield” at 10:41; immediate points) two tracks around jagged explorations of sound like “Steamer” and “Gravity Seeker,” which engage and intrigue in kind after the melodic push of “Dripping into Orbit” and leading into “Phantom Oil Slick,” a righteous affirmation of the angular thrust at the core of Virus’ approach.

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Karisma Records webstore

 

The Re-Stoned, Reptiles Return

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In 2010, Moscow troupe The Re-Stoned issued their first EP, Return to the Reptiles, and being obviously concerned with evolution, they’ve now gone back and revisited that debut release with Reptiles Return, a reworking of the four studio tracks that made up the initial version – “Return,” “Run,” “The Mountain Giant” and “Sleeping World.” The opener is a straight re-recording, as is one other, where another is remixed and the other two remastered, and Reptiles Return – which is presented on limited vinyl through Clostridium Records and a CD box set with bonus tracks via Rushus Records – pairs them with more psychedelic-minded soundscape pieces like “Winter Witchcraft,” “Walnut Talks,” the proggy “Flying Clouds” and sweetly acoustic “Roots Patter,” that showcase where founding multi-instrumentalist Ilya Lipkin is taking the band going forward. The result is a satisfying side A/B split on the vinyl that delights in heavy riffing for its own sake in the first half and expands the scope in the second, which should delight newcomers as well as those who’ve followed The Re-Stoned along this evolutionary process.

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Clostridium Records website

 

Castle, Welcome to the Graveyard

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It may well be the fate of San Francisco’s hard-touring, ass-kicking, genre-refusing duo Castle to be terminally underappreciated, but that has yet to stop them from proliferating their righteous blend of thrash, doom and classic, fistpump-worthy metal. Their latest outing, Welcome to the Graveyard, arrives via respected purveyor Ván Records, and entices in atmosphere and execution, cohesively built tracks like “Hammer and the Cross” and the penultimate “Down in the Cauldron Bog” finding a balance of personality and delivery that the band has long since honed on stage. The Dio-esque barnburner riff of “Flash of the Pentagram” makes that cut a highlight, but as they roll out the cultish vibes of “Natural Parallel” to close, there doesn’t seem to be much on the spectrum of heavy metal that doesn’t fit into Castle’s wheelhouse. For some bands, there’s just no justice. Four records deep, Castle have yet to get their due, and Welcome to the Graveyard is further proof of why they deserve it.

Castle website

Ván Records

 

Spirit Adrift, Chained to Oblivion

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One can hear a new wave of modern doom taking shape in Chained to Oblivion, the Prosthetic Records debut from Arizona one-man outfit Spirit Adrift. The work of Nate Garrett alone in the studio, the full-length offers five mostly-extended tracks as a 48-minute 2LP of soaring, emotional and psychedelic doom à la Pallbearer, but given even further breadth through progressively atmospheric passages and a marked flow in its transitions. To call it personal seems superfluous – it’s a one-man band, of course it’s personal – but Garrett (also formerly of metallers Take Over and Destroy) brings a palpable sense of performance to the songwriting, and by the time he gets to the 11-minutes-apiece finale duo of the title-track and “Hum of Our Existence,” it’s easy to forget you’re not actually listening to a full band, not the least because of the vocal harmonies. Calling Chained to Oblivion a promising first outing would be underselling it – this is a project with serious potential.

Spirit Adrift on Thee Facebooks

Prosthetic Records website

 

Robb & Pott, Once upon the Wings

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Unpredictable from the start of opener “Flesh ‘n’ Steel,” Once upon the Wings is a first-time multinational collaborative effort from Robbi Robb of California’s 3rd Ear Experience and Paul Pott of Germany’s The Space Invaders. Its five tracks/42 minutes arrive through no less than Nasoni Records, and provide a curious and exploratory blend of the organic and the inorganic in sound, as one finds the 11-minute “Grass” no less defined by its percussion solo, guitar line and ‘60s-style vocal than the electronic drums that underscore the layered wash of noise in its midsection. Further definition hits with the 16-minute centerpiece “Prophecy #1,” which works in a space-rocking vein, but the shorter closing duo of the catchy “Looney Toon” and darkly progressive “Space Ear” show a creative bent that clearly refuses to be tamed. Robb & Pott, as a project, demonstrates remarkable potential throughout this debut, as they seem to have set no limits for where they want their sound to go and they seem to have the command to take it there.

Robb & Pott on Bandcamp

Nasoni Records website

 

Family, Future History

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Most of the tracks on Brooklyn progressive noise rockers Family’s second album and Prosthetic Records debut, Future History, come paired with interludes. That cuts some of the growling intensity of winding pieces like “Funtime for Bigboy” and “Floodgates,” and emphasizes the generally experimental spirit of the record as a whole, broadening the scope in sound and theme. I’m somewhat torn as to how much this actually works to the 51:50 outing’s benefit, as shorter pieces like “Prison Hymn” and “Transmission,” while adding dynamic to the sound and narrative drama, also cut the immediacy in impact of “The Trial” or closer “Bone on Bone,” but it’s entirely possible that without them Future History would be an overwhelming tumult of raw prog metal. And while the play back and forth can feel cumbersome when one considers how effectively “Night Vision” bridges the gap between sides, I’m not sure that’s not what Family were going for in the first place. It’s not supposed to be an easy record, and it isn’t one.

Family on Thee Facebooks

Family website

 

Les Discrets, Virée Nocturne

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France’s Les Discrets haven’t had a studio offering since 2012’s Ariettes Oubliées (review here), and while they released Live at Roadburn (review here) last year documenting their 2013 set at that festival, there’s little there that might presage the stylistic turn the Fursy Teyssier-led outfit takes on their new EP, Virée Nocturne (on Prophecy Productions). With four tracks – two new, complete recordings, one demo and the last a remix of the opener by Dälek and DeadverseLes Discrets attempt to find a stylistic middle ground between post-rock and trip-hop, and for the most part, they get there. “Virée Nocturne” itself leads off and can be jarring on first listen, but successfully blends the lush melodicism for which the band is known with electronic-driven beats, and both “Capricorni. Virginis. Corvi” and even the demo “Le Reproche” continue to build on this bold shift. The finale remix adds over two minutes to “Virée Nocturne,” but uses that time to make it even more spacious and all the more immersive. For anyone who thought they might’ve had Les Discrets figured out, the surprise factor here should be palpable.

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Prophecy Productions website

 

Liquido di Morte, II

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Presented across four tracks beginning with the 12-minute and longest-of-the-bunch (immediate points) “The Corpse of Dr. Funkenstein” (double points for the reference), II, the aptly-titled second album from Liquido di Morte expands the progressive atmospherics of the Italian four-piece’s 2014 self-titled debut (review here) without losing sight of the performance and spirit of exploration that helped bring it to life. Isaak’s Giacomo H. Boeddu guests on brooding vocals and whispers for “The Saddest of Songs I’ll Sing for You,” which swells in seething intensity as it moves forward, while “Rodents on the Uphill” casts a vision of post-space rock and closer “Schwartz Pit” rounds out with crash and wash that seems only to draw out how different the two halves of II actually are. Not a complaint. Liquido di Morte make their way across this vast span with marked fluidity, and if they prove anything throughout, it’s that they’re able to keep their command wherever they feel like using it to go.

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Sstars BigCartel store

 

Witchskull, The Vast Electric Dark

witchskull-the-vast-electric-dark-700

Canberra, Australia, trio Witchskull initially released their debut full-length, The Vast Electric Dark, last year, and caught the attention of the cross-coastal US partnership between Ripple Music and STB Records, who now align for a reissue of the eight-tracker. Why is quickly apparent. In addition to having earned a fervent response, The Vast Electric Dark basks in quality songcraft and doomly, heavy vibes, keeping a consistent pace while rolling through the semi-metallic push of “Raise the Dead” or the later rumble/shred of “Cassandra’s Curse.” All the while, guitarist/vocalist Marcus De Pasquale provides a steady presence at the fore alongside bassist Tony McMahon and drummer Joel Green, and what’s ultimately still a straightforward rocker of an album finds a niche for itself between varies underground styles of heavy. Between the balance they strike across their 37 minutes and the energy that courses through their songs, Witchskull’s The Vast Electric Dark proves easily worth the look it’s getting.

Witchskull on Thee Facebooks

STB Records webstore

Ripple Music website

 

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The Re-Stoned Post “Return” Video; Reptiles Return out Now

Posted in Bootleg Theater on September 28th, 2016 by JJ Koczan

the-re-stoned-photo-by-ivan-balashov

Kind of hard to get a sense from the video for the track, but the leadoff and longest piece on The Re-Stoned‘s latest collection, Reptiles Return, is actually pretty colorful. And by that I mean the clip isn’t. Black and white for the duration, it nonetheless fades smoothly into and out of various shots mostly of founding guitarist Ilya Lipkin — also a mysterious robed figure in the woods — as it complements the song’s dreamy tones and heavy psychedelic warmth. The Moscow-based outfit released Reptiles Return in August on Clostridium Records and also have it out as a limited box edition through Rushus Records accompanied by the band’s first outing, 2010’s Return to the Reptiles.

The titular similarity is, of course, no coincidence. Return to the Reptiles was The Re-Stoned‘s first outing and Reptiles Return, if I read it right, seems to be Lipkin‘s way of going back to the start in an attempt to rebuild and expand on the foundation that release laid down. “Return” seems to have been one of the ones re-recorded entirely — it’s two minutes longer here than in the original version — but it works well opening the always adventurous instrumentalists’ first full-length since 2014’s Totems (review here), which came out on R.A.I.G. as the band’s fourth album overall. And to hear them tell it, as they do below, there’s much more to come as well in the form of a new double-LP, so all the better.

Not sure I’d call the video a cinematic masterwork, but it gets the job done and is a cool chance to check out the track, so either way, please enjoy:

The Re-Stoned, “Return” official video

Idea, Producing & Original graphics by Ilya Lipkin, Camera by Wolfsblood, Video Editing by Arkadiy Fedotov.

Special thanks to Vasily Arzamastsev, Wolfsblood, Arkadiy Fedotov, CSBR, Maltvormast and Andrey Kiselev.

Ilya Lipkin – guitars, bass
Ivan Fedotov – drums
Mixed by Ilya Lipkin, Mastered by Janne Stark and Ilya Lipkin. Released on the album “Reptiles Return” /Clostridium Records – CR 022/ Rushus records – RR 03 / 2016

“Reptiles Return”- vinyl release of 8 tracks LP (Clostridium Records – CR 022) and 10 tracks on limited edition CD-R with “Reptiles” BOX Set (Rushus records – RR 03). This time the Grandmaster of this Moscow psychedelic fuzz orchestra Ilya Lipkin and associates made an attempt to rethink the legacy of the primal days of the band – the very first EP “Return to the Reptiles” with one track remixed, two – re-recorded a new and two more – remastered. The new album also includes new songs (4 in vinyl version and 6 in digital) covering more broad sonic space – acoustic pieces and psychedelic soundscapes which have been composed and recorded over the period of the last three years. “Reptiles Return” is a good appetizer for those fans tired of waiting for the brand new double LP due to release in the nearest future.

The Re-Stoned on Bandcamp

The Re-Stoned on Thee Facebooks

Clostridium Records

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Last Licks 2014: The Re-Stoned, Anthroprophh, Lavagoat, Ketch, Eternal Khan, Mount Carmel, Pocket Size, Zoltan, The Garza, Dot Legacy

Posted in Reviews on January 2nd, 2015 by JJ Koczan

Yesterday was pretty rough. Some excellent stuff in that batch of 10 discs, but man, by the end of it I don’t mind telling you I was dragging more than a bit of ass. I guess that’s to be expected. Still, I think that, as a project, this was worthwhile. There was a lot of stuff — too much — sitting around that was going to go undiscussed coming out of 2014, and now here we are, it’s the New Year, and I feel like at least a small percentage of what came my way got its due. Small victories.

So this is it. Reviews 41-50. After this, there isn’t much from 2014 that I’ll be looking back on; it’s mostly stuff to come, which is a different matter entirely. I’m sure we won’t be out of Jan. before I’m behind again in a major way, but what the hell, at least I’m trying, and at least there’s 50 discs that showed up on my desk that can be put on the shelf instead. Yes, it’s a very complex filing system. Ask me sometime and I’ll tell you all about it. Until then, let’s finish it like the final battle from Highlander. There can be only… 10… more…?

Okay maybe not.

Thanks for reading.

The Re-Stoned, Totems

the re-stoned totems

Helmed since 2008 by the multifaceted Ilya Lipkin, Moscow mostly-instrumentalists The Re-Stoned release their fourth album in the form of Totems on R.A.I.G., a 58-minute wide-breadth journey into heavy rock groove with touches of psychedelia, plotted jazz-jamming and a raw tonal sensibility. Wo Fat guitarist/vocalist Kent Stump contributes a noteworthy solo to “Old Times,” and along with bassist Alexander Romanov, Lipkin (who himself handles the artwork design, guitar, bass, shaman drum, jew’s harp, mandala and some voice work) employs a guest drummer, percussionist and didgeridoo player, so there’s a measure of variety to the proceedings, be it the jerky pauses in “Shaman” or the earlier effects-laden exploration of “Chakras.” “Old Times” has a bit of funk to it even before Stump’s arrival, and the acoustics of “Melting Stones,” which follows, border on cowboy Americana. They’ve never had the most vibrant production, but The Re-Stoned manage to convey a natural feel and confidence as they progress, the creative growth of Lipkin always at the center of what they do.

The Re-Stoned on Thee Facebooks

R.A.I.G.

Anthroprophh, Outside the Circle

anthroprophh outside the circle

For his second album under the moniker Anthroprophh, guitarist/vocalist Paul Allen (also of The Heads) brings in a rhythm section to aid him in his time-to-get-really-weird purposes. Thus, bassist Gareth Turner and drummer Jesse Webb, who together form the duo Big Naturals, add to the strangeness of songs like “2013 and She Told Me I was Die” on Anthroprophh’s Outside the Circle, a 45-minute excursion into warped sensibilities and things meant to go awry. Songs are made to be broken, and that happens with drones, sudden shifts in atmosphere, some smooth transitions, some jagged, all designed to transport and ignite stagnation. It does not get any less bizarre as Outside the Circle moves toward its nine-minute title-track, but one doesn’t imagine Allen would have it any other way, and one wouldn’t have it any other way from him. I call a fair amount of music adventurous for deviating from the norm. Anthroprophh makes most of that sound silly in comparison with its buzzsaw guitar and raw experimental display.

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Rocket Recordings

Lavagoat, Weird Menace

lavagoat weird menace

Saskatoon four-piece Lavagoat continue to challenge themselves even as they bludgeon eardrums. Their single-track CD EP, Weird Menace, pulls together six individual songs recorded mostly live in their rehearsal space with a purposeful drive toward rawness and a horror thematic. Sure enough, where their 2012 LP, Monoliths of Mars (review here) and 2010 self-titled debut (review here) offered increasing stylistic complexity, Weird Menace steps forward atmospherically by pulling back on the production value. Murky screams permeate “Ectoplasm” only to be immediately offset by the low growls and deathly groove of “Creature from the Black Lagoon,” presented as nasty as possible. There are still some touches of flourish in the guitar – one can’t completely cast off a creative development, even when trying really, really hard – but to call Weird Menace’s regressive experimentalism anything but a success would be undervaluing the turn they’ve made and how smoothly they’ve made it. Note: a follow-up LP, Ageless Nonsense (actually recorded earlier than this EP), has already been released.

Lavagoat on Thee Facebooks

Lavagoat on Bandcamp

Ketch, Ketch

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Limited to 50 CD copies and presented in an oversize sleeve, soon-to-be-picked-up-by-somebody Colorado five-piece Ketch’s self-titled debut demo/EP is death-doom brutal and doom-death grooving. Vocalist Zach Salmans and guitarist Clay Cushman (who also recorded) trade off growls and screams over plus-sized, malevolent riffs and guitarist Jeremy Winters, bassist Dave Borrusch and drummer David Csicsely (also of The Flight of Sleipnir) only add to the pummel, which hits a particularly vicious moment in the grueling second half of “Counting Sunsets,” a dirge of low growls giving way to churning, nodding despair. Beginning with 9:18 longest cut “Shimmering Lights” (immediate points), Ketch deliver a precision extremity that even on this initial offering makes its villainous intent plain with volume and overarching drear. The midsection stomp of “Chemical Despondency” and the gurgle in closer “13 Coils” affirm that Ketch have found their stylistic niche and are ready to begin developing their sound from it. One looks forward to the growth of this already maddening approach. Bonus points for no obvious Lovecraft references.

Ketch on Thee Facebooks

Ketch on Bandcamp

Eternal Khan, A Poisoned Psalm

eternal khan a poisoned psalm

Somewhere between death, black and doom metals, one finds Rhode Island three-piece Eternal Khan exploring cosmic, existential, literary and mythological themes on their self-released debut full-length, A Poisoned Psalm, the jewel case edition of which includes both lyrics and liner note explanations of each of its seven tracks. It’s an ambitious take from a trio who seem destined at some point to write a concept album – maybe based on Faust, maybe not – but the actual songs live up to the lofty presentation, be it the suitable gallop of “Raging Host,” despondent push of centerpiece “The Tower” or double-kick bleakness of “Void of Light and Reconciliation.” Guitarist/vocalist N. Wood, guitarist T. Phrathep and drummer D. Murphy mash their various styles well, but there’s room to grow here too, and I’d wonder how “The Black Stork” might work with an element of drone brought into the mix to add to the atmosphere and provide contrast to the various sides of Eternal Khan’s extremity. Even without, A Poisoned Psalm serves vigorous notice.

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Eternal Khan on Bandcamp

Mount Carmel, Get Pure

mount carmel get pure

Rife with ‘70s swagger and easy-rolling blues grooves, Get Pure is the third record from Columbus, Ohio trio Mount Carmel, and it goes down as smooth as one could ask, the guitar work of Matthew Reed, bass of his brother, Patrick Reed (since out of the band and replaced by Nick Tolford) and drums of James McCain meshing with a natural, classic power trio dynamic only furthered by the vocals, as laid back as Leaf Hound but with an underlying bluesiness on cuts like “One More Morning” and “No Pot to Piss.” At 11 tracks and a vinyl-minded 35 minutes, neither the album as a whole nor its component tracks overstay their welcome, and late pushers like “Hangin’ On” and “Fear Me Now” leave the listener wanting more while closer “Yeah You Mama” bookends with opener “Gold” in hey-baby-ism and irrefutable rhythmic swing. Comfortable in its mid-pace boogie, Get Pure offers a party vibe without being needlessly raucous, and its laid back mood becomes one of its greatest assets.

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Alive Naturalsound

Pocket Size, Exposed Undercurrents

pocket size exposed undercurrents

One could hardly accuse Stockholm classic proggers Pocket Size of living up to their name on Exposed Undercurrents, their second album. Even putting aside the expansive fullness of their sound itself, there are nine people in the lineup. It would have to be some pocket. The group is led by guitarist Peder Pedersen, whose own contributions are met by arrangements of saxophone, Hammond B-3, flute, theremin and so on as the 11 tracks of Exposed Undercurrents play off intricately-conceived purposes to engaging ends. One is reminded some of Hypnos 69’s takes on elder King Crimson, but Pocket Size have less of a heavy rock stylistic base and are more purely prog. A clean production – this is clearly a band that wants you to hear everything happening at any given moment – serves the 54-minute offering well, and though it’s by no means free of indulgence, Exposed Undercurrents is imaginative in both the paths it follows and those it creates, the joy of craftsmanship clearly at the core of its process.

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Pocket Size website

Zoltan, Sixty Minute Zoom

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Though it’s actually only about 41 minutes, I doubt if Zoltan’s Sixty Minute Zoom would benefit from the extra time in terms of getting its point across. The instrumental London trio of keyboardist Andy Thompson, bassist/keyboardist Matt Thompson and drummer/keyboardist Andrew Prestidge revel in ‘70s synth soundtrack stylizations. For good measure I’ll name-check Goblin as a central influence on “Uzumaki,” the second of Sixty Minute Zoom’s five inclusions, but John Carpenter’s clearly had a hand as well in brazenly cinematic texturing of synth and the late-‘70s/early-‘80s vibe. The various washes culminate in the side B-consuming 21-minute stretch of “The Integral,” which is broken into separate movements but flows smoothly between them, pulsations and drones interweaving for a classic atmosphere of tension and balance of the chemistry between the Thompsons and Prestidge and the progressive, immersive sound they create. Fans of earlier Zombi will find much to chew on, but Zoltan dive even further into soundtrack-style ambience. All that’s missing is Lori Cardille running down a dimly lit hallway.

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Cineploit Records

The Garza, The Garza

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Offered as a nine-track full-length plus a four-song bonus EP, the self-titled debut from Madison, Wisconsin’s The Garza meters out noise rock punishment with sludgy ferocity. A trio of notable pedigree – drummer/vocalist Magma (Bongzilla, Aquilonian), guitarist Shawn Blackler (Brainerd, Striking Irwin), and bassist Nate Bush (ex-Droids Attack, ex-Bongzilla) – they fluidly pull together post-hardcore elements and Crowbar-esque turns while retaining a core of punk rock. “Rage” is a solid example of this, but it’s true of just about all of the album proper, which largely holds to its approach, adding some melody to the seven-minute pre-bonus-tracks closer “Kingdoms End” and varying tempo here and there around its destructive central ideology. The four bonus tracks are of a similar mind as well, Magma switching up his vocals every now and then to add variety to proceedings that otherwise prove vehemently assured of their position. I’m not sure if the extra cuts help reinforce the album’s rawness or detract from the closer, but The Garza aren’t exactly light on impact either way.

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The Garza on Bandcamp

Dot Legacy, Dot Legacy

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Dot Legacy’s self-titled Setalight Records debut, particularly for a green-backed CD with vinyl-style grooves on front, is not nearly as stoned as one might think. The Parisian foursome of Damien Quintard (vocals/bass/recording), Arnaud Merckling (guitar/keys/vocals), John Defontaine (guitar/vocals) and Romain Mottier (drums/vocals) employ a broad range on the 46-minute album’s nine tracks, from the shoegaze post-rock of “The Passage” to the driving heavy psych of “Gorilla Train Station,” all the while holding firm to a creative reasoning geared toward individuality. If they wound up adopting “The Midnight Weirdos” as a nom de guerre, I wouldn’t be surprised, but in fact there’s little sense that at any point Dot Legacy aren’t in full command of where their material is headed. All the better for the surprising opening duo of “Kennedy” and “Think of a Name,” which shift between reverb-soaked meditation and vibrant, hook-laden heavy rock. A fascinating and original-ish debut that could be the start of something special. They should hit the festival circuit hard and not look back.

Dot Legacy on Thee Facebooks

Setalight Records

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Iguana Announce European Tour Dates

Posted in Whathaveyou on October 3rd, 2014 by JJ Koczan

iguana

German/Russian heavy psych rockers Iguana kick off a round of European dates tonight that will cover the next couple months, playing with Naam in Weil der Stadt. Later this month, they’ll hit the Keep it Low festival and then on from there for a series of weekenders that goes into December. Their debut album, Get the City Love You (review here), came out in 2012. Rumor has it — and by “rumor” I mean what they said on Thee Facebooks — they’ve got new songs written, so perhaps they’ll use these dates as a means for working out the kinks en route to recording their sophomore outing sometime this winter or next year.

Either way, if you happen to be somewhere these dudes are playing and up for a jammy good time, you know what’s up.

Dig:

iguana tour

The IGUANA-Tour starts with some highlights. On 3rd of October IGUANA shares the stage with brooklyn based psychrockers NAAM. On the 18.10. they will play Keep It Low Festival, with acts like KADAVAR, BLUES PILLS, MARS RED SKY and THE SHRINE. The bands’ personal highlite will take place on the 25th of October, when IGUANA will be playing with SPIDERGAWD (including two members of the fabulous MOTORPSYCHO). So there is a lot of parties to come. Please join us!

IGUANA are touring Europe for some years now in the good old manner of DIY. IGUANA played more than 120 shows with bands such as Colour Haze, Kadavar, Saint Vitus, Brant Bjork. And they played Stoned From The Underground twice, also Void Fest and Blue Moon Fest.

Tourdates 2014 – IGUANA – Fall Winter Tour 2014:
03.10.2014 – Weil der Stadt (DE), JH Kloster, w. Naam
18.10.2014 – München (DE), Feierwerk – Keep It Low Festival, w. Kadavar, The Shrine, Mars Red Sky
24.10.2014 – Lüneburg (DE), Jekyll & Hyde, w. Eta Lux
25.10.2014 – Hamburg (DE), Bambi Galore, w. Spidergawd
31.10.2014 – St. Gallen (CH), Rümpeltum, w. Wight, Bushfire
01.11.2014 – Kranichfeld (DE), Crossing All Over Fest
14.11.2014 – Nijmegen (NL), De Onderbroek
15.11.2014 – Den Haag (NL), Club tba
20.11.2014 – Dresden (DE), Ostpol, w. Kalamahara
22.11.2014 – Würzburg (DE), Immerhin, w. Stone Troopers
13.12.2014 – Berlin (DE), Cortina Bob, w. Deaf Flow

http://www.iguana-music.de
http://www.facebook.com/iguana666
http://www.youtube.com/user/IguanaVideochannel
http://soundcloud.com/iguanagermany
https://twitter.com/iguanagermanyel

Iguana, “Get the City Love You”

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