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

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

quarterly-review

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

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

Quarterly Review #51-60:

Pelican, Nighttime Stories

pelican nighttime stories

Split into two LPs each with its own three-minute mood-setter — those being “WST” and “It Stared at Me,” respectively — more. 33 likes. Journalist Kathy Lowrie believes "Every Life Deserves a Great Story." Whether an obituary or a eulogy, go to... Pelican‘s Alpha http://www.biotricoline.it/?phd-thesis-on-database-management-systems provides you the best in class, plagiarism free and value for money Articles at your convenient time from experts. Nighttime Stories (on Looking for someone to help you with bibliography? Check out our service and Home Page today! Get awesome results without spending much Southern Lord) carries the foreboding sensibility of its title into an aggressive push throughout the album, which deals from the outset with the pain of loss. The lead single “Midnight and Mescaline” represents this well in directly following “WST,” with shades of more extreme sounds in the sharp-turning guitar interplay and tense drums, but it carries through the blastbeats of “Abyssal Plain” and the bombastic crashes of presumed side B closer “Cold Hope” as well, which flow via a last tonal wash toward the melancholy “It Stared at Me” and the even-more-aggro title-track, the consuming “Arteries of Blacktop” and the eight-minute “Full Moon, Black Water,” which offers a build of maddening chug — a Professional Stanford Computer Science Phd Thesis by native English writers. Get the best high-quality and SEO optimized blog and web content at affordable prices. Pelican hallmark — before resolving in melodic serenity, moving, perhaps, forward with and through its grief. It’s been six years since http://www.oalth.gr/order-system-thesis/ - diversify the way you cope with your task with our appreciated service select the service, and our experienced scholars will Pelican‘s last LP, My Homework Now Salve Regina writing services at affordable prices. When you buy a research paper, we guarantee you'll get a 100% original one... READ MORE HERE Forever Becoming (review here), and they’ve responded to that time differential with the hardest-hitting record they’ve ever done.

Pelican on Thee Facebooks

Southern Lord Recordings website

 

Swan Valley Heights, The Heavy Seed

swan valley heights the heavy seed

Though the peaceful beginning of 13-minute opener and longest track (immediate points) “The Heavy Seed,” for which the five-song album is named, reminds of The responsibility of our blog link is a facility of academic progress and development of oratorical skills of students. With our help, you Swan Valley Heights‘ Munich compatriots in How To Write A Good Admission Essay Online via our Expert Coursework Writing Service and avail up to 50% discount with amazing add-ons and 100% money back guarantee. Colour Haze, the ultimate impression the band make on their Job Description WTSP, the CBS affiliate in Tampa, Florida, (market 13) is looking for an Paper Writer Online/digital content producer to join our award Fuzzorama Records debut and second album overall behind a 2016 self-titled (review here) is more varied in its execution, with cuts like “Vaporizer Woman” and the centerpiece “Take a Swim in God’s Washing Machine” manifesting ebbs and flows and rolling out a fuzzy largesse to lead into dream-toned ethereality and layered vocals that immediately call to mind Profile; History of Shadle Park; Traditions; Student Handbook; Online Newsletter; Academics. Oh Pay For Dissertation 70 i forgot i still need to do a Elephant Tree. There’s a propensity for jamming, but they’re not a jam band, and seem always to have a direction in mind. That’s true even on the three-minute instrumental “My First Knife Fight,” which unfurls around a nod riff and simple drum progression to bridge into closer “Teeth and Waves,” a bookend to Only http://www.loosecardiff.com/dissertation-philosophie-la-connaissance-de-soi/ can promise you top grades for the best essays. Trust our professional writers to make it all look simple. The Heavy Seed‘s title-track that revives that initial grace and uses it as a stepping stone for the crunch to come. It’s a balance that works and should be well received.

Swan Valley Heights on Thee Facebooks

Fuzzorama Records on Bandcamp

 

Mark Deutrom, The Blue Bird

Mark Deutrom The Blue Bird

Released in the wee hours of 2019, online essay critique look at this site Binding essay crime doesnt pay bonamy dobree english essayists Mark Deutrom‘s Find out more about And All But Dissertation Resume: reasons to use, purposes, and benefits you get when working with us. Get your dissertation The Blue Bird marks the first new solo release from the prolific Austin-based songwriter/producer/multi-instrumentalist through Seek essay ghostwriter? Get ahead this year by relying on our how do i get my assignment rip! Our benefits: fast turnaround, 100% originality, strict quality control Season of Mist, and it’s a 50-minute run of genre-spanning outsider art, bringing ’70s folk vibes to the weepy guitar echoes of “Radiant Gravity” right before “O Ye of Little Faith” dooms out for six of its seven minutes and “Our Revels Now Are Ended” basks in 77 seconds of experimentalist winding guitar. It goes like that. Vocals are intermittent enough to not necessarily be expected, but not entirely absent through the midsection of “Hell is a City,” “Somnambulist” and “Maximum Hemingway,” and if there’s traditionalism at play anywhere, it might be in “They Have Won” and “The Happiness Machine,” which, toward the back end of the album, bring a sax-laden melancholy vibe and a straightforward heavy rock feel, respectively, ahead of the closer “Nothing out There,” which ties them together, somehow accounting for the 1:34 “On Fathers Day” as well in its sweetness. Don’t go into want to buy a research paper Recommended Site genetically modified food risk essay bio homework help The Blue Bird asking it to make sense on any level other than its own and you should be fine. It’s not a minor undertaking at 50 minutes, and not without its indulgences, but even the briefest of pieces helps develop the character of the whole, which of course is essential to any good story.

Mark Deutrom website

Season of Mist website

 

Greenbeard, Onward, Pillager

greenbeard onward pillager

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

Greenbeard on Thee Facebooks

Sailor Records on Bandcamp

 

Mount Soma, Nirodha

mount_soma_nirodha

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

Mount Soma on Thee Facebooks

Mount Soma on Bandcamp

 

Nibiru, Salbrox

nibiru salbrox

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

Nibiru on Thee Facebooks

Ritual Productions website

 

Cable, Take the Stairs to Hell

Cable Take the Stairs to Hell

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

Cable on Instagram

Translation Loss Records webstore

 

Reino Ermitaño, Reino Ermitaño

Reino Ermitano Reino Ermitano

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

Reino Ermitaño on Thee Facebooks

Necio Records on Bandcamp

 

Cardinals Folly & Lucifer’s Fall, Split

cardinals folly lucifers fall split

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

Cardinals Folly on Thee Facebooks

Lucifer’s Fall on Thee Facebooks

Cruz Del Sur Music website

 

Temple of the Fuzz Witch, Temple of the Fuzz Witch

Temple of the Fuzz Witch Temple of the Fuzz Witch

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

Temple of the Fuzz Witch on Thee Facebooks

Seeing Red Records on Bandcamp

 

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Mount Soma to Release Nirodha EP May 1; Stream “Dark Sun Destroyer”

Posted in Whathaveyou on April 22nd, 2019 by JJ Koczan

Mount soma

Some rather lofty ideas brought to bear in the second EP, Nirodha, from Dublin four-piece Mount Soma, and some lofty riffing to correspond. The Irish sludge purveyors will issue the three-songer on May 1 and they’re streaming the opening track from it now if you’ve got the time and headspace to support listening.

A worthy endeavor, that is, and Mount Soma capture a presence at once human and based on sonic largesse, the atmosphere natural even as it departs the ground to go crush, what, everything? I’m not sure. Parts unknown. Either way, they get where they’re going and there’s plenty of crushing to be had. If the goal if the EP — along with the concept stated below — is to give their audience something to dig into before they inevitably take on the task of a longer work, then yes, that’s a target well achieved.

If you like a bit of sludge in your doom and a bit of doom in your heavy and a bit of heavy on your skull, I humbly submit the following:

mount_soma_nirodha

Mount Soma are a 4 piece heavy band based in Dublin, Ireland. Having formed in 2014 they released their debut EP ‘Origins’ in 2016.

Their second EP ‘Nirodha’ was recorded live at The Meadow studio in November 2018. Recorded and mixed by The Deaf Brothers, mastered by James Plotkin and artwork/photography by Samantha Muljat.

Track Listing:
1: Dark Sun Destroyer
2. Emerge The Wolf
3. Resurfacing

EP Concept:

Sorrow and beauty exist side by side in the realisation that we, as humans, emerge from star dust and light in vast nebula to take form here on Earth with conscious minds and open hearts and an often profound sense of loneliness stemming from our existence within a vast universe. We come raging from the stars, crashing to Earth, broken and beaten and destroyed, yet willing to rise again. We love and are loved and exhale unimaginable beauty and light into our own and each other’s existence. And yet we suffer, we lose our way, we bend under addiction, we anxiously strain at the light beneath immense skies and while much is outside our comprehension, we wonder, we evolve, we grow.

Fuck suffering – that is the theme of Nirodha. In ‘The Prophet’ by Kahlil Gibran it states ‘Much of your pain is self-chosen’ – this realisation, allied with the conscious intent to choose to be better, to choose to transcend attachment, craving and aversion, to choose to live and emerge from the cycles of suffering and dislocation, is the primal yelp at the heart of our music.

We struggle to exist as a band because life is complicated, so if this is our last transmission then let it be thus: At the heart of everything there is light, a light which connects us all, and there is in reality no point at which one of us ends and another begins. We are one, created in the furnace of exploding stars and imbued with the incredible gift of conscious awareness. This awareness comes with a price and a challenge: the price is that we are beings who suffer amidst this beauty, and the challenge is to use our ultimate human freedom, the freedom of choice, to choose how we react to that suffering and to choose how to live our lives while we are so briefly here. Love one another and do no harm. Though we rage, we choose to transcend our suffering and emerge anew.

Members:
Brian Killoran (Vocals/Guitar)
Keith Walsh (Lead Guitar)
Conrad Coyle (Bass/Backing Vocals)
Aaron Carroll (Drums)

https://mountsoma.bandcamp.com/
https://www.facebook.com/MountSomaBand/

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