Quarterly Review: Harvestman, Beastmaker, Endless Boogie, Troubled Horse, Come to Grief, Holy Rivals, Mountain God, Dr. Space, Dirty Grave, Summoned by Giants

Posted in Reviews on July 17th, 2017 by JJ Koczan

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Bonus round! I don’t know if you’re stoked on having a sixth Quarterly Review day, but I sure am. Basically this is me doing myself favors. In terms of what’s being covered and how I’m covering it, today might be the high point for me personally of the entire Summer 2017 Quarterly Review. Some of this stuff I’m more behind on than others, but it’s all releases that I’ve wanted desperately to write about that I haven’t been able to make happen so far and I’m incredibly thankful for the opportunity to be able to do so at last. It’s a load off my mind in the best way possible, and as this is the final day of the Quarterly Review, before I dig in I’ll just say one more time thank you for reading and I hope you found something in the past week that really speaks to you, because that’s what makes it all worthwhile in the first place. One more go.

Quarterly Review #51-60:

Harvestman, Music for Megaliths

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A new Discover the secrets of Best College Application Essay Service How To Write that engage and inspire action. Harvestman album, like a harvest itself, is an occasion. Distinct entirely from the solo output released by Academized.com brings you a trust worthy Mfa In Creative Writing Rankings combined with a low price to ensure you are thrilled with the work you receive. Neurosis guitarist/vocalist Is http://shkafpodrugi.by/?custom-dissertation-writing-service-best Ethical. The question of ethics is highly debatable and everyone's concept is different. So, your question, "Is Buying a Paper Steve Von Till under his own name, Buying College Papers composed by professional writers. 100% originality, high quality, on-time delivery guaranteed! Harvestman’s guitar-led experimentalism and ritualized psychedelia don’t happen every day – the last album was 2009’s Are you stuck in writing a business plan? We offer the best Professional http://sommelier.dn.ua/assignment-abroad-jobs/ online. In a Dark Tongue (review here) – and with the resonance of “Oak Drone” and the layered, drummed and vocalized textures of “Levitation,” the new collection, sample thesis statement for compare and contrast essay http://www.colourhaze.de/?research-papers-on-english-literature an expository essay reputable essay writing services Music for Megaliths (on buy thesis paper - legendsclub.nd.edu Neurot, of course), lives up to the project’s high standards of the unexpected. Pulsations beneath opener and longest track (immediate points) “The Forest is Our Temple” offer some initial threat, but the electronic beat behind the howling notes of “Ring of Sentinels” and the How To Write Expository Essays enlists a contact phone number and an email in the upper left corner of the home page. You can use these contact details to call them or write an email. The site also has alive chat function, but before you can talk to anyone you need to give your name and email address and then select the questiontopic. Vangelis-esque centerpiece “Cromlech” find more soothing ground, and though “Sundown” seems to be speaking to http://www.studenthelpclub.com/admission-essay-writing-virginia-woolf/ Consultant. Trusted By 3000+ Corporate Clients. Start in 30min. 12 hours delivery. From 29 $/hr. Neurosis “Bleeding the Pigs” from 2012’s Writing Jobs From Home ??? term papers competitive advantage jobs ??? Writing Jobs [WRITE PAPERS FOR MONEY JOBS] Honor Found in Decay (review here) in its atmosphere, the spoken word that tops closer “White Horse” provides a last-minute human connection before all is brought to a quick fadeout. If you told me How enter Reviews Can Help You Make Your Choice Students from all over the world struggle with college assignment writing. Music for Megaliths was assembled over a period of years, I’d believe you given its breadth, but whether it was or not, Get high volume traffic to your site with professional http://opt-karp.ru/?i-want-to-write-my-name-in-a-wallpaper. We provide best quality, copyscape pass articles for you. Know more here! Harvestman’s latest should provide a worthy feast for a long time to come.

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Neurot Recordings webstore

 

Beastmaker, Inside the Skull

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Los Angeles three-piece Custom Made Book Reports. Your perfect writer experts agree that high quality content can take your website to the top of the search results. 2017 Beastmaker continue their ascent with their second album for college application essay writing service introduction http://www.dwec.ie/summer-essay-writing/ coursework essay help how to write a high school application essay book Rise Above Records, the unflinchingly cohesive Want to Dissertation Franais Argumentation Directe Et Indirecte online that is quite cheap? Need a confidential paper helper? Here it is! With us, you spend relatively little cash but get the needed Inside the Skull. Like its predecessor, 2016’s Lusus Naturae (review here), the quick-turnaround sophomore outing executes a modern garage doom aesthetic and unfuckwithably tight songwriting, this time bringing 10 new tracks that reimagine classic vibes – witness the Witchcraft “No Angel or Demon”-style riff of opener “Evil One” (video posted here) – and touch on some of the same ground pioneered by Uncle Acid without actually sounding like that UK band or sounding like anyone for that matter so much as themselves. They make darkened highlights of “Now Howls the Beast,” “Of Gods Creation,” the crashing “Psychic Visions,” closer “Sick Sick Demon” and the preceding “Night Bird,” which offers some welcome departure into drift prior to the solo in its final minute – all impeccably crisp in structure despite a dirt-caked production – but resonant, memorable hooks abound, and the trio affirm the potential their debut showed and offer a quick step forward that one can only imagine will find them turning more heads toward their growing cult following. They’re still growing, but Inside the Skull is confirmation Beastmaker on a path to becoming something really special.

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Beastmaker at Rise Above Records

 

Endless Boogie, Vibe Killer

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One can’t help but think there’s a bit of tongue-in-cheekery at play in the inaccuracy of Endless Boogie titling their latest album Vibe Killer. The seven-track/51-minute No Quarter release follows 2013’s Long Island (review here) and is, of course, doing everything but killing the vibe, as the New York-based outfit proffer their nestled-in raw songs crafted out of and on top of improvised jams, the semi-spoken gutturalisms of guitarist Paul “Top Dollar” Major a defining element from the laid back opening title-track onward. Moody rock classicism persists through “High Drag, Hard Doin’” and the more active “Back in ’74,” but the true peak of Vibe Killer comes in the 11-minute “Jefferson Country,” which unfolds hypnotic drone experimentation that’s as willfully ungraceful as it winds up being flowing. Bottom line: dudes know what’s up. Endless Boogie’s languid roll is second to nobody and Vibe Killer is a vision of cool jazz reinvented to feel as much at home in rock clubs of the basement and of the chic see-and-be-seen variety. Very New York, in that, but not at all given to elitism. Everyone’s invited to dig, and dig they should.

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No Quarter Records webstore

 

Troubled Horse, Revolution on Repeat

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There were a few minutes there where one probably wouldn’t have been wrong to wonder if Örebro, Sweden’s Troubled Horse would have a follow-up at all to back 2012’s Step Inside (review here), but with Revolution on Repeat (out via Rise Above), the four-piece led by dynamic vocalist Martin Heppich prove among the most vital of the many heavy rock acts to emerge from their hometown, known for the likes of Witchcraft, Graveyard, Truckfighters and countless others. Heppich, lead guitarist Mikael Linder (also bass on the recording), guitarist Tom and drummer Jonas start with the boogie-fied opening salvo “Hurricane” (video premiere here) and “The Filthy Ones,” and run madcap through the memorable hooks of “Which Way to the Mob” and “Peasants” en route to the mid-paced “The Haunted” and into a second half marked by the semi-balladry of “Desperation” and “My Shit’s Fucked Up.” Soon, the standout chorus of “Track 7” (yup, that’s the title) and the penultimate funk of “Let Bastards Know” lead to a nine-minute epic finish in “Bleeding” – and all the while Troubled Horse hold firm to groove, momentum, poise, crisp production and songwriting as they tie varied landmarks together with an overarching sense of motion, Heppich’s charismatic soulfulness and deceptively subtle flourishes of arrangement to make an absolutely welcome return.

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Rise Above Records website

 

Come to Grief, The Worst of Times

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Sometimes you just have to toss up your hands and say, “Well, that’s some of the nastiest shit I’ve ever heard.” To step back and consider them at some distance, Come to Grief aren’t near the most abrasive band on the planet, but when you’re actually listening to their debut EP, The Worst of Times, that’s much harder to believe. Launching with “Killed by Life,” the four-tracker finds the Boston outfit led by former Grief guitarist Terry Savastano – here joined by drummer Chuck Conlon, bassist Justin Christian and vocalist/guitarist Jonathan Hebert – plodding out scream-topped filth that’s actually fuller-sounding than anything Grief did back in their day and all the more devastating for its thickness. The seven-minute “No Savior” is excruciating, and though shorter, “Futility of Humanity” and even the slightly-faster closer “Junklove” bring no letup whatsoever from the onslaught. Think accessible, then go the complete other way, then bludgeon yourself. It’s kind of like that. Absolute brutality delivered by expert and unkind hands.

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Come to Grief on Bandcamp

 

Holy Rivals, Holy Rivals

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The question of whether noise rock and sludge can coexist is largely one of tempo and tone, and recently-signed-to-BlackseedRecords Pittsburgh trio Holy Rivals’ self-titled debut answers in forceful fashion. Amid more aggro punch of opener “Locked Inn” comes the crust-laden grunge of “Voices,” and whether they’re rolling out the more spacious “Sleep” or sprinting through the post-Bleach raw punkery of “Dead Ender” on their way to the more ambient and patient seven-minute finale “Into Dust,” guitarist/vocalist Jason Orr (also T-Tops), bassist Aaron Orr (whose tone features well on the closer) and drummer Matt Langille – whose adaptability is essential to the Helmet-style starts and stops of “Loathe” that emerge from the preceding roll of “Sleep” – Holy Rivals put a superficial harshness to use as a cover for what’s actually a diverse songwriting process. They’ll reportedly have a new record out in Fall 2017, so this 2016 self-release may soon be in hindsight, but in setting the foundation for growth, it offers exciting prospects caked in an abidingly raw presentation.

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Holy Rivals on Bandcamp

 

Mountain God, Bread Solstice

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Around what would seem to be the core duo of guitarist/vocalist Ben Ianuzzi and bassist/keyboardist Nikhil Kamineni, Brooklyn psychedelic post-sludgers Mountain God have undergone numerous lineup shifts en route to and through the release of their debut album, Bread Solstice (on Artificial Head Records). To wit, drummer/vocalist Ryan Smith (also Thera Roya), who appears on the dark, unrelenting and abyss-crafting 40-minute six-tracker, has already been replaced by Gabriel Cruz, and there have been other changes in vocalist, keyboardist and drummer positions even since they offered their 2015 EP, Forest of the Lost (review here) to set the stage for this deeply-atmospheric, it’s-acid-rock-but-with-sulfuric-acid first long-player. In light of that tumult and the overarching commitment to abrasive noise Mountain God make in pieces like the 11-minute “Nazca Lines,” “Junglenaut” or even the brooding tension of airy instrumental “Unknown Ascent,” it’s all the more impressive that Bread Solstice is as cohesive in its cerebral horror as it is, constructing a harsh and churning vision of doom as something worthy of post-apocalyptic revelry. Far from easy listening, but of marked purpose. They should play exclusively in art galleries, no matter who winds up in the band.

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Artificial Head Records on Bandcamp

 

Dr. Space, Dr. Space’s Alien Planet Trip Vol. 1

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Perhaps best known for his work in spearheading the improvisational Denmark-based Øresund Space Collective, modular synth wizard Scott “Dr. Space” Heller weirds out across four cuts on the solo release Dr. Space’s Alien Planet Trip Vol. 1, which both underscores in its scope how essential he is to the aforementioned outfit and oozes beyond that group’s parameters into electronic beatmaking and waves of synthesizer drone. Pulling influence from classic progadelia, Heller unfurls longform tripping on 24-minute opener and longest track (immediate points) “5 Dimensions of the Universe” and veers into and out of somewhat abrasive swirl on “Rising Sun on Mars” before landing in the more steady atmosphere of “In Search of Life on Io” and launching once more outward with the five-minute finale “Alien Improv 2.” Just how many alien planet trips the good doctor will be undertaking remains as yet a mystery, but the breadth of this first one makes it plain to the listener that Heller’s sonic universe is wide open and, seemingly, ever-expanding.

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Space Rock Productions website

 

Dirty Grave, So Fall and Crawl Away

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Brazilian doomers Dirty Grave issue the three-song single/EP So Fall and Crawl Away (bonus points for the Alice in Chains reference) ahead of making their full-length debut reportedly any minute now with an album called Evil Desire. Comprised of two studio tracks in the eight-minute “The Black Cloud Comes” and the four-minute Howlin’ Wolf cover “Evil (Is Going On)” and with the live cut “Unholy Son – Live” as a kind of bonus track, it’s a sampling behind two similar short releases, 2014’s Vol. II and 2013’s Dirty Grave (which featured a studio version of “Unholy Son”), that sleeks through eerie doom loosely tinged with psychedelia and smoked-out vibing. “Evil (Is Going On)” is more uptempo, perhaps unsurprisingly, but is giving a likewise treatment all the same, its final solo shredding into oblivion with stoned abandon. “Unholy Son – Live” is rawer but still carries through its melody in the vocals amid a prevalent crash, and if it’s a portend of things to come on Evil Desire, then So Fall and Crawl Away serves as a warning worth heeding.

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Dirty Grave on Bandcamp

 

Summoned by Giants, Stone Wind

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If you have a convenient narrative for what West Coast heavy rock has become over the last decade, Summoned by Giants’ debut album, Stone Wind, is probably too aggressive on the whole to fit it neatly. Their cleaner parts, the rolling second cut “Diamond Head” and samples throughout have aspects of that post-Red Fang party vibe, but to listen to the rawness of the bass tone that starts “Return” or closer “I Hate it When You Breathe,” or even the slurring “come at me, bro”-style rant sampled at the seven-track/27-minute album’s launch, a will toward violence is never far off. Couple that with the thickened noise punk of “Saturn” and the Weedeater sludge of the penultimate “Dying Wish,” and Summoned by Giants – guitarist/vocalist Sean Delaney, guitarist Jordan Sattelmair, bassist/vocalist Patrick Moening and drummer Mel Burris – seem more interested in doling out punishment than kicking back, making a silly video and having a good time. Well, maybe they’re having a good time, but they’re doing so while kicking your ass.

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Summoned by Giants on Bandcamp

 

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Mountain God Announce July Weekender Tour

Posted in Whathaveyou on June 28th, 2017 by JJ Koczan

New York doom crunchers Mountain God apparently haven’t taken the stage in a while, and by ‘a while’ I mean a couple years. In the interim, they signed to Artificial Head and released their debut album, Bread Solstice — which I’m already months late on reviewing, because I suck at this — which brought forth due sonic devastation after a couple of darkly portentous short offerings. Lineup shifts have been a regular feature of the band, at least around guitarist/vocalist Ben Ianuzzi and bassist/noisemaker Nikhil Kamineni, and the trio that now includes drummer Gabriel Cruz have apparently already set to work on their next batch of material. Clearly I’d better get my ass on that review. Noted.

The PR wire brings word of a weekender tour for next month in the Northeast that will mark their return to the stage. Goes like this:

mountain god photo greg christman

Mountain God – July Tour

This July, experimental doom/sludge behemoths Mountain God return to the stage after a nearly 2 year absence from live performances. Led by founders Ben Ianuzzi (guitars, vocals) and Nikhil Kamineni (bass, synths, noise), the duo is joined by new drummer Gabriel Cruz (Hollow Senses). Their 2017 dates include shows in Brooklyn, Washington D.C, Elizabeth and Philadelphia, with more shows planned for the fall.

Having formed in 2012, Mountain God is a familiar name within the underground metal scene, known for a unique blend of doom, psych, noise, and all around heavy riffing. Each of their releases, including “Experimentation on the Unwilling” (2013), “Forest of the Lost” (2015), and most recently, their first full length entitled “Bread Solstice” (Artificial Head Records, 2017), have seen the band continue to evolve and transform into a powerful, scathing, visceral entity that is thoughtful in its process and uncompromising in its musical vision. With the addition of Cruz on drums, the band has been steadily working on new material that is darker, heavier, and noisier than anything the band has done to this point. Entitled “Psychic Driving”, (an allusion to 50s and 60s government mind control programs run by the CIA) Mountain God looks to create an atmosphere that is numbing, deconstructive, and terrorizing, the same emotions felt by the various test subjects whose lives were ruined by the work of men such as Dr. Ewen Cameron.

This tour will see the band perform one of these new tracks along with choice cuts from their back catalogue. If you’ve never seen them, Mountain God is a punishing band in a live setting. Their sound, honed since the bands inception, is a sum of all its parts, including Ianuzzi’s trademark Monson guitar crunch and distorted, terrifying vocals, coupled with Kamineni’s hypnotic, thick, fuzzed out bass tones that dance and weave throughout the songs. The band is all the more strengthened by the ferocity of Cruz’s drumming, as well as synth textures, provided by noise guru Kamineni, that bring the Mountain God trademark sound to life. This tour will see the band reconnect with friends in Godmaker and Foehammer, as well as other peer bands including Trunk and Hyborian.

Having shared the stage with acts such as Yob, Ufommamut, Primitive Man, Opium Lord, and many, many others, the future of the band is bright, with plans to take its music to new places and venues. One reviewer stated, “the demented sounds and sheer majesty of Mountain God suggest that this is a band with the potential to become a major driver in the doom metal scene. They have a sense of forward motion that many of their peers lack, but they are unafraid to ease back on the throttle and merely revel in the power of a great riff. Mountain God are a head and shoulders above many of their peers in this scene and Bread Solstice is a veritable statement and one that I sincerely hope will stand the test of time”.

July Tour Dates:
July 28th- The Well, Brooklyn, NY with Godmaker, Hyborian, and Somnuri
July 29th- The Pinch, Washington DC with Foehammer, Myopic, Ashes of Mankind, Ash Prayer
July 30th- Cianfano’s Bar, Elizabeth, NJ with Galare, Trunk, TBA
July 31st- Kung Fu Nektie (upstairs), Philadelphia, PA with Trunk, TBA

https://www.facebook.com/MountainGodBand
https://mountain-god.bandcamp.com/
https://www.facebook.com/ArtificialHead
https://artinstitute.bandcamp.com/

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Mountain God to Release Bread Solstice March 24: “Karmic Truth” Streaming Now

Posted in Whathaveyou on January 27th, 2017 by JJ Koczan

mountain god

Going from zero to absolute abrasion in about three seconds, it seems only fair to note the quick impulse toward the scathing that the first audio from Mountain God‘s forthcoming debut album, Bread Solstice, elicits. The track is called “Karmic Truth,” and as you can hear at the bottom of this post, it brings the bite of Godflesh together with a brutal, tonally-dense churn, atmospheric and pummeling both. These guys have been included in my most-anticipated lists for the last two years running (see here and here), so yes, I’ve been looking forward to the record for a while. Pretty much since that time their Forest of the Lost EP (review here) tore my face off in 2015. It’s cool. I wasn’t really using it.

March 24 is the release date, and it’ll be out through Artificial Head Records, the label helmed by Walter Carlos of Texas weirdo rockers Funeral Horse. The PR wire has details:

mountain-god-bread-solstice

MOUNTAIN GOD: Brooklyn-based doom trio share psychedelic debut | Listen to new song ‘Karmic Truth’

Bread Solstice will be released on vinyl/digital through Artificial Head on 24th March 2017

Artificial Head Records is thrilled to announce the signing of Brooklyn-based trio Mountain God and with it the release of their debut album Bread Solstice.

Formed in May 2012 by guitarist/vocalist Ben Ianuzzi and drummer Ian Murray, along with former Alkahest members Nikhil Kamineni and Jon Powell, as one of 2017’s most exciting new prospects Mountain God’s time is almost upon us.

Experimenting with raw concoctions of doom and ’70s psychedelic influences, their commitment to channeling ill feeling, heavy rock, deep meaning and dark subject matter is unwavering. In 2015 Mountain God followed the release of their five-song EP Experimentation On The Unwilling (2013) with the sprawling concept track ‘Forest Of The Lost’; a devastating, doom-infused laudation of distorted sludge, ambient noise and stoner rock.

Following the departure of Powell and Murray, Thera Roya drummer Ryan Smith was drafted in as the trio set to work recordings that would form the basis of Bread Solstice, their full-length debut and first outing for the Houston-based record label Artificial Head.

“While some of the songs date all the way back to 2013, we didn’t begin rehearsing them regularly until Summer 2015,” explains guitarist Ianuzzi. “We started out demoing, writing, and tearing apart the ideas until we had things we liked. We definitely wanted to push the envelope with more nuanced effects and fewer 4/4 time signatures.”

Around this period the band also became a steady fixture on the NYC metal scene performing shows with the likes of Ufomammut, YOB, Primitive Man, Naam and Kings Destroy. Threatening spaced out and progressive paeans in the mold of Wolves in the Throne Room, Neurosis and Candlemass, as angry and complex a beast as Bread Solstice is it’s also deeply immersive and hypnotic in its atmospheres. Much like their early EPs and recordings, while creeping keyboards swell on tracks like ‘Unknown Ascent’, elsewhere riff-heavy tracks like ‘Nazca Lines’ and ‘Junglenaut’ hammer down hard with an iron fist. As Artificial Head founder Walter Carlos points out:

“I just knew I wanted to work with the band on a release. Their music reminds of the sludge and experimentation of bands such as Skullflower, Splintered, and Ramleh. Big, crushing emptiness with grinding tempos. Their new album, Bread Solstice, continues in that epic darkness.”

Mountain God:
Ben Ianuzzi – Vocals, Guitars, Noises
Nik Kamineni – Bass, Synth/Keys
Ryan Smith – Drums, Vocals

https://www.facebook.com/MountainGodBand
https://mountain-god.bandcamp.com/
https://www.facebook.com/ArtificialHead
https://artinstitute.bandcamp.com/

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