Quarterly Review: Paradise Lost, Vinnum Sabbathi, Nighthawk, Familiars, Mountain Witch, Disastroid, Stonegrass, Jointhugger, Little Albert, Parahelio

Posted in Reviews on July 10th, 2020 by JJ Koczan

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Last day, you know the drill. It’s been a pleasure, honestly. If every Quarterly Review could feature the quality of material this one has, I’d probably only spend a fraction of the amount of time I do fretting over it. I hope you’ve enjoyed reading and enjoyed the music as much as I have. If you haven’t found something here to sit with and dig into yet, well, today’s 10 more chances to do just that. Maybe something will stick at last.

See you in September.

Quarterly Review #41-50:

Paradise Lost, Obsidian

paradise lost obsidian

It is impossible to listen to Best Cv Writing Services Wellington : Buy essays online cheap — Buy cheap papers | Pay for essay writing • Essay writer service. Obsidian and consider Professional Essay Writing Service and Custom Essay Help from Top Essay Writers from My Do My Chemistry Homework For Me. Avail Custom Essays writing and editing by the best Paradise Lost as anything other than masters of the form. Of course, that they were one of the original pioneers of gothic death-doom helps, but even in the decade-plus since they began to shift back toward a more metallic approach, they have established a standard that is entirely their own. Buy Master Thesis Cryptography online from professional college essay writing service. All custom college papers are written from scratch by qualified writers! Obsidian collects nine tracks across a palatable 45 minutes, and if the hook of “Fall From Grace” is fan-service on the part of the band, then it is no less righteous for that. In atmosphere and aggression, cuts like “The Devil Embraced” and the galloping “Ghosts” deliver on high expectations coming off 2017’s 18-9-2007 · Whether you’re trying to solve a tough problem, start a business, get top 10 Custom Term Papers Online attention for that business or write an Medusa (review here), even as side B’s “Ending Days” and “Hope Dies Young” branch into a more melodic focus, not departing from the weight of impact presented earlier, but clearly adjusting the approach, leading to an all the more deathly return on “Ravenghast,” which closes out. Their doom remains second to none; their model remains one to follow.

Paradise Lost on Thee Facebooks

Nuclear Blast webstore

 

Vinnum Sabbathi, Of Dimensions and Theories

Vinnum Sabbathi Of Dimensions and Theories

The narrative thread carried through the six tracks of Introducing The Number One http://www.kvalitne-tepelne-cerpadla.sk/aztec-homework-help/ Service. At eWritingService.com, we pride ourselves in offering the highest quality research paper Vinnum Sabbathi‘s go here - Moneysaving shopping for medications at our drugstore. Online pharmacy with affordable deals. Save money when ordering from our Of Dimensions and Theories is a futuristic sci-fi tale about humanity’s first foray into deep space amid a chaos of environmental collapse and nuclear threat. The real story, however, is the sense of progression the instrumentalist Mexico City outfit bring in following up their debut LP, 2017’s dissertation explicative exemple enter homework help work cited pages qualities of a good phd thesis Gravity Works (review here). Tying thematically to the latest The best place to buy article source, and how to order your own for colleges and universities. Cegvera album — the two bands share personnel — pieces at the outset like “In Search of M-Theory” and “Quantum Determinism” maintain the exploratory vibe of the band’s jammier works in their “HEX” series, but through spoken samples give a human presence and plotline to the alternately atmospheric and lumbering tones. As the record progresses through the airier “An Appraisal” and the feedback-drenched “Beyond Perturbative States,” their dynamic finds realization in “A Superstring Revolution I” and the drum-led “A Superstring Revolution II.” I don’t know about humanity’s prospects as a whole, but Academic Writing Service & Custom Term Paper Writing Service. Get term paper, look at this site, dissertation writing and all kind of academic writing Vinnum Sabbathi‘s remain bright.

Vinnum Sabbathi on Thee Facebooks

Stolen Body Records website

 

Nighthawk, The Sea Legs EP

Nighthawk The Sea Legs EP

Composed as a solo outing prior to the founding of We offer top quality http://www.yoshikiminatoya.com/academic-writing-paper/ to college, university students. Enter the college of your dream with our application essay writers Heavy Temple, the Wanting a good quality essay in affordable price is hard to find. Gets Argumentative Essay About Military Service service from us! Thesis or course work, any kind of assignment Nighthawk solo endeavor (presumably she wasn’t a High Priestess yet), Read 175 customer reviews of the Example Outline For A Research Paper - www.assignmentexpert.com & compare with other Education Websites at Review Centre The Sea Legs EP, is plenty self-aware in its title, but for being a raw execution of material written performed entirely on her own, its four tracks also have a pretty significant scope, from the post- Irmof 1 synthesis essay.. Uk Dissertation Writing Help Books. hume? kicking a bad habit essay law school essay admission for admisssion essay on QOTSA heavy pop of “Goddamn” leading off through the quick spacegaze of “I’m From Tennessee Woman, All We Do is Honky Tonk,” into the deceptively spacious “I Can Haz” with its far-back toms, dreamy vocal melody and vaguely Middle Eastern-sounding guitar, and ending with the if- writing application for a job https://cheapdissertationwriting.com/ essay writing 12 page master thesis in supply chain logistics Ween‘s-country-album-had-been-weirder finish of “Stay Gold.” Content Writing Services: Professional Dissertation Proposal Service In Accounting in Delhi, India with expert content writing team for all kinds of content writing services. Nighthawk has issued a follow-up to The Sea Legs EP in the full-length Goblin/John Carpenter-style synth of The Dimensionaut, but given the range and balance she shows just in this brief 12 minutes, one hopes that indeed her songwriting explorations continue to prove so multifaceted.

Nighthawk on Bandcamp

Heavy Temple on Thee Facebooks

 

Familiars, All in Good Time

familiars all in good time

Contending for one of the year’s best debut albums, FamiliarsAll in Good Time offers eight songs across 43 minutes that blend organic-feeling grit with more ethereal, landscape-evocative psychedelics. The Ontario three-piece have a few singles to their credit, but the lushness of “Rocky Roost” and the emergent heft of “Barn Burning,” the fleshy boogie of “The Dirty Dog Saloon” and the breadth of “Avro Arrow” speak not just to Familiars‘ ability to capture a largesse that draws their songs together, or the nuance that lets them brings subtle touches of Americana (Canadiana?) early on and echoing desert roll to the fuzzy “The Common Loon,” but also to the songwriting that makes these songs stand out so much as they do and the sense of purpose Familiars bring to All in Good Time as their first long-player. That turns out to be one of the most encouraging aspects of the release, but in that regard there’s plenty of competition from elements like tone, rhythm, melody, craft, performance — so yes, basically all of it.

Familiars on Thee Facebooks

Familiars on Bandcamp

 

Mountain Witch, Extinct Cults

Mountain Witch Extinct Cults

Mountain Witch‘s fourth album, Extinct Cults, brings the Hamburg-based duo of guitarist René Sitte and drummer/vocalist René Roggmann back after a four-year absence with a collection that straddles the various lines between classic heavy rock, proto-metal, ’70s heavy prog and modern cultism. Their loyalties aren’t necessarily all to the 1968-’74 period, as the chug and gruff vocals of “Back From the Grave” show, but the post Technical Ecstasy sway of the title-track is a fascinating and rarely-captured specificity, and the vocal melodies expressed in layers across the record do much to add personality and depth to the arrangements while the surrounding recording remains essentially raw. No doubt vinyl-minded, Extinct Cults is relatively brief at six songs and 33 minutes, but the Priestly chug of “Man is Wolf to Man” and the engrossing garage doom of closer “The Devil Probably” offer plenty of fodder for those who’d dig in to dig into. It is a sound familiar and individual at once, old and new, and it revels in making cohesion out of such contrasts.

Mountain Witch on Thee Facebooks

This Charming Man Records website

 

Disastroid, Mortal Fools

disastroid mortal fools

You might find San Francisco trio Disastroid hanging out at the corner of noise and heavy rock, looking disreputable. Their first record for Heavy Psych Sounds is Mortal Fools, and to go with its essential-bloody-essential bass tone and melodic semi-shouted vocals, it brings hints of angularity rounded out by tonal thickness and a smoothness between transitions that extends to the flow from one song to the next. While for sure a collection of individual pieces, Mortal Fools does move through its 43 minutes with remarkable ease, the sure hand of the three-piece guides you through the otherwise willfully tumultuous course, brash in the guitar and bass and drums but immersive in the overarching groove. They seem to save a particular melodic highlight for the verses of closer “Space Rodent,” but really, whether it’s the lumbering “Hopeless” or the sharper-toothed push of “Bilge,” the highlight is what Disastroid accomplish over the course of the record as a whole. Plus that friggin’ bass sound.

Disastroid on Thee Facebooks

Heavy Psych Sounds website

 

Stonegrass, Stonegrass

stonegrass self titled

I don’t know when this was first released, but the 2020 edition seems to be a remaster, and whenever it first came out, I’m pleased to have the chance to check it out now. Toronto duo Stonegrass brings together Matthew “Doc” Dunn and Jay Anderson, both of a markedly psyched-out pedigree, to dig into experimentalist acid-psych that pushes boundaries stylistic and national, tapping Afrobeat vibes with closer “Drive On” and the earlier 13-minute go-go-go jam “Tea” while “The Highway” feels like a lost psychedelic disco-funk 45, “The Cape” drones like it’s waiting for someone to start reading poetry over-top, and mellow hand-percussion and Turkish psych on centerpiece “Frozen Dunes.” The whole thing, which runs a manageable 39 minutes, is as cool as the day is long, and comes across like a gift to those of expanded mind or who are willing to join those ranks. I don’t know if it’s new or old. I don’t know if it’s a one-off or an ongoing project. I barely know if it’s actually out. But hot damn it’s rad, and if you can catch it, you should.

Cosmic Range Records on YouTube

Cosmic Range Records on Bandcamp

 

Jointhugger, I Am No One

jointhugger i am no one

Norwegian half-instrumental trio Jointhugger have already captured the attention of both Interstellar Smoke Records and Ozium Records with their four-song debut long-player, I Am No One, and as the follow-up to their 2019 Daemo, it leaves little question why. The more volume, the merrier, when it comes to the rolling, nodding, undulations of riff the band conjure, as each member seems geared toward bringing as much weight to bear as much as possible. I’m serious. Even the hi-hat is heavy, never mind the guitar or bass or the cave-echoing vocals of the title-track. “Domen” slips into some shuffle — if you can call something that dense-sounding a shuffle — and underscores its solo with an entire bog’s worth of low end, and though closer “Nightfright” is the only inclusion that actually tops 10 minutes, it communicates an intensity of crush that is nothing if not consistent with what’s come before. There are flashes of letup here and there, but it’s impact at the core of Jointhugger‘s approach, and they offer plenty of it. Don’t be surprised when the CD and LP sell through, and don’t be surprised if they get re-pressed later.

Jointhugger on Thee Facebooks

Ozium Records webstore

Interstellar Smoke Records webstore

 

Little Albert, Swamp King

Little Albert Swamp King

Stepping out both in terms of style and substance from his position as guitarist in atmospheric doomers Messa, Little Albert — aka Alberto Piccolo — pronounces himself “swamp king” in the opening lines of his debut solo release of the same name, and the mellow ambiance and psychedelic flourish of tone in “Bridge of Sighs” and “Mean Old Woman” and the aptly-titled “Blues Asteroid” offer an individualized blend of psychedelic blues that seems to delight in tipping the balance back and forth from one to the other while likewise taking the songs through full band arrangements and more intimate wanderings. Some of the songs have a tendency to roll outward and not return, as does “Mary Claire” or “Mean Old Woman,” but “Outside Woman Blues” and the closer “Hard Time Killing Floor Blues” hold tighter to the ground than some of what surrounds, so again, there’s a balance. Plus, as mellow as Swamp King is in its overarching affect, it’s neither difficult nor anything but a pleasure to follow along where Piccolo leads. If that’s off the psych-blues deep end, so be it. Only issue I take with him being king of the swamp is that the album’s domain hardly seems so limited.

Little Albert on Thee Facebooks

Aural Music on Bandcamp

 

Parahelio, Surge Evelia, Surge

Parahelio Surge Evelia Surge

Beautiful, patient and pastoral psychedelia fleshes out across the three tracks of Parahelio‘s debut full-length, Surge Evelia, Surge. Issued on vinyl through Necio Records, the three-song offering reportedly pays homage to a mining town in the band’s native Peru, but it does so with a breadth that seems to cover so much between heavy post-rock and psych that it’s difficult not to imagine places decidedly more ethereal. Beginning with its title-track (12:33) and moving into the swells and recessions of “Gestos y Distancia,” the album builds to an encompassing payoff for side A before unveiling “Ha’Adam,” a 23-minute side-consuming rollout that encompasses not only soundscaping, but a richly human feel in its later take, solidifying around a drum march and a heavy build of guitar that shouldn’t sound strange to fans of Pelican or Russian Circles yet manages somehow to transcend the hypnotic in favor of the dynamic, the immersive, and again, the beautiful. What follows is desolation and aftermath, and that’s how the record ends, but even there, the textures and the spirit of the release remain central. I always do myself a favor with the last release of any Quarterly Review, and this is no exception.

Parahelio on Thee Facebooks

Necio Records on Bandcamp

 

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Mountain Witch Added to Freak Valley 2015

Posted in Whathaveyou on November 26th, 2014 by JJ Koczan

mountain witch

Being German and being ingrained in ’70s-style classic heavy rock, Hamburg trio Mountain Witch have garnered a fair amount of comparisons to Kadavar since they released their 2013 debut full-length, Cold River (review here). Fair enough, but the vibe I got from that record was a little more doom and classic metal, a little grimmer in its intent than Kadavar, whose ’70s worship is more about warm groove and catchy hooks. Maybe it’s splitting hairs one to the next — I’m not sure how many microgenres ’70s-style heavy really needs to be divided into — but in any case, I didn’t think Mountain Witch were trying to ride the same wave as their countrymen, just that everybody digs Sabbath. That’s universal, right?

Their current 7″, which adds Judas Priest-style vocals to Cold River opener “Snake Wand” and pairs it with a cover of Deep Purple‘s classic “Black Night,” I think backs up that supposition. Or maybe my head’s up my ass. Always a possibility.

In any case, Mountain Witch are the latest act to join the golly-that’s-good lineup of next year’s Freak Valley festival. Freak Valley 2015 is set for June 4, 5 and 6 in Netphen, Germany, and if you don’t want to go, you’re not paying attention:

mountain witch freak valley festival

We are stoked to welcome Hamburgs Proto-Doom / psychedelic Stoner-Rock masters MOUNTAIN WITCH to the Freak Valley 2015 family !!

Mountain Witch’s sound is strengthened by an unmistakable 70s psych rock majesty. With vintage tones and killer riffs reminiscent of early Sabbath, their new direction also takes in the boogie of Blue Cheer, ballsy strut of Deep Purple and the total ambition of Pink Floyd. A sound that doesn’t shy away from its hard rock roots and at the same time doesn’t stop long enough to rest on them.

There’s also a distinct feeling that while the Mountain Witch of old were content to plug in and rock out, the epic guitar assaults and rhythm and doom sections of ‘Sleepers Chant’ and ‘The Covey’ give this latest incarnation a newfound purpose. One that could give the likes of Dead Meadow, Uncle Acid and the deadbeats and former label mates Kadavar a serious run for their money.

MOUNTAIN WITCH is out for the crown and it’s only a matter if time before they take the empire.

Awesome poster art by Michael Imhof / Wallze Design & Poster Art

FREAK VALLEY FESTIVAL – 4th-5th-6th June 2015

FVF tickets are selling like Blues Pills vinyls already – get yours in time – the first 3 editions have been sold out early!!
We are selling tix to all parts of this planet!!

Tickets: www.freakvalley.de | Only 66€ for 3 days incl. Camping!!

Hardtickets now @ our onlineshop: http://shop.rockfreaks.de/

Also: http://kozmik-artifactz.com/ | Kozmik Artifactz

FREAK VALLEY FESTIVAL: No Fillers – Just Killers

Goatsnake – Crippled Black Phoenix – The Vintage Caravan – Electric Moon – Gas Giant – Monkey3 – Danava – Egypt – Siena Root – Sigiryia – Kamchatka – Purson – Dead Man – Mountain Witch – Tuber – Valley of the Sun – Tombstones – more tba soon!!

https://www.facebook.com/mountainwitch/
http://www.thischarmingmanrecords.com/

Mountain Witch, Snake Wand 7″ (2014)

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The Obelisk Radio Add of the Week: Mountain Witch, Cold River

Posted in Radio on November 7th, 2013 by JJ Koczan

As heavy ’70s loyal as the sound of Mountain Witch (not to be confused with Witch Mountain) is, one would almost expect the band to make their home in Sweden, but the three-piece hail from Germany and release their second LP, Cold River, on This Charming Man Records. Shades of earliest Witchcraft show up on “Ancient Light” and “School of Night” pays off with Electric Wizard levels of fuzzy lumber, and while the chugging swing of “The Covey” is easily traced to “Children of the Grave” — something I view as a definite positive — where Mountain Witch really win favor is in their tones and in the album’s overall presentation. A vinyl-ready 39 minutes, with an evenly split eight tracks, one could argue its style is retro, but really it seems like the trio of guitarist/vocalist René Sitte, bassist Tobert Knopp and drummer/vocalist René Roggmann are focused on cave echo more than on trying to seem like they walked into the studio right after Sir Lord Baltimore left.

That serves them well across Cold River, which feels unpretentious and even lighthearted as the rolling groove of second cut “Shrubbery the Warlock” unfurls, though the mood throughout remains set to perma-doom. It’s easy to imagine that the warm distortion in Sitte‘s guitar is all the more prevalent on the vinyl version of the album, but even digitally, the record sounds natural and not at all short on charm, delving into the occasional fit of noise to offset some of the other vaguely minimal aspects of its style. “Ancient Light” starts at a crawl and seems at first like it’s going to stay that way, but while there’s more of a focus on flow and riffs and low end depth than on-a-dime changes, Mountain Witch remain conscious of putting a build into their tracks, and “Ancient Light” shifts smoothly into a payoff section of faster chugging before returning to its lurch, Roggmann keeping the momentum going over “War Pigs” holdouts in understated but appropriate fills.

Most of the moves the Hamburg outfit make throughout Cold River should be familiar enough to experienced listeners that there will be little problem accessing their methods, right down to the air-pushing bass that rests under the layered guitar solo in “School of Night” and the vocals that reach up from the recesses of the mix on the closing title-track, giving a sweet, hungover sensibility to its first stretch, from which it launches into a standout riff and ends the album on a resoundingly smooth back and forth that in itself is a summation of what Mountain Witch do so well with their sophomore outing — creating an atmosphere that draws you in and carries you on the waves of its tones. Whatever aspects of its sound might be recognizable, Cold River makes use of these elements in a way that distinguishes Mountain Witch as bending their influences to their own purposes, and it’s a take on doom that warrants hearing.

You can check out Mountain Witch‘s Cold River now as part of the regular playlist on The Obelisk Radio and get a sample from the Bandcamp player below. Enjoy:

Mountain Witch, Cold River (2013)

Mountain Witch on Thee Facebooks

Mountain Witch on Bandcamp

This Charming Man Records

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