Ufomammut, Ecate: Oltre L’Inifinito

Posted in Reviews on April 16th, 2015 by H.P. Taskmaster

ufomammut-ecate

For really longer even than the last decade, Italian trio Ufomammut have been engaged in a battle against themselves. Each new work from the cosmic doomers has had to be bigger, to reach farther, than its predecessor. In 2008, Idolum — their fourth album — solidified this as a central element of their process. Arriving after a 2007 collaboration with Lento, it marked a particularly triumphant moment for the partnership between the band and producer Lorenzo Stecconi, who has helmed all of their recordings since, and in a way has been a blueprint for the various thematics running throughout the band’s synth-laden crushing riffs, far-back, spaced-out vocals and dense rhythms. When their subsequent outing, Eve (review here), arrived in 2010, it had one mission at its core, which was to outdo the record before it. Composed as one long piece — something they had originally intended for Idolum — it was ultimately broken down into tracks for the CD release, but one could hardly call it a failure. For one thing, it led to Ufomammut being signed to Neurot Recordings, the label founded and run by members of Neurosis, for their next outing, which likewise expanded on Eve. Oro would be released in two parts — Oro: Opus Primum (review here) and Oro: Opus Alter (review here) — in 2012, and as they moved past their 15th anniversary last year, an occasion they marked with the XV live DVD/documentary (review here), the central question regarding their seventh album, Ecate, is whether or not Ufomammut could possibly continue their push forward into bigger, wider ranging sound. What are the limits of human consciousness translated to volume?

Any new Ufomammut album brings with it a certain “event” presence. Their works have become so masterful in their presentation of a psychedelic aesthetic and doomed tonal weight that followers new and old — a number in which I count myself — know that there’s reason to be excited. With Ecate, guitarist/keyboardist Poia, bassist/vocalist/keyboardist Urlo and drummer Vita do indeed push beyond Oro, but what they find isn’t something even more grandiose. Perhaps inspired by stopping, really for the first time, to reflect on their past work with the XV release and their “Magickal Mastery Tour” comprising songs from their catalog back to earlier records like 2005’s Lucifer Songs, 2004’s landmark Snailking, and their 2000 debut, Godlike SnakeUfomammut have arrived with the six-track/46-minute Ecate at a place that both progresses their sound and taps into its very core. Like the scene in 2001: A Space Odyssey. After flying through the universe in space and time, the character Bowman doesn’t find some overblown interstellar phenomenon. He winds up in a bedroom — a place where the human species is most quintessentially itself; sleeping, screwing, making itself ready to face the world around it. So too in songs like the building opener “Somnium” and bombastic, three-minute follow-up, “Plouton,” do Ufomammut explore the characteristics that make them who they are musically. Waves of claustrophobic riffs churn amid synthesized swirl and percussive thud, a largesse of sound conjured and given shape out of what seems an ether of brazen impact. Once it starts, there is no getting away from “Somnium.” It is a gravity well of tone, introducing much of what Ufomammut will unfold on the songs to come, and thus, emphasizing many of the best aspects of their style. Following the bursting supernova of “Plouton,” “Chaosecret” keeps a more open vibe through its first six minutes or thereabouts, turning for its remaining four into one of Ecate‘s most crushing moments just when it seems to be fading away, marching toward a more and more furious end.

ufomammut (Photo by Andrea Tomas Prato)

The album is structured into two roughly mirrored halves, in each of which three songs play out, two longer with a shorter one in the middle. “Chaosecret” is the longest cut at 10:47, but neither “Somnium” (9:55) nor closer “Daemons” (10:30) are far off. Following the closing slams of “Chaosecret,” “Temple” launches side B with an initial wall of feedback and more straightforward riffing, perhaps even more than “Plouton” exposing the elemental aspects of Ecate as a whole, obscure, manipulated samples playing out behind the plod, Urlo‘s vocals forward but still buried under the hypnotic riff repetitions, it taps into the overwhelming wash of Ufomammut at their finest, and transitions fluidly into the shorter, ambient “Revelation,” the four minutes of which are dedicated to developing a synthesized swirl and vast reach beyond what has already been set within the other songs. The drone fades gradually, and with the immediate rumble and rhythmic force of its early going, there’s little question when “Daemons” arrives as to what might be its intent. Its push never really subsides, though a verse emerges, still backed by fervent chugging, and leads the way back into an explosive chorus with more strange, indecipherable samples and a thrust toward Ecate‘s final resolution. No real surprise in the thunder or the rage that pays off “Daemons,” but the keyboard lines that follow and smooth the way out of the album prove even more resonant, almost cinematic, before they too fade away. Working from a conceptual basis in the goddess Hecate, who moves between the dead, living and immortals, Ufomammut remain steadfast in their commitment to progressing on the levels of songwriting and performance, but what their seventh full-length ultimately proves is that records don’t necessarily need to constantly get bigger and bigger to show that progression. Ecate tears away at anything less than needed for the band to make their statement, and as the album that will bring them to North America to tour for the first time, they could not hope to arrive carried by sturdier machinations.

Ufomammut, Ecate (2015)

Ufomammut on Thee Facebooks

Ecate at Neurot Recordings

Neurot Recordings

Tags: , , , ,

Brothers of the Sonic Cloth Announce West Coast Tour Dates

Posted in Whathaveyou on March 30th, 2015 by H.P. Taskmaster

brothers-of-the-sonic-cloth-Photo-by-Invisible-Hour

My only complaint about Brothers of the Sonic Cloth going on tour is I won’t get to see them. Beyond that, it’s good to see the Tad Doyle-fronted Seattle three-piece getting out in support of their Neurot Recordings self-titled debut (review here), which was released on Feb. 17. The album slays, if you haven’t heard it, and while I keep my fingers crossed that at some point this outfit comes east, I’m glad to know at least someone will get to have their ass handed to them, even if it’s not me just yet.

The PR wire puts it like this:

brothers of the sonic cloth tour dates

BROTHERS OF THE SONIC CLOTH: Seattle Doom Trio Confirms West Coast Tour

Seattle’s BROTHERS OF THE SONIC CLOTH — featuring legendary guitarist/vocalist Tad Doyle, formerly of Tad and Hog Molly, veteran bassist Peggy Doyle and drummer Dave French (The Anunnaki) — will bring their apocalyptic tidings to the streets next month for a long-anticipated run of West Coast performances. Slated to launch on May 21st on their home turf, the trek will quake eight stages through May 30th in Boise and follows the trio’s previously announced record release show at The Columbia City Theater in Seattle with additional live dates to be broadcast in the weeks to come.

Comments Doyle, “After having done our first U.S. West Coast tour back in 2012, we are stoked to be able to bring our songs out on the road once again to a town near you. We look forward to seeing our friends and making new ones as we trudge the highways with 1,500 filthy watts of amplification and drums big enough to be heard from the other side of a mountain range.”

BROTHERS OF THE SONIC CLOTH:
4/18/2015 The Columbia City Theater – Seattle, WA
5/21/2015 Chop Suey – Seattle, WA w/ Baba Yaga
5/22/2015 Dante’s – Portland, OR w/ Atriarch, Rabbits
5/23/2015 Starlight Lounge – Sacramento, CA
5/24/2015 Parkside – San Francisco, CA
5/27/2015 Sister – Albuquerque, NM
5/28/2015 Hi-Dive – Denver, CO
5/29/2015 Metro Bar – Salt Lake City, UT
5/30/2015 Neurolux – Boise, ID

Brothers Of The Sonic Cloth is currently available on CD or LP at THIS LOCATION.

http://www.facebook.com/pages/Brothers-of-the-Sonic-Cloth/63586406187
http://www.taddoyle.com/botsc
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

Brothers of the Sonic Cloth, “Lava”

Tags: , , , , ,

Live Review: Enslaved, YOB, Ecstatic Vision and Witch Mountain in NYC, 03.21.15

Posted in Reviews on March 23rd, 2015 by H.P. Taskmaster

enslaved 1 (Photo by JJ Koczan)

Driving the four-plus hours from Massachusetts to NYC to see Enslaved, YOB, Witch Mountain and Ecstatic Vision on Saturday wasn’t the practical choice, but it was the only choice. True, three of the four would be much, much closer to me this week, but to catch them in a bigger room and with Witch Mountain wasn’t an opportunity I wanted to miss. I left much earlier than I needed to, leaving as little as humanly possible to chance in terms of sitting in traffic, stressing out, etc. Turned out to be one of the easier rides south that I’ve had.

A positive omen? Maybe. I had time to hit Academy Records before the the show, which was a rare pleasure, and plenty of opportunity to catch my breath before doors to Gramercy Theatre opened. Last time I was there was for PentagramKings DestroyBang and Blood Ceremony, and as ambivalent as I was at being back in Manhattan itself, it would prove to be a night surrounded by old friends, laughs and good vibes. More than anything, that made trip worthwhile.

But there was a show on as well, and a killer one at that. An early start for a packed night had Witch Mountain on at 7:30, and here’s how it went from there:

Witch Mountain

witch mountain 1 (Photo by JJ Koczan)

A couple new faces in Portland’s scene-preceding four-piece, Witch Mountain. Very new, as it happened. As in, this was their second show. Led by founding guitarist Rob Wrong and drummer Nate Carson, the band had played Pittsburgh the evening prior, and that was the first gig with newcomer vocalist Kayla Dixon and bassist Justin Brown (also of Lamprey). Night two of the band’s Mk. III lineup was a short set, but they made the most of it and showcased the potential for continued growth. Dixon had a distinctly metallic presence as frontwoman, and the entire band, Brown included, seemed to relish the opportunity to have a bigger stage on which to unfurl their doom. Again, their time was brief, but “Psycho Animundi” from last year’s Mobile of Angels (review here) more than ably demonstrated Dixon‘s vocal range, while “Veil of the Forgotten” and particularly the end of “Shelter” from 2012’s Cauldron of the Wild (review here) thrust into an almost power metal presentation, already edging up to the boundaries of a shifting personality for the band. Especially for it being night two, it was an encouraging sight. I’d expect over time Witch Mountain will loosen up further in presence as they continue to tighten sonically, but I felt fortunate to see that process at its beginning.

Ecstatic Vision

ecstatic vision 1 (Photo by JJ Koczan)

Of the four bands on the bill, I wondered most about how Ecstatic Vision‘s sound would translate to the spaciousness of Gramercy Theatre. The Philly three-piece would hardly be the first act in history to play space rock in a high-ceiling room, but for their being a newer band despite the experience of guitarist/vocalist Doug Sabolik and drummer Jordan Crouse in A Life Once Lost, it was a point of curiosity. Some of Sabolik‘s flourish, the chimes on his mic stand and melodica, weren’t as prevalent as they had been when I saw the band open for YOB at the Saint Vitus Bar in December (review here), but they did well all the same, and bassist Michael Connor‘s tone came through the house clear and warm in kind. Their custom lighting, the rope lights around the drums, strobe, and so on, left Connor more or less out of the equation, and that seemed to create some imbalance on stage, but unless you happened to be the black metal purists positioned in front of me as I watched Estatic Vision space out on encompassing, fluid psychedelic jams, there was little to argue with as they warmed up and settled into their engaging vibe. They still don’t have much recorded but are expected to make a debut sometime later this year on Relapse. Still worth keeping an eye on.

YOB

yob 1 (Photo by JJ Koczan)

Would YOB do “Marrow” in that room? Yes, they would. Three of the four cuts from last year’s Clearing the Path to Ascend (review here) — also my pick for the best album of 2014 — were aired, with opening duo “In Our Blood” and the scorching “Nothing to Win” leading to the aforementioned 19-minute record-closer, which was followed in turn by the title-track of their 2011 sixth album, Atma (review here), the Eugene, Oregon, three-piece of guitarist/vocalist Mike Scheidt, bassist Aaron Rieseberg and drummer Travis Foster crisp in their delivery but not at all dead-eyed in the here’s-another-show way one might expect after their having spent the better part of the last three weeks on the road. The run with Enslaved ends this week, but YOB will continue to tour their way back west before returning in May to the East Coast for Maryland Deathfest in Baltimore. In New York, their response showed a considerable crossover response from the clearly-there-for-Enslaved contingent, particularly as the culmination of “Marrow” hit and they followed it by the gallop-laden “Atma,” which seemed all the more furious in comparison. I’ve seen YOB at least five times in the last 12 months and have yet to come out of a set without any regrets. Foster‘s snare was loud in the house mix, but so was everything else, so, you know, it kind of worked itself out. Every accolade YOB gets, they earn. I know they did that European stint last year with Pallbearer, and that was a month-plus on the road, but it’s still a change to think of YOB as a touring band after their years of keeping shows limited. While I wonder what the rest of 2015 will hold for them, I also couldn’t help but notice how sustainable and decidedly un-worn they looked on stage, like they could just keep going. I doubt they’d have met any complaints if they had.

Enslaved

Enslaved (Photo by JJ Koczan)

Last time I saw Enslaved in New York was early 2013. They played the Bowery Ballroom (review here), which is a not-insignificant space in itself, but not as sizable as the Gramercy, and I think it says something about the long-running Norwegian outfit’s growing US fanbase that their return to Manhattan would be in a larger venue. They’re supporting the release of their 13th full-length, In Times (review forthcoming) on Nuclear Blast, but new material or old, they had the room on their side from the word go. Bassist/vocalist Grutle Kjellson joked with the crowd between songs, and by the time they got down to playing the title-track from In Times laughingly promised the crowd that it would be the last new song they played. For what it’s worth, I didn’t notice much of a change in reception for recent or older material. Sure, a song like “The Watcher” from 2008’s Vertebrae, with its mega-chorus, or a by-now staple like “Ruun” from the 2006 LP of the same name is bound to get a response, but “Thurisaz Dreaming” and “Building with Fire” sat well alongside those and “Death in the Eyes of Dawn” from 2012’s RIITIIR (review here), and wherever the band headed, the crowd went along. Of course, their stage presentation was air-tight, Kjellson holding down a frontman role flanked on either side by guitarists Ivar Bjørnson and Arve “Ice Dale” Isdal, while keyboardist/vocalist Herbrand Larsen made a case for up-front featuring of his own with stellar command of the clean-sung parts — I saw Enslaved for the first time eight years ago at SXSW, and I’d mark Larsen‘s growth as a vocalist among the foremost catalysts enabling their musical progression in that time; that growth was, I’ll note, already underway for several years by then — and drummer Cato Bekkevold sat swallowed up by his expansive kit surrounding. They came out one at a time to start their set and for the encore, and each time Bekkevold sat down, he disappeared. Good for a laugh, but he also used that whole drumset, and flawlessly. Their encore was “As Fire Swept Clean the Earth” from 2003’s Below the Lights, “Fenris” from 1994’s sophomore outing, Frost, and the title-cut from 2004’s landmark Isa, and when it was over, there was nothing left for the audience to do but leave, having so thoroughly been handed its ass on a platter by the five-piece, whose reach seems only to continue growing with time.

If you want the short version, the show was a win, but what made it even better was seeing old friends throughout the night and catching up, and that was something that continued even as security started shuffling people out of the downstairs lounge. On my way back north on Sunday, it was the memories of good times and good music that seemed to make the trip shorter, both thoroughly appreciated.

Speaking of old friends, this review is dedicated to Loana dP Valencia of Nuclear Blast, alongside whom it has been my complete and utter pleasure to work for the last decade.

More pics after the jump. Thanks for reading.

Read more »

Tags: , , , , , , , , , , , ,

audiObelisk Transmission 046

Posted in Podcasts on March 16th, 2015 by H.P. Taskmaster

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

I was coming down to the end of this one and decided that I couldn’t let it go without including one more track to push it toward the two-hour mark, and the weirdness of Skunk Hawk’s “Lovers of Pompeii” won out. All bets were off after JPT Scare Band anyway. Nothing to lose between that and Jonas Munk and Headless Kross. Kind of all over the place stylstically there, but each song is so immersive on its own that I figured it would work one way or another. Heaven forbid you change it up once or twice in 60 minutes. Ha.

The first hour gets pretty heavy as well — I suppose it starts that way, with Ufomammut leading off, but look out. Once Wren kicks in from the Jarboe & Helen Money track, that, Gale and Watchtower get into some serious heft. Not that the others don’t, but you know what I mean. Blah blah blah riffs. Oh yeah, and I totally snuck in some new Acid King there, because that record is killer. So dig on that for sure if you haven’t yet. As always, hope you enjoy:

First Hour:
Ufomammut, “Plouton” from Ecate
Royal Thunder, “Time Machine” from Crooked Doors
Boarchucker, “Red Rain” from Swine Throne
Suzukiton, “Snakehead” from Suzukiton II
Jarboe & Helen Money, “Hello Mr. Blue” from Jarboe & Helen Money
Wren, “Before the Great Silence” from split with Irk
Gale, “Burn Your Person” from Vol. 1
Watchtower, “Living Heads” from Radiant Moon
Leather Nun America, “Bourgeois Pig” from Buddha Knievel
Worshipper, “High above the Clouds” from Black Corridor/High above the Clouds
Acid King, “Red River” from Middle of Nowhere, Center of Everywhere

Second Hour:
Headless Kross, “Rural Juror” from Volumes
Jonas Munk, “Absorb” from Absorb Fabric Cascade
JPT Scare Band, “Sleeping Sickness” from Acid Acetate Excursion & Rape of the Titan’s Sirens
Skunk Hawk, “Lovers of Pompeii” from Skunk Hawk

Total running time: 1:59:24

 

Thank you for listening.

Download audiObelisk Transmission 046

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Brothers of the Sonic Cloth, Brothers of the Sonic Cloth: Path Cut through Mountains

Posted in Reviews on March 3rd, 2015 by H.P. Taskmaster

brothers-of-the-sonic-cloth-self-titled

There’s little room left for argument after all the air’s been pushed from your lungs. Six years after issuing their initial demo (review here) and subsequent split 10″ with Mico de Noche (review here), Brothers of the Sonic Cloth at long last make their full-length debut with a self-titled release on Neurot Recordings, and whatever weight is brought to Brothers of the Sonic Cloth via guitarist/vocalist Tad Doyle‘s pedigree for having fronted underrated Seattle heavy rockers TAD or work engineering at his own Witch Ape Studio, where this album was also recorded (Billy Anderson mixed), rest assured that’s still less heft than the tones on crushers like “Empires of Dust” and the churning, 11-minute “La Mano Poderosa.” Together with bassist Peggy “Pegadeth” Tully (also his wife) and drummer Dave French (also of The Annunaki), Tad leads the charge through seven rounds of atmospheric post-sludge, the record’s 44 minutes no less concerned with ambience and mood than with gritting their teeth and bashing the listener over the head with waves of tectonic nod. It is a massive, unforgiving impression that the album leaves behind, rife with churning tension, a volume-as-ritual sense of purpose and an impact that becomes undeniable by the time “I Am” shifts into the drum-led, Neurosis-style tribalism of “The Immutable Path,” but there’s also breadth to it, and even its repetitions have a reason behind them. French‘s drums alternate between doomed marching and driving propulsion, but the hitting is consistently hard, and that seems to be true just about across the board. Even in quiet stretches, like the beginnings of “Unnamed” or “I Am” or the piano-led “Outro,” which closes, there is a tense, clenched feel that never quite lets the listener be fully at ease.

It goes without saying, but that’s obviously the point. The intensity of Brothers of the Sonic Cloth‘s Brothers of the Sonic Cloth is not happenstance. It’s pervasive, and it begins with the very start of the album, on opener “Lava,” where what might otherwise have been an intro riff expands into a three-minute song topped with growled verses and crashing at full turn-this-up-now righteousness. A turn to a jagged riff sits well on some half-time drums and vocal call and response make the track an outlier compared to what follows — the next four cuts comprise the meat of the album and they’re all nearly or more than twice as long — but it’s as honest an introduction as one could ask. The only thing missing from it is the grueling and slow, and “Empires of Dust” quickly (also slowly) remedies the issue. Its first three minutes are devoted to far-back gutturalism and dirge riffing, and even after things open from there, setting up a back and forth that plays out again over “Empires of Dust”‘s 7:51 resulting in a morose but creative and semi-melodic doom, the vibe remains pummeling. Tad gurgles out lyrics obscured by the distortion surrounding and echoes of noise end out, leading to the spacious guitar line that starts “Unnamed” on a more subdued, peaceful note, as if all that swirling malevolence was just a dream. It wasn’t. In tone and vocal delivery, the quicker thrust of “Unnamed” reminds somewhat of the last Amebix as each syllable of each line seems spit out, but the churn behind is more in league with Through Silver in Blood‘s brand of chaotic atmospherics, and after five and a half minutes, the song moves into a different cycle entirely, chugging its way toward an apex met by vocals that prove the most melodic on the album. They jump back to the churn with less than a minute to go — an effective bookend — and the 11-minute “La Mano Poderosa,” a version of which also appeared on the demo, introduces its roll with the guitar, its central progression a theme from which it deviates only twice along its march, once for an angular break in the middle, and again for a bigger finish on which French once again pulls back on the drums to let the guitar and bass sound as huge as possible.

brothers-of-the-sonic-cloth-(Photo-by-Invisible-Hour)

In its length and position, “La Mano Poderosa” is the centerpiece, but the following “I Am,” which was also a demo cut, is a more dynamic listen, following a build structure that starts quiet and brooding, makes its way toward its peak in the middle and, with a stop and scream just past 5:10 to signal arrival, rides out its groove for the remaining three minutes. To look at the waveform, there are clear indicators of increasing density, and the sound is no less marked out, but the flow crafted over the course of “I Am” makes it a highlight, and in some respects its the apex of Brothers of the Sonic Cloth, since neither “The Immutable Path,” on which Doyle joins John O’Connell on drums and layers a quiet vocal on top with droning ambience behind, nor the piano-led “Outro” approach the same kind of heft, though certainly each of the last two tracks has an atmospheric resonance of its own. That might be true even more of the two-minute “Outro,” which with just piano echoing has a disjointed feel that holds firm to its melody even as it begins to fade out to end the record. My understanding is “The Immutable Path” and “Outro” are both bonus tracks for the CD/DL editions of the album, but they have a function in the overarching mood of what comes before them anyway. No doubt part of the reason Brothers of the Sonic Cloth have garnered such a response is Tad Doyle‘s legacy and this self-titled being his first studio release since Hog Molly‘s lone outing in 2000, but this trio does nothing if they don’t set themselves apart from that legacy, and the spirit that pervades this material isn’t backward-looking in any way. That said, with six years between the demo and the album, I wouldn’t try to hazard a guess at when a follow-up might be in the beginning stages, let alone completed, but Brothers of the Sonic Cloth is an outing that does well standing on its own and its scope and sheer ferocity speak to a vibrant creativity at work.

Brothers of the Sonic Cloth, “La Mano Poderosa”

Brothers of the Sonic Cloth on Thee Facebooks

Witch Ape Studio

Neurot Recordings

Tags: , , , , , ,

Ufomammut Announce First-Ever North American Tour

Posted in Whathaveyou on February 18th, 2015 by H.P. Taskmaster

Well, we had advance warning back in December, so it was only a matter of time before Italian cosmic doom megaliths Ufomammut announced their first round of North American tour dates. By the time they hit these shores in May, their new album, Ecate, will have been out for more than a month on Neurot Recordings, and as they make their way around the US and into Canada, they’ll be joined by Usnea and making a stop off at Maryland Deathfest to put in an appearance there shortly after what I’ve no doubt will become a legendary gig at the Saint Vitus Bar in Brooklyn for both band and venue.

Fresh off the PR wire:

ufomammut-Photo-by-Andrea-Tomas-Prato1

UFOMAMMUT: First North American Tour Announced Including Support From Usnea; Fourth Ecate Making-Of Episode Released

With the details of their upcoming seventh studio full-length album, Ecate, having been recently unveiled, Italian mystical doom trio, UFOMAMMUT, finally announces their official first-ever tour of North America today, something diehard fans of this colossal outfit have been awaiting anxiously for years.

Now more than fifteen years into their time together as UFOMAMMUT, the band’s only prior US outings were two live shows in Los Angeles and San Francisco in 2009 in conjunction with their crushing Idolum LP. Since Idolum, the band’s popularity has grown exponentially, through the magic of their Eve LP, their signing with Neurosis’ label, Neurot Recordings for the 2012 release of their two-part ORO LP, and their following 2013-released XV DVD through their own Supernatural Cat Records. The desire to witness the outfit crafting its psychedelic and decimating craft in the flesh has become nearly overwhelming for stateside fans, but a shift in the tides this Spring will bring a major change as the trio invades American soil for their first-ever widespread US tour in the months ahead.

Initiated by their anticipated performance at this year’s Maryland Deathfest with lablemates Yob, Neurosis and countless others, UFOMAMMUT’s month-long North America Spring 2015 tour has now been declared. The trek will begin in Chicago on May 13th, with Relapse Records’ crushing Portland, Oregon-based cosmic sludge quartet, Usnea, providing direct support for the entire tour, which comes to a close in Milwaukee, Wisconsin on June 13th, including two shows in Canada. The trek will be preceded by a European tour alongside the UK’s Conan, consuming the latter half of April and including appearances at both of this year’s Desertfest events in London and Berlin.

Today also sees the release of the fourth video episode into the making-of UFOMAMMUT’s new album, Ecate, set for North American release on March 31st through Neurot Recordings. On the follow-up to their acclaimed ORO album, the trio takes a confident step forward with their craft, orchestrating atmospheric processions that take the six songs on the album to places as-of-yet uncharted, the only guide being that of Ecate, the three-sided goddess who moves between the realms of the living, the dead, and the gods. The latest installment showcases the layering of the dense guitar tones, as always with sound wizard Lorenzo Stecconi, for these sessions using his mobile studio at SOMS “Il Progresso” in Sarezzano, Italy.

Watch Ecate’s guitars become realized with episode four RIGHT HERE.

Catch up on the recording of the drums, bass and more with part 1, part 2 and part 3 as well.

UFOMAMMUT Ecate European Tour Dates:
4/04/2015 e20 Underground – Montecchio Maggiore IT
4/10/2015 Bloom – Mezzago IT
4/18/2015 Impetus festival – Delemont CH
4/19/2015 Glazart – Paris FR w/ Conan
4/21/2015 Forum – Bielefeld DE w/Conan
4/22/2015 Schlachthof – Wiesbaden DE w/ Conan
4/23/2015 Feierwerk – Munich DE w/ Conan
4/24/2015 Desertfest – Berlin DE w/ Conan
4/25/2015 AB – Brussels BE w/ Conan
4/26/2015 Desertfest – London UK w/ Conan
4/28/2015 Vortex – Siegen DE w/ Conan
4/29/2015 Kellerclub – Stuttgart DE
4/30/2015 Weekender Club – Innsbruck AT

UFOMAMMUT North America Spring 2015 w/ Usnea:
5/13/2015 Reggie’s – Chicago, IL
5/14/2015 Now That’s Class – Cleveland, OH
5/15/2015 Bug Jar – Rochester, NY
5/16/2015 Mod Club – Toronto, ON
5/17/2015 Le Ritz – Montreal, QC
5/19/2015 Saint Vitus Bar – Brooklyn, NY
5/20/2015 Johnny Brenda’s – Philadelphia, PA
5/21/2015 Maryland Death Fest – Baltimore, MD [no Usnea]
5/22/2015 King’s – Raleigh, NC
5/23/2015 Drunken Unicorn – Atlanta, GA
5/25/2015 Siberia – New Orleans, LA
5/26/2015 Walter’s – Houston, TX
5/27/2015 Red 7 – Austin, TX
5/29/2015 Sister – Albuquerque, NM
5/30/2015 Flycatcher – Tucson, AZ
5/31/2015 Complex – Los Angeles, CA
6/02/2015 Catalyst – Santa Cruz, CA
6/03/2015 Elbo Room – San Francisco, CA
6/04/2015 Press Club – Sacramento, CA
6/05/2015 WOW Hall – Eugene, OR [no Usnea]
6/06/2015 Rotture – Portland, OR
6/07/2015 Chop Suey – Seattle, WA
6/08/2015 Neurolux – Boise, ID
6/09/2015 Bar Deluxe – Salt Lake City, UT
6/10/2015 Hi-Dive – Denver, CO
6/12/2015 Turf Club – St Paul, MN
6/13/2015 Metal Grill – Milwaukee, WI

http://www.ufomammut.com
http://www.facebook.com/pages/UFOMAMMUT/83336386071
http://www.supernaturalcat.com
http://www.malleusdelic.com
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

Ufomammut, Ecate Recording Sessions — Guitars

Tags: , , , ,

Steve Von Till Announces A Life unto Itself Album Release

Posted in Whathaveyou on February 12th, 2015 by H.P. Taskmaster

Been a quick seven years since Neurosis guitarist/vocalist Steve Von Till released his last solo album, A Grave is a Grim Horse. Or maybe it’s been a long seven years. I don’t know. It’s been seven friggin’ years, either way, which is long enough. In May, Von Till will issue the Randall Dunn-recorded A Life unto Itself on Neurot as his fourth solo outing. There hasn’t been any audio yet, but I’m interested to hear how the thread from A Grave is a Grim Horse plays out. The last Von Till record had more of an arranged sense, less of a guy-plus-guitar folkishness than the preceding 2002 long-player, If I Should Fall to the Field. Hard to believe that album is 13 years old now. Wow.

While I go attempt to process those numbers, dig into the PR wire info below on A Life unto Itself:

steve von till (Photo by Niela Von Till)

Steve Von Till reveals details of an astonishing new solo album, A Life Unto Itself, upcoming on Neurot Recordings in May

The title doesn’t quite say it all, but it says some of it: A Life Unto Itself is as much the name of Steve Von Till’s fourth solo album as it is the perfect description for the 25-plus years he’s spent forging, with his brothers, the incomparable musical force that is Neurosis—not to mention the numerous sonic tapestries he’s woven with Tribes Of Neurot and under his alter ego Harvestman. You can hear that rich musical history, and all the life experience that goes with it, on his new solo album A Life Unto Itself – and this album goes deeper still.

Where Steve Von Till’s previous solo recordings took on a more traditional approach with a respectful nod toward American and European folk music, A Life Unto Itself expands and ventures into compelling uncharted territory for its maker. Steve Von Till’s weathered, distinctive voice and sparse acoustic guitar provides a foundation, but a much wider variety of sonic textures are presented here. Bold and ambitious arrangements weave vintage synth, sublime strings, percussion, and electric guitars in and out of these unique and expansive songs as Steve Von Till’s raspy whisper dives deeply inward and speaks genuinely of visions, memories, and self-reflection in a way that feels both seasoned and exposed.

A Life Unto Itself is a powerful and evocative collection of beautiful Celtic balladry, haunting folk songs, dark psychedelia and expansive Americana, transporting one to the very heart and soul of its creator. If you allow yourself to fully submit to it, abandoning all preconceptions, the rewards can be magnificent.

http://www.neurotrecordings.com/home.php
http://www.vontill.org/
http://www.facebook.com/neurotrecordings

Steve Von Till, “Looking for Dry Land” from A Grave is a Grim Horse (2008)

Tags: , , , ,

audiObelisk Transmission 044

Posted in Podcasts on January 29th, 2015 by H.P. Taskmaster

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

I’m happy to report that of all the podcasts I’ve ever put together, front to back, I think this one came together the smoothest. No programs crashed, no uploads were interrupted halfway through. Unless I click “Publish” and the internet eats this entire site, it’s safe to say this was the easiest time I’ve had putting together a collection of tracks to be featured here. Could it be I’m getting better at it? Nah. Dumb luck all the way. As I recall, last time I said something of the sort, the next month my editing software crapped out and it was a year before I got another program that worked. You’d think I might learn to keep my mouth shut.

Keeping current with this month was something of a concern. It’s hard to fill out 2015 releases since we’re only a month into the year, but even if some of this stuff is 2014, it’s later 2014 for sure, and the vast majority of it did wind up being 2015. The second hour, which has become a sort of psych blissout over the last however-many podcasts, actually gets pretty heavy and doomed this time around. Change is good for the soul. As always, hope you enjoy:

First Hour:
Torche, “Loose Men” from Restarter
Bloodcow, “Crystals and Lasers” from Crystals and Lasers
Elder, “Compendium” from Lore
Lacertilia, “Do Something!” from Crashing into the Future
Ruby the Hatchet, “Tomorrow Never Comes” from Valley of the Snake
Carpet, “Riot Kiss” from Riot Kiss 7”
Black Moon Circle, “Supernova” from Andromeda
Desert Storm, “House of Salvation” from Omniscient
Spidergawd, “Fixing to Die Blues” from Spidergawd II
Bellringer, “Von Fledermaus” from EP
Romero, “Gold for the Hunt” from Gold for the Hunt Single
Brothers of the Sonic Cloth, “Lava” from Brothers of the Sonic Cloth

Second Hour:
Sumac, “Blight’s End Angel” from The Deal
Horsehunter, “Stoned to Death” from Caged in Flesh
The Devil and the Almighty Blues, “Storm Coming Down” from The Devil and the Almighty Blues
Saturndust, “Realm of Nothing” from Saturndust
Sonny Simmons & Moksha Samnyasin, “We are Entering a Place of That” from Nomadic

Total running time: 1:55:50

 

Thank you for listening.

Download audiObelisk Transmission 044

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,