Friday Full-Length: Enslaved, Ruun

Posted in Bootleg Theater on July 10th, 2020 by JJ Koczan

My dominant memory of Making Assignments - Get an A+ aid even for the most urgent assignments. leave behind those sleepless nights writing your coursework with our Enslaved during the Read the most trustful essay writing services reviews and get your discounts! Entrust your help writing scholarship essays assignment to the best Ruun era was — perhaps unsurprisingly — seeing them live for the first time. By Spring 2007, the Bergen, Norway, progressive black metallers were on their ninth album and had been around for 15 years, founding guitarist I??I Sample Business Plan Summary jobs Writing Jobs From Home | write papers for money jobs Pay For Articles ???(Earn Extra Cash??)??? Ivar Bjørnson and bassist/vocalist Place a 'write my essay' order and get online academic help from http://www.naur-sir.dk/?on-assignment-locations writing service. 24/7 Non-plagiarized essay writer help from per Grutle Kjellson having over time built a lineup that included phd dissertation help bialik - experience the merits of professional custom writing assistance available here Proposals, essays & academic papers of top quality. Arve “Ice Dale” Isdal on guitar — still with the band — as well as drummer Informing students on the best possible method of buying https://byota.ca/can-i-reuse-someonses-college-essay from reputable websites offering only high-quality papers in all subjects Cato Bekkevold and keyboardist/vocalist auckland university masters thesis http://infora.rs/en/2015/10/ Online best buy resume application louisville ky good essay prompts Herbrand Larsen. get your Components Of A Research Proposal. discover step by step how to start, write & complete your dissertation Ruun was their second full-length to receive US distribution and promotion through customs and traditions of great britain essay Write My Narrative Essay Uk division and classification essay thesis 4th grade essay writing worksheets Candlelight Records in the US behind 2004’s I've been looking for someone to http://www.hotelsb.eu/dissertation-write-com/ for me when I've been busy preparing to my final weeks. EssayRoo writer id 55472 managed to complete a very urgent assignment on Logistics and then another one on Finance. I liked the way it was written even though I had to make minor edits to make it look more like mine. Isa, which introduced Since 2006, Copy Army has been the trusted get more for hundreds of organizations around the globe. Larsen to the fold and in so doing brought a major change in the band’s sound on both fronts. Surely, Asking "read review online"? Hire the best essay writer and get your work done in an hours. Special December Offer. -50% OFF Enslaved had been pushing in a more progressive direction for several years at that point, with records like 2000’s online help with college essay - Find out common recommendations how to receive a plagiarism free themed term paper from a experienced writing service Allow Mardraum: Beyond the Within, 2001’s If you're looking for Clicking Here, you've found the right place. The EssayDune expert team will write a custom and unique essay that's exactly what you Monumension and 2003’s Still, thanks to you, guys, I can afford to have a professional tutor http://www.sayhomebuy.com/blog/hire-a-writer/ for me! Write my essay for. You could pick a topic you're already. Below the Lights showcasing an increasing breadth of influence, but employing a full-time keyboardist and clean vocalist to complement Kjellson‘s signature rasp was a significant step. It began to show just how much on Isa, but it was with Ruun that the complexity really came to fruition in the songwriting.

Enslaved did not have to forsake their black metal origins in order to take on more stylistic range — they simply added to what was already there. Thus Ruun still has its raging stretches, whether it’s the beginning charge of “Fusion of Sense and Earth,” the later twists of “Api-Vat” or even the opener “Entroper,” which seems to spend its six-plus minutes building to this massive swell of scream-topped push, but ultimately cedes the apex to Larsen, signaling the evolution taking place in Enslaved‘s approach. With backing growls from Bjørnson behind Kjellson‘s verse lines, even a riffer like “Path to Vanir” demonstrates an uptick in the depth of the arrangements, as Enslaved were able to bring a wash to their sound as they’d only hinted toward since bringing in their first keyboardist, Øyvind Madsen (Vulture Industries), in 2002. Still, it’s with vocals that Larsen was able to make the greatest impact on the band, and in the break of “Path to Vanir,” he shows how. His voice is somewhat tentative and would grow more confident over time, but the softness of his singing style and the contrast it brought to the blackened churn surrounding helped make Enslaved all the more unique as they reached beyond the bounds of genre traditionalism.

This was also a band who knew the power of a riff. “Fusion of Sense and Earth” remains a hair-standing-on-end catalog highlight for the band — it’s one of the best songs they’ve ever written. Moving from its Enslaved Ruunheadbang-ready thrash, it opens wide to release tension first in a pre-chorus transition led by keys, then shifts through growls to an instrumental hook that is the stuff from which air-drumming legends are made, the double-kick intricately keeping up with the nuances of Bjørnson‘s riff as the lead enters and the band rightly rides that groove to oblivion. That’s hardly the only instance on Ruun of standout riffage, as the title-track subsequently reminds, with its outright departure for prog rock, back and forth clean and harsh vocals and heavy-in-spite-of-itself rhythm; a precision of chug that still marks them as extreme metal, but is decidedly outside of the black metal norm. They bring it around, but “Ruun” ultimately resolves in a wash that includes acoustic strum, and it’s built around that initial riff with keyboards adding melodic breadth and Larsen and Kjellson coming together on vocals. “Tides of Chaos” is meaner, its chorus clean, but engulfed by screams and growls, and Kjellson coming across like he’s committing an atrocity against his vocal cords during the verses. It is demented and glorious, and pairs brilliantly with “Essence,” where the melody is more center and the call and response more direct, the band finding a middle ground that hints at what psychedelic black metal would become largely in their wake before straight-up thrashing the song into the ground, leaving “Api-Vat” to pick up the pieces and renew the sense of structure before closer “Heir to the Cosmic Seed” rounds out with a hypnotic epilogue.

The shows, which may or may not have been their first US gigs — I honestly can’t remember — were at SXSW, I think in 2007. The first was in a tent at night and the second was during the day. They may have played others — it was a long time ago and I was very intoxicated. I’m pretty sure Motörhead were also on the daytime bill though, and I remember Enslaved only got to play three songs because they only had a half-hour set. “Fusion of Sense and Earth” was one of them, and there I was, headbanging outside Emo’s at like 11AM, still hungover from the night before and probably a couple beers already into the day. One did what one had to do in order to survive down there.

Soon enough, Enslaved would sign to Nuclear Blast and their touring North America would become a matter of course. 2008’s Vertebrae pushed the impulses of Ruun further, while 2010’s Axioma Ethica Odini (review here) pursued rawer fare, 2012’s Riitiir (review here) brought ferocious grandiosity, 2015’s In Times (review here) boasted their most progressive style to-date, and 2017’s E (review here) introduced new keyboardist Håkon Vinje in place of Larsen and showed how yet again they were able to expand their sonic reach.

In October, Enslaved will release their 15th full-length, Utgard, through Nuclear Blast and by what I swear is pure coincidence, the band just posted today a video for the track “Jettegryta,” which is the second single taken from the album. Where the prior “Homebound” showcased the work of new drummer/vocalist Iver Sandøy, “Jettegryta” focuses more on Kjellson‘s voice and even features some clean singing from him with harmonies behind, as well as what sounds like some pointedly experimental guitar in its second half. The lesson, such as it is, is to understand just how dynamic Enslaved have become as a band, and I assume that when Utgard arrives — I’m not cool enough to have heard it in full yet — just how much it will see them revel in the multifaceted nature of their particular vision of extreme metal. Here’s that video, just for the hell of it.

Enslaved, “Jettegryta” official video

I hope you enjoy that, and Ruun as well. As always, I thank you for reading.

Enslaved is one of those bands who I can rely on to get just about no response when I write about them. They’re crazy popular, of course, but for whatever reason, every time I put something up about them, it gets about no feedback. Crickets. Rest assured, I blame my own lack of insight, but it’s true of several others as well. Swallow the Sun, My Dying Bride, Paradise Lost, Anathema. I guess at least I’m consistent.

I wasn’t looking for privacy though in writing about Ruun, just something that I knew I’d enjoy, and really, the timing of that new video was coincidental. I didn’t even know it was up until it was pointed out to me while I was putting this post together. I’ve watched it once.

I hope you had a good week. The Patient Mrs. and I hit a really good working rhythm this week. The Pecan in daycare for the morning helped make Wednesday and Thursday easier, work-wise, but even Sunday, Monday, Tuesday, we had it pretty much down. I fed him breakfast, we went for a run every other day, and then we hung out and played and read books and all that stuff while she worked in the morning, then I picked up after that and worked while she kept him for lunch and into his afternoon nap. She was able to get some research work done, I was able to do the Quarterly Review — which, again, thankfully, was a breeze full of good records — and we both kept our heads reasonably above water.

Of course, it was only a couple posts per day, but I was glad to do stuff like that Crystal Spiders premiere, hosting the Swarm of Flies track and that Candlemass review, which was worth it solely to get a comment from an old friend who I haven’t seen in a long time.

Need to catch up on email and messages this weekend, which will take some doing, and I’m going to review the Forlesen album for Monday, which is a little bit of brilliant. Tuesday a premiere from TOOMS, Wednesday a special feature I’m very much looking forward to putting together, and Thursday, a video premiere from The Brothers Keg. Friday, I’ll review that YOB live record they did to benefit the Navajo Nation Covid Relief Fund. Here’s a preview: “Duh. YOB are great. Great great great great. Duh.”

Seven bucks well spent on that, either way, and I love that music isn’t existing in a vacuum.

New Gimme show. You know the drill. 5PM. http://gimmeradio.com

Whatever you’re up to this weekend, I wish you good fun and the utmost safety. I let The Patient Mrs. go into Whole Foods yesterday, which was a little nerve-racking, even though it’s a new store so everything is well spaced out. In a few minutes I’ll split out and head to Coscto on my own. That place is like a free-for-all, so yeah. I told her maybe next year on that one. She’s apparently going back to campus to work in August though, which will be interesting.

But hey, almost 60,000 cases of COVID-19 yesterday, huh? Anyone tired of all that winning yet?

Alright, time to put on my mask and go buy a block of cheddar cheese. Oh, and apparently we’re getting a puppy this weekend?

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

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Quarterly Review: Katatonia, Marmalade Knives, King Witch, Glass Parallels, Thems That Wait, Sojourner, Udyat, Bismarck, Gral Brothers, Astral Glide

Posted in Reviews on July 9th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Welcome to the penultimate day of the Summer 2020 Quarterly Review. I can only speak for myself, but I know it’s been a crazy couple months on this end, and I imagine whatever end you’re on — unless and probably even if you have a lot of money — it’s been the same there as well. Yet, it was no problem compiling 50 records to review this week, so if there’s a lesson to be taken from it all, it would seem to be that art persists. We may still be painting on cave walls when it comes to the arc of human evolution, but at least that’s something.

Have a great day and listen to great music.

Quarterly Review #31-40:

Katatonia, City Burials

katatonia city burials

Like their contemporaries in My Dying Bride and Paradise Lost, the latter-day period of work from Sweden’s Katatonia veers back toward some measure of direct heaviness, as City Burials showcases in cuts like “Rein,” “Heart Set to Divide” and “Behind the Blood,” but more than either of those others mentioned, the Stockholm outfit refuse to forsake the melody and progressivism they’ve undertaken with their sound in the name of doing so. By the time they get to “Untrodden” at the end of the album’s 50-minute/11-song run, they’ve run a gamut from dark electronica to progressive-styled doom and back again, and with the founding duo of guitarist Anders Nyström and vocalist Jonas Renkse at the helm of the songwriting, they are definitive in their approach and richly emotive; a melancholy that is as identifiable in their songs as it is in the bands working under their influence. Their first work in four years, City Burials is an assurance that Katatonia are in firm ownership and command of all aspects of their sound. As they approach their 30th year, they continue to move forward. That’s a special band.

Katatonia on Thee Facebooks

Peaceville Records website

 

Marmalade Knives, Amnesia

marmalade knives amnesia

Boasting production, mixing and percussion from The Golden GrassAdam Kriney, Marmalade Knives‘ debut album, Amnesia, is a delight of freaky-but-not-overblown heavy psychedelia. Oh, it’s headed far, far out, but as the opening narration and the later drones of second cut “Rivuleting” make plain, they might push, but they’re not trying to shove, if you know what I mean. The buzz in “Best-Laid Plans” doesn’t undercut the warmth of the improvised-seeming solo, and likewise, “Rebel Coryell” is a mellow drifter that caps side A with a graceful sense of wandering the soundscape of its own making. The vibe gets spacey on “Xayante,” and “Ez-Ra” touches on a funkier swing before seeming to evolve into light as one does, and the 10-minute “Astrology Domine” caps with noise and a jammed out feel that underscores the outbound mood of the proceedings as a whole. Some of the pieces feel like snippets cut from longer jams, and they may or may not be just that, but though it was recorded in three separate locations, Amnesia draws together well and flows easily, inviting the listener to do the same.

Marmalade Knives on Thee Facebooks

Electric Valley Records webstore

 

King Witch, Body of Light

king witch body of light

Edinburgh’s King Witch toe the line between classic metal and doom, but whatever you want to call them, just make sure you don’t leave out the word “epic.” The sweeping solo and soaring vocals on the opening title-track set the stage on their second LP, the hour-long Body of Light, and as much mastery as the band showed on their 2018 debut, Under the Mountain (review here), vocalist Laura Donnelly, guitarist Jamie Gilchrist, bassist Rory Lee and drummer Lyle Brown lay righteous waste to lofty expectations and bask in grandiosity on “Of Rock and Stone” and the linear-moving “Solstice I – She Burns,” the payoff of which is a high point of the album in its layered shred. Pieces like “Witches Mark” and “Order From Chaos” act as confirmation of their Euro-fest-ready fist-pumpery, and closer “Beyond the Black Gate” brings some atmosphere before its own headbang-worthy crescendo. Body of Light is a reminder of why you wanted to be metal in the first place.

King Witch on Thee Facebooks

Listenable Records on Bandcamp

 

Glass Parallels, Aisle of Light

Glass Parallels Aisle of Light

Eminently listenable and repeat-worthy, Glass Parallels‘ debut LP, Aisle of Light, nonetheless maintains an experimentalist flair. The solo-project of Justin Pinkerton (Golden Void, Futuropaco), covers a swath of ground from acid folk to psych-funk to soul vibes, at times bordering on shoegaze but seeming to find more expressive energy in centerpiece “Asphyxiate” and the airy capper “Blood and Battlegrounds” than any sonic portrayal of apathy would warrant. United by keys, pervasive guitar weirdness and Pinkerton‘s at-times-falsetto vocals, usually coated in reverb as they are, Aisle of Light brings deceptive depth for being a one-man production. Its production is spacious but still raw enough to give the drums an earthy sound as they anchor the synth-laden “March and April,” which is probably fortunate since otherwise the song would be liable to float off and not return. One way or another, the songs stand out too much to really be hypnotic, but they’re certainly fun to follow.

Glass Parallels on Thee Facebooks

Glass Parallels on Bandcamp

 

Thems That Wait, Stonework

thems that wait stonework

Stonework is the self-aware debut full-length from Portland, Maine, trio Thems That Wait, and it shoulders itself between clenched-teeth metallic aggression and heavier fuzz rock. They’re not the first to tread such ground and they know it, but “Sidekick” effectively captures Scissorfight-style groove, and “Kick Out” is brash enough in its 1:56 to cover an entire record’s worth of burl. Interludes “Digout” and “Vastcular” provide a moment to catch your breath, which is appreciated, but when what they come back with is the sure-fisted “Paragon” or a song like “Shitrograde,” it really is just a moment. They close with “Xmortis,” which seems to reference Evil Dead II in its lyrics, which is as good as anything else, but from “Sleepie Hollow” onward, guitarist/vocalist Craig Garland, bassist Mat Patterson and drummer Branden Clements find their place in the dudely swing-and-strike of riffs, crash and snarl, and they do so with a purely Northeastern attitude. This is the kind of show you might get kicked at.

Thems That Wait on Thee Facebooks

Thems That Wait on Bandcamp

 

Sojourner, Premonitions

sojourner premonitions

Complexity extends to all levels of Sojourner‘s third album and Napalm Records debut, Premonitions, in that not only does the band present eight tracks and 56 minutes of progressive and sprawling progressive black metal, varied in craft and given a folkish undercurrent by Chloe Bray‘s vocals and tin whistle, but also the sheer fact that the five-piece outfit made the album in at least five different countries. Recording remotely in Sweden, New Zealand, Scotland and Italy, they mixed/mastered in Norway, and though one cringes at the thought of the logistical nightmare that might’ve presented, Sojourner‘s resultant material is lush and encompassing, a tapestry of blackened sounds peppered with clean and harsh singing — Emilio Crespo handles the screams — keyboards, and intricate rhythms behind sprawling progressions of guitar. At the center of the record, “Talas” and “Fatal Frame” (the shortest song and the longest) make an especially effective pair one into the other, varied in their method but brought together by viciously heavy apexes. The greatest weight, though, might be reserved for closer “The Event Horizon,” which plods where it might otherwise charge and brings a due sense of largesse to the finale.

Sojourner on Thee Facebooks

Napalm Records website

 

Udyat, Oro

udyat oro

The order of the day is sprawl on Udyat‘s recorded-live sophomore LP, Oro, as the Argentinian outfit cast a wide berth over heavy rock and terrestrial psych, the 13-minute “Sangre de Oro” following shorter opener “Los Picos de Luz Eterna” (practically an intro at a bit over six minutes) with a gritty flourish to contrast the tonal warmth that returns with the melodic trance-induction at the start of “Los últimos.” That song — the centerpiece of the five-track outing — tops 15 minutes and makes its way into a swell of fuzz with according patience, proceeding through a second stage of lumbering plod before a stretch of noise wash leads pack to the stomp. The subsequent “Después de los Pasos, el Camino Muere” is more ferocious by its end and works in some similar ground, and closer “Nacimiento” seems to loose itself in a faster midsection before returning to its midtempo roll. Oro borders on cosmic doom with its psychedelic underpinnings and quiet stretches, but its movement feels ultimately more like walking than floating, if that makes any sense.

Udyat on Thee Facebooks

Udyat on Bandcamp

 

Bismarck, Oneiromancer

Bismarck Oneiromancer

To anyone who might suggest that extreme metal cannot also be forward-thinking, Bismarck submit the thoughtful bludgeon of Oneiromancer, a five-song/35-minute aesthetic blend that draws from doom, death, hardcore and sundry other metals, while keeping its identity in check through taut rhythm and atmospheric departures. Following the chants of opening intro “Tahaghghogh Resalat,” the Chris Fielding-produced follow-up to Bismarck‘s 2018 debut, Urkraft (review here), showcases an approach likewise pummeling and dynamic, weighted in ambience and thud alike. “Oneiromancer” itself starts with blastbeats and a plundering intensity before breaking into a more open midsection, but “The Seer” is absolutely massive. Despite being shorter than either the title-track or “Hara,” both of which top nine minutes, and closer “Khthon” underscores the blood-boiling tension cast throughout with one last consuming plod. Fucking raging. Fucking awesome. Pure sonic catharsis. Salvation through obliteration. If these are dreams being divined as the title hints, the mind is a limitless and terrifying place. Which, yes.

Bismarck on Thee Facebooks

Bismarck on Bandcamp

 

The Gral Brothers, Caravan East

gral brothers caravan east

I won’t say it’s seamless or intended to be, but as Albuquerque, New Mexico, two-piece The Gral Brothers make their initial move on Caravan East between cinematic Americana and industrial brood, samples of dialogue on “Cactus Man” and violin in the seven-minute soundscaper “In Die Pizzeria” seem to draw together both a wistfulness and a paranoia of the landlocked. Too odd to fall in line with the Morricone-worship of Cali’s Spindrift, “Crowbar” brings Spaghetti West and desert dub together with a confidence that makes it seem like a given pairing despite the outwardly eerie vibes and highly individualized take, and “Santa Sleeves” is beautiful to its last, even if the lone bell jingle is a bit much, while “Silva Lanes” pushes even further than did “Circuit City” into mechanized experimental noisemaking. They end with the birdsong-inclusive “Ode to Marge,” leaving one to wonder whether it’s sentiment or cynicism being expressed. Either way, it’s being expressed in a way not quite like anything else, which is an accomplishment all on its own.

The Gral Brothers on Thee Facebooks

Desert Records on Bandcamp

 

Astral Glide, Flamingo Graphics

astral glide flamingo graphics

When you’re at the show and the set ends, Flamingo Graphics is the CD you go buy at the merch table. It’s as simple as that. Recorded this past March over the course of two days, the debut album from Floridian foursome Astral Glide is raw to the point of being barebones, bootleg room-mic style, but the songwriting and straightforward purposes of the group shine through. They’re able to shift structures and mood enough to keep things from being too staid, but they’re never far off from the next heavy landing, as “Devastation” and the closer “Forever” show in their respective payoffs, that latter going all out with a scream at the end, answering back to the several others that show up periodically. While their greatest strength is in the mid-paced shove of rockers like “Space Machine” and “Scarlett” and the speedier “Workhorse,” there are hints of broader intentions on Flamingo Graphics, though they too are raw at this point. Very much a debut, but still one you pick up when the band finishes playing. You might not even wait until the end of the show. Meet them back at the table, and so on.

Astral Glide on Thee Facebooks

Astral Glide on Bandcamp

 

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Spidergawd to Tour Next March for New Album VI

Posted in Whathaveyou on July 1st, 2020 by JJ Koczan

spidergawd

Stoked on the idea of Spidergawd hitting the road? Yeah, well you probably should be, whether you live in the path of their newly-announced March 2021 European touring or not, because it means that there’s going to be a new Spidergawd album to coincide with said tour. Yes, friends of a heavy-rocking persuasion, I speak of Spidergawd VI, begat by 2019’s Spidergawd V (review here), which was begat by 2017’s Spidergawd IV (review here), which was begat by 2016’s Spidergawd III (review here), which was begat by 2015’s Spidergawd II (review here), which, indeed, was begat by Spidergawd (review here) in 2014.

No concrete release date yet for the VIth installment in Spidergawd‘s ongoing series of kick-you-in-the-ass-and-ask-nothing-in-return albums, but one assumes the issuance will spring forth at the behest of Crispin Glover Records and Stickman Records, much as has been the case in the past. As the Norwegian troupe have continued to amass a discography of high-grade/high-class outings, their progressive bent and forays into psychedelia have not gone unnoticed, and whether or not VI works forward the thread of either, the safest bet you can possibly make as regards anything Spidergawd is that it’s going to be awesome.

To wit, the band’s re-recorded 2019 version of “Sanctuary” from the second album. It’s awesome. That’s how they do.

When and if I hear more about the album, I’ll let you know. Hopefully it’s sooner than later, but you know how 2020 plans have gone.

Dates:

spidergawd vi tour

SPIDERGAWD – March 2021

HELLO FUTURE!

We are happy to announce the european tour for Spidergawd VI!

Hope to see all of you in march 2021!

03.03. Knust Hamburg
04.03. Vera Groningen
05.03. Essen turock – disco, live-club and lounge
06.03. Cologne, Gebäude 9
07.03. Nijmegen, Doornroosje
09.03. Schlachthof Wiesbaden
10.03. The Backstage Paris
11.03. Stuttgart, Universum
12.03. Winterthur, Gaswerk
13.03. Nuremburg, Der Hirsch
14.03. Backstage München
16.03. ((szene)) Wien
18.03. NAUMANNs Leipzig
19.03. Berlin, Frannz Club
20.03. Copenhagen, Spillestedet Stengade

Tickets: https://www.seaside-touring.com/tours/#spidergawd

https://www.facebook.com/spidergawd/
https://www.instagram.com/spidergawdofficial/
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http://www.crispingloverrecords.com/

Spidergawd, “Sanctuary (2019)”

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Motorpsycho Announce The All is One out Aug. 28

Posted in Whathaveyou on June 22nd, 2020 by JJ Koczan

The upcoming Motorpsycho album, The All is One, will be the completion of a trilogy for the influential Norwegian progressive heavy rockers that began with 2017’s The Tower (review here) and continued on last year’s The Crucible (review here). True to form, it is a double-album, and among the assets the band teases it to include is a 42-minute five-part track that was written for ballet. Because obviously. If the question is, “Who’s going there?,” there’s a decent chance the answer is Motorpsycho.

Of course, the 2LP was slated to come out this Spring through Stickman Records, but, well, a lot of shit was supposed to happen this Spring that didn’t. If you’re reading this, congratulations on surviving, and I know that sounds sarcastic, but I actually mean it. Because a lot of people didn’t.

Stickman sent out word in their newsletter and the band had a post on their own site as well. Both are included here for your perusal:

motorpsycho the all is one

New Motorpsycho album The All Is One announced

Today we’re happy to announce the first details about Motorpsycho’s new album The All Is One!

The All Is One is the final chapter in the loosely-connected and informally titled “Gullva?g Trilogy” kicked off by 2017’s The Tower and connected by 2019’s The Crucible. Recorded between September-November of 2019 in France and Norway, the album was originally planned for a release in spring but was inevitably postponed due to – what else – Covid 19. However, the moment is ripe for new music and the band has used their extra time to give attention to every detail, resulting in a spectacular double album that is dense and Motorpsychodelic in the best possible way. We’ve been digging into this album the past few weeks at HQ and really excited to share more with you soon!

Release date has been set for August 28th, 2020.

Says the band:

THE ALL IS ONE
Hi psychonauts!

Summer is coming on strong and whatever bit of the world that still went to work ….will soon not.

No rest for the wicked though, and both we, our team and our record company friends are busy preparing the next Motorpsycho album for release! This album is called The All Is One, and will be released on 2xLP, 2xCD as well as digitally through both Stickman Records and Rune Grammofon on August 28, 2020.

The cover art is once again by Håkon Gullvåg, and this time around is art painted esp for us! It is a long album that features music from two sessions we did last year. The first session included our favourite Stockholmian Norwegian Reine Fiske, and took place in Black Box Studio in France in September. The second, featured two of our favourite Norwegian musicians, Ola Kvernberg and Lars Horntveth, and was a brief three day affair at Ocean Sound Studio on the Norwegian west coast in November.

At the center of this album is a long 5 part piece featuring some of the most radical stuff we’ve done on record in a while, but if the prospect of a 42 minute piece for ballet inspired by paintings, alchemy and the tarot seems too daunting, there is also a handful of loosely related shorter songs to get into. For us this is obviously just different views and tangents of the one thing, but you will all make of it what you will, and hopefully it will all make some sort of sense to you however deep you choose to go.

We guess the details – cover, song titles and whatnot – will be made public as summer moves along, so watch the various relevant spaces for relevant info and hang loose – it’ll be worth the wait, we promise!

Bob leBad
esq.

Motorpsycho is: Bent Sæther, Hans Magnus “Snah” Ryan, Tomas Järmyr.

https://www.facebook.com/motorpsycho.official/
https://twitter.com/motorpsychoband
http://motorpsycho.no/
https://www.facebook.com/Stickman-Records-1522369868033940/
https://www.instagram.com/stickmanrecords/
https://www.stickman-records.com/

Motorpsycho, The Crucible (2019)

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Orsak:Oslo Release Skimmer EP

Posted in Whathaveyou on June 16th, 2020 by JJ Koczan

orsak oslo

Norwegian/Swedish purveyors of mellow psych and soundscapes Orsak:Oslo released their new EP, Skimmer, this past Friday through their Bandcamp. The release follows up on their self-titled long-player that came out last year and brings more expansive and patient craft to bear across its three tracks and relatively brief runtime. The four-piece seem pretty comfortable working in the extended-play format — Skimmer might be their 10th EP, if I’ve got the count right; if so, way to hit double-digits, guys — and the new outing brings a quick bit of meditative sprawl before returning you back to the “real world,” such as it is.

The cruelty of that brevity notwithstanding, it’s a cool listen. I got put onto these guys at Høstsabbat last year, where they played on a stage so small it could barely hold them, and haven’t regretted digging in ever since. Maybe you’ll take a listen to Skimmer and feel the same way.

Info and audio follow:

orsak oslo skimmer

ORSAK:OSLO – SKIMMER OUT NOW

For now Skimmer is available on Bandcamp only!

Due to Covid lock-down our digital distributor is short staffed and not able to honour the release date. We feel their struggle and they’ve got our support. The release will be available on all digital platforms at a later time.

We thank you for your patience, and hope that you will head over to Bandcamp to give Skimmer a listen.

Orsak:Oslo is a dark slow brew containing of psych, dystopian post-rock and trippy space blues. The Norwegian/Swedish band have released 9 EPs since the beginning in 2014. With their monolithic and melancholic instrumental pieces, this is music for the active listener. O:O is a marriage between impulsive improv and thoughtful composition, melodies and new harmonies carefully woven in, layer by layer. With a reverence and underlying devotion to the aura and musical preconditions laid down from the start, the result is raw, unpolished and true.

Tracklisting
1. 057 Passage 05:16
2. 061 Skimmer 04:40
3. 058 Cloudburst 06:38

Orsak:Oslo is:
O:Qrill
O:Peter
O:Øyvind

https://www.facebook.com/orsakoslo/
https://www.instagram.com/orsakoslo/
https://orsakoslo.bandcamp.com/
https://www.orsakoslo.com/

Orsak:Oslo, Skimmer EP

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Slomosa Announce New Single “In My Mind’s Desert” out Next Friday

Posted in Whathaveyou on June 12th, 2020 by JJ Koczan

slomosa

This one upcoming is the third single Slomosa are posting ahead of the release of their debut album. I don’t know when that album is coming out, but so far, I dig three songs on it. The Norwegian four-piece are three-for-three in my book between “In My Mind’s Desert,” “There is Nothing New Under the Sun” and “Horses.” I don’t know how long the whole record is, but if you figure the eight-track/38-minute standard average, they’re off to a killer start. There’s a very distinct earliest-Queens of the Stone Age feel to the new track, and that suits the melody of the vocals well — a bit of crunch in the riff is far more playful than aggressive — and they’re not shy with the hook either. It’s not necessarily groundbreaking stuff, but neither is it trying to be, and when I try to think of desert-style rock bands — they call it “tundra rock,” because Norway — coming out of Bergen, I’m drawing a blank.

You’ll note Iver Sandøy mastered. If you don’t know the name, he’s the new drummer in Enslaved and a noted engineer/producer as well.

Also, I’m guessing “In My Mind’s Desert” is the fourth track on the upcoming full-length. I know this because the promo wav file I downloaded had a “04” in front of the title. Context clues!

From the PR wire:

slomosa in my minds desert

Slomosa – In My Mind’s Desert

“An ode to the things I’ve forgot. And not at least, the skills that I’ve lost.”

“In My Mind’s Desert” is Slomosa’s third and last single from their upcoming debut album, out the 28th of August on Apollon Records. With their self-branded genre of “Tundra Rock”, Slomosa has made a name for themselves with their heavy and catchy sound. From Bergen, off the west coast of Norway, the band has garnered a lot of praise and attention for their first two singles, both abroad and back home. Their new single showcases Slomosa’s versatility and opens the listener to a different side of their songwriting: Less epic, more pop – this is definitely the upcoming album’s softest song.

Being the first song they ever wrote, it has become a live favourite among fans with it’s mellow intro, big choruses and addictive main riff. Singer Benjamin Berdous’ personal lyrics evolve around having a stoner lifestyle as life takes a bad turn, and offer an ironic take on the naive thoughts justifying not taking action to better things. Recorded in 2019 at “Lokalet Studio” in Bergen, by co-producer Eirik Sandvik, the single complements the band’s first two releases – making it clear that there is no stopping Slomosa on their way to the big stage.

Music: Slomosa
Lyrics: Benjamin Berdous

Guitar, Lead vocals: Benjamin Berdous
Guitar: Anders Rørlien
Bass: Kristian Tvedt
Drums, percussion: Severin Sandvik

Producer: Eirik Marinius Sandvik & Slomosa
Master: Iver Sandøy
Artwork & photo: Elsa Enestig

From Left to right on the picture: The “new” Slomosa band
Tor Erik “Totto” Bye ,g, Marie Moe, b, Severin Sandvik, dr, Benjamin Berdous, voc, g

www.facebook.com/slomosaband
https://www.instagram.com/slomosa
https://soundcloud.com/slomosa
https://sptfy.com/4Qaf
www.apollonrecords.no
www.facebook.com/bergenapollonrecords

Slomosa, “There is Nothing New Under the Sun”

Slomosa, “Horses”

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Mystery Dudes Sign to Interstellar Smoke Records

Posted in Whathaveyou on June 9th, 2020 by JJ Koczan

Interstellar Smoke Records announces it will release the First Blood EP by Oslo, Norway’s Mystery Dudes on vinyl in the middle of July. The EP came out via the band in September digitally and there was an edition of 50 tapes to go along with that. The band classify themselves as fuzzy stoner punk, and I’m not inclined to argue, though one can tip “heavy rock and roll” in any number of directions, of course, and it’s still pretty early days to make the final call on their sound. That is, it’s not like they’re putting out the Eighth Blood EP. It’s “first” in the title because it’s their first one. Clever, right?

This was one of two new pickup announcements Interstellar Smoke Records was making, and the other one actually just got announced as I was putting this together, but because I’m a fan of things like bands getting labels behind their work, I’m going to split it into two posts and I’ll put the other one up tomorrow so everybody gets their due. But interesting to see the label on a mini-bender in terms of new releases. Hopefully they keep it going because what the hell I’ll take the good news however it comes these days.

Here’s the announcement:

mystery dudes

Dear All,

Here comes 1st News from #ISR Family, please Warm welcome in our Team, Mystery Dudes with ‚First Blood’ EP(!)

Release date is scheduled at the mid of July. ‚First Blood’ comes in the single-pocket cover, with double-sided printed insert and poster A3 size.

Artwork designed by @neiltesor

EP will be pressed on hand-crafted, heavy weight 180gr Black Vinyl, to get best sound quality in 45 RPM.

More news about Pre-Sale coming soon.

Mystery Dudes are:
Bjørnar Lien Roset – Guitar / Vocals
Rolf Bang – Bass
Ola Jørgen Kyrkjeeide – Drums

https://www.facebook.com/mysterydudes/
http://instagram.com/mysterydudesband/
https://mysterydudes.bandcamp.com/
https://www.facebook.com/Interstellar-Smoke-Records-101687381255396/
https://interstellarsmokerecords.bigcartel.com/

Mystery Dudes, First Blood (2019)

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Enslaved Announce Streaming Shows

Posted in Whathaveyou on June 4th, 2020 by JJ Koczan

Enslaved at Roadburn (Photo by JJ Koczan)

Enslaved have announced what they’re calling a ‘cinematic summer tour’ to herald the arrival this Fall of their new album, Utgard. Finally, your chance to say, “I wasn’t there, and neither were you.” I can’t wait to see the merch. As long as I don’t have to wait in line to get it, I’m cool.

Hey, we’re all just trying to get through, right? These are weird times, and even as the rest of the world is recovering, the US is still a shitshow. I’ll take Enslaved however it comes. Streaming? Fine. Saves me a ride to Gramercy Theater.

I wonder if I could pitch Enslaved on doing a “secret” show for this site, like a club gig on an off-day they don’t tell anyone about. I could be the Saint Vitus Bar of blogs, which, now that I read the words back having written them, seems far too ambitious for my never-gonna-be-that-cool ass. But hey man, I’ll watch Enslaved play a set online. It’s like a house show. Also, “Chronicles of the Northbound” is what I’m going to call it next time I’m sitting in traffic on I-95 in Connecticut.

Their video for the new single “Homebound” is below from Utgard, which out in September on Nuclear Blast:

enslaved pretend tour

ENSLAVED ANNOUNCE CINEMATIC SUMMER TOUR

ENSLAVED announce their “Cinematic Summer Tour 2020” today! After a very successful innovative streaming event on April 1st from Verftet Online Music, the Norwegian Avantgarde metal heroes decided to take it one step further to enlighten our concertless summer with a series of online events that are much more than just simple online stream concerts:

A cinematic tour experience!

For this forward-thinking concept, ENSLAVED join forces with three festivals to present their fans three different shows:

In cooperation with Roadburn, the tour starts July 30th, with the “Chronicles Of The Northbound” show. Fans will be invited by the festival to choose their favorite ENSLAVED songs to create a career spanning set. The second show will be a “Below The Lights” set on August 20th, presented by Beyond The Gates festival.

The band will end their virtual tour at the Summer Breeze festival on September 30th, with the presentation of their new album in its entirety: “Utgard – The Journey Within“.

Guitarist Ivar states:
“‘We must stick apart’ is a proverb of Discordianism (a religion I might or might not have just made up) that might fit the situation we are all in now. We are all isolated in various degrees; and we all miss live music. So, we have stuck apart and with our fantastic team of super-people in management, label and booking, plus three of our best friends who happen to be the very creme de la creme of European Festivals; we are now able to present this digital festival-tour. We are already hard at work preparing sets and shows that will make this one for the (e-)books. Thank you for your support, faith in us and patience – to have fans like you is an absolute privilege. See you in the ether!”

Each event will be accompanied by different side happenings, on which more light will be shed with each individual event announcement!

Watch it on the Enslaved YouTube channel!
https://www.youtube.com/channel/UCpiAJxyAbGPC2FngeSzlrzQ

To give everyone the chance to be part of this completely novum in music business, all three shows will be free of charge. There will be a donation option and special merch for the “Cinematic Summer Tour”.

Enslaved is:
Ivar Bjørnson – guitar
Grutle Kjellson – vocals/bass
Ice Dale – guitar
Håkon Vinje – keys/vocals
Iver Sandøy – drums

http://www.facebook.com/enslaved
https://www.instagram.com/enslavedofficial
http://www.enslaved.no/
http://www.facebook.com/nuclearblastusa
http://instagram.com/nuclearblastusa

Enslaved, “Homebound” official video

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