Coming off their respective debut albums, Nova Scotian cosmic rockers Earth Altar and Toronto sometimes-gonna-doom-but-just-as-likely-to-psych-jam trio Sun Below — whose very monikers seem to tell the story about space, worship, and exploration that pans out in their songs — will issue their joint Inter Terra Solis split LP through Black Throne Productions on Sept. 15. The offering brings together the two Canadian bands for a showcase that runs 40 minutes and gives each act time to make an impression on their respective side, Earth Altar presenting five songs (four and an interlude) in a narrative arc while Sun Below donate two longer tracks and their own interlude heavy jam between. What draws them together across Inter Terra Solis is a shared affinity for melding different styles from under the umbrella of capital-‘h’ Heavy.

The sans-guitar configuration of Earth Altar, with bassist/vocalist Spencer Trout, drummer/vocalist Jon MacIsaac and maybe synthesist/keyboardist/vocalist Katie Wayne — not listed as a member, but there’s definitely synth on the tracks; hence “maybe” — lends an immediately individual feel to their “The Descent” at the outset of the split, bass and drums unfolding in proggy contemplation while higher-end melodies float over top. Never quite tipping over to cinema-style evocation, they are atmospheric just the same, and hypnotic in the circular movement of the basslines, which hint toward a Sabbathism that Sun Below will soon bear out, but give over first to the brighter-hued unfurling of “The Garden of Earthly Delights,” a play of interwoven loops that might just cure your headache keeping largely to its singular procession before the music seems to lie down and stretch out; a savasana moment conveyed through tempo relaxation.

That exhale carries over into the aptly-named 48-second “Interlude,” which sweeps via synth/keys into “In the Growing Light of Anthelion,” which builds tension through a series of beeps that might be Morse Code before digging deeper into a heavy psychedelic movement that calls to mind a not-instrumental version — vocals are used mostly atmospherically, but they exist — of earliest My Sleeping Karma highlighting a Colour Haze influence. The direction is plotted, the journey engaging, and the bassline no less righteous as the second half grows more melodic and the vocals seem to dissipate. Carrying directly into “Transmutation (The Alchemist’s Dream),” Earth Altar follow the pattern of technical nuance and overarching shroomy serenity, capping in a manner that feels resolved even before the synth drone at the finish starts to fade away to the stretch of silence at the song’s end.

It is from there that Sun Below‘s “Red Giant” rises, guitar of Jason Craig (also vocals) howling immediately as if to remind the listener that those things exist. Drummer Will Adams thudding away on his toms behind, bassist Liam “Acid Goblin” Gray — who wins outright as regards nicknames and not just because he’s the only one who has one here — finds room in the mix to make an impression of his own as the riff solidifies and the forward roll begins in earnest. “Red Giant” and closing track “Gravity Tide” both top eight minutes long, and the interlude “Methuselah Star” (2:16) does well to separate them so that the listener doesn’t get any more lost than they might want in the also-mostly-instrumental lumber of the one and then the other, though as might happen when one band has a guitar and one band doesn’t on a split release, Sun Below come across as more riff-based, even as they hold onto some of the spontaneous feel that made Earth Altar‘s work so enticing.

Sabbath is an undercurrent in the leads throughout the second half of “Red Giant,” but “Methuselah Star” seems to speak more in tone and groove to Sleep circa The Sciences, and after it marches out slowly but surely, “Gravity Tide” answers that with an immediately Pikean nod which the band duly rides for most of the first half of the track, vocals buried but echoing when they arrive, cadenced to match the Sleep vibe. It is nonetheless an impressive wall of fuzz they build — sturdy and declarative — and the wall is the point. Sometimes you write a riff that you might want to play for eight minutes, and sometimes you work a little “War Pigs” in there too in the later layers of lead guitar. With Gray splatter-bassing distortion behind and Adams‘ snare punching through with its own admirably dense tonality, “Gravity Tide” is brought to a conclusion no more forced than was anything prior; the unspoken theme of their time an instrumental chemistry on ready display.

I will not claim to have any insight on what either Earth Altar or Sun Below have planned next, if anything. Earth Altar‘s self-titled debut — which they issued as a trio — came out in May 2022, and Sun Below‘s sprawling self-titled (review here) was issued in late 2021, collecting numerous jams from prior short releases and new material. Whatever the future brings for compatriots, they take advantage of the chance on Inter Terra Solis to complement each other’s work without accomplishing the same ends musically — that is, they fit well together without sounding the same — and if the goal here is to give listeners fodder for digging further back into the standalone records and other sundry jams (all of which are of course streaming and immediately available because while the world is terrible the future is also amazing), then both bands succeed outright. You might end up surprised at some of the places Inter Terra Solis puts you.

As it’s a September release, obviously it’s too early to stream the entire split, but I’ve been given permission to host Earth Altar‘s “The Descent” as the first single, and you’ll find it below, followed by more info from the PR wire.

Please enjoy:

Preorder link: https://blackthroneproductions.com/en-us/products/inter-terra-solis-black-hole-vinyl-earth-altar-sun-below

The progressive space rock/doom metal hybrid EARTH ALTAR and heavy stoner/doom power trio SUN BELOW unleash a riff-heavy journey across time and the cosmos on their upcoming split album Inter Terra Solis. Having sculpted an epic ride of distorted guitar, vocals and trippy lyrics, the bands explore the labyrinth of the human psyche and the unpredictability of the universe within a ponderous palette of crushing doom and stoner-tinged mystery. The Inter Terra Solis is due out on September 15th via Black Throne Productions.

First on the split, EARTH ALTAR is the interplay between the complex, diverse drum style of Jon MacIsaac and the unique, ethereal bass guitar playing of Spencer Trout. EARTH ALTAR seeks to leave these mundane bonds and ascend through the heavy and the other-worldly. Mixing stoner rock, doom metal, space rock, and psych rock with progressive song structures, cosmic musings, and world-wide influences; EARTH ALTAR sounds uniquely themselves.

Closing out the album with three immense tracks, SUN BELOW is a heavy stoner/doom power trio playing a signature brand of self-described “Sativa rock”: a combination of fuzz, volume, and heavy grooves. SUN BELOW seek to spread their infectious, rollicking sound to the masses and their mission remains to create riff heavy rock fused with the sonic weight of crushing doom. The current lineup of Jason Craig (guitars/vocals), Liam “Acid Goblin” Gray (bass) and Will Adams (drums) blend these elements into long burning jams that worship at the altar of tone, riffs, and smoke.

As above, so below, the duality of the underworld and the cosmos, the microcosm and the macrocosm is thoroughly traversed through the lyrical themes and tones of each band. While EARTH ALTAR and SUN BELOW tackle a different aspect of our reality and nature, each is intimately tied with the other.

Inter Terra Solis Track Listing:
Earth Altar – The Descent
Earth Altar – The Garden of Earthly Delights
Earth Altar – Interlude
Earth Altar – In The Growing Light Of Anthelion
Earth Altar – Transmutation (The Alchemist’s Dream)
Sun Below – Red Giant
Sun Below – Methuselah Star (Interlude)
Sun Below – Gravity Tide

Earth Altar on Bandcamp

Earth Altar on Instagram

Earth Altar on Facebook

Earth Altar on Spotify

Sun Below on Bandcamp

Sun Below on Instagram

Sun Below on Facebook

Sun Below on Spotify

Black Throne Productions on Instagram

Black Throne Productions on Facebook

Black Throne Productions website

Black Throne Productions linktr.ee

Halifax’s Kilmore work themselves into a pretty comfortable groove on their new single, “Tempest,” taken from the their upcoming From the Inside EP that’s set to release sometime in 2023, but there’s a bit of sharper angularity that shows up later in the song as well, a bit of a metallic undercurrent in some of the riffing that if you keep an ear out is easy enough to pick up. One way or the other, the song is a tight sub-four-minute, sans-pretense heavy rock and roller, and I remain fascinated by the Canadian East Coast in general and in Nova Scotia in particular, both because it’s a place I’ve never been, and sometimes it feels like anything to the right of Quebec on the map is like forgotten wild territory.

They’ll be five years removed from their last outing by the time From the Inside arrives, which seems like plenty, but they’ve got a video up to help hold listeners over until the thing arrives. I have no idea on an exact date because, well, life is unpredictable and they don’t give one, but if you’ve got about four minutes to check out the clip at the bottom of this post, Kilmore have an earworm to make it worth your while.

To wit:

Halifax’s KILMORE Summons The “Tempest” To Introduce Their Forthcoming EP “From the Inside” Coming 2023

Digital – https://linktr.ee/kilmore

Halifax, Canada’s Kilmore create a brand of soulful psychedelic stoner rock as a yearning for expression and escapism. Their musical endeavors see them unearthing the realities of life through sounds and wanting to create something new. Featuring magnetically emotive passages contrasted against assaults of groove-forward aggression, the band conveys themes surrounding rebirth, love, hate, frustration, understanding, and the search for truth to permeate their darker-edged sonic palette.

Today, the quartet unveils their latest single “Tempest” accompanied by a music video, which will be featured on their forthcoming EP “From the Inside”, which follows their East Coast Music Award-nominated 2015 EP “City Lights”, and 2018 LP “Call of the Void”, which won the “Loud Recording of the Year”.

Vocalist and guitarist Heather Harris explains the single:

“We planned to have six tracks on our next EP, and ‘Tempest’ was one of the most unyielding to nail down, it took us a while to get the groove of it. To me, it sounded transcendent but chaotic, like a tempest rising. We thought it would be a good first introduction to ‘From the Inside’ as it has a groovy progressive feel.”

“Tempest” is about someone coming into your life like a hurricane. Harris experienced this while welcoming her son into the world, a world that seemed so disrupted at the time. The song speaks of a vigorous figure finding its place in a hectic world while shining brightly through the darkness.

“Tempest” is one of many songs that Kilmore had worked on over the past couple of years while being locked down during the pandemic.

“We have grown a lot musically with each record we have released. ‘City Lights’ was more rock-influenced, ‘Call of the Void’ swayed more in the metal, stoner rock realm, and our upcoming EP ‘From The Inside’ brings both elements.” adds Harris.

“From the Inside” will be a form of groovy, psychedelic rock with metal components. Lyrically, it was written at a time of disarray around the world with internal struggles as well. During its writing process, Heather Harris became a new mother and was searching to find her place in a new reality, which speaks loudly in the vocal and lyrical emotions on the EP. Fans will find themes of destruction while others of hope, each song has its own substance and identity.

“We worked with producer Jon Landry (The Stanfields) who is a seasoned songwriter himself and he really brought in a unique perspective to the songs. We recorded the whole EP in our basement studio which gave us the time needed to craft each song and bring life to the recordings. Musically, some songs came out easier than others, and some needed more time to capture the essence we were looking for. When I wrote the lyrics, the themes were formed from the emotions I felt from the music. This was an intense time for me with the world seeming so unpredictable and disorganized, there were a lot of feelings brewing inside. This comes across in the lyrics and artwork for the album.” says Harris.

More songs will be revealed in lead up to the 2023 release of their EP “From the Inside’.

Photo Credit – Kayla Macaulay Photography

Killmore –
Jon MacIsaac (Drums)
Dan Doran (Guitar)
Neil Spence (Bass)
Heather Harris (Vocals/Guitar)

​https://kilmore.ca​
​https://www.facebook.com/kilmoreband​
​https://www.instagram.com/kilmoremusic

Kilmore, “Tempest” official video

Nova Scotia-based six-piece heavy rockers Elektric Mistress will release their new four-songer Chapter 99 EP, on June 17 as the follow-up to their 2019 self-titled debut (review here). That offering, also an EP, had three tracks, and the band was a five-piece at the time, so really on any level you want to examine, there has been growth. That holds true for the material as well, fortunately, and as the sextet — which, yes, is only fun to write because it has the word “sex” in it; I’m forever in sixth grade; bite me — unfurl the comfortably paced, organ-inclusive groove of “Magic Dust,” they seem just to fade out when the jam takes off at about four minutes in, setting a priority for the release that’s affirmed in the subsequent “Radio” (premiering below) where the rolling hook takes unabashed priority. Perhaps indulging a bit of nostalgia lyrically, “Radio” brings both that slower groove and a synth solo in the midsection that the only word I can think of to describe it is “fun” before the guitar joins in the fray and they efficiently make their way back toward the central progression.

It’s tidier than it at first appears, but one might say the same of the 19-minute outing as a whole. I’m not sure which coke-rock band Elektric Mistress are sending up in the song “Cocaine Johnny” — it would be easy enough to name a few — but they’re clearly enjoying the process even if the lyrics aren’t necessarily about feeling like the life of the party or whatever. The closer is the title-track, and it fulfills the shorter-song-int0-longer-song pattern that “Magic Dust” and “Radio Set,” its riffage full with the double-guitar, organ and bass over the drums, setting itself in a shuffling kind of push that’s not too fast, not too slow, but just right for the hook.

I’m not sure what “Chapter 99” actually is, as in, what apparently-lengthy book we’re talking about, but if you can find an argument against the procession as it wraps up the EP of the same name, you’re one up on me. Elektric Mistress — which I just. can’t. spell. right. — carry over from the self-titled an abiding lack of pretense and an awareness of genre and their place in it, but at its core, Chapter 99 is an unassuming self-made, self-released sub-20-minute outing from a band who clearly are in it because they love the sounds they’re making. Is it gonna change the world? Nah. But it’d make for (part of) a righteous live set, and changing someone’s evening for the better is more than enough to reasonably ask.

You can hear “Radio” on the player below, followed by a few words from the band about the track, EP preorders and all that fun kind of stuff, courtesy of the PR wire.

Enjoy:

Elektric Mistress, “Radio” track premiere

The full EP “Chapter 99” is being released on June 17, 2022.

EP pre-order – https://elektricmistress.bandcamp.com​

Digital pre-save – https://distrokid.com/hyperfollow/elektricmistress/chapter-99​

“We think any fans who enjoyed the first EP will enjoy our latest release. With the addition of Jason, we have a new layer of sound for fans to experience. ”Radio” is about how music or a song brings back memories of past relationships. It has our most Black Sabbath type riffs, for sure. Riley came up with the main riff on this one.”

Since the last EP, they have added a new guitarist Jason Cantfell, who is the twin brother of current guitarist Kyle Cantfell. The duo leans into their “Twinchronicity”, with mesmerizingly coordinated harmonies, and bolsters their sound with the addition of equipment including an impressive array of guitar pedals, mini megaphones, and synthesizers.

Appealing to the audio nerds out there, the tracks on “Chapter 99” were shoved through the super-rare CLASP system (Closed Loop Analog Signal Processing) at Fang Recordings to capitalize on that old recording sound. They crushed the hell out of that tape to add a unique dimension to their psychedelic sound.

Track Listing:
1. Magic Dust – 4:06
2. Radio – 5:38
3. Cocaine Johnny – 4:24
4. Chapter 99 – 5:47
EP Length: 19:56

EP and Live Band Line Up:
Kyle Cantfell – Guitar
Jason Cantfell – Guitar
Kieran Richardson – Bass
Maxwell Poole: Vox
Riley MacDonald – Keyboards
Valencia Canales: Drums

Elektric Mistress website

Elektric Mistress on Facebook

Elektric Mistress on Instagram

This Friday, July 19, marks the release of the self-titled debut EP from Nova Scotia five-piece Elektric Mistress. The outing is a 16-minute three-songer, about half of which is dedicated to the eight-minute opener “Turn to Grey,” with its mellow, bluesy procession, lyrical introspection about aging — the early line, “Trees are dying and the leaves are on their own,” feels particularly layered with meaning in a about-more-than-just-hair kind of way — steady organ and basslines, flowing guitar and duly moving drums. Soon enough they’ll get down to drinking in the tropics with frontman Steve Poole calling out drink orders in “Cuba Time” while the band behind — guitarist Kyle Cantfell, bassist Kieran Richardson, drummer Victor Canales and keyboardist Riley MacDonald — execute more of a classic shuffle, but the impression of the opener remains crucial, not just because it’s longer, but because it sets such a fine balance between its atmospheric and rocking elements. Make no mistake, Elektric Mistress are a heavy rock and roll band and they’ve got the ‘k’ in “electric” to prove it, which isn’t to mention the EP’s eyeroll-worthy naked-chick-in-a-feather-headdress-holding-a-bong artwork (well enough drawn, but really?), but part of the value of putting the longest song first is that it immediately changes the context in which “Cuba Time” and closer “Meeting of the Minds” appear. That works well in Elektric Mistress‘ favor on this first offering.

The closer, a couple The Doors references later, is about playing a show, the tension and anticipation before and the satisfaction of hitting a stage. Nothing wrong with that, of course, and the middle-range tempo and general activity level draws a line between “Turn to Grey” — which does pick up in the middle and get loud, but still does so as part of a larger purpose of mood — and “Cuba Time,” which has more libidinous ends, with the mojitos and the “señoritas” and all. Still, Elektric Mistress — and if they really want to throw people for a loop their next time out, they should call whatever they release next Electrik Mistress, just to be subtle and screw with anyone only paying casual attention — gives three distinct looks at the band’s approach and for a first release and even more so for a first EP, there’s nothing else one could reasonably ask of it than that. There are some production/mix kinks to work out, but hell if I know any big-time New Scotland heavy rock engineers to suggest, and I make it a policy not to rag on self-releasing bands getting their start whether that’s a “debut EP” or a “demo” as it used to be called, so particularly as everything comes through clear and seems to convey their purpose well, I’m not inclined to quibble. And as regards their purpose, these guys aren’t changing the world, and I don’t think they’re trying to, but they’ve got their hearts in the right place as regards rock and an obvious focus on traditional songwriting that makes the most of their choruses.

You can stream the EP in its entirety on the player below. Official release date, once again, is tomorrow, and they’ll have it up on Bandcamp and all the rest.

Please enjoy:

Elektric Mistress, Elektric Mistress EP full stream premiere

Elektric Mistress on self-titled EP:

“Our self-titled EP is the band’s first studio recording. Influenced by the members’ psychedelic and stoner rock roots, each track has a unique sound and showcases their varied influences and songwriting abilities. With riffing low guitar/bass chug fused with B3/Rhodes/Synth sounds, the EP recaptures the retro rock sound of the 70s with a modern tinge, and stands as a tribute to the bands’ early influences.”

The first studio release from Elektric Mistress!

ELEKTRIC MISTRESS is face punching psychedelic rock firmly rooted in what has come before. Channeling the energy of inspirations such as Black Sabbath, Deep Purple, and Pink Floyd the stoner rock quintet is all about the groove.

Each track on the EP has a unique sound and showcases their varied influences and songwriting abilities with riffing low guitar/bass chug fused with B3/Rhodes/Synth sounds, the EP tries to recapture the retro rock sound of the 70s with a modern tinge and stands as a tribute to the band’s early influences.

Elektric Mistress are:
Steve Poole: Vocals
Kyle Cantfell: Guitars
Riley MacDonald: Keys
Kieran Richardson: Bass
Victor Canales: Drums

Elektric Mistress on Thee Facebooks

Elektric Mistress on Instagram

Elektric Mistress on Bandcamp

Elektric Mistress website

Day two of the Quarterly Review and all is chugging along. I was on the road for part of the day yesterday and will be again today, so there’s some chaos underlying what I’m sure on the surface seems like an outwardly smooth process — ha. — but yeah, things are moving forward. Today is a good mix of stuff, which makes getting through it somewhat easier on my end, as opposed to trying to find 50 different ways to say “riffy,” so I hope you take the time to sample some audio as you make your way through, to get a feel for where these bands are coming from. A couple highlights of the week in here, as always. We go.

Quarterly Review #11-20:

Loss, Horizonless

Horizonless (on Profound Lore) marks a welcome if excruciating return from Nashville death-doomers Loss, who debuted six years ago with 2011’s Despond (review here) and who, much to their credit, waste no time in making up for their absence with 64 soul-crushing minutes across nine slabs of hyperbole-ready atmospheric misery. The longer, rumble-caked, slow-motion lumbering of “The Joy of all Who Sorrow,” “All Grows on Tears,” “Naught,” the title-track and closer “When Death is All” (which boasts guests spots from Leviathan’s Wrest, Dark Castle’s Stevie Floyd and producer Billy Anderson) are companioned by shorter ambient works like the creepy horror soundtrack “I.O.” and the hum of “Moved Beyond Murder,” but the deeper it goes, the more Horizonless lives up to its name in creating a sense of unremitting, skyline-engulfing darkness. That doesn’t mean it’s without an emotional center. As Loss demonstrate throughout, there’s nothing that escapes their consumptive scope, and as they shift through the organ-laced “The End Steps Forth,” “Horizonless,” “Banishment” and the long-fading wash of the finale, the album seems as much about eating its own heart as yours. A process both gorgeous and brutal.

Loss on Thee Facebooks

Profound Lore Records website

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BardSpec, Hydrogen

It’s only fair to call Hydrogen an experimentalist work, but don’t necessarily take that to mean that Enslaved guitarist Ivar Bjørnson doesn’t have an overarching vision for what his BardSpec project is. With contributions along the way from Today is the Day’s Steve Austin and former Trinacria compatriot Iver Sandøy (also Manngard), Bjørnson crafts extended pieces of ambient guitar and electronica-infused beats on works like “Fire Tongue” and the thumping “Salt,” resulting in two kinds of interwoven progressive otherworldlinesses not so much battling it out as exploring the spaces around each other. Hydrogen veers toward the hypnotic even through the more manic-churning bonus track “Teeth,” but from the psych-dance transience of “Bone” (video posted here) to the unfolding wash of “Gamma,” BardSpec is engaged in creating its own aesthetic that’s not only apart from what Bjørnson is most known for in Enslaved, but apart even from its influences in modern atmospherics and classic, electronics-infused prog.

BardSpec on Thee Facebooks

ByNorse Music website

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Sinner Sinners, Optimism Disorder

There’s a current of rawer punk running beneath Sinner Sinners’ songwriting – or on the surface of it if you happen to be listening to “California” or “Outsider” or “Hate Yourself” or “Preachers,” etc. – but especially when the L.A. outfit draw back on the push a bit, their Last Hurrah Records and Cadavra Records full-length Optimism Disorder bears the hallmarks of Rancho de la Luna, the studio where it was recorded. To wit, the core duo of Steve and Sam Thill lead the way through the Queens of the Stone Age-style drive of opener “Last Drop” (video posted here), “Desperation Saved Me (Out of Desperation)” and though finale “Celexa Blues” is more aggressive, its tones and overall hue, particularly in the context of the bounce of “Together We Stand” and “Too Much to Dream” earlier, still have that desert-heavy aspect working for them. It’s a line that Sinner Sinners don’t so much straddle as crash through and stomp all over, but I’m not sure Optimism Disorder would work any other way.

Sinner Sinners on Thee Facebooks

Sinner Sinners on Bandcamp

Last Hurrah Records website

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Cavra, Cavra

The five-song/52-minute self-titled debut from Argentina trio Cavra was first offered digitally name-your-price-style late in 2016 and picked up subsequently by South American Sludge. There’s little reason to wonder why. Comprised of guitarist/vocalist Cristian Kocak, bassist/vocalist Fernando Caminal and drummer Matias Gallipoli, the Buenos Aires three-piece place themselves squarely in the sphere of their home country’s rich heritage in heavy rock and psychedelic fluidity, with earthy tones, a resounding spaciousness in longer cuts like the all-15-minutes-plus “2010,” “Montaña” and “Torquemada.” My mind went immediately to early and mid-period Los Natas as a reference point for how the vocals cut through the density of “Montaña,” but even as Cavra show punkier and more straightforward thrust on the shorter “Dos Soles” (4:10) and “Librianna” (2:45) – the latter also carrying a marked grunge feel – they seem to keep one foot in lysergism. Perhaps less settled than it wants to be in its quiet parts, Cavra’s Cavra nonetheless reaches out with a tonal warmth and organic approach that mark a welcome arrival.

Cavra on Thee Facebooks

South American Sludge Records on Thee Facebooks

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Black Tremor & Sea Witch, Split

One has to wonder if whichever of the involved parties – be it the two acts or either of the labels, Sunmask Records or Hypnotic Dirge – had in mind a land-and-sea kind of pairing in putting together Saskatoon’s Black Tremor or Nova Scotia’s Sea Witch for this split release, because that’s basically where they wound up. Black Tremor, who issued their debut EP in 2016’s Impending (review here), answer the post-Earth vibes with more bass/drums/cello instrumental exploration on the two-part “Hexus,” while the massive tonality of duo Sea Witch answers back – though not literally; they’re also instrumental – with three cuts, “Green Tide,” “As the Crow Flies Part One” and “As the Crow Flies Part Two.” The two outfits have plenty in common atmospherically, but where Black Tremor seem to seek open spaces in their sound, Sea Witch prefer lung-crushing heft, and, well, there isn’t really a wrong answer to that question. Two distinct intentions complementing each other in fluidity and a mood that goes from grim and contemplative to deathly and bleak.

Black Tremor on Thee Facebooks

Sea Witch on Thee Facebooks

Hypnotic Dirge Records webstore

Sunmask Records webstore

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Supersonic Blues, Supersonic Blues Theme b/w Curses on My Soul

It takes Den Haag trio Supersonic Blues no more than eight minutes to bust out one of 2017’s best short releases in their Who Can You Trust? Records debut single, Supersonic Blues Theme b/w Curses on My Soul. Yes, I mean it. The young three-piece of guitarist Timothy, bassist Gianni and drummer Lennart absolutely nail a classic boogie-rock vibe on the two-tracker, and from the gotta-hear low end that starts “Curses on My Soul,” the unabashed hook of “Supersonic Blues Theme” and the blown-out garage vocals that top both, the two-tracker demonstrates clearly not only that there’s still life to be had in heavy ‘70s loyalism when brought to bear with the right kind of energy, but that Supersonic Blues are on it like fuzz on tone. Killer feel all the way and shows an exceeding amount of potential for a full-length that one can only hope won’t follow too far behind. Bonus points for recording with Guy Tavares at Motorwolf. Hopefully they do the same when it comes time for the LP.

Supersonic Blues on Thee Facebooks

Who Can You Trust? Records webstore

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Masterhand, Mind Drifter

A neo-psych trio from Oklahoma City, Masterhand seem like the kind of group who might at a moment’s notice pack their gear and go join the legions of freaks tripping out on the West Coast. Can’t imagine they wouldn’t find welcome among that I-see-colors-everywhere underground set – at least if their debut long-player, Mind Drifter, is anything to go by. Fuzz like Fuzz, acid like Uncle, and a quick, raw energy that underlies and propels the proceedings through quick tracks like “Fear Monger” and “Lucifer’s Dream” – tense bass and drums behind more languid wah and surf guitar before a return to full-on fuzz – yeah, they make a solid grab for upstart imprint King Volume Records, which has gotten behind Mind Drifter for a cassette issue. There’s some growing to do, but the psych-garage feel of “Chocolate Cake” is right on, “Heavy Feels” is a party, and when they want, they make even quick cuts like “Paranoia Destroyer” feel expansive. That, along with the rest of the release, bodes remarkably well.

Masterhand on Thee Facebooks

King Volume Records webstore

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Green Lung, Green Man Rising

Groove-rolling four-piece Green Lung boast former members of Oak and Tomb King, among others, and Green Man Rising, their first digital single, is the means by which they make their entry into London’s crowded underground sphere. Aside from the apparent nod to Type O Negative in the title – and the plenty of more-than-apparent nod in guitarist Scott Masson’s riffing – “Green Man Rising” and “Freak on a Peak” bask in post-Church of Misery blown-out cymbals from drummer Matt Wiseman, corresponding tones, while also engaging a sense of space via rich low end from bassist Andrew Cave and the echoing vocals of Tom Killingbeck. There’s an aesthetic identity taking shape in part around nature worship, and a burgeoning melodicism that one imagines will do likewise more over time, but they’ve got stonerly hooks in the spirit of Acrimony working in their favor and in a million years that’s never going to be a bad place to start. Cool vibe; makes it easy to look forward to more from them.

Green Lung on Thee Facebooks

Green Lung on Bandcamp

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Benthic Realm, Benthic Realm

In 2016, Massachusetts-based doom metallers Second Grave issued one of the best debut albums of the year in their long-awaited Blacken the Sky (review here)… and then, quite literally days later, unexpectedly called it quits. It was like a cruel joke, teasing their potential and then cutting it short of full realization. The self-titled debut EP from Benthic Realm, which features Second Grave guitarist/vocalist Krista van Guilder (also ex-Warhorse) and bassist Maureen Murphy alongside drummer Brian Banfield (The Scimitar), would seem to continue the mission of that prior outfit if perhaps in an even more metallic direction, drawing back on some of Second Grave’s lumber in favor of a mid-paced thrust while holding firm to the melodic sensibility that worked so well across Blacken the Sky’s span. For those familiar with Second Grave, Benthic Realm is faster, not as dark, and perhaps somewhat less given to outward sonic extremity, but it’s worth remembering that “Awakening,” “Don’t Fall in Line” and “Where Serpents Dwell” are just an introduction and that van Guilder and Murphy might go on a completely different direction over the longer term after going back to square one as they do here.

Benthic Realm website

Benthic Realm on Bandcamp

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Lâmina, Lilith

Smack dab in the middle of Lilith, the debut album from Lisbon-based doom/heavy rockers Lâmina, sits the 20-minute aberration “Maze.” It’s a curious track in a curious place on the record, surrounded by the chugging “Evil Rising” and bass-led rocker bounce of “Psychodevil,” but though it’s almost a full-length unto itself (at least an EP), Lâmina make the most of its extended and largely linear course, building on the tonal weight already shown in the earlier “Cold Blood” and “Big Black Angel” and setting up the tension of “Education for Death” and the nine-minute semi-title-track finale “In the Warmth of Lilith,” which feels a world away from the modern stonerism of “Psychodevil” in its slower and thoroughly doomed rollout. There’s a subtle play of scope happening across Lilith, drawn together by post-grunge tonal clarity and vocal melodies, and Lâmina establish themselves as potentially able to pursue any number of paths going forward from here. If they can correspondingly develop the penchant for songwriting they already show in these cuts as well, all the better.

Lâmina on Thee Facebooks

Lâmina on Bandcamp

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