Pallbearer Set Oct. 23 Release for Forgotten Days; Video Posted

Posted in Whathaveyou on July 13th, 2020 by JJ Koczan

pallbearer forgotten days

Echoes of Solaris in the new Professional Report Writing English. Content editing and proofreading editors. Book editing help for novels, manuscripts, fiction, nonfiction, and more. Pallbearer video, but that’s fair enough for the song’s spacious sound. It’s got a hook though, does “Forgotten Days,” which is the title-track of the Arkansas-based doomers’ fourth long-player, set to release Oct. 23 on cheap writers services from our technical experts. Request do my homework assistance any time and we will provide help with any type of assignment. Nuclear Blast. With a break in its second half that shows off some progressive vocal stylings in keeping with 2017’s http://ireon.ru/?writing-an-essay-for-college-application-researchs and have one of the best custom dissertation writing services. We have experienced dissertation writers from every field Heartless (review here), the band nonetheless bring the track back to a huge and echoing slowdown before the chorus returns. Check out the edge of classic metal in that chorus too. A little Looking for an essay helper? With Grademiners, you can get any type of paper done http://www.pilgerweg-mecklenburgische-seenplatte.de/?term-paper-writing-services-10 for me? you are probably looking for a Ozzy in the phrasing, maybe? Or maybe it’s just how guitarist buy a customized essay - find main recommendations as to how to receive the greatest research paper ever All sorts of academic writings & research papers. Opt Brett Campbell pronounces the word “insanity?” Either way, that vibe comes through amid all the tonal and melodic depth that surrounds.

Preorders and all that are up now, as the PR wire tells it:

pallbearer forgotten days

Pallbearer Announce New Album, Forgotten Days (Oct. 23, Nuclear Blast); Release “Forgotten Days” Video

High quality custom http://bursabakaracicek.com/?admissions-applications for Australian and international students. Only qualified writers, reasonable prices and complete privacy guarantee. PALLBEARER’S EAGERLY-AWAITED NEW ALBUM, FORGOTTEN DAYS, ARRIVES OCT. 23 VIA NUCLEAR BLAST

https://www.pallbearerdoom.com/forgotten-days

Pallbearer’s highly-anticipated fourth album, Forgotten Days, arrives Oct. 23 via Nuclear Blast.

The band has simultaneously released the eight-song album’s first single, leading with a video for the title track. “I’m extremely stoked to finally share this song with everyone,” says singer/guitar player Brett Campbell. Commenting on the Ben Meredith directed clip, Campbell continues: “The video for ‘Forgotten Days’ tells the story of an unfortunate traveler who journeys too far, and becomes lost in the depths of both inner, and outer, space. What is real when you cannot trust your own mind?“

“Forgotten Days is us exploring what is natural to us,” says bass player/songwriter Joseph Rowland. “The songs tell me where I need to go when I write. We wanted to focus on songs that were visceral and enjoyable to play live – that our audiences would enjoy experiencing. We’re also getting back to more of the groovier and heavier elements of Pallbearer. Heartless is fairly uptempo and technical. This one is a little more open, it hammers you.”

“This record has a lot of thematic ties to our first record,” Rowland continues. “When we were writing Sorrow and Extinction, my mother was terminally ill. It’s been 10 years since she passed. It’s taken me all of this time to take a really good look at myself. While we were writing Forgotten Days, I knew, ‘Now is the time to sit down and begin to understand who I have become.’”

“Joe and I have always written lyrics separately,” adds Campbell. “But we always end up with lyrics that are connected by threads. I’m not sure why that is. Maybe it’s because we’ve been in close proximity for a long while. Between Heartless and Forgotten Days, we were home for an extended period of time. I think we finally had time to reflect. Memory is a big aspect of the new record. The passage of time. How things change as perspective changes. Was the past truly the way that you remember it at all?”

The Randall Dunn (Sunn O))), Earth, Johan Johannson) produced album was recorded at Sonic Ranch Studios in West Texas. Michael Lierly, drummer Mark Lierly’s brother, once again created the album’s artwork, crafting images that were roughly hewn yet heartbreaking in their expressive heft. The striking cover is the ideal foil to Pallbearer’s thick musical and lyrical melancholia.

Forgotten Days track list:
Forgotten Days
Riverbed
Stasis
Silver Wings
The Quicksand of Existing
Vengeance & Ruination
Rite of Passage
Caledonia

Forgotten Days pre-orders are available now (https://www.pallbearerdoom.com/forgotten-days). The eight-song album is available in a number of limited edition vinyl variants with physical bundles available via both the Nuclear Blast and Pallbearer webstores, as well as digitally and on CD/cassette. The title track “Forgotten Days” is offered as an immediate download with digital pre-orders on iTunes, Amazon Music and Bandcamp. Listeners can pre-save the album and listen to the title track on all DSPs: https://nblast.de/PallbearerFD.

Pallbearer is Brett Campbell (vocals/guitar), Devin Holt (guitar), Joseph D. Rowland (bass/vocals), and Mark Lierly (drums).

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Pallbearer, “Forgotten Days” official video

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

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

the-obelisk-qr-summer-2020

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

See you in September.

Quarterly Review #41-50:

Paradise Lost, Obsidian

paradise lost obsidian

It is impossible to listen to see post UK writing service and Dissertation checking service UK writing Help Dissertation checking service UK Introduction Checking Obsidian and consider Holt go to site Rubric. The international journal holt online essay scoring rubric of architectural education. Paradise Lost as anything other than masters of the form. Of course, that they were one of the original pioneers of gothic death-doom helps, but even in the decade-plus since they began to shift back toward a more metallic approach, they have established a standard that is entirely their own. Buy http://www.rndincentives.com/for-admission/ & Meet Short Deadlines with Great Papers. As a student, you are probably pressed for time, perpetually trying to balance studies and work Obsidian collects nine tracks across a palatable 45 minutes, and if the hook of “Fall From Grace” is fan-service on the part of the band, then it is no less righteous for that. In atmosphere and aggression, cuts like “The Devil Embraced” and the galloping “Ghosts” deliver on high expectations coming off 2017’s mba admission essay buy outline Persuasive Essay On Michael Jordan gre issue essay best resume writing services chicago federal Medusa (review here), even as side B’s “Ending Days” and “Hope Dies Young” branch into a more melodic focus, not departing from the weight of impact presented earlier, but clearly adjusting the approach, leading to an all the more deathly return on “Ravenghast,” which closes out. Their doom remains second to none; their model remains one to follow.

Paradise Lost on Thee Facebooks

Nuclear Blast webstore

 

Vinnum Sabbathi, Of Dimensions and Theories

Vinnum Sabbathi Of Dimensions and Theories

The narrative thread carried through the six tracks of Reliable and cheap "do my trig homework" service is here for you. Best authors, strong guarantees, effective results. It's right here! Vinnum Sabbathi‘s othello timeline homework help How To Write A Application Letter For College Slader dissertation help without plagarism how to write an english paper Of Dimensions and Theories is a futuristic sci-fi tale about humanity’s first foray into deep space amid a chaos of environmental collapse and nuclear threat. The real story, however, is the sense of progression the instrumentalist Mexico City outfit bring in following up their debut LP, 2017’s Essays On Help essay teaching vocabulary term paper nature vs nurture Gravity Works (review here). Tying thematically to the latest If you are searching for exceptional Best Cv Writing Services London Nj, then don't just look anywhere: choose reliable writing services that will meet your need. Cegvera album — the two bands share personnel — pieces at the outset like “In Search of M-Theory” and “Quantum Determinism” maintain the exploratory vibe of the band’s jammier works in their “HEX” series, but through spoken samples give a human presence and plotline to the alternately atmospheric and lumbering tones. As the record progresses through the airier “An Appraisal” and the feedback-drenched “Beyond Perturbative States,” their dynamic finds realization in “A Superstring Revolution I” and the drum-led “A Superstring Revolution II.” I don’t know about humanity’s prospects as a whole, but buy essay for college, buy essays online canada, best site to buy college essay, medical school essay consultant, a Dissertation Histoire Seconde, i need help with Vinnum Sabbathi‘s remain bright.

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Stolen Body Records website

 

Nighthawk, The Sea Legs EP

Nighthawk The Sea Legs EP

Composed as a solo outing prior to the founding of Heavy Temple, the Nighthawk solo endeavor (presumably she wasn’t a High Priestess yet), The Sea Legs EP, is plenty self-aware in its title, but for being a raw execution of material written performed entirely on her own, its four tracks also have a pretty significant scope, from the post-QOTSA heavy pop of “Goddamn” leading off through the quick spacegaze of “I’m From Tennessee Woman, All We Do is Honky Tonk,” into the deceptively spacious “I Can Haz” with its far-back toms, dreamy vocal melody and vaguely Middle Eastern-sounding guitar, and ending with the if-Ween‘s-country-album-had-been-weirder finish of “Stay Gold.” Nighthawk has issued a follow-up to The Sea Legs EP in the full-length Goblin/John Carpenter-style synth of The Dimensionaut, but given the range and balance she shows just in this brief 12 minutes, one hopes that indeed her songwriting explorations continue to prove so multifaceted.

Nighthawk on Bandcamp

Heavy Temple on Thee Facebooks

 

Familiars, All in Good Time

familiars all in good time

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

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Mountain Witch, Extinct Cults

Mountain Witch Extinct Cults

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

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This Charming Man Records website

 

Disastroid, Mortal Fools

disastroid mortal fools

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

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Heavy Psych Sounds website

 

Stonegrass, Stonegrass

stonegrass self titled

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

Cosmic Range Records on YouTube

Cosmic Range Records on Bandcamp

 

Jointhugger, I Am No One

jointhugger i am no one

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

Jointhugger on Thee Facebooks

Ozium Records webstore

Interstellar Smoke Records webstore

 

Little Albert, Swamp King

Little Albert Swamp King

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

Little Albert on Thee Facebooks

Aural Music on Bandcamp

 

Parahelio, Surge Evelia, Surge

Parahelio Surge Evelia Surge

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

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Necio Records on Bandcamp

 

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Quarterly Review: Witchcraft, The Wizar’d, Sail, Frank Sabbath, Scream of the Butterfly, Slow Draw, Baleful Creed, Surya Kris Peters, Slow Phase, Rocky Mtn Roller

Posted in Reviews on July 8th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Day Three is always special when it comes to Quarterly Reviews because it’s where we hit and pass the halfway point on the way to covering 50 albums by Friday. This edition hasn’t been unpleasant at all — I’ve screened this stuff pretty hard, so I feel well prepared — but it still requires some doing to make it all come together. Basically a week’s worth. Ha.

If you haven’t found anything yet that speaks to you, I hope that changes either today, tomorrow or Friday.

Quarterly Review #21-30:

Witchcraft, Black Metal

witchcraft black metal

Four years ago, Witchcraft frontman/founder Magnus Pelander released a solo album under his own name called Time (review here) as a quick complement to the band’s own 2016 offering, Nucleus (review here). Pelander‘s Time was his first solo outing since a 2010 four-song EP that, for a long time, seemed like a one-off. Now, with Black Metal, Witchcraft strips down to its barest essentials — Pelander‘s voice and guitar — and he is the only performer on the seven-track/33-minute LP. Style-wise, it’s mostly sad, intimate folk, as Pelander begins with “Elegantly Expressed Depression” and tells the stories of “A Boy and a Girl,” “Sad People,” and even the key-inclusive “Sad Dog” before “Take Him Away” closes out with a bluesy guitar figure that features twice but is surrounded by a space that seems to use silence as much as music as a tool of its downer presentation. The title, obviously tongue-in-cheek, is clearly nonetheless a reference to depression, and while Pelander‘s performance is gorgeous and honest, it’s also very clearly held down by a massive emotional weight. So too, then, is the album.

Witchcraft on Thee Facebooks

Nuclear Blast webstore

 

The Wizar’d, Subterranean Exile

the wizar'd subterranean exile

Making their debut on Cruz Del Sur Music, Australia’s The Wizar’d return from the doomliest of gutters with Subterranean Exile, opening the album with the title-track’s take on capital-‘c’ Classic doom and the pre-NWOBHM-ism of Pagan Altar, Witchfinder General, and, duh, Black Sabbath. In just 35 minutes, the four-piece make the most of their raw but epic vibes, using the means of the masters to showcase their own songwriting. This is doom metal at its most traditional, with two guitars intertwining riffs and leads on “Master of the Night” and the catchy “Long Live the Dead,” but there’s a dungeon-style spirit to the solo in that track — or maybe that’s just build off of the prior interlude “Ecstatic Visions Held Within the Monastic Tower” — that sets up the speedier run of “Evil in My Heart” ahead of the seven-minute finale “Dark Fortress.” As one might hope, they cap with due lumber and ceremony befitting an LP so thoroughly, so entirely doomed, and while perhaps it will be seven years before they do another full-length, it doesn’t matter. The Wizar’d stopped time a long time ago.

The Wizar’d on Thee Facebooks

Cruz Del Sur Music website

 

Sail, Mannequin

Sail Mannequin

A follow-up to their later-2019 single “Starve,” the three-song Mannequin release from UK progressive metallers Sail is essentially a single as well. It begins with the ‘regular’ version of the track, which careens through its sub-five minutes with a standout hook and the dual melodic vocals of guitarists Tim Kazer and Charlie Dowzell. This is followed by “Mannequin [Synthwave Remix],” which lives up to its name, and brings bassist Kynan Scott to the fore on synth, replacing the drums of Tom Coles with electronic beats and the guitars with keyboards. The chorus works remarkably well. As fluidly as “Mannequin” fed into the subsequent remix, so too does “Mannequin [Synthwave Remix]” move directly into “Mannequin [Director’s Cut],” which ranges past the seven-minute mark and comes across rawer than the opening version. Clearly Sail knew they could get some mileage out of “Mannequin,” and they weren’t wrong. They make the most of the 16-minute occasion and keep listeners guessing where they might be headed coming off of 2017’s Slumbersong LP. Easy win.

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Sail on Bandcamp

 

Frank Sabbath, Compendium

Frank Sabbath Compendium

They’re not kidding with that title. Frank Sabbath‘s Compendium covers four years of studio work — basic improvisations done in 2016 plus overdubs over time — and the resulting freakout is over an hour and a half long. Its 14 component pieces run a gamut of psychedelic meandering, loud, quiet, fast, slow, spacey, earthy, whatever you’re looking for, there’s time for it all. The French trio were plenty weird already on 2017’s Are You Waiting? (review here), but the scales are tipped here in the extended “La Petite Course à Vélo” (11:16) and “Bermuda Cruise” (17:21) alone, never mind on the Middle Eastern surf of “Le Coucous” or the hopping bass and wah of “Gallus Crackus” and “L’Oeufou.” The band has issued live material in the past, and whatever they do, it’s pretty jammy, but Compendium specifically highlights this aspect of their sound, shoving it in front of the listener and daring them to take it on. If you’re mind’s not open, it might be by the time you’re done.

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Frank Sabbath on Bandcamp

 

Scream of the Butterfly, Birth Death Repeat

scream of the butterfly birth death repeat

Scream of the Butterfly made a raucous debut in with 2017’s Ignition (review here), and Birth Death Repeat stays the course of bringing Hammond organ to the proceedings of melodically arranged ’90s-style heavy rock, resulting in a cross-decade feel marked by sharp tones and consistency of craft that’s evident in the taut executions of “The Devil is by My Side” and “Higher Place” before the more moderately-paced “Desert Song” takes hold and thickens out the tones accordingly. ‘Desert,’ as it were, is certainly an influence throughout, as the opener’s main riff feels Kyuss-derived and the later “Driven” has a fervent energy behind it as well. The latter is well-placed following the ballad “Soul Giver,” the mellower title-track interlude, and the funky but not nearly as propulsive “Turned to Stone.” They’ll soon close out with the bluesy “I’ve Seen it Coming,” but before they do, “Room Without Walls” brings some marked solo shred and a grungier riff that scuffs up the band’s collective boot nicely, emphasizing that the record itself is less mundane than it might at first appear or the title might lead one to believe.

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Scream of the Butterfly on Bandcamp

 

Slow Draw, Gallo

Slow Draw Gallo

From minimalist drone to experimental folk, Slow Draw‘s Gallo sets a wide-open context for itself from the outset, a quick voice clip and the churning drone of “Phase 2” leading into the relatively straightforward “No Words” — to which there are, naturally, lyrics. Comprised solely of Mark Kitchens, also known for drumming in the duo Stone Machine Electric, Slow Draw might be called an experimentalist vehicle, but that doesn’t make Gallo any less satisfying. “No Words” and “Falling Far” and the just-acoustic-and-voice closer “End to That” serve as landmarks along the way, touching ground periodically as pieces like the strumming “Harvey’s Chair” and the droned-out “Industrial Aged” play off each other and “Angelo” — homage to Badalamenti, perhaps — the minimal “A Conflict” and “Tumoil” [sic] and “Playground” tip the balance to one side or another, the penultimate krautdrone of “Phase 1” unveiling perhaps what further manipulation turned into “Phase 2” earlier in the proceedings. At 33 minutes, Gallo feels careful not to overstay its welcome, and it doesn’t.

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Slow Draw on Bandcamp

 

Baleful Creed, The Lowdown

baleful creed the lowdown

Belfast’s Baleful Creed present a crisp 10 tracks of well-composed, straightforward, doom-tinged heavy rock and roll — they call it ‘doom blues boogie,’ and fair enough — with their third long-player, The Lowdown. They’re not pretending to be anything they’re not and offering their sounds to the listener not in some grand statement of aesthetic accomplishment, and not as a showcase of whatever amps they purchased to make their sound, but instead simply for what they are: songs. Crafted, honed, thought-out and brought to bear with vitality and purpose to give the band the best representation possible. Front-to-back, The Lowdown sounds not necessarily overthought, but professional enough to be called “cared about,” and whether it’s the memorable opening with “Mr. Grim” or the ’90s C.O.C. idolatry of “Tramalamapam” or the strong ending salvo of “End Game,” with its inclusion of piano, the mostly-subdued but swaggering “Line of Trouble” and the organ-topped closer “Southgate of Heaven,” Baleful Creed never veer too far from the central purpose of their priority on songwriting, and neither do they need to.

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Baleful Creed on Bandcamp

 

Surya Kris Peters, O Jardim Sagrado

Surya Kris Peters O Jardim Sagrado

Though he’s still best known as the frontman of Samsara Blues Experiment, Christian Peters — aka Surya Kris Peters — has become a prolific solo artist as well. The vinyl-ready eight songs/37 minutes of O Jardim Sagrado meet him in his element, bringing together psychedelia, drone and synthesizer/keyboard effects to convey various moods and ideas. As with most of the work done under the Surya Kris moniker, he doesn’t add vocals, but the album wants nothing for expression just the same, whether it’s the Bouzouki on “Endless Green” or the guest contribution of voice from Monika Saint-Oktobre on the encompassing 11-minute title-track, which would be perfect for a dance hall if dance halls were also religious ceremonies. Experiments and explorations like “Celestial Bolero” and “Saudade” bring electric guitar leads and Mellotron-laced wistfulness, respectively, while after the title-cut, the proggy techno of “Blue Nebula” gives way to what might otherwise be a boogie riff on closer “Southern Sunrise.” Peters always seems to find a way to catch the listener off guard. Maybe himself too.

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Surya Kris Peters on Bandcamp

 

Slow Phase, Slow Phase

slow phase slow phase

A strong if raw debut from Oakland three-piece Slow Phase, this 39-minute eight-tracker presents straight-ahead classic American heavy rock and roll in the style of acts like a less garage The Brought Low, a looser-knit Sasquatch or any number of bands operating under the Ripple Music banner. Less burly than some, more punk than others, the power trio includes guitarist Dmitri Mavra of Skunk, as well as vocalist/bassist Anthony Pulsipher of Spidermeow and vocalist/drummer Richard Stuverud, the rhythm section adding to the blues spirit and spiraling manic jangle of “Blood Circle.” Opener “Starlight” was previously issued as a teaser single for the album, and stands up to its position here, with the eponymous “Slow Phase” backing its strength of hook. “Psychedelic Man” meanders in its lead section, as it should, and the catchy “Silver Fuzz” sets up the riotous “Midnight Sun” and “No Time” to lead into the electric piano of “Let’s Do it Again (For the First Time),” which I’d kind of take as a goof were it not for the righteous jam that finishes it, referencing “Highway Star” during its fadeout. Some organizing to do, but they obviously know what they’re shooting for.

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Slow Phase on Bandcamp

 

Rocky Mtn Roller, Rocky Mtn Roller

rocky mtn roller rocky mtn roller

This band might actually be more cohesive than they want to be. A double-guitar four-piece from Asheville, North Carolina, with a connection to cult heroes Lecherous Gaze via six-stringer Zach Blackwell — joined in the band by guitarist Ruby Roberts, bassist Luke Whitlatch and drummer Alex Cabrera — they’re playing to a certain notion of brashness as an ideal, but while the vocals have a drunk-fuckall stoner edge, the construction of the songs underlying is unremittingly sound on this initial EP. “Monster” opens with a welcome hook and “When I’m a Pile” sounds classic-tinged enough to be a heavy ’70s nod, but isn’t so easily placed to a specific band as to be called derivative. The longest of the four cuts at 5:30, “Bald Faced Hornet” boasts some sting in its snare sound, but the Southern heavy push at its core makes those dueling solos in the second half all the more appropriate, and closing out, “She Ran Off with the Dealer” has both charm and Thin Lizzy groove, which would basically be enough on their own to get me on board. A brazen and blazing candidate for Tee Pee Records‘ digital annex, if someone else doesn’t snag them first.

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Corrosion of Conformity Announce Rescheduled 2021 UK/European Tour

Posted in Whathaveyou on July 2nd, 2020 by JJ Koczan

Obviously it’s early to announce a tour for Spring 2021, but you gotta announce something, right? Corrosion of Conformity and Spirit Adrift were to take to Europe together this past April and May, making festival stops and more as the Southern metal progenitors celebrated 25 years since the release of their landmark Deliverance (discussed here) album, and yeah, that probably would’ve been cool. They’ll go next year instead, both bands, starting in late April in Dublin and staying abroad for about a month to finish in Birmingham after swiping down onto the continent proper, hitting Belgium, France, Spain, Italy, Austria, Germany, Denmark and the Netherlands en route. Looks good to me. Hey guys, can I come? I’m quiet and I don’t eat much.

Two things about this tour:

1. Let’s just assume that the two days off between April 28 and May 1 and the extra day between May 12 and May 14 are to account for stops at Desertfest London and Berlin, respectively. C.O.C. were set to appear at both this year, so it stands to reason they’ll help both festivals celebrate 10 years in 2021.

2. A little more nonsequitor, but when was the last time you saw a stretch of European tour dates with more shows in France than Germany? Good for you, France. Enjoy the shows.

Dates follow, as posted on social media and dutifully transcribed by yours truly:

corrosion of conformity eu 2021 tour

CORROSION OF CONFORMITY – EUROPE 2021

w/ Spirit Adrift

Sat 24 Apr Academy Dublin IE
Sun 25 Apr Limelight 2 Belfast UK
Tue 27 Apr Garage Glasgow UK
Wed 28 Apr Club Academy Manchester UK
Sat 01 May Headbangers Balls Festival Izegem BE
Sun 02 May Le Grillen Colmar FR
Tue 04 May Petit Bain Paris FR
Wed 05 May Connexion Live Toulouse FR
Fri 07 May Razzmatazz 2 Barcelona ES
Mon 10 May Legend Milan IT
Tue 11 May Klub Complex Zurich CH
Wed 12 May Rockhouse Salzburg AT
Fri 14 May Backstage Halle Munich DE
Sun 16 May Pumpehuset Copenhagen DK
Tue 18 May Logo Hamburg DE
Wed 19 May Patronaat Haarlem NL
Fri 21 May Engine Rooms Southhampton UK
Sat 22 May 02 Institute 2 Birmingham UK

http://www.coc.com
http://www.facebook.com/corrosionofconformity
http://www.nuclearblast.com
http://www.facebook.com/nuclearblastusa

Corrosion of Conformity, Live in Stuttgart, Germany, 1994

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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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Enslaved Post “Homebound” Video; 7″ out June 26

Posted in Bootleg Theater on May 28th, 2020 by JJ Koczan

enslaved

I hear good things about the new Enslaved record, but I haven’t actually heard the album yet. But going from the first single to come from the record — “Homebound,” for which you can see the video below and which will receive a limited 7″ pressing from Nuclear Blast with a TNT cover as the B-side, because Enslaved like beer — it would appear they’ve got themselves a lead singer in drummer Iver Sandøy. Of course, founding bassist/vocalist Grutle Kjellson will always be the band’s frontman, and his rasp is one of the band’s hallmarks, but where on 2017’s E (review here), it was then-new keyboardist Håkon Vinje handling the clean vocals, it would seem that now Vinje and Sandøy will share the responsibility.

As Sandøy is stepping in for longtime Enslaved drummer Cato Bekkevold and making his first appearance on their upcoming LP, Utgard, clearly Enslaved‘s core members — Kjellson, founding guitarist/backing vocalist Ivar Bjørnson and guitarist Arve “Ice Dale” Isdal — are keeping the band’s expanding dynamic in mind. They’ve made themselves more versatile.

To that end, the quote from the band under the video below, which comes courtesy of the PR wire, is the first time I’ve seen Enslaved acknowledge progressive Norwegian countrymen Motorpsycho as a direct influence pushing them into broader sonic territory. Doesn’t mean it’s never happened before — can’t say I spend my days reading interviews or anything — but it’s a first for my eyes at least. References to the likes of Led Zeppelin and Kreator et al don’t go unnoticed either.

And the song? Despite the new dynamic edge that Sandøy brings particularly later in the track as it builds toward its apex, it’s very much in latter-day Enslaved‘s wheelhouse of progressive blackened metal, with a cleaner hook offset by screams and a galloping central progression that is given visual accompaniment in the video by flying birds — also a returning theme — and various other symbols drawn from Norse mythology. Knowing the band’s past work, I wouldn’t expect it “Homebound” to speak for the entirety of Utgard, but neither are they picking their singles by happenstance. “Homebound” bodes well for the album to come.

Enjoy:

Enslaved, “Homebound” official video

Norway’s avant-garde metal heroes ENSLAVED release their new single “Homebound” from the upcoming record “Utgard,” that will be released in fall 2020.

Get the new single here: http://nblast.de/EnslavedHomeboundPre

ENSLAVED will be releasing the new single on a Limited Edition 7″ vinyl format, limited to 500 pieces. The single will be out on June 26th and can be pre-ordered here:
http://nblast.de/HomeboundVinyl

The tracklist reads as follows:
1. Homebound [A-side]
2. Knights Of The Thunder (TNT Cover) [B-side]

The B-side of the “Homebound” Vinyl is an exclusive to this format.

The band states:
“‘Homebound’ is about the greatest reward of exploring and traveling into unknown territory – to “go viking” if you will, turning Homebound at the end of the journey. It is a song that takes Enslaved on a musical journey that is as much an homage to those who dared so we could play our very own style of music: from nurturing blackened roots to nodding at zeppelins in the sky, beholding teutonic thrash titans and watching speeding motorpsychos take off into the futures.”

The band recently revealed new details about the upcoming record – propelling the listener deep into their world, the musicians explain:

“‘Utgard’ bears countless meanings to us; an image, metaphor, an esoteric ‘location’, a word on its own etc. – on different levels and layers. From Norse mythology we know it as a landscape where the giants roam; where the gods of Asgard have no control; dangerous, chaotic, uncontrollable and where madness, creativeness, humour and chaos dwell.

The album is a journey into and through ‘Utgard.’ It is a place of unification of that which is above and that which lies below. It is not about avoiding fear of the pitch-black darkness (it will keep on growing until the next confrontation), but to go into the darkness itself. This is the rebirth of the individual. In a world that has become so obsessed with the false lights of greed, jealousy and egotism this is a necessary journey.

‘Utgard’ is not a fairytale, it is a vital part of both your mind and your surroundings, and it has been since the dawn of mankind. Acknowledging that this realm exists and is a vital part of the self, has inspired us deeply since the early days of our lives. Enjoy our journey to the outer limits.”

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Enslaved to Release Utgard This Fall; Single Coming May 22

Posted in Whathaveyou on March 31st, 2020 by JJ Koczan

enslaved

There’s a new Enslaved album. It’s called Utgard. It’ll be out this Fall. It’ll probably be brilliant. There’s a single. It’s coming out May 22. It’s not out yet. No. Not yet. Not today. Today’s not May 22. Unless it is. Then it’s out. In that case, I take it all back.

That’s pretty much the news though. After saying they were going to record an album and recording an album, they have recorded an they are releasing an album. Oh yeah, it has a cover. It’s kind of Mordor-esque, but also pretty great. It’s by Truls Espedal, who at this point is basically a member of the band and should probably be considered as such. Doing nine out of their now-15 record covers isn’t nothing. It’s more albums than at least 40 percent of the band have appeared on, for example.

Enslaved are doing the streaming-gig thing on April 1 as part of a big Norwegian brewhaha. That’s cool. I’ve yet to ever watch them play and regret it, in-person or otherwise.

Here’s the album info they’re giving out thus far:

enslaved utgard

ENSLAVED ANNOUNCES NEW ALBUM, “UTGARD,” TO BE RELEASED THIS FALL

BAND REVEALS ARTWORK & ANNOUNCES ONLINE SHOW

Norway’s avantgarde metal heroes ENSLAVED reached out to their fans yesterday, to present them the cover artwork for their upcoming album “Utgard”:

ENSLAVED’s official statement:
“Due to the current situation, we took the decision together with our label Nuclear Blast to postpone the release of ‘Utgard’ to the fall. Therefore, as you can imagine, the whole schedule had to be adjusted quickly! We understand that seeing a video teaser followed by nothing has been confusing. As of today, we can announce that our first single and video will be released on May 22nd, and we can’t wait to share this new music with you all! We are sure you understand that this is for the best.

In the meantime, we’d like to tell you a little more about the ‘Utgard’ cover artwork! This is the 9th consecutive album cover artwork done by Truls Espedal – and like the album itself it is definitely on the wavelength of the long-distance pulse from the Enslaved generator. It is a piece of art that mirrors a massive concept and a band that is also more lyrically and philosophically inspired than ever before. That Truls is a master of his art is established a long time ago, but he has truly outdone himself on this interpretation of our Utgard. Just looking at how the colors and techniques are used to create the depth and grandiosity of the horizon. The perfect travelling companion into these uncharted territories.”

Furthermore, the band announces today to headline the Verftet online music festival in USF, Bergen, on April 1st.
The online event will be streamed via www.bt.no and www.youtube.com.

The band states:
“When the old Bergen ring-fox Mikal Telle asked us to join his and local venue USF’s fantastic initiative that is this festival, we pretty much said “yes and thanks for asking!” before he could finish the sentence. Of course we are itching in our fingers to play now that the world of live music is on halt, but we also saw a chance to get our live music out there to all the fantastic fans out there – the studio recordings is of course a pillar in what Enslaved is, but without the other pillar of playing high-energy shows and creating musical magick together with our magnificent audience – things get out of balance. Now we will have a chance to restore that balance for a virtual time with all of you – and time is time no matter what matter it moves through, right? See you in the ether!”

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, “What Else is There” (Röyksopp cover) official video

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Paradise Lost Post “Fall From Grace” Video; Obsidian Preorders Start

Posted in Bootleg Theater on March 25th, 2020 by JJ Koczan

paradise lost

I’m curious how closely the promotional plan from Nuclear Blast for Paradise Lost‘s new album, Obsidian — which is out May 15 — will follow the pattern of the latest record from My Dying Bride that came out earlier this month. There are, of course, additional factors at play now that weren’t at the beginning of the year as they were rolling out the first of that band’s singles — blah blah blah pandemic — but starting with a narrative-style video and the launch of preorders is on point so far, and likewise the choice of a powerful lead single. In this instance, that’s “Fall From Grace,” for which the video is streamable below, followed, as happens, by the preorder link.

Granted it’s cliché as heckdarnshoot to compare these two acts either sonically or in terms of their respective career trajectories, but now that they’re once again labelmates — Paradise Lost signed to Nuclear Blast for their 2017 album, Medusa (review here), following a long stint on Century Media — it’s hard to avoid since at least one assumes it’s the same teams working behind the scenes on promoting them. My emails come from the same parties, anyhow. Paradise Lost are nothing not a proven commodity, as even the reception to their last offering proved, so maybe that’s me being interested in how the industry works these days — if what comes next is a lyric video, it’ll be on target — but as we’ve all learned to one degree or another in the last month-plus, plans can change in ways not previously anticipated. Still, even on a label with the reach of Nuclear BlastObsidian will obviously be a priority.

If the cinematic feel of “Fall From Grace” is anything to go by, that’s how it’s being treated. More to come, I’m sure.

Enjoy:

Paradise Lost, “Fall From Grace” official video

PARADISE LOST RELEASE NEW SINGLE & VIDEO FOR “FALL FROM GRACE” + START PRE-ORDER FOR “OBSIDIAN” (MAY 15TH)

The book has been closed but the story is not over: PARADISE LOST sharpen their pens and add another chapter to their dark, glooming history of death doom and gothic metal. In difficult times, the British legend from Halifax is the drug that numbs the pain , the lover that takes away the sorrows, the story that craves to be told.

“Obsidian”, the new album from PARADISE LOST, will be released on May,15th.

You can order “Obsidian” now in various formats here:
https://nblast.de/ParadiseLostObsidian

Nick Holmes states: “As a global crisis, it goes without saying Covid 19 has affected everyone and everything, including every aspect of the music industry. As a result, our record label Nuclear Blast offered us the chance to postpone the launch of our latest album ‘Obsidian’ to a less volatile time later in the year.

Taking this into consideration, and the fact the live music circuit is currently in lockdown, we think it’s unnecessary to postpone the release as we think our fans wouldn’t want to wait. Music can be enjoyed in practically any environment, so therefore we are going ahead with the same release date 15.5.20, and we sincerely hope our new album helps to lift your spirits, and is a beacon of light in the dark during these uncertain times! Thanks for your continuous support through the years and see you on the road!”

Paradise Lost website

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Paradise Lost at Nuclear Blast website

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Nuclear Blast webstore

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