Review & Track Premiere: Electric Citizen, Helltown

Posted in audiObelisk, Reviews on July 17th, 2018 by JJ Koczan

electric citizen helltown

[Click play above to stream ‘Lunch’ from Electric Citizen’s Helltown. Album is out Sept. 28 on RidingEasy Records.]

The stated intention behind Electric Citizen‘s third album for RidingEasy RecordsHelltown, is a turn from where the band was two years ago on their sophomore outing, Higher Time (review here). Likewise, Higher Time brought the Cincinnati four-piece to someplace their 2014 debut, Sateen (review here), hadn’t dared to go. Around a central core of memorable hooks and classic heavy rock riffing, Electric Citizen wove a vision of heavy glam, taking the riff-led fare of Sateen to someplace entirely bigger — in production value, in scope, in its unabashed poppiness. Helltown once more finds vocalist Laura Dolan, guitarist Ross Dolan, bassist Nick Vogelpohl and drummer Nate Wagner in an aesthetic pivot. While it would same to be driven by the same impulse toward refining their sound and trying to bring their songs to different levels of expression, etc., the manifestation is markedly different. Dolan‘s voice still commands the proceedings with pointed melodicism, and the guitar runs the instrumental charge beneath with classic swing from the rhythm section.

What’s different is largely down to presentation, and it’s one that finds Electric Citizen engaged in entirely rawer fare. Gone is the pop-ready sheen of Higher Time, and it’s been replaced by proto-metal tonality on the part of Dolan — as heard in the solo of second cut “Hide it in the Night,” as well as the riffs throughout — and Vogelpohl, as well as a decided lack of the keys/organ that featured so prominently last time out — “Father Time,” “New Earth” and “Mother’s Little Reject” notwithstanding — in favor of a more stripped down approach overall. Vocals are treated but not as many-layered, and the album as a whole is shorter, running nine songs and 32 minutes where the last one was 10 and 40. They largely stay away from following a punkish impulse — even centerpiece “Ripper,” which is definitely not a cover of Judas Priest‘s “The Ripper,” holds more to classic metal style — but the LP’s purpose is clearly to shoot for a more live sound, something that can be brought to life on stage, say, when the band tours as support for Monster Magnet in support of Helltown this Fall.

That’s not to say there isn’t any progressive edge to be found. Dolan as a guitarist is an intricate riffer and has been since he was doing his best mid/late-’70s Iommi on Sateen. As much as the smoothness and fluidity of Higher Time suited his style, he thrives here in showcasing his chemistry with Laura‘s vocals and with the righteous solidity of the bass and drums. Of course, a more barebones production style like this is no less an aesthetic choice than something hyper-elaborate, but the stylistic turn suits him and the rest of the band well, and would seem to have been something purposefully brought to the songwriting process. These tracks, in addition to being fewer in number, feel shorter and tighter in their structure. There are still drum transitions in “Lunch” and Dolan isn’t shy about taking a solo when called on to do so, but Helltown — named for the Cincinnati neighborhood the band calls home, as if to further telegraph the “back to their roots” sentiment at play — seems to pull back on some of the expanse that Electric Citizen made their own last time out, and it’s a meaner sound for it.

electric citizen

Of course, what draws the work together is the craft behind it. “Father Time” is the longest cut on Helltown at 4:25, and its quiet, more gradual introduction would seem to be a departure from some of the immediacy held forth in songs like prior opening salvo of “Heart Attack,” “Hide it in the Night” or “Cold Blooded Blue,” all of which are into their first verse before the first 30 seconds are up. Pacing in general is a big part of what makes Helltown distinct in Electric Citizen‘s catalog. Sateen was dug into semi-garage doom shuffle, and so had a middling pace, and Higher Time followed suit with its more outwardly accessible fare. Helltown isn’t a Motörhead record or anything, but “Ripper,” “The Pawn,” “Heart Attack” have a quick pulse to be sure, and even as “New Earth” would seem to be a transitional moment into the closing duo of “Lunch” and “Mother’s Little Reject,” the momentum holds steady. And though “Lunch” digs into that eased-up tempo somewhat and “Mother’s Little Reject” starts out with organ-backed spoken word over a “War Pigs”-esque progression before igniting a finale-worthy bounce, the energy in Electric Citizen‘s delivery is unflinching.

If Helltown has a central message, that’s it. It’s enough of a declaration of who Electric Citizen are that part of me is surprised it isn’t self-titled. That identity can change, of course, and likely will if their three-to-date albums are anything to go by, but the statement in these tracks is clear and unmistakable. Whatever else Electric Citizen might do and wherever their sound might take them, they’re a heavy rock band at heart. Helltown is a performance-minded collection that would seem to be the result of some genuine soul-searching on the part of the band. It could well be they’ve found themselves as players and as a group and that whatever they do from here will be a hopeful step forward from where they currently are. Or it could be that this album, like the one before it, will spur an equal and almost-opposite reaction and the Electric Citizen will move in a different direction entirely. I like the fact that, four years and three records into their tenure as a band, I have no idea what to expect from them next.

Other than songwriting. That’s the key. It let them serve introductory notice on Sateen and it provided the foundation for the expanded-sound of Higher Time, and now it serves as the very core of being for Helltown. And if it wasn’t there, there’d be no hiding it. This is as stripped-down as Electric Citizen have gotten, and if they didn’t have the songs and didn’t have the performance and the vibe, it simply wouldn’t work. Fortunately, they do and it does. I won’t discount what each of the past two records did for their own accomplishments in their own contexts, but listening to Helltown, it very much seems to be marking a new level for Electric Citizen, and as they cull the most essential facets of their approach as a band, they emerge from that process stronger than ever and at their most vital.

Electric Citizen, “Hide it in the Night”

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RidingEasy Records on Bandcamp

RidingEasy Records website

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Quarterly Review: Glanville, Destroyer of Light, The Re-Stoned, Ruff Majik, Soldat Hans, High Priestess, Weed Demon, Desert Storm, Ancient Altar, Black Box Warning

Posted in Reviews on July 17th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

So Day 1’s done and it’s time to move on to Day 2. Feeling stressed and totally overwhelmed by the sheer amount of stuff still to be done? Why yes, I am. Thanks for asking. In the past, I used to handle the Quarterly Review well ahead of time. It’s always a lot to get through, but the week before, I’d be setting up back ends, chasing down links and Bandcamp players, starting reviews, etc., so that when it came time, all I had to do was the writing and plug it all into a post and I was set.

There was some prep-work done this past weekend, but especially this time, with my old laptop having been stolen in May, it’s all been way more jazz-improv. I was still adding releases as of last Friday, and writing beforehand? Shit. With the baby having just figured out how to climb? Not bloody likely. Accordingly, here we are, with much to do.

It’ll get done. I haven’t flubbed a Quarterly Review yet, and if I took an extra day to get there, I’m under no delusion that anyone else would care. So there you go. Let’s hit it for Day 2:

Quarterly Review #11-20:

Glanville, First Blood

glanville first blood

First Blood is the aptly-titled five-song debut EP from Glanville, a newcomer dual-guitar outfit with established players Philip Michel (The Earwix) on lead and Christopher West (Named by the Sun, ex-Stubb, etc.) on rhythm, Wight’s Peter-Philipp Schierhorn on bass and René Hofmann on vocals, and Thomas Hoffman (ex-Bushfire) on drums. Based in Germany and the UK, the group present 23 minutes of material on their first outing, drawing from the guitar-led likes of Thin Lizzy and Judas Priest to capture early metal and present it with a heavy rocking soulfulness and modern production. The most raucous of the cuts might be centerpiece “Durga the Great,” but neither “God is Dead” nor “Dancing on Fire” before nor “Demons” and “Time to Go” after want for action, and especially the latter builds to a furious head to close out the release. Hofmann as a standalone singer wants for nothing in range or approach, and the band behind him obviously build on their collective experience to dig into a stylistic nuance rarely executed with such confidence. They’ve found a place willfully between and are working to make it theirs. Can’t ask for more than that.

Glanville on Thee Facebooks

Glanville on Bandcamp

 

Destroyer of Light, Hopeless

destroyer of light hopeless

Having just recently signed to Argonauta Records for a new album in 2019, Austin doomers Destroyer of Light follow their 2017 long-player, Chamber of Horrors (review here), with a further auditory assault in the lumbering Hopeless. Psychedelic and yet still somehow traditional doom lingers in the brain after “Nyx” and “Drowned” have finished – the latter with an Alan Watts sample discussing alcoholism – and the band moves into demos for Chamber of Horrors cuts “Into the Smoke,” “Lux Crusher” and “Buried Alive.” Between the two previously unreleased songs and those three demos, Hopeless pushes to 39 minutes, but it’s probably still fair to call it an EP because of the makeup. Either way, from the miserable plod of “Nyx,” in which each chug in the riff cycle seems to count another woe, to the rolling nod early and surprising melody late in “Drowned,” Hopeless is anything but. Anticipation was already pretty high for Destroyer of Light’s next record after the last one, but all Hopeless does is show further depth of approach and more cleverly-wielded atmospheric murk. And the more it sounds like there’s no escape, the more Destroyer of Light seem to be in their element.

Destroyer of Light on Thee Facebooks

Destroyer of Light on Bandcamp

 

The Re-Stoned, Stories of the Astral Lizard

the re-stonEd stories of the astral lizard

The inevitable question is “Why a lizard?” and if you make it four minutes into 11-minute opener “Fractal Panorama” and don’t have your answer, go back ad start over. Moscow heavy psych instrumentalists The Re-Stoned intend the reptile as a spirit guide for their new outing Stories of the Astral Lizard (on Oak Island Records), which follows quickly behind their late-2017 offering, Chronoclasm (review here), and given the ultra-patient desert vibes in the opener, the acoustic-laced folk-prog of “Mental Print for Free,” the languid meander of “A Companion from the Outside,” the swirling sprawl of the 16-minute “Two Astral Projections” and the final cowpoke drift of “The Heather Carnival,” one might indeed just find a lizard sunning its belly amid all the atmospheric evocations and hallucinatory vibes. I’ll take “Two Astral Projections” as the highlight, but mostly because the extra length allows the band to really dig in, but really the whole album feeds together gorgeously and is a new level of achievement when it comes to atmosphere for The Re-Stoned, who were already underappreciated and find themselves only more so now.

The Re-Stoned on Thee Facebooks

Oak Island Records on Thee Facebooks

 

Ruff Majik, Seasons

Ruff Majik Seasons

Right on fuzz, right on groove, right on vibe – there isn’t much else one might say about Ruff Majik’s Seasons (on Rock Freaks Records and Forbidden Place Records) beyond “right on.” Heavy rock with twists of psychedelia, the Pretoria, South Africa, three-piece of Johni Holliday, Jimi Glass and Benni Manchino make their home on the lines of various subgenres, but wherever they go, the proceedings remain decisively heavy. To wit, a cut like “Breathing Ghosts” or the later “Birds Stole My Eyes” might dig into shuffle boogie or extreme-metal-derived thrust, but there’s a chemistry between the members and a resonant looseness that ties the material together, and as the last 14 of the total 66 minutes are dedicated to “Asleep in the Leaves,” there’s plenty of progressive weirdness in which to bask, one song moving through the next such that neither “Hanami Sakura (And the Ritual Suicide” nor the semi-doom-plodding “The Deep Blue” nor the funky twists of “Tar Black Blood” come across as predictable. Seasons might take a few listens to sink in, but it’s easily worth that effort.

Ruff Majik on Thee Facebooks

Ruff Majik at Rock Freaks Records webstore

Forbidden Place Records on Bandcamp

 

Soldat Hans, Es Taut

SOLDAT HANS ES TAUT-750

Hyperbole-worthy post-ism from Switzerland’s Soldat Hans makes their sophomore outing, Es Taut – on Wolves and Vibrancy Records as a 2LP – a forward thinking highlight. As rich in atmosphere as Crippled Black Phoenix and as lethal as Converge or Neurosis or anyone else you might dare to put next to them, the six-piece made their debut with 2014’s Dress Rehearsal (review here) and served notice of their cross-genre ambitiousness. Es Taut finds them four years later outclassing themselves and most of the rest of the planet across three extended tracks – “Story of the Flood” (26:15), “Schoner Zerbirst, Part I” (8:03) and “Schoner Zerbirst, Part II” (18:56) – that sprawl out with a confidence, poise and abrasion that is nothing short of masterful. Es Taut may be a case of a band outdoing their forebears, but whatever their legacy becomes and however many people take notice, Soldat Hans singlehandedly breathe life into the form of post-metal and prove utterly vital in so doing, not only making it their own, but pushing forward into something new in ambience and heft. This is what a band sounds like while making themselves indispensable.

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Wolves and Vibrancy Records website

 

High Priestess, High Priestess

high priestess high priestess

Calling to order a nod that’s immersive from the opening strains of leadoff/longest-track “Firefly” (still immediate points), Los Angeles trio High Priestess build out the psych-doom ritualizing of their 2017 demo (review here) to make their self-titled full-length debut through Ripple Music. The difference between the demo and the album in terms of what’s included comes down to artwork and the track “Take the Blame,” which adds its bell-of-the-ride swing between the atmosphere and melodic focus of “Banshee” and the spacious roller “Mother Forgive Me.” Potential is writ large throughout from guitarist/vocalist Katie Gilchrest, bassist/vocalist Mariana Fiel and drummer Megan Mullins, as it was on their demo, and even the harsh growls/screams on “Despise” seem to have found their place within the proceedings. As they wrap with the guitar-led jam of “Earth Dive,” High Priestess put the finishing touch on what’s hands-down one of 2018’s best debut albums and offer a reminder that as much potential as there is in their sound for future development, the accomplishments here are considerable unto themselves.

High Priestess on Thee Facebooks

Ripple Music website

 

Weed Demon, Astrological Passages

weed demon astrological passages

Four tracks of gurgling riffy plunder pervade Astrological Passages, the 41-minute – longer if you get the digital version or the tape/CD, which includes the 7:24 “Dominion of Oblivion” – debut album from Columbus, Ohio’s Weed Demon. Delivered on vinyl through Electric Valley Records, the nodder/plodder carves out a cave for itself within a mountain of tonally thick stoner metal riffing, infusing a sense of sludge with shouted and growled vocals from guitarists Andy and Brian and bassist Jordan – only drummer Chris doesn’t get a mic – and an overarching sense of bludgeoning that’s Sleep-derived if not Sleep-adjacent in terms of its actual sound. Nasty? Why, yes it is, but as “Sigil of the Black Moon” heads toward the midpoint of its 10-minute run, the repetitive groove assault make the band’s intention plain: worship weed, worship riff. They get faster on “Primordial Genocide” and even sneak a bit of speed in amidst the crawl before the banjo takes hold in the second half of 12-minute closer “Jettisoned” – more Americana sludge please; thank you – but they never lose sight of their mission, and it’s the uniting factor that makes their debut hit like the brick to the head that it is.

Weed Demon on Thee Facebooks

Electric Valley Records website

 

Desert Storm, Sentinels

desert storm sentinels

With Sentinels, Oxford, UK, five-piece Desert Storm pass a decade since making their self-titled debut in 2008. They followed that with 2010’s Forked Tongues (review here), 2013’s Horizontal Life and 2014’s Omniscient (review here), and though they had a single out in 2014 on H42 Records as a split with Suns of Thunder (review here) in 2016, Sentinels is their first outing on APF Records and their first long-player in four years. Burl has always been an important factor in what they do, and the High on Fire-meets-Orange Goblin slamming of “The Brawl” backs that up, but Desert Storm have left much of the hyper-dudeliness behind in favor of a more complex approach, and while Sentinels isn’t a minor undertaking at 10 songs and 51 minutes, longer cuts like “Kingdom of Horns” and “Convulsion” demonstrate the maturity they’ve brought to bear, even as the one-two punch of “Drifter”  and “The Extrovert” offer swinging-fist hooks and beard-worthy chug that assures any and all testosterone quotas are met.

Desert Storm on Thee Facebooks

APF Records on Bandcamp

 

Ancient Altar, Cosmic Purge/Foie Gras

ancient altar cosmic purge foie gras

Based in Los Angeles, Ancient AltarScott Carlson (bass/vocals), Barry Kavener (guitar/vocals), Jesse Boldt (guitar) and Etay Levy (drums) – were last heard from on 2015’s dug-in atmosludger Dead Earth (review here), and they return lo these several years later with the two-tracker Cosmic Purge/Foie Gras, pushing into more extreme crush-of-riff with an abandon that’s anything but reckless. On the contrary, there’s some clear development in the 10-minute “Cosmic Purge” and 13-minute “Foie Gras,” rolling out oppressive grooves with blended screams/shouts and cleaner vocals. As with the last album, a drive toward individuality is central here, and Ancient Altar get there in tone while bringing forth a sense of scope to a sound so regularly thought of as closed off or off-putting in general. In its early going, “Foie Gras” hypnotizes with echoing melody and spaciousness only to resolve itself in a deeply weighted dirge march, furthering the pummel of “Cosmic Purge” itself. I don’t know if the EP – on vinyl through Black Voodoo Records, CD on Transcendental Void Records – will lead toward another album or not, but the sense of progression in Ancient Altar’s style is right there waiting to be heard, so here’s hoping.

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Black Voodoo Records on Thee Facebooks

 

Black Box Warning, Attendre la Mort

black box warning attendre la mort

Listen to it on headphones and the kickdrum on Black Box Warning’s Attendre la Mort is downright painful. Next-level blown-out aggro pulsations. Brutal in a physical sense. The rest of the band doesn’t follow far behind in that regard. Riffs are viscous and violent in noise rock tradition, but denser in their tone despite some underlying punkishness, and the vocals are likewise distorted and abrasive. The five-song/23-minute EP’s title translates to “Waiting for Death,” and each of the tracks is a dose: Opener “5 mg” is followed by “4 mg,” “1 mg,” “2 mg” and “3 mg.” Unsurprisingly, pills are a theme, particularly on “4 mg,” and the sense of violent threat is clear in “2 mg” and 3 mg,” which boast lines like, “Watch them all scream/Watch your enemy bleeded,” and “You are the pig/I am the butcher,” respectively. Between the lyrical and the general aural cruelty, the dis-ease is consuming and unmitigated, sludge becoming a slow-motion grindcore, and that’s clearly the point. Not stabbing, but gouging.

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Black Box Warning on Bandcamp

 

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Frayle to Release The White Witch EP on Vinyl & CD

Posted in Whathaveyou on June 28th, 2018 by JJ Koczan

frayle

Cleveland doom rockers Frayle have announced two physical pressings for their debut EP, The White Witch. The four-songer is available now for preorder on vinyl through Lay Bare Recordings, and Seeing Red Records will also have it out on CD. Originally released in April, it’s a sharp-edged first sampling of the band’s wares, competent and aware of aesthetic and the genre it’s playing toward, but also clearly working to establish its own presence and that of the band.

The CD version seems to be out now I’d assume the vinyl is soon to follow as well.

Her’es info and background from the PR wire:

frayle the white witch

Lay Bare Recordings is excited to present the White Witch EP from Frayle on white vinyl.

Self-released on the 1st of April, FRAYLE have been turning a lot of heads with their unique approach of Witch Doom. Lay Bare Recordings (vinyl) and Seeing Red Records (cd) are excited to collaborate on releasing this EP in physical format.

Vinyl pre-order from 22th June 2018

Bio:

Doom/Stoner Duo Frayle was formed in Cleveland in 2017 by Sean Bilovecky and Gwyn Strang. Frayle’s “lullabies over chaos” approach to songwriting allows them the freedom to explore what is possible with heavy music. They strive to balance the heaviest of riffs with the approachability of Gwyn’s haunting vocal melodies. Complex layering and tone stacking is a hallmark of their music. Each musical element is thoughtfully composed resulting in a unique combination of midrange-heavy guitars, syncopated rhythms, and unexpected vocal progressions.

Gwyn tells stories of heart break, anger, hypocrisy and resolution, asking the audience for empathy, and in turn inspiring vulnerability. Frayle will embark on a European tour in October. In support of this ep and the 1st full length record which is recorded as we write this news letter. Some days are booked and will be revealed in due time.

Tracklisting:
1. Let The Darkness In
2. The White Witch
3. Wandering Star
4. Things That Makes Us Bleed

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Frayle, The White Witch EP (2018)

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Vessel of Light Announce Woodshed Album Details

Posted in Whathaveyou on May 8th, 2018 by JJ Koczan

vessel of light

Last month when Vessel of Light announced the title of their Argonauta Records debut full-length as Woodshed, I, in full internet-snark mode, cast my bet that there was some murder going on in that backyard. You know what? Called it. If nothing else, Nathan Opposition likes working on a theme.

Vessel of Light, of course, is the Ohio-based Opposition (see also Ancient VVisdom) teaming up with New Jersey guitarist Dan Lorenzo (see also Hades, The Cursed), and they issued their self-titled debut EP (review here) through Argonauta last year, setting an initial tone of drugs, killing and psychosis that it seems the forthcoming long-player is only too happy to follow-up.

Vessel of Light‘s Woodshed is out Sept. 21.

From the PR wire:

vessel of light woodshed

VESSEL OF LIGHT reveal new album details

US Doom Metallers VESSEL OF LIGHT (featuring Nathan Opposition of ANCIENT VVISDOM and Dan Lorenzo of HADES) reveal cover artwork and track-list of their highly anticipated album “Woodshed”.

About the album concept, Nathan says: “Woodshed is a twisted plot involving a torturer and his numerous victims, his devious plan to kill in the name of God, and the mental breakdown that follows. The consequences of murderous actions that tell a tale of ritualistic sacrifice, homicide/ suicide, offerings to “the holy Lord”, and the truth behind the lies of reality. The content is dark and cold. A drugged out murder spree by a man haunted by the voices of the dead.”

By commenting this new album, Dan Lorenzo said: “Woodshed is a title that has intrigued me for a while now. I consider myself a songwriter more than a true musician. I know serious musicians will say they are ‘woodshedding’ or practicing a lot. In the winter when it’s cold out in New Jersey, I definitely pick up a guitar more than I do in the summer..not to ‘practice’, but to write new music. The woodshed in American culture has traditionally been a place where someone goes to work on something often secretly. In the old days it might be where a parent goes to give their child a beating. Sometimes the woodshed could be used to hide nefarious things that nobody is supposed to find out about. Nathan took this concept and created lyrical genius. It’s fucking dark as hell man.”

VESSEL OF LIGHT teamed-up with renowned Italian artist Marco Castagnetto (www.zenpunkart.com) to give their visions a proper form by realizing a stunning cover artwork.

VESSEL OF LIGHT “Woodshed” will be released on CD/LP/DD by ARGONAUTA Records and available from September 21st, 2018.

More details and preorder info available soon.

TRACK-LIST:
1) Woodshed
2) Part of My Plan
3) A Love So True
4) Son of Man
5) Watching The Fire
6) Beyond The Cellar Door
7) One Way Out
8) Man’s Sin
9) Day of Rest
10) End It All
11) Pray For A Cure

Nathan Opposition Vocals, drums, lyrics, melodies, keyboard
Dan Lorenzo Guitar, bass, music, backing vox on Part Of My Plan
Michael Jochum guitar solo One Way Out

https://www.facebook.com/vesseloflightband
www.instagram.com/VesselOfLightMusic
www.argonautarecords.com
https://www.facebook.com/ArgonautaRecords/
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Vessel of Light, “Son of Man” official video

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Vessel of Light to Release Woodshed in Sept.; New Video Posted

Posted in Whathaveyou on April 12th, 2018 by JJ Koczan

vessel of light

Druggy heavy death rockers Vessel of Light have announced their first long-player, titled Woodshed, will be released in September by Argonauta Records. Anyone wanna guess what’s happening in that woodshed? Is it the neat organization of a host of useful tools and gardening equipment? Maybe. Is it where they keep the lawnmower? Maybe. Is there murder? Oh most definitely.

The duo of Ancient VVisdom frontman Nathan Opposition and Hades guitarist Dan Lorenzo made their debut in 2017 with their self-titled EP (review here) and worked quickly to establish a foothold in a sound fueled by Lorenzo‘s weighted riffage and Opposition‘s drug-praising murder poetry lyrics. Together, they made the hooks of songs like “Dead Flesh and Bones” almost unfortunately catchy — let’s face it, that’s not the kind of thing you want to go around singing on a crowded train; or maybe it is — and the newly unveiled song “Son of Man” would seem to have followed suit.

“Son of Man” shows an immediately more balanced mix for Vessel of Light, which is encouraging, and I’m pretty sure that footage of Strawberry Alarm Clock from Beyond the Valley of the Dolls used in the video. Hey, if you’re not gonna appear in your own clip, that’s probably the footage you want to use, so right on.

Details are pretty minimal for the moment, but I’ll hope to have more on Woodshed as we get closer to the release, so keep an eye out. In the meantime, you’ll find “Son of Man” below, followed by more info from the PR wire.

Dig:

Vessel of Light, “Son of Man” official video

US doom metallers VESSEL OF LIGHT (featuring Nathan Opposition of ANCIENT VVISDOM and Dan Lorenzo of HADES) release their new single taken from the forthcoming full length.

The song “Son of Man” is an impressive step forward compared to the already highly acclaimed self-titled EP. Opposition handles both drums and vocals and Lorenzo plays guitar and bass on Son of Man.

This is the third video for the duo who also released two lyric videos off their self-titled debut on Argonauta.

“Son of Man” is taken from the forthcoming full “WOODSHED”, to be released by ARGONAUTA Records on CD/LP/DD in September 2018.

Dan Lorenzo (Hades, Non-Fiction, The Cursed) teamed up with Nathan Opposition (Ancient VVisdom) to form a musical project called Vessel Of Light. The duo entered Brainchild Studios in Cleveland to record their debut during Summer 2017.

Vessel of Light on Instagram

Vessel of Light on Thee Facebooks

Argonauta Records website

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Quarterly Review: Primordial, Dead Meadow, Taarna, MaidaVale, Black Willows, Craang, Fuzz Lord, Marijannah, Cosmic Fall, Owl

Posted in Reviews on April 9th, 2018 by JJ Koczan

Quarterly-Review-Spring-2018

Okay, so this is it. The Quarterly Review definitely ends today. I’m not sneaking in a seventh day tomorrow or anything like that. This is it. The last batch of 10, bringing us to a grand total of 60 records reviewed between last Monday and now. That’s not too bad, if you think about it. Me, I’m a little done thinking about it, and if you’ll pardon me, I’m going to enjoy the time between now and late June/early July, in which for the most part I’ll be writing about one record at a time. The thought feels like a luxury after this week.

But hey, we made it. Thanks for reading along the way.

Quarterly Review #51-60:

Primordial, Exile Amongst the Ruins

primordial exile amongst the ruins

Primordial’s flair for the epic has not at all abated over the years. The Irish post-black-metal forerunners follow-up 2014’s Where Greater Men Have Fallen with Exile Amongst the Ruins (on Metal Blade), and though there’s plenty of charge in “To Hell or the Hangman,” “Sunken Lungs” or “Upon Our Spiritual Deathbed,” with frontman Alan Averill proselytizing declarations as grandly as ever, one might read a certain amount of fatigue into the lyrics of songs like “Stolen Years” and the 10-minute closer “Last Call.” Granted, Exile Amongst the Ruins is 65 minutes long, so I don’t think the band has run out of things to say, but could it be that the cycle of writing, recording and touring is starting to wear on them some 25 years after their founding? I wouldn’t know or speculate, and like I said, Exile Amongst the Ruins retains plenty of its sonic force, the layering of the title-track and the preceding “Where Lie the Gods” offering a depth of sound to complement the complexity of their themes.

Primordial on Thee Facebooks

Primordial at Metal Blade website

 

Dead Meadow, The Nothing They Need

dead meadow The Nothing They Need

Utter masters of their domain, Los Angeles’ Dead Meadow – comprised of guitarist/vocalist Jason Simon, bassist Steve Kille and drummer Juan Londono – mark 20 years of the band with the eight songs of The Nothing They Need (on Xemu Records), bringing in former members for guest spots mostly on drums but also guitar across a rich tapestry of moods, all of which happen to be distinctly Dead Meadow’s own. The ramble in opener “Keep Your Head” or “I’m So Glad” is unmistakable, and the fuzz of the six-minute “Nobody Home” bounces with a heavy psychedelic groove that should be nothing less than a joy to the converted. Recorded in their rehearsal space, released on their own label and presented with their own particularly blend of indie pulse, psych dreamscaping and more weighted tone, a song like the swaying eight-minute “The Light” is a reminder of everything righteous Dead Meadow have accomplished in their two decades, and of the vast spread their influence has taken on in that time. Perhaps the greatest lesson of all is that no matter who’s involved, Dead Meadow sound like Dead Meadow, which is about the highest compliment I can think of to pay them.

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Xemu Records website

 

Taarna, Sanguine Ash

taarna sanguine ash

It’s not entirely clear what’s happening at the start of Taarna’s 29-minute single-song EP, Sanguine Ash, but the samples are vague and violent sounding and the noise behind them is abrasive. A strum and build takes hold as the Portland, Oregon, black metallers, who feature former members of Godhunter in their ranks, continue in the first couple minutes to develop a suicidal thematic, and six minutes in, a wash of static takes hold with drums behind it only to give way, in turn, to lush-sounding keys or guitar (could go either way) that patiently leads to a rumbling, roiling lurch of blacksludge. Cavern-vocals echo and cut through molasses tones and Taarna ride that malicious groove for the next several minutes until, at around 18:30, samples start again. This leads to more quiet guitar, resonant blackened thrust, noise, noise, more noise and a final emergent wash of caustic anti-metal that couldn’t possibly be clearer in its mission to challenge, repel and come across as completely fucked as it can. Done and done, you scathing bastards.

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MaidaVale, Madness is Too Pure

maidavale madness is too pure

I already discussed a lot of what is working so well on MaidaVale’s second album, Madness is Too Pure (The Sign Records), when I put up the video for “Oh Hysteria!” (posted here), but it’s worth reemphasizing the sonic leap the Swedish four-piece have made between their 2016 debut, the bluesy and well-crafted Tales of the Wicked West (review here) and this nine-song offering, which stretches far outside the realm of blues rock and encompasses psychedelic jamming, spontaneous-sounding explorations, brazen but not at all caustic vibes, and an overarching energy of delivery that reminds both of a live presentation and, on a song like “Gold Mine,” of what Death Alley have been able to revitalize in space-punk. Memorable progressions like that of “Walk in Silence” and the freaked out “Dark Clouds” offer standout moments, but really, it’s the whole album itself that’s the standout, and if the debut showed MaidaVale’s potential, Madness is Too Pure ups that factor significantly.

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Black Willows, Bliss

black willows bliss

About a year and a half after releasing their 2016 sophomore outing, Samsara (review here), Swiss post-doomers Black Willows return with a 19-minute single-song EP they’ve dubbed Bliss. It is utterly hypnotic. The sonic equivalent of watching a bonfire take hold of dry wood. It consumes with its dense heft of riff and then lulls the listener with stretches of minimalism and ambience, the first of which provides the intro to the piece itself. Black Willows are no strangers to working with longform material, and as Bliss also appears as the band’s half of a Bloodrock Records split with Craneium, it’s understandable they’d want to bring their best, but the weight of their groove feels unexpected even in terms of having heard their past work. So they’ve gotten heavier? Yeah, maybe. What really matters is how they wield that weight, and on Bliss, they put it to use as much as an atmospheric table-setter as in a display of sheer force. Beware the noise wash at the end. That’s all I’ll say.

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Black Willows on Bandcamp

 

Craang, Shine

craang shine

Greek heavy psych rockers Craang set up a dynamic quickly on their new two-song full-length, Shine (also stylized as S H IN E) that both encourages and rewards patience and trust on the part of the listener. They begin 24:52 opener and longest track (immediate points) “Horizon – Tempest” quietly and commence to unfold through ebbs and flows, clean vocals and shouts, open spaces and dense(r) riffing. There is a break near and at the halfway point that presumably is the shift between one part of “Horizon – Tempest” and the other, and the second half follows that lead with a more active presentation. The accompanying “Ocean – Cellular” (19:41) launches with a bed of synth that fades as the bass, drums and guitar enter and begin a linear build that retains a progressive edge, dropping off at about eight minutes in perhaps as another transition into “Cellular,” which indeed follows a more winding, intricate path. One can only say Craang are clear in their representation of what they want to convey, and because of that, Shine is all the more of an engaging experience, the listener essentially following the band on this journey from place to place, idea to idea.

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Craang on Bandcamp

 

Fuzz Lord, Fuzz Lord

Fuzz Lord fuzz lord

We start at “The Gates of Hell” and end up in “Infamous Evil,” so one might say Ohio trio Fuzz Lord – guitarist Steven “Fuzz Lord” joined by bassist/vocalist “Stoner” Dan Riley and drummer/vocalist Lawrence “Lord Buzz” – have their thematic well set on their eight-track self-titled debut (on Fuzzdoom Records). Likewise, their tones and the sense of space in the echoing vocals of “Kronos Visions Arise” and the later, extra-Sabbathian “World Collide” seem to know precisely where they’re headed. Riley recorded the 39-minute outing, while Justin Pizzoferrato (Elder, Dinosaur Jr., many others) mixed, and the resulting conjuration is earthbound in its low end while allowing the guitar to either roll out riffy largesse or take an airier approach. The uptempo “The Lord of the Underground” speaks to a punker underpinning, while the preceding “The Warriors Who Reign” seems to have a more classic metal take, and “Infamous Evil,” also the longest track at 7:51, peppers in layered guitar leads amid a doomier, Luciferian vibe and fervent hook.

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Fuzzdoom Records on Thee Facebooks

 

Marijannah, Till Marijannah

Marijannah till marijannah

Comprised of members of Wormrot and The Caulfield Cult, Singapore-based newcomers Marijannah execute four tracks of blown-out tones and psychedelic cavernousness with their Pink Tank Records debut release, Till Marijannah. Touches of garage swing make their way into opener “1974,” and second cut “Snakecharmer” blazes and scorches with wah-drenched solos around crunching rhythms and melodic vocalizations. A march emerges on the nine-minute “Bride of Mine” and only gets more fervent as the track makes its way forward, and driving finale “All Hollow’s Eve” presents a cacophonous but controlled take from Marijannah that reinforces the notion of nothing on their first outing happening by accident. Impressive and just a bit frenetic, it leaves one wondering what further ground the band might look to explore from here, whether they’ve set their sonic course and will look to refine their processes along these lines or whether this is just the beginning of a wider stylistic melding, and their next offering might sound completely different than Till Marijannah. The one seems as likely as the other, and that’s incredibly refreshing.

Marijannah on Thee Facebooks

Pink Tank Records website

 

Cosmic Fall, In Search of Outer Space

cosmic fall in search of outer space

Immediate points to Berlin jammers Cosmic Fall for opening their six-song/43-minute third album, In Search of Outer Space, with the 11-minute longest track “Jabberwocky.” The three-piece introduced new guitarist Marcin Marowski last year on Jams for Free (review here), and as bassist Klaus Friedrich steps up to take the vocalist role and drummer Daniel Sax continues to hold together impossible spaciousness with a fluidity of groove, Marowski seems right at home wah-noodling in the open reaches of “Jabberwocky” and soldering shred and swirl together on the later “Lumberjam.” Some of In Search of Outer Space’s most effective moments are its quietest, as on “Purification” or second cut “Narcotic Vortex,” but neither will I decry the bass fuzz that takes hold near the finish there or the molten churn that bookends closer “Icarus,” but as “Spacejam” hits into the vastness, it seems Cosmic Fall as just as apt to float as to rocket their way out of the atmosphere. In either case, they most certainly get there.

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Cosmic Fall on Bandcamp

 

Owl, Orion Fenix

owl orion fenix

The solo-project of Christian Kolf of avant death-crunchers Valborg, Owl issues the 22-minute single-song EP Orion Fenix – with its chanting repetitions of “reborn in fire” – as a precursor to the upcoming LP, Nights in Distortion. Like Owl’s last EP, 2015’s wondrously dark Aeon Cult (review here), Orion Fenix is both intense churn and slow-rolling melancholy, bridging a gap between classic doom (that lead 15 minutes in) and post-doom rhythms and atmosphere. If the project’s purpose is to find beauty in darkness, Orion Fenix accomplishes this quickly enough, but the track’s runtime and lush layering allow Kolf to lend a sense of exploration to what is no doubt a meticulous creative process, since he’s handling all the instruments and vocals himself. Either way, Orion Fenix, as a herald, bodes remarkably well for forward progress on Nights in Distortion to come, and is a remarkable accomplishment on its own in both heft and spaciousness.

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Owl on Bandcamp

 

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Friday Full-Length: Valley of the Sun, The Sayings of the Seers

Posted in Bootleg Theater on March 23rd, 2018 by JJ Koczan

Not that they haven’t done plenty since, but can you believe it’s coming up on seven years since Valley of the Sun released The Sayings of the Seers (review here)? The Ohio-based heavy rockers issued their second EP in June 2011, and at the time, it was impossible to know what it would signal. I remember getting the vinyl and being so enthralled by the potential. Did it sound like Slo Burn? Shit yeah, but that wasn’t about to stop me from singing along to “Hearts Aflame” or “Riding the Dunes,” and for a band who was so new, they seemed to have their sound so together, so dead on, that — I’ll be honest — I thought they were going to take over the US heavy underground.

In a way, they did. The signal that was impossible to see at the time was just how much The Sayings of the Seers indicated that a new generation of American heavy rockers was on the rise and would take hold of the greater rock consciousness throughout the course of this decade. Ripple Music had gotten rolling in 2010, and certainly a heavy rock label boom followed in the wake of their success — it’s ongoing — but that wouldn’t have happened without an explosion of bands, and Valley of the Sun, if they were concurrent, they were also more cohesive than most at the time. Though its only five tracks long, The Sayings of the Seers presented them as a band whose work was essentially ready to roll out. Like few others in the sphere of US heavy — names like fellow Ohioans Lo-Pan, Portland forerunners Red Fang, Texas’ Wo Fat and Mothership and maybe one or two from a then-nascent scene in San Diego — Valley of the Sun not only represented a generation of heavy rock coming to fruition in the post-Facebook age, but did so at the head of the wave. The next couple years 2012, 2013, and 2014, would see a massive increase in the number of riff-led acts from across the country. Valley of the Sun by no means invented heavy rock and roll, but they sure as shit knew what they were doing when they started to play it.

The evidence of that is as plain as riff on “Hearts Aflame”‘s face. The way that song starts out a rager and subtly builds from there to give a genuine crescendo feel at the end. With guitarist Ryan Ferrier‘s vocals so dead-on in their John Garcia-esque delivery, Valley of the Sun seemed to be speaking immediately to a swath of the converted that most didn’t even know existed. The Sayings of the Seers only got stronger with the momentum-building boogie of “Deep Light Burns,” which gave their future Fuzzorama Records label bosses Truckfighters a run for their money in terms of its energy and seemed to be daring the audience to keep up with it. Later on, “Aquarius” would provide a likewise charge at the outset of side B, but to get there, one first had to brave the hook that was centerpiece “Mariner’s Tale,” which remains seven years later the kind of song one might listen to and say, “Okay, well there’s no way in hell they could possibly come up with anything catchier than this,” and then you hear “Riding the Dunes” close out and have to just throw up your hands and admit defeat. In sound, in the crispness of their production, the clarity of their execution, the vibe born of their tones and the accomplishment of their songwriting, Valley of the Sun wanted for absolutely nothing. At the time, I said, “Provided Valley of the Sun can continue to hone this level of craft and grow into their own as a band, I see no reason they couldn’t stand with a select few others at the forefront of their generation of American heavy rockers.”

A bit of a hyperbolic prediction, I’ll admit — there are many other factors besides quality of work that come into play between one band “making it” and another not; how much they tour, their management choices, their PR, their label, who they play with, when and where, etc. — but it was true enough that there was nothing at that point to indicate Valley of the Sun didn’t have that kind of potential. They’ve only grown bolder throughout their two to-date Fuzzorama LPs, 2014’s Electric Talons of the Thunderhawk (review here) and 2016’s Volume Rock (review here), though lineup shuffles around Ferrier and drummer Aaron Boyer have been a steady issue. Their work may be slightly underappreciated as a result, but they’ve never doled out anything less than ultra-engaging, sharply-turned professional heavy rock. Looking back on it now, The Sayings of the Seers was nothing if not a righteous statement of this intent.

As always, I hope you enjoy.

I really, really wanted to sleep until six this morning. I didn’t. I had an announcement that I’d meant to write yesterday for the Freak Valley Festival — it’ll be posted here Monday — that I needed to bang out on European time, so it was a 4AM wakeup, which quite frankly is better than 2:30. After I did the writeup, futzed through some emails and stutter-started this post, falling asleep with my head on the kitchen table all the while, I went back to bed for a bit. Maybe an hour and a half or so. Something like that.

It really only matters because tonight I’m driving to Worcester to see Judas Priest and Saxon, and as I’ll be taking The Patient Mrs.’ car — mine is registered and starts now, but the brakes, not so much — I’d prefer not to fall asleep at the wheel and veer into the woods off the Masspike. It would be just my luck to completely total her car and survive to catch hell about it for the rest of my life.

That possibility notwithstanding, I’ll have a review up of that show on Monday. Monday’s also a pretty special occasion that I’ll be marking, so please keep an eye out for that. Here’s the rest of the notes for the week:

Mon.: Special post, Judas Priest review, Malady album stream/review.
Tue.: Baby Bones track premiere, Black Rainbows video.
Wed.: Sunnata review.
Thu.: T.G. Olson double-review.
Fri.: Soldat Hans review.

Those last three are basically me doing myself a favor pre-Quarterly Review, which is the following week, but they might get moved around. We’ll see.

You’re probably not, but if you’re wondering, eating disorder treatment continues and continues to suck. I’ve hit the point in this process of “getting healthy” where just about none of the clothes I’ve bought or acquired in the last two years fit me — a record label very kindly sent me a t-shirt this week that I’ll never be able to wear — and my favorite flannel — “the wizard flannel,” so dubbed because it’s huge like a wizard’s robe and when you wear it, its magical powers make the world seem less shitty — has gone missing. It’s probably in the basement where the clothes are kept [update: it was], somewhere among the mass of baby clothes and now-too-tight boxer shorts, but frankly, every time I go down there to look and get something to wear, I see the stack of shirts people sent me, from Year of the Cobra to Comacozer to Cosmic Fall, on and on and on, that can’t get around me anymore and it makes me want to veer into the woods off the side of the Masspike. So I try not to go downstairs. Not a sustainable plan, but fuck it. I’m a homemaker. If I wear the same t-shirt three days in a row, as I have with this Ancestors shirt I have on now, the only people who are going to be disappointed in me are myself and Donna Reed. Oh, and I’ve also stopped showering every day because I hate the sight of my own body in the bathroom mirror. “Getting healthy!”

That’s a fun one. Also fun is my anxiety about leaving the house — I’m nervous enough about going to Worcester tonight; Roadburn already has me terrified — and the generic platitudes I get about how much better I’m doing. Some level of some stupid fucking thing in my bloodwork is higher or lower than it used to be, isn’t that great? Who fucking cares? Do I live forever now? “Well, you were miserable at 150 pounds too.” No shit. I’d rather be miserable and have my fucking clothes fit me. I went out last summer and bought three pairs of hippie pants. Real hippie pants. Not that I could get them around my ass if I tried, but I don’t ever want to wear colors again. Let me just fucking do whatever I can do disappear and leave it at that. Like stay home and fall asleep typing and feel bad about not answering emails and Facebook messages fast enough.

So many fucking typos. I’m doing my best to catch them, but I know they’re getting through. It’s because I’m only half-conscious when I’m writing. Now you know.

Wow. Okay. Hard reboot? Delete everything past the notes for next week and start over? Nah fuck it. If you’re interested enough to keep reading this far into a 1,600-word post, you deserve nothing less than the truth about what a wretched wreck (“wrecktched?”) I am. So there it is. This week. And everyone tells me I’m getting better.

I hope you have a great and safe weekend. I wish I lived in New Jersey. I wish I had money enough to not have to worry about money. I wish I didn’t have to write down every fucking thing I eat in a day so it can be checked over like fourth grade math homework. I sucked at that too.

Thanks for reading. Please don’t forget to check out the forum and radio stream, and just to not end on a bummer note, please make sure you check back Monday for that special post. It’ll be the first post of the day and it’s a big one, so yeah, stay tuned. It’ll be fun. I mean it.

Until then, all the best.

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Six Dumb Questions with Akula

Posted in audiObelisk, Six Dumb Questions on March 9th, 2018 by JJ Koczan

akula

Those familiar with the vocal work of Columbus, Ohio-based vocalist Jeff Martin will find his presence recognizable in everything but context when it comes to the newcomer five-piece Akula. Known of course for his work fronting (from behind the drums) the fuzz-laced heavy rocking Lo-Pan, Martin brings his soulful melodicism to Akula as part of a lineup that includes bassist Scott Hyatt, guitarists Sergei Parfenov and Chris Thompson (the latter now also of Lo-Pan) and drummer Ronnie Miller, and the group’s self-titled first full-length incorporates a swath of atmospheric textures derived from progressive metal as ’90s alternative, post-rock and more beyond.

The album, Akula was given a digital self-release by the band in January in somewhat quiet fashion almost testing the ground to gauge an initial reception that, sure enough, came back in a positive response to the sharp chugging turns of 12-minute closer “Predators,” the open-spaced rolling groove of “Force Me Open” (10:07) the weighted ambient pulsations of opener “A Pound of Flesh” (9:19) and the post-doomer crash of “Born of Fire”‘s (9:27) blend of sonic reach and earthen nod. These four extended tracks would be all Akula needed to make that strong first impression, and in terms of both memorable songwriting and a stylistic ambitiousness, the self-titled indeed sounds like only the beginning of where the band might go in terms of ground they explore and just the first demonstration of a nuance of craft set to grow even more across subsequent outings.

Whether Martin‘s voice is the draw or you happen upon Akula through some other means — frankly, the pop in Miller‘s snare, Hyatt‘s tone on the low end and the fluidity with which Thompson and Parfenov lead transitions between claustrophobic riffing and broad-spaced soundscapes all make valid arguments in the 41-minute LP’s favor — the clearly-intended-to-be-two-vinyl-sides offering is immersive from the outset and rich in both sprawl and impact. I would not at all be surprised to find a physical pressing or two in the works for later this year, but in the meantime, Martin was kind enough to take some time to discuss the origins of the band and how the record came together in writing and recording, and whether or not Akula should be considered a side-project. Some of those responses might surprise you.

Please enjoy the following Six Dumb Questions:

akula akula

Six Dumb Questions with Akula

Tell me about Akula getting together. What was the impetus behind starting the band, and how much did you guys know going into the project what you wanted it to sound like?

Akula started when Lo-Pan had some downtime. I was feeling an overabundance of creative energy and I thought jamming with some different people and different styles might be a good way to channel some of that. This was before Chris [Thompson, guitar] joined Lo-Pan. I knew who he was and had seen a few of his previous bands play. I had been listening to a lot of heavier psychedelic stuff in the vein of Yob, Neurosis, and even some Mastodon. I knew Chris could do pretty much anything from seeing him play. I contacted him and asked if he would be interested in getting some people together for a purely fun project. He was all for it. I told him what I was thinking in terms of style and he said he actually already had some part ideas he had been messing around with that might be a fit.

We talked about bass players and drummers and rhythm guitarists and invited some guys to meet up and discuss. It all went pretty smoothly. And stylistically, everyone seemed to understand what we were looking for. A darker, heavier psychedelic sound with melodic vocals. Longer format and prog shifts seemed like a natural thing for everyone. So we got to work.

Talk about that sound for a bit. The album has such a sense of space to it, everything sounds very open and atmospheric, but still heavy. Was there something in particular you were looking to capture in terms of mood on the album?

I think there was a nebulous direction we were all going, but it’s always a mystery how it will actually shake out when you start playing. We all come from various genres of heavy music but also a mix of other types of music as well. Atmospheric was definitely where I wanted it to go. Chris brings that off-time heavy lead mentality to the songs and that was new for me. It was a challenge for me to add vocals to that. I am used to having very standard time signatures which allows me to weave in and out as much as I want to. In that feel, I can really add to the swing of a song. I really love heavy music that swings. But with Akula it took me a bit of effort to learn where the swing was. It’s definitely there. But with the off-time parts, I wanted to make sure that my swing wasn’t too hindered by the guitar parts. It’s not always easy. But I do enjoy the challenge of incorporating my vocal and lyrical style into a heavier format.

How does Akula’s songwriting process work? How does a track like “Force Me Open” come together, and what does each member of the band bring to it? When did you begin writing for the record?

Usually it all starts with a part idea from either Chris or Sergei. Those two will get together and work out a sort of skeleton format for a song. Then Scott and Ronnie will jam with them to build the rest. Adding parts. Changing parts. Removing parts. This will all happen over the course of a few weeks. Maybe even a month or two. “Force Me Open” probably took five months or more to reach a record-ready state.  And some of that is just time delays. Chris joined Lo-Pan about a year after we started Akula. Before we even had a name for Akula, actually. So Lo-Pan’s schedule definitely has an effect on the Akula writing process when it comes to time allocation for myself and for Chris.

Also everyone else in the band has quite a bit going on as well. Scott, our bassist is in a few different bands, mainly Bridesmaid, but also occasionally Horseburner and Siouxplex. He also has a career and a wife. Ronnie, our drummer is in another band (Artillery Breath) and travels quite a bit. Sergei, our rhythm guitarist has a family and runs a business. It all just takes time. We began writing the first record from the very first jam sessions. But I think it took around a year before we had our first two songs completed. All before we even discussed a name for the band.

We didn’t even play a show until around the 18-month mark. That was important for us when we started out. We wanted everything to happen in its own good time. No shows until we felt it was all ready to be played out. No recording until we have an album worth of material we all liked. No rushing whatsoever. It’s done when it’s done. And in the meantime we just have fun playing music and hanging out together. That was the first thing I said to everyone when we first got together. Those were the marching orders. No stress. Just fun.

No hassles. It’s done when it’s done. And we have really seen that through. It really is like that. We don’t fight. We all get along and we have a blast together. We play the shows we want to play. We go the direction we all decide is best.

Tell me about recording. It’s just four tracks, but they’re four pretty significant tracks. Where was the album done, how long were you in the studio and as your first release, how do you feel the outcome represents the band at this stage?

Recording could not have been a better process for us. We recorded this record at Sonic Lounge here in Columbus, Ohio. It’s a really killer studio with some outstanding equipment and it’s all run by Joe Viers. Chris had worked with Joe multiple times in other projects like Sleepers Awake. I worked with Joe on the last Lo-Pan release (In Tensions), and Scott had worked with him in his band Bridesmaid. Joe was our first choice and for me our only choice really. He just gets music and he’s a fantastic collaborator. He becomes like another member of the band. He makes strong suggestions and will hold you accountable when he knows you can play a part better or if you’re out of tune. And even vocally, I have found Joe to be an invaluable resource for ideas on harmonies and execution. I can’t say enough good things about the guy.

We did the entire album and mixing over the course of two weekends at Sonic Lounge. It was a real blast to make this album. I think as a first effort it reflects the entire timeline of the band to this point. You can hear the maturation of the songs. Or at least I can. “Born of Fire” was our first completed song. “Force Me Open” was the second completed song. Even between those two songs, I think you can hear a quantum shift. It’s pretty rewarding to see that growth as a group.

Of course, you’ve done plenty of touring over the years in Lo-Pan, but how much will Akula play out? Will you guys tour to support the album? How much is the band a side-project for you or anyone else involved?

As far as playing out goes, I think Akula takes a very methodical approach to things. We love to play live but we want live shows to be an addition to our experience, and not just a maintaining of status quo. So we are selective about frequency and overall makeup of shows. We are discussing a summer run to support this release.

I would say when we first started out this was definitely a side-project for all of us. And as it’s progressed it has really become an important project for everyone. I don’t know that I would still classify Akula as my side-project. It’s just a different project with a different sound and its own process.

Any plans or closing words you want to mention?

Akula is currently in talks to sign with an indie label to release our self-titled in physical format including vinyl. More to follow on that. We are also continuing to write new material which we will start road testing soon. Our next show is April 6 at Spacebar in Columbus with Royal Thunder and Pinkish Black.

Akula, Akula (2018)

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Akula on Bandcamp

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