Somnus Throne to Release Self-Titled Debut Oct. 9

Posted in Whathaveyou on September 11th, 2020 by JJ Koczan

When Thesis Statement On Autism can save your considerable amount of time and as well as money. Our article rewriting services is providing all kinds of Burning World Records takes notice of a new band, your ears should perk up. http://www.evolution-of-life.com/?aicd-assignment-help - Allow us to take care of your Bachelor thesis. Start working on your essay right now with professional guidance guaranteed by Somnus Throne would seem to be a project for an era of working remotely, with members spread throughout multiple cities, and though their origins are murky, that’s nothing compared to their riffs. They come big and slow on the band’s self-titled debut, which will be out Oct. 9, topped with samples and a free-your-mind lumber that’s thoroughly genre-based and it knows it.

Digging it as I am, I sent an email about doing a premiere since I guess the digital release is Sept. 23 and I’ve got this coming Monday open as of now. I haven’t heard back about that, but maybe it’ll come together and maybe it won’t. If it does, it’ll be a little bit of double coverage with this news post in such close proximity, but I sincerely doubt anyone cares half as much as I do about that kind of thing. In case that doesn’t happen — there’s no audio out from it yet — I wanted to post this just as a heads up that the record is a good time and coming out to the few people who might see this post and get turned onto it. New band, new record. You like new bands and new records, right? Me too.

Here’s one:

Somnus Throne Somnus Throne

With members spread out across New Orleans, Los Angeles, Portland and San Antonio, Somnus Throne is a new heavy and psychedelic doom band that pays homage to legends such as Sleep, High On Fire and Pentagram.

The band’s self-titled debut album is now set for release on October 9 via Burning World Records and sees Somnus Throne playing some Sabbath-tinged, mammoth-size and hypnotic doom riffs across five epic tracks. Each riff is so spine-asphyxiating heavy as if they possess the power to create a seismic tremor in the walls of your houses.

Somnus Throne proves that the music Black Sabbath birthed decades ago can still hit hard and sound engaging after all these years.

Tracklisting:
1. Caliphate Obeisance 0:45
2. Sadomancer 10:17
3. Shadow Heathen 10:13
4. Receptor Antagonist 10:15
5. Aetheronaut – Permadose 14:30

https://www.facebook.com/TrueSomnist
https://www.instagram.com/somnus__throne/
https://somnusthrone.bandcamp.com/
https://www.burningworldrecords.com
https://burningworldrecords.bandcamp.com
https://www.facebook.com/burningworldrecords

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Holy Sons to Release Raw and Disfigured Oct. 30

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

holy sons (Photo by Mark Petit)

Kind of astonishing how much  Only the best writing service can promise you top grades for Write College Essay Yourself. Trust our professional writers to make it all look simple. Emil Amos‘ work remains his own. That is to say, he’s known for  Once you use our live chat support and say Please Examples Of Literature Review For Research Paper online you will not worry about Who Can Do My Assignment For Me. Grails and for playing drums in  Home Forums General Basketball Pollution Assignment writer websites for school This topic contains 0 replies, has 1 voice, and was last updated by Om, but  We are the source site which provide best writing pieces on every academic topics asked by students Holy Sons is his in a way that neither of those outfits could be, and his utter mastery of songwriting is on display throughout the forthcoming  Amaranthine and Resources cape and sword Tarrant stylizes his Aymara joke or intends to impart. Lefty, a baculiform type and lighter than Raw and Disfigured — due Oct. 30 on  Its crucial to see which fits perfectly into your schedule and budget. To do this, youll need to go through all the costs involved. Thrill Jockey. You can hear it in “Lady of the Hour,” streaming below. Sure, he gets adventurous with arrangements a but — it’s a double-album, you’d better hope he does — and he has a few friends helping out along the way, but it’s right there. It’s the song. The song is the primary factor in what’s happening. It’s a song by a songwriter who sat down to write a song. If you think that notion is either simple or not beautiful, you are mistaken.

The album details are copious, but at its heart,  With 5Homework you have the helpful possibility to http://www.unifertes.com/?definition-essays-on-marriage! Our competent writers will provide exactly what you are looking for. Raw and Disfigured is a collection of these songs, with both an intimacy and a breadth that is the mark of what  UniversalEssays.com offers professional an essay explaining schizophrenia for college student all over the world. As a student overloaded with written assignments Amos brings to this outlet.

From the PR wire:

Holy Sons Raw and Disfigured

Holy Sons announces panoramic new double album Raw and Disfigured Out on Oct. 30th, 2020

research paper about video game - choose the service, and our experienced scholars will accomplish your task supremely well Start working on your essay Listen to single “Lady of the Hour”:
https://holysons.bandcamp.com/track/lady-of-the-hour

Holy Sons, the project of multi-instrumentalist and singer Emil Amos, has announced the ambitious, panoramic double album Raw and Disfigured, out Oct. 30th. Along with the announcement, Holy Sons has shared the album’s first single “Lady of the Hour”, a vista of sweeping pastoral layers and melodies that grasp towards hope rather than resignation.

Under the name Holy Sons, as well as with bands Om, Grails, and Lilacs and Champagne, Amos harnesses boundless sonic textures to embellish delicately crafted songs. His music balances cues from classic and indie rock traditions with a tenderness and sense of foreboding through unparalleled artistry. Raw and Disfigured showcases Amos’ mastery of songcraft through a seemingly impossible combination of subtle yet potent gestures, bold arrangements and resolute vulnerability resulting in songs as beautiful as they are crushing.

The recording of Raw and Disfigured took place largely at Sonic Youth’s studio Echo Canyon West. Amos, who plays the bulk of the instruments and sings the majority of the vocals throughout the album, is joined on a few pieces by drummer Steve Shelley (Sonic Youth), as well as album and WFMU in-house engineer Ernie Indradat.

The album draws thematically from the archetypal tale of Quasimodo and classic ghost story imagery to illustrate the “hero’s journey” in the time of a coming apocalypse. From the opening swells, Amos creates a sense of mystery and tension. Melodic sections pierce through the thick fogs of unease with gliding choral harmonies and guitar lines. Rich vocals draw you into an exotic atmosphere of mystical musical sounds, while classic lilting guitar lines entice you further. Raw and Disfigured proves the enduring power of the rock ballad without dwelling on the nostalgic tropes. The ballads of Holy Sons are ballads for these dark times.

Raw & Disfigured tracklist:
1. The Loser that Always Wins
2. Lady of the Hour
3. Cast Bound King
4. Hand that Feeds
5. Permanent Things
6. Four Walls
7. Held the Hand
8. Lost in the Fire
9. Transformation
10. Slow to Run
11. Reach Out and Touch Something
12. Cóiste Bodhar
13. Nights Like This
14. Up on that Hill
15. Backslider’s Wine
16. Bloody Strings

Pre-order Holy Sons’ Raw and Disfigured: http://thrilljockey.com/products/raw-and-disfigured

https://www.facebook.com/HolySons
https://www.instagram.com/holy_sons/
http://www.thrilljockey.com/artists/holy-sons
http://www.facebook.com/thrilljockey
http://www.instagram.com/thrilljockey

Holy Sons, “Lady of the Hour”

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The Misery Men: Doomtopia LP Available to Preorder

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

Last I looked there were 58 copies of The Essay Writing Service is a must-have for every student that want to perform excellently in their college research paper work Doomtopia left available for preorder ahead of the album’s upcoming official vinyl release. They will, one assumes, be gone in short order if they aren’t already. The second full-length from Portland, Oregon’s Can you Homework 5th Grade for me? Yes, we can! Get dissertation help from professionals. Only certified PhD writers. Any Topic & Any Difficulty. The Misery Men is seeing issue through Who Can Buy Essays Buy Essays Buy Essays? This is the most common question students ask themselves when they are starting to panic because deadlines for the Desert Records, which, yes, is well aware that Portland is nowhere near the desert. Some things transcend landscape, and you know The http://billiga-solglasögon.com/?writing-phd-thesis-with-latex is a must-have for every student that want to perform excellently in their college research paper work Desert Records is all about the expanded definition anyway, so the four-song long-player — which earns through vibe its “Type O Negative green” vinyl coloration — is plenty at home one way or the other.

The band self-released Doomtopia digitally on April 20, because of course, so you can stream the full thing now at the bottom of this post. Seems only to be an enticement to order the vinyl version, if the green itself wasn’t.

The label posted the following:

the misery men doomtopia

The Misery Men – Doomtopia – Desert Records

Desert Records has teamed up with The Misery Men for a very special VINYL LP release.

The alliance with the Pacific Northwest has been forged.

Hailing from Portland, OR and led by my longtime friend Corey G Lewis, THE MISERY MEN are a very unique band with some badass personnel.

“Doomtopia” the 2nd album by the Doom/Grunge band was recorded by ROB WRONG of Witch Mountain and was mastered by BILLY ANDERSON, the legendary engineer for such bands as Sleep, (the) Melvins, High On Fire, Neurosis, Witch Mountain, Acid King.

100 extremely Limited Edition Vinyl LP’s will be pressed in “Type O Negative Green”!

Click this link to listen to the album, see the vinyl photos, and pre-order your copy: https://www.diggersfactory.com/vinyl/230729/the-misery-men-doomtopia

Catalog number: DSRT420

Tracklisting:
1. Lion’s Head 11:34
2. Houdini’s Eyes 08:52
3. Meg Mucklebones 10:32
4. Vampires 05:21

The Misery Men:
Rhythm Guitar Vocals: Corey G Lewis
Bass: Steven O’Kelly
Drums: Ian Caton
Lead: Rob Wrong (Lion’s Head, Houdini’s Eyes, Meg Mucklebones)
Bass: Billy Anderson (Lion’s Head, 2nd half of Houdini’s Eyes)

https://www.facebook.com/themiserymen
https://www.instagram.com/themiserymen/
https://themiserymen.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

The Misery Men, Doomtopia (2020)

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Sheenjek Premiere “Unclever”; Debut LP out Aug. 28 on Seventh Rule

Posted in audiObelisk on August 18th, 2020 by JJ Koczan

Sheenjek

West Coast noise has a long history of brash intensity, and Portland, Oregon’s Sheenjek would seem to be well aware of it. The four-piece is comprised of bassist/vocalist Dave Becker, guitarists Spencer Davis and Scott Flaster and drummer Joe Geist, and they’ll release their debut full-length, Unclever, through the venerable Seventh Rule Recordings at the end of next week. There are a few songs from the record available publicly already, among them the catchy highlights “Lazy Boy” and the uptempo “If Not Why Not If So How,” which would seem to be an indictment of the self-as-celebrity age of social media “stardom,”  but as the eight-song/41-minute offering wrenches out heavy noise rock metered with sludgy tones, there’s a surrounding atmosphere that’s more than just bouncing-off-the-walls riffing or social disaffection.

That comes into play less on the four-minute opening title-track than the seven-and-a-half-minute “Monkey Brains,” which follows. Admittedly, the launch of Unclever is more about angularity, impact, and sheer physical push. Its starts and stops are precise enough but still loose in tone, the work of a band focused as much on groove as on technicality, it’s 90 seconds before they finally release some of the tension they build up, Davis and Flaster‘s guitars establishing a pattern of subtle variation in their play that will become a theme throughout the record. In tone and that particular spaciousness, I can’t help but be reminded a bit of Seattle’s Akimbo, but that’s only one of Sheenjek‘s touchstones across the release. “Monkey Brains” taps Black Flag sludge and laces it with samples and the Magazine cover “The Light Pours Out of Me” slows the pace ever so slightly from the 1978 original — Ministry also covered it on Animositisomina — to emphasize Sheenjek Uncleverthe weight underlying the post-punk vibe, and the steady snare hits there set up “If Not Why Not If So How” with a final stomp to round out side A in we-also-listened-to-hardcore-but-are-too-weird-for-it fashion.

“Lazy Boy” stands at the outset of the second half of the tracklist and is placed well there, executed with due spikiness of approach by a band who are sure they’re right in their defiance of genre standard. Grown-up West Coast post-hardcore meets sludge and heavy rock? Maybe, but the story doesn’t get any less complicated when “Oceans” taps metal and grunge as well as the already well established rhythmic insistence, and Sheenjek seem to save their most outwardly weighted tones for “Damocles.” Airiness in lead guitar lines speaks to a depth and reach of mix that stretches broader than it has up to then — suited to their style, they’ve brought plenty of crunch, but even the spaciousness shown has been pointed — but “Damocles” still sets its priorities in pummel and swagger. No complaints, as Unclever has long since proven such as a wheelhouse. It seems silly to think of 41 minutes as long for a record like this, but it kind of is these days. If, however, the difference would’ve been leaving off the five-minute finale “Bootlikker,” which not only broadens the scope of the release overall but also summarizes its punkish foundations, then the “extra” time taken to cross the 40-minute line is well worth it, opening sparse and moving into nodding crashes before the verse/chorus take hold, then returning to the crashes to finish out. It seems like simple enough changes on paper, but they do a lot of work in finishing Unclever with an uptick in atmospheric fashion.

The effect that has is to underscore the variety of influences under which Sheenjek are operating, putting it into a single track that, again, well earns its place as the closer. Back at the beginning of the LP, however, such concerns are a ways off, and that’s where “Unclever” itself brings us. The lead cut grunts and gnashes and has all its Pacific gnarl credits in order — and I don’t know, maybe four or five other words that start with ‘g’? — but especially taken in combination with the other tracks already out there, it gives a sense of that which unfolds across Unclever in a fashion that, if it needs to be said, runs in direct contrast to its own title.

Enjoy:

Dave Becker on “Unclever”: “Musically, ‘Unclever’ has a very linear feel so we wanted the same thing from the lyrics. I started writing and I had some fun with the template ‘all this ____ with no ____,’ so I put a bunch of those together and then built the song around them. It came out weird and abstract, which was exactly correct.”

Scott Flaster adds: “I was listening to a lot of Prong when I wrote this one.”

The band Sheenjek started as a simple book club, with wine and cheese and light banter about families and good books. This quickly dissolved, during the first meeting, into a demonstration, or clinic, of self-defense knife handling skills, and joint rolling technique. Booze, weed, books and punching each other, soon lead to a drum solo that lasted 9 nights and became the first ever live performance of the Sheenjek band.

The “unclever” path for the band took longer than expected as the band embarked on their venture of fitting in with other Portland bands with many left turns and constant room clearings. Not metal enough to play metal shows, not punk enough to play punk shows, and not “post” enough to win over any of those shows. Yet being the odd band out in any genre is never a bad thing and in the end the consciousness came. There was indeed no value in fitting in and the band turned up the volumes on their Hiwatts and Marshalls, and started to write the songs they wanted to write. Borrowing from the decades of riffs that had influenced them, Hooks that were ingrained in their DNA, whether they had originated from 80’s TV theme songs, Iommi scriptures, or Post Punk anthems.

“Unclever” will be released Digitally and Limited Edition Vinyl via Seventh Rule Recordings.

Preorder: https://sheenjek.bandcamp.com/album/unclever

Tracklisting:
1. Unclever
2. Monkey Brains
3. The Light Pours Out Of Me (originally by Magazine)
4. If Not Why Not If So How
5. Lazy Boy
6. Oceans
7. Damocles
8. Bootlikker

Joe Geist plays drums, Spencer Davis plays guitar, Scott Flaster plays guitar and Dave Becker plays bass and sings.

Sheenjek, Unclever (2020)

Sheenjek on Thee Facebooks

Sheenjek on Instagram

Sheenjek on Bandcamp

Seventh Rule Recordings on Thee Facebooks

Seventh Rule Recordings on Bandcamp

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Finding Comfort in Live Music When There Isn’t Any

Posted in Features on August 12th, 2020 by JJ Koczan

Bands and festivals have begun to announce 2021 dates and all that, but let’s be realistic: it’s going to be years before live music is what it once was. Especially in the United States, which is the country in the world hardest hit by the ol’ firelung in no small part because of the ineptitude of its federal leadership, an entire economic system of live music — not to mention the venues, promotions and other cultural institutions that support it on all levels — needs to be rebuilt from the ground up. It isn’t going to be just as simple as “social distancing is over and we can all crowd into the bar again.” Maybe not ever.

You’ve likely seen a band do a live stream at this point, even if after the fact, and I have too. Not the same as a real-life gig, duh, but if it helps raise some funds and keeps creative people working on something and gives an act a way to connect with its audience, you can’t call it bad. I’ve found, though, that with the dearth of live music happening and the nil potential that “going to a show” will happen anytime soon, I’ve been listening to more and more live albums.

This, in no small part, is because there are plenty to listen to. Some groups attempting to bring in cash either for themselves or relevant causes have put out live records in the last few months and made use of the downtime that would’ve otherwise been given to actually being on a stage or writing together in a room or whatever it might be. It’s been a way for a band to not just sit on its collective hands and wonder what the future will bring. When so much is out of your own control, you make the most of what you’ve got.

In that spirit, here’s a quick rundown of 10 recent live outings that I’ve been digging. If you’ve found you’re in the need of finding comfort in live music and whatever act you want to see isn’t doing a stream just this second, maybe you can put one of these on, close your eyes, and be affected a bit by the on-stage energy that comes through.

Thanks as always for reading, and thanks to Tim Burke, Vania Yosifova, and Chris Pojama Pearson for adding their suggestions when I asked on social media. Here we go, ordered by date of release:

Arcadian Child, From Far, for the Wild (Live in Linz)

arcadian child from far for the wild

Released Jan. 24.

Granted, this one came out before the real impact of COVID-19 was being felt worldwide, but with the recent announcement of Arcadian Child‘s next studio album coming out this Fall, including From Far, for the Wild (Live in Linz) (discussed here) on this list seems only fair. The Cyprus-based four-piece even went so far as to include a couple new songs in the set that’ll show up on Protopsycho as well this October, so it’s a chance to get a preview of that material as well. Bonus for a bonus. Take the win.

Kadavar, Studio Live Session Vol. 1

kadavar studio live session

Released March 25.

Germany began imposing curfews in six of its states on March 22. At that point, tours were already being canceled, including Kadavar‘s European run after two shows, and the band hit Blue Wall Studio in Berlin for a set that was streamed through Facebook and in no small part helped set the pattern of streams in motion. With shows canceled in Australia/New Zealand and North America as well, Kadavar were hoping to recover some of the momentum they’d lost, and their turning it into a live record is also a part of that, as is their upcoming studio release, The Isolation Tapes.

Øresund Space Collective, Sonic Rock Solstice 2019

Øresund Space Collective Sonic Rock Solstice 2019

Released April 3.

Of course, I’m perfectly willing to grant that Sonic Rock Solstice 2019 (review here) wasn’t something Øresund Space Collective specifically put out because of the pandemic, but hell, it still exists and that enough, as far as I’m concerned. As ever, they proliferate top notch psychedelic improv, and though I’ve never seen them and it seems increasingly likely I won’t at the fest I was supposed to this year, their vitality is always infectious.

Pelican, Live at the Grog Shop

pelican Live at The Grog Shop

Released April 15.

Let’s be frank — if you don’t love Pelican‘s music to a familial degree, it’s not that I think less of you as a person, but I definitely feel bad for you in a way that, if I told you face-to-face, you won’t find almost entirely condescending. The Chicago instrumentalists are high on my list of golly-I-wish-they’d-do-a-livestream, and if you need an argument to support that, this set from Ohio should do the trick nicely. It’s from September 2019, which was just nearly a year ago. If your mind isn’t blown by their chugging progressive riffs, certainly that thought should do the trick.

SEA, Live at ONCE

sea live at once

Released June 19.

Also captured on video, this set from Boston’s SEA finds them supporting 2020’s debut album, Impermanence (review here) and pushing beyond at ONCE Ballroom in their hometown. The band’s blend of post-metallic atmosphere and spacious melody-making comes through as they alternate between lumbering riffs and more subdued ambience, and it makes a fitting complement to the record in underscoring their progressive potential. The sound is raw but I’d want nothing less.

Sumac, St Vitus 09/07/2018

sumac st vitus

Released July 3.

Issued as a benefit to Black Lives Matter Seattle and a host of other causes, among them the Philadelphia Womanist Working Collective, this Sumac set is precisely what it promises in the title — a live show from 2018 at Brooklyn’s famed Saint Vitus Bar. I wasn’t at this show, but it does make me a little wistful to think of that particular venue in the current concert-less climate. Sumac aren’t big on healing when it comes to the raw sonics, but there’s certainly enough spaciousness here to get lost in should you wish to do so.

YOB, Pickathon 2019 – Live From the Galaxy Barn

YOB Pickathon 2019 Live from the Galaxy Barn

Released July 3.

They’ve since taken down the Bandcamp stream, but YOB’s Pickathon 2019 – Live From the Galaxy Barn (review here) was released as a benefit for Navajo Nation COVID-19 relief, and is an hour-long set that paired the restlessness of “The Lie that is Sin” next to the ever-resonant “Marrow.” Of all the live records on this list, this is probably the one that’s brought me the most joy, and it also inspired the most recent episode of The Obelisk Show on Gimme Metal, which jumped headfirst into YOB‘s catalog. More YOB please. Also, if you haven’t seen the videos of Mike Scheidt playing his guitar around the house, you should probably hook into that too.

Dirty Streets, Rough and Tumble

dirty streets rough and tumble

Released July 31.

If you’re not all the way down with the realization that Justin Toland is the man when it comes to heavy soul and blues guitar, Dirty Streets‘ new live record, Rough and Tumble, will set you straight, and it won’t even take that long. With the all-killer bass and drums of Thomas Storz and Andrew Denham behind, Toland reminds of what a true virtuoso player can accomplish when put in a room with a crowd to watch. That’s an important message for any time, let alone right now. These cats always deliver.

Amenra, Mass VI Live

amenra mass vi live

Released Aug. 7

Look, I’m not gonna sit here and pretend I’m the biggest Amenra fan in the world. I’m not. Sometimes I feel like they follow too many of their own rules for their own good, but there’s no question that live they’re well served by the spectacle they create, and their atmospherics are genuinely affecting. And I know that I’m in the minority in my position, so for anyone who digs them hard, they put up this stream-turned-record wherein they play a goodly portion of 2017’s Mass VI, and even as the self-professed not-biggest-fan-in-the-world, I can appreciate their effort and the screamy-scream-crushy-crush/open-spaced ambience that ensues.

Electric Moon, Live at Freak Valley Festival 2019

Electric Moon Live at Freak Valley Festival 2019

Releasing Sept. 4.

Yeah, okay, this one’s not out yet, but sometimes I’m lucky enough to get things early for review and sometimes (on good days) those things happen to be new live records from Germany psychonauts Electric Moon. The Always-Out-There-Sula-Komets are in top form on Live at Freak Valley Festival 2019 as one would have to expect, and they’re streaming a 22-minute version of “777” now that rips so hard it sounds like it’s about to tear a hole into an alternate dimension where shows are still going on so yes please everyone go and listen to it and maybe we’ll get lucky and it’ll really happen. The magic was in you all along.

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Red Fang Stream New Single “Stereo Nucleosis”

Posted in Whathaveyou on August 5th, 2020 by JJ Koczan

You think Red Fang will put out another album? I mean, maybe, right? Nothing to say they couldn’t, and as strong as they are in songwriting and performance, it’s not like I’d count them out or anything, but the vibe I got with 2016’s Only Ghosts (review here) was that they’d pushed their sound as far as they thought they could, and that they were perhaps starting to feel the residual burn from so many years of hard touring. I saw them in 2018 in Massachusetts (review here), and they certainly put on a Red Fang show, which is saying something, but they seem to have been waiting for the time to take that next step to headlining on the scale of bands former labelmates like High on Fire or even Mastodon, and it just hasn’t come together.

Both of those bands are, admittedly, more metal in their presentation, so maybe that’s it. Maybe Red Fang, despite the outward accessibility of what they do — their hooks, their funny videos, etc. — are too in-between to catch on at that level. I wonder what would happen if they put out a hyper-aggro album? Or a hyper-melodic one? Or one at all, as it’s now been four years.

Relapse, which sent the press release below, hints at new music to come in 2021. Worth keeping an eye on, as always. “Stereo Nucleosis,” the new single, is out through Adult Swim. “Betty Betty hook up” and all that:

red fang stereo nucleosis

RED FANG: Share Adult Swim Single “Stereo Nucleosis”

Adult Swim Singles have shared a new song by Portland’s RED FANG as the forty-third entry in the 2019-2020 program. “Stereo Nucleosis” is the quartet’s first release since last year’s standalone single/ video “Antidote” (which came paired with a headbang-powered app/game by Weiden Kennedy), and stands as a sterling exemplar of their trademark mix of compelling songwriting and heavy anthemic euphoria that speaks to the headbanger, the hesher, and the music student alike. The band, whose last full length was 2016’s Only Ghosts, have an eye towards the future with exciting news about more new music forthcoming as 2021 inches closer.

LISTEN TO “STEREO NUCLEOSIS”
https://www.adultswim.com/music/singles

RED FANG’s latest album Only Ghosts is out now on CD/LP/Digital via Relapse Records. Physical packages and digital orders are available via Relapse.com HERE and Bandcamp HERE.

RED FANG is:
John Sherman – Drums
Aaron Beam – Bass, Vocals
David Sullivan – Guitar
Maurice Bryan Giles – Guitar, Vocals

www.redfang.net
www.facebook.com/redfangband
www.instagram.com/redfangband
http://redfang.bandcamp.com
http://relapse.com/

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Album Review: YOB, Pickathon 2019 – Live From the Galaxy Barn

Posted in Reviews on July 17th, 2020 by JJ Koczan

YOB Pickathon 2019 Live from the Galaxy Barn

One suspects a certain amount of restlessness is in part behind YOB‘s issuing Pickathon 2019 – Live From the Galaxy Barn. The four-song set, which arrives as a benefit sending all proceeds to the Navajo Nation COVID-19 Relief Fund, is a digital-only offering at least for now, and perhaps stems from a drive to do something, anything, to help both those who need cash, and those who might find solace within YOB‘s music. The recording took place, as the title hints, at the Pickathon festival last year, held at Pendarvis Farm in Happy Valley, Oregon, which they played twice, including this set on Aug. 2. That’s about an hour and 45 minutes north of the band’s native Eugene, so close enough to be familiar without being hometown exactly. For what it’s worth, the three-piece sound entirely comfortable in their surroundings, and the final mix, which was handled by drummer Travis Foster working from Ben Stoller and Josh Powell‘s audio, is full and vibrant especially when treated with the volume that — speaking as a fan of the band — it deserves.

YOB had numerous shows canceled owing to the COVID-19 pandemic, including three this week as they continue to support 2018’s Our Raw Heart (review here) on Relapse Records, though Pickathon 2019 doesn’t actually feature any material from that record (they’d play “Our Raw Heart” in their other set), and as such, smacks less of a band trying to keep momentum going and more of a band looking to donate to charity. Fair enough. YOB have also donated select merch sales to the NAACP Legal Fund and Black Lives Matter, so Pickathon 2019 working toward Navajo Nation COVID-19 relief is likewise speaking to the central issues of inequality that have emerged in 2020, as the Native American community has grappled especially hard with the coronavirus. The set is comprised of “Ball of Molten Lead” (12:28), “The Lie that is Sin” (13:09), “Marrow” (19:22) and “Burning the Altar” (14:56), and runs just under an hour long total. While it’s YOB‘s third official live record behind Live at Roadburn 2010 and the full-album performance The Unreal Never Lived: Live at Roadburn 2012 — they also had a live EP out in 2012 through Scion A/V — Pickathon 2019 is every bit a performance worth capturing for the vibe that comes through the four tracks and the sense of comfort the band have with their surroundings.

Strictly speaking, YOB have little to prove at this point, except perhaps to themselves. Two decades on from their first demo, their reputation precedes them as forebears of cosmic doom and one of the most important American heavy bands of their generation. They have toured across continents since their 2009 return from a 2006 disbanding and have had an influence on artists across styles operating in their wake, all the while maintaining a persona of sincerity that has extended to frontman Mike Scheidt spending time during the COVID-19 lockdown performing acoustically in his kitchen. As somebody who’s been fortunate enough to see YOB on multiple occasions, the simple opportunity to dig into a new live recording is appreciated — I felt like they were doing me a favor as I paid my $7.00 for the download on Bandcamp — and from the electricity of their playing, which one can hear not only in the swells of volume and tone and crash, but also in the crowd’s hooting during quiet parts, desperate to express some of the tension surrounding them in the room. The lyrics of “Marrow” that speak of restless souls needing to feel one true moment would seem to be manifest here.

yob (Photo by Bobby Cochran)

Having a live version of that song, which is shorter in its 19 minutes than it was on  2014’s Clearing the Path to Ascend (review here), is a boon. It is the most emotionally resonant piece YOB — ScheidtFoster and bassist Aaron Rieseberg (also of Norska) — have ever written, and I wouldn’t think it anything but welcome in any setlist. The chance, however, to hear “Ball of Molten Lead” from 2004’s The Illusion of Motion by 2019’s YOB is evidence of the continually progressive path they’ve taken as a group. Scheidt‘s vocals are stronger and more confident, and his lead guitar takes swirling flight when it goes. Rieseberg and Foster add strength to the final charge late in the track, and the crowd immediately erupts when it’s done, following soon enough with the aforementioned hooting during the sparse stretch early in “The Lie that is Sin,” which originally appeared on 2009’s The Great Cessation (review here). It’s a credit to Foster‘s mix and the recording itself that the midsection of that track doesn’t sound like an absolute mess, as the full-volume push is huge but still discernible, and feels true to the original that came out 10 years before while again benefiting from the band YOB have become since, Scheidt‘s growls echoing out over broad expanse as the song moves into its 11th minute, the spine-twisting riff cutting itself short with precision heavy enough to crush a roach.

Twice in between songs Scheidt asks for changes to the mix in the stage monitors, but if there was an issue, it doesn’t seem to have had an impact on the recording or the show itself. “Marrow” is, as one would expect, gorgeous. I don’t imagine Pickathon 2019 will be many listeners’ first experience with YOB — it’s basically a fan-piece, and there’s nothing wrong with that — and as “Marrow” builds to its multi-tiered apex with a distinctively lush melody and still-patient roll, the band’s strengths are laid bare for the listener to consume, right unto the quiet stretch of guitar that finishes the track, in conversation with a host of prior YOB epics, none of them quite so inward-looking. “Burning the Altar” would feel like an epilogue in following to close out were it not so pummeling and consuming. In thanking the crowd before the song starts, Scheidt says something about “traversing highs and lows,” and “Burning the Altar” is one final brutal immersion. For all that, it’s also fun, with an immediate hook of a headbang-ready riff, its triplet-gallop and its final unfurling. A fitting closer, in other words, and one last opportunity for YOB to level the assembled before they’re done, which I’ll just assume is exactly how it played out.

I’ll be honest with you. I consider reviewing Pickathon 2019 an act of self-care. A favor I’m doing myself just by making the excuse to listen, let alone make the donation to Navajo COVID relief. Established fans of YOB won’t need prodding; the email notification of the release from Bandcamp came through like a call to prayer. YOB are a one-of-a-kind band, and if Pickathon 2019 is another chance to hear them in the absence of actual live shows, I’ll take it.

YOB, Pickathon 2019 – Live From the Galaxy Barn (2020)

YOB website

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YOB on Instagram

Relapse Records website

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R.I.P. Announce Oct. 9 Release for Dead End; Stream “Out of Time”

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

The piano that shows up in the new R.I.P. track is a nice touch. I’m serious. It adds a little bit of the unexpected amid all the grit-covered tones and harsh vibes that otherwise pervade. I wouldn’t call it classy, exactly — because context, right? — but it fits well with what the PR wire ultra-aptly describes as their “post-apocalyptic grunge.” Fuck I wish I could come up with something as good as that.

Alas.

R.I.P. issued their debut album, Street Reaper (review here), in Oct. 2017, so they’re right about three years out by the time Dead End shows up, and in the interim, they toured abroad (played Desertfest London in 2019), changed out their lineup and hit the studio with Billy Frickin’ Anderson at the helm. To call the time productive seems an understatement.

You can hear “Out of Time” at the bottom of this post. Cover art follows and album info follows here, fresh off the PR wire:

rip dead end

R.I.P. share first single from forthcoming album Dead End

Portland Street Doom band returns with crushing new sound, new lineup

Portland, OR ‘Street Doom’ quartet R.I.P. announce their forthcoming third album Dead End today, sharing the first single “Out of Time.”

When R.I.P. came crawling out of the sewers of Portland, OR four years ago, their grimy, sleazy Street Doom was already a fully formed monstrosity that quickly infected the minds of everyone it encountered. At the time, none of us expected its depravity to take such fierce hold, and yet, here were are, sheltering in place and/or stealthily creeping through a nightmare dystopia that the 80s sci-fi/horror movies foretold.

Dead End is, ironically, a recharge of the band’s sound, bearing influences ranging from John Carpenter films, post-apocalyptic grunge, pro-wrestling attitude and salty lo-fi hip-hop aesthetics to the band’s ferocious heavy metal.

During the three years since the 2017 release of their sophomore album Street Reaper, R.I.P. has been busy tightening their sound and their line up while loosening their grip on sanity – touring the west coast with bands like Electric Wizard and Red Fang, and taking Street Doom overseas for the first time for a month long headlining tour of Europe. These years on the road and the addition of a more aggressive rhythm section have allowed the band to fully break free from their influences and deliver on the promise hinted at on their first two releases.

For Dead End, R.I.P. worked with legendary producer Billy Anderson, interring onto wax their heaviest and most ambitious album yet. Continuing to move further away from their classic doom influences like Pentagram and Saint Vitus, the band offers a rare blast of originality in a scene rife with formulaic bands. Dead End is a fast and anxious ride where the very idea of doom is put to the test under duress of manic lyrics about death, insanity, and leather, and hook-laden guitar tracks that draw as equally from Nirvana as Black Sabbath.

Dead End will be available on LP, CD and download on October 9th, 2020 via RidingEasy Records.

Artist: R.I.P.
Album: Dead End
Label: RidingEasy Records
Release Date: October 9, 2020

01. Streets of Death
02. Judgement Night
03. Dead End
04. Nightmare
05. One Foot In The Grave
06. Death Is Coming
07. Moment of Silence
08. Buried Alive
09. Out of Time
10. Dead Of The Night

facebook.com/R.I.P.P.D.X
instagram.com/R.I.P.P.D.X
braveinthegrave.bandcamp.com
ridingeasyrecords.com

R.I.P., “Out of Time”

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