Review & Full Album Stream: Saint Karloff, All Heed the Black God

Posted in audiObelisk, Reviews on July 16th, 2018 by JJ Koczan

saint karloff all heed the black god

[Click play above to stream Saint Karloff’s All Heed the Black God in full. Album is out on LP/CD July 27 through Twin Earth Records with cassettes through Hellas Records.]

Opening with the call of a crow, shortly working its way into sampled thunder and in the meantime igniting immediately Sabbathian riffage marked out by a subtle brightness in its fuzz, the debut album from Saint Karloff, All Heed the Black God, arrives via Twin Earth Records and Hellas Records like a message telegraphed to the converted. Opener “Ghost Smoker” tops seven minutes and dips into blues rocking twists and turns as guitarist Mads Melvold layers his own harmonies — unless that’s bassist Ole Sletner or drummer Adam Suleiman backing — in a midsection shuffle, and the Oslo three-piece delve into accessible melodies as they cross reaches they won’t see again until the bookending closer, pushes closer to the eight-minute mark with an even purer Sabbath worship, like “Under the Sun”‘s malevolent boogie given a modern edge.

I say this nearly every time I mention Twin Earth Records in any context, but the label has an ear for tone that’s second to none, and as Saint Karloff join the imprints ranks, they fit excellently in that regard. The thrust of “Space Junkie” and the birdsong-laced acoustic interlude “Ganymedes” follow “Ghost Smoker,” each following the Black Sabbath blueprint in their own way, but Saint Karloff manage to make their own impression tonally and the deftness of Sletner and Suleiman in pulling off shifts in tempo and lacing one groove into the next set the three-piece apart from the masses when it comes to capturing that aspect of their forebears. In that regard and in terms of general pacing, they’re simply better at it than most bands.

The task of “Ghost Smoker” is clear at the outset in terms of setting the mood and tone — figuratively and literally — for what will follow, and “Space Junkie” answers back the patient groove with the album’s most fervent shove, leading to the interlude. This one-two-three progression of songs is pivotal to the impression All Heed the Black God makes one whole. For one, it is utterly classic. Put your intro where your intro goes, dig into a righteous groove, follow with a good sprint and then hang a louie into something entirely unexpected. It’s a smart play, and clearly intended to keep the listener on their toes as they make their way through especially for the always-pivotal first listen — going for the, “I don’t know what’s happening here, but I’m into it” impression, which they succeed in capturing — but most importantly, it speaks to a conscientiousness of craft from Saint Karloff, so what while their sound might be easy to pinpoint in terms of its influences early — hang on, we’re getting there — the very fact of that stems from a clarity of purpose on the part of the trio. They meant to make it that way, in other words, and they’re educated enough in the roots of their approach to know what they’re doing.

That’s something that only continues to help them as “Ganymedes” gives way to the three-song punch of centerpiece “Dark Sun,” “Radioactive Tomb” and “When the Earth Cracks Open” ahead of “Spellburn.” This middle salvo is likewise crucial to the overarching feel of the record, particularly as it represents a branching out in terms of influence. “Dark Sun” feeds Uncle Acid‘s “Death’s Door” garage doom through a filter of early Witchcraft — and better, works well doing so — before launching at around four minutes into its total 5:35 into thicker riffing and an all-around meaner roll, Melvold either bemoaning or bragging, “We have no soul/We are soulless,” with just a touch of post-Jus Oborn inflection in his voice. That twist fades out to finish “Dark Sun” as a highlight and the subsequent “Radioactive Tomb” confirms a suspicion heretofore held throughout the tracks regardless of speed or anything else: that Saint Karloff have a great drummer.

saint karloff

I am a firm believer that a truly excellent drummer — like an excellent singer, bassist, guitarist or even keyboardist sometimes — can make the difference in a band, and listening to Suleiman shove along the gallop of “Radioactive Tomb” as naturally as he held back during the verses of “Ghost Smoker,” his class and creativity as a player come through in such a way as to vibrantly enhance the work of the other two players around him. “Radioactive Tomb” laces additional percussion into its first half, but even so, it’s the drums holding it together it all opens up heading into and through the midpoint, a consistent, familiar beat that Suleiman makes his own. And even as he counts on his ride after everything else has dissipated, it’s clear just how central the swing and character of his playing is to the band. On the more blown-out “When the Earth Cracks Open,” as Melvold wahs out a lead and Sletner explores a highlight performance of his own, the drums carry over a straightforward progression that makes each cymbal hit count amid tom runs every bit worthy of the Bill Ward comparison they seem to be shooting for. That, “how on earth is he keeping this together?” vibe.

That’s not to take away from the work Melvold and Sletner do here — as noted, Twin Earth sniffs out excellent tone, and they both bring plenty of it — it’s just that when called on to do so, Suleiman is more than able to hold down the songs in a way that sounds easy and simply isn’t. From that shift in “Dark Sun” through the early movement in “Spellburn” en route to the aforementioned “Under the Sun” chug, he always seems to be where he needs to be, and the whole band benefits from it. Still, it’s the guitar in the foreground as “Spellburn” heads toward its sudden cold ending, and the balance across the ultra-manageable 38 minutes of the release of contributions balances well.

There are many aspects of All Heed the Black God — one assumes such heeding would be done on, say, a special day of observance, likewise absent of light — which will seem familiar to the more experienced heads who take it on, but that’s half the point. The other half is in the potential for growth Saint Karloff demonstrate throughout this thesis in Iommic Studies. Even more than the universal symptom on display throughout much of the riffing, it’s that potential left as the primary impression of the album, and one hopes Saint Karloff will continue to build on the vital chemistry and aesthetic willfulness they conjure here.

Saint Karloff, “Spellburn” official video

Saint Karloff, “Ghost Smoker” official video

Saint Karloff on Thee Facebooks

Saint Karloff on Bandcamp

Saint Karloff on Instagram

Twin Earth Records on Bandcamp

Twin Earth Records webstore/

Twin Earth Records on Thee Facebooks

Hellas Records on Thee Facebooks

Hellas Records on Bandcamp

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Saint Karloff to Release All Heed the Black God on Twin Earth Records

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

I don’t know about you, but every time I read ‘signed to Twin Earth Records,’ my mind immediately flashes to thinking this is some tone I probably need to hear. The Midwestern imprint has a knack for finding the kind of distortion you can dive into, and as they step up to issue the debut album from Oslo three-piece Saint Karloff, the standard would definitely seem to apply. I don’t see a set release date for when the label will deliver the band’s debut album, All Heed the Black God, but a first taste thereof is being given now with the video for “Ghost Smoker” that you can see at the bottom of this post, and it certainly bodes well for showing off a doom-rocking, horror-minded sensibility. Makes me look forward to hearing the rest of the record.

The announcement came down the PR wire, as announcements do:

saint karloff

Saint Karloff sign with Twin Earth Records

Saint Karloff Urge You to “All Heed the Black God”, Scribble Deal with Twin Earth Records

Norwegian distortion pedal lovers Saint Karloff are excited to announce their partnership with Twin Earth Records to release their début album, All Heed the Black God, which will be emerging on July 27 2018. The record is stuffed with seven tracks of riff worship much like the already-released “Ghost Smoker”. The band’s aesthetic – much like their name – draws from oldschool horror films, while the music is a modern twist on that 70s and 80s rockin’ vibe set out by Motorpsycho by way of Black Sabbath – with a touch of acoustic amid the heavy crunch.

The band are understandably fired up to get their début album out to the masses. “We have had great fun making it, and we really hope it will bring some good heavy vibes to the people out there!”

All Heed the Black God will be available on CD, vinyl and digital download.

https://www.facebook.com/SaintKarloff/
https://saintkarloff.bandcamp.com/
http://www.instagram.com/saintkarloff
https://twinearthrecords.bandcamp.com/
http://twinearthrecords.storenvy.com/
https://www.facebook.com/TwinEarthRecords

Saint Karloff, “Ghost Smoker” official video

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Tempelheks Premiere New Track; Sign to Cursed Tongue Records for Midnight Mirror LP Due in August

Posted in Whathaveyou on May 4th, 2018 by JJ Koczan

tempelheks

With vibes right out of classic doom by the likes of Saint VitusTrouble and Reverend Bizarre, Oslo four-piece Tempelheks have inked a deal with Cursed Tongue Records to issue their third album, Midnight Mirror, this coming August. The 10-track/43-minute LP follows on the heels of 2016’s Serpents, Gods and Men, and shows Tempelheks further refining their style with elements of Norse folk and proto-metal along with their traditionalist doom riffing.

Tempelheks Midnight MirrorIt’s a stylistic blend that will be somewhat familiar to doomers who’ve dug into Northern doom before, but to listen to a track like “Prey” — which just happens to be premiering at the bottom of this post — there’s a decent sense of ’70s style shuffle to the proceedings, and especially coming right after the acoustic-based “Tigress” and before the more NWOBHM-affected guitar of “Harem Ritual,” it emphasizes the dynamic at work in the material overall, and the flow Tempelheks are able to conjure throughout these varied tracks.

You can hear some shades of garage doom in “Holy Serpent” and opener “Gates of Python,” but Tempelheks never seem to play all their cards in a single track, even as they move through the folkish “They Hide” toward closer “Slither Did My Queen,” which rounds out with bluesy lead work to cap Midnight Mirror as an album showing Tempelheks as capable of going where they want, when they want, and walking their own path to get there.

Cursed Tongue sent over the following about the signing:

tempelheks cursed tongue records

TEMPELHEKS SIGNS TO CURSED TONGUE RECORDS FOR WORLD WIDE RELEASE OF THEIR THIRD ALBUM ‘MIDNIGHT MIRROR’ IN AUGUST 2018.

Cursed Tongue Records is exhilarated to announce the signing of norse band Tempelheks for a release of their third album entitled ‘Midnight Mirror’ in August 2018.

From the doom streets of Oslo comes a four-headed snake bearing the name Tempelheks. Tempelheks is a psychedelic and occult doom rock experience. Based on the heavy riff of the 70’s, the band experiments with folky and traditional melodies coupled with eerie and mystical vocals. A groovy but hard beat drives the doomed caravan onward.

Originally conceived as a solo project by Martin Horn Sørlie (HS) in 2013 Tempelheks released their debut EP the gritty lo-fi “Red Forest ” which got picked up by a doom/stoner channel on YouTube. The unexpected attention motivated Tempelheks to write their self-titled debut album in 2014. With the debut album, the foundation of the serpent-worshipping cult’s temple was created.

The debut album was picked up by Norwegian underground label Heksekunst Productions. Both “Red Forest EP” and “Tempelheks” were recorded with limited funds and equipment in an old loft in Rælingen, outside of Oslo. The raw, unpolished sound gave the recordings a lot of character and helped build the occult atmosphere of the sound.

By the summer of 2015, a band was assembled and founding member HS was accompanied by Andreas Prestby (drums, percussion), Espen Sande Larsen (bass, backing vocals) and Sindre Øhman (guitar). Work on a new album started, which resulted in “Serpents, Gods and Men” that was released in August of 2016. This was also the first Tempelheks album to be pressed to vinyl. This time the recording sessions took place in a professional studio in Vestby, Norway. Jørn-Arild Grefsrud’s clean and powerful production took the sound in another direction, but still true to the occult and dark atmosphere of the previous releases.

Since then Tempelheks has played concerts through out Norway with bands like Dunbarrow, Horisont, Gravy Jones and Superlynx. Next step is to play abroad where the band looks to tour Scandinavia and northern Europe during fall 2018. Prior to recording their third album Tempelheks regrouped to now include a lineup constituting of HS, Sindre and new members Magnus Bjørnstad (bass & backing vocal) and Håkon Bergh (Drums & percussion).

On ‘Midnight Mirror’ Tempelheks chose to record in the renowned Cederberg studio in Kristiansand, Norway. Here they were accompanied by producer, friend, ex-label-head and vocalist of Dunbarrow; Espen Andersen. The sessions were done live and fast which gave little room for pickiness, over-thinking or compromise. The result was a characteristic, back-to-the roots kind of sound that lean more towards retro-rock than the more metal-fuelled sound of “Serpents, Gods and Men”.

The new album sees Tempelheks streatching out to incorporate a wider sonical range. Midnight Mirror thus span a variety of influences from the darker side of hard rock bringing to front a musical footprint ensured to appeal to fans of contemporary bands such as Uncle Acid, early Kadavar, HEAT, Demon Head and their fellow countrymen in Devil as well as classic acts as Thin Lizzy, Pentagram, King Crimson and Reverend Bizarre.

CTR-010, TEMPELHEKS – ‘MIDNIGHT MIRROR’, official release date: August 2018

TEMPELHEKS is:
Martin Horn Sørlie – Vocal & Guitar
Sindre Øhman – Guitar
Magnus Bjørnstad – Bass & backing vocal
Håkon Bergh – Drums & percussion

Recorded at Cederberg Studio, Kristiansand with Espen Andersen (Dunbarrow)
Mixed by Tempelheks and Espen Andersen
Mastered for vinyl by Tony Reed at HeavyHead Recording Co. (Mos Generator)
All music written and arranged by Tempelheks
All lyrics by Tempelheks, except for lyrics on “Slither Did My Queen” by Vilde Bjørklund
Artwork and layout by Kenneth Larssen Lønning
Additional layout/design by Michael Andresakis

Track listing:

Side A
1. Gates Of Python
2. Bury Your Children
3. The Witch And Her Man
4. Tigress
5. Prey
6. Harem Ritual

Side B
7. Holy Serpent
8. Phantom Messiah
9. They Hide
10. Slither Did My Queen

http://tempelheks.bandcamp.com/
http://www.facebook.com/tempelheks/
https://www.instagram.com/tempelheks

http://cursedtonguerecords.bigcartel.com/
https://www.facebook.com/CursedTongueRecords
https://www.instagram.com/cursedtonguerecords

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Age of Taurus Announce The Colony Slain Due May 18

Posted in Whathaveyou on May 3rd, 2018 by JJ Koczan

age of taurus

Don’t know about you, but May 18 sounds like the distant future to me. It’s not. I guess somehow I just missed all of April and it’s still March in my head, despite the semi-decent weather. I don’t know. Either way, it’s just a little over two weeks until the new Age of Taurus album, The Colony Slain, is released on Rise Above Records, and they’ve got  new track called “In Dreams We Die” streaming now that’s rife with trad-doomly righteousness. It’s been five years since they put out their debut full-length, Desperate Souls of Tortured Times, and though I haven’t heard the full-record yet, the single certainly sounds invigorated. You know, at least as far as doom goes.

The PR wire has info. Audio’s at the bottom. You know how we do:

Age of Taurus The Colony Slain

Age Of Taurus To Release “The Colony Slain” May 18th via Rise Above Records – First Single Streaming

“Many centuries ago, when the world was slightly younger and a little less ravaged by time’s unrelenting grasp, there existed a sprawling empire of unrivalled power. Yet, whilst its might and influence stretched across great oceans and through vast mountain ranges, its immense dominion was born not out of prosperity and industry, but from rampant fear and blind obedience…”

So begins the arcane tale behind The Colony Slain, the second full-length album from doom metal diehards Age Of Taurus. The album is set for release May 18th via Rise Above Records.

Nearly five years on from the release of acclaimed debut Desperate Souls Of Tortured Times, singer/guitarist and conceptual mastermind Toby W. Wright is ready to unveil a new, ultra-dramatic chapter in the turbulent saga of the Taurean Empire. Showcasing a new line-up featuring new bassist Leo Smee (With The Dead/ex-Cathedral) alongside Wright, drummer Darius Claydon and most recent recruit, guitarist Daniel Knight, The Colony Slain is the sound of a great band reborn in heavy metal glory.

Formed in 2009, Age Of Taurus have already established themselves as a doggedly unique force within the modern world of doom. Ever the stubborn mavericks, they have once again conjured a collection of songs that defy lazy notions of doom metal as a one-dimensional creative cul-de-sac. Still rooted in the rumbling sonic bedrock of Trouble, Candlemass and Sabbath but increasingly steeped in the gritty swagger of the New Wave Of British Heavy Metal and in thrall to numerous left-field, progressive ideas, songs like fiery opener Taken To The Tower and the rampaging In Dream We Die eschew the languorous repetition of much modern doom in favour of subtly elaborate song structures that proudly salute the spirit of old school heavy metal. With nods to everything from radio-friendly hard rock to gritty crossover thrash, The Colony Slain is a flat-out celebration of the metal code.

Rejuvenated and refocused, Age Of Taurus have returned from the wilderness bearing the most potent of gifts. Living, breathing, thunderous proof of doom’s timeless allure and the inspirational power of the riff, The Colony Slain brings past, present and future together in a riot of heartfelt heaviness and, as the story says, unrivalled power. A new age is dawning and this story never ends…

The Colony Slain Track Listing:
1. From the Hills to the Halls
2. Taken to the Tower
3. The Trial of Blackwynn Chaise
4. In Dreams We Die
5. The Lost Garrison
6. Beyond the Westward Path
7. For Treason We Rise
8. The Walls Have Ears
9. To Seal a Mountain
10. As Ice Into Blood
11. The Colony Slain

Age of Taurus is:
Toby Wright – Vocals/Guitar
Leo Smee – Bass & Synthesizers
Darius Claydon – Drums
Daniel Knight – Lead Guitar

https://www.facebook.com/AgeOfTaurus/
https://www.facebook.com/riseaboverecords/
http://www.riseaboverecords.com/

Age of Taurus, “In Dreams We Die”

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Review and Full Album Premiere: Tusmørke, Fjernsyn i Farver

Posted in audiObelisk, Reviews on April 30th, 2018 by JJ Koczan

Tusmørke_by_Terje_Ska?r

Norwegian ultraprogger weirdos Tusmørke release their sixth album, Fjernsyn i Farver, May 4 via Karisma Records. The temptation is going to be to try to keep up with where the Oslo-based five-piece go on the follow-up/companion-piece to 2017’s Hinsides, but I’m not sure that’s either the way to go when it actually comes to listening or what the band intends for the listening experience. With strong currents of flute and various organs and keys, New Wave-style rhythms, bilingual lyrics and enough turns of mood and sound to be legitimately dizzying, I think Tusmørke on these six tracks are happy doing their own thing. They are way, way out there. Way gone.

Mind you, I’m not saying that an attempt to hold pace with Tusmørke on the six-track/43-minute outing isn’t worthwhile, and if you’re the type to keep tabs literally or figuratively on every move a band makes on a given record, then you should at least know that songs like the opening title-track, its proclamation-laced eight-minute compatriot “Kniven i Kurven” — the similar title construction of which to the track preceding and the album itself hardly feels coincidental — will keep you busy for some time to come. There’s a plan at work, and these songs are crafted rather than kitchen-sinked — elements like flute and Wurlitzer aren’t just thrown in. They serve no less purpose to the overall proceedings than vocals, guitar, bass or drums, and as the band careens between genres and a chiaroscuro thematic, they mostly depart the serene and classic progressive feel of Hinsides — the three-minute “Borgerlig Tussmørke” notwithstanding — in favor of a late-’70s, semi-electronic spirit that’s alt-universe danceable on “Kniven i Kurven” and given more to spacey swirl and Magma/Amon Düül II-ish headspinning on “3001,” which arrives ahead of the English-language “Death Czar,” Tusmorke Fjernsyn i farverthe penultimate inclusion, on which declarations about the cosmic egg from which the universe hatched and other such ideas are laid bare.

The title Fjernsyn i Farver translates to “color television,” and while I’m not entirely sure how that plays into the ideas explored about reflected light — also, my ignorant American ass speaks not a lick of Norwegian beyond a few choice words picked up from repeated exposure in black metal: “skog,” “svart,” etc. — the depths of the arrangements throughout the title-track, “3001” the percussively insistent “Death Czar” and the sense of reconciliation in the prog-boogie of closer “Tøyens Hemmellighet” give the record as a whole a richness of character that the utter hack in me almost can’t stop himself from calling “colorful.” Nonetheless, the sonic variety and diverse personality that Tusmørke adopt for this album and the ease with which they prove malleable to that intent, can only be considered a win on the whole. And while the exploratory complexity of the material is a central factor to the listening experience, neither is Fjernsyn i Farver without a sense of songwriting and craft at work. I alluded to it somewhere above, but this isn’t a happenstance collection, and the chorus of the title-track proves it as much as the obvious consideration put into the flowing instrumental grace and far-away echoes that bring “Tøyens Hemmellighet” to its end.

Rather, opaque though it might be especially for those of limited linguistic skills such as myself, Fjernsyn i Farver brims with purpose in its execution, and each element at work is a part of it. The active nature of their rhythm, the clarity of thought put into each track and the variety they present throughout may be difficult to trace step by step, but taken in its entirety, the sweeping breadth that ensues is both immersive and affecting in any language.

I have the pleasure today of hosting the full premiere of Fjernsyn i Farver below ahead of the release later this week. You’ll find it on the player here, followed by the best band quote I’ve gotten in a while to go with one of these streams, which actually goes a long way toward explaining what Tusmørke are up to conceptually here. There’s also more background from the PR wire, which includes what I assume is a complete list of the instruments used on these tracks.

Please enjoy:

Benediktator on Fjernsyn i Farver:

Fjernsyn i Farver is a companion piece to our last album Hinsides. All the songs came about in roughly the same mindframe and spacetime. We then sorted the songs into two categories, Death and Space. Hinsides was thus the death album (“death” is pronounced “dess” in Norwegian), while this is the space album, both sci-fi-wise and psychedelically.

Don’t expect the sound of ’67, though; we are more inspired by Goblin, Norwegian new wavers Kjøtt, Norwegian hardrockers Høst and bird watching. How come? Well, space is full of horror, hardness, rocks and waves. Also, Benediktator and Krizla are keen ornithologists. The world was hatched from the cosmic egg, laid by the bird of paradise. The yolk of our existence is still surrounded by the white, the blinding light that blocks our true sight. The question isn’t: Where do visions come from? The question is: Where do they go? The answer is, unfortunately, in Norwegian.

“Fjernsyn i farver” (“Colour Television”) is Tusmørke’s sixth full length album, loosely based on two concepts of light, time and reality. How everything we see is a reflection made by light from the sun hitting an object – The reflected light is registered by our eyes, but the reflection is also sent out in all other possible directions, travelling at the speed of light. The unobstructed reflections would travel forever onwards into space. If we could devise a means to move faster than light, we could overtake these reflections and view them again, seeing history backwards.

The second idea is that light is not seen as anything until it hits something and is reflected back, creating an image in colour for the human eye. So if there were no physical objects to reflect the light, there would be an eternal totality, a darkness of sorts, since light would not be seen.

With artwork by Linn Solveig Halvorsrød and design by Tom Korsvold, tracklisting on the album us as follows:

1. Fjernsyn i farver (Colour Television)
2. Kniven i kurven (The Knife in the Basket)
3. Borgerlig tussmørke (Civil Twilight)
4. 3001
5. Death Czar
6. Tøyens hemmelighet (The Secret of Tøyen)

Featuring members of WOBBLER, JORDSJØ and ALWANZATAR, TUSMØRKE’s lineup fields an almost dizzying variety of instruments, and is comprised of Benediktator on Bass, vocals, Glockenspiel and percussion, Krizla on Flute, vocals, electronics and percussion, The Phenomenon Marxo Solinas on Minimoog Model D, Korg CX3, William de Blaise on harpsichord, Steinway & Sons Grand Piano, Hohner Clavinet D6, Mellotron M400, Hammond C3, Wurlitzer 200 and Solina String Ensemble, and HlewagastiR on Drums and percussion.

Tusmørke on Thee Facebooks

Tusmørke on Bandcamp

Karisma Records US webstore

Karisma Records EU webstore

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Høstsabbat 2018 Announces Amenra to Headline, Adds Eagle Twin & Lonely Kamel to Bill; Lineup Complete

Posted in Whathaveyou on April 25th, 2018 by JJ Koczan

I was pretty down the the level of variety Høstsabbat 2018 had running in its lineup before, but if you want to see a spectrum of heavy, just take a look at the last three bands added to complete the lineup. Amenra, the Belgian outfit who I think are inarguably the foremost European post-metal band at the moment, will headline. Oslo’s own heavy rockers Lonely Kamel will play, bringing classic heavy vibes and an unabashed, unashamed good time. Oh, and then there’s the two-piece Eagle Twin from Utah who blend doom and psychedelia and throatsinging and stories about mythical birds and beasts and whatnot. So, you know, a little something for everyone.

Plus Electric Moon are playing. That’s excuse enough to show up right there, frankly.

But yeah, it’s a killer way for Høstsabbat 2018 to finish unveiling its lineup, and one imagines the massive strobe setup Amenra bring to the proceedings will be the unholiest thing ever seen in the Church JAKOB, where Høstsabbat is being held.

Dig it:

Amenra: Please welcome the headliner of Høstsabbat 2018!

When we first landed Church JAKOB as this years’ venue, a couple of bands came to mind as the perfect bookings..

And it is with massive pride we are able to announce our first choice, the legends in the Belgian five piece, Amenra . What could possibly be a more fitting closure to this years event than the founders of the Church of RA-collective?

To witness Amenra from a stage is something you won’t forget. It’s cleansing, ritualistic, nihilistic, scary, painful and in the most accurate sense of the word; mindblowing. Their attention to detail in performance, riffs and visuals can hardly be described as anything but spellbinding, and to have this complete package in a church, downtown Oslo.. well what to say?

On top of this, their recent masterpiece “MASS VI”, put Amenra in a different league all together, as the Neurot Records release was hailed as one of the absolute best metal records of 2017. Also bringing them onboard two massive US-tours alongside label bosses Neurosis and Converge.

On October 6th they grace Church JAKOB with their presence. Are you in?

Lonely Kamel

Touring Europe as we speak, the re-invented five piece version of Oslo’s stoner legends Lonely Kamel will make a joyful return to Høstsabbat, as they deserve.

Their new album “Death’s-Head Hawkmoth” was released about a month ago on the stellar Stickman Records, putting the Kamel’s in the top shelf of European underground rock.

Lonely Kamel have played more or less every underground festival there is, on the European continent, from Duna Jam, to Roadburn, to Desertfest, to Up in Smoke..you name it, and they have toured massively for years, making them an easy act to love.

We’re eager to welcome these blues and boozehounds back, as should you!

Eagle Twin

We are extremely proud to present the two-headed beast that is Eagle Twin (US). Probably one of the best live acts around, and a huge favorite in our camp. Being somewhat of a benchmark for what two guys can make out of their instruments and hands, we will bow to their wall of sound.

The guys from Utah just released their new album “The Thundering Heard” to massive praise, and will set out for a short span of shows in Europe in October. After trying to have Eagle Twin over for several years, we are stoked to tell they will start their Euro run at Høstsabbat Friday October 5th.

What else to say, than the Eagle has landed.

LINE-UP
Amenra
Electric Moon
Asteroid
Toner Low
Lonely Kamel
Brutus
Eagle Twin
Elephant Tree
Hällas
Spurv
The Moth Gatherer
Domkraft
DWAAL
Krokofant
Taiga Woods
SÂVER

https://www.facebook.com/hostsabbat/
https://www.facebook.com/events/1394090067384672/

Amenra, Mass VI (2017)


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Høstsabbat 2018: The Moth Gatherer Added to Lineup

Posted in Whathaveyou on April 16th, 2018 by JJ Koczan

The roster of acts for Høstsabbat 2018 continues to broaden in both number and sonic context with the addition of Swedish heavy post-rock/drone explorers The Moth Gatherer. Based out of Sweden, the band released their last album, the Karl Daniel Lidén-produced The Earth is the Sky (review here), in 2015 on Agonia Records, and impressed with their depth and textures. I wouldn’t necessarily speculate as to what their apparently-done new album has in store, but given the progressive turns they were making between organic and electronic elements three years ago, I’d be interested in finding out.

I was fortunate enough to attend and cover the last Høstsabbat in 2016, and this one seems poised to be even bigger on just about every level. Tickets are on sale now. Here’s the latest from the Høstsabbat social medias:

hostsabbat 2018 moth gatherer

Oooh… this week has been awesome. Finally the tickets for this years’ Høstsabbat went live, and we couldn’t be happier with the lineup so far.

BUT! We still have some gems to announce for you guys.

We’ve been gathering souls and sinners since we first started, so this year we’re adding moths to the list. The Moth Gatherer out of Stockholm/Gøteborg is a force of nature when they hit the stage. Their sound leaning towards super heavy post-rock, mixed with jazzy drums, fierce vocals, pure energy and tasty electronic samples, make them a class-act to witness. We had them over for a club night some years ago, and we’re stoked to have them on our festival bill this time. Known for bringing guest vocalists to their recordings, spanning from from Refused’s Dennis Lyxzen, to Thomas Jäger from Monolord, The Moth Gatherer just finished their upcoming album in Studio Underjord some days ago, and rumour has it they’ve outdone themselves again.

We can’t wait for some new material to be unleashed from the stage! Gather the souls, gather the sinners, gather the moths \m/

TICKETS: http://bit.ly/tickets-hostsabbat

LINE-UP
Electric Moon
Asteroid
Toner Low
Brutus
Elephant Tree
Hällas
Spurv
The Moth Gatherer
Domkraft
DWAAL
Krokofant
Taiga Woods
SÂVER

https://www.facebook.com/hostsabbat/
https://www.facebook.com/events/1394090067384672/

The Moth Gatherer, The Earth is the Sky (2015)

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Høstsabbat 2018: Spurv Join Lineup

Posted in Whathaveyou on April 10th, 2018 by JJ Koczan

Oslo heavy post-rockers Spurv recently announced their second album, Myra, would be out in June via Fysisk Format, and posted the first track from it. The title of “Og Ny Skog Bæres Frem,” at least according to what would seem to be the remarkably flawed translation matrix of a major internet company, translates to something about “and new forest forward,” and I’m going to assume “forward” there should be “grows” or “growing.” That is, if the translation is right at all, which given the amount of Norwegian my ignorant American ass speaks, is anyone’s best guess. Apologies to the band if I’ve butchered it. The song, which is a lush instrumental rife with Russian Circles-style layering and a will that goes beyond heft in terms of atmosphere, rules either way.

There was a point to this post, succinctly summarized in the headline: Spurv will play at Høstsabbat 2018 this Fall. They join an impressive and varied lineup that includes Asteroid, Electric Moon, Brutus, Toner Low, Elephant Tree and more, and my understanding is more announcements are still to come.

Here’s this one for now:

spurv hostsabbat

Finally, a sense of spring is upon Oslo!

With spring comes birds, and what could be more soothing than the announcement of the fantastic six-piece Spurv (“sparrow” in English) to this years’ Høstsabbat.

When we were able to check out their forthcoming album, “Myra”, out 1st of June on the ever-magnificent Oslo label Fysisk Format, we were totally blown away…

What they lack in vocals (because there is non), they make up for with painting the most beautiful soundscapes, taking the listener on a trippin’ journey over blossoming fields of spring flowers. It’s tender, massive, fragile, heavy and straight up awesome! We can’t wait to see this in the church room.

Spurv will treat us with a new kind of postrock. Be amazed.

LINE-UP
Electric Moon
Asteroid
Toner Low
Brutus
Elephant Tree
Hällas
Spurv
Domkraft
DWAAL
Krokofant
Taiga Woods
SÂVER

https://www.facebook.com/hostsabbat/
https://www.facebook.com/events/1394090067384672/

Spurv, “Og Ny Skog Bæres Frem”

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