Posted in Whathaveyou on March 7th, 2024 by JJ Koczan
The news that Philadelphia heavy rockers Thunderbird Divine have been picked up by Black Doomba Records for their next album is already a win even before you get to the manner of their delivery, which is with the charm-drenched video below filmed on what seems to have been a day like any other in the rehearsal space until it wasn’t pizza at the door. Good fun, and a Pulp Fiction reference at the end to boot.
Early last year, Thunderbird Divine unveiled standalone covers of The Osmonds‘ “Crazy Horses” (premiered here) and Barry White‘s “I’m Gonna Love You Just a Little More, Babe” (premiered here), following on from their take on The Yardbirds‘ “Happenings Ten Years Time Ago” that featured among the originals on 2020’s The Hand of Man EP (review here). 2024 puts us at five years and at least a partial lineup swap’s remove from their debut full-length, 2019’s Magnasonic (review here), so even seeing mention of “Fall of 2024” as a potential arrival date for their sophomore LP is welcome. I haven’t heard it yet, but I hear good things about it and the stretch after the first has only found them growing funkier, so here’s looking forward.
The PR wire makes it official, but don’t forget to watch the clip as well for a highlight 90 seconds of your day:
THUNDERBIRD DIVINE Rocks the Scene: Signs with Black Doomba Records for Explosive Fall 2024 Album Release
In an electrifying new partnership, the esteemed Philadelphia-based band THUNDERBIRD DIVINE has inked a deal with Black Doomba Records, signaling a bold new chapter in their already illustrious journey. This collaboration promises to unleash an album in the fall of 2024 that will further cement THUNDERBIRD DIVINE’s place in the pantheon of riff-heavy psychedelic/stoner/doom music.
Since their formation in March 2017, THUNDERBIRD DIVINE has captivated audiences with their unique blend of sonic textures and musical experimentation, drawing inspiration from the likes of Monster Magnet, Hawkwind, and The MC5. Their journey has seen them release critically acclaimed albums such as Magnasonic and The Hand of Man, alongside memorable singles and covers that showcase their versatility and creative prowess.
The upcoming album, set for release in the fall of 2024, is eagerly anticipated by fans and critics alike. It promises to be a testament to the band’s relentless pursuit of musical innovation, featuring compositions that are both emotionally compelling and sonically adventurous. This new project will not only highlight THUNDERBIRD DIVINE’s mastery of traditional rock songwriting but will also delve into complex textures and sounds, further pushing the boundaries of their genre.
THUNDERBIRD DIVINE comprises Erik Caplan, Michael Stuart, Joshua Adam Solomon, and Jack Falkenbach – a lineup of multi-instrumentalists known for their musical virtuosity and experimental approach. The band’s dedication to in-house recording and embracing technological advancements in search of the perfect sound has set them apart in the music world.
The partnership with Black Doomba Records, a label renowned for its dedication to the heavy music scene, marks a significant milestone for THUNDERBIRD DIVINE. This alliance is set to amplify the band’s reach and introduce their groundbreaking music to a wider audience.
Stay tuned for more updates on THUNDERBIRD DIVINE’s forthcoming album and their journey with Black Doomba Records. In the meantime, fans can connect with the band through their official social media pages and Bandcamp profile.
This Friday, Pittsburgh drone guitarist Emilio Rizzo, otherwise known as Fuzznaut, will release the new single “Sufferlove,” as the first outing from the project since 2022’s Apophenia (review here) full-length. And like that album, “Sufferlove” cries out into empty space with solo guitar and unmitigated breadth, creating and inhabiting an atmosphere that draws the listener further across the five-and-a-half-minute expanse. Cycles of ‘riff’ bleed in amid the ambient sprawl, and with a title that perhaps hints toward its expressive purpose, an emotional crux is conveyed along with the depth of tone and the weight that emerges in the second half of the piece.
That’s a contrast — tonally, between air and earth — which Rizzo readily identifies in his own work, and which is audible in the track itself. It comes through immediately in the meditative vibe at the outset of “Sufferlove,” which echoes out not too far removed from Lamp of the Universe before finding and exploring its own space as Fuzznaut makes it sound much easier to do than it actually is, and the harder, lower-noted distortion strum that arrives at 1:35 broadens the scope of the nonetheless hypnotic piece, which cycles through the back and forth again before a thoughtful bridge leads to the more open-sounding progression — the air — to finish, interpreting a classic structure from what in another context might’ve manifest as verse/chorus/verse with a clarity of intent in following a different path.
I’ve done a few premieres for Fuzznaut at this point. Both the video for “5184” that you can see below the entirety of Apophenia that’s also down there streaming made their debut here. As Rizzo perhaps looks to move forward from the 2022 LP and headed to another collection of one sort or another, “Sufferlove” brings quick assurance of progression in sound, and one would expect no less.
Whatever it may lead to, “Sufferlove” is out Friday as a standalone single, and its patience, resonance and groove live up to that challenge of representing Fuzznaut post-Apophenia.
Enjoy:
Emilio Rizzo on “Sufferlove”:
Meditation is the practice of death. A practice of immersion and dissociation. Similar to shoegazers staring at their pedals and shoes. Are they shy or fully immersed in their music that all they can do is stare at the ground? Present and absent. Sufferlove by guitarist Fuzznaut is the sonic performance of creating a state of non return. As intangible as that might be, the latest single brings mind bending tones that are further grounded in shoegaze. However, the guitarist continues to inject crushing down tuned riffs in between the flurry of pitch bending vibrato, and fuzzed out drones. At 5:33 seconds one cannot help to be engaged in the flurry of tones, and either be lifted or grounded. Either way it’s a trip to another sonic dimension.
Fuzznaut “Sufferlove” Single 2/2024 Digital Release Independent Time: 5:33
Mixed and MASTERED BY Fuzznaut at Leafy Brain Sounds 2023-2024. Artwork by Fuzznaut
Posted in Whathaveyou on January 18th, 2024 by JJ Koczan
Greeting listeners with its opening track positioned as the first single, Heavy Temple‘s second long-player, Garden of Heathens, is set to arrive on April 22 through Magnetic Eye. One will find the self-recording Philly hard fuzzers’ twisting grooves intact from where they left off on 2021’s Lupi Amoris (review here), with High Priestess Nighthawk bringing a refined post-Homme croon to the verses before shifting soulfully into the second chorus. What was true then would seem to remain true now. If you’ve got the itch, Heavy Temple are the scratch.
So be it. “Extreme Indifference to Life” streams below and I count this near if not at the top of my most anticipated records of 2024 list. Note the band toured with Howling Giant for a first European run last Fall, and that I’m pretty sure Garden of Heathens was already recorded before that; guitarist Lord Paisley has been replaced by Christian Lopez, whose nom de plume I’d imagine is pending.
From the PR wire:
HEAVY TEMPLE unleash first single ‘Extreme Indifference to Life’ and details of new album “Garden of Heathens”!
Psychedelic doom fast-risers HEAVY TEMPLE have released the booming opening track ‘Extreme Indifference to Life’ as the first single taken from their forthcoming sophomore full-length “Garden of Heathens”, which has been slated for release on April 12, 2024 via Magnetic Eye Records. The pre-sale is now available at http://lnk.spkr.media/heavy-temple-garden
HEAVY TEMPLE comment: “The lyrics of our new record ‘Garden of Heathens’ are rather personal”, singer and bass player High Priestess Nighthawk reveals. “They are always the last thing to get done, but these nearly wrote themselves. The words came from the darkest parts of my mind that I usually don’t want to confront. Coincidentally, ‘Extreme Indifference to Life’ deals with the imposter syndrome to the extreme: the anxiety of overthinking everything, always wondering if you’re good enough, or even if you were ever any good to begin with.”
Tracklist 1. Extreme Indifference to Life 2. Hiraeth 3. Divine Indiscretion 4. House of Warship 5. Snake Oil (and Other Remedies) 6. In the Garden of Heathens 7. Jesus Wept 8. Psychomanteum
Wherever HEAVY TEMPLE are heading on this diverse and dynamic record, they always stay real with both feet on the ground. Except, that is, when it comes to the lyrics. With her words, the High Priestess admits to peddling a version of things that isn’t real – with a grim smile and quite deliberately so. In fact, that’s the theme running through “Garden of Heathens” as a red thread. From the American Dream to relationships, below the surface there is anxiety, betrayal, and doubt. And while some of the lyrical metaphors might at first glance seem to focus on religion, they are definitely not that literal. Rather, these are Nighthawk’s most personal lyrics ever.
Recording line-up High Priestess Nighthawk – vocals, bass Lord Paisley – guitar Baron Lycan – drums
This Friday, Jan. 12, marks the release of Turned to Stone Ch. 9, the latest installment of the ongoing split series from Ripple Music highlighting deep-underground talent in heavy rock, doom, psych, and related styles. Bringing together Ritual Earth from Philadelphia, Pennsylvania, with Italian duo Kazak, the seven-song offering follows behind the Southwesterly-focused Turned to Stone Ch. 8 (review here), which arrived in May 2023 with new material from Blue Heron and High Desert Queen, and in prior editions the series has highlighted works from Howling Giant, Saturna, Planet of the 8s, Merlin, Wizzerd, and of course plenty of others.
Ritual Earth aren’t without influence from desert-style heavy, but they can’t escape that Northeastern urbane tonal crunch either, and it stays resonant even as they depart the roll in “Through the Interstellar Medium” for a first-half exploratory jaunt. To be sure, the nod returns. Vocalist George Chamberlin carries rock melodies informed by grunge and traditionalist heavy, and in Steve Mensick‘s guitar, Chris Scott‘s bass, Chris Turek‘s drumming and maybe organ from Mark Boyce, there is expansive complement. Offering three songs to Kazak‘s four, Ritual Earth first present the organ-laced blues nod of “In the Wake,” which weaves into and around its central riff through moody, open verses that seem to make the ensuing chorus take off all the more.
“Through the Interstellar Medium” brings psychedelic flourish to this riffy ideology, and in the eight-minute “Ominous Aurorae,” they take their time getting there and offer an impact in the drums that’s well worth the trip as they embrace a more linear structure rising from a contemplative, atmospheric start into more terrestrial chorus-making, not quite as over-the-top as Green Lung, but not far off, and underscore the triumph with a guitar solo before capping with a last chorus. Kazak — the two-piece configuration of guitarist/vocalist/synthesist Daniele Picchi and drummer Matteo Gherardi branched off of the decidedly more raucous unit Fish Taco — arrive at Turned to Stone with four cuts, shorter on average than Ritual Earth‘s in terms of runtime, but expansive in their own way, fostering a meditative sound that, like what Ritual Earth brought to side A, is adjacent to desert rock without actually being it.
Instead, the primary touchstone for Kazak, particularly once Picchi‘s vocals start on “Geometrical Alchemy,” is earlier Om, but the difference of impact thought Picchi‘s guitar is apparent even earlier than that, and the flexibility in terms of frequency from the six-stringed instrument gives “Geometrical Alchemy” a sense of reach that “Haze,” which is still plenty rich in terms of low end, but that finds its fluidity in the interplay with Gherardi‘s drumming. At 7:11, “Sunset Symphony” is as far out as Kazak go, its groove is melodic and resonant thanks to vocal layering as it approaches the middle, though by that point, Kazak have immersed the listener in the fog they’ve conjured through the first two songs, so it’s not such a leap when they take that next step.
And suitably enough, it’s the guitar riffing away in the nod of closer “The 25th Hour” that lets Kazak ride to its more percussive ending with such flow, hypnotic repetition easing the way as Picchi and Ghererdi find ground beneath the ether. Their sound and Ritual Earth‘s are varied, but each belongs to the band in question, and while they might not at first seem like the most intuitive pairing — as opposed to bands who sound the same, that is — they make each other’s material stronger through their shared elements and are all the more divergent for the individual takes they present. Once again, the Turned to Stone series delivers a quality sampling of wares from two acts who will only have earned whatever recognition they garner from taking part in it. You’d think eventually the label would run out of bands to spotlight, but I’m certainly glad it hasn’t happened yet.
The split LP streams in full below, followed by more from the PR wire.
“Turned To Stone Chapter 9” will be available on January 12th, 2024 in various vinyl formats as well as digitally, with preorders available now on Ripple Music.
Posted in Whathaveyou on December 8th, 2023 by JJ Koczan
This is a ‘make it official’ kind of announcement from Philadelphia’s Heavy Temple, who’ve already appeared at Desertfest New York 2023 (review here) and subsequently banged out a European tour with Christian Lopez on guitar, as well as, you know, probably hung out a whole bunch at rehearsal and stuff. Lopez takes the place of Lord Paisley, who joined Heavy Temple in time to play on 2021’s debut full-length, Lupi Amoris (review here), be a part of their continuing emergence as a touring act, and take part in tributes, splits, the whole thing.
It’s only been a few years, but Heavy Temple have been through a couple of guitarists and drummers around founding bassist/vocalist High Priestess Nighthawk, so it’s not the craziest thing in the world to think they’d be trading out personnel again. Lopez, meanwhile, had been playing with Sun Voyager — I got to see him with them this Spring (review here) and they were awesome — and they’re in NY and Heavy Temple are in Philly and that seems like a heck of a commute, so I’m not sure what the status with Sun Voyager is, but I’ll tell you from personal experience that Lopez tore it up as the new guy in both bands, has shred and apparently will travel.
And while I’m a little sad to know there’s new Heavy Temple somewhere on the planet and I haven’t heard it — at least I think so if I read the implication below correctly — I’m glad to learn the three-piece’s second album will be out in 2024. I have no doubt it will be a highlight.
From socials:
You may have noticed some changes in the HT camp. @calivibescustom started as a fill in for Lord Paisley on our Euro tour but has quickly cemented himself as in invaluable member of the Temple consort. While we are sad that our paisley prince will no longer be shredding with us, he leaves behind his contributions to arguably the best record we’ve ever made, due in no small part to his talent and ability. We wish him all the best in his new endeavors and look forward to whatever this new iteration may be.
This is the tl;dr part. When I started the band 11 years ago, I always wanted a permanent line up, but wanted to be realistic when it came to commitments and time. So I modeled the band after Queens of the Stone Age, meaning I viewed it as sort of an open collective. Having now had more than a handful of line up changes, it truly shows me what I’ve always known, which is that there is no growth without change.
I’m once again eternally grateful for all the creativity and inspiration I’ve found with everyone I’ve been fortunate enough to call a bandmate. Never stop not stopping.
Posted in Reviews on November 27th, 2023 by JJ Koczan
Don’t ask me if the ‘quarter’ in question is Fall or Winter, and I’m still planning another QR probably in early January or even December if I can sneak it, but I was able to sneak this week in while no one was looking at the calendar — mostly, that is, while I wasn’t filling said calendar with other stuff — and I decided to make it happen. I even used the ol’ Bing AI to make a header image for it. I was tired of all the no-color etchings. It’s been a decade of that at this point. I’ll try this for a bit and see how I feel about it. The kind of thing that matters pretty much only to me.
This might go to 70, but for right now it’s 50 releases Monday to Friday starting today, 10 per day. I know the drill. You know the drill. Let’s get it going.
Quarterly Review #1-10:
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Negative Reaction, Zero Minus Infinity
Holy fucking shit this rips. You want sludge? Call the masters. There are two generations of bands out there right now trying to tap into the kind of slow and ultra-heavy disaffection — not to mention the guitar tone — of Negative Reaction, and yet, no hype whatsoever. This record didn’t come to me from some high-level public relations concern. It came from Kenny Bones, who founded Negative Reaction over 30 years ago in Long Island (he and thus the band are based in West Virginia now) and whose perpetual themes between crushing depression and the odd bit of Star Wars-franchised space opera have rarely sounded more intentionally grueling. Across six songs and a mood-altering 46 minutes, Bones, bassist KJ and drummer Brian Alien bludgeon with rawness and volume-worship weight that, frankly, is the kind of thing riff-dudes on social media should be tripping over themselves to be first to sing its praises, the lurch in “Back From the Sands” feeling sincere in its unconscious rifference (that’s a reference you make with a riff) to Saint Vitus‘ “Born Too Late,” and maybe Negative Reaction were, or maybe they were born too early, or whatever, but it’s not like they’ve been a fit at any point in the last 30-plus years — cheeky horror riff chugging in “Space Hunter,” all-out fuckall-punker blast in “I’ll Have Another” before the 13-minute flute-laced (yes, Bones is on it) cosmic doom finish of “Welcome to Infinity,” etc., reaffirming square-peg status — because while there’s an awful lot of sludge out there, there’s only ever been one Negative Reaction. Bones‘ and company’s angry adventures, righteous and dense in sound, continue unabated.
Arizona brothers Wayne and Joey Rudell return with New Blood, the first Fuzz Evil full-length since High on You (review here) in 2018, and make up for lost time with 53 minutes of new material across 13 songs from the post-Queens of the Stone Age rock at the outset in “Suit Coffin” to the slow, almost Peter Gabriel-style progressivism of “Littlest Nemo,” the nighttime balladry of “Gullible’s Travel” or the disco groove of “Keep on Living.” Those three are tucked at the end, but Fuzz Evil telegraph new ideas and departures early in “My Own Blood” and even the speedier “Run Away,” with its hints of metal, pulls to the side from “Souveneers,” the hooky “G.U.M.O.C.O.,” a cut like “Heavy Glow” (premiered here) finding some middle ground between attitude-laced desert rock and the expansions thereupon of some New Blood‘s tracks. Shout to “We’ve Seen it All” as the hidden gem. All Fuzz Evil have ever wanted is to write songs and maybe make someone — perhaps even you — dance at a show. With the obvious sweat and soul put into New Blood, a little boogieing doesn’t seem like too much to ask.
A second full-length from Serbia’s Cardinal Point, Man or Island asks its central question — are you a man or an island — in the leadoff title-track. I’m not sure what being one or the other delineates, but masculinity would seem to be preferred judging by the Down-style riffing of “Stray Dog” or the heavy-like-1991 “Right ‘n’ Ready,” which feels like it was written for the stage, whether or not it actually was. “Sunrise” borders on hard country with its uber-dudeliness, but closer “This Chest” offers tighter-twisting, Lo-Pan-style riffing to cap. The tracks are pointedly straightforward, making no pretense about where the band is coming from or what they want to be doing as players. The grooves swing big and the choruses are delivered with force. You wouldn’t call it groundbreaking, but the Vranje-based four-piece aren’t trying to revolutionize heavy so much as to speak to various among those traditions that birthed it. They succeed in that here, and in making the results their own.
Voices far more expert than mine have given pinpointed analyses of Vlimmer‘s goth-as-emotive-vehicle, semi-electronic, sometimes-heavy post-punk, New Dark Wave, etc., stylistic reach as relates to the Berlin-based solo artist’s latest full-length, Zerschöpfung, but hearing The Cure in “Makks” and “Fatalideal” taken to a place of progressive extrapolation on “Platzwort” and to hear the Author & Punisher-informed slow industrial churn of the penultimate “Todesangst” become the backdrop for a dreamy vocal like Tears for Fears if they stayed up all night scribbling in their notebook because they had so much to say. Vlimmer (né Alexander Leonard Donat) has had a productive run since the first numbered EPs started showing up circa 2015, and Zerschöpfung feels like a summation of the style he’s established as his own, able to speak to various sides of underground and outsider musics without either losing itself in the emotionalism of the songs or sublimating identity to genre.
Dutch sludge metallers No Gods No Masters may seem monolithic at first on their second full-length, the self-released Torment, but the post-metallic dynamics in the atmospheric guitar on lead cut “Into Exile” puts the lie to the supposition. Not that there isn’t plenty of extreme crush to go around in “Into Exile” and the four songs that follow — second track “Towering Waves” and closer “End” on either side of the 10-minute mark, “Such Vim and Vigor” and “A God Among the Waste” shorter like “Into Exile” in a five-to-six-minute range — as the band move from crawling ambience to consuming, scream-topped ultra-doom, leave bruises with elbows thrown before the big slowdown in “Such Vim and Vigor” and tear ass regardless of tempo through the finale, and while they never quite let go of the extremity of their purpose, neither do they forget that their purpose is more than extremity. Torment sounds punishing superficially — certainly the title gives a hint that all is not sunshine and puppies — but a deeper listen is met by the richness of No Gods No Masters‘ approach.
Italian psych rockers Ananda Mida are joined by a host of guests throughout their third full-length, Reconciler, including a return appearance from German singer-songwriter Conny Ochs on the extended heavy psych blueser “Swamp Thing” (14:52) and the four-part finale “Doom and the Medicine Man (Pt. V-VIII)” (22:09), which draws a thread through the history of prog and acid rocks, kraut and space applying no less to the 12-minute “Lucifer’s Wind” as to the surf-riffing “Reconciling” after — the latter gets a reprise on platter two of the 83-minute 2LP — as Ananda Mida dig deep into the shining thrust in the early verses of “Never Surrender” that give over to thoughtful jamming in the song’s second half, finding proto-metallic resolve in “Following the Light” before reconciling “Reconciling (Reprise)” and unfurling “Doom and the Medicine Man” like the lost ’70s coke-rock epic it may well be in some other universe, complete with the acoustic postscript. It’s two records’ worth of ambitious, and it’s two records’ worth of record. This is exploratory on a stylistic level. Searching.
Lumbering out of El Paso, Texas (where folks know what salsa should taste like), with seven tracks across a 23-minute debut EP, Ojo Malo follow a Sabbathian course of harder-edged doom, thick in its groove through “Crow Man” after the “Intro” and speedier with an almost nu-metal crunch in “Charon the Ferryman.” There’s Clutch and C.O.C. influences in the riffing, but there are tougher elements too, a tension that wouldn’t have been out of place 28 years ago on a Prong record, and the swing in “Black Trip Lord” has an undercurrent of aggression that comes forward in its chugging second half. The penultimate “Grim Greefo Rising” offers more in terms of melody after its riffy buildup, and “Executioner” reveals the Judas Priest that’s been in the band’s collective heart all the while. Bookended with manipulated sounds from the recordings in “Intro” and “Outro,” Black Light Fever Tripping sounds exactly like it doesn’t have time for your bullshit so get your gear off stage now and don’t break down your cymbals up there or it’s fucking on.
Druid Fluids — aka Adelaide, Australia’s Jamie Andrew, plus a few friends on drums, piano, and so on — inhabits a few different personae out of psychedelic historalia throughout Then, Now, Again & Again, finding favorites in The Beatles in “Flutter By,” “Into Me I See” (both with sitar), and “Layers” while peopling other songs specifically with elements drawn from David Bowie and the solo work of Lennon and McCartney, all of which feels like fair game for the meticulously-arranged 11-song collection. “Sour’s Happy Fantasy” offers sci-fi fuzz grandeur, while “Timeline” is otherworldly in all but the central strum holding it to the ground — a singularly satisfying melody — and “Out of Phase” swaggers in like Andrew knows he was born in the wrong time. He might’ve been, but he seems to have past, present and future covered either way in this material, some of which was reportedly written when he was a teenager but which has no doubt grown more expansive in the intervening years.
The years between their 2017 self-titled three-songer EP and the forthcoming 11-track debut full-length, Saturn V, would seem to have found Philly heavy rockers Gibbous Moon refining their approach in terms of craft and process. “Blue Shelby” has a turn on guitar like Dire Straits as vocalist Noelle Felipe (also bass) drops references to Scarface in “Blue Shelby” and brings due classicism to Mauro Felipe‘s guitar on “Ayadda.” That song, as well as “Everything” and closer “Peacemaker,” tie the EP to the LP, but Noelle, Mauro and drummer Michael Mosley are unquestionably more confident in their delivery, whether it’s the bass in the open reaches of “Sine Wave” or the of-course-it’s-speed-rock “Follow that Car” and its punker counterpart “Armadillo.” Space rock is a factor in “Indivisible,” and “Inflamed” is almost rockabilly in its tense verse, but wherever Gibbous Moon go, their steps are as sure as the material itself is solid. I’m not sure when this is actually out, if it’s 2023 or 2024, but heads up on it.
Arranged shortest to longest between the ah-oo-oo-ah-ah hookiness of “Sucker’s Disease” (3:03), the nodder rollout of “Daughters of the Sun” (5:47) and the reach into psych-blues jamming in “Goddess Land” (7:03), Mother Magnetic‘s self-titled three-song EP is the first public offering from the Brisbane four-piece of vocalist Rox, guitarist James, bassist Tim and drummer Danny, and right into the later reaches of the last of those tracks, the band’s intentions feel strongly declarative in establishing their melodic reach, an Iommi-circa-’81 take on riffmaking, and a classic boozy swagger to the vocals to match. There was a time, 15-20 years ago, when demos like this ruled the land and were handed to you, burned onto archaic CD-Rs, in the vain hope you might play them in your car on the way home from the show. To not do so in this case would be inadvisable. There’s potential in the songwriting, yes, but also on a performance level, for growth as individuals and as a group, and considering where Mother Magnetic are starting in terms of chemistry, that’s all the more an exciting prospect.
Posted in Whathaveyou on November 20th, 2023 by JJ Koczan
Ripple Music will continue its ongoing split series ‘Turned to Stone’ in January by bringing together Philadelphia’s Ritual Earth and Italy’s Kazak for a shared platter. The first single, from Ritual Earth, is streaming at the bottom of this post. The series has heretofore established a high standard for itself, and last time around with Blue Heron and High Desert Queen (review here) emphasized so much of what works about the format, the bands’ respective works complementary but individualized in their take.
I’ll cop to being less familiar with Kazak than Ritual Earth — Philly’s a lot closer to NJ where I live — but it’s easy enough to get on board with the open-feel of the guitar in “Through the Interstellar Medium,” the accompanying lumber, sharp and decisive punctuation of the drums, and echoing, grainy melody gives over fluidly to a bit of pastoralism before sweeping back to its heavier proceeding. The PR wire drops hints of Om-style meditations from Kazak, and in their latest track “Dimming Lights” one can hear it, but again, I’ve got to dig further.
More to come. For now:
Doom and psych metallers RITUAL EARTH and KAZAK unite for “Turned To Stone Chapter 9” split album on Ripple Music; first track streaming!
Ripple Music announce the next chapter of their “Turned To Stone” split series featuring US and Italian doom and psych metal purveyors Ritual Earth and Kazak, to be released on January 12th. Stream the first track “Through The Interstellar Medium” now!
Launched in 2020, Ripple Music’s “Turned To Stone” split series focus on unique pairings from across the stoner, doom and heavy psych underground and explore the farthest reaches of riffdom. This ninth chapter builds an towering wall of sound, bringing Philadelphia-based monolithic heavy merchants RITUAL EARTH and Italian psych-laden doom duo KAZAK to the forefront for a dark and enthralling sonic experience.
Stream the first single off “Turned To Stone Chapter 9” with Ritual Earth’s “Through Interstellar Medium”
RITUAL EARTH’s progressive sound lends itself to complex lyrical themes and heavy use of emotions and symbolism. Says the band: “We explored introspection and dove much deeper into personal and darker issues with our unconscious minds to practice spotting our inner shadows. The death of a rival, relapsing and overcoming addiction, navigating the complexities, experiences, and challenges in our lives and the changing world around us are all topics you will find intertwined throughout these three songs.”
“Turned To Stone Chapter 9” will be available on January 12th, 2024 in various vinyl formats as well as digitally, with preorders available now on Ripple Music.
Posted in Whathaveyou on November 16th, 2023 by JJ Koczan
I like this album immediately because it boasts a track called ‘Brain Cells… But Who’s Buying,’ and I enjoy cleverness generally, but if you need to be further disposed toward the work of Philadelphia trio The Company Corvette, how about the fact that guitarist Alexei Korolev and bassist/vocalist Ross Pritchett have been at it for more than a decade and a half. The upcoming Little Blue Guy invites immediate curiosity as to the reference being made — what little blue guy? — and will serve as their fourth full-length following 2016’s Never Enough (review here) with another collection, this time marking the first appearance of drummer Zach Price, recorded with Matt Weber at NJ’s The Gradwell House.
And a side note, condolences to all at Gradwell House for the loss of engineer Steve Poponi (also Up Up Down Down), who passed away on Halloween. I only met Steve once, doing some recording last year with Clamfight, but found him to be personable, knowledgeable, and given to the kind of sarcastic expression common in my opinion to the best producers. Sorry for the loss to his friends, family, colleagues and others who knew or may have worked with him before.
That’s off-topic, I guess, but I don’t get to write about Gradwell House every day, so I take my opportunities when they come. Back to the story at hand, The Company Corvette have posted the raw-rocking “Drag” as a lead single from the record, and while the PR wire makes it seem likely the song is just a small sample of directions the album takes, it’s good to know I’m not the only one who’s apparently spent the last seven years becoming more and more pissed off at the world around me. Also, end cash bail now. End prison while you’re at it.
Behold:
THE COMPANY CORVETTE TO RELEASE ‘LITTLE BLUE GUY’ LP IN DECEMBER
The newest release of a stoner rock band is coming out via Strange Mono Records December 1. Available for pre-orders now.
Strange Mono is announcing the release of the fourth full length record from Philly’s stoned 3 piece The Company Corvette. Alexei Korolev and Ross Pritchett have been at it as The Company Corvette for over 15 years. After 3 albums they welcomed in drummer Zach Price, who proved to be a perfect fit. Their new record ‘Little Blue Guy’ was recorded across the river in NJ, once again with Matt Weber at The Gradwell House. The addition of Zach to the line up, and sticking to what they dig most, their “vision”, if you will, however blurry it may have been, set this album up as their best work to date. As with the last album, the cover features artwork by legendary Drew Elliott (Midnight, Amorphis, Blood Feast, Necrophagia, etc) almost makes it look better than it sounds – and it sounds pretty awesome!
Formed in 2005 The Company Corvette has shared the stage with countless legendary acts – Weedeater, Pentagram, The Obsessed, The Mentors and Truckfighters to name a few– blasting fans with their heavy stoner rock. This new album showcases the band’s pursuit of their singular vision. Covering the spectrum from misery laden doom, sludgy weirdness, heavy metal, dumb’n’fun rock’n’roll. This is stoner rock gone metal-and-back. There are riffs, there’s hooks, there are shreds and roars and psychedelic freakouts and they mean every bit of it.
The titular track ‘Little Blue Guy’ is pure Corvette; a massive dirge of swirling fuzzed out guitars, subdued vocals, and drumming so heavy and precise it’s sure to rattle your chest. “Doom as f*ck. Slow and heavy as we can stand it, with a slab of minimalist psychedelia in the middle – a vacuum of sorts to suck out your brain and then slowly regurgitate it back in. Lyrics stem from that time we ate mushrooms in my(Alexei) old tiny apartment and Ross saw something, or someone.”
As the album progresses tracks like ‘Out Of Control’ and ‘Brain Cells…But Who’s Buying’ ramp up the sludgy rock sound akin to early Melvins with solos. ‘Drag’ stands out with its fast pace, driving riffs, and snarling vocals. “Loosely played thrash metal with a super fun to play guitar solo and lyrics about getting dosed.”
Release: December 1 Genres: stoner rock Format: 12′ LP, CS, DR FFO: Label: Strange Mono Records
Track List: 1. Little Blue Guy 2. Marshmallow 3. Out Of Control 4. Brain Cells…But Who’s Buying 5. Stupid 6. Drag 7. Ted Tedder 8. Lit The Wrong End
The album rounds out with the stoned out “Ted Tedder” and “Lit The Wrong End” basking in psychedelic freakouts and deep sludgy grooves. “What’s your secret to releasing your best work nearly 20 years into existence?”, the band often gets asked. “Why, it’s no secret”, they say. “Everyone knows the trick – you set the bar low and keep ambitions lower. Make up a super awesome logo, play shows with your friends and cool bands, and release albums whenever you got em!”
Proceeds from sales of this album are being donated to the Philly Bail Fund. As the band comments: “Ending the injustice of money bail requires shifting Philadelphia’s bail system from one that is based on wealth to a fairer and more effective system based on a presumption of release before trial, except in the most exceptional circumstances.”
The Company Corvette: Alexei Korolev – guitars Ross Pritchett – bass, vocals Zach Price – drums