Quarterly Review: Earthless, Satan’s Satyrs, Mantar, Child, T.G. Olson, Canyon, Circle of the Sun, Mythic Sunship, Svarta Stugan, Bast

Posted in Reviews on December 6th, 2018 by JJ Koczan

quarterly-review

There isn’t enough coffee in the universe, but I’ve got mine and I’m ready to burn the living crap out of my tongue if that’s what it takes to get through. We’ve arrived at Day 4 of the Quarterly Review, and though we’re less than halfway to the 100-album goal set by some maniac sitting at his kitchen table with a now-burnt tongue, there’s been an awful lot of good stuff so far. More even than I thought going into it, and I slate this stuff.

That said, today’s list is pretty killer. A lot of these bands will be more familiar than maybe has been the case or will be on some of the other days of this Quarterly Review. It just kind of worked out that way as I was putting it together. But hey, a few bigger bands here, a few “debut EP” demos there. It’s all good fun.

So let’s go.

Quarterly Review #31-40:

Earthless, From the West

earthless from the west

Bonus points to whatever clever cat correctly decided that Earthless‘ 2018 studio album, Black Heaven (review here), needed a companion live record. With artwork mimicking a Led Zeppelin bootleg of the same name, From the West arrives through Silver Current and Nuclear Blast capturing the most powerful of power trios earlier this year in San Francisco, and it’s like the fire emoji came to life. With Mike Eginton‘s bass as the anchor and Mario Rubalcaba‘s drums as the driving force, guitarist Isaiah Mitchell starts ripping holes in the fabric of spacetime with “Black Heaven” and doesn’t stop until 64 minutes later as “Acid Crusher” dissolves into noise. Of course “Gifted by the Wind” from the latest LP is a highlight, and suitably enough, they cover Zeppelin‘s “Communication Breakdown,” but I’m not sure anything tops the extended take on “Uluru Rock” from 2013’s From the Ages (review here) — and yes, I mean that. Of course they pair it with the 1:48 surge of “Volt Rush,” because they’re Earthless, and brilliant is what they do. Every set they play should be recorded for posterity.

Earthless website

Silver Current Records on Bandcamp

Earthless at Nuclear Blast webstore

 

Satan’s Satyrs, The Lucky Ones

satans satyrs the lucky ones

Encased in cover art that begs the Spinal Tap question, “what’s wrong with being sexy?” and the response that Fran Drescher gave it, Virginia classic heavy rockers Satan’s Satyrs return with their fourth full-length, The Lucky Ones (on RidingEasy and Bad Omen), which also marks their first record as a four-piece with guitarist Nate Towle (Wicked Inquisition) joining the returning lineup of bassist/vocalist Clayton Burgess, guitarist Jared Nettnin and drummer Stephen Fairfield, who, between the fact that Burgess founded the band and played in Electric Wizard, and all the lead guitar antics from Nettnin and Towle, might be the unsung hero of the band. His performance is not lost in the recording by Windhand‘s Garrett Morris or Burgess‘ own hefty mix, and as one would expect, Satan’s Satyrs continue to deliver deceptively refined ’70s-heavy vibes caked in cult biker horror aesthetics. Some songs hit more than others, but Satan’s Satyrs‘ dust-kicking approach continues to win converts.

Satan’s Satyrs on Thee Facebooks

RidingEasy Records on Bandcamp

Bad Omen Records on Bandcamp

 

Mantar, The Modern Art of Setting Ablaze

mantar the modern art of setting ablaze

One generally thinks of Hamburg duo Mantar as having all the subtlety of a bone saw caught on video, and yet, in listening to “Seek + Forget” from their third album, The Modern Art of Setting Ablaze (on Nuclear Blast), there are some elements that seem to be reaching out on the part of the band. Guitarist Hanno‘s vocals are more enunciated and discernible, there is a short break from the all-out blackened-sludge-punk assault that’s been their trade since their start in 2012, and “Obey the Obscene” even has an organ. Still, the bulk of the 12-track/48-minute follow-up to 2016’s Ode to the Flame (review here) is given to extremity of purpose and execution, and in pieces like the churning “Anti Eternia” and the particularly-punked “Teeth of the Sea,” they work to refine their always-present threat of violence. Closer “The Funeral” brings back some of the quiet moodiness of intro “The Knowing” and underscores the point of sonic expansion. I hope next time they use a string section.

Mantar on Thee Facebooks

Nuclear Blast website

 

Child, I

child i

It took me a few minutes to get to the heart of what my problem with Child‘s I EP is. Really, I was sitting and listening to “Age Has Left Me Behind” — the first of the three included tracks on the 20-ish-minute 12″ — and I had to ask myself, “Why is this annoying me?” The answer? Because it’s not an album. That’s it. It’s not enough. Kudos to the Melbourne, Australia, heavy blues trio on having that be the biggest concern with their latest release — it follows 2016’s righteously-grooved Blueside (review here) — and kudos to them as well for their cover of Spirit‘s “The Other Song,” but of course it’s the 10-minute jam “Going Down Swinging” on side B that’s the immersive highlight of I, as Child‘s balance of softshoe-boogie and expansive mellow-psych is second to none in their subgenre. It’s not an album, and that’s kind of sad, but as a tide-ya-over until the next long-player arrives, I still does the trick nice and easy. And not to get greedy, but I’d take a II (or would it be You?) whenever they get around to it.

Child on Thee Facebooks

Kozmik Artifactz website

 

T.G. Olson, Wasatch Valley Lady & The Man from Table Mountain

tg olson wasatch valley lady and the man from table mountain

Across Tundras frontman T.G. Olson, who by now has well lapped that band’s output with his solo catalog, would seem to have sat down with his guitar sometime in the last week and put two songs to tape. The resulting 10-minute offering is Wasatch Valley Lady & The Man from Table Mountain, its component title-tracks stripping down some of the more elaborate arrangements he’s explored of late — his latest full-length, Riding Roughshod (review pending; it’s hard to keep up), came out in October — to expose the barebones construction at root in his Rocky Mountain country folk style. “Wasatch Valley Lady” and “The Man from Table Mountain” make an engaging couple, and while Olson has a host of videos on YouTube that are similarly just him and his acoustic, something about the audio-only recordings feel like a voice out of time reaching for human connection. The first seems to have a natural fade, and the second a more prominent rhythm showcased in harder strum, but both are sweet melodies evocative as ever of open landscapes and wistful experience.

Across Tundras on Thee Facebooks

T.G. Olson/Across Tundras on Bandcamp

 

Canyon, Mk II

canyon mk ii

The Deep Purple-referential Mk II title of Canyon‘s second EP, also the follow-up to their 2017 debut LP, Radiant Light, refers to the lineup change that’s seen Dean Welsh move to drums so that he and guitarist Peter Stanko can welcome bassist/vocalist Fred Frederick to the fold. The three included songs, the hooky “Mine Your Heart,” expansively fuzzed “Morphine Dreams” and bouncing “Roam” make a hell of a first offering from the reconstituted trio, who capture classic heavy naturalism in a chemistry between players that’s mirrored in the songwriting itself. Canyon‘s 2016 self-titled debut EP (review here) held marked promise, and even after the full-length, that promise would seem to be coming to fruition here. Their tones and craft are both right on, and there’s still some gelling to do between the three of them, but they leave no doubt with Mk II that this incarnation of Canyon can get there. And, if they keep up like this, get there quickly.

Canyon on Thee Facebooks

Canyon on Bandcamp

 

Circle of the Sun, Jams of Inner Perception

Circle of the Sun Jams of Inner Perception

One man jams! Psych-jam seekers will recognize Daniel Sax as the drummer for Berlin-based trio Cosmic Fall. Circle of the Sun is a solo-project from Sax and Jams of Inner Perception collects six tracks for 39 minutes of adventuring on his own. Sax sets his own backbeat and layers bass and “effectsbass” for a full-lineup feel amid the instrumental creations, and those looking to be hypnotized by the space-rocking jams will be. Flat out. Sax is no stranger to jamming, and as one soaks in “Jamming in Paradise” or its nine-minute predecessor “Liquid Sand,” there’s little mistaking his intention. Curious timing that Circle of the Sun would take shape following a lineup change in Cosmic Fall — perhaps it was put together in the interim? — but whether Jams of Inner Perception is a one-off of the beginning of a new avenue for Sax, its turn to blues noodling on “Desert Sun,” thick-toned “Moongroove” and fuzzy roll on “Acid Dream” demonstrate there are plenty of outer realms still to explore.

Circle of the Sun on Thee Facebooks

Circle of the Sun on Bandcamp

 

Mythic Sunship, Another Shape of Psychedelic Music

Mythic Sunship Another Shape of Psychedelic Music

The simplest way to put it is that Mythic Sunship‘s Another Shape of Psychedelic Music lives up to the lofty ambitions of its title. The Danish band is comprised of guitarists Kasper Stougaard Andersen and Emil Thorenfeldt, bassist Rasmus ‘Cleaver’ Christensen, drummer Frederik Denning and saxophonist Søren Skov, and with Causa Sui‘s Jonas Munk — who also produced the album — sitting in on the extended “Backyard Voodoo” (17:41) and “Out There” (13:53) as well as overseeing the release through El Paraiso, the band indeed makes there way into the far out reaches where jazz and psychedelia meet. It’s not about pretentiously saying they’re doing something that’s never been done. You’ll note it’s “another shape” and not a “new shape” or the “shape to come.” But immersion happens quickly on opener “Resolution” (14:23), and even quicker cuts like “Last Exit,” “Way Ahead” and “Elevation” carry the compelling spirit of forward-thinking creativity through their dynamic course, and if Mythic Sunship aren’t the shape of psychedelic music to come, it’s in no small part because there are so few out there who could hope to match what they do.

Mythic Sunship on Thee Facebooks

El Paraiso Records website

 

Svarta Stugan, Islands / Öar

svarta stugan islands oar

Islands / Öar — the second word being the Swedish translation of the first — is the 40-minute debut full-length from Gothenburg atmospheric heavy post-rock instrumentalists Svarta Stugan, who demonstrate in influence from Hex-era Earth on the opener “Islands III” but go on in subsequent tracks to pull together a sound distinct in its cinematic feel and moody execution. Five out of the seven component tracks are “Islands” pieces, which are presented out of order with “Islands IV” missing and “Islands Unknown” perhaps in its place, and the respective side A/B finales “Inner Space” and “Prospects Quatsi” standing apart. Both bring to bear a style ultimately consistent with the melancholy so rife throughout Islands / Öar as a whole, but they’re obviously intended as outliers, and so they seem to be. The LP release follows a couple shorter outings, issued over the past six-plus years, and it’s clear from the depths and range on display here in the build-to-crescendo of “Inner Space” alone that Svarta Stugan haven’t misspent their time in their progression to this point.

Svarta Stugan on Thee Facebooks

Svarta Stugan on Bandcamp

 

Bast, Nanoångström

bast nanoangstrom

Largesse of scope and largesse of tone work in tandem on Bast‘s Nanoångström full-length on Black Bow, as they bring together aspects of post-metallic churn and more extreme metal methods to hone a style highly individualized, highly weighted and as much cosmic as it is crushing. Through six tracks and 57 minutes, the London trio (plus two guest spots from Chris Naughton of Winterfylleth) careen and crash and set an atmosphere of chaos without actually being chaotic, their progressive craft working to tie the songs together into a larger impression of the work as a consuming entirety. It’s the kind of record you pick up and still hear new things in by the time they put out their next one. Production from Chris Fielding at Skyhammer Studio only helps creates the heights and depths of their dynamic, and whether they’re rolling out the severity of closer “The Ghosts Which Haunt the Space Between the Stars” or laying out the soundscape of “The Beckoning Void,” Bast shape the tenets of genre to suit their needs rather than try to work within the barriers of any particular style. Nanoångström is all the more complex and satisfying for their efforts in that regard.

Bast on Thee Facebooks

Black Bow Records webstore

 

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Heavy Temple Announce New Album for 2019

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

I admit, when I started this post and reached out to Heavy Temple, my basic going idea was, ‘I haven’t written about Heavy Temple in a while and Heavy Temple kick ass.’ That’s what I was going on. For those who don’t keep up on their well-maintained social media presence, they’ve been steadily destroying ears and the brains between them over the course of this year at happenings like Muddy RootsDescendants of CromDays of DarknessShadow WoodsRPM Fest — as well as Ode to Doom in Manhattan this past weekend — and dates alongside the formidable likes of Ecstatic VisionMothershipWitch Mountain and Corrosion of Conformity. They’ve spent most of this year playing out between touring and wisely-chosen fests, and their following has only grown more cult-like and loyal as a result.

Right on. The news that came back when I hit up one High Priestess Nighthawk was better than I could’ve hoped in that Heavy Temple will be recording this winter for a new full-length to follow-up on 2016’s righteous Chassit (review here) debut LP. It’ll be their first record with Thunderhorse on guitar as they bring their hard fuzz stylizations to new degrees of intensity. You can see that even in the reinterpreted older material played live in the clip below, filmed at Underground Arts in their native Philadelphia on a bill they shared with YOB and Bell Witch. Because fucking a.

Which brings me back to my original point: Heavy Temple kick ass. Their new record? It’ll probably kick ass too.

Here’s a quick update from the band about it:

heavy temple

Heavy Temple – New Album Recording & Gigs

We’ll be heading to the basement this winter to record our new album (more details to come). Will Spectre’s Red Water Recording captures some of Philly’s finest (Outer Heaven, Witching, Narcos Family Band, Moros, Black Urn) and we’re excited to get started. We have five songs planned for this record, including some interludes that we’ll be writing throughout the sessions.

This album is true to the Heavy Temple sound, but noticeably different in that this will be the third recorded line up. We’re really hitting our stride with this one and even though we’ve been playing some of the new material live, we look forward to being able to get it out to the folks that haven’t been able to make it to a show.

We have one more appearance this year, at December Doomsday with Weedeater and Unearthly Trance in Baltimore. We have two shows in April at the Philly Decibel Metal & Beer Fest, and back in Baltimore for Haze Mage’s annual 4/20 jammer, aptly named Grim Reefer fest, with Ruby the Hatchet. Additionally we’d love to get further west next year, as well as across the pond! Keep your eyes peeled and your ears to the ground. We’re comin’ to getchoo. XO

Heavy Temple is:
High Priestess Nighthawk (low end and vocal power)
Siren Tempest (rhythm)
Thunderhorse (6 string axe slinger)

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com
https://www.van-records.de/
https://tridroid.bandcamp.com/album/chassit

Heavy Temple, Live at Underground Arts, Philadelphia, PA, June 29, 2018

Heavy Temple, Chassit (2017)

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Review & Full Album Stream: Pale Divine, Pale Divine

Posted in audiObelisk, Reviews on November 21st, 2018 by JJ Koczan

PALE DIVINE S/T

[Click play above to stream Pale Divine’s self-titled album in full. It’s out Nov. 23 on Shadow Kingdom Records.]

The level of coincidence is somewhat astounding. Pennsylvania’s Pale Divine are well past the 20-year mark since forming in 1995. By now the stuff of Chesapeake regional legend, their first demo arrived in 1997 (was also reissued in 2008). Their fourth and otherwise most recent album, Painted Windows Black (review here), was released early in 2012, and a short time after it came out, founding drummer Darin McCloskey and guitarist/vocalist Greg Diener recruited Ron “Fezz” McGinnis to play bass. McGinnis, who’s known for his work in the mostly-instrumental Admiral Browning, as well as Bailjack, the more extreme Thonian Horde and a host of others, was not a minor pickup. In stage presence, tone and complement to Diener‘s vocals, McGinnis was a personality shift for the band that was far more significant than the phrase, “he’s their eighth bassist,” would lead one to believe.

Now, as Pale Divine make a definitive statement by issuing their fifth LP, an eight-track/46-minute self-titled, through Shadow Kingdom Records, the situation is oddly similar. Always a trio save for one stint around the time of their third album, 2007’s Cemetery Earth, Pale Divine‘s Pale Divine lands, gorgeous in tone and as downtrodden in spirit as it is righteous in its traditionalism, as heard on cuts like opener “Spinning Wheel” and the extended blues-informed pieces “So Low” and “Shades of Blue,” just as the trio welcomes Dana Ortt of Beelzefuzz — in which Diener and McCloskey both play, the latter as a founding member, the former as a pickup for their second record — on guitar. A self-titled has a tendency to be a clear signal on the part of a band saying “this is who we are.” And tracks like the rocking “Bleeding Soul” and the penultimate “Silver Tongues,” which has a bounce worthy of the band’s one-time contemporaries in Spirit Caravan, live up to that. But the timing. Pale Divine put out their fourth album and made a considerable change in their dynamic, and now with their fifth album they’ve done the same thing.

Does that make Pale Divine moot? In a word: no. The songs are the key. In the fullness of the record’s emotional heft and across-the-board sonic execution, the way it slides into classic doom because it is that very same classic doom, nodding at Trouble on “Chemical Decline” before just nodding, period, in the early going of the subsequent “So Low” — which in its second half also features a very long guitar solo, making it easy to remember on a linguistic level too — it’s still a process of Pale Divine defining who they are in a specific point in time. From the early signal of a changed mindset with McGinnis joining Diener on vocals for the Pentagram-informed apex of “Spinning Wheel” to the Sabbathian chug, compressed lead tone and sleek groove of “Curse the Shadows” of the also-dual-voiced “Curse the Shadows,” which dates back at least five years to a demo from 2013Pale Divine emphasize the outside-of-time nature of trad doom even as they put their own stamp on the classic style with the force of Diener‘s vocals, the understated but always locked-in drumming of McCloskey and the flash in McGinnis‘ basslines — as heard in the later gallop on that same “Curse the Shadows” — as well as the fluidity of their songwriting.

pale divine

Pieces like “So Low,” which sources its lyrical depression from within and without, or “Bleeding Soul,” with its uptempo hook in the line, “A bleeding soul will find no rest,” or the initial showoff rumble of low end in “Shades of Blue” and the instantly familiar chorus there that follows as the eight-minute track unfolds, are resonant in their downer spirit and stately in their delivery. But one of the accusations often leveled at traditional doom is that it’s staid and dry in its delivery and that applies even less to Pale Divine than it ever has to Pale Divine‘s work before. With the flourish of Southern-style and progressive acoustic/electric guitar layers on closer “Ship of Fools” and the smoothness of their rhythmic and tempo shifts as shown in “Chemical Decline” and “So Low,” as well as Diener‘s vocal delivery across the release and what McGinnis brings in periodic complement to that, there’s nothing but a genuine soulfulness to Pale Divine‘s Pale Divine, and it’s not just boozy self-defeat, though there’s a bit of that also. “Silver Tongues,” “Shades of Blue,” “Spinning Wheel” have, to go with the subtle changes in approach between them, a sense of looking beyond oneself. Not like there isn’t plenty of doom to behold if you have the eyes to see it. Clearly Pale Divine do.

Okay, but then what? What’s the resolution? Well, one could argue there’s hope along with a resigned sensibility in the interwoven soloing on “Ship of Fools,” and positioned as that is at the end of the album — doesn’t seem unreasonable to think that a band who seem well set to hit the quarter-century mark would make a purposeful choice on a closer — with a long fadeout that caps the LP as a whole, it carries a kind of “keep marching” message. You trod on, because what else is there? Fair enough, but it seems on the whole that Pale Divine is less directly about examination and critique than it is the simple act of conveying the experience of living it. Consider the lyrics of “So Low,” with Diener seeming to recount on the page his own lack of inspiration and pervasive depression, the distancing of the self from one’s own existence. Maybe there’s an element of catharsis in the expression, but the songs don’t go so far as to portray that, nor could they, since if it’s there, it’s an after-effect. The point is that what Pale Divine are doing is, to an extent, what they’ve always done in bringing to life the tenets of classic American doom metal while retaining the central identity of who they are as individual players and as a group.

For that, Pale Divine could hardly be more relevant, regardless of the fact that the lineup has changed since it was recorded. Their dynamic may indeed shift with Ortt as a member alongside DienerMcCloskey and McGinnis, but that’s a question for live shows and however many years down the road when and if there’s another album, because who the hell knows what might happen now and then. Pale Divine‘s self-titled earns the name by being a sincere representation of who the band is in its moment, and while moments are inherently fleeting, the poise and maturity of their craft and the passion so rife in their delivery are essential components of what makes them who they are, who they’ve become over their years together. That’s always been in flux and it still will be, but in context, Pale Divine reminds of that too, and so all the more stands as the epitome of their persona.

Pale Divine on Thee Facebooks

Pale Divine website

Shadow Kingdom Records on Thee Facebooks

Shadow Kingdom Records on Twitter

Shadow Kingdom Records on Bandcamp

Shadow Kingdom Records website

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Thunderbird Divine Post “Djinn au Jus” Video; Magnasonic Due Jan. 11

Posted in Whathaveyou on November 21st, 2018 by JJ Koczan

Thunderbird Divine (Photo by Dante Torrieri)

I don’t know what the hype is ultimately going to be like for Thunderbird Divine when it comes to their debut album, Magnasonic, but I do know that the record resides in its own niche of psych-informed classic stoner and sludge rock, and I do know that there’s more going on with it the more one listens. It’s been on my list of most anticipated albums pretty much since the band announced they’d gotten together last year as formed by members of Philly-based outfits Skeleton Hands and Wizard Eye. Now that we’re at the point of preorders going up Dec. 7 ahead of the Jan. 11 release, I find I’m all the more curious to know what the response will be.

As has been their method all along, Thunderbird Divine are giving a teaser for Magnasonic by unveiling a video clip for a song that’s not on the album. If you need an extra second to wrap your head around that — I do — feel free to take it. The latest one, “Djinn au Jus” taps into Snoop Dogg‘s similarly-titled single a from quarter-century ago while retaining its psychedelic flair worthy of the old sci-fi imagery that accompanies.

Album art and details came down the PR wire:

thunderbird divine magnasonic

THUNDERBIRD DIVINE release date!

Philly’s psychedelic space hippy enclave, Thunderbird Divine, has set an official domestic release date of January 11, 2019 for its debut album, Magnasonic, with Salt of the Earth Records (https://www.saltoftheearthrecords.com/). The offering, a 30-plus-minute exploration of riffs and psychedelia, features custom art design by the band’s bassist, Adam Scott.

“The inspiration for Magnasonic’s artwork stems from classic optical and psychedelic line art,” Scott explains. “It then evolved to the stargate space exploration of graphic symbolism, which we feel reflects the music’s loud vibrance.”

Connecticut-based Salt of the Earth Records, home to releases by Earthride, When the Deadbolt Breaks, Atala, Rifflord and more, is enthusiastic about this upcoming release.

“Everything about this album is beautiful, focused and original,” says Scott Harrington (Salt of the Earth Records). “From the instrumentation, songwriting, performances and recordings to the sacred geometry in the art direction, everything about Magnasonic speaks to the depth and talent of Thunderbird Divine. This will set the bar for bands to come.”

Produced by the band and recorded at both Ted Richardson at TedAudio in Philadelphia (www.facebook.com/TedAudio) and Charles Newman (who also mixed the album) at Cottage Sounds Unlimited in Brooklyn (https://www.facebook.com/cottagesounds/), Magnasonic shows the quartet, which coalesced in March of 2017, is not willing to be pigeonholed as a strictly stoner/doom rock band. Featuring Scott on bass and guitars, Flynn Lawrence on guitars and additional instrumentation, Mike Stuart on drums and percussion and Erik Caplan on guitars and various instruments,Thunderbird Divine went for an unexpectedly broad tonal variety with Magnasonic.

“A first record is often considered a band’s mission statement,” Caplan says. “We feel a lot of bands’ first releases set the tone for their careers as heavy, funky, trippy, fast or sludgey, and once they do that, any deviation from the initial sound can be perceived as false or a slacking in its rock responsibilities. We wanted come out of the gate with something diverse but representative. We wanted to leave ourselves with plenty of sonic options for the future.”

Layered with unlikely elements like marxophone, electric sitar, piano and a variety of synths, Thunderbird Divine is unlikely to be stylistically shackled in upcoming releases.

“This album pulls out a lot of stops and frees us from genre limitations,” says Stuart. “After this debut, our next record could be total Motorhead worship, and anyone who hears this one first should be able to hear how we got there. Not that we’ll necessarily do that, but it’s certainly an option.”

As with the band’s previous press releases, Thunderbird Divine once again offers listeners a non-album track with a promotional video. The band’s newest video track, “Djinn Au Jus,” is an unconventional pairing of early ’90s R&B with ’70s arena rock instrumental explorations. The self-recorded song was set to video by drummer/percussionist Stuart.

“The story continues here,” Stuart explains. “We’re moving forward; onward and upward. We’re setting the tone for Magnasonic with these short songs and videos.”

Advance orders for Magnasonic start December 7, 2018 at www.saltoftheearthrecords.com

https://www.facebook.com/thunderbirddivine
https://www.instagram.com/thunderbird_divine/
https://www.facebook.com/SaltOfTheEarthRec/
www.SaltOfTheEarthRecords.com

Thunderbird Divine, “Djinn au Jus” official video

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Stinking Lizaveta Announce East Coast & Midwest Tour Dates

Posted in Whathaveyou on November 9th, 2018 by JJ Koczan

Stinking Lizaveta (Photo by Dante Torrieri)

Philadelphia’s Stinking Lizaveta head out at the end of this month on a round of touring in the Midwest and along the Eastern Seaboard supporting last year’s Journey to the Underworld (review here) on Translation Loss. They remain a one-of-a-kind outfit in underground music, adherent to style not nearly so much as to substance, and able to leap tall genres in a single bound. It’s been a while since I’ve seen them live, but their chemistry is born of a history that spans more than two decades, and simply put, they’re the kind of band who, if you can see them, you should see them. Not just because they take jazz and make it heavy, and not just because they take heavy and make it jazz, but because they take all of it and make it their own.

Go see Stinking Lizaveta.

Here’s where to do so in the coming weeks, courtesy of the PR wire:

stinking lizaveta tour poster

Stinking Lizaveta Announce Fall Tour Dates

Philadelphia instrumental heavy rock doom-jazz trio Stinking Lizaveta announce a fall tour beginning on November 30th in Lancaster, PA. For fourteen days, the trio will deliver experimental fusion in support of their 2017 mind-melting and critically acclaimed Translation Loss Records release, Journey To The Underworld.

From Lancaster, PA to Lafayette, LA, Paul Webb (Clearlight,/Mystical Crew Of Clearlight, Mountain Of Wizard will join Stinking Lizaveta on second guitar.

A list of tour dates can be found below.

For over 20 years, Stinking Lizaveta have released multiple critically acclaimed albums and shared the stage with national headlining bands such as Clutch, Corrosion of Conformity, Fugazi, Weedeater and more. They have held the reins as rock pioneers and have built a worldwide cult following for their legendary and unrelenting sound.

Late Fall US Tour
11/30/2018 Lancaster, PA, Lizard Lounge
12/02/2018 Philadelphia, PA, Mothership
12/03/2018 Richmond, VA, Strange Matter
12/04/2018 Chapel Hill, NC, Local 506
12/05/2018 Athens, GA, Caledonia
12/06/2018 Knoxville, TN, Pilot Light
12/07/2018 Chattanooga, TN, Ziggy’s
12/08/2018 New Orleans, LA, Portside Lounge
12/09/2018 Lafayette, LA, Freetown Boom Boom Room
12/10/2018 Austin, TX, Lost Well
12/12/2018 Kansas City, MO, Minibar
12/13/2018 Lombard, IL, Brauerhaus
12/14/2018 Iowa City, IA, Gabes
12/16/2018 Pittsburgh, PA, Spirit
12/17/2018 Brooklyn, NY, Saint Vitus

Stinking Lizaveta are:
Yanni Papadopoulos – Guitar
Alexi Papadopoulos – Upright electric bass
Cheshire Agusta – Drums

https://www.facebook.com/Stinking-Lizaveta-175571942466657/
http://www.stinkinglizaveta.com/
https://stinkinglizaveta.bandcamp.com
http://www.translationloss.com/
http://translationlossrecords.bigcartel.com/
https://www.facebook.com/TranslationLossRecords/

Stinking Lizaveta, Journey to the Underworld (2017)

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Jakethehawk Premiere Video for “The Silk Road”

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

jakethehawk (Photo by Shannon Kenyon)

There’s a special kind of magic that happens when everything clicks in the rehearsal space. Some songs a band agonizes over, endlessly revising part after part, transition after transition. The smallest tempo change can take a month to iron out. Then some other songs take about as long to write as they take to play for a first time through. I don’t know what goes into releasing your two first albums in the same year, but as Jakethehawk approach the Nov. 10 release date for their second outing, To Build a Fire, through Blackseed Records, it doesn’t seem like the kind of effort a band would put in if they weren’t actually working from a spark of inspiration. It’s not like this is 1965 and they’re signed to a label that has them touring 200 shows a year and releasing a new single every two months. If they didn’t have the utmost conviction behind them, there wouldn’t be a point to it.

And if you didn’t hear earlier-2018’s apparently-aptly-titled debut, Year of the Hawk, don’t be put off by their name-the-noun moniker. They’re a heavy rock band, and as the first audio to come from To Build a Fire, the new video for “The Silk Road” finds guitarists Jake Ferranti (so is he the hawk? and why do I feel old asking that question?) and John Huxley sharing vocals effectively as bassist Justin Lober and drummer Jordan Lober (relation assumed) hold together a classically fluid rhythm that remains modern thanks to its party vibe and a sleek groove that seems tense in the oh-man-we’re-about-to-play-really-fast-you-better-watch-out kind of way, but manages to restrain that impulse, instead jamming through the midsection and ending back on the hook for an energetic finish. Again, it’s just an initial glimpse of what might come on To Build a Fire, and you’ll note it’s separate from the four-part, side-A-consuming title-track, but even so, its swing and its nod bode well for the rest of the release to come. It’ll be November before you know it.

Like next week, apparently. Jeez.

Release show for To Build a Fire is in Pittsburgh on Nov. 10 with Sun Voyager, Zom and Vulcanite. Jakethehawk have a couple other dates booked that you can see below, along with some more PR wire background on the record.

That’s all, of course, after the video for “The Silk Road” itself, which is premiering here hopefully to your enjoyment:

Jakethehawk, “The Silk Road” official video premiere

Blackseed Records artists, JAKETHEHAWK have created their first music video premiering, ‘The Silk Road’, of their upcoming record, ‘To Build a Fire’. Video was filmed, edited and directed by Joe Stammerjohn / Eyes to the Sky Films (Pittsburgh, PA). https://www.facebook.com/eyestotheskyfilms/

Coming out this November 2018!

The band shared some insight into creating the new album:

“The bones of this album were mostly written on acoustic guitar with the idea that it would give the music a more ‘song focused’ feel. The title track songs were rewarding, because they contain cohesive musical and thematic journey. To Build a Fire’ is a representation both of where we are as a band and where we want to go musically and texturally.”

To Build A Fire’ – Track List:
1. To Build A Fire pt. 1: First, We Kill All the Lawyers
2. To Build A Fire pt. 2: Parting Glass
3. To Build A Fire pt. 3: Recluse
4. To Build A Fire pt. 4: Geotaxis
5. Carcosa
6. Holy Water
7. The Silk Road
8. Strand

Jakethehawk live:
Nov. 3 – Erie, PA (w/ These Idol Hands, Black Moon Mistress) https://www.facebook.com/events/1947862042172795/
Nov. 10 – Pittsburgh, PA – JaketheHawk CD Release Show (w/ Sun Voyager, Zom, Vulcanite) https://www.facebook.com/events/233332964205414/
Nov. 11 – Richmond, VA – (w/Vulcanite, Night Business)

Jakethehawk is:
Vocals/Guitars – Jake Ferranti
Bass – Justin Lober
Drums – Jordan Lober
Guitars/Vocals – John Huxley

Jakethehawk on Thee Facebooks

Jakethehawk on Instagram

Jakethehawk on Bandcamp

Blackseed Records website

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Pale Divine Announce Addition of Dana Ortt on Guitar

Posted in Whathaveyou on October 23rd, 2018 by JJ Koczan

pale divine

With the addition of Dana Ortt of Beelzefuzz on guitar in Pale Divine, that means that the two groups are three-fourths the same people. Only bassist Bert Hall, Jr. plays just in Beelzefuzz and only bassist Ron “Fezz” McGinnis plays just in Pale Divine. Guitarist/vocalist Greg Diener, drummer Darin McCloskey and now Ortt share duties in both bands. PalezefuzzBeelzivine? Either way, it’s only good news for doom.

Pale Divine are, of course, about to put out a new album on Shadow Kingdom next month. And it rules. Self-titled, due out Nov. 23, which is just in time for them to celebrate with their appearance at Hammer of Doom XIII in Germany on Nov. 17, playing alongside BatushkaCovenUnorthodox and others. They’re also at Days of Darkness in Baltimore at the end of this month, which is less travel but a shared stage with Bang, Satan’s SatyrsChild Bite and more. Still quite a gig.

But the coolest part is they’ll go as a four-piece. Someone get video. And while the self-titled is killer and will be streamed here in full ahead of the release — check back in Nov. 20 — it’s hard not to look forward to what Pale Divine will do in this new incarnation. All hail Palezefuzz. Or Beelzivine. Again, either way.

Intrepid reporter that I am, I hit up Ortt for some comment when I saw the band’s announcement. You’ll find both below:

dana ortt

Pale Divine welcomes Dana Ortt

10/21/2018: We’d like to formally announce that Dana Ortt will now be a part of Pale Divine. We’ve been busy rehearsing for the past month and things have really taken shape perfectly. The addition of Dana has absolutely taken our material to new heights and we’re very excited for the next couple of shows with the new lineup!

Dana Ortt on joining Pale Divine:

It’s very cool to be playing with Darin, Greg and Fezz in Pale Divine! Darin, Greg and I have been playing in Beelzefuzz going on four years now, we rehearse and record in Greg’s studio setup at his house. Over time we’ve had some epic recording and jam sessions that have included playing Pale Divine material on occasion. Playing in Pale Divine for me is just like a natural extension of our Beelzefuzz jam sessions. We’ve discussed writing new Pale Divine songs with me singing with Greg but for the upcoming shows at Days Of Darkness and Hammer Of Doom I’ll be focusing on laying down a solid doomy rhythm guitar that is true to the vibe of the recorded songs. Darin, Greg, Bert and I are also currently working on tracking a new Beelzefuzz album that will be released with Church Within Records.

Pale Divine live:
Oct. 28 Baltimore MD Soundstage Days of Darkness Festival
Nov. 17 Wurzberg Germany Posthalle Hammer of Doom XIII

Pale Divine is:
Greg Diener – vocals & guitar
Dana Ortt – guitar
Ron “Fezzy” McGinnis – bass & vocals
Darin McCloskey – drums

https://www.facebook.com/serpentspath/
http://www.paledivineband.com/
https://www.facebook.com/ShadowKingdomRecords/
https://twitter.com/ShadowKingdom/
https://shadowkingdomrecords.bandcamp.com/
https://www.shadowkingdomrecords.com/

Pale Divine, “Spinning Wheel”

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Jakethehawk Set Nov. 10 Release for To Build a Fire

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

jakethehawk (Photo by Shannon Kenyon)

Two albums in a year is pretty rare for a band who aren’t jamming out space rock or psychedelic improv. Pittsburgh’s Jakethehawk up the ante on a quick turnaround with their second album of 2018 — also their second album, period — To Build a Fire, which will see release Nov. 10 through Blackseed Records. The band are fresh off an appearance at this year’s Descendants of Crom fest in their hometown, and they’ve unveiled the details for the new record, including the righteous cover art that recalls Forming the Void and some of David Paul Seymour‘s work. In any case, one wonders how much this will be the course of things for Jakethehawk or if, with a four-part titular opener, the new record isn’t a result of a glut of material from the writing of their first album.

Either way, it’s a remarkable feat that they’re getting it out before the end of November, let alone the actual end of the year. Here’s to working quickly and recording yourself.

From the PR wire:

jakethehawk to build a fire

JAKETHEHAWK to release their sophomore album, ‘TO BUILD A FIRE’ via BLACKSEED RECORDS on November 10, 2018

Pittsburgh’s own ‘Appalachian Desert Rock’ brotherly quartet of JAKETHEHAWK continues to pursue the sky with the announcement of a new full-length album coming in November on Blackseed Records. Their sophomore record, ‘TO BUILD A FIRE’, comes less than a year after their debut release, ‘Year Of The Hawk’ last January.

The band shared some insight into creating the new album:

“The bones of this album were mostly written on acoustic guitar with the idea that it would give the music a more ‘song focused’ feel. The title track songs were rewarding, because they contain cohesive musical and thematic journey. To Build a Fire’ is a representation both of where we are as a band and where we want to go musically and texturally.”

‘To Build A Fire’ – Track List:

To Build A Fire pt. 1: First, We Kill All the Lawyers
To Build A Fire pt. 2: Parting Glass
To Build A Fire pt. 3: Recluse
To Build A Fire pt. 4: Geotaxis
Carcosa
Holy Water
The Silk Road
Strand

With all music written and performed by Jakethehawk, the album was recorded and engineered by Justin Lober in Pittsburgh, with mastering by James Plotkin at Plotkinworks. The beautiful cover illustration and design is by Joe Mruk of Red Buffalo Illustration.

Set to arrive on November 10, 2018, ‘To Build A Fire’ will be available via Blackseed Records in physical format on CD, with Digital Download and Streaming through all major outlets (Bandcamp, Spotify, etc.).

Jakethehawk is:
Vocals/Guitars – Jake Ferranti
Bass – Justin Lober
Drums – Jordan Lober
Guitars/Vocals – John Huxley

facebook.com/jakethehawkpgh
instagram.com/jakethehawkpgh
jakethehawk.bandcamp.com
www.blackseedrecords.com

Jakethehawk, Year of the Hawk (2018)

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