High Reeper Premiere Pentagram Cover “Hurricane” from Self-Titled Reissue

Posted in Bootleg Theater on November 24th, 2020 by JJ Koczan

high reeper (photo by drew wiedemann)

Get Quality olivier thonnard phd thesiss and Dissertation Help at Best Price Ever, DissertationHelpUK all kind of writing services in UK. Contact us now! High Reeper‘s self-titled debut (review here) will see a re-release through Buy Pre Written Essays. We are most trusted custom-writing services among students from all over the world. Since we were founded in 1997 Heavy Psych Sounds on Jan. 11 with two bonus tracks and some stylin’ new cover art. To answer your first question, no, it hasn’t been that long since the label put it out in the first place. After the band self-released in 2017, the Italy-based imprint did the honor in 2018, and as the band set off on the road in Europe twice in 2019, they still managed to find time to issue the follow-up, Karen S. Cole, book ghostwriter since before 2003, tells you how to find more info and make your book publishable and maybe bestselling too. Higher Reeper (review here), as well. Obviously 2020 has been somewhat lighter in terms of road time owing to blah-blah-blah-if-I-think-about-it-anymore-my-head-is-going-to-explode, so perhaps it’s a good time to revisit  Phd Thesis On Ergonomics,Researcher + Writer + Proofreader, the combination of these three gives the perfect result. Where, the researcher can High Reeper‘s first LP (they were a five-piece at the time, now four), get it back in print, and for those who like a little something extra, offer it with a new look and a couple more tracks.

One of the cuts in question is a cover of  Do Your Homework without Any Obstacles Thanks to Our Powerful Service! Best Cv Writing Service London Dubai? Many desperate students ask this question Pentagram‘s “Hurricane.” How do you feel about  Great essay writers have been working since the early days of American history, and we can be proud of this fact for sure. Each period of our history has its own Film Studio Business Plan, and their works are a great example of what a power words have and how beautiful our speech can be when we express our thoughts consistently and concisely. Bobby Liebling? Dude punched his mom. Dude was at very least accused of sexual harassment on tour. On and on. A pariah among some — many — he may be, but there’s little use denying the force that is  Looking for best source url Services in UAE? Essayassignmenthelp.ae is one of the best solutions for students to get the essay assignment help Pentagram‘s  Buy-Custom-Essays-Online.com is the Best site to buy dissertation online for affordable price First Days Here era, those once-lost recordings from the early ’70s that kickstarted a revolution in retro heavy when unearthed for a subsequent generation’s appreciation. All you have to do is listen to  Speedy Essay is a top leading online firm in UK to write your essay soundly. Just ask us, please this page and get quality cheap paper on-time. High Reeper‘s take on “Hurricane” to realize that — and it’s only two minutes long, so it’s not about to put a dent in your busy day or whatever. The band could’ve covered “Forever My Queen” or “Relentless” or one of those other riffs that launched a thousand ships, but by digging even just a little further, they get to put their stamp on something familiar while making it their own.

I can hardly think of anything more fitting when it comes to their sound as a whole.

Enjoy the track. Quickie band quote and  Reliable writing service Oxford Essay Writers for hire for school is here for you. Address our online custom writing company and receive instant help High Reeper reissue preorder link follow:

High Reeper, “Hurricane” official track premiere

High Reeper on “Hurricane”:

“All of us love Pentagram (especially the early stuff) so we thought it would be cool if we did a track from that era. It’s an overlooked track but we all think it rocks.”

Debut album ‘High Reeper’ (reissue w/ 2 bonus tracks + new artwork) out January 11th, 2021 on Heavy Psych Sounds: https://www.heavypsychsounds.com/shop.htm#HPS072v2

High Reeper’s self titled debut is an unapologetic punch to the face for fans of early ’70s proto-metal. Produced, engineered and mixed by bass player Shane Trimble at TTR studios in Philadelphia and at his home studio Delwood sound in Delaware. The production is laced with old school elements while still maintaining the focus of a modern release.

High Reeper is:
Zach Thomas- vocals
Pat Daly- guitar
Justin Di Pinto- drums
Shane Trimble- bass

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Sonja Sign to Cruz Del Sur; Loud Arriver Out Next Year

Posted in Whathaveyou on November 6th, 2020 by JJ Koczan

Philly trad metal-style heavy rockers — or is it heavy rock-style trad metallers? — admission essay custom writing 101 Article here a level politics essay help college essay application review service Sonja have signed to Assignment Agreement - paper writing service Pay someone to do my assignment australia -... Cruz Del Sur Music to issue their debut long-player in the New Year. Titled http://www.edutheque.fr/?great-creative-writing-prompts eBooks Best Essay Writing Service Yahoo Answers is available on PDF, ePUB and DOC format. You can directly Loud Arriver, the album will have been preceded only by the 2018 two-songer demo, Buy A Research Paper For College Cheap I is an 8-week online business writing course. If you want to improve your business writing skills, then this course is ideal for you! Nylon Nights/Wanting Me Dead, issued by Carnegie Mellon University college papers for sale from Professionals! Articles, Tips, Samples, Requirements Creep Records. And I don’t know of those songs will make the record, but I’m certainly not hearing anything in them that wouldn’t make sense.

Interesting to read that the band have roots in more extreme fare. As Philadelphia has kind of become a hotbed of newer-school underground heavy metal, rock and psych, there have been a number of acts emerging whose pasts found them digging into more aggro influences —  Ecstatic Vision come to mind first — but whatever works, frankly. Sonja obviously have their house order, otherwise I don’t think a label like Cruz Del Sur comes knocking in the first place.

Info from the PR wire:

sonja loud arriver

Philadelphia Rockers SONJA Sign With Cruz Del Sur Music

Cruz Del Sur Music is proud to announce the signing of Philadelphia rockers SONJA. The label will release the band’s first full-length studio album, Loud Arriver, in early 2021.

SONJA formed in 2014 when vocalist/guitarist Melissa Moore and drummer Grzesiek Czapla started to look for new musical avenues beyond their extreme black, death, grind and thrash backgrounds. Instead of entrusting an outsider with the vocalist position, Moore took it upon herself to learn how to sing. Along the way, the band added bassist Ben Brand, completing a lineup that is rife with musical diversity with influences stretching from classic and doom metal, all the way to Goth and post-punk.

In 2018, SONJA released the Nylon Nights / Wanting Me Dead demo, a hook-laden display of metal that was immediately lauded for its catchiness and heaviness. The demo caught the interest of Cruz Del Sur Music.

“We immediately got a good feeling and it was obvious that we were dealing with a label that was about the music above all,” says Moore. “Despite our past bands, we had never toured with SONJA and didn’t have an official release, so Cruz Del Sur to be able to ‘discover’ us meant something. A very sick label found Sonja based on our songs only, and that’s the kind of omen we respect.”

“From day one this band has had a strong vision, and we consider it our duty to serve that vision,” she continues. “As a result, we take a long time to make sure that what we are crafting is totally on point. It’s a cohesive sound and we prioritize hooks above all. Real heavy metal fire has to be there in every song along with sensual dark rhythms. No one shows up to the dojo with a full song and says ‘play this.’ We write the music together in the same room. This is a band about songwriting and the songs are bigger than anything else about us.”

Speaking of songwriting, Loud Arriver will feature eight songs of “beautiful, dark, mighty and wicked” heavy metal and is the product of a tandem recording process with the music being recorded by Daniel Kishbaugh and the vocals being recorded by Arthur Rizk in Philadelphia at Creep Recording Studio. As 2020 starts to draw to a close, Moore and her bandmates leave with some words of encouragement for 2021:

“Whatever is going on in the world, whether it be death and misery, or MORE death and misery, SONJA will accompany you to the end.”

Artwork by Karmazid!

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Sonja, Nylon Nights/Wanting Me Dead (2018)

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Fuzznaut Premiere New Single “Haunting Mantra” out This Week

Posted in audiObelisk on October 27th, 2020 by JJ Koczan

fuzznaut

Pittsburgh one-man drone outfit Fuzznaut will release the new single Haunting Mantra on Friday, Oct. 30. It is a crowded pre-Halloween release date, to be sure, but one expects few among the multitudes will so effectively convey the paranoia and uncertainty of the right-now in which we’re living. Part X-Files soundtrack, part post-metallic atmospheric sludge tonality, part pure exploration, the 8:40 work from guitarist Emilio Rizzo follows the 2019 debut Fuzznaut EP, Form is Emptiness (review here), and though it is comprised of material from the same sessions, it feels less specifically Americana-gothic than the prior offering. That could be an affect of the way in which the song was built up from already-recorded pieces, but either way, the somethingelseness works to its benefit.

A clean creeper of a guitar progression — bass, drums, vocals, keys, etc. need not apply — if offset by dense distortion that carries a home-recorded feel as if to emphasize the notion that some projects were just made to exist in an age of quarantine. Rizzo isn’t out to put on a technical show, but there is a precise feeling to the tempo at which “Haunting Mantra” plays out, and the track’s title serves double-duty as a mission statement. The arrangement is of course sparse, but too restless ultimately to be minimal — Rizzo gives himself away as a writer of riffs in an underlying sense of structure to the track — and you can read in the track info below that the guitarist is playing toward notions of tonal weight and creating something “heavy” in the sense of heavy rock or doom while bringing that to a sound based on drone. Such stylistic aims don’t necessarily account directly for the mood in “Haunting Mantra,” but neither do they dismiss it.

It is perhaps the experimentation in “Haunting Mantra” that most resonates, at least in terms of concept, and the fact that Rizzo is willing to pull pieces apart and remake them in such a way only holds promise for things to come from Fuzznaut as his palette continues to expand, even if that just means working with different effects, loops, etc., to create varied atmospheres. One way or the other, the track is indeed a work of heaviness, and you can hear it premiering below ahead of the glut of offerings out this weekend.

Please enjoy:

“Haunting Mantra” is an 8 + minute sonic experience of echoing riffs and reaping heavy fuzz. The music bursts between lurking feelings of dread, and elation. These atmospheres take hold with pounding intensity. The original pieces were set for “Form Is Emptiness” sessions but were deconstructed and reformed to provide this current offering of earth-shattering tones.

Release Date: October 30, 2020

Music By FUZZNAUT recorded at Strega Sana V2.

Mixed and Mastered by Viking Guitar Productions

Fuzznaut, Form is Emptiness (2019)

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Quarterly Review: The Pilgrim, Polymoon, Doctors of Space, Merlock, Sun Dial, Saturn’s Husk, Diggeth, Horizon, Limousine Beach, The Crooked Whispers

Posted in Reviews on October 12th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Well, the weekend’s over and it’s time to wrap up the Quarterly Review. Rest assured, I wrote the following during my copious weekend leisure time, resting on the side of a heated Olympic-size pool with a beverage nearby. It definitely wasn’t four in the morning on a Sunday or anything. If I haven’t gotten the point across yet, I hope you’ve found something amid this massive swath of records that has resonated with you. By way of a cheap plug, I’ll be featuring audio from a lot of these bands on the Gimme Metal show this Friday, 5PM Eastern, if you’re up for tuning in.

Either way, thanks for reading and for being a part of the whole thing. Let’s wrap it up.

Quarterly Review #51-60:

The Pilgrim, …From the Earth to the Sky and Back

the pilgrim from the earth to the sky and back

Lest he be accused of laziness, Gabriele Fiori — also of Black Rainbows, Killer Boogie and the head of the Heavy Psych Sounds label, booking agency and festival series — made his solo debut as The Pilgrim with Spring 2019’s Walking into the Forest (review here). Joined by Black Rainbows drummer Filippo Ragazzoni, Fiori ups the scale of the journey with the second The Pilgrim LP, …From the Earth to the Sky and Back. Richer in arrangement, bolder in craft and more confident in performance, the album runs 14 songs and 50 minutes still largely based around an acoustic acid rock foundation, but with a song like “Riding the Horse” tapping ’70s singer-songwriter vibes while “Cuba” touches on Latin percussion and guitar and “Space and Time” journeying out near the record’s end with waves of synthesizer, it seems The Pilgrim isn’t so willing to be pigeonholed. So much the better.

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Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

There is an undercurrent of extremity to the debut release from Polymoon, who hail from the psychedelic hotbed that is Tampere, Finland. The six-song/42-minute Caterpillars of Creation turns in opener “Silver Mt.” to fervent guitar push or from freaked-out cosmic prog into drifting post-universe exploration, setting the stage for the dynamic that unfolds throughout. The wash early in the second half of “Lazaward” is glorious, and it’s not the first or the last time Polymoon go to that adrenaline-pumping well, but the serenity that caps that song and seems to continue into “Malamalama” in closing side A is no less effective. “Helicaling” mounts tension in its early drumming but finally releases it later, and “Neitherworld” gives Caterpillars of Creation‘s most fervent thrust while closer “Metempsychosis” rounds out with a fitting sense of dissipation. As a first album/first release, it is particularly stunning, and to make it as plain as possible, I will think less of any list of 2020’s best debut albums that leaves out Polymoon.

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Svart Records website

 

Doctors of Space, First Treatment

doctors of space first treatment

The two-piece comprised of Martin Weaver (ex-Wicked Lady) and synthesist Scott “Dr. Space” Heller (Øresund Space Collective, Black Moon Circle, etc.) position First Treatment as their proper studio debut, and it certainly hits its marks in galaxial adventuring well enough to qualify as such, but the duo have been on a creative splurge throughout this year — even in lockdown — and so the six songs here are also born out of the work they’ve been doing since releasing their debut single “Ghouls ‘n’ Shit” (video premiere here) late last year. The album launches with “Journey to Enceladus,” which boasts drum programming by Weaver and though one of the movements in the 21-minute “Into the Oort Cloud” is based around beats, the bulk of First Treatment is purely a work of guitar and synth, and it basks in the freedom that being so untethered inherently brings. Running an hour long, it’s improvisational nature isn’t going to be for everyone, but Heller and Weaver make a strong argument that maybe it should be.

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Merlock, That Which Speaks

merlock that which speaks

Who’s ready for a New Wave of PNW Fuckery? That’s right folks, the NWOPNWF has arrived and it’s Spokane, Washington’s Merlock leading the sometimes-awfully-punk-sometimes-awfully-metal-but-somehow-also-always-sludge charge. Aggressive and damning in lyrics, swapping between raw screams, grows, shouts and cleaner vocals and unhinged in terms of its genre loyalties, That Which Speaks seems to find the “melt faces” setting wherever it goes, and though there’s a sense of the four-piece feeling out what works best for them stylistically, the sometimes frantic, sometimes willfully awkward transitions — as in second cut “Prolapse” — serve the overall purpose of undercutting predictability. Eight-minute opener/longest track (immediate points) “Idolon” stomps and shoves and gnashes and nasties its way through, and that’s the modus across what follows, though the scream-along headbanger “Vessel” somehow seems even rawer, and though it ends by floating into oblivion, the start of “Condemnation” heavy fuckin’ metal to me. You never know quite where Merlock are going to hit next, and that’s the joy of the thing. May they remain so cacophonous.

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Sun Dial, Mind Control: The Ultimate Edition

sun dial mind control

Long-running UK psychedelic rockers Sun Dial — led by founding guitarist/vocalist Gary Ramon — released Mind Control in 2012. Sulatron Records picked it up in 2015, and now, five years after that, the same label presents Mind Control: The Ultimate Edition, a 2CD version of the original LP-plus-bonus-tracks reissue that brings the total runtime of the release to a well-beyond-manageable 98 minutes of lysergic experimentation. A full 20 tracks are included in the comprehensive-feeling offering, and from early mixes to alternative takes and lost tracks, and if this isn’t the ‘ultimate’ version of Mind Control, I’m not sure what could be, notwithstanding a complete-studio-sessions box set. Perhaps as a step toward that, Mind Control: The Ultimate Edition gives an in-depth look at a vastly underappreciated outfit and is obviously put together as much for the label as by it. That is to say, you don’t put out a reissue like this unless you really love the original record, and if Sulatron loving a record isn’t enough endorsement for you, please turn in your mushrooms on your way out the door.

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Saturn’s Husk, The Conduit

Saturns Husk The Conduit

Immersion is the goal of Saturn’s Husk‘s third long-player, The Conduit, and the Riga, Latvia, instrumentalist trio accomplish it quickly with the fluid riffs that emerge from the drone-based intro “Death of Imaginary Lights” and the subsequent 10-minute opener “Black Nebula.” At nine songs and 63 minutes, the album is consuming through the welcome nodder “The Heavenly Ape,” the especially-doomed “The Ritual” and the more mellow-float centerpiece “Spectral Haze,” while “Mycelium Messiah” brings more straight-ahead fuzz (for a time) and drones on either side surround the 10:35 “Sand Barrows,” the latter serving as the finale “A Shattered Visage” quoting Percy Bysshe Shelley and the former “City of the Djinn” running just a minute-plus but still doing enough to reset the brain from where “Mycelium Messiah” left it. Almost functioning as two albums side-by-side with “Spectral Haze” as the dividing point, The Conduit indeed seems to join various sides together, with a depth to coincide that invites the listener to explore along with it.

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Diggeth, Gringos Galacticos

diggeth gringos galacticos

Landing a punch of classic metal to go along with its heavy-bottomed groove, Diggeth‘s Gringos Galacticos — one supposes the title ‘Spacecrackers’ was taken — was released by the Dutch trio in 2019 and receives a US limited vinyl edition thanks to Qumran Records. One finds some similar guitar heroics to those of Astrosoniq‘s more straightforward moments, but Diggeth‘s focus remains on hookmaking for the duration, offering hints of twang and acoustics in “In the Wake of Giants” and tipping a hat southwestward in “Three Gringos,” but “Straight-Shooter” is willfully breaks out its inner Hetfield and even as the penultimate “Unshackled” departs for a quieter break, it makes its way back in time for the big finish chorus, adding just a touch of Candlemass grandiosity for good measure before the harmonica-laced closing title-track rounds out with its dynamic spacey weirdness, the name of the album repeating itself in an answer to the Stephen Hawking sample that started the voyage on its way.

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Qumran Records website

 

Horizon, The White Planet Patrol

horizon the white planet patrol

Cursed Tongue Records has the vinyl here, and Three Moons the tape, and the CD will arrive through Aladeriva Records, La Rubia Producciones, Aneurisma Records, Surnia Records and Violence in the Veins — so yes, Horizon‘s third album, The White Planet Patrol is well backed. Fair enough for the Kyuss-via-BlackRainbows vibes of “End of Utopia” or the initial charge and flow of “The Backyard” that sets the Alicante, Spain, trio on their way. “King Serpent” and “Death & Teddies” bring well-crafted fuzz to bear, and “Blind World” effectively layers vocals in its chorus to coincide, but the more laid back roll of the title-cut is an unmistakable highlight. Shades of mid-paced Nebula surface in “Meet the Forest” later on, but Horizon are part of a tradition of heavy bands in Alicante and they know it. The smoothness of their tone and delivery speaks volumes on its own in that regard, never mind the actual songwriting, which also leaves nothing to be desired.

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Limousine Beach, Stealin’ Wine + 2

Limousine Beach Stealin Wine

Debut EP from Limousine Beach out of Pittsburgh, and if the three guitars involved don’t push it over the top, certainly the vocal harmonies get that particular job done. You got six minutes for three songs? Yeah, obviously. They scorch through “Tiny Hunter” to close out, but it’s in the leadoff title-track that Stealin’ Wine + 2 sees the Dave Wheeler-fronted outfit land its most outrageous chorus, just before they go on to find a middle-ground between KISS and Thin Lizzy on “Hear You Calling.” The harmonies open and are striking from the outset, but it’s in how they’re arranged around the standalone parts from Wheeler (also Outsideinside, ex-Carousel) that the outfit’s truest potential is shown. Issued through Tee Pee Records, Stealin’ Wine + 2 is the kind of thing you’d pick up at a show in a normal year and then feel way ahead of everyone else when the LP finally hits. Not a normal year, obviously, but Limousine Beach are serving due notice just the same. In six minutes, no less.

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Tee Pee Records website

 

The Crooked Whispers, Satanic Melodies

the crooked whispers satanic melodies

I’m sure a lot of records show up at Satan’s door with notes, like, “Dear sir, please find the enclosed submitted for your approval,” but it’s not hard to imagine Beelzebub himself getting down with the filth-coated sludge and rolling doom unfurled across The Crooked Whispers‘ debut offering, Satanic Melodies, marked by hateful, near-blackened screams from Anthony Gaglia and the plodding riffs of Chad Davis (Hour of 13, et al). The title-track is longest at 8:23 and in addition to featuring Ignacio De Tommaso‘s right-on bass tone in its midsection, it plays out early like Weedeater sold their collective soul, and drifts out where earlier pieces “Sacrifice” and “Evil Tribute” and “Profane Pleasure” held their roll for the duration. Stretches of clean-vocal cultistry add to the doomier aspects, but The Crooked Whispers seem to care way less about genre than they do about worshiping the devil, and that unshakable faith behind them, the rest seems to fall into place in accordingly biting fashion.

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Quarterly Review: Molasses Barge, Slow Green Thing, Haze Mage & Tombtoker, White Dog, Jupiterian, Experiencia Tibetana, Yanomamo, Mos Eisley Spaceport, Of Wolves, Pimmit Hills

Posted in Reviews on October 6th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

We roll on with day two of the Fall 2020 Quarterly Review featuring another batch of 10 records en route to 50 by Friday — and actually, I just put together the list for a sixth day, so it’ll be 60 by next Monday. As much as things have been delayed from the pandemic, there’s been plenty to catch up on in the meantime and I find I’m doing a bit of that with some of this stuff today and yesterday. So tacking on another day to the end feels fair enough, and it was way easy to pick 10 more folders off my far-too-crowded desktop and slate them for review. So yeah, 60 records by Monday. I bet I could get to 70 if I wanted. Probably better for my sanity if I don’t. Anyhoozle, more to come. For now…

Quarterly Review #11-20:

Molasses Barge, A Grayer Dawn

molasses barge a grayer dawn

Following up their 2017 self-titled debut issued through Blackseed Records, Pittsburgh-based rockers Molasses Barge present A Grayer Dawn through Argonauta, and indeed, in songs like “Holding Patterns” or the melancholy “Control Letting Go,” it is a somewhat moodier offering than its predecessor. But also more focused. Molasses Barge, in songs like stomping opener “The Snake” and its swing-happy successor “Desert Discord,” and in the later lumber of “Black Wings Unfurl” and push of the title-track, reside at an intersection of microgenres, with classic heavy rock and doom and modern tonality and production giving them an edge in terms of overarching heft in their low end. Riffs are choice throughout from guitarists Justin Gizzi and Barry Mull, vocalist Brian “Butch” Balich (Argus, ex-Penance, etc.) sounds powerful as ever, and the rhythm section of bassist Amy Bianco and drummer Wayne Massey lock in a succession of grooves that find welcome one after the other until the final “Reprise” fades to close the album. Its individuality is deceptive, but try to fit Molasses Barge neatly in one category or the other and they’ll stand out more than it might at first seem.

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Argonauta Records website

 

Slow Green Thing, Amygdala

slow-green-thing_amygdala-2000

Yes, this. Slow Green Thing‘s third album, Amygdala, is melodic without being overbearing and filled out with a consuming depth and warmth of tone. A less jammy, more solo-prone Sungrazer comes to mind; that kind of blend of laid back vocals and heavy psychedelic impulse. But the Dresden four-piece have their own solidified, nodding grooves to unveil as well, tapping into modern stoner with two guitars setting their fuzz to maximum density and Sven Weise‘s voice largely floating overtop, echo added to give even more a sense of largesse and space to the proceedings, which to be sure have plenty of both. The six-track/44-minute outing picks up some speed in “Dirty Thoughts” at the outset of side B, and brings a fair bit of crush to the title-track earlier and lead-laced finale “Love to My Enemy,” but in “Dreamland,” they mellow and stretch out the drift and the effect is welcome and not at all out of place beside the massive sprawl conjured in side A capper “All I Want.” And actually, that same phrase — “all I want” — covers a good portion of my opinion on the band’s sound.

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Fuzzmatazz Records website

 

Haze Mage & Tombtoker, Split

Haze Mage Tombtoker Split

Anyone bemoaning the state of traditionalist doom metal would do well to get their pants kick’d by Haze Mage, and when that’s done, it’s time to let the stoned zombie sludge of Tombtoker rip your arms off and devour what’s left. The two Baltimorean five-pieces make a righteously odd pairing, but they’ve shared the stage at Grim Reefer Fest in Charm City, and what they have most in common is a conviction of approach that comes through on each half of the four-song/19-minute offering, with Haze Mage shooting forth with “Sleepers” and the semi-NWOBHM “Pit Fighter,” metal, classic prog and heavy rock coming together with a vital energy that is immediately and purposefully contradicted in Tombtoker‘s played-fast-but-is-so-heavy-it-still-sounds-slow “Braise the Dead” and “Botched Bastard,” both of which find a way to be a ton of fun while also being unspeakably brutal and pushing the line between sludge and death metal in a way that would do Six Feet Under proud. Horns and bongs all around, then.

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White Dog, White Dog

white dog white dog

Oldschool newcomers White Dog earn an automatic look by releasing their self-titled debut through former Cathedral frontman Lee Dorrian‘s Rise Above Records, but it’s the band’s clearcut vintage aesthetic that holds the listener’s attention. With proto-metal established as an aesthetic of its own going on 20 years now, White Dog aren’t the first by any means to tread this ground, but especially for an American band, they bring a sincerity of swing and soul that speaks to the heart of the subgenre’s appeal. “The Lantern” leans back into the groove to tell its tale, while “Abandon Ship” is more upfront in its strut, and “Snapdragon” and opener “Sawtooth” underscore their boogie with subtle progressive nods. Closing duo “Pale Horse” and “Verus Cultus” might be enough to make one recall it was Rise Above that issued Witchcraft‘s self-titled, but in the shuffle of “Crystal Panther,” and really across the whole LP White Dog make the classic ideology theirs and offer material of eminent repeat listenability.

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Rise Above Records website

 

Jupiterian, Protosapien

jupiterian protosapien

The only thing that might save you from being swallowed entirely by the deathly mire Brazil’s Jupiterian craft on their third full-length, Protosapien, is the fact that the album is only 35 minutes long. That’s about right for the robe-clad purveyors of tonal violence — 2017’s Terraforming (review here) and 2015’s Aphotic (review here) weren’t much longer — and rest assured, it’s plenty of time for the band to squeeze the juice out of your soul and make you watch while they drink it out of some need-two-hands-to-hold-it ceremonial goblet. Their approach has grown more methodical over the years, and all the deadlier for that, and the deeper one pushes into Protosapien — into “Capricorn,” “Starless” and “Earthling Bloodline” at the end of the record — the less likely any kind of cosmic salvation feels. I’d say you’ve been warned, but really, this is just scratching the surface of the trenches into which Jupiterian plunge.

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Transcending Obscurity Records on Bandcamp

 

Experiencia Tibetana, Vol. I

Experiencia Tibetana Vol I

It’s an archival release, recorded in 2014 and 2015 by the Buenos Aires-based band, but all that really does for the three-song/hour-long Vol. I is make me wonder what the hell Experiencia Tibetana have been up to since and why Vols. II and III are nowhere to be found. The heavy psych trio aren’t necessarily inventing anything on this debut full-length, but the way “Beirut” (18:36) is peppered with memorable guitar figures amid its echo-drifting vocals, and the meditation tucked into the last few minutes of the 26:56 centerpiece “Espalda de Elefante” and the shift in persona to subdued progressive psych on “Desatormentandonos” (14:16) with the bass seeming to take the improvisational lead as guitar lines hold the central progression together, all of it is a compelling argument for one to pester for a follow-up. It may be an unmanageable runtime, but for the come-with-us sense of voyage it carries, Vol. I adapts the listener’s mindset to its exploratory purposes, and proves to be well worth the trip.

Experiencia Tibetana on Thee Facebooks

Experiencia Tibetana on Bandcamp

 

Yanomamo, No Sympathy for a Rat

yanomamo no sympathy for a rat

Filth-encrusted and lumbering, Yanomamo‘s sludge takes Church of Misery-style groove and pummels it outright on the opening title-track of their four-song No Sympathy for a Rat EP. Like distilled disillusion, the scream-laced answer to the Sydney four-piece’s 2017 debut, Neither Man Nor Beast, arrives throwing elbows at your temples and through “The Offering,” the wait-is-this-grindcore-well-kinda-in-this-part “Miasma” and the suitably destructive “Iron Crown,” the only letup they allow is topped with feedback. Get in, kill, get out. They have more bounce than Bongzilla but still dig into some of Thou‘s more extreme vibe, but whatever you might want to compare them to, it doesn’t matter: Yanomamo‘s unleashed assault leaves bruises all its own, and the harsher it gets, the nastier it gets, the better. Can’t take it? Can’t hang? Fine. Stand there and be run over — I don’t think it makes a difference to the band one way or the other.

Yanomamo on Thee Facebooks

Iommium Records on Bandcamp

 

Mos Eisley Spaceport, The Best of Their Early Year

mos eisley spaceport the best of their early year

They mean the title literally — “early year.” Bremen, Germany’s Mos Eisley Spaceport — who so smoothly shift between space rock and classic boogie on “Further When I’m Far” and brash tempo changes en route to a final jam-out on “Mojo Filter,” finally unveiling the Star Wars sample at the head of organ-inclusive centerpiece “Space Shift” only to bring early Fu Manchu-style raw fuzz on “Drop Out” and finish with the twanging acoustic and pedal steel of “My Bicycle Won’t Fly” — have been a band for less than a full 12 months. Thus, The Best of Their Early Year signals some of its own progressive mindset and more playful aspects, but it is nonetheless a formidable accomplishment for a new band finding their way. They lay out numerous paths, if you couldn’t tell by the run-on sentence above, and I won’t hazard a guess as to where they’ll end up sound-wise, but they have a fervent sense of creative will that comes through in this material and one only hopes they hold onto whatever impulse it is that causes them to break out the gong on “Space Shift,” because it’s that sense of anything-as-long-as-it-works that’s going to continue to distinguish them.

Mos Eisley Spaceport on Thee Facebooks

Mos Eisley Spaceport on Bandcamp

 

Of Wolves, Balance

of wolves balance

One doesn’t often hear “the Wolfowitz Doctrine” brought out in lyrics these days, but Chicago heavy noise metallers Of Wolves aren’t shy about… well, anything. With volume inherent in the sound no matter how loud you’re actually hearing it, conveyed through weighted tones, shouts of progressions unified in intensity but varied in aggression and actual approach, the three-piece take an unashamed stance on a range of issues from the last two decades of war to trying to put themselves into the head of a mass shooter. The lyrics across their sophomore outing, Balance, are worth digging into for someone willing to take them on, but even without, the aggro mosh-stomp of “Maker” makes its point ahead of the 17-second “Flavor of the Weak” before Of Wolves dive into more progressively-structured fare on the title-track and “Clear Cutting/Bloodshed/Heart to Hand.” After “Killing Spree” and the aural-WTF that is “Inside (Steve’s Head),” they finish with a sludgecore take on the Misfits‘ “Die, Die My Darling,” which as it turns out was exactly what was missing up to that point.

Of Wolves on Thee Facebooks

Trepanation Recordings on Bandcamp

 

Pimmit Hills, Heathens & Prophets

Pimmit Hills Heathens Prophets

Comprised of four-fifths of what was Virginian outfit King Giant, it’s hard to know whether to consider Pimmit Hills a new band or a name-change, or what, but the first offering from vocalist David Hammerly, guitarist Todd “TI” Ingram, bassist Floyd Lee Walters III and drummer Brooks, titled Heathens & Prophets and self-released, hits with a bit of a bluesier feel than did the prior outfit, leaving plenty of room for jamming in each track and even going so far as to bring producer J. Robbins in on keys throughout the four-song/29-minute release. I suppose you could call it an EP or an LP — or a demo? — if so inclined, but any way you cut it, Heathens & Prophets plainly benefits from the band’s experience playing together, and they find a more rocking, less moody vibe in “Baby Blue Eyes” and the harmonica-laced “Beautiful Sadness” that has a feel as classic in substance as it is modern in sound and that is both Southern but refusing to bow entirely to cliché.

Pimmit Hills on Thee Facebooks

Pimmit Hills on Bandcamp

 

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Oven Escape to Space with “Dark Matter” Video

Posted in Bootleg Theater on August 5th, 2020 by JJ Koczan

oven

As I type this, my laptop battery is dying all too quickly and the reason it matters — other than because said battery isn’t replaceable without opening the case of my computer — is because the power is out. North Jersey is getting hit by whatever tropical storm it is. It has a name, as they all do now that there’s marketing involved, but I can’t be bothered to take the time or the bandwidth to look it up. Sorry to whatever future archaeologist unearths the ruins of my laptop 1,000 years from now. You’ll have to do your own legwork.

Anyway, before the power to do so is gone, I wanted to put together this post for Oven‘s “Dark Matter” video. Clocked in at nine minutes, the track is the penultimate feature — really it’s the closer, but they finish with a cover of Nebula‘s “To the Center” — on the trio’s 2019 Couch Lock EP (review here), and if you heard that or you didn’t, I’m posting the video because Oven remind me of going to local shows and seeing cool regional bands who probably aren’t all that unknown beyond their locality, but maybe come through on a weekender or something like that. A band for whom playing a gig is something special, not just another stop on a tour. Dudes — and in this case, it is all dudes — with jobs and a “real life” outside of the creative endeavor. The things you take for granted until a pandemic makes you appreciate them.

Oven aren’t changing the world, or changing heavy rock, but their video has killer 4K space footage and what would appear to be common-use animations and rocket launch stuff, and there are some clips of them playing as well. I don’t know, maybe I’d see them in some small bar in Brooklyn, or be rewarded for showing up early at one of those 13-band days Maryland Doom Fest puts on that are likewise completely overwhelming and once-a-year glorious. What it comes down to either way: The EP was cool and the video is cool. Believe it or not, that’s actually enough for me.

Info follows the clip below, and the Bandcamp stream of Couch Lock is down there too. Enjoy:

Oven, “Dark Matter” official video


OVEN – DARK MATTER

OVEN’s official music video for the song, Dark Matter, from the album Couch Lock which released on 4/20/2019.

©2020 Hi Way Recordings

Produced by OVEN

Couch Lock recorded by James Patton at Evergreen Recorders in Mount Joy, PA. The album was mixed by OVEN and James Patton at Evergreen Recorders. Mastered by James Patton at Evergreen Recorders.

Couch Lock is the first release from OVEN, recorded during the year 2018. Recorded live with minimal overdubs with live mixing of tracks.

OVEN is:
Randy Siders – Bass/Vocals
Chris Paradise – Guitars
Robert Gallagher Jr – Drums/Vocals

Oven, Couch Lock (2019)

Oven on Bandcamp

Oven on Thee Facebooks

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Queen Elephantine Post Tribute to Atrophos Vol. III EP

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

No doubt calling the series ‘Drones Against Lethargy’ would’ve been too obvious for the likes of Queen Elephantine, but Tribute to Atrophos makes the point just the same as a title, and with the advent of Vol. III out now, they’re certainly living up to the standard they set in terms of not being apathetic. The improvisation-based experimentalist troupe continue to mine the out-of-normal and return to ground with a style that is as much drone as it is aural spiritualism and still somehow heavy regardless of whatever volume it happens to be operating with at any given time. Music of presence, for lack of a better way to say it. Their recordings are almost always raw, and this one is too, but the effect of making you wish you were in that room is palpable, and for me, that’s what it’s always been about with them. They remain undervalued.

The PR wire brought words:

Queen Elephantine Tribute to Atrophos Vol III

Psychedelic Doom Drone Rituals: QUEEN ELEPHANTINE Third Installment Tribute To Atrophos Online Vol. III of New EP Series Online

Queen Elephantine returns with three new EP’s in a digital series titled Tribute To Atrophos. The illustrious psychedelic avantgarde collective was formed in Hong Kong in 2006 by Indian musician Indrayudh Shome and wandered through many cities before finding its current home base in Philadelphia, USA.

The post-apocalyptic global sound of Queen Elephantine is both heavy and transcendent, informed by everything from doom, drone, noise, krautrock, free jazz, and spiritual and subversive sounds from all over the world.

Besides several studio albums, the band has released a number of splits, including with Sons of Otis and Elder, and have recently finished a collaborative album with the Russian ritualists Phurpa.

In observance and tribute to this period of global atrophy, they present a collection of improvisations recorded in the months following the release of their last LP Gorgon in November 2019 on Argonauta Records and Atypeek Music.

Queen Elephantine:
Indrayudh Shome: Guitar/Vocal
Camden Healy: Bass
Nathanael Totushek: Drums
Brett Zweiman: Vocal/Electronics
Matthew Couto: Synthesizer
Daniel Quinn: Pukele/Percussion
Srinivas Reddy: Tanpura

www.queenelephantine.com
www.queenelephantine.bandcamp.com
www.facebook.com/queenelephantine
www.atypeekmusic.com

Queen Elephantine, Tribute to Atrophos Vol. III

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MRC: Backwoods Payback Frontman to Release Solo EP This Week

Posted in Whathaveyou on August 3rd, 2020 by JJ Koczan

mrc backwoods payback

The creativity born of restlessness. How was your quarantine? Was it productive? Well, if not, there’s always the next one, apparently. For Backwoods Payback guitarist/vocalist Michael Rudolph Cummings, the early part of the summer resulted in three new solo songs that he’ll release this week under the banner of MRC, or if you go by the logo, mRc. The EP is called What Year is It?, suitably enough, and is being self-released by Cummings with proceeds headed to the ACLU, which, you know, is legit. I don’t know who was involved in this recording with him — he calls the backing band The Souvenirs and has toured as mRc and the Souvenirs in the past — but the last time Cummings did an mRc release was 2015’s More Barn (streaming below) and that band included Jessica Baker from Backwoods Payback as well as Dan Metzker and Pat Shannon from Philly’s Hold Down the Ocean as well as drummer Mike Bardzik, who engineered that recording and also just engineered the new Hold Down the Ocean EP, Sidereal Month.

What Year is It? comprises three tracks and runs from heavier-ended Americana to more straight up ’90s alt worship and is a step-aside from some of the more intense fare that Backwoods Payback has unleashed over their last couple records, though Cummings‘ voice and songwriting are nothing if not characteristic. Kind of a fan-piece here, maybe, but hell, it’s a three-song tape, I can’t imagine he’s making too many of them, and all the money goes to the ACLU. You could do worse.

Incidentally, it’s definitely 2020. Sometimes feels like 1620.

Announcement is quick:

mrc-what-year-is-it-tape

mRc – What Year is It? EP

August 7th I’m releasing a brand new mRc ep. Three songs written the first week of June and recorded the second week of July with the souvenirs. These songs are now. It’s never too late.

100% of the proceeds will be going to the @aclu_nationwide to ensure we can all keep fighting the good fight……

don’t give up.

https://michaelrudolphcummings.bandcamp.com/
https://www.facebook.com/backwoodspayback/
http://instagram.com/backwoodspayback
https://backwoodspayback.bandcamp.com/
https://www.backwoodspayback.com/

MRC, More Barn (2015)

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