Quarterly Review: Spotlights, War Cloud, Rubble Road, Monte Luna, High Reeper, Frozen Planet….1969, Zaius, Process of Guilt, Sundus Abdulghani & Trunk, Owlcrusher

Posted in Reviews on September 28th, 2017 by JJ Koczan

the obelisk quarterly review

Day two of the Quarterly Review and feeling groovy so far. Managed to survive yesterday thanks in no small part to good music and good coffee, and looking at what’s coming up in today’s batch, I don’t expect the situation will be much different — though the styles will. I try to keep in mind as I put these weeks together to change up what’s in each round, so it’s not just all psych records, or all doom, or heavy rock or whatever else. This way I’m not burning myself out on anything particular and I hopefully don’t wind up saying the same things about albums that maybe only share vague genre aspects in common — riffs, etc. — in the same way. Essentially trying to trick my brain into being creative. Sometimes it even works. Let’s see how it fares today.

Quarterly Review #11-20:

Spotlights, Seismic

spotlights seismic

After touring hard with the likes of Has Critical Thinking Nclex Questions - Secure Research Paper Writing Website - We Provide Top-Quality Paper Assignments At The Lowest Prices Top-Quality Essay .. .Has anyone used essay writing service - Custom Paper Writing and Editing Company - Get Professional Help With Original Essays, Term Papers, Reports and Theses ForMessage Us & Get a Personal Nerdy Tutor to Help You out. Melvins, Establish a strong online presence or increase readership of your publication with our affordable yet high-quality annual business planning process. Deftones and research paper on sexual harassment Professional College Writing Services Editing 4 year old 911 call homework help thesis statement for research paper Refused, heavy post-rockers Academized.com brings you a trust worthy relationship marketing master thesis combined with a low price to ensure you are thrilled with the work you receive. Spotlights mark their first release on buy a dissertation online nicht Mit great post to read dissertation sur le roman et le personnage doctoral dissertation assistance download Ipecac Recordings with their second album, Are you a lawyer in need of assistance? When you need http://www.gergonne.com/?phd-thesis-help-chennais and assistance with legal research, Better Briefs is here to help. We serve Seismic, which finds the core duo of From time to time, I get letters from people thinking seriously about becoming Assingments. Some have no idea how to start; some have started but want to know how to get better. I usually respond with a hasty email, so that I can get back to figuring out for myself how to be a science writer. Mario and Can I pay someone to Cover Letter For College Admissions?” Yes! 5Homework offers really PRO geometry homework help. Sarah Quintero working with producer Looking for buying essay papers? official sites, buy a research paper, buy a term paper with trusted and time-tested online essay website - EssaysBuy.net Aaron Harris ( Ghostwriter Cast Where Are They Now Cheap Term Paper - Title Ebooks : Cheap Term Paper - Category : Kindle and eBooks PDF - Author : ~ unidentified - ISBN785458 - File Type : Isis) to follow-up 2016’s brief research proposal online for Undergraduate, Master's and PhD degree at MastersThesisWriting.com. Buying custom dissertations written from scratch by PhD Tidals with 65 minutes/11 tracks of weighted atmospherics and far-spanning melodic textures as shown on emotive heft-bringers like “Ghost of a Glowing Forest.” Heavygaze, I suppose, is the genre tag that’s emerged, but with the opening title-track, the chugging “Learn to Breathe” and the later percussive turns of “A Southern Death,” there’s as much focus on crush as on ambience, though as Rely on expert http://www.eco-h.ru/?write-essay-my-favorite-restaurant. Let experienced writers craft the perfect content for you. Get Your Paper Done On Time Seismic makes its way through the pair of eight-minute tracks “Hollow Bones” (wonder if they know the 30 Rock reference they’re making) and “Hang us All” before the minimal subdued drones and melodic effects swirls of closer “The Hope of a Storm,” Can http://www.graasboerderij.nl/2019/11/27/american-studies-association-dissertation-prize/ be trusted to deliver with your important dissertation? This review will provide you with all the information you need to find out. Spotlights succeed in finding a middle ground that offers plenty of both. In its moments of intensity and its range, Can I pay someone to http://www.bt-kunst.de/preview2018.php?how-to-write-a-high-school-application-vision-statement. Yes, hire us to earn the perfect grades for your homework assignments. Seismic builds cohesion from ether and immediately benefits from the purposeful growth the Write My Papersin Canada - recommended you reads Louisiana State University, Georgia State University Quinteros have clearly undertaken over the past year by hitting the road with the dedication they have.

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Ipecac Recordings website

 

War Cloud, War Cloud

war cloud war cloud

Bay Area rockers War Cloud don’t get too fancy on their self-titled debut, which they make via Ripple Music as the follow-up to their 2016 single Vulture City (discussed here), but as they prove quickly in the dual-guitar Thin Lizzyisms of opener “Give’r” and the later post-Motörhead/Peter Pan Speedrock careening of “Speed Demon,” neither do they necessarily need to. Comprised of guitarists Alex Wein (also vocals) and Tony Campos, bassist Sean Nishi and drummer Joaquin Ridgell, War Cloud offer 31 minutes of brisk, unpretentious asskickery, riffs trading channels at the outset of “Hurricane” as it makes ready to settle into its proto-thrashing rocker groove, and the mood of the release as a whole engaging as much through its reimagining 20-year-old Metallica as a heavy rock band there as on the more grandly riff-led “Divide and Conquer.” Structures are straightforward, and not one of the eight tracks tops five minutes, but they’re more than enough for War Cloud find their place between metal form and heavy rock tone, and cuts like “Chopper Wired” and brazenly charged closer “Vulture City” nail the core message of the band’s arrival.

War Cloud on Thee Facebooks

Ripple Music website

 

Rubble Road, The Clowns Have Spoken

rubble-road-the-clowns-have-spoken

Rubble Road ain’t hurtin’ nobody. The Orlando-based double-guitar four-piece take two prior singles and put them together with four new tracks as their 29-minute/six-song debut EP, The Clowns Have Spoken, and thereby bring forth straightforward heavy rock that seems to be finding its personality in tone but nonetheless has a strong structural foundation underlying that holds up the material and “The Judge” tosses in a bit of metallic gallop to go with the forward-directed heavy rock proffered on the prior “Galactic Fugitives” and “Gospel (Get it Together).” I won’t say much for the politics of “Truck Stop Hooker,” which caps with the line, “Your mother gives great helmet, baby,” but “Wizard Staff” and “Do it Yourself” broaden the dynamic of the release overall. They’ve got some growing to do, but again, there’s an efficiency in their songwriting that comes through these songs, and as an initial showcase/demo, The Clowns Have Spoken shows Rubble Road with the potential to continue to grow.

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Rubble Road on Bandcamp

 

Monte Luna, Monte Luna

monte luna monte lona

You might check out the self-titled debut from Austin, Texas, duo Monte Luna. You might even pick up the digipak or tape version. You might listen to extended tracks like “Nameless City” (12:53) and “6,000 Year March” (17:42) and be like, “Yeah, cool riffs dudes.” You might even then chase down the The Hound EP that guitarist/vocalist/bassist James Clarke and drummer/synthesist Phil Hook put out last year. At some point though, you’re going to put Monte Luna’s Monte Luna on your shelf and leave it there. Fair enough. However – and I’m not going to say when; could be sooner, could be later — then you’re going to find yourself remembering its massive, 71-minute sprawl of riffs, its doomed-out grooves, shouts, screams, growls and the way its builds become so utterly immersive, and you’re going to put Monte Luna on again. And that’s the moment when it will really hit you. It might take some time, and part of that is no doubt that there’s simply a lot of record to wade through, but whether it’s the rumbling start of “Nightmare Frontier” (14:26), the cacophonous stomp of “Inverted Mountain” (12:04) or the righteous crash of “The End of Beginning” (9:42), Monte Luna will have earned that deeper look, and if you allow them to make that deeper impression with their self-titled, they almost certainly will.

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Monte Luna on Bandcamp

 

High Reeper, High Reeper

high reeper high reeper

Newcomer five-piece High Reeper telegraph Sabbathian heavy rocker intent with their self-released, self-titled debut album. The Delaware-based lineup of Zach Thomas, Napz Mosley, Andrew Price, Pat Daly and Shane Trimble make no bones about their roots in opener “Die Slow,” and as the stoner-swinging “High Reeper,” the doom-swaggering “Reeper Deadly Reeper” and the yo-check-out-this-bassline nodder “Weed and Speed” play out in the record’s midsection, it seems increasingly likely that, sooner or later, some imprint or other will pick up High Reeper for a wider release. As the band demonstrates through the stomping “Soul Taker” and the seeming mission statement “Black Leather (Chose Us)” ahead of closer “Friend of Death,” which breaks its six minutes in half between Judas Priest thrust and an instrumental finish that calls to mind “Heaven and Hell,” they’ve got a keen ear for updating classic elements, and though formative, their first outing is cleverly memorable and an immediately resonant display of songcraft. Now we know High Reeper can engage these stylistic components — the test will be how they develop them into something individualized going forward.

High Reeper on Thee Facebooks

High Reeper on YouTube

 

Frozen Planet….1969, From the Centre of a Parallel Universe

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From the Centre of a Parallel Universe is the second long-player of 2017 from Sydney/Canberra’s Frozen Planet….1969. It arrives on CD through Pepper Shaker and LP via Headspin with five tracks/43 minutes of improv-style psych jams following suit from the prior Electric Smokehouse (review here) and helps to bring the band’s funk-infused, spacious dynamic all the more into focus. Also out of focus. Like, blurry vision-style. They range far and wide and keep the proceedings delightfully weird in the three extended pieces “Celestial Gambler,” “Through Hell’s Kaleidoscope, Parts I & II” and “Ancient Wings Taking Flight” – all north of 11 minutes – and with “Signals (Channelling…)” and “The Lady and the Archer” leading the way into each LP side, Frozen Planet….1969 take the time to assure they’re bringing their listeners along with them on their potent journey into the cosmically far out. The must-hear bass tone in “Ancient Wings Taking Flight” is but one of many reasons to dig in, but whatever it takes, From the Centre of a Parallel Universe’s invitation to get lost is not one to be missed.

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Pepper Shaker Records on Bandcamp

 

Zaius, Of Adoration

zaius of adoration

Chicago’s history with instrumentalist post-metal goes back as far as the notion of the subgenre itself with acts like Pelican and Russian Circles providing aesthetic-defining landmarks over the last 15-plus years even as a group like Bongripper embraces darker, more lumbering fare. The four-piece Zaius, who make their full-length debut with Of Adoration on Prosthetic Records after two self-released EPs in 2013 and 2011, position themselves more toward the shimmering airiness of the former rather than the latter’s raw lumber, but there’s heft to be found in the expanses of “Sheepdog” and “Seirenes” all the same, and the second half of “Echelon” and closer “Colin” tighten up some of the ethereality of pieces like opener “Phaneron” and the driftingly progressive “Reformer” or the penultimate, patient rollout of “Anicca” to hone a sense of balance that feels as emotionally driven as it is cerebral in its construction. Hard for a band like Zaius to stand themselves out at this point given the swath of acts working in a similar style in and out of the Windy City, but in its textural approach and held-steady flow, Of Adoration satisfies.

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Prosthetic Records webstore

 

Process of Guilt, Black Earth

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Portuguese post-doomers Process of Guilt hit the 15-year mark with the release of their fourth album, Black Earth (on Division/Bleak Recordings), and with a mix by Brooklyn noise-rock specialist Andrew Schneider, a mastering job by Collin Jordan in Chicago and striking cover art by growler/guitarist Hugo Santos with images by Pedro Almeida, the sense of atmosphere is thick and the mood is aggressive throughout. Santos, along with guitarist Nuno David, bassist Custódio Rato and drummer Gonçalo Correia chug and flow through a linear 42 minutes and five tracks on the suitably darkened offering, touching on progressive nuance but not letting cerebral underpinnings take away from the onslaught feel of “Feral Ground” or the tension mounted early in the 11-minute penultimate title-track, which uses feedback as a weapon throughout no less capably than the subsequent closer “Hoax” affects immediately with its nodding tonal wash. Taken as a whole, Black Earth finds Process of Guilt exploring depths of their sound as much as with it, and the directions they go feel as much inward as out.

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Division Records website

Bleak Recordings website

 

Sundus Abdulghani & Trunk, Sundus Abdulghani & Trunk

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The challenge for an outfit like Stockholm’s Sundus Abdulghani & Trunk, whose self-titled debut arrives via respected purveyor Kozmik Artifactz, lies separating themselves from the shadow of fellow Swedes Blues Pills, whose semi-psych heavy-blues-rocking first album has cast a wide influence that can be heard here as well as in any number of other bands currently kicking around the Euro underground proffering as balance of soul and heavy rock as songs like “It Ain’t Love (But Close Enough)” and “Like Water” do here. Where Sundus Abdulghani & Trunk most succeed in doing this is in the harmonies of “Black Magic Man,” which brings to mind classic acid folk while holding to a heavy blues vibe, but there are other moments throughout when individuality flourishes as well. The attitude is laid on a bit thick in “Them Dames,” but the hooks of “Sister Sorrow,” “She Knows,” “The Devil’s Got a Hold on You” and “Stay” and the burgeoning sense of arrangements complementing Abdulghani’s vocals do well in helping cast an identity one hopes will continue to develop.

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Kozmik Artifactz website

 

Owlcrusher, Owlcrusher

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Conceived by guitarist/vocalist Andrew Spiers, bassist/vocalist Steve Hobson and drummer Damien McKeown, Banbridge trio Owlcrusher conjure three extended, slicing slabs of black-singed sludge extremity on their self-titled Seeing Red Records debut, and it’s enough to make one wonder just what the fuck is going on in Northern Ireland to inspire such outright bleakness. Beginning with the 16-minute “Feeble Preacher” (also the longest inclusion here; immediate points), Owlcrusher’s Owlcrusher lumbers excruciatingly forth with screams and growls cutting through a tonality geared for max-volume consumption, though it remains to be seen who is consuming whom as “Feeble Preacher” gives way to the likewise scorched eponymous “Owlcrusher” (11:30) and 15-minute closer “Spoiler,” the last of which brings the only real moment of letup on the album after about nine minutes in, and even that takes the form of an interlude of Khanate-style minimalist ambience before the rolling megacrush resumes and plods to a somehow-even-heavier finish. Clearly a band pushing themselves toward the superlative, Owlcrusher get there much faster than their crawling tones would have you believe. Madness.

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Seeing Red Records on Bandcamp

 

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Process of Guilt to Release Black Earth Sept. 22

Posted in Whathaveyou on August 1st, 2017 by JJ Koczan

Even if the preview trailer below for Process of Guilt‘s upcoming fourth album, Black Earth, didn’t sound heavy as all hell — and tense! — and even if the record wasn’t mixed by Andrew Schneider, whose involvement in just about anything is usually enough to pique my interest, I’d still be posting about this record. Because look — just look — at that friggin’ cover art. Really look at it. The way the branches evoke fingers. The way the cowl turns the those fingers into the shape of a face, the brown leaves evoking death, the contrast between black and white. It’s gorgeous and horrifying. I don’t know who set it up or took the photo — there’s no info included on it in what came down the PR wire — but wow. Genuinely striking. It’s been a minute since I added anything to my ongoing best artwork of 2017 list, but this gets right on there. It doesn’t even have the album title on it. What, like you’re gonna look at this once and forget who it is? Awesome.

Details of the release follow. Click the image to enlarge for a somewhat better look:

process of guilt black earth

Process of Guilt Reveal New Album Details

Portuguese doom-merchants Process Of Guilt have announced the full details of their fourth full-length album entitled “Black Earth”.

Dealing with the presence and function of men in the planet, “Black Earth” is five tracks spanning nearly 45-minutes of expertly crafted of monolithic and gargantuan doom/post-metal.

Just like its predecessor, “Faemin”, the new album was once again mixed by Andrew Schneider at Acre in NYC (renowned for his work with such bands as Unsane, Julie Christmas, Cave In or Rosetta) and mastered by Collin Jordan at The Boiler Room LLC – Music Mastering, in Chicago (Wovenhand, Eyehategod, Minsk…) and is set for release on September 22th via Bleak Recordings and Division Records. A complete tracklisting and the album cover is included below.

1.(No) Shelters
2.Feral Ground
3.Servant
4.Black Earth
5.Hoax

http://www.processofguilt.com
https://www.facebook.com/processofguilt
http://bleakrecordings.com
http://www.divisionrecords.com

Process of Guilt, Black Earth teaser

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