Quarterly Review: Les Discrets, Test Meat, Matus, Farflung, Carpet, Tricky Lobsters, Ten Foot Wizard & Chubby Thunderous Bad Kush Masters, The Acid Guide Service, Skunk, The Raynbow

Posted in Reviews on July 10th, 2017 by JJ Koczan

quarterly-review-summer-2017

My friends, the time has come. Well, actually the time came about two weeks ago at the end of June, but I won’t tell if you don’t. Better late than never as regards all things, but most especially The Obelisk’s Quarterly Review, which this time around features releases recent, upcoming and a bit older, a mix of known and lesser known acts, and as always, hopefully enough of a stylistic swath to allow everyone whose eyes the series of posts catches to find something they dig between now and Friday. As always, it’ll be 50 records from now until then, 10 per day, and I see no reason not to jump right in, so let’s do that.

Quarterly Review #1-10:

Les Discrets, Prédateurs

les discrets Prédateurs

After offering a preview of their marked stylistic turn in last year’s Virée Nocturne EP (review here), Lyon, France’s Les Discrets return with the suitably nighttime-urbane vibing of their Prédateurs full-length via Prophecy Productions. Five years after Ariettes Oubliées (review here), Fursy Teyssier and company reinvent their approach to the sonic lushness of their earlier work, departing the sphere of post-black metal they previously shared with sister band Alcest in favor of an anything-goes heavy experimentalism more akin to Ulver on cuts like “Le Reproche” or the deeply atmospheric “Fleur des Murailles.” Drones pepper “Rue Octavio Mey” and closer “Lyon – Paris 7h34” effectively conveys the sense of journey its train-schedule title would hint toward, and indeed Les Discrets as a whole seem to be in flux throughout Prédateurs despite an overarching cohesion within each track. It’s a fine line between multifaceted and disjointed, but fortunately, Teyssier’s grip on melodicism is unflinching and enough to tie otherwise disparate ideas together here.

Les Discrets on Thee Facebooks

Les Discrets at Prophecy Productions

 

Test Meat, Demo

test meat demo

Considering the pedigree involved in guitarist/vocalist Darryl Shepard (ex-Milligram, Blackwolfgoat, Kind, etc.), bassist Aarne Victorine (UXO, Whitey) and drummer Michael Nashawaty (Planetoid, Bird Language), it’s little surprise that Test Meat’s Demo would have a pretty good idea of where it wants to come from. The five-track first showing from the Boston trio blends raw-edge grunge and noise rock on “He Don’t Know” after opening with its longest inclusion (immediate points) in the 3:50 “Cuffing Season,” and though centerpiece “Done” nods at the starts-and-stops of Helmet, the subsequent 2:35 push of “If You Wanna” is strikingly post-Nirvana, and closer “Permanent Festival” rounds out by bridging that gap via a still-straightforward heavy rock groove. Formative, yeah, but that’s the whole point. Test Meat revel in their barebones style and clearly aren’t looking to get overly lush, but one can’t help but be curious how or if they’ll develop a more melodic sensibility to go with the consuming, full buzzsaw tones they elicit here.

Test Meat on Thee Facebooks

Test Meat on Bandcamp

 

Matus, Intronauta

matus intronauta

Worth noting that while the opening cut here, “Claroscuro,” shares its title with Matus’ 2015 full-length (review here), that song didn’t actually appear on that album. Does that mean that the Lima, Peru, classic progressive rockers are offering leftovers from the same sessions on their new EP and perhaps final release, Intronauta? I don’t know, but the four tracks of the digital outing are a welcome arrival anyway, from the laid back easy vibes of the aforementioned opener through the riffier “Intronauta (Including Hasta Que El Sol Descanse en Paz),” the Theremin-soaked finish of the harder-driving “Catalina” and the acoustic-led four-part closer “Arboleda Bohemia,” which unfolds with lushness that remains consistent with the naturalism that has always been underlying in the band’s work. They’ve said their last few times out that the end is near, and if it’s true, they go out with a fully-cast sonic identity of their own and a take on ‘70s prog that remains an underrated secret of the South American underground.

Matus on Thee Facebooks

Matus on Bandcamp

 

Farflung, Unwound Celluloid Frown

farflung unwound celluloud frown

The jury, at least when it comes to the internet, still seems to be somewhat divided on whether the name of Farflung’s five-track/34-minute EP is Unwound Celluloid Frown or Unwound Cellular Frown. I’d say another argument is whether it’s an EP or an LP, but either way, let the follow-up to the more clearly-titled 2016 album (review here) demonstrate how nebulous the long-running Los Angeles space rockers can be when it suits them. Hugely and continually underrated, the troupe once again aligns to Heavy Psych Sounds for this release, which is rife with their desert-hued Hawkwindian thrust and weirdo vibes, permeating the rocket-fuel chug of the title-track and the noise-of-the-cosmos 13-minute headphone-fest that is “Axis Mundi,” which seems to end with someone coming home and putting down their car keys before a slowly ticking clock fades out and into the backwards swirling intro of lazily drifting closer “Silver Ghost with Crystal Spoons.” Yeah, it’s like that. Whatever you call it, the collection proves once again that Farflung are a secret kept too well.

Farflung on Thee Facebooks

Heavy Psych Sounds website

 

Carpet, Secret Box

carpet secret box

Immersive and progressive psychedelia unfolds from the very opening moments of Carpet’s third album, Secret Box (on Elektrohasch Schallplatten), as the Augsberg, Germany-based five-piece explore lush arrangements of Moog, Rhodes, trumpet, vibraphone, etc. around central compositions of fluid guitar-led melodies and engaging rhythms. Their 2015 Riot Kiss 7” (review here) and 2013 sophomore long-player, Elysian Pleasures (review here), came from a similar place in intent, but from the funk wah and percussion underscoring the pre-fuzz-explosion portion of “Best of Hard Times” and the okay-this-one’s-about-the-riff “Shouting Florence” to the serene ambience of “For Tilda” and ethereal fluidity of “Pale Limbs” later on, the secret of Secret Box seems to be that it’s actually a treasure chest in disguise. Opening with its longest track in “Temper” (immediate points), the album hooks its audience right away along a graceful, rich-sounding melodic flow and does not relinquish its hold until the last piano notes of the closing title-track offer a wistful goodbye. In between, Carpet execute with a poise and nuance all the more enjoyable for how much their own it seems to be.

Carpet on Thee Facebooks

Carpet on Bandcamp

 

Tricky Lobsters, Worlds Collide

tricky lobsters worlds collide

Full, natural production, crisp and diverse songwriting, right-on performances and a name you’re not about to forget – there’s nothing about Tricky Lobsters not to like. Worlds Collide is their sixth album and first on Exile on Mainstream, and the overall quality of their approach reminds of the kind of sonic freedom proffered by Astrosoniq, but the German trio of guitarist/vocalist Sarge, bassist/vocalist Doc and drummer/vocalist Captain Peters have their own statements to make as well in the stomping “Battlefields,” the mega-hook of “Big Book,” the dreamy midsection stretch of “Father and Son” and the progressive melody-making of “Tarred Albino” (video premiere here). The emphasis across the nine-song/42-minute outing is on craft, but whether it’s the patient unfolding of “Dreamdiver Pt. I & II” or the harp-and-fuzz blues spirit of closer “Needs Must,” Tricky Lobsters’ sonic variety comes paired with a level of execution that’s not to be overlooked. Will probably fly under more radars than it should, but if you can catch it, do.

Tricky Lobsters on Thee Facebooks

Tricky Lobsters at Exile on Mainstream Records

 

Ten Foot Wizard & Chubby Thunderous Bad Kush Masters, Special

ten-foot-wizard-chubby-thunderous-bad-kush-masters-special

Dubbed Special for reasons that should be fairly obvious from looking at the cover art, this meeting of minds, riffs and cats between Manchester’s Ten Foot Wizard and London’s Chubby Thunderous Bad Kush Masters brings four tracks – two per band – and goes so far as to find the groups collaborating on the former’s “Get Fucked,” which opens, and the latter’s “Dunkerque,” which begins their side of the 7”, as vocalists The Wailing Goblin (of Chubby Thunderous) and Gary Harkin (of Ten Foot Wizard) each sit in for a guest spot on the other band’s cuts. Both bands also offer a standalone piece, with Ten Foot Wizard digging into heavy rock burl on “Night Witches” and Chubby Thunderous blowing out gritty party sludge in “Nutbar,” which rounds out the offering, and between them they showcase well the sphere of the UK’s crowded but diverse heavy rock underground. Kind of a niche release in the spirit of Gurt and Trippy Wicked’s 2016 Guppy split/collab, but it works no less well in making its impact felt.

Ten Foot Wizard on Thee Facebooks

Chubby Thunderous Bad Kush Masters on Thee Facebooks

 

The Acid Guide Service, Vol. 11

the acid guide service vol 11

It turns out that Vol. 11 is actually Vol. 1 for Garden City, Idaho, three-piece The Acid Guide Service, who dig into extended fuzz-overdose riffing on the 52-minute nine-tracker, proffering blown-out largesse even on shorter cuts like the five-minute “Into the Sky” while longer pieces like opener “Raptured” (7:16), “EOD” (9:38) and closer “Black Leather Jesus” (10:04) skirt lines between structure and jams as much as between heavy rock and psychedelia. Proffered by the trio of guitarist/vocalist Russ Walker, bassist/vocalist Tyler Walker and drummer Nick McGarvey, one can hear shades of Wo Fat in the guitar-led expanse of “Rock ‘n’ Roll (Is the Drug I’m On),” but on the whole, Vol. 11 speaks more to the late-‘90s/early-‘00s post-Kyuss stoner rock heyday, with flourish of Monster Magnet and Fu Manchu for good measure in the hard-swinging “Dude Rockin’” and its chugging companion piece, “Marauder King.” Big tones, big riffs, big groove. The Acid Guide Service are preaching to the converted, but clearly coming from a converted place themselves in so doing. Right on.

The Acid Guide Service on Thee Facebooks

The Acid Guide Service on Bandcamp

 

Skunk, Doubleblind

skunk doubleblind

Professing a self-aware love for the earliest days of heavy metal in idea and sound, Oakland’s Skunk offer their full-length debut with the self-released Doubleblind, following up on their 2015 demo, Heavy Rock from Elder Times (review here). That outing featured four tracks that also appear on Doubleblind – “Forest Nymph,” “Wizard Bong,” “Black Hash” and “Devil Weed.” Working on a theme? The theme is “stoned?” Yeah, maybe, but the cowbell-infused slider groove and standout hook of “Mountain Child” are just as much about portraying that ‘70s vibe as Skunk may or may not be about the reefer whose name they bear. Presumably more recent material like that song, “Doubleblind,” closer “Waitin’ Round on You” and leadoff cut “Forest Nymph” coherently blend impulses drawn from AC/DC, Sabbath and Zeppelin. John McKelvy’s vocals fit that spirit perfectly, and with the grit brought forth from guitarists Dmitri Mavra and Erik Pearson, bassist Matt Knoth and drummer Jordan Ruyle, Skunk dig into catchy, excellently-paced roller riffing and cast their debut in the mold of landmark forebears. Mothers, teach your children to nod.

Skunk on Thee Facebooks

Skunk on Bandcamp

 

The Raynbow, The Cosmic Adventure

the raynbow the cosmic adventure

As they make their way through a temporal drift of three tracks that play between krautrocking jazz fusion, psychecosmic expansion and Floydian lushness, Kiev-based explorers The Raynbow keep immersion central to their liquefied purposes. The Cosmic Adventure (on Garden of Dreams Records) is an aptly-titled debut full-length, and the band who constructed it is comprised of upwards of eight parties who begin with the 16-minute opener and longest track (immediate points) “Changes,” which builds toward and through a metallic chug apex, sandwiching it on either side with ultra-patient molten tone and soundscaping that continues to flourish through the subsequent “Cosmic Fool” (5:17) and “Blue Deep Sea Eyes” (8:18), the whole totaling a still-manageable outward trip into reaches of slow-moving space rock that whether loud or quiet at any individual moment more than earns a volume-up concentrated headphone listen. The kind of outfit one could easily imagine churning out multiple albums in a single year, The Raynbow nonetheless deliver a dream on The Cosmic Adventure that stands among the best first offerings I’ve heard in 2017.

The Raynbow on Thee Facebooks

Garden of Dreams Records on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

The Obelisk Presents: The Top 20 of 2017 So Far

Posted in Features on June 12th, 2017 by JJ Koczan

the obelisk top-20-2017-so-far

The time has come to take a look at some of the best albums of 2017 so far. I hardly know where to start. In some ways, this list is harder to put together than the end-of-year one that comes out in December, because by then not only do you have the full year to draw on, but it’s easier to sort of put a narrative to the course of events of 12 months, whereas in this case, obviously, the story is half told. So I guess if the list feels incomplete, that might be part of why.

Even with just six months to work from, the list has become fairly immense. I’ve been keeping track of 2017 releases since about September of last year, and the amount of stuff that’s come through has been staggering. Every year brings good music, and the basic fact of the matter is that if you don’t think so it’s because you’re either unwilling to find it or unwilling to let yourself hear it, but 2017 has been a multi-tiered assault of sounds from all over the world, and it seems like whatever you might be into, the universe stands ready to accommodate.

There’s a lot to say about that — is the market flooded? — but it’s a topic for a different post. I’ll keep it short here and just say that as always, it’s an honor to be covering the stuff that I cover and that I deeply appreciate you taking the time to read. I hope if there’s a release you feel deeply passionate about that you don’t see on my list below that you’ll please let me know about it in the comments.

Also, please note that in order to qualify for this list, a record had to come out on or before June 9. That’s the cutoff.

Okay, here goes:

The Top 20 of 2017 So Far

elder reflections of a floating world

1. Elder, Reflections of a Floating World
2. All Them Witches, Sleeping Through the War
3. Samsara Blues Experiment, One with the Universe
4. Colour Haze, In Her Garden
5. Atavismo, Inerte
6. Sun Blood Stories, It Runs Around the Room with Us
7. Cloud Catcher, Trails of Kozmic Dust
8. Vokonis, The Sunken Djinn
9. The Obsessed, Sacred
10. Mothership, High Strangeness
11. Spaceslug, Time Travel Dilemma
12. Electric Moon, Stardust Rituals
13. Alunah, Solennial
14. Arc of Ascent, Realms of the Metaphysical
13. Rozamov, This Mortal Road
14. Siena Root, A Dream of Lasting Peace
15. PH, Eternal Hayden
16. Geezer, Psychoriffadelia
17. T.G. Olson, Foothills Before the Mountain
18. Telekinetic Yeti, Abominable
19. The Devil and the Almighty Blues, II
20. Lord, Blacklisted

Notes

If you keep up with this site at all, there probably aren’t a lot of surprises in there. These are all records that have been discussed at great length over the last six months, reviewed, streamed, analyzed, whathaveyou’d all the way. If you don’t believe me, search any of the names. Still, as far as my personal picks go and who I think has crafted something special over the last six months, this feels pretty representative to me. I managed to live for a full week with the list as you see it above, without making changes. That’s usually my standard.

And as always, it’s a combination of what I’ve listened to most and what I feel has had the greatest impact thus far into the year. Between the two, there was little doubt Elder would take the top spot. I’ve probably listened to the All Them Witches record more than anything else this year, including Elder’s Reflections of a Floating World, but the truth is the Massachusetts trio are working at a level of their own making in terms of their sonic progression, and that they’ve emerged as one of if not the most pivotal American underground heavy rock bands going. The situation was much the same when they put out Lore in 2015 and claimed that year’s top-album spot, but even since then their sound has expanded and they continue to demand ultimate respect.

As for the All Them Witches album — absolute stunner. The increased depth of their arrangements on Sleeping Through the War came at no expense of songwriting, resulting in ultra-memorable material that could either wash over you with melody or shove you out of your seat with the force of its rhythm, and that band continues to be a treasure. No other way to put it.

From there, we move into what I think are the four best heavy psych offerings of 2017 so far, with Samsara Blues Experiment, Colour Haze, Atavismo and Sun Blood Stories, in that order. Samsara Blues Experiment’s return has been a joy to witness and their first album in four years lived up to the occasion. Colour Haze expanded the palette from their last album with In Her Garden and proved as immersive as always. I’m still getting to know that record. Atavismo’s second full-length upped the progressive influences without losing fluidity or cohesion in songwriting, and Sun Blood Stories’ hypnotic shoegaze offered expansive thrills and a sense of varied, beautifully crafted exploration.

A pair of exciting young bands thereafter in Colorado’s Cloud Catcher, whose boogie is right-on-right-on and whose development continues to hold much potential, and Vokonis, whose crushing riffs on The Sunken Djinn were met with an increased focus on structure and tightening of approach that maximized overall impact. The Obsessed’s unexpected return could only be called a triumphant one, and Mothership’s third long-player found them working in a richer sense of mood than previous outings, adding yet more character to what was still a blast of good-time rock and roll. They round out the top 10 in full command of who they are as players.

Granted, the next 10 releases are kind of all over the place, but I think that just shows the overarching quality of work being done across the board. From Spaceslug’s melodic stoner-psych to Electric Moon’s studio return — so, so, so good — to Alunah’s continued growth in nature-worshiping heavy and Arc of Ascent’s comebacker of rolling heavy riffs and metaphysical themes, there’s been so much to take in. I especially like the pairing of Rozamov and Siena Root as a sense of scope for 2017 so far; the former being so dark and crushing and the latter who lived up to calling their record A Dream of Lasting Peace. You want to know both ends of the spectrum? There they are.

PH’s Eternal Hayden gets a nod for its effective reset of the context of that band following the completion of their trilogy of albums, and Geezer’s Psychoriffadelia might have been something of a tossoff in the making, but the level at which the New York trio jams nonetheless assures it a spot here. Plus, a Nazareth cover. So duh.

I couldn’t help but include T.G. Olson’s Foothills Before the Mountain on the list as the Across Tundras frontman creeps closer to a full-band sound for his solo work, adding to his acoustic singer-songwriter foundations, and the crush of Telekinetic Yeti’s post-Sleep riffing evoked so many nods I thought they deserved one here as well. Placing The Devil and the Almighty Blues was difficult, but especially after seeing them live, I felt like I had a better idea of where they were coming from on II, so knew they belonged somewhere, even if it was tucked in at the end. And of course, Lord. Always killer, always experimenting, always chaotic. Never have grind and sludge sounded more cohesive together. They’re the band I wish Soilent Green had become, and yes, I mean that.

Honorable Mention

Let’s do another 10 releases, shall we?

21. Beastmaker, Inside the Skull
22. Arduini/Balich, Dawn of Ages
23. Brume, Rooster
24. John Garcia, The Coyote Who Spoke in Tongues
25. Six Sigma, Tuxedo Brown
26. Demon Head, Thunder on the Fields
27. Summoner, Beyond the Realm of Light
28. Steak, No God to Save
29. Six Organs of Admittance, Burning the Threshold
30. Dool, Here Now There Then

And just to make the point, here are even more worthy of note in this space:

Elbrus, Elbrus
Cortez, The Depths Below
Ecstatic Vision, Raw Rock Fury
Child, Blueside (a December 2016 release, maybe, but I think the vinyl was this year, so whatever)
Pallbearer, Heartless
Spidergawd, IV
Green Meteor, Consumed by a Dying Sun
Loss, Horizonless

There are of course other names as well that come to mind. Like I said at the outset, it’s a crowded field: Hymn, Arbouretum, Green Meteor, REZN, Demon Head, Galley Beggar, Devil’s Witches, Orango, Heavy Traffic, Coltsblood, Mt. Mountain, Vokonis, Solstafir, High Plains, on and on.

Also worth highlighting several really, really quality live records that have surfaced so far this year. I didn’t really know where to place them among the other studio offerings, but they deserve note for sure:

Causa Sui, Live in Copenhagen
Death Alley, Live at Roadburn
My Sleeping Karma, Mela Ananda – Live
Enslaved, Roadburn Live

More to Come

Of course, we’re still just barely halfway through the year, so keep on the lookout for more to follow. If you didn’t see my massive 200+ albums to watch for list in January, it has many that have come out and many more still to surface, but here are a few highlight names as well that you’re going to want to keep an eye on in the months ahead:

Queens of the Stone Age
Radio Moscow
The Atomic Bitchwax
Kadavar
Ufomammut
The Midnight Ghost Train
Moon Rats
Clamfight
Egypt
the Melvins
Bison Machine
Seedy Jeezus
High on Fire
Monster Magnet

Thanks for Reading

Before I check out, I’d like to give special mention to Lo-Pan’s In Tensions EP as the best short release of the year thus far. Along with EPs from Godhunter, Kings Destroy, Solace and Shroud Eater, it has assured those seeking a quick fix are handed their ass in return for asking.

Well, that’s about where I’m at with it. As per usual, I’m sure there are things I forgot and/or left off here, because I’m human and whatnot, so please if you have something to add, feel free to do so in the comments so long as you can keep it cordial. No name calling. I’m sensitive and you’ll ruin my whole day. I mean that.

Thanks again for being a part of this and here’s to an excellent rest of 2017.

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Völur Announce Ancestors LP out June 2; New Song Streaming

Posted in Whathaveyou on May 9th, 2017 by JJ Koczan

volur

Toronto-based rune-doomers Völur are gearing up to release their second album, Ancestors, June 2 on Prophecy Productions. To herald its coming, the band has unveiled the 10-minute second track “Breaker of Skulls,” which as you can see below is one of the four included cuts, all of which features a “Breaker” of some kind or other.

Symmetry of presentation would seem to be something of a running theme for the band, which features Blood Ceremony‘s Lucas Gadke, as “Breaker of Skulls” and “Breaker of Oaths” — which also tops 10 minutes — are bookended by “Breaker of Silence” and “Breaker of Famine,” both of which are even longer at over 15 minutes. I haven’t had the chance to dig into the full record yet, but I’m guessing from what I’m hearing in “Breaker of Skulls” below that it’s doomed as hell, and yeah, I’ll take that.

Art, info and audio follow here, all courtesy of the PR wire:

volur ancestors

VÖLUR to Release New LP, ‘Ancestors’, June 2; Band Debuts New Song “Breaker of Skulls”

Toronto-based experimental doom trio VÖLUR will release its sophomore album, Ancestors, on June 2 via Prophecy Productions. Produced by the band and mixed by Charles Spearin (Broken Social Scene), Ancestors is the follow-up to VÖLUR’s celebrated debut, Disir.

“‘Breaker of Skulls’ is a dark, sludgy slab of doom inspired by the ancient Icelandic warrior poet Egil Skallagrímsson, a man who fought terrible battles across the North Sea,” comments the band. “He was at once barbarous and poetic. A man who would commit a brutal act of violence and then recite a beautiful poem immediately after. The song was inspired by his epic poem, ‘The Loss of My Sons’. It moves from a combative, gnarly sludge riff to a bittersweet and almost beautiful conclusion, all the while filled with yearning chromatic movement. The piece finds the band at its most aggressive, and almost its most experiment with disjointed improvised passages paired against bleak heavy doom.”

Just as the band’s debut, Disir, dealt with themes surrounding female figures from mythology, Ancestors focuses on the heroine’s male counterparts and is the second part of a planned four album series spotlighting various elements of the old Germanic spiritual world. VÖLUR’s songs are long, quasi-narrative pieces that feature Laura C. Bates’ violin assuming the role traditionally executed by a guitar, allowing the bass playing of Lucas Gadke (also of Blood Ceremony) to take on unique responsibilities in both lead and melodic roles while drummer Jimmy Payment (Do Make Say Think) feeds the band’s bombastic, crushing oomph. Doom music (not necessarily metal) is about slow contemplation and the transfixing power of heaviness and VÖLUR’s weighty riffs, layers of feedback, dynamic, angular melodies and moments of beauty give heed to the band’s promise to always seek newer modes of musical expression and discovery.

Moving between high-tension heaviness and beautiful pastoral moods, VÖLUR aims to reflect the world of primordial nature inspired by ancient myths and chilling poems of death and heroism. Ancestors shares the stories and sagas of great men from the past that have been shrouded by the obscurity of time while simultaneously spotlighting one of North America’s most ambitious and striving young acts.

Track listing:
1.) Breaker of Silence
2.) Breaker of Skulls
3.) Breaker of Oaths
4.) Breaker of Famine

https://www.facebook.com/VolurDoom/
https://twitter.com/VolurDoom
https://www.instagram.com/volurdoom/
http://us.prophecy.de/artists/voelur/
https://www.facebook.com/prophecyproductions/

Völur, “Breaker of Skulls”

Tags: , , , , , ,

Prophecy Fest 2017 Lineup Finalized: Sólstafir, Arcturus, Dool, Hypnopazuzu and More to Play

Posted in Whathaveyou on April 13th, 2017 by JJ Koczan

Haven’t you ever wanted to go to a festival in a German cave? Fucking of course you have. Don’t even pretend otherwise. And somehow, given the vast sonic swath it covers, from the post-everything metal of Arcturus to the Eastern European folk of The Moon and the Nightspirit to the goth-infused heavy rock of Dool — all of which operates under the banner of Prophecy Productions, it has to be noted — the lineup for Prophecy Fest 2017 couldn’t be more appropriate. The fest is set for July 28 and 29 at Balver Höhle in Balve, Germany.

Yes. It’s really a cave. Yes, you can go there and see cave stuff. There will also be a lineup of bands that emphasizes the unique (not a word I use often) breadth of Prophecy Productions, and that only makes it more special as an event. I don’t know how many fests you go to in the average year — 10? 15? — but I try and hit a few. I’ve never been to one in a cave. I’m ashamed to admit it.

Lineup rules, location rules. Concept rules. I can feel the vibe from here already.

From the PR wire:

prophecy fest 2017

Prophecy Fest 2017 – 28th & 29th July 2017 – Balver Höhle/Germany

Prophecy Fest takes place in a natural cave from Old Stone Age – Balver Höhle. According to Germanic Saga, the blacksmith Wieland had his workshop in the cave. Balve, Germany, is situated between Dortmund, Cologne, Frankfurt and Hannover.

After the amazing work Austrian graphic designer Irrwisch did made for Lotus Thief’s “Gramarye”, he was our choice for the art director function at Prophcy Fest 2017. We are delighted to have him on board and can’t wait for his exhibition in the cave of Balve!

Sun Of The Sleepless, the black metal/experimental side project of Schwadorf (Empyrium, The Vision Bleak), will play its second show ever at Prophecy Fest 2017! As a side note, the first concert was at the first small Prophecy label festival in 1999. Dornenreich will grace us with a special history acoustic concert at Prophecy Fest 2017! The set list will contain songs from all their albums as well as the “Mein Flügelschlag” demo tape. The Vision Bleak will perform with the Shadow Philharmonics for the first time since 2006 again.

We are proud to have Schwadorf and Konstanz back at Prophecy Fest 2017 for a special performance with a classical ensemble of strings, percussion and vocals! We are proud to add DOOL, one of our most exciting signings in recent years, to the billing of Prophecy Fest 2017. Ryanne van Dorst and her pack will prepare a special set with five additional musicians and singers exclusively for this event! The Moon and the Nightspirit will play a one-time show at Prophecy Fest! Their line-up will be extended by a pianist/harpist and a flutist and their set will include songs never played before.

Hypnopazuzu, the new band of David Tibet (Current 93) and Youth (Killing Joke), give their very first concert in Germany! Lotus Thief will be in Europe for the first time and we let them set ancient words to song in the cave of Balve. Hexvessel will prepare an extended performance for us with implemented acoustic set. Arcturus, the epitome of avant-garde metal, will perform at Prophecy Fest. Soror Dolorosa will perform “Severance” in its entirety for the first time. Additionally, they will present their new album “Apollo”.

Glerakur surprised us and blew us away with their performance at Prophecy Fest 2016. It was an easy decision for us to invite them again. Sólstafir will illuminate the cave of Balve! NOÊTA will play their first concert outside Scandinavia at this year’s Prophecy Fest! Spiritual Front will play a special “Armageddon Gigolo” set for Prophecy Fest 2017! Nhor world premiere performance at this year’s Prophecy Fest!

Unlike other festivals, we will not start with the most “unknown” artist and end with the “headliners”.

To us, they are all headliners and were chosen because we expect an amazing performance from them.

Therefore, all artists will receive the playing time they need for their performance, and the running order will reflect what we consider the optimum in terms of dramaturgy and suspension.

http://en.prophecy.de/prophecy-fest/
http://live.weltnetz.lu/en/titel/prophecy-fest-28-07-29-07-2017-balve/

Les Discrets, Live at Prophecy Fest 2016

Tags: , , , , , , , , , , , , , , , , , , ,

Dool Announce ‘Summer of the She-Goat’ July Tour Dates

Posted in Whathaveyou on April 12th, 2017 by JJ Koczan

dool Nona-Limmen-Photography

When it comes to aesthetics, Rotterdam-based Dool don’t seem to do anything half-assed. Their debut album, Here Now There Then (review here), came out on Prophecy Productions in February, and while that simple statement should be enough of an endorsement of its accomplishments, I’ll note as well that its progressive darkness continues to resonate as does its sense of craft. The five-piece recently announced they’ve swapped out bass players, bringing in JB Van Der Wal to replace Job van de Zande, who has reportedly departed the group to embark on a life of cooking — like the old cliche goes: “all rockers secretly want to be celebrity chefs” (wait. what?) — and they even more recently announced a swath of tour dates for July they’ve given the righteous title ‘Summer of the She-Goat.’

Which brings me back around to the original point at the outset about not half-assing it. If you’re gonna name a tour, do it right. Clearly Dool have that down. Likewise the poster for said tour, which looks incredible and which you’ll find below, along with the dates, announcement welcoming Van Der Wal and album stream, because I too like to be thorough:

dool summer of the she goat tour

DOOL – Summer of the She-Goat Tour 2017

Emerge like clustered fungus, let bloom the blood red rose.

It is with pride that we can hereby announce our ‘Summer Of The She Goat’ tour in July this year.

Come break the shackles that bind you, and let us piss upon the world!

All Those Who Wander Are DOOL.

DOOL Dates:
July 15 Zwarte Cross – Lichtenvoorde NL
July 16 Werfpop Leiden – Leiden NL
July 18 The TUBE – Düsseldorf DE
July 19 Maze – Berlin DE
July 20 Markthalle-Hamburg (Marx) – Hamburg DE
July 21 Bastard Club Osnabrück – Osnabruck DE
July 22 Schlachthof Wiesbaden – Wiesbaden DE
July 24 Metaldays 2017 – Tolmin SL
July 25 DasBACH – Vienna AT
July 26 Rockhouse Salzburg – Salzburg AT
July 27 F-Haus Jena – Jena DE
July 28 Rock im Wald 2017 (.rcn präsentiert) – Neuensee DE
July 29 Prophecy Fest – Balver Höhle DE

Poster artwork by Ars Moriendee
Design by Alexandria Noël

As you may or may not have noticed, there’s been a new face in our midst as of late. Recording bass player and beloved friend Job has recently chosen to wander off on a different, culinary path in life, and has therefor decided to quit making music altogether. He’s still very closely involved with the band, but won’t be touring with us anymore from now on. In his place, we found a more-than worthy replacement in JB Van Der Wal (Herder / ex- Aborted). An energetic, explosive bass player, who’s already amalgamated with us by bringing his unique, volatile energy and boundless creativity. Welcome to the pack. Into the unknown!

DOOL is:
Ryanne van Dorst – Vocals/Guitar
Micha Haring – Drums
JB Van Der Wal – Bass
Reinier Vermeulen – Guitar
Nick Polak – Guitar

https://www.facebook.com/allthosewhowanderaredool/
http://allthosewhowanderaredool.com/
http://www.allthosewhowanderaredool.bigcartel.com/
http://en.prophecy.de/artists/dool/

Dool, Here Now There Then (2017)

Tags: , , , , ,

Quarterly Review: Alcest, Galley Beggar, Pontiak, White Light Cemetery, Fever Dog, Duel, Seven Nines and Tens, Automatic Sam, The Next Appointed Hour, Blown Out

Posted in Reviews on March 29th, 2017 by JJ Koczan

cropped-Charles-Meryon-Labside-Notre-Dame-1854

Always a special moment in the Quarterly Review when we pass the halfway mark. That’s where today’s batch brings us, and in rocking style as well. You might say I’ve been taking it easy on myself with the selections this time out — albums there’s plenty to say on and generally good stuff — but the basic fact of the matter is even with 50 reviews in a week, this is still just a fraction of what’s out there and still just a fraction of what I’d cover if I had the time. I couldn’t in terms of my own sanity, but one could probably do 10 reviews a day every day of the year and still have room for more. I do the best I can. Picking and choosing is a part of that process. Let’s get to it.

Quarterly Review #21-30:

Alcest, Kodama

alcest kodama

After the bold departure presented in 2014’s Shelter (review here) toward even-airier, more indie-hued fare, French post-black metal innovators Alcest make a no-less-bold return to their core sound – screams included, as they’re quick to show on “Eclosion” – with 2016’s Kodama (on Prophecy Productions). It’s a less progressive move, and for that distinct in Alcest’s discography, but one can’t argue with their execution of a track like “Je Suis d’Ailleurs” and the immediately recognizable melodic wash they craft, as resonant emotionally as it is heavy in its tone. Most of the six cuts seem contented to have (re-)found their place, but “Onyx” finishes out with just under four minutes of layered guitar droning, and so Alcest seem to tease that perhaps they’re not completely ready to settle the issue of their aesthetic just yet. One hopes that’s the case, and in the meantime, the reorientation that Kodama brings with it should no doubt please those longtime fans who bristled at the turn they made their last time out.

Alcest on Thee Facebooks

Prophecy Productions on Bandcamp

 

Galley Beggar, Heathen Hymns

galley-beggar-heathen-hymns

Galley Beggar’s fourth offering and second for Rise Above, Heathen Hymns, brings 42-minutes of the traditional acid folk one has come to expect from them over the last half-decade plus, no less graceful in its melodies, harmonies and weaving into and out of psychedelia, Eastern inflections on the sitar-laced “The Lake” and cleverly rhythmic in the post-rocking electric flourish of “Let No Man Steal Your Thyme.” Knowing what to expect, however, does nothing to diminish the joy of the listening experience. Rather, the return of Galley Beggar’s fluid string and/or more rock-based arrangements, memorable songcraft and gorgeous vocal treatments is welcome, and perhaps most of all on closer “My Return,” which draws their multiple sides together in a cohesive vision of futures past that only benefits from the maturity they’ve grown into. With poise as a defining feature as much as their British folk stylistic lineage, Galley Beggar remain a special outfit doing deeply individualized and satisfying work.

Galley Beggar on Thee Facebooks

Rise Above Records website

 

Pontiak, Dialectic of Ignorance

pontiak-dialectic-of-ignorance

A steady foundation of low-end drone underpins songs like “Ignorance Makes Me High” and “Hidden Prettiness” on Pontiak’s Dialectic of Ignorance (released via Thrill Jockey), and though they move away from it somewhat in the more active freakout “Dirtbags,” the patience shown by the Virginian trio forms a key part of the album’s personality. To wit, they open with “Easy Does It,” essentially telling their listener their intention for what will ensue throughout the eight-track/46-minute offering. Brothers Jennings, Van and Lain Carney bring forth willful drift in that opener and across the percussive-but-still-shoegazing “Tomorrow is Forgetting,” finding an organ-laced folkadelic middle ground later in “Youth and Age” and punctuating the dreamy harmonized gorgeousness of “Herb is My Next Door Neighbor” with fervent tom runs and ping ride before closer “We’ve Fucked this Up” starts out amid blistering chaos only to smooth itself as it goes. Serene and somewhat moody to the same degree their last outing, 2014’s Innocence, was raw, Dialectic of Ignorance carries the feel of a personal journey undertaken, but is ultimately too warm in tone and melody not to welcome its audience to be a part of that as well.

Pontiak on Thee Facebooks

Pontiak at Thrill Jockey Records

 

White Light Cemetery, Careful What You Wish For

white-light-cemetery-careful-what-you-wish-for

Nearing the mark of their first decade together, Louisiana Southern heavy four-piece White Light Cemetery issue their second full-length, Careful What You Wish For, through Ripple Music and keep a steady focus on songcraft throughout. Heavy riffs, a bit of boogie on “Sky River” and the stomping “Better Days,” boozy Southern-isms on the directly countrified “On a Dime” and a cowbell-infused finish with “Bullet to Erase” – it’s only fair to say White Light Cemetery hit all the marks. The beery post-Deliverance execution of “Looking Out (For Number One)” will likely ring familiar to many who take it on, but that’s the idea, as vocalist/guitarist Shea Bearden, guitarist Ryan Robin, bassist Tara Miller and drummer Thomas Colley are clearly less concerned with reinventing rock in their own image than honoring the pantheon of those who’ve come before them in the style. Hard to argue with the ethic preached or the dual-guitar harmonies of “Quit Work, Make Music,” though the record as a whole seems awfully “workingman’s rock” for any such bohemian aspirations.

White Light Cemetery on Thee Facebooks

Ripple Music on Bandcamp

 

Fever Dog, Mainframe

fever dog mainframe

It’s been three years since next-gen Californian desert trio Fever Dog released their last album, Second Wind (review here), which was long on potential, big on songwriting and resonant in vibe. I’d been hoping for a third long-player in 2017, but even the arrival of new single Mainframe – which of course doesn’t preclude a subsequent album release – is fine by me, the three-piece of guitarist/vocalist Danny Graham, bassist Nathan Wood and drummer/organist/synthesist/vocalist Joshua Adams digging into progressive vibes on the title-track and the subsequent, talkbox-inclusive “Let Me Out.” I don’t know if they’re planning to press a 7” – somebody call H42 Records! – but the cover art certainly justifies one if the songs themselves don’t (and they do), and the name-your-price download comes with the raw 19-minute classic heavy rock jam “Alpha Waves Medley Live at Club 5,” which emits buzz like it’s a bootleg from 1973. If Mainframe is the process of Fever Dog getting weirder, it bodes well. All the more reason one might keep their fingers crossed for a new full-length.

Fever Dog on Thee Facebooks

Fever Dog on Bandcamp

 

Duel, Witchbanger

duel witchbanger

“If you see him it’s much too late/Close your eyes, girl, accept your fate.” So goes the title-track hook of Duel’s Witchbanger, the Austin-based rockers’ second album for Heavy Psych Sounds. Released on a quick turnaround from last year’s debut, Fears of the Dead (review here), the eight-track/34-minute swaggerfest delves into fantasy themes drawn from classic metal – hard not to look at six-minute closer “Tigers and Rainbows” and not think of Dio, at least thematically – but cuts like “Astro Gypsy” and “Heart of the Sun” in the record’s midsection build on the ‘70s loyalism of the first outing and find guitarist/vocalist Tom Frank, guitarist Jeff Henson, bassist/vocalist Shaun Avants and drummer JD Shadowz clear in their intentions in that regard. Though it takes a sizable grain of salt to get over that title, Duel’s heavy rock traditionalism comes complemented by efficient songwriting and a natural-sounding recording that’s neither completely retro nor totally modern but draws strength and fullness from both sides. A worthy and rousing follow-up.

Duel on Thee Facebooks

Heavy Psych Sounds website

 

Seven Nines and Tens, Set the Controls for the Heart of the Slums

seven-nines-and-tens-set-the-controls-for-the-heart-of-the-slums

If the dates are to be believed, the second full-length from Vancouver’s Seven Nines and Tens, cleverly-titled Set the Controls for the Heart of the Slums, has roots going back to 2014, when basic live tracks were recorded and subsequently built on for about two years. Indeed, the four-song offering – whose tracks “I Come from Downtown,” “Metropolis Noir / Rigs” and closer “Rave Up” have been presented in the meantime as singles and/or on early 2017’s Live at the Smilin’ Buddha Cabaret – has plenty of layers in its heavy post-rock wash, and it’s with depth and heft that guitarist/bassist/vocalist David Cotton and drummer Mario Nieva (the current incarnation of the band has a different lineup), make their prevailing impression, be it in the roll of 13-minute “Metropolis Noir / Rigs” or the loud/quiet trades of “Dope Simple,” which follows. With a focus on atmosphere over structure, Seven Nines and Tens offer a quick 32-minute immersion that feels less pretentious than purposeful and would seem to have been worth the time it took to construct.

Seven Nines and Tens on Thee Facebooks

Seven Nines and Tens website

 

Automatic Sam, Arcs

automatic sam arcs

With their third album, Nijmegen’s Automatic Sam bring together a straightforward and coherent collection of well-intentioned semi-psychedelic heavy rock. Their past works, 2011’s Texino and 2013’s Sonic Whip, have been conceptual or at least thematic pieces, and it may be that the 13-track/38-minute Arcs (on Goomah Music) is as well, but if so, it would seem to find that theme in a vision of post-grunge ‘90s alt rock, cleanly and clearly executed and vibrant in the performance of vocalist/guitarist Pieter Holkenborg, guitarist/vocalist Rense Slings, bassist/vocalist Erik Harbers and drummer/vocalist Lars Spijkervet, who open with the five-minute “Ukiyo” (their longest inclusion; immediate points) and then run through a varied swath of shorter pieces from the attitude-laden “City Lights” through the uptempo post-punk of “This is Not a Holiday” and the fuller push of “Parnassia.” Side B seems more flowing, with that song, “Tarantula,” a complementary reprise, the title-track and drifting acoustic closer “So Long in E Minor,” but Automatic Sam manage to hone a diverse approach across Arcs’ span while skillfully directing themselves around choppier waters.

Automatic Sam on Thee Facebooks

Automatic Sam at Goomah Music

 

The Next Appointed Hour, Not the End of the World

the-next-appointed-hour-not-the-end-of-the-world

Ambition may be the defining aspect of Not the End of the World. The 2016 self-released debut from Birmingham, Alabama’s The Next Appointed Hour willfully refuses easy categorization, basking in bright psychedelic space rock harmonies one minute and digging into folkish melancholia the next in a way that one is left with no other option but to call “progressive.” What ultimately makes songs like “Keeper’s Heart” and the ethereal pop of “Back to You back to Me” work is an underlying cure of songcraft, and whatever ground the six-piece cover on the 10-track outing, from the fuzzy rush of “Drone Riot” to the trippy shimmer of the penultimate “Red Flame,” that core is maintained, uniting the material and making Not the End of the World a work of scope rather than haphazard. It requires an open mind, but rewards open-mindedness with moments like the accordion on “Valley,” or the rhythmic drift of “Any Who but Here,” the nuance of which is no less gracefully held together than the overarching flow of the album as a whole.

The Next Appointed Hour on Thee Facebooks

The Next Appointed Hour on Bandcamp

 

Blown Out, Superior Venus

blown out superior venus

Already sold out on preorders, the vinyl edition of Superior Venus from UK cosmic jammers Blown Out features two tracks – one per side – of space-wash heavy righteousness. “Impious Oppressor” and “Superior Venus” both top 15 minutes (and are accompanied by demo versions if you get the download), and proffer the kind of progressive improvisation-based flow that, indeed, might make one inclined to get an order in while the getting’s good. Blown Out, with members of Bong and Pigs Pigs Pigs Pigs Pigs Pigs Pigs, have put out a slew of live and studio releases over the last three years, but as planets invariably revolve in cyclical patterns, so too does the regular frequency of their work become part of the expression itself. If you’re going to jam, do it all the time. On Superior Venus, Blown Out once more bring this ethic to life, and the resulting material spreads itself wide over its still relatively brief span. A short trip to orbit, perhaps, but well worth the undertaking.

Blown Out on Thee Facebooks

Riot Season Records on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Valborg to Release Endstrand April 7

Posted in Whathaveyou on February 24th, 2017 by JJ Koczan

valborg

Last heard from the 2016 two-songer Werwolf (review here), which for my money was one of the best short releases of the year, dark German metallers Valborg are set to return in April with a new full-length titled Endstrand that will see release on Prophecy Productions/Lupus Lounge. Their prior outing, Romantik, was something of a gem that I caught onto well after the fact, but with Endstrand will mark their sixth record and each one seems to be a different atmosphere from the last, so I’ll look forward to finding out what’s in store this time around. I always feel guilty for not being immediately on top of good albums, hearing something months after the fact and kicking myself for not having reviewed it at the time. Not gonna miss this one, is the bottom line.

The PR wire brings art and details:

valborg endstrand

VALBORG to Release New Album, ‘Endstrand’, April 7

German Trio Dishes Cerebral, Punishing Metal via Dark New LP

German ensemble of dread VALBORG has signed with underground indie Lupus Lounge / Prophecy Productions. The self-described “German metal monster” will release its new full-length LP, Endstrand, on April 7.

Championed by Celtic Frost / Triptykon architect Tom G. Warrior as “abundantly original and unique “ and “a mixture of Bohren und der Club of Gore, early Black Sabbath and Hellhammer”, VALBORG creates dense, inventive music that escapes categorization. The trio’s blunt, forceful songs are at once raw and primitive yet hold a nihilistic sophistication that forges clouds of nightmarish atmosphere, giving them a narcotic, dreamlike feel that very few bands achieve.

Produced by Markus Siegenhort (Lantlôs), Endstrand is a 13 song end-time vision hosting apparitions of empty beaches, bunkers in the dunes, novel biological phenomenon, washed up artifacts, noise distorted signals and omnipresent whirring, all of which float above the backdrop of VALBORG’s utterly barbaric death crunch. Forging “brutal and wasted, yet powerful” music, VALBORG unleashes sound as scorched-earth policy on Endstrand, delivering an immersive mysteriousness and darkness that has earned the group the right to be called one of Europe’s most exciting extreme metal bands.

“Working with Prophecy now feels natural and good to us,” comments VALBORG bassist Jan Buckard. “We’re looking forward to a pleasant time together.”

Track listing:

1.) Jagen
2.) Blut am Eisen
3.) Orbitalwaffe
4.) Beerdigungsmaschine
5.) Stossfront
6.) Bunkerluft
7.) Geisterwürde
8.) Alter
9.) Plasmabrand
10.) Ave Maria
11.) Atompetze
12.) Strahlung
13.) Exodus

https://www.facebook.com/valborgband/
https://zeitgeister.bandcamp.com/
http://us.prophecy.de/artists/valborg/
https://www.facebook.com/prophecyproductions/
https://twitter.com/ProphecyProd

Valborg, Werwolf (2016)

Tags: , , , , ,

Les Discrets New Album Prédateurs Available to Preorder

Posted in Whathaveyou on February 20th, 2017 by JJ Koczan

les-discrets-Photo-by-Andy-Julia

Themes of looming threat, wistful emotional longing and self-reflection might not be new ground for French outfit Les Discrets, but if you figured you knew what to expect from Fursy Teyssier and company, the 2016 Virée Nocturne EP (review here) should probably have cured you of that. On April 21, Les Discrets will offer Prédateurs, a follow-up full-length to that short release that features the EP’s title-track among newer cuts, and as Teyssier promises a darker vision, one can only take him at his word. Interesting that he notes twice in the info below about traveling via train, since that seems to be what closer “Lyon – Paris 7h34” directly references — a scheduled departure time.

Will look forward to hearing how this one turns out, but then, I always do when it comes to Les Discrets. If it’s the way you like to roll, preorders are up now from Prophecy Productions, as the PR wire informs:

les-discrets-predateurs

Les Discrets to Release New Album, ‘Prédateurs’, April 21

Post-Everything Duo Takes Cinematic Sound to “Much Darker” Places on Upcoming LP

Lyon, France dark dreamweavers LES DISCRETS return with Prédateurs, their first full-length album in five years. Ever-evolving, the sound of LES DISCRETS in 2017 takes a stylistic shift which sees the band’s dreamy shoegaze and metallic tinged post-rock colored with a heavy post-punk influence and electronic chill while incorporating inspiration from trip-hop and 70’s film soundtracks. Prédateurs will be released on April 21 via Prophecy Productions (Alcest, DOOL).

Known through his work as part of the bands Alcest and Amesoeurs, French songwriter, singer, multi-instrumentalist, visual artist and film director Fursy Teyssier founded LES DESCRETS in 2003. On the topic of the new album, Fursy comments, “Prédateurs is an album that was five years in the making and will take time to get into. This is a record for late evenings, night driving, journeys on a train, or for those moments we usually think about the meaning of life and things, when we have nothing else to do but sitting and waiting.”

Described as “the soundtrack of a slow film noir happening in a train where the journey leads the auditor to several places seen from the windows”, Prédateurs is a cinematographic, urban album shaped by steel, concrete, snow and electricity. Easy on the ears, Prédateurs interprets the familiar music and melodies of LES DESCRETS with new instruments, approach and ambition. Although its shape has changed, the feeling of the music, its atmosphere and its essential core has remained the same. The songs focus on the concept of predation (the preying of one animal on others) as well as time, nature and life. Prédateurs is the album that – in founder Teyssier’s eyes – now shapes the proper identity of LES DESCRETS.

Prédateurs is not only a new start in terms of music for the band, but also presents a change on the visual level. For the first time, Teyssier – himself a celebrated visual artist and animated film director – has collaborated with an outside graphic designer on the visual appearance of a LES DESCRETS release. The British artist Chris Friel, who combines painting with photography in a unique way, has become a huge inspiration for Fursy. Friel’s work has even subconsciously leaked into the roadmap of the band’s music.

Prédateurs is advanced by the 4-track EP, Virée Nocturne, which was first made available to attendees of last summer’s Prophecy Fest.

“I feel that Les Discrets has its own wings now, free of the influences of post-rock, post-black or post-anything constraints,” he offers. “‘Prédateurs’ is even darker than the older albums. Much, much darker. But just like older albums, some sparks of hope remain.”

Pre-order Prédateurs at this location.

Track listing:
1.) Prédateurs
2.) Virée Nocturne
3.) Les Amis de Minuit
4.) Vanishing Beauties
5.) Fleur des Murailles
6.) Le Reproche
7.) Les Jours d’Or
8.) Rue Octavio Mey
9.) The Scent Of Spring (Moonraker)
10.) Lyon – Paris 7h34

http://www.lesdiscrets.com/
https://www.facebook.com/lesdiscrets/
http://us.prophecy.de/artists/les-discrets/
https://www.facebook.com/prophecyproductions/
https://twitter.com/ProphecyProd

Les Discrets, Virée Nocturne (2016)

Tags: , , , , ,