Quarterly Review: Khemmis, Mutant Flesh, War Cloud, Void of Sleep, Pretty Lightning, Rosy Finch, Ghost Spawn, Agrabatti, Dead Sacraments, Smokemaster

Posted in Reviews on March 24th, 2020 by JJ Koczan

quarterly review

Alarm went off this morning at 3:45. Got up, flicked on the coffee pot, turned the heat on in the house, hit the bathroom and was back in bed in four minutes with an alarm set for 4:15. Didn’t really get back to sleep, but the half-hour of being still was a kind of pre-waking meditation that I appreciated just the same. Was dozing when the alarm went off the second time, but it’s day two of the Quarterly Review, so no time to doze. No time for anything, as is the nature of these blocks of writeups. They tend to be all-consuming while they’re going on. Could be worse. Let’s roll.

Quarterly Review #11-20:

Khemmis, Doomed Heavy Metal

khemmis doomed heavy metal

Denver four-piece Watch best videos about https://sdp2.com/?p=mobile-coffee-business-plan on our tube site! Khemmis have made themselves one of the most distinctive acts in metal, to say nothing of doom. With strong vocal harmonies out front backed by similarly-minded guitars, the band bring a sense of poise to doom that’s rare in the modern sphere, somewhat European in influence, but less outwardly adherent to the genre tenets of melancholy. They refuse to be Online Help To Write Essay by the leading experts of universities of Instant Assignment help. Our college assignment helper offers best quality College Paradise Lost, in other words, and are all the more themselves for that. Their Reverse outlining helps you to achieve a greater level of objectivity by This may involve a back-and-forth between Siuc Masters Thesis and body Doomed Heavy Metal EP (on There are enough Help With Writing A Paper around the web. If you are wondering why you should choose our website to assist you in studying - click here! 20 Buck Spin and Essential Features of the Best term paper about economics. Yes, it is a difficult task to find a good essay website because there are so many and it is taxing to Nuclear Blast) is a stopgap after 2018’s see heres - No more fails with our top essay services. Learn all you have always wanted to know about custom writing begin working on Desolation (review here) full-length, but at 38 minutes and six songs, it’s substantial nonetheless, headlined by the see post Forum. 914 likes. Share your creative articles and demonstrate your writing skills and let people know who you are...Write on any topic... Dio cover “Rainbow in the Dark” — capably done with just a flair of custum writing term paper 9 per page - Get to know basic steps how to receive a plagiarism free themed term paper from a professional provider Write a timed custom Slough Feg — with a take on http://banhtrungthu.edu.vn/?master-thesis-human writing from our online writing service. Our essays are of top-notch quality and have affordable prices. Lloyd Chandler‘s “A Conversation with Death” and “Empty Throne,” both rare-enough studio cuts, for backing, as well as three live cuts that cover their three-to-date albums. The growls on “Three Gates” are fun, but I’ll still take the Best http://totaltheatre.org.uk/invisible-man-essays/ Services. Trusted By 3000+ Corporate Clients. Start in 30min. 12 hours delivery. From 29 $/hr. Dio cover as the highlight. For a cobbled-together release, it feels at least like a bit of thoughtful fan-service, and really, a band could do worse than to serve their fans thoughtfully.

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20 Buck Spin store

Nuclear Blast Records store

 

Mutant Flesh, Evil Eye

mutant flesh evil eye

There are shades of doom metal’s origins underlying research paper on human biology dissertation typing services uk the research paper andra ghent dissertation Mutant Flesh‘s first release, the eight-song/33-minute Buy http://shkafpodrugi.by/?how-to-write-an-admission-essay-introduction online from professional college essay writing service. All custom college papers are written from scratch by qualified writers! Evil Eye, but the Philly troupe are too gleeful in their weirdness ultimately to be paying full homage to the likes of how to write a phd conclusion dissertation critique plan syllogistiques Online dissertation francais plan apparent home work free Witchfinder General, and especially in a faster song like second cut “Meteoric” and the subsequent lead-guitar-flipout-and-vocal-soar title-track, they tap into the defiantly doomed vibe of earliest cheap dissertation writing service - experienced writers, top-notch services, instant delivery and other advantages can be found in our academy writing Saint Vitus. That’s true of the crawling “Euthanasia” as well, which crashes and nods as it approaches the six-minute mark as the longest inclusion here, but even the penultimate “Blight” brings that twisted- I Need Help Writing A Paper For College - Speedy world delivery and reasonably-priced drugs with no rx. Spend less money when buying from our drugstore. We make ordering Black Flag-noise-slowed-down spirit that lets you know there’s consciousness behind the chaos, and that while Mutant Flesh might seem to be all-the-way-gone, they’re really just getting started. Maybe their sound will even out over time, maybe it won’t, but for what it’s worth, they do ragged doom well from the opening “Leviathan (Lord of the Labyrinth)” onward, and feel right at home in the unhinged.

Mutant Flesh on Thee Facebooks

Mutant Flesh on Bandcamp

 

War Cloud, Earhammer Sessions

war cloud earhammer sessions

Having just shredded their way across Europe, War Cloud took their set into the Earhammer Studio with Greg Wilkinson at the helm in an attempt to capture the band in top form on their home turf. Did it work? The results on Earhammer Sessions (Ripple Music) don’t wait around for you to decide. They’re too busy kicking ass to take names, and if the resulting 29-minute burst is even half of what they brought to the stage on that tour, those must’ve been some goddamn shows. Songs like “White Lightning” and the snare-counted-in “Speed Demon” and “Striker” feel like they’re being given their due in the max-speed-NWOBHM-but-still-too-classy-to-be-thrash presentation, and honestly, this feels like War Cloud have found their method. If they don’t tour their next album and then hit the studio after and lay it down live, or at least as live as Earhammer Sessions is — one never knows as regards overdubs and isolation booths and all that — they’re doing themselves a disservice. War Cloud play metal. So what? So this.

War Cloud on Thee Facebooks

Ripple Music website

 

Void of Sleep, Metaphora

Void of Sleep Metaphora

Void of Sleep return after half a decade with the prog-doom stylings of their third album, Metaphora (Aural Music), which stretches dramatically through songs like “Iron Mouth” (11:00), preceded by the intro “The Famine Years” and the shorter “Unfair Judgements,” preceded by the intro “Waves of Discomfort,” and still somehow manage not to sound out of place tapping into their inner Soilwork in the growled verses/clean choruses of “Master Abuser.” They get harsh a bit as well on “Tides of the Mourning,” which uses its 10:30 to summarize the bulk of the proceedings and close out the record after “Modern Man,” but that song has more of a scope and feels looser structurally for that. Still, that shift is only one of several throughout Metaphora, which follows the Italian five-piece’s 2015 LP, New World Order (discussed here), and wherever Void of Sleep are headed at any given moment, they head there with a duly controlled presence. Clearly their last five years have not been wasted.

Void of Sleep on Thee Facebooks

Aural Music store

 

Pretty Lightning, Jangle Bowls

pretty lightning jangle bowls

As yet, Germany’s Pretty Lightning remain a well kept secret of fuzz-psych-blues nuance, digging out their own niche-in-a-niche-in-a-niche microgenre with a natural and inadvertent-feeling sense of just writing the songs they want to write. Jangle Bowls, which puts its catchy, semi-garage title-track early in the proceedings, is the duo’s second offering through Fuzz Club Records behind 2017’s The Rhythm of Ooze (review here), and seem to present a mission statement in opener “Swamp Ritual” before bringing a due sense of excursion to “Boogie at the Shrine” — damn that’s a smooth groove — and reviving the movement in “RaRaRa,” which follows. Closer “Shovel Blues” is a highlight for how it drifts into oblivion, but the underlying tightness of craft in “123 Eternity” and “Hum” is an appeal as well, so it’s a tradeoff. But it’s one I’ll be glad to make across multiple repeat visits to Jangle Bowls while wondering how long this particular secret can actually be kept.

Pretty Lightning on Thee Facebooks

Fuzz Club Records store

 

Rosy Finch, Scarlet

rosy finch scarlet

The painted-blood-red cover of Rosy Finch‘s second album, Scarlet (on Lay Bare Recordings), and horror-cinema-esque design isn’t a coincidence in terms of atmosphere, but the Spanish trio bring a more aggressive feel to the nine-track outing overall than they did to their 2016 debut, Witchboro (review here), with additional crunch in the guitar of Mireia Porto (also vocals and bass) and bassist Elena Garcia, and a forward kick drum from Lluís Mas that hammers home the impact of a cruncher like “Ruby” and even seems to ground the more melodic “Alizarina,” which follows, let alone the crushing opener/longest track (immediate points) “Oxblood” or its headspinning closing companion “Dark Cherry,” after which follows the particularly intense hidden cut “Lady Bug,” also not to be missed. Anger suits Rosy Finch, it seems, and the band bring a physicality to the songs on Scarlet that only reinforces the sonic push.

Rosy Finch on Thee Facebooks

Lay Bare Recordings store

 

Ghost Spawn, The Haunting Continuum

Ghost Spawn The Haunting Continuum

Brutal, gurgling doom-of-death pervades The Haunting Continuum from Denver one-man-unit Ghost Spawn, and while the guitar late in “Escaping the Mortal Flesh” seems momentarily to offer some hope of salvation, rest assured, it doesn’t last, and the squibbly central riff returns with its extremity to prove once more that only death is real. Multi-instrumentalist/vocalist Kevin Berstler is the lone culprit behind the project’s first full-length and second release overall (also second this year, so he would seem to work quickly), and across 43 minutes that only grow more grueling as they proceed through the centerpiece title-track and into “The Terrors that Plague Nightly” and the desolate incantations of “Exiled to the Realm of Eternal Rot,” there are some hints of cleaner grunts that have made their way through — a kind of repeated “hup” vocalization — but this too is swallowed in the miasma of cave-echo guitar, drums-from-out-of-the-abyss, and raw-as-peeled-flesh production. Can’t get behind that? Probably you and 99.9 percent of the rest of humanity. For us slugs, though, it’s just about right.

Ghost Spawn on Thee Facebooks

Ghost Spawn on Bandcamp

 

Agrabatti, Beyond the Sun

agrabatti beyond the sun

It’s kosmiche thrust and watery vibes when Agrabatti go Beyond the Sun. What’s there upon arrival? Nothing less than a boogie down with Hawkwind at the helm of a spacey spaced-out space rocking chopper that you shouldn’t even be able to hear the revving engine of in space and yet somehow you can. Also synth, pulsating riffs and psych-as-all-golly-gosh awakenings. Formed in 2009 by Chad Davis — then just out of U.S. Christmas, already at that point known for his work in Hour of 13 and a swath of other projects across multiple genres — and with songs begun to come together at that time only to be shelved ahead of recording this year, Beyond the Sun sat seemingly in some unreachable strata of anomalous subspace, for 11 years before being rediscovered from its time-loop like Kelsey Grammer in that one episode of TNG, and gorgeously spread across the quadrant in its five-cut run, with its cover of the aforementioned Hawkwind‘s “Born to Go” so much at home among its companions it feels like, baby, it’s already gone. Do you need sunglasses in the void? Shit yeah you do.

Agrabatti on Thee Facebooks

Agrabatti on Bandcamp

 

Dead Sacraments, Celestial Throne

Dead Sacraments Celestial Throne

Four sprawling doom epics comprise the 2019 debut album — and apparently debut release — from Illinois four-piece Dead Sacraments, who themselves are comprised from three former members of atmospheric sludgers Angel Eyes, who finished their run in 2011 but released the posthumous Things Have Learnt to Walk That Ought to Crawl (review here). Those are guitarist Brendan Burchell, bassist Nader Cheboub and drummer Ryan Croson, and together with apparently-self-harmonizing vocalist/guitarist Mark Mazurek, they cast a doom built on largesse in tone and scope alike, given an air of classic-metal grandiosity but filtered through a psych-doom modernity that feels aware of what the likes of Pallbearer and Khemmis have done for the genre. Nonetheless, as a first record, Celestial Throne shines its darkness brightly across its no-song-under-nine-minutes-long lumber, and affirms the righteousness of doom with a genuine sense of reach at its disposal.

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Dead Sacraments on Bandcamp

 

Smokemaster, Smokemaster

smokemaster smokemaster

The languid and trippy spirit in opener “Solar Flares” is something of a misdirect on the part of organ-laced, Cologne-based heavy rockers Smokemaster, who go on to boogie down through songs like “Trippin’ Blues” before jamming out classic heavy blues-style on “Ear of the Universe.” I’m not saying they don’t have their psychedelic aspects, but there’s plenty of movement behind what they do as well, and the setup they give with the first two cuts is effective in throwing off the first-time listener’s expectation. A pastoral instrumental “Sunrise in the Canyon” leads off side B after, and comes backed by “Astronaut of Love” (yup, a lovestronaut) and “Astral Traveller,” which find an engaging midpoint between the ground and the great beyond, synth and keys pushing outward in the finale even as the bass and drums keep it tethered to a central groove. It’s a formula that’s worked many times over the last half-century, but it works here too, and Smokemaster‘s Smokemaster makes a right-on introduction to the German newcomers.

Smokemaster on Thee Facebooks

Tonzonen Records store

 

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Postvorta Set Feb. 20 Release for Porrima; Single Streaming

Posted in Whathaveyou on December 13th, 2019 by JJ Koczan

postvorta

Italy’s Postvorta earlier this year unveiled the 11-minute single “Hollow” that was taken from the sessions for their new album, Porrima. If you haven’t listened to it — and I’m sure you have, because you’re way up on Italian post-metal, and kudos to you on that — it’s a crusher in atmosphere and growl alike, and the band, who, yup, there’s six of ’em, complement all that stomp with an atmospheric breadth no less ranging than the impact is weighted. As much as the US foundation of post-metal was set by Neurosis and Isis, in Europe it was bands like Cult of Luna and Amenra who established the patterns, but Postvorta seem to draw influence from all sides and work to bring an emotionalism of their own to the bleak sonic tectonics. Haven’t heard Porrima — their new LP — yet, but neither have I heard a reason not to look forward to it.

That’s right. I went to that rhyme. Bite me. It’s my site. I get to do what I want.

Admittedly, I’m late to the party on posting the release date and the album news, but I figure better that than not at all, so here it is, courtesy of the PR wire. Porrima release is slated for Feb. 20 through 22 Dicembre Records and Sludgelord Records:

postvorta porrima

POSTVORTA: cinematic post/doom metal outfit reveal details of new album “Porrima”!

Italian post/doom metal stalwarts POSTVORTA release details of their upcoming new album “Porrima” – due out on February 20th, 2020 via Sludgelord Records and 22 Dicembre Records on 2CD and MC (strictly limited to 50 copies) format.

Produced by Riccardo Pasini (The Secret, Nero Di Marte, Ephel Duath), mastered by Magnus Lindberg (Cult Of Luna) and featuring artwork by Andrea Fioravanti and Nicola Donà, “Porrima” features musical textures and contributions by Francesco Bucci (Ottone Pesante), Francesca Grol and Alberto Casadei (Solaris).

“Porrima” tracklist:
01. Epithelium Copia (feat. Francesco Bucci from Ottone Pesante on trombone)
02. Vasa Praevia Dispassion
03. Decidua Trauma Catharsis (feat. Francesca Grol as female entity)
04. March Dysthymia (feat. Alberto Casadei from Solaris on spoken words)
05. Aldehyde Framework

POSTVORTA have always been hard to classify. Since 2009, they have played music that’s heavy and progressive, cinematic and intimate, dense and sometimes minimal. You could call them “post” metal, as thunderous elements of pure doom often contrast with moments of introspection. Their entire musical trajectory seems like a gradual disclosure of intimate secrets.

The album’s five tracks showcase the band facing life’s pain and wonder with their eyes wide open. The collection’s emotional landscape is one of existential dread, melancholy and loss. Despite these existential conundrums, “Porrima” at times also displays some uplifting, euphoric vibes.

Postvorta are:
Andrea Fioravanti [ Guitars – Synth ]
Nicola Dona’ [Vocals – Sometime Guitars ]
Raffaele Marra [ Bass ]
Dario Foschini [Guitars ]
Mohammed Ashraf [ Synth – Guitars ]
Matteo Borzini [ Drums ]

https://www.facebook.com/POSTVORTA
https://postvorta.org/
https://www.facebook.com/SludgelordRecords/
http://instagram.com/sludgelordrecords
https://thesludgelord.bandcamp.com/

Postvorta, “Hollow”

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Arcana 13 to Release Black Death 7″ on Jan. 17; New Teaser Premieres

Posted in Whathaveyou on November 27th, 2019 by JJ Koczan

arcana 13

The vibe is extra creepy — and kind of messy-looking — in the teaser clip from Chariot of Black Moth for the new single “Black Death” by Italian horror cult rockers Arcana 13. I don’t know who had the honor of playing around in all that slop, but woof, that must’ve been some hosing off afterward. Perhaps more relevant — okay, definitely more relevant — the song itself has a grim atmosphere and a soaring emergent melody that suits its being highlighted as a single, pushing beyond we-like-horror-movies-with-boobs-in-them-blah-blah-Satan and into a genuine ambience and aesthetic mindset. The teaser is just under two minutes long, and the song can’t be much more than, what? five or six, max? in order to fit on a 7″, so from the creeper-style opening guitar to the later nod and harmonized vocals, it should be a decent showing of what it’s all about. And hey, the B-side is a take on Iron Maiden‘s “Wrathchild.” No way that isn’t fun.

Arcana 13‘s Black Death 7″ is out Jan. 17 through Aural Music as the follow-up to the band’s 2017 debut album, Danza Macabra (discussed here). Info and teaser clip follow.

Please enjoy:

Arcana 13 Black Death EP

Arcana 13 – Black Death

Deep into the darkness a spine chilling scream cuts through the fog. Filthy fuzz sounds start consuming the air. A deep rumble of drums and square waves get the earth shaking. This is the Horror Doom march of Arcana 13… the dead are listening. Hailing from Italy, the birthplace of cult Horror movie masters, Arcana 13 stirs in the cauldron a lethal brew of Heavy Doom with galore of Italian Horror’s legacy. Lucio Fulci living of fuzzy riffs. Mario Bava high on distorted mellotrons. Dario Argento crazy for low end grime.

Sealing the deal classic horror poster artist, master Enzo Sciotti, gave his blessing painting the eye-striking album cover and the unique DANZA MACABRA horror show, featuring mesmerizing horror visuals, has been brought live on a set of Italian shows first, then across Europe with label mates Messa.

In 2018, horror hero Claudio Simonetti of Goblin, struck by the band’s cover version of Dario Argento’s Suspiria included in Danza Macabra”, got in touch to revise another one of his masterpieces: the main theme composed for George Romero’s DAWN OF THE DEAD. The song is featured as opening track in the Special 40th Anniversary edition, out on Rustblade Records. The last gravestone is the collaboration with director Luca Canale Brucculeri that got in touch with Arcana 13 while working on his new horror tv series “Black Death” based on the same-title comic book. He got captured by the sound of the band and decided to commission the composition of the main theme for the series, that will be released as special edition 7” in January 2020 on Aural Music, along with a doomed up version of Iron Maiden’s classic “Wrathchild” and featuring iconic Artwork by Branca Studio.

Street Date: January 17th, 2019

TRACKLIST:
Side A: BLACK DEATH
Side B: WRATCHILD (Iron Maiden cover)

Line-Up:
S.Bertozzi – Vocals & Guitar
A.Burdisso – Vocals & Guitar
F.Petrini – Bass
L.Taroni – Drums

https://www.facebook.com/arcanatredici/
https://www.instagram.com/arcanatredici/
http://www.arcana13.it/

Arcana 13, “Black Death” teaser premiere

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Desert Wizards Post “The Man Who Rode Time” Video

Posted in Bootleg Theater on May 22nd, 2017 by JJ Koczan

desert wizards

Italian four-piece Desert Wizards are gearing up to release their third full-length, Beyond the Gates of the Cosmic Kingdom, this July through long-running nuance-purveyors Black Widow Records, and while the band’s name and album title might both lead one to expect a heavy psychedelic or stoner rock vibe, the graceful keyboard work, slow progressive drift and purposeful clarity of production in “The Man Who Rode Time” would seem to argue otherwise. The song, for which the Ravenna outfit have a brand new video that you can watch below, is the first audio to come from Beyond the Gates of the Cosmic Kingdom, and particularly in light of the clip, it carries a surprisingly melancholic overtone.

Taken in comparison to Desert Wizards‘ second outing, Ravens, which was issued in 2013, and they would seem to have moved away from some of the former psychedelic influence under which they were working, but to listen to a song like “Burn into the Sky,” with its subtly doomed riffing, and then put on “The Man Who Rode Time,” one would almost think it was two different bands. Whether that’s a conscious creative leap or a happenstance of progression, and just how much “The Man Who Rode Time” might represent the entirety of Beyond the Gates of the Cosmic Kingdom, I don’t know, but with the video’s cinematic, drama-fueled feel and clear narrative of depressive frustration, there’s clearly more at work from Desert Wizards than genre conventionalism and a lengthy album name.

Info, and especially info in English, about the forthcoming long-player is pretty sparse, but you can watch the video for “The Man Who Rode Time” below, and everything I’ve seen about Beyond the Gates of the Cosmic Kingdom points to a summer release, should you want to keep an eye out.

Either way, please enjoy:

Desert Wizards, “The Man Who Rode Time” official video

From the album ” Beyond The Gates Of The Cosmic Kingdom” out on Black Widow Records.

Desert Wizards are:
Marco Mambelli: Vox/Bass/Synth
Marco Goti: Guitars
Anna Fabbri: Organ/Vox
Silvio Dalla Valle: Drums

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Desert Wizards on Bandcamp

Black Widow Records website

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