So yes, Windhand are going to do a headlining European tour this Fall. That’s the news. Hardly the extent of the touring the Richmond doomers are doing in the next several months, however. In about two weeks they head over to Australia and New Zealand for a run there, then it’s back to the US for some quick dates in the Pacific Northwest, then in May, with fellow Virginians Satan’s Satyrs, they do the Eastern Seaboard and dive a bit into the Midwest. Psycho Las Vegas follows in August, and then it’s off to Europe, once again joined by Satan’s Satyrs, for the aforementioned autumnal run. So yes. Windhand are touring Europe. Windhand are also touring everywhere. Pretty much all the time.
It’s enough to make one wonder what’s going on June and July and why they won’t be on the road again before Psycho. OR WILL THEY???
I also wouldn’t be surprised if more Fall Euro dates got added to that stint. Seems like they’re right in the thick of festival season over there at that point (as if “festival season” ever ends anymore), and one imagines Windhand aren’t short on invites as they continue to support 2015’s righteous Grief’s Infernal Flower (review here). Worth keeping an eye on, anyhow.
From the PR wire:
WINDHAND Announce Headlining European Tour Dates With Satan’s Satyrs
Richmond, VA doomsters WINDHAND have announced a new run of headlining European tour dates this coming fall with fellow Virginia based group Satan’s Satyrs. The tour commences September 21st in Copenhagen, DK and runs till October 13th in Bristol, UK. The two bands will also do a short North American run preceding the European Tour. A full listing of WINDHAND tour dates is available below.
WINDHAND Tour Dates:
— All Dates 3/31 – 4/8 with Cough —
Mar 31 Wellington, NZ San Fran Apr 01 Auckland, NZ King’s Arm Tavern Apr 02 Fortitude Valley, AUS Crowbar Apr 05 Newtown, AUS Newton Social Club Apr 06 Adelaide, AUS Fowlers Live Apr 07 Melbourne, AUS Corner Hotel (+ Inverloch) Apr 08 Perth, AUS Badlands
Apr 21 Portland, OR Mississippi Studios Apr 22 Vancouver, BC Fortune Sound Club Apr 23 Seattle, WA Neumos
— All dates 5/17-5/25 with Satan’s Satyrs —
May 17 Philadelphia, PA Underground Arts May 18 Pittsburgh, PA Cattivo May 19 Toronto, ON Horseshoe Tavern May 20 Detroit, MI Loving Touch May 21 Chicago, IL Empty Bottle May 22 Minneapolis, MN 7th St. Entry May 23 Milwaukee, WI Cactus Club May 24 Indianapolis, IN The Hi-Fi May 25 Columbus, OH Ace of Cups
Aug 18-20 Las Vegas, NV Psycho Las Vegas Festival
— All dates 9/21 – 10/14 with Satan’s Satyrs —
Sep 21 Copenhagen, DK Loppen Sep 22 Oslo, NO BLA Sep 23 Stockholm, SE Debaser Strand Sep 25 Helsinki, FI Kuudes Linja Sep 27 Gothenburg, SE Pustervik Sep 28 Hamburg, DE Hafenklang Sep 29 Cologne, DE MTC Sep 30 Wiesbaden, DE Kesselhaus Oct 01 Leipzig, DE UT Connewitz Oct 02 Berlin, DE Cassiopeia Oct 03 Vienna, AT Arena Oct 04 Munich, DE Feierwerk Oct 05 Bologna, IT Freak-Out Club Oct 06 Mezzago, IT Bloom Club Oct 08 Paris, FR Stoned Gathering Oct 09 London, UK The Borderline Oct 10 Leeds, UK Brudenell Oct 11 Glasgow, UK Audio Oct 12 Manchester, UK Rebellion Oct 13 Bristol, UK Exchange
WINDHAND are still touring in support of their critically-acclaimed 2015 full-length Grief’s Infernal Flower, which can be streamed and purchased at the band’s Bandcamp page here.
Posted in Reviews on January 2nd, 2017 by JJ Koczan
Now having spanned multiple years since starting way back in 2016, this Quarterly Review ends today with writeups 51-60 of the total 60. I’ve said I don’t know how many times that I could go longer, but the fact of the matter is it would hit a point where it stopped being a pleasant experience on my end and I’d rather keep things fun as much as possible rather than just try to cram in every single release that ever came my way. Make sense? It might or it might not. I can’t really decide either. From the bottom of my heart though, as I stare down the final batch of records for this edition of the Quarterly Review, I thank you for reading. Let’s dive in.
Quarterly Review #51-60:
Crippled Black Phoenix, Bronze
Nine albums and just about 10 years on from their 2007 debut, A Love of Shared Disasters, the UK’s Crippled Black Phoenix arrive on Season of Mist with the full-length Bronze and remain as complex, moody and sonically resolute as ever. If we’re lucky, they’ll be the band that teaches a generation of heavy tone purveyors how to express emotion in songwriting without giving up the impact of their material, but the truth is that “Champions of Disturbance (Pt. 1 & 2),” “Deviant Burials,” “Scared and Alone” and take-your-pick-from-the-others are about so much more depth than even the blend of “heavy and moody” conveys. To wit, the spacious post-rock gaze of “Goodbye Then” gives a glimpse of what Radiohead might’ve turned into had they managed to keep their collective head out of their collective ass, and the penultimate “Winning a Losing Battle” pushes through initial melancholia into gurgling, obtuse-but-hypnotic drone before making a miraculous return in its finish – then closer “We are the Darkeners” gets heavy. Multi-instrumentalist, founder and chief songwriter Justin Greaves is nothing shy of a visionary, and Bronze is the latest manifestation of that vision. One doubts it will be the last.
Nothing shy about Trouble in Eden, the third full-length from San Jose heavy rockers Zed and second for Ripple Music. From its hey-look-guys-it’s-a-naked-chick cover to the raw vocal push from Pete Sattari –which delves into more melodic fare early on “The Only True Thing” and in rolling closer “The Mountain,” but keeps mostly to gruff grown-up-punker delivery throughout – the 10-tracker makes its bones in cuts like “Blood of the Fallen” and the resonant hook of “Save You from Yourself,” which are straightforward in intent, brash in execution and which thrive on a purported “rock the way it should be” mentality. Well, I don’t know how rock should be, but Zed – Sattari, guitarist Greg Lopez, bassist Mark Aceves and drummer Rich Harris – play to classic structures and seem to bring innate groove with them wherever they go on the album, be it the one-two punch of “High Indeed” and “So Low” or the Clutch-style bounce in the first half of “Today Not Tomorrow,” which leaves one of Trouble in Eden’s most memorable impressions both as a song and as a summary of their apparent general point of view.
Limited to just 200 copies on We Empty Rooms and Gotta Groove Records, the Collective Fictions split 180g LP between Melbourne noise duo Dead and Mark Deutrom (Bellringer, Clown Alley, ex-Melvins) is a genuine vinyl-only release. No digital version. That in itself gives it something of a brazen experimentalism, never mind the fact that one can barely tell where one track ends and the next track starts. Purposeful obscurity? Maybe. It’s reportedly one of a series of four LPs Dead are working on for the next year-plus, and they present two cuts in “Masonry” and “In the Car,” moving through percussion and mid-range drone to build a tense jazz on the former as drummer Jem and bassist Jace make room for the keys and noise of BJ Morriszonkle, which continue to play a prominent role in “In the Car” as well, which is also the only inclusion on Collective Fictions to feature vocals, shortly before it rumbles and long-fades snare hits to close out Dead’s side of the LP, leaving Deutrom – working here completely solo – thoroughly dared to get as weird as he’d like. An opportunity of which he takes full advantage. Over the course of four tracks, he unfurls instrumentalist drone of various stripes, from the nighttime soundscaping of “The Gargoyle Protocol,” which seems to answer the percussive beginning of Dead, through the spacier reverb loneliness of “Presence of an Absence,” like a most pastoral, less obtuse Earth, dreamy but sad in a way that denotes self-awareness on the part of the title, or at very least effective evocation thereof. Likewise, “Bring the Fatted Calf,” with its gong hits, Master Musicians of Bukkake-style jingling and minimalist volume swells, is duly ritualistic, which makes one wonder what the prog-style keys at the open of “View from the Threshold” are looking at. Deutrom moves through that side-closer patiently but fluidly and ends at a drone, tying up Collective Fictions as something of a curio in intent and execution. By that I mean what seems to have brought the two parties together was a “Hey, wanna get weird?” impulse, but each act makes their own level and then works on it, so hell yes, by all means, get weird.
Any record that starts with a narration beginning, “In the not too distant future…” is going to find favor with my MST3K-loving heart. So begins The Apocalypse Trilogies: Spacewolf and Other Dark Tales, the cumbersomely-named but nonetheless engaging Salt of the Earth Records debut full-length from Toronto’s Ol’ Time Moonshine, whose 2013 The Demon Haunted World EP (review here) also found favor. The burl-coated outing is presented across three chapters, each beginning with its own narration and comprising three subsequent tracks – trilogies – tying into its theme as represented in the cover art by vocalist/guitarist Bill Kole, joined in the band by guitarist Chris Coleiro, bassist John Kendrick and drummer Brett Savory. They shift into some more complex fare on the instrumental “Lady of Light” before the final chapter, but at its core The Apocalypse Trilogies remains a (very) heavy rock album with an undercurrent of metal, and whatever else Ol’ Time Moonshine bring to it in plotline, they hold fast to songwriting as the most crucial element of their approach.
Italian four-piece Ufosonic Generator (also stylized as one word: UfosonicGenerator) make themselves at home straddling the line between doom and classic boogie rock on what seems to be their debut album, the eight-track The Evil Smoke Possession, released through Minotauro Records. Marked out by the soaring and adaptable vocals of Gojira – yup – the band offer proto-metal shuffle on shorter early cuts “A Sinful Portrait” and the rolling nod of “At Witches’ Bell,” but it’s the longer pairing of “Meridian Daemon” (7:47) and “Silver Bell Meadows” (6:53) on which one finds their brew at highest potency, sending an evil eye Cathedral’s way without forgetting the Sabbathian riffery that started it all or the Iron Maiden-gallop it inspired. They cap with the suitable lumber of their title-track and pick up toward the finish as if to underscore the dueling vibes with which they’ve been working all along. Ultimately, the meld isn’t necessarily revolutionary, but it does pay homage fluidly across The Evil Smoke Possession’s span, and as a debut, it sets Ufosonic Generator forward with a solid foundation on which to progress.
Issued digitally in late-2015 and subsequently snagged for a 2016 vinyl issue through Krauted Mind, Nocturnes is the debut full-length from Dublin five-piece Mother Mooch, and in its eight tracks, they set their footing in a genre-spanning aesthetic, pulling from slow-motion grunge, weighted heavy rock, psychedelic flourish and even a bit of punk on the shorter, upbeat “My Song 21” and “L.H.O.O.Q.” Those two tracks prove crucial departures in breaking up the proceedings and speak well of a penchant on the part of vocalist Chloë Ní Dhúada, guitarists Sid Daly (also backing vocals) and Farl, bassist Barry Hayden and drummer Danni Nolan toward sonic diversity. They bring a similar sensibility to the closing Lead Belly cover “Out on the Western Plain” as well, whereas cuts like opener “This Tempest,” “Into the Water” and “Misery Hill” work effectively to find a middle ground between the stylistic range at play. That impulse, seemingly innate to their songraft, is what will allow them to continue to develop their personality as a band and is not to be understated in how pivotal it is to this first LP.
To my knowledge, this only-70-pressed five-song tape release is the second self-titled EP from off-kilter North Carolina heavy rockers The Asound following a three-songer back in 2011 (review here). Offered by Tsuguri Records, the new The Asound starts with its longest track (immediate points) in the 6:54 “Moss Man” and touches on earliest, most righteous High on Fire-style brash, but holds to its own notions about what that that blend of groove and gallop should do. Through splits with Flat Tires (review here), Magma Rise (review here), Lenoir Swingers Club (review here) and Mark Deutrom (review here), the trio of Guitarist/vocalist Chad Wyrick, bassist Jon Cox and drummer Michael Crump have always had an element of the unpredictable to their sound, and that’s true as centerpiece “Human for Human” revives the thrust of the opener coming off “Controller”’s less marauding rhythm, but the sludgy rollout and later airy lead-work of “Pseudo Vain” and chugging nod of closer “Throne of Compulsion” speaks to the consciousness at play beneath the unhinged vibes that’s been there all along. They’ve sounded ready for a while to make a full-length debut. They still sound that way.
Immediate bonus points to Richmond, Virginia’s Book of Wyrms for titling a track on their full-length debut “Infinite Walrus,” but with the Garrett Morris-recorded tones they proffer with the seven-song/53-minute Sci-Fi/Fantasy (on Twin Earth Records), they don’t really need bonus points. The five-piece of vocalist Sarah Moore Lindsey, six-stringers Kyle Lewis and Ben Coudriet, bassist Jay Lindsey and drummer Chris DeHaven mostly avoid the sounding-like-Windhand trap through stretches of upbeat tempo, theremin and other noise flourish, and harmonies on guitar, but they’re never far from an undercurrent of doom, as opener “Leatherwing Bat” establishes and the long ambient midsection and subsequent nod of centerpiece “Nightbong” is only too happy to reinforce. “All Hallows Eve” gets a little cliché with its samples, but the dueling leads on 11-minute closer “Sourwolf” and included keyboard noise ensure proper distinction and mark Book of Wyrms as having come into their first long-player with a definite plan of action, which finds them doing well as a showcase of potential and plenty immersive in the here and now.
Despite the sort of cross-cultural ritualism of its cover art, Oxblood Forge’s self-titled debut EP has only the firmest of ideas where it’s coming from. The Whitman, Massachusetts-based five-piece boasts former Ichabod vocalist Ken MacKay as well as bassist Greg Dellaria from that band, and guitarist Robb Lioy (also in Four Speed Fury with MacKay) alongside guitarist Josh Howard and drummer Chris Capen, and in a coherent, vigilantly straightforward five-tracker they touch on aggressive fare in “Lashed to the Mast” as their Northeastern regionalism would warrant – we’re all very angry here; it’s the weather – and demonstrate a knack for hooks in “Inferno” and “Sister Midnight,” the latter blending screams and almost Torche-style melodies over clam chowder riffing before closer “Storm of Crows” opens foreboding with Dellaria’s bass and moves into the short release’s nastiest fare, MacKay sticking to harsher vocals as on the earlier “Night Crawler,” but in a darker instrumental context. They set a range here, and might be feeling things out in terms of working together as this band, but given the personnel involved and their prior familiarity with each other, it’s hard to imagine that if a follow-up is in the offing it’ll be all that long before it arrives. Consider notice served.
Ukrainian trio The Heavy Crawls set out as a duo called just The Crawls and released a self-titled debut in 2013 that was picked up in 2015 by ultra-respected German imprint Nasoni Records. Under the new moniker, they get another stab at a first album with the 10-track/42-minute classic rocker The Heavy Crawls, the three-piece of founding guitarist/bassist/keyboardist/vocalist Max Tovstyi, drummer Inessa Joger and keyboardist/vocalist/percussionist Iryna Malyshevska evoking spirited boogie and comfortable groove on “She Said I Had to Wait” and the handclap-stomping “Girl from America.” Elements of garage rock show up on “Too Much Rock ‘n’ Roll” and the soul-swinging “I Had to Get Away,” but The Heavy Crawls are more interested in establishing a flow than being showy or brash, and the payoff for that comes in eight-minute closer “Burns Me from Inside,” which stretches out the jamming sensibility that earlier pieces like the organ-laced “One of a Kind” and the staccato “Friday, 13th” seem to be driving toward. Some growing to undertake, but the pop aspect in The Heavy Crawls’ songcraft provides intrigue, and their (second) debut shows a righteous commitment to form without losing its identity to it.
Posted in Reviews on December 27th, 2016 by JJ Koczan
Feeling good going into day two of the Quarterly Review. The good news about how heavy music has become such a vast universe is that there’s always plenty to cover without having to really dig into stuff I don’t find interesting. Of course, the other side of that is feeling constantly behind the curve and overwhelmed by it all, but let’s not talk about that for the moment. Point is that as we make our way through this week and into the next — because, remember, it’s six days this time, not five — a big part of me still feels like I’m just scratching the surface of everything that’s out there. It still seems just to be a fraction of the whole story being told around the world in the riffiest of languages. We all do what we can, I guess. Let’s get started.
Quarterly Review #11-20:
Red Fang, Only Ghosts
Four albums into one of the decade’s most successful and influential heavy rock careers, doesn’t it seem like Portland, Oregon’s Red Fang are due for a truly great record? Their 2013 outing, Whales and Leeches (discussed here), was rushed by the band’s own admission – their focus, as ever, on touring – and Only Ghosts (on Relapse) unites them with producer Ross Robinson and mixer Joe Barresi, two considerable names to bring heft and presence to the 10-track/42-minute outing. And I’ve no doubt that “Shadows” and the bigger-grooving “The Smell of the Sound” and opener “Flies” kick ass when delivered from the stage, and it’s true they sound more considered with the ambience of “Flames” positioned early, but Only Ghosts still comes across like a collection of songs united mostly by the timeframe in which they were written. Doesn’t mean they don’t build on Whales and Leeches, but now five years on from 2011’s Murder the Mountains (review here), and with their dynamic, charged and momentum-driven sound firmly established, Red Fang still seem to be at the threshold of some crucial forward step rather than stomping all over it as one might hope.
After releasing a self-titled debut (review here) and the follow-up Andromeda (review here) in 2014, 2016’s Sea of Clouds (on Crispin Glover/Stickman) is the third proper studio full-length from Norway’s Black Moon Circle – though at that point, define “proper.” In 2015, the trio/four-piece – Trondheim-based guitarist Vemund Engan, bassist Øyvin Engan and drummer Per Andreas Gulbrandsen, plus Scott “Dr. Space” Heller of Øresund Space Collective on synth – also released The Studio Jams Vol. I (discussed here) and in addition to the four tracks of Sea of Clouds, they’ve also had a Vol. II (review here) out this year. The definitions become fluid, is what I’m saying, and that couldn’t be more appropriate for the sound of “Lunar Rocket,” the outward-gazing space rock of “The Magnificent Dude,” “Moondog” and “Warp Speed,” which indeed offer enough kosmiche expanse to make one wonder where the song ends and the jam begins. Or, you know, reality. One has to wonder if Black Moon Circle might bridge the gap at some point between studio improv and more plotted songwriting, but as it stands, neither side of their dual personality fails to engage with its flow and drift.
A one-sided 12” EP issued by STB Records in late 2015 as the follow-up to Richmond dirge-fuzzer trio Druglord’s debut album, Enter Venus (review here), the three-track Deepest Regrets represents the band’s final studio material with bassist Greta Brinkman (ex-L7) in the lineup, who’s since been replaced by Julian Cook. That distinction matters in no small part because so much of Druglord’s purposes on Deepest Regrets’ three component songs – “Regret to Dismember,” “Speedballs to Hell” and “Heaven Tonight” – is about reveling in low end. Rawer than was the album preceding, they find guitarist/vocalist/organist Tommy Hamilton, Brinkman and drummer Bobby Hufnell emitting an oozing lurch, blasting out thickened motor-riffing, and fortifying a darkly psychedelic drear – in that order. True to EP form, each song gives a sampling of some of what Druglord has to offer coming off the album, and with a recording job by Garrett Morris, who also helmed the LP, it remains a fair look at where they might head next, despite the shift in lineup.
Melbourne’s Holy Serpent return with Temples (on RidingEasy), their second full-length after 2015’s self-titled debut (review here), and continue to offer an engaging blend of well-blazed psychedelia and heavier-rolling groove. Especially considering they’ve still only been a band for two years, the four-piece of guitarists Nick Donoughue and Scott Penberthy (the latter also vocals), bassist Dave Barlett and Lance Leembrugen remain striking in their cohesion of purpose, and Temples opener “Purification by Fire” and ensuing cuts like the fuzz-wall centerpiece “Toward the Sands” and echo-laden “The Black Stone” only continue to stretch their intentions toward ever more acid-ic flow. They called it “shroom doom” last time out, and seem to have moved away from that self-branding, but however one wants to label Temples, its five tracks/43 minutes push ahead from where Holy Serpent were just a year ago and, rounding out with the slower churn of “Sativan Harvest,” still reminds that mind expansion and deeply weighted tonecraft are by no means mutually exclusive.
Self-releasing Croatian instrumental trio Drone Hunter devise vigilantly straightforward riffing on their second album, Welcome to the Hole, finding room for some charm in titles like “Wine Dick,” “Crazy Ants with Shotguns” and the closing “A Burning Sensation,” the latter of which seems to draw particularly from the playbook of Karma to Burn. That comparison is almost inevitable for any riff-led/sans-vocal three-piece working in this form, but the crunch in “Fog Horn” and “Waltz of the Iron Countess” isn’t without its own personality either, and as with a host of acts from the Croatian underground, they seem to have a current of metal to their approach that, in the case of Welcome to the Hole, only makes the entire affair seem tighter and more precise while maintaining tonal presence. Fitz (guitar), Klen (bass) and Rus (drums) might not be much for words or last names, but their sophomore full-length comprises solid riffs and grooves and doesn’t seem to ask anything more than a nod from its audience. A price easily paid.
Lugweight is comprised solely of Brooklyn-via-Richmond-Virginia transplant Eric Benson, and the project makes its full-length debut with the evocatively-titled drone wash of Yesterday following one EP and preceding another. Fair to call it an experimental release, since that’s kind of the nature of the aesthetic, but Benson demonstrates a pretty clear notion of the sort of noise he’s interested in making, and there’s plenty of it on Yesterday in “Sleeping on Cocaine,” on which one can hear the undulating wavelengths emanating from speaker cones, or the penultimate “Love Song for the Insane,” which features chanting vocals in echoes cutting through a tonal morass but still somehow obscure. A 33-minute five-tracker, Yesterday doesn’t overstay its welcome, but alternates between sonic horrors and warmer immersion in the shorter centerpiece “Bleed My Sorrow” and closer “Show Me Where the Shovel Is,” coming dangerously close in the latter to doom riffing that one might almost dare to put drums to. Solo drone guitar, even when this thick, is never for everyone, but one doubts Benson was shooting for accessibility anyhow.
To hear Australia’s Megaritual tell it, the 25-minute single-song Eclipse EP was recorded on Mt. Jerusalem in New South Wales this past summer, the one-man outfit of vocalist/guitarist/sitarist/drummer Dale Paul Walker working with bassist/Monotronist Govinda Das to follow-up his prior two Mantra Music EPs, recently compiled onto an LP (review here) by White Dwarf Records. Whether or not that’s the case, “Eclipse” itself is suitably mountainous, building along a linear course from sea level to a grand peak with droning patience and gradual volume swells, lush and immersive psychedelia in slow-motion trails, a sparse verse, percussion, sitar, guitar, bass, and so on coming to a glorious vista around the 17:30 mark only to recede again circa six minutes later in a more precipitous dropoff. The digital edition (and that’s the only edition thus far) comes with a cover of Pink Floyd’s “Set the Controls for the Heart of the Sun,” which makes good company for the hypnotic titular exploration and the quick progression it represents after the other two short releases.
Heavy psychedelic pastoralists Red Lama enter the conversation of 2016’s best debut albums with Dreams are Free, initially released on All Good Clean Records and subsequently picked up by Stickman. Leaning more toward the liquid end of psych-blues, the Danish seven-piece immediately transcend with opener “Inca” (video here) and quickly showcase a subtlety for build that only gets more potent as they move through “Sonic Revolution” and “The World is Yours,” unfolding due heft in the latter without losing the laid back sensibility that the vocals bring sweetly, melodically, to the material. The later “Mekong River” seems almost like it’s going to shoegaze itself into post-rock oblivion, but Red Lama hold their sound together even into the 10-minute closer “Dalai Delay” – aptly-titled twice over – and deliver with striking patience a languid flow with hints of underlying prog experimentation. How that will come to fruition will have to remain to be seen/heard, but Dreams are Free also dips into funkier groove on “Dar Enteha,” so while they probably could be if they were feeling lazy, Red Lama don’t at all seem to be finished growing. All the better.
Lacy is an experimental solo-project from former Lord guitarist Stephen Sullivan, based in Fredericksburg, Virginia, and part of a deep sludge underground that goes back well over a decade. Andromeda is his third album with the outfit and the second to be released in 2016, though unlike the preceding Volume 2. Blue, its 12 tracks were recorded in a matter of months, not years. All instruments, arrangements, vocals and the raw recording were handled by Sullivan himself (he also took the photo on the cover) but cuts like “Gyre Hell” and the acoustic “Push Me Away” veer around self-indulgence or hyper-navelgazing – I’d call “Offal and the Goat Brains” experimental, but not narcissistic – and he seems more interested in writing songs than making a show of being outside this or that imaginary box. Still, Andromeda offers diversity of instrumentation and arrangement, unplugging once more for “Healer” before closer “Always” finishes the album as a rumbling and grunge-laden love song.
After catching on late to German metallers Valborg’s 2015 fifth album, Romantik, I told myself I wasn’t going to miss whatever they did next. The single Werwolf (on Temple of Torturous and Zeitgeister) might be a quick check-in of just two songs – “Ich Bin Total” and “Werwolf” itself – but the classic European-style death-doom chug of the latter and the vicious crash of the former I still consider a reward for keeping an eye out. “Ich Bin Total” is less than three and a half minutes long, and “Werwolf” just over five, but both feature choice chug riffing, darkened atmospherics and art-metal growls that only add to the clenched-teeth intensity of the instruments surrounding. They spare neither impact nor ambience nor lives as Werwolf plays out, the title cut riding its massive progression forward to a sensory-overload of nod before finally offering some release to the tension in a second-half guitar lead, only to revive the brutality once more, repetitions of “werwolf” chanted in growls over it. Awesome.
Posted in Whathaveyou on December 21st, 2016 by JJ Koczan
Well, I mean, yeah. Clearly. Labelmates, both from Richmond, both with three records out, sharing a bassist, etc. — it seems only reasonable that if either Windhand or Cough were going to undertake the rather significant voyage from the US East Coast to tour Australia and New Zealand that the other would go along as well. Though they’re certainly distinguishable in sound, they could hardly have more circumstantially in common if they were the same band. Logic wins the day. Spock would be pleased.
Windhand go supporting 2015’s Grief’s Infernal Flower (review here), while Cough head abroad to herald 2016’s Still They Pray (review here). It’s hardly the first international trip for either band — both of whom were also recently confirmed to play Psycho Las Vegas 2017 — but should be a good time nonetheless. Who doesn’t like to travel with friends?
Shows are presented by Life is Noise, who sent the following down the PR wire:
LIFE IS NOISE PRESENTS: WINDHAND (USA) & COUGH (USA) AUSTRALIAN / NEW ZEALAND TOUR MARCH/APRIL 2017
LIFE IS NOISE is excited to announce that two powerhouses of American doom metal—Windhand and their spiritual kin Cough—will be heading to our shores in 2017.
These label-mates from Virginia will be melting minds at select venues throughout Australia and New Zealand as part of a massive doom double-header in March and April next year.
The rise of Windhand has been meteoric. Since first surfacing in 2009, this Virginia five-piece quickly outgrew their local underground ties to tour the globe with acts like Sleep, High On Fire, Dead Meadow and Kvelertak. And their third full length, Grief’s Infernal Flower, cemented the band as one of the doom masters of our time.
Grief’s Infernal Flower is the epitome of fuzzed-out bliss. Simultaneously massive, heavy and deeply personal, the haunting and hypnotic vocals of Dorthia Cottrell serve to guide the listener through the dual riff attack of guitarists Garrett Morris and Asechiah Bogdan.
Windhand live are a lesson in rhythmic mastery. Propelling through the slowest of songs, with the subtle expertise of bassist Parker Chandler and drummer Ryan Wolfe as their backbone, no one will be able to defy the pure need to headbang in their presence.
Cough rose from the fertile metal swamps of Richmond, Virginia to produce some of the most intense, tortured and misanthropic doom out. Drawing from savage elements of extreme music, the past decade has seen the band inspired by everything from early black metal and sludge tones to psychedelia, doom’s early genre forefathers, blues and more—all in their search for beauty in the darkest of places.
Now they have returned after a five-year hiatus with the monolithic beast that is Still They Pray.
Produced by Electric Wizard’s Jus Oborn, Still They Pray is a recording that takes the listener to the depths of despair and longing. With comparisons to seminal acts like Candlemass, Cathedral, Sleep and Saint Vitus, their third full length is 70-minutes of crushing defeat and euphoric redemption.
Catch Windhand and Cough at any of the following dates:
Wellington – San Fran – March 31 Auckland – Kings Arms – April 1 Brisbane – Crowbar – April 2 Sydney – Newtown – April 5 Adelaide – Fowlers Live – April 6 Melbourne – Corner Hotel – April 7 Perth – Badlands – April 8
Posted in Reviews on October 5th, 2016 by JJ Koczan
Today we hit the halfway mark on the Fall 2016 Quarterly Review. Always an occasion worthy of song — or, you know, another batch of 10 records — which happens to be precisely the plan. We pick up much where we left off yesterday in working across a broad spectrum of heavy, and though there are some major releases in here as seems to be the case increasingly, please make sure to note some of the deeper underground stuff as well, whether it’s Hands I Annul Yours or Astral Cult, as nothing here is included by mistake. Some of this I’m late on, some of it isn’t out yet, but all of it is pretty current, so if there’s something here you’ve missed, bigger name or smaller, I hope you get some use out of the lot of it. Here goes.
Quarterly Review #21-30:
Blues Pills, Lady in Gold
Blues Pills – like their Nuclear Blast labelmates in Witchcraft, Graveyard and Kadavar before them – have modernized. Their second album behind what became a landmark self-titled debut (review here) in 2014, Lady in Gold arrives with a slick production casting off the vintage vibes while holding onto classic sensibility and rightfully continuing to feature the soulfulness of vocalist Elin Larsson, joined in the band by guitarist Dorian Sorriaux, bassist Zack Anderson (ex-Radio Moscow) and drummer André Kvarnström (ex-Truckfighters). Its 10 tracks/40 minutes are unmistakably pop in their construction, and deftly, complexly arranged, and play to an alternative vision of commercial accessibility in rock that I’m not sure exists anymore even in Europe. Or needs to for an album like Lady in Gold to be successful. As they weave into and out of gospel and R&B conventions, Blues Pills take a bold step away from what one might have expected coming off their debut and ultimately define themselves precisely through that boldness. Whether that works for them in the longer term will have to remain to be seen. For now, Lady in Gold can be jarring at first, but one would be hard pressed to come up with something else out there that sounds quite like it.
Los Angeles three-piece Arctic make their entry into Southern California’s crowded sphere of heavy/psychedelic rock with their self-titled debut on Outer Battery Records. To call them skate rock seems fair enough, since guitarist Justin “Figgy” Figueroa (also Harsh Toke), bassist Don “The Nuge” Nguyen and drummer Frex are all professional skateboarders, but the core of Arctic’s five-track/half-hour-flat runtime is in mixing classic stoner impulses with heavy psych jamming. Most of the record is instrumental, including 8:51 opener and longest track (immediate points) “Over Smoked,” but vocals pop up to surprise on centerpiece “Burnt Ice” and return again in form drawled enough to justify their having called the nodding closer “High” as they do. At very least they make it believable. Between the dankness throughout, the guitar-led fuzz boogie of “Cryptic Black Sun,” the natural vibes, the Arik Roper cover art and the utter lack of pretense, Arctic summarize much of the appeal of the West Coast’s current heavy movement, and so, should have no trouble continuing to make their name as part of it.
Three new tracks from Poland’s Major Kong is nothing to complain about. The Lublin trio have been not-at-all-quietly stomping out quality riffs for more than half a decade now, and with “Energy Whip,” “Escape from the Holodeck” and “Pollution Halo,” the instrumentalists are in and out of Brave New Kong in under 14 minutes, working quickly and efficiently with a crisp but still thick production that pulls away from some of the focus on crush from late last year’s Galactic Cannibalism EP (review here). That may well be the Brave New Kong to which the title refers, or it’s entirely possible they’re just having fun with their own moniker – subsequent offerings will tell the tale – but Major Kong continue to be a well-kept secret for Poland’s fertile heavy underground, and if nothing else, they sound like a group due for a third full-length album, which will hopefully arrive sooner than later.
One could make the argument that given the swath of cultural icons passed away, 2016 is the Year of Death to which Hands I Annul Yours are alluding to in the title of their latest Major Destroyer Records three-song tape, but aside from the fact that they specify it was 2013, one seriously doubts they give a shit about famous people dying. Beginning with the drone and feedback noise of “Year of Death Part I,” the cassette moves into a 19-minute stomp and crush that’s as misanthropic as it is weighted, and much as there is one, the prevailing sentiment is less reflecting on loss than it is rolling out claustrophobic heft. Fair enough. Following the tape-only “Verloren,” “Year of Death Part II” boasts more sample manipulation and a discernible lead from the guitar, but finds its way toward abrasion as well, rounding out Year of Death with a dissolution into feedback that would seem to bring it full circle.
Fortunately, the fact that Storm Ross named the opening track of Welcome, Sunshine “We Need to be Fugazi Now, More than Ever” is only the start of the 37-minute/10-track LP’s experimentalist charms. The follow-up to the Michigan-based guitarist’s 2014 return full-length, The Green Realm (review here), this new collection finds Ross himself once again making his way through soundscapes manic and pastoral with like ease, and as one piece feeds into the next on “Please Don’t Kill My Family” and “Benzie County Farm Fire, 1973” or the synth-infused, tech-shredding “Atheon” fading into the penultimate post-rock drift of “The Smiler” later (think Dylan Carlson solo gone sentimental for the West, plus a late uptick of noise), the sense of Welcome, Sunshine as a whole work is even more palpable than was the last outing, even as Ross jumps from one style to another or incorporates keys, percussion, etc., following various whims toward a universally progressive payoff. Limited to 300 copies on yellow vinyl or on cassette through Already Dead Tapes and Records.
Virginian doomers Sinister Haze follow-up their 2015 debut EP, Betrayed by Time (review here), with the raw and scummed up Laid Low in the Dust of Death LP on STB Records. Recorded by Chad Davis (Hour of 13), it’s their first outing to feature Naam’s Eli Pizzuto on drums, and they do trip out a bit on guitar, but if you’re thinking slow space rock here you’ve got the wrong picture. Guitarist/vocalist Brandon Marcey (ex-Cough) and bassist/vocalist Sam Marsh lead the charge – the low-end is particularly satisfying in its roll throughout – and fellow newcomer JK (Lost Tribe) adds to the mix as well, so the spirit of Laid Low in the Dust of Death is bare-bones and classic, but positively covered in its titular dust. And maybe one or two other kinds. Six tracks split easily onto two sides, Sinister Haze’s first full-length outing comes across as a reaction against cleanliness in doom – call it gutter doom – flowing in its 12-minute closer “A Buried Dream,” but still clearly from the gut.
The flute-laden heavy rock with which Denver’s Love Gang open their debut EP might stand among the best outcomes of Colorado’s marijuana legalization. A four-piece with a full sound only enhanced by the organ/woodwind work of Leo Muñoz, Love Gang self-release their first outing as four tracks that sap classic prog of its pretense and offer ‘70s heavy chemistry without leaning on vintage production. Guitarist/vocalist Kam Wentwork, bassist Grady O’Donnell and drummer Shaun Goodwin, together with Muñoz, get down to business on “Can’t Seem to Win” and the instrumental “Lonely Man,” go bluesy on “Highway” and boogie to a finish in “Sands of Time,” all the while sounding ready in their songcraft and execution for whatever label might come calling to stand behind their work. It’ll be somebody. Some bands take time to develop into their own sound, and some break the doors down out of the gate. Love Gang are the latter. Whenever they get around to a first full-length, I hope they remember to weird out a little bit.
Though five of the eight tracks on Nap’s debut, Villa, have words at one point or another, it’s probably still fair to note the psych-inflected German trio as a mostly-instrumental outfit. The lyrics, when they’re there, arrive in short verses, lines included it seems more to create the impression of a human presence rather than affirm a structure. They are vague in theme for the most part, but there, though there isn’t a song in the bunch that goes as far as a chorus. No complaints. Nap, as a project, feel much more given toward the spacious and atmospheric exploration one finds in the midsection of second cut “Sabacia” than the four or five lines in the driving riff subsequent. As the record plays out, they incorporate elements of surf – surprisingly more on “Duna” and closer “Autobahn” than “Xurf,” but it could also be a Yawning Man influence surfacing – resulting in an overarching progressive feel that serves their fluidity on this first album.
Heavy rocking Buenos Aires three-piece Manthrass issued their debut, Blues del Destino, last year and were subsequently snagged for release through South American Sludge Records, no doubt for the record’s cohesive, hard-driving bluesy push, natural tones and easy-grooving feel. The shuffle of “Una Flor” is a highlight, but neither will you find me arguing with the Pappo’s Blues cover “El Brujo y el Tiempo,” with a burlier vocal and a rolling progression that seems to sum up a lot of where Manthrass are coming from to start with, though closer “Navegar” gets down with more raucous fare. A quality first full-length with a crisp production balanced by a fervent live feel in the energy from the trio of guitarist/vocalist Mariano Castiiglioni, bassist/vocalist Ángel Rizzo and drummer/backing vocalist Fede Martínez, who are clearly versed in modern heavy as well as the classics, and are able to control their own destiny here accordingly.
Commencement comes on Astral Cult’s second album, The Sacred Flame, via the ritualized psychedelic incantations of “Prayer,” and from there, the Californian four-piece unfold a molten vision of heavy space rock that stands apart from a lot of what bands further sound in San Diego or even San Francisco are doing, vocalist Alexandre Lapuh, guitarist Ryan Musser, bassist Stefan Henskens and drummer Brazdon Goodwin (since replaced by Cristian Gonzalez) finding their footing in a lumbering and deceptively doomed “Quetzalcotl” after so much lysergic preaching on “Call of the Wild” and “Beacon of Darkness.” The range is surprising, but more so is the fluidity Astral Cult conjure between what are often disparate styles, the four-piece nearly hitting the 13-minute mark on the closing title-tack as they lay the two sides together, one into the next. It’s a rarer blend, but The Sacred Flame, at nearly an hour long, gears itself for maximum immersion.
Posted in Whathaveyou on August 29th, 2016 by JJ Koczan
At this point, one almost receives an email with a subject announcing a Windhand tour and expects it to list a month-plus of dates. That’s kind of just how the Virginian outfit have operated for the last couple years — already they’ve put in considerable time supporting last fall’s Jack Endino-produced Grief’s Infernal Flower (review here) — but this time around it’s just a handful of gigs for December alongside Relapse Records labelmate extremists Ilsa that will take them as far north from Richmond as the Saint Vitus Bar in Brooklyn before they head back, a quick run of pre-holiday dates.
Maybe they’re testing out new material ahead of 2017? Maybe they’re taking a victory lap for Grief’s Infernal Flower? Or maybe they just feel like getting out and doing a couple nights to wrap the year. Can hardly hold it against them either way.
The PR wire has details and a couple September shows as well:
WINDHAND Announce US Tour Dates With ILSA
Stoner/doom heavyweights WINDHAND have announced a new run of US tour dates this coming December along with labelmates and recent Relapse signees ILSA. The bands will be leveling Washington D.C., Boston, and New York beginning December 1; WINDHAND will also be playing select US dates in September. Check out a full itinerary below.
WINDHAND Live: Sep 06 Atlanta GA The Earl Sep 07 Nashville TN Exit/In Sep 15 Durham NC Motorco Music Hall
***All Dates With Ilsa*** Dec 01 Washington DC Black Cat Mainstage Dec 02 Boston MA Brighton Music Hall Dec 03 New York NY Mercury Lounge Dec 04 Brooklyn NY St Vitus
WINDHAND are still touring in support of their critically-acclaimed 2015 full-length Grief’s Infernal Flower, which can be streamed and purchased at the band’s Bandcamp page here.
D.C. death metal crew ILSA signed to Relapse last year and released a two-song split with labelmates COFFINS this past February. The split is available for streaming and purchase at this location.
I like a tour with an element of contrast, and to pair Virginia’s Cough with Massachusetts trio Elder strikes me as particularly brilliant. It’s a classic light and dark. Cough head overseas behind their new album, Still They Pray (review here), a massive slab of full-on bum-you-the-fuck-out doom that rolls its grooves like boulders. Elder? Still supporting 2015’s album of the year Lore (review here), they lead the charge with fleet-footed progressive heavy rock that even as it maintains its tonal crunch only seems to be becoming brighter in its tone.
So yeah, like I say: Some contrast. Awesome.
From the PR wire:
COUGH Announce EU Tour Dates With Elder
Fresh off the release of their highly-acclaimed new record Still They Pray, Richmond stoner/doom veterans COUGH have announced a European tour with contemporaries Elder set to begin this coming October. The band will be performing throughout Western Europe and the UK, including appearances at Up In Smoke Festival in Switzerland and Desertfest in Belgium. The band will also be performing select US dates before their departure – see a full list of dates below.
COUGH Live: Aug 12 Philadelphia, PA Kung Fu Necktie Aug 13 Brooklyn, NY Union Pool
***European Tour*** Oct 01 Pratteln, CH Up In Smoke Festival @ Z7 Oct 02 Nürnberg, DE Kunstverein / Z – Bau Oct 03 Budapest, HU Dürer Kert Oct 04 Berlin, DE SO 36 Oct 06 Nantes, FR TBD Oct 07 Lyon, FR TBD Oct 10 London, UK Underworld Oct 11 Edinburgh, UK Bannermans Oct 12 Manchester, UK Rebellion Oct 13 Coventry, UK The Phönix Oct 14 Bristol, UK Exchange Oct 15 Antwerp, BE Desertfest Belgium @ Trix
Nov 12 Long Beach, CA Di Piazza’s – Midnite Communion Festival Nov 18 Indianapolis, IN 5th Quarter – Doomed and Stoned Festival
COUGH’s new album Still They Pray is out now via Relapse Records on CD/2xLP/Digital. Physical orders and bundle deals are available via Relapse.com here, and digital copies can be ordered through COUGH’s Bandcamp page at this location.
What, you thought Inter Armaweren’t going to announce Fall 2016 tour plans? The Richmond genremashers rarely let a season go by without hitting the road for at least some measure, and whether they’re chipping away at the US region by region or heading abroad, the reliable thing is that they’re out there somewhere. To wit, right now they’re finishing a run alongside Withered, and next month, they’ll be out with Call of the Void as they continue to support their 2016 album, Paradise Gallows (review here), which of course came out on Relapse.
They’ve got a new video as well for “The Summer Drones” that follows the info below, sent along the PR wire:
INTER ARMA Announce US Tour Dates With Call of the Void
As their current US tour with Withered draws to a close, Richmond genre-benders INTER ARMA have announced a new run of US dates with Relapse labelmates Call of the Void. The tour will kick off this September 22 and will see both bands crushing cities throughout the Midwest, South, and East Coast. A full list of dates is available below.
The band’s music video for Paradise Gallows track “The Summer Drones” recently premiered and can be seen below.
Paradise Gallows is out now on CD/2xLP/Digital via Relapse Records. Physical orders, including limited vinyl colors and bundles, are available via Relapse.com at this location, and digital orders can be found at Bandcamp here.
INTER ARMA Live:
***All Dates With Withered*** Aug 2 Atlanta GA The Earl Aug 3 Asheville NC Mothlight
***All Dates With Call Of The Void*** Sep 22 Harrisonburg, VA Golden Pony Sep 23 Charlotte, NC Snug Harbor Sep 24 Savannah, GA The Jinx Sep 26 Tallahassee, FL Club Downunder Sep 27 Memphis, TN Hi-Tone Cafe Sep 28 Fayetteville, AR Ryleigh’s Sep 29 Little Rock, AR Vino’s Sep 30 Des Moines, IA Vaudeville Mews Oct 01 Iowa City, IA Gabe’s Oasis Oct 03 St Louis, MO Firebird Oct 04 Champaign, IL The Accord Oct 05 Grand Rapids, MI Pyramid Scheme Oct 06 Columbus, OH Ace of Cups Oct 07 Buffalo, NY Waiting Room Oct 08 Montreal, QC Casa Del Popolo Oct 09 Portland, ME Space Oct 10 New Haven, CT Cafe Nine