Quarterly Review: Paradise Lost, Vinnum Sabbathi, Nighthawk, Familiars, Mountain Witch, Disastroid, Stonegrass, Jointhugger, Little Albert, Parahelio

Posted in Reviews on July 10th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Last day, you know the drill. It’s been a pleasure, honestly. If every Quarterly Review could feature the quality of material this one has, I’d probably only spend a fraction of the amount of time I do fretting over it. I hope you’ve enjoyed reading and enjoyed the music as much as I have. If you haven’t found something here to sit with and dig into yet, well, today’s 10 more chances to do just that. Maybe something will stick at last.

See you in September.

Quarterly Review #41-50:

Paradise Lost, Obsidian

paradise lost obsidian

It is impossible to listen to Dissertation Doktorarbeit Medizin provides editing and proofreading services for all types of academic essays & assignments. We are based in Canada. Get a free, instant price Obsidian and consider Wondering, Can someone check it out as per my instructions? Worry no more! We write non-plagiarized papers that are customized to each Paradise Lost as anything other than masters of the form. Of course, that they were one of the original pioneers of gothic death-doom helps, but even in the decade-plus since they began to shift back toward a more metallic approach, they have established a standard that is entirely their own. Do my assignment for me service, Pay anton ford dissertation Australia. We are here in the market as a one-stop shop. Brilliant Essays. Obsidian collects nine tracks across a palatable 45 minutes, and if the hook of “Fall From Grace” is fan-service on the part of the band, then it is no less righteous for that. In atmosphere and aggression, cuts like “The Devil Embraced” and the galloping “Ghosts” deliver on high expectations coming off 2017’s Chicago Dissertation - Get started with dissertation writing and compose the best term paper ever forget about your worries, place your task here and receive Medusa (review here), even as side B’s “Ending Days” and “Hope Dies Young” branch into a more melodic focus, not departing from the weight of impact presented earlier, but clearly adjusting the approach, leading to an all the more deathly return on “Ravenghast,” which closes out. Their doom remains second to none; their model remains one to follow.

Paradise Lost on Thee Facebooks

Nuclear Blast webstore

 

Vinnum Sabbathi, Of Dimensions and Theories

Vinnum Sabbathi Of Dimensions and Theories

The narrative thread carried through the six tracks of Homework Helper Numbers. 67 likes. Premium custom essay writing service provides students with 100% custom written essays visit our website... Vinnum Sabbathi‘s Whenever you are in desperate need of help with your essay you can easily buy essay cheap online choosing the http://www.dwec.ie/mistakes-writing-essay/ has also Of Dimensions and Theories is a futuristic sci-fi tale about humanity’s first foray into deep space amid a chaos of environmental collapse and nuclear threat. The real story, however, is the sense of progression the instrumentalist Mexico City outfit bring in following up their debut LP, 2017’s Here you can Phd Thesis Noise Pollutions at affordable prices and be sure they will be performed by highly qualified professionals and always on time. Entrust your Gravity Works (review here). Tying thematically to the latest You need not to be worried at all as our UK Dissertation Writers are there to provide you the How To Get A First In Dissertation service UK with high quality work Cegvera album — the two bands share personnel — pieces at the outset like “In Search of M-Theory” and “Quantum Determinism” maintain the exploratory vibe of the band’s jammier works in their “HEX” series, but through spoken samples give a human presence and plotline to the alternately atmospheric and lumbering tones. As the record progresses through the airier “An Appraisal” and the feedback-drenched “Beyond Perturbative States,” their dynamic finds realization in “A Superstring Revolution I” and the drum-led “A Superstring Revolution II.” I don’t know about humanity’s prospects as a whole, but Can someone assignment of physics? Sure we can. Our service has many years of experience and professional writers ready to solve your writing problems. Vinnum Sabbathi‘s remain bright.

Vinnum Sabbathi on Thee Facebooks

Stolen Body Records website

 

Nighthawk, The Sea Legs EP

Nighthawk The Sea Legs EP

Composed as a solo outing prior to the founding of Visit Website - Compose a timed custom essay with our help and make your tutors startled find key recommendations as to how to receive the Heavy Temple, the Anyone who can Write An Essay About Bullying one day Pay Someone To Write A College Paper Introduction Tense. It really helped me math with my math Nighthawk solo endeavor (presumably she wasn’t a High Priestess yet), essay on following orders in the army service from Perfect Writer to satisfy the needs and writing requirements of students. Our online services provide all-exclusive and wide The Sea Legs EP, is plenty self-aware in its title, but for being a raw execution of material written performed entirely on her own, its four tracks also have a pretty significant scope, from the post- Hire expert PhD thesis writers from Hyderabad, India for completing your thesis report. Enquire Today for our Store Business Plans in Hyderabad. QOTSA heavy pop of “Goddamn” leading off through the quick spacegaze of “I’m From Tennessee Woman, All We Do is Honky Tonk,” into the deceptively spacious “I Can Haz” with its far-back toms, dreamy vocal melody and vaguely Middle Eastern-sounding guitar, and ending with the if- We provide industry leading visit heres. Get case study help online in a cheap and affordable price and hire most qualified, expert writers. Ween‘s-country-album-had-been-weirder finish of “Stay Gold.” Homeworkhelper.com - professional scholars, quality services, fast delivery and other benefits can be found in our custom writing service Nighthawk has issued a follow-up to The Sea Legs EP in the full-length Goblin/John Carpenter-style synth of The Dimensionaut, but given the range and balance she shows just in this brief 12 minutes, one hopes that indeed her songwriting explorations continue to prove so multifaceted.

Nighthawk on Bandcamp

Heavy Temple on Thee Facebooks

 

Familiars, All in Good Time

familiars all in good time

Contending for one of the year’s best debut albums, FamiliarsAll in Good Time offers eight songs across 43 minutes that blend organic-feeling grit with more ethereal, landscape-evocative psychedelics. The Ontario three-piece have a few singles to their credit, but the lushness of “Rocky Roost” and the emergent heft of “Barn Burning,” the fleshy boogie of “The Dirty Dog Saloon” and the breadth of “Avro Arrow” speak not just to Familiars‘ ability to capture a largesse that draws their songs together, or the nuance that lets them brings subtle touches of Americana (Canadiana?) early on and echoing desert roll to the fuzzy “The Common Loon,” but also to the songwriting that makes these songs stand out so much as they do and the sense of purpose Familiars bring to All in Good Time as their first long-player. That turns out to be one of the most encouraging aspects of the release, but in that regard there’s plenty of competition from elements like tone, rhythm, melody, craft, performance — so yes, basically all of it.

Familiars on Thee Facebooks

Familiars on Bandcamp

 

Mountain Witch, Extinct Cults

Mountain Witch Extinct Cults

Mountain Witch‘s fourth album, Extinct Cults, brings the Hamburg-based duo of guitarist René Sitte and drummer/vocalist René Roggmann back after a four-year absence with a collection that straddles the various lines between classic heavy rock, proto-metal, ’70s heavy prog and modern cultism. Their loyalties aren’t necessarily all to the 1968-’74 period, as the chug and gruff vocals of “Back From the Grave” show, but the post Technical Ecstasy sway of the title-track is a fascinating and rarely-captured specificity, and the vocal melodies expressed in layers across the record do much to add personality and depth to the arrangements while the surrounding recording remains essentially raw. No doubt vinyl-minded, Extinct Cults is relatively brief at six songs and 33 minutes, but the Priestly chug of “Man is Wolf to Man” and the engrossing garage doom of closer “The Devil Probably” offer plenty of fodder for those who’d dig in to dig into. It is a sound familiar and individual at once, old and new, and it revels in making cohesion out of such contrasts.

Mountain Witch on Thee Facebooks

This Charming Man Records website

 

Disastroid, Mortal Fools

disastroid mortal fools

You might find San Francisco trio Disastroid hanging out at the corner of noise and heavy rock, looking disreputable. Their first record for Heavy Psych Sounds is Mortal Fools, and to go with its essential-bloody-essential bass tone and melodic semi-shouted vocals, it brings hints of angularity rounded out by tonal thickness and a smoothness between transitions that extends to the flow from one song to the next. While for sure a collection of individual pieces, Mortal Fools does move through its 43 minutes with remarkable ease, the sure hand of the three-piece guides you through the otherwise willfully tumultuous course, brash in the guitar and bass and drums but immersive in the overarching groove. They seem to save a particular melodic highlight for the verses of closer “Space Rodent,” but really, whether it’s the lumbering “Hopeless” or the sharper-toothed push of “Bilge,” the highlight is what Disastroid accomplish over the course of the record as a whole. Plus that friggin’ bass sound.

Disastroid on Thee Facebooks

Heavy Psych Sounds website

 

Stonegrass, Stonegrass

stonegrass self titled

I don’t know when this was first released, but the 2020 edition seems to be a remaster, and whenever it first came out, I’m pleased to have the chance to check it out now. Toronto duo Stonegrass brings together Matthew “Doc” Dunn and Jay Anderson, both of a markedly psyched-out pedigree, to dig into experimentalist acid-psych that pushes boundaries stylistic and national, tapping Afrobeat vibes with closer “Drive On” and the earlier 13-minute go-go-go jam “Tea” while “The Highway” feels like a lost psychedelic disco-funk 45, “The Cape” drones like it’s waiting for someone to start reading poetry over-top, and mellow hand-percussion and Turkish psych on centerpiece “Frozen Dunes.” The whole thing, which runs a manageable 39 minutes, is as cool as the day is long, and comes across like a gift to those of expanded mind or who are willing to join those ranks. I don’t know if it’s new or old. I don’t know if it’s a one-off or an ongoing project. I barely know if it’s actually out. But hot damn it’s rad, and if you can catch it, you should.

Cosmic Range Records on YouTube

Cosmic Range Records on Bandcamp

 

Jointhugger, I Am No One

jointhugger i am no one

Norwegian half-instrumental trio Jointhugger have already captured the attention of both Interstellar Smoke Records and Ozium Records with their four-song debut long-player, I Am No One, and as the follow-up to their 2019 Daemo, it leaves little question why. The more volume, the merrier, when it comes to the rolling, nodding, undulations of riff the band conjure, as each member seems geared toward bringing as much weight to bear as much as possible. I’m serious. Even the hi-hat is heavy, never mind the guitar or bass or the cave-echoing vocals of the title-track. “Domen” slips into some shuffle — if you can call something that dense-sounding a shuffle — and underscores its solo with an entire bog’s worth of low end, and though closer “Nightfright” is the only inclusion that actually tops 10 minutes, it communicates an intensity of crush that is nothing if not consistent with what’s come before. There are flashes of letup here and there, but it’s impact at the core of Jointhugger‘s approach, and they offer plenty of it. Don’t be surprised when the CD and LP sell through, and don’t be surprised if they get re-pressed later.

Jointhugger on Thee Facebooks

Ozium Records webstore

Interstellar Smoke Records webstore

 

Little Albert, Swamp King

Little Albert Swamp King

Stepping out both in terms of style and substance from his position as guitarist in atmospheric doomers Messa, Little Albert — aka Alberto Piccolo — pronounces himself “swamp king” in the opening lines of his debut solo release of the same name, and the mellow ambiance and psychedelic flourish of tone in “Bridge of Sighs” and “Mean Old Woman” and the aptly-titled “Blues Asteroid” offer an individualized blend of psychedelic blues that seems to delight in tipping the balance back and forth from one to the other while likewise taking the songs through full band arrangements and more intimate wanderings. Some of the songs have a tendency to roll outward and not return, as does “Mary Claire” or “Mean Old Woman,” but “Outside Woman Blues” and the closer “Hard Time Killing Floor Blues” hold tighter to the ground than some of what surrounds, so again, there’s a balance. Plus, as mellow as Swamp King is in its overarching affect, it’s neither difficult nor anything but a pleasure to follow along where Piccolo leads. If that’s off the psych-blues deep end, so be it. Only issue I take with him being king of the swamp is that the album’s domain hardly seems so limited.

Little Albert on Thee Facebooks

Aural Music on Bandcamp

 

Parahelio, Surge Evelia, Surge

Parahelio Surge Evelia Surge

Beautiful, patient and pastoral psychedelia fleshes out across the three tracks of Parahelio‘s debut full-length, Surge Evelia, Surge. Issued on vinyl through Necio Records, the three-song offering reportedly pays homage to a mining town in the band’s native Peru, but it does so with a breadth that seems to cover so much between heavy post-rock and psych that it’s difficult not to imagine places decidedly more ethereal. Beginning with its title-track (12:33) and moving into the swells and recessions of “Gestos y Distancia,” the album builds to an encompassing payoff for side A before unveiling “Ha’Adam,” a 23-minute side-consuming rollout that encompasses not only soundscaping, but a richly human feel in its later take, solidifying around a drum march and a heavy build of guitar that shouldn’t sound strange to fans of Pelican or Russian Circles yet manages somehow to transcend the hypnotic in favor of the dynamic, the immersive, and again, the beautiful. What follows is desolation and aftermath, and that’s how the record ends, but even there, the textures and the spirit of the release remain central. I always do myself a favor with the last release of any Quarterly Review, and this is no exception.

Parahelio on Thee Facebooks

Necio Records on Bandcamp

 

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Days of Rona: Mike Scalzi of The Lord Weird Slough Feg

Posted in Features on May 28th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

slough feg mike scalzi

Days of Rona: Mike Scalzi of The Lord Weird Slough Feg (San Francisco, California)

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

It has been rough because we had 5 festivals scheduled for this Spring/summer, and of course they were all cancelled. Quite a let-down, but necessary of course. However, as a band we’re actually making good use of the time. We’ve created a podcast called “Slough Feg Radio” (http://sloughfeg.com/feed/). We’re up to episode #7 I believe. Since we cannot rehearse—Adrian and I meet at our rehearsal space each week (with masks, gloves, and a long distance between us!) and record a radio pod cast— we basically dj weird/eclectic music, including some of our own songs, demos, weird outtakes, etc. that we think might be interesting for people to hear, and banter and babble back and forth about the music, the band history, funny stories of what our lives are like now etc. It’s been great because it’s been well received and we have quite a few listeners, and it gives us, and the fans a feeling that the band is very much alive and active during this ‘downtime’.

We just finished an album last year, so I’m actually not really in ‘writing mode.’ Which is annoying because obviously this would be the time to write music — but we were ready to go do a bunch of live shows, so it makes it all the more annoying that we can’t. Oh well. If this lasts long enough perhaps we’ll write some more stuff, but for now we’re pretty excited about Slough Feg Radio.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

The public response has been generally good. San Francisco (where I live) was the first US city to practice shelter in place, the local and state government did a good job of getting on the case early, and as a result there has been an extremely low rate of infection and death count here. So I’ve been pretty lucky when you look at the kind of numbers other US cities are looking at. San Francisco is a city with relatively few older people, although there is much population density. New York has faced unbelievable tragedy, obviously. But even in the dire case of NYC, the local and State Governments have done an incredible job of fighting the virus.

If we had legitimate national leadership at this time, that would help considerably. But we clearly do not, so we must let the individual states do the heavy lifting and hope they can bear the burden. I think some of them are stepping up and doing a fantastic job — and I’m lucky enough to live in a state that had a pretty solid state government.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I’m not sure how the music community has responded, outside of the mainstream music media (because I see them on TV, internet, etc.). I suppose they’ve responded pretty well, and pretty positively. Many mainstream musicians are doing remote performances and writing songs about the pandemic, etc. As for lesser known musicians, I am not as sure what they are up to — the ones I know, including myself, seem to be producing whatever they can at the time— as stated above, I’m really enjoying out podcast radio show, and I’ve had a lot of good responses from fans, telling us our show relieves some of their boredom and frustration sitting around the house all day etc.

As for myself, I was pretty terrified at first I suppose—for myself, my family and friends. Fortunately for me, nobody I know has passed away from the virus. Very, very lucky. I do have some friends who contracted it though and went through hell. I have also been rather bored at times — I am not a person who can sit at home all the time. So since the beginning of this thing my schedule has been active — getting out on my bike and riding in the mountains almost every day. Discouraged? At first yes after those festival cancellations. Inspired? At times. I was super frustrated and feeling trapped a month ago. Now I have adapted a little, fell into a bit of a new schedule, and am somewhat hopeful for the future. You can only get so terrified, angry, etc., until you begin to adapt (hopefully).

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

The band will survive. We’ve survived for 29 years, and we ain’t stopping now!! this is the longest Slough Feg has EVER gone without practicing. So It’s a bit maddening — but we’ll survive. Everyone is in good spirits and eagerly awaiting the day we can practice and play gigs again.

My daily schedule is basically: get up way too late (at 11 or noon!!) do whatever work I have to do (I teach a class that is now online of course) pack a bag with some food, a book, a face-mask etc. and try to get out the door by 2:30 or 3:00 on my bike, ride across the Golden Gate Bridge and into the Marin Headlands. This is truly inspiring. Another great thing about San Francisco is that you get out of the city, into areas of incredible natural beauty in less than an hour on a bicycle. I stay out in the headlands where there are parks, beaches, trails etc. until about 7 or 8 at night. I see very few people there. It’s saved my life — I would be utterly insane if I could not do this and had to stay in the house all day like many others are doing. I also work one day a week at a Brewery, serving beer and food for takeout. Gotta be careful there, but I am, and I’m grateful to have the work.

What have I learned so far from Covid 19? Well, mostly that I don’t wanna get it!! Honestly I think the most important thing I’ve learned is how important it is to stay healthy and strong as you grow older. Don’t get me wrong, I’m all for the rock ‘n roll lifestyle: drinking yourself half to death and being a parched-out wretch of a human being, sleeping in a different place every night. That stuff is great fun and has its place — mostly when you’re young. But that stuff can only go so far until it stops being fun — and especially during a health crisis. Whether you’re in good shape or not can be a matter and life and death.

But maybe this whole thing will be a big wake up call for the entire human race — reminding us of what is really important. NOT wealth and status and all that nonsense we spend our lives worrying about. That stuff ain’t gonna do shit for anyone is the face of a pandemic. Your health, activity, creativity, and the people you surround yourself with — that’s what matters in a pandemic, and in life. Period.

http://www.sloughfeg.com/
https://www.facebook.com/sloughfegofficial/
https://www.cruzdelsurmusic.com/blog/
https://www.facebook.com/cruzdelsurmusic/
https://cruzdelsurmusic.bandcamp.com/

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Days of Rona: Susie McMullan, Jamie McCathie & Jordan Perkins-Lewis of Brume

Posted in Features on May 22nd, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

brume-on-zoom

Days of Rona: Susie McMullan, Jamie McCathie & Jordan Perkins-Lewis of Brume (San Francisco, California)

How have you been you dealing with this crisis as a band? As an individual?

Susie McMullan: I love and respect Jamie and Jordan, they are family. I deal with it like I do my own family, I am there on the front line if they need me and try not to have any expectations of them at the same time. Jamie, Jordan and I are not interested in being famous or popular. We like to make music that is meaningful to us, something we’d listen too, something that connects with others that may feel the same way. As soon as it feels like a job or a burden, we back off or slow down. It is the luxury of being a musician as an adult with other talents and interests. For instance, Jordan was recently nominated for an Emmy for his video work, Jamie won a Grammy with his design work at a fancy design firm, and I love science and engineering just as much as making music.

When you don’t know how the music industry will change or how long it will be before we can interact safely or if you can pay your bills next month, then we are all living with this low level stress. Stress will manifest itself in ugly ways like flakiness, laziness, eating disorders, relationship problems and health issues. The kindest thing we can do for each other is drop our expectations of one another outside of mutual respect and help people feel less lonely.

Jordan Perkins-Lewis: All band activities have been cancelled indefinitely. I’m just chillin’.

Jamie McCathie: I’m lucky enough to have a job, an amazing wife and kid at home and time to relax or do house projects. We are bummed to not be touring our recent album but man, mostly we miss drinking warm beers at our practice space and hanging out together.

How do you feel about the public response to the outbreak where you are?

SM: I feel like people are doing the best they can with the information they have, especially my California neighbors. On a national level, it has been deplorable. Our president has lied to us, created unnecessary panic, unnecessary delays and a national sense of hopelessness.

JPL: Feeling good overall. Bay Area!

From the government response to the people around you, what have you seen and heard from others?

SM: Imagine if your government’s political agenda is more important than public health. That is what is happening in the US. The people of the united states are being lied too, mislead and left in a state of confusion because facts do not align with the administration’s political agenda. In short, Donald could care less if many people die unnecessary deaths as long as he gets re-elected. He could care less if half of the country is homeless and without healthcare as long as he gets re-elected. That is our government, he’s a disgrace to the honest good people of America and doesn’t represent our morals or national tone. He’s a delusional, egomaniacal unfortunate circumstance of the last four years.

JPL: I’ve been sheltering in place since March 13th. I haven’t seen much of anything other than delivery drivers and streaming tv.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

SM: Pandemic to politics, music is bigger than anything happening right now and always will be because it gives you the feeling of hope. Hope that you are connected to others when you love the same song. Hope that propaganda has not brainwashed everyone when lyrics speak to your heart and not the local news, hope that we are not united under the false pretense of nationalism but united in an unexplained feeling swaying at a club to the same song. The community has responded like we always do, with more music.

On a personal note, I’m feeling very creative because that is how I process stress, depression, uneasy feelings I can’t explain. It’s interesting how we all respond differently. Some of the most creative and talented people I know can’t even look at an instrument and others text me daily with the excitement of a new idea or riff. As long as we listen to what our mind and bodies want, and tell social norms to go fuck themselves, then we’ll emotionally survive a pandemic.

JPL: We are the soundtrack of this crisis. I’ve enjoyed watching all the live streams. It’s a great time to get weird.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

SM: Right now someone you know is suffering because they can’t pay their bills or because they are really lonely, try to think of who that is and help them.

JPL: Find your tribe and keep them alive. It’s a once-in-a-century plague event. Enjoy it.

JM: As a band, we most probably won’t be playing any shows in a long time… but as friends, we are lifers. We three are lucky and hope others have the same.

https://www.brumeband.com/
https://brumesf.bandcamp.com/
https://www.facebook.com/brumeband/
http://brume.bigcartel.com/
http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords

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Friday Full-Length: Acid King, Middle of Nowhere, Center of Everywhere

Posted in Bootleg Theater on April 3rd, 2020 by JJ Koczan

You know how Olympic runners push their heads and chests forward at the end of a race to cut their time across the finish line? That’s me getting to this post, only I’m not in shape. And I’m flat-footed. And okay you know what, so maybe that’s not me, but the point is it’s been a long week and I’m glad to see the other end of it. Fine. You got me.

Let’s start over. “Try again?” as The Pecan says these days.

Time for a confession. Acid King‘s utterly brilliant 2015 album, Middle of Nowhere, Center of Everywhere (review here, track premiere here, interview here, slathered praise here and here), is one that — even with that glut of parenthetical “link here” coverage — I still feel guilty about not giving its due. Issued through Svart Records as what was the essential San Francisco trio’s first offering in a decade since 2005’s III (discussed here), it was far and away my favorite full-length released that year. I put it on and it’s still a record that strikes me as an ideal vision of what their kind of heavy rock should be.

It’s heavy — always a good start — and spacious, melodic and reaching outward, flowing and carrying a presence of tone that is established with the immersion that starts on its “Intro” and carries through the subsequent “Silent Pictures,” the superlatively-catchy “Coming Down from Outer Space,” through “Laser Headlights” and “Red River” and “Infinite Skies,” “Center of Everywhere” and the bookending “Outro” with variations in tempo but an unwavering central purpose in its nod and groove. Middle of Nowhere, Center of Everywhere is as gritty as it is gorgeous, and five years later — if the band are feeling social-media savvy, perhaps they’ll put up a post noting the anniversary; that seems to be a thing bands do these days; fan engagement and all that — and from its staff-wielding-bony-fingered-Gandalf-riding-a-tiger-through-space-past-a-pockmarked-moon to the gong in “Laser Headlights,” the record exudes a righteousnessacid king middle of nowhere center of everywhere that, from the first time I heard it, I knew I was going to be living with it for years to come. It was, unquestionably, my album of the year.

And there’s the rub. Because when December came, it wasn’t.

It’s silly, I know, and it doesn’t really matter, I know, but I put a lot of thought into those year-end lists. Once they’re out there, that’s it. I may update them for a few days, add honorable mentions or something I forgot, whatever, but after that, they’re set, and years later, I look back on them to see what was going on when, how I felt about it at the time and where records and bands sat in relation to each other at least in my mind.

Middle of Nowhere, Center of Everywhere was every bit my favorite album of 2015, but it wasn’t the album of the year. I gave that to Elder‘s Lore instead.

I remember it well, making the decision that morning as I was adding the final part of the post which I’d written over two days, and I decided that the Elder record was too important, too forward thinking and too massive in its immediate impact on the heavy underground to not be the release that defined the year. And five years later, I’d make the same decision. I don’t regret it. Lore was glorious, but I listened to the Acid King more, and I still listen to the Acid King more, so on a personal level, there’s some part of me that will forever feel like I undersold just how much I love these songs.

That’s a bummer, but even that doesn’t stop me from enjoying the album. How could it? How could anything but the end of the universe itself? Follow the river to the hills, man. Pray for the blast off.

Make no mistake, we’re not anywhere near the end of the universe, or even humanity. I’m not going to downplay the severity of the COVID-19 pandemic or my own country’s inept federal response that, mired in politics and petty ratings games, will only prolong it. But the universe’ll still be around another 10 billion years or so without us and, yeah, sorry, we just don’t matter that much. Even the planet feels better when we take a seat for a few weeks, and there’s recent environmental data to prove it.

But people are dying, and the projections are that many more will, and that the next two weeks will prove pivotal in determining the ultimate direction the outbreak takes. I don’t know what magic line exists thereafter to make it start to get better, but at least here in the New York area — which is the epicenter of the US’ woes, as ever — that’s what Judy Woodruff is saying, and hell’s bells, if you can’t trust Judy, then we might as well be done as a species.

The epidemic doesn’t necessarily have anything to do with my confession about the Acid King record. I’m not laying it all on the line in case I get sick and my lungs catch fire or some such. But Middle of Nowhere, Center of Everywhere is another record from which I’ve derived significant comfort over the last five years. Something I put on when I’m sick of everything and just want to hear something I love and groove for a while. And so I hope maybe it can do a little bit of the same work for you, if maybe you’re anxious like everyone is, or you’re tired of everything, or you’re overwhelmed by the noise and misinformation that are so, so, so rampant and so unrelenting.

It’s okay to feel exhausted and overwhelmed. This is hard. I don’t even mean social distancing and isolation. I know people are hurting financially and that stress is always a killer — sometimes literally — and that over nine million Americans filed for unemployment benefits in the last two weeks and that is both insane and unprecedented and it means that the multifaceted recovery from all of this will take years not the months being promised, but as screwed as we might all seem, at least music still sounds good.

At least there’s still that. Right?

Have a great and safe weekend. I wish you the best and continued health. Thanks for reading.

New Gimme show today at 5PM Eastern if you can listen. FRM.

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Agrabatti Sign to Interstellar Smoke Records for Beyond the Sun Release

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

In what might be called delightful happenstance if it actually were and I wasn’t just that behind on stuff, the just-reviewed San Francisco one-man space rock outfit Agrabatti have signed to Interstellar Smoke Records to release the debut album, Beyond the Sun, sometime between now and ever. When might that be? I don’t know, but let’s face it: the band formed in 2009 and it’s taking 11 years for the arrival of a first record. You can probably wait a little bit longer for it to show up on vinyl.

Though if you feel some urgency in that regard, I respect that, and to be honest, I get it. I know it was just reviewed in a batch with nine other records, but Chad Davis — whose pedigree is full of almost embarrassingly awesome projects at this point — absolutely nails a traditionalist ’70s-style space rock vibe, and the album is awesome. It was a highlight of my day, frankly, so if I get to talk about it again now, well, that’s a win as far as I’m concerned. Probably won’t be the last time, either.

Here’s hoping for a follow-up in sometime less than a decade:

agrabatti beyond the sun

It is with great pleasure that I announce Interstellar Smoke Records has formed a cosmic allegiance with Agrabatti. To say I am delighted is beyond the fact! ISR have an amazing track record of releases and their commitment to the underground music movement is beyond unparalleled!!

The debut recording “Beyond the Sun” will be released in the form of a “Dark Nebula” vinyl edition that is black in lime green wax and limited to 250 units with poster. All killer galactic visuals created by the legendary ZZ Corpse!! Release date to be announced once pressing info has been received.

I am grateful to Jack and ISR for believing in the music enough to offer their services to support the sound and ideals of Agrabatti, and to bring this project forth from the cosmic dust it was formed from some 11 years ago.

Stay tuned in, turned on and STAY COSMIC!

Chad Davis

https://facebook.com/agrabatti/
https://agrabatti.bandcamp.com/
https://interstellarsmokerecords.bigcartel.com/

Agrabatti, Beyond the Sun (2020)

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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 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 Paradise Lost, in other words, and are all the more themselves for that. Their Doomed Heavy Metal EP (on 20 Buck Spin and Nuclear Blast) is a stopgap after 2018’s Desolation (review here) full-length, but at 38 minutes and six songs, it’s substantial nonetheless, headlined by the Dio cover “Rainbow in the Dark” — capably done with just a flair of Slough Feg — with a take on 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 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.

Khemmis on Thee Facebooks

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 Mutant Flesh‘s first release, the eight-song/33-minute Evil Eye, but the Philly troupe are too gleeful in their weirdness ultimately to be paying full homage to the likes of 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 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-BlackFlag-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.

Dead Sacraments on Thee Facebooks

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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Friday Full-Length: Worm Ouroboros, Come the Thaw

Posted in Bootleg Theater on March 6th, 2020 by JJ Koczan

The notion of heaviness in music has nearly as many definitions as it has bands who claim representation through it on one level or another. That is to say, it’s broad. It’s only grown more so with time, and when I hear an album like Worm Ouroboros‘ 2012 sophomore outing, Come the Thaw, it’s hard not to be reminded of just how far the idea can range. Of course, all these categories of subcategories, aesthetic ideals and microgenres are amorphous anyway. They can be whatever one wants them to be, at least as much as the argument can be justified.

To wit, Come the Thaw is a richly progressive collection. It brings together six songs across a fluidly constructed, thoughtful and resonant 50 minutes. Since its primary emphasis is on atmosphere, it wouldn’t feel right to call it “prog” as a genre tag, but I don’t know if it would necessarily be incorrect. And loud or quiet, its gracefully-delivered songs are most certainly heavy, turning guitar, bass, vocals and keyboards into spacious chamber doom marked out by the intertwining vocals of bassist Lorraine Rath (ex-Amber Asylum) and guitarist Jessica Way (also Barren Harvest), with not-always-there-but-dynamic-when-called-upon drumming by Aesop Dekker (Agalloch, Vhöl) for backing. There are more aggressive stretches, fuller tonal impacts, but primarily, it is a weight of emotionality and presence alone that makes Come the Thaw so overarchingly heavy.

Recorded and mixed by Greg Wilkinson at Earhammer Studios in Oakland, California, in the band’s native Bay Area, and mastered by Justin Weis at Takworx, and with cover art by RathCome the Thaw followed two years after Worm Ouroboros made an impressive self-titled debut (review here). It was offered up by Profound Lore, which at that time already had established its place among the most forward-thinking contingent of upstart independent imprints, and as one recalls arrived with little ceremony, which seems appropriate. It isn’t a record for everyone. Even as the nine-minute side B leadoff “When We Are Gold” kicks into its more straight-ahead guitar/bass/drum push in its second half, paying off the build played out subtly across the first part of the song, its mournful feel is far removed from what one might call welcoming, groove though it does before collapsing again to quiet guitar and voice.

That song is an effective mirror for the album’s opener and longest track (immediate points) “Ruined Ground,” which pushes beyond the 10-minute mark and also “gets loud” for a bit in that span, its execution remaining worm ouroboros come the thawslow and wistful in kind with the ambience already put forth by the trio and setting up the kind of post-whatever-you-got building progression of “Further Out,” which follows and is nothing if not aptly named, taking the ringing, almost gothic guitar of Bauhaus or The Cure and stripping it of drama or pop and stretching it to suit longer-form and atmospheric purposes. While not at all psychedelic, it is otherworldly, and its last minute feels like a willful act of letting go into “Release Your Days,” which is almost entirely driven by the voices of Rath and Way, though there is some relatively minimal guitar and bass accompaniment.

Frankly, that’s all they need. The two singers work so well together that even with nearly nothing else save a few melancholy lines here and there, “Release Your Days” is a standout from Come the Thaw for more than just its shift in approach. As one side turns to the next, “When We Are Gold” brings through “Withered,” which by default is the most outwardly loud/heavy inclusion, nonetheless maintaining the patient feel of the songs prior as it does. That is, it’s not in a rush to get to the louder guitar and it doesn’t feel like it should be. Dekker‘s drums begin a smooth-shifting build and at 3:45 — almost exactly halfway through the track’s 7:32 run — Way‘s guitar clicks into a fuller tone and the album’s most substantial roll takes hold. Rath‘s basslines underscore a layer of lead and distorted wash, and the song moves back in its final minute to a bookending stretch of quiet guitar, emphasizing the point that there is craft at work from Worm Ouroboros, even if it’s functioning on its own structural level.

That wasn’t really in doubt, given the outright commitment to stylistic expression being renewed in each of these pieces, but the finale, “Penumbra,” underscores the point just the same, with cymbal washes, tense bass and guitar and a vocal that seems to rise and recede from and into an encompassing emptiness. It’s a few minutes in before even the softer guitar figure takes hold, and Dekker peppers in some quiet tom thuds here and there, but the point is clearly made once more in the atmosphere and in the vocals, which rise to a final high note before cutting out and ending the record entirely. It is beautiful and sad, like difficult conversations.

Each half of Come the Thaw has three songs. Each begins with its longest track, moves its shortest, and ends with one in between. It might not seem like it when one just puts the album on and listens straight through front-to-back, but there is a sense of construction in Worm Ouroboros‘ second full-length, and it is a foundation on which the band put forth an artistic and emotional challenge to themselves and to their audience. Again, it’s not a record for everyone. It is a kind of heavy, a kind of extremity, that refuses to work on any level other than its own, refuses to compromise its mission, and is all the more commendable for that.

Worm Ouroboros released a follow-up in late 2016 called What Graceless Dawn (review here) and continued to play live on the West Coast through early 2019, admitting the decreasing frequency of shows even in announcing dates. I don’t know if they’ll do another record or if Worm OuroborosCome the Thaw and What Graceless Dawn will remain a trilogy of works, but even if that’s the case, Worm Ouroboros‘ studio efforts are a resounding testament to the many shapes that sonic heaviness takes and that “impact” in terms of sound need not necessarily just be a question of volume or tempo. Come the Thaw creates and inhabits a world of its own. From where I sit, it’s pretty heavy stuff.

As always, I hope you enjoy. Thanks for reading.

You might remember when Heavy Psych Sounds did those Nebula reissues I ran a series of interviews and full album streams to coincide? Starting next week I’ll be doing the same with the three Dozer records the label is putting out. I’m stoked. Also look for a Sorcia stream and maybe a Candlemass review if I can convince Napalm to actually send a download of the tracks instead of the promo stream. Used to be CDs  in the mail. Then it was downloads, and that sucked. Now you have to go begging for downloads or keep 75 Haulix tabs open. Soon you won’t get music to review, it’ll just be the cover art and a band bio. People wonder why reviews are shitty.

Speaking of shitty reviews, I’ll probably try to write about the Ozzy record next week as well. Not that that’ll necessarily be a bad review — I don’t know, I haven’t written it yet — but yeah.

Couple quick plugs then I’m out:

New episode of the Gimme Radio show today, 5PM Eastern. Listen on the app or http://gimmeradio.com. I’d recommend the app.

Podcaster Dylan Gonzalez of Diary of Doom was kind enough to invite me for an interview that wound up as a two-parter. First part is up and here if you get to check it out. Thanks either way. I haven’t listened yet — can’t really stand the sound of my own voice — but thanks if you do: https://www.podbean.com/media/share/pb-4yhnb-d568e0.

That’s all I’ve got. I could go on about the coronavirus, the bummer Democratic primary, the overwhelming state of the Weirdo Canyon Dispatch or any number of baseball or Star Trek-related things that would be a lot of fun to talk about, but let’s face it, if you’re still reading this sentence, you’ve done me enough favors as far as I’m concerned. I’d rather not take advantage of your goodwill.

This week, anyhow. Ha.

— Ah shit, just got an email for a project I let slip through the cracks. I was supposed to write liner notes for the Stone Machine Electric 7″ and just blew it on the timing. Fuck. I suck at this. Always some reminder. This is why I’ve pulled back on writing bios and the like. Clearly that’s the right choice, rather than committing to something because I think it’s cool and I’d like to do it and then letting people down. Sucks. Hell of a way to end the week.

Please have a great and safe weekend. Have fun, be safe, don’t touch your face too much (apparently), and be kind to each other.

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Ripple Music Announce 10-Year Anniversary Party in San Francisco

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

ripple music 10th anniversary party banner

10 years of Ripple Music is nothing to sneeze at. I could rattle off a list of albums they’ve issued over that time, but frankly, I think you’re probably already doing that in your head. Bands like Mos Generator, Mothership, Wo Fat, from Stubb to Salem’s Bend, Ape Machine to Zed, they’ve shown a rare consistency of mission and quality that’s helped establish them as the standard bearers of straight-ahead heavy.

They’ll do it up in grand fashion in San Francisco at Brick and Mortar for two nights on June 12 and 13. It’s the release show for the new Wino album, the original lineup of Mos Generator is reuniting to play Nomads, The Watchers are celebrating an upcoming live release, and Mothership and Wo Fat are both rolling in from Texas to headline the second night. That’s a goddamn party, is what it is. And of course there’s more, but if you’re not gonna be there, I wouldn’t want to make you sad by continuing on.

Here’s everything:

ripple music 10th anniversary party

A Decade of Doom: Ripple Music Ten Year Anniversary Party – June 12 & 13

Brick & Mortar Music Hall – 1710 Mission St, San Francisco, California

Ripple Music is celebrating a full Decade of some of the best Stoner, Doom and Heavy Psych on the planet and you’re invited! There’s so much going on here it’s hard to put it all into words, but how’s:

1) The reunion of the original Mos Generator to play their Ripple release “Nomads” in its entirety
2) Wino album release party for the legend’s new acoustic LP
3) The Watchers release party for their new Live recording, High and Live
4) Some of Ripple’s best and heaviest bands
5) Exclusive sneak peek of a clip from the upcoming animated full-length Planet of Doom movie, with a meet and greet with the creators
6) Entire event MC’d by Chasta from 107.7 The Bone!
7) Exclusive Ripple, Band, and Planet of Doom merch
8) Charity auctions of signed drumheads,
9) special VIP entry (only 10 per night) which includes attendance at sound check, 2 posters and exclusive merch, and tons more planned!

FREE Limited Edition 10- ear anniversary compilation CD given to every ticket holder at the door!

A once in a lifetime event.

Friday
Mos Generator (Nomads album in it’s entirety)
Wino (album release show)
Ape Machine
The Watchers (album release show)
Blackwulf
The Ghost Next Door

Saturday
Mothership (exclusive California Appearance)
Wo Fat (exclusive California Appearance)
ZED
Salem’s Bend
Lowcaster
Plainride (from Germany)

Both nights will feature the world-premiere clip from the upcoming, full length animated feature film Planet of Doom. Meet the creators.

TICKETS INCLUDING SPECIAL VIP PASSES AVAILABLE AT: https://www.ticketweb.com/event/a-decade-of-doom-ripple-brick-and-mortar-music-hall-tickets/10489655?pl=brickmortarshp

https://www.facebook.com/theripplemusic/
ripplemusic.bandcamp.com
http://www.ripple-music.com/

Mos Generator, Nomads (2012)

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