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The Obelisk Radio Adds: Lord Mountain, The Giraffes, Saint Vitus, Långfinger, Soggy

Posted in Radio on January 9th, 2017 by H.P. Taskmaster

the obelisk radio cavum

It’s been a long time. Long enough that I’m not even going to link back to the last time I did a round of Radio Adds. Life happens, and with the Quarterly Review, I guess my focus went elsewhere. Well, I just did a Quarterly Review, and that actually kind of inspired this, since I found there was yet more records that wanted covering even after that over-full round of 60 that closed out 2016 and opened 2017. So here we are.

There are, in fact, more than 50 albums being added to The Obelisk Radio playlist today. I can’t promise I’ll do Radio Adds weekly like I once did, or monthly, or again in 2017, or ever, but the opportunity presented itself and it seemed only right to take advantage. This stuff all came out last year, so it’s all readily available, and audio samples are included, because, you know, music and such.

Let’s dig in:

Lord Mountain, Lord Mountain

lord-mountain-lord-mountain

Of all the styles under the vast umbrella of “heavy,” traditional doom is among the hardest to execute – especially, I’d think, for new bands. You need a balance of atmosphere and lack of pretense, a classic vibe, riffs, and groove. On the surface, you’re playing to the past, but if you put out something that just sounds like Sabbath and bring nothing of yourself to it, you’re sunk. Santa Rosa, California’s Lord Mountain – vocalist/guitarist Jesse Swanson, guitarist Sean Serrano, bassist Dave Reed and drummer Pat Moore – would seem to have it figured out on their self-titled debut EP. Released by King Volume Records on limited tape, it brings forth four tracks in 21 minutes that are no less comfortable playing to the downer riffing of Candlemass – opener “Fenrir” – than to the epic chanting of Viking-era Bathory – “Under the Mountain” – and that find distinction for themselves in nodding to one side or the other as they make their way across the bass-y Sabbathism of “Dying World” and into the concluding solo-topped gallop of “Tomb of the Eagle” (more Dio-era there, but effectively translated tonally). As an initial offering, its presence is more stately than raw, and part of that is aesthetic, so I still think Lord Mountain will have growth to undertake, but their EP shows marked potential and brings a fresh personality to doom’s rigid traditionalism, and there’s nothing more one could reasonably ask of it. A CD would probably be too much to ask, but it’s hard to believe no one’s snagged it for a 10” release yet.

Lord Mountain on Thee Facebooks

Lord Mountain on Bandcamp

King Volume Records on Bandcamp

 

The Giraffes, Usury

the giraffes usury

Behold the winding, self-directed narrative of underrated, underutilized and underappreciated New York heavy rockers The Giraffes, who issued Usury via Silver Sleeve Records in Jan. 2016, on the cusp of their 20th anniversary and with it welcomed back frontman Aaron Lazar (also a one-time contributor to The Book of Knots, speaking of underrated) to the fold alongside guitarist Damien Paris, drummer Andrew Totolos and bassist Josh Taggart. Comprised of just six songs with a 28-minute runtime, it nonetheless holds to a full-album sentiment, with songs like the tense “Washing Machine” working in a vein not dissimilar to their righteous 2008 offering, Prime Motivator (review here), while the preceding “Facebook Rant” and “Product Placement Song” bask in a social commentary that one can only hope the ensuing decades make dated and the subsequent “White Jacket” has a melancholy danceability that one might’ve related around the time of The Giraffes’ 2005 self-titled debut related to System of a Down, but now just sounds like an enrichment of their approach overall. Usury gets off to a slow start (not a complaint, given the groove) with “Blood Will Run,” which seems to shake off its dust initially before commencing its real push and chug circa the halfway point, but by the time they get down to eight-minute finale “How it Happened to Me,” the sudden conclusion of the jam leaves one to wonder where they went and when they’ll be back, which presumably is the whole idea. Behold a band who did it before it was cool, should’ve been huge, and still kept going. The story is more complicated than that, but there are few tales more admirable.

The Giraffes on Thee Facebooks

The Giraffes website

 

Saint Vitus, Live Vol. 2

saint-vitus-live-vol-2

The first Saint Vitus live album – Live – surfaced in 1990 via Hellhound Records and captured the band in Germany in 1989. Its 2005 reissue on Southern Lord played a large role in introducing the pivotal doomers to a new generation of fans. Live Vol. 2 follows some 26 years later via Season of Mist and likewise documents a crucial era in the four-piece’s existence, having been recorded in 2013 in Luxembourg following the release of their 2012 album, Lillie: F-65 (review here), with the lineup of vocalist Scott “Wino” Weinrich, guitarist Dave Chandler, bassist Mark Adams and drummer Henry Vasquez. It’s a 59-minute set, all told – one suspects some of Chandler’s stage rants between songs were shortened or removed – and among the most striking impressions it makes is how seamlessly Lillie: F-65 cuts “Let Them Fall,” “The Bleeding Ground” and “The Waste of Time” fit in alongside classics like the speedy “War is Our Destiny” and “Look Behind You” or the more grueling “Patra (Petra)” and galloping “White Stallions.” Of course, the anthemic “Born too Late” closes out, with Chandler’s wash of feedback and all-low-end tone at the start the ultimate hallmark of what Saint Vitus have always been – a middle finger to square culture unlike any other. This era of the band may be over, with original vocalist Scott Reagers stepping back into the frontman role, but as one continues to hope for another studio album, Live Vol. 2 proves more than a stopgap and takes an active role in adding to the band’s legendary catalog.

Saint Vitus on Thee Facebooks

Season of Mist website

 

Långfinger, Crossyears

langfinger-crossyears

After two successful full-lengths in 2010’s Skygrounds and 2012’s Slow Rivers, next-gen Swedish heavy rockers Långfinger join forces with Small Stone Records for their 10-song/46-minute third album, the crisply-executed Crossyears. Like their countrymen labelmates in Jeremy Irons and the Ratgang Malibus, the Gothenburg three-piece bring modern edge and production to what a few years ago might’ve been purely retro ‘70s boogie rock, as tracks like “Fox Confessor,” “Say Jupiter,” the more languid “Atlas” and “Caesar’s Blues” bask in a showcase of tight, natural performance with a clean production style that still highlights same, bassist/keyboardist/vocalist Victor Crusner, guitarist/backing vocalist Kalle Lilja and drummer/backing vocalist Jesper Pihl proving the maturity of their songwriting while still delivering the push of “Silver Blaze” and closer “Window in the Sky” with a sense of energy behind them. Their approach so solidified, Långfinger don’t seem to leave much to chance in their sound, but Crossyears engages heavy rock tradition effectively while bridging a gap of decades across its run, and that, frankly, seems like enough for any one record to take on.

Långfinger on Thee Facebooks

Small Stone Records on Bandcamp

 

Soggy, Soggy

soggy soggy

Soggy’s self-titled LP, released in this edition by Outer Battery Records (see also Arctic, Earthless Meets Heavy Blanket), is a reissue of a 2008 collection of tracks from a span of years that find the blown-out French punkers paying direct homage to The Stooges with a cover of the seminal “I Wanna be Your Dog,” immediately drawing a line to what seems to have been the band’s most prominent influence. Some 35-plus years after they were initially put to tape, Soggy’s tracks continue to feel dangerous and raw in their frenetic proto-punkery, and that would seem to be exactly what the Soggy LP is looking to convey, digging into the vast trove of lost artifacts in heavy and punk rock and finding a treasure ripe for hindsight appreciation. As much as it just makes me want to put on the self-titled Stooges record or Fun House, I can’t argue with the success of Soggy’s Soggy or not admire its mission, even if some of its blows land harder than others.

Soggy on Bandcamp

Outer Battery Records on Thee Facebooks

 

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Quarterly Review: Crippled Black Phoenix, Zed, Mark Deutrom & Dead, Ol’ Time Moonshine, Ufosonic Generator, Mother Mooch, The Asound, Book of Wyrms, Oxblood Forge, The Heavy Crawls

Posted in Reviews on January 2nd, 2017 by H.P. Taskmaster

the obelisk winter quarterly review

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

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.

Crippled Black Phoenix on Thee Facebooks

Season of Mist website

 

Zed, Trouble in Eden

zed trouble in eden

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 ZedSattari, 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.

Zed on Thee Facebooks

Ripple Music website

 

Mark Deutrom & Dead, Collective Fictions Split LP

mark deutrom dead collective fictions

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.

Mark Deutrom website

Dead website

 

Ol’ Time Moonshine, The Apocalypse Trilogies

ol time moonshine the apocalypse trilogies

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.

Ol’ Time Moonshine on Thee Facebooks

Salt of the Earth Records webstore

 

Ufosonic Generator, The Evil Smoke Possession

ufosonic generator the evil smoke possession

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.

Ufosonic Generator on Thee Facebooks

Minotauro Records on Bandcamp

 

Mother Mooch, Nocturnes

mother mooch nocturnes

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.

Mother Mooch on Thee Facebooks

Krauted Mind Records website

 

The Asound, The Asound

the asound self titled

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.

The Asound on Thee Facebooks

Tsuguri Records website

 

Book of Wyrms, Sci-Fi/Fantasy

book of wyrms sci-fi fantasy

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.

Book of Wyrms on Thee Facebooks

Twin Earth Records on Bandcamp

 

Oxblood Forge, Oxblood Forge

oxblood forge self-titled

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.

Oxblood Forge on Thee Facebooks

Oxblood Forge on Bandcamp

 

The Heavy Crawls, The Heavy Crawls

the heavy crawls self-titled

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.

The Heavy Crawls website

The Heavy Crawls on Bandcamp

 

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Crippled Black Phoenix Post “Scared and Alone” Video

Posted in Bootleg Theater on December 13th, 2016 by H.P. Taskmaster

UK progressive atmospheric rockers Crippled Black Phoenix are currently embroiled in a European tour supporting their new album and Season of Mist full-length debut, Bronze. I’ll admit I’ve been somewhat hesitant to dig fully into the record, both because it’s been a while since I really engaged with the band — despite being way into their debut, A Love of Shared Disasters (now 10 years old), and subsequent offerings, 2009’s 200 Tons of Bad Luck (discussed here) and 2010’s I, Vigilante (discussed here), I’ve basically missed the boat on everything they’ve done since; something I hope to correct at the Roadburn 2017 merch table unless the dollar exchange tanks against the euro — and because Bronze has not at all seemed like it requires a significant emotional investment on the part of the listener.

To wit, the depression chronicle “Scared and Alone,” a nine-minute cut that appears later in the album and has a new video put together by respected Romanian animator/designer Costin Chioreanu. In its atmospheric depth and melodic current, the song works in direct defiance of any genre sensibility, for which it’s to be commended, but the overarching melancholic spirit is as affecting as it is sonically rich. This is not in itself a negative. One thinks of acts in the depressive tradition — labelmates Sólstafir, the middle-period work of Crippled Black Phoenix‘s UK countrymen Anathema, and so on — and the breadth that “Scared and Alone” conjures seems duly lush and patient, moody in all the right ways. That doesn’t mean, however, that the song isn’t perhaps putting the listener in a position to confront aspects of their self that, when not ignored, make the day harder to get through.

My own emotional cowardice notwithstanding, both song and video are gorgeous, the lyrics and vocals of Belinda Kordic and instrumental arrangement from Justin Greaves coming together to create a genuine sense of place over the course of the nine-minute run, which Chioreanu is bold enough to tackle head-on. If you’re also feeling so brave, you’ll find the clip followed by some comment from Greaves and the band’s tour dates below.

Enjoy:

Crippled Black Phoenix, “Scared and Alone” official video

International dark rock collective CRIPPLED BLACK PHOENIX have released an animated music video for the track “Scared and Alone”, off their recently released full-length, ‘Bronze’. The video was animated by Costin Chioreanu (GHOST, OPETH).

Regarding the video, CRIPPLED BLACK PHOENIX founder Justin Greaves comments, “Costin Chioreanu has created an amazing clip. His animation fits so very well that this can only come from someone, who truly understands the feeling behind this song. It is not an easy thing to connect with so I have nothing but respect and praise for Costin. ‘Scared and Alone’ speaks volumes about being cut off from the outside world and other people when the ‘Black Dog’ bites. Depression, anxiety and mental health are becoming bigger issues and when someone speaks up, it opens a door for other people to get things off their mind. Belinda wrote the lyrics as well as doing the vocals for ‘Scared and Alone’ and she did not need to be given any direction. As always, she took the title and the music and shaped the most real and heartfelt words into a very poetic form. I am deeply satisfied with the way everything turned out, both sonically and visually.”

CRIPPLED BLACK PHOENIX
w/PUBLICIST UK, THE DEVIL’S TRADE
Dec. 13 Zürich (CH) @ Werk 21
Dec. 14 München (DE) @ Feierwerk, Kranhalle
Dec. 15 Budapest (HU) @ Dürer Kert
Dec. 16 Wien (AT) @ Arena
Dec. 17 Tübingen (DE) @ Sudhaus
Dec. 18 Dresden (DE) @ Scheune
Dec. 19 Warszawa (PL) @ Progresja
Dec. 20 Berlin (DE) @ Lido
Dec. 21 Köln (DE) @ Underground

CRIPPLED BLACK PHOENIX at Roadburn
Apr. 20 Tilburg (NL) @ O13

Crippled Black Phoenix on Thee Facebooks

Crippled Black Phoenix on Bandcamp

Season of Mist website

Season of Mist on Thee Facebooks

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Sólstafir Recording New Album; “Dagmál” Video Posted

Posted in Whathaveyou on December 1st, 2016 by H.P. Taskmaster

With their new video, Reykjavic’s Sólstafir end what’s been a pivotal chapter of the band. The Icelandic melancholy specialists gleaned a substantial following behind 2014’s Ótta (review here), and rightly so, touring in North America for the first time as well as of course Europe, Japan, and so on behind material as emotionally vibrant as it was sonically and atmospherically heavy. They’re currently in the process of making the follow-up to Ótta — as of Nov. 29, guitars are done — but their new clip for “Dagmál” is as fitting a goodbye to the prior album as I can think of, capturing the band on stage throughout the year and a half they basically spent on the road.

Like Ótta, Sólstafir‘s next album will be released by Season of Mist, as the PR wire confirms:

solstafir-700

SÓLSTAFIR release new video, re-sign with Season of Mist, and record new album

Acclaimed Icelandic rock band SÓLSTAFIR have released a new video for the track “Dagmál”. The video, shot during the band’s extensive touring across Europe is streaming now, here. “Dagmál” appears on the band’s most recent full-length album, ‘Ótta’.

Regarding the video, the band comments: “‘Ótta’ is coming to a close with a third and final video for the song, ‘Dagmál’. The footage for this clip was shot over the course of 18 months of heavy touring. It also features our newest band member Hallgrímur ‘Grimsi’ Hallgrímsson, who started filling in for us behind the drum kit in April 2015.”

The quartet have also signed a new deal with Season of Mist, and begun work on their forthcoming new album.

Regarding the signing, the band comments: “With our previous contract coming to an end, we have had plenty of great offers on the table for which we are grateful. Yet, why should we end a good thing? The entire team works brilliantly together and everyone involved decided that continuing is the logical step moving forward.”

SÓLSTAFIR are now three weeks into the recording their new album. The new full-length will be produced by Birgir Birgirsson (SIGUR RÓS, ALCEST). Jaime Gomez-Arellano (GHOST, PARADISE LOST, ULVER) is also assisting on the new record.

Vocalist and guitarist Adalbjörn “Addi” Tryggvason comments: “We are back here at Sundlaugin for the third time to record our seventh album. We feel right at home and after being locked up in songwriting mode for two months, it is a one of a kind feeling hearing the demos gaining life. We have fourteen songs recorded but at the moment it is too early to tell what will end up on the album. The new album will definitely sound like SÓLSTAFIR and as always, there will be surprises too.”

Gomez-Arellano also comments: “I feel humbled to have the opportunity of working with SÓLSTAFIR. As a fan of the band for many years, I have been trying to work with them before and now it is finally happening. So far it has been a great, creative and positive experience. Working alongside Birgir in his beautiful Studio Sundlaugin has been very productive and fun. I am very excited about the new material.”

The new album is yet to be titled and will be mixed at Arellano’s Orgone Studios in the UK.

https://www.facebook.com/solstafirice
http://twitter.com/solstafir
https://www.facebook.com/seasonofmistofficial/
http://www.season-of-mist.com/

Sólstafir, “Dagmál” official video

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Floor Announce Halloween Weekender

Posted in Whathaveyou on October 13th, 2016 by H.P. Taskmaster

True story: I was sitting at the kitchen table the other day, across from The Patient Mrs., shooting the shit while we waited for some cauliflower to roast or whatever it was, and as we were listening to Floor‘s 2014 return album, Oblation (review here), I actually said the words, “Golly, I hope they do another record.” That outing is one to which I’ve continually gone back since its release and I’ve found that, in the spirit of its much-lauded self-titled predecessor, it’s only gotten better with time. I dug it when it came out too, as that review made pretty plain, but maybe Floor is a band whose work just needs to be digested for a while before it can be fully appreciated. I’ll be interested to see what I think of it in five years.

But in any case, “Golly, I hope they do another record” sums up my feelings on the matter. No news in that regard here, sadly, but Floor will head out for a Halloween weekender in Florida and Georgia at the end of this month — around Halloween, duh. If I hear of or see other dates abroad posted, I’ll let you know, but you don’t need me to tell that wherever Floor are, if that’s where you are, then that’s where you should be, but I feel like they continue to be undervalued, so I’ll say it anyway.

The stream of Oblation is below if you’d like an excuse to pay it a visit — it’s worth one — and here are Floor‘s live dates, courtesy of the PR wire:

floor

FLOOR announce new tour dates; The Fest appearance

Cult underground rock outfit FLOOR (Steve Brooks (also of TORCHE) – Guitar, Vocals, Anthony Vialon – Guitar, Henry Wilson – drums) have announced new tour dates that lead the band to and from The Fest in Gainesville, FL. The dates, which begin on Oct. 28, see the band playing Orlando, Gainesville, and Athens. More information can be found below.

FLOOR are touring in support of their first new album in over ten years. ‘Oblation.’

FLOOR tour dates
Oct. 28 Orlando, FL @ Backbooth
Oct. 29 Gainesville, FL @ The Wooly as part of The Fest
Oct. 31 Athens, GA @ Preserve

https://www.facebook.com/floorofficial/
https://officialfloor.bandcamp.com/album/oblation
http://www.season-of-mist.com/bands/search?search[band]=Floor&commit=OK

Floor, Oblation (2014)

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Hooded Menace Sign to Season of Mist; New Album in 2017

Posted in Whathaveyou on October 13th, 2016 by H.P. Taskmaster

Actually hooded and often menacing Finnish death doomers Hooded Menace have signed to Season of Mist. They’ll head Stateside this weekend in order to play California Deathfest in Oakland as the beginning point of a week-long tour down and then back up the West Coast, ending in Vancouver on Oct. 23. Their last album, Darkness Drips Forth, was recorded at Skyhammer Studio and came out on Relapse in 2015, and Season of Mist will issue the next one sometime in the early going of 2017.

As you might imagine, details are pretty sketchy on the new release at this point — no titles, art, release dates, audio, etc. — but the fact that they’ve switched labels and their hitting the US even prior to any announcements of that stuff seems to be significant groundwork on their part to make way for the album’s coming. One doubts it will be their last time over here.

To the PR wire:

hooded-menace-photo-by-deathpenalty-studio

HOODED MENACE signs to Season of Mist

Season of Mist are proud to announce the signing of HOODED MENACE. The Finnish death doom prodigies will release their highly anticipated new album on the label next year.

Regarding their signing, HOODED MENACE comment, “We are stoked to join the very diverse roster of Season of Mist. This is a rather logical step onward on our path. New possibilities under new circumstances. We have exciting plans for the next HOODED MENACE album and we are glad we have a strong, forward-thinking label backing us up.”

Founded in 2007, HOODED MENACE are a death doom metal band formed in Joensuu, Finland, by guitarist Lasse Pyykkö. By citing early CANDLEMASS, CATHEDRAL,PARADISE LOST, AUTOPSY, ASPHYX, and WINTER as influences, the Finns successfully blended a compelling take on doom-laden death metal that combined crushing riffs with somber melodies. Their lyrics are often inspired by the classic 1970’s Spanish horror movie series ‘The Blind Dead’ that included such films as ‘Tombs of the Blind Dead’, ‘Return of the Evil Dead’, ‘Horror of the Zombies’, and ‘Night of the Seagulls’.

As an active live band, HOODED MENACE have toured the world over, appearing at many prestigious metal festivals including Hellfest, Roadburn, Maryland Deathfest, Tuska Open air, and Party San Open Air among many others. The band recently toured Europe as a headliner in 2015 and are about to embark on a North American outing with DEMILICH and VASTUM, kicking off their live dates at California Deathfest this month.

HOODED MENACE tour dates:
Oct. 16 Oakland, CA @ California Deathfest
Oct. 18 San Diego, CA @ The Merrow
Oct. 19 Los Angeles, CA @ Complex
Oct. 20 San Francisco, CA @ Elbo Room
Oct. 21 Portland, OR @ The Raven
Oct. 22 Seattle, WA @ Highline
Oct. 23 Vancouver, BC @ The Red Room

https://www.facebook.com/HoodedMenace
http://www.season-of-mist.com/

Hooded Menace, Darkness Drips Forth (2015)

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Weedeater European Tour on Now

Posted in Whathaveyou on October 5th, 2016 by H.P. Taskmaster

The touring schedule of North Carolinian sludge mainstays Weedeater — who were into this shit before anyone was paying attention and will be around long after everyone else has gone, make no mistake — remains more than respectable. On Oct. 4, they began yet another run through Europe to support their 2015 album, Goliathan (review here), which was their fifth outing overall and first for Season of Mist.

And I don’t know when the last time you saw Weedeater was — you’ll forgive the assumption that you’ve seen them before, but let’s face it, you probably have — but they’re crushing it as always. It’s been a while for me, I’ll admit, but I can only recommend that you Euro-types haul your ass out to one of the gigs if you haven’t yet, because there’s nothing quite like Weedeater on stage to turn your blood into molasses… in a good way.

Dates and info follow, courtesy of the PR wire:

weedeater-tour-poster

WEEDEATER embark on European tour

Notorious southern metal outfit WEEDEATER have kicked off their previously announced European fall tour. The band will travel through Germany, Austria, the Netherlands, France and more, before concluding at Desertfest in Belgium. Following the Desert Fest appearance, the band will continue through the UK with a headlining run. A full list of confirmed tour dates can be found below.

WEEDEATER are touring in support of their new album Goliathan’. The album is streaming here. ‘Goliathan’ is available across various CD and LP formats at the Season of Mist E-Shop.

‘Goliathan’ once again features album art by Arik Roper (HIGH ON FIRE, SLEEP, THE BLACK CROWES) and will be available across multiple CD and Ltd. Ed. LP formats. WEEDEATER previously re-issued their first four albums, ‘Jason…the Dragon’, ‘Sixteen Tons’, ‘…And Justice for Y’all’, and ‘God Luck and Good Speed”. The long out of print albums are available as vinyl for the first time, as well as a CD and digitally at the Season of Mist E-shop and at Bandcamp.

WEEDEATER TOUR DATES
Oct 5 Dresden (DE) Scheune*
Oct 7 Wiesbaden (DE) Schlachthof*
Oct 8 Hamburg (DE) Hafenklang*
Oct 9 Arnhem (NL) Willemeen*
Oct 10 Hannover (DE) Cafe Glocksee*
Oct 11 Würzburg (DE) Immerhin*
Oct 12 Nantes (FR) Scene Michelet*
Oct 13 Bordeaux (FR) Le Fridge*
Oct 14 Roissy (FR) Pub ADK*
Oct 15 Antwerpen (BE) Desertfest*
Oct 16 Birmingham (UK) @ The Flapper+
Oct 17 Leeds (UK) @ The Brudenell Social Club+
Oct 18 Glasgow (UK) @ Cathouse+
Oct 19 London (UK) @ Underworld+
*w/ Arabrot + w/ Conjurer

https://www.facebook.com/weedmetal/
https://weedeater.bandcamp.com/album/goliathan

Weedeater, Goliathan (2015)

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Crippled Black Phoenix Stream “No Fun”; New Album Bronze out Nov. 4

Posted in Whathaveyou on September 9th, 2016 by H.P. Taskmaster

UK rock enigmas Crippled Black Phoenix made their debut on Season of Mist late last year with the New Dark Age EP, and they’ll return a year later with Bronze — another age — as the follow-up full-length. The group, led by multi-instrumentalist Justin Greaves, is currently streaming the track “No Fun,” taken from the album, and its vibe runs a gamut between dark folk, goth, deep-toned heavy and I don’t know, probably six or seven indie bands smarter critics than I will be able to pick up. Joy Division? Probably. It’s always fucking Joy Division. You get the point.

Nov. 4 is the release date. Preorders are up now, for those who don’t like to leave things to chance:

crippled-black-phoenix-bronze

CRIPPLED BLACK PHOENIX announce new album, stream new track

International dark rock collective CRIPPLED BLACK PHOENIX have revealed new details, artwork, and the first new track from their forthcoming album. The album, titled ‘Bronze’, will be their first full-length with Season of Mist, and will be released worldwide on November 4. ‘Bronze’ is available for pre-order here now.

CRIPPLED BLACK PHOENIX are streaming the first new track from ‘Bronze,’ an incredibly dynamic and driving piece titled “No Fun.”

Regarding the brooding track, CRIPPLED BLACK PHOENIX founder and vocalist comments, ” It is time to give the world a glimpse of our new album with the track ‘No Fun’. This song might raise an eyebrow or two amongst our amazing fans, but then again, CRIPPLED BLACK PHOENIX have always liked to lay musical traps to lure people into our orbit. ‘No Fun’ is far from giving it all away as regards our new album –and this riff has been on demo since 2004, but only now was given birth. Yet it fits the sound, which is our best yet in my opinion and I am extremely happy with how the new album turned out. Stand by for more, but enjoy having ‘No Fun’ for now.”

Track List:
1. Dead Imperial Bastard
2. Deviant Burials
3. No Fun
4. Rotten Memories
5. Champions Of Disturbance (Pt 1 & 2)
6. Goodbye Then
7. Turn To Stone
8. Scared And Alone
9. Winning A Losing Battle
10. We Are The Darkeners

Founded by multi-instrumentalist Justin Greaves, the inimitable CRIPPLED BLACK PHOENIX have earned a large cult following on the backs of their extensive catalog.

Line-up
Justin Greaves – Electric guitar, drums, saw, keyboard, acoustic guitar, banjo, effects, samples
Daniel Änghede – Vocals, electric guitar
Mark Furnevall – Synthesizer, keyboards, backing vocals
Daisy Chapman – Piano, Vocals
Ben Wilsker – Drums
Niall Hone – Bass
Jonas Stålhammar – Electric guitar
Belinda Kordic – Vocals

https://www.facebook.com/CBP444/
http://shopusa.season-of-mist.com/predefined-search?id_list=139

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