Shadowmaster to Release Self-Titled Debut on Seeing Red Records

Posted in Whathaveyou on November 30th, 2017 by JJ Koczan

Preorders are up now from Seeing Red Records ahead of a Dec. 22 CD release of Shadowmaster‘s self-titled debut. The album was originally issued by the band earlier this year and the label, fueled apparently by what it saw as a lack of due appreciation for it, snagged it and will have it out just in time for the holidays, for that lover-of-lady-sacrifice in your life. We’ve all got one, I guess?

Either way, the doom runs thick here, so it’s easy enough to see/hear what motivated Seeing Red, and the band was kind enough to give some comment about the making of the album and where they were headed with it in terms of intention. Other than lady-sacrifice, that is. Take that, ladies. With your lady parts and whatnot.

Oof.

Okay, here’s label and band comment from the PR wire:

shadowmaster self titled

Seeing Red Records – Shadowmaster – DOOM to melt your face off!

I am very excited to announce our newest signing to the Seeing Red Records family, Sweden’s SHADOWMASTER.

Originally releasing a demo in 2015 under the guise, Desert Crone, the band recorded a full length in 2016 and decided to change their name to Shadowmaster before self-releasing the album digitallty in August of this year. We were fortunate to sign the band and decided to press a physical release in the form of a Cd digipack that will be out December 22!

Somehow completely overlooked by labels, press, and fans in general, Shadowmaster have crafted a completely devastating offering that demands your attention immediately upon listening. Cited by renown artist, Stephen Kasner (Sunn 0)), Khanate, Rotting Christ) as one of his favorite new acts, the bands imagery is just as gripping as their music. There is not much more I can say as the music speaks for itself.

Says Shadowmaster: “With the making of this album, we took every step carefully and worked hard on the details so we felt one hundred percent satisfied. We are very pleased with the results and hope that everybody who listens to the music feels the same way that we do.”

Tracklisting:
1. Lost Reality 05:51
2. Seven Witches 07:29
3. Blind Shades in a Breeze 05:38
4. Shadowmaster 08:46
5. The Lizard King 02:10
6. We Won’t Be Alive 07:48
7. When Shadows Binds Your Soul 09:28
8. Under His Black Skies 19:06

Shadowmaster is:
Cedermark – Bass & Vocals
Micke – Guitar
Jumbo – Battery

https://www.facebook.com/Shadowmasterswe/
https://www.facebook.com/seeingredrecords/
https://seeingredrecords.bandcamp.com/

Shadowmaster, Shadowmaster (2017)

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Pillars Premiere “Pyres and Gallows” Official Video

Posted in Bootleg Theater on November 21st, 2017 by JJ Koczan

pillars

Based out of Nice, France, and given every now and again to throwing in a Celtic Frost-style ‘ough!’ to signal a turn toward more extreme and shouted fare, the four-piece Pillars recently issued their debut EP, Pyres and Gallows, and with its four tracks began an exploration of traditionalist doom marked out by its overarching sense of atmosphere in the guitar. Setting its own context in the growls of “Cult Seeker” or the classic-horror vibes that persist in opener “Green Magik Ritual” — somewhere between Goatsnake and Cathedral, that one is — the EP knocks on the door of full-length territory at 33 lumber-prone minutes, and particularly in the early unfolding of “Dirty Whoreshippers” and the more patient, slower 10-minute closing title-track, calls to mind the earliest output by now-defunct UK outfit The Wounded Kings.

Now, that’s not a comparison to be made lightly, either in terms of the band The Wounded Kings started out as, the band they became, or the many tumultuous steps they had to undertakepillars pyres and gallows to get from one to the other, but as the throaty but melodic echoes of vocalist Klem tops JJ‘s crashing drums in “Pyres and Gallows,” with Djé‘s guitar and Disaster‘s bass ensuring that the mournful arrangement is delivered with due viscosity, I think it’s a fair enough line to draw, and it speaks as well to the progressive potential in general from Pillars, which would only seem to offer further avenues of possible exploration with the more extreme elements put to use at various points throughout. The darkness of the ambience and the nuance that Pillars discover within traditional doom could very well lead them on their own path over time, but wherever that might end up, they’ve sent a clear signal with this first offering that it’s going to be worth finding out.

Today I have the pleasure of hosting “Pyres and Gallows” as a video premiere to coincide with the EP’s official limited cassette release on Seeing Red Records. The label is also hosting the full stream of the tracks via Bandcamp, and they’re at the bottom of the post as well, for further digging.

Enjoy:

Pillars, “Pyres and Gallows” official video premiere

Disaster on “Pyres and Gallows”:

“Pyres and Gallows” is essentially about the Middle Ages, the Inquisition, no rules, and chaos everywhere. In the end, everything ends up burning… “Pyres and Gallows” is our favorite song to play live: epic, massive and chaotic ending. Our new material is definitely more in this vein, less ‘stoner rock’ than older songs… darker and heavier.”

Harnessing the powers of anguish and majesty simultaneously, PILLARS carve a tortured place in the psyche of doom and sludge with an unshakably focused assault on the senses. Harsh, brooding, and calculated, the music drags your soul through the muck and buries you, your screams a part of the choir of devastation. Sacrificing the vintage and retro flare commonplace in the genre as of late and replacing it with the vile discomfort of a forgotten past, Pillars bring only agony and promise only torment. Prepare your grave.

Pillars was formed in 2014 by ex-members of extreme bands from the South of France such as SVART CROWN, IMPERIAL SODOMY, ADDICTED and UNCLEMOSH. When the band began, their sound displayed more of a dark stoner vein, but when Clément (vocals) joined the band in March 2015, they chose to alter their path towards slow crushing doom. “Pyres and Gallows” contains a bit of the old style while teasing their newer direction, both a promising look at what is to come in 2018.

PILLARS is:
Disaster – Bass
Djé – Guitars
JJ – Drums
Klem – Vocals

Pillars, Pyres and Gallows (2017)

Pillars on Thee Facebooks

Pillars on Bandcamp

Seeing Red Records on Thee Facebooks

Seeing Red Records on Instagram

Seeing Red Records website

Seeing Red Records on Bandcamp

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Quarterly Review: Spotlights, War Cloud, Rubble Road, Monte Luna, High Reeper, Frozen Planet….1969, Zaius, Process of Guilt, Sundus Abdulghani & Trunk, Owlcrusher

Posted in Reviews on September 28th, 2017 by JJ Koczan

the obelisk quarterly review

Day two of the Quarterly Review and feeling groovy so far. Managed to survive yesterday thanks in no small part to good music and good coffee, and looking at what’s coming up in today’s batch, I don’t expect the situation will be much different — though the styles will. I try to keep in mind as I put these weeks together to change up what’s in each round, so it’s not just all psych records, or all doom, or heavy rock or whatever else. This way I’m not burning myself out on anything particular and I hopefully don’t wind up saying the same things about albums that maybe only share vague genre aspects in common — riffs, etc. — in the same way. Essentially trying to trick my brain into being creative. Sometimes it even works. Let’s see how it fares today.

Quarterly Review #11-20:

Spotlights, Seismic

spotlights seismic

After touring hard with the likes of Melvins, Deftones and Refused, heavy post-rockers Spotlights mark their first release on Ipecac Recordings with their second album, Seismic, which finds the core duo of Mario and Sarah Quintero working with producer Aaron Harris (Isis) to follow-up 2016’s Tidals with 65 minutes/11 tracks of weighted atmospherics and far-spanning melodic textures as shown on emotive heft-bringers like “Ghost of a Glowing Forest.” Heavygaze, I suppose, is the genre tag that’s emerged, but with the opening title-track, the chugging “Learn to Breathe” and the later percussive turns of “A Southern Death,” there’s as much focus on crush as on ambience, though as Seismic makes its way through the pair of eight-minute tracks “Hollow Bones” (wonder if they know the 30 Rock reference they’re making) and “Hang us All” before the minimal subdued drones and melodic effects swirls of closer “The Hope of a Storm,” Spotlights succeed in finding a middle ground that offers plenty of both. In its moments of intensity and its range, Seismic builds cohesion from ether and immediately benefits from the purposeful growth the Quinteros have clearly undertaken over the past year by hitting the road with the dedication they have.

Spotlights on Thee Facebooks

Ipecac Recordings website

 

War Cloud, War Cloud

war cloud war cloud

Bay Area rockers War Cloud don’t get too fancy on their self-titled debut, which they make via Ripple Music as the follow-up to their 2016 single Vulture City (discussed here), but as they prove quickly in the dual-guitar Thin Lizzyisms of opener “Give’r” and the later post-Motörhead/Peter Pan Speedrock careening of “Speed Demon,” neither do they necessarily need to. Comprised of guitarists Alex Wein (also vocals) and Tony Campos, bassist Sean Nishi and drummer Joaquin Ridgell, War Cloud offer 31 minutes of brisk, unpretentious asskickery, riffs trading channels at the outset of “Hurricane” as it makes ready to settle into its proto-thrashing rocker groove, and the mood of the release as a whole engaging as much through its reimagining 20-year-old Metallica as a heavy rock band there as on the more grandly riff-led “Divide and Conquer.” Structures are straightforward, and not one of the eight tracks tops five minutes, but they’re more than enough for War Cloud find their place between metal form and heavy rock tone, and cuts like “Chopper Wired” and brazenly charged closer “Vulture City” nail the core message of the band’s arrival.

War Cloud on Thee Facebooks

Ripple Music website

 

Rubble Road, The Clowns Have Spoken

rubble-road-the-clowns-have-spoken

Rubble Road ain’t hurtin’ nobody. The Orlando-based double-guitar four-piece take two prior singles and put them together with four new tracks as their 29-minute/six-song debut EP, The Clowns Have Spoken, and thereby bring forth straightforward heavy rock that seems to be finding its personality in tone but nonetheless has a strong structural foundation underlying that holds up the material and “The Judge” tosses in a bit of metallic gallop to go with the forward-directed heavy rock proffered on the prior “Galactic Fugitives” and “Gospel (Get it Together).” I won’t say much for the politics of “Truck Stop Hooker,” which caps with the line, “Your mother gives great helmet, baby,” but “Wizard Staff” and “Do it Yourself” broaden the dynamic of the release overall. They’ve got some growing to do, but again, there’s an efficiency in their songwriting that comes through these songs, and as an initial showcase/demo, The Clowns Have Spoken shows Rubble Road with the potential to continue to grow.

Rubble Road on Thee Facebooks

Rubble Road on Bandcamp

 

Monte Luna, Monte Luna

monte luna monte lona

You might check out the self-titled debut from Austin, Texas, duo Monte Luna. You might even pick up the digipak or tape version. You might listen to extended tracks like “Nameless City” (12:53) and “6,000 Year March” (17:42) and be like, “Yeah, cool riffs dudes.” You might even then chase down the The Hound EP that guitarist/vocalist/bassist James Clarke and drummer/synthesist Phil Hook put out last year. At some point though, you’re going to put Monte Luna’s Monte Luna on your shelf and leave it there. Fair enough. However – and I’m not going to say when; could be sooner, could be later — then you’re going to find yourself remembering its massive, 71-minute sprawl of riffs, its doomed-out grooves, shouts, screams, growls and the way its builds become so utterly immersive, and you’re going to put Monte Luna on again. And that’s the moment when it will really hit you. It might take some time, and part of that is no doubt that there’s simply a lot of record to wade through, but whether it’s the rumbling start of “Nightmare Frontier” (14:26), the cacophonous stomp of “Inverted Mountain” (12:04) or the righteous crash of “The End of Beginning” (9:42), Monte Luna will have earned that deeper look, and if you allow them to make that deeper impression with their self-titled, they almost certainly will.

Monte Luna on Thee Facebooks

Monte Luna on Bandcamp

 

High Reeper, High Reeper

high reeper high reeper

Newcomer five-piece High Reeper telegraph Sabbathian heavy rocker intent with their self-released, self-titled debut album. The Delaware-based lineup of Zach Thomas, Napz Mosley, Andrew Price, Pat Daly and Shane Trimble make no bones about their roots in opener “Die Slow,” and as the stoner-swinging “High Reeper,” the doom-swaggering “Reeper Deadly Reeper” and the yo-check-out-this-bassline nodder “Weed and Speed” play out in the record’s midsection, it seems increasingly likely that, sooner or later, some imprint or other will pick up High Reeper for a wider release. As the band demonstrates through the stomping “Soul Taker” and the seeming mission statement “Black Leather (Chose Us)” ahead of closer “Friend of Death,” which breaks its six minutes in half between Judas Priest thrust and an instrumental finish that calls to mind “Heaven and Hell,” they’ve got a keen ear for updating classic elements, and though formative, their first outing is cleverly memorable and an immediately resonant display of songcraft. Now we know High Reeper can engage these stylistic components — the test will be how they develop them into something individualized going forward.

High Reeper on Thee Facebooks

High Reeper on YouTube

 

Frozen Planet….1969, From the Centre of a Parallel Universe

Frozen-Planet-1969-From-the-Centre-of-a-Parallel-Universe

From the Centre of a Parallel Universe is the second long-player of 2017 from Sydney/Canberra’s Frozen Planet….1969. It arrives on CD through Pepper Shaker and LP via Headspin with five tracks/43 minutes of improv-style psych jams following suit from the prior Electric Smokehouse (review here) and helps to bring the band’s funk-infused, spacious dynamic all the more into focus. Also out of focus. Like, blurry vision-style. They range far and wide and keep the proceedings delightfully weird in the three extended pieces “Celestial Gambler,” “Through Hell’s Kaleidoscope, Parts I & II” and “Ancient Wings Taking Flight” – all north of 11 minutes – and with “Signals (Channelling…)” and “The Lady and the Archer” leading the way into each LP side, Frozen Planet….1969 take the time to assure they’re bringing their listeners along with them on their potent journey into the cosmically far out. The must-hear bass tone in “Ancient Wings Taking Flight” is but one of many reasons to dig in, but whatever it takes, From the Centre of a Parallel Universe’s invitation to get lost is not one to be missed.

Frozen Planet….1969 on Thee Facebooks

Pepper Shaker Records on Bandcamp

 

Zaius, Of Adoration

zaius of adoration

Chicago’s history with instrumentalist post-metal goes back as far as the notion of the subgenre itself with acts like Pelican and Russian Circles providing aesthetic-defining landmarks over the last 15-plus years even as a group like Bongripper embraces darker, more lumbering fare. The four-piece Zaius, who make their full-length debut with Of Adoration on Prosthetic Records after two self-released EPs in 2013 and 2011, position themselves more toward the shimmering airiness of the former rather than the latter’s raw lumber, but there’s heft to be found in the expanses of “Sheepdog” and “Seirenes” all the same, and the second half of “Echelon” and closer “Colin” tighten up some of the ethereality of pieces like opener “Phaneron” and the driftingly progressive “Reformer” or the penultimate, patient rollout of “Anicca” to hone a sense of balance that feels as emotionally driven as it is cerebral in its construction. Hard for a band like Zaius to stand themselves out at this point given the swath of acts working in a similar style in and out of the Windy City, but in its textural approach and held-steady flow, Of Adoration satisfies.

Zaius on Thee Facebooks

Prosthetic Records webstore

 

Process of Guilt, Black Earth

process-of-guilt-black-earth

Portuguese post-doomers Process of Guilt hit the 15-year mark with the release of their fourth album, Black Earth (on Division/Bleak Recordings), and with a mix by Brooklyn noise-rock specialist Andrew Schneider, a mastering job by Collin Jordan in Chicago and striking cover art by growler/guitarist Hugo Santos with images by Pedro Almeida, the sense of atmosphere is thick and the mood is aggressive throughout. Santos, along with guitarist Nuno David, bassist Custódio Rato and drummer Gonçalo Correia chug and flow through a linear 42 minutes and five tracks on the suitably darkened offering, touching on progressive nuance but not letting cerebral underpinnings take away from the onslaught feel of “Feral Ground” or the tension mounted early in the 11-minute penultimate title-track, which uses feedback as a weapon throughout no less capably than the subsequent closer “Hoax” affects immediately with its nodding tonal wash. Taken as a whole, Black Earth finds Process of Guilt exploring depths of their sound as much as with it, and the directions they go feel as much inward as out.

Process of Guilt on Thee Facebooks

Division Records website

Bleak Recordings website

 

Sundus Abdulghani & Trunk, Sundus Abdulghani & Trunk

Sundus-Abdulghani-Trunk-self-titled

The challenge for an outfit like Stockholm’s Sundus Abdulghani & Trunk, whose self-titled debut arrives via respected purveyor Kozmik Artifactz, lies separating themselves from the shadow of fellow Swedes Blues Pills, whose semi-psych heavy-blues-rocking first album has cast a wide influence that can be heard here as well as in any number of other bands currently kicking around the Euro underground proffering as balance of soul and heavy rock as songs like “It Ain’t Love (But Close Enough)” and “Like Water” do here. Where Sundus Abdulghani & Trunk most succeed in doing this is in the harmonies of “Black Magic Man,” which brings to mind classic acid folk while holding to a heavy blues vibe, but there are other moments throughout when individuality flourishes as well. The attitude is laid on a bit thick in “Them Dames,” but the hooks of “Sister Sorrow,” “She Knows,” “The Devil’s Got a Hold on You” and “Stay” and the burgeoning sense of arrangements complementing Abdulghani’s vocals do well in helping cast an identity one hopes will continue to develop.

Sundus Abdulghani & Trunk on Thee Facebooks

Kozmik Artifactz website

 

Owlcrusher, Owlcrusher

owlcrusher owlcrusher

Conceived by guitarist/vocalist Andrew Spiers, bassist/vocalist Steve Hobson and drummer Damien McKeown, Banbridge trio Owlcrusher conjure three extended, slicing slabs of black-singed sludge extremity on their self-titled Seeing Red Records debut, and it’s enough to make one wonder just what the fuck is going on in Northern Ireland to inspire such outright bleakness. Beginning with the 16-minute “Feeble Preacher” (also the longest inclusion here; immediate points), Owlcrusher’s Owlcrusher lumbers excruciatingly forth with screams and growls cutting through a tonality geared for max-volume consumption, though it remains to be seen who is consuming whom as “Feeble Preacher” gives way to the likewise scorched eponymous “Owlcrusher” (11:30) and 15-minute closer “Spoiler,” the last of which brings the only real moment of letup on the album after about nine minutes in, and even that takes the form of an interlude of Khanate-style minimalist ambience before the rolling megacrush resumes and plods to a somehow-even-heavier finish. Clearly a band pushing themselves toward the superlative, Owlcrusher get there much faster than their crawling tones would have you believe. Madness.

Owlcrusher on Thee Facebooks

Seeing Red Records on Bandcamp

 

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