Album of the Decade: Elder, Lore

Posted in Features on December 27th, 2019 by JJ Koczan

elder-lore

[NOTE: This is not the results of the best of the 2010s poll, which is ongoing. Please add your choice/choices there if you haven’t, and thanks.]

This has been an incredibly difficult choice. It’s something I started really thinking about in the middle of last year, and even this morning I was back and forth on what my final pick would be. You know what sealed the deal for Elder‘s Lore (review here) as album of the decade?

I put it on.

And it wasn’t two minutes into the sweeping 10-minute opener “Compendium” before the deal was sealed. The then-Massachusetts-based then-trio (hey, things change) of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto — the latter of whom recently parted ways with the band — issued Lore in 2015, and it was album of the year at the time as well. I recall agonizing over that choice as well, but in the end, my reasoning is much the same now as it was then, in that I genuinely don’t think there is another full-length record released between 2010 and 2019 that works at the level of craft Elder do on Lore while at the same time being so purely forward thinking.

Lore‘s release through Armageddon Shop and Stickman Records followed 2011’s Dead Roots Stirring (review here) on MeteorCity and felt long in the making, but the jump in sound was even further. To compare the approach of the two records, some of the differences are superficial. Elder‘s penchant since their 2008 self-titled debut (discussed here) has always been for composing songs by marrying parts together and creating a flow based more on movements than traditionalist verses and chorus. I admit there are times when I personally find this hilariously maddening, but their work still finds ways to stand pieces out and make them memorable. It was true on Dead Roots Stirring and Lore alike, but the presentation and the mission were fundamentally different between the two.

It’s a question of clarity. Where Dead Roots Stirring was (and is, if you’re listening in the present tense) more rooted in heavy rock distortion and production, the Justin Pizzoferrato-recorded Lore certainly had those elements at play — the post-guitar-as-mellotron-orchestra sweep apex of the 15-minute centerpiece title-track being a riffy example, as well as the swinging rush earlier in “Compendium,” the finish in “Spirit at Aphelion,” etc. — but the album is much more defined by DiSalvo‘s shimmering guitar and its progressive edge. It is a clean sound. And what’s more, four years since Lore came out and listening to it, my head is still spinning. I mean it. You would have to sit with a flowchart for each track and measure out where one part ends and the next starts. And when you’re done doing that, once you have all the crescendos and twists and winding progressions measured and calculated and so on plotted, you’ll still only have one piece of Lore‘s puzzle configured, because in addition to its blindsiding, careening movements, there’s the melody.

elder (Photo by Ryan Boyd)

With the prescient experimental play at the start of “Deadweight” and even in the cascade wash that emerges in that track’s second half — a glorious noise bath that leads to a galloping end that at the time seemed outshined by the title-track before it and now stands as all the more testament to Lore‘s enduring quality — or in the lead and languid verse atop the rolling beginning of second cut “Legend,” Elder unfolded a new level of accomplishment in melodic reach instrumentally and vocally. With Donovan and Couto in rhythmic lockstep as the sure foundation of DiSalvo‘s tonal breadth, the three-piece used traditional power trio dynamics to pull tradition apart at the seams. And for an album that’s an hour long and begins at such an immediate rush with the opening guitar figure of “Compendium” daring the listener to keep pace, it still remains eminently listenable and enjoyable because of the work the melody does in carrying across all its many changes. Along with Couto‘s essential swing, it’s the melody most responsible for tying Lore together and uniting its five component tracks as a single work.

As the only song under 10 minutes long (it’s 9:28), “Deadweight” allows itself the indulgence of a little classic heavy rock soloing, but even in that, it takes its own approach. Consider the penultimate cut at four minutes in. DiSalvo, shredding. Donovan is holding down the central groove with Couto punctuating righteously. Then, at 4:14, they pivot, and it’s so quick and so sharply executed that you don’t even realize what you’re in is a transitional part and that 20 seconds later, they’re going to be off on the “next riff” along the song’s building course. Lore is rife with these moments, which are the kind of thing that, if they were on someone else’s record once, they’d make the whole album better. With Elder, they’re just another part on the way to the next part. It continues to be an astonishing work.

Of course, Lore closes with the 10:32 “Spirit at Aphelion,” and though one hardly thinks of any part of the 2LP as being understated — it is not without its indulgent stretches — the ending fadeout seems to ride the tension of its final riff in such a way as to hint at more to come. One almost expects the song, which is a victory lap in summarizing what precedes and certainly plenty dynamic in its stretch prior, to fade back in for another round, even after it’s over. But the end is, in fact, the end, and it would be just two years before Elder turned around and offered Reflections of a Floating World (review here) as the inevitable follow-up and next forward step in their ongoing progression. By then, the impact of Lore was already being felt in the work of other bands, and the ensuing two years, as well as the reception to the fourth long-player and their concurrent touring, have only seen Elder‘s influence spread further.

I could have made any number of choices here. But in looking back over the last decade, no single release seemed to encapsulate a vision of what heavy rock and roll could be in the way Lore did, and no single band have manifest their vision in way Elder have. It is an epicenter from which they and heavy rock as a whole will continue to grow.

Honorable Mention

Like I just said, I could’ve made any number of choices here. When I went to bed last night, it was planning to write about Om, so there you go. We’ll do the poll results early in January, but here are a few more of my own picks for album of the decade contention:

  • OmAdvaitic Songs
  • YOBClearing the Path to Ascend
  • Uncle Acid and the DeadbeatsBlood Lust
  • ClutchEarth Rocker
  • GraveyardHisingen Blues
  • High on FireSnakes for the Divine
  • All Them WitchesLightning at the Door

I’ll leave it there so as not to spoil anything for the poll to come, but yeah, there are plenty of noteworthy contenders. If you have one or 50 you’d like to add, please feel free to leave a comment here, or, of course, hit up the decade-end poll and drop a list there. Either way, your thoughts and consideration are always appreciated.

And thanks for reading.

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Elder Announce New Drummer & New Album Recording

Posted in Whathaveyou on December 2nd, 2019 by JJ Koczan

Progressive heavy rock forerunners Elder will enter the studio this week to begin recording their fifth full-length and first with their new drummer, Georg Edert, who steps into the role formerly occupied by founding member Matt Couto. Though Elder in recent years added Mike Risberg on guitar and keys and have worked with a select few other players here and there, this is to my knowledge the first major lineup change since the initial trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and Couto was established in 2006.

The potential here for a shift in the band’s dynamic, therefore, is significant, but Elder have never been ones to shy away from change, and if the showings I’ve seen thus far for 2017’s Reflections of a Floating World (review here), 2015’s Lore (review here) and 2011’s Dead Roots Stirring (review here) in the Top 20 of the 2010s end-of-decade poll are anything to go by, their listenership is more than willing to go along with them wherever their path might lead. I would’ve been interested to hear where their next album went anyhow after Reflections — I was expecting some shift of approach  — but with Edert aboard, the intrigue level is that much higher.

On a side note for Elder fans, Stickman Records is giving away test pressings to those who donate to charities this season. Details are here.

Behold 2020’s most anticipated album:

elder

Elder changes lineup and heads to studio in December

It’s been a busy few weeks for Elder, who recently announced a lineup change as well as plans to begin work on their new record, as of yet untitled. With the departure of drummer and founding member Matthew Couto, the band is charting new waters in their 12 year spell of continuity, but has found a replacement in Georg Edert (who now also drums for the Elder side project Gold and Silver).

Having reestablished the band’s lineup, they will enter the studio next week to begin work on their fifth full-length album! From the band:

“Georg is a friend of ours from years back – met while playing on tour in Europe – and in the past year he’s been playing together with Nick and Mike to revive their old project Gold & Silver (also planning more music next year!). His drumming approach is informed by a host of styles new to the band, providing fresh and exciting impulses into our creative process while finishing work on album 5. We look forward to introducing our listeners to the new lineup at our shows in 2020!

“On that note, we are happy to announce that we will be headed off to the studio next week to begin recording said album 5. Without revealing too much, it’s easily the most ambitious musical journey we’ve ever conceived, and the writing process has been long, tedious, and ultimately rewarding. The cycle begins anew! – and we’re ready to get cracking on the recording sessions.”

Oh, and the band has been announced for Hellfest 2020 as well, with more festival announcements sure to follow.

Elder is:
Nicholas DiSalvo: guitar/vocals
Jack Donovan: bass
Mike Risberg: keys/guitar
Georg Edert: drums

http://facebook.com/elderofficial
https://www.instagram.com/elderband/
http://stickman-records.com
http://armageddonshop.com

Elder, Reflections of a Floating World (2017)

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Motorpsycho Recording New Album — Duh

Posted in Whathaveyou on September 2nd, 2019 by JJ Koczan

Were there a brain in my silly old head, I’d just always keep a draft of a post in the back end of this site ready to go with the headline above. Well, there isn’t one, but Motorpsycho are indeed in the studio right now making the follow-up to earlier 2019’s The Crucible (review here), which was rife with all kinds of proggy righteousness, and though there’s just about nothing else to go on except that it’s happening, that’s really enough as far as I’m concerned. At least for the moment. What’s it going to sound like? Well, my big guess is it’s going to sound like Motorpsycho, which pretty much means it could sound like anything and still be awesome. Over the last however many years and however many albums, haven’t this band earned the benefit of the doubt?

I’m curious about how come they’re recording in France instead of their native Norway, but hell, when you make as many records as Motorpsycho do, it’s only fair to change it up every now and again:

motorpsycho

Motorpsycho in studio recording new material

Motorpsycho has officially arrived in France, where they will be recording new material. Okay, so a photo of the band in snowy northern Norway doesn’t exactly do justice to France in summertime, but for the moment we’ve got nothing more detailed to report. Stay tuned for details to follow in the coming months!

Limited copies of Motorpsycho’s spring tour 10″ box in store

We are selling the last remaining copies of this box from Motorpsycho’s last tour, and it’s chock full of all sorts of goodies. Made in collaboration with the Trondheim-based magazine Nye Oppstøt, this version version comes with a 10″ (black vinyl) containing two improvised songs, a 120+ page English edition of the magazine and a fold-out poster.

We only received 24 of these and they will go quick, so act fast if you want one! We are only announcing this small amount in this newsletter, so the first 24 people to read this and order one will get lucky!

Motorpsycho is: Bent Sæther, Hans Magnus “Snah” Ryan, Tomas Järmyr.

https://www.facebook.com/motorpsycho.official/
https://twitter.com/motorpsychoband
http://motorpsycho.no/
https://www.facebook.com/Stickman-Records-1522369868033940/
https://www.instagram.com/stickmanrecords/
https://www.stickman-records.com/

Motorpsycho, The Crucible (2019)

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King Buffalo Announce Final 2019 Tour Dates; European Vinyl Pressings Available

Posted in Whathaveyou on August 21st, 2019 by JJ Koczan

king buffalo (Photo by Mike Turzanski)

Actually, by now, the vinyl’s probably gone. So it goes.

If you want to make your day better, go ahead and watch the stream of King Buffalo playing Freak Valley Festival in Germany back in June. The video is below, as recorded by Rockpalast, and it’s heartwarming on any number of levels as a fan of the band. I remain enamored of 2018’s Longing to Be the Mountain (review here), and to see them nailing that material on such a stage in front of such a crowd is like an unexpected birthday card.

These are their last shows of 2019, which makes me think it won’t be long until they announce their first shows of 2020. But where? And when? And… when… again? I don’t know. Whatever. Just go watch that video. Then listen to the record. Then buy a tshirt or something. These guys have earned it.

Dates:

king buffalo dates

KING BUFFALO – LAST TOUR DATES OF 2019 // EURO VINYL PRESSINGS!

We’ve announced our remaining 2019 Tour Dates.

THESE WILL BE OUR LAST SHOWS OF 2019, SO DON’T MISS THEM!

9/25 Detroit, MI @ PJ’s Lager House
9/26 Grand Rapids, MI @ The Mint
9/27 Chicago, IL @ Empty Bottle
9/28 Cleveland, OH @ Ingenuity Festival – JUST ANNOUNCED!
11/8 Columbus, OH @ Ace of Cups
11/9 Indianapolis, IN @ Black Circle
11/12 Nashville, TN @ High Watt
11/14 Dallas, TX @ Three Links
11/15 Austin, TX @ Hotel Vegas
11/16 Houston, TX @ White Oak Upstairs
11/19 Atlanta, GA @ The Earl
11/20 Carrboro, NC @ Cat’s Cradle
11/21 Washington, DC @ DC9
11/23 Rochester, NY @ Bug Jar
11/27 Buffalo, NY @ Mohawk Place – JUST ANNOUNCED!

BUY TICKETS HERE

EUROPEAN VINYL

LTBTM Euro Edition – The European Version of LTBTM from Stickman Records, normally a European exclusive. We brought back a limited number from our European 2019 Tour. This Edition includes a 180 gram Silver Vinyl! Only 8 copies remain.

Orion Euro Edition – The European Version of Orion from Stickman Records, normally a European exclusive. This Edition includes a 180 gram Orange Transparent Vinyl and comes with a CD! Only 7 copies remain.

Repeater Euro Edition – The European Version of Repeater from Stickman Records, normally a European exclusive. This Edition includes a Beer Yellow Transparent Vinyl with Black silkscreen! Only 12 copies remain.

Lineup:
Sean McVay – vocals, guitar, synth
Dan Reynolds – bass, synth
Scott Donaldson – drums

kingbuffalo.com
facebook.com/kingbuffaloband
instagram.com/kingbuffaloband
kingbuffalo.bandcamp.com

King Buffalo, Live at Freak Valley Festival 2019

King Buffalo, Longing to be the Mountain (2018)

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Grotto Sign to Stickman Records; New Album Finished

Posted in Whathaveyou on July 4th, 2019 by JJ Koczan

According to Grotto‘s Thee Facebooks page, the new album that Stickman Records hints toward in its announcement of having signed the band is done and awaiting release. They said, “We are happy to let you guys know we have a full LP finished and waiting to be released! More info/dates soon…” Well, that’s neat. And if you’re going to put an album out, putting it out on Stickman is all the better.

Particularly for a band like Grotto, whose sound fits easily as labelmate/kin to the likes of Weedpecker and latter-day Elder for its heavy and progressive style and attention to melody. There isn’t a release date for their new album yet, or I’d probably have led with that, but Grotto‘s second full-length, Circle of Magi, was issued in late 2017 and is comprised of three 11-minute-long tracks, so there’s certainly plenty to dive into until the new one shows up. If you haven’t heard that, it charts a winding course into and out of psychedelic territory but is marked by the smoothness of its shifts between nodding groove and more atmospheric meanderings. Each song has a spacious feel that lets the listener live in it for a while before passing the baton to the next part or the next piece. It’s enough to pique my interest about their new one, easy.

Stream it at the bottom of this post. Here’s word of the signing from Stickman:

grotto

Stickman Records new signing: Grotto

We are pleased to announce our latest signing: GROTTO!

This young Belgian three-piece instrumental band has been on our radar for a while now, having two killer albums already under their belt. Their mix of psychedelic rock, stoner riffs and a great sense for melody alongside progressive song structures makes them a natural fit in our roster and we’re happy to welcome them to the fold.

We’ll be revealing some details about their new album soon, so stay tuned!

Grotto is:
Marvin Dinneweth – Guitar
Jeroen Moerman – Bass
Arno Tucker Cottyn – Drums

https://www.facebook.com/GrottoRiffs
https://grottoriffs.bandcamp.com/
https://www.stickman-records.com/
https://www.facebook.com/Stickman-Records-1522369868033940

Grotto, Circle of Magi (2017)

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Quarterly Review: Salem’s Bend, Motorpsycho, Sigils, Lord Dying, Sunn O))), Crimson Heat, Molior Superum, Moros, Glitter Wizard, Gourd

Posted in Reviews on July 2nd, 2019 by JJ Koczan

quarterly-review

Today is Tuesday, I’m pretty sure, and hey, that’s nifty. I thought yesterday kicked off the Summer 2019 Quarterly Review really well, and any time I get through one of these without my head caving in on itself, I feel like that’s a victory, so yeah. Now we wade even deeper into what will ultimately be a 60-review plunge, with another 10 offerings of various stripes and takes on heavy. Some higher profile stuff in here, which is fine, I guess, but most of it is pretty recent, so if there’s something you haven’t heard yet, I hope you find something you dig, as always.

Quarterly Review #11-20:

Salem’s Bend, Supercluster

salems bend supercluster

This is the sound of a band who’ve figured it out. Salem’s Bend have taken retroist boogie and modern tonalism, production and melody and turned it into something of their own. Supercluster (on Ripple) follows the Los Angeles trio of guitarist/vocalist Bobby Parker, bassist/vocalist Kevin Schofield and drummer Zach Huling‘s 2016 self-titled debut (review here), and with an uptick in the complexity of songwriting overall and particularly in the arrangements of dual-vocals, it is a marked step forward palpable as much in the hook of “Ride the Night” — and if you’re gonna call a song that, you better bring it — as the heavy crash ending “Heavenly Manna” and the languid, lucidly dreaming groove in “Infinite Horizon,” which appears ahead of the acoustic hidden track “Beltaine Chant.” That won’t be the last time these guys unplug, but whether it’s the raw Zeppelin vibe of “Show Me the Witch” or the crunching low-end nod of “Thinking Evil” or the leadoff thrust in “Spaceduster,” the message is clear that Salem’s Bend have arrived.

Salem’s Bend on Thee Facebooks

Ripple Music webstore

 

Motorpsycho, The Crucible

motorpsycho the crucible

The latest in Motorpsycho‘s nigh-on-impossible-to-chart and ever-growing discography is The Crucible, issued through Stickman Records, and taking some of the heavy rock push of 2017’s The Tower (review here) and stretching out to more willfully progressive execution across three increasingly extended tracks. Running from shortest to longest, the album begins with “Psychotzar” (8:44) which resolves itself in maddening turns after fleshing through an energetic beginning, and rounds out side A with the 11-minute “Lux Aeterna,” with vocal harmonies and mellotron building into a graceful swell of volume before a headspinner solo and jam take hold, break to near-silence and finish in a burst of directly earliest-King Crimson majesty. This all before the 20:51, side B-consuming title-track crashes in with immediate tension and plays back and forth at releasing that through a course that is rife with melody and an emphasis on the mastery of Motorpsycho over their sound and direction. Onto the list of the year’s best records it goes.

Motorpsycho on Thee Facebooks

Stickman Records website

 

Sigils, You Built the Altar, You Lit the Leaves

Sigils You Built the Altar You Lit the Leaves

Hypnotic and immersive heavy post-rock and metal becomes the genre tag well enough, but what New York’s Sigils do on their markedly impressive self-recorded, self-released debut album, You Built the Altar, You Lit the Leaves, is more soulful and emotive than “post-” anything generally conveys. With four tracks/38 minutes best taken as a whole, single listening experience, the band offer resonant depths of tone and vocal echoes centered around airy but still weighted guitar and consuming rhythms brought to bear with the patience of an organic Jesu. The ultimate triumph is in the melody and payoff of 13-plus-minute closer “The Wicked, the Cloaked,” which seems to manifest the haunting sensibility that “Samhain” and “Ritual” advocate on side A, but neither will I discount the chug of the prior “Faceless” or the underlying churn in those two leadoff tracks. Especially as a first album, You Built the Altar, You Lit the Leaves casts a sonic identity for itself that is striking and sees the band already beginning to push themselves forward. One hopes they continue to do so.

Sigils on Thee Facebooks

Sigils on Bandcamp

 

Lord Dying, Mysterium Tremendum

Lord Dying Mysterium Tremendum

Following 2015’s Poisoned Altars (review here), subsequent years of touring and a jump from Relapse to eOne Metal, Lord Dying‘s Mysterium Tremendum is enough of a stylistic melting pot that the best thing to do is call it progressive and just let it roll. Comprised of 11 tracks themed around death and the afterlife, the record takes the Portland, Oregon, outfit’s prior death-doom ways and expands them to incorporate an array of styles and melodies, like a vocoder-less Cynic or even Atheist, but more focused on the songs themselves. It’s being widely hailed as one of 2019’s best metal releases, and honestly I can’t speak to that because who the hell knows what “metal” even means, but it sees Lord Dying pull off a major sonic leap and if this is the direction they’re headed from now on, then I guess “metal” is going to be whatever the hell they want. So there. Expect to see a lot of Lord Dying t-shirts around in the years to come.

Lord Dying on Thee Facebooks

eOne Heavy on Thee Facebooks

 

Sunn O))), Life Metal

sunn life metal

The core of Sunn O)))‘s sound — that is, the drone-riffed tonality of Greg Anderson and Stephen O’Malley, has proven amorphous enough over the last two decades to either be orchestral, minimalist, impossibly bleak, or now, something brighter. The Steve Albini-recorded Life Metal is one of two purported Sunn O))) releases slated for this year, and it follows behind 2015’s Kannon (review here) in manifesting their project in a new way. It is 68 minutes long, comprised of four tracks — the first, “Between Sleipnir’s Breaths,” is notable for the inclusion of vocals from Hildur Guðnadóttir; the rest is instrumental — and while one wonders how much is the power of suggestion amid their colorful artwork and titular presentation, “life” as opposed to death metal, etc., their resonance throughout “Aurora” (19:07) and “Novae” (25:24) strips away much of the flourish that has engulfed Sunn O))) in their post-maturity years and reminds of the power at their center. They chose the right producer.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crimson Heat, Crimson Heat

Crimson Heat Crimson Heat

With a handful of tracks of dirt-coated Sabbathian doom rock, Crimson Heat make their debut with a self-titled demo/EP in no small part defined by its lack of pretense. I’d buy the tape at the show. You’d buy the tape at the show. The download is free. Clearly this is a band figuring out what they want to do and trying to catch a few ears, but the sound is right on. Notable as well for the participation of Sam Marsh of Sinister Haze, tracks like “At My Door” blend Tee Pee Records-style skate vibes with darker traditionalist crunch, and the subsequent acoustic interlude “Firewood” indeed adds a bit of burning-stove smell to the procession ahead of doomed shuffler finale “Deep Red.” They might be new, but from the nod of “Premonition” and the double-layered guitar of “Fortune Teller,” they very clearly know where they’re coming from. What they do with that from here will tell the tale, but for now, selling the tape at the show isn’t nothing. Guess they better get on pressing some up.

Sinister Haze on Thee Facebooks

Crimson Heat on Bandcamp

 

Molior Superum, As Time Slowly Passes By…

Molior Superum As Time Slowly Passes By

The boogie runs strong in Molior Superum‘s first album in seven years, As Time Slowly Passes By… (on H42 Records), the title of which might just hint at the distance between their two full-lengths. Their debut was Into the Sun (discussed here) in 2012, and they answered that with 2014’s Electric Escapism (review here), but for a band who sound so energized on cuts like “Att Födas Rostig” and “Through Valleys of Wonder,” the time differential from one record to the next is curious. Still, no question the Swedish four-piece make the most of the 36 minutes they present on their sophomore offering, realizing classic vibes and fuzz tones through modern production that recalls the likes of GraveyardJeremy Irons and the Ratgang Malibus and even, on “Into the Grey,” Demon Head‘s doomier fare, with an overarching bluesy sensibility that remains exciting even in moments like the hypnotic midsection build of centerpiece “Divinity Blues.” Even the closing soft-guitar title-track has movement. They sound hungry in a way that suggests maybe it won’t be another seven years before a third LP arrives.

Molior Superum on Thee Facebooks

H42 Records

 

Moros, Weapon

moros weapon

Just because Philly is leading the Eastern Seaboard in terms of psychedelic charge, that doesn’t mean there isn’t room for the guttersludge extremity of a unit like Moros. The destructive three-piece’s first full-length, Weapon (on Hidden Deity Records), is vicious in its bite and downright nasty in its groove, abrasive from the static intro “(Vortexwound)” onward through “We Don’t Deserve Death” and “Devil Worshipper,” which recalls slower Napalm Death in its riff but is met with a harsh scream as well as shouts. The brutality continues through “Wizard of Loneliness” and into the outright pummel of “Death Nebula,” such that the locked-in nodder groove in the second half of “Every Day is Worse Than the Last” feels almost like a lifeboat, though there’s little salvation on offer in the closing title-track, which fades out on a noisy note in much the same way it faded in. Filthy, mean and heavy. The crust is real and it is thick.

Moros on Thee Facebooks

Hidden Deity Records website

 

Glitter Wizard, Opera Villains

glitter wizard opera villains

I was enticed to dig further into Glitter Wizard‘s Opera Villains (on Heavy Psych Sounds) by the recent video for opener “A Spell So Evil” (posted here), and it’s not a choice I regret. The San Fran-based weirdo collective are putting on a show, no doubt, but the quality of their songwriting on “The Toxic Lady” and the punkish underpinning of “Dead Man’s Wax,” etc., puts them in a classic rocking no man’s land in which they absolutely revel. The laser-strewn drama of “March of the Red Cloaks” and the organ- and flute-laced swing of “Hall of the Oyster King” embrace the grandiose in brazen fashion, and thereby make it that much easier for the listener to join them on this wavelength that is so thoroughly their own. Closer “Warm Blood” taps prog-of-old pomposity in its largesse while the earlier “Fear of the Dark” seems to do the same thing with just an acoustic guitar and some vocal harmonies. A record that knew exactly what it wanted to be and then became that thing. Awesome.

Glitter Wizard on Thee Facebooks

Heavy Psych Sounds website

 

Gourd, Moldering Aberrations

gourd moldering aberrations

Ambient darkness is inflicted with only the cruelest of spirit throughout Gourd‘s Moldering Aberrations EP, the Irish two-piece alternating minimalist spaciousness with gurgling drone intensity, the extremity of which doesn’t so much come through in pummel or drive, but in the swell of volume and its contrast with the emptiness surrounding. Also the growls. Three tracks are offered up like monuments to pain, and through “Befoulment,” “Mycelium” and the title-track, they conjure a heft of atmosphere as much as one of low end, the claustrophobic feeling of their craft coming through even in the relatively peaceful opening of the last song. That peace, of course, isn’t so much moment of respite as it is precursor to the next plunge, and either way, Gourd work in grueling fashion over 23 minutes to dismantle consciousness and expectation with a grim, distortion-fueled chaos from which there seems to be no escape, until the rumble and noise leave “Moldering Aberrations” and there’s just residual hum and a cymbal crash left. Madness.

Gourd on Thee Facebooks

Cursed Monk Records on Bandcamp

 

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Motorpsycho European Tour Starts Tonight

Posted in Whathaveyou on May 14th, 2019 by JJ Koczan

Europe needs my American ass to tell it to go see a Motorpsycho gig like it needs a surge of right-wing populism — which is to say not at fucking all — but as the ultra-prolific Norwegian progressive heavy rockers begin their Spring 2019 tour this evening in support of their latest album, The Crucible, I’d like to point out that their tour will meet up with Elder‘s on May 16 in Hamburg, and together they’ll play a gig marked out as a 25th anniversary celebration for Stickman Records. Damn right. Motorpsycho and Elder sharing a bill is about as much as you could ask for in an evening, so yeah, I’d think if there’s going to be an anniversary party for their label, that would be the night to do it.

Motorpsycho are an institution when it comes to heavy prog, so while I don’t need to tell Europe to go see it, in the name of friendship, I will anyway. I’ll have a writeup for The Crucible in the next Quarterly Review at the start of July — which is much closer than it sounds like — but obviously, the short version is, “duh, it’s Motorpsycho.”

Here are the tour dates:

motorpsycho

Motorpsycho – European Tour Dates

Good news if you’re on the European continent – Motorpsycho and Elder have embarked on respective tours this spring/summer.

The two will team up on May 16th at the Markthalle in Hamburg, Germany for a special show to celebrate 25 years of Stickman Records!

Those in attendance will be able to enter into a raffle to win one of a number of test pressings offered up by the bands and Stickman. All proceeds from raffle ticket sales will be donated to One Earth One Ocean, an environmental organization that works to improve the health of our oceans by removing plastic waste.

For those of you who also want to do good and throw your hat in the ring for some rare test pressings, we will be holding another raffle online in the coming months.

Motorpsycho live:
14.05.19 Aarhus (DK), Train
15.05.19 Copenhagen (DK), Hotel Cecil
16.05.19 Hamburg (DE), Markthalle
19.05.19 Utrecht (NL), Tivoli
21.05.19 Groningen (NL), Vera
22.05.19 Leuven (B), Het Depot
23.05.19 Hannover (DE), Faust
24.05.19 Wiesbaden (DE), Schlachthof
25.05.19 Lausanne (CH), Les Docks
27.05.19 Wien (AUS), Arena
28.05.19 Trezzo Sull’Adda (IT), Live Club
29.05.19 Bologna (IT), Zona Roveri
30.05.19 Avelino (IT), Teatro Partenio
31.05.19 Ciampino (IT), Orion
01.06.19 Genova (IT), Goa Boa Preview
02.06.19 Reutlingen (DE), franz.K
28.06.19 Trondheim (NOR), Trondheim Rocks
31.07.19 Trondheim (NOR), Olavsfestdagene
06.08.19 Oslo (NOR), Øya Festival
29.09.19 Bremen (DE), Schlachthof
01.10.19 Köln (DE), Gloria Theater
15.10.19 Frankfurt (DE), Mousonturm
16.10.19 Leipzig (DE), Conne Island
17.10.19 Berlin (DE), Festsaal Kreuzberg

Motorpsycho is: Bent Sæther, Hans Magnus “Snah” Ryan, Tomas Järmyr.

https://www.facebook.com/motorpsycho.official/
https://twitter.com/motorpsychoband
http://motorpsycho.no/
https://www.facebook.com/Stickman-Records-1522369868033940/
https://www.instagram.com/stickmanrecords/
https://www.stickman-records.com/

Motorpsycho, “Lux Aeterna”

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King Buffalo Announce European Tour Dates with Child

Posted in Whathaveyou on April 9th, 2019 by JJ Koczan

king buffalo

I can’t help but notice that in the list of just-announced European tour dates that King Buffalo will undertake in the company of Australian blues rockers Child, there’s a four-day stretch between their stop at Black Deer Festival in the UK and a date in Caligari, Italy. Does that mean what I think it means? Perhaps a trip to Sardinia on the sly to take part in a certain ultimate-daydream unofficial festival? Yes, I’m talking about Duna Jam. Are King Buffalo playing it? With Child? Fucking take a second and imagine how incredible that will be. Take another second.

Speculation on my part. I know nothing about Duna Jam, or if it’s even happening. It might just be the bands needed a little time to travel after the UK stop. I don’t know. But man, even the thought of King Buffalo playing on the beach in Sardinia, well, it sounds like a really good idea to me, and just maybe I’m not the only one.

Whether you see them there or don’t, see them. I’ve been scratching my head for the last little bit trying to think of some of the most crucial up and coming acts in the varying stripes of American heavy, and King Buffalo are a name to which I continually return. See them.

Dates follow:

king buffalo euro tour

We’re European bound this summer with our good friends CHILD!! All dates below:

21.06 GER – Siegen, Freak Valley Festival**
22.06 UK – Royal Tunbridge Wells, Black Deer Festival
27.06 I – Cagliari, Corto Maltese
28.06 I – Bologna, Freak Out
29.06 I – Allesandria, Cascina, Bellaria
30.06 A – Innsbruck, PMK
01.07. GER – Munich, Feierwerk
02.07. A – Vienna, Viper Room
03.07. GER – Cottbus, Fauler August
04.07. GER – Berlin, Badehaus
05.07. GER – Münster – Rare Guitar
06.07. A – Salzburg, Rockhouse
07.07. GER – Cologne, MTC
08.07. GER – Darmstadt, Oetinger Villa
09.07. GER – Hamburg, Hafenklang
10.07. SWE – Motala, Bomber Bar
11.07. NOR – Oslo, Bla
13.07. LIT – Anyksciai, Devilstone
**only KB

Previously announced East Coast shows:
4/20 Toronto, ON @ Velvet Underground
4/26 Boston, MA @ Middle East Upstairs
4/27 Newport, RI @ Rusty’s
5/3 Baltimore, MD @ Windup
5/4 Philadelphia, PA @ Kung Fu Necktie
5/26 Joshua Tree, CA @ Stoned & Dusted
6/1 Brooklyn, NY @ Saint Vitus
6/8 Montreal, QC @ Tattoo Nouvelle Ere

Info & ticket links: http://kingbuffalo.com/

Lineup:
Sean McVay – vocals, guitar, synth
Dan Reynolds – bass, synth
Scott Donaldson – drums

kingbuffalo.com
facebook.com/kingbuffaloband
instagram.com/kingbuffaloband
twitter.com/kingbuffaloband
kingbuffalo.bandcamp.com

King Buffalo, Longing to be the Mountain (2018)

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