Posted in Whathaveyou on January 15th, 2016 by H.P. Taskmaster
Swedish heavy rock mainstays Spiritual Beggars will issue their ninth full-length, Sunrise to Sundown, late in March on InsideOut Music. The release will be the third to find the band fronted by former Firewind vocalist Apollo Papathanasio, who joined the band alongside founding guitarist Michael Amott (also Carcass) in time for 2010’s Return to Zero (review here). The five-piece, which also features bassist Sharlee D’Angelo, keyboardist Per Wiberg and drummer Ludwig Witt — none of whom is without substantial pedigree, as you can see below — are set to tour in Europe supporting the new album, playing Desertfest Berlin 2016 and more besides.
Here there be details from the PR wire:
SPIRITUAL BEGGARS Announce New Studio Album Release and Tour Dates!
Swedish vintage style hard rock pioneers SPIRITUAL BEGGARS return with their 9th studio album entitled “Sunrise To Sundown”, which will be released on March 18th, 2016 in Europe as well as March 25th, 2016 in North America via InsideOutMusic.
Just like on their previous two album releases, “Return To Zero” (2010) and “Earth Blues” (2013), SPIRITUAL BEGGARS stellar line-up is consists of bandleader Michael Amott (Arch Enemy, ex Carcass) on guitars, teaming up with Apollo Papathanasio (ex Firewind) on vocals, Sharlee D’Angelo (Arch Enemy, Witchery) on bass, Per Wiberg (Candlemass, ex Opeth) on keyboards as well as Ludwig Witt (Grand Magus, Firebird) on drums.
After a busy couple of last years with Arch Enemy, Michael Amott and his bandmates have once again found the availability and inspiration to lay down 11 dynamic and uplifting new songs, which not only easily demonstrate how much on top of their game SPIRITUAL BEGGARS still are after over 20 years of activities, but also add a fresh and spontaneous vibe to their impressive catalogue.
Speaking about how the new album came together, Amott commented the following: “We’ve been writing the album here and there over the last couple of years when our schedules have allowed us to meet up and spend a few days jamming. A few of the songs I wrote on my own, others were written by our keyboard player Per Wiberg. Our drummer Ludwig Witt submitted two tracks that are actually his first major contributions to the band as a writer – and they’re great songs too! I also co-wrote a few tunes with Per Wiberg and that was really a lot of fun as well, it’s been a very collaborative process.”
In counteraction to the oftentimes soulless current hi-tech digital cut/paste recordings, “Sunrise To Sundown” was tracked live off the floor and Amott added the following about the recording results:
“I’m super excited about how the album sounds sonically, our engineer Staffan Karlsson also produced and mixed the album and the result is something we’re very proud of. I think every album we have made (this being our 9th) has had its own vibe and atmosphere. I can honestly say this band has never made the same album twice. To me, “Sunrise To Sundown” is the next chapter of the book we’ve been writing since we started the band over 20 years ago. Of course, the foundation of our style is heavy rock music, but we always keep evolving adding new influences and colours to the bands core sound.”
Supporting the release of “Sunrise To Sundown”, SPIRITUAL BEGGARS will finally also be hitting the road again in order to showcase the new material on the following club-dates as well as festivals:
SPIRITUAL BEGGARS – Live 2016: 28.03.2016 Köln (Germany) – Club Bahnhof Ehrenfeld 29.03.2016 Aschaffenburg (Germany) – Colos-Saal 31.03.2016 Leipzig (Germany) – Hellraiser 01.04.2016 Hamburg (Germany) – Logo 02.04.2016 Essen (Germany) – Turock 04.04.2016 Pratteln (Switzerland) – Z7 06.04.2016 Kortrijk (Belgium) – De Kreun 07.04.2016 Rouen (France) – Le 106 10.04.2016 Paris (France) – Backstage By The Mill 12.04.2016 Munich (Germany) – Strom 14.04.2016 Karlsruhe (Germany) – Substage 28.04.2016 Berlin (Germany) – Desert Fest 08.07.2016 Oulu (Finland) – Jalometalli Festival 09.07.2016 Ballenstedt (Germany) – Rock Harz Festival More dates to be announced soon…
Posted in Reviews on January 6th, 2016 by H.P. Taskmaster
Well, this is where we hit and pass the halfway point. It’s been a good week so far. Busy, but good. I hope you’ve found something that you dig or agree with or whatnot. I know it’s kind of hard to dig through 10 releases at once, but even if you see cover art that strikes a nerve, going with that impulse is rarely a bad idea, particularly when the level of commitment involved is clicking play on a Bandcamp player to get a taste. Pretty wide range today, so let’s dig in.
Quarterly review #21-30:
Corrections House, Know How to Carry a Whip
Since they made their debut as a unit in 2013 with Last City Zero (also on Neurot), the don’t-call-it-a-supergroup Corrections House – vocalist Mike Williams (Eyehategod), guitarist/vocalist Scott Kelly (Neurosis), saxophonist/vocalist Bruce Lamont (Yakuza, Bloodiest) and programmer Sanford Parker (Buried at Sea) – have spread their bleak gospel of totalitarian industrial vehemence to audiences in the US and Europe. Their second offering, Know How to Carry a Whip, is bolder sound-wise and retains a very human, punk rock core with Williams’ sneer playing off Kelly’s gutturalism on “White Man’s Gonna Lose” and nearly goes goth in doing the same with Lamont in the later “When Push Comes to Shank,” but across the 45-minute span, the songs remain in the key of abrasion, and ultimately that’s what most unites them. As noisy as closer “Burn the Witness” gets, I can’t help but think of the acoustic, Lamont-led centerpiece “Visions Divide” as the bleakest moment of the record, twisting folkish conventions into a dystopian soundscape, but Williams’ spoken drug-poetry on “I was Never Good at Meth” provides stiff competition.
Lush in its arrangements and doling out extreme measures of melancholy across its 56 minutes, Antimatter’s sixth album, The Judas Table (on Prophecy Productions), brings sonic depth to bear in rich textures of electric and acoustic guitars, keys, and the strength-through-fragility vocals of remaining founder and songwriter Mick Moss. The group’s last offering, 2012’s Fear of a Unique Identity (review here), pushed them into fuller tones, and an early cut like “Killer” builds on that, but the crux of The Judas Table is in subdued and brooding pieces like “Little Piggy,” remorseful and seething in kind as it moves through an acoustic-led arrangement marked out by strings and a sense of grace. “Integrity” asks the question, “What’s the point if no one else has any?” and sets a depressive run through one of the record’s grader builds, but Antimatter are hardly contained to one style here, as the New Wave inflection on “Can of Worms” or the rumbling apex of highlight “Stillborn Empires” demonstrate.
Not to be confused with their Swedish countrymen who operated under the same moniker and whose lineup included a post-and-pre-Candlemass Messiah Marcolin, Stockholm’s Colossus play a decidedly progressive blend of Peaceville-style doom and metal, the trio of guitarist/vocalist Niklas Eriksson, bassist Peter Berg and drummer Thomas Norstedt adding a near-immediate inflection toward the epic via Primordial-style vocal patterning on opener “Yehi Aour/Wanderers” that holds for much of their 48-minute sophomore outing, The Breathing World (on Perennity Records). “Darkling Root” and more so the chugging “Fuga Mundi” delve into blackened fare in the guitar, but it’s just one of an array of genres in Colossus’ arsenal and in the case of the latter, soon enough complemented by Opethian prog noodling and soulful vocalizing. These turns, which more often than not happen in an instant, are a great strength of The Breathing World, but would fall flat without the crisp, confident delivery the band provides leading to the grand sprawl and long fade of 10-minute closer, “The Silent City.”
One thing we’ve learned about Twin Earth Records thus far into the long-established label’s recent surge of activity is that it knows tone when it hears it. Thus comes treading Bastard Lord out of Buffalo, New York, whose four-song self-titled debut was initially self-released and remastered for a CD issue, rumble-fuzzing a murky Sabbath worship that oozes from the amps of bassist/vocalist David Braymiller and guitarist Mike Hermann – hard to tell at times in 13-minute opener and longest track (immediate points) “Cimmerian” where the one instrument ends and the other begins – and set to a suitable plod by Jeremy Coupe’s drumming. It’s little surprise when they pay homage to “Snowblind” in “Wormwood,” but the psychedelic edge in Braymiller’s vocals – drowned in effects, buried in the mix; both appropriately so – gives Bastard Lord a personality of its own the holds even into the faster closer “Into the Sea,” a Toner Low-style lysergic depth unflinching through that song and “Summoner” before it as Bastard Lord emerge from the mire with their intentions clear.
One might be forgiven for entering into Monocluster’s self-titled, self-released debut album with an expectation for traditional stoner rock, between the band’s moniker and album cover – and if that’s what came through in playing the 35-minute, five-track outing, I very likely wouldn’t complain – but the German-language four-piece subtly veer into and out of spacier interludes in cuts like “Dantes Inferno” and “8 Stunden” and the later “Ich Atme” pushes even further along those lines, jamming out vast and echoing over a foundational bassline that holds the track together before it stops outright and resurfaces with Monocluster’s most righteous single nod. Centerpiece “Straße” demonstrates a touch of Colour Haze influence as well, but on the whole the Cologne four-piece seem headed in a different direction, and as the 10-minute closer “12 Minuten” ranges farther and heavier than everything before it, I’m only more intrigued to find out where they might end up. Heavy psych that’s not afraid to tighten up and make a more pointed impact when it feels one is needed.
I have two reasons for writing a review of Valley’s Sunburst EP, and they are both ridiculously simple. Yes, the Swedish five-piece were featured in two podcasts (one here, one here) and mentioned in the roundup of 2015’s best short releases – however, reviewing Sunburst now gives me another excuse to put it back on and it gives me something to fall back to later when I’m praising the crap out of whatever they do next and want to link a past review. Simple reasons. If you haven’t yet heard the 2015 debut outing from the Stockholm post-heavy rock instrumentalists, basked in the warm, organic psychedelia of “Tunguska” and “Kiro” or the peaceful folk-jam of “Dream Shooter, Golden!” and the tense-and-release percussion and sample-topped progressive course of “Picture Puzzle Pattern Door,” then you have quite simply missed out. I’m sure plenty have and plenty more will liken it to a desert sound – in no small part because of the cover art – but the smooth melodicism goes beyond landscape here and is made to be appreciated regardless of climate or locale.
An edge of Northeastern aggression is unmistakable at the core of Shatner’s 20-minute self-released six-track EP. Based in Boston, the tree-piece boasts guitarist/vocalist Jim Healey (Black Thai, We’re all Gonna Die), bassist/backing vocalist Jesse Sherman (We’re all Gonna Die) and drummer Rob Davol (Cocked ‘n’ Loaded), and so a touch of anger isn’t unexpected given the personnel – even Healey’s acoustic work has brooding tension underlying – but if “Special” and “Black Market Liver” are variations on an ongoing theme, they’re of consistent quality in terms of songwriting, and the Thin Lizzy cover “Bad Reputation” is positioned well just past the halfway point to add variety amid a slew of potent hooks. Not their first time working together, but Healey and Sherman’s voices complement each other well on “Dead in Your Eyes” and “Death Reheated,” and with the solid foundation that Davol provides throughout, Shatner’s EP is an encouraging start to what’s hopefully an ongoing development.
Harvested, sometimes manipulated samples and synthesized textures permeate Notturno, the mostly-instrumental second album from Italian atmospheric project Australasia. Comprised solely of Gian Spalluto, it’s somewhat more surprising that songs like the cascading “Lumen” and “Kern” are able to conjure such full-band progressions, but layering was bound to be a factor one way or another in Australasia’s approach, so if it’s Spalluto’s vision at play, so be it. Sonically, the impression of much of the material – including the guest-vocalized centerpiece “Invisibile” – winds up somewhere between the dystopian ambience of Red Sparowes and the brighter aspirations of post-black metallers Alcest, but songs like “Haxo” and the closing title-track, a (mostly) solo piano piece, have a cinematic edge as well. Rather than play one side against the other, Spalluto brings them together in one overarching flow that engages conceptually and sonically throughout a nine-track/39-minute course that willfully refuses to acknowledge a line between post-rock and post-metal.
Synth ambience and distorted severity meet head-on with the second full-length from Swedish post-metallers The Moth Gatherer, The Earth is the Sky (on AgoniaRecords). Produced over a two-year span with Karl Daniel Lidén (Greenleaf, VAKA, etc.), it punishes intensely on “The Black Antlers” with no less underlying fluidity than it had on the quietly atmospheric “Dyatlov Pass” preceding, the four-piece of bassist/vocalist Alex Stjernfeldt, guitarist/vocalist/programmer Victor Wegeborn, guitarist Ronny Westphal and drummer Svante Karlsson finding a place sound-wise that swaps between peaceful and threatening, delving into extreme progressive metal and electronica in kind on “Attacus Atlas” while setting up the consuming, gradual push of 11-minute closer “In Awe Before the Rapture,” which seems in conversation with the synth of the earlier “Probing the Descent of Man” in creating a layered structure of sound, while also attempting to marry the various impulses displayed throughout. Familiar to a degree, but immersive in its bringing earth and sky together.
You might wonder just what kind of neighborhood it is that would pair “The House that Dripped Blood” next door to “House of Warlocks” – perhaps that street is on the “Island of Lost Souls” – but then you probably wouldn’t get the crux of Memphis heavy punk foursome Super Witch’s debut full-length, Super Witch Has Risen, which has tales of horror front to back, “Spaceship Cadillac” notwithstanding. The Tennessean outfit dip into garage grunge on “Night of the Hunter” and stomp out call and response and Melvins chug on on “The Need,” show some more patient swing on “Smash Your Own Face,” but it’s “Army of Werewolves” and the opening “Super Witch Has Risen” that tell the story of the band’s intent more than the semi-swirl of “Smash Your Own Face” or the all-the-way swirl of closer “With the Lights Out,” as satisfying as the closer is in pulling off a rare feat – psychedelic punk. Split between two recording sessions, there are some changes in sound throughout, but it would take a supernatural force to derail Super Witch from their underlying purpose.
Posted in Reviews on January 5th, 2016 by H.P. Taskmaster
Pushing through the first batch of reviews and into the second. Always seems easier on the downhill somehow, but if the worst thing that ever happens is I have to put on 10 records a day, you aren’t likely to hear me complain. Today we get deeper into the round, and that while I’ll note that the context for today’s first review has changed decidedly for the unfortunate since it was slated for inclusion in this roundup, I’m trying still to take it on its own level, which is what any record deserves, regardless of its circumstances. No sense in delaying. Let’s go.
Quarterly review #11-20:
Motörhead, Bad Magic
The four ‘X’es on the cover of Motörhead’s 23rd album, Bad Magic (on UDR Music) are placed there each to represent a decade of the band’s existence, and while the context of the 13-track/42-minute offering will be forever changed due to the recent passing of iconic frontman/bassist Ian “Lemmy” Kilmister and because the remaining members – guitarist Phil Campbell and drummer Mikkey Dee – have said it will be their final new studio release, it goes to show that one of metal and punk’s most landmark acts came in raging and went out raging. To wit, barnburners like “Thunder and Lightning” and “Teach Them How to Bleed” are quintessential Motörhead, and the propulsive “Shoot out All of Your Lights” is a blueprint for both their righteousness and relentlessness. A closing Rolling Stones cover of “Sympathy for the Devil” borders on poignant in hindsight, but on cuts like “Evil Eye,” “Electricity” and “Tell Me Who to Kill,” Bad Magic is basically Motörhead being Motörhead, which was of course what they did best.
Topped off with some of the least-pleasant cover art one might (n)ever ask to see, the Aeon Cult EP is the third from German progressive sludge outfit Owl in two years’ time after two initial full-lengths. It comprises three songs that span genres from the slow-motion lurch of “The Abyss” to deathly intricacy – preceded by a groove that doesn’t so much roll as slam – on “Ravage” to an atmospheric extremity of purpose on “Mollusk Prince,” and is over in a whopping eight and a half minutes. Seriously, that’s it. At the center of the tempest are multi-instrumentalis/vocalist Christian Kolf, also of Valborg, and drummer Patrick Schroeder, formerly of Valborg, who elicit inhuman heft and bleakness across a relatively brief but nonetheless challenging span, and who seem to revel in the melted-plastic consistency of the sounds they create. Creative rhythms and ambience-enhancing keyboard work give Aeon Cult a futuristic edge, and if this is the world into which we’re headed, we should all be terrified.
The self-titled debut from Vancouver trio Waingro (review here) was a half-hour affair brimming with intensity and forward motion, and while the band’s second outing, Mt. Hood, follows suit tonally and in its neo-progressive thrust, the 11-track outing also provides a richer all-around experience and shows marked growth on the part of the band. “Desert Son” opens the album with an expansive solo section and intricate vocal layering to go with its metallic crunch, and while Waingro keep a short, efficient songwriting process at their core, that track and the slower, seven-minute “Mt. Hood” show their process has become more malleable as well. Likewise, while the methods don’t ultimately change much, shorter instrumental pieces like “Raleigh” on the first half of the album and the rolling “Frontera” on the second add variety of structure and make Mt. Hood as a whole feel more widespread, which, of course, it is. Waingro still have plenty of intensity on offer throughout, but their sophomore LP proves there’s more to them than unipolar drive.
A self-titled debut full-length that breaks down into two subsections – the first is tracks one through five and is titled Emerald Mass and the second is tracks six through 12 and is titled The Quétu – clearly the intentions behind Frank Sabbath’s opening statement are complex. All well and good, but more importantly, the work of the Parisian trio of guitarist/vocalist Jude Mas, bassist Guillaume Jankowski and bassist Baptiste Reig is cohesive across the record’s 12-track span, and those two parts not only meld the songs that make them up together fluidly, but work set one into the next to bring a full-album flow to the proceedings, spanning classic progressive (the kind that’s not afraid to let the guitars get jazzy) rock and psychedelic mind-meld into a sometimes-strange, sometimes-in-Spanish brew of potent lysergics. The three-piece set a vast range from “Waves in Your Brain” onward and wind up delivering the “Fucking Moral,” which seems to be “Never be afraid of who you are/Never be ashamed of what you are.” Clearly, while their moniker might be playing off acts who came before, Frank Sabbath are not afraid to stand on their own sonically.
Sweet soul and classic psychedelic methods pervade The Sonic Dawn’s Perception (on respected purveyor Nasoni Records) debut album, and the Copenhagen trio of guitarist/vocalist Emil Bureau, bassist Neil Bird and drummer Jonas Waaben find an easy, spacious flow through songs that, despite being relatively straightforward, retain an expansive feel. Shades of Jimi Hendrix and The Doors make themselves felt early on, but Bureau’s voice shifts smoothly into and out of falsetto and the tonally The Sonic Dawn seem immediately in search of their own identity. The effects-soaked finish of “All the Ghosts I Know” and the apex of “Wild at Heart” would seem to indicate success in that process, but I wouldn’t be surprised if they push the psychedelic impulses of “Watching Dust Fall” even further their next time out, and if they can do so while holding onto the accessible foundation of Perception, all the better. An impressive debut from a three-piece who do right in making a show of their potential.
Ancient of Days follows two impressive EPs from Swedish tonal constructionists Spelljammer (on RidingEasy), and is the trio’s full-length debut, a pretense-less 39-minute offering that basks in post-Sleep riff idolatry while leaving room in a cut like the 12-minute opener and longest track (immediate points) “Meadow” for nodding atmospherics as well. “Meadow” and the 11-minute closer “Borlung” sandwich the rest of Ancient of Days, which moves between the acoustic minimalism of the quick “Laelia” to the already-gone centerpiece “From Slumber,” which rises gradually, swells in its midsection, and recedes again – beautifully – and the eight-minute groove-roller “The Pathfiner,” which would be the apex of the record if not for the crashing finale of “Borlung,” which churns and plods and caps the record – how else? – with a swirl into empty space. Following a cult response to 2012’s Vol. II EP, that Spelljammer would deliver big on their debut album isn’t necessarily a surprise, but it remains striking just how easy it is to get lost in the morass of riffs and outward vibes they present in these five cuts. Should’ve been on my Best Debuts of 2015 list.
This doomy twofer from Hydro-Phonic Records plants a veritable garden of unearthly delights in bringing together Brazilian doom outfits Witching Altar and Necro and highlighting the similarities and the differences between them. Pressed to CD late in 2015 with vinyl impending, it offers four cuts from Witching Altar, whose take on doom is ultra-traditional to the point of working in a Sabbathian “All right now!” for “She Rides the Seventh Beast,” and three from Necro (shortened from Necronomicon), a yet-unheralded trio of ‘70s progressive traditionalists who offer up the new single “Contact” and two tracks revisited from their two to-date full-lengths. Both prove immersive in their own right, Witching Altar setting a course for weird quickly on “The Monolith” which some theremin that reappears later, and Necro vibing out on the warm bassline of “Holy Planet Yamoth,” but each has their own ideas about what makes classic doom so classic, and the arguments on both sides are persuasive.
One never knows quite what to expect from Texas two-piece Stone Machine Electric, and that seems to be precisely how the duo of guitarist William “Dub” Irvin and drummer/thereminist Mark Kitchens like it. The Amazing Terroris something of a stopgap EP, released on CDR by the band as a follow-up to late-2014’s Garage Tape (review here) and a lead-in for their next full-length, reportedly recorded last month with Wo Fat’s Kent Stump at the helm. Taken from the Garage Tape sessions, The Amazing Terror makes a standout of its languid, jammy title-track and surrounds it by three more instances of the band’s exploratory ideology, delving into the quietly cosmic on “Before the Dream” and feeding a cyclical delay expanse on closer “Passage of Fire,” a likely companion-piece to the opening “Becoming Fire,” which may or may not play thematically into where Stone Machine Electric are headed with their next record. As always with these guys, I wouldn’t dare place a bet either way and look like a fool on the other side.
Chicago post-sludgers Pale Horseman featured a remix by Justin K. Broadrick (Godflesh/Jesu), originally on their 2013 self-titled debut, on their second outing, 2014’s Mourn the Black Lotus (review here), and their third full-length, Bless the Destroyer, boasts a mixing job by Noah Landis of Neurosis. All three records were also recorded by Bongripper guitarist Dennis Pleckham, so it seems fair to say that Pale Horseman know who they want to work with and why. The results on Bless the Destroyer speak for themselves. With the 15-minute penultimate cut “Bastard Child” as an obvious focal point, the four-piece give a clear sense of progression in terms of their patience and overall range. The earlier “Caverns of the Templar” still boasts plenty of post-Godflesh chugging intensity – elements of death metal, see also centerpiece “Pineal Awakening” – but closer “Olduvai Gorge” sleeks along with a poise that even in 2013 Pale Horseman would’ve driven into the ground on their way to doing the same to everything else in their path. Their growth has made their approach more individual, and it suits them well.
A self-titled four-track debut EP from Argentina heavy rockers Yo, Moreno finds the band coming out swinging. The San Miguel de Tucumán-based four-piece of vocalist Marcos Martín, guitarist Lucas Bejar, bassist Noel Bejar and drummer Omar Bejar elicit a surprisingly aggro mood on “A Lot of Pot,” the opener, but groove remains paramount, and fuzz abounds. “Noelazarte” is more adventurous all around, an early build setting a tone with prevalent bass before Martín comes in after the halfway mark. Since “Para Noico” returns to the angrier spirit of “A Lot of Pot” and closer “3,000” heads outward on an instrumental exploration that blends grounded, weighted tones with spacier impulses, it seems easy to think that someone, somewhere would pick Yo, Moreno up for a 10” release. Especially as their first offering, it skillfully blends doomier atmospheres with fuzz-heavy nods, and stakes its claim in a niche that’s never completely one side or the other. Even formative as it is, it’s an intriguing blend.
Posted in Reviews on January 4th, 2016 by H.P. Taskmaster
And so it begins again. It had been my original intention to launch this latest Quarterly Review last week, but as that would’ve had me basically walking out on the holidays with my family, it seemed somehow prickish to be like, “Uh, sorry dudes, riffs call” and split, particularly when there are hours of driving involved. Still, though it’s already running late by the arbitrary calendar in my mind, I’m glad to be able to tackle a batch of releases that both looks back on the last part of 2015 and to the New Year we’ve just entered. As ever, there is a lot, a lot, a lot of ground to cover, so I won’t delay except to remind of what the Quarterly Review actually is:
Between now and this Friday, I will post 10 reviews a day in a single batch grouped like this one. The order is pretty much random, though something higher profile is usually first. It is my intention that each post covers a range of styles, and hopefully within that, you’re able to find something that speaks to you. Many of these releases were sent to me as physical product, and before I start, I want to extend thanks to those groups for undertaking the time and expense of giving me the full representation of their work to hopefully better do mine.
Quarterly Review #1-10:
Jess and the Ancient Ones, Second Psychedelic Coming: The Aquarius Tapes
Finnish six-piece Jess and the Ancient Ones pay homage to psych cultistry on their sophomore full-length, Second Psychedelic Coming: The Aquarius Tapes (on Svart), and while one might argue with the band marking this out as the “second coming” of psych – I’d say the third, generationally-speaking – the paean to late-‘60s sonic spaciousness in “In Levitating Secret Dreams” is unmistakable, the songwriting of guitarist Thomas Corpse conjuring fervent swirl behind the soulful Grace Slick-isms of vocalist Jess. At 65 minutes, it’s a classic double-LP, but Second Psychedelic Coming seems most engaged in its longer pieces, the eight-minute “Crossroad Lightning,” which pulls back from the urgency of earlier cuts “”The Flying Man” or the opening “Samhain,” and the 22-minute closer “Goodbye to Virgin Grounds Forever,” which has an arrangement to match its scope that unfolds no less gracefully. Some of the more frenetic parts seem to be arguing with themselves, but the overarching vibe remains satisfyingly tripped out and that closer is their to-date masterpiece.
No big surprise that a record called Cult of Helios would seem to so unabashedly bask in sunshine. The four-track/32-minute sophomore full-length from German heavy psych four-piece Iguana has its driving moments, some in opener “Josiah” but more in the subsequent melodic thriller “Albedo,” but the prevailing sensibility is toward tonal warmth and steady groove. The band – vocalist/guitarist Alexander Lörinczy, guitarist Thomas May, bassist Alexander May and drummer Robert Meier – debuted in 2012 with Get the City Love You (review here), but Cult of Helios is a more cohesive, individualized release, whether it’s the hook of “Albedo,” the Beatles-gone-fuzz of “A Deadlock Situation” or the lush, flowing 15-minute jam of the closing title-track. Iguana’s propensity for blending underlying structure with a wide-open, welcoming atmosphere is writ large over Cult of Helios, and the album shines in a manner befitting its inspiration. A sleeper that begs waking.
Most long-distance projects fizzle out after a record or two. With a lineup split between Bavaria and Connecticut, doom rockers Seamount have managed to sustain a remote collaboration, the German band of bassist Markus Ströhlein, guitarist Tim Schmidt and drummer Jens Hofmann working with New England-based vocalist Phil Swanson (ex-Earthlord, ex-Hour of 13, Vestal Claret, etc.). The excellently-titled Nitro Jesus (on The Church Within) is their fifth full-length since 2007, and boasts a refined blend of doom, NWOBHM and dark thematics common to Swanson’s lyrics. Tonally crisp but immersive, slow crawlers like “Can’t Escape the Pain” are offset by the ‘80s metal swing of “Beautiful Sadness,” and each side caps with a longer track, whether that’s the seven-minute “Scars of the Emotional Stuntman,” the most singularly sweeping movement here, or the closer “No One Knows,” which has a moodier feel, the guitar recalling Don Henley accompanied by piano as the finale hits its apex. For those who like their metal of tried and true spirit and individual presentation, Nitro Jesus delivers in more than just its name.
Every now and then you hear a record that reminds you what you love about rock and roll in the first place. It doesn’t need to be the most complicated thing in the world, or the most expressive, or the heaviest or the most whatever of anything else, but like Gentlemans Pistols’ third LP, Hustler’s Row (on Nuclear Blast), if it locks in a special chemistry between its players, that’s more than enough to carry it through. That the UK four-piece are ace songwriters and bolstered by the lead guitar chops of Bill Steer (Firebird, Carcass) for the Thin Lizzy dual-solos – vocalist/guitarist James Atkinson on the other end – helps plenty as well, but with the tight, classic-style grooves brought to across Hustler’s Row by bassist Robert Threapleton and drummer Stuart Dobbins, Gentlemans Pistols give essential heavy rock a non-retro modern interpretation that might leave one wondering why so many people try to ape a ‘70s production to start with.
Each side of Wired Mind’s Mindstate: Dreamscape LP (on HeviSike Records) gracefully unfolds a lushly-toned, warm, engaging heavy psychedelic sprawl. The chief influence for the Hannover two-piece of guitarist/vocalist Mikey and drummer Chris is their countrymen godfathers Colour Haze, but the duo make their presence felt early on “Road,” the opener and longest-track at 11:01, which balances serene and spaced exploration with post-Kyuss “Thumb” shuffle, all the more enticing for having been recorded live, conjuring Echoplex spaciousness around the repeated line, “All we gotta do is love.” Both sides work on the same structure of a longer track feeding into a shorter one, “Road”’s considerable amassed thickness giving way to the winding groove of “Jennifer’s Dream of a Switchblade” while the Duna Jam-ready vibes permeating from “Wired Dream” finding a moving complement in closer “Woman,” which effectively captures desert rock rhythmic propulsion. As their debut, Mindstate: Dreamscape feels conceptually and stylistically cohesive, and sets Wired Mind up with a sonic breadth on which to continue to build.
Greek heavy rollers Automaton revisit their 2013 debut full-length, Echoes of Mount Ida, for a limited vinyl release. The four-track offering initially surfaced coated in burl and massive riffing, but a remix adds psychedelic edge to the lumbering fervor of “Fear,” on which the Athenian five-piece are joined by Scott “Dr. Space” Heller of Øresund Space Collective for added synth and swirl. He delivers, and the opener also adds guest vocals from Nancy Simeonidou, but the remix keeps things consistent as Automaton transition into the chugging “Beast of War,” a complex near-djent rhythm (which will find complement in the end of “Echoes of Mount Ida” itself) smoothly met by drummer Lykourgos to finish side A of the LP while the locked-in nod of “Breathe in Stone” bleeds into the closing title-track as Automaton offer riffy largesse set in a spacious backdrop like mountains in the distance. Interesting to see if the semi-reboot of their debut is indicative of some overall shift in direction, but at least on the vinyl offering, it makes their sound that much broader.
Between Martin Karlsson’s keys (also bass) and vocalist Dimitri Keiski’s propensity to soar, the mood turns epic pretty quick on Sideburn’s fifth album, Evil or Divine (on Metalville Records). The Swedish foursome’s latest shares more than just its titular reference in common with Dio — who, in addition to the lyric from “The Last in Line” had a live record with the same title – but keep a foot in doom territory throughout, drummer Fredrik Haake playing with metallic precision and an edge of swing as Morgan Zocek pulls out leads over “Sea of Sins.” The later “The Day the Sun Died” is particularly post-OzzyIommic, but Evil or Divine benefits from the kick in the ass that the penultimate “Evil Ways” seems only too happy to provide before “Presence” finishes on a hopeful note. Definitely more fist-pump than nod, Evil or Divine cries out to legions of the brave who want a thicker groove than modern metal is willing to provide without giving up the occasional cause to headbang.
Seattle-based bass/drum duo Year of the Cobra had two labels pick up their debut EP, The Black Sun, between Devil’s Child Records and DHU Records, and they’ve signed to STB Records for the follow-up, so it seems safe to say their three-track outing has gotten a solid response. The songs make a compelling argument for why. With vocals that recall Soph Day from Alunah on opener “White Wizard” before delving into faster, more punkish fare on “The Black Sun” itself, Year of the Cobra serve immediate notice of a breadth in their sound, and the seven-minute wah-bass finale “Wasteland” enacts a low-end swirl that pushes even further out while keeping hold of itself via steady, tense drumming. That finisher is a particular high point, with bassist/vocalist Amy Tung Barrysmith self-harmonizing in layers over the steady build and drummer Johanes Barrysmith making sure the considerable tone keeps moving forward. Easy to hear why they’ve found such support in such a short time.
The third long-player from Dutch four-maybe-five-piece Drive by Wire, The Whole Shebang gets more complex as it goes. Its first couple tracks, “Kerosine Dreams” [sic], “Woodlands,” “The Whole Shebang” and “Five Ft. High” are deeply indebted to desert rock circa Songs for the Deaf, tonally and even in some of Simone Holsbeek’s sing/talk call and responses on “Woodlands.” From there, “Rituals,” “In This Moment” and the moody “River Run” and “Promised the Night” push into more individual ground, and even though they tie it back together in the album’s third and final movement with “Rotor Motor,” “All Around” and “Voodoo You Do,” the context has changed, and by the time guitarist Alwin Wubben swells lead lines behind the verse of the closer, the fuzz of “Kerosine Dreams” is a distant memory. Completed by bassist Marcel Zerb and drummer Jerome Miedendorp de Bie, Drive by Wire wind up on a considerable journey, and while the title at first seems off-the-cuff, it works out to be a whole shebang indeed.
Relaunched as a trio in the first half of 2015, Virginia trio Akris made a studio return with the four-song/32-minute Fall EP, which probably should’ve been called a full-length and probably should’ve been pressed to vinyl (paging Tony Reed to master and STB Records to release…), but the digital-only offering finds Akris and particularly founding bassist/vocalist Helena Goldberg anything but apprehensive as she, guitarist/vocalist Paul Cogle (Nagato, Black Blizzard) and drummer Tim Otis (Admiral Browning) follow-up the band’s raucous sans-guitar 2013 self-titled full-length debut (review here), balancing plodding grooves, melody and abrasion deftly atop rumble and riffs in “Forgiven” as Goldberg swaps between screams and grunge-styled croons. The subsequent “People in the Sky” is less patient, and caps its nine-minute run with a barrage of noise rock synth that continues at the start of closer “Alley Doorway” but ultimately recedes (momentarily) to let that song establish its own course of loud/quiet tradeoffs and resonant exploration. Unless Akris are planning a series of seasonal short releases, I see no reason why Fall EP shouldn’t be characterized as a second long-player and heralded for the bold expansion of the band’s approach it represents.
Posted in Whathaveyou on December 30th, 2015 by H.P. Taskmaster
Swedish newcomers Svartanatt finished recording their debut album a whopping two days ago and are set to release it Spring 2016 through The Sign Records. The band have a newly-unveiled single called “Dead Mans Alley” that, like the prior “Demon,” showcases their catchy songcraft and general propensity toward classic methods, if not necessarily as much of a post-Graveyard retro style as one might expect. “Dead Mans Alley” — that lacking apostrophe kind of drives me nuts, I’ll be honest — was recorded earlier in 2015, and aside from winning at artwork, it presumably will feature on the long-player, which is as yet untitled.
More to come on that record as we get there, but for now, if you, like me, didn’t get to catch the “Demon” video when it came out — it worked along similar lines, perhaps with more of that heavy ’10s swing — get a sample with “Dead Mans Alley” following the PR wire info below:
SVARTANATT – DEAD MANS ALLEY Release 29th of December – Single out now!
Svartanatt is today the 29th of december releasing their second single Dead Mans Alley. The band did their debut earlier this autumn with the song and video Demon who got praised by press and got radio time in both Sweden and Germany. The 28th of december the band finished the recording of their debut album that will be out late spring 2016.
The Stockholm based Swedish bands holds a classic and timeless sound that can be tracked back in time to the 60´s and 70´s. With Jani Lehtinens sharp vocals on top of organ driven heavy guitar rock the songs come alive and tells a story of their own. Dead Mans Alley was recorded spring of 2015 at Slowbeat studio in Gävle by Jonas Strömberg and mixed by Konie Ehrencrona in Studio of Cobra. Members from Svartanatt have previously been seen in bands as the Scrags, John Duva and Beardfish.
[Please note: Click play above to hear the full album stream of Förnekaren by Kungens Män. Album is out Dec. 1 on Adansonia Records. Thanks to the label and band for letting me host the premiere.]
It is the first to be pressed to vinyl, but Förnekaren is upwards of the 15th or 16th full-length release by Stockholm-based jammers Kungens Män. If they’d been around for 20 years, that would still be impressive, but the band got together in 2012. Between Oct. 2013 and Sept. 2014, they released an album every month, and Förnekaren (released through Adansonia Records) is their third of 2015 behind April’s four-song Diskbänksockultism and January’s Kungens Män Spelar I Evighet. Amen.. It is a 2LP, mostly instrumental, comprised mostly of extended psychedelic jams, improvised at least in part and culminating in seven tracks/85 minutes of neo-krautrock immersion, rich in texture and almost universally hypnotic. Its lead-in with opener “Järnvägsdröm” transitions the listener between the waking world and Kungens Män‘s jammy realm, the vocals of guitarist Mikael Tuominen adding a Doors-style flair to what sets up the rest of the work’s mostly instrumental breadth.
Somewhere between Electric Moon or the Øresund Space Collective‘s jammy modus and the more plotted desert-prog style of Causa Sui, Kungens Män stake a claim in their own little slice of the cosmos, Tuominen joined throughout by guitarists Hans Hjelm and Björn Eriksson, bassist/graphic artist Magnus Öhrn, synthesist Peter Erikson and drummer Mattias Indy Pettersson as the band weaves their way through “Järnvägsdröm” and the title-track’s relative earthiness en route to the wholly-spaced fare of the 22-minute “Sista Ordets Krigsdans Genom Snickeriet,” which follows.
Pettersson‘s drumming is a foundational element throughout, as both the opener and quick-popping snare of the title-cut demonstrate, but on “Sista Ordets Krigsdans Genom Snickeriet,” it becomes even more apparent just how much is built on top of the laid back, steady percussion line. The song is not without movement between the interweavings of guitars and synth, and the bass, though deeper down in the mix, is pivotal as well, but it’s the drums that push the rest through the dreamy soundscape they’re creating as they go. A chugging undertone emerges as they pass the halfway point that becomes the bed for the fuzzy apex, but in the song’s fading finish, it’s only over when the drums stop. Kungens Män follow with “Krautespark,” which at 6:37 feels like an interlude in comparison, but no doubt that’s the idea. Öhrn‘s bass is more forward and more insistent and jazzy, as one might expect given the title, and the guitars add a touch of foreboding in their spacious overlaid noodling, a jazzy dissonance taking hold before they bring it together in the midsection only to have it turn jagged again by the finish, time more or less dissipating along the way.
“Krautespark” is the shortest track on Förnekaren and the only one under 10 minutes other than “Järnvägsdröm,” which comes close at 9:47, but though instrumental, it serves a similar function as the opener, launching the second LP with a relatively grounded offering leading to more extended kosmiche fare. The bass makes the transition to “Kringströdda Silverbestick” particularly smooth, but it’s the lead guitar that gradually comes to the fore on the 13-minute jam riding a funky rhythm to a first-half crescendo before the vibe breaks — the drums holding steady — and things get quiet and spacious, building up again somewhat before some obscure speech echoes and effects noise bring the piece to a close.
Side D finishes out Förnekaren with a pair of cuts both over 10 minutes, “Förensligandet I Det Egentliga Aspudden” and “Hur Ska Vi Stå?,” the former of which starts out slow and contemplative before introducing a more active rhythm shortly before the two-minute mark that sets it on its building, ethereal course. Both the drums and the guitar sound noticeably bigger, more open, but it’s the guitar which slowly comes to swallow up the rest of the elements, a wah-drenched buzzsaw lead arriving at 6:41 and carrying through to the end, a patient swirl behind full of motion that seems to send ripples upward to the surface of the song itself.
The jam fades, presumably before it comes apart, and “Hur Ska Vi Stå?” comes in with a sleek guitar line over steady marching snare, jabbing proggy rhythms intertwined and fits of synth that arrive early and don’t come again, but continue to loom as a threat among the more peaceful noodling and frenetic but not abrasive manipulations of what may or may not be bass. A quiet guitar solo kicks in after halfway through, but the drum beat (maybe electronic or programmed?) and the other noise refuse to give ground and ultimately the jam unfolds, the kick drum run through echoing effects and manipulated as the final piece to go. It’s a fair enough ending to a record that has for the most part avoided showing its audience what it sounds like when the wheels come off an instrumental conversation, but the simple truth is that if you’re listening and you’re not already entranced by what Kungens Män have done in the prior 83 minutes, the last two of “Hur Ska Vi Stå?” aren’t likely to make a difference one way or another. A subdued, moody undertone can be felt throughout the album, but the prevailing spirit is nonetheless calm, and while one doubts they’ll wait around too long to let it sink in, Förnekaren has a wide enough scope that, if they were so inclined, Kungens Män could easily rest on its laurels for a while.
Posted in Whathaveyou on November 20th, 2015 by H.P. Taskmaster
As of the last I heard — by which I mean when I looked at their Thee Facebooks page just now — Swedish downer metallers Katatonia had finished tracking the drums for their upcoming 10th album. They’re in the studio now with none other than Karl Daniel Lidén, whose name should ring out owing to his work with the likes of Greenleaf and Dozer, going back to his time playing drums in the former act as well as Demon Cleaner circa the turn of the century. Lidén isn’t actually playing drums in Katatonia, as that duty has fallen to newcomer Daniel “Mojjo” Moilanen, but you can rest assured he’s made them sound fucking awesome, since that’s something that seems to be his specialty.
Next year will mark 15 since Katatonia issued Last Fair Deal Gone Down, a record that in many ways has set the tone for what they’ve done since. Just your little “time flies” tidbit for the day. Seems like Katatonia are also in the market for a second guitarist to work alongside Anders “Blakkheim” Nyström, who doubles in the deathly outfit Bloodbath.
Not-at-all current lineup photo and PR wire info follow:
KATATONIA ANNOUNCES NEW DRUMMER; ENTERS STUDIO TO BEGIN RECORDING NEW ALBUM
10th studio album due out next year on Peaceville
Swedish masters of melancholy, Katatonia, has confirmed details of its new band member, drummer Daniel ‘Mojjo’ Moilanen.
Vocalist Jonas Renkse recalled: “We first met Mojjo back in 2009 where his band at the time, Engel, had joined up with us and Paradise Lost on a U.K. tour and we soon realized we shared the same musical background and ideals. We stayed in touch over the years and when Daniel Liljekvist quit Katatonia in 2014 we decided to give Mojjo a call. He has now been with us for well over a year, so far only as a live member, but now is the time for him to join the Katatonia album cycle and most importantly – make his own impression on our new material. We can’t wait to see what this will lead to. Love him up!”
Mojjo added: “From 1993 via 2009 to 2014, from today and onward into future battles. I am thankful, delighted and proud to take part in the next phase of Katatonia and I am looking forward to the journey being as giving as it has been for the last 22 years.”
Along with Mojjo, Katatonia has entered Stockholm’s Studio Gröndahl with engineer Karl Daniel Lidén to commence the recording of its 10th album. The new album is due out in 2016 on Peaceville Records and follows up the 2012 Peaceville album Dead End Kings. More details on the band’s new album will be released in the coming weeks and months. Fans can look forward to updates from the studio on the official Katatonia Facebook page.
In addition, Katatonia has confirmed live shows for 2016. All announced dates can be seen below.
Stay tuned for more information on Katatonia.
Katatonia live… 2/04 – 2/08 – Fort Lauderdale, FL @ 70,000 Tons Of Metal Cruise 4/29 – Kopervik, Norway @ Karmoygeddon Festival 6/19 – Clisson, France @ Hellfest 7/03 – Helsinki, Finland @ Tuska Festival
Posted in audiObelisk on November 12th, 2015 by H.P. Taskmaster
Today, Swedish doomers Goatess announce the March 2016 release of their second album, Purgatory Under New Management. Like their 2013 self-titled debut (review here), it will out via Svart Records, and to herald its arrival, the Stockholm four-piece are giving an early glimpse at the track “Moth to Flame,” the 10-minute opener of the record, which makes its premiere below. I am unreasonably fucking stoked to be able to host it. Really, just nerding out all over the place.
I think even if you didn’t hear the first record — a concern you’ll likely want to address after listening to this song — it’s quickly apparent in “Moth to Flame” why that would be the case. Fronted by Christian “Chritus” Linderson (ex-Count Raven, ex-Saint Vitus, Lord Vicar, Terra Firma, etc.) and with guitarist Niklas, drummer Kenta and bassist Findus (who left the band following the recording of this album this past summer, replaced by Izmo), Goatess breathe live into the stolid form of what we commonly think of as traditional, Sabbathian doom. Their flare for a stoner groove is unmistakable, and after a quiet intro, they show it in the chugging nod of “Moth to Flame,” setting the foundation for a verse and chorus melodic hook that’s irresistible for the converted and bound to catch a few inductees as well.
As a sampling of what’s to come on Purgatory Under New Management, “Moth to Flame” finds them off to a killer start. The song breaks in its second half to a spacier jam that trades off to louder guitar squibblies and some especially soulful belting-out from Linderson. They close on that quiet note, having already come far from where they started, but with eight tracks on Purgatory Under New Management — which is also immediately in the running as one of 2016’s best album titles — it’s easy to imagine that “Moth to Flame” is just a first step on a longer, riff-led journey. All the better that Goatess make it as a tighter, more cohesive band.
Can’t wait to hear the rest of the release, but March is still four months out, so it might be a minute before that happens. Nonetheless, I’m once again pleased as punch and then some to be able to host “Moth to Flame” today, which you’ll find below, followed by some album preliminaries and comment from the band.
“Moth To Flame” is the first track from the upcoming second album from Goatess, this is but a taste of the dark grooves ahead. The full length album, “Purgatory Under New Management” includes 8 diabolical tracks of stoned epic melancholy.
Comments the band, “Guess you can look at it as if Dante and Bosch gave birth to Rosemary’s baby, like a tortured sibling to the debut album. Musically a natural progression, summing up the aspects and layers of harsh realities the band has been facing since then. Let’s face our darkest innermost demons together, shall we?”