Posted in Whathaveyou on January 26th, 2024 by JJ Koczan
Cheers to Swedish hard ‘n’ heavies Deville on the new video for ‘Serpent Days’ from their 2022 album, Heavy Lies the Crown (review here), but double-cheers to the band on marking the 20th anniversary of their inception in 2024. Two decades of riding around the Continent (and beyond) for gigs continues this very evening, as the band undertake a weekender to start off this special year. They’ve got other shows booked through the next few months that you can see listed below as well.
And of course there’s the video too. Since their start, Deville have never stopped progressing, and as their sound has grown sharper and more aggressive in the delivery, their songwriting has grown correspondingly tight, and their niche is more their own now than it’s ever been. After 20 years, that doesn’t strike me as a terrible place to end up.
From the PR wire:
DEVILLE 20 Years and New Video!
“Serpent Days” Official Video is out from today. Taken from the 2022 album “Heavy Lies the Crown”.
And also!!
Celebrating 20 years as a band in 2024, an anniversary album containing some of the most played songs, some new tracks and surprises will be released. After touring Europe and Australia in 2023 the band will start of the new year with some shows in Sweden and around.
In 2004 in Malmö, faith united four musicians to form Deville, a heavy rock band with infectious energy. Armed with their authentic fusion of rock, metal and stoner, they got their first release out in 2006 and started to tour. Since 2004, they released five albums, played more than 500 shows and festivals all over Europe, Australia and the United States and shared the stage with great acts as Red Fang, Fu Manchu, Sepultura, Torche, Mustasch and many more.
UPCOMING SHOWS
01/26/24 DRAMMEN(NO) AT KOMETEN
01/27/24 ÖREBRO AT BJÖRNES PUB
02/16/24 HÖGANÄS AT GARAGE BAR
02/17/24 MOTALA AT BOMBER BAR
03/15/24 STOCKHOLM AT GAMLA ENSKEDE BRYGGERI
03/16/24 HOUSE OF BLUES AT BORLÄNGE
04/19/24 TBA AT GOTHENBURG
04/20/24 TRANÅS AT PLAN B
Deville: Andreas Bengtsson – Vocals, Guitars Michael Ödegården– Drums Andreas Wulkan – Lead Guitar,Vocals Martin Nobel – Bass
Posted in Whathaveyou on January 25th, 2024 by JJ Koczan
Emitting psych-revelry vibes in transluscent shades from Rolling Stones, Samsara Blues Experiment and the sunny acid folk of Tao and the Drones of Praise, Malmö weirdos Nepal Death offer “She Demon (The Exorcism of the Rakshasi)” as the follow-up single to the video they did for “Sister Nirvana” (posted here), which surfaced this Fall. And like that track, the new one marries classic pop ideologies with mushroomy oddball psych, a traditionalism based on shirking tradition, at least aesthetically, in favor of something more freeing. It wants you to sing along. Maybe you will or maybe not.
So let’s have a dream gig with Nepal Death and fellow outsider-art Swedes Toad Venom, shall we? Could add some cosmic strangeness from the UK in Codex Serafini if you want. Good bill, though I don’t know that it would or wouldn’t ever happen. In any case, a pocket of strangeness tucked away in the recesses of genre is welcome, and Nepal Death answer that call with a duly individualized sound. As to an album, I won’t speculate except to remind that we live in a universe of infinite possibility. Something perhaps to keep in mind as you listen.
From the PR wire:
The Musical Collective of Nepal Death now unleash their latest sonic story upon the world. “She Demon (The Exorcism of the Rakshasi)” will take you on a mind-bending trip spanning over nine glorious minutes.
The song echoes the rhythms of The Rolling Stones’ ”Sympathy for the Devil” and the vibes of Primal Scream’s “Movin’ on Up”. Feel the trippy seventies, featuring psychedelic guitars, infectious basslines, drum grooves, magical flute melodies, bells, singing bowls and massive choirs. The lyrics draw inspiration from Hindu legends of the Rakshasi-demons wielding supernatural powers for evil acts. Picture fierce beings with flaming red eyes and hair, savoring the scent of human flesh.
“Embark on a cosmic odyssey with ‘She Demon’ – Our tribute to ’70s psychedelia, blending the eerie with the energetic. Picture fierce Rakshasi demons and join us in this nine-minute sonic journey featuring amazing guest artists. It’s more than a song; it’s a direct line to the cosmic vibrations of fierce demons!” – says the band.
She Demon is written and performed by Nepal Death, featuring guest artists Pontus Torstensson (Exorcist GBG/Tentakel), Lisa Isaksson (Second Oracle/Me And My Kites), and Anders Kjellberg (Fontän/Tross).
Recorded at Studio Katakomb, Kali Kitchen Studios and Konrad Tönz Klangwerk. Released by Kali Psyche Records. Mixed and mastered by Mikael Andersson at Soundport Music. Artwork painted by enigmatic psychedelic performance artist Zephyr Wycorn.
Posted in Bootleg Theater on January 19th, 2024 by JJ Koczan
Swedish fuzz rockers — okay! Stop right there! You got me. I’m in. I know, the rest of the sentence was gonna be about how Swedish fuzz rockers Guenna are set to issue their debut full-length in the coming months through The Sign Records. Crucial info; it tells you who they are, where they’re from, what they’re doing and gives some hint at what they’re about. Who, what, where, when, why, how. Classic stuff. But if I said, “Swedish fuzz rock” and left it there, wouldn’t you kind of still be on board?
But really, are there three more beautiful words in the English language than “Swedish fuzz rock?” and I invite you as you dig into the premiere of the first video from Guenna‘s Peak of Jin’Arrah to consider the band’s place in that particular oeuvre. Am I wrong to hear young Dozer or Truckfighters in amid the modernities of their sound? Am I wrong to think of bands like Skraeckoedlan who might be an influence, alongside bigger bands like Red Fang (decidedly not Swedish) or Monolord (as proportionally Swedish as Red Fang aren’t), or Black Rainbows (how did we get to Italy) as Guenna ingest inspiration new and old and process it into the beginning stages of a sound of their own?
And I mean, I’m actually asking that question since I haven’t heard Peak of Jin’Arrah yet, though if you’d like to dig further after the clip premiering below for “Weedwacker,” their Bandcamp has a prior EP and a compilation track for research purposes. Their self-titled March 2020 EP doesn’t match this initial album single for production value, but the rampant vocal melody in the new track is an element that’s clearly been there from the start — and with good reason. As alluded above, “Swedish fuzz rock” is a high standard to live up to, generally speaking. Guenna‘s melodic focus and the energy of their delivery — the fun and sense of personality highlighted in the video for “Weedwacker” as well — are how they’re meeting that challenge as they head toward their first long-player, and the result is an engaging, fluid listen that reminds you you’re dying fast, and with humor, joy and a catchy hook, the band encourage you to make the most of what you’ve got as regards time. They seem to be doing just that.
The clip is a blast. Look out for the twang guitar on the back of the truck and the guy playing “Wonderwall” on an acoustic, skateboarding into the pool and the hilariously epic framing of the solo before they bring back the chorus.
Rad. There’s more to say here, but it can and should wait until the record, which after this video, I find myself nothing if not ready for. See if you feel the same. I hope you enjoy.
PR wire info follows:
Guenna, “Weedwacker” video premiere
The Sign Records are proud to announce that Guenna has joined the label for the release of their debut album “Peak of Jin’Arrah”. Hailing from the southernmost part of Sweden, this 4 piece offers a thrilling take of fuzzy, progressive and heavy rock with vocal harmonies, perhaps described best by Nick Oliveri during a night when Guenna opened up for his band Stöner in Malmö; “Guenna sound like if YES played heavy stoner music, with all the harmonies and stuff. And I mean the good part of YES! It’s fucking rad!”
Guenna’s debut album “Peak of Jin’Arrah” will be released in 2024 and the first single “Weedwacker” is released on all streaming platforms on the 1st of December. Robert from the band comments:
“I came up with the theme for Weedwacker when I was taking a walk in my hometown near the Norwegian border in Sweden. I walked past fields and big luxury houses with well trimmed gardens, and started to think about how crazy lawn mowing would be if weeds and grass had the same sense of fear and pain as living creatures. A complete massacre!”
Next month, Swedish exploratory jammers Kungens Män make their debut on Majestic Mountain Records with the first of at least two full-lengths they’ll release this year. Titled För Samtida Djur 1, the 45-minute eight-songer marks a turn for the instrumentalist unit, whose common modus finds them with longer pieces generally, but is of course only half the story the band will have told by the end of 2024, as both För Samtida Djur 1 and För Samtida Djur 2 — the latter of which will be out in May, last I heard, but I don’t think I’ve come across a solid date for it yet — capture different sides of the Stockholm-based six-piece. A duology!
Ideally, I would stream all the audio. Both records, right now. Does that make any sense when we’re just at the opening of preorders for the first of two records? No, and Majestic Mountain knows that which is why it’s not happening. But this is going to sound obvious and stupid but it’s something anyone who critiques anything will rarely admit: the best way to get immersed in the work of Kungens Män is just to do it. The first single from För Samtida Djur 1 is the drum-machined and titular “För Samtida Djur” — video premiering below; it’s more properly written in Swedish as “För samtida djur” — which sets the tone for the purposefully meandering experiments, psychedelic fluidity and wonko-jazz prog to follow as shimmering guitar at the start of “Tycka Rakt” brings pastoralia to the proceedings. You’ll note in their upcoming live shows below a slot alongside legendary-if-you-know proggers Träd, Gräs och Stenar, who feel like a touchstone for parts of För Samtida Djur 1, though even that’s just a part of the scope for the eight-song/45-minute outing.
As they make their way through with a casual, organic production that gives the loose and improv-sounding landings of “Motarbetaren” an in-the-room feel after “Grovmotorik” — the title telling you where it’s coming from stylistically — positions its steady cosmic flow outside most boxes. The experimental feel of “För Samtida Djur” at the outset is mirrored throughout, with “Virvelresan” resulting in a mellow jam more dug into guitar than the sax-led “Bra Moln,” which follows immediately and sees the two instruments find a middle-ground in the renewed space rock-derived semi-push of “Tyska Ninjor,” which manages to stuff a freakout into its four minutes — Hawkwind, maybe even Stooges in the strum — before “Nu Eller Aldrig” commences its drone-jazz comedown for a finish that resonates as surprisingly dark. Could be that’s Kungens Män setting up a transition into För Samtida Djur 2, or could just be how that came out and they thought it sounded cool. You don’t always get to know those things. And it’s fine when the music works, which it does here.
The reported difference between För Samtida Djur 1 and its also-upcoming sequel is that För Samtida Djur 2 is focuses more on the longform jams for which Kungens Män have become known, which makes this first part not just a departure from that, but a chance for the band to encapsulate at least part of what they do in a way that might catch ears being introduced for the first time and draw an audience toward digging deeper. Certainly there’s a catalog there. And if direct-engagement is a piece of the goal, the video for “För Samtida Djur” should be weird enough to do the trick. Coming off the paintings and stuff at the beginning is cool and all, but it’s the awkward dancing for the win. No doubter.
Melody and expanse, adventure and dynamic. If you’ve got chemistry, you can go just about anywhere you want if you have the will to do it. I look forward to hearing where För Samtida Djur 2takes them.
Imagine for a moment if you will, a lush and verdant world where the senses are completely enraptured by vibrations of melody reverberating through the psyche with jubilant, electric pulsation and entrancing bliss uninhibited. A complete soul rapture in the form of literal, rhythmic poetry, a full sonic immersion, exploration and expression of life itself via organic, symphonic, orchestral mastery.
Well Majestic people, we’re about to take you there. It has always been the goal of MMR to release music that has an “otherness” about it, a quality of inimitable magic, sometimes not tangibly quantifiable but instead, felt in the gut; ultimately pulling at the heart. This signing is exactly that philosophy in its essence. For a very long time we have been ecstatically awaiting the time when we could make today’s announcement and that time has finally arrived.
Please ready yourselves for transportation to a completely different star system with Kungens Män joining the Majestic Mountain Records constellation for an incredible release in two parts.
“För samtida djur” (For Contemporary Animals) will come in two lush editions with a limited press of 250 each.
“In February 2024, the first part of “För samtida djur” (For contemporary animals) will be released. It consists of eight songs of Kungens Män in their most condensed form, yet with a great degree of variation and some soundscapes previously unheard in our improvised world. The second part which comes out in May, is a more classic Kungens Män collection, with long, sprawling songs that are invitations to inner and outer space. The music has been recorded over the last two years in between tours of Europe and UK. These twin albums also mark our first cooperation with a Swedish label, Majestic Mountain Records. A label built on love for the music and a supplier of high quality vinyl with an emphasis on psych, doom and stoner.”
Kungens Män have previously released albums on Riot Season, Cardinal Fuzz, Adansonia Records and their own label Kungens Ljud & Bild and Majestic Mountain Records is not only delighted but honored to be bringing you the next chapter in the evolution of their legendarily groovy, deeply trippy and fiercely funky, free form psychedelia.
Please give them a follow if you are not already and do keep an eye out for more regarding these monumental explorations into the art of sound.
The quote from the band: “After more than a decade in constant motion, Kungens Män are now ready to unleash one of their most ambitious project thus far. In February 2024, the first part of “För samtida djur” (For Contemporary Animals) will be released. It consists of eight songs with Kungens Män in their most condensed form, at the same time with a great degree of variation and some soundscapes previously unheard in the improvised world of the adventurous Swedes. The second part which comes out in May is a more classic Kungens Män collection, with long, sprawling songs that are invitations to inner and outer space. The music has been recorded over the last two years in between tours of Europe and UK.
These twin albums also mark the band’s first cooperation with a Swedish label, Majestic Mountain Records. A label built on love for the music and a supplier of high quality vinyl with an emphasis on psych, doom and stoner, the label has asked about the possibility of releasing Kungens Män for several years. And now the time is right!”
Kungens Män live: 2024-02-09 Hus 7/Slaktkyrkan, Stockholm (SE) w/ Träd Gräs och Stenar. 2024-02-21 Inkonst, Malmö (SE) w/ VED 2024-02-22 Lygtens Kro, Copenhagen (DK) 2024-02-23 BLO-Ateliers, Berlin (DE) 2024-02-24 KOHI-Kulturraum, Karlsruhe (DE) 2024-02-25 De Onderbroek, Nijmegen (NL) 2024-02-26 TBA 2024-02-27 C.Keller & Galerie Markt 21 e. V., Weimar (DE) 2024-02-28 KuBa, Jena (DE) 2024-02-29 TANKSTATION, Enschede (NL) 2024-03-01 Terminus Saarbrücken, Saarbrücken (DE) 2024-03-02 TBA (Hamburg area?)
Posted in Whathaveyou on January 15th, 2024 by JJ Koczan
Time for new Skraeckoedlan. Indeed, perhaps the Swedish progressive heavy rockers/metallers were feeling some of the weight of the long stretch since they put out 2019’s Eorþe (review here) when they released “The Vermillion Sky” — which it turns out is the title-track of the new record, Vermillion Sky — as a standalone single last year. The four-piece’s impending fourth long-player will see release March 27 in continued collab with Fuzzorama Records, and I’ll tell you right now it’s a burner. If you didn’t hear that track, it and “Night Satan” are both streaming below.
I value your time and wouldn’t try to waste it by recommending crap, so if you don’t know Skraeckoedlan yet, please take that endorsement for what it’s worth. I do feel like the greater likelihood at this point is that people do know the band. The last album got a great response, they’ve been at it for well over 10 years now, and they’ve toured consistently if not constantly during that time. But if you didn’t hear that single, now’s a good time, what with album preorders up and t-shirt bundles and all that sort of whatnot.
The announcement came through in Fuzzorama‘s newsletter and I combined it with info from the preorder page. Have at it:
Skraeckoedlan announce new album ‘VERMILLION SKY’ out March 27th
Introducing the ultimate auditory experience for all rock enthusiasts – SKRAECKOEDLAN’s “Vermillion Sky”
Four bearded Swedes who’s forged their unique sound of progressive stoner rock in the cold northern forests. Previous album Earth was a massive domestic success as it hit the hard rock charts in Sweden.
Dive headfirst into the surreal world of Swedish stoner rock with this mind-bending album.
“Vermillion Sky” is a sonic journey that transcends boundaries, with SKRAECKOEDLAN’s signature blend of heavy riffs, mesmerizing melodies, and haunting vocals. Let the adrenaline-infused tracks transport you to a parallel universe, where the vermillion sky reigns supreme!
Crafted by masterful musicians, this album offers an immersive experience. Discover Vermilion Sky, out after five years of silence.
Five years. Is that a long time to wait? Generally speaking, yes. Probably. Well, maybe. Time is after all relative, so there surely isn’t a fail-safe answer.
Available on: Limited Edition 300 copies Gatefold Yellow vinyl with Red splatter Limited Edition 500 copies Gatefold blue vinyl with red splatter Limited Edition 400 copies Black vinyl CD digipack
Skraeckoedlan: Robert Lamu – Vocals/Guitar Henrik Grüttner – Guitar Erik Berggren – Bass Martin Larsson – Drums
There are about five different angles of approach I’ve come up with that I could take in discussing Vaka‘s 2009 full-length debut and lone-to-date offering, Kappa Delta Phi (review here). Here they are:
1. I could start by telling you about the career trajectory that led Karl Daniel Lidén to form the studio project, solo-based but expanded into complete-band arrangements filled out by players recruited for bass, guitar, vocals, even some cello tucked into expansively marching, gloriously Mellotronned closer “For Redemption.” Already by 2009, Lidén had been a member of Demon Cleaner, Greenleaf and Dozer. He’d founded Tri-Lamb Studios, where he’d not only record his own drums, piano, Mellotron and other keys, synth and probably a little bit of whatever was around for the Vaka material he composed, but would go on to helm albums for Katatonia, Greenleaf, Switchblade, Propane Propane, Bloodbath, Crippled Black Phoenix and a slew of others. He’s been an essential part of the course of Swedish heavy music over the last 20-plus years and Kappa Delta Phi remains the project of his own that, to-date, he has most spearheaded as a musician, songwriter, and producer. It’s a fun story, and a multifaceted enough record to stand up to the winding course which brought Lidén to it circa 2008-2009.
2. I could talk about the songs themselves, which are varied as one might expect for an album that features upwards of 10 different players contributing to its 10 component pieces and built on mostly post-metallic foundations given distinction through heavy use of piano — it starts on the intro “The Ship” and piano and keys are prominent throughout; a common element skillfully tying otherwise disparate ideas together; it’s very much a producer’s record — and marked by the shifts in atmosphere from the call-and-response barks and Neurosis-style churn of the nine-minute “Born to Secrecy” to the rumbling, lumbering payoff of the writhing “Stalemates” near the finish, to the midsection, might’ve-been-the-side-B-intro-to-a-vinyl-release interlude “Glacialis” and the various drones abounding blending the grounded and ethereal, severity and float. What might’ve been a messy process (let alone mix) working remotely before doing so became commonplace resulting in crushing, purposeful, and thrillingly volatile songs. There’s a lot going on here and a lot to talk about. This also would be fun.
3. I could tell you that when the Bandcamp broken heart thing came up because I’d streamed the album so many times revisiting it over the last couple weeks, I bought it (I have the CD from when it was released on Murkhouse Recordings in ’09 as well), and downloaded the wav files instead of mp3s because I wanted to hear it as full and uncompressed as possible.
4. I could run down that aforementioned significant number of artists involved in making the record, from vocalist Manne Ikonen (also ex-Zerocharisma) and guitarist Wille Naukkarinen (also ex-Sunride, he runs St-st-studio as well), both of Finland’s Ghost Brigade, contributing to “Born to Secrecy,” Ikonen trading lines with Misha Sedini of Come Sleep and Lingua, among others, to cellist Christoffer Ohlsson (Blue Foundation) adding to the breadth of “For Redemption,” where Melloboat Festival founder Stefan Dimle (also Landberk) handles bass. Ikonen and Naukkarinen, the Finnish contingent, both take part in the linear build across “At the Hands of Loss,” and also on bass are Johan Rockner, known for his work in Dozer and Greenleaf and up until 2023 also in Besvärjelsen, and Peder Bergstrand, who in 2008 released the debut from I Are Droid (who played in Stockholm last month; a third LP would be a pleasant surprise), and had already issued one of the most influential heavy rock records of the turn-of-the-century era in Lowrider‘s ultra-classic 2000 debut, Ode to Io (reissue review here). Bergstrand (who also did the design and layout for the digipak) and Rockner had both worked with Lidén previously in some context or other between Greenleaf and Dozer. Very much a drummer picking his bassists, which is probably what you want here. Erik Nilsson (Come Sleep, runs Version Studio in Stockholm) contributes guitar to highlight cut “I of Everything” — a hook to serve as landmark, and a righteous takeoff in its second half hitting its mark for post-metal’s requisite “Stones From the Sky” moment — as well as “Stalemates” and “For Redemption,” where Tommi Holappa (Dozer, Greenleaf) also adds the slide guitar that courses the melodic thread through the adrenaline-push crescendo. With Lidén‘s drums and keys at the core represented through his own signature production style — he gets a drum sound that is his own, period — the tracks on Kappa Delta Phi range far into atmospheric heavy and are willing to sound messy without being a mess, unfold into a landscape’s shimmer drone or dive into make-a-stinkface bludgeonry as “Born to Secrecy” nails its apex to your forehead. I count Vaka alongside Battle of Mice and SubRosa as an example of what I wish post-metal had evolved into.
5. Inevitably, I would finish by noting the never-say-never nature of rock and roll and life more generally, and perhaps wonder what might’ve been had Vaka done a second album or what might be if you rolled a 20 on a longshot and Lidén picked up the project again at some point. Not the most likely, not impossible, but for how much of Kappa Delta Phi is constructed around experiments in synth and keys laid over the drum tracks and then layered again with guitar, bass, more synth, vocals, etc., Lidén could have taken the band in any number of directions even just as regards his own songwriting, never mind putting together a lineup, playing live, or continuing with the ethic of guest performers. Whatever aesthetic elements might have been working in accord with the tenets of post-metal, Kappa Delta Phi was too much its own thing to be derivative, and wound up a singular expression and perhaps a footnote in a storied career, but only a footnote because not nearly enough people have heard this record.
And to go back to the top, I couldn’t decide which of these five approaches I wanted to take… so I took them all. For a collection that on paper might seem like a jumble but that proves coherent when engaged, it doesn’t seem like the least appropriate move. As always, I thank you for reading and hope you enjoy.
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Costco trip in a couple minutes, so I’m short on time. Need eggs, cheese, rug cleaner, a few other odds and ends. More possible during school hours, which are also my main writing hours these days. I’ve been playing a good bit of Zelda and relaxing some as well. The Patient Mrs. and I are doing a January yoga challenge that we also did last year, which I feel like a dork about but is actually awesome in the doing. Never underestimate the value of a good stretch in middle-age. That shit can make your whole day better.
The Patient Mrs. got sworn in on the Board of Education last night, so The Pecan and I rolled along (also like half my family was there) to see mommy continue to be amazing. We spent most of the time in a conference room down the hall with the Switch (kiddo also enjoys a good bit of Tears of the Kingdom and we mostly play as a family, but I do a decent bit of resource farming on my own as well because I’m compulsive and enjoy it), but she did get to be in the room for the actual thing. The board is divided politically, so her reasonable, ultra-competent, able-to-listen-and-process-and-then-respond-to-a-thing presence as a progressive can only be a boon. To say I am proud of her is laughable because she’s in another league entirely. I might as well be proud of the planet Jupiter.
Up and down week. The Pecan, super-punchy, mostly to The Patient Mrs. She’s got a long-term sub at school since her kindergarten teacher went out on maternity leave — till April rather than like the three years that are actually required for such a thing, because Americans are savages — and has never handled going from one thing to the other with smoothness generally. I don’t like having my routine upset either, if you couldn’t tell just from looking around this site, so I get where she’s coming from. She’s also not sleeping because ADHD drugs and being super-tired, super-resistant to the idea of laying down pretty much ever, and broadly given to ignoring you no less than 80 percent of the time when you ask her to do a thing, whether it’s go pee or grab a game to play — often that’s a question of her being hyperfocused on a thing, but yeah sometimes she’s just not giving a fuck — so perhaps it’s fair to note what success is being had despite the wobbly setup for it of late. I haven’t heard from the principal since at least early December for anything behavioral. The meds are working, which is a mantra. She lets me brush her hair. And sometimes, maybe once every day or two, you can say to please throw her socks in the wash or get her jacket and it’ll happen. It’s hard to remember after the tumult that defined the second half of 2023, but I don’t think that was the case last January, or at least not to the same proportion between the yes and no. We argue less than we used to, but I did say “bullshit” the other day when we were fighting to get her to take a bath. Ugh. In my defense, I was in the process of calling her a genius and telling her not to waste her time on bullshit. There are only so many hours in the day. Before dropoff this morning, The Patient Mrs. got the shit kicked out of her trying to put in pony tails for a school spirit day. We spend so much time doing that, we miss out on other stuff.
I also will note that I suck at and apparently don’t particularly enjoy fun. Fun is not fun for me. Fun is work. Fun is I gotta go to some place that I don’t want to be at, probably see a bunch of people, feel weird and put on and then do whatever wrong or badly and feel like garbage later. I’ve never been good at fun. I sucked at sports. I was fat and weird didn’t have a lot of friends. I wrote stories as a kid. I trudged around my neighborhood listening to Alice in Chains’ Dirt on my tape Walkman. This was my idea of a good time. What’s changed is that when you have a kid you have to go do all kinds of shit. You have to go to see things and be in places where people are and you have to pretend you feel normal doing any of it and it gets pretty wretched in my head. People talk about stuff that’s fun and I fear the word. Who the hell wants to get on a rollercoaster? Not even just for the fact that they’re shoddy or some safety concern. I mean who wants to get up, get dressed, leave their house to go to some expensive-ass theme park or some extra-rundown local thing or a town fair and go stand in line to get in, stand in line for tickets, stand in line for the ride, bake in the sun on a hot day, and then be shoved around and up and down in a machine at high speed, only to return to the ground like three minutes later expected to be grateful for the experience? Fuck that shit. I’ll stay home and eat a gummy.
And on that happy note, it’s time to go to Costco. I hope you have a great and safe weekend, and as always, I appreciate your time and value your being a part of this thing. Watch your head, don’t forget to hydrate, and I’ll be back on Monday with I don’t know probably a review and some more complaining about stuff, because I’m charming like that.
Starting last May, Swedish jam-prone classic heavy rockers Void Commander began to trickle out singles ahead of their fourth full-length and first for Majestic Mountain Records. Marking their 10th anniversary in 2024, the three-piece will issue their yet-untitled next LP in the months to come through Majestic Mountain and Interstellar Smoke Records, and “The Night Took My Name” follows behind “Dyke Blues” and “Bloodred Knight Alright” in representing the band’s covers-all-bases sound, bringing a doomier roll to the beginning and an open-feeling swing later, broad but still rhythmically centered, and with plenty of room for a jam as it pushes toward six minutes.
The record is like that. The harmonica-laced blues of “Sweet Depression” and “Alien Queen,” the latter of which brings together Sabbath‘s “War Pigs” and “The Wizard” and complements with a massive slowdown at the finish, and the ultra-flowing “Jam in C,” which hypnotizes in such a way as to make “The Night Took My Name” feel all the more like an outward launch. They lean into grittier rock at what I’ll neither confirm nor deny is the outset with “To the Grave” — one is reminded of the bombast of a song like “Fucked Up” from 2021’s River Lord (discussed here) — but run a gamut across heavy subgenres, tipping into hugely fuzzed lumber from the Sleepy intro to “Bloodred Knight Alright” in such a way as to tie together the improv-minded with the structures of the pieces that (more often than not, at least going by the tracklisting) are evolved from the root jams, shifting as it does into a bassy boogie strut near the finish that just kind of works because it does and the context allows for it; riffs pieced together creatively enough that as “Jam in C” meanders into a lyrical pattern, it feels like it’s happening if not in realtime then close enough to it that it doesn’t matter if it isn’t.
In terms of vibe, Void Commander make striking a difficult balance sound easy, and their sound on the whole reminds of some of the older-school Northern European troupes of the turn of the century, and no, I’m not just talking about Dozer, but bands like older Mustasch or Abramis Brama, maybe even Dead Man at least in terms of range, who brought together sounds from the ’70s and ’90s and helped shape heavy rock as we know it. That work has already been done, of course, but Void Commander are playing in that sandbox of decades of heavy rock influences, and whether it’s “The Night Took My Name” with a push that would be more straightforward from a lot of bands than it is here — and that’s a compliment — to the catchy stops of “Alien Wizard” (who presumably serves at the behest of the “Alien Queen”), Void Commander present a cohesive and individualized take on heavy tenets with a punker’s lack of pretense and an underlying groove that is welcoming even at its most dug-in.
I don’t have a release date for the album, and I don’t know if this will be the last advance track released as a standalone single from it, but it exists somewhere and between “Bloodred Knight Alright,” “Dyke Blues” and now “The Night Took My Name,” you’ve got three of the seven or eight tracks that will end up on the finished product, and that’s pretty good to go on. The other two, as well as the aforementioned River Lord, stream below, because MAXIMALISM.
Have fun, because you just might:
Void Commander, “The Night Took My Name” visualizer premiere
Vinyl will be a co-release with Majestic Mountain Records & Interstellar Smoke Records.
“- Another handful of stoner metal from the southern forests of the cold north arrives in the form of “The night took my name ”. A story of endless wake and sleep, a thin line between sleeping and being dead, The night took my name.” – Lee Noose, Void Commander
Void Commander was formed in 2014 by Bobbie (Vocals, Guitar) and Jimmy (Drums). After a long search and using many bass players, Linus (Bass) joined the band in 2016.
Posted in Whathaveyou on December 29th, 2023 by JJ Koczan
Preorders are up for the fourth full-length from Swedish cult metallers Saturnalia Temple, who present a glimpse at the malevolent churn and gurgle of Paradigm Call by means of the first single “Revel in Dissidence,” which you can check out in the lyric video at the bottom of this post. The album will be out March 1 and is the second release for Saturnalia Temple through Listenable Records, on whose talent roster they are a standout as they’d be on just about anyone’s. Fewer bands sound more like they recorded by candlelight.
I’m assuming “Drakon,” which you can see on the tracklisting below precedes “Revel in Dissidence” and is just over two minutes long, is an intro, which would make “Revel in Dissidence” something of an opener. So as you make your way through the lyric video’s bubbling-mud riffing, throaty grunt, gnarly cosmic vibes and seeming argument for “ugh” as a perspective on the world (not arguing with any of it, mind you), keep in mind that in many cases a band will put their most accessible fare at the beginning of records in order to hook a potential listnership and engage them to take on the rest. Not saying that’s Saturnalia Temple‘s motivation — indeed, more likely it isn’t — but if norms-departure is your launch point, the single is doing its work on its own terms. Little could represent Saturnalia Temple better in my mind.
The PR wire had this, mostly with links:
Saturnalia Temple preorder for ‘Paradigm Call’ are available
