Echolot Premiere “Frozen Dead Star” Video

Posted in Bootleg Theater on August 27th, 2020 by JJ Koczan

echolot

Swiss post-metallers  phd dissertation help video - top-ranked and cheap report to ease your education Forget about those sleepless nights writing your coursework with our Echolot are getting ready to release their third album,  If Dissertation Writing Services Usa online is the question in your mind, the next thing you will ask is about the benefits of requesting someone else to do your academic projects. When you get your work done by professionals, there is a remarkable difference in it in comparison to the work done by newbies. Destrudo, on Oct. 2 through  We are Human Geography Homework Help based in London, UK. We offer the most affordable and bespoke business plan writing services including Tier-1 Sixteentimes Music, and they give a substantial glimpse at its sprawling atmospheric base in the new single “Frozen Dead Star.” At nearly 10 minutes long, the track unfolds with a slow, doomly rollout and harsh, biting screams à la  Holt page Rubric. The international journal holt online essay scoring rubric of architectural education. Thou before adding melodic singing to the mix and at about three minutes in turning to a guitar part that feels built off of what  Company http://www.ayonaudio.com/?help-with-gcse-coursework Support. Trusted By 3000+ Corporate Clients. Start in 30min. 12 hours delivery. From 29 $/hr. Neurosis were doing in the midsection of “Reach,” which closed their most recent LP,  Get a whopping 20% (FIRST TIMER'S) Discount when you order our write my essay for me service. Dissertation In Hospitality with an authentic UK essay writing service in 2017. Fires Within Fires. At go site, we deliver professional Custom Papers/Documents Writing and Editing help which include personal articles, essays, guidance on term Echolot manipulate this figure and join it soon enough to post- Do you want to complete your paper with http://www.geht-auch-anders.de/kill-mockingbird-critical-essay-help/? Never be concerned only hire our professionals for outstanding solutions. Amenra barely-there vocal fragility, passing the song’s halfway point with echoing melody and an underlying tension of drums that eases the transition back to heft when the time comes for it to inevitably be made.

Effective and airy lead guitar takes hold in squibbly fashion over the resurgent roll, marked by a fluid-sounding wash of crash cymbal — the bassline beneath it all is a treasure all too buried on my speakers; I suspect a different system would feature it more prominently — and the guitar line that has made itself central returns in heavier fashion before “Frozen Dead Star,” approaching its final minute, unleashes a deathly growl and more intense and insistent progression. Echoing, black metal-style screaming caps the proceedings with final lumbering, and the song fades out feeling something like an album on its own with the linear but cohesive course it follows. I don’t know what the rest of  AWE Learning is pleased to offer Doctoral Dissertation Writing Services Vancouver to search and apply for funding to bring digital learning tools to your early learners. Destrudo might have on offer, but with “Frozen Dead Star” the Basel three-piece successfully execute the precise control and cerebral crush for which Euro post-metal is known. It is the work of a band who know what the fuck they’re doing.

The accompanying video has some band shots interspersed as part of its duly ambient presentation, and you can find it premiering below.

Please enjoy:

Echolot, “Frozen Dead Star” official video premiere

ECHOLOT new Album ‘DESTRUDO’ is out on October 2!

New single FROZEN DEAD STAR by ECHOLOT

Echolot – Frozen Dead Star (Official Video)
Recording by Jeroen Van Vulpen
Mix by Simon Jameson
Music by Echolot
Camera: Roberto Machulio
Designe: Renata Matellini
Effects: Raul Mate
Cut: Rafaela Matteo
Coloring: Renault Mattisimo

Echolot are:
Lukas Fürer – Guitar
Renato Matteucci – Bass
Jonathan Schmidli – Drums

Echolot on Thee Facebooks

Echolot on Instagram

Echolot on Bandcamp

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Sixteentimes Music website

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Days of Rona: Christian Sigdell of Leaden Fumes

Posted in Features on April 9th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

leaden fumes chris sigdell

Days of Rona: Chris Sigdell of Leaden Fumes (Basel, Switzerland)

Come. source personal Need a college application essay? Put them in order. How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

Since we played shows just before the pandemic arrived at our doorstep, we were a bit worried, especially since we had played in front of 150 people in Berlin and had been pretty careless regarding a possible infection. But we are all well, and while this pandemic is causing some serious thinking, the only bummer is that we have had to postpone booking shows to promote our new album. Theoretically we’d have shows at the end of May — but I don’t see them happening, as the borders will not open this soon – even if normal activities were resumed.

http://bebcho.net/?paper-editing-service Stuck with your homework? Get fast homework help from amazing tutors at a great price. Just sit back and let our tutors do your homework. Math, Physics, ChemistryBest online service that can do my homework for. Complete confidentiality and timely delivery. Expert writers are here to help students. , Do your homework nowI Should Probably Do My Homework Now. What are the quarantine/isolation rules where you are?

In Switzerland we are still allowed to move without too many restrictions. Groups of more than five are not allowed and the general advice is to stay in, which most people here follow as a rule. It is quite eerie to look out the windows and see a more or less empty street –- especially at night. As I live in the middle of a hipster area, usually there’s a whole lot more going on. But so far we are lucky in as much as there is no general order to stay inside, so we can still go for a walk.

Over the past two years, we have produced more than 270 blog posts with tips and hacks that weve learned as Dissertation0service Co Uk.Keep Reading How have you seen the virus affecting the community around you and in music?

There is a general sense of cautiousness around people, avoiding getting too close to each other when passing on the street or in the supermarket. We now have a queue at the supermarkets and have to take a number, disinfect our hands before we may venture inside, the number of consumers being restricted. It feels a bit spooky. Not unlike a dystopian science fiction movie scene. Luckily Switzerland has a very good (though expensive) healthcare system. The same can be said about the unemployment service. So people are more or less at ease and do not yet face immediate problems.

As for the music — it’s the same as everywhere I guess. Venues and bands are struggling, especially those who depend on making a living out of it.

Ghostwriter Casebook online from us because our writers ensure that whatever essay work leave their desks guarantee high benefits to the clients for the smallest What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

We as a band might not be able to do what we most desire — to play live. But we are glad to be in good health and that we can manage financially. That is the most important. We now have a lot of time to focus on new ideas and on honing our songwriting skills, while in other countries people are getting desperate and the situation is much worse. In Switzerland it is all still quite easy compared to Italy, or France. I hope we all come through this a changed people and that we will not fall back to the ways of before. I think we as humans need to change. A lot. Individually and as a society. Stay positive, stay healthy, stay free.

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http://instagram.com/leadenfumes
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https://www.leadenfumes.com/

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Leaden Fumes Stream Debut Album Abandon Ship in Full; Out Next Week

Posted in audiObelisk on February 21st, 2020 by JJ Koczan

leaden fumes

Swiss doombringers http://www.studenthelpclub.com/write-a-research-paper-on-abortion/ Online via our Expert Coursework Writing Service and avail up to 50% discount with amazing add-ons and 100% money back guarantee. Leaden Fumes release their first full-length,  why do people do plagiarism Paper Writing Services Reviewss research paper on social psychology term paper about global warming Abandon Ship, next week through Petty Bourgeois Broadcasts, and I’m pretty sure the ship they’re talking about is Earth itself. The band was started in 2016 by former Phased guitarist/vocalist Christian Sigdell (also of the droned-out B°tong and a slew of other projects) who, moving to bass/vocals, brought on board former Phased live guitarist Florian Schönmann to take guitar duties and drummer Jonathan Schmidli of psychedelic expansionists Echolot in the new trio. For anyone who knew Sigdell‘s work in Phased or got tipped to Echolot‘s 2016 debut LP, ILeaden Fumes is something of a stylistic jump, with tracks like “(Let Burn The) Temple Within” and the opening title cut before it dug into a cavernous and grimly doomed sensibility, shouted vocals echoing out over riffs lumbering or, in the case of the nine-minute second track, chugging into a bass-drone-and-movie-sample oblivion before surging back for a final two minutes of nod.

There’s something ancient and primal about Leaden Fumes‘ approach, speaking to the roots of doom metal as grown out from the NWOBHM, but at no point are they retro in style and their material veers further into extremes as the record plays out through “Ruthless,” which shifts into blackened screams and guitar squibblies with a viciousness and underlying severity that should please fans of Valborg, and into the deceptively catchy pair “Asphyxia” and “Chromophobia,” both of which transmit their tortured mentality through volatile transitions, creeping and shoving in “Asphyxia” — which caps with a sample describing the rush of choking during orgasm as “no less powerful than cocaine and highly addictive” — and more fluid in “Chromophobia” but with Sigdell‘s voice coated in an effect not quite like a megaphone, but not far off, obscuring the lyrics as compared to the barebones-ness of “Abandon Ship” earlier. The plod behind, however, is pure doom with just the slightest stonerly edge, and so the spaciousness created by the echoes comes with a corresponding feeling of largesse. That is, they full the space they create, and a psychedelic solo from Schönmann is a welcome melodic touch in the second half before it drifts off into noise and the crash cymbals that start the penultimate “This Bleeding Cavity.”

Leaden Fumes Abandon ShipAt seven songs and 41 minutes, Abandon Ship is hardly a slog, but neither is it intended to be easy listening, and one gets a sense of Leaden Fumes trying out different approaches across its span. To wit, the charred thrust of “Ruthless” or the psych-doom stomp in “This Bleeding Cavity,” which though the shortest take at 4:22, still functions to broaden the scope of the LP overall, touching on its own extremes in later reaches through subtle layering. Likewise, the plot continues to thicken through closer “Craving,” which brings together the howls of “(Let Burn The) Temple Within” with an atmospheric feel that rounds out in a sudden finish at a little over five minutes, which is about where Leaden Fumes seem most comfortable, as “Ruthless,” “Asphyxia” and “Chromophobia” are of similar duration. Abandon Ship is all the more laudable as a debut for the three-piece’s ability to shift their sound during those tracks, however, and whatever the runtimes might be and however the songs might interact in terms of sound or theme, there are ultimately no two that are the same in terms of style all the way through.

Given the context of Sigdell‘s past in founding Phased over 20 years ago and working across a variety of genres, one can only assume the aesthetic choices Leaden Fumes make throughout Abandon Ship are purposeful, but there is still a notion in listening of the band discovering their identity through these songs, finding out as they go how the black metal and the psych and the doom and the noise and the samples and the shouts and everything else might all come together into a singular focus over time. As Abandon Ship was preceded only by a 2017 four-song demo, led off by an earlier take on “Chromophobia,” it’s reasonable to think of their progression as bring in a formative if not a beginning period. They are, then, on a journey, and a somewhat grim one at that. The album’s mood, even in its broadest-ranging moments, is consuming in its darkness, and the feeling of threat and paranoia that comes through in their songs is palpable; a conscious challenge being issued to those who’d take them on.

So go ahead and do that.

Given its underlying nuance and abidingly off-genre-kilter feel, I’m thrilled to host the full stream of Abandon Ship below. You’ll find it accompanied by more info from the PR wire, and the recently-posted video for “This Bleeding Cavity” down at the bottom, just for the hell of it.

Enjoy:

LEADEN FUMES were torn out of PHASED – the cult stoner/doom band Christian S formed back in ancient 1997, and which he led through a multitude of line-ups up until 2016. Most likely Phased were Switzerland’s first stoner band – surely the were the only Swiss band to sign to Elektrohasch. So with LEADEN FUMES two members of Phased reconvene to wreak fresh havoc. Having switched from guitar to bass, Christian S is giving LEADEN FUMES the ultra low-end spark, while Florian S alone is responsible for the upper regions. The line-up is completed with young and talented drummer Jonathan S from ECHOLOT.

LEADEN FUMES recorded and released a four song demo-CD in 2017, and played their first show at legendary local venue “Hirscheneck”. In 2018 they not only played a local festival and headlined a metal-night in Zürich, but also played their first shows in Germany – among which “Deep Sound City” festival in Halle. 2019 saw the band recording their first album proper – in their own studio, and with Jonathan S at the controls.

The album is entitled “Abandon Ship” and features seven killer songs that range from slow doom to influences of math-rock and black-metal.

Tracklisting:
1. Abandon Ship
2. (Let Burn The) Temple Within
3. Ruthless
4. Asphyxia
5. Chromophobia
6. This Bleeding Cavity
7. Craving

Recorded at High Street Studio, Basel by Jonathan Schmidli and at The Loft by Christian Sigdell
Mixed by Jonathan Schmidli

Artwork by Manuel G.
Photography by Natalie Jonkers
Design by Christian Sigdell

Leaden Fumes are:
Florian Schönmann – guitar
Christian Sigdell – bass, voice, fx
Jonathan Schmidli – drums

Renato Matteuci – moog, backing vocals

Leaden Fumes, “This Bleeding Cavity” official video

Leaden Fumes on Thee Facebooks

Leaden Fumes on Instagram

Leaden Fumes on Bandcamp

Leaden Fumes website

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Up in Smoke 2020 Adds Fu Manchu, Pallbearer, Mars Red Sky and More

Posted in Whathaveyou on February 5th, 2020 by JJ Koczan

up in smoke 2020 banner

Fu Manchu are in the studio now and I think they said on Instagram they’re eyeing a May release for their next album, which would rule and would arrive in timely fashion as they celebrate their 30th anniversary all year on the road. They joined the Up in Smoke 2020 lineup at the end of last week along with Mars Red Sky, Pallbearer, The Heavy Eyes — still waiting for the full tour to be announced — Sons of Morpheus and Mother Engine.

It’s a pretty efficient bundle if what you’re looking for is ‘awesome,’ and I think probably it is. It seems early for the Fall fest season to start taking shape, but it always does when it happens around now, so points for consistency at very least, and Sound of Liberation, which is behind this fest as well as Keep it Low and has a hand in several others along the way — Desertfest in Berlin, Antwerp and New York, and so on — rarely leaves this kind of thing to chance. Pro-shop and all that.

The latest announcement is below. I’m late with it but I’m late with everything. I’m a pitiful old man, give me a break.

Have at it:

up in smoke 2020 poster

FU MANCHU + 5 MORE BANDS JOIN UP IN SMOKE LINE UP

Grab your tickets here: bit.ly/UpInSmoke_2020

Smokers, we’ve been eager to share some line up news with you and we could for sure do it slowly and patiently, announcing one band after another… but you know what? It’s Friday, so take them all!!

Californian legends Fu Manchu are celebrating their 30th anniversary and we’re super stoked they’ll celebrate it with us!

They’ll make your neck hurt alongside mighty US doomsters Pallbearer, French’s unique psych-doom wizards Mars Red Sky, groove masters The Heavy Eyes, also from the USA, German Instrumental wonder Mother Engine and beloved Swiss psychedelic trio Sons of Morpheus !

We’re super proud and excited to welcome those amazing acts on board! Can’t wait, see ya there!

??Up In Smoke takes place at Konzertfabrik Z7 – Pratteln in Pratteln on 2-3-4 October 2020.

https://www.sol-tickets.com/
http://www.z-7.ch/
https://www.facebook.com/UpInSmokeIndoorFestivalInZ7/
https://www.facebook.com/events/545324436300685/
https://www.upinsmoke.de

Fu Manchu, “Il Mostro Atomico” live at Stoned & Dusted 2019

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Heavy Psych Sounds Fest 2020 Announces Switzerland Edition with Elder and More

Posted in Whathaveyou on February 3rd, 2020 by JJ Koczan

heavy psych sounds fest switzerland

Another week, another city succumbs to the temptation of hosting a Heavy Psych Sounds Festival. This time around it’s Winterthur, Switzerland, and I ask you, how long before franchises are set up in all major urban centers throughout Europe and beyond, and each weekend is a different Heavy Psych Sounds Fest on a constantly-rotating schedule?

And wouldn’t that be kind of awesome?

Of course it helps when you have a heavily touring label roster, but you’ll notice Elder headlining this Swiss edition are not a Heavy Psych Sounds label band, and they’re not the first to take part, but either way, it’s still a good base to draw from. As the HPS and HPS Fest empire expands, the way the different sides work off each other is incredible. In the corporate world they’d call it synergy. In music I think “right on” will probably suffice.

So, right on:

heavy psych sounds fest switzerland

HEAVY PSYCH SOUNDS Announces First Festival Edition In Switzerland! With ELDER, BLACK RAINBOWS, DUEL

Fuzz rock label and booking institution, Heavy Psych Sounds, who specializes in presenting us the best artists of the global heavy psych, doom, fuzz blues and space rock realms, has announced its first festival edition in Switzerland!

While the first HPS Fests were held in Italy, the label has since extended its live reach into the UK, Belgium, Netherlands, Germany, Austria and even the USA: The underground cult label is not only THE address for all heavy rock record collectors, but has also become an important live and festival contender; with a brisk participation from heavy music fans all over the world.

After the recent HPS Fests in Berlin and Dresden, Germany, that took place in the end of 2019, were sold-out and once again the label festival-caravan is about to take over the Netherlands, Belgium, France and the UK this March, Heavy Psych Sounds is proud to announce their first Swiss edition! Taking place in the early summer on June 5th & 6th 2020 at the Gaswerk in Winterthur, as usual Heavy Psych Sounds is triumphing with an outstanding line-up: Prog-rock overlords ELDER, BLACK RAINBOWS, DUEL, ECSTATIC VISION and many more high class acts will be turning the Swiss edition of the HPS Fest into a psychedelic and heavy sounds wonderland! Tickets and more infos are now available at THIS LOCATION!

Switzerland lineup:
Elder
Black Rainbows
Duel
High Reeper
Ecstatic Vision
Deadsmoke
Oreyeon
1782
No Mute
Hellroom Projectors
Ryte

Facebook event: https://www.facebook.com/events/2625951321025276/

Get ready for a heavy as hell 2020, as the label’s festival series will also take place at the following dates and cities this March, with MONDO GENERATOR, BLACK RAINBOWS, GIÖBIA, DEAD WITCHES & many more:

05.03.2020 FR – Paris / Glazart
06.03.2020 BE – Antwerp / Trix
07.03.2020 UK – London / Underworld
08.03.2020 NL – Deventer / Burgerweeshuis

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Duel, Valley of Shadows (2019)

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Up in Smoke 2020 Announces Somali Yacht Club, Unhold and Echolot to Play

Posted in Whathaveyou on December 31st, 2019 by JJ Koczan

up in smoke pre-banner

The festival artwork hasn’t even been posted yet, as evidenced by the letters-floating-on-black placeholder above, but the eighth Up in Smoke Festival set for Oct. 2 and 3, 2020, in Pratteln, Switzerland, has already unveiled its first three confirmations. The announcement sneaked out just before the holiday, but it’s already bringing together a couple native Swiss acts with a killer band from beyond the borders. That latter is Somali Yacht Club, and they’re joined by Unhold and Echolot on the Sound of Liberation-presented bill.

Of course, this is the time of year when rampant speculation about new releases is most fun, so I’m wondering if Somali Yacht Club might be touring Europe in Fall to herald a follow-up to early 2018’s The Sea (review here), but it was four years between their debut and that sophomore outing, so that would be cutting that time-split significantly. We’ll see. They’re a cool band either way and bring an atmospheric edge to their heavy that makes an encouraging leadoff to Up in Smoke 2020’s first announcement.

Which, as it happens, follows here:

SOMALI YACHT CLUB, UNHOLD & ECHOLOT are the first names for Up in Smoke 2020

Early bird ticket sale ends on Monday noon, you can get them here: https://www.sol-tickets.com

We are stoked to welcome Somali Yacht Club from Lviv, Ukraine. The band creates their very very own sound by mixing psych and stoner with elements of shoegazing and post-metal in their music.

The Swiss formation Unhold has been an active band for over 25 years, fusing together a unique mix of sludge, doom, post metal and noise rock. We are happy to finally welcome the extreme and hard hitting institution at UP in SMOKE festival at Z7.

ECHOLOT from Basel City are delivering an ocean of sound, fresh and psychedelic jams that drive you from the depths of doom into cosmic lightness.

We are back in January with the next band announcement, the artwork, festival passes, sleepover Tickets and additional info.

We wish you all some merry X mas days and a happy new year!!!

Your UIS Team

https://www.sol-tickets.com/
http://www.z-7.ch/
https://www.facebook.com/UpInSmokeIndoorFestivalInZ7/
https://www.facebook.com/events/545324436300685/
https://www.upinsmoke.de

Somali Yacht Club, The Sea (2018)

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Charlene Beretah Premiere “Amazing Disgrace”; Ram out Nov. 8

Posted in audiObelisk on October 31st, 2019 by JJ Koczan

charlene beretah

Swiss trio Charlene Beretah will release their debut album, Ram — or, more properly, Charlene Beretah’s Ram — on Nov. 8 through Division Records. Aside from the 2016 two-songer EP Depraved/Very Long Week — granted, each song was 10 minutes long, but there were still just two of them — it’s also the only recorded output from the Neuchâtel outfit, whose style melds grim atmospheric doom with sludgy rawness, a punk undercurrent and a sense of onslaught that’s vital throughout the 40-minute run of five tracks. In terms of aesthetic, it’s more brutalist than brutal, if one thinks of “brutal” in terms of metallic extremity and brutalism as the architectural movement that showed authority could be communicated through harsh corners of institutional building walls, random seeming juts and unexpected line patterns that convey an unshakable sense of resolve. Prisons. Some libraries. Office buildings. They might occasionally be eyesores, and Charlene Beretah are nothing if they’re not caustic as well, but that only becomes part of the statement being made in both cases.

Ram begins peacefully enough, with a quiet line of keyboard/organ before a sample from Full Metal Jacket — “The dead have been covered with lime. The dead know only one thing: it is better to be alive” — before the full breadth of the distortion arrives with the slowly unfolding riff. Bass leads the way through the harshly shouted verses, but that guitar remains a looming threat with background noise and telegraphed reentry while the drums move between midpaced groove and snare fills. Immediately the atmosphere is charlene beretah ramweighted. Immediately the affect is raw. And immediately the listener knows that this is what Charlene Beretah wanted the album to be. It’s not underproduced, but the material on Ram — which ends its opener in furious fashion and moves into the subsequent “My Dream” for an all-the-more-fucked feel — revels in its own nastiness in such a way that lets the audience join it in scaling these harsh corners and protruding walls. And as it moves into the repetitive chug and starts and stops of the first half of the 11-minute centerpiece “Hurt,” the authoritarian spirit is like having bricks piled on your chest one at a time until you can’t breathe anymore. “Hurt” shifts into a quieter YOBby midsection, and the screaming-mania payoff that follows might be the most satisfying on the record, though there’s plenty enough competition to go around.

Then comes “Amazing Disgrace.” Without listening to the full album — can’t help you there, but you can hear the premiere of “Amazing Disgrace” on the player below, and that’s not nothing — it’s hard to fully understand the role “Amazing Disgrace” plays as the penultimate inclusion. It’s two and a half minutes long, and it owes as much to crust-via-Napalm Death as it does to sludge or doom or any other kind of heavy noise, and while it might be sandwiched between the record’s two most extended tracks in “Hurt” and the 11:43 closer “Kurdes Game,” it’s furious enough to distinguish itself even in those chaotic-seeming surroundings. It’s more than just pure rush, but its thrust is where it most makes its presence felt, and it’s there and gone into the mid-paced start of “Kurdes Game” like a blinding flash of extremity. But both “Hurt” and “Kurdes Game” benefit immensely for its being where it is, since it allows each track to stand on its own while also being a standout itself. It ends up being the point on the album at which everything comes together. And then “Kurdes Game” smashes it all to bits again and that’s about as fitting an end for Charlene Beretah‘s debut as one would dare to imagine.

Vital, destructive, oppressive and cast out with enough force to be an expression in the physical as much as the aural, Charlene Beretah’s Ram is an offering that requires a specific kind of head to appreciate, but that segment of audience ready and willing to be so thoroughly steamrolled will find Charlene Beretah a bone-crunching delight.

Enjoy “Amazing Disgrace” below:

Born at the dawn of the year 2014 in Switzerland, CHARLENE BERETAH initially started out as a duo with Thierry on drums and Arnaud on guitar / vocals. Inspired by styles as sinister and diverse as sludge, blackened crust and doom, in 2016 they recorded their first EP and soon after, in order to increase the levels of heaviness and loudness, the band recruits Guillaume to play bass guitar.

The Helvetians then worked on new titles and tested them on various stages in Switzerland and France. They entered the studio in the summer of 2019 to record their first album in live conditions to maintain the band’s raw feeling and energy. CHARLENE BERETAH offers a heavy and aggressive music with a cocky, sticky and oppressive atmosphere.

On this first album, the trio distills their influences throughout five tracks clearly reeking of the world’s end. The atmospheres are varied, though always tempered by the heaviness and the gloominess inherent to the band’s dark obsessions. Depression, murders and possession (both demonic and chemical) are topics treated in an atmosphere of furious madness and palpable despair. The groove, undeniable, smashing, thunderous, is interspersed with crust-punk accelerations that also recall the great hours of the Scandinavian second wave of black metal. You’ve understood, this first album is not in made of fine lace, and that’s precisely what’s so good about it.

Charlene Beretah is:
Charlene Petit – Guitar/vocals
Thierry Beretah – Drums
Jean Goisse – Bass

Charlene Beretah on Thee Facebooks

Charlene Beretah on Bandcamp

Division Records website

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Quarterly Review: Total Fucking Destruction, Hippie Death Cult, The Cosmic Dead, Greenthumb, Elepharmers, Nothing is Real, Warish, Mourn the Light & Oxblood Forge, Those Furious Flames, Mantra Machine

Posted in Reviews on October 3rd, 2019 by JJ Koczan

quarterly review

I’d like to find the jerk who decided that the week I fly to Norway was a good time for the Quarterly Review. That, obviously, was a tactical error on my part. Nonetheless, we press on with day four, which I post from Oslo on CET. Whatever time zone you may find yourself in this Thursday, I hope you have managed to find something so far in this onslaught of whatnot to sink your chompers into. That’s ultimately, why we’re here. Also because there are so many folders with albums in them on my desktop that I can’t stand it anymore. Happens about every three months.

But anyhoozle, we press on with Day Four of the Fall 2019 Quarterly Review, dutiful and diligent and a couple other words that start with ‘d.’ Mixed bag stylistically this time — trying to throw myself off a bit — so should be fun. Let’s dive in.

Quarterly Review #31-40:

Total Fucking Destruction, #USA4TFD

Total Fucking Destruction USA4TFD

Who the hell am I to be writing about a band like Total Fucking Destruction? I don’t know. Who the hell am I to be writing about anything. Fuck you. As the Rich Hoak (Brutal Truth)-led Philly natives grind their way through 23 tracks in a 27-minute barrage of deceptively thoughtful sonic extremity, they efficiently chronicle the confusion, tumult and disaffection of our age both in their maddening energy and in the poetry — yeah, I said it — of their lyrics. To it, from “Is Your Love a Rainbow”: “Are you growing? Is everything okay? Are you growing in the garden of I don’t know?” Lines like this are hardly decipherable without a lyric sheet, of course, but still, they’re there for those ready to look beyond the surface assault of the material, though, frankly, that assault alone would be enough to carry the band — Hoak on drums/vocals, Dan O’Hare on guitar/vocals and Ryan Moll on bass/vocals — along their willfully destructive course. For their fourth LP in 20 years — most of that time given to splits and shorter releases, as one might expect — Total Fucking Destruction make their case for an end of the world that, frankly, can’t get here fast enough.

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Give Praise Records website

 

Hippie Death Cult, 111

Hippie-Death-Cult-111

Issued first by the band digitally and on CD and then by Cursed Tongue Records on vinyl, 111 is the impressively toned debut full-length from Portland, Oregon’s Hippie Death Cult, who cull together heavy rock and post-grunge riffing with flourish of organ and a densely-weighted groove that serves as an overarching and uniting factor throughout. With the bluesy, classic feeling vocals of Ben Jackson cutting through the wall of fuzz from Eddie Brnabic‘s guitar and Laura Phillips‘ bass set to roll by Ryan Moore‘s drumming, there’s never any doubt as to where Hippie Death Cult are coming from throughout the seven-track/42-minute offering, but longer, side-ending pieces “Unborn” (8:24) and “Black Snake” (9:06) touch respectively on psychedelia and heavy blues in a way that emphasizes the subtle turns that have been happening all along, not just in shifts like the acoustic “Mrtyu,” but in the pastoral bridge and ensuing sweep of “Pigs” as well. “Sanctimonious” and “Breeder’s Curse” provide even ground at the outset, and from there, Hippie Death Cult only grow richer in sound along their way.

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Cursed Tongue Records BigCartel store

 

The Cosmic Dead, Scottish Space Race

The Cosmic Dead Scottish Space Race

Heavyweight Glaswegian space jammers The Cosmic Dead present four massive slabs of lysergic intensity with their eighth long-player, Scottish Space Race (on Riot Season Records), working quickly to pull the listener into their gravity well and holding them there for the 2LP’s 75-minute duration. As hypnotic as it is challenging, the initial churn that emerges in the aptly-named 20-minute opener “Portal” clenches the stomach brutally, and it’s not until after about 12 minutes that the band finally lets it loose. “Ursa Major,” somewhat thankfully, is more serene, but still carries a sense of movement and build in its second half, while the 12-minute title-track is noisier and has the surprising inclusion of vocals from the generally instrumental outfit. They cap with the 24-minute kosmiche throb of “The Grizzard,” and there are vocals there too, but they’re too obscured to be really discernible in any meaningful way, and of course the end of the record itself is a huge wash of fuckall noise. Eight records deep, The Cosmic Dead know what they’re doing in this regard, and they do it among the best of anyone out there.

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Riot Season Records website

 

Greenthumb, There are More Things

greenthumb there are more things

With just three tracks across a 20-minute span, There are More Things (on Acid Cosmonaut) feels like not much more than a sampler of things to come from Italian post-sludgers Greenthumb, who take their name from a Bongzilla track they also covered on their 2018 debut EP, West. The three-songer feels like a decided step forward from that offering, and though they maintain their screamier side well enough, they might be on the verge of needing a new name, as the rawness conveyed by the current moniker hardly does justice to the echoing atmospherics the band in their current incarnation bring. Launching with the two seven-minute cuts “The Field” and “Ogigia’s Tree,” they unfurl a breadth of roll so as to ensnare the listener, and though “The Black Court” is shorter at 5:37 and a bit more straight-ahead in its structure, it still holds to the ambient sensibility of its surroundings well, the band obviously doing likewise in transposing a natural feel into their sound born of landscape real or imagined.

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Acid Cosmonaut Records on Bandcamp

 

Elepharmers, Lords of Galaxia

Elepharmers Lords Of Galaxia Artwork

Riffy Sardinians Elepharmers set themselves to roll with “Ancient Astronauts” and do not stop from there on Lords of Galaxia, their third LP and debut through Electric Valley Records. There are some details of arrangement between the guitars of El Chino (also bass, vocals and harmonica) and Andrea “Fox” Cadeddu and the drums of Maurizio Mura, but as Marduk heralds his age on second cut “Ziqqurat,” the central uniting factor is g-r-o-o-v-e, and Elepharmers have it down through “The Flood” and into side B’s classic stoner rocking “Foundation” and the driving “The Mule,” which shifts into laser-effects ahead of the fade that brings in closer “Stars Like Dust” for the last 10 minutes of the 47-minute offering. And yes, there’s some psychedelia there, but Elepharmers stay pretty clearheaded on the whole in such a way as to highlight the sci-fi theme that seems to draw the songs together as much as the riffage. More focus on narrative can only help bring that out more, but I’m not sure I’d want that at the expense of the basic songwriting, which isn’t at all broken and thus requires no fixing.

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Electric Valley Records website

 

Nothing is Real, Only the Wicked are Pure

nothing is real only the wicked are pure

How do you recognize true misanthropy when you come across it? It doesn’t wear a special kind of facepaint, though it can. It doesn’t announce itself as such. It is a frame. Something genuinely antisocial and perhaps even hateful is a worldview. It’s not raise-a-claw-in-the-woods. It’s he-was-a-quiet-loner. And so, coming across the debut album from Los Angeles experimentalist doom outfit, one gets that lurking, creeping feeling of danger even though the music itself isn’t overly abrasive. But across the 2CD debut album, a sprawl of darkened, viciously un-produced fare that seems to be built around programmed drums at the behest of Craig Osbourne — who may or may not be the only person in the band and isn’t willing to say otherwise — plays out over the course of more than two hours like a manifesto found after the fact. Imagine chapters called “Hope is Weakness,” “Fingered by the Hand of God,” and “Uplift the Worthy (Destroy the Weak).” The last of those appears on both discs — as do several of the songs in different incarnations — as the track marries acoustic and eventual harder-edged guitar around murderous themes, sounding something like Godflesh might have if they’d pursued a darker path. Scary.

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Nothing is Real on Bandcamp

 

Warish, Down in Flames

warish down in flames

The fact that Warish are blasting hard punk through heavy blowout tones isn’t what everyone wants to talk about when it comes to the band. They want to talk about the fact that it’s Riley Hawk — of royal stock, as regards pro skateboarding — fronting the band. Well, that’s probably good for a built-in social media following — name recognition never hurts, and I don’t see a need to pretend otherwise — but it doesn’t do shit for the album itself. What matters about the album is that bit about the blasting blowout. With Down in Flames (on RidingEasy), the Oceanside three-piece follow-up their earlier-2019 debut EP with 11 tracks that touch on horror punk with “Bones” and imagine grunge-unhinged with “Fight” and “You’ll Abide,” but are essentially a display of tonal fuckall presented not to add to a brand, but to add the soundtrack to somebody’s blackout. It’s a good time and the drunkest, gnarliest, most-possibly-shirtless dude in the room is having it. Also he probably smells. And he just hugged you. Down in Flames gets high with that dude. That matters more than who anyone’s dad is.

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RidingEasy Records website

 

Mourn the Light & Oxblood Forge, Split

It’s a double-dose of New England doom as Connecticut’s Mourn the Light and Boston’s Oxblood Forge pair up for a split release. The former bring more material than the latter, particularly when one counts the digital-only bonus cover of Candlemass‘ “Bewitched,” but with both groups, it’s a case of what-you-see-is-what-you-get. Both groups share a clear affinity for classic metal — and yes, that absolutely extends to the piano-led drama of Mourn the Light‘s mournful “Carry the Flame” — but Oxblood Forge‘s take thereupon is rougher edged, harder in its tone and meaner in the output. Their “Screams From Silence” feels like something from a dubbed-and-mailed tape circa ’92. Mourn the Light’s “Drags Me Down” is cleaner-sounding, but no less weighted. I don’t think either band is out to change the world, or even to change doom, but they’re doing what they’re doing well and without even an ounce of pretense — well, maybe a little bit in that piano track; but it’s very metal pretense — and clearly from the heart. That might be the most classic-metal aspect of all.


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Those Furious Flames, HeartH

those furious flames hearth

Swiss heavy rockers Those Furious Flames push the boundaries of psychedelia, but ultimately remain coherent in their approach. Likewise, they very, very obviously are into some classic heavy rock and roll, but their take on it is nothing if not modern. And more, they thrive in these contradictions and don’t at all sound like their songs are in conflict with themselves. I guess that’s the kind of thing one can pull off after 15 years together on a fifth full-length, which HeartH (on Vincebus Eruptum) is for them. Perhaps it’s the fact that they let the energy of pieces like “VooDoo” and the boogie-laced “HPPD” carry them rather than try to carry it, but either way, it’s clearly about the songs first, and it works. With added flash of organ amid the full-sounding riffs, Those Furious Flames round out with the spacey “Visions” and earn every bit of the drift therein with a still-resonant vocal harmony. You might not get it all the first time, but listening twice won’t be at all painful.

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Vincebus Eruptum Recordings BigCartel store

 

Mantra Machine, Heliosphere

mantra machine heliosphere

This is what it’s all about. Four longer-form instrumentalist heavy psych jams that are warm in tone and want nothing so much as to go out wandering and see what they can find. Through “Hydrogen,” “Atmos,” “Delta-V” and “Heliosphere,” Amsterdam-based three-piece Mantra Machine want nothing for gig-style vitality, but their purpose isn’t so much to electrify as to find that perfect moment of chill and let it go, see where it ends up, and they get there to be sure. Warm guitar and bass tones call to mind something that might’ve come out of the Netherlands at the start of this decade, when bands like Sungrazer and The Machine were unfolding such fluidity as seemed to herald a new generation of heavy psychedelia across Europe. That generation took a different shape — several different shapes, in the end — but Mantra Machine‘s Heliosphere makes it easy to remember what was so exciting about that in the first place. Total immersion. Total sense of welcoming. Totally human presence without speaking a word. So much vibe. So much right on.

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