Comacozer, Kalos Eidos Skopeo: Lines Across Spectra

Posted in Reviews on December 14th, 2017 by JJ Koczan

Comacozer Kalos Eidos Skopeo

Sydney-based trio Comacozer aren’t exactly keeping secrets when it comes to what they’re going for with their sound. Among the four extended tracks of Kalos Eidos Skopeo, which is ostensibly their third album — their first having been comprised of two prior EPs; their second being 2016’s Astra Planeta (review here) — the band blend cosmic expanse and earthbound heft to immersion-geared instrumentalism across nearly an hour’s runtime. Their ambition is to entrance more than pummel, but that doesn’t mean a song like “Mystagmus” or the preceding opener “Axis Mundi” don’t have stretches within them that come across Sleep-derived enough to make one wish Al Cisneros would enter with a ritualistically-patterned verse, just that there’s more going on within the 52 minutes of the Headspin Records release than the rolling of riffs.

Some of the album’s most effective moments are its most cosmic, and with the additional flourish provided by the synth of Frank Attard — who also engineered and mixed the recording and drums in psych-improv specialists Frozen Planet….1969 — alongside the guitars of Rick Burke, the bass of Rich Elliott and Andrew Panagopoulos‘ drums, a sense of progression is palpable from the last record to this one. All the more, perhaps, because the songs themselves have grown bigger in keeping with the overall sound, and become longer and more immersive, and when one considers that Attard has helmed each of Comacozer‘s records to-date, it argues all the more that the progression the band has undertaken is willful. That is to say, they’ve settled into a process of craft and know what they want to do aesthetically, so what’s happening with Kalos Eidos Skopeo is the next stage of that process being realized.

It’s also hypnotic as hell. There is not one among the four inclusions — “Axis Mundi” (13:39), “Nystagmus” (12:25), “Hylonomus” (13:43) and “Enuma Elish” (12:58) — that doesn’t lull the listener away from what one generally thinks of as consciousness, and in terms of the overarching breadth of the thing, it’s telling that Comacozer begin with a track that references the tree connecting earth and the ethereal and end with one that calls out the ancient Babylonian myth of creation. If one keeps in mind the early instrumental meanderings of My Sleeping Karma, then before “Axis Mundi” swells in volume just before the 10-minute mark, the track seems to spread itself out in a similar fashion, but it’s really just the first stage of the larger submersion that plays out, and “Nystagmus” — the title of which derives from a medical condition in which one’s eye makes rapid and uncontrolled movements — runs perhaps even deeper.

comacozer

Again with Attard‘s synth work as a major factor, “Nystagmus” executes a long-form linear build, setting itself forward, but seeming to plateau for a while, look around itself, and mindfully drift. The effect on the audience is utterly serene. It gets denser, louder and more actively rolling in the back half as it begins to come to a head, but there are a few minutes there where Comacozer actually make it seem like time has jumped. Burke and Elliott offer such warmth of tone and Panagopoulos such care in his percussive flow, that it’s almost impossible not to get lost in the progression of the resulting work. I am somebody who listens to a lot of psychedelic rock. A lot. I listen to a lot of heavy jams. Very few seem to pull one away from their own brain in the way “Nystagmus” does. It’s a triumph of chill.

Comacozer only increase their overall reach from that point. “Hylonomus” — named for one of the earliest or perhaps even the first of the reptiles — begins with Eastern-inflected strum and moves in its first minute to guitar drift joined soon by the bass and drums, carrying an early tension but holding it until seemingly the last possible minute. As a build, it is more linear but perhaps not as subtle as “Nystagmus” before it, but once again, the fluidity with which the band brings it to life resounds with its liquidity. This doesn’t sound like a compliment but it is one in context because I think it’s what they’re going for: It might actually put you to sleep.

And when it wants you to wake up — the escalating drums leading a forward charge that starts at 11:22 — it’s the most active Comacozer get at any point on Kalos Eidos Skopeo, with a genuine surge in tempo that neither “Nystagmus” nor “Axis Mundi” brought to bear, and from which “Enuma Elish” soon enough departs again to reset the base from which it will embark on one last excursion into the outer edges of the atmosphere. It is encouraging to hear the way in which heft and ambient spaces coexist throughout Kalos Eidos Skopeo — which trims down its 52-minute runtime for the vinyl edition — and the sheer patience of the work as a whole, but worth emphasizing that while the three-maybe-four-piece have established a place for themselves within this sphere, there’s still room for them to progress in how they function structurally and in how their songs are framed, whether that’s achieved through bringing a sense of variety to the proceedings by further expanding arrangements or simply changing up when they get louder in a given piece.

It’s also important to remember they’re still only a year out from what was essentially their first record, so there’s plenty of time for that development to happen, and the commitment to all things molten they show throughout this colorful offering bodes significantly well for their longer-term prospects. One hopes they keep exploring with the vigor and obvious passion they do here.

Comacozer, Kalos Eidos Skopeo (2017)

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Comacozer on Instagram

Comacozer on Bandcamp

HeadSpin Records website

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Mother Mars Set to Release On Lunar Highlands Dec. 6; New Song Streaming

Posted in Whathaveyou on November 21st, 2017 by JJ Koczan

Somewhere between impulses classic and cosmic, one finds Sydney-based four-piece belting out a heavy space blues rock as much given to analog-style boogie as it is to topping that boogie with some effects-heavy swirl. It’s been four years since their last long-play outing, Steam Machine Museum, saw release, and Pepper Shaker Records has locked in a Dec. 6 date for the forthcoming On Lunar Highlands, a thoroughly unmanageable 69-minute/11-tracker no less defined by the Hawkwindism of the 13-minute “Woodhollow Green” than by its plucked-banjo interludes “Bean Stalkin'” and “Bean Stalkin’ Again” or by the corresponding freakouts “The Working Mind of the Creator” and “The Heavy Hand of the Destroyer.” Yes, it gets weird. Also, it rocks. Seemingly at will.

The track streaming at the bottom of this post, “The Stalwarts of Saltwort Castle,” summarizes a portion of the overall scope in its nine-minute run, but yeah, even that doesn’t really capture everything. You kind of just need to make your way through the whole record to get the complete picture. One more time: Dec. 6.

From the PR wire:

mother mars on lunar highlands

Mother Mars- New Album ‘On Lunar Highlands’

The forthcoming Mother Mars Album ‘On Lunar Highlands’ is now available for pre-order. The track ‘The Stalwarts Of Saltwort Castle’ is the feature track that comes along with the pre-order!

Four years since the last full release Mother Mars return with their Fourth full length album, 69 minutes of vintage style heavy riff rock, a bluesy psychedelic space trip to the rocky outer realm and back!

The complete album will release on December 6th! Available digitally and on Compact Disc at The Mother Mars and Pepper Shaker Records Bandcamp pages.

Tracklisting:
1. Wrecker’s Reunion Ball
2. Lost Planet Airmen
3. Thought It Best To Cut You Loose
4. Soap Bar Pick-Up Joint
5. The Stalwarts Of Saltwort Castle
6. The Working Mind Of The Creator
7. Woodhollow Green
8. Never Fail
9. Bigger Than Fear
10. On Lunar Highlands
11. The Heavy Hand Of The Destroyer

Mother Mars is:
Frank Attard: drums, percussion, Clavinet, synth, meandering chaos
Paul Attard: guitar, bass, synth, banjo-mandolin, piano, organ, complications
Dave Schembri: vocals, harmonica, mellow vibes
Matthew Slager: lead guitar on ‘Never Fail’

https://www.facebook.com/mothermars/
https://mothermars.bandcamp.com
https://www.facebook.com/peppershakerrecords/
https://peppershakerrecords.bandcamp.com/

Mother Mars, On Lunar Highlands (2017)

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

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

the obelisk quarterly review

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

Quarterly Review #11-20:

Spotlights, Seismic

spotlights seismic

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

Spotlights on Thee Facebooks

Ipecac Recordings website

 

War Cloud, War Cloud

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

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Ripple Music website

 

Rubble Road, The Clowns Have Spoken

rubble-road-the-clowns-have-spoken

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

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Rubble Road on Bandcamp

 

Monte Luna, Monte Luna

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

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Monte Luna on Bandcamp

 

High Reeper, High Reeper

high reeper high reeper

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

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High Reeper on YouTube

 

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

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

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

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Pepper Shaker Records on Bandcamp

 

Zaius, Of Adoration

zaius of adoration

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

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Prosthetic Records webstore

 

Process of Guilt, Black Earth

process-of-guilt-black-earth

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

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Division Records website

Bleak Recordings website

 

Sundus Abdulghani & Trunk, Sundus Abdulghani & Trunk

Sundus-Abdulghani-Trunk-self-titled

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

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Kozmik Artifactz website

 

Owlcrusher, Owlcrusher

owlcrusher owlcrusher

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

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Seeing Red Records on Bandcamp

 

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Quarterly Review: Pallbearer, Dread Sovereign, Lizzard Wizzard, Oulu Space Jam Collective, Frozen Planet….1969, Ananda Mida, Strange Broue, Orango, Set and Setting, Dautha

Posted in Reviews on March 27th, 2017 by JJ Koczan

cropped-Charles-Meryon-Labside-Notre-Dame-1854

Here we are, on the precipice looking out over a spread that will include 50 reviews by the week’s end. Somehow when it comes around to a Quarterly Review Monday I always end up taking a moment to ask myself if I’ve truly lost my mind, if I really expect to be able to do this and not fall completely flat on my face, and just where the hell this terrible idea came from in the first place. But you know what? I haven’t flubbed one yet. We get through it. There’s a lot to go through, for me and you both, but sometimes it’s fun to be completely overwhelmed by music. I hope you agree, and I hope you find something this week that hits you in that oh-yeah-that’s-why-I-love-this kind of way. Time’s wasting. Let’s get started.

Quarterly Review #1-10:

Pallbearer, Heartless

pallbearer heartless

Three albums and nearly a decade into their tenure, Pallbearer stand at the forefront of American doom, and their third outing, Heartless (on Profound Lore), only reinforces this position while at the same time expanding beyond genre lines in ways that even their 2014 sophomore effort, Foundations of Burden, simply couldn’t have done. A seven-song/hour-long sprawl is marked out by resonant melodies, soulful melancholy conveyed by guitarist/vocalist Brett Campbell – the returning lineup completed by guitarist Devin Holt, bassist Joseph D. Rowland and drummer Mark Lierly – and tonal weight set to a mix by Joe Barresi, who from opener “I Saw the End” onward arranges layers gorgeously so that extended pieces like “Dancing in Madness” (11:48) and closer “A Plea for Understanding” (12:40) become even more consuming. What comes through most resolute on Heartless, though, is that it’s time to stop thinking of Pallbearer as belonging to some established notion of doom or any other subgenre. With these songs, they make it clear they’ve arrived at their own wavelength and are ready to stand up to the influence they’ve already begun to have on other acts. A significant achievement.

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Profound Lore Records website

 

Dread Sovereign, For Doom the Bell Tolls

dread-sovereign-for-doom-the-bell-tolls

With the considerable frontman presence of Primordial’s Alan Averill on vocals and bass, the considerable riffing of guitarist Bones (also of Wizards of Firetop Mountain) and the considerable lumber in the drumming of Johnny King (ex-Altar of Plagues), Dread Sovereign make some considerable fucking doom indeed. Their second album, For Doom the Bell Tolls (on Ván Records), follows three years behind their debut, 2014’s All Hell’s Martyrs (review here), and wastes no time giving the devil his due – or his doom, if you prefer – in the span of its six tracks and 37 minutes. Atmospheric and seemingly on an endless downward plod, the 13-minute “Twelve Bells Toll in Salem” is a defining moment, but the trad metallurgy of “This World is Doomed” rounds out side A with some welcome thrust, and after the intro “Draped in Sepulchral Fog,” “The Spines of Saturn” and the thrashing “Live Like and Angel, Die Like a Devil” play dramatic and furious intensities off each other in a manner that would seem to truly represent the fine art of not giving a shit what anyone thinks about what you do or what box you’re supposed to fit into. Righteous. Considerably so.

Dread Sovereign on Thee Facebooks

Ván Records website

 

Lizzard Wizzard, Total War Power Bastard

lizzard-wizzard-total-war-power-bastard

Noise, largesse of riffs and shouted vocals that distinctly remind of Souls at Zero-era Neurosis pervade the near-hour-long run of Lizzard Wizzard’s Total War Power Bastard, but as much as the Brisbane four-piece willfully give themselves over to fuckall – to wit, the title “Medusa but She Gets You Stoned Instead of Turning You to Stone, Instead of Snakes She has Vaporizers on His Head… Drugs” – songs like “Shithead Nihilism,” “Pizza” and the droning “Snake Arrow” brim with purpose and prove affecting in their atmosphere and heft alike. Yes, they have a song called “Nerd Smasher,” and they deserve all credit for that as they follow-up their 2013 self-titled (review here), but by the time they get down to the roll-happy “Crystal Balls” and the feedback-caked “Megaflora” at the record’s end, guitarists Michael Clarke and Nick McKeon, bassist Stef Roselli and drummer Luke Osborne end up having done something original with a Sleep influence, and that’s even more commendable.

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Lizzard Wizzard on Bandcamp

 

Oulu Space Jam Collective, EP1

Oulu-Space-Jam-Collective-ep1

Should mention two things outright about Oulu Space Jam Collective’s EP1. First and foremost, its three songs run over 95 minutes long, so if it’s an EP, one can only imagine what qualifies as a “full-length.” Second, the Finnish outfit releasing EP1 on limited tape through Eggs in Aspic isn’t to be confused with Denmark’s Øresund Space Collective. Oulu is someplace else entirely, and likewise, Oulu Space Jam Collective have their own intentions as they show in the 57-minute opener “Renegade Spaceman,” recorded live in the studio in 2014 (they’ve since made two sequels) and presented in six movements including samples, drones, enough swirl for, well, 57 minutes, and a hypnotism that’s nigh on inescapable. I won’t take away from the space rock thrust of 14-minute closer “Artistic Supplies for Moon Paint Mafia” (also tracked in 2014), but the smooth progressive edge of three-part 24-minute centerpiece “Approaching Beast Moon of Baxool” is where it’s at for me – though if you want a whole galaxy to explore, hit up their Bandcamp.

Oulu Space Jam Collective on Thee Facebooks

Eggs in Aspic webstore

 

Frozen Planet…. 1969, Electric Smokehouse

frozen-planet-1969-electric-smokehouse

They freak out a bit toward the end of 12-minute opener “Ascendant” and in the second half of the subsequent “Supersaturation,” but for the most part, Aussie three-piece Frozen Planet…. 1969 play it weirdo-cool on their fourth full-length, the excellently-titled Electric Smokehouse (on Pepper Shaker Records). From those jams to the dreamy beachside drift of “Shores of Oblivion” to the funky-fuzz bass of “Sonic Egg Factory” to the quick noise finish of “Pretty Blown Fuse” – which may or may not be the sound of malfunctioning equipment run through an oscillator or some other effects-whatnot, the instrumentalist Sydney/Canberra trio seem to improv a healthy percentage of their fare, if not all of it, and that spirit of spontaneity feeds into the easygoing atmosphere only enhanced by the cover art. On a superficial level, you know you’re getting psych jams going into it, but once you put on Electric Smokehouse, the urge to get lost in the tracks is nigh on overwhelming, and that proves greatly to their credit. Wake up someplace else.

Frozen Planet…. 1969 on Thee Facebooks

Pepper Shaker Records on Bandcamp

 

Ananda Mida, Anodnatius

ananda-mida-anodnatius

Ananda Mida make their debut on Go Down Records with Anodnatius, fluidly working their way around heavy psychedelic and more driving rock influences propelled by drummer Massimo “Max Ear” Recchia, also of underrated Italian forebears OJM. Here, Recchia anchors a seven-piece lineup including two vocalists in Oscar de Bertoldi and Filippo Leonardi, two guitarists in Matteo Scolaro and Alessandro Tedesco, as well as bassist Davide Bressan and organist Stefano Pasqualetto, so suffice it to say songs like the subtly grungy “Passvas,” the dreamy highlight “Heropas” or the vaguely progressive “Askokinn” want nothing for fullness, but there seem to be moments throughout Anodnatius as on “Lunia” and the shuffling “Kondur” early into the proceedings where the band wants to break out and push toward something heavier. Their restraint is to be commended since it serves the interests of songcraft, but part of me can’t help but wonder what might happen if these guys really let loose on some boogie jams. Keep an ear open to find out, as I have a feeling they might be headed in just that direction.

Ananda Mida on Thee Facebooks

Go Down Records website

 

Strange Broue, Seance

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The heart of Séance – The Satanic Sounds of Strange Broue might come in the 11-minute sample dump that is “Cults and Crimes,” late into the second half of the 52-minute album. Capturing meticulously compiled news and talk-show clips from the late ‘80s, some of which talk about the Satanic roots of heavy metal, it gets to the ritualism that Quebec four-piece Strange Broue proliferate elsewhere on the record in the lo-fi post-Electric Wizard doom of “Satan’s Slaves,” “Kill What’s Inside of You” and the rolling opener “Ritualize” (video here). These pieces offset by other interludes of noise and drone and samples like “Satanic Panic,” “In Nomine Dei Nostri Satanis, Luciferi Excelsis,” the acoustic-until-it-gets-shot-in-the-woods “Las Bas,” the John Carpenter-esque “Séance IV – L’Invocation” and the extended penultimate drone of “Séance V – The Mystifying Oracle with Bells” ahead of the countrified pop gospel of “Satan is Real,” which finishes in subversive fashion, interrupted by more news reports and a finishing assault of noise. Like an arts project in the dark arts, Séance crosses some familiar terrain but finds Strange Broue on their own trip through cultish immersion, as psychological as it is psychedelic.

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Orango, The Mules of Nana

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Not much to argue with in the sixth long-player from Helge Kanck, Trond Slåke and Hallvard Gaardløs, collectively known as Orango. As they make their way onto Stickman Records (which also handled Euro distro for their last album, 2014’s Battles) with The Mules of Nana, the Norwegian trio deep-dive into harmony-topped ‘70s-style vibing that, well, leaves the bulk of “retro” bands in their V8-crafted dust. Mind you they do so by not being a retro band. True, the fuzz on “The Honeymoon Song” and “Head on Down” is as organic as if you happened on it in some forest where all the trees were wearing bellbottoms, but if you told me it was true, I’d believe Orango recorded The Mules of Nana onto – gasp! – a computer. I don’t know if that’s the case or not, but “Heirs,” the sweetly acoustic “Give Me a Hundred” and motoring “Hazy Chain of Mountains” find Orango making no attempt to cloak a lack of songwriting or performance chops in a production aesthetic. Rather, in the tradition of hi-fi greats, they sound as full and rich as possible and utterly live up to the high standard they set for themselves. Pure win in classic, dynamic fashion.

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Stickman Records website

 

Set and Setting, Reflectionless

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There’s an undercurrent of metal that’s quick to show itself on Set and Setting’s Reflectionless. The instrumentalist Floridian five-piece delve plenty deep into heavy post-rock on cuts like the shoegazing “Incandescent Gleam” and subsequent “Specular Wavefront Of…” but they’re not through opener “Saudade” before harder-edged chug emerges, and “…The Idyllic Realm”’s blastbeating nods at black metal while the churning endgame build of closer “Ephemerality” holds tight to a progressive execution. While its textural foundation will likely ring familiar to followers of Russian Circles ultimately, Reflectionless finds distinction in aligning the various paths it walks as it goes, creating an overarching flow that draws strength from its diversity of approach rather than sounding choppy, confused or in conflict with itself. Not revolutionary by any means, but engaging throughout and with a residual warmth to complement what might seem at first to be a purely cerebral approach. It offers more on repeat listens, so let it sink in.

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Set and Setting webstore

 

Dautha, Den Foerste

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Primo short offering of pure, fistpump-ready, violin-infused doom traditionalism. I don’t know what Norrköping, Sweden’s Dautha – the five-piece of vocalist Lars Palmqvist, guitarists Erik Öquist and Ola Blomkvist, bassist Emil Åström and drummer Micael Zetterberg – are planning to do for a follow-up, but this Den Foerste (or Den Förste) two-tracker recalls glory-era Candlemass and willfully soars with no sense of irony on “Benandanti” and “In Between Two Floods” after the intro “Horkarlar Skall Slås Ihjäl,” and having already sold out a self-released pressing leaves little to wonder what would’ve caught the esteemed tastes of Ván Records. And by that I mean it’s fucking awesome. I’m ready for a full-length whenever they are, and from the poise with which Palmqvist carries the melodies of these tracks, the quality of the riffing and the depth of arrangement the violin adds to the overarching mournfulness, they definitely sound ready. So get on it. 15 minutes of dirge-making this gorgeous simply isn’t enough.

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Ván Records website

 

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Frozen Planet 1969 to Release Electric Smokehouse Jan. 11

Posted in Whathaveyou on January 2nd, 2017 by JJ Koczan

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In look and sonic vibe, Frozen Planet 1969 seem to be shooting for that obscure, lost private press LP heavy you pick up unknowningly from the rack at your favorite musty shop, take to the counter, and promptly receive — rightly so — a lecture on how frickin’ awesome it is. All you can do is nod your head in vague agreement and roll with it until you get home and realize how correct that trusty clerk was. The Australian heavy psych jammers — who also stylize their name with an elongated ellipse: Frozen Planet….1969 — will issue Electric Smokehouse on Jan. 11, with vinyl out through Headspin Records and CD/DL from Pepper Shaker Records. I’d never presume to play the role of the store clerk, but they’ve got the song “Supersaturation” from the new outing streaming now, and it’s a tasty bit of fluidity sure to consume the converted. By all means, dig in.

They got in touch over subspace frequencies and sent this down the PR wire:

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New Frozen Planet….1969 album

New album by Frozen Planet….1969 ‘Electric Smokehouse’. This is the band’s fourth album. It contains more of the heavy-psych instrumental experimental improvisation the band has become known for! ‘Electric Smokehouse’ will be released very early in the new year- January 11 2017. It will be available on vinyl in black or transparent purple in a gatefold sleeve on Headspin Records and on CD and digitally via Pepper Shaker.

The vinyl version can be found on the Shiny Beast mail-order website and there will also be some copies available via the Pepper shaker Records Bandcamp page. The CD and digital versions will be available via the Pepper Shaker Records Bandcamp page.

Although the band name suggests otherwise, Frozen Planet….1969 dates back to early 2012! It was then that a heavy-psych jam session between two Sydney-based musicians, Paul and Frank Attard, and Canberra-based Lachlan Paine, took place.

Luckily, this afternoon of improvisation at the home of Pepper Shaker Records, Frank Street Studio, was recorded. However, it wasn’t until over a year later that the three decided they should finally mix and release some of the material they had created that day. Paul and Frank had been playing in the stoner-doom band, Mother Mars. Lachlan was playing in the Canberra heavy rock trio, Looking Glass. After playing on numerous bills together over the years it seemed only natural there would be some sort of collaboration between the two bands at some point.

Frozen Planet….1969 played its first show in February 2014. It was also around this time that the band recorded another mammoth jam session. From this jam session came the second and third releases for the band, “Lost Traveller Chronicles, Volume 1” (released 20th August 2014) and “Lost Traveller Chronicles, Volume 2” (released 6th May 2015). The concept this time would be a travel journal through the constellations, with each song being a chapter from the journal! Both volumes were released in digital and physical format on Pepper Shaker Records. The physical format for Volume 1 was a limited 10-inch vinyl and for Volume 2 the format was CD.

To date, the band has only played a handful of shows. Each show has been uniquely different with the band continuously jamming for thirty to forty minutes. No rehearsal necessary. Every time Frozen Planet….1969 gets together it’s either to record or play live. All improvised!

https://www.facebook.com/Frozenplanet1969
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https://peppershakerrecords.bandcamp.com/

Frozen Planet 1969, “Supersaturation”

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Comacozer, Astra Planeta: The Navigational Mind

Posted in Reviews on November 28th, 2016 by JJ Koczan

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It’s almost 100 percent certain that’s their origin, but I don’t think it’s appropriate to call the five tracks on Comacozer‘s debut LP, Astra Planeta, jams. There are moments that definitely give an air of spontaneity to the outing, whether that’s the initial unfolding textural nod of “Saurian Dream” or the guitar-led flourish that factors so significantly into closer “Hypnotized by Apophis,” but the course overall feels plotted, and with the blend of psychedelic and heavier impulses that the Sydney-based trio have on offer throughout the 41-minute HeadSpin Records LP, presented in clear/black or clear/purple gatefold vinyl with art by Fever Dog guitarist Danny Graham, there’s some measure of comfort in that.

Of course, Comacozer aren’t exactly entering into their first album blind. Astra Planeta follows behind two EPs in 2014’s Sessions and 2015’s Deloun that wound up combined and pressed to vinyl as — wait for it – Deloun Sessions, but where that was very clearly drawing a line between two early outings, Astra Planeta draws a significant amount of its purpose from exacting a linear flow across its two sides, split with three cuts on side A and two longer ones on side B, opting it would seem for maximum immersion at all times, whether the source of that is Rich Burke‘s willfully-meandering guitar, Richard Elliott‘s patient basslines or the steady push in Andrew Panagopoulos‘ drumming that seems to hold these proceedings together, giving a song like second track “The Mind that Feeds the Eye” a sense of build late and adding direction to the record as a whole.

The opening that “Saurian Dream” and “The Mind that Feeds the Eye” give to Astra Planeta is key to understanding that direction. In listening, I’ve been trying to determine the source of what I’m hearing so distinctly as an earlier My Sleeping Karma influence. It seems to be in some of the minor-key Easternisms early in “Saurian Dream,” blended with Western heavy psych impulses, and no doubt part of the connection stems from the fact that both groups are instrumental, but I think it has even more to do with the smoothness in Comacozer‘s tones. Layers of watery effects from Burke‘s guitar and the depths in Elliott‘s bass as heard just past the midpoint of the opener as it comes more to the forefront of the mix join together to craft a hypnotic impression that, while still figuring out some elements of its approach — one hopes that growth is a lifelong process for the band only beginning here — is marked in its effect on the listener in a similar manner as the German masters of the form.

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Where Comacozer distinguish themselves is in their immediate drive to push beyond this root inspiration, drawing from it the fluidity from which their debut very much benefits and then suiting that to the purposes of their already-noted instrumentalist songwriting, whether that’s the linearity of “The Mind that Feeds the Eye” or the more rhythmically-minded, open structure of “Navigating the Mandjet,” which follows and closes out side A with Panagopoulos expanding the percussive scope amid more adventurous arrangements of guitar, tapping sitar-esque feel and wah-soaked bass as handclaps assure a duly human feel beneath and alongside the earlier ceremonial thrust that gives way to funkier terrain as the three-piece make their way into the second half of the song, which is the shortest on Astra Planeta at 6:21.

It’s fitting for the overarching progression of Astra Planeta that the two lengthiest pieces should follow. One might have a difficult time saying “Illumination Cloud” (8:18) and “Hypnotized by Apophis” (11:38) go further out than any of the first three tracks, since the basic cosmos-bound flow remains largely consistent, but with more time at their disposal, Comacozer do get a chance to show more of the aforementioned spontaneity. Burke‘s solo late in “Illumination Cloud,” which if it isn’t improvised is a close enough approximation over the steady groove offered by the bass and drums — Elliott‘s bass takes over circa 7:30 after that solo drops out and offers a moment to genuinely appreciate his tone shortly before the song ends — as well as in the thicker, early Natas-style fuzz of “Hypnotized by Apophis,” which settles into a march in its second half only after a satisfyingly exploratory midsection in which the low end again shines as the guitar noodles-out in trippy fashion.

Granted, it might ultimately be a familiar blend of styles — heavy, psych, some underpinnings of stoner and doom — but as with any encouraging debut, Astra Planeta presents a telling glimpse of where Comacozer are coming from sound-wise and gives listeners a chance to speculate on where and how they might develop going forward. As to that, the most engaging facets of Astra Planeta prove to be its ultimate immersion, its willingness to subtly engage with expanded layering and arrangements, its tonal warmth and the chemistry beginning to take shape between BurkeElliott and Panagopoulos. So long as Comacozer can maintain those going forward, the rest should take care of itself naturally, and particularly as naturalism seems to be such a focus for them on Astra Planeta, there should be little to worry about in that regard.

Comacozer, Astra Planeta (2016)

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Comacozer on Bandcamp

HeadSpin Records website

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Quarterly Review: Russian Circles, Salem’s Pot, Bridesmaid, Admiral Sir Cloudesley Shovell, Landing, Reign of Zaius, Transcendent Sea, Red Teeth, Sea of Bones & Ramlord, Holy Smoke

Posted in Reviews on October 6th, 2016 by JJ Koczan

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I’ll admit I’m a little surprised at the shape this Quarterly Review has taken. As I begin to look back on the year in terms of what records have been talked about over the span, I find it’s been particularly geared toward debut albums, both in and out of wrap-ups like this one. There’s less of that this time around, but what’s happened is some stuff that doesn’t fall into that category — releases like the first two here, for example — are getting covered here to allow space for the others. Let’s face it, nobody gives a shit what I have to say about Russian Circles anyhow, so whatever, but I’m happy to have this as a vehicle for discussing records I still think are worth discussing — the first two releases here, again for example — rather than letting them fall through the cracks with the glut of new bands coming along. Of course things evolve as you go on, but I wish I’d figured it out sooner. Let’s dive in.

Quarterly Review #31-40:

Russian Circles, Guidance

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From the warm wash of guitar that begins “Asa” onward, and no matter how weighted, percussive and/or chug-fueled Russian Circles get from there, the Chicago trio seem to be offering solace on their latest outing, Guidance. Recorded by Kurt Ballou and released through Sargent House, the seven-track offering crosses heavy post-rock soundscapes given marked thickness and distinct intensity on “Vorel,” but the record as a whole never quite loses the serenity in “Asa” or the later “Overboard,” crushing as the subsequent “Calla” gets, and though the spaces they cast in closer “Lisboa” are wide and intimidating, their control of them is utterly complete. Six albums in, Russian Circles are simply masters of what they do. There’s really no other way to put it. They remain forward thinking in terms of investigating new ideas in their sound, but their core approach is set in the fluidity of these songs and they revise their aesthetic with a similar, natural patience to that with which they execute their material.

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Sargent House website

 

Salem’s Pot, Pronounce This!

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Following their 2014 RidingEasy Records debut, …Lurar ut dig på prärien (discussed here) – which, presumably met with some pronunciation trouble outside the band’s native Sweden – Salem’s Pot return with Pronounce This!, further refining their blend of psychedelic swirl, odd vibes and garage doom riffing. They remain heavily indoctrinated into the post-Uncle Acid school of buzz and groove, and aren’t afraid to scum it up on “Tranny Takes a Trip” or the slower-shifting first half of “Coal Mind,” but the second portion of that song and “So Gone, so Dead” take a more classically progressive bent that is both refreshing and a significant expansion on what Salem’s Pot have accomplished thus far into their tenure. Still weird, and one doubts that’ll change anytime soon – nor does it need to – but as Pronounce This! plays out, Salem’s Pot demonstrate an open-mindedness that seems to have been underlying their work all along and bring it forward in engaging fashion.

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RidingEasy Records website

 

Bridesmaid, International House of Mancakes

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International House of Mancakes – yup – is the follow-up to Bridesmaid’s 2013 long-player, Breakfast at Riffany’s, and like that album, it finds the Columbus, Ohio, instrumentalists with a penchant for inserting dudes’ names into well-known titles – see “Hungry Like Nick Wolf” and “Ronnin’ with the Devil” – but it also expands the lineup to the two-bass/two-drum four-piece of Scott Hyatt and Bob Brinkman (both bass) and Cory Barnt and Boehm (both drums). Topped off with KISS-meets-Village People art from W. Ralph Walters, there are shortages neither of snark nor low end, but buried underneath is a progressive songwriting sensibility that doesn’t come across as overly metal on cuts like “Ricky Thump” and doesn’t sacrifice impact or heft for the sake of self-indulgence. Opening with its longest track (immediate points) in “It’s Alectric (Boogie Woogie Woogie),” International House of Mancakes unfolds a heavy rock push that, while obviously driven in part by its sense of humor, earns serious consideration in these tracks for those willing to actually listen.

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Bridesmaid on Bandcamp

 

Admiral Sir Cloudesley Shovell, Keep it Greasy!

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Too thick in its tones to be a completely vintage-style work, the sleazy vibes of Admiral Sir Cloudesley Shovell’s Keep it Greasy! (on Rise Above) are otherwise loyal to circa-1971 boogie and attitude, and whether it’s the rewind moment on opener “U Got Wot I Need” or proto-metallic bass thrust of the “Hawkline Monster” or the brash post-Lemmy push of “Tired ‘n’ Wired,” the album is a celebration of a moment when rock isn’t about being any of those things or anything else, but about having a good time, letting off some steam from a shit job or whatever it is, and trying your damnedest to get laid. Radio samples throughout tie the songs together, but even that carries an analog feel – because radio – and the good Admiral are clearly well versed in the fine art of kicking ass. Familiar in all the right ways with more than enough personality to make that just another part of the charm.

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Rise Above Records website

 

Landing, Third Sight

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The invitation to completely immerse comes quickly on the 13-minute “Delusion Sound,” which opens Landing’s Third Sight (on El Paraiso), and from there, the Connecticut four-piece sway along a beautiful and melodic drift, easing their way along a full-sounding progression filled out with airy guitar and backing drones, moved forward patiently by its drum march and topped with echoed half-whispers. It’s a flat-out gorgeous initial impression to make, and the instrumental “Third Site” and “Facing South” follow it with a tinge of the experimentalism for which Landing are more known, the former led by guitar and the latter led by cinematic keyboard. To bookend, the 14-minute “Morning Sun” builds as it progresses and draws the various sides together while creating a rising soundscape of its own, every bit earning its name as the vocals emerge in the second half, part of a created wash that is nothing short of beautiful. One could say the same of Third Sight as a whole.

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El Paraiso Records website

 

Reign of Zaius, Planet Of…

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While they’ve spent the last few years kicking around the deeper recesses of Brooklyn’s heavy underground, Reign of Zaius mark their debut release with the 26-minute Planet Of… EP, bringing together seven tracks that show what their time and buildup of material has wrought. Opener “Hate Parade” reminds of earliest Kings Destroy, but on the whole, Reign of Zaius are rawer and more metal at their core, the five-piece delving into shuffle on “Out of Get Mine” and showing an affinity for classic horror in both “They Live” – which starts with a sample of Roddy Piper being all out of bubblegum – and “Farewell to Arms,” previously issued as a single in homage to Evil Dead. The charm of a “Dueling Banjos” reference at the start of “Deliver Me” leads to one of the catchier hooks on Planet Of…, and the shorter “Power Hitter” closes with a bass-heavy paean to smoking out that digs into punkish summation of where Reign of Zaius are coming from generally as they continue to be a band up for having a good time without taking themselves too seriously.

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Transcendent Sea, Ballads of Drowning Men

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Kind of a mystery just where the time goes on Sydney rockers Transcendent Sea’s self-released 50-minute first album, Ballads of Drowning Men. Sure, straightforward cuts like “Over Easy” and “Mind Queen” are easily enough accounted for with their post-Orange Goblin burl and boozy, guttural delivery from vocalist Sean Bowden, but as the four-piece of Bowden, guitarist Mathew J. Allen, bassist Andrew Auglys and drummer Mark Mills get into the more extended “Throw Me a Line,” “Blood of a Lion” and closer “Way of the Wolf” – all over 10 minutes each – their moves become harder to track. They keep the hooks and the verses, but it’s not like they’re just tacking jams onto otherwise structured tracks, and even when “Way of the Wolf” goes wandering, Bowden keeps it grounded, and that effect is prevalent throughout in balancing Ballads of Drowning Men as a whole. It takes a few listens to get a handle on where Transcendent Sea are coming from in that regard, but their debut proves worth at least that minimal effort.

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Transcendent Sea on Bandcamp

 

Red Teeth, Light Bender

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Brothers Rael and Ryan Andrews, both formerly of Lansing, Michigan, art rockers BerT, revive their heavy punk duo Red Teeth with the four-song Light Bender 7” on GTG Records. Both contribute vocals, and Ryan handles guitar and bass, while Rael is on drums and synth through the quick run of “Light Bender, Sound Bender,” “Tas Pappas,” “134mps” and “Elephant Graveyard,” the longest of which is the opener (immediate points) at 4:49. By the time they get down to “Elephant Graveyard,” one can hear some of the Melvinsian twist and crunch that often surfaced in BerT, but whether it’s the ‘90s-alt-vibes-meet-drum-madness of “134mps” or the almost rockabilly riffing of “Tas Pappas,” Red Teeth – whose last release was eight years ago – have no trouble establishing personality in these songs. Approach with an open mind and the weirdness that persists will be more satisfying, as each track seems to have a context entirely of its own.

Red Teeth on Bandcamp

GTG Records website

 

Sea of Bones & Ramlord, Split

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One can hear the kind of spacious darkness and through-the-skin cold of New England winters in this new split EP from Connecticut crushers Sea of Bones and grinding New Hampshire compatriots Ramlord from Broken Limbs Recordings. What the two share most of all is an atmosphere of existential destitution, but there’s an underlying sense of the extreme that also ties together Sea of Bones’ “Hopelessness and Decay” (10:36) and Ramlord’s “Incarceration of Clairvoyance (Part III)” (10:10), the latter of which continues a series Ramlord started back in 2012 on a split with Cara Neir. Both acts are very much in their element in their brutality. For Sea of Bones, this is the second release they’ve had out this year behind the improvised and digital-only “Silent Transmissions” 27-minute single, which of course was anything but, and for Ramlord, it’s their first split in two years, but finds their gritty, filthy sound well intact from where they last left it. Nothing to complain about here, unless peace of mind is your thing, because you certainly won’t find any of that.

Broken Limbs Recordings on Bandcamp

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Holy Smoke, Holy Smoke! It’s a Demo!

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Philadelphia-based five-piece Holy Smoke formed in the early hours of 2015, and the exclamatory Holy Smoke! It’s a Demo! three-track EP is their debut release. Opening with its longest cut (immediate points) in “Rinse and Repeat,” it finds them blending psychedelic and heavy rock elements and conjuring marked fluidity between them. As the title indicates, it’s a demo, and what one hears throughout is the first material Holy Smoke thought enough of to put to tape, but on “Rinse and Repeat” and the subsequent “Blue Dreams” and “The Firm,” they bring the two sides together well in a way it’s easy to hope they continue to do as they move onto whatever comes next, pulling off “The Firm” particularly with marked swing and a sense of confidence that undercuts the notion of their being their first time out. They have growing to do, and by no means would I consider them established in style, but there’s a spark in the songs that could absolutely catch fire.

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Holy Smoke on Bandcamp

 

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Arrowhead to Release Desert Cult Ritual Nov. 4

Posted in Whathaveyou on September 20th, 2016 by JJ Koczan

Aussie heavy rockers Arrowhead will issue their second LP, Desert Cult Ritual, via Ripple Music on Nov. 4. They made their debut in 2013 with Atomsmasher (review here) and offered up Desert Cult Ritual early last year. They join a string of others in similar reissue circumstances in working with Ripple, who continue to have their collective ear to the ground in terms of picking up acts who’ve met with a decent digital response in order to translate that into physical sales. As far as sustainable business models go for the modern music industry, one could do way worse. Like trying money on Pandora. That would be worse.

So yeah, it’s kind of a reissue, but to my knowledge it’s actually also the first physical pressing. If you didn’t hear Desert Cult Ritual when it first came out, you can get a listen via the Bandcamp player below.

From the PR wire:

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ARROWHEAD: Oz trio summon spirits with the release of Desert Cult Ritual

Desert Cult Ritual is released worldwide on vinyl/digital on 21st October and on CD on 4th November

Rising from the underground of Sydney’s stoner rock scene, the brotherhood of Arrowhead fire an explosive, all killer/no filler triptych of volume, attitude and down-tuned grooves.

Having paid their dues as a band since late 2009, the iniquitously titled Desert Cult Ritual is the latest addition to the power trio’s quiver and first for the Californian label Ripple Music, following the release of their self-titled EP in 2010 and Atomsmasher, their storming full-length debut from 2013.

Hitting you harder than a Frank Frazetta-airbrushed panel van travelling at 100mph, Arrowhead is very much a band defined by the riffs that raised them. Fronted by guitar player, vocalist and chief songwriter Brett Pearl – the son of a self-confessed “hippy-dippy mom” with a record collection to die for – Brett was brought up on a staple diet of classic rock with Hendrix, Zeppelin, Floyd and Sabbath rarely leaving the turntable. Joined by fellow purveyor of low-end grind in bass player/Viking Dave Lopez and steel backbone, Matt Cramp on drums, all three feed into the Arrowhead-approved vision of hard rock reverie via Hollywood monsters and science fiction cinema.

Arrowhead’s Desert Cult Ritual is released on vinyl/digital on 21st October and worldwide on CD on 4th November through Ripple Music.

Arrowhead:
Brett Pearl – Guitar/Vocals
Matt Cramp – Drums
Arron Fletcher – Bass Guitar

Track Listing:
1. Desert Cult Ritual
2. Hypnotiser
3. Hell Fire
4. Bone Mountain
5. Maneater Blues
6. Weed Lord
7. Rogue Asteroid
8. Dragon Whips Its Tail

https://www.facebook.com/ArrowheadHeavyRock/
https://arrowheadrock.bandcamp.com/
http://www.ripple-music.com/
https://ripplemusic.bandcamp.com/

Arrowhead, Desert Cult Ritual (2015/2016)

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