Polymoon Premiere “Malamalama” Video; Announce Debut LP Caterpillars of Creation

Posted in audiObelisk, Whathaveyou on June 10th, 2020 by JJ Koczan

This record doesn’t come out until September, so I’m going to stop myself from heaping ecstatic praise upon its gloriously honed wash of fuzz- and noise-drenched progressive heavy psychedelia, but keep in mind, the impulse is definitely there. phd thesis first person | Management Tutors provides all the necessary information about any Business Assignment Help, which helps all University students. Caterpillars of Creation, out Sept. 4 through http://hibinoiro.net/dissertation-research-peters-falsify/ - forget about your fears, place your assignment here and get your quality essay in a few days Get started with essay writing Svart Records, is the debut offering from Tampere, Finland’s Phd Research Proposal Marketing, Buy Cheap custom research proposal from research paper writing service. All research proposals are written from essays campus by Polymoon, and by “debut offering,” I mean it’s the first thing they’ve ever done. As of this post, I don’t think they’ve even played a live show. They had something booked for March, but I’m pretty sure it got canceled because of the ensuing lockdown. There are some dates booked for around the release, so I guess they’ll get there sooner or later.

Finland has long served as a salon of weirdo visionaries, and it’s not really much of a surprise to find that Professional essay paper editing can benefit to your grades and future career. When someone asks of the benefits our Dissertation Gps Ionosphere can grant him Polymoon have some connection to the We have years of experience in UK providing coursework writing service & coursework help at affordable price, our http://www.em2.bz.it/?the-importance-of-helping-others-essays offer 24/7 service. Waste of Space collective, whose Access an Online Essay Writer Now. We work with top http://www.stix-office.at/?order-of-essay-presentation to deliver high-quality essays to college students. Our writers are experienced Jun-His — vocalist for i really need help with my college essay http://www.orgrez.cz/?dissertation-services-in-uk-outline Online cheap dissertation writing services dating research paper writing procedure Oranssi Pazuzu and indeed a member of the http://www.marz.at/?order-and-chaos-essay Service by PapersOwl. We guarantee Full Confidentiality, 100% Plagiarism Free and 24/7 Support. Our team of experts consists of Waste of Space Orchestra — helmed the production. There are flashes of extremity in some of the later guitar work and noise on Get a Better Grade with a rose for emily research paper Service. Thank you that you do my algebra homework!”, Marketing, “The Web Marketing”, 7 pages Caterpillars of Creation, but ultimately, homework help with geometry proofs. Terrified by the only thought of writing your essay? Don't frustrate yourself by staring at a blank sheet of paper and waiting for Polymoon show little interest in adhering to the tenets of one genre or another and instead bring their own perspective to such established ideals. The record is preceded by the single “Malamalama,” for which you’ll find a visualizer premiering at the bottom of this post (I’m delighted to host it given how much I’m enjoying the album from whence it comes), and which will be released this Friday on all the usual-suspect sources.

More to come? I certainly hope so. Easily one of the most impressive debuts I’ve heard this year.

Here’s info, and live dates, which it feels exceptionally good to post:

polymoon

Svart Records to release POLYMOON’s first single Malamalama this week, music video out now

Somewhere between cosmic space rock and progressive psychedelia are POLYMOON, a new band from Tampere, Finland. The basic elements of POLYMOON are endless sonic reflections in the night sky, crushing fuzz guitars and undulating synthesizers. The backbone of the entity is a symbiosis of complex drum sequences and pulsating bass guitar.

Malamalama is the first single off the POLYMOON debut album Caterpillars of Creation, out this Friday via all digital outlets. Caterpillars of Creation will be released by Svart Records on the 4th of September, 2020.

Malamalama (lit. the light of knowledge) is the crimson heart pounding in the chest of POLYMOON. Malamalama is the lifeblood of POLYMOON: it combines an ethereal, otherworldly atmosphere with heavy-prog soundscapes. Together these elements form the progressive-psychedelic nectar flowing in the orchestra’s heart. Malamalama is like a deep feverish dream from which one does not want to wake up. In its essence, Malamalama is nostalgy for the times past: a longing for something long gone.

“Polymoon are the new open-minded young mages of the explosive psychedelia rock scene that Finland and Tampere area has been producing over the recent years. The rich and colorful sound of the band delivers really fresh and beautiful ideas to the table. And they are being served with such a passion that it makes you think of the days when music was standing out for a revolution. And not in that nostalgic manner, but in a way that makes you experience something important is happening right here and now”, comments the album’s co-producer Jun-His, also known as the voice of Oranssi Pazuzu.

In the music of POLYMOON, euphoria and melancholia converge to guide the listener to another level of being to embrace the monolith of psychedelia. POLYMOON is an ensemble of the end times, a formless entity behind the clandestine curtain.

Upcoming POLYMOON gigs:
Sep 4th. Bar 15, Seinäjoki
Sep 5th. Ääniwalli, Helsinki (w/ Hidria Spacefolk + Superfjord)
Sep 11th. Manse Psych Fest pre-party: Telakka, Tampere (w/ Kaleidobolt + Radio Supernova)
Sep 18th. Freetime, Jyväskylä (w/ Ghost World)
Dec 4th. Korjaamo, Helsinki (w/ Kairon; IRSE!)
Dec 5th. Olympia, Tampere (w/ Kairon; IRSE! + Radio Supernova)

POLYMOON is:
Tuomas Heikura / Drums
Jesse Jaksola / Guitar
Otto Kontio / Guitar
Kalle-Erik Kosonen / Vocals, Synthesizer
Juuso Valli / Bass

https://www.facebook.com/polymooooon/
https://www.instagram.com/polymooooon/
https://soundcloud.com/polymooooon
www.svartrecords.com
www.facebook.com/svartrecords
www.instagram.com/svartrecords

Polymoon, “Malamalama” official video premiere

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Dark Buddha Rising Sign to Svart for New Album out Oct. 2

Posted in Whathaveyou on March 12th, 2020 by JJ Koczan

Should you be unaware of how chaotic and apocalyptic and outright mind-pummeling the doomery of  Need to find a good place to try here? This is just the right one – with excellent writers, low rates, and quality guarantees. Give it a try today! Dark Buddha Rising is, just look at the utter madness that is the lack of information about their new album being given here. Sure, they know.  http://www.plurmac.mx/essay-writing-service-ratings/ - Professionally crafted and HQ academic essays. No more Fs with our reliable essay services. Use from our cheap custom essay Svart  go to site from verified and certified professional writers. Get original academic papers with ease. It's fast, safe and affordable. Records, to which the Tampere, Finland, outfit have re-signed following a stint on  Professional What Are The Different Kinds Of Report Writing. Academic editors with 10+ years experience. We edit all types of theses. Get a quote and a FREE sample today! 100% Neurot, knows too. But they’re not telling. You don’t even get the title. The artwork? Tracks? Audio? Forget it. That’s how brutal  EssayEmpire.com offers custom official site. 100% plagiarism free, from per page, 100% money back guarantee. Dark Buddha Rising are. They give you nothing.

Well, nothing other than the release date, anyhow. That’s Oct. 2.

Don’t bother keeping an eye out, you’ll hear it coming.

Svart of course reissued the band’s first four releases in the form of 2018’s The Black Trilogy (demo and three albums), and the band put out the II EP through Neurot the same year (streaming below) in following-up 2015’s Inversum (review here). But the PR wire can tell you more about that:

dark buddha rising

Dark Buddha Rising return to Svart Records to release their 7th album, on Friday the 2nd of October 2020!

Finnish “dark underlords of psychedelic drone” Dark Buddha Rising return to Svart Records to release their seventh album, on Friday the 2nd of October 2020!

Since their inception in 2007, with their first four albums being highly-coveted, sold-out private pressings, to subsequent Svart Records reissues, to their burgeoning fifth album Dakhmandal, Dark Buddha Rising’s abyssic and meditative sonic-void has been opening up over the last 10 years to swallow more and more devotees in their wake. Embraced into Neurosis’ Neurot Records fraternity, with 2015’s critically acclaimed sixth album Inversum, Tampere-based psychonauts, Dark Buddha Rising have captivated the collective consciousness of the heavy underground and achieved cult-legend status.

2019’s climactic and highly praised Waste Of Space Orchestra collaboration with local kindred spirits Oranssi Pazuzu at Roadburn Festival, put Dark Buddha Rising’s Wastement home studio: “the asylum of eternal feedback,” firmly on the International music world map and into the hearts of the pitch-black psych-rock underworld. Gathering a throng of newly devoted adherents who worship at the altar of their churning vortex, Dark Buddha Rising’s live shows are a transformative experience that are religiously revered by audiences across Europe.

Svart Records Tomi Pulkki says “We’re proud to have Dark Buddha Rising back under the Svart banner, to continue to expand the dimensions of their dark journey into the beyond. The band is a national treasure, that has thoroughly deserved their well respected status over the years. We look forward to the new void they have summoned up for us all.”

Prepare your mind and body for an initiation of music on Friday the 2nd of October 2020 that Dark Buddha Rising have channeled, for dark spirits and those who seek to travel beyond the unknown.

Dark Buddha Rising are booking a tour of Europe for Spring 2021.

http://www.darkbuddharising.com
http://www.facebook.com/dbrising
www.facebook.com/svartrecords
https://www.instagram.com/svartrecords/
https://svartrecords.bandcamp.com/
www.svartrecords.com

Dark Buddha Rising, II EP (2018)

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Oranssi Pazuzu: New Album Mestarin Kynsi Available to Preorder; Trailer Posted

Posted in Whathaveyou on February 11th, 2020 by JJ Koczan

Finnish experimentalist black metallers Oranssi Pazuzu are preparing to unleash their label debut for Nuclear Blast, titled Mestarin Kynsi. Preorders are up for the LP in several editions, all of which are due April 17. That weekend, as it happens, is Roadburn Festival in the Netherlands, where the spearheads of the varied creative underground in their own hometown of Tampere (see also Dark Buddha Rising, Hexvessel, Death Hawks, The FĂ«rtility CĂĽlt, etc.) will hold something of a release show presenting the new album. That’s a return appearance for them after playing there both on their own and as part of the Waste of Space Orchestra commissioned collaboration with Dark Buddha Rising, but as they follow-up 2016’s Värähtelijä (review here), their set is nothing if not anticipated, not the least with a new record in tow.

The PR wire brings an album trailer and more info:

oranssi pazuzu mestarin kynsi

ORANSSI PAZUZU ANNOUNCE NEW ALBUM, “MESTARIN KYNSI,” OUT ON APRIL 17TH

Uncovering the intensity and the metal inherent in non-metal, the avant-garde and anti-traditionalist inclinations of Finland’s ORANSSI PAZUZU have always had transcendental goals at heart.

Through the rabbit hole and out the other side to 2020 with the release of their fifth album “Mestarin kynsi”, (“The Master’s Claw”). Inking a deal with German-based industry giants Nuclear Blast, ORANSSI PAZUZU subvert the idea of world domination to open a conceptual discourse on indoctrination and propaganda itself. Their psychological nightmare evolves a philosophical and earnest tone, where occult future meets troubled reality.

Preorder “Mestarin kynsi” here:
https://nblast.de/OP-MestarinKynsi

“Mestarin kynsi” will be available as CD, 2LP Black Vinyl and 2LP Gold Vinyl.

As “Oranssi”, meaning “orange” in their native Finnish language, is the colour of cosmic energy and “Pazuzu” is the ancient Mesopotamian demon of the wind, their swirling kaleidoscope of psychedelia has blown through the underground to redefine boundaries ever since their inception in 2007.

Jun-His: “We definitely wanted to look for new horizons, but on the other hand continue something we began building already on “Värähtelijä”. Some big influences were electro albums that inspired an idea about having a song that would travel through different kinds of portals whilst being mutilated and mutated by the new environment.”

On “Mestarin kynsi” the doors of perception are not only evoked but off their hinges. Working again with their co-producer Julius Mauranen, who also helped craft their acclaimed 2018 Roadburn Festival commissioned, WASTE OF SPACE ORCHESTRA collaboration live show/album “Syntheosis”, in their home-city of Tampere, Finland, the familiarity served a greater purpose towards the evolution of the album. As singer/guitarist Jun-His puts it, “there is a city heart pumping on this album somewhere”.

Tracklisting:
01. Ilmestys
02. Tyhjyyden Sakramentti
03. Uusi Teknokratia
04. Oikeamielisten Sali
05. Kuulen Ääniä Maan Alta
06. Taivaan Portti

Oranssi Pazuzu:
Ontto (bass guitar)
Korjak (drums)
Evill (synthesizers, organ, effects)
Jun-His (the voice, guitar)
Ikon (guitar)

https://www.facebook.com/Oranssi-pazuzu-58437793552/
https://www.instagram.com/oranssipazuzu/
http://www.facebook.com/nuclearblastusa
http://instagram.com/nuclearblastusa
https://shop.nuclearblast.com/en/shop/index.html

Oranssi Pazuzu, Mestarin Kynsi album trailer

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Death Hawks, Death & Decay & Death Hawks: Dawning Suns

Posted in Reviews on October 16th, 2019 by JJ Koczan

death-hawks-death-and-decay

Two limited reissues bring out the beginnings of Finnish experimentalists Death Hawks and provide fresh context to the work the Tampere-based band has done since signing to Svart Records for 2015’s Sun Future Moon (review here). The band’s first two albums, Death and Decay and Death Hawks, were originally released in 2012 and 2013 through GAEA Records and have been out of print since, sought after by late-comers like yours truly who didn’t catch them the first time around. With 500 copies of pressed of each, Svart does the universe a solid in this instance and puts Death & Decay on a gold LP and Death Hawks in black and white — suited to their respective artwork — and allows for curious parties to discover more about the band’s roots. As it turns out, there’s plenty to learn.

For example, that the stylistic experimentation of 2019’s Psychic Harmony (review here) were by no means a new impulse, and indeed, central to the ethic of the band. You might say it’s the root of Death & Decay, though it’s manifested not in synth-driven progressive disco, but a psychedelic take on country blues, putting the guitar and vocals of Teemu Markkula front and center like an otherworldly John Lee Hooker on a cut like “Death Hawk on My Trail” or the rockabilly-style “Roamin’ Baby Blues,” taking its structure from the Robert Johnson school of proto-blues and adding a speedy snare for that riding-the-rails vibe — filtered, of course, through Finnish psychedelia. With 11 tracks unfolding from the mellow ramblin’-“Planet Caravan”-style understatement of opener “Blue Void” to the later Tom Waits-of-Alpha-Centauri severity of “Priest’s March,” amid fuzzier tones and subtle backing synth also provided by Markkula, Death & Decay is a formative tour de force.

“The Beast” touches on organ-laced ’70s folk while “Holy Water,” which immediately follows, starts with a wild bark and turns itself into a tent revival of psychedelic wash, while over on side B, “Death Has No Reprieve” weaves hypnotic background vocals into its deceptive depths, and the catchy “Dead Man” (probably a reference to the 1995 Jim Jarmusch film of the same name), foreshadows some of the melodic sweetness Markkula will bring to his vocal style on subsequent outings, letting closer “The Peace Maker” touch on Morricone — among other things — as a direct foreshadow for some of what the self-titled would do the next year. Ultimately, Death & Decay is broader in its sound than just tagging it “psych-blues” could hope to convey, but especially with Markkula‘s performance so much at the root of the material on guitar/vocals/keys/producer/composer/etc., the feeling throughout is less full-band-expanse and more solo-exploration, and that gives the 44-minute 11-tracker even more of a “starting out” vibe, as though the material were experiments that came together as songs as they were fleshed out. As sure as the band has been of what they’ve done since, it’s kind of refreshing to know this sense of adventure was what sparked their origin in the first place. Their will to push beyond and between stylistic confines is readily on display, and the songs are memorable and weird in kind, recognizable in themselves and in the nascent sprawl the band would go on to develop from the foundation they set.

death hawks death hawks

This, of course, was realized in the quick turnaround of Death Hawks, and though it’s a shameful clichĂ©, I’ll note that it does not seem at all a coincidence that the second album is self-titled in terms of their laying claim to who they are as a group and their intentions going forward. Shorter at 35 minutes/seven tracks with a recurring theme in “Cain Go Home (2. Session)” on side A and “Cain Go Home (1. Session)” on side B — the Morricone influence returning in the whistle of both — the self-titled is immediately immersive in its psychedelic reach, with whispers and backing melodies and winding hypnotic guitar on six-minute opener “Night Children,” the title doing little in the end to convey the colorfulness of the tone there or in songs like “Blind Daughter of Death” and the string-and-organ-backed mellow meander of “Quiet Sun,” a not-all-who-wander-are-lost krautrock texture pervading the spirit of what sounds rooted in a live recording.

That, in turn, is answered by the flamenco strum of the “Cain Go Home (1. Session),” which is nothing if not based around conveying a feeling of motion, so a dynamic emerges across the self-titled that is broad while remaining unified not just by Markkula‘s continued melodicism, but through more of a full-band feel around him, with the centerpiece “Grim-Eyed Goat” and sax-inclusive nine-minute closer “Black Acid” ranging into the beyond of subdued-and-not space rock while holding firm to Death Hawks‘ identity as they establish it throughout. Like its predecessor, Death Hawks is very much about its mood and vibe, but it’s an essential step in coming off of the debut and does much to convey what became the overarching intent of the band at the time. True, that intent would shift by the time Sun Future Moon came around and continue to do so for Psychic Harmony earlier this year, but if anything, the first two Death Hawks LPs highlight the purposefulness behind that.

Because it’s not just about how there’s a leap in sound from one record to the next one — which it’s worth reiterating: the sophomore album followed just a year after the first — but about the creative ethic that’s behind making that leap in the first place. Death Hawks‘ open sensibility and forward drive is something that continues to push their material in exciting directions and down paths that others probably wouldn’t dare to tread even if they thought to do so. What Death & Decay and Death Hawks make plain is that this is a founding principle under which Death Hawks have operated for as long as they’ve been a band, and really since before they were a band as they are now. Perhaps more than anything else, these Svart represses make Death Hawks seem like an even less predictable group, with their origins in unexpected climes and an even broader palette than that for which I’d previously given them credit. I wasn’t about to predict what they’d do next anyhow, but I find myself less inclined than ever to speculate.

Death Hawks, “Dead Man” official video

Death Hawks, “Black Acid” official video

Death Hawks website

Death Hawks on Thee Facebooks

Svart Records

Svart Records on Thee Facebooks

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Death Hawks: First Two Albums to See Reissue Oct. 4

Posted in Whathaveyou on September 23rd, 2019 by JJ Koczan

death hawks (Photo by Sami Sanpikkila)

I want these. Among the great many unmade Roadburn purchases I regret from over the years, not shelling out for every-frickin’-thing Finland’s Death Hawks were selling when they played there in 2015 has to be somewhere near the top of the list. Hang my head in shame. Svart Records — as it will — offers solace in the form of two LP reissues of the band’s 2012 debut, Death and Decay, and its 2013 self-titled follow-up. The numbers are limited, and while Death Hawks did already release the brilliant synth-o-prog of Psychic Harmony (review here) earlier this year and I still need to pick up that CD, these records have both been on my Amazon wishlist for I guess the last four years, so they’re pretty much necessary grabs as well.

Wonder what my chances are of getting digital versions to review. I’d love to write about anything Death Hawks that cites Wovenhand as an influence, and if the second record was where they went psych, that’s where I want to be.

Here’s the info and preorder links:

SVART RECORDS TO RE-RELEASE EARLY WORK FROM DEATH HAWKS

Death & Decay, the debut album from Death Hawks, will be released as a limited edition golden vinyl on October 4, 2019. The album is a unique mix of Finno-Americana tunes that draws influences from Wovenhand for example and where the voice of singer-songwriter Teemu Markkula carries through this multidimensional journey.

The album is the first knot on the bands own unique string of albums, where every album stand boldly on their own almost as if they were done by a different band every time.

https://svartrecords.com/product/death-hawks-death-decay-lp/

Tracklisting:
Blue Void
How Dark Was The Land
Roamin’ Baby Blues
The Beast
Death Hawk On My Trail
Shining
Holy Water
Death Has No Reprieve
Priests March
Dead Man
The Peace Maker

At the same time Svart Records will also re-release the band’s self-titled sophomore album that opened doors also internationally for Death Hawks. This psychedelic gem brought the band a license deal to Germany and several tours across Europe. This unnamed album packed in mystical dark covers is still the one album from Death Hawks discography that many love the most. The album is available in black & white vinyl reissue limited in 500 pieces.

https://svartrecords.com/product/death-hawks-s-t-lp/

Tracklisting:
1. Night Children
2. Cain Go Home (2. Session)
3. Blind Daughter of Death
4. Grim-eyed Goat
5. Quiet Sun
6. Cain Go Home (1. Session)
7. Black Acid

Death Hawks – Psychic Harmony tour Finland 2019
04.10. Hämeenlinna, Suistoklubi
11.10. Helsinki, G Livelab
12.10. Helsinki, G Livelab
18.10. Tampere, Olympia-kortteli + VIRTA
25.10. Oulu, 45 Special + VIRTA
26.10. Jyväskylä, Tanssisali Lutakko + VIRTA + Kantatie
1.11. Turku, Dynamo

http://www.deathhawks.com/
https://www.facebook.com/deathhawks/
http://svartrecords.com/shoppe/en/
https://www.facebook.com/svartrecords

Death Hawks, Psychic Harmony (2019)

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The FĂ«rtility CĂĽlt Set Oct. 18 Release Date for Kosmodysseia

Posted in Whathaveyou on July 24th, 2019 by JJ Koczan

You know what my only problem with The FĂ«rtility CĂĽlt announcing a new album is? There’s no audio to go with it. The sax-laced Finnish psych lords offered up A Forest of Kings (review here) in 2017 and it was a tasty and potent brew of roiling galaxial axes and spacebound prognod. I wouldn’t expect a new record called Kosmodysseia, their forthcoming new full-length set to release Oct. 18, to depart so much from that basic pattern, but hell’s bells, it should would be nice to have confirmation of that, and with a whopping seven tracks included on the thing — both their prior LPs had five — you’d think there’d be one to spare. Alas, nope.

Or not yet, anyhow. October is still a ways off, so perhaps the Tampere-based outfit will get there sooner or later. Or maybe I’ll just send them an email being like, “Hey can I premiere a track?” and get lucky. We’ll see how it goes. In the meantime, you can revisit A Forest of Kings below for a refresher on why I’d be so excited at the prospect of a follow-up, and dig into their announcement as it appeared on the social medias, cover art and all:

the fertility cult kosmodysseia

Wethinks it’s about time we shed some light on this upcoming volume IV we keep babbling about. So, the album shall henceforth be known as Kosmodysseia! It shall be put forth for your listening pleasure on the 18th of October on Bandcamp, Spotify etc!

Track listing:
1. Kosmodysseia pt I: The Planeswalker
2. Return to the Desert Planet
3. Star Siren’s Song
4. Visions of Home
5. Hunters of Galactic Daemons
6. Kosmodysseia pt II: Timeless Ithaca
7. The Queen of Spacetime

Yes, that’s seven! Incredible, right?! Hunters of Galactic Daemons shall be released as a digisingle on the 10th of September commemorating the 10th anniversary of our first ever show, and Return to the Desert Planet shall follow suite on the 4th of October. Now feast yer eyes on the wonderful cover art by Samuli Huttunen

https://www.facebook.com/thefertilitycult/
https://thefertilitycult.bandcamp.com/

The FĂ«rtility CĂĽlt, A Forest of Kings (2017)

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Review & Full Album Stream: Death Hawks, Psychic Harmony

Posted in audiObelisk, Reviews on June 3rd, 2019 by JJ Koczan

death hawks psychic harmony

[Click play above to stream Death Hawks’ Psychic Harmony in full. Album is out June 7 on Svart Records.]

Nearly a decade after their inception, Tampere, Finland’s Death Hawks are rewriting the script on where synth-led prog, psychedelia, and pop meet. Psychic Harmony arrives via Svart Records as their fourth album, and it takes the dreamscape aspects that showed themselves throughout the deep-ranging melodies of 2015’s Sun Future Moon (review here) and pushes them into a mega-lush wash of synth, periodic bouts of sax and a glamourized emotionality that comes through in slow-burners like “Re-Run” as well as in the disco-fied “Whisper,” which seems to nod at Blondie‘s flirtations with funk and eminent danceability. The returning four-piece of vocalist/guitarist Teemu Markkula, bassist/vocalist Riku Pirttiniemi, drummer Miikka Heikkinen and keyboardist/saxophonist Tenho Mattila present 10 tracks for a fluid single LP tied together by style amid varying moods driven as much if not more by keys as by guitar, the band showcasing a vision of pop sexuality that’s as much ’70s androgyny as it is krautrock exploration.

These would seem to be contrasts until one actually listens to Psychic Harmony, which lives up to its title in bringing into a single context such a swath of impulses, and making something deeply human at the same time so much of it is based around synthesizer. It is a significant leap or sidestep in sound even from the preceding Sun Future Moon, let alone anything that came before it, but here too, it is the focus on melodicism that makes Psychic Harmony within the band’s sphere even as it seems to expand the radius thereof, and Markkula‘s voice throughout is a uniting factor the contributions of which are not to be understated. Pirttiniemi has his parts as well, and Nicole Willis contributes a guest spot to acoustic-led closer “I am a Tree,” but still, Markkula helps establish the mood in which much of the album is operating, and the vibe set forth in “Secret Isle” at the outset is one that holds firm across nearly everything that follows, wherever else it might go sound-wise.

And that vibe? Well, it starts with the sound of a needle hitting a record. The idea isn’t just that you’re listening to a vinyl album, but what Death Hawks are shooting for immediately is the idea of being transported through the audio that comes — that cinematic otherworldliness of the keys that start the song and the outward voyage that ensues from there. It’s as though they’re signaling to their audience the intention for the music to take them someplace, and the lyrics to song bear that out as well. Psychic Harmony itself becomes that secret isle, and as the opener moves into the multi-color wash of “Like Lovers Do,” with a change in the vocals, sax buried far back in the mix and keys pushed far forward with voice overtop, the feel becomes all the more spacious, the world created in “Secret Isle” seeming to open wide with programmed beats and a second half that seems to purposefully lose itself in the moment.

death hawks (Photo by Sami Sanpikkila)

“Re-Run” follows and seems to work in the same vein initially, but even after the synth handclaps arrive after about a minute in, the feel is more mellow, with the mix completely filled out from top to bottom with rhythm and melody. Piano enters at the two-minute mark and “Re-Run” moves into its jazzier break, with the sax included as well, but the chorus returns with layers of vocals, leading just to Markkula‘s voice echoing through the chorus toward the title line again, ethereal sounds following and echoing away to lead out and toward the all-things fusion of the instrumental “Aleya,” which only furthers the atmosphere built to that point with horn harmonies and keys coinciding and a movement from mellow jazz to a more grandiose wash at the finish, bringing about the presumed side A capper “Synchronicity,” with a more prominent beat and effects-laden vocals, repetitions of the title word that make it seems almost like an advertisement from the future, and that shift into a stretch of dance-drift and end with fading swirl noise.

Bass beat starts “Whisper” at the (again, presumed) launch of side B, with a more direct play on dance pop that ensues, the aforementioned disco flush coming through not with the urgency of cocaine that actually typified so much of the material from the era with with the song is conversing, but a more laid back mindset, third eye open and ready to get funky. Still, the chorus lands with more insistence thanks in no small part to the beat behind it as well as the layers of vocals, so a guitar solo isn’t out of place when Death Hawks come around to the final section of the song. It’s the kind of thing that would have an extended dance mix in another time, another place. The drama continues in “A Room with a View” amid keyboard starts and stops, krautrock nuance and the prominent layers of vocals that emphasize the bright and progressive mood soon taken further with the arrival of the saxophone. I’d say “Play for Rewind” brings the proceedings back to ground, but yeah, that’s clearly not where Death Hawks are interested in going with Psychic Harmony.

Instead, they they move forward in deceptively efficient upbeat prog-pop form with a drum motion that increases subtly in intensity until at about 3:10 into the total 3:32, it moves to a double-kick to finish out, cutting to silence ahead of “Scent of Life,” a penultimate single-worthy piece that does indeed recall some of the album’s earlier moments, feeling familiar not in the sense of repeating anything, but of adding to what’s already there. It is the crescendo for the album as a whole, without question, and the departure of “I am a Tree” — the purposeful connection to earth, to the ground that “Play for Rewind” so readily rejected — is palpable, but through the prominence of voice throughout, maintains a complementary place with the other tracks before it. Like much of the album, it is beautiful and it knows it, but it is not content to let that self-awareness carry it. And as Death Hawks have thrown open the doors of perception here and discovered such shimmer on the other side, I would not expect their journey of discovery to stagnate anytime soon.

Death Hawks, “Re-Run” official video

Death Hawks website

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Svart Records

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Lurk Premiere “Proteus Syndrome”; Fringe out Aug. 5

Posted in audiObelisk on July 25th, 2018 by JJ Koczan

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Finnish sludge extremists Lurk release their new album, Fringe, Aug. 5 on Transcending Obscurity. The eight-track outing is the third from Lurk and was originally released by the Tampere-based four-piece digitally in 2016 before being picked up for a proper pressing. It follows behind 2014’s Kaldera and a 2012 self-titled from the band, who mark a decade by making their debut on the Indian imprint and whose attack has never sounded more visceral than it does on Fringe. I’ve already said about the album that they’re likely talking about the “lunatic fringe,” the way-out, or better, way-deep edges where most don’t dare to tread, since that seems to be where Fringe itself is interested in dwelling. With the harsh rasp of Kimmo Koskinen crawling out from beneath the lurch of guitarist Arttu Pulkkinen, bassist Eetu Nurmi and drummer Kalle Nurmi, the atmosphere is dark and punishing but not without an ambient breadth as opener “Ostrakismos” leads the way into an unfolding brutality made ritualistic with the use of an effects-laden alto sax.

Fringe, for all its madness in the chug of “Tale Blade” and the oozing wash of noise that is the subsequent “Reclaim” — Satyricon and Celtic Frost meeting with Neurosis and older Paradise Lost lookinglurk fringe on — is rife with these sonic details. Following the gang-shouted layers of rasp in “Reclaim,” “Elan” closes out side A with an extended building introduction and cleaner vocals — guesting on the song is Aleksi Laakso, also of Totalselfhatred and numerous others — that lead into the album’s most vicious lumbering yet before dropping to near silence and a searing throat-rip pulled directly from Finnish black metal. As side B begins with “Offshoot,” the affect is faster and more death/black than sludge, but the underlying groove is never far, and “Offshoot” seems to be making its way downward as it moves toward “Furrow,” a resumption of plod that remains willfully torturous despite not hitting the five-minute mark. A cleaner section of shouts ignites a call and response of sorts, but the tones surrounding, the crash and the lumber are a tie to the aural cruelty in the tracks surrounding.

As to that, “Nether” answers the how-does-this-not-just-melt chaos of the song before it with an almost stately metallic poise. It’s the shortest track at 3:35, but also perhaps the most straightforward in terms of its metal quotient, working against genre expectations in a way that successfully expands the palette of Fringe overall. It’s only fitting, then, that they should close with their darkest, most utterly miasmic assault. That’s “Proteus Syndrome.” At 7:05, it’s the longest inclusion on Lurk‘s third record, and between its squibbly guitars, its rhythmic nod and its vocal-cord-trashing indecipherability, it both makes for a fitting summary of what’s come before it and pushes further into the depths than anything before it has gone. A post-midpoint drum-dropout leads to a tension of low-end that moves toward resurgence of a riff that’s near-gothic in its theatricality, but repurposed and coated in filth to suit Lurk‘s purposes. They finish with no more kindness than they began, as “Proteus Syndrome” is consumed by a wash of noise that cuts short to leave nothing behind, the arrival of silence clear in its depiction of death and no less resonant or meaningful than the fetid barbarity before it.

Usually when I post a track premiere, I say something like, “enjoy.” I’m not sure that applies here, so:

Be devoured:

Lurk, “Proteus Syndrome” official premiere

Wistful and mysterious, LURK’s music is just as interesting and multi-faceted as their cover artwork. Blending elements of doom, black and death metal into their astounding sludge template, the Finnish band is taking the sound ahead in ways hitherto unheard. Haunting, soaring melodies juxtapose with abrasive low-end riffs without hampering the overall aesthetics. Watch the band take you into a slow, hallucinatory descent towards madness where multiple worlds coalesce and still make sense – that in a nutshell is the music of LURK.

Line up –
Kimmo Koskinen – Vocals
Kalle Nurmi – Drums
Arttu Pulkkinen – Guitar
Eetu Nurmi – Bass

Guest vocals by Aleksi Laakso on Elan
Alto saxophone by Aino Heikkonen on Ostrakismos

Album artwork by Adam Burke (HOODED MENACE, LOSS)
Layout and art direction by Francesco Gemelli (KATATONIA, TOWARDS ATLANTIS LIGHTS)

Lurk on Bandcamp

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Transcending Obscurity website

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