Quarterly Review: Ecstatic Vision, Norska, Bison, Valborg, Obelyskkh, Earth Electric, Olde, Deaf Radio, Saturndust, Birnam Wood

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

quarterly-review-summer-2017

It turns out that, yes indeed, I will be able to add another day to the Quarterly Review this coming Monday. Stoked on that. Means I’ll be trying to cram another 10 reviews into this coming weekend, but that’s not exactly a hardship as I see it, and the stuff I have picked out for it is, frankly, as much of a bonus for me as it could possibly be for anyone else, so yeah, look out for that. In the meantime, we wrap the Monday-to-Friday span of 50 records today with another swath of what’s basically me doing favors for my ears, and I hope as always for yours as well. Let’s dig in.

Quarterly Review #41-50:

Ecstatic Vision, Raw Rock Fury

ecstatic-vision-raw-rock-fury

Hard touring and a blistering debut in 2015’s Sonic Praise (review here) quickly positioned Ecstatic Vision at the forefront of a Philadelphia-based mini-boom in heavy psych (see also: Ruby the Hatchet, Meddlesome Meddlesome Meddlsome Bells, and so on), and their Relapse-issued follow-up, Raw Rock Fury, only delves further into unmitigated cosmic swirl and space-rocking crotchal thrust. The now-foursome keep a steady ground in percussion and low end even as guitar, sax, synth and echoing vocals seem to push ever more far-out, and across the record’s four tracks – variously broken up across two sides – the band continue to stake out their claim on the righteously psychedelic, be it in the all-go momentum building of “You Got it (Or You Don’t)” or the more drifting opening movement of closer “Twinkling Eye.” Shit is trippy, son. With the echoing-from-the-depths shouts of Doug Sabolik cutting through, there’s still an edge of Eastern Seaboard intensity to Ecstatic Vision, but that only seems to make Raw Rock Fury live up to its title all the more. Still lots of potential here, but it’ll be their third record that tells the tale of whether they can truly conquer space itself.

Ecstatic Vision on Thee Facebooks

Ecstatic Vision at Relapse Records website

 

Norska, Too Many Winters

norska-too-many-winters

Issued through Brutal Panda, Too Many Winters is the second full-length from Portland five-piece Norska, and its six tracks/48 minutes would seem to pick up where Rwake left off in presenting a progressive vision of what might be called post-sludge. Following an engaging 2011 self-titled debut, songs like the title-track and “This is Why We Can’t Have Nice Things” churn and careen through Sourvein-style abrasion, vaguely Neurosis-style nod and, in the case of the latter or closer “Fire Patience Backbone,” soundscaping minimalism that, in the finale, is bookended by some of the record’s most intense push following opener “Samhain” and the subsequent “Eostre.” That salvo starts Too Many Winters with a deceptive amount of thrust, but even there atmosphere is central as it is to the outing as a whole, and a penultimate interlude in the 2:22 “Wave of Regrets” does well to underscore the point before the fading-in initial onslaught of “Fire Patience Backbone.” Having Aaron Rieseberg of YOB in the lineup with Jim Lowder, Dustin Rieseberg, Rob Shaffer and Jason Oswald no doubt draws eyes their way, but Norska’s sonic persona is distinct, immersive and individualized enough to stand on its own well beyond that pedigree.

Norska on Thee Facebooks

Norska at Brutal Panda Records website

 

Bison, You are Not the Ocean You are the Patient

bison-you-are-not-the-ocean-you-are-the-patient

Think about the two choices. You are Not the Ocean You are the Patient. Isn’t it the difference between something acting – i.e., an object – and something acted upon – i.e., a subject? As British Columbian heavy rockers Bison return after half a decade via Pelagic Records, their fourth album seems to find them trying to push beyond genre lines into a broader scope. “Until the Earth is Empty,” “Drunkard,” “Anti War” and “Raiigin” still have plenty of thrust, but the mood here is darker even than 2012’s Lovelessness found the four-piece, and “Tantrum” and closer “The Water Becomes Fire” bring out a more methodical take. It’s been 10 years since Bison issued their debut Earthbound EP and signed to Metal Blade for 2008’s Quiet Earth, and the pre-Red Fang party-ready heavy rock of those early works is long gone – one smiles to remember “These are My Dress Clothes” in the context of noise-rocking centerpiece “Kenopsia” here, the title of which refers to the emptiness of a formerly occupied space – but if the choice Bison are making is to place themselves on one side or the other of the subject/object divide, they prove to be way more ocean than patient in these songs.

Bison on Thee Facebooks

Bison at Pelagic Records website

 

Valborg, Endstrand

valborg-endstrand

With its churning, swirling waves of cosmic death, one almost expects Valborg’s Endstrand (on Lupus Lounge/Prophecy Productions) to be more self-indulgent than it is, but one of the German trio’s greatest assets across the 13-track/44-minute span of their sixth album is its immediacy. The longest song, “Stossfront,” doesn’t touch five minutes, and from the 2:14 opener “Jagen” onward, Valborg reenvision punk rock as a monstrous, consuming beast on songs like “Blut am Eisen,” “Beerdigungsmaschine,” “Alter,” “Atompetze” and closer “Exodus,” all the while meting put punishment after punishment of memorable post-industrial riffing on “Orbitalwaffe,” the crashing “Ave Maria” and the noise-soaked penultimate “Strahlung,” foreboding creeper atmospherics on “Bunkerluft” and “Geisterwürde,” and landmark, perfectly-paced chug on “Plasmabrand.” Extreme in its intent and impact, Endstrand brings rare clarity to an anti-genre vision of brutality as an art form, and at any given moment, its militaristic threat feels real, sincere and like an appropriate and righteous comment on the terrors of our age. Fucking a.

Valborg on Thee Facebooks

Valborg at Prophecy Productions website

 

Obelyskkh, The Providence

obelyskkh-the-providence

Probably fair to call the current status of German post-doomers Obelyskkh in flux following the departure of guitarist Stuart West, but the band has said they’ll keep going and their fourth album, The Providence (on Exile on Mainstream) finds them capping one stage of their tenure with a decidedly forward-looking perspective. Its six-song/56-minute run borders on unmanageable, but that’s clearly the intent, and an air of proggy weirdness infects The Providence from the midsection of its opening title-track onward as the band – West, guitarist/vocalist Woitek Broslowski, bassist Seb Fischer and drummer Steve Paradise – tackle King Crimson rhythmic nuance en route to an effects-swirling vision of Lovecraftian doomadelia and massive roll. Cuts like “Raving Ones” and 13-minute side B leadoff “NYX” play out with a similarly deceptive multifaceted vibe, and by the time the penultimate “Aeons of Iconoclasm” bursts outward from its first half’s spacious minimalism into all-out High on Fire thrust ahead of the distortion-soaked churn of closer “Marzanna” – which ends, appropriately, with laughter topping residual effects noise – Obelyskkh make it abundantly clear anything goes. The most impressive aspect of The Providence is that Obelyskkh manage to control all this crunching chaos, and one hopes that as they continue forward, they’ll hold firm to that underlying consciousness.

Obelyskkh on Thee Facebooks

Exile on Mainstream Records website

 

Earth Electric, Vol. 1: Solar

earth-electric-vol-1-solar

Former Mayhem/Aura Noir guitarist Rune “Blasphemer” Ericksen leads breadth-minded Portuguese four-piece Earth Electric, and their devil-in-the-details Season of Mist debut, Vol. 1: Solar, runs a prog-metal gamut across a tightly-woven nine tracks and 35 minutes, Ericksen’s vocals and those of Carmen Susana Simões (Moonspell, ex-Ava Inferi) intertwine fluidly at the forefront of sharply angular riffing and rhythmic turns from bassist Alexandre Ribeiro and drummer Ricardo Martins. The organ-laced push of “Meditate Meditate” and “Solar” and the keyboard flourish of “Earthrise” (contributed by Dan Knight) draw as much from classic rock as metal, but the brew Earth Electric crafts from them is potent and very much the band’s own. “The Great Vast” and the shorter “Set Sail (Towards the Sun)” set up a direct flow into the title cut, and as one returns to Earth Electric for repeat listens, the actual scope of the album and the potential for how the band might continue to develop are likewise expansive, despite its many pulls into torrents of head-down riffing. Almost intimidating in its refusal to bow to genre.

Earth Electric on Thee Facebooks

Earth Electric at Season of Mist website

 

Olde, Temple

olde-temple

After debuting in 2014 with I (review here), Toronto’s Olde return via STB Records with Temple, proffering sludge-via-doom vibes and a center of weighted tonality around which the rest of their aesthetic would seem to be built, vocalist Doug McLarty’s throaty growls alternately cutting through and buried by the riffs of guitarists Greg Dawson (also production) and Chris “Hippy” Hughes, the bass of Cory McCallum and the rolling crashes of drummer Ryan Aubin (also of Sons of Otis) on tightly constructed pieces like “Now I See You” and the tempo-shifting “Centrifugal Disaster,” which reminds by its finish that sometimes all you need is nod. Olde have more to offer than just that, of course, as the plodding spaciousness of “The Ghost Narrative” and the lumbering “Maelstrom” demonstrate, but even in the turns between crush and more open spaces of the centerpiece title-track and the drifting post-heavy rock of closer “Castaway,” the underlying focus is on capital-‘h’ Heavy, and Olde wield it as only experts can.

Olde on Thee Facebooks

STB Records webstore

 

Deaf Radio, Alarm

deaf radio alarm

Based in Athens and self-releasing their debut album, Alarm, in multiple vinyl editions, the four-piece of Panos Gklinos, Dimitris Sakellariou, Antonis Mantakas and George Diathesopoulos – collectively known as Deaf Radio – make no bones about operating in the post-Queens of the Stone Age/Them Crooked Vultures sphere of heavy rock. To their credit, the songwriting throughout “Aggravation,” “Vultures and Killers” and the careening “Revolving Doors” lives up to that standard, and though even the later “Oceanic Feeling” seems to be informed by the methods of Josh Homme, there’s a melodic identity there that belongs more to Deaf Radio as well, and keeping Alarm in mind as their first long-player, it’s that identity that one hopes the band will continue to develop. Rounding out side B with the howling guitar and Rated R fuzz of the six-minute “…And We Just Pressed the Alarm Button,” Deaf Radio build to a suitable payoff for the nine-track outing and affirm the aesthetic foundation they’ve laid for themselves.

Deaf Radio on Thee Facebooks

Deaf Radio on Bandcamp

 

Saturndust, RLC

saturndust rlc

The further you go into Saturndust’s 58-minute second LP RLC, the more there is to find. At any given moment, the São Paulo, Brazil-based outfit can be playing to impulses ranging from proggy space rock, righteously doomed tonal heft, aggressive blackened thrust or spacious post-sludge – in one song. Over longform cuts like “Negative-Parallel Dimensional,” “RLC,” “Time Lapse of Existence” and closer “Saturn 12.C,” the trio cast a wide-enough swath to be not quite genreless but genuinely multi-tiered and not necessarily as disjointed as one might expect in their feel, and though when they want to, they roll out massive, lumbering riffs, that’s only one tool in a full arsenal at their apparent disposal. What tie RLC together are the sure hands of guitarist/vocalist Felipe Dalam, bassist Guilherme Cabral and drummer Douglas Oliveira guiding it, so that when the galloping-triplet chug of “Time Lapse of Existence” hits, it works as much in contrast to the synth-loaded “Titan” preceding as in conjunction with it. Rather than summarize, “Saturn 12.C” pushes far out on a wash of Dalam’s keyboards before a wide-stomping apex, seeming to take Saturndust to their farthest point beyond the stratosphere yet. Safe travels and many happy returns.

Saturndust on Thee Facebooks

Saturndust on Bandcamp

 

Birnam Wood, Triumph of Death

birnam wood triumph of death

Massachusetts doomers Birnam Wood have two prior EPs under their collective belt in 2015’s Warlord and a 2014 self-titled, but the two-songer single Triumph of Death (kudos on the Hellhammer reference) is my first exposure to their blend of modern progressive metal melody and traditional doom. They roll out both in able fashion on the single’s uptempo opening title-track and follow with the BlackSabbath-“Black-Sabbath” sparse notemaking early in their own “Birnam Wood.” All told, Triumph of Death is only a little over nine minutes long, but it makes for an encouraging sampling of Birnam Wood’s wares all the same, and as Dylan Edwards, Adam McGrath, Shaun Anzalone and Matt Wagner shift into faster swing circa the eponymous tune’s solo-topped midpoint, they do so with a genuine sense of homage that does little to take away from the sense of individuality they’ve brought to the style even in this brief context. They call it stoner metal, and there’s something to that, but if we’re going on relative balance, Triumph of Death is more doom-stoner than stoner-doom, and it revels within that niche-within-a-niche-within-a-niche sensibility.

Birnam Wood on Thee Facebooks

Birnam Wood on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

The Obelisk Radio Adds: Woodsplitter, Shroud Eater & Dead Hand, Moaning Cities, Wartime and Megaritual

Posted in Radio on February 6th, 2017 by JJ Koczan

the obelisk radio by cavum

A round of adds to The Obelisk Radio once a month doesn’t seem like too much to ask, right? Well, it probably will be as the rest of the year plays out amid my meandering attention span, onslaught of reviews, etc., but for now, I’m at least two-for-two on 2017, and that should count for something. I won’t speculate as to what.

Pretty varied batch this time around, with some familiar names stepping outside what might be perceived as their comfort zone and others digging into various traditions in rock, blues, psych, sludge and doom. Much as I try to keep the stream running at all times — one has server blips; it happens — I also try to mix things up at least in a context that makes sense from one song to the next, though every now and again as I listen I hear something that completely blindsides me. That can be fun too.

As always, I hope you find something in here you dig.

The Obelisk Radio adds, Feb. 6, 2017:

Woodsplitter, Inflamed

woodsplitter-inflamed

For those who know guitarist Ben McLeod for the bluesy, psychedelic flow he brings to the languid jamming of All Them Witches, no doubt the Inflamed debut from his Woodsplitter solo/side-project is going to be a marked surprise. That would seem to be at least in part the intent. Working in a fire-fueled vein of instrumental progressive metal, “Liturgy” introduces a sense of extremity yet unheard from McLeod. Backed only by his own programmed drums, self-recorded, -mixed and -released, it’s a 39-minute mostly-onslaught that calls to mind a sans-vocal Genghis Tron at times while perhaps nodding at Steve Vai technicality via Devin Townsend‘s more metallized approach. McLeod locks in a plodding groove on “Fatty’s Waltz,” but even this is a bold step stylistically, and subsequent “Pile” and two-part title-track — the second piece of which secures Inflamed‘s ultimate triumph — only continue the push into experimentation. Ultimately, McLeod lands sure-footed in this exploration, showcasing roots that many who’ll take on Woodsplitter probably didn’t know he had — including some post-rock layering at the tail end of closer “The Weather Outside is Frightful” — and setting up a future progression almost entirely distinct from that of his main outfit. Won’t be for everybody, but hits with an equal measure of purpose and force.

Woodsplitter on Bandcamp

All Them Witches on Thee Facebooks

 

Shroud Eater & Dead Hand, Split

shroud-eater-dead-hands-split

As to what unites Georgian five-piece Dead Hand and Floridian trio Shroud Eater on this late-2016 Southern Druid Records split 7″, it won’t take long to figure out. Both bands are heavy as hell. With “Guaiacol” from the former going head-to-head with the latter’s “Destroy the Monolith” it becomes a contest of churn vs. roll, Dead Hand taking an atmospheric approach that feels in comparison more derived from post-metal than Shroud Eater‘s nonetheless spacious sludgy pummeling. Either way you go, you’re getting crushed by a six-minute track that seems only to revel in the cruelty of its lumbering, Dead Hand‘s chug arriving over a torrent of double-kickdrum before opening to a more forward thrust on “Guaiacol” and locking into a nod that persists even in the relatively minimalist midsection before, the lumbering, growling extremity resumes. As a title like “Destroy the Monolith” might hint, Shroud Eater aren’t exactly taking it easy either. With a multi-vocalist arrangement and vastness of groove, they represent their core sound well as a precursor to the awaited arrival of their second album hopefully sometime in 2017. It’s a quick release — in and out in 12 minutes — but both acts are bound to make an impression on the listener as each shows off their own brand of brutality.

Shroud Eater on Bandcamp

Dead Hand on Bandcamp

Southern Druid Records webstore

 

Moaning Cities, D. Klein

moaning-cities-d-klein

Issued through EXAG Records, the oddly-but-somehow-appropriately-stylized D. Klein is the second full-length from Belgium’s Moaning Cities, who seem as much at home in referencing The Velvet Underground and The Stooges on “Solitary Hawk” as drifting out All Them Witches-esque on the earlier “Sex Sells.” At 10 tracks/39 minutes, the Brussels-based outfit don’t express any particular need to settle into one sound-niche or another, but they keep a languid flow of psychedelic heavy blues in songs like “Insomnia” and the poetically-stomping “Vertigo Rising” that makes the okay-it’s-freakout-time arrival of the penultimate “Drag” all the more satisfying, even if their clear element of control is well maintained throughout. Flourish like the electronic beats in opener “Expected” and the soundscaping guitar in the finale “Daggers” add further depth to a release that already offers plenty, but Moaning Cities retain a classy, nigh-on-chic atmosphere without losing the tonal substance needed beneath to hold up such a strong aesthetic presentation. Whether they’re digging into ’90s alt vibes on “Born Again” — Violent Femmes goes West? — or tossing some sitar to go along with the spoken word of “Yell-Oh-Bahn,” Moaning Cities thrive on never quite letting their listeners know what’s coming next, and that nuance suits D. Klein well.

Moaning Cities on Bandcamp

EXAG Records webstore

 

Wartime, Wartime Vol. 1

wartime-vol-1

Between its five-minute, horror-sample-topped intro “Breaking Wheel” and its corresponding five-minute, horror-sample-topped outro “Magical Law,” Wartime‘s Wartime Vol. 1 delves so deep into classic doom via NWOBHM cultishness that I’m amazed Shadow Kingdom Records has yet to pick it up for a release. The Colombian trio’s 2016 debut, it’s as effective in the moodiness of its acoustic centerpiece “A Whisper” as in the brash Sabbathism of the eponymous “Wartime,” and an overarching rawness in the tracks only feeds the vision of doomed purity within them. Pressed in a limited number of CDs that, like their prior 2015 demo tape, are already long gone, it’s a fist-pump-worthy execution of doom for doomers that asks little by way of indulgences and delivers much in riff, metal-of-yore ambience and the songcraft of drummer/vocalist Alejandro, guitarist D-Pig and bassist Scum, who hold onto a punkish thrust for “Another Reality” before the Vitus-style plod of “Wicked Son.” Children of doom indeed. At 32 minutes, it’s on the shorter end of a full-length album, but it unquestionably sets the groundwork for an LP-style flow, and as Wartime‘s debut, impresses double with the realization of its conceptual bleakness. Special thanks to Juan Lopez for the recommendation on this one. I’m glad I got to check it out and will look forward to what Wartime do next.

Wartime on Bandcamp

Wartime merch page

 

Megaritual, Temple

megaritual-temple

I’ve been doing my dernedest to keep up with Australian one-man outfit Megaritual since getting hip to the White Dwarf aptly-named LP compilation, Mantra Music (review here), late last year. The product of multi-instrumentalist/vocalist Dale Paul WalkerMegaritual followed that release with the 25-minute single-song Eclipse EP (review here), and it’s to that offering that the 18-minute single-tracker Temple seems to have direct lineage, though actually the recording dates back further, to 2013/2014, and finds Walker joined by drummer Govinda Das in a duo incarnation of the band. Not entirely to find “Temple” is a little older, since Megaritual seem to be finding the patience later shown throughout the Mantra Music EPs that comprised the vinyl and then Eclipse afterward here, but you absolutely will not find me complaining about the edge of tonal buzz that complements the massive riff of this track, nor the improvised-sounding spaces around it being explored early on, nor the noise/drone that plays out over the course of the second half. If this is Walker giving a look at the project’s origins, he would seem to have come into Megaritual with an expressive concept in mind, and while it’s clear he’s put himself to the task of refining it, Temple demonstrates it was immersive even in its most formative moments.

Megaritual on Bandcamp

To see everything that joined The Obelisk Radio playlist today, click here.

Thanks for reading and listening.

Tags: , , , , , , , , , , , , , , , , , , , , , , ,

Megaritual Post 18-Minute Single “Temple”

Posted in Whathaveyou on January 20th, 2017 by JJ Koczan

To place Megaritual‘s latest outing on the timeline of the Australian one-man band’s work overall, a little context is needed. Context like guitarist/vocalist Dale Paul Walker noting that the recording of “Temple” goes back further than the two Mantra Music EPs compiled onto a White Dwarf Records single-LP (review here) last year, and is to the best of my knowledge the earliest recording yet posted project. On it, Walker is joined by drummer Govinda Das and Megaritual works as a jammy duo, though the impression “Temple” makes over the breadth of its 18-minute span is prescient of the blend of Eastern-inflected psychedelia and tonal weight that Walker has continued to develop in the band to this point.

I don’t mind telling you that the Mantra Music LP basically kicked my ass around the block when I heard it, so to check out some of the roots of that and the subsequent Eclipse (review here) EP is a pleasure. Temple, as a standalone release, would seem to have more in common with Eclipse, which is also a single-song offering, and frankly if Megaritual wanted to pair the two on a limited run of tapes or something like that — just throwing out ideas here — I know at least one shitheel blogger from the States who wouldn’t complain.

Release background and the Bandcamp stream follow. Dig in:

megaritual temple

Megaritual – Temple

This one song album actually predates the “Mantra Music” EP’s and is an artifact from the dawn of megaritual. Recorded during the summer of 2013/2014, this song is based around one big freeform jam between two fellow seekers, cut live off the floor and then given extensive post production collage work, very much inspired by Teo Macero’s work on Miles Davis’ “Bitches Brew” era work. A harbinger of things to come.

Released January 17, 2017.

Dale Paul Walker: Guitars, Vocals, Effects
Govinda Das: Drums

Recorded over the Australian summer of 2013/2014 at Montagne Mystica in the Byron Hinterland with additional tweaking at The Hermits Hill. Engineered, mixed and mastered by Dale Paul Walker. All music by Dale Paul Walker and Govinda Das. Lyrics by Dale Paul Walker.

https://megaritual.bandcamp.com/
http://www.whitedwarfrock.com/

Megaritual, Temple (2017)

Tags: , , ,

Quarterly Review: Steve Von Till, Devil Worhsipper, Dr. Crazy, Linie, The Heavy Minds, Against the Grain, Angel Eyes, Baron, Creedsmen Arise, Deadly Sin (Sloth)

Posted in Reviews on September 28th, 2015 by JJ Koczan

the-obelisk-quarterly-review-fall-2015

Truth be told, I’ve been looking forward to this Quarterly Review since the last one ended. Not necessarily since it clears the deck on reviews to be done — it doesn’t — but just because I feel like in any given week there’s so much more that I want to get to than I’m usually able to fit into posting that it’s been good to be able to say, “Well I’ll do another Quarterly Review and include it there.” Accordingly, there are some sizable releases here, today and over the next four days as well.

If you’re unfamiliar with the project, the idea is over the course of this week, I’ll be reviewing 50 different releases — full albums, EPs, demos, comps, splits, vinyl, tape, CD, digital, etc. Most of them have come out since the last Quarterly Review, which went up early in July, but some are still slated for Oct. or Nov. issue dates. Best to mix it up. My hope is that within this barrage of info, art and music, you’re able to find something that stands out to you and that you enjoy deeply. I know I’ll find a few by the time we’re done on Friday.

Fall 2015 Quarterly Review #1-10:

Steve Von Till, A Life unto Itself

steve von till a life unto itself

A new Steve Von Till solo outing isn’t a minor happening in any circumstances, but A Life unto Itself reads more like a life event than an album. As ever, the Neurosis guitarist/vocalist puts a full emotional breadth into his material, and as it’s his first record in seven years since 2008’s A Grave is a Grim Horse, there’s plenty to say. Sometimes minimal, sometimes arranged, sometimes both, the seven tracks feature little of the psychedelic influence Von Till brought to his Harvestman project, but use lap steel, strings, electrics, acoustics, keys and of course his meditative, gravelly voice to convey a broad spectrum nonetheless, and cuts like “Chasing Ghosts,” “In Your Wings” and the centerpiece “Night of the Moon” (which actually does veer into the ethereal, in its way) are all the more memorable for it. The richness of “A Language of Blood” and the spaciousness of the drone-meets-sea-shanty closer “Known but Not Named” only underscore how far Von Till is able to range, and how satisfying the results can be when he does.

Steve Von Till on Thee Facebooks

Steve Von Till at Neurot Recordings

Devil Worhsipper, Devil Worhsipper

devil worshipper devil worshipper

Bizarro vibes pervade Devil Worshipper’s debut LP, Devil Worshipper, what may or may not be a one-man project from Jeff Kahn (ex-Hideous Corpse, Skeleton of God; spelled here as Jevf Kon), mixed by Tad Doyle and released on Holy Mountain. Based in Seattle (that we do know), the project wields molten tones and slow groove to classic underground metal, heavy psych and bleary moods to hit into oddly cinematic moodiness on “Ash Brume” and even nod at Celtic Frost from a long ways away on closer “Lurker (Death).” Most of the drums are programmed, save for “New Spirit World Order,” “Ash Brume” and “Lurker,” but either way, they only add to the weirdness of the chanting layered vocals of “New Spirit World Order,” and just when it seems like eight-minute second track “Chemrails” will have been as far out as Devil Worshipper gets, side B’s “Desert Grave” takes hold for a five-minute dirge that turns out to be one of the record’s most satisfying rolls, reminiscent of something Rob Crow might’ve done with Goblin Cock on downers. Unexpected and living well in its own space, the album manages to be anchored by its lead guitar work without seeming anchored at all.

Devil Worshpper on Thee Facebooks

Devil Worshipper at Holy Mountain

Dr. Crazy, 1,000 Guitars

dr crazy 1000 guitars

So, how many guitars on London trio Dr. Crazy’s 13-minute/four-song EP, 1,000 Guitars? Two, I think. The side-project of Groan vocalist Andreas “Mazzereth” Maslen and Chris West, formerly the drummer of Trippy Wicked and Stubb who here plays guitar and bass while Groan’s former guitarist Mike Pilat handles drums, make a bid for the possibility of playing live in bringing in Pilat to fill the role formerly occupied remotely by Tony Reed of Mos Generator on their 2014 debut EP, Demon Lady. Whether that happens will remain to be seen, but they affirm their ‘80s glam leanings on “Bikini Woman” and keep the message simple on opener “Hands off My Rock and Roll” while “1,000 Guitars” makes the most of guest lead work from Stubb’s Jack Dickinson – he’s the second guitar, alongside West – and yet another infectious Mazzereth-led hook, and well, “Mistress of Business” starts out by asking the titular lady to pull down her pants, so, you know, genius-level satire ensues.

Dr. Crazy on Thee Facebooks

Dr. Crazy on Bandcamp

Linie, What We Make Our Demons Do

linie what we make our demons do

An aggressive core lies beneath the progressivism of German five-piece Linie (actually written as ?inie) on their debut full-length, What We Make Our Demons Do, but the material holds a sense of atmosphere as well. Vocalist/guitarist Jörn is very much at the fore of post-intro opener “Blood on Your Arms,” but as the crux of the album plays out on the chug-happy “Lake of Fire” and “No Ideal,” Linie showcase a wider breadth and bring together elements of post-hardcore à la Fugazi, darker heavy rock and purposefully brooding metal. Comprised of Jörn, guitarist/vocalist Alex, bassist/vocalist Ralph, drummer/vocalist Alex and keyboardist Iggi, the band impress on their first offering with not only how assured they seem of their aesthetic, but the expansive manner in which they present it. Their songwriting is varied in approach but unified in mood and while I don’t know what has them so pissed off on a cut like “Inability,” there’s no question whether they’re putting that anger to good use.

Linie on Thee Facebooks

Linie on Bandcamp

The Heavy Minds, Treasure Coast

the heavy minds treasure coast

Austrian trio The Heavy Minds make their full-length debut on Stone Free with Treasure Coast, a seven-cut LP that fuzzes up ‘70s swing without going the full-Graveyard in retro vibe. “You’ve Seen it Coming” seems to nod at Radio Moscow, but a more overarching vibe seems to share ideology with Baltimore three-piece The Flying Eyes, the classic rock sensibilities given natural presentation through a nonetheless modern feel in the tracks. The bass tone of Tobias (who also plays guitar at points) alone makes Treasure Coast worth hunting down, but doesn’t prove to be the limit of what the young outfit have to offer, drummer Christoph swinging fluidly throughout “Diamonds of Love” in a manner that foreshadows the emergent roll of “Seven Remains.” That song is part of a closing duo with “Fire in My Veins,” which boasts a satisfying bluesy howl from guitarist Lukas, rounding out Treasure Coast with an organic openness that suits the band well.

The Heavy Minds on Thee Facebooks

Stone Free

Against the Grain, Road Warriors

against the grain road warriors

Momentum is key when it comes to Road Warriors, the new full-length from Detroit four-piece Against the Grain. They amass plenty of it as they thrust into the 12-track/38-minute rager of an outing, but there are changes to be had in tempo if not necessarily intent. Comprised of bassist/vocalist Chris Nowak, guitarist/vocalist Kyle Davis, guitarist Nick Bellomo and drummer Rob Nowak, the band actually seems more comfortable on fifth-gear cuts like “’Til We Die,” “What Happened,” the first half of “Afraid of Nothing” or the furious “Run for Your Life” than they do in the middle-ground of “Guillotine” and “Night Time,” but slowing down on “Sirens” and “Eyes” allows them to flex a more melodic muscle, and that winds up enriching the album in subtle and interesting ways. If you want a clue as to the perspective from which they’re working, they start with “Here to Stay” and end with “Nothing Left to Lose.” Everything between feels suitably driven by that mission statement.

Against the Grain on Thee Facebooks

Against the Grain on Bandcamp

Angel Eyes, Things Have Learnt to Walk that Ought to Crawl

angel-eyes-things-have-learnt-to-walk-that-ought-to-crawl

With the ‘t’ and the ‘ought’ in its title, Angel Eyes’ posthumous third full-length, Things Have Learnt to Walk that Ought to Crawl, brims with oddly rural threat. Like the things are people. The Chicago outfit unfold two gargantuan cascades of atmosludge on “Part I” (15:54) and “Part II” (19:18), pushing their final recording to toward and beyond recommended minimums and maximums as regards intensity. They called it quits in 2011, so to have the record surface four years later and be as blindsidingly cohesive as it is actually makes it kind of a bummer, since it won’t have a follow-up, but the work Angel Eyes are doing across these two tracks – “Part I” getting fully blown-out before shifting into the quiet opening of “Part II” – justifies the time it’s taken for it to be released. They were signed to The Mylene Sheath, but Things is an independent, digital-only outing for the time being, though its structure and cover feel ripe for vinyl. Who knows what the future might bring.

Angel Eyes on Thee Facebooks

Angel Eyes on Bandcamp

Baron, Torpor

baron torpor

Textured, hypnotic and downright gorgeous in its psychedelic melancholy, Baron’s Torpor is a record that a select few will treasure deeply and fail to understand the problem as to why the rest of the planet isn’t just as hooked. A thoroughly British eight-track full-length – their second, I believe, but first for SvartTorpor creates and captures spaces simultaneously on organ-infused pieces like “Mark Maker,” executing complex transitions fluidly and feeding into an overarching ambience that, by the time they get around to the eight-minute “Stry,” is genuinely affecting in mood and beautifully engrossing. The Brighton/Nottingham four-piece fuzz out a bit on “Deeper Align,” but the truth is that Torpor has much more to offer than a single genre encapsulates and those that miss it do so to their own detriment. I mean that. Its patience, its poise and its scope make Torpor an utter joy of progressive flourish and atmosphere with a feel that is entirely its own. I could go on.

Baron on Thee Facebooks

Baron at Svart Records

Creedsmen Arise, Temple

creedsmen arise temple

So get this. For their first EP, Swedish trio Creedsmen Arise – guitarist Emil, drummer Simon and bassist Gustaf (since replaced by Jonte) – have taken it upon themselves to pen a sequel to Sleep’s Dopesmoker that, “tells the story about what happened centuries after the Dopesmoker Caravan and it’s [sic] Weedians reached their destination.” Admirably ballsy terrain for the three-piece to tread their first time out. It’s like, “Oh hey, here’s my first novel – it’s Moby Dick from the whale’s perspective.” The three tracks of the Temple EP are fittingly schooled in Iommic studies, but the band almost undercuts itself because they don’t just sound like Sleep. They have their own style. Yeah, it’s riffy stoner metal, but it’s not like they’re doing an Al Cisneros impression on vocals, so while the concept is derived directly, the sound doesn’t necessarily completely follow suit. Between the 10-minute opening title- and longest-track (immediate points), “Herbal Burial” and “Circle of Clergymen,” Creedsmen Arise make perhaps a more individualized statement than they intended, but it’s one that bodes well.

Creedsmen Arise on Thee Facebooks

Creedsmen Arise on Bandcamp

Deadly Sin (Sloth), Demo Discography

deadly sin (sloth) demo discography

Nola’s cool and all, but when it comes to the nastiest, most misanthropic, fucked-up sludge, choosy moms choose Ohio, and Deadly Sin (Sloth) are a potent example of why. Their Demo Discography tape revels in its disconcerting extremity and seems to grind regardless of whether the Xenia, OH, trio are actually playing fast. Comprised of Jay Snyder, Wilhelm Princeton and Kyle Hughes, Deadly Sin (Sloth) cake themselves in mud that will be familiar to anyone who’s witnessed Fistula on a bender or Sloth at their most pill-popping, but do so with sub-lo-fi threat on the tape and are so clearly intentional in their effort to put the listener off that one could hardly call their demos anything but a victory. Will not be for everyone, but of course that’s the idea. This kind of viciousness is a litmus test that would do justice to any basement show, maddening in its nod and mean well beyond the point of reason.

Deadly Sin (Sloth) on Thee Facebooks

Deadly Sin (Sloth) on Bandcamp

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,