Quarterly Review: Swans, Virus, The Re-Stoned, Castle, Spirit Adrift, Robb & Pott, Family, Les Discrets, Liquido di Morte, Witchskull

Posted in Reviews on October 7th, 2016 by JJ Koczan

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Last day. As ever, I am mentally, physically and spiritually exhausted by this process, but as ever, it’s been worth it. Today I do myself a couple favors in packing out with more familiar acts, but whatever, it’s all stuff I should be covering anyway, so if the order bothers you, go write your own 50 reviews in a week and we can talk about it. Yeah, that’s right. That’s what I said. Today we start with Looking For A Ghost Writer uk 3 paragraph essay about love term paper about youtube need someone write my paper homework help wales homework help holt algebra 1 Swans. Everything’s a confrontation.

Once again, I hope you’ve found something somewhere along this bizarre, careening path of music that has resonated with you, something that will stick with you. That’s why we’re here. You and me. If you have, I’d love to know about it. Until then, one more time here we go.

Quarterly Review #41-50:

Swans, The Glowing Man

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Oh fucking please. You want me to try to summarize death penalty essay titles http://skolahustopece.cz/essays-on-the-crucible/ writing a essay for ged college essay 30 minute brownies The Glowing Man – the culmination and finale of an era of best research paper websites College dissociative identity disorder term paper Uc people helping people credit union essay what can i do my essay on Swans that Academic writers. Thus the Romans had evidently heard them as a sevenfold form Rerit the sow, Ghostwriter University. But why the Bull? Michael Gira began now more than half a decade ago – in a single review? Even putting aside the fact that the record two hours long, the notion is ridiculous. If there ever was a chart, the scope here is well off it. The material unfolds and churns and is primal and lush at once on “Cloud of Forgetting,” genuinely chaotic on the 28-minute title-track, and it ends with a drone lullaby, but seriously, what the fuck? Some shit is just beyond, and if you don’t know that applies to argumentative essay on death penalty pharmacy research papers write college essay for me finance calculations homework help Swans by now, it’s your own fault. You want a review? Fine. I listened to the whole thing. It ate my fucking soul, chewed it with all-canine teeth and then spit it out saying “thanks for the clarity” and left me dazed, bloodied and humbled. There’s your fucking review. Thanks for reading.

Swans on Thee Facebooks

Young God Records website

 

Virus, Memento Collider

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Oslo trio College Admission Essays Online Goals - Moneysaving shopping for medications at our drugstore. Online pharmacy with affordable deals. Save money when ordering from our Virus have long since established that they’re a band working on their own wavelength. http://itslyf.com/critical-thinking-consider-the-verdict/ Table - Design photos, ideas and inspiration. Amazing gallery of interior design and decorating ideas of Custom Homework Table in laundry Memento Collider (on Feel the opportunity to help on dissertation marketing and feel comfortable waiting for the excellent results while unrivaled professionals carry out the research. Karisma Records) is the jazzy post-black metallers’ first album in five years and brings together adventurous rhythms, poetic declarations, dissonant basslines and – in the case of “Rogue Fossil,” the occasional hook – in ways that are unique unto Best Essay Reworder - Advantageous shopping for medications at our drugstore. We give the lowest prices on the internet. Discover an opportunity to pay Virus. Look at this site and see how often I use the word “unique.” It doesn’t happen. SummaryReviewer 78 UsersReview Date 2017-08-29Reviewed Item http://geomedia.co.uk/essay-writing-of-internet/Author Rating 5 Virus, however, are one of a kind. You need not to be worried at all as our UK Dissertation Writers are there to provide you the my site service UK with high quality work Memento Collider makes for a challenging listen front to back on its six-track/45-minute run, but it refuses to dumb itself down or dull its progressive edge, bookending its longest (that’s opener “Afield” at 10:41; immediate points) two tracks around jagged explorations of sound like “Steamer” and “Gravity Seeker,” which engage and intrigue in kind after the melodic push of “Dripping into Orbit” and leading into “Phantom Oil Slick,” a righteous affirmation of the angular thrust at the core of Order help writing a persuasive speech from WritingSharks.net Choose from Professional Academic, ESL & Business Proofreading Services Virus’ approach.

Virus on Thee Facebooks

Karisma Records webstore

 

The Re-Stoned, Reptiles Return

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In 2010, Moscow troupe Online homework and grading tools for instructors and students i source that reinforce student learning through practice and The Re-Stoned issued their first EP, And since, economics also deals with managing the economy, our service provides you an economical way to get your homework done. What your dollars can get with our economics assignment help. It is only normal for a student like you to think about your budget and by that, to choose a company offering Article Review Service without squeezing whats left of your allowance out of you. Return to the Reptiles, and being obviously concerned with evolution, they’ve now gone back and revisited that debut release with How to get link? Instantassignmenthelp.com.au has the answer to this question. Our experts provide the best help with your assignment writing Reptiles Return, a reworking of the four studio tracks that made up the initial version – “Return,” “Run,” “The Mountain Giant” and “Sleeping World.” The opener is a straight re-recording, as is one other, where another is remixed and the other two remastered, and Reptiles Return – which is presented on limited vinyl through Clostridium Records and a CD box set with bonus tracks via Rushus Records – pairs them with more psychedelic-minded soundscape pieces like “Winter Witchcraft,” “Walnut Talks,” the proggy “Flying Clouds” and sweetly acoustic “Roots Patter,” that showcase where founding multi-instrumentalist Ilya Lipkin is taking the band going forward. The result is a satisfying side A/B split on the vinyl that delights in heavy riffing for its own sake in the first half and expands the scope in the second, which should delight newcomers as well as those who’ve followed The Re-Stoned along this evolutionary process.

The Re-Stoned on Thee Facebooks

Clostridium Records website

 

Castle, Welcome to the Graveyard

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It may well be the fate of San Francisco’s hard-touring, ass-kicking, genre-refusing duo Castle to be terminally underappreciated, but that has yet to stop them from proliferating their righteous blend of thrash, doom and classic, fistpump-worthy metal. Their latest outing, Welcome to the Graveyard, arrives via respected purveyor Ván Records, and entices in atmosphere and execution, cohesively built tracks like “Hammer and the Cross” and the penultimate “Down in the Cauldron Bog” finding a balance of personality and delivery that the band has long since honed on stage. The Dio-esque barnburner riff of “Flash of the Pentagram” makes that cut a highlight, but as they roll out the cultish vibes of “Natural Parallel” to close, there doesn’t seem to be much on the spectrum of heavy metal that doesn’t fit into Castle’s wheelhouse. For some bands, there’s just no justice. Four records deep, Castle have yet to get their due, and Welcome to the Graveyard is further proof of why they deserve it.

Castle website

Ván Records

 

Spirit Adrift, Chained to Oblivion

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One can hear a new wave of modern doom taking shape in Chained to Oblivion, the Prosthetic Records debut from Arizona one-man outfit Spirit Adrift. The work of Nate Garrett alone in the studio, the full-length offers five mostly-extended tracks as a 48-minute 2LP of soaring, emotional and psychedelic doom à la Pallbearer, but given even further breadth through progressively atmospheric passages and a marked flow in its transitions. To call it personal seems superfluous – it’s a one-man band, of course it’s personal – but Garrett (also formerly of metallers Take Over and Destroy) brings a palpable sense of performance to the songwriting, and by the time he gets to the 11-minutes-apiece finale duo of the title-track and “Hum of Our Existence,” it’s easy to forget you’re not actually listening to a full band, not the least because of the vocal harmonies. Calling Chained to Oblivion a promising first outing would be underselling it – this is a project with serious potential.

Spirit Adrift on Thee Facebooks

Prosthetic Records website

 

Robb & Pott, Once upon the Wings

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Unpredictable from the start of opener “Flesh ‘n’ Steel,” Once upon the Wings is a first-time multinational collaborative effort from Robbi Robb of California’s 3rd Ear Experience and Paul Pott of Germany’s The Space Invaders. Its five tracks/42 minutes arrive through no less than Nasoni Records, and provide a curious and exploratory blend of the organic and the inorganic in sound, as one finds the 11-minute “Grass” no less defined by its percussion solo, guitar line and ‘60s-style vocal than the electronic drums that underscore the layered wash of noise in its midsection. Further definition hits with the 16-minute centerpiece “Prophecy #1,” which works in a space-rocking vein, but the shorter closing duo of the catchy “Looney Toon” and darkly progressive “Space Ear” show a creative bent that clearly refuses to be tamed. Robb & Pott, as a project, demonstrates remarkable potential throughout this debut, as they seem to have set no limits for where they want their sound to go and they seem to have the command to take it there.

Robb & Pott on Bandcamp

Nasoni Records website

 

Family, Future History

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Most of the tracks on Brooklyn progressive noise rockers Family’s second album and Prosthetic Records debut, Future History, come paired with interludes. That cuts some of the growling intensity of winding pieces like “Funtime for Bigboy” and “Floodgates,” and emphasizes the generally experimental spirit of the record as a whole, broadening the scope in sound and theme. I’m somewhat torn as to how much this actually works to the 51:50 outing’s benefit, as shorter pieces like “Prison Hymn” and “Transmission,” while adding dynamic to the sound and narrative drama, also cut the immediacy in impact of “The Trial” or closer “Bone on Bone,” but it’s entirely possible that without them Future History would be an overwhelming tumult of raw prog metal. And while the play back and forth can feel cumbersome when one considers how effectively “Night Vision” bridges the gap between sides, I’m not sure that’s not what Family were going for in the first place. It’s not supposed to be an easy record, and it isn’t one.

Family on Thee Facebooks

Family website

 

Les Discrets, Virée Nocturne

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France’s Les Discrets haven’t had a studio offering since 2012’s Ariettes Oubliées (review here), and while they released Live at Roadburn (review here) last year documenting their 2013 set at that festival, there’s little there that might presage the stylistic turn the Fursy Teyssier-led outfit takes on their new EP, Virée Nocturne (on Prophecy Productions). With four tracks – two new, complete recordings, one demo and the last a remix of the opener by Dälek and DeadverseLes Discrets attempt to find a stylistic middle ground between post-rock and trip-hop, and for the most part, they get there. “Virée Nocturne” itself leads off and can be jarring on first listen, but successfully blends the lush melodicism for which the band is known with electronic-driven beats, and both “Capricorni. Virginis. Corvi” and even the demo “Le Reproche” continue to build on this bold shift. The finale remix adds over two minutes to “Virée Nocturne,” but uses that time to make it even more spacious and all the more immersive. For anyone who thought they might’ve had Les Discrets figured out, the surprise factor here should be palpable.

Les Discrets on Thee Facebooks

Prophecy Productions website

 

Liquido di Morte, II

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Presented across four tracks beginning with the 12-minute and longest-of-the-bunch (immediate points) “The Corpse of Dr. Funkenstein” (double points for the reference), II, the aptly-titled second album from Liquido di Morte expands the progressive atmospherics of the Italian four-piece’s 2014 self-titled debut (review here) without losing sight of the performance and spirit of exploration that helped bring it to life. Isaak’s Giacomo H. Boeddu guests on brooding vocals and whispers for “The Saddest of Songs I’ll Sing for You,” which swells in seething intensity as it moves forward, while “Rodents on the Uphill” casts a vision of post-space rock and closer “Schwartz Pit” rounds out with crash and wash that seems only to draw out how different the two halves of II actually are. Not a complaint. Liquido di Morte make their way across this vast span with marked fluidity, and if they prove anything throughout, it’s that they’re able to keep their command wherever they feel like using it to go.

Liquido di Morte on Thee Facebooks

Sstars BigCartel store

 

Witchskull, The Vast Electric Dark

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Canberra, Australia, trio Witchskull initially released their debut full-length, The Vast Electric Dark, last year, and caught the attention of the cross-coastal US partnership between Ripple Music and STB Records, who now align for a reissue of the eight-tracker. Why is quickly apparent. In addition to having earned a fervent response, The Vast Electric Dark basks in quality songcraft and doomly, heavy vibes, keeping a consistent pace while rolling through the semi-metallic push of “Raise the Dead” or the later rumble/shred of “Cassandra’s Curse.” All the while, guitarist/vocalist Marcus De Pasquale provides a steady presence at the fore alongside bassist Tony McMahon and drummer Joel Green, and what’s ultimately still a straightforward rocker of an album finds a niche for itself between varies underground styles of heavy. Between the balance they strike across their 37 minutes and the energy that courses through their songs, Witchskull’s The Vast Electric Dark proves easily worth the look it’s getting.

Witchskull on Thee Facebooks

STB Records webstore

Ripple Music website

 

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Witchskull to Release The Vast Electric Dark CD Sept. 23

Posted in Whathaveyou on August 9th, 2016 by JJ Koczan

After issuing their debut album, The Vast Electric Dark, on deluxe vinyl through STB Records, Australian trio Witchskull will release the same offering on CD/DL through Ripple Music. The impending disc furthers the bicoastal alliance between NJ’s STB and CA’s Ripple, two of the strongest up and coming American heavy rock labels, and will be out on Sept. 23. Witchskull will head to US shores this fall for The Rage for Armageddon Fest at Saint Vitus Bar in Brooklyn, which is no small trip to make from their native Canberra, and if I hear of other gigs around that appearance — doesn’t seem unlikely, given the distance — I’ll let you know.

For now, Ripple Music speaks through the PR wire:

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Proto-metal trio WITCHSKULL to release The Vast Electric Dark this September

The Vast Electric Dark is released worldwide on 23rd September via Ripple Music

Ripple Music is psyched to announce the official worldwide release of The Vast Electric Dark, the crushing debut album from Australian blues-based doom trio, Witchskull.

Formed in Canberra in early 2014 by drummer and former member of acclaimed Australian thrash legends Armoured Angel, Joel Green, along with old school friends Marcus De Pasquale (guitar) and bass player Tony McMahon; Witchskull is less a band and more a brotherhood.

Borne out of a love for Dio, Black Sabbath, Motörhead and the NWOBHM movement the trio locked into an almost hermetic groove from the very beginning. So much so by the Summer of that same year Witchskull were road testing freshly demoed songs at countless shows across Canberra, Melbourne and Sydney. Capable of unleashing raw, balls-to-the-wall doom indebted in no small part to the influence of heavy blues-rock and proto-metal, their unmistakably primal sound marks them out as a stunning live spectacle… a force of nature awakening again and again, night after night.

Decamping to Mebourne’s Goatsound Studios with producer/engineer Jason Fuller (Blood Duster) in January last year, the trio emerged with what quickly became one of 2015’s finest underground releases. A mélange of gnarled vocal tones, pummeling drums and outright guitar majesty that provided the perfect tomb for the dark lyrics contained within, the self-released The Vast Electric Dark struck an instant chord with purveyors of heavy rock.

Following the exclusive STB vinyl-only version of the album which sold out in record time, Ripple Music will give everyone the chance to find out what makes Witchskull so special when The Vast Electric Dark is given an official worldwide release on CD and digital download on 23rd September 2016.

Live:
30th October 2016 – The Rage for Armageddon Fest – St Vitus Bar, New York

https://www.facebook.com/witchskull/
http://witchskull.bandcamp.com/
http://www.ripple-music.com/

Witchskull, The Vast Electric Dark (2015/2016)

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Witchskull Sign to STB Records

Posted in Whathaveyou on December 11th, 2015 by JJ Koczan

Canberra trio Witchskull have signed to STB Records. The trio issued their debut album, The Vast Electric Dark, in October, and along with the signing comes the news that STB will release the album on vinyl early next year, which, like everything the NJ-based imprint does, I’m sure will sell out long before it’s actually available to purchase and even longer before someone like me is able to get a review going. Nonetheless, cheers to Witchskull and to STB on the union, and here’s looking forward to one more cool release in a year that’s already completely overwhelming while still being about three weeks away.

Huzzahs all around. If you haven’t heard it, The Vast Electric Dark kind of straddles the line between heavy rock and doom, all with a classic metal sense of clarity. It’s encouraging in its refusal to be one thing or another. Here’s the announcement from STB and some more background on what they do:

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Attention: STB Records is really excited to announce that we have new STB Family members.. Please give a warm welcome to Witchskull!! I can not be more excited to have them as part of the crew.. Look forward to a vinyl release of their latest album “The Vast Electric Dark” in early 2016…

Witchskull formed in early 2014 when old school friends Marcus De Pasquale (Looking Glass) and Joel Green (Armoured Angel) joined forces with Tony McMahon to create a blues based doom outfit.

More a brotherhood than a band, Witchskull unleash a stripped back, groove driven primal sound that reveals the bones of their rock/metal lineage.

After writing and demoing songs in mid 2014, Witchskull played shows in Canberra and joined the Sydney leg of the Doomsday Festival with Windhand and Beastwars.

Live, the band is both aurally and visually affronting, with an onstage presence that is raw, relentless and destined to cut a swathe through the live scene over the coming months.

Witchskull have recently recorded their debut album with Jason Fuller (Blood Duster, Dern Rutlidge) At Goatsound Studios, Melbourne.

“We feel we created something that is strong, raw & potent” Marcus explains “more than anything, I perceive that our spirits are caught up in it, which is reinforcing the music and creating a strong current that flows through all of us. The songs resonate and have deep meaning, and it’s as if they’ve all taken on a life of their own. Almost shamanic, is our belief in what we are doing”.

https://witchskull.bandcamp.com/
https://www.facebook.com/witchskull/
https://www.facebook.com/STB-Records-471228012921184/
http://stbrecords.bigcartel.com/

Witchskull, The Vast Electric Dark (2015)

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