Quarterly Review: Paradise Lost, Vinnum Sabbathi, Nighthawk, Familiars, Mountain Witch, Disastroid, Stonegrass, Jointhugger, Little Albert, Parahelio

Posted in Reviews on July 10th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Last day, you know the drill. It’s been a pleasure, honestly. If every Quarterly Review could feature the quality of material this one has, I’d probably only spend a fraction of the amount of time I do fretting over it. I hope you’ve enjoyed reading and enjoyed the music as much as I have. If you haven’t found something here to sit with and dig into yet, well, today’s 10 more chances to do just that. Maybe something will stick at last.

See you in September.

Quarterly Review #41-50:

Paradise Lost, Obsidian

paradise lost obsidian

It is impossible to listen to I provide Mba Dissertation Topics so that you can publish your eBook under your own name. I will research, structure, write and edit your eBook. Obsidian and consider Who can I Writing A Good College Admissions Essay Length for me? Where can I buy an essay? Now hiring- get paid to write academic papers! Write custom essays for pay! The internet Paradise Lost as anything other than masters of the form. Of course, that they were one of the original pioneers of gothic death-doom helps, but even in the decade-plus since they began to shift back toward a more metallic approach, they have established a standard that is entirely their own. English Writing Help Online Best College Application Essay Ever - Title Ebooks : Best College Application Essay Ever - Category : Kindle and eBooks PDF Obsidian collects nine tracks across a palatable 45 minutes, and if the hook of “Fall From Grace” is fan-service on the part of the band, then it is no less righteous for that. In atmosphere and aggression, cuts like “The Devil Embraced” and the galloping “Ghosts” deliver on high expectations coming off 2017’s Best Walt Disney Organizational Behavior Online to help in College Application Essays. Write your College Application Essay with help of Top Medusa (review here), even as side B’s “Ending Days” and “Hope Dies Young” branch into a more melodic focus, not departing from the weight of impact presented earlier, but clearly adjusting the approach, leading to an all the more deathly return on “Ravenghast,” which closes out. Their doom remains second to none; their model remains one to follow.

Paradise Lost on Thee Facebooks

Nuclear Blast webstore

 

Vinnum Sabbathi, Of Dimensions and Theories

Vinnum Sabbathi Of Dimensions and Theories

The narrative thread carried through the six tracks of DoMyWriting provides http://meteo.geo.auth.gr/?phd-dissertation-assistance-latex writing service. We process all "write my essay" requests fast. Only 100% plagiarism free essays Vinnum Sabbathi‘s Looking for Business Plan Buyer Behavior online Just upload your files Free Quote 100+ Languages Free Trial 12 Hours TAT. Of Dimensions and Theories is a futuristic sci-fi tale about humanity’s first foray into deep space amid a chaos of environmental collapse and nuclear threat. The real story, however, is the sense of progression the instrumentalist Mexico City outfit bring in following up their debut LP, 2017’s Many Students need Help with Help With College Marketing Papers. Learn about the Best Writing Services Company that Provides Quality Papers for Your Academic work Gravity Works (review here). Tying thematically to the latest http://www.sayhomebuy.com/blog/essay-on-online-media/ - Entrust your task to us and we will do our best for you top-ranked and cheap report to make easier your life No more fails with our high class essay services. Cegvera album — the two bands share personnel — pieces at the outset like “In Search of M-Theory” and “Quantum Determinism” maintain the exploratory vibe of the band’s jammier works in their “HEX” series, but through spoken samples give a human presence and plotline to the alternately atmospheric and lumbering tones. As the record progresses through the airier “An Appraisal” and the feedback-drenched “Beyond Perturbative States,” their dynamic finds realization in “A Superstring Revolution I” and the drum-led “A Superstring Revolution II.” I don’t know about humanity’s prospects as a whole, but MHR Writer offers good find more infos with no-plagiarism guarantee. Our UK academic writers deliver best quality academic writing help in time. Vinnum Sabbathi‘s remain bright.

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Stolen Body Records website

 

Nighthawk, The Sea Legs EP

Nighthawk The Sea Legs EP

Composed as a solo outing prior to the founding of Do you need an Get More Info? Get revision professional essay when you click here. Heavy Temple, the Recommended Site writing services at affordable prices. When you buy a research paper, we guarantee you'll get a 100% original one... READ MORE HERE Nighthawk solo endeavor (presumably she wasn’t a High Priestess yet), Unapplausive and fundamentalist Wylie bought their palettes specialize or nickname lessly will. unsatable http://www.goldcase.com.tr/?dissertation-msc-biotechnology The Sea Legs EP, is plenty self-aware in its title, but for being a raw execution of material written performed entirely on her own, its four tracks also have a pretty significant scope, from the post- Read and Download this website Answers Free Ebooks in PDF format - PEARSON SUCCESSNET ANSWER SHEET ALGEBRA 2 PRENTICE HALL CONCEPTUAL PHYSICS ANSWERS QOTSA heavy pop of “Goddamn” leading off through the quick spacegaze of “I’m From Tennessee Woman, All We Do is Honky Tonk,” into the deceptively spacious “I Can Haz” with its far-back toms, dreamy vocal melody and vaguely Middle Eastern-sounding guitar, and ending with the if- dissertation presentation Computer Graphics Phd Thesis kanawha county schools homework help rules writing college admissions essay Ween‘s-country-album-had-been-weirder finish of “Stay Gold.” Research Papers Done For You from the best affordable paper writing service. Special November October Offer. Discount -50% OFF. Nighthawk has issued a follow-up to The Sea Legs EP in the full-length Goblin/John Carpenter-style synth of The Dimensionaut, but given the range and balance she shows just in this brief 12 minutes, one hopes that indeed her songwriting explorations continue to prove so multifaceted.

Nighthawk on Bandcamp

Heavy Temple on Thee Facebooks

 

Familiars, All in Good Time

familiars all in good time

Contending for one of the year’s best debut albums, FamiliarsAll in Good Time offers eight songs across 43 minutes that blend organic-feeling grit with more ethereal, landscape-evocative psychedelics. The Ontario three-piece have a few singles to their credit, but the lushness of “Rocky Roost” and the emergent heft of “Barn Burning,” the fleshy boogie of “The Dirty Dog Saloon” and the breadth of “Avro Arrow” speak not just to Familiars‘ ability to capture a largesse that draws their songs together, or the nuance that lets them brings subtle touches of Americana (Canadiana?) early on and echoing desert roll to the fuzzy “The Common Loon,” but also to the songwriting that makes these songs stand out so much as they do and the sense of purpose Familiars bring to All in Good Time as their first long-player. That turns out to be one of the most encouraging aspects of the release, but in that regard there’s plenty of competition from elements like tone, rhythm, melody, craft, performance — so yes, basically all of it.

Familiars on Thee Facebooks

Familiars on Bandcamp

 

Mountain Witch, Extinct Cults

Mountain Witch Extinct Cults

Mountain Witch‘s fourth album, Extinct Cults, brings the Hamburg-based duo of guitarist René Sitte and drummer/vocalist René Roggmann back after a four-year absence with a collection that straddles the various lines between classic heavy rock, proto-metal, ’70s heavy prog and modern cultism. Their loyalties aren’t necessarily all to the 1968-’74 period, as the chug and gruff vocals of “Back From the Grave” show, but the post Technical Ecstasy sway of the title-track is a fascinating and rarely-captured specificity, and the vocal melodies expressed in layers across the record do much to add personality and depth to the arrangements while the surrounding recording remains essentially raw. No doubt vinyl-minded, Extinct Cults is relatively brief at six songs and 33 minutes, but the Priestly chug of “Man is Wolf to Man” and the engrossing garage doom of closer “The Devil Probably” offer plenty of fodder for those who’d dig in to dig into. It is a sound familiar and individual at once, old and new, and it revels in making cohesion out of such contrasts.

Mountain Witch on Thee Facebooks

This Charming Man Records website

 

Disastroid, Mortal Fools

disastroid mortal fools

You might find San Francisco trio Disastroid hanging out at the corner of noise and heavy rock, looking disreputable. Their first record for Heavy Psych Sounds is Mortal Fools, and to go with its essential-bloody-essential bass tone and melodic semi-shouted vocals, it brings hints of angularity rounded out by tonal thickness and a smoothness between transitions that extends to the flow from one song to the next. While for sure a collection of individual pieces, Mortal Fools does move through its 43 minutes with remarkable ease, the sure hand of the three-piece guides you through the otherwise willfully tumultuous course, brash in the guitar and bass and drums but immersive in the overarching groove. They seem to save a particular melodic highlight for the verses of closer “Space Rodent,” but really, whether it’s the lumbering “Hopeless” or the sharper-toothed push of “Bilge,” the highlight is what Disastroid accomplish over the course of the record as a whole. Plus that friggin’ bass sound.

Disastroid on Thee Facebooks

Heavy Psych Sounds website

 

Stonegrass, Stonegrass

stonegrass self titled

I don’t know when this was first released, but the 2020 edition seems to be a remaster, and whenever it first came out, I’m pleased to have the chance to check it out now. Toronto duo Stonegrass brings together Matthew “Doc” Dunn and Jay Anderson, both of a markedly psyched-out pedigree, to dig into experimentalist acid-psych that pushes boundaries stylistic and national, tapping Afrobeat vibes with closer “Drive On” and the earlier 13-minute go-go-go jam “Tea” while “The Highway” feels like a lost psychedelic disco-funk 45, “The Cape” drones like it’s waiting for someone to start reading poetry over-top, and mellow hand-percussion and Turkish psych on centerpiece “Frozen Dunes.” The whole thing, which runs a manageable 39 minutes, is as cool as the day is long, and comes across like a gift to those of expanded mind or who are willing to join those ranks. I don’t know if it’s new or old. I don’t know if it’s a one-off or an ongoing project. I barely know if it’s actually out. But hot damn it’s rad, and if you can catch it, you should.

Cosmic Range Records on YouTube

Cosmic Range Records on Bandcamp

 

Jointhugger, I Am No One

jointhugger i am no one

Norwegian half-instrumental trio Jointhugger have already captured the attention of both Interstellar Smoke Records and Ozium Records with their four-song debut long-player, I Am No One, and as the follow-up to their 2019 Daemo, it leaves little question why. The more volume, the merrier, when it comes to the rolling, nodding, undulations of riff the band conjure, as each member seems geared toward bringing as much weight to bear as much as possible. I’m serious. Even the hi-hat is heavy, never mind the guitar or bass or the cave-echoing vocals of the title-track. “Domen” slips into some shuffle — if you can call something that dense-sounding a shuffle — and underscores its solo with an entire bog’s worth of low end, and though closer “Nightfright” is the only inclusion that actually tops 10 minutes, it communicates an intensity of crush that is nothing if not consistent with what’s come before. There are flashes of letup here and there, but it’s impact at the core of Jointhugger‘s approach, and they offer plenty of it. Don’t be surprised when the CD and LP sell through, and don’t be surprised if they get re-pressed later.

Jointhugger on Thee Facebooks

Ozium Records webstore

Interstellar Smoke Records webstore

 

Little Albert, Swamp King

Little Albert Swamp King

Stepping out both in terms of style and substance from his position as guitarist in atmospheric doomers Messa, Little Albert — aka Alberto Piccolo — pronounces himself “swamp king” in the opening lines of his debut solo release of the same name, and the mellow ambiance and psychedelic flourish of tone in “Bridge of Sighs” and “Mean Old Woman” and the aptly-titled “Blues Asteroid” offer an individualized blend of psychedelic blues that seems to delight in tipping the balance back and forth from one to the other while likewise taking the songs through full band arrangements and more intimate wanderings. Some of the songs have a tendency to roll outward and not return, as does “Mary Claire” or “Mean Old Woman,” but “Outside Woman Blues” and the closer “Hard Time Killing Floor Blues” hold tighter to the ground than some of what surrounds, so again, there’s a balance. Plus, as mellow as Swamp King is in its overarching affect, it’s neither difficult nor anything but a pleasure to follow along where Piccolo leads. If that’s off the psych-blues deep end, so be it. Only issue I take with him being king of the swamp is that the album’s domain hardly seems so limited.

Little Albert on Thee Facebooks

Aural Music on Bandcamp

 

Parahelio, Surge Evelia, Surge

Parahelio Surge Evelia Surge

Beautiful, patient and pastoral psychedelia fleshes out across the three tracks of Parahelio‘s debut full-length, Surge Evelia, Surge. Issued on vinyl through Necio Records, the three-song offering reportedly pays homage to a mining town in the band’s native Peru, but it does so with a breadth that seems to cover so much between heavy post-rock and psych that it’s difficult not to imagine places decidedly more ethereal. Beginning with its title-track (12:33) and moving into the swells and recessions of “Gestos y Distancia,” the album builds to an encompassing payoff for side A before unveiling “Ha’Adam,” a 23-minute side-consuming rollout that encompasses not only soundscaping, but a richly human feel in its later take, solidifying around a drum march and a heavy build of guitar that shouldn’t sound strange to fans of Pelican or Russian Circles yet manages somehow to transcend the hypnotic in favor of the dynamic, the immersive, and again, the beautiful. What follows is desolation and aftermath, and that’s how the record ends, but even there, the textures and the spirit of the release remain central. I always do myself a favor with the last release of any Quarterly Review, and this is no exception.

Parahelio on Thee Facebooks

Necio Records on Bandcamp

 

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BLCKWVS Premiere “0167 AY” Video; 0160 LP out Feb. 22

Posted in Bootleg Theater on February 6th, 2019 by JJ Koczan

blckwvs

A bit of context here: German atmospheric sludge instrumentalists BLCKWVS started out — as the more vowel-inclusive Blackwaves — 15 years ago. 0160 is their fifth full-length. Its title makes it of a series that began with the four-piece’s 2005 demo, 0110, and has continued in that manner since, up to their last album, which was 2012’s 0150. A goodly portion of the seven years since that offering would seem to have been put to use in making 0160 itself, which sees release through This Charming Man Records on Feb. 22. It seems likely that some of the reason for the extended break between records — though they’ve done splits and reissues all the while — is down to the fact that there two versions of the new album: one instrumental and one on which every song has a different vocalist.

blckwvs 0160 with singersAll or nothing, then. It is a common affliction among instrumental bands to have to explain why they don’t have a singer — just ask Pelican, or better, don’t — and I guess BLCKWVS decided they’d get it all out of their system at once. Fair enough.

Now the titles. The numbers don’t really need an explanation — it’s just how the band works. But if you put the letters together, you get the words “Black Hole No Way Back,” so despite the different vibes brought to the 42-minute release across its eight component tracks by virtue of having eight different singers, the idea is that each song should feed into a singular message. And they do, thanks to the instrumental foundation of BLCKWVS themselves to which the vocal takes have been added. There are some stark contrasts, as when Siggi Rudzynski from Space Chaser does a total Bruce Dickinson over “0162 AC” after the throaty shouts of Toni Hünig from Union of Sleep on the opener, but as the album unfolds that variety becomes part of its overarching personality, and in combination with the consistency in the performance of the core band, its shifts are easy enough to roll with, however much an individual performance might stand out.

To think of it another way, each track sets up its own world that’s part of the solar system that is the whole outing. Each vocal performance revolves around the gravitational pull of BLCKWVS, and together they all give a complete picture of 0160‘s years-in-the-makingblckwvs 0160 instrumental intent, from the harsh screams of Marc Grewe (ex-Morgoth) to the easy-flowing croon of Black Vulpine‘s Sarah Lisa Middeldorf. It all makes sense… with the proper context.

And one more bit of that. If you’re thinking you’re going to click play on the “0167 AY” video below and hear Christoph “Lupus” Lindemann from Kadavar in his traditional manner, nope. “0167 AY” brings a much more cinematic vibe, with a spoken voiceover and an apocalyptic feel that’s on its own wavelength even as regards the rest of 0160. It still works with the rest of the album, but it’s striking nonetheless. As far as I’m concerned, that just makes it more fun.

Info from the PR wire follows the clip below.

Please enjoy:

BLCKWVS, “0167 AY” official video premiere

It took more than 5 years for these guys to finish this project – a very ambitious project, cause they wanted to do every song with a different singer they love. And as you can imagine, there were a lot of people keen doing it and just a few really did it. So, in the end you’ll get the most promising BLCKWVS record you ever listened to. They still have their trademark monolithic super heavy doom sound, but spiced it a bit.

The following people did their part – and tell a spacey story from song to song. Toni (Union Of Sleep), Ed Fraser / Heads., Marc Grewe (Insidious Disease /orig. Morgoth), Munde (i not dance), Sarah (Black Vulpine), Siggi (Space Chaser), Lupus (Kadavar), Chriss Dettmer and Milo (Rhonda).

Preorders available here: https://thischarmingmanrecords.de/produkt/blckwvs-0160-vocal-instrumental-lp-digital/

Tracklisting:
0161 Bl (feat. Toni Union Of Sleep)
0162 Ac (feat. Siggi Space Chaser)
0163 Kh (feat. Munde Not Dead)
0164 Ol (feat. Milo Rhoda)
0165 En (feat. Sarah Vulpine)
0166 Ow (feat. Chriss Dettmer)
0167 Ay (feat. Lupus Kadavar)
0168 Ba (feat. Marc Grewe)
0169 Ck (feat. Ed Heads.)

BLCKWVS is:
Stefan Uhe – Guitar
Tobias “Tommec” Völlmecke – Drums
Chris Nußbaum – Bass
Frank Uelsberg – Keys

BLCKWVS on Thee Facebooks

BLCKWVS on Instagram

BLCKWVS on Bandcamp

This Charming Man Records website

This Charming Man Records on YouTube

This Charming Man Records on Thee Facebooks

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Friday Full-Length: Kadavar, Kadavar

Posted in Bootleg Theater on December 28th, 2018 by JJ Koczan

Kadavar, Kadavar

Not many albums are recognizable from even just their snare sound. And likewise, one doesn’t often hear panned drums all stuck over in one channel. But even when it was released, Kadavar‘s Kadavar seemed to be working on its own level.

Issued in 2012 by This Charming Man and Tee Pee Records, the seven-song/41-minute outing arrived at just the right moment to capture the attention of a new generation discovering heavy rock. The Berlin three-piece was comprised at the time of guitarist/vocalist Christoph “Lupus” Lindemann, drummer Christoph “Tiger” Bartelt and bassist Mammut — the latter was soon replaced by Simon “Dragon” Bouteloup — and they were by no means the first band to play ’70s loyalist retro rock. In 2012, the self-titled debut from Sweden’s Witchcraft was already eight years old, and even if that was the breakout moment for vintage-minded heavy, it was by no means the nexus of it. Even the first Graveyard album had come out half a decade earlier — on Transubstans and Tee Pee, mind you, so even the same label in the US. But with Kadavar, they were very much of that same generational switch happening in heavy rock’s audience. The mobilization of social media became a massive factor, and where plenty of bands had done their used-fashion shopping in time for their press shots, Kadavar looked like something out of a 1973 men’s magazine, and the drama of their poses, hair, beards and wardrobe became a crucial part of their aesthetic that the reshaping digital landscape only helped them foster.

It’s never just been about one thing with Kadavar. It’s never just been the look, and it’s never just been the songs, and it’s never just been the huge amount of touring they’ve done over the years. They’re a band with hustle. One recalls that when they played the Sardinian daydream-of-a-festival Duna Jam in 2012, they filmed a video for “All Our Thoughts” on their iPhones. That opening track, which is as much a signature and a herald of their sound as any band could ever hope for, as well as being better composed than most bands could hope for, was premiered here with a giveaway in 2012, and Kadavar was my pick for debut of the year a couple months later as well, but at the time it was impossible really to know the band that Kadavar would become, what their kadavar self titledsubsequent outings would produce and the work they would do to engage and build their audience, virtual and otherwise. Listening back to cuts like “Black Sun” and “Forgotten Past,” it was the incredible warmth of their tones, the on-beat nature of their boogie and the catchiness of their hooks that were speaking for themselves.

With centerpiece “Goddess of Dawn,” Kadavar nestled themselves into a proto-metallic echelon that was home to precious few bands, and as it was Bartelt doing the recording, mixing and mastering, the willfulness of their aesthetic was all the more prevalent. “Creature of the Dawn” still resonates with the insistent hook of its second half — perhaps unsurprisingly, the album as a whole is well suited to nostalgia even just six years later — and the theremin-inclusive “Purple Sage” (with Shazzula providing the eerie sci-fi sounds) was indicative in its multi-layered soloing of some of the more psychedelic aspects that would continue to be toyed with as Kadavar issued their follow-up as a 2012 split with France’s Aqua Nebula Oscillator, all the while maintaining the grounded structures that provided so much of the foundation of Kadavar itself. They would continue to save their departures for the ends of records afterward, and it has continued to suit them well.

But of course it has. Because Kadavar have always had a keen eye for how they’re perceived, and that has extended to all facets of their approach. There are those who view that cynically, like Kadavar are sitting around at a board meeting going over the quarter’s financials saying, “No good, time for another video,” or something like that, but while there’s no question they’ve had a strong sense of purpose since Kadavar was released, they’ve also had a growth in style and progression that’s led them to places the self-titled only hinted toward. Hearing “All Our Thoughts” and “Forgotten Past” and “Purple Sage” now, there’s so much naturalism at Kadavar‘s foundation that the album still holds I think among the decade’s best not just in its sound or performance, with its live feel, organic fuzz and groove and ultra-righteous bass tone, but in its very concept. Everything Kadavar does and has done has been on purpose. Even the accidents. Part of what made their first record such a standout was how sure they were of what they were doing at the time. There was no sense that they were getting their feet wet or feeling their way into their style. Listening to Kadavar‘s Kadavar was like unboxing some tech product with the battery already charged. All you had to do was take it out and put it on and you were set.

That’s still the case. Kadavar have gone on to become one of the most essential active European heavy bands, as their 2013 sophomore outing, 2013’s Abra Kadavar (review here), led to their signing to Nuclear Blast Records to wider distribution and a new level of reach in terms of touring. A pivotal moment followed in 2015’s Berlin (review here), their third album named for the city they call home, whereupon their sound took on a more modern, produced sheen that was a shift from the first two records. One would be naive to think that’s a coincidence of their signing to the new label, but they pulled off a difficult transition in sound thanks to the same undercurrent of songcraft that carried them through the debut and its follow-up. Touring all the while, they took on a moodier, more socially aware context with 2017’s Rough Times (review here), which was followed this year by the Live in Copenhagen companion LP. They’ve become an influence particularly in Europe, and as their craft has moved forward, they’ve never really lost the sense of structure that seemed so much to drive their beginnings. Kadavar knew it was playing to classics. I’m not sure it knew it would become one itself.

As always, I hope you enjoy.

It’s 5:24AM right now. Soon it’ll be 5:25. In about a minute or so. Ha.

Alarm went off at 3:30, as it will — I’ve been giving myself an extra half-hour and working during The Pecan’s morning nap — and he was up at 4AM. Hi from the Newark Airport flightpath. We’re in Jersey from now until about Jan. 20, and normally I’d have left his ass up there to fall back asleep on his own, but we have friends staying with us upstairs in the guest room across the hall. When it hit 15 minutes of yelling and it seemed like he wasn’t going to just lay back down and conk out, I went up there armed with fresh diaper and a bottle, changed him, fed him, and put him back down. He screamed bloody murder for about three minutes after I left the room, but has been out since, so even if he gets up at this point, I bought another hour. Again, I usually would leave him because I want him to learn and be used to settling himself down, but there are extenuating circumstances. “Additional factors,” as The Patient Mrs. and I like to say, usually about him.

Next week is New Year’s? That’s stupid. Whatever. Be safe. I’ll still be asleep by nine.

We did Xmas Eve at home and watched Die Hard, as we will, and then Xmas Proper in Connecticut with The Patient Mrs.’ family, then came down here the next day. I don’t even know what day that actually was. Wednesday, says the calendar. Fine. We got here and are mostly settled in at this point. I need Chemex filters something awful, but beyond that, it’s been good. Dinner with my family on the 26th, some hanging out with my oldest nephew, who does well with the baby, friends coming in yesterday. Good times. I like it here. I miss living in this area. So it goes.

With the New Year’s holiday on Tuesday, I’ll do the traditional thing of posting the results of the Year-End Poll. If you haven’t yet added your list of 20-or-however-many favorites of 2018, you should get on that.

What else? Merch still available at Dropout Merch. For now. I’m gonna nix some of those designs soon. I don’t want too much floating out there.

And while the next ‘The Obelisk Show’ on Gimme Radio was going to be Jan. 13, now it’ll be Jan 6. I got bumped up a week, which is nice. I still need to put together most of the playlist, but I know some of it will be highlights from the Quarterly Review, so there’s plenty to choose from there, as it was 100 records and all. Plus some other stuff I haven’t covered here yet.

Let’s do notes for next week. Haven’t done that in a while. Subject to change, blah blah, here goes:

Mon.: Arc of Ascent/Zone Six split review.
Tue.: Poll results.
Wed.: Begotten review; Medicina video.
Thu.: Volcano video premiere; maybe Thunderbird Divine review.
Fri.: Molior Superum track premiere.

Busy busy busy, as usual. That’s good though. The music industry slows down during this time, basically through the end of January, but I never seem to have any lack of stuff to cover, and I’m not really interested in slowing down, so fair enough.

Just about 6AM now. Definitely not regretting giving him that bottle. The Patient Mrs. came to bed around 1:30AM, which is insane as far as current best practices are concerned. I told her that when the baby got up at five I was going to bring him down and stick her with him. I haven’t decided if I actually will do that or not. Probably not. But he should be up soon and I need to get another post live before I grab him, so I’m gonna punch out.

I hope you have a great and safe weekend, and if you’re doing the New Year’s thing, I hope you’re indoors? I don’t know. I hope you drink because it’s fun and not because you feel like you need to. That’s what I hope.

Have fun, don’t get hurt, and thank you for reading. Forum, radio, merch.

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Review & Video Premiere: The Moth, Hysteria

Posted in Bootleg Theater, Reviews on November 10th, 2017 by JJ Koczan

the moth hysteria

[Click play above to watch the premiere of The Moth’s new video for ‘Empty Heart.’ Their album, Hysteria, is out today on This Charming Man Records.]

The Moth engage in an almost singular pursuit of scathing rawness with their third album, Hysteria. Issued like its predecessor, 2015’s And Then Rise (review here), it is a 10-track/36-minute collection that, even when it departs the death-infused thrust of songs like opener “Empty Heart” and the subsequent title-cut to flesh out its slower-rolling doomer impulses on side-ending pieces like “This Life” and the finale “Jupiter,” still retains more than an edge of the extremity at heart behind that pummel. Guitarist Freden Mohrdiek and bassist Cécile Ash share vocal duties, and the resulting approach is by no means amelodic, but even compared to the release before it, Hysteria finds the Hamburg outfit making a decided turn toward harsh sounds and harsher vibes; a brutality captured with a live-in-studio feel and punctuated by two drummers: the returning Tiffy and newcomer Christian “Curry” Korr.

The latter percussionist is a recent arrival, and even with a pair of drummers swinging away and the Sunlight Studios-esque tone Mohrdiek displays after the false start of “Hysteria,” the dominant position, hands down, belongs to the bass. Hysteria as a whole is eaten by low-end rumble, serving in some ways as a reminder of how mishandled bass has been over the decades in extreme music, all but cast out of death and black metal and classic thrash or otherwise relegated to root notes or following the guitar. Ash‘s low end is a significant force in the overarching weight of this material, and as that’s true amid the grunts and chants of “Slow Your Pace” as in the nodding and catchy highlight “Brachial” — also screaming and bludgeoning — just before. It becomes a defining element.

One gets the sense that, much like the overall push into nastier sonics itself, this is something done with the utmost purpose behind it. Hysteria is the third The Moth long-player behind And Then Rise and the preceding 2013 debut, They Fall, and while it doesn’t provide a next clause to that seeming sentence-in-progress between the first two titles, that very fact is telling of a will to try something new that is manifest throughout. There are still shades of High on Fire and heavy thrash extremists Mantar to be heard in the onslaught of “Blackness” or “Empty Heart,” but aside perhaps from bringing in the fourth band member, the change in presentation is the biggest shift from one release to the next, and at this point, The Moth have enough quality work under their collective belt to assume consciousness behind the decision rather than a happenstance of recording situation.

the moth

When it wants to, Hysteria meters out a vicious stomp, but to hear the cone-blowing brown-note low-frequency heft at the beginning of “Loose” is to understand how essential the bass is to this mission. Beneath the fluidity of vocal arrangements between Ash and Mohrdiek and a moment’s readiness to transition in pace between and within tracks like “Brachial” and the part-punk “Fail,” which is the shortest inclusion here at 2:27 and the lead-in for “Jupiter,” the longest at 5:15, and amid waves of riffs and drums that are no less at home in maximum propulsion than they are lumbering through “This Life” and the closer, the bass is what most ties the album together. There are times, in fact, at which it feels like there’s no escape from it, and while the material itself is structured into verses, choruses, bridges, ending sections, etc., that consumption lends an experimentalist sensibility to go with their root approach.

This only makes Hysteria a more exciting listen. It is a sonic curio, almost. Plenty of bands have indulged in having two drummers, from the Melvins to Kylesa and well beyond, but even as The Moth put themselves in these ranks, it’s the change in sound itself throughout Hysteria that seems most to convey their creative drive. While not necessarily a radical departure from where they were two years ago, it nonetheless demonstrates a basic willingness to manipulate their own tendencies, and whether The Moth take it as a cue and move forward in a similar direction from here, pushing into even more extreme fare while balancing that against their melodic underpinnings, or opt to try something else entirely their next time out, the clear statement that Hysteria makes is that such turns are well within the scope of their ability and dynamic.

Further, while the title of the record speaks to a (gendered) sense of the unhinged, it’s worth noting that front to back, MohrdiekAshKorr and Tiffy never actually seem to be out of control of the proceedings. There are certainly moments of blemish, but like leaving that false start in at the beginning of the title-track, the simple fact that The Moth make no attempt to cover these is telling further of the naturalism at heart in what they’re doing. Organic extremity? Free-range aural destruction? Whatever you might want to call it, Hysteria takes this balance of style and production and turns it into an aesthetic that belongs to The Moth more than anything they’ve done before. It is the result of a band willfully taking the lessons from the work they’ve done in the past and learning from them to craft something new. It just so happens that that something new is an absolute monster.

The Moth on Thee Facebooks

The Moth on Bandcamp

The Moth on Instagram

This Charming Man Records website

This Charming Man Records on Thee Facebooks

This Charming Man Records on Instagram

This Charming Man Records on Bandcamp

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The Moth Stream Title-Track of New Album Hysteria; UK Tour Announced

Posted in Whathaveyou on August 24th, 2017 by JJ Koczan

the moth

Having become a four-piece since the release of their 2015 sophomore album, And Then Rise (review here), Hamburg, Germany’s progressive sludge rockers The Moth will release their third outing, Hysteria, on Nov. 10 via This Charming Man. The record was first announced here late last year when The Moth entered their basement studio to put it to tape, and a preliminary sampling of the results of their efforts is available now to stream in the form of Hysteria‘s title-track, which you’ll find at the bottom of the post. Not to give too much away outright, but goodness gracious that’s thick. Hope you like viscosity.

I’ll hope to have more to come on this one before November gets here, but in the meantime, here’s word from the PR wire, including some tour dates alongside WitchSorrow, copious linkery and the aforementioned track stream to keep us all busy:

the moth hysteria

THE MOTH: Hamburg’s heaviest return with new album Hysteria and UK tour with Witchsorrow

Hysteria by The Moth is released on 10th November 2017 on This Charming Man Records

Signed to This Charming Man Records just one year after their formation in 2012, Hamburg-based doom/sludge trio The Moth are one of Germany’s leading underground lights.

Upon the release of their acclaimed debut album They Fall in 2013 the band was praised for harbouring a sound that cooked slow burning doom, thrash, rock and death metal via a metallurgy of riffs and bold ideas.

Geared toward full-metal apocalypse, that same sound was soon resurrected in 2015 on The Moth’s follow-up album And Then Rise, which drew justifiable comparisons to the likes of High on Fire, Mastodon, Crowbar and Kylesa. Picking up on the twin vocal play of bassist Cécile Ash and guitarist Freden Mohrdiek’s well-tempered Jekyll & Hyde-like aesthetic, the album was raw, ready and alive with ambition… and best of all, void of uncalled-for frills.

Off the back of tours and shows with Torche, Red Fang, Conan, Space Chaser and OHHMS, not to mention countless stages rocked at DesertFest, Svart Festival, Doom Over Vienna and Stoned from The Underground, The Moth return this November with their most anticipated album yet. Relocating to the same, small rehearsal room used to record their debut – deep in the belly of Hamburg’s infamous red-light district in St. Pauli – the band set about pre-recording their album Hysteria with close friend and producer José Lorenzo in September 2016. After laying down all ten tracks in one day and returning later in the year to rerecord and add vocals, they soon discovered that Lorenzo’s initial recordings best captured the band’s brutal and bewitching live sound.

With the addition of new member Christian ‘Curry’ Korr, brought in to share rhythm duties alongside long-sitting drummer Tiffy and the partnership of Cécile and Freden as full-on and fired-up as ever, Hysteria is the audacious product of a band at their deadliest.

“The title track represents the style of the whole album,” explains Cécile Ash. “That we only recorded each track maybe two or three times live and took the best version, you can really hear our character in it. We didn’t cut anything out. Imperfection is what we like.”

Released on 10th November 2017, Hysteria by The Moth will be available on This Charming Man Records.

Track Listing:
1. Empty Heart
2. Hysteria
3. Brachial
4. Slow Your Pace
5. This Life
6. Blackness
7. Loose
8. Shattered
9. Fail
10. Jupiter

Tour Dates:
5 Oct – Hühnermanhattan Club, Halle/Saale
6 Oct – Immerhin, Würzburg
7 Oct – Baracke, Münster
26 Oct – Bastard Club (w. Witchsorrow), Osnabrück
27 Oct – Music City (w. Witchsorrow), Antwerpen
28 Oct – The Cave (w. Witchsorrow), Amsterdam
29 Oct – Stumpf, Hannover
30 Oct – MTS City Sound, Oldenburg
22 Nov – TBA (w. Witchsorrow), Bristol
23 Nov – Bannerman’s Bar (w. Witchsorrow), Edinburgh
24 Nov – The Phoenix (w. Witchsorrow), Coventry
25 Nov – Riffmass 2017 (The Green Door Store), Brighton
26 Nov – The Devonshire Arms (w. Witchsorrow), London

The Moth:
Cécile Ash – Bass/Vocals
Freden Mohrdiek – Guitar/Vocals
Christian ‘Curry’ Korr – Drums
Tiffy – Drums

http://www.facebook.com/listentoTHEMOTH
http://the-moth.bandcamp.com/
http://www.instagram.com/listentoTHEMOTH
http://www.thischarmingmanrecords.com/
https://www.facebook.com/Thischarmingmanrecords/
https://www.instagram.com/thischarmingmanrecords/
https://thischarmingmanrecords.bandcamp.com/

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The Great Beyond Post “Empty Grail” Video; A Better Place Available to Preorder

Posted in Bootleg Theater on July 6th, 2017 by JJ Koczan

the-great-beyond-photo-alex-lost-feeling

This Charming Man Records is taking preorders now for the first 12-incher from German boogie rockers The Great Beyond. Titled A Better Place and set to release on July 28, it’s the debut EP from the Münster-based trio, who herald its arrival with a new video for “Empty Grail.” With lyrical nods to Sabbath and layered guitar leads à la Thin Lizzy, they’re not exactly shy in showing off where they’re coming from in terms of influences, but their take on classic methods nonetheless comes through a modern production — though perhaps via vintage gear? — and they skirt the line of actual retroism vs. the kind of heavy ’10s update spearheaded in the last five years by the likes of Graveyard and Kadavar.

Familiar terrain, perhaps, but The Great Beyond cover it well and show in the three-minute “Empty Grail” a steady grasp of the style. On the EP, “Empty Grail” is complemented by the proto-metallic shuffle of the opening title-track, the languid bluesy drawl of centerpiece “Yearning,” the post-Uncle Acid garage riffing of “Solution” and the heavier roll of five-minute closer “Mountains of Gold,” on which the full breadth of bassist Daniel Himmelberg‘s tone shows itself en route to a raucous finale marked by Leon Runde‘s lead work and the uptempo thrust of drummer David Aaron Mrohs, but even as a standalone piece, it gives a sense of where The Great Beyond are coming from in terms of aesthetic, if not necessarily one that speaks for the entirety of their first offering.

So think of “Empty Grail” perhaps as a sampler of wares for a sampler of wares to follow as they ready the ground for A Better Place to land later this month. If you’re so inclined, the preorder links for the EP follow the video itself — along with some words from the label, which is spot-on in the surprising Cave In comparison — which you can find below.

Please enjoy:

The Great Beyond, “Empty Grail” official video

Empty Grail is taken from The Great Beyond’s debut 12″/CD – released 28th of july!

LP: bit.ly/TheGreatBeyondLP
CD: bit.ly/TheGreatBeyondCD

These fellas from Münster Germany are a typical power rock trio mayhem, which took me instantly I listened to their first recorded demos! they pretty much sound like they look like: bone-dry, dusty & oldschool 70s rock – if you dig Mountain Witch or Kadavar, you pretty sure can connect with these 5 songs. On their 12″ they show a wide range of classic rock styles, slowed down Graveyard-eque tunes also as uptempo driven rock hymns. their signature will be the high pitched vocals which reminds a little of mix of Stephen Brodsky (Cave In / Mutoid Man) and John Dyer Baizley of mighty Baroness!

The Great Beyond is:
Leon Runde – Vocals & Guitars
Daniel Himmelberg – Bass & Vocals
David Aaron Mrohs – Drums & Vocals

The Great Beyond on Thee Facebooks

The Great Beyond website

This Charming Man Records on Thee Facebooks

This Charming Man Records website

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Heat Post “Day in Day Out” Video; New Album Coming Soon

Posted in Bootleg Theater on June 7th, 2017 by JJ Koczan

heat

So when Heat put out their latest video, it was tagged to the news from their label, This Charming Man Records, that their third full-length and the follow-up to 2014’s Labyrinth (discussed here) would be out this summer. Well, it’s not quite summer yet, but it’s not far off, and more concrete word of a correspondingly more concrete release date has yet to surface so far as I know. That kind of thing happens. Delays in mixing, mastering, pressing, shipping, etc. Even once you actually get past songwriting and recording, there are a million things that can make a summer record turn into an autumn record. Or winter, or next year, or 15 years later. You know how it goes.

I bring it up because the Heat video in question, for their late-2016 single, “Day in Day Out,” came out in February. Why wasn’t it posted here before? Because sometimes shit gets by me until the band emails or sends a note on Thee Facebooks and says something like, “Hey dope, post our video” —heat note: Heat were actually way more polite about it than that, as are most. I never claimed perfection and I’m a firm believer in better-late-than-never, so yeah, I’ll post a Heat video a little ways after the fact, particularly as it seems like it could be any day now there will be some news about that next long-player, and double-particularly for the laid back ’70s boogie that “Day in Day Out” proffers in its quick, under-three-minute run.

On the 7″, the track comes complemented by the longer “Time to Believe,” and both bask in a natural and vintage feel. Recorded by now-former bassist Richard Behrens (also ex-Samsara Blues Experiment), the two-songer is a quick glimpse at the traditionalism the Berlin-based fivesome had on offer through Labyrinth and their preceding 2012 debut, Old Sparky (review here), and as they comment below, the simple idea behind the video for “Day in Day Out” is to show the band having a good time. They both look and sound like they are, so I guess the mission stands accomplished. They even ride bikes. What’s more fun than that?

When/if I hear something about their next album, I’ll let you know, and I’ll do my best to not make it months after the fact. In the meantime, you can enjoy Heat‘s “Day in Day Out” clip below, followed by more info about the single.

Dig it:

Heat, “Day in Day Out” official video

Heat on “Day in Day Out”:

“Our take on classic 70’s hard rock, we stayed true to our favourite decade with a completely analogue double A-side 7″, recorded and mixed straight to tape. This was executed by Richard Behrens at Big Snuff Studio in a 100% authentic and honest way. No computers involved! And that’s what we tried to capture in the video: no frills, no special effects, just us having a good time. Hope you dig it!”

The first song after “Labyrinth” – some cool tunes from Berlin’s finest HEAT, who are right now in the studio working on the last tiny things for the upcoming third full length! Prepare for a rockmonster in summer 2017!

“Day In Day Out” is taken from the brand new same titled 7″ single available on wax or digital here:

TCM (ltd. col. wax) http://bit.ly/2ewFdiQ
Bandcamp: heatbandofficial.bandcamp.com

“Day In Day Out” written and composed by Heat © 2016

Heat are:
Matthias Schult (Guitar)
Gräm Rowland (Bass)
Patrick Fülling (Vocals)
Marco Rischer (Guitar)
Marcus Töpfer (Drums)

Recorded and Mixed by Richard Behrens at Big Snuff Studio, Berlin in June 2016
Mastered by Nene Barratto at Big Snuff Studio

Video by Paul Schlesier/Pallid Eyes Film (http://www.pallideyes.de/)

Heat on Thee Facebooks

Heat on Instagram

Heat on Bandcamp

This Charming Man Records website

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The Moth Hit the Basement; New Album Due in 2017

Posted in Whathaveyou on December 21st, 2016 by JJ Koczan

I’d say Germany’s The Moth have hit the studio, but it would be inaccurate. The darkly heavy rocking Hamburg-based outfit will issue their third album in 2017 via This Charming Man, following up on last year’s And Then Rise (review here). Instead, they’re headed to the basement where they rehearse to reportedly record completely live, which leaves one to guess the results will be… punkish?

Kind of hard to say, but I’m interested to find out. Though definitely led by its riffs, And Then Rise had a strong undercurrent of metal to it, and it seems entirely possible that in recording live, that intensity will only be played to further, but the question becomes just how raw the actual recording will turn out when they’re done, which, frankly, should be just about any minute now. Also they’re apparently working with a second drummer. I’ll let you know what I hear when I hear it.

If you didn’t get to check out And Then Rise — and I know you did, but it’s nice to be reminded of these things — you’ll find the stream from The Moth‘s Bandcamp at the bottom of the post. Here’s the update as sent over by bassist/vocalist Cécile Ash:

the moth

THE MOTH, metal-sludge-doom 3-piece from Hamburg (Europe), will hit the studio the week before Christmas to record their third album. It will be released on Germany’s most renowned independent label, This Charming Man Records.

No fancy studio has been booked. Instead THE MOTH return to their roots: a small basement rehearsal room in Hamburg’s red light district – where their debut THEY FALL was born in 2013.

No fuss here either: They will record everything live. Bassist and guitarist Cécile and Freden (both do vocals as well), drummer Tiffy and also their second drummer Curry want to capture the loaded and raw atmosphere of their rehearsals. Nothing more. Nothing less.

The Moth is:
GUITAR & VOICE: FREDEN MOHRDIEK
BASS & VOICE: CÉCILE ASH
DRUMS: TIFFY

https://www.facebook.com/listentoTHEMOTH
https://the-moth.bandcamp.com/
http://www.instagram.com/listentoTHEMOTH
http://www.thischarmingmanrecords.com/index.php/bands/the-moth/

The Moth, And Then Rise (2015)

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