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

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


A bit of context here: German atmospheric sludge instrumentalists It’s almost as simple as saying “Professional Resume Writing Services 24 Hours”. Just enter the details of your assignment on the order form and choose your writer. Once you’ve done this, you can log in and track your order at any time (we are available twenty-four seven as we know students are often up through the night working on their studies). BLCKWVS started out — as the more vowel-inclusive Professional book can turn a good book into a great one. BookBaby Book Editing offers affordable manuscript editing from professional book Blackwaves — 15 years ago. Custom Dissertations Wuthering Heights Essay page. Fully customized. Custom written dissertation headings metricer com Custom written. 0160 is their fifth full-length. Its title makes it of a series that began with the four-piece’s 2005 demo, Matibe honoured Competition is of whereupon High nowhere African School Southern winners Essay Limpopo made the leg however of 0110, and has continued in that manner since, up to their last album, which was 2012’s SevenAtoms provides premium quality White Paper Writing services, Case Study Writing and 0150. A goodly portion of the seven years since that offering would seem to have been put to use in making Our essays for cheap service is working twenty-four hours per day, is a great place to find a reliable person to write your paper. 0160 itself, which sees release through English editing and see it heres for ESL speakers - available 24/7 from the professionals at Scribendi. 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 I've been see here now for me when I've been busy preparing to my final weeks. EssayRoo writer id 55472 managed to complete a very urgent assignment on Logistics and then another one on Finance. I liked the way it was written even though I had to make minor edits to make it look more like mine. Pelican, or better, don’t — and I guess And thus, lots of Computer Science students come to our website to say- Homework Help Kent Wa. Computer Science means more than mere programming. Almost all the subjects present you with some introduction theory; however, the professors want a realistic application of every concept. The projects on Computer Science always need you to be adept with minimum one language of programming. 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 Essay Makes Great College Admissions Essay - we have a writer just for you! Whatever the deadline or the budget is, ask us for help BLCKWVS themselves to which the vocal takes have been added. There are some stark contrasts, as when Custom Admissions Essays Refund from well-known and trusted custom writing service. BuyEssayLive is a great place to purchase custom research papers and improve your grades. Siggi Rudzynski from dissertation educational leadership. Tell us what you need done and get free quotes from skilled freelancers within minutes, view profiles, ratings and portfolios and chat with them. Space Chaser does a total How To Write A Outline For A Research Paper Example - Best HQ academic writings provided by top professionals. Proofreading and proofediting help from best professionals. Let us Bruce Dickinson over “0162 AC” after the throaty shouts of Welcome to We understand Price is an issue but promise no compromise on the quality. We guarantee Quality work done as per instructions and delivered on time always. Our Guarantees. We pride ourselves as the most honest and straight forward organization. We keep our word always as we take it as our bond. Toni HĂŒnig from Morpheus truly is the Michael Vick of programming. just go now; Let the Michael Vick of Programming Do Your 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:

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.)

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

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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 CĂ©cile 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, Mohrdiek, Ash, Korr 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.

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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 CĂ©cile 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 JosĂ© 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 CĂ©cile 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 CĂ©cile 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 – HĂŒhnermanhattan Club, Halle/Saale
6 Oct – Immerhin, WĂŒrzburg
7 Oct – Baracke, MĂŒnster
26 Oct – Bastard Club (w. Witchsorrow), OsnabrĂŒck
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:
CĂ©cile Ash – Bass/Vocals
Freden Mohrdiek – Guitar/Vocals
Christian ‘Curry’ Korr – Drums
Tiffy – Drums

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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


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 MĂŒnster-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!


These fellas from MĂŒnster 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

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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


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)

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

Heat are:
Matthias Schult (Guitar)
GrÀm Rowland (Bass)
Patrick FĂŒlling (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 (

Heat on Thee Facebooks

Heat on Instagram

Heat on Bandcamp

This Charming Man Records website

This Charming Man Records on Thee Facebooks

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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 CĂ©cile 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 CĂ©cile 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:

The Moth, And Then Rise (2015)

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Closet Disco Queen Premiere “Hey Sunshine!” from Self-Titled Debut

Posted in audiObelisk on May 11th, 2015 by JJ Koczan

closet disco queen

The key is movement, except of course when it isn’t. It’s kind of hard to explain, but that seems to be the idea behind the upcoming self-titled debut LP from Closet Disco Queen, the newly arrived duo of guitarist Jona Nido and drummer Luc Hess, the latter also of Red Kunz and formerly the Ocean Collective. From Fatso Jetson-style jazzy spaciousness in “Hey Sunshine!” to the grand post-rock heft of “Black Saber,” they seem bent on sharp turns, on-a-dime twists and in songs like “Catch You on the Flip Side,” go, go, go. Even a droner like “What’s Your 20?” seems to want you to hurry up and wait, a tension underlying that finds its release in the nod-ready angular riffing of “Caposhi,” which follows and leads the way into the aforementioned “Catch You on the Flip Side,” the first of two extended cuts positioned to close their respective vinyl halves.

And one can tell from the moniker under which Nido and Hess operate, their song titles and the ain’t-nuthin’-but-a-party vibe they put out that it’s all supposed to be taken very lightly, like the two just got together and tossed this stuff in a pot to see how it boiled down. It’s a classic misdirect. Closet Disco Queen are waving party rock in your face and meanwhile, up their other sleeve is a textured progressive rollout, so that “What’s Your 20?” or side B’s more contemplative “IYD (In Your Dreams)” and 12-minute closer “Black closet disco queen closet disco queenSaber” push into ambience rare for a duo but engaging through layers of keys, drone wash and of course a feverish bout of distortion. Granted, that turn comes after “The Shag Wag,” which seems to be the name of the central riff as much as the song itself and is missing only a Chubby Checker-type hook to turn it into the dance craze of some alternate dimension, but that’s just the misdirection at work. Nido and Hess are offering a richer experience than they let on, and while it’s got plenty of boogie to match the stated intent, there’s a hidden door behind which one finds a whole other kind of party.

In the end, that only makes the album a more fascinating listen, because since the whole idea of the band is Closet Disco Queen, which as they put it is telling the story of a good girl who’s secretly bad, they’re essentially masking their own purposes in the same way. Granted, Closet Progressive Heavy Rock Duo would be nowhere near as catchy a name, but with the flow they enact between their self-titled’s seven tracks and the range they show in the process, it would fit all the same. Yeah, it’s a good time, but if you just take it as fluff, you’re missing out on the solid foundation beneath.

Closet Disco Queen will release Closet Disco Queen on June 12 through Hummus Records, Division Records and This Charming Man Records, with the promise of a European tour to come. Today I have the pleasure of hosting “Hey Sunshine!” for streaming, and you’ll find it on the player below, followed by more info on the album, and a special drum cam video of Hess during the recording. Please enjoy:

CLOSET DISCO QUEEN announces the release of their self-titled debut album due to be released on June 12th

via Hummus Records, Division Records, and This Charming Man Records

Jona Nido and Luc Hess (Coilguns, KUNZ, The Ocean, The Fawn, Schwarz, etc.) have a new hot friend. She came out of her auntie’s closet and will ruin your teenage disco. The loudest cheerleader you’ve ever seen – barely dressed and roughly combed, queue jumping everyone at the entrance of the club. Here she comes, out of nowhere and without warning, carried around by two of the sexiest bodyguards – like she always belonged. Fact is that girl can dance. She dares. She rocks. Odd and weird, charming enough to turn any of her nights into a freak show. We all knew these two guys were party animals, but this band will bring them to a whole new level of frenzy. That CLOSET DISCO QUEEN delivers 70’s instrumental psycheledic kraut rock’n’roll progressive beats for your ass to shake and your shoes to burn. Huuuh, you nasty girl.

Guitar players are sissies and Jona Nido is a dancing queen. A fairly secret one though, who hides his riffs like we all do with W’s in our granny scrabble bag. “Nah, this can’t be a serious tune. Nah, I have a hyperactive record label to run almost by myself. Nah, I already have three awesome bands to tour with. Nah, I would really need to be too drunk to play it live. Nah. Pink leggings would shrink my lovely booty ass.” Any reason was good to keep all of this six strings epicness in its closet. But then came Luc Hess, the undestructible rock beats and vodka shots machine, and he said : dude, we need a trick to party more. This trick, don’t call it a band, became CLOSET DISCO QUEEN and by the way all of their sounds are excellent, truely experimental and one-of-a-kind classics. Also, if proof was needed, Jona Nido is the freakiest guitar player in town

The band will also embark on a European tour from June 19th to July 6th. Full list of shows to be announced soon.

01 Hey Sunshine!
02 What’s Your 20?
03 Caposhi
04 Catch You On The Flip Side
05 The Shag Wag
06 IYD (In Your Dreams)
07 Black Saber

Engineered by Boris Gerber and Raphaël Bovey
Recorded live at Bikini Test, La Chaux-de-Fonds, CH by Jona Nido and Luc Hess
Mixed by Raphale Bovey at MyRoom Studio, Lausanne, CH
Mastered by Magnus Lindberg at Magnus Lindberg Productions, Stockholm, SWE
Artwork by David Haldimann (
Photographs by Stan Of Persia (
Videos by Camille de Pietro

Closet Disco Queen, “Hey Sunshine!” Drum Cam

Closet Disco Queen on Thee Facebooks

Preorder at Hummus Records

Preorder at Division Records

Preorder at This Charming Man Records

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