Days of Rona: Bill Kole of Ol’ Time Moonshine

Posted in Features on June 1st, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

ol time moonshine bill kole

Days of Rona: Bill Kole of Ol’ Time Moonshine (Toronto, Canada)

CV Master Careers - Essay On Living Life To The Fullest and consultancy services delivered by CV Consultants with almost 14 years of CV writing and recruitment How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

Ol’ Time Moonshine was in the studio laying down drums and bass for our new record at the beginning of March when the reports of the virus started to become more frequent. It wasn’t long before the shelter in place/quarantine orders came down. It’s now been a bit more than 10 weeks since we’ve all been in the same room playing together. We’ve been working on our parts for the record and taking care of some band business and promotion, including uploading our releases to streaming services after more limited release. The uncertainty of what the musical landscape will look like when this is all over has been weighing a bit heavily – a number of venues in our province have already shut down permanently since the pandemic began, and a lot more are close. Even when they open up, the capacity restrictions are likely to devastate their businesses. As a band we’re just taking everyday and doing what we can; looking after all the little projects we always said we’d do if we ever had time. The plan right now is to get back and start tracking guitars and vocals in June, which was our original target for completing the record. We’re lucky to live in an era of connected technology that can keep us together and informed if we choose to use it that way.

I’m blessed to work for a wonderful, family owned film audio support business that has kept me on payroll, even when the office was shut, and we’ve reached a point where I’m able to come in to the office safely, mostly working alone, for a few hours a few days a week. It helps break up the monotony of the days, and I’ve been walking the few kilometres to work to avoid public transit and get some exercise. It’s been wonderful to see my family pull together and be strong in the face of this, and to have friends and family making masks for one another, shopping for those less mobile, trying to make the kids in the neighbourhood feel special on their birthdays, etc. I finally was able to teach my daughter the basics of riding her bike after several seasons of trying, and we’ve done lots of work on our apartment to freshen it up. I’ve been working on a few album covers and posters in my free time (and a lot of revisions on posters due to shows moving). I’ve tried to keep getting up at the same time everyday and keeping somewhat of a schedule so that the days don’t just fade away into one another. Motivation has its good days and bad days, but I try not to be hard on myself. I’ve found my emotions bubble closer to the surface; joy and sadness bring me to tears pretty quickly these days. Trying to look at the positives each day and stay strong for my family and friends.

In search of College Level Papers About Adolescence And Coming Of Age service so that you may get top quality dissertation? Looking for UK based native writers to get most affordable How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

I generally feel that the federal and provincial and municipal governments have done a decent job of looking after their people in this crisis, though there is always room for improvement and some communities have been more affected than others. Unfortunately, a few have felt that the rules they make do not apply to them. We’re seeing that in a lot of places, though, not just Canada. I fear that a lot of restaurants, theatres, venues and other cultural institutions may not weather this storm without further intervention. It will certainly be interesting to see what survives and thrives on the other side of this unprecedented economic disaster. On a personal level, most of my friends and family have remained rational and followed precaution. I’m proud of them. I am particularly proud of my friends and family in health care and food service that have sacrificed so much to ensure our safety and wellbeing. I haven’t had anyone close to me pass from COVID-19 complications, but I do have several friends and family members that have lost loved ones. It’s probably too late and too difficult for most, but I feel a stricter lockdown, sooner, would have been more effective then and less painful now. We’re a bit too eager to get back to “normal” and I fear that opening up too soon will undo the progress we’ve made. We just loosened a few restrictions last week, and already people are getting lax about wearing masks and distancing. As someone with asthma and autoimmune issues I need to be a bit extra cautious, and it can be disheartening to see someone not wearing a mask in an enclosed space like a store, or just as bad, wearing it as a chin strap or taking it off to lean over a protective barrier and speak to them.

How http://rahimbakhshighschool.edu.bd/legitimate-essay-writers/ Reviews Can Help You Make Your Choice Students from all over the world struggle with college assignment writing. What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I think most of the people in my musical circle have adapted well, but miss being able to see each other and hang out at shows. I’ve watched a number of great live streams, and some cool pro-shot shows are coming online soon. It’s not entirely the same without the atmosphere and immersion, but it’s the best we’ve got for the moment. I’ve had more time to listen to music, so I’ve been diving in and doing a lot of deep listening, catching a lot of great records I missed the first time around. There have been some great articles and discussions in the scene, and it’s been fun to see what a lot of my fellow musicians have been listening to. I’ve talked to a few groups of musicians about contributing guitar or vocals to a few different projects outside of OTM. I’m really proud of the record Ol’ Time Moonshine is working on, and I REALLY want to get it finished and out there. We’ve gone through a lot these past few years since the release of “The Apocalypse Trilogies”, so it has been a bitter pill to swallow to see us get all of our game pieces in order just for the game to change, but we’ll adapt and move forward, we always do. It could have been much worse, though, so I’m grateful we haven’t lost more. So many friends have had to cancel their release parties and tours. So many promoters and touring companies have lost their livelihood for the perceivable future. So many recovering addicts and people with mental health issues have lost their support. If you are having a good, positive day and feel you can handle it, please, reach out to someone you know who might not be and let them know they have someone that loves them.

Content written by an experienced and passionate assignment help business management What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

I don’t think things can possibly go back to the way they were. It’s all going to be a bit different, and take some getting used to. I think some have found they are stronger than expected, and some are not as strong as they thought. We need to be compassionate and help one another, especially those that fall through the cracks, and we need to take better care of our mental health. We need to be kinder, and more honest with ourselves and loved ones. I miss my US and worldwide doom family, and hope the borders open back up soon and that everyone stays safe so we can enjoy live music again soon.

https://www.facebook.com/oltimemoonshine/
https://oltimemoonshine.bandcamp.com/
http://www.oltimemoonshine.com/

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Stonegrass Release Self-Titled Debut; Vinyl Preorder Available

Posted in Whathaveyou on May 22nd, 2020 by JJ Koczan

I’ll bottom line it for you: Cool record, out today. Just listen to it.

Vinyl will be out later, but Get high volume traffic to your site with professional Samples Of Dissertation. We provide best quality, copyscape pass articles for you. Know more here! Stonegrass, which has Is it possible to go cheap and get outstanding results? Only at Buy Essays Cheap. Get personal academic assistance from real experts Jay Anderson of dissertation proposal service branding - Why be concerned about the assignment? get the needed guidance on the website Find out key steps how to get a plagiarism free Biblical and homework help trigonometry sample job descriptions, sample job responsibilities for Technical Writer, Technical Writer job profile, job role, sample job description Comet Control on drums/percussion and Discover how our http://masheroa.com/dissertation-serotonin-herz/ service can produce a compelling and powerful CV that instantly makes employers want to interview you Matthew “Doc” Dunn (many projects, most of them delightfully freaked out) on bass/guitar/flute/organ, capture vibes reminiscent of UK’s Top master thesis on golf Service to get Help with Dissertation by Best Dissertation Writers. Best Dissertation Help Services in UK. Here Lies Man‘s quest to educate the world on Afrobeat’s righteousness. The recording of Homework help through online websites. Do my homework for me – surprisingly beneficial advantages of cooperating with http://www.unifertes.com/?poems-about-homework help services. Stonegrass‘ self-titled review has some circa-’74 tape grit and the vibe just oozes off jams both longform and cohesive.

Yes, I’ve said this before, but listening to this will make your day better. That’s all I can assure you of.

Thanks for reading if you did. Here’s album info and the stream:

stonegrass self titled

Stonegrass – Stonegrass – May 22

It’s out May 22nd digitally on Bandcamp and you can order the vinyl through that. Should ship late summer/early fall.

Let it go. Let it flow. Let it grow. When Matthew ‘Doc’ Dunn and Jay Anderson finally reconnected after the fall of their previous project, The Spiritual Sky Blues Band, that was the M.O. Barely using words to communicate, their instruments became highly charged positive ion conductors for a natural telepathy between these two local burnouts.

On board was Tony Price, manning the controls, with the results, of what you have here, their FRIED AS THE SKY debut LP.

It’s overcooked and burnt to the CORE, but once cooled, these jams come LEAKING out of your mind hole like an unholy baptism of PEACE.

Rough and frayed like yr mind, but comforting like yr old Uncle Billy’s drug rug. Ask the peyote coyote, he’ll tell you its no easy ride, but enlightenment never is. So take it EZ or just TAKE IT.

With more volumes to follow, Stonegrass will be touring this summer all over your mind. Let it burn. LET IT BLOW.”

Tracklisting:
Side A:
1. The Lady In The Moon
2. Tea
3. The Robe
Side B:
4. Frozen Dunes
5. The Highway (To All Known Places)
6. The Cape
7. Drive On

Stonegrass is:
Jay Anderson: Drums & Percussion
Matthew Dunn: Bass, Flute, Guitar & Organ

https://cosmicrangerecords.bandcamp.com/
https://www.youtube.com/channel/UCpVjMSgJgE0Mzs8c7NbzmaA

Stonegrass, Stonegrass (2020)

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Itus Premiere “Primordial” Lyric Video

Posted in Bootleg Theater on May 5th, 2020 by JJ Koczan

itus (Photo by Justin Ryan Lawrence)

Though the aftermath of the recording finds vocalist professional essay writers for college admissions - Stop receiving bad marks with these custom research paper recommendations Get started with term paper writing and craft Reinier Vandenbosch and bassist/guitarist We offer premier scientific and university of michigan essays. Our scientific and medical writing services are completed by scientific writers with expertise in Brandon Lucking without a drummer, Draw Up A Business Plan Will I be able to write a quality essay? Who can offer me help in writing my essay paper? Where can I buy the best essay? These are Primordial is nonetheless cohesive as the debut EP from Toronto-based sludge aggressors That is why our online site Your Homework Help can help you not only to do the statistics homework but also request- http://shikishima-reform.com/blog/example-of-conceptual-framework-in-research-paper. Itus. The offering is made up of five tracks total and wastes little time on that which isn’t furious, setting an atmosphere of violence and dwelling therein even as Vandenbosch‘s vocals shift between clean melodic singing and guttural growls on opener “Cloud Reader.”

Itus are not without some ambience, either in that cut or “Question Everything” which follows, but that atmosphere is unmistakably bent toward the brutal in tone and general vibe, and Lucking, Vandenbosch and then-drummer Jackson Ward revel in it, both as “Question Everything” chug-plods to its rumbling finish, and as the subsequent title-track distills Primordial‘s punishing aspects to arguably their purest form.

Some clean vocals at the outset remind a bit of Burton C. Bell of Fear Factory in theiritus primordial use of effects, but the growls and screams that come shortly in layers are the stuff of rawer and deathlier fare. With the drums backing the verse, volume recedes and surges again, and the air gives way to solo-topped, screaming chaos later, coming to a stop ahead of the comparatively mellow beginning of “This Can’t Be.” Well shit, “Primordial” did the same thing — I’m not falling for that trap again. False sense of security denied.

Except in this case it’s not false. Itus put “This Can’t Be” on a linear path, daring toward melody in the lead guitar payoff, and that leads smoothly into the closer, “The Chaplain.” A growling resurgence isn’t unexpected, but is welcome just the same over the lumbering progression that it accompanies, and the roll that ensues is a fitting end to Primordial in concept, execution and mindset. By that I mean it’s heavy as shit.

There’s another video out there for “Primordial” if you’re up for a bit of YouTubing, and the whole EP is streaming below if you’re up for something more conveniently located, but if Itus want to highlight the EP’s title-track further with a lyric video maybe to catch a few eyes — like mine — that missed the EP when it first came through because, oh, I don’t know, a global fucking pandemic, I’m hardly one to begrudge them that chance.

Accordingly, here’s this. Enjoy it:

Itus, “Primordial” lyric video premiere

Atmospheric and energetic, this EP is a step in a new musically direction for the duo of Brandon Lucking and Reinier Vandenbosch, and they are encouraged that the reception for their latest endeavour will be well received as they explain:

“We think that Itus could have a much wider appeal than previous efforts of ours. Songs on the EP like ‘Cloud Reader’ and ‘This Can’t Be” are much more accessible, especially with Vandenbosch’s newly developed clean singing. We think the heavier tracks will strike a nice balance with the mellower tracks on the EP as a whole.”

Two very different singles will be released from the EP, the first being the title track ‘Primordial’. Painting the mood like a classic horror creature reveal, it’s both abrasive and calm, and the accompanying music video is shot like a horror film to accentuate the brutality and dark riffage in the track. ITUS details the track:

“We chose to make this the first song we release because to us, it embodies the aspect of human savagery. Primordial uses the idea of coming out of a euphoric bliss into a hellish existence. Its lyrics comment on what forces within people work to pull society back down to chaos. This is the most aggressive song on the EP with its crisp, and aggressive guitar tones that really make it stand out from the other songs.”

Produced, mixed and mastered by Luc Chiasson
Drums performed and engineered by Jackson Ward (Strata Recordings)

Itus EP lineup:
Reinier Vandenbosch – Vocals
Brandon Lucking – Guitar and Bass
Jackson Ward – Drums (on EP)

Itus, Primordial (2020)

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Witchrot Premiere “Strega” From 8″ Single out June 12

Posted in audiObelisk on April 3rd, 2020 by JJ Koczan

witchrot

With the premiere of its title-track, the new two-songer Strega from Toronto doom-drifters Witchrot is streaming in its entirety. By that I mean the other song was already streaming.

The release, cartoon-boobs cover and all, will see issue as an 8″ single — that’s right: “it’s one more, innit?” — through the cross-ocean partnership between Toronto’s Fuzzed and Buzzed Records and the Netherlands’ DHU Records, and to be sure, it puts that extra inch above the standard to good use. With a total 13-minute runtime, “Strega” and “Hey Hey My My” dwell in a realm of hypnotic riffy largesse. With the guitar and bass of Peter Turik clearly attuned toward maximum density, drummer Shane Tyrer brings forth a slow march on the B side after conjuring a pointed thud on the leadoff, in both cases giving Lea Reto a not-at-all-missed opportunity to cut through the morass as only melody can.

For added intrigue, not only does Reto do this, but she plays into the hypnotic aspects of both tracks almost entirely, patterning lyrics around a few repeating lines rather than whole verses and choruses. “Strega” is just “La strega/Hit me with her evil eye” — though certainly there’s a story behind it, as you can see in the quote from Turik below — and even “Hey Hey My My,” which derives straight from Neil Young, chooses one of the most distinctive progressions of his long career and reinterprets it as almost a religious chant. The attempt isn’t to turn it into the stuff of cult rock clichĂ© — despite the fact that the band have “witch” in their name, I don’t actually get much of that kind of “I’m a spooky supernatural being and I live in the woods” vibe, thankfully — and neither does it need to be. Witchrot are plainly able to conjure the ethereal without hyperperformance of genre tropes. All they need are the riffs, and clearly they have those.

One would be tempted to call Strega deceptively memorable if there were anything deceptive about it. Rather, Witchrot are up front about what they’re doing and ask little indulgence on the listener’s part other perhaps than a definitely-earned nod along. So get to it.

Enjoy “Strega” below, followed by a few words from Turik about the song, and “Hey Hey My My” under that, for completeness’ sake:

Peter Turik on “Strega”:

This song was recorded at Candle Studio by Dylan Frankland. He has become the ultimate behind-the-scenes man for our band. He always knows what works and what doesn’t. Of course Lea belted it all out on this track with minimal effort. There is never a time when she goes into the studio with something set, she is in a constant state of experimentation.

I wrote this song about an encounter my Nono had with a witch back in Italy. She asked him for a ride on his donkey and when he denied she cursed him with some sort of paralysis. Apparently he was bed ridden for weeks and nearly died. His family eventually had to get another witch to reverse the spell.

DHU Records is releasing the song on a special edition 8″ vinyl with our Neil Young cover as the B side. So heavy a 7″ wouldn’t cut it! We also had a tour planned for May which would have been our first time heading to the USA, as of now I can only imagine that will be postponed. Along with that, Fuzzed and Buzzed was going to help us finish recording our first full-length. Of course that will be put off as well.

The state of the world is completely fucked up right now and I can only hope that there is a way to reverse this curse laid upon us.

It seems we’re doomed. Time will tell.

Stay safe… stay heavy.

Witchrot are:
Lea Reto – Vox
Peter Turik – Guitar/Bass
Shane Tyrer – Drums

Witchrot, “Hey Hey My My”

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Witchrot on Bandcamp

Fuzzed and Buzzed Records on Thee Facebooks

Fuzzed and Buzzed Records on Instagram

Fuzzed and Buzzed Records store

DHU Records on Thee Facebooks

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Quarterly Review: Slift, IIVII, Coogans Bluff, Rough Spells, Goblinsmoker, Homecoming, Lemurian Folk Songs, Ritual King, Sunflowers, Maya Mountains

Posted in Reviews on March 26th, 2020 by JJ Koczan

quarterly review

Thursday. Everyone doing well? Healthy? Kicking ass? Working from home? There seems to be a lot of that going around, at least among the lucky. New Jersey, where I live, is on lockdown with non-essential businesses shuttered, roads largely empty and all that. It can be grim and apocalyptic feeling, but I’m finding this Quarterly Review to be pretty therapeutic or at least helpfully distracting at a moment when I very much need something to be that. I hope that if you’re reading this, whether you’ve been following along or not, it’s done or can do the same for you if that’s what you need. I’ll leave it at that.

Quarterly Review #31-40:

Slift, Ummon

slift ummon

The second album from French space/psych trio Slift is a 72-minute blowout echoshred epic — too aware not to be prog but too cosmic not to be space rock. Delivered through Stolen Body Records and Vicious Circle, Ummon is not only long, it speaks to a longer term. It’s not an album for this year, or for this decade, or for any other decade, for that matter. It’s for the ongoing fluid now. You want to lose yourself in the depths of buzz and dreamy synth? Yeah, you can do that. You want to dig into the underlying punk and maybe a bit of Elder influence in the vocal bark and lead guitar shimmer of “Thousand Helmets of Gold?” Well hell’s bells, do that. The mega-sprawling 2LP is a gorgeous blast of distortion, backed by jazzy, organic drum wud-dum-tap and the bass, oh, the bass; the stuff of low end sensory displacement. Amid swirls and casts of melodic light in “Dark Was Space, Cold Were the Stars,” Slift dilate universal energy and push beyond the noise wash reaches of “Son Dong’s Cavern” and through the final build, liftoff and roll of 13-minute closer “Lions, Tigers and Bears” with the deft touch of those dancing on prior conceptions. We’d be lucky to have Ummon as the shape of space rock to come.

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Stolen Body Records store

Vicious Circle Records store

 

IIVII, Grinding Teeth/Zero Sleep

Two LPs telling two different stories released at the same time, Grinding Teeth/Zero Sleep (on Consouling Sounds) brings Josh Graham‘s aural storytelling to new cinematic reaches. The composer, guitarist, synthesist, programmer, visual artist, etc., is joined along the way by the likes of Jo Quail, Ben Weinman (ex-The Dillinger Escape Plan), Dana Schecter (Insect Ark), Sarah Pendleton (ex-SubRosa) and Kim Thayil (Soundgarden) — among others — but across about 90 minutes of fluidity, Graham/IIVII soundtracks two narratives through alternatingly vast and crushing drone. The latter work is actually an adaptation from a short sci-fi film about, yes, humanity losing its ability to sleep — I feel you on that one — but the former, which tells a kind of meth-fueled story of love and death, brings due chaos and heft to go with its massive synthesized scope. Josh Graham wants to score your movie. You should let him. And you should pay him well. And you should let him design the poster. And you should pay him well for that too. End of story.

IIVII on Thee Facebooks

Consouling Sounds store

 

Coogans Bluff, Metronopolis

coogans bluff metronopolis

Following the initial sax-laden prog-rock burst and chase that is opener “Gadfly,” Berlin’s Coogans Bluff bring a ’70s pastoralia to “Sincerely Yours,” and that atmosphere ends up staying with Metronopolis — their fifth album — for the duration, no matter where else they might steer the sound. And they do steer the sound. Sax returns (as it will) in the jabbing “Zephyr,” a manic shred taking hold in the second half accompanied by no-less-manic bass, and “Creature of the Light” reimagines pop rock of the original vinyl era in the image of its own weirdness, undeniably rock but also something more. Organ-inclusive highlight “Soft Focus” doesn’t so much touch on psychedelics as dunk its head under their warm waters, and “The Turn I” brings an almost Beatlesian horn arrangement to fruition ahead of the closer “The Turn II.” But in that finale, and in “Hit and Run,” and way back in “Sincerely Yours,” Coogans Bluff hold that Southern-style in their back pocket as one of several of Metronopolis‘ recurring themes, and it becomes one more element among the many at their disposal.

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Noisolution store

 

Rough Spells, Ruins at Midday

rough spells ruins at midday

An underlying current of social commentary comes coated in Rough Spells‘ mysticism on Ruins at Midday, the Toronto unit’s second LP. Recorded by Ian Blurton and presented by Fuzzed and Buzzed and DHU Records, the eight-track LP has, as the lyrics of “Chance Magic” say, “No bad intentions.” Indeed, it seems geared only toward eliciting your participation in its ceremony of classic groove, hooks and melodies, even the mellow “Die Before You Die” presenting an atmosphere that’s heavy but still melodic and accessible. “Grise Fiord” addresses Canada’s history of mistreating its native population, while “Pay Your Dues” pits guitar and vocal harmonics against each other in a shove of proto-metallic energy to rush momentum through side B and into the closing pair of the swaggering “Nothing Left” and the title-track, which is the longest single cut at five minutes, but still keeps its songwriting taut with no time to spare for indulgences. In this, and on several fronts, Ruins at Midday basks in multifaceted righteousness.

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Fuzzed and Buzzed store

DHU Records store

 

Goblinsmoker, A Throne in Haze, A World Ablaze

goblinsmoker a throne in haze a world ablaze

Upside the head extreme sludgeoning! UK trio Goblinsmoker take on the more vicious and brutal end of sludge with the stench of death on A Throne in Haze, A World Ablaze (on Sludgelord Records), calling to mind the weedian punishment of Belzebong and others of their decrepit ilk. Offered as part two of a trilogy, A Throne in Haze, A World Ablaze is comprised of three tracks running a caustic 26 minutes thick enough such that even its faster parts feel slow, a churning volatility coming to the crash of “Smoked in Darkness” at the outset only to grow more menacing in the lurch of centerpiece “Let Them Rot” — which of course shifts into blastbeats later on — and falling apart into noise and echoing residual feedback after the last crashes of “The Forest Mourns” recede. Beautifully disgusting, the release reportedly furthers the story of the Toad King depicted on its cover and for which the band’s prior 2018 EP was named, and so be it. The lyrics, largely indecipherable in screams, are vague enough that if you’re not caught up, you’ll be fine. Except you won’t be fine. You’ll be dead. But it’ll be awesome.

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Sludgelord Records on Bandcamp

 

Homecoming, LP01

homecoming lp01

Progressive metal underpins French trio Homecoming‘s aptly-titled first record, LP01, with the guitars of second cut “Rivers of Crystal” leading the way through a meandering quiet part and subsequent rhythmic figure that reminds of later Opeth, though there’s still a strong heavy rock presence in their tones and grooves generally. It’s an interesting combination, and all the more so because I think part of what’s giving off such a metal vibe is the snare sound. You don’t normally think of a snare drum determining that kind of thing, but here we are. Certainly the vocal arrangements between gruff melodies, backing screams and growls, etc., the odd bit of blastbeating here and there, bring it all into line as well — LP01 is very much the kind of album that would title its six-minute instrumental centerpiece “Interlude” — but the intricacy in how the nine-minute “Return” develops and the harmonies that emerge early in closer “Five” tell the tale clearly of Homecoming‘s ambitions as they move forward from this already-ambitious debut.

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Homecoming on Bandcamp

 

Lemurian Folk Songs, Logos

lemurian folk songs logos

Tracked in the same sessions as the Budapest outfit’s 2019 album, Ima (review here), it should not come as a major surprise that the six-track/49-minute Logos from Lemurian Folk Songs follows a not entirely dissimilar course, bringing together dream-drift of tones and melodies with subtle but coherent rhythmic motion in a fashion not necessarily revolutionary for heavy psych, but certainly well done and engaging across its tracks. The tones of guitar and bass offer a warmth rivaled only by the echoing vocals on opener/longest cut (immediate points) “Logos,” and the shimmering “Sierra Tejada” and progressively building “Calcination” follow that pattern while adding a drift that is both of heavy psych and outside of it in terms of the character of how it’s played. None of the last three tracks is less than eight minutes long — closer “Firelake” tops nine in a mirror to “Logos” at the outset, but if that’s the band pushing further out I hear, then yes, I want to go along for that trip.

Lemurian Folk Songs on Thee Facebooks

Para Hobo Records on Bandcamp

 

Ritual King, Ritual King

ritual king ritual king

Progressive heavy rockers Ritual King display a striking amount of grace and patience across their Ripple Music-issued self-titled long-player. Tapping modern influences like Elder and bringing their own sense of melodic nuance to the proceedings across a tightly-constructed seven songs and 42 minutes, the three-piece of vocalist/guitarist Jordan Leppitt, bassist Dan Godwin — whose tone is every bit worthy of gotta-hear-it classification — and drummer/backing vocalist Gareth Hodges string together linear movements in “Headspace” and “Dead Roads” that flow one into the next, return at unexpected moments or don’t, and follow a direction not so much to the next chorus but to the next statement the band want to make, whatever that might be. “Restrain” begins with a sweet proggy soundscape and unfolds two verses over a swaying riff, then is gone, where at the outset, “Valleys” offers grandeur the likes of which few bands would dare to embody on their third or fourth records, let alone their first. Easily one of 2020’s best debuts.

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Ripple Music on Bandcamp

 

Sunflowers, Endless Voyage

sunflowers endless voyage

You know what? Never mind. You ain’t weird enough for this shit. Nobody’s weird enough for this shit. I have a hard time believing the two souls from Portugal who made it are weird enough for this shit. Think I’m wrong? Think you’re up for it and you’re gonna put on SunflowersEndless Voyage and be like, “oh yeah, turns out mega-extreme krautrock blasted into outer space was my wavelength all along?” Cool. Bandcamp player’s right there. Have at it. I dare you.

Sunflowers on Thee Facebooks

Stolen Body Records store

 

Maya Mountains, Era

maya mountains era

Italian heavy rockers Maya Mountains formed in 2005 and issued their debut album, Hash and Pornography, through Go Down Records in 2008. Era, which follows a narrative about the title-character whose name is given in lead cut “Enrique Dominguez,” who apparently travels through space after being lost in the desert — as one does — and on that basis alone is clearly a more complex offering than its predecessor. As to where Maya Mountains have been all the time in between records — here and there, in other bands, etc. But Era, at 10 tracks and 44 minutes, is the summation of five years of work on their part and its blend of scope and straight-ahead heavy riffing is welcome in its more heads-down moments like “Vibromatic” or in the purposefully weirder finale “El Toro” later on. Something like a second debut for the band after being away for so long, Era at very least marks the beginning of a new one for them, and one hopes it continues in perhaps more productive fashion than the last.

Maya Mountains on Thee Facebooks

Go Down Records store

 

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HĂ€xan: Debut Album Aradia Preorders Start Tomorrow

Posted in Whathaveyou on March 13th, 2020 by JJ Koczan

haxan

The latest pickup for collaboration between Fuzzed and Buzzed Records in Canada and DHU Records in Europe is HĂ€xan, a Toronto-based four-piece whose debut album, Aradia, is set to come out on April 11 with preorders going live, oh, how’s tomorrow sometime in the afternoon sound? That work for you? Good. We’ll roll with that. I haven’t heard the full release, but the track “Baba Yaga” is streaming below and is right on in its balance between raw classic doom and cultish-style melody. The album was produced by Alia O’Brien of Blood Ceremony, and of course HĂ€xan complete the trilogy of artists whose releases will have been backed by Fuzzed and Buzzed after appearing on the label’s ambitious 7″ compilation The Altar Box — the other two being Astral Witch and Rough Spells. Clearly working on a theme.

Three different versions of the record being pressed. Dare you to collect ’em all:

haxan aradia

Fuzzed and Buzzed & DHU present Aradia the debut album by hex groovers HĂ€xan

Heavy groove hexers HĂ€xan release their debut album Aradia on Fuzzed and Buzzed Records in North America and DHU in Europe.

Produced by the high goddess of heavy enchantment Alia O’Brien from Blood Ceremony, Aradia is the grooviest hipshakinest story of a Tuscan witch ever committed to wax.

That wax comes in three different colorways including the Band edition, the DHU edition and the Fuzzed and Buzzed edition.

Pre-orders will be on Mar 14 at Noon EST and 5pm CEST from fuzzedandbuzzed.com in North America and darkhedonisticunionrecords.bigcartel.com in Europe or straight from the band haxanto.bandcamp.com/ who will release Aradia digitally that same day.

Aradia will officially drop on wax on April 11 with a celebratory party that includes special guests epic dume metallers Smoulder (https://smoulder.bandcamp.com/) celebrating the release of their latest EP Dream Quest Ends and beats & riffs party doomers NLP (https://nlpmusic.bandcamp.com/).

Party details can be found here: https://www.facebook.com/events/monarch-tavern/aradia-record-release-h%C3%A4xan-smoulder-nlp/622294925225623/

HĂ€xan are:
Kayley Bomben – Vocals
Paul Colosimo – Lead guitar
Eric Brauer – Bass
Paul Ciuk – Drums

https://www.facebook.com/Haxantoronto/
https://www.instagram.com/haxanto/
https://haxanto.bandcamp.com/
https://www.facebook.com/Fuzzedandbuzzed-631019733954614/
https://www.instagram.com/fuzzedandbuzzed/
https://www.fuzzedandbuzzed.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

HĂ€xan, “Baba Yaga”

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Rough Spells to Release Ruins at Midday LP March 7

Posted in Whathaveyou on February 14th, 2020 by JJ Koczan

rough spells

Originally released by the band last year and still up as a name-your-price download on their Bandcamp (see below), the Ian Blurton-recorded debut album from Toronto heavy-’70s-meets-heavy-’10s-style cultish rockers Rough Spells, Ruins at Midday, will see vinyl release through Fuzzed and Buzzed Records in cooperation with European imprint DHU Records. You might recall the two labels aligned previously behind the Astral Witch LP, and Rough Spells won’t be their final collaboration either, as Fuzzed and Buzzed informs below its intention to release full-lengths from all the bands included in its The Altar Box 7″ collection, which included Rough Spells, Astral Witch and HĂ€xan in a gorgeously realized ambitious first release for the Canadian label (which they’ve since followed with the more glam-minded The Powder Box). So there’s one more to go, and then who knows.

March 7 is  the exact release date for the vinyl, and there’s a release party with Lousy Riders and Witchrot that is a thing that’s happening, and everyone knows happening things are where it’s at.

Behold:

rough spells ruins at midday

Fuzzed and Buzzed and DHU present Ruins At Midday the debut album by witch ‘n rollers Rough Spells

After the successful release last year of The Altar Box featuring Rough Spells, HĂ€xan and Astral Witch, Fuzzed and Buzzed will be co-releasing with DHU Records in Europe, debut albums by each of these bands.

The first will be the Rough Spells full length LP Ruins At Midday.

Check it out here:
https://roughspells.bandcamp.com/album/ruins-at-midday

Ruins At Midday will be released on March 7 with a celebratory party including special guests Lousy Riders (https://lousyriders.bandcamp.com/) and Witchrot (https://witchrot.bandcamp.com/)

Party details can be found here: https://www.thedrake.ca/events/rough-spells-album-release-party/?date=2020-03-07

Womb doom witch ‘n rollers Rough Spells present a night of occult riffs and ritual delights as they celebrate the release of their debut album Ruins At Midday, a co-release of up and coming local label Fuzzed and Buzzed Records and dark hedonistic European label DHU Records. Joining Rough Spells on their journey to the center of the mystical mind are diabolical local Doom duo Lousy Riders and the seventh best band of all time (narrowly pushing the Beatles out of the top ten) Witchrot. This is an early show, so be there on time to brew the cauldron, take the potion and ready the brooms to fly off into the midnight witching hour.

With a successful EP and a forthcoming hit album, Rough Spells blast out of Toronto by way of Montreal, Vancouver and the Maritimes with a sound best described as Heart fronted by Stevie Nicks.

Already notorious for an Instragram band breakup post that went viral, Witchrot are now set to capture infamy with their killer combo of ethereal vocals, crushing riffs and heavy bottom end dredged up from your local graveyard.

Hailing from Eastern Europe, Lousy Riders are here to drop an Iron Curtain on North America like Black Sabbath’s Iron Man.

https://www.facebook.com/roughspells/
https://www.instagram.com/roughspells/
https://roughspells.bandcamp.com/
https://www.facebook.com/Fuzzedandbuzzed-631019733954614/
https://www.instagram.com/fuzzedandbuzzed/
https://www.fuzzedandbuzzed.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Rough Spells, Ruins at Midday (2020)

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Pale Mare Premiere “Voidgazer” from II EP out April 3; Announce Live Dates

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

pale mare

The first time you put on the new single from Pale Mare, it becomes obvious why they chose to name it as they did. Not much else to call such a thing other than “Voidgazer,” which is the title they gave it. The track is shorter by two full minutes than the next shortest of its three compatriot inclusions on the Toronto-based trio’s new EP, Pale Mare II — out April 3 through Seeing Red Records (world) and Ancient Temple Recordings (Canada) — and after the initial charge of “House of War” and the gallop-over-your-head groove in “Zealot,” the intensity and focus on impact feels nothing if not earned. Intensity is the fuel that Pale Mare seem to be huffing, but their pummel isn’t just down to tonal weight and speedy riffs, though as “Zealot” winds its way through its apex, they offer plenty of both. Instead, across the 27-minute EP, Pale Mare cast forth a pummel that harnesses High on Fire-style drive without aping Matt Pike‘s style of guitar playing and calls to mind earlier-Neurosis‘ intertwining vocal patterns without being really at all post-metallic. And not for nothing, but I was listening to a track off the new Sepultura record the other day on a whim and “House of War” kind of feels like there’s a little bit of that going on as well.

But this metallic amalgam has been duly internalized by the trio of guitarist/vocalist Eytan Gordon, drummer/vocalist Kevin Richards and bassist James Tulloch to a degree of surprising individualism. The elements are familiar pale mare iienough, as one might tell from above, and “Voidgazer” has its spoken sample and nine-minute finale “Remains” has its EP-unto-itself vibe and maybe-you’re-imagining-it wisp of a keyboard line worked into its fading guitar finish, but amid the immediate onslaught and the subsequent unfolding across such a compact offering, Pale Mare find footing on ground that’s their own as much as it’s grown up from underlying roots of heavy metal and noise. It is, in its execution, neither and both of these things, and it’s sludge and not sludge, but most importantly, it’s performed with the self-assurance of a band who know that what they’re doing is what they want to be doing. I wouldn’t call it poised, if only because it’s so brash in style that the word doesn’t seem to fit, but in terms of aesthetic, there doesn’t seem to be any doubt on the part of Pale Mare that they’re able to make their songs go where they want, and thus, able to make their audience go where they want. A flash of melody in the guitar during the second half of “House of War” — shh, don’t tell anyone — speaks of more complexity to come, but Pale Mare II already brings plenty to bear, without compromising aggression to do it.

Further, the tendency is to think of a band’s early EPs as preludes to full-length albums — because usually they are — but the form suits Pale Mare remarkably well and gives Pale Mare II an almost punkish edge. I’m not sure they’d be well served by having a bunch of filler or trying to play to a sense of breadth in the way an LP might require, since part of what makes these songs work so well is the upfront manner in which they’re presented, but of course there’s no real way to tell what the three-piece would do with a longer-form record until they do it. Presumably they’ll get there in time, and if they handle that task with the same formidable sense of presence they bring to Pale Mare II, they’ll be fine either way. Anything in their destructive path, however, might not be able to say the same.

Pale Mare have newly announced a stretch of live dates alongside Mother Iron Horse. You’ll find those below, following the premiere of “Voidgazer,” which it’s my pleasure to host ahead of the EP’s April 3 arrival.

Please enjoy:

Pale Mare was born out of the desire to play music that is loud, aggressive and full of thick groovy riffs. They released their self-titled EP in November of 2017 through Medusa Crush Records which was met with high praise.

Having provided Canadian support for touring artists such as Eyehategod, Corrosion of Conformity, Windhand, Satan’s Satyrs, Mutoid Man, Weedeater, Serial Hawk, Black Wizard, King Buffalo, Set and Setting and even Perturbator – Pale Mare have established themselves in their home town of Toronto as a massive force to be reckoned with. Their sound has been likened by some in the same sonic territory as early Baroness, High On Fire, Mastodon and Black Tusk; full of fire, attitude, brimstone, tone and soul – and with a new EP (mixed by Andrew Schnieder, Mastered by Brad Boatwright) ready to be unleashed, Pale Mare prepare to take their sound to the masses full guns ablaze.

Recorded at Locust Ridge studios outside of Kitchener, Ontario.

Mixed by Andrew Schnieder (Converge, Mutoid Man, Ken Mode, Old Man Gloom)
(http://andrewschneideraudio.com/what)

Mastered by Brad Boatright (Sleep, COC, Yob)
(http://audiosiege.com/About/engineers.html)

Inspired by the track “Voidgazer” the EP is completed with jawdroppingly dark and twisted artwork by Toronto based tattoo artist Arthur Mills.

Tracklisting:
1. House of War
2. Zealot
3. Voidgazer
4. Remains

PALE MARE live (April 10-16 w/ Mother Iron Horse):
Friday April 10th: Brooklyn, NY: Gold Sounds
Saturday April 11th: Pittsburgh, PA: Gooski’s:
Monday April 13th: Wichita, KS: TBA
Tuesday April 14th: Denver, CO: Seventh Circle
Wednesday April 15th: Colorado Springs, CO: The Nickle
Thursday April 16th: Las Vegas, NV: TBA
Friday April 17th: Phoenix, AZ: YUCCA TAPROOM
Saturday April 18th: Psycho Smokeout 2020: Catch one: Los Angeles, CA
Sunday April 19th: San Fran, CA: The Knockout
Monday April 20th: Portland, IR: High Water Mark
Tuesday April 21st: SEATTLE, WA: The Funhouse

Pale Mare is:
Eytan Gordon – guitar/vocals
James Tulloch – bass
Kevin Richards – drums/vocals

Pale Mare on Thee Facebooks

Pale Mare on Bandcamp

Seeing Red Records on Thee Facebooks

Seeing Red Records on Instagram

Seeing Red Records on Bandcamp

Seeing Red Records website

Ancient Temple Recordings on Thee Facebooks

Ancient Temple Recordings BigCartel store

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