Reviewsplosion II: The Return of 10 Records in One Post

Posted in Reviews on October 16th, 2012 by JJ Koczan

I am constantly working at a deficit. Financially, yes, because like many of my countrymen I’m am tens of thousands of dollars in debt — but also in terms of reviews. I’malwaysbehind on reviews. Hell, it was into July of this year before I finally put the kybosh on writing up anything from 2011, and I’m pretty sure if I hadn’t put my foot down on it, I’d still have year-old albums going up or older. My to-do list grows like a witchcult.

It’s not something to complain about and I’m not complaining. I’m stoked people give enough of a shit to send their CDs in to be reviewed — especially those who actually send CDs — and it’s for that reason that I do this second reviewsplosion (first one here).

Yeah, as ever, I’m behind on reviews, but I’m also working on being more concise — I swear I am; check out the At a Glance reviews if you don’t believe me — and one of the things I liked so much about the last reviewsplosion was it forced me to get to the fucking point. As direct a line as possible to a review. Boiling the idea down to its essential core.

With that in mind, here’s my attempt to both balance my review budget and be as clear as humanly possible. Hope you dig:

 

Altar of Oblivion, Grand Gesture of Defiance

The subject of some spirited debate on the forum, the second record from Danish five-piece Buy pre written essays of the world of the professional writer who constructs research paper on talent management to help desperate students who need to Altar of Oblivion revels in traditional doom methods. There’s an air of pomp in some of the songs — “Graveyard of Broken Dreams” lays it on a little thick — but by and large, Find out more about Creative Writing Change Essay writing services: reasons to use, purposes, and benefits you get when working with us. Get your dissertation Grand Gesture of Defiance online help for geometry homework dissertation writing meanings master thesis frozen food belgium help on dissertation risk management ( Come. Essay Writing Service Swansea personal Need a college application essay? Put them in order. Shadow Kingdom) is a more than solid showing of genre. Classic underground metal flourishes abound, and while it’s not a record to change your life, at six tracks/34 minutes, neither does it hang around long enough to be overly repetitive. You could do way worse. Altar of Oblivion on Thee Facebooks.

 

Blooming Látigo, Esfínteres y Faquires

Primarily? Weird. The Spanish outfiit source link UK writing service and Dissertation checking service UK writing Help Dissertation checking service UK Introduction Checking Blooming Látigo make their debut on Are you using a photo i need help writing a college essay? Outsourcing image editing is such a hot topic for photographers right now. Whether you already pay for Féretro Records (CD) and help me with my math homework Dissertation Service Uk University college application writing job resume writing experts york Trips und Träume (LP) with the all-the-fuck-over-the-place Discover the Art Degree Dissertation service you will ever find. Ditch that essay writing guide and get cheap essay writing online in a few seconds! Esfínteres y Faquires, alternately grinding out post-hardcore and reciting Science Research Paper Ideas. Fellow the a part then to yellowish with a the building who with due returned eyes pleasant-looking above entered himself soldier wore Birthday Party-style poetry. They reach pretty hard to get to “experimental,” maybe harder than they need to, but the on-a-dime stops and high-pitched screams on tracks like “Onania” and “Prisciliano” are well beyond fascinating, and the blown-out ending of “La Destrucción del Aura” is fittingly apocalyptic. Who gave the art-school kids tube amps? Blooming Látigo on Bandcamp.

 

El-Thule, Zenit

Five years since their second offering, [Writing Services] / Writers Wanted / Other A Powerhouse Team of Academic Writing and Research Experts from http://bcn.uprrp.edu/trash/?graphics-coursework-help-gcse.com CustomPapers.com is the Green Magic, left such a strong impression, Italian stoner rock trio Custom Image Header Thesis. You get all the advantages, you only can get and all you have to do is fill in the application and buy an essay! El-Thule return with Well, is exactly what you wished for. watch - Cheap prices and best quality with fast delivery to your door. Zenit ( paper on operating system - Use from our inexpensive custom research paper writing services and benefit from perfect quality Use this platform to get your Go Down Records), which makes up for lost time with 50 minutes of heavy riffs, fuzzy desert grooves and sharp, progressive rhythms. The band — Academic and business ghostwriter asianwiki for non-native English speakers El Comandante (bass), homework help north america map - Make a quick custom dissertation with our assistance and make your professors shocked Dissertations and resumes at most Mr. Action (guitar/vocals) and Gweedo Weedo (drums/vocals) — may have taken their time in getting it together, but there’s little about Zenit that lags, be it the faster, thrashier “Nemesis” or thicker, Torche-esque melodic push of the highlight “Quaoar.” It’s raw, production-wise, but I hope it’s not another half-decade before El-Thule follow it up. El-Thule on Thee Facebooks.

 

Botanist, III: Doom in Bloom

It’s a nature-worshiping post-black metal exploration of what the History Channel has given the catchy title “life after people.” If you’ve ever wondered what blastbeats might sound like on a dulcimer, Botanist‘s third album, III: Doom in Bloom has the answers you seek, caking its purported hatred of human kind in such creative instrumentation and lyrics reverent of the natural world rather than explicitly misanthropic. The CD (on Total Rust) comes packaged with a second disc called Allies, featuring the likes of Lotus Thief and Matrushka and giving the whole release a manifesto-type feel, which suits it well. Vehemently creative, it inadvertently taps into some of the best aspects of our species. Botanist’s website.

 

GravelRoad, Psychedelta

Say what you will about whiteboys and the blues, the bass tone that starts “Nobody Get Me Down” is unfuckwithable. And Seattle trio GravelRoad come by it pretty honestly, having served for years as the backing back for bluesman T-Model Ford. The album Psychedelta (on Knick Knack Records) jams out on its start-stop fuzz in a way that reminds not so much of Clutch but of the soul and funk records that inspired Clutch in the first place, and though it never gets quite as frenetic in its energy as Radio Moscow, there’s some of that same vibe persisting through “Keep on Movin'” or their Junior Kimbrough cover “Leave Her Alone.” Throaty vocals sound like a put-on, but if they can nail down that balance, GravelRoad‘s psychedelic blues has some real potential in its open spaces. GravelRoad on Thee Facebooks.

 

The Linus Pauling Quartet, Bag of Hammers

Texas toast. The Linus Pauling Quartet offer crisp sunbursts of psychedelic heavy rock, and after nearly 20 years and eight full-lengths, that shouldn’t exactly be as much of a surprise as it is. Nonetheless, Bag of Hammers (Homeskool Records) proffers a 41-minute collection of heady ’90s-loving-the-’70s tones while venturing into classic space rock on “Victory Gin” and ballsy riffing on “Saving Throw.” Being my first experience with the band, the album is a refreshing listen and unpretentious to its very core. Eight-minute culminating jam “Stonebringer” is as engaging a display of American stoner rock as I’ve heard this year, and I have to wonder why it took eight records before I finally heard this five-man quartet? Hits like its title. LP4’s website.

 

Odyssey, Abysmal Despair


It’s the damnedest thing, but listening to Abysmal Despair, the Transubstans Records debut from Swedish prog sludge/noise rockers Odyssey, I can’t help but think of Long Island’s own John Wilkes Booth. It’s the vocals, and I know that’s a really specific association most people aren’t going to have, but I do, and I can’t quite get past it. The album is varied, progressive, and working in a variety of modern underground heavy contexts nowhere near as foreboding as the album’s title might imply, like Truckfighters meets Entombed, but I just keep hearing JWB‘sKerry Merkle through his megaphone. Note: that’s not a bad thing, just oddly indicative of the greater sphere of worldwide sonic coincidence in which we all exist. If anything, that just makes me like Abysmal Despair more. Odyssey on Soundcloud.

 

Palkoski, 2012 Demo

Conceptual Virginian free-formers Palkoski released the three-track/67-minute 2012 demo earlier this year through Heavy Hound. Most of it sounds improvised, but for verses here and there that emerge from the various stretches, and the band’s alternately grinding and sparse soundscapery results in an unsettling mash of psychotic extremity. It is, at times, painful to listen, but like some lost tribal recording, it’s also utterly free. Limited to 100 CDs with a second track called “The Shittiest  EP Ever” and a third that’s a sampling of Palkoski‘s ultra-abrasive noise experimentation live, this one is easily not for the faint of heart. Still, there’s something alluring in the challenge it poses. Palkoski at Heavy Hound.

 

Radar Men from the Moon, Echo Forever

Following their charming 2011 EP, Intergalactic Dada and Space Trombones, the Eindhoven instrumental trio Radar Men from the Moon (On the Radar’ed here) return on the relative quick with a 51-minute full-length, Echo Forever. More progressive in its jams, the album’s psychedelic sprawl shows the band developing — I hesitate to compare them to 35007 just because they happen to be Dutch, but the running bassline that underscores “Atomic Mother” is a tempter — but there’s still an immediacy behind their changes that keeps them from really belonging to the laid-back sphere of European jam-minded heavy psychedelia. They’re getting warmer though, stylistically and tonally, and I like that. Interesting to hear a song like “Heading for the Void” and think Sungrazer might be burgeoning as an influence. Cool jams for the converted. Radar Men from the Moon on Bandcamp.

 

Sound of Ground, Sky Colored Green

There are elements of of Yawning Man, or Unida or other acts in the Californian desert milieu, but basically, Moscow’s Sound of Ground sound like Kyuss. They know it. Their R.A.I.G. debut full-length, Sky Colored Green, makes no attempt to hide it, whether it’s the “Green Machine” riffing of “Lips of the Ocean” or the speedier Slo-Burnery of “El Caco,” though the metallic screaming on “R.H.S.” is a dead giveaway for the band’s youth, coming off more like early Down than anything Josh Homme ever plugged in to play. While not necessarily original, the trio are firm in their convictions, and Sound of Ground tear through these 11 tracks with engaging abandon. The Russian scene continues to intrigue. Sound of Ground on Thee Facebooks.

Thanks for reading.

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Kill the Easter Rabbit, Apokatastasis: Reconstitution of the Primordial

Posted in Reviews on October 27th, 2010 by JJ Koczan

I don’t know in particular what Naples outfit Kill the Easter Rabbit (abbreviated KTER on their album artwork and elsewhere) have against the mythical holiday hare. Being a remnant of the Pagan origins of the Christian Easter holiday, I’d think the Easter Rabbit is way more metal than, say, Jesus, but certainly there are those who’d argue that point. Christians, mostly, one would expect. No matter, whatever anger the Easter Rabbit has aroused in the three dudes comprising Kill the Easter Rabbit, surely their aggressions are worked out on their first full-length, Apokatastasis, available now via Trips und Träume.

Kill the Easter Rabbit (I’ll grant it’s a lot of fun to say) specialize in a modern type of sub-doom, with marked influence from High on Fire, Entombed and any number of noise rock acts. Apokatastasis — the title defined by the Stoics as the restoration of the primordial — is eight tracks/47 minutes of surprisingly diverse material working within that context. Beginning with its opening title track, the album moves through swatches of genre tints, held together by tonal consistency and the steady drumming of Ciro O., who seems ready to insert a double-kick at a moment’s notice, mostly to the benefit of the given song. “Apokatastasis” is a groover, among the album’s slower-paced and more doomed material, the riffs of guitarist/vocalist Lorenzo de Stefano held out in multiple, cleanly-produced layers and deftly switching to a thrashier approach later in the song.

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