Desert Storm Sign to APF Records; Sentinels Due March 1

Posted in Whathaveyou on October 19th, 2017 by JJ Koczan

Yeah, this one makes sense. UK imprint APF Records has worked to make itself a home-base for some of its burliest countrymen acts, fostering the extremity, sludge and otherwise unabashed dudeliness of the likes of BongCauldronTronaldUnderBa’alDiesel KingNomad and Mastiff, among others. That they’d go ahead and pick up Desert Storm and add the Oxford five-piece to that roster feels like a next logical step to me. They’ll make for good company. APF clearly knows what it’s doing in wrangling the viciousness of these acts, and as Desert Storm look to follow-up 2015’s Omniscient (review here), they’re deserving of as wide attention as they can get, particularly after touring as they have over the last year-plus with Honky and Limb in the UK and hitting the European mainland earlier in 2017.

So while it’s not necessarily the hugest of surprises conceptually, I’ll say all the more kudos to group and imprint for the logical fit, and hope for more to come from Desert Storm as we move into the New Year. The band, who also had a split 7″ with Suns of Thunder (review here) out last year on H42 Records to mark their appearance at Desertfest, will release their new album, Sentinels, in March. I’ll get my testosterone supplements ready.

APF posted the following announcement to make it official:

desert storm

We are beyond thrilled to announce that Desert Storm have signed to APF Records.

Following on from Desert Storm (2008), Forked Tongues (2010), Horizontal Life (2013) and Omniscient (2015) we will be releasing the quintet’s new album SENTINELS worldwide and on all formats on 1st March 2018.

Welcome to the family, boys.

Desert Storm is:
Chris White: Guitar
Ryan Cole: Guitar
Chris Benoist: Bass
Elliot Cole: Drums
Matt Ryan: Vocals

https://www.facebook.com/desertstormuk/
http://twitter.com/desertstormuk
http://www.instagram.com/desertstormuk
http://desertstorm.bandcamp.com/
http://www.desertstormband.com/
https://www.facebook.com/apfrecords
https://twitter.com/apf_records
https://www.instagram.com/apfrecords/
https://apfrecords.bigcartel.com/
https://apfrecords.bandcamp.com/
http://www.apfrecords.co.uk/

Desert Storm, “Signals from Beyond” official video

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The Brew Sign to Napalm Records; New Music in 2018; Tour Dates Announced

Posted in Whathaveyou on October 18th, 2017 by JJ Koczan

UK heavy rock veterans The Brew have signed to Napalm Records for the 2018 release of their sixth full-length album. They’ll be on tour in Germany, the Netherlands, Luxembourg and Switzerland in November and will follow-up with a run early next year in the UK. I don’t know if the latter run is meant to coincide with their next record coming out or not, but either way, cool to have such things planned out in advance. I’ll admit this announcement is my first exposure to the band, who’ve got some high profile touring to their credit in addition to the records, but they acquit themselves well in the video for “Shake the Tree,” the title-track of their 2016 long-player, which you can see below in all its uptempo/about-to-be-stuck-in-your-head delivery precision.

Even going just from that as I am, there’s little question as to why Napalm would pick them up. Pretty clearly a pro shop.

The PR wire made it official:

the brew

THE BREW – Sign With Napalm Records Worldwide!

Hailing from the North Eastern fishing town of Grimsby, UK, THE BREW have gained a reputation as being one of the most exciting live rock acts in Europe today. To date they have released five chart topping albums to their credit, in their unchanged, original lineup, featuring, Tim Smith on bass, Kurtis Smith on drums and Jason Barwick on guitar and vocals.

The breakthrough for the band came in 2009 when they appeared on the world famous RockPalast TV show, and following the successful album releases of “A Million Dead Stars” and “The Third Floor”, they again returned the RockPalast show in 2012.

THE BREW have toured with the likes of ZZ Top, Lynryd Skynyrd, and shared the stage with Ozzy Osbourne, Jeff Beck, to name but a few.

Their current critically acclaimed album releases of “Control” (2014) and “Shake the Tree” (2016) have seen the band cement their status as one of the leading rock acts in Europe today.

THE BREW states about their new collaboration: “It’s with great pleasure we can now announce, The Brew have signed with Napalm records. Sharing our vision with the talented and dedicated Napalm team, we couldn’t be more excited. 2018 will see the release of new music from the band, for all our awesome fans!!!!”

And we’re more than happy to welcome them to the Napalm Records family! Keep a close eye on THE BREW and Napalm Records social media sites for updates on the new album!!

THE BREW are:
Jason Barwick (guitar/vocals)
Tim Smith (bass)
Kurtis Smith (drums)

Discography:
The Brew (2006)
Fate and Time E.P. (2007)
The Joker (2008)
Live in Belgium (DVD – 2008)
A Million Dead Stars (2010)
Live at Luna Lunera (DVD – 2010)
The Third Floor (2011)
Live in Europe (2012)
Control (2014)
Shake The Tree (2016)
New album in 2018!!!

The Brew on tour:
03 November 2017 Bibelot Dordrecht Netherlands
04 November 2017 De Duycker Hoofddorp Netherlands
05 November 2017 Caffe den Heiligen Cornelius Roermond Netherlands
07 November 2017 Jazztage – Forum Leverkusen Germany
08 November 2017 Das Bett Frankfurt Germany
09 November 2017 Tower Bremen Germany
10 November 2017 Bluesnight Dudelange Luxembourg
11 November 2017 Schuhfabrik Ahlen Germany
13 November 2017 Solothurn Kofmehl Switzerland
14 November 2017 Schüür Luzern Switzerland
15 November 2017 Werkk Baden Switzerland
16 November 2017 Universum Stuttgart Germany
17 November 2017 Cafe Central Weinheim Germany
18 November 2017 Stadthalle Neuwied Germany
15 December 2017 Yardbirds Club Grimsby UK
27 December 2017 St. Hell Festival – Grünspan Hamburg Germany
25 January 2018 Komedia Brighton UK
26 January 2018 GIANTS OF ROCK Minehead UK
27 January 2018 The Soundhouse Leicester UK
01 February 2018 The Haven Club Oxford UK
02 February 2018 Warehouse 23 Wakefield UK
03 February 2018 Borderline London UK
09 February 2018 Nice ‘n’ Sleazy Glasgow UK
10 February 2018 Bannermans Edinburgh UK
16 February 2018 Bodega Nottingham UK
17 February 2018 Slade Rooms Wolverhampton UK

http://www.thebrewuk.com/
https://www.facebook.com/thebrewofficial
https://twitter.com/TheBrewUK
https://www.youtube.com/user/TheBrewUk
http://www.instagram.com/thebrewofficial
http://www.napalmrecords.com

The Brew, “Shake the Tree” official video

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Greenleaf, The Atomic Bitchwax & Steak Announce Dec. European Tour

Posted in Whathaveyou on October 16th, 2017 by JJ Koczan

True, the Fall festival season will pretty much be over by the time December rolls around, but that doesn’t mean that enviable package tours still can’t kick into gear all over the European continent. It never stops, folks. Just as they make ready to issue their new album, Force Field, via Tee Pee Records, my beloved Garden State’s own The Atomic Bitchwax will head abroad once more to team up with Swedish mainstays Greenleaf — who last I heard were planning a new record of their own for 2018, though it’s been a minute since I last harassed guitarist Tommi Holappa with a, “When’s your next album coming out?,” message on Thee Facebooks; should get on that — and London desert bruisers Steak for a 16-date run beginning Dec. 1.

The tour is presented by Sound of Liberation — of course — and if you need me to tell you that it’s a killer mix of acts, you probably shouldn’t. There’s really no letup between the three of them. I’m not saying I’ve heard the new Bitchwax or anything, but word on the street is it’s an absolute supercharged monster, bringing to life the ethic of “Coming in Hot” that 2015’s Gravitron (review here) proffered. That’s the rumor. All the better for them to be on the road heralding new material. Greenleaf meanwhile head out once again supporting 2016’s ultra-righteous Rise Above the Meadow (review here), and Steak go on the heels of 2017’s Ripple Music debut, No God to Save (review here), which brought them to new levels of accomplishment in aesthetic and songwriting alike. Bottom line? You can’t miss with this one. If you’re in its path, consider yourself lucky.

Poster and dates follow, as seen on the social medias by Sound of Liberation:

greenleaf-the-atomic-bitchwax-steak-tour

Greenleaf – The Atomic Bitchwax – Steak – Hail the Hounds Tour 2017

We are proud to present the “HAIL THE HOUNDS” Tour 2017, with Greenleaf + The Atomic Bitchwax + Steak!!

01.12.17 – London | Underworld
02.12.17 – Brussels | Magasin 4
03.12.17 – Hamburg | Markthalle
04.12.17 – Cologne | Luxor
05.12.17 – Wiesbaden | Schlachthof
06.12.17 – Leipzig | Werk2
07.12.17 – Munich | Feierwerk
08.12.17 – Olten | Schuetzenhaus
09.12.17 – Linz | Posthof
10.12.17 – Vienna | Arena
11.12.17 – Stuttgart | Universum
12.12.17 – Saarbruecken | Garage
13.12.17 – Nijmegen | Doornroosje
14.12.17 – Paris | Glazart
15.12.17 – Dortmund | JunkYard
16.12.17 – Berlin | Bi Nuu

It’s gonna be hot in December

https://www.facebook.com/greenleafrocks/
https://www.facebook.com/The-Atomic-Bitchwax-86002001659/
https://www.facebook.com/steakuk/
https://www.facebook.com/Soundofliberation/

Greenleaf, “Howl” lyric video

The Atomic Bitchwax, “Hope You Die” live in West Virginia, Sept. 12, 2017

Steak, “Living Like a Rat” official video

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King Goat Sign to Aural Music; Conduit Reissue Due Dec. 8

Posted in Whathaveyou on October 5th, 2017 by JJ Koczan

king goat

UK doomers King Goat have signed to Aural Music to release a new album in 2018. Before they get there, the Italian imprint will also reissue the Brighton five-piece’s 2016 debut full-length, Conduit, in December, compiled with bonus tracks culled from the prior self-titled EP the band first put out in 2014. It’s a striking blend of doom groove and more straightforward, prog-tinged metal that King Goat elicit, and if they’re a new entity for you as they are for me — which I’m sure they’re not because you’re way more hip to what’s going on than I am, if history is anything to go by — you can get a handle on the original release of Conduit below, streaming in full from King Goat‘s Bandcamp. Because convenience.

And here’s word from the PR wire. Because information:

king goat conduit

King Goat Sign to Aural Music

Progressive doom-mongers King Goat are excited to announce their signing with cult label Aural Music, marking the beginning of a very exciting new era for the band.

King Goat tease news of their highly anticipated second LP which is scheduled to arrive in early 2018. The band state: “Our latest recordings are further exploring the progressive elements of doom. We’ve pushed our dynamic boundaries further, experimented with songs in open tunings, more complex time signatures and more varied vocal textures. We’re eager to bring these new songs to the stage.”

Home of Ne Obliviscaris, Ephel Duath and more, Aural Music are also to re-release King Goat’s first EP and debut LP Conduit as one record – further details to be revealed over the coming weeks.

The momentous news continues King Goat’s steady rise as one of the most highly-regarded bands in British doom.

The band have previously played at Bloodstock Open Air, Mammothfest, Doom Over London; and alongside Enslaved, Grand Magus, Solstafir and others.

Live dates:
25th November: King Goat’s own Riffmass event, The Green Door Store, Brighton: https://www.facebook.com/events/219077765165942/

http://www.kinggoat.com/
https://www.facebook.com/kinggoatbri/
https://kinggoat.bandcamp.com/
www.auralmusic.com/
https://www.facebook.com/auralmusicgroup/
https://auralmusic.bandcamp.com/

King Goat, Conduit (2016)

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Quarterly Review: Primitive Man, Black Lung & Nap, Zone Six, Spectral Haze, Cosmic Fall, Epitaph, Disastroid, Mastiff, Demons from the Dungeon Dimension, Liblikas

Posted in Reviews on October 2nd, 2017 by JJ Koczan

the obelisk quarterly review

The final round of the Fall 2017 Quarterly Review starts now. 60 reviews done. I think if this particular QR session proves anything it’s that come hell or high water, once it’s set, there’s no stopping this train. Not to toot my own horn or anything, but the site was down for half of last week and we’re still getting to 60 reviews from Monday to Monday. That’s not not impressive from where I sit, especially since I spent that downtime going out of my mind trying to get things up and running again while also trying to write posts that I didn’t even know if they were going to happen. But they happened — thanks again, Slevin and Behrang — and here we are. All is well and we can get back to normal hopefully for the rest of this week. Thanks for reading any of this if you did. Let’s get to it.

Quarterly Review #51-60:

Primitive Man, Caustic

primitive-man-caustic

Primitive Man’s Caustic is the concept of “heavy” taken to the superlative. It is a 12-track/77-minute onslaught for which no less than absolute hyperbole will suffice. In following-up their 2013 Relapse Records debut, Scorn (review here), a series of splits and 2015’s Home is Where the Hatred Is EP (review here), the Denver trio reign in terror as they make Caustic live up to its name in the crushing tones, feedback of and slow churn of “My Will,” “Commerce” “Tepid,” and “Sugar Hole,” the consuming wave of “Victim,” the blastbeating death assault of “Sterility,” and the biting atmospherics of harsh interludes “Caustic,” “Ash” and “The Weight,” which preface the nine minutes of vague noise that close on “Absolutes,” following the grueling slaughter of “Disfigured” and the rightfully-named 12-minute “Inevitable,” which seems even slower and more weighted somehow than everything before it. On the sheer level of heft for that song alone, it’s time to start thinking about Primitive Man among the heaviest bands in the world. I’m serious. Caustic is an overwhelming masterwork of unbridled extremity, and with it, Primitive Man set a new standard both for themselves and for anyone else who’d dare to try to live up to it in their wake.

Primitive Man on Thee Facebooks

Relapse Records webstore

 

Black Lung & Nap, Split

black-lung-nap-split

A heavy blues trio from Baltimore and a progressive boogie outfit from Oldenburg, Germany, might seem like an odd pairing, but by the time the 25 minutes of Black Lung and Nap’s split 12” platter (on Noisolution) are up, the release has come to make its own peculiar kind of sense. In following 2016’s See the Enemy (review here), Black Lung present two new songs in “Strange Seeds” and “Use this Stone” as well we the prior-issued Marvin Gaye cover “Inner City Blues” done in collaboration with rapper Eze Jackson, where Nap answer their debut album, Villa (review here), with the shuffle-into-psychedelia of “Djinn,” the spacious, patient rollout of the airy guitars in “Vorlaut” and the final thrust of “Teer.” Each of the two acts establishes a context for itself quickly – Black Lung brazenly defying theirs in the shift from “Use this Stone” to “Inner City Blues”; Nap expanding between “Djinn” and “Vorlaut” – and though one wouldn’t be likely to mistake one group for the other, their disparate sounds don’t at all hinder the ability of either group to make an impression during their brief time.

Nap on Thee Facebooks

Black Lung on Thee Facebooks

Noisolution webstore

 

Zone Six, Zone Six

zone-six-zone-six

Originally issued in 1998 via Early Birds Records with the lineup of bassist/synthesis/Mellotronist Dave “Sula Bassana” Schmidt, guitarist Hans-Peter Ringholz, drummer/keyboardist Claus Bühler and vocalist Jodi Barry, the self-titled debut from German space/krautrock explorationists Zone Six sees something of a redux via Sulatron Records to mark the 20th anniversary of the band’s founding. Eight minutes shorter than the original edition at 51 minutes, the new version whittles down the original 13-track presentation to two vinyl sides – titles: “Side A” (27:04) and “Side B” (24:39) – and drops the vocal tracks entirely to make it a completely instrumental release. That’s a not-insignificant change, of course, but let there be no doubt that it works in terms of highlighting the flow, which as it transitions between what used to be one song and another loses not one step and instead simply becomes an engrossing and multifaceted jam. This is truer perhaps to the band Zone Six have become – if you missed their 2015 full-length Love Monster (review here), it was glorious and it’s not too late to catch up – than the band they started out as, but Zone Six have found a way to make an old release new again, and new Zone Six is never anything to complain about, whatever the occasion.

Zone Six on Thee Facebooks

Sulatron Records? webstore

 

Spectral Haze, Turning Electric

spectral-haze-turning-electric

Space rock warriors Spectral Haze return after three years in the Gamma Quadrant with Turning Electric via Totem Cat Records, a six-song sophomore outing behind 2014’s I.E.V.: Transmutated Nebula Remains (review here) that quickly enters a wormhole of Hawkwindian thrust on opener “The Dawn of the Falcon” – perhaps that’s what’s represented on the glorious Adam Burke cover art – and takes a winding but directed course deeper and deeper into interstellar realms for its duration of what on earth is only six songs and 33 minutes. Each of the intended two vinyl sides boasts a longer track, be it “Cathexis/Mask of Transformation” on side A or “They Live” on side B, but whether it’s in those or shorter rocket boosters like the title-track, “Ajaghandi” or the aforementioned leadoff, the Oslo-based four-piece keep it dreamy and kosmiche even unto the doomlier roll of closer “Master Sorcerer,” a collection of final psychedelic proclamations that cuts off quickly at the end as though breaking a transmission from the heart of the galaxy itself. Heck of a destination, and getting there’s a blast, too.

Spectral Haze on Thee Facebooks

Totem Cat Records webstore

 

Cosmic Fall, Jams for Free

cosmic-fall-jams-for-free

Kind of a bummer how Jams for Free came about, but for the reassurance that Berlin heavy psych improvisationalists Cosmic Fall will keep going after what seems to have been an unceremonious split with now-ex-guitarist/vocalist Mathias, I’ll take it. With two new explorations, bassist Klaus and drummer Daniel introduce new guitarist Martin, and those worried they might lose the funk of their original incarnation should have their fears duly allayed by “A Calmer Sphere” (12:19) and “The Great Comet” (8:10), which begin a new era of Cosmic Fall after the remaining founders were forced to stop selling their prior works. If there’s anger or catharsis being channeled in Jams for Free, though, it comes through as fluidity and serene heavy psych, and with the resonant live-in-studio vibe, Cosmic Fall essentially seem to be picking up where they left off. With Martin making a distinguishing impression in the soloing of “A Calmer Sphere”’s second half particularly, the future continues to look bright for the German asteroid riders. Right on, guys. Keep jamming.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

Epitaph, Claws

Epitaph-Claws

Doomers of Verona Epitaph trace their origins back some 30 years, but Claws (on High Roller Records) is just their second long-player behind 2014’s Crawling out of the Crypt. Matters not. Theirs is the doom of ages one way or the other, presented in this collection of five songs in traditional fashion with an edge of the Italian bizarrist movement (think early Death SS) and, from the “Neon Knights”-style riff of “Gossamer Claws” to the “After All (The Dead)”/”Falling off the Edge of the World”-style dramaturge of “Wicked Lady,” the nods to ‘80s and early-‘90s Black Sabbath are manifold and executed with what sounds like a genuine love for that era of the band and classic metal in general. Hard to fault Epitaph that influence, particularly as they bring it to bear in the guttural riffly chug of centerpiece “Sizigia,” tonally as much as in the form of what’s actually being played. As a mission, the homage is perhaps a bit single-minded, but as they continue to build their own legacy in these classic sounds, it’s impossible to say Epitaph’s collective heart isn’t in the right place.

Epitaph on Thee Facebooks

High Roller Records webstore

 

Disastroid, Screen

disastroid-screen

The nine songs of Disastroid’s fourth self-released LP, Screen, are drawn together by a songwriting prowess that’s better heard than described and by a heft of tone that, especially on stompers like “Dinosaur” early and “Coyote” later on, proves likewise. Is the point of this review, then, that you should listen to the album? Yuppers. At a crisp 35 minutes, Screen finds the Bay Area trio willfully nestled someplace between heavy rock riffing, noise crunch, punk and metal, and they fly this refusal to commit to one style over another no less proudly than they do the hook of “Getting in the Way” or “I Didn’t Kill Myself,” which along with the push of “Choke the Falcon” and the Melvinsian “Clinical Perfection” make up a series of short burst impressions contrasted by the longer “Screen” and “New Day” at the outset and the six-minute finale “Gunslinger,” though wherever Disastroid seem to go, they bring a current of memorable craft with them, making an otherwise purposefully bumpy ride smooth and a chaos-fueled joy to undertake.

Disastroid website

Disastroid on Bandcamp

 

Mastiff, Bork

mastiff-bork

Ultimately, bludgeon-ready UK five-piece Mastiff might owe as much to grind as they do to doom or sludge – at least if “Nil by Mouth” has anything to say about it – but more than loyalty to any subgenre or other, the Hull unit’s 25-minute Bork full-length (released on CD by APF Records) is interested in presenting an extreme vision of sonic heft. Brutal pummel infects the rolling chorus of “Everything Equals Death” and the initial chug of “Tumour” alike, and where opener “Agony” was content to blast out its cacophony in fury of tempo as much as weight, as they settle in for the mosh-ready six minutes of closer “Eternal Regret,” Mastiff seem to have dug out a position between lumbering doom and early ‘00s deathcore, a telltale breakdown capping Bork in grooving and familiar fashion. Their intensity might prove a distinguishing factor over the longer term, though, and they certainly have plenty enough of it to go around.

Mastiff on Thee Facebooks

APF Records website

 

Demons from the Dungeon Dimension, An Organic Mythology

demons-from-the-dungeon-dimension-an-organic-mythology

The righteously-monikered Demons from the Dungeon Dimension made a striking and individualized – and bizarre – impression in 2016 with the There was Ogres EP (discussed here), a follow-up to the debut full-length, As the Crow Flies, released just weeks earlier. With the new single An Organic Mythology and the five-minute, raw-recorded track of the same name, the Durban, South Africa-based project is laid to rest. A burly opening and thickened distortion lead to a pushing verse with dry vocals over top – sounding very much like a home-recorded demo outright and not trying to be anything else – and soon enough the track shifts into a spoken-word-dissertation over an instrumental build that carries it into its final minute, at which point the verse kicks back in to end. As with the prior EP, which topped 25 minutes, the vibe is willfully strange throughout “An Organic Mythology,” and if this is indeed the last we’ll hear from Demons from the Dungeon Dimension (doesn’t it just sound like something TOR Books would put out?), somehow it seems right we live in an age where the material can reside in the digital ether, waiting to be stumbled on by curious parties soon to be blindsided by what they hear.

Demons from the Dungeon Dimension on Bandcamp

Demons from the Dungeon Dimension on YouTube

 

Liblikas, Unholy Moly

liblikas-unholy-moly

From the initial semi-gothic vibes from vocalist Oliver Aunver to the progressive fuzz rock that ensues on opener “Holy Underground,” Estonian five-piece Liblikas seem to specialize in the unexpected on their second full-length, Unholy Moly. Aunver, guitarists Temo Saarna (also vocals) and Henrik Harak, bassist Joosep Käsper and drummer/backing vocalist Mihkel Rebane, oversee a brisk 45-minute run across eight tracks of genre-spanning grooves, from the chugging almost-doom of “Highest Hound” to the semi-folk experimentalist interlude “Fugue Yeah! (Diary Pt. II),” which follows “Dear Diary, Yeah!” a track that starts out with what might be a Japanese-language sample and psychedelic unfolding to more cohesive, harmony-topped prog rock bounce before the fuzz emerges and meets with forward vocals and effective interplay of acoustics in the chorus. Why yes, there is a six-minute song called “Pornolord” – funny you should ask. It appears before the oud-laced “Ol’ Slime” and nine-minute closer “Keezo,” which embraces the difficult task of summing up the weirdo intensity that’s been on display throughout Liblikas’ songwriting all along, and with wispy guitar leading to a big, noisy finish, succeeds outright in doing so.

Liblikas on Thee Facebooks

Liblikas on Bandcamp

 

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Tronald Capture the Unhinged Moment in “Obelisk ov Hash” Video

Posted in Bootleg Theater on October 2nd, 2017 by JJ Koczan

tronald

Hell’s bells, you’re a thinking, considered and considerate individual, and therefore you don’t need the likes of me to tell you these are strange days in which we’re living. You read the news. You’re informed. You have opinions. Me too, and well, it’s not going to do any good to get myself all worked up laying them out for you here. If you want catharsis, though, history has shown time and again that any number of creative endeavors can provide, and listening through to the 20-minute self-titled EP from Manchester, UK, newcomers Tronald on APF Records, that seems to be exactly what’s playing out.

With Tronald, Charlie Seisay and Andy Preece aren’t so much trying to make sense of the absurd era in which we find ourselves embroiled, when basic fact is no longer a given in the face of media manipulation and outright lies go unchallenged. Hearing the chaos they and a slew of guest vocalists from outfits like Boss Keloid and Under, among others, elicit on songs like the lumbering “Vegan Gains” and the punk-grinding “Get Your Grubby Hands off My Bennell” — not to mention the eponymous plod of the title-track or rolling mass of the subsequent “Boss Keloid are Shit” — they seem rather to be simply trying to work their way through understanding what’s happening in the world around then by representing and inhabiting the chaos they see.

The longest song on the release is “Obelisk ov Hash” at five minutes flat and it bashes out its sludgy extremity with ferocious abandon. Vocals are largely indecipherable growls or spacious howling. Riffs are utterly ruthless and consuming, and whether the track is political or not in its nature — one expects not — much like the scorching finale “Burgled Senseless” or “Dlanort,” on which the only vocals are samples, including the current US president talking about how much winning his lapping-it-up audience is going to be doing, it feeds into an atmosphere of the unhinged in which anything can happen and it all seems to manifest one kind of violence or another. It would be a genuine challenge to think of something timelier than that.

Tronald‘s Tronald is out now. You’ll find the clip for “Obelisk ov Hash” below, followed by more info from the PR wire.

Whatever side of whatever argument you’re on, please enjoy:

Tronald, “Obelisk ov Hash” official video

TRONALD is a new entity formed in Manchester in early 2017. The project is spearheaded by musicians Charlie Seisay and Andy Preece (Under, Halfling’s Leaf, Thing) who decided to create the heaviest, gnarliest most down-tuned and distorted heavy music they could possibly commit to tape. Tronald is set to release its debut self-titled EP on September 30th on APF Records.

Tronald works as a collective, inviting other vocalists and musicians to guest on each track. On their eponymous first release the guest singers are members of popular North-West England acts The Hyena Kill (Steven Dobb), Boss Keloid (Alex Hurst), Mower (Jared Tuck), Under (Matt Franklin) and Riggots (Martin Battle). The sound of Tronald is colossally heavy, built on low tunings and distortion. The EP weaves in elements of Sludge Metal, Doom and Noise Rock over its 20 minute run time.

‘Tronald’ will be available as a stunning 6-panel digipak CD designed by Sam Yates of Ingested. Strictly limited edition of 100, all individually numbered. The EP will also be available in digital format. Tronald is set to play some select live performances across 2018, aiming to bring together the guest vocalists and musicians where possible. The first of such shows will be the APF Records Showcase at Ruby Lounge, Manchester on 3rd February 2018.

Tronald on Bandcamp

Tronald on Thee Facebooks

APF Records webstore

APF Records on Thee Facebooks

APF Records on Twitter

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Conan Announce Man is Myth – Early Demos

Posted in Whathaveyou on October 2nd, 2017 by JJ Koczan

conan

As we mortals wait for the thunder on the horizon to materialize as the next proper Conan full-length, the UK riff-destroyers have made available for preorder a new collection titled Man is Myth – Early Demos, which will see release via Napalm Records next month. Anyone who’s heard Horseback Battle Hammer (review here) can tell you that early Conan wanted nothing for heft, and as the three-piece make ready to unveil a new record in 2018 (fingers crossed; nothing yet announced) and hit the road with Monolord in just a matter of days, one expects Man is Myth to much more embody the likes of a gravity chasm than, say, a stopgap, even if it is a means to keeping momentum rolling into the New Year. Shit, it’s a new Conan release. Take it and be grateful.

The PR wire has details:

conan-man-is-myth-early-demos

CONAN Unveil Album Details! ‘Man Is Myth – Early Demos’ Now Available For Pre-Order!

The world’s heaviest doom metal-band CONAN finally provide some exciting insights into a secret world! ‘Man Is Myth – Early Demos’ are the unheard beasts out of the band’s rehearsal room and studio, and will see the light of day on November 17th on Napalm Records.

It roars and cranks all over, dull distortion drags nerves into the coldest regions of the world. It’s no accident that they call themselves Caveman Battle Doom. Man Is Myth – Early Demos is the primordial soup for everything that CONAN stands for!

Says guitarist & vocalist Jon Paul Davis:

Conan has been active since 2006. Our first demo was recorded on Jan 27th, 2007 and since then we have continued to release our music and tour worldwide. We started out with nothing and gave it everything, like most respected bands. We are proud of where we have been and excited about where we may still go. These demos show a little bit of our progression through this time and hopefully can give the listener an idea of where we have come from. Our aim is always to play to our strengths and not over complicate, it held true at the beginning and it holds true now.
Never give up.

Now the doom heavy weights unveil first, hotly anticipated details about their upcoming release and unleash the cover and track list for ‘Man Is Myth – Early Demos’!

The track list will read as follows:

1. Battle In The Swamp ( Rehearsal room demo 2009 )
2. Satsumo ( Rehearsal room demo 2009 )
3. Krull ( Rehearsal room demo 2009 )
4. Satsumo ( Rehearsal room demo 2006 )
5. Gravity Chasm ( Studio demo 2012 )
6. Foehammer ( Studio demo 2012 )
7. Domed Iron Boss ( Studio demo 2012 )

‘Man Is Myth – Early Demos’ will be coming as a CD Digi Pack, Digital Download and LP Gatefold editions, and is now available for pre-order HERE!

In support and since CONAN have always excelled live, the band will be heavily hitting the road this Fall! Catch them live, when they will bring their wall of sound live on stage, with very special guests MONOLORD at the following dates:

07.10.17 NL – Nijmegen / Soulcrusher Festival
08.10.17 FR – Paris / Le Glazart
09.10.17 FR – Nantes / La Scene Michelet
10.10.17 FR – Bordeaux / Le Void
11.10.17 ES – Barcelona / Razz 3
12.10.17 ES – San Sebastian / Dabadaba
13.10.17 FR – Lyon / Jack Jack
14.10.17 FR – Audincourt / Le Molodo
15.10.17 BE – Antwerp / Desert fest
16.10.17 DK – Aarhus / Atlas
17.10.17 DE – Hamburg / Bambi Galore
18.10.17 DE – Berlin / Musik & Frieden
19.10.17 DE – Kassel / TBA
20.10.17 DE – Dresden / Morbus Maximus
21.10.17 DE – Munich / Keep It Low Festival
22.10.17 CZ – Prague/Brno / Kabinet Muz
23.10.17 AT – Vienna / Bas Bach
24.10.17 CH – Olten / Coq D’or
25.10.17 IT – Bologna / Freakout Club
26.10.17 IT – Milan / Bloom
27.10.17 CH – Lausanne / Le Romandie
28.10.17 DE – Siegen / Vortex

www.hailconan.com
www.facebook.com/conancavemanbattledoom
http://smarturl.it/ManIsMyth-NPR
www.napalmrecords.com

Conan, “Sea Lord”

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Electric Wizard Evoke Classic Sabbath in “See You in Hell” Video

Posted in Bootleg Theater on September 29th, 2017 by JJ Koczan

electric wizard

You know the clip, right? Almost certainly if you’re of a certain age and were a witness to the original coming of Beavis and Butt-Head on MTV. It’s Black Sabbath standing in front of a blue-screen with a bunch of weird projections playing out behind them and then “Iron Man” plays and they do the riff and Beavis calls out one of the heads for looking like Paul Schaffer and you’re a kid and it’s the ’90s and so everything’s hilarious but it’s also maybe the first time you’re really hearing Black Sabbath and they’re also kind of kicking your ass in a way you can’t really articulate yet. Relive the nostalgia here. A pretty emotionally complex moment — again, if you’re of a certain age — and it would seem to be that precise video with which Electric Wizard are in dialogue in their new clip for “See You in Hell.” Not by any means a bad choice.

“See You in Hell” is the opening track on Electric Wizard‘s forthcoming LP, Wizard Bloody Wizard, which is out Nov. 10 via Spinefarm Records and the band’s own Witchfinder Records imprint. The song doesn’t actually deliver its own title line — that comes later in the 11-minute closer “Mourning of the Magicians” — but it does leadoff the record with a telling display of tone and set the very-much-ElectricWizardly perspective in its hook, “This dying world gasps its last breath as we turn off our minds/All hope is lost/There’ll be no new dawn/And all of your dreams will die.” Yeah, the start-stop riff is awesome, and yeah, Electric Wizard — guitarist/vocalist Jus Oborn, guitarist Liz Buckingham, bassist Clayton Burgess (also Satan’s Satyrs) and drummer Simon Poole — sound filthy as hell, but I think one of the least appreciated aspects of what they do and what Oborn does as a songwriter is make nihilism catchy.

Yeah, you’re high and don’t give a shit about anything and that’s great, but on the other hand you just made your fuckall one of 2017’s catchiest hooks. It’s the great irony of Electric Wizard‘s work and in cuts like “Necromania” and “Wicked Caresses,” it’s as prevalent as ever throughout Wizard Bloody Wizard.

More to come on the album (like, say, a review) as we get closer to the release date. In the meantime, dig into the classic Sabbo-vibe of “See You in Hell” and enjoy:

Electric Wizard, “See You in Hell” official video

UK cult legends ELECTRIC WIZARD have premiered the video for the new song “See You in Hell,” which singer/guitarist Jus Osborn called “the most brutally simple and Neanderthal song ever.”

The song appears on Wizard Bloody Wizard, the long-anticipated new LP, which is full of cranium-crushing bludgeon rock – a relentless aural brain rape and, like the band’s beloved vintage horror/exploitation movies, definitely not for those of a nervous disposition.

Wizard Bloody Wizard arrives via Witchfinder/Spinefarm on November 10.

ELECTRIC WIZARD ARE:
Jus Oborn – guitar/vocals
Liz Buckingham – guitar
Simon Poole – drums
Clayton Burgess – bass

Electric Wizard webstore

Electric Wizard on Thee Facebooks

Spinefarm Records on Thee Facebooks

Spinefarm Records website

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