Quarterly Review: Iron Monkey, Deadsmoke, Somnuri, Daira, Kavrila, Ivan, Clara Engel, Alastor, Deadly Vipers, Storm of Void

Posted in Reviews on January 11th, 2018 by JJ Koczan

Lodewijk de Vadder (1605-1655) - 17th Century Etching, Landscape with Two Farms

Day Four of the Quarterly Review! Welcome to the downswing. We’re past the halfway point and feeling continually groovy. Thus far it’s been a week of coffee and a vast musical swath that today only reaches even further out from the core notion of what may or may not make a release or a band “heavy.” Is it sound? Is it emotion? Is it concept? Fact is there’s no reason it can’t be all of those things and a ton more, so keep an open mind as you make your way through today’s batch and we’ll all come out of it better people on the other end. Alright? Alright. Here we go.

Quarterly Review #31-40:

Iron Monkey, 9-13

iron monkey 9-13

I’ll admit to some level of skepticism at the prospect of an Iron Monkey reunion without frontman Johnny Morrow, who died in 2002, but as founding guitarist Jim Rushby (now also vocals), bassist Steve Watson (who originally played guitar) and new drummer Brigga revive the influential UK sludge outfit with the nine songs of 9-13 on Relapse, it somehow makes sense that the band’s fuckall and irreverence would extend inward as well. That is, why should Iron Monkey find Iron Monkey an any more sacred and untouchable property than they find anything else? Ultimately, the decision will be up to the listener as to acceptance, but the furies of “OmegaMangler,” “Mortarhex,” “Doomsday Impulse Multiplier” and the nine-minute lumber-into-torrent closer “Moreland St. Hammervortex” make a pretty resounding argument that if you can’t get down with Iron Monkey as they are today, it’s going to be your loss and that, as ever, they couldn’t care less to see you stick around or see you go. So welcome back.

Iron Monkey on Thee Facebooks

Relapse Records on Bandcamp

 

Deadsmoke, Mountain Legacy

deadsmoke mountain legacy

Mountain Legacy, which is the second Deadsmoke album for Heavy Psych Sounds, might be the heaviest release the label has put out to-date. For the band, it marks the arrival of keyboardist Claudio Rocchetti to the former trio, and from the lumbering space of aptly-titled post-intro opener “Endless Cave” to the later creeping lurch of “Wolfcurse,” it’s an outing worthy of comparison to the earlier work of Italian countrymen Ufomammut, but still rooted in the gritty, post-Sleep plod the band elicited on their 2016 self-titled debut (review here). The central difference seems to be an increase in atmospheric focus, which does well to enrich the listening experience overall, be it in the creepy penultimate interlude “Forest of the Damned” or side A finale “Emperor of Shame.” Whether this progression was driven by Rocchetti’s inclusion in the band or the other way around, it’s a marked showing of growth on a quick turnaround from Deadsmoke and shows them as having a much broader creative reach than expected. All the better because it’s still so devastatingly weighted.

Deadsmoke on Thee Facebooks

Heavy Psych Sounds website

 

Somnuri, Somnuri

somnuri somnuri

To call Somnuri a formidable trio is underselling it. The Brooklynite three-piece is comprised of guitarist/vocalist Justin Sherrell (Blackout, ex-Bezoar, etc.), bassist Drew Mack (ex-Hull) and drummer Phil SanGiacomo (Family), and the noise they make on their Magnetic Eye-released self-titled debut is as progressive as it is intense. Recorded by Jeff Berner and mixed my SanGiacomo, cuts like “Kaizen” and “Same Skies” land with a doomed heft but move with the singular fury of the Northeastern US, and even as eight-minute closer “Through the Dead” balances more rock-minded impulses and seems to touch on a Soundgarden influence, it answers for the ultra-aggro tumult of “Pulling Teeth” just before. A flash of ambience in the drone interlude “Opaque” follows the plodding highlight “Slow Burn,” which speaks to yet another side of Somnuri’s potential – to create spaces as much as to crush them. With an interplay of cleaner vocals, screams, growls and shouts, there’s enough variety to throw off expectation, and where so much of New York’s noise-metal history is about angry single-mindedness, Somnuri’s Somnuri shows even in a vicious moment like “Inhabitant” that there’s more ground to cover than just being really, really, really pissed off.

Somnuri on Thee Facebooks

Magnetic Eye Records website

 

Daira, Vipreet Buddhi

daira vipreet buddhi

Time to get weird. No. Really weird. In the end, I’m not sure Mumbai semi-improvisationalist troupe Daira did themselves any favors by making their sophomore LP, Vipreet Buddhi, a single 93-minute/16-track outing instead of breaking it into the two halves over which its course is presented – the first being eight distinct songs, the second a flowing single jam broken up over multiple parts – but one way or another, it’s an album that genuinely presents a vibe of its own, taking cues from heavy psych, jazz, funk, classic prog, folk and more as it plays through its bizarre and ambient flow, toying with jarring stretches along the way like the eerie “Apna Ullu Seedha” but so dug in by the time it’s jammed its way into “Dekho Laal Gaya” that it seems like there’s no getting out. It’s an overwhelming and unmanageable offering, but whoever said the avant garde wasn’t supposed to be a challenge? Certainly not Daira, and they clearly have plenty to say. Whatever else you listen to today, I can safely guarantee it won’t sound like this. And that’s probably true of every day.

Daira on Thee Facebooks

Daira on Bandcamp

 

Kavrila, Blight

kavrila blight

Chest-compressing groove and drive will no doubt earn Hamburg four-piece Kavrila’s second album, Blight (on Backbite Records), some comparisons to Mantar, but to dig into tracks like “Gold” and “Each (Part Two)” is to find a surprising measure of atmospheric focus, and even a rage-roller like “Abandon” has a depth to its mix. Though it’s just 24 minutes long, I’d still consider Blight a full-length for the two-sided flow it sets up leading to the aforementioned “Gold” and “Each (Part Two),” both being the longest cut on their respective half of the record in addition to splitting the tracklisting, as well as for the grinding aspects of songs like “Apocalypse,” “Demolish” and “Golem” on side B, the latter of which takes the rhythmic churn of Godflesh to a point of extremity that even the earlier thrust of “Lungs” did little to foretell. There’s a balance of sludge and hardcore elements, to be sure, but it’s the anger that ultimately defines Blight, however coherent it might be (and is) in its violent intent.

Kavrila on Thee Facebooks

Backbite Records webstore

 

Ivan, Strewn Across Stars

ivan strewn across stars

Employing the session violin services of Jess Randall, the Melbourne-based two-piece of Brodric Wellington (drums/vocals) and Joseph Pap (guitar, bass, keys) – collectively known as Ivan – would seem to be drawing a specific line in the direction of My Dying Bride with their take on death-doom, but the emotionalist influence goes deeper than that on Strewn Across Stars, their second LP. Shades of Skepticism show themselves in opener and longest track (immediate points) “Cosmic Fear,” which demonstrates a raw production ready for the limited-cassette obscurism the band conjured for their 2016 debut, Aeons Collapse, but nonetheless fleshed out melodically in the guitar and already-noted, deeply prevalent string arrangement. The subsequent “Ethereal” (12:41), “Hidden Dimensions” (12:25) and “Outro” (8:18) dig even further into plodding shattered-self woefulness, with “Hidden Dimensions” providing a brief moment of tempo release before the violin and keys take complete hold in “Outro” to give listeners one last chance to bask in resonant melancholia. A genre-piece, to be sure, but able to stand on its own in terms of personality and patience alike.

Ivan on Thee Facebooks

Ivan on Bandcamp

 

Clara Engel, Songs for Leonora Carrington

clara-engel-songs-for-leona-carrington

Toronto singer-songwriter Clara Engel pays ambient folk homage to the Mexican surrealist painter/author with the five-tracks of Songs for Leonara Carrington, fleshing out creative and depth-filled arrangements that nonetheless hold fast to the intimate human core beneath. Engel’s voice is of singular character in its melding of gruff fragility, and whether it’s the psychedelic hypnosis of opener and longest track (immediate points) “Birdheaded Queen” or the seemingly minimalist drift of the penultimate “The Ancestor,” her confident melodies float atop gorgeous and sad instrumental progressions that cast an atmosphere of vast reaches. Even the more percussively active centerpiece “Microgods of all the Subatomic Worlds” feels informed by the gradual wash of guitar melody that takes hold on the prior “Sanctuary for Furies,” and as Engel brings in guest contributors for drums, bass, guitar, theremin and choir vocals alongside her own guitar, pump organ, flute and singing, there seems to be little out of her reach or scope. It is a joy to get lost within it.

Clara Engel on Thee Facebooks

Wist Records website

 

Alastor, Blood on Satan’s Claw

alastor-blood-on-satans-claw

I don’t know whether the title-cut of Blood on Satan’s Claw, the new two-songer EP from dirge-doomers Alastor, is leftover from the same sessions that bore their 2017 debut album for Twin Earth Records, Black Magic (review here), but as it’s keeping company with a near-11-minute take on Creedence Clearwater Revival’s “Bad Moon Rising,” the four-piece’s return is welcome either way. Unsurprisingly, not much has changed in their approach in the mere months since the full-length was issued, but that doesn’t mean the swing of “Blood on Satan’s Claw,” the central riff of which owes as much to Windhand as to Sleep as to C.O.C.‘s “Albatross” as to Sabbath, isn’t worth digging into all the same, and with psychedelic vocals reminiscent of newer Monolord and flourish of creeper-style organ, its doom resounds on multiple levels leading into the aforementioned cover, which drawls out the classic original arrangement with a wilfully wretched tack that well earns a nod and raised claw. Alastor remain backpatch-ready, seemingly just waiting for listeners to catch on. If these tracks are any indication, they’ll get there.

Alastor on Thee Facebooks

Alastor on Bandcamp

 

Deadly Vipers, Fueltronaut

deadly-vipers-fueltronaut

Give it a couple minutes to get going and Fueltronaut, the debut full-length from French four-piece Deadly Vipers, is more than happy to serve up energetic post-Kyuss desert rock loyalism that’s true to form in both spirit and production. Shades of earliest Dozer and the wider pre-social media older-school Euro heavy underground show themselves quickly in “Universe,” but in the later mid-paced reach of “Stalker,” there’s more modern bluesy vibing and as the mega-fuzzed “Meteor Valley,” the driving jam of “Supernova,” and the let’s-push-the-vocals-really-high-in-the-mix-for-some-reason “Dead Summer” shove the listener onward with righteous momentum toward pre-outro closer “River of Souls,” each track getting longer as it goes, the melody that emerges there indeed feels like a moment of arrival. My only real complaint? The intro “Fuel Prophecy” and (hidden) outro, “Watch the Road End.” Especially with the immediacy that strikes when “Universe” kicks in and the resonant finish of “River of Souls” at its six-minute mark, having anything before the one and after the other seems superfluous. A minor quibble on an impressive debut (one could also ramble about cartoon tits on the cover, but what’s the point?) and showcase of potential from an exciting newcomer outfit clearly assured of the style for which they’re aiming.

Deadly Vipers on Thee Facebooks

Deadly Vipers on Bandcamp

 

Storm of Void, War Inside You

storm-of-void-war-inside-you

Tokyo duo Storm of Void make their full-length debut with the nine-track/48-minute War Inside You, a full-length that might first snag attention owing to guest vocal spots from Napalm Death’s Mark “Barney” Greenway and Jawbox’s J. Robbins, but has no trouble holding that same attention with its progressive instrumental turns and taut execution. Released by Hostess Entertainment, it’s instrumental in bulk, with eight-string guitarist George Bodman (Bluebeard) and drummer Dairoku Seki (envy) coming together to deliver brisk and aggressive prog metal centered around chugging riffs and a tension that seems to take hold in “Into the Circle” and let up only for the momentary “Interlude” in the midsection before closer “Ghosts of Mt. Sleepwalker” finally allows for some exhalation. As for the guest spots, they’re nothing to complain about, and they break up the proceedings nicely placed as they are, but if Storm of Void are going to hook you, it’s going to be on their own merits, which are plentiful.

Storm of Void on Thee Facebooks

Hostess Entertainment website

 

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O.R.B. Set Oct. 6 Release for Naturality

Posted in Whathaveyou on August 15th, 2017 by JJ Koczan

orb

Aussie heavy psych continues to flourish as the Victoria-based trio O.R.B. prepare for the Oct. 6 release of their new album, Naturality, via Castle Face Records. Drifting, buzzing and rolling out dreamscape weirdness, the long-player seems to find them working in the influence of tourmates King Gizzard and the Lizard Wizard, but whatever avenue they want to take to get around to the garage-jangle and fuzzed-out lead work on “Rainbows End” is cool by me. What matters is they get there and dig into some killer vibes along the way. Not saying I’ve heard the album or anything, but it’s an effective fusion of psychedelic impulses new and old, and the vibe runs as thick as the leadoff riff in almost-centerpiece “Immortal Tortoise,” which is plenty, plenty thick.

The PR wire brings word of headtrips to come:

orb naturality

Announcing new album from Aussie heavy psych-rock trio ORB, ‘Naturality’, on Castle Face Records

An exciting development from under strange Australian lab-lights: O.R.B. have respawned from last year’s BIRTH with a further mutated slab of paranoid heavy shred, Naturality. They bring the dread with a kinetic muscularity and a pleasantly evolving synthetic strangeness, as if having eaten of the wrong part of the garden, familiar things start to seem less so. The effects of these spores on your modern brain, already clogged with a steady drip of zips and zooms, are freshly heard and confusing.

O.R.B. are young and fleet fingered, and certainly know their way around a riff, but they bring everything into an almost alien clarity both blunted and futuristic. O.R.B., you see, have ripened quite radically, one can only think at an accelerated pace upon their travels with King Gizzard and The Lizard Wizard, and Naturality finds them sprouting new appendages and clawing at their enclosures. This is potent stuff, be careful – it’s out on Castle Face October 6th.

Artist: ORB
Title: Naturality
Label: Castle Face
Format: LP/CD

Release date: 6th October 2017

Tracklist
1. Hazlewart
2. A Man In The Sand
3. You Are Right
4. O.R.B.
5. Immortal Tortoise
6. Motherbrain
7. Flying Sorcerer
8. Rainbows End

https://www.facebook.com/ORB-475112932588695/
https://soundcloud.com/orb-9
https://www.facebook.com/Castle-Face-Records-274495015919012/
https://www.castlefacerecords.com/

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Whitehorse, Progression: Death by Sludge

Posted in Reviews on September 27th, 2011 by JJ Koczan

Noise-infected Aussie five-piece Whitehorse specialize in the kind of death/doom that’s so lurching and massive in its brown metal tonality that it sounds slow even on the few occasions the band decides to speed things up. The Melbourne, Victoria, group have released enough live albums and EPs since 2005 to be called prolific, but the sludge-grooving Progression (Sweat Lung Records) is only their second full-length in that time, following a 2007 self-titled released by 20 Buck Spin. At a vinyl-ready 38 minutes, Progression is preceded in 2011 by the Document: 250407 EP, and a split with Rhode Island avant doomers The Body has already followed, but the album was clearly made to stand on its own, and it does, inflicting its dreary, darkened atmospherics well beyond the point of oppression. Whitehorse – guitarist Adrian Naudi (ex-The Berzerker), bassist Pete McLean, drummer Dan McKay, noise-maker David Coen and vocalist Peter Hyde – delve into the depths of viciousness, the ultra-slow riffing providing some groove that, again, is more prominent in the faster stretches, but still holds firm to some doom-based ideals and sets a firm ground for Hyde to launch his all-out brutal vocal assault in the forms of death growls and blackened metal screams that play well off each other on songs like the later “Time Worm Regression.”

Nothing polarizes quite like harsh vocals. Some people just can’t take it. I’m not one of them. If you can scream or growl effectively, fit with the rhythm and the atmosphere set by the music, then I’m all for it, and as far as that goes, Hyde has a handle on both technique and presentation. His growls echo over McKay’s crashes and the thudding riffs of Naudi and McLean, sounding disenfranchised and inhuman at the same time. Given Australia’s history of death/doom (dISEMBOWELMENT walks by and waves), Whitehorse aren’t exactly innovative, but they do what they do well, and Coen’s added noises and electronics do much to distinguish the band from others of their ilk. At their heart, they are unrelentingly heavy, and as the five tracks of Progression – “Mechanical Disintegration,” “Progression,” “Control, Annihilate,” “Time Worn Regression” and “Remains Unknown” – play out, Whitehorse’s blend of sludge and death/doom becomes even more effective, until finally the same plodding drums that introduced “Mechanical Disintegration” lead the way out of the 10:45 “Remains Unknown.” Hyde is a big part of that heaviness, since he never wavers in the filthiness of his approach, but each member of the band plays a part, including Coen, whose presence is immediately felt on the opener, playing off McKay’s drums with echoing rhythmically-timed noises of his own. There is a sense of foreboding about the opening of Progression, and Coen is a big factor in it.

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