New England Stoner and Doom Fest II: More Lineup Announcements; Pre-Party Added

Posted in Whathaveyou on February 5th, 2019 by JJ Koczan

new england stoner doom festival 2019 art

It’s time to talk about the real potential of the New England Stoner and Doom Fest. No, I don’t mean the lineup. That’s awesome. You know it and I know it. I’m talking about the acronym. That’s always huge for a festival. How is it abbreviated? Think MDDF or SHoD or any of the DFs spread around the universe. These things matter.

I’ve seen NESDF tossed around for New England Stoner and Doom Fest, and that’s cool, but it’s missing the opportunity. You could have a festival abbreviated NES! Who the hell wouldn’t buy that t-shirt? I hereby cast my vote in the imaginary referendum on festival abbreviations for New England Stoner and Doom Fest to henceforth and forthwith and withhence be known as NES fest. Second the motion?

There’s reportedly one more band to be added and reportedly several in the running for that slot, so this might not be the final update before May 3-5 gets here and NES fest kicks off (see me using the acronym already?), and the lineup for a pre-party at 33 Golden St. in New London has been announced as well, which will be headlined by Fox 45, so, you know, more of a good thing and all that.

The full lineup as has been revealed follows. Note the Wretch reunion. NES fest!

New England Stoner & Doom Fest II

The New England Stoner and Doom Festival will make its return in 2019 on May 3,4, and 5 at Altones in Jewett City, CT.

Earthride
Brimstone Coven
Wretch
Kings Destroy
+1 TBA
Foghound
Pale Divine
Vessel of Light
Spiral Grave
Solace
Black Road
Curse the Son
Shadow Witch
Hell Camino
Clamfight
Eternal Black
Thunderbird Divine
Stonecutters
When the Deadbolt Breaks
Mourn the Light
Entierro
Bone Church
Buzzard Canyon
The Age of Truth
Void King
Horseburner
Scuzzy Yeti
Witchkiss
Cortez
Benthic Realm
Faith in Jane
Conclave
Set Fire
3 Parts Dead
Insano Vision
Old Earth Analog
Pinto Graham
The Stone Eye
Sentinel Hell

Pre-party @ 33 Golden St.:
Fox 45
VRSA
Dark Ritual
Owl Maker
Feed the Beast

www.newenglandstoneranddoomfest.com
https://www.facebook.com/events/1613285008788252/
https://www.facebook.com/NewEnglandStonerAndDoomFest/
https://www.saltoftheearthrecords.com/

Wretch, Bastards Born (2017)

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Quarterly Review: Satan’s Satyrs, Wildeornes, Blackwülf, VRSA, Marant, Grizzlor, Mother Crone, Psychedelic Witchcraft, Chimpgrinder & Miscegenator, Oak

Posted in Reviews on January 8th, 2016 by JJ Koczan

the obelisk quarterly review winter

Last day. It’s been some week. When I otherwise would’ve been putting these reviews together yesterday? Jury duty. Yup, my civic responsibility. Add that to a busted laptop, a full-time job and a couple busy days for news, and you have a good argument for why with Quarterly Reviews prior I’ve gotten up at six in the morning over the weekend before and started writing to get as much out of the way as possible. Oh wait, I did that this time too. Well, maybe it was seven.

Either way, as it comes to a close, I want to personally express my thanks to you for checking it out and being a part of what’s become a weird seasonal ritual for me. I hope you’ve found something (or find something today) that resonates with you and stays with you for a long time. I’m pretty sure that’s what it’s all about.

Quarterly Review #41-50:

Satan’s Satyrs, Don’t Deliver Us

satan's satyrs don't deliver us

Virginian riff-turner trio Satan’s Satyrs passed the half-decade mark with their third album, late-2015’s Don’t Deliver Us (on Bad Omen Records), just one year after their sophomore outing, Die Screaming! crawled up from the foggy ’70s ether. In addition to touring the US with Electric Wizard, with whom Satan’s Satyrs shares bassist Clayton Burgess (also vocals), one assumes the trio spent the remainder of the year mining old VHS discount-bin horror to find inspiration and fitting subject matter for quick-turning cuts like “(Won’t You be My) Gravedancer” and “Crimes and Blood,” but whatever they did, it worked. As “Spooky Nuisance” jams out its Hendrix-via-Sabbath vibing and the subsequent “Germanium Bomb” leans into yet another impressive solo by guitarist Jarrett Nettnin complemented by the fills of drummer Stephen Fairfield, there’s an element of performance to what they do, but whether it’s the proto-doom of closer “Round the Bend” or the motor-chug of “Two Hands,” Satan’s Satyrs find that sweet spot wherein they constantly sound like they’re about to fall apart, but never actually do. For sounding so loose, they are enviably tight.

Satan’s Satyrs on Thee Facebooks

Bad Omen Records

Wildeornes, Erosion of the Self

wildeornes erosion of the self

Sometimes you have an idea for a band, and it’s like, “I’m gonna start a band that puts this genre and this genre together.” In the case of Aussie four-piece Wildeornes, it’s stoner and black metal coming together on their second full-length, Erosion of the Self. I’ll give it to them, they pull it off. I’m not sure the “arising” instead of “rising” in “Serpent Arising” or the “So fucking high!” at the end of “The Subject” are really necessary, but hard to ignore the fact that before they get there, they’ve nodded at Pentagram, Crowbar, and Goatsnake and included a couple measures of blastbeats, or the fact that throughout the album they effectively tilt to one side or the other, riding atmospheric cymbals over a rolling groove in “The Oblivion of Being” only to tap into Nile-brand Egyptology in “Incantation for the Demise of Autumn” only to affect Erosion of the Self‘s biggest chorus on “Winter’s Eve.” Whatever genre tag they, you or I want to give it, their roots are definitely metal, but the juxtaposition they offer within that sphere works for them.

Wildeornes on Thee Facebooks

Wildeornes on Bandcamp

Blackwülf, Oblivion Cycle

blackwulf oblivion cycle

Raw groove is at the core of what Oakland, California’s Blackwülf offer on their second album and Ripple Music debut, Oblivion Cycle. Divided neatly into two sides for an LP, its 10 track hearken to a stripped-down vision of classic metal on “Memories,” Sabbath and Maiden both a factor but not the end of the line when it comes to the four-piece’s influences. Somebody in this band (if not multiple somebodies) is a punker. The two impulses play out in a balance of grand stylization and lean production – to wit, “Wings of Steel” sneers even as it puts a triumphant foot on the stage monitor and gallops off – and if the punk/metal battle isn’t enough of a tip-off, let the umlaut serve as confirmation that these guys are going to miss Lemmy (who isn’t?), but their methods ultimately prove more indebted to Judas Priest than Motörhead by the time they get down to “Never Forget,” which touches on some vocal soaring as it rounds out that feels especially bold as well as well placed as a late gem before the slamming-groove-into-Iommic-flourish of closer “March of the Damned.” As much as Oblivion Cycle has these elements butting heads across its span, that’s not to say Blackwülf lack control or don’t know what they’re doing. Just the opposite. Their pitting ideas against each other is a big part of the appeal, for listeners and likely for the band as well.

Blackwülf on Thee Facebooks

Ripple Music

VRSA, Phantom of an Era

vrsa phantom of an era

Four years after issuing their second album, 2011’s Galaxia (review here), late-2015’s Phantom of an Era finds Connecticut’s VRSA a considerably more crunch-laden entity. They’ve have some lineup changes in the past half-decade, which is fair enough, but guitarist Andrius and guitarist/vocalist Josh remain prominent, leading the rhythm section of bassist/vocalist John and drummer Wes through prog-metal cascades, quiet parts shifting on a dime to full-volume assaults or holding off and making the change more gradual as tension builds. Either way, if the end-goal is heavy, VRSA get there, whether it’s the rolling, chugging and growling of “Grand Bois” or the winding and crashing and thrashing of the later “Marble Orchard,” or how closer “Baron Cimetière” sets up its waltz rhythm subtly in the beginning only to bash the listener’s skull with it as the inevitable crushing begins anew. There’s plenty of it to go around on Phantom of an Era, which keeps a consistent air of brutality even as it veers into clean, progressive or atmospheric forms.

VRSA on Thee Facebooks

VRSA on Bandcamp

Marant, High Octane Diesel

marant high octane diesel

As they get down elsewhere with hard-driving, Steak-style post-Kyuss desertism, Swiss four-piece Marant have just a couple of more laid back trips perfectly placed along the path of their debut album, High Octane Diesel. The first of them, “Smoothie,” follows opener “Kathy’s Trophy,” and like the later “Road 222,” it has its more raucous side as well, but the big tone-wash happens with the languid heavy psych roll of closer “N’BaCon?,” also the longest track at 8:47. The effect that varying their modus has on broadening the scope of more straightforward songs like “Evil Schnaps” and “The Good the Bad and the Trip” isn’t to be understated. Not only does it show a different side of the emerging chemistry between vocalist Jimmy, guitarist Sergio Calabrian Donkey, bassist Aff Lee and drummer Sir Oli with Snake, but it gives High Octane Diesel an atmospheric range beyond the desert and into an expanse no less ripe for exploration. Whichever method they employ, Marant engage fluidly across their first record.

Marant on Thee Facebooks

Marant on Bandcamp

Grizzlor, Cycloptic

grizzlor cycloptic

Lot of noise, lot of fuckall, not too many songs. Connecticut trio Grizzlor manage to pack seven songs onto a 7” release called Cycloptic (on Hex Records), most of which hover on either side of 90 seconds apiece. Dissonance, grit and tension pervade the offering front to back, and between “Sundays are Stupid” and “I’m that Asshole,” there’s an edge of experimentation in the vocals and rhythm as well, some starts and stops that add to the songwriting, though the peeled-skin noise rock of “Tommy” and the build-into-mayhem of “Winter Blows” ensure that the business of punkish intensity isn’t left out. Was it a danger to start with? Nah. Closer “Starship Mother Shit” and the earlier “Life’s a Joke” rolls out a sludgy-style groove, but with sneering and shouting overtop and hard-edged percussive punctuation, there’s no question where Grizzlor got all that aggression from. If Grizzlor are playing in the basement, somebody’s gonna call the cops.

Grizzlor on Thee Facebooks

Hex Records

Mother Crone, Awakening

mother crone awakening

Bull-in-a-china-shop’ing their way through nine mostly-blistering tracks in 43 minutes, Seattle trio Mother Crone make their full-length debut with the appropriately titled Awakening, a record that melts doom and thrash together with the best of earliest Mastodon and comes out of it sounding righteous, wildly heavy and solidly in control of their methods. Don’t believe it? First of all, why not? Second, check out the six-minute “Descending the North” – the third track after a beastly opening with the mysteriously JFK-sampling intro “Silt Laden Black” and “Black Sea” – which chugs and twists and stomps through its first half only to drop out to just-guitar ambience and burst to life again with a shredding solo finish that leads to – wait for it – the quiet guitar-and-vocals only spaciousness of “The Dream,” which marks a twist into a more experimental middle quotient of the album, the subsequent “Halocline” and furiously building “Revelation” more experimental in form, before the sludgy “Turning Tides” and raging “Apollyon” make the job of the nine-minute closing title-track even more difficult in summarizing everything that came before it. A task of which that song makes short work. For the momentum they build and the brashness they execute within that, Mother Crone‘s Awakening is indeed bound to stir.

Mother Crone on Thee Facebooks

Mother Crone on Bandcamp

Psychedelic Witchcraft, Black Magic Man

psychedelic witchcraft black magic man

Italian four-piece Psychedelic Witchcraft issued Black Magic Man in mid-2015 as their debut EP, and wound up selling through both its limited 10” vinyl pressings. For the Twin Earth Records CD version, it’s been expanded by two tracks – still EP length at 27 minutes – and given new artwork that underscores the band’s cultish bent, which comes across strong in the vocals of Virginia Monti, very much at the forefront of the group’s presentation on “Angela” and “Lying in Iron,” the opening duo that give way to the desert-toned push of the title-track, also the strongest hook included. Drummer Daniele Parrella leads the march into the grungier “Slave of Grief,” in which the guitar of Jacopo Fallai will take a noisy forward position in the midsection, giving way later to some blown-out singing from Monti given heft by bassist Riccardo Giuffrè, like 1967 time traveling to 1971. The production on the last two cuts, “Wicked Dream” and “Set Me Free” is audibly different (Vanni also plays bass), more modernly-styled, but the band’s core intent of living up to their name remains true.

Psychedelic Witchcraft on Thee Facebooks

Twin Earth Records

Chimpgrinder & Miscegenator, Split 7″

chimpgrinder miscegenator split

Philadelphia and New York rarely agree on anything, but Chimpgrinder and Miscegenator, who make their homes respectively in those burgs, have come together at least long enough to share a split 7” between them, though of course what they do with that time is vastly different. Chimpgrinder proliferate a raw kind of sludge on their two tracks, not completely void of melody, but more geared toward groove than expanse, “Gates” taking off on an lengthy solo and deciding it’d rather not come back, ending in feedback fading to abrasive noise. That’s a fitting lead-in for what NY’s Miscegenator are up to on the other side, as “Hate Hate Hate” leads off a six-song set of visceral grind. Shit is raw and mean, and it d-beats its way either into your heart or off your turntable – it’s not the kind of music anyone ever played because they were feeling friendly. Blink and its gone, but the punk-rooted abrasion is like as not to leave a scar as closer “Tony Randall was Right” goes slicing, which is a fair enough answer to the pummel Chimpgrinder made their own a whopping five minutes earlier.

Chimpgrinder on Thee Facebooks

Miscegenator on Thee Facebooks

Oak, Oak

oak oak ep

The self-titled, self-released, self-recorded debut EP from London four-piece Oak saves its burliest impression for “Ride with Me,” the third of its four component tracks. That’s not to say that “All Above” and “Queen of this Land” aren’t plenty dudely – the vocals of Andy Wisbey see to that – but “Ride with Me” feels particularly caked in testosterone. Somewhat quizzical that it also finds guitarist/engineer Kevin Germain, bassist Scott Mason and drummer Rob Emms (since replaced by Sergiu, it would seem) vibing out for a bit of quiet desert noodling in the middle and ending with a primo shuffle of the post-Kyuss variety. Maybe it’s a fine line when one considers the body of work of Orange Goblin as an influence, but it gives a different context to the two songs before and certainly to the stonerly bounce of “Dissolve” after to know that Oak have more in their playbook than the standard beer-pounding and chestbeating. Should be interesting to hear how the various impulses play out as they more forward.

Oak on Thee Facebooks

Oak on Bandcamp

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VRSA, Galaxia: Staring into Mona Lisa’s Eye

Posted in Reviews on November 25th, 2011 by JJ Koczan

They veer stylistically to either side of the designation, but there’s little question that Connecticut four-piece VRSA are metal at their roots. Progressive metal, more precisely, and their Galaxia full-length released through their own Last Bastion Records proves adventurous in that regard without tipping the balance of heaviness versus indulgence. As the band’s name (interpreted, one assumes, from “Ursa,” as in Ursa Major and Minor), album title and artwork would lead you to believe, space is a central theme for VRSA, and that holds true for extended opener “Meteorite” as well, which sets up much of the musical breadth of Galaxia, though more than a few surprises still remain throughout “My Fingers Feel Like Razorblades,” “Saturnalia” and “Mona Lisa’s Eye.” VRSA’s prior self-release, Old Man Gray may have touched upon similar stylistic nuances, but even if it did, it took more songs to do it (11 as opposed to four), and as VRSA’s sound is based so much on progressive musical thought, it’s easy to imagine some of that has played out on the scale of the band itself as well. In either case, the rhythm section of bassist Jesse van Note and drummer John that do such distinguished work tying these songs together has already been replaced with Cheech on bass (also of Curse the Son) and Kevin on drums. How that shift will affect VRSA’s scope is impossible to speculate, but it’s worth noting that on Galaxia, the four-piece of van Note, John, rhythm guitarist/ engineer/vocalist Josh and lead guitarist Andrius make a cohesive sound out of a wide range of elements, and even though they veer into somewhat technically-minded areas, they do so without losing sense of the song at hand.

The keyword, then, is “balance” the whole way through, and that idea comes through Josh’s performance as well as the most prominent figure in the band and the one who started VRSA through experimentations at his Last Bastion Studio. His vocals range from well-mixed background metal screaming to melodic croons, and are layered but natural in their arrangements so that the other players in the band could easily take on the response roles in a live setting. “Meteorite” is the longest cut on Galaxia at 11:13 (immediate points for it being the opener) and stands itself out thanks to a chugging central riff and more strummed chorus that offset angular turns with smooth rhythmic execution. Van Note and John are fluid in following and expanding on the main riff, and three minutes into the song, Andrius embarks on one of Galaxia’s many impressive solos. Rather than putting on a clinic, though, in typical prog fashion, VRSA work well to bring the performances together as one complex whole, and that comes through in the mix of “Meteorite,” which highlights the individuals while celebrating what they do as a contribution to a larger idea. Josh and Andrius work well together on guitar, and that’s no less true in the long break section underscored by low-mixed sampled speech (Carl Sagan is credited in the liner notes with “spoken words,” obviously sampled, but I believe that’s referring to “Mona Lisa’s Eye”) than in the heavier crunch of the chorus riff to which VRSA eventually return, using a tinny digital compression that sounds a bit like a low-bitrate mp3 as one of several effects on the guitars and bass, on which van Note shines to end the track and lead directly into “My Fingers Feel Like Razorblades.” A volume and cymbal swell serves for easy transition, and though the song is among Galaxia’s most progressive stretches, Josh keeps his vocals mostly on the harsher side, breaking from screams and growls only for a throaty chorus.

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