Year of the Cobra Finishing New Album; Announce Tour with Lord Dying

Posted in Whathaveyou on April 9th, 2019 by JJ Koczan

year of the cobra

If you’re not looking forward to the new Year of the Cobra record, you’re fucking up. That’s about as simple as I can make it. Especially after the way they threw the doors open creatively with the 2017 Burn Your Dead EP (review here), and all the goddamn touring they’ve done, they’re not only a band with momentum on their side, but they’re a band with every opportunity to start really recasting their influences in their own image and join the upper ranks of underground bands making their presence truly felt in a way that will influence others. That potential is right there, waiting to come to fruition, and as the two-piece are in the studio this week finishing their next LP with none other than Jack Endino at the helm, it’s hard to argue they’re not placing their trust in the perfect person to make it happen. I can’t wait to hear the results.

And you know they’re actually wrapping things up because they’ve got live dates booked later this month, and a newly-announced tour next month with Lord Dying. Looks like it’s gonna be a good one too.

Dates follow as posted on thee social medias:

We have been pretty quiet lately while we’ve been finishing up our new album, so we’re super stoked to announce this tour with the rad dudes in Lord Dying ! Can not wait to hit the road again.

Dates below:
5/08/2019 Substation – Seattle, WA
5/09/2019 The Pin – Spokane, WA
5/10/2019 Old School Records – Kalispell, MT
5/13/2019 Urban Lounge – Salt Lake City, UT
5/14/2019 Den Of Sin – Sacramento, CA
5/15/2019 Lexington – Los Angeles, CA
5/16/2019 Club Red – Mesa, AZ
5/17/2019 Backstage Bar – Las Vegas, NV
5/18/2019 Taos Mesa Brewery – El Prado, NM
5/19/2019 Streets – Denver, CO
5/21/2019 Gas Monkey Bar – Dallas, TX
5/22/2019 The Lost Well – Austin, TX
5/23/2019 Rudyards – Houston, TX
5/24/2019 Freetown Boom Boom – Lafayette, LA
5/26/2019 Southport Hall – New Orleans, LA
5/27/2019 529 – Atlanta, GA
5/28/2019 Cafe 611 – Frederick, MD
5/29/2019 Saint Vitus – Brooklyn, NY
5/30/2019 The Pinch – Washington, DC
5/31/2019 Hobart Art Theatre – Hobart, IN
6/01/2019 Bigs Live – Sioux Falls, SD
6/02/2019 Park Theatre – Winnipeg, MB
6/03/2019 The Exchange – Regina, SK
6/04/2019 Temple – Edmonton, AB
6/05/2019 Dickens – Calgary, AB
6/07/2019 SBC – Vancouver, BC
6/08/2019 High Water Mark – Portland, OR

https://www.facebook.com/yearofthecobraband/
https://twitter.com/yearofthecobra
https://yearofthecobra.bandcamp.com/
https://www.facebook.com/prophecyproductions/
https://prophecy-de.bandcamp.com/
https://en.prophecy.de/

Year of the Cobra, Burn Your Dead (2017)

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Mos Generator Announce Night of the Lords Bootleg-Style Live Album

Posted in Whathaveyou on April 3rd, 2019 by JJ Koczan

mos generator

I love bootlegs. I really do. I’ve got a bunch of old bootleg CDs and a couple LPs that I absolutely think of as treasure. Traditionally, bootlegs pretty much rip off the artist in question, but there’s no doubt that there are some bootlegs out there — looking at you, HendrixBeatles, etc. — that are as classic as any proper studio album. Black Sabbath at Asbury Park 1975? Shit, it’s the best live record they never bothered to release.

Given that Mos Generator do so much with a classic heavy rock influence, it makes sense they’d be the first in a new series of bootleg-style outings from Devil’s Child Records. Legally speaking, it all seems to be on the up and up — Tony Reed mixed and mastered, so it ought to be — which is nice, but the numbers available are limited and it’s a live recording from their UK tour in 2017, so maybe a fan-piece, but screw it, I’m a fan. Check out “Breaker” streaming at the bottom of this post, to get a sample of what it’s all about.

Info from the PR wire:

mos generator night of the lords

MOS GENERATOR New Live Album ‘NIGHT OF THE LORDS’ (Manchester UK, October 4th 2017) via DEVIL’S CHILD RECORDS On May 3rd

Port Orchard, Washington’s MOS GENERATOR spent most of 2016 and 2017 on tour supporting their ‘Abyssinia’ album. During a special night on the tail end of the tour, an entire set was recorded at Rebellion, in Manchester England on October 4th, 2017.

Mixed and mastered at his HeavyHead Recording Company in January 2019, Tony Reed, guitarist and vocalist for MOS GENERATOR, tells the tale:

“Many months after the European leg of the Abyssinia Tour was over, I was cleaning out my guitar case and found a flash drive that I had forgotten about. Upon inspection, I realized it was a complete multi-tracked live performance, date and city unknown. After listening to some of the banter in between songs, I figured out that it was from Manchester, England. I distinctly remembered that show, because we played a Mahavishnu Orchestra/King Crimson medley that night and I think we only ever played it live three or four times.

That wasn’t the only interesting addition to the set list that night – “Easy Evil” was also a rarity in the set, along with the opener “Strangest Times.” “Shadowlands” (title track of the future 2018 album) was performed at the show as well, and we rarely played new songs before they were recorded and released. All in all, it was a blazing set that focused mainly on songs from ‘Abyssinia’, but also included a well-rounded collection of songs from our previous albums.

The album title is a play on “Day of the Lords”, a song by the band Joy Division from Manchester, England. The cover of this official “bootleg” release is a tribute to many of the unofficial records I have from the 70s on infamous labels like Trademark of Quality, The Amazing Kornyfone Record Label (TAKRL), and Wizardo. In the early days of bootleg vinyl, they just glued a photo copied piece of paper on a white jacket and called it good. The inspiration for this layout came from a David Bowie bootleg called “His Master’s Voice”, one of the first bootlegs I ever owned.

Most of the time when I (rarely) listen back to live recordings of the band, I find myself remembering our performance as being better in my head than it actually was. That is not the case with this show. The set list, energy, performance and the right amount of risk-taking make this a show we are excited is getting released.” – TR

‘Night Of The Lords’ Tracklist:

Side One:
Strangest Times
Lonely One Kenobi
Shadowlands
Easy Evil
There’s No Return From Nowhere
Dance of Maya / Red

Side Two:
Breaker
On The Eve
Catspaw
Step Up/Jam
Electric Mountain Majesty

Mos Generator’s ‘Night Of The Lords’ live album, the first release in the Devil’s Child Records ‘Bootleg Series’, was created in true bootleg fashion. Pure rock music captured in a live recording, issued in a limited run of 100 copies on black vinyl. Each record is hand-numbered with either a yellow or blue photo cover on primarily a hand-assembled package. A few test presses will also be available on release date. There are no pre-orders.

‘Night Of The Lords’ will be available on May 3, 2019, from Devil’s Child Records: https://devilschildrecords.bigcartel.com/

A few words from Rachel Williams, Overlord at Devil’s Child Records:

“Devil’s Child Records is elated to present the first record in our new ‘Bootleg Series’, Mos Generator, ‘Night of the Lords’. Bootleg records were created as a rebellious act of defiance all for the love of music. This series is all about our love of music, and pays a unique homage to the bootleg recordings from the 1970’s.

We are excited to be working with Mos Generator again for this release, with special thanks to Tony Reed in helping shape an idea into a reality for the Devil’s Child Bootleg Series.”

MOS GENERATOR are:
Sean Booth – Bass
Tony Reed – Guitar, Vocals, Other Instruments
Jono Garrett – Drums

http://www.facebook.com/MosGenerator
http://www.instagram.com/mos_generator
https://mosgenerator.bandcamp.com/
https://devilschildrecords.bigcartel.com/
https://www.facebook.com/DevilsChildRecords/
https://www.instagram.com/devils_child_records/

Mos Generator, “Breaker” from Night of the Lords (2019)

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Quarterly Review: Bellrope, Cracked Machine, The Sky Giants, Sacred Monster, High ‘n’ Heavy, Warlung, Rogue Conjurer, Monovine, Un & Coltsblood, La Grande Armée

Posted in Reviews on March 25th, 2019 by JJ Koczan

quarterly-review-spring-2019

Day Six. Not that there wasn’t a bit of a crunch along the way, but I definitely think this Quarterly Review was aided by the fact that I dug so much of what I was writing about on a personal-taste level. You get through it one way or the other, but it just makes it more fun. Today is the last day and then it’s back to something approaching normal tomorrow, but of course before this thing is rounded out I want to thank you as always for taking the time and for reading if you did. It means a tremendous amount to me to put words out and have people see them, so thank you for your part in that.

This could’ve easily gone seven or eight or 10 days if scheduling had permitted, but here’s as good a place to leave it. The next one will probably be the first week of July or thereabouts, so keep an eye out.

Quarterly Review #51-60:

Bellrope, You Must Relax

bellrope you must relax

How much noise can your brain take? I don’t mean noise like start-stop riffs and dudes shouting. I mean actual, abrasive, amelodic noise. Bellrope, with ex-members of the underrated Black Shape of Nexus start their Exile on Mainstream-delivered debut album, You Must Relax, with three minutes of chaff-separation they’re calling “Hollywood 2001/Rollrost.” It’s downright caustic. Fortunately, what follows on the four subsequent extended tracks devotes itself to lumbering post-sludge that’s at least accessible by comparison. “Old Overholt” is the only other inclusion under 10 minutes as the tracks are arranged shortest to longest with the 17:57 “CBD/Hereinunder” concluding. The thickened tones brought to bear throughout “Old Overholt” and the blend of screams and growls that accompany are more indicative of what follows on the centerpiece title-track and the penultimate “TD2000,” but the German four-piece still manage to sound plenty fucked throughout. Just not painfully so. There’s something threatening about the use of the word “must” in the album’s title. The songs realize that threat.

Bellrope on Thee Facebooks

Exile on Mainstream Records website

 

Cracked Machine, The Call of the Void

Cracked Machine The Call of the Void

Here be dragons. Though its core tonality is still within the bounds of heavy rock, Wiltshire, UK, four-piece bring a far more atmospheric and progressive style to fruition on their second album, The Call of the Void, than it might at first appear. With post-rock float to the guitar of Bill Denton, keyboard textures from Clive Noyes, and fluid rhythms carried through changes in volume and ambience from bassist Christ Sutton and drummer Blazej Gradziel, the PsyKA Records outfit present a cerebral seven tracks/47 minutes of immersive and seemingly conceptual work, with opener “Jormungandr” establishing the context in which each song that follows is named for a different culture’s dragon, whether it’s the Hittite “Illuyanka,” Japan’s “Yamata No Orochi” or the Persian “Azi Dahakar.” Cracked Machine use this theme to tie pieces together, and they push farther out as the record unfolds late with “Typhon” and “Vritra” a closing pair of marked scope. The shortest cut, the earlier 5:14 “Kirimu,” has probably the most straightforward push, but Cracked Machine demonstrate an ability to adapt to the needs of whatever idea they’re working to convey.

Cracked Machine on Thee Facebooks

PsyKA Records webstore

 

The Sky Giants, The Shifting of Phaseworld

the sky giants the shifting of phaseworld

Taking cues from psychedelia almost as much as jangly West Coast noise and punk, Tacoma, Washington’s The Sky Giants offer the 10-track sophomore outing The Shifting of Phaseworld, which finds a balance in songs like “Dream Receiver” between progressive heavy rock and its rawer foundations. The trio of guitarist/vocalist Jake Frye, bassist Jessie Avery and drummer/vocalist/engineer/graphic artist Peter Tietjen are comfortable tipping from one side to the other between and within songs, starting off with the shove of “Technicolor Kaleidoscope” and getting mathy on the later “Half Machine” ahead of the chunkier-riffed “Rhyme and the Flame,” which somehow touches on classic punk even as it hones a wash of distortion that that has to cut through. Closing each side with a longer track in the rolling, airy “Solid State” (6:53) and the frenetic ending of “Simian” (7:38), The Sky Giants stake out a sonic terrain very much their own throughout The Shifting of Phaseworld and only seem to expand their territory as they go.

The Sky Giants on Thee Facebooks

The Sky Giants on Bandcamp

 

Sacred Monster, Worship the Weird

sacred monster worship the weird

Topped off by the ace screams of vocalist Adam Szczygiel, who taps his inner Devin Townsend circa Strapping Young Lad on “High Confessor” and “Re-Animator,” Sacred Monster‘s debut album, Worship the Weird would seem to cull together elements of Orange Goblin and Bongzilla for a kind of classic-metal-aware sludge rock, the riffs of Robert Nubel not at all shy about digging into aggressive vibes to go with the layers of growls and throatrippers and the occasional King Diamond-esque falsetto, as on “Waverly Hills,” as bassist Guillermo Moreno and drummer Ted Nubel bolster that feel with tight turns and duly driven bottom end. I’ll take “Face of My Father” as a highlight, if only for the excruciating sound of Szczygiel‘s screech, but the swing in closer “Maze of Dreams” has an appeal of its own, and as a Twilight Zone and a Shatner fan, “Nightmare at 20,000 Feet” offers its own charm.

Sacred Monster on Thee Facebooks

Sacred Monster on Bandcamp

 

High n’ Heavy, Warrior Queen

high n heavy warrior queen

Shades of grunge and skate-fuzz fuckall pervade the Sabbathian grooves of High n’ Heavy‘s second album, Warrior Queen, as guitarist John Steele works some doomly keys into second cut “Shield Maiden” and vocalist Kris Fortin moves in and out of throaty shouts on side B’s “Lydia.” They thrash out in the noisy “Catapult” and Nick Perrone‘s drums seem to bounce even in the longer-winded “Lands Afar” and closer “Smell of Decay / Wings and Claw,” on which Mike Dudley‘s rumble backs classically metallic shred in the lead guitar after offering likewise support to the piano in the early going of “Join the Day.” Released through Electric Valley Records, the eight-song/36-minute LP comes across as raw but not without purpose in that, and its blend of tonal thickness and the blend of thrust and nod does well to ensure High n’ Heavy remain unpredictable while also living up to the standard of their moniker. There’s potential here that’s worth further exploration on the part of the band.

High n’ Heavy on Thee Facebooks

Electric Valley Records website

 

Warlung, Immortal Portal

Warlung Immortal Portal

Houston, Texas, four-piece make a quick case for the attention of Ripple Music on their sophomore outing, Immortal Portal, which is slickly-but-not-too-slickly produced and sharply-but-not-too-sharply executed, a professional sensibility in “Black Horse Pike” and the subsequent “The Palm Reader” — which manages to be influenced melodically by Uncle Acid without sounding just like them — ahead of the ’80s metallurgy of “Heart of a Sinner” and the reference-packed “1970.” “We All Die in the End” gives an uptempo swing to the opening salvo ahead of the more brooding “Between the Dark and the Light,” but Warlung hold firm to clearly-presented melodies and riff-led rhythms no matter where they seem to go in mood or otherwise. That ties the drift of the later “Heavy Echoes” to the earlier material and makes the harmony-laced “No Son of Mine” and the organ-ic proggy sprawling finale “Coal Minors” all the more effective in reaching beyond where the album started, so that the listener winds up in a different landscape than they started, still grounded, but changed nonetheless.

Warlung on Thee Facebooks

Warlung on Bandcamp

 

Rogue Conjurer, Of the Goddess / Crystal Mountain Lives

rogue conjurer of the goddess

Originally released digitally by the Baltimore-based unit in 2017, the two-songer Of the Goddess / Crystal Mountain Lives sees pressing as an ultra-limited tape via Damien Records and finds the three-piece of guitarist/bassist/vocalist Tonie Joy, drummer Colin Seven and organist Donny Van Zandt — since replaced by Trevor Shipley — honing a psychedelic take on doomly riffs and groove. “Crystal Mountain Lives” has a more distinct nod to its central progression, with a wah-drenched break and greater overall largesse of fuzz, but “Of the Goddess” brings an effective almost shoegazing sense to its downer spirit. The first track is also longer, so it has more time to move from that initial impression to its own payoff, but either way you go, Rogue Conjurer bring out their dead ably on the tape, showing influences from heavy psych and beyond as “Of the Goddess” winds its way to its close and “Crystal Mountain Lives” begins its fade-in all over again. No pretense, but a broad range that would allow for some if they wanted.

Rogue Conjurer on Instagram

Damien Records on Bandcamp

 

Monovine, D.Y.E

monovine dye

Athens heavy rockers Monovine wear their grunge influence proudly on their third full-length, D.Y.E, issued late in 2018 digitally with an early 2019 vinyl release. It’s writ large in the Nirvana-ism of the slurring “Mellow” at the outset and remains a factor through the melodies of “Void” and the later punkery of “Messed Up” or “Ring a Bell,” as well as the toying-with-pop “Me (Raphe Nuclei)” and “Your Figure Smells,” but where Monovine succeed in making that influence their own is by filtering it through a fuzzier presentation. The guitar and bass tones keep a modern heavy feel, and as the drums roll and crash through songs like “For a Sun” and “Why Don’t You Shoot Me in the Head,” that makes a difference in the overall impression the album leaves. Still, there’s little question as to their central point of inspiration, and they bring it out in homage and as a fairly honed mode of expression on closer “Haunt,” which teases an explosion in its melancholy strum and then… well, don’t let me spoil it.

Monovine on Thee Facebooks

Monovine on Bandcamp

 

Un & Coltsblood, Split

un coltsblood split

A festering 42 minutes of lurching agonies, Un and Coltsblood‘s split taps the best of modern death-doom’s emotionalism and bent toward extremity. Billed as a “tribute to grief: the final act of love,” it brings just two tracks, one per band, as Coltsblood open with “Snows of the Winter Realm” and Un follow with “Every Fear Illuminated.” Both bands proffer a terrifyingly weighted plod and offset it with a spacious ambience, whether it’s Un departing their grueling nod after about six and a half minutes only to build back up over the next six and grow more ferocious until devolving into noise and slamming crashes ahead of an outro of echoing, needs-a-tune-sounding piano, or Coltsblood fostering their own tonal brutalism and casting their lot with death and black metal while a current of airy guitar seems to mourn the song even as it plays out. Each cut is a monument built to loss, and their purpose in conveying that theme is both what unites them and what makes their work so ultimately consuming, as grief is.

Un on Thee Facebooks

Coltsblood on Thee Facebooks

 

La Grande Armée, La Grande Armée

La Grande Armée La Grande Armée

The blend of drifting guitar and psychedelic wash on opener “El Canto de las Ballenas” earns La Grande Armée‘s self-titled debut three-song EP immediate favor, and the patient execution they bring to the subsequent “Tripa Intergaláctica” and “Normandía,” particularly the latter, only furthers that appeal. The Chilean trio keep a decidedly natural feel to the exploratory-seeming work, and if this is them finding their sound, they seem happy to do it by losing themselves in their jams. All the better someone thought to press record, since although there’s clearly some trajectory behind the progression of songs — i.e., they know at least to a degree where they want to end up — the process of getting there comes across as spontaneous. Guitar pans channels as bass and drums hold down languid flow, and even in the more active midsection of “Tripa Intergaláctica,” La Grande Armée there’s a sense that it’s more about the space being created than the construction under way. In any case, wherever they want to head next, they would seem to have the means of travel at their disposal.

La Grande Armée on Thee Facebooks

La Grande Armée on Bandcamp

 

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Witch Ripper & Brume Stream Split MMXIX in its Entirety

Posted in audiObelisk, Bootleg Theater on March 14th, 2019 by JJ Koczan

brume

witch ripper

So, first things first: Witch Ripper and Brume release their Split MMXIX this Friday, March 15, through DHU Records. Second, with Witch Ripper working with Matt Bayles and Brume working with Billy Frickin’ Anderson on production, it should come as no surprise that the thing sounds awesome. From the opening High on Fire-through-a-meat-grinder churn of the early going in Witch Ripper‘s 13-minute-long “1985” and the melancholy creep that follows before they build back up to the last apex, to the fallout symptoms at the end of “Man-Made” (you’ll see it in the video) to the timeless and familiar strains of “In the Pines” as rendered through Brume‘s melodic lurch and longing, Split MMXIX is of course more than the sum of those behind the board, behemoths of the monolithic — or was that monoliths of the behemoth? — as they are, it’s also the result of two bands working each on their own level to affect that consuming sonic largesse. “1985” was recorded when Witch Ripper tracked their 2018 debut, Homestead, while Brume‘s “Man-Made” and “In the Pines” are older and newer recordings, respectively, brought to bear with the sense of lumber one has come to expect from the San Francisco three-piece.

With its extended runtime, the opener consumes the entirety of side A of the vinyl and puts it to good use. Tones are weighted and the initial plod is given duly guttural vocal accompaniment for about the first half of the track, and as it hits the midpoint, “1985” breaks to a stretch of quiet, classically metallic guitar, dramatic and atmospheric and a stark turn from the grit preceding, but not entirely out of place — or at least not anymore than it’s intended to be. Clean-sung lines top as the bass and drums casually work their brume witch ripper split mmxixway back in and Witch Ripper push forward on a subtle build for the next couple minutes, a tolling bell seeming to signal the shift into the grander instrumental solo section that pays off the track in epic metal fashion. The band note below that “1985” was taken off the album because it was too long, and listening to it, one tends to believe them. It is long, but that only seems to make it all the more worthy of the showcase it has here alongside the work of Brume, who follow their 2017 debut, Rooster (review here), with these two tracks showcasing their evolving personality.

“Man-Made” — the video below directed by the band’s own Jordan Perkins-Lewis — seems to rumble out its start in answer to “1985” back on the A side, but obviously that’s just coincidence of tone; it’s an older song recorded before the band knew it would be on this split. The impact of its riffing is well met by the nuclear test footage sped up to match the rhythm of the strumming guitar, and over the eight minutes, “Man-Made” evolves into a maddened beast before, like “1985” before it, dropping to mellow but tense guitar. The difference is “Man-Made” resumes its previous heading and caps with its central riff in the forward position and feedback leading the way via fadeout into “In the Pines,” written by Huddie “Lead Belly” Ledbetter and given generational breadth through a particularly tortured performance by Nirvana on MTV Unplugged. Brume make it sound massive, thereby demonstrating not only the malleability of the song itself, but their own reach as they move beyond their debut into this release and whatever might come after.

Below, you’ll find all three tracks on Split MMXIX presented across three different YouTube clips. Not how these kinds of things usually work, but go with it. Witch Ripper have a creepy spider to go with “1985,” while Brume have a static image for “In the Pines” and the aforementioned bomb-dropper clip for “Man-Made.” One way or the other, it all makes sense atmospherically with the release itself, which is unapologetic in its heft and worthy of whatever volume you can give it.

Comment from the bands and more follows the videos.

Please enjoy:

Witch Ripper, “1985”

Brume, “Man-Made” official video premiere

Brume, “In the Pines”

Witch Ripper on “1985”:

Recorded during the “Homestead” sessions by Matt Bayles (Isis, Mastodon, Minus the Bear) it was cut from the full length because frankly, it was too damn long to fit on the vinyl. Luckily we found a home for the song as our side of a killer split with San Francisco doom weirdos Brume. The song “1985” is one of our most ambitions creations yet. At 13 minutes strong the song moves from grunge inspired doom riffs to a psychedelic clean bridge and huge musical soaring outro. It’s got a lot. Lyrically it’s about knowing that you love music, not knowing how long you can do it for but not wanting to give up that dream. Something that I think we can all relate too.

Brume on “Man-Made” & “In the Pines”:

Brume’s two tracks on the split are a celebration of the SF Trio’s second home, the Pacific Northwest and bring to light recordings old and new. “Man-Made” is the first track the band worked with producer Billy Anderson (Neurosis/Sleep) and was recorded in Portland while on their first West Coast tour in 2015. “In the pines” is the most recent track recorded with Billy (also in Portland), some three years after. The cover was pulled together for a show in Seattle, paying homage to both Nirvana and Leadbelly. What better way to release these tracks than with label mates Witch Ripper from Seattle?

Brume/Witch Ripper Split MMXIX

Side Witch Ripper
A1. 1985

Side Brume
B1. Man-made
B2. In the Pines

Pre orders go live Friday January 25th at 7PM CET

Official release date March 15th

The Brume/Witch Ripper Split will be released on 3 different limited edition color vinyl options

DHU Exclusive: Limited to 90 copies
Witch Ripper Edition: Limited to 100 copies
Brume Edition: Limited to 100 copies

Brume
Susie: Vocals/Bass
Jamie: Guitar/Vocals
Jordan: Drums

Witch Ripper
Curtis Parker: Vocals/Guitar
Joe Eck: Drums
Brian Kim: Bass
Coltan Anderson: Guitar

Brume website

Brume on Bandcamp

Brume on Thee Facebooks

Brume BigCartel store

Witch Ripper on Bandcamp

Witch Ripper on Thee Facebooks

Witch Ripper on Instagram

DHU Records on Thee Facebooks

DHU Records on Instagram

DHU Records on Twitter

DHU Records on Bandcamp

DHU Records BigCartel store

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Earth Stream New Track; Full Upon Her Burning Lips out May 24

Posted in Whathaveyou on March 8th, 2019 by JJ Koczan

Fair enough that Earth as they celebrate the 30th anniversary of their start in 1989 would also strip down their approach to its essential core — that being the guitar of Dylan Carlson and the drums of Adrienne Davies. Somehow or other, it got to be five years since the release of their last album, Primitive and Deadly (review here), which saw both fleshed out arrangements instrumentally but the addition of guest vocalists as well. The take on Full Upon Her Burning Lips would seem to pull back in response to that, with Davies and Carlson comprising the lineup and eschewing any of the “extras” that have come up as their sound was fleshed out over the last decade-plus.

You can stream the new track “Cats on the Briar” at the bottom of this post, and it certainly sounds like Earth, which only makes me want to hear more. Funny how that goes.

Dylan Carlson has been doing prolific solo work in the years since Primitive and Deadly (and before that as well), and he’s got a Euro tour set to begin this month. Dates for that and Full Upon Her Burning Lips album info follow here, courtesy of the PR wire:

earth

EARTH ANNOUNCE A NEW ALBUM FULL UPON HER BURNING LIPS, TO BE RELEASED VIA SARGENT HOUSE ON 24TH MAY

LISTEN TO THE NEW ALBUM TRACK “CATS ON THE BRIAR”

DYLAN CARLSON EUROPEAN SOLO DATES INCOMING

Over the course of their thirty trips around the sun, Earth has remained diligent in their commitment to monolithic minimalism. The sonic vocabulary may have changed—from their early years churning out seismic drone metal on albums like Earth 2 (1993) to the dusty Morricone-tinged comeback album Hex; Or Printing in the Infernal Method (2005) to the meditative rock approach of Primitive and Deadly (2014)—but the underlying principle of austerity and restraint remains a constant. With their latest album Full Upon Her Burning Lips, Earth purges the layers of auxiliary instrumentation that embellished some of their previous records and deconstructed their dynamic to the core duo of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion. In the process, they tapped into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world.

Full Upon Her Burning Lips opens with “Datura’s Crimson Veils”, a twelve-minute opus that adheres to Earth’s 21st century approach with Carlson’s sepia-toned Bakersfield Sound guitars lurching across a barren landscape while Davies punctuates the melodies with death knell drums. It’s a sound that harkens back to the riff-constructed vistas of their Angels of Darkness, Demons of Light albums, but stripped of their ornateness. “It was definitely a very organically developed record,” Carlson says of the process. “I limited the number of effects I used. I always like the limiting of materials to force oneself to employ them more creatively. Previous Earth records were quite lush sounding, and I wanted a more upfront and drier sound, using very few studio effects.” In less capable hands, these kinds of limitations might diminish the aural scope of the compositions, but Carlson and Davies have always thrived on reductive methods.

The stripped down approach had another advantage. “I really wanted the drums to be present,” Carlson says. “I felt with previous Earth records that other instrumentation took up so much of the sonic space that the drums were kind of pushed to the side.” This tactic helps highlight Davies’ ability to elevate the drum kit beyond its mere metronomic functions and allows it to serve as an expressive, nuanced, and tonally rich component to Earth’s arsenal of sound.

In addition to scaling back on their ranks, Earth altered their previous trajectory by entering into Full Upon Her Burning Lips without a conceptual arc to guide the process, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed. “In the past I’ve usually had a strong framework for an album,” Carlson says. “This one developed over the course of writing and recording. It just felt like ‘Earth’—like just the two players doing their best work at playing, serving the music.” The absence of a pre-existing narrative guiding the compositions meant that the songs were more open and intuitive, often resulting in more terse musical vignettes like the richly harmonic “Exaltation of Larks” or the dreamily itinerant “Maidens Catafalque”. Yet subconscious impulses gradually created their own subtext for the album. “I wanted this to be a ‘sexy’ record, a record acknowledging the ‘witchy’ and ‘sensual’ aspects in the music… sort of a ‘witch’s garden’ kind of theme, with references to mind altering plants and animals that people have always held superstitious beliefs towards. A conjuror or root doctor’s herbarium of songs, as it were.”

The ten tracks on Full Upon Her Burning Lips came together in bits and pieces. Songs like “Cats on the Briar” and “Mandrake’s Hymn” stemmed from a handful of musical phrases and repeating patterns concocted in moments of downtime during their 2017 tour schedule. “Descending Belladonna” came from a live soundtrack project. Other songs came from rehearsals in the months leading up to recording or in moments of divine inspiration in the studio. The record was engineered, mixed, and mastered by longtime associate Mell Dettmer at Studio Soli. Knowing their process and their sound, Dettmer helped harness, shape, and document the songs in a manner that highlights the depth of Earth’s sparse components, capturing hidden dimensions much like the veiled images residing in the Magic Eye prints from the ‘90s. For the patient listener, the cyclical nature of the songs “She Rides an Air of Malevolence” or “An Unnatural Carousel” reveal new forms with repeated listens, with the subtle variations between passes creating a kaleidoscope of auditory activity.

“I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,” Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

Sargent House is proud to offer up the album to the world on May 24th, 2019 on 2xLP / CD / digital formats.

PRE ORDER LINK: http://smarturl.it/Earth_FUHBL

DYLAN CARLSON SOLO DATES:
MAR 21 Newcastle, UK @ The Cluny
MAR 22 Bristol, UK @ Rough Trade
MAR 23 Manchester, UK @ Soup Kitchen
MAR 24 Birmingham, UK @ The Flapper
MAR 26 London, UK @ St John of Bethnal Green
MAR 27 Brussels, BE @ Botanique
MAR 28 Lille, FR @ La Malterie
MAR 29 Duisburg, DE @ Explorado Museum
MAR 30 Berlin, DE @ Cassiopeia
MAR 31 Prague, CZ @ Futurum
APR 01 Vienna, AT @ Grillx
APR 03 Munich, DE @ Feierwerk
APR 04 Lausanne, CH @ Le Bourg
APR 05 Zurich, CH @ Bogen F
APR 06 Paris, FR @ Sonic Protest Festival

http://www.thronesanddominions.com
https://www.facebook.com/thronesanddominions
https://www.instagram.com/earthseattle/
https://www.facebook.com/sargenthouse/
http://www.sargenthouse.com/

Earth, “Cats on the Briar”

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Dylan Carlson Announces March/April UK and European Tour Dates

Posted in Whathaveyou on January 15th, 2019 by JJ Koczan

dylan carlson

Dylan Carlson‘s Fall 2018 European tour hit the skids when the Earth guitarist landed in a Berlin hospital for an infected gallstone as as result of ongoing liver issues. That run got canceled as a result — and fairly enough so — but Carlson will be back at it in the UK and Europe in March and April. This is happening while word is beginning to kick around as well of a new Earth album in the works, which is only to the general betterment of humans as a species and well enough due. More on that as I hear it — also, I hope I get to hear it — but you’ll find Carlson‘s redux tour below, and of course one wishes him nothing but the best health-wise so he can get out there and drone as much as possible in any incarnation he wants.

You can hear Conquistador at the bottom of this post. Dates follow from the PR wire:

dylan carlson tour poster

DYLAN CARLSON ANNOUNCES RESCHEDULED UK/EU LIVE DATES IN SUPPORT OF HIS RECENT SOLO ALBUM, CONQUISTADOR (OUT NOW ON SARGENT HOUSE)

Legendary Earth guitarist Dylan Carlson announces rescheduled live dates in March and April this year, in support of his first proper full-length, Conquistador (which came out last year via Sargent House). Full listings below and tickets available at this link: sargenthouse.com/dylan-carlson. A new Earth studio album is also expected before summer this year via Sargent House, more details in due course.

DYLAN CARLSON LIVE DATES:
MAR 21 Newcastle, UK @ The Cluny
MAR 22 Bristol, UK @ Rough Trade
MAR 23 Manchester, UK @ Soup Kitchen
MAR 24 Birmingham, UK @ The Flapper
MAR 26 London, UK @ St John of Bethnal Green
MAR 27 Brussels, BE @ Botanique
MAR 28 Lille, FR @ La Malterie
MAR 29 Duisburg, DE @ Explorado Museum
MAR 30 Berlin, DE @ Cassiopeia
MAR 31 Prague, CZ @ Futurum
APR 01 Vienna, AT @ Grillx
APR 03 Munich, DE @ Feierwerk
APR 04 Lausanne, CH @ Le Bourg
APR 05 Zurich, CH @ Bogen F
APR 06 Paris, FR @ Sonic Protest Festival

https://twitter.com/drcarlsonalbion
https://facebook.com/drcarlsonalbion
https://instagram.com/drcarlsonalbion
https://drcarlson.bandcamp.com
https://thronesanddominions.com/dylan-carlson
http://smarturl.it/DCarlsonStore

Dylan Carlson, Conquistador (2018)

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Witch Ripper and Brume to Release Split MMXIX March 15

Posted in Whathaveyou on January 15th, 2019 by JJ Koczan

brume

witch ripper

Nobody here loses. Two bands and a label team up, everybody gets circa-100 copies to sell, and everyone helps each other promote it. What Brume, Witch Ripper and DHU Records have going with the Split MMXIX is basically the idea behind doing a split in the first place. Two bands are showcased with the promotional help from an imprint and everybody gets to put out something new. The fact that Seattle four-piece Witch Ripper take up their whole side with their “1985” opus is a bonus, as is Brume‘s side B take on “In the Pines,” the Huddie “Lead Belly” Ledbetter track known to an entire generation as “Where Did You Sleep Last Night” as covered by Nirvana once upon a time on MTV Unplugged. Hard to argue with the pick, frankly.

The release is out March 15 and the preorders start Jan. 25. I wouldn’t be surprised if the pressing sold out on preorders alone, but whether or not the thing actually makes it to its release date, everyone still wins.

From the PR wire:

brume witch ripper split mmxix

Brume/Witch Ripper Split MMXIX (DHU023) Pre order + release date

San Francisco’s Doom Trio Brume have teamed up with Seattle’s Stoner Metal misfits Witch Ripper to bring you a split of unforgiving heaviness to ring in the New Year of Heavy MMXIX

Witch Ripper open the gates on Side A with a mind melting 13+ min track called “1985”. A track that was recorded during their magnificent debut “Homestead” recording session released last year, so you know you will be swept up once again in their punishing assault!

On Side B Brume grace us with a song recorded between the debut “Donkey” and follow up full length “Rooster”, a relentless 8+min Doom anthem called “Man-made” which starts as slow as you know them to be, then bursts into a mid paced groove that will have you banging your head uncontrollably before sending you out into oblivion as they quiet down before the last storm. And, to top it off, Brume does a cover of the classic Leadbelly song “In the Pines” or “Where Did You Sleep Last Night” (also covered by Nirvana and Mark Lanegan respectively) in their own traditional Doomed way, so get ready!

Presented here is the cover artwork, done by the incredible photographer Katrin Albert

Brume/Witch Ripper Split MMXIX

Side Witch Ripper
A1. 1985

Side Brume
B1. Man-made
B2. In the Pines

Pre orders go live Friday January 25th at 7PM CET

Official release date March 15th

The Brume/Witch Ripper Split will be released on 3 different limited edition color vinyl options

DHU Exclusive: Limited to 90 copies
Witch Ripper Edition: Limited to 100 copies
Brume Edition: Limited to 100 copies

Brume
Susie: Vocals/Bass
Jamie: Guitar/Vocals
Jordan: Drums

Witch Ripper
Curtis Parker: Vocals/Guitar
Joe Eck: Drums
Brian Kim: Bass
Coltan Anderson: Guitar

https://www.brumeband.com/
https://brumesf.bandcamp.com/
https://www.facebook.com/brumeband/
http://brume.bigcartel.com/

https://witchripper.bandcamp.com/
https://www.facebook.com/Witchripper/
https://www.instagram.com/witch_ripper/

https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://twitter.com/dhu_records
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Brume, Rooster (2017)

Witch Ripper, Homestead (2018)

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Mount Saturn Premiere “Salt”; Debut EP Kiss the Ring out Jan. 4

Posted in audiObelisk, Whathaveyou on December 13th, 2018 by JJ Koczan

mount saturn (Photo by Tommy Calderon)

Bellingham, Washington, heavy rockers Mount Saturn will release their debut EP, Kiss the Ring, on Jan. 4. The 25-minute four-tracker comes preceded only by the digital single “Dwell,” which also shows up as the leadoff cut on the forthcoming release and makes for a right-on seven-minute leadoff, the echoing vocals of Violet Vasquez following the riffs of Ray Blum on an outwardly-directed astral plane of reverb and grooving heft. Got that bass punch tho from Cody Barton and the drums of Tanner Scinocco, whose snare cuts through the tonal density surrounding in order to give ground to what otherwise would surely take flight, some double-kick coinciding with second-half squibblies in “Dwell” that, in another context and from another WA -state band, would be black metal. Mount Saturn are up to a different kind of business.

The nod is pervasive throughout Kiss the Ring, as the 4:12 shortest cut “Idol Hands” demonstrates despite a somewhat faster tempo and more rocking swing ahead of the brash Mount Saturn Kiss the Ringgarage intro to the penultimate “Salt.” The overarching feel of the release is very much in the debut EP vein, as Mount Saturn began their exploration just last year, but a drive toward aesthetic can be heard in the tracks all the same, whether it’s the already-noted cavernousness of Vasquez‘s voice throughout or the depth of Blum‘s guitar tone, which lends immediate character to the songs and is suited to the feeling of space as well as that of the earthier groove supported by Barton and Scinocco. “Salt” echoes through a slowdown to cut out before the closing title-track, which again leads off with Blum‘s guitar as the focal point — a task to which it stands up well. Barton‘s bass kicks in at around 40 seconds and is a thick, distinct presence, while Scinocco holds town a straightforward beat still portentous of change to come. They drop back to a more spacious progression to give Vasquez room in the mix and find a new balance between molten and solidified impulses. An all-out psychedelic finish would be a decent enough fit, but Mount Saturn don’t quite get there, opting instead to stick to the hook in “Kiss the Ring” and trade back and forth from that to a solo, capping with both.

It’s the band’s first outing, so take “Salt” with the appropriate grain if you need to in order to dive into the premiere below — which I’m thrilled to host — but if you can’t hear the potential in its run, then you’re missing out. Tracks were recorded by Erik Wallace. Again, it’s out Jan. 4.

Please enjoy:

Mount Saturn rises from the damp soil of the Pacific Northwest to forge a heavy sound that worships riffs, dabbles in psychedelia and takes no shit. Formed in 2017, the heavy quartet has had the pleasure of sharing a stage with some of the West Coast’s best, including Holy Grove, Castle, and Mos Generator.

‘Kiss the Ring’ is their debut EP, recorded at The Unknown in Anacortes, and engineered and mastered by Erik Wallace of Shibusa Sounds, which the band will self-release on January 4th, 2019.

Mount Saturn is:
Cody Barton on Bass
Ray Blum on Guitar
Violet Vasquez on Vox; and on this recording,
Tanner Scinocco on Drums

Mount Saturn on Thee Facebooks

Mount Saturn on Instagram

Mount Saturn on Bandcamp

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