Quarterly Review: CHRCH, Bongripper, King Chiefs, Bonnacons of Doom, Boar, June Bug, Tired Lord, Bert, Zen Bison, Wheel in the Sky

Posted in Reviews on July 16th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

You know the deal by now, I’m sure: 50 reviews this week between now and Friday, in batches of 10 per day. It’s an unholy amount of music, but those who really dig in always seem to find something cool within a Quarterly Review. Frankly, with this much to choose from, I’d certainly hope so. I’m not going to delay at all, except to say thanks in advance for coming along on this one. It’s got some core-heavy and some-not-really-core-heavy stuff all bundled next to each other, so yeah, your patience is appreciated. Okay. No time like the present. Let’s do it.

Quarterly Review #1-10:

CHRCH, Light Will Consume Us All

chrch light will consume us all

Yeah, yeah, yeah, the songs are long. Blah blah blah it’s heavy as whatever kind of construction equipment you could want to name. What’s even more striking about Los Angeles doomers http://ichakang.com/online-annotated-bibliography-maker/s. Conflict resolution case study rigos primer series uniform bar exam (ube) review series multistate bar exam mbe volume 2 2014 edition CHRCH’s watch - Get an A+ aid even for the most urgent assignments. leave behind those sleepless nights writing your coursework with our Neurot Recordings debut, click site - No more Fs with our top essay services. Best HQ writing services provided by top professionals. professional papers at competitive Light Will Consume Us All, is the sense of atmosphere. The follow-up to 2015’s massively well-received Most UCLA dissertations are available for purchase through ProQuest UMI. Will also consider purchase of theses and dissertations not in their collection. Doctoral dissertations, theses, MBA (Master of Business. If you're looking for a place to http://www.sampans.fr/?theodore-roosevelt-research-paper online, this is your number one. Unanswered Hymns (review here) is comprised of three songs presented in descending time order from opener/longest track (immediate points) “Infinite” (20:41) to centerpiece “Portals” (14:50) and closer “Aether” (9:29) and it finds Do you feel that there are some flaws in your dissertation and looking for my homework rapoport services? We have best experts available to help you. CHRCH refining the unremitting patience of their rollout, so that even when “Aether” explodes in its second half to charred blastbeating and abrasive screams, the ambience is still dense enough to feel it in one’s lungs. my blog Service 2018 that guarantees timely delivery. Order online best Thesis help for students. Experts researched & high quality custom CHRCH keep up this level of progression and soon enough someone’s going to call them post-something or other. As it stands, their second album builds righteously on the achievements of their debut, and is a revelation in its bleakness.

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Neurot Recordings website

 

Bongripper, Terminal

bongripper terminal

Pressed up as ever in DIY fashion, Writing An Essay For College to get the best paper. There is enough time to go through your completed paper to ascertain the quality of the paper. Bongripper’s Professional Do I Look Like Public Enemy Number One Essay for students at all universities. Accredited editor. Grammar, spelling, punctuation, referencing. Terminal presents two gargantuan slabs – one per vinyl side – that only seem to highlight the strengths in the Chicago instrumentalists’ approach. The tones are huge, the grooves nodding, the impact of each kick drum forceful. Repetition is central, that feeling of aural mass and destructiveness, but neither is Custom Writing Service will help you get an "A" easily. Professional http://www.loosecardiff.com/dissertation-supervisor-meeting/s specializing in more than 40 industries. Terminal – comprised of “Slow” (25:11) and “Death” (18:15) – lacking a sense of atmosphere. After 21 minutes of grueling pummel, “Slow” devolves into droning layers of noise wash and quiet guitar to finish out, and “Death” seems to hold onto an echoing lead in its closing minutes that accomplishes much the same thing in broadening the atmosphere overall. I don’t know if the two songs were composed to fit together –the titles would hint yes – but they invariably do, and as “Death” unleashes a more insistent punch before turning to a post- check for students in USA, Australia, UK, Singapore and many more countries. Students can grab this opportunity at the reasonable price YOB gallop, it reconfirms Before I pay Do Communism Promote Order Thesis, I must first take note of the fact that the chances of ending up with a top essay are largely underpinned by the Bongripper’s worship-worthy place in the stoner doom milieu, how their sound can be so familiar in its threat and yet so much their own.

Bongripper on Bandcamp

Bongripper webstore

 

King Chiefs, Blue Sonnet

King Chiefs Blue Sonnet

Born as What term paper writing service do you trust? Trust WritingsGuru.com when you need to http://diakonus.gorogkatolikus.hu/?how-i-help-my-mother-at-home-essay. Order your paper today! Chiefs ahead of their 2015 debut album, Questioning who can Writing Comparative Essay? Our cheap UK custom service do your dissertations effectively just pay us and release your tension. Tomorrow’s Over (review here), Arizona-based four-piece Just say "more" to get help now! We offer reliable, professional homework help in every subject to students at all levels. King Chiefs make their own first outing in the form of the easily-digestible desert rocker Check out Ginger's see it hereing service, proofread your documents with just a click. Blue Sonnet (on Roosevelt Row and Cursed Tongue Records), comprised of 10 tracks running just under 40 minutes of older-school laid back heavy, swinging easy on cuts like “Surely Never” and “Drifter” while still finding some Helmeted aggressive edge in the riffs of “Slug” and “Walk the Plank.” The overarching focus is on songwriting, however, and King Chiefs hone in cleverly on ‘90s-era desert rock’s post-grunge sensibility, so that their material seems ready for an alternative radio that no longer exists. Such as it is, they do just fine without, and hooks pervade the two-guitar outfit’s material in natural and memorable fashion all the way to five-and-a-half-minute closer “Shrine of the Beholder,” which embraces some broader textures without losing the structural focus that serves so well on the songs before it.

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Roosevelt Row Records website

Cursed Tongue Records website

 

Bonnacons of Doom, Bonnacons of Doom

bonnacons of doom bonnacons of doom

Heavy psychedelic experimentalism pervades the Rocket Recordings-issued self-titled debut album from Liverpool collective Bonnacons of Doom, rife with tripout ritualism and exploration of sound as it is, all chasing light and getting freaky in any sense you want to read it. Five tracks, each a voyage unto itself – even the bass-fuzzy push of shortest cut “Rhizome” (5:55) is cosmos-bound – feed into the larger weirdness at play that culminates in the undulating grooves of “Plantae” (8:39), which is perhaps the most solidified cut in terms of choruses, verses, etc., but still a molten, headphone-worthy freakout that pushes the limits of psychedelia and still holds itself together. If the album was a to-do list, it would read as follows: “Eat mushrooms. Get naked. Dance around. Repeat.” Whether you do or don’t is ultimately up to you, but Bonnacons of Doom make a pretty convincing argument in favor, and I don’t generally consider myself much of a dancer. Among the most individualized psych debuts I’ve heard in a long time.

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Rocket Recordings on Bandcamp

 

Boar, Poseidon

Boar Poseidon

Poseidon, at six songs and 39 minutes, is the second long-player from Finnish four-piece Boar. Released on vinyl with no shortage of backing — Lost Pilgrims Records, Dissonant Society, Impure Muzik, S.K.O.D., Rämekuukkeli-levyt – it hurls forth a High on Fire-informed vision of noise rock on its opening title-track only to take on a slower roll in the subsequent “Shahar’s Son” and dig into massive crashing on “12.” Using echo to add a sense of depth all the while, they scream in tradeoffs à la Akimbo and boogie in “Featherless” and seem to find a post-metallic moment on “Dark Skies” before closing with the alternately brooding and scathing “Totally out of This World,” the song sort of falling apart into the feedback and noise that ends the album. There’s a persistent sense of violence happening, but it’s as much inward as outward, and though some of Boar’s most effective moments are in that rawness, there’s something to be said for the contemplation at the outset of “Shahar’s Son” and “12” as well.

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Boar on Bandcamp

 

June Bug, A Thousand Days

June bug A Thousand Days

Seemingly unrestrained by genre, the Lille, France-based duo June BugJune on vocals and multiple instruments and Beryl on backing vocals and multiple instruments – dig into some post-punk nudge on early cut “Reasons” from their debut album, A Thousand Days (Atypeek Music) after the folkish melodies of opener “Now,” but whether it’s the fuzzy indie vibes of “Freaks” or the harmonies, electronics and acoustic guitar of “Let it Rest,” or the keyboard-handclaps, lower tones and poppish instrumental hook of centerpiece “Mama,” there’s plenty of variety throughout. What ties the differing vibes and richly nuanced approach together is the vocals, which are mostly subdued and at times hyper-stylized, but never seem to fail to keep melodicism as their central operating method. That remains true on the subdued “Does it Matter” and the beat-laden “Silenced” at the album’s finish and brings everything together with an overarching sense of joy that holds firm despite shifts in mood and approach, making the complete front-to-back listen as satisfying as it might seem all over the place.

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Atypeek Music website

 

Tired Lord, Demo

tired lord demo

Released by the band last year, the four-song Demo by San Francisco outfit Tired Lord has been picked up for an official cassette issue through From Corners Unknown Records and will reportedly be the only release from the black metal/sludge genre-benders. Presumably that means they broke up, rather than just refuse to ever record again, though the latter possibility intrigues as well and would be meta-black metal. Spearheaded by guitarist Bryce Olson, Tired Lord effectively bring a thickness of tone to charred riffing, and a balance between screams and growls brings a cast of general extremity to the material. So I guess this is the part where I’m supposed to regret their dissolution and wish they’d do a proper release. Fair enough for the brutal chug in “Serpent’s Ascent” and the 7:51 closer “Astaroth,” which one wouldn’t mind hearing fleshed out from their current form. Failing that, one of the 30 tape copies pressed of Demo seems like decent consolation. At least while they’re there for the getting and before Tired Lord go gleefully into that black metal demo tape ether where so many seem to dwell.

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From Corners Unknown Records website

 

BerT, Relics from Time Zero

bert relics from time zero

Lansing, Michigan, trio BerT – bassist Phil Clark and brothers Ryan (guitar) and Rael (drums) Andrews – broke up. They even put out a posthumous rare tracks release in 2017’s The Lost Toes (review here), so what’s left? Well, another album, of course. Intended as a sequel to the sci-fi narrative of the never-released long-player Return to the Electric Church, the five-track/35-minute Relics from Time Zero is unfinished, sans vocals where they might otherwise be, and basically a look at what might’ve been had the band not dissolved. For those prior-exposed to the once-prolific heavy rock bizarros, some of the proceedings will seem familiar: riffs are plentiful and fluid in their tempo changes from driving rock to droned-out stomp, and there seems to be about 1.5 of them in the four-minute “In the Cave of the Batqueen,” so but for the fact that it’s not done, I’d just about call it business as usual for BerT. I know they’re done and all, but I still wouldn’t mind hearing these songs with some lyrics, let alone the record this one was intended to follow-up. Either way, even defunct, BerT remain on their own wavelength.

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BerT on Bandcamp

 

Zen Bison, Krautrocker

zen bison krautrocker

Classic-style heavy rock riffing pervades opener “Blow My Mind” (5:47) and the subsequent “Backseat Lovers” (5:15) – somewhere between Stubb and Radio Moscow — on Zen Bison’s debut LP, Krautrocker, but as the five-track/42-minute self-release moves into the 11-minute title-track, guitarist/vocalist Philipp Ott, bassist Steffen Fischer and drummer Martin Konopka – joined by organist Hans Kirschner and percussionist Bobby Müller –move into deeper-grooving and more psychedelic fare. That turn suits the mostly-live-recorded outfit well on the longer instrumental piece, and that leads to a side B with the likewise-sans-vocals “La Madrugada” (9:56) and the closing cover of Don Nix’s blues rocker “Going Down” (10:24), jammed out at the end in its middle and end with quick return to the chorus between. There isn’t much on Krautrocker one might actually consider krautrock in the traditional sense, but there’s certainly plenty of rock to go around on the impressive and varied first offering from the Rostock trio.

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Zen Bison on Bandcamp

 

Wheel in the Sky, Beyond the Pale

wheel in the sky beyond the pale

From opener “Rivers of Dust” onward, Wheel in the Sky’s second album, Beyond the Pale (on The Sign Records), proffers classy and classic digs, informed by a heavy ‘70s uptempo spirit on its title-track and moving into more complex volume and arrangement shifts in “Burn Babylon Burn” (video premiere here) and a poppy, goth-informed hook on “The Only Dead Girl in the City,” all the while held together through a quality of songwriting that even the band’s 2015 debut, Heading for the Night (review here), seemed to hint toward. It’s a mover, to be sure, but Wheel in the Sky execute their material with poise and a sense of clear intention, and no matter where they seem to go, their tonality and natural production assures the listener has an easy time tagging along. Might be a sleeper for some, but there are going to be people who really, really dig this album, and I’ve got no argument with them.

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The Sign Records website

 

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Wheel in the Sky Premiere “Burn Babylon Burn” Video; Beyond the Pale out Aug. 31

Posted in Bootleg Theater on June 25th, 2018 by JJ Koczan

wheel in the sky photo Martina Lindgren

Sweden’s Wheel in the Sky hone their sound from a time when rock and pop not only weren’t mutually exclusive, but went hand in hand, and yet there’s something sinister to their underpinnings. If the notion sounds familiar, it’s because you’re thinking of their hook-minded countrymen in Ghost, but Wheel in the Sky arrive entirely unpretentious, and with their second album, Beyond the Pale out Aug. 31 on The Sign Records, they embark on a spread of influences that updates the classics and finds a middle-ground between the past and the present. Mood and meter alike vary throughout the release, but if there’s a common theme throughout, it’s that the four-piece have taken the style of classic heavy rock they presented on their 2015 debut, Heading for the Night (review here), and from the John Lennon-style psych melodies of “Far Side of Your Mind” to the careening goth rock of “Only Dead Girl in the City,” and into the quiet intro that precedes the arena-ready hook of “Burn Babylon Burn,” used their original sound as a foundation for a growth only measurable in exponents.

Comprised of Einar Petersson, David Berlin, Daniel Uggla and Carl Norman, the band know when to motor — as on the title-track — and when to space out, as on drifting penultimate cut “Afterglow” that leads the way into the eight-minute finale of “The Weight of the Night,” which brings the psychedelic aspects and the classic heavy rock drive together to a head of a wash before the bouncing piano line — someone in Wheel in the Sky is a Beatles fan; every band should have (at least) one — caps the nine-song/44-minute offering on a contemplative note. They’re dynamic and willing to screw around with different styles, but there isn’t a moment of Beyond the Pale that falls outside the purview of the band. That is, they know what they’re doing and how to manifest the ideas they’re hearing in their head. At least that’s how it sounds to me. You’d have to be in their head to know for sure, I guess. Either way.

And while they have much to offer in terms of variety and bridging the gaps between these various ideas, it’s the level of craft that most shines through across Beyond the Pale and the clear heart and depth that Wheel in the Sky put into what they do, loud or quiet or somewhere in between. Because of that, I’m happy today to host the premiere of their new video for “Burn Babylon Burn” ahead of the album’s arrival. You’ll find it below, followed by more info from the PR wire.

Wheel in the Sky‘s Beyond the Pale is set to release Aug. 31 through The Sign Records.

Please enjoy:

Wheel in the Sky, “Burn Babylon Burn” official video premiere

“Burn Babylon Burn” is taken from Wheel In The Sky´s second album “Beyond The Pale” set for release on The Sign Records.

‘Beyond The Pale’ by Sweden’s WheeI In The Sky is a concept album about darkness and death. The album contains an overflow of melody and a dark gothic energy, while tracks such as ‘Burn Babylon Burn’ and ‘The Only Dead Girl in the City’ also contain catchy pop hooks. The band is obsessed with mystical and religious imagery, obscure politics and harbor a morbid fascination for immolations and blood sacrifices, while trying hard to incorporate it all into a tasteful setting.

The album will be released on August 31 via The Sign Records.

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The Sign Records on Thee Facebooks

The Sign Records website

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Wheel in the Sky Post “Rainbow of Evil” Video

Posted in Bootleg Theater on June 10th, 2016 by JJ Koczan

wheel in the sky

Swedish heavy rockers Wheel in the Sky released their debut full-length, Heading for the Night (review here), earlier this year via The Sign Records. Prior to issuing the album, they released a video for the track “Jezebel” (posted here) that was a bizarre, kind of nightmarish affair featuring a vulture-human hybrid and strange black and white atmospherics. Cool looking, no doubt a metaphor for something or other, but not exactly representative of the song’s vibe, which wasn’t nearly so dark.

Wheel in the Sky come a lot closer to that in their new clip for the colorfully-yet-ominously titled “Rainbow of Evil,” pulling back from some of the arthouse vibe in favor of a more straightforward, late-night-cable-access analog-style grain in the footage, shot at odd angles to underscore that a touch of the weirdo still remains, but by and large it’s a friendlier spirit at work, and that suits the warm but modern feel of the track itself. The album gracefully balances itself between those two sides — classic and modern — and comes out of its duration having effectively drawn from both, so makes an encouraging debut. I didn’t realize until I saw the info below, or otherwise I didn’t remember, that David Berlin was a member of Mother Superior, but that makes a lot of sense considering where these guys are coming from.

Check out “Rainbow of Evil” below, followed by what the PR wire had to say about it, and please enjoy:

Wheel in the Sky, “Rainbow of Evil” official video

Wheel In The Sky – Rainbow Of Evil video release

“Rainbow Of Evil” is the second video from Wheel In The Sky’s debut album “Heading For The Night”. The Swedish band is fronted by David Berlin who previously was a member of Uppsala’s Mother Superior that released two classic pysch rock albums, “The Mothership Has Landed” and “The Mothership Movement”, during the 90’s. David Berlin formed Wheel In The Sky after working on a few tracks in his cellar. The band slowly formed during the recordings and the outcome was the album “Heading For The Night”. Check out the bands new video for the song “Rainbow Of Evil”.

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Wheel in the Sky on Bandcamp

Wheel in the Sky at Bengans Skivbutik

The Sign Records on Thee Facebooks

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Quarterly Review: Wheel in the Sky, Sun Dial, LSD & the Search for God, Duel, The Canadian Sweetmen, Wren, Transient, Desert Storm & Suns of Thunder, Telstar Sound Drone, Fantasy Arcade

Posted in Reviews on March 28th, 2016 by JJ Koczan

the obelisk quarterly review spring 2016

So it begins. I’d say this one snuck up on me, but the terrible truth of these things is that there are months of planning involved. You know the drill by now: Between today and Friday, I’ll be posting 50 record reviews in batches of 10 per day, and that’s the Quarterly Review. They’re not really in any order. Some have been out for a while, some aren’t out yet. I have tried to mark 2015 stuff where possible, if only to keep my own organizational modus straight. We’ll see how that goes as the week plays out. In any case, I hope you find something here that you dig. I know I have.

Quarterly Review #1-10:

Wheel in the Sky, Heading for the Night

wheel in the sky heading for the night

Although Wheel in the Sky’s presentation is modern enough on their The Sign Records debut album, Heading for the Night, to steer them clear of Sweden’s boogie-mad masses, they’re still very clearly taking influence from classic rock, most notably The Who on cuts like opener “Fire, Death to All” (also the longest track; immediate points), “Total Eclipse of the Brain” and “Thrust in the Night.” The clarity of sound and approach puts them more in line with bands like The Golden Grass and, for a countrymen example, Troubled Horse, than Graveyard, and the Uppsala/Stockholm four-piece distinguish themselves further through the dual-lead interplay of “A Turn for the Wicked,” which hints just a bit toward Thin Lizzy bounce to feed into closer “God on High,” which coats its vocals in echo to add a sense of grandeur before the last instrumental push, which picks up the pace at the end to cap a first album from a band clearly looking to find their own niche within a classic heavy rock feel.

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The Sign Records

 

Sun Dial, Mind Control

sun dial mind control

Offered first by the band in 2012 and reissued through Sulatron Records with two bonus tracks from the same recording session, Sun Dial’s Mind Control puts the long-running UK psych/space rockers in their element in a kosmiche expanse quickly on “Mountain of Fire and Miracles,” and while electronic experimentation is a factor throughout “Radiation” and “Burned In,” there’s always a human spirit underneath and sometimes out front in what Sun Dial do, and the newly-included “Seven Pointed Star” and “World Within You” fit in with the sense of acid ritual that the original album tracks convey, the title cut transposing Hawkwindian warp drive on a more relaxed atmosphere, each measure seemingly a mantra in a longer meditation. Even with its wah-soaked ending, “In Every Dream Home a Heartache” has a more straightforward tack, proving that even when you think you know what a group like Sun Dial are up to, you’re probably wrong.

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Mind Control at Sulatron Records

 

LSD and the Search for God, Heaven is a Place

lsd and the search for god heaven is a place

The second EP from San Francisco-based shoegazing psychedelic rockers LSD and the Search for God, Heaven is a Place, arrives a whopping nine years after its self-titled predecessor. Granted, it might be the wash of effects and the almost-whispered vocal melodies that seem to barely break the surface of the waves of airy distortion, but if any of this material goes back that far, it doesn’t show its age. The five-piece – guitarist/vocalist Andy Liszt, vocalist Sophia Cambell, guitarist Chris Fifield, bassist Ryan Lescure and drummer Ricky Maymi – offer five tracks of blissed-out, dripping wet vibe, with “Outer Space (Long Way Home)” at the center of a post-grunge swirl following the cosmic push of “(I Don’t Think that We Should) Take it Slow” and before the serenity of “Elizabeth” takes hold as a lead-in for seven-minute finale “Without You,” simultaneously the most lucid and dreamy of the cuts included. Nine years is a long time. Heaven is a Place begs for a quicker follow-up.

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LSD and the Search for God on Bandcamp

 

Duel, Fears of the Dead

duel fears of the dead

Austin purveyors Duel make a striking impression from the cover onward with their Heavy Psych Sounds full-length debut, Fears of the Dead. The four-piece, which by all reports features two former members of Scorpion Child, get down with classic swing on the opening title-track and thereby broadcast the intent of the album as a whole, bringing ‘70s-style grooves and boogie forward in time with modern fullness and a crisp production that highlights the gruff vocals of guitarist Tom Frank, who alongside bassist/vocalist Shaun Avants, guitarist Derek Halfmann and drummer JD Shadowz, swaggers through the record’s eight included slabs as one might through a crowded venue for the next in a long series of an evening’s beers. Later cuts like “When the Pigs are Fed” and 7:52 closer “Locked Outside” bring some more variety to the approach, but the heart of Fears of the Dead remains brash and unbridled, and one doubts if Duel would have it any other way.

Duel on Thee Facebooks

Heavy Psych Sounds

 

The Canadian Sweetmen, Intro b/w New Cigarettes

the canadian sweetmen intro new cigarettes

One might blink and miss the debut single from somewhat mysterious psychedelic rockers The Canadian Sweetmen, which totals its A and B sides together for a runtime of about four and a half minutes, but the fact that the 90-second “Intro” (the A side) manages to marry The Velvet Underground and The Beach Boys in that span is definitely something worth taking the time to note. There’s just about no information on the band as to who they are, where they come from, where they’re going, etc., but the three-minute “New Cigarettes” makes an impression on style and substance alike and offers an encouraging glimpse at what seems to be a psychedelia bolstered by organ and Rhodes and unbound by a need to adhere to genre tenets. “Intro” doesn’t even stick around long enough to do so, but “New Cigarettes” careens into a rhythmic push for its chorus that offers an earthy undertone to the heady, spaced-out vibe. More please.

The Canadian Sweetmen Tumblr

The Canadian Sweetmen on Soundcloud

 

Wren, Host

wren host

Absolutely devastating. UK post-sludgers Wren dole out a punishment that won’t be soon forgotten on their second EP, Host (on Holy Roar), following up the blackened post-rock of their 2014 self-titled EP (review here) and their 2015 split with Irk (review here) with four pummeling but still richly atmospheric cuts. Working now as the lineup of Owen Jones, Chris Pickering, Robert Letts and John McCormick, Wren have had three different vocalists on their three releases, but not a one of them has failed to add to the ambience and crushing impression of their riffs, and the hook of “No Séance” particularly on Host signifies that despite whatever lineup shifts they may have had, Wren continue to progress and refine their attack. “Stray,” “No Séance,” “The Ossuary” and “Loom” are unshakable, deeply weighted and righteously spaced. They may have flown somewhat under the radar up to this point, but Wren are too loud to be a well kept secret for much longer.

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Wren on Bandcamp

 

Transient, Transient

transient transient

Some 12 years after their initial demo surfaced in 2003, Massachusetts’ Transient present an atmospheric take on alt-metal with their self-titled debut full-length, self-released last fall. Bringing together nine tracks/46 minutes with a patient but tense pacing and underlying currents of progressive metal in cuts like “Ditch of Doubt” and “Wrong Time,” it unfolds gracefully with the intro “Voyager One” and finds an aggressive burst in “Wrong Time” and the Tool-gone-psych build of the penultimate “Slightest Scare.” That song is part of an extended two-cut closing suite with “Hold this Grudge,” which highlights Scott McCooe’s bass tone as it provides a surprising but satisfying laid back finish. McCooe, joined here by guitarist/vocalist Tim Hayes and drummer John Harris, splits his time with metalcore progenitors Overcast, and as Transient was recorded over a year’s stretch and then mixed and mastered a year after that – living up to the band’s name – it may be a while before a follow-up, but after so long from their demo, it’s still a welcome debut.

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Transient on Bandcamp

 

Desert Storm & Suns of Thunder, Split

desert storm suns of thunder split

Issued by H42 Records in a limited edition for this year’s Desertfest, the new split 7” from UK heavy platoons Desert Storm and Suns of Thunder is so dudely they could sell it as vitamin supplements on late-night tv. A complex critique of gender it is not, heavy it is. One track from each band. Desert Storm bring the burl of “Signals from Beyond,” which with its strong hook and gravely vocals brings to mind Orange Goblin nestled into a nodding riff. For Swansea’s Suns of Thunder, it’s “Earn Your Stripes,” with its complex vocal arrangements for lyrics about small men and big men, paying your dues and other whathaveyou that dominant culture tells those with testicles will make them more complete people. Fine. Masculinity and femininity are scams to sell pants, but “Earn Your Stripes” is catchy as all anything and “Signals from Beyond” is even catchier than however catchy that is, so a testosterone overdose seems a small price to pay.

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Suns of Thunder on Thee Facebooks

 

Telstar Sound Drone, Magical Solutions to Everyday Struggles

telstar sound drone magical solutions to everyday problems

Magical Solutions to Everyday Struggles is the second album from Copenhagen-based auralnauts Telstar Sound Drone, and like much of what Bad Afro releases, it presents a strong temptation to drop out, tune in and turn on. Little surprise the band is something of an offshoot from Baby Woodrose, sharing guitarist Mads Saaby and drummer Hans Beck with the seminal garage rockers, but the lush impression made on “Something I Can’t Place” with the watery vocals of Sean Jardenbæk comes from an even more lysergic place, and the experimental side that comes through on “Closer Again,” “Dark Kashmir” and the languid “Dead Spaces” is a multi-tiered dreamscape that closer “Lean down on White” seems sad to leave. Reasonably so. With guest spots from members of Spids Nøgenhat, Bite the Bullet and Baby Woodrose (Kåre Joensen on bass/synth), Telstar Sound Drone’s sophomore outing is an otherworldly psychedelic vision that, as promised, does seem to cure what ails, exciting even in its most subdued moments.

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Bad Afro Records

 

Fantasy Arcade, Fantasy Arcade

fantasy arcade fantasy arcade

Initially offered by the band in 2012 and subsequently pressed to a six-song 7” and jewel case CD, the self-titled debut EP from San Diego trio Fantasy Arcade only runs about 11 minutes, but that’s all it needs to bring together punk, thrash, sludge and heavy rock across fuckall-heavy cuts like “The Dwarves are Missing” – the longest song here at 3:38 – and the rumbling finale “Die Before You Suck,” which gallops and shouts and seems to crash into walls on its way out, though drummer/vocalist Adam, bassist/vocalist Chris and guitarist Mike actually do well in deciding when to keep control and when to let it go. More nuanced than it lets on, Fantasy Arcade is an aggressive pulse given to moments of frustration boiling over, but being rooted in metal as much as punk, its dwelling in two worlds gives heft to the freneticism at play, as shown in “Poison Arrow,” the first half of which runs at a sprint right into the brick wall slowdown of its second, and final, minute.

Fantasy Arcade on Thee Facebooks

Fantasy Arcade on Bandcamp

 

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Wheel in the Sky Post Video for “Jezebel”

Posted in Bootleg Theater on December 9th, 2015 by JJ Koczan

wheel in the sky

Do I have any frickin’ idea whatsoever what’s happening in Swedish psych-prog rockers Wheel in the Sky‘s new video? No. No, I do not. Do I think the sometimes-backwards-facing Bird Mask Guy has anything explicitly to do with the track “Jezebel,” which comes from the Uppsala four-piece’s debut LP, Heading for the Night, which is out this week on The Sign Records? Again, no. But the song itself has a kind of post-The Who crispness and sense of purpose to its chorus, and the video is weird as hell, so for right now, I think that’s probably all I need to get me through the sub-four minutes it takes to watch.

“Jezebel” is my first exposure to Wheel in the Sky, who got together in 2014 with the lineup of Einar Petersson, David Berlin, Carl Norman and Daniel Uggla. I haven’t heard the entire record, so I don’t know if the late-’60s pop-psych — with a somewhat darker undertone, thanks I think in no small part to the video — is a thread running across its span, but the single is enough to pique my interest, and it seems unlikely this will be the last we hear from Wheel in the Sky in any case. If you’ll allow me the bad pun — and even if you won’t — they’re just getting rolling.

Yeah, that’s right. Cringe! Cringe at the awful pun! Now let Bird Mask Guy haunt your dreams as he has haunted mine!

Info follows the video below. Enjoy:

Wheel in the Sky, “Jezebel” official video

The psychedelic rockband Wheel In The Sky releases their new video Jezebel. After a one night stand in a damp basement in the spring of 2014 the urge to create something grand was born. Wet, hot and sticky summer nights in the same basement resulted in the debut album called “Heading For The Night”.

“Heading For The Night” will be released by The Sign Records on the 11th of December, but until then you can check out their new video of the song Jezebel.

Wheel In The Sky tells stories. Each song contains echoes of the past as well as visions of the future. “Heading For The Night” takes you on a journey. You will visit the smallest crevices of your mind and you will ride the vast freeways of space. You will encounter murder, religion, madness, sorrow and hate.

The video Jezebel is a first step into the strange and mysterious world of Wheel In The Sky.

Wheel in the Sky on Thee Facebooks

Wheel in the Sky on Bandcamp

The Sign Records

Heading for the Night preorder

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