As they continue to support their new album, Acolyte (review here), Tucson duo Methra have unveiled a new video for the track “Dead Ram.” The clip is apparently a prequel to their last video, which was for the song “Hartley’s Cult,” the title derived from their purported obsession with Peavey amps — something you can see manifest in the wall of them that appears to be in the band’s practice space. It’s a tale of heartbreak, murder, wandering and death-sludge, and front to back it looks like it was an absolute blast to make. Which is as it should be.

That is the prevailing impression I get from Methra at this point, and it was true of the record as well: They sound like they’re having fun. The music lacks nothing for grit — it’s raw, nasty all over the place, even when they touch on a cleaner vocal here or a melodic part there, as indeed they do in “Dead Ram” — but it’s a very specific kind of fun that guitarist Nick Genitals and drummer Andy Kratzenberg are having throughout, like every time the cameras are shut off or the recording equipment is paused, everyone starts laughing. In a realm of music that sometimes seems so averse to enjoying itself on any level, it’s refreshing to see a band doing so with such brazen abandon.

You can check out the video below, followed by some comment from the band. Acolyte is out now on Battleground Records.

Enjoy:

Methra, “Dead Ram” official video

METRHA informs viewers, “Upon completion of our ‘Hartley’s Cult’ music video, we realized the story was not complete. We asked ourselves, ‘WWGLD’ (what would George Lucas do)? The answer was simple; a prequel, with even better(worse) effects. Who was the Acolyte? What drives Him?”

METHRA’s new lo-fi visual production is the unsettling tale of one man’s descent into madness, and rebirth into The Acolyte. In the “Dead Ram” video, a crazed drifter can somehow hear METHRA practice on the other side of town….and he hates it. He’ll take an absurd trek through Tucson’s lesser known architectural wonders on a deadly mission to silence the grating sounds of disgusting music inside his head. This prequel to the “Hartley’s Cult” will horrify you. All stunts were performed with actual landmarks and operational firearms. You have been warned.

Methra on Thee Facebooks

Methra on Bandcamp

Battleground Records website

Battleground Records on Thee Facebooks

[Click play above to stream Nathanael Larochette’s Earth and Sky in full. Album is out July 29.]

First thing to know about Nathanael Larochette‘s solo debut, Earth and Sky, is that it’s actually two albums. Presented across a pair of CDs, one dubbed Earth and the other Sky, the complete offering presents distinct looks between its component parts, as Larochette — the Ottawa-based guitarist known for founding chamber neofolk trio Musk Ox — explores intimate pastoralia via solo classic guitar throughout the six-part initial movement before compiling a massive, 41-minute drone simply called “Sky” for the second. The separation of these two musical personae is worth exploring in itself, and we’ll get there, but the fact that Earth and Sky‘s beginning is fractured, cut up into different pieces — like the land itself — while “Sky” is presented as one larger entity should say something about the conceptual basis on which Larochette is working.

His material is complex, and songs like “Monument” show a bit of the progressive tendency also demonstrated in the likewise new 36-minute single-song full-length from Larochette‘s progressive instru-metal outfit, The Night Watch, even if the project as a whole is more related to Musk Ox for its foundations in quiet acoustic contemplations, just taken to a more pared-back place sonically. “Sky” might be more lush with keys and effects and whatnot, but I’m not sure I’d call the Earth portion of Earth and Sky minimalist in anything beyond its just-guitar, no-vocals arrangement ethic. The textures Larochette brings to life across the six tracks — and really, the seventh as well — remain vibrant and evocative.

Larochette made his solo debut in 2012 with Threshold of Transformation, a 14-track outing melding guitar, glockenspiel, cello, etc. with his own spoken word performance. Obviously Earth and Sky is looking to show a different face these four years later, but a clear expressive undertone comes through nonetheless, bolstered by the clarity of the production and the natural body of the guitar. The presentation is not overblown by any means as “Awaken” slowly takes hold to start the album, but neither is it raw, as the longer stretches of “Oceanic” and the nine-minute “Invocation” demonstrate.

As Larochette weaves the material into and through technically and melodically complex movements without losing the emotional crux underlying, the light reverb on his guitar almost becomes a character in the play. Earth and Sky was recorded and mixed by Simon Larochette in Nova Scotia and London, Ontario, and I’m going to assume that the common last name between Nathanael and Simon is more than just coincidence. Earth and Sky sounds like it was made with a familial touch, and that helps carry through not only the musical flow, but the thematic feel and intricacy of composition as well.

Of course, 37-minutes of solo guitar followed-up by a 40-minute drone exploration is no small ask of an audience, but Larochette meets this fact head on with an easy flow and immersive ambience within his songs, so that when “Slumber” — which no doubt could just as easily have been called “Death” — rounds out the first disc, its sweet wistfulness is no less engaging than was the launch of “Awaken” at the outset. What comes next is the slow unfolding of “Sky,” a departure in form and atmosphere if not entirely in intent. Given that the entire release is instrumental and that its two parts are standalone guitar and an ethereal wash, one might be tempted to combine Earth and Sky‘s pieces, playing both at the same time.

I did precisely that — waiting until “Awaken” picked up about two minutes in before starting “Sky” — and found the impression that both halves made together a deeply rewarding listen. Larochette has referred to the two pieces as “complementary,” but I don’t know if that’s what he had in mind. Even so, with variation of volume and timing, it is another layer of depth added to a work that, on its surface, seems to be simple but ultimately has so much more to offer. Taken on its own, “Sky” brings forward a post-rock sensibility as a central electric guitar figure emerges from the surrounding undulations of tone, but as the two play out together, the experience seems all the more resonant.

Nathanael Larochette on Bandcamp

Nathanael Larochette on Thee Facebooks

Nathanael Larochette website

If you’re wondering to what exactly the title Wider than the Sky is referring, the answer arrives in the new teaser for the album. Set for an Oct. 14 release with vinyl through respected purveyor Svart, the record is the second from 40 Watt Sun, the ultra-melancholic Welsh doom project led by Patrick Walker, formerly of Warning. Wider than the Sky follows the band’s 2011 debut, The Inside Room (review here), which garnered massive, massive praise the world over for its depth of tone and emotionality. Thus far — and by that I mean judging by the 1:46 teaser — it seems the PR wire is right on when speaking of sparser arrangements. It will be interesting to hear what 40 Watt Sun do with the spaciousness they create.

The PR wire brings the album announcement:

40 WATT SUN unveil details of new album, ‘Wider than the Sky’

40 WATT SUN have today unveiled details of their long-awaited second album. Wider than the Sky is the much anticipated follow-up to 2011’s critically-lauded The Inside Room.

Once again self-produced by the band, the new songs were recorded over five days at Giant Wafer Studios, isolated deep in the heart of the mid-Wales countryside.

Wider than the Sky has been an album fraught with delays and difficulties. In a move intended to regain autonomy over their own recordings and future plans as a band, 40 WATT SUN have elected to self release the album via their own label, Radiance Records.

In the spirit of the band’s previous music, Wider than the Sky, is imbued with sweeping, soaring melodies yet sparse, minimalist arrangements. However, eschewing the solidifying wall of sound that characterised their debut, 40 WATT SUN continue to progressively explore and broaden their sonic palette.

As expected, Patrick’s lyrics, strung with aching introspection and pained nostalgia, hang on his characteristic and poignant vocals and delicate guitar lines, with Christian Leitch’s sensitive and nuanced drum-work, and William Spong’s thoughtful bass guitar gently revealing themselves in the folds of the songs.

From the majestic, sweeping melodies of slow-building opener Stages, to the stark bare-boned crawl of Another Room and the vulnerable, plaintive balladry of closer Marazion, 40 WATT SUN have created an album of painfully emotive, low-key rock music; one which shimmers with some of the most evocative, stirring songs Patrick Walker has written to date.

Artwork for the release has been created by Rebecca Freeman, a Falmouth-based, mixed media artist.

Pre-orders of Wider Than The Sky are available via 40 WATT SUN HERE, ahead of the scheduled release date, October 14. A 2LP vinyl edition of Wider than the Sky will also be released through Finland’s Svart Records.

Wider than the Sky
1. Stages (16:20)
2. Beyond You (09:42)
3. Another Room (11:56)
4. Pictures (09:50)
5. Craven Road (10:31)
6. Marazion (03:56)

40 WATT SUN are:
Patrick Walker: Guitars and Vocals
Christian Leitch: Drums and Percussion
William Spong: Bass and Percussion

https://shop.40wattsun.com/product/wider-than-the-sky/
http://40wattsun.com/
https://www.facebook.com/40wattsun
https://twitter.com/40WattSun

40 Watt Sun, Wider than the Sky album trailer

German outfit ZQKMGDZ have signed to Pink Tank Records and made their second album, Orbit Dualkraut, available now to preorder. The band lists their full-name as 10.000 km² Gegen Die Zeit, of which I’m just going to assume translates in their native language to the acronym in question, and made their long-player debut last year with Dimension Plasma. They’ll have Orbit Dualkraut out on Aug. 26 in a number of different editions, CD, vinyl and digital, and it seems each will include some different look from the others, whether that’s in color, longer songs or a bonus track. If you’re going to put a bonus track on your record, by the way, you should probably call it “Space Golem,” which of course ZQKMGDZ do.

From the PR wire:

ORBIT DUALKRAUT is the long awaited second release by ZQKMGDZ. The three guys from Lübeck, Germany are nailing it again with their unique Interstellar Psycho Doom. A fantastic mixture between Stoner-, Psychedelic-, Kraut- and Doom Rock straight outta space. With ORBIT DUALKRAUT Don Alfredo (Warpguitars & Roar) & Don Libido (Subways of Doom) Don Fernando (Spacedrums) made a big step forward. Harder, louder and more angry they crank the fuzz out of their amps.

Release Date:
26th of August 2016 on limited vinyl, cd and digital
Pre-order 1st of July 2016 via Pink Tank Records

VINYL
– 500 copies total all on 180g heavyweight vinyl pressed in Germany
– 200 copies dualkraut green incl. exclusive ZQKMGDZ patch, CD & Poster (Pink Tank Records & band edition)
– 300 copies clear (wholesale edition)
– 350g heavyweight cover

CD
– 700 copies total
– 200 copies exclusive vinyl version
– 500 copies jewel case 4/4 page booklet & BONUS TRACK
– both incl. long versions of Monkraut Jupiter & Ape Apocalypse Monkey Doom

DIGITAL
– long version of Monokraut Jupiter & Ape Apocalypse Monkey Doom
TRACKS:

VINYL:
A:
Plasma Russian – 05:59
Hypergrant – 08:02
Monokraut Jupiter – 06:53
B:
Orbit Dualkraut – 06:05
Ape Apocalypse Monkey Doom – 14:47

CD
01. Plasma Russian
02. Hypergrant
03. Monokraut Jupiter (long version 11:53)
04 Orbit Dualkraut
05 Ape Apocalypse Monkey Doom
06 Space Golem (BONUS TRACK)

DIGITAL
01. Plasma Russian
02. Hypergrant
03. Monokraut Jupiter (long version 11:53)
04 Orbit Dualkraut
05 Ape Apocalypse Monkey Doom

https://www.facebook.com/ZQKMGDZ/
https://10000kmgegendiezeit.bandcamp.com/
http://www.pink-tank-records.de/label-1/the-pink-tank-family/zqkmgdz/

ZQKMGDZ, Orbit Dualkraut (2016)

One could hardly accuse Desertfest Belgium 2016 of playing it subtle. The Antwerp-based festival has upped its stakes considerably this year, bringing in Goat as its first-announced headliner and now adding Red Fang to the bill as the second of three with the third still TBA. Perhaps even more of a consideration are the acts built around these major-force names: Uncle Acid, YOB, Pentagram, Weedeater, Elder and so on, that really demonstrate just how far the festival has come, adding its name to the elite class in a crowded European fall fest sphere.

Red Fang will have their new album out by the time they head over to play. Weedeater, SubRosa, Duel, Black Rainbows and Giobia have also signed on. The PR wire brings details:

RED FANG COMES TO DESERTFEST BELGIUM! Weedeater and others also confirmed

We promised you whopping big news, so whopping big news is what you get!

It is a true pleasure and honour to announce the stoner rock phenomenon RED FANG will be headlining Desertfest Belgium for 2016. As one of the most exciting bands to break out of the scene and into the collective rock community, this is truly a dream come true for us.

Allow us to further blow your excitement level through the roof with another great addition to the line-up: Southern moguls WEEDEATER will be playing the festival as well, along with the oldschool-not-retro heavy heavy psych of DUEL and BLACK RAINBOWS. And with SUBROSA and GIOBIA, we add some truly progressive stoner sounds to the Desertfest mix.

And we’re still not done! We’ll return to you in August with the reveal of our last headliner… we promise it’ll be another mindblower.

RED FANG

How about this for a good omen: Red Fang’s new album ‘Only Ghosts’ drops on the first day of our festival… so what else could we do but try and do our stinking best to get them on board!

And so here they are – the Portlandian stonerockers who have been on the rise since 2005, earning their respect and fame the good old fashioned way: by consistently blowing the mind of whoever witnessed their rifftastic songs, their scorching liveshows, their hilarious videos. Headlining this year’s Desertfest Belgium – you bet your ass we’re psyched!

WEEDEATER

Another scene mainstay that needs no introduction. You know Weedeater’s got the heaviest tone in the business, you know last year’s album ‘Goliathan’ delivered another slab of grooves thick as molasses. You know Dixie Dave will toast us with whiskey and throw up halfway the set from sheer excitement, you know drummer Travis will juggle his sticks a lot. But most of all: you know the gums will be fuzzed straight off your teeth when Weedeater hits the stage.

DUEL

Duel from Austin, Texas bring a brand of stoner doom that is utterly menacing and brutally old school. Hugely influenced by the pure darker sounds of early 70’s Proto-metal, their tunes cut right to the bone with heavy deep groove and a blistering tone. Tough and Loud, Hard rock as it should be!

BLACK RAINBOWS

The Italian Black Rainbows have established themselves as one of the most active fuzz-fueled rock acts in Europe. Blending the drive and swagger of 70’s hard rock with the sun-baked thickness of 90’s stoner rock, their sound could be described as “Hawkwind, MC-5 and Nebula crashing cars in the middle of the Mojave desert”. For proof, look no further than this year’s killer album ‘Stellar Prophecy’.

SUBROSA

Subrosa brings you Ancient Magickal Doom from the bowels of Salt Lake City. Balancing a sludgy low-end and high volume with ultra-melodic folk and experimental elements, the haunting ambience of two electric violins makes this a singular trip that feels emotional, eerie, bleak, and beautiful.

GIOBIA

Hailing from Milan, Giöbia is a celebration of the authentic sixties psychedelic underground, brought to taste with strong shoegaze influences. and sitars, old organs and synthesizers as well as a shitload of effects. A real treat for true lovers of psychedelic music!

https://www.facebook.com/desertfestbelgium/
https://twitter.com/desertfestBE
https://www.facebook.com/events/488174281372335/
http://www.desertfest.be/tickets

Red Fang, “Flies”

The forthcoming LP edition of Swamp Witch‘s The Slithering Bog — out soon on Tribunal of the Axe — isn’t technically a reissue. Though the Californian death-doom outfit’s second full-length was released on cassette in 2015 via Transylvanian Tapes, the new version, mastered for vinyl and encompassing in its atmospheric density such that it makes even the air it fills seem heavier, is the first on a vinyl format. Built of two songs on its first side and four on its second, it’s a record that revels in the seemingly wretched. Cave-echo growls, lumbering riffs, and fervent plod are conjured with a depth of low end that feels sludged in its roots, but has turned to something even more rotten and vicious and crawling, and as the rolling “Strange Cults” leads the way into the trenches that follow, it is the utter hopelessness of the thing that stands out most. It’s like that part of the sea where the fish had to evolve their own light because the sun couldn’t get down that far.

Currently comprised of vocalist James, guitarist Ben, bassist Jacob and drummer Phil, Swamp Witch recorded The Slithering Bog two years ago in July 2014. They made their debut with Gnosis in 2011, but the second album, as it should, expands intensely on the first, digging into more of a classic death-doom style, as heard in the mournful guitar of “Marsh of Delusion,” or the depressive buzz that emerges as “Slither into the Circle” leads off side B. The play from side A to B in the vinyl — moving from longer tracks to shorter ones — isn’t to be ignored, as it signals intent on the part of Swamp Witch essentially to overwhelm their listenership as much as possible at the outset and then move outward stylistically from there. To wit, the snare work on “Slither into the Circle” adds a subtle bounce cutting through all the decay and crash surrounding, and though it cuts the pace seemingly in half (actual percentages unknown), the subsequent “Bayou Tomb” lurches out some of the hugest and most engrossing tones The Slithering Bog has to offer, not necessarily moving away from the other material atmospherically, but expanding the context of the release overall and adding a sense of dynamic to the consistent, obscure ambience.

That context is pretty much set by the time Swamp Witch get down to the closing duo of “Dead Root” and “Lost Symbols,” but especially the latter continues to add layers of personality to The Slithering Bog through some post-Aldebaran or even earlier Novembers Doom-style guitar melody, not quite as emotionally wrought as the latter, and still a good deal rawer in overall approach, but potentially on a like-minded sonic path, though I’m not sure I’d trade the utter brutality of low-end they bring to bear across The Slithering Bog in favor of existential woes — it would obviously depend on how their songwriting continues to develop and the lineup takes shape and/or continues to discover its chemistry. In any case, Swamp Witch‘s second LP carries with it a tome-style impression and so feels worthy of the vinyl treatment it has received. No doubt its plunge will be too deep for many to take, but that’s precisely the intent, and The Slithering Bog lives up to it with artistry and without compromise.

The decaying sounds of The Slithering Bog were captured during July 2014 at Earhammer Studios in Oakland, California by Greg Wilkinson (Brainoil, Annihilation Time, Noothgrush, et al) and mastered at Trakworx in San Francisco by Justin Weiss (Ludicra, Slough Feg, Cormorant, et al). Initially released on cassette last year via Transylvanian Tapes, the collection of nightmare rituals that made this release so necessary and bizarre has finally oozed its way onto vinyl on three color variants (black, purple haze and swamp green) thanks to Tribunal Of The Axe Records who will unleash the offering later this month.

The Slithering Bog Track Listing:
Side A:
1. Strange Cults
2. Marsh Of Delusion
Side B:
1. Slither Into The Circle
2. Bayou Tomb
3. Dead Root
4. Lost Symbols

Swamp Witch on Thee Facebooks

Preorder at Tribunal of the Axe

Tribunal of the Axe on Thee Facebooks

French classic doomers Stonewitch have issued their debut album, The Cross of Doom, via Italian imprint Terror from Hell Records. The album follows the band’s demo and while I can’t profess to having heard the full thing at this point, the opener track “Eerie Valley of the Crimson Planet” seems to nod at NWOBHM gallop en route to Grand Magus-style fistpumping and some Candlemassian doomly sway. They cover Pentagram on the record, and no doubt “Sign of the Wolf” fits well in its surroundings.

It was released last month, so maybe I’m not exactly current on it, but better late than never, and if you’re looking to doom out, here’s this:

OUT NOW – Stonewitch – The Cross of Doom

Stonewitch was created in January 2014 by Aymeric (guitars) and Romain (bass and guitars) as a heavy/doom project. The tracks for the demo “The Godless” were composed by two of them, and they were helped in studio by Serge (vocals), who quickly joined Stonewitch, and Fog (drums) as session for the demo recordings. “The Godless” was recorded at Le Caveau in August 2014 and released in a limited tape edition by the Italian label Terror from Hell Records.

After the demo, Cedric (drums) and Joss (bass) joined Stonewitch as full-time members to complete the line-up in spring 2015, so the band could start to hit the road in September 2015.

In late October, the band returned to the studio Le Caveau for the recordings of six new songs, for 40 minutes of pure doom metal without compromises, “The Cross of Doom” was recorded, and again will be released by Terror from Hell Records in June 2016.

Track List:
1. Eerie Valley Of The Crimson Planet
2. Beyond The Sharp Vine
3. Unearthed (Foes & Woes)
4. Holy Smoke
5. Sign Of The Wolf (Pentagram cover)
6. The Cross Of Doom

https://www.facebook.com/stonewitch.official
http://stonewitch.fr/
https://www.facebook.com/ElektroplasmaMusik
http://www.tfhrecords.com/

Stonewitch, “Eerie Valley of the Crimson Planet”

If you haven’t yet, fans of Spiritual Beggars-style classic heavy rock will probably want to take note of what Positiva are doing on their self-titled third album. Newly issued through Odio Sonoro, the Spanish four-piece’s latest offering has a crisp, organ-laced modernity to its nonetheless classic-minded form, and with two songs streaming in “Get On” and the swaggering “Neverending Lust,” it gives an impression of vibe that leaves little question as to why the band would make it self-titled. They’d be hard-pressed to find better representation, I think.

The following PR wire-style info came through from Odio Sonoro in Spanish, but I fed it through a certain major internet company’s translation matrix. Some of the linguistic intricacy might have gotten lost as a result, but I think it’ll still be enough to get the point across. If not, you can always skip right to the tracks as well:

Positiva: songs advance, cover and tracklist of the new album

At last!!! Positiva has a new album, the third album by the rock band Bilbaína will be unveiled early in July. Ten explosive passages full of energy and passion contained in the studies Tío Pete at the hands of José Lastra. In this last album, entitled the name of the group itself, “Positiva”, collected some of the material created in recent years. With a new lead vocals (Eriz, ex Gilah Monster and Lovercraft) and a single guitar instead of two, the band makes a small difference in structure, maintaining its sound and character with as much or more intensity than before.

“During this transition period, we have worked in privacy, adapting to the new training topics and writing new material with the intention of returning to the stage. This work is the fruit of that work.”

Today, by extra-musical personal reasons, and very reluctantly, the band is inactive, waiting for time to allow them to return to action. For now, Unai (drums) and Julio (guitar, vocals), with the invaluable help of José Odio Sonoro, will present his latest album enthusiastically: “Positiva”.

1.Lonely Man
2.Get On
3.Neverending Lust
4.Leave Me Alone
5.Hazy Town
6.Trapped In Body & Soul
7.Icarus
8.Hard To Stay
9.Trace Back Your Steps
10.Glory Hole

Julio Ruiz – guitar, vocals
Unai G. de Kortazar – drums, backing vocals
Eriz de la Fuente – lead vocals
Txetxu Aguado – bass, backing vocals

Additional keyboards on tracks 2, 4 and 10: Jose Lastra

https://www.facebook.com/POSITIVA-183772025431/
https://odiosonoro.bandcamp.com/album/positiva-positiva
http://www.odiosonoro.com
https://odiosonoro.bigcartel.com/

Positiva, Positiva (2016)