There’s no audio to go with this post. I even looked for some crappy YouTube clip of Calgary’s Gone Cosmic, who played their first show last May and are set to deliver their full-length debut, Sideways in Time, April 9 through Kozmik Artifactz. Nothing there either. So I guess you’re gonna have to take my word for it this time. I’ve heard the record. I probably wouldn’t post about it otherwise, though the cover art is plenty nifty, a Kozmik Artifactz release comes with a fair amount of trust behind it and the band has members of Chron Goblin involved, so okay, yeah, maybe I would post about it anyway.

But I don’t need to. I’ve heard the record. It’s right on, and once some audio does get out from ahead of the Springtime release, as audio invariably does in this track-premiere-minded universe, I have little doubt you’ll agree. But it’s early, so we’re not there yet. The galaxy wasn’t built in a day. You gotta be patient with this stuff sometimes.

In the interim, here’s that cover and a likewise nifty band bio, plus links where you can keep an eye out:

Gone Cosmic – Sideways in Time – April 9

Sideways In Time, the debut album from Gone Cosmic, was recorded in September 2018 at OCL Studios. Produced, recorded and mixed by Josh Rob Gwilliam, Sideways In Time is a diverse and ambitious first release navigating the celestial highs and primordial lows of gravity-defying anthems. Hypnotic psych-rock pulses meet electromagnetic solar-powered soul on feature tracks such as pummeller ‘Deadlock’, galactic trip ‘Misfit Wasted’, and interstellar odyssey ‘Faded Release’.

Championed by a soaring songstress Abbie Thurgood (The Torchettes), whose boldly evocative tones recall Skunk Anansie chanteuse Skin and Alabama Shakes’ Brittany Howard, and accompanied by an agile and aggressive psych-rock outfit, composed of guitarist Devin “Darty” Purdy (Chron Goblin), bass player Brett Whittingham (Chron Goblin), percussionist Marcello Castronuovo (Witchstone), Gone Cosmic has carved out an expansive domain that stretches from sweltering Southern sludge pits to breath-stealing sonic spacewalks.

A blood (orange)-scented breeze that bows the trees, Gone Cosmic chases the infinite haze from the skies and puts it right back in your eyes. Groove-mining breakdowns become the stuff of legend as the four pieces’ floor-thudding tail kick and hellfire halo holler originates a whole that is far more potent than the sum of its individual elements. Meet your new astromancers, the phase-shifting and hard-rocking force that channels the empyreal sounds of heaven on Earth.

Tracklisting:
1. Dazed
2. Deadlock
3. Siren
4. Faded Release
5. Turbulent
6. Misfit Wasted
7. Bear The Weight
8. My Design

Gone Cosmic is:
Abbie Thurgood
Devin Purdy
Brett Whittingham
Marcello Castronuovo

https://www.facebook.com/gonecosmic/
https://www.instagram.com/gonecosmic/
https://gonecosmic.bandcamp.com
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Press (or click, as it were) play on Tunic‘s debut album, Complexion, and the assault is immediate. The Winnipeg three-piece of guitarist/vocalist David Schellenberg, bassist Rory Ellis and drummer Sam Neal (since replaced by Dan Unger) open the 11-track Self Sabotage Records offering with “Nothing Nothing,” and the will to pummel is right there, right up front, and no less visceral than the shouts that top the tense and angular riffs. Shades of post-hardcore and noise rock come together in the spirit of cooperative aggression, and the clenched-fist, gritted-teeth riotousness only abates after the initial salvo of “Nothing Nothing,” “Envious,” “Getting Sick” and “Evan” leads to “Sand,” which even though it’s 56 seconds of feedback, still feels like a respite by the time it arrives. Punch punch punch, kick kick kick, ouch ouch ouch.

“Dry Heave,” for which the band has a new video premiering below, is the centerpiece of this quick-moving monument to disaffection, and at 3:06, it’s also the longest song on Complexion. They use that “extra” time relative to most of the other tracks in order to open up the proceedings of the verse a bit and let the drums hold the tension along with the bass as the guitar comes and goes. II don’t know if the vocals there have extra bite or not, but the fact that they’re not coinciding with a rush of guitar certainly makes it seem that way, and the finish — especially with the striking image of the three of them ducking under water — feels particularly troubled, whether or not it may have been meant to convey the sensation of dry heaving. Side B picks up with “Blessed,” which kicks the guitar into emergency-mode quickly, and resumes the cacophonous spirit into the sharp corners of “Empty Hands” (second longest at 3:02), which slows down somewhat but builds to a violent wash of crash at its finish. After the interlude “Paper,” the closing duo of “Pores” — which, of course, includes some guest sax — and “Frontal Lobe” round out with a reaffirmation of the prior intensity and the skillful control with which it’s been wielded all along.

While Neal double-times the hi-hat, Schellenberg spaces out the guitar a bit at the end, but of course by then Complexion‘s foremost impression is set in the scathe elicited earlier. There’s method behind it, though, and wherever it might reside in terms of genre, the passionate underpinning in the record makes Tunic‘s intention toward catharsis plain to hear. You might get out of breath, and it might be because you’re trying to keep up, but even if they run circles around you, understand that there’s a reason they’re doing so.

European tour dates have been announced and can be see in the poster under video player below, as well as a couple Midwestern US shows listed. Album is out Feb. 8, and you can read more about it in the PR wire info that follows.

Enjoy “Dry Heave”:

Tunic, “Dry Heave” official video premiere

Tunic is born of spite. After years of touring someone else’s bass lines across the globe, David Schellenberg was told he wasn’t good enough. So he did the only logical thing: buy a guitar, quit your long-time band, and abandon everything you think you know about music. Armed with no skill and a blissfully ignorant embrace of discordant noise, Schellenberg started crafting songs, quickly enlisting childhood acquaintance Sam Neal on drums and roommate Rory Ellis on bass.

Over the past 4 years and half a dozen d.i.y. releases, tunic has managed to unleash and tame their unique blend of noise rock and hardcore. Relentless touring has taken them across Canada, Europe and the States, filling clubs, basements, and abandoned prisons with noise. The band released the single “Teeth Showing” on Toronto’s Buzz Records in 2018, which they toured with new drummer Dan Unger.

Tunic’s debut album “Complexion” was recorded in six days in their hometown of Winnipeg, Manitoba with Montreal-based engineer and producer Jace Lasek (Suuns, Land of Talk, Wolf Parade). Complexion picks up where previous releases left off; 11 songs of feedback-laden filth laid over churning blows of drum and bass. Harsh verses about hurting those you never meant to hurt; choruses that sever ties where you never thought you had to. This is unconventional hardcore. This is broken indie rock. This is naïve art.

Tunic live:
Feb 1, 2019 – The Handsome Daughter, Winnipeg, MB, CAN
Feb 11, 2019 – Magasin 4, Brussels BE
Feb 13, 2019 – Le Cirque Electrique, Paris FR
Feb 14, 2019 – Raymond Bar, Clermont Ferrand, FR
Feb 15, 2019 – Le Farmer, Lyon, FR
Feb 16, 2019 – Joe Koala, Bergamo, ITA
Feb 18, 2019 – Freakout, Bologna, ITA
Feb 19, 2019 – Osteria Al Castello, Chiuppano, ITA
Feb 20, 2019 – Magazzino Paralello, Cesena, ITA
Feb 21, 2019 – Eterotopia, San Giuliano Milanese, ITA
Feb 22, 2019 – G.O.B., Viareggio, ITA
Feb 24, 2019 – 100-as Klub, Budapest, HU
Feb 25, 2019 – Dvorana Gustaf, Maribor, SLO
Feb 26, 2019 – Fluc, Vienna, AU
Feb 27, 2019 – Eternia, Prague, CZ
Feb 28, 2019 – Bajkazyl Brno, Brno, CZ
Mar 01, 2019 – Ann and Pet, Linz, AU
Mar 02, 2019 – Alte Hyovereinsbank, Oettingen, DE
Mar 03, 2019 – Secret show, Sulzbach-Rosenberg, DE
Mar 04, 2019 – Dynamo, Zurich, CH
Mar 07, 2019 – Capri Bar, Breman, DE
Mar 09, 2019 – Le Petit Bitu, Namur, BE
Mar 13, 2019 – SXSW, Austin, TX
Mar 14, 2019 – SXSW, Austin, TX
Mar 15, 2019 – SXSW, Austin, TX
Mar 16, 2019 – SXSW, Austin, TX
April 16, 2019 – 7th Street Entry, Minneapolis, MN*
April 17, 2019 – Vaudeville Mews, Des Moines, IA*
April 18, 2019 – Gabe’s, Iowa City, IA*
April 19, 2019 – Art-in, Madison, WI*
April 20, 2019 – X-Ray Arcade, Milwaukee, WI*
* w/ Blessed

tunic on this record is:
Rory Ellis
Sam Neal
David Schellenberg

Tunic on Thee Facebooks

Tunic on Instagram

Tunic website

Self Sabotage Records on Bandcamp

Self Sabotage Records website

A couple different things to catch the eye here. First, Shadow Frost Music & Arts Festival is put on by the same crew that does Shadow Woods, which means Mary Spiro curating, which means it’s going to be a good lineup. Second, kids under five in free. Being that The Pecan will be headed to 2.5 by the time Feb. 2020 comes around, I can’t help but think it might be fun to pop some industrial-strength noise-canceling headphones over his tiny little ears and take him to his first underground rock show. Gotta keep an eye on the lineup as it comes together, and you’ll note that we’re a year out from it at this point, which is how you put together a festival: well in advance. But of course the Shadow Woods folks know this well.

Dates and advance ticket info came down the PR wire. Lineup to come:

SHADOW FROST MUSIC & ARTS FESTIVAL: First Annual Two-Day Indoor Winter Event To Take Place In February 2020; Early Bird Weekend Passes Available February 1st, 2019

Shadow Woods Productions, LLC, is pleased to announce the inaugural SHADOW FROST MUSIC & ARTS FESTIVAL, Maryland’s exclusive indoor winter gathering featuring more than a dozen rock and metal bands, games, workshops, art, vendors, fun, and of course a pool party from Friday, February 21st through Saturday, February 22nd, 2020 at the Clarion Inn and Event Center in Frederick, Maryland. Shadow Woods Productions is the creator of Shadow Woods Metal Fest, which operated a multi-day camping and music fest from 2015-2018.

The curated lineup of performers and a complete schedule for SHADOW FROST MUSIC & ARTS FESTIVAL will be announced in the coming weeks. As with past Shadow Woods events, the lineup for Shadow Frost will be by invite only and come from the best of the underground music scene. Please note, the festival organizers are NOT accepting applications for bands to play. Follow the Shadow Frost Music & Arts Festival Facebook page at facebook.com/events/319480581997089/ for updates.

TICKET/LODGING INFO:

Early Bird Weekend Passes – $69
This is for weekend ADULT event pass. This is an event ticket only for ages 18+. These limited tickets will go on sale February 1st, 2019 at noon eastern and be available through February 23rd (or until sold out). Visit https://shadowfrost2020.bpt.me for further info. Additional ticket types will be available in March.

VIP King Suites – $350
Only Four Rooms Available; You must be 21+ to reserve a room.
Live large for Shadow Frost with one of only four available luxurious second floor corner king suites at the Clarion Inn, complete with a refrigerator, microwave, king-sized bed, and sleeper sofa. The quarters are suitable for up to four people or keep it romantic with just two! The price includes two $20 vouchers for Shadow Frost merch and a welcome bag of goodies. Please note, pricing is for a two-night room stay. The event ticket is sold separately. Visit https://shadowfrost2020.bpt.me for further info.

Additional rooms – king, queen, double queen and double double — will be available after February 21st. The hotel is dog-friendly. Follow the Facebook event page for further updates.

SHADOW FROST MUSIC & ARTS FESTIVAL is ALL AGES however tickets for attendees under 17 will only be sold at the door with a paid parent or guardian on premises. Kids under 5 get in free with paid parent or guardian.

https://www.facebook.com/events/319480581997089
https://shadowfrost2020.bpt.me

Witch Hazel, Live at Shadow Woods IV

So I was like, “Hey Heavy Temple, you’re awesome, how about a recording update on that new album you announced a while back?” and Heavy Temple was pretty much like “Buzz off, weirdo. It’ll be done when it’s done.” Then they punched me — all three of them, in a kind coordinated yet not rehearsed-seeming motion — in the belly and I fell over and they laughed and went about their business making beer collaborations with Oliver Brewing Company, touring to SXSW where they’ll play with Conan and a bunch of others, and indeed getting ready to burn all in their path with the aforementioned long-player, whenever it might show up. It’s all detailed in my forthcoming 35,000-word tell-all, That Time I Got Bullied by Heavy Temple. It’ll be published through Knopf this Spring.

Actually, in my experience, the members of Heavy Temple are all very nice. There was no bullying involved, just me being a dork and being like, “Hey, it’s been 15 minutes, is your album done yet?” and High Priestess Nighthawk being like, “Hold your horses, nerd boy.” Fair enough.

It’s cool they’re playing the Decibel Metal and Beer Fest in Philly, and it’s cool they’re doing Grim Reefer in Baltimore, but it’s easy to imagine them really making an impression as well at SXSW and that’s only going to help them in the longer run. You can see the art for their American Red Ale below — it’s called “In the Court of the Bastard King” — and mark your calendar appropriately for the tour dates.

Have at it:

Austin, we’re coming for you! Playing with some old friends and in some new places this time. See ya soon!

We’re excited to be playing Day 2 of the Decibel Magazine Metal & Beer Fest!! In addition, Oliver Brewing Company will be making a special Heavy Temple beer for all of yous.

Final artwork for our beer collabo with Oliver Brewing Company !! “In The Court of the Bastard King” is appropriately an American red ale that ties in nicely with “Chassit” and it’s inspiration, “The Dark Tower”. Art by David Weston Gregory and appearing at the Decibel Magazine Metal & Beer Fest.

Heavy Temple Rides to SXSW
March 2019
03.12 Skylark Social Club Charlotte NC
03.13 JJ’s Chattanooga TN
03.14 Spiderhouse Austin TX Wicked Bad Presents SX Stoner Jam
03.15 The Lost Well Austin TX Northwest Hesh Fest & Austin Terror Fest Present…
03.16 Freetown Boom Boom Room Lafayette LA
03.17 Green Lantern Lexington KY

04.14 The Filmore Philadelphia PA Decibel Metal & Beer Fest
04.20 The Ottobar Baltimore MD Grim Reefer Fest

Heavy Temple is:
High Priestess Nighthawk (low end and vocal power)
Siren Tempest (rhythm)
Thunderhorse (6 string axe slinger)

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com
https://www.van-records.de/
https://tridroid.bandcamp.com/album/chassit

Heavy Temple, Chassit (2017)

In the time since the release of their 2017 self-titled debut album, Ukrainian psychedelic rockers — that’s not to say ‘neo-psych,’ because if you’ve been paying attention, it’s not really ‘neo’ to you — have swapped bassists and shifted from a four-piece to a trio, losing their second guitarist. One might expect their three-song offering for Robustfellow Productions, Beware, Dark Lord! Here Comes Bell-Man, to be somewhat rudimentary as founding guitarist/vocalist Artem, founding drummer/vocalist Marina and bassist Vova, who is not the same Vova who played on their 2012 debut EP, move forward following this period of reconstruction. Well, if you want to be technical about it, it is, but when factoring in the band’s penchant for classic garage rock, a bit of rawness should well be part of the aesthetic. Their material nonetheless offers an expanse of naturalist tonal reach and periodic turns to more volatile noise. Oh, and fuzz. Fuzz for days.

The latter shows itself after a quick introduction on opener “Dark Lord,” and a shoegazing melody tops in blown-out fashion as the tube-popping riffery takes hold. There’s a flourish of keys to be found in the second half of the song, but Straytones effectively bring “Dark Lord” toward and through a wash of tweaked out noise in the span of its four minutes, with enough time leftover to let the track devolve into buzzing amp feedback at the end before swirling directly into the synth and bass that starts “Abyss,” which is 1:20 long and basically a weirdo-atmospheric transitional moment between the two longer pieces. “Bell-Man” brings in more driving and direct bass — plus a lead layer overtop — and Marina‘s lead vocals, caked in space echo and meshing with a fervent dive into noise that speaks to acid psychosis and holds an improvised spirit even as her own drums continue to keep solid time beneath. Things settle momentarily to let the band catch their breath before the final outward thrust that leaves consciousness behind, and they make their way out on a fittingly ultra-tripped-out turn.

All well and good, but you’re wondering about the title, right? Fair. Going from the band’s comments below, I’m guessing that at some point when they were bundled up against the winter cold in Kiev, Straytones were making fun of how each other were dressed and the characters Dark Lord and Bell-Man were born. Inspiration can come from anywhere. And kudos to them for taking it a step further and bringing the characters to life in a forthcoming two-part cartoon video what will use the songs on Beware, Dark Lord! Here Comes Bell-Man as its soundtrack. I for one look forward to seeing their costumes, though if the EP’s cover art is anything to go by, it’s going to be way less Saturday-morning-cartoon and way more brain-melting-freakery. I’ll take it either way.

The EP will be out digitally Feb. 22 through Robustfellow and the label was kind enough to give me permission to premiere “Dark Lord.” If you’re up for the ride, you’ll find it on the player below, followed by the release announcement.

Please enjoy:

The third release of Ukrainian finest psychedelic rock outfit Straytones will be distributed via Robustfellow Prods. digitally on the 22nd of February. Following their self-titled album, which was released in the beginning of 2017 and gained many positive reviews in Ukraine and beyond, the new EP demonstrates the band’s masterful knowledge and progression in the psychedelic rock realm.

Remarkably, the EP will be supported by a two-series cartoon music video born of the story that’s uncovered throughout the release. Band members comment:

“The joke about the winter outfits of Straytones band members turned into the idea about two cartoon characters and that’s exactly how the Dark Lord and the Bell-Man came into being. We wrote songs and created a cartoon music-video to uncover a story of an evil mastermind Dark Lord who obtains a powerful artifact and travels to meta-space to become invincible. Eventually he gets overpowered by the Bell-Man whom he encounters there. Mind-bending music combined with a video is a trip to enjoy!”

The EP will be available via all major digital outlets including iTunes, Spotify, Google Play etc.

Straytones on Thee Facebooks

Straytones on Bandcamp

Robustfellow Productions on Thee Facebooks

Robustfellow Productions on Bandcamp

Robustfellow Productions on Twitter

Robustfellow Productions on Instagram

Moscow-based four-piece IL recently issued their latest two-song EP, Void Shape, and it’s a pummeler. Comprised of just two songs, it nonetheless tops 18 minutes in length and is chock full of screamy sludge malevolence, ultra-oppressive atmospherics and a pervasive sense that all is not, in fact, going to be okay, but that perhaps instead we’ll all simply freeze and/or burn to death depending on presumably a number of wrong choices made along the way. Hence “Coldness” and “Flame” positioned back to back on the release, the one noisier than the other, and a brutalism winding through both as a uniting factor and simple statement of intent on the part of the band. Extremity takes any number of shapes, and IL‘s sound proves likewise malleable.

The band have two full-lengths and a swath of splits and other short releases available to dig into at their Bandcamp page, so if you’re looking to demolish your good mood, they’re well up to the task. They’ll head to the UK in March to do a few dates in England, including Dreadfest with a bunch of like-minded destroyers.

PR wire has it thusly:

From the icy tundras of Russia come IL – who will be embarking on their first UK tour in a couple of month’s time in association with Holy Spider Promotions.

Grim, trve sludge from Moscow, the band supported Conan on their recent Moscow date and released Void Shape last week via their Bandcamp.

The band have five dates in England, including an appearance at Dreadfest in Leeds alongside Wormrot, Rotten Sound and many more big names.

With plenty of releases under their belt already and a punishing live show, England is in for a deliciously dark treat.

March 22nd – The Dev, London
23rd – The Harley, Sheffield
24th – Temple of Boom (Dreadfest), Leeds
25th – Trillians, Newcastle
26th – The Square Centre, Nottingham

IL is:
Vlad – guitar/vocals
Nikolay – bass
Anton – drums
Andrey – guitar

ildoom.bandcamp.com
facebook.com/ildoomband
instagram.com/ildoomband

IL, Void Shape (2019)

Not really a surprise. Baltimore’s Black Lung have been working hard at honing their craft since their 2014 self-titled debut, touring at home and abroad, and as they’ve already released through Noisolution, picking up a release from Ripple Music as well just kind of makes sense for where they’re at as a band. Ancients will be their third long-player behind 2016’s See the Enemy (review here) and though the three-piece fronted by guitarist/bassist/vocalist Dave Cavalier had a split with Germany’s Nap (review here) in 2017, this will mark the first offering from the band since guitarist Adam Bufano and drummer Elias Schutzman played their final show last year with The Flying Eyes at Freak Valley in Germany. Bottom line, if I was Ripple Music, I’d have signed them too. It was time.

They’re giving a quick sampling of what Ancients portends in a teaser clip that you can see below, courtesy of the PR wire:

Maryland Doom Trio BLACK LUNG (feat. ex-FLYING EYES members) to release ANCIENTS on RIPPLE MUSIC

Ancients is released on 8th March 2019 on Ripple Music (North America, Asia and Australia) and 22nd March on Noisolution (UK and Europe)

Black Lung emerged from a brutal Baltimore winter back in 2014, and from that emergence they arose victorious, wielding a trademark Maryland Doom-influenced balance of melody and power. With that vital underpinning, Adam Bufano and Elias Schutzman (founding members of The Flying Eyes), along with multi-instrumentalist Dave Cavalier, crafted a sound heavy on volume that pushed hard into experimental territory. In lieu of a bass guitarist, the three opted for an unusual setup with a sonic palette defined by a multitude of amps, drop-tuning and copious effects.

Named Best New Band by the Baltimore City Paper in 2015 with the release of their self-titled debut, Black Lung embarked on their first European tour that same year, taking in a performance at the Rockpalast Crossroads Festival on German national television. Subsequent European tours followed shortly after as the trio hit festivals such as Freak Valley and DesertFest Belgium, playing alongside the likes of Graveyard, Dead Meadow and All Them Witches. Upon returning to the US the band bed themselves back into the studio to record their follow-up album, 2016’s See The Enemy, with J. Robbins, guitarist and frontman for post-punk icons Jawbox, and producer of albums by noted bands such as The Sword and Clutch.

After several years writing songs while touring the world and back again, Black Lung return this March to release their most ambitious work yet. Produced by Frank “The Punisher” Marchand (producer of The Obsessed’s Sacred), new album Ancients is without question, a force to be reckoned with.

“The title is a reference to the ancient powers of the natural world, as seen in the album artwork and the lyrics of a song like ‘Badlands’. We embrace and pay homage to these forces while also rejecting the antiquated ideals of an old, white, conservative part of society that wants to drag us back into the past and away from the progressive values we believe in. We were searching for a sound that captured the clarity of the instruments and voice, without losing any of the heaviness that is Black Lung, and Frank really helped us achieve it. “

Ancients is released on 8th March 2019 on Ripple Music (North America, Asia and Australia) and 22nd March on Noisolution (UK and Europe)

Pre-order the album HERE: https://www.ripple-music.com/

Tracklisting:
1. Mother of the Sun
2. Ancients
3. The Seeker
4. Voices
5. Gone
6. Badlands
7. Vultures
8. Dead Man Blues

BLACK LUNG:
Adam Bufano – Guitar
Dave Cavalier – Vocals, Guitar, Bass
Elias Schutzman – Drums

https://www.facebook.com/blacklungbaltimore
https://blacklungbaltimore.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/
https://www.facebook.com/noisolution/
http://www.noisolution.de/

Black Lung, Ancients teaser clip

Black Lung, “Strange Seeds”

[Click play above to stream ‘Let the Devil In’ from Green Lung’s Woodland Rites. Album is out March 20 on Kozmik Artifactz.]

London’s Green Lung announced themselves with the 2017 single, Green Man Rising (review here), and have worked quickly since to distinguish their sound from the bulk of the UK’s nigh-on-saturated heavy underground. Through last year’s Free the Witch EP (review here) and now their Kozmik Artifactz-issued debut full-length, Woodland Rites, the five-piece unit have worked efficiently to develop a stylistic take drawing from classic rock and metal as well as nature-worshiping Britfolk, garage doom, goth rock, solo-era Ozzy, as well as contemporary countrymen standouts like Alunah, Elephant Tree and even Uncle Acid and the Deadbeats, the latter of whose influence can be heard in the creative vocal arrangements of frontman Tom Templar.

With a steady stream of organ lines from John Wright alongside Scott Masson‘s guitar, Andrew Cave‘s bass and Matt Wiseman‘s drumming, Green Lung offer righteousness of performance and put songwriting first throughout and draw thematically from pagan-style horror films in the lyrical play between sex, nature and evil, but manage to avoid a trap of misogyny that most of those films didn’t, and as the opening salvo of “Woodland Rites” and “Let the Devil In” gets underway in picking up from the intro “Initiation” — the beginning quiet guitar of which proves crucial in setting the atmosphere for what follows — the point of view of the lyrics remains more about ritual than discrimination. The choruses of songs like “The Ritual Tree” and “Call of the Coven” and even closer “Into the Wild” are catchy, and not unfortunately so for what they’re actually saying. Even the willfully sleazy nunsploitation hook of “Let the Devin In” — “Sister, you’ve been told that making love’s a sin/Open up your heart and let the devil in” — manages to capture the spirit of the grainy cinema from which it derives and periodically samples audio while leaving behind a dated objectification. This is but one element working to the advantage of an early contender to stand among 2019’s best debut albums.

And at no point throughout Woodland Rites‘ witch-rocking eight-song/42-minute run is craft sacrificed to theme one way or the other. Masson offers several solos that are marked accomplishments in and of themselves, including that in the apex of the penultimate “May Queen,” which is well plotted and complemented by Cave‘s bass and Wright‘s work on keys, but even beyond those performances or that of Templar across the earlier cuts or closer “Into the Wild,” there’s an overarching thoughtfulness to the LP’s construction that speaks to a specific intent on the part of the band. Its tracks break cleanly into two four-song sides, but more than that, each side has a progression of its own and a function that makes the entire album stronger while clean and clear in its own mission.

Each works its way toward its longest song in “The Ritual Tree” (6:49) and “Into the Wild” (6:51), respectively, and while this is nothing new, tapping into classic elements of sound and structure is part of the point stylistically. In addition, the movement from “Initiation,” which comes across an awful lot like something that might be played to introduce the band live, directly into the “Oh lord yeah!” that starts the title-track and through “Let the Devil In” to the end of side A with “The Ritual Tree” is not only fluid, but based around a quality of memorability in the material that conveys a sense of mood and ambience without giving up its direct impact. Wiseman‘s crash in “The Ritual Tree” is no less a standout than the melody that accompanies, and as the organ fills out that melody, Templar sounds smooth and comfortable over the rolling progression in a way that for many vocalists would prove awkward.

Going by a classic side A/B dynamic, the first half of Woodland Rites would be the place where the up front is upfront, and the second where they then branch out and expand their overall reach. The whole record is a multifaceted showcase of progression, but indeed, Green Lung follow the pattern and shift in side B from “Templar Dawn” and the Sabbath-swinging “Call of the Coven” to the mellowing out that happens in the first stretch of “May Queen,” which flows easily into its swell of volume before it hits its midsection, only to recede in the second half for another verse and rise again as it rounds out. This is a marked change of structure from what’s come before, and it signals not only the intended growth on the part of the band and their bringing that to bear, but their ability to work in multiple songwriting contexts and still maintain their sense of composition. Further, “May Queen” feeds directly into the initial riff of “Into the Wild,” which is tasked with summarizing the proceedings and lives up to that ably while pushing further and highlighting the promise so present in what Green Lung are doing. Another excellent guitar lead begins to draw the closer down, and “Into the Wild” ends somewhat suddenly but with a considerable impression that the band know that and are doing it on purpose.

The message there, and indeed of the album as a whole, would seem to be that Green Lung aren’t actually finished — which is fortunate. As quickly as they’ve cohered their take on heavy and found a recording partner in Wayne Adams of Bear Bites Horse Studios — who also helmed the EP — to bring their vision forward, I wouldn’t predict where they might go in terms of following-up their debut, but Woodland Rites is a significant opening statement for them to make, and if they have it in them to do the gritty work of honing their approach, could be well en route to a marked individualism that, in complement to their songwriting, is the stuff of something truly special. But as much as it’s an exciting showcase of what could be, and as much fun as it is to think of what Green Lung might go on to accomplish, it’s worth recognizing that wouldn’t be the case were Woodland Rites not as strong and as complete an offering as it is.

Green Lung on Thee Facebooks

Green Lung on Instagram

Green Lung website

Green Lung on Bandcamp

Kozmik Artifactz website

Kozmik Artifactz on Thee Facebooks