I recently had reason to go back and pop on Geezer‘s first record, Electrically Recorded Handmade Heavy Blues. And I’ll be honest, it’s probably the most I’ve dug into it since it was released in Sept. 2013. Maybe it was the fact that I’d just moved out of the New York region, where they’re from, and the last thing I needed was another thing to be bummed about leaving behind. Maybe it was the fact that Bandcamp was just really starting to come up as an outlet for heavy music and it seemed like every band with a “stoner rock” tag was being mega-hyped on social media as the next Whoever.

Maybe I wasn’t feeling guitarist Pat Harrington‘s gravelly vocal approach — which can sound at first glance like a put-on, but I tell you as someone who’s had extensive conversations with the man, he’s no less ‘whiskey-soaked’ when you’re quietly chatting about your kids than he is on “Full Tilt Boogie” here — or lyrics like “You’re such an evil bitch” in opener “Planes, Trains and Automobiles” and “My girl is built like a pony/Long legs and curves that ain’t phony” on “Pony,” which only lace one of the catchiest slide guitar riffs I’ve heard in the last 10 years with a fervent eyeroll even now as I’ve come to appreciate Electrically Recorded Handmade Heavy Blues on an aesthetic level, for its songwriting, and for its subtle hints at the band that Geezer would become.

At the time, they were comprised of Harrington, bassist Freddy Villano and drummer Chris Turco, and their stock-in-trade was indeed a heavy blues rock marked out by rolling grooves and the use of slide guitar — something Harrington has pulled back on in years since, possibly as he’s grown more confident in working without it and the band has changed direction — but from their bouncing cover of The Beatles‘ “Why Don’t We Do it in the Road” to the mellow post-Clutch‘s “The Regulator” twanger “Rain on the Highway,” to “Underground” and the penultimate shuffler “I Just Wanna Get High with You,” which boogie enough between them to remind that the blues can be a party as much as it can be anything, their early work reaches beyond those simple stylistic confines. Or at very least it pushes the limits of expectation for them.

Villano and Turco would both eventually be out of Geezer, but the three-piece had a chemistry that worked well and sounded natural throughout Electrically Recorded Handmade Heavy Blues and their subsequent offerings together, and that dynamic is clearly established in these 10 songs. For the title and cover art’s speaking to an earlier era of recorded music — too bad I don’t think a 78RPM platter can hold a 39-minute release, otherwise a limited reissue pressing could be a lot of fun; maybe a double-78 just for kicks and collectors? — the production is never especially retro sounding, but the tracks still come though with enough energy to carry their largely comfortable tempos and there’s enough range between them that Geezer give a showing of character and craft that, had I done a list of 2013’s best debut albums, probably would’ve deserved to be on it.

But that’s hindsight, and of course informed by my experience with the band since as well as the group they’d become. I had seen them and written positive things about their 2013 Gage EP (review here) that would become an STB Records LP (review here) in 2014 — so it’s not like they were completely off my radar — but I just kind of missed out on Electrically Recorded Handmade Heavy Blues when it came out. I tell you all the time I suck at this. It ain’t like Pokemon. You can’t catch ’em all.

Not yet is mentioned six-minute closer “Still a Fool,” and that’s on purpose. It’s about a minute and a half longer than the next longest track, and something of a standout as well as very purposefully placed where it is on the record. It starts out with an up and down riff and Harrington‘s vocals, talking about back-door-creepin’ on someone else’s wife or some such, and resolves itself in a blues rock cacophony worthy of any ’70s comparison you want to make for it — MC5, Cactus, Zeppelin, doesn’t matter who — before capping off as a gig might. In so doing, Geezer sends advance notice of a skill that would emerge in their sound over subsequent offerings, including that Gage LP the next year, and that is the jam.

Ah, the jam. Take a breath. In. Out. The jam.

As the band began its gradual shift in lineup, it was the jam that would begin to emerge as the dominant force within their sound, and it was through the jam that Harrington‘s true persona came through on guitar. Gage and the Live! Full-Tilt Boogie tape (review here) in 2014 showed more flashes of it, and their 2015 participation in Ripple Music‘s The Second Coming of Heavy split series (review here) alongside D.C.’s Borracho led into their 2016 self-titled LP (review here), their second proper full-length, that really marked their arrival as something more than an object of temporary social media interest.

Now signed to Ripple, they brought that bluesy sound with them as they veered into more psychedelic and melodically adventurous fare, balancing songs and extended explorations in a way that successfully captured their live spirit with studio clarity. 2017’s Psychoriffadelia (review here) followed and built on that principle, and early 2019’s Spiral Fires EP (review here) on Kozmik Artifactz not only kept the momentum and progression going, but tested the waters with drummer Steve Markota alongside the longer-set pairing of Harrington and bassist Richie Touseull. And “waters” is the right word for the fluidity they were able to conjure between the three of them.

Nonetheless, the reason I had for going back and finally giving Geezer‘s debut long-player its due was that in 2020 the band — Harrington, Touseull, Markota — will release another new album that they’ve been working on throughout 2019. I’m not saying I’ve heard any of the tracks or anything, but I will say there’s a good chance it marks another significant forward step in their ongoing sonic evolution and features some of their best and most developed songwriting to-date. I have no release plans or details to share, but consider it something to look forward to, even as you look back at their first record.

As always, I hope you enjoy.

—

Yesterday was Thanksgiving here in the US. Like just about everything in this country — including the country itself — its history is racist and horrifying. Hi, colonialism.

Turkey was good, family time was even better. My Jersey crew and The Patient Mrs.’ Connecticut crew (plus a rare but crucial appearance from the Maryland blood-relative branch) all got together up in CT and we went up with The Pecan on Wednesday, stayed over and then were there until after dinner and at least the first stage of cleanup on Thursday before getting in the car so the kid could fall asleep on the ride and then just basically be thrown in bed. It was good.

I’ve slept an extra hour the last few days, waking up at 5 instead of 4AM. It’s been good for my rest level, bad for productivity. My disposition is still shit either way, so, you know, I might as well at least do what I need to do to get done what I need to get done. Head down, keep working.

Like now. It’s 9AM. I just put up that Roadburn post — actually just got to write it too, with all the inherent chaos of the holiday yesterday — and The Pecan and The Patient Mrs. are playing hide and seek while I’m off watch and buried in my computer. I must really need this as much as I think I do.

I have an appointment to finish up a root canal in about an hour and a half, so that’s a thing to look forward to. This is the follow-up to the surprise root canal I had a couple Fridays ago. Third one on the same tooth. I don’t like the tooth’s chances longterm, but I’ll try and give it as much of a shot as I can. The crown is too big and shaped wrong for the surrounding teeth. The human mouth is a cesspool anyway. Why should my bite be any less awkwardly shaped than any of the rest of me?

So anyway, I’ll probably spend the next 45 minutes or so trying to brush the coffee taste and residual garlic from yesterday out of my mouth (and fail) before I head out and then come back and start to worry about weekend stuff like the press release I need to write for STB Records this weekend — I’ve sworn to myself that I’m stepping back from such usually-unpaid labors as this, liner notes, bios, etc., and I am, but some projects you can’t refuse — and a playlist for the next Gimme Radio show, which airs next Friday. I guess it’s best-of-2019 time already. Go figure.

Anyway, if you’re in the States, I hope you got the four-day weekend thing going. I’ll be in my sweatpants probably the entire time, fretting about this and that and enjoying leftovers. May you rock and roll and have fun and be safe and be kind and have kindness done to you, wherever you are.

FRM. Forum, Radio, Merch.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

This announcement went out yesterday from Roadburn 2020, and as we in the United States celebrated Thanksgiving — one of our least morally reprehensible holidays until one examines it in any sort of historical context whatsoever — I was extra grateful for the fact that I found out this week that the Weirdo Canyon Dispatch, the daily festival ‘zine for which I’ve served as editor for the last six years, will run again. It’s always a fingers-crossed scenario as to whether there will be the budget for such a thing — it’s not like I could begrudge them making the right choice if it was “who needs the money, David Eugene Edwards or WCD?” — but I am of course beyond thrilled to say that I will be at Roadburn Festival for the 11th year in a row in 2020. If you’re going, I’m the guy with the cosmic backpack dorking out during Patrick Walker‘s solo set.

Which, by the way is a thing that’s happening. That was added along with Inter Arma playing their latest LP, Sulphur English, in its masterful entirety, Dommengang, Darsombra, two sets from Alcest, 40 Watt Sun doing The Inside Room in full, and Kungens Män and a whole bunch of others. I’ll look forward to feeling completely overwhelmed by it all as I try to cover as much as possible — like always.

Thanks from the bottom of my heart to Roadburn for having me back. This festival has changed my life.

Here’s the update:

Today’s announcement for Roadburn Festival 2020 includes the only band where our two curators cross over: Alcest, who will play a special set titled ‘Visions du futur’, focussing on their last two albums. James Kent (AKA Perturbator) also added OKKULTOKRATI to his curation, whilst Emma Ruth Rundle added INTER ARMA (playing Sulphur English in full), 40 Watt Sun (playing The Inside Room in full) and a solo Patrick Walker set, Helms Alee and FACS.

Elsewhere we added Algiers, Richard Dawson, Dynfari (playing The Four Doors Of The Mind), BAD BREEDING, White Ward, Dommengang, Kungens Män, darsombra and TAU and The Drones Of Praise.

With 97% of weekend tickets now gone, and day tickets on sale on December 10 – we’re looking forward to seeing you all in Tilburg in April: roadburn.com/tickets

EUROPEAN FESTIVAL AWARD NOMINATION

Roadburn has been nominated in the best small festival category (less than 10,000 visitors) at the European Festival Awards 2019. Votes can be cast HERE. Votes and spreading the word are appreciated as it would be a huge honour for us to win such recognition.

https://www.facebook.com/events/1081424195382564/
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

[PLEASE NOTE: This is not the same thing as the Top 20 of the 2010s Poll, which is ongoing. This is 2019 only. Participation in both or either is welcome and encouraged.]

I was waffling on the idea of doing a year-end poll, since I didn’t want it to take away from the above-linked decade-end one. But when that went up, I said I might not do one for 2019 and the response here and on thee social medias was resoundingly in favor of having both. So…

Okay folks, here it is. Don’t let the opportunity slip. Get your list of 20 of the best of 2019 together and put it in the form below and we’ll do it up like always. Honestly, these polls and these lists are a tremendous resource to me, so I’m glad it’s happening, but especially with two polls going, maximum participation is all the more important.

Really. Get involved. Please share the link. Tell two friends and tell them to tell two friends. Buy a billboard on the side of I-95 in Stamford. Skywriting. Write your congressional or parliamentary representative. Whatever you can do to help spread the word, it’s appreciated.

Same rules as ever: You submit your list of up to 20 favorites on the form below. Anything from Jan. 2019 to whatever’s coming out between now and Dec. 31 is eligible. At the end, there are two lists, one of the raw votes, and one in which a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one.

A sentient robot trapped in a bunker somewhere tabulates the results (with paper backups, of course; we’re not unaware of threats to cybersecurity), and they go up Jan. 1, along with everybody’s list.

Time to make it happen:

POLL IS CLOSED — THANKS TO ALL WHO VOTED!

Extra special thanks to The Obelisk’s Much-Loved Technical Coordinator Supreme Slevin this time around, who has gone above in beyond in setting up a second app this time so the two polls can run at once. My deep gratitude and respect for his efforts knows no bounds.

Please note, no emails are kept or stored. The whole thing gets wiped after the lists are posted so we can do it all again next year. Thanks.

[Click play above to stream ‘Where Eagles Drink’ from Scissorfight’s new album, Doomus Abruptus Vol. 1. Album is out Dec. 6 through Salt of the Earth Records with preorders here.]

From some bands, a line like, “Shut up and watch the flame get higher,” might be a pithy social commentary or a statement of humanity’s inaction to avert climate catastrophe. In Scissorfight‘s “Caveman Television,” rest assured, it’s about people who talk too much around a campfire. Doomus Abruptus Vol. 1 is the seventh full-length from the just-came-from-the-forest-already-drunk-and-looking-to-fight New Hampshire four-piece, and a landmark for the simple fact of its existence.

It arrives some 13 years after their last album, Jaggernaut, and some 18 after their arguable pinnacle in 2001’s Mantrapping for Sport and Profit (discussed here) — there were several short releases between those two as well, including splits with Cave In and Pelican and three other EPs: Potential New Agent for Unconventional Warfare (2002), Deathchants, Breakdowns and Military Waltzes Vol. 2 (2003) and Victory over Horseshit (2005) — and follows a 2016 revamping of the band that included founding bassist Paul Jarvis and founding guitarist Jay Fortin extending the group’s by-then-legendary fuckall-and-fuck-off attitude to recruiting a new vocalist and drummer to round out the lineup.

Issued through Salt of the Earth Records, the 2016 comeback EP, Chaos County (review here), tested the waters and found them mercifully free of giardia (look it up), and the band’s positive response extended to the live arena as well, with Doug Aubin‘s formidable presence as a frontman and Rick Orcutt‘s work behind the kit helping propel them to Europe as well as through regional shows around New England — their long-established stomping ground.

Particularly after Chaos County, a full-length was an inevitable next step, and Doomus Abruptus Vol. 1 (also on Salt of the Earth) brings the Aubin, Fortin, Jarvis, and Orcutt incarnation of Scissorfight to a new level in reestablishing the band’s approach. It’s got nine tracks and an LP-ready 39-minute run. Its songs are tight in structure and swing like a right arm throwing a suckerpunch, and they’re heavy like, well, like fucking Scissorfight are heavy. There’s no mistaking that sound.

In some ways, it’ll be the next album that tells the tale of their return as a working band rather than one making a comeback, but if I call Doomus Abruptus Vol. 1 business as usual for Scissorfight, I only mean it as a compliment. Whether it’s the woodsy sounds starting “Caveman Television” at the outset, or the anthemic “Rock and/or Die” playing off the Granite State motto “Live free or die,” or centerpiece “Where Eagles Drink” entering direct conversation with “Blizzards Buzzards Bastards” and “New Hampshire’s Alright if You Like Fighting” from the aforementioned 2001 album while laying the band’s ethic out in admirably plain language for the chorus: “Born on a mountain/Raised in a cave/Drinkin’ and fightin’/All I crave.”

Theirs is a battery of downtuned stomp and aggro burl, and they’ve always done it at their own level. Subtly clever and unsubtle in shoving you down a rhythmic flight of stairs, tying itself to the wooded northern Appalachians of their home with New England’s we-get-two-weeks-of-summer high altitude bad attitude, Scissorfight willfully and defiantly retain their core elements on Doomus Abruptus Vol. 1. That is, while the EP proved it could be done, this is the point at which Scissorfight say with no equivocation they are Scissorfight and, true to character, they don’t give a shit if you’re along for it, the ride’s going either way.

The all-out headspin of second cut “Dumpfight” is a raw punk-derived slammer in its first half, and when it breaks at about two minutes in, Aubin warns of the riff that follows, “Oh shit. Here it comes.” Thanks for the heads up. The image of collecting a swollen jaw is inescapable as the salvo that began with “Caveman Television” continues through “Dumpfight” and into “Coagulus” and “Rock and/or Die” as the record heads through a midsection that would be a beer gut were it not still so able to move.

While there’s little loss of momentum as “Coagulus” makes a grower hook of the line, “All in the name of the hunt” and its title in telling tales of bear traps and other foresty threats, “Rock and/or Die” is singularly catchy and outdone only by the subsequent “Where Eagles Drink,” with its made-for-the-stage call and response in the verse — not the only one on the record, but still a standout — though even “Piss in the Wind”‘s chorus is a masterclass in how to craft fare for drunken singalongs.

The back third of Doomus Abruptus Vol. 1 — let’s just call it the “ass-end” to keep with the mood of the release — is comprised of three final songs between five and six minutes long. With acoustic twang, “The Battle of (Mudhole Mountain)” leads off this final turn, followed by the fuzz-bass led post-industrial ode to the Merrimack Valley “Lead Venom” and closer “Whatcha Get,” which actually pulls back on some of the immediacy that’s been so prevalent throughout Doomus Abruptus Vol. 1 at its outset, but is soon enough given over to the sharpest-edged riff of the album and a chorus that feels especially pointed in remarking “That’s whatcha get for saying ‘never again’.”

And I guess that’s really the core of what the album is all about. From a certain distance, one has to chuckle at the ballsiness in a band releasing their first record in over a decade and including “abrupt” in the name of it, but ballsy is what Scissorfight do and, to one degree or another, have always done, so it’s fitting in that regard if no other. They end with more noise from the woods to leave off with a sense of completion, and while inevitably the conversation around Doomus Abruptus Vol. 1 is still the fact that their lineup has changed, that feeling of being complete is no minor consideration, and it extends to the band itself.

Once again in keeping with the spirit of the album and Scissorfight generally, I’ll say it as plain as I can: I was a fan of Scissorfight with Iron Lung up front. Like, a big fan. Those old records are earthshakers and I wouldn’t tell you otherwise. I don’t know what the impact of Doomus Abruptus Vol. 1 will be, how far it will reach or what the overall reception will be, but if you’ve ever been on board with Scissorfight, and you can’t get on board with this, it isn’t their fault.

Scissorfight on Thee Facebooks

Scissorfight on Instagram

Scissorfight website

Salt of the Earth Records webstore

Salt of the Earth Records on Thee Facebooks

Not the kind of thing I usually say when I put up a track with a news post, but the song at the bottom here, which comes from Orbiter‘s 2019 split with Roadog (review here), doesn’t really do much to represent where the Helsinki five-piece are coming from on their new single, “Bone to Earth.” Sure, the new cut still has some of those haze-doom underpinnings — a feeling of psychedelic immersion set to big-feeling riffly-roll derived in part from “Witchcult Today” but transmogrified into something less willfully cartoonish, but with vocalist Carolin Koss making her debut in the band, it’s nonetheless a significant change that’s taken place, and it has an effect on their sound of course. For what it’s worth, I’ve heard the new song — it’s out tomorrow, so you know, not really so much advance listening there — and it’s awesome. Also of note is the uptick in the production of the drums. The snare sounds right on in the new track.

Promises of good things to come? Here’s hoping. We’ve got a whole new decade arriving in a little over than a month. Time to start filling it with killer tunes.

From the PR wire:

Orbiter – New single ‘Bone to Earth’ out on November 28!

Founded at the turn of the year 2014-2015, the band has been influenced by the genre ancestor Black Sabbath, 90s stoner bands like Kyuss, and 21st century doom bands. Additional influences have been drawn from psychedelic and progressive rock.

Now Orbiter is releasing new music! Bone to Earth single will be released on Thursday 28 November. The song is a pre-release from the band’s upcoming debut EP The Deluge, which will come out on January 29.

Bone to Earth is a song about the duality of human nature, which is self-destructive and yet longing for wisdom. The song’s unhurried and heavy riffing blends hypnotically with the voice of the new vocalist, Carolin Koss, who joined the band in April. Koss is an artist, filmmaker and singer originally from Germany, and now residing in Finland.

The upcoming four-song EP contains previously unrecorded material from the band’s earlier days as well as newer songs composed with Koss. Orbiter has previously released three singles, most recently Anthropocene in early 2019.

Upcoming gigs (in Finland)
30.11.19 Ravintola La Barre, Joensuu
11.1.20 UUS HOI SIE, Lappeenranta
10.4.20 Ravintola Cactus, Helsinki
23.5.20 Henry’s Pub, Kuopio

Orbiter
Carolin Koss – Vocals
Alexander Meaney – Guitar
Jere Remes – Guitar
Tuomas Talka – Bass
Sami Heiniö – Drums

https://www.facebook.com/orbiterconnection
https://www.instagram.com/orbiterband/
https://orbiterconnection.bandcamp.com/

Orbiter, “Anthropocene”

Bit of genre-hopping going on with the first Lares album from 2017, and yes, I’ll confess that the news they’ve been picked up by Argonauta for the impending follow-up — Towards Nothingness; due Spring 2020 — is the first I’m hearing of them. The debut, Mask of Discomfort, has sludge tones down pat but pulls the vocals back off the mic a bit in its early going and right away builds a more complicated atmosphere. From there, it only continues to push outward and much to the band’s credit it never really becomes full-on post-metal or full-on any one thing over the other. I’m sure Argonauta Records — which is doing a fair amount of branching out as well these days — will have preorders up in no time flat, but until then, here’s the news that got me to check out the first record, and the stream of that album in case you’d also like to dig in.

From the PR wire:

LARES Inks Worldwide Deal With Argonauta Records!

Brand new album coming in the Spring of 2020!

Berlin- based, psych blackened doom metal unit, LARES, have inked a worldwide deal with Argonauta Records, who will release the band’s sophomore album in the Spring of 2020. The four-piece collective, formed in 2015, combines the elements of post-metal, psych doom, ambient prog-rock and black metal, while adding a unique flavour to their heavily crushing sound. After LARES’ critically acclaimed, 2017- debut, followed by an extensive live schedule, the band has been hard at work on their second album titled Towards Nothingness. Once again recorded by Jan Oberg ( Earth Ship/Grin ) at the Hidden Planet Studio in Berlin and mastered by Audiosiege in Portland, OR, LARES are thrilled to have found the perfect release home in rising powerhouse label Argonauta.

“We have been working diligently in the shadows to find the right vessel for launching Towards Nothingness with a proper release.“ The band states. “Now, we are pleased to announce that this goal will be achieved by a collaboration with our fierce new ally, Argonauta Records! We could not be more satisfied with this combining of forces, and we eagerly look forward to the release of Towards Nothingness in the spring of 2020! This is a major step for us, but it is only the beginning. It is our duty to expand your consciousness, and we will take the world by storm without warning. Join us!“

Watch out for many more news, details and album sounds to come in the time ahead; to shorten your wait, check out the band’s debut, Mask of Discomfort, via their Bandcamp HERE: https://lares.bandcamp.com/

LARES is:
Flavio Cafiso – Guitars/Vocals
Jörn Zennberg – Bass
Simone Lamberti – Guitar/Synths
Mike Alksnis – Drums

www.facebook.com/laresband
www.lares.bandcamp.com/
www.argonautarecords.com
www.facebook.com/argonautarecords

Lares, Mask of Discomfort (2017)

Ivar Bjørnson curating, you say? Sooner or later, it seems like the Enslaved guitarist is just going to have to get his own festival going, but in the meantime, he’ll helm Fire in the Mountains MMXX next July as he’s done for Roadburn in the past, with Enslaved headlining the event as well off in the Grand Tetons in Wyoming, which, if you’ve ever seen videos or photos from it looks like an absolutely astonishing. I’ve only been through Wyoming once in my life, but it’s seriously some of the most beautiful landscape I’ve ever seen, so yeah, I’d watch Enslaved there. Seems only fitting. Those guys should play on mountains pretty much exclusively.

“Oh, you have a stage? That’s cute. Is it on a mountain? No? Ah, sorry, can’t do the show. Check the rider. Mountains only.”

And so on.

Enslaved are newly re-signed to Nuclear Blast for their next record — maybe a release around July to coincide with this fest? nah, too convenient — and they’ve got a new video that you can see below.

Info follows:

ENSLAVED TO HEADLINE “FIRE IN THE MOUNTAINS” FESTIVAL 2020

*IVAR BJORNSON ANNOUNCED AS FIRST GUEST CURATOR EVER*

ENSLAVED and “Fires In The Mountains” festival announce an unique collaboration for 2020: The band is not only announced for the first band playing the “Fires In The Mountains” festival next year. Guitarist Ivar Bjornson will also be the first guest curator ever organizing elements of the festival as a whole. The“Fire In The Mountains” festival takes place before the Grand Tetons at Heart Six Ranch in Moran, Wyoming on 11th and 12th July.

The festival about this collaboration:
“Few bands reflect the incredible music legacy that Enslaved has built over the last three decades, as a band that is constantly reinventing itself and exploring new heights and territories for its music, while always maintaining a steadfast sense of identity and integrity. Their music and the forward thinking ethic and honesty of the people behind it have always been a huge influence on us as founders of this event, and thus we are honored to have them as a headliner for 2020. The audience will be in for quite a unique treat to witness the Nordic metal lords performing this special set below the stars, surrounded by the beautiful Rocky Mountains, and we are as well.”

Ivar Bjornson states:
“Our Northern hearts rejoice as we are part of this announcement for Fire in the Mountains 2020! To come to these beautiful parts of good ol’ Vinland and headline an outdoor festival is nothing short of a dream come through. We will present a very special show and cannot wait to share this weekend with the other artists, audience and the hard working folks behind the festival! To the mountains!”

Alongside with this exclusive experience, Ivar Bjornson as a guest curator will present a feature showcase of the event, titled “On Wings Over Utgard” what already promises to become a memorable event. This feature presentation will consist of a handful of musical acts handpicked by Ivar, as well as several other elements of the festival that will be revealed over time.

Ivar Bjornson adds: “It is a massive honor to be asked to be the first guest curator for the Fire in the Mountain festival. I have decided to name my curator showcase “On Wings Over Utgard”; inspired by the thematic from the coming ENSLAVED album. Modern man is a being that has forgotten how chaos, darkness and decay are as important and beautiful parts of existence as all the bliss, youth and light we over-feed ourselves in the (dis-)Information Age. What better scenic metaphor to realize this part of the overall vision than at Fire in the Mountains; surrounded by wild, chaotic nature. Where life is how it was meant to be; uncontrolled, balanced and unified. I cannot wait to start showing you all the artists I am inviting to sonically and lyrically illustrate all this! Thank you Shane and festival team for giving me this opportunity.”

ENSLAVED released their studio album “E.” in October 2017. Recently, the band from Norway unleashed a music video for their cover version of RÖYKSOPP’s “What Else Is There”, featured as bonus track on the digital version of “E.”.

Enslaved is:
Ivar Bjørnson – guitar
Grutle Kjellson – vocals/bass
Ice Dale – guitar
Håkon Vinje – keys/vocals
Iver Sandøy – drums

http://www.facebook.com/enslaved
https://www.instagram.com/enslavedofficial
http://www.enslaved.no/
http://www.facebook.com/nuclearblastusa
http://instagram.com/nuclearblastusa

Enslaved, “What Else is There” (Röyksopp cover) official video

The vibe is extra creepy — and kind of messy-looking — in the teaser clip from Chariot of Black Moth for the new single “Black Death” by Italian horror cult rockers Arcana 13. I don’t know who had the honor of playing around in all that slop, but woof, that must’ve been some hosing off afterward. Perhaps more relevant — okay, definitely more relevant — the song itself has a grim atmosphere and a soaring emergent melody that suits its being highlighted as a single, pushing beyond we-like-horror-movies-with-boobs-in-them-blah-blah-Satan and into a genuine ambience and aesthetic mindset. The teaser is just under two minutes long, and the song can’t be much more than, what? five or six, max? in order to fit on a 7″, so from the creeper-style opening guitar to the later nod and harmonized vocals, it should be a decent showing of what it’s all about. And hey, the B-side is a take on Iron Maiden‘s “Wrathchild.” No way that isn’t fun.

Arcana 13‘s Black Death 7″ is out Jan. 17 through Aural Music as the follow-up to the band’s 2017 debut album, Danza Macabra (discussed here). Info and teaser clip follow.

Please enjoy:

Arcana 13 – Black Death

Deep into the darkness a spine chilling scream cuts through the fog. Filthy fuzz sounds start consuming the air. A deep rumble of drums and square waves get the earth shaking. This is the Horror Doom march of Arcana 13… the dead are listening. Hailing from Italy, the birthplace of cult Horror movie masters, Arcana 13 stirs in the cauldron a lethal brew of Heavy Doom with galore of Italian Horror’s legacy. Lucio Fulci living of fuzzy riffs. Mario Bava high on distorted mellotrons. Dario Argento crazy for low end grime.

Sealing the deal classic horror poster artist, master Enzo Sciotti, gave his blessing painting the eye-striking album cover and the unique DANZA MACABRA horror show, featuring mesmerizing horror visuals, has been brought live on a set of Italian shows first, then across Europe with label mates Messa.

In 2018, horror hero Claudio Simonetti of Goblin, struck by the band’s cover version of Dario Argento’s Suspiria included in Danza Macabra”, got in touch to revise another one of his masterpieces: the main theme composed for George Romero’s DAWN OF THE DEAD. The song is featured as opening track in the Special 40th Anniversary edition, out on Rustblade Records. The last gravestone is the collaboration with director Luca Canale Brucculeri that got in touch with Arcana 13 while working on his new horror tv series “Black Death” based on the same-title comic book. He got captured by the sound of the band and decided to commission the composition of the main theme for the series, that will be released as special edition 7” in January 2020 on Aural Music, along with a doomed up version of Iron Maiden’s classic “Wrathchild” and featuring iconic Artwork by Branca Studio.

Street Date: January 17th, 2019

TRACKLIST:
Side A: BLACK DEATH
Side B: WRATCHILD (Iron Maiden cover)

Line-Up:
S.Bertozzi – Vocals & Guitar
A.Burdisso – Vocals & Guitar
F.Petrini – Bass
L.Taroni – Drums

https://www.facebook.com/arcanatredici/
https://www.instagram.com/arcanatredici/
http://www.arcana13.it/

Arcana 13, “Black Death” teaser premiere