My little dog Dio had cancer eating her alive in 2018 when we put her down, and I’ll be honest, I’m not over it. I’ve got a new puppy sleeping snuggling my leg right now as I type this and I’m still not over it. Grief is real and takes many forms, and as Crippled Black Phoenix explore this particular one in the new single “Cry of Love,” their atmospheric and emotional weight is no less affecting than ever. Their new album, titled Ellengæst, is out Oct. 9 on Season of Mist, and features the likes of Vincent Cavanaugh from Anathema, which is kind of like, “okay, you got me,” when it comes to the simple concept. I’ll look forward to hearing that and probably being sad afterward.

The PR wire brings art, info and audio:

CRIPPLED BLACK PHOENIX Announces New Album, Premieres New Single

Dark Progressive rock outfit CRIPPLED BLACK PHOENIX will be releasing the full-length ‘Ellengæst’ on October 9 via Season of Mist! The band has shared the emotional first single, “Cry of Love,” which features guest vocals from Ryan Michael Patterson (FOTOCRIME, ex-COLISEUM.) The song is available along with an official music video, which is created by Guilherme Henriques, at THIS LOCATION.

Several prominent guest vocalists lend their considerable talents to Ellengæst: ANATHEMA’s Vincent Cavanagh, GAAHLS WYRD’s Kristian “Gaahl” Espedal, COLISEUM/FOTOCRIME/one-time Crippled Black Phoenix touring bassist Ryan Patterson, up-and-coming U.K. solo artist Suzie Stapleton and TRIBULATION’s Jonathan Hultén. The album art and tracklist can be found below.

Mastermind Justin Greaves comments on the track: “This is a song about losing a loved family member, but not a human one, it’s about our feline companions. Ryan [Patterson] came back with the words and vocals after I sent him the song and it blew us away. We already connected with Ryan when on tour and being fellow animal lovers and vegans, he, Belinda and myself have a deep appreciation for speaking out about our animal friends.

“The song lyrics are about Ryan’s cat Willie who sadly passed away. Coincidentally, at the same time we (Belinda and myself) lost two of our cat family, Nell and Tigger (the old three-legged dude who starred on the cover of Horrific Honorifics). So this song is like a coming together to celebrate the love we have for the cats, how we miss them and how they influence our lives.

“Joining Ryan on ‘Cry Of Love’ is our friend and previous collaborator Suzie Stapleton. Putting her distinctive voice on, giving it another dimension. The video for this fried my brain, I love it so much and so do the rest of the band; Guilherme [Henriques] totally understood what the feelings of the song are about, and he made a beautiful and simple narrative which will touch even the coldest heart. If you love your cat, or lost one you love, then be prepared to grab the tissues.”

‘Ellengæst’ can be pre-ordered in various formats HERE: https://shopusa.season-of-mist.com/band/crippled-black-phoenix/

Track-list
1. House Of Fools (7:52)
2. Lost (8:11)
3. In The Night (8:38)
4. Cry Of Love (5:46)
5. Everything I Say (7:21)
6. (-) (1:51)
7. The Invisible Past (11:26)
8. She’s In Parties (3:51)

https://www.facebook.com/CBP444/
https://crippledblackphoenixsom.bandcamp.com/
https://shopusa.season-of-mist.com/band/crippled-black-phoenix/

Crippled Black Phoenix, “Cry of Love” official video

Okay, so when I originally posted about Desert Records starting its Legends of the Desert series of splits with Palehorse/Palerider and Lord Buffalo, it was set to release in June. And — get this — it was going to coincide with LIVE SHOWS! Can you imagine living in that world? Well, just about everyone else on the planet is starting to imagine things like that (sorry, Brazil), but apparently an essential component of all things modern Americana is being fucked over unless you’re impossibly wealthy, so here we are. Legends of the Desert Vol. 1 — which rules, by the way — is out Aug. 21, and if you’re holding your breath for live shows, well, I hope you have something soft to land on when you pass out.

Desert Records notes below that the series will run seven LPs over the course of three years. That seems smart to me. Two or three a year max, and it’s probably planned out well in advance. Of course, anyone currently alive knows that plans can change — and these already have if you’re going by release dates — but we can see here Desert Records operating in the spirit of Ripple Music‘s The Second Coming of Heavy, if more specific in its mission.

More on that below, courtesy of the PR wire:

LEGENDS OF THE DESERT Vol. 1 Featuring Palehorse/Palerider & Lord Buffalo Drops August 21st

Desert Records is excited to announce this new compilation series. Spanning seven albums total over the course of three years, the series will include legendary Desert Rock bands (to be announced) mixed in with new and upcoming bands.

“This is the soundtrack to the New West. The focus of the Legends of the Desert is to provide a modern perspective to the antiquated ‘Wild West’ we have etched in our brains. These songs and tales are not told by the same ol’ perspective of the white male Cowboy. These are narratives told by those who never got their stories heard. We will hear from musicians, artists, Natives, outlaws, desert rats, desert dwellers, cactuses and mesas, ravens and roadrunners, snakes and endless skies. Fuck John Wayne, Fuck his lame racist ass, and Fuck the horse he rode in on. This is Legends of the Desert.”

-Brad Frye
Owner/Operator
Desert Records

Pre-orders for Legends of the Desert Vol. 1 on limited edition vinyl, CD and digital are located at:
https://desertrecords.bandcamp.com/album/legends-of-the-desert-volume-1-palehorse-palerider-lord-buffalo

desertrecords.bandcamp.com/
https://palehorsepalerider1.bandcamp.com/
https://lord-buffalo.bandcamp.com/

https://www.facebook.com/palehorse.palerider.denver/
https://www.instagram.com/palehorsepalerider/
https://www.facebook.com/lord.buffalo.band/
https://www.instagram.com/lordbuffalo/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Palehorse/Palerider & Lord Buffalo, Legends of the Desert Vol. 1 (2020)

Lord Buffalo, Tohu Wa Bohu (2020)

Palehorse/Palerider, Fire Gone Out/Haxan (2019)

Being something of a Star Trek nerd — you may have seen a mention of it here once or twice; it and bitching are also the only uses I have for Twitter at this point — I feel pretty well acquainted with any number of temporal paradoxes, but perhaps the best example of retrocausality comes from Futurama, when Fry goes back and time and inadvertently sleeps with his own grandmother, thereby becoming his own grandfather. I’m not sure if that’s what Nijmegen’s Bismut — as opposed to Bismuth, from the UK — have in mind with the title of their second LP, but if you were wondering what Retrocausality means, there you go. Funny the things you pick up.

Retrocausality will serve as Bismut‘s follow-up to 2018’s Schwerpunkt (review here), which also came out through Lay Bare Recordings. The band will do CD/DL on their own while the label once again handles vinyl duties.

As the PR wire details:

Bismut – Retrocausality – RELEASE DATE 25th SEPTEMBER 2020

Bismut is a Psychedelic Desert Metal trio hailing from Nijmegen, the Netherlands.

Formed in 2016, Bismut has an established and explosive live reputation. Bismut arose from intense, experimental jam sessions in the caverns of the Nijmegen underground. Infinite jamming led to an oasis of psychedelic excesses, vicious riffing and heavily drawn-out grooves. Nik (guitar), Peter (drums) and Huibert (bass) have already played many solid shows in the Netherlands and abroad. Their live performances are immersive stories with glorious landscapes and unexpected plot lines. After Buntovnost, a single released in February 2018, they released their first full-length Schwerpunkt in the fall of that year. “Schwerpunkt” was very well received and led to audiences and critics worldwide asking for more. Bismut played many shows in Europe as a build up to their second full length release “Retrocausality”.

“Retrocausality” is Bismut’s second full-length featuring 6 songs. All tracks were recorded live in studio 888 and mixed and mastered by Pieter Kloos. You’ll listen to an honest musical encounter of three people playing, grooving, and flowing to become one intuitive audio space vessel. Seventy-two minutes of musical compositions to get you out into orbit and forget about time. “Retrocausality” will be released on vinyl via Lay Bare Recordings, their second release on the label, with CD and digital being handled by the band themselves.

Track Listing:
1. Oscuramento
2. Non-Lokaliteit
3. Predvídanie
4. Varasaga
5. Vergangenheit
6. Antithesis

Line Up:
Drums – Peter Dragt
Bass – Huibert der Weduwen
Guitar – Nik Linders

https://www.facebook.com/bismutband/
https://bismut.band/
https://bismut.bandcamp.com/
https://laybarerecordings.com/
https://www.facebook.com/laybarerecordings/
https://www.instagram.com/laybarerecordings/

Bismut, “Zugabe”

There are a few reasons I like hosting Cursed Tongue Records announcements like this one. Most of them are painfully obvious — things like “the music’s good” — but also it’s been a joy to see how the label’s taste and reach has grown and how it has gained a reputation for a quality product both in concept and execution. The label’s picking up BoneHawk for an LP release of the Michigan-based band’s second album, Iron Mountain, is another example of Cursed Tongue knowing what they want and making it happen.

BoneHawk, for whom Iron Mountain serves as the follow-up to their debut, 2014’s Albino Rhino (discussed here) — later picked up by Ripple Music — and their 2016 split 12″ with Kingnomad (review here), also on Ripple, have a new lineup as well as the new album. They posted the record to Bandcamp in June, so for them this continues a pattern of releasing on their own — they have a limited CD version available on Bandcamp — before subsequently getting a label on board for a wider release. You won’t hear me argue.

You will, if you go down to the bottom of the post, hear Iron Mountain streaming in full. Following immediately is the announcement from Cursed Tongue, which again, it is my pleasure to host.

Here goes:

KALAMAZOO, MI FUZZ-HEAVY BLUES ROCKERS BONEHAWK SIGN TO CURSED TONGUE RECORDS FOR A GLOBAL VINYL RELEASE OF ‘IRON MOUNTAIN’ SEPTEMBER 18, 2020.

Cursed Tongue Records is beyond stoked to announce the signing of Kalamazoo, Michigan hard hitting psychedelic heavy blues rock quartet BoneHawk and look forward to release their sophomore album entitled ‘Iron Mountain’ on premium vinyl come September 18, 2020 (Vinyl pre-order starts August 14).

Since the inception of Cursed Tongue Records, it has been on our bucket list to work with premiere fuzzy riff slingers and party bringers BoneHawk. Back when CTR was still a pipedream, and even before its embryonic stages, BoneHawk released their debut album, entitled ‘Albino Rhino’ and that release would soon encapsulate what this record label is striving to release; Music so pure, energetic, and vibrant you can fuel an entire parade of boogie vans filed with rock ‘n roll-loving peace-seeking stoner rock hippies.

BoneHawk has went and done it again. The band has once more conjured up another kickass album of otherworldly catchy grooves, addictive riffs, and leads so melodic they leave the insides of your vans’ windows dripping wet. Hot damn, their new album ‘Iron Mountain’ is a phenomenal sonic excursion and showcase on how to turn out one infectious fuzzy rock opus after the other.

Their sophomore album builds on the strength from ‘Albino Rhino’ and utilizes the vital formula the BoneHawk boys invented back then and take it to the next level with an even more coherent and focused approach. Thus the 4-headed beast the makes up the bone, brain, and muscles of BoneHawk serves up nine songs and 42+ mins of twin guitar rock ‘n roll galore.

A term like ‘masterpiece’ is way too often tossed abound, but in case of ‘Iron Mountain’, we won’t refrain from branding this release as exactly that, as the BoneHawk guys are returning from the mountain of iron having mined their own rich vintage brand of rock ‘n roll from a gold-capped ore. This is truly high-grade rock of the heaviest caliber and it is here to allure your heart and ears.

BoneHawk is finally back and bring forth their richly mined organic rock from the depths of Iron Mountain consisting of fuzzy riffs and grooves of solid steel come September 18, 2020

BoneHawk are:
Matt Helt -Vocals/Guitar
Nate Cohn – Drums
Cam Mammina – Guitar
Matt Smith – Bass/Vocals

http://www.facebook.com/bonehawkkzoo
https://www.instagram.com/bonehawk_band/
https://bonehawk.bandcamp.com/
http://bonehawkriffs.com/
http://cursedtonguerecords.bigcartel.com/
https://www.facebook.com/CursedTongueRecords/
https://instagram.com/cursedtonguerecords

BoneHawk, Iron Mountain (2020)

Houston, Texas, four-piece Warlung will make their debut on Heavy Psych Sounds Oct. 9 with Optical Delusions, their third full-length. The follow-up to 2019’s Immortal Portal (review here), it finds the four-piece roaring back with a more developed approach, shades of classic metal’s theatricality blending with a modern heavy rock tonal presence and thrust of groove. It is 39 minutes long and runs eight tracks, so is right in line with current vinyl standards, but there’s a sense of storytelling that grabs the listener from opener “Phantasmagoria” onward and becomes as essential to the proceedings as the riffs and grooves. Primarily, it is tight. Tight in construction, tight in performance, tight in production. There are patient stretches here and there, as in “Sun Eater,” which closes side A ahead of the seemingly-complementary hook of “Order of the Solar Temple” at the outset of the album’s second half, but Warlung bring cuts like “The Scorpion in the Sand,” “Snake Eyes,” “Hell on Earth” (bonus for the bassline circa 2:30) and mega-catchy closer “No Man’s Land” to bear with a sense of urgency that serves the material well, the rhythm section of Chris and Ethan Tamez, on bass and drums, respectively, providing backing gallop behind the twisting riffs and dual-vocals of George Baba and Philip Bennett.

Replete with on-a-dime turns that recall the deceptive intricacy of Sabbath‘s bluesier work, there’s a traditionalism at play behind what Warlung are doing with their songs, but they are by no means bound by a vintage mindset. Some might hear shades of Ghost here and there in the vocal melodies, but I get as much Rush, and either way, Warlung are hitting plenty harder, so take that for whatever it’s worth. Still, Baba and Bennett make a fitting pair vocally when they come together and there’s a sense of arriving at a place of arrangement that drives the apex of “Phantasmagoria” just as the solo in “Devil’s Game” reinforces the first-three-records Ozzy Osbourne impression being made in the midsection by following it with due pull. There are plenty of hallmark solos throughout — “Order of the Solar Temple” seems to nod at Deep Purple — but more than any particular feats of technical acumen, Warlung come across of songwriters, and much the same was true of Immortal Portal, which like their 2017 debut, Sleepwalker, will also see reissue on Heavy Psych Sounds. Currents of organ — or at very least organ-ish — melody run alongside the two guitars in “Sun Eater,” one sharper in tone, one further back, but both careening smoothly, and with the deep-toned bass beneath and the solid punctuation of the drums, Warlung are able to construct a fluidity that coincides with their dynamic changes in volume and/or meter, enhancing the experience of hearing both individual songs and Optical Delusions as a whole.

“Snake Eyes” and “Hell on Earth” — which are also the shortest cuts on each respective side — might be the barn-burners, relatively speaking, but don’t be fooled into thinking Warlung are keeping it so simple as that. It only sounds easy. “Devil’s Game” and “No Man’s Land” might finish out at a more moderate pace, but neither is staid in any way, and the same goes for earlier pieces like “The Scorpion in the Sand” and certainly “Phantasmagoria,” which is responsible for giving Optical Delusions its initial kick, hinting toward a progressive mindset but unwilling to relinquish the edge they might have to give up to fully indulge one. Again, these guys are songwriters. They’re in it for the songs, and if you’re going to get into it, the same applies. It is very much a third record in that the group sounds confident in the studio and aware of who they are as a band, but that their realization comes without any dulling of the basic impact of the material itself. If this is heavy metal, it’s heavy metal that recalls when heavy metal was fun.

You’ll find the premiere of “Phantasmagoria” below, followed by more info from the PR wire. Thanks to band, label and PR for letting me host.

Enjoy:

Warlung, “Phantasmagoria” official premiere

PHANTASMAGORIA is the second single of the Warlung brand new album Optical Delusions. The release will see the light October 9th via Heavy Psych Sounds !!

ALBUM PRESALE:
https://www.heavypsychsounds.com/shop.htm#HPS140

USA PRESALE:
https://www.forcedexposure.com/SearchResult.html?SearchType=Basic&Type=title&Key=optical%20delusions

SAYS THE BAND:
“Is it real or in my head? Phantasmagoria is about a man either haunted by a poltergeist or suffering from a serious case of optical delusions. On Optical Delusions, we found a middle ground between the classic horror theme of the first album and the rock n roll aspect of the second. We continued to experiment with song structures and changing tempos to keep the music dynamic and interesting. This album explores everything we have done before while guiding us into something new.”

WARLUNG is:
George Baba: Guitar/Vocals
Philip Bennett: Guitar/Vocals
Chris Tamez: Bass
Ethan Tamez: Drums

Warlung on Thee Facebooks

Warlung on Instagram

Warlung on Bandcamp

Heavy Psych Sounds on Bandcamp

Heavy Psych Sounds website

Heavy Psych Sounds on Thee Facebooks

Vancouver’s Eye of Doom will release their second EP, Curse of the Pharaoh, on Sept. 25. In addition to marking their first offering to be made through Majestic Mountain Records, it’s also something of a shift in approach for the three-piece, whose 2018 self-titled four-songer trafficked in decidedly more metallic and driving fare. With two eight-minute-plus cuts in the opening title-track and the closing “The Scold’s Bride” separated just by the interlude “The Waning” (2:56), the EP hits a 20-minute total listen that’s striking in its push toward atmospherics, with sonar pings backing horror samples and ambient guitar in “The Waning” before the roll that comprised much of “Curse of the Pharaoh” resumes in full nod for the outset of “The Scold’s Bride.” With vocals from bassist Alex Kadhim and guitarist Adam Mattsson atop Derek Staines‘ apparently reliable march, shades of Elephant Tree‘s melodicism show up along with an impact and underlying noise rock influence that calls Cities of Mars and other post-Monolord outfits to mind. Dudes got riffs, in case you were wondering.

Curse of the Pharaoh is strong in its presentation, beginning with a fading in swell of readily immersive tonality. They are perhaps a release or two from bringing to fruition the kind of depth and largesse they hint toward here, but that doesn’t at all stop the material from being engaging on its own level. “Curse of the Pharaoh” crashes in around 1:30 and proceeds to lumber forward in newer-Sleep form, waiting until after three minutes in before introducing the first vocal lines. With a cavernous echo, the verses likewise hint toward a burgeoning reach in what’s being tagged as their “new musical direction,” but they’re smartly mixed to not overwhelm the surrounding guitar bass or drums. Kadhim‘s bass holds true during a short break and soon the guitar solo takes hold in soaring fashion to lead through the apex of the track, the first sonar pings arriving before the shift into “The Waning” is actually complete. That one-into-the-next fluidity is also emblematic of what Eye of Doom are shooting for with their recent doomly conversion, and if the EP is anything to go by, they won’t have any trouble sticking to that — should they want to — when they set themselves to the inevitable task of their full-length debut.

When, how, where, on that, I of course have no idea, but Eye of Doom‘s stated purpose is to give those they’d make their audience an introduction to what they’re all about, and it’s a positive first impression they make, even if that ‘first’ comes with an asterisk. “Curse of the Pharaoh” is streaming on the player below, followed by more info about the release from the PR wire.

Please enjoy:

Eye of doom to release ’Curse of the Pharaoh’ on Majestic Mountain Records September 25th

Majestic Mountain Records is very pleased to announce the first release from Vancover, BC based riff masters Eye of Doom. The 3-track EP ’Curse of the Pharaoh is set for release on a 10” premium vinyl in September and this release will be followed with a full length release in early 2021!

This EP is the first introduction to the new musical direction of Eye of Doom.

The riff-molding for Curse of the Pharaoh was produced and recorded by the band in early 2020. The songs on this EP draw inspiration from the grand scenery found in the towering mountain ranges and vast forests of the band’s hometown, as well as exploring existential questions connected to topics such as mysticism, astronomy, paganism, and the occult. This EP is the result of the collaborative efforts from all members of the band and is an honest and true reflection of everything that is Eye of Doom.

’Curse of the Pharaoh’ will be on pre-order at Majestic Mountain Records, August 7th.
Vinyl is set for release in end of September and the digital release will be available August 28th.

Pre-order link:
https://majesticmountainrecords.bigcartel.com/

Eye of Doom are:
Alex Kadhim: bass and vocals
Adam Mattsson: guitar and vocals
Derek Staines: drums

Eye of Doom on Thee Facebooks

Eye of Doom on Instagram

Eye of Doom on Bandcamp

Majestic Mountain Records webstore

Majestic Mountain Records on Thee Facebooks

Majestic Mountain Records on Instagram

Fifteen bucks Canadian isn’t nothing, but it’s frickin’ Voivod. What, you’re gonna tell me it’s not worth it to watch Voivod play live? Of course you’re not gonna tell me that, and even if you were I wouldn’t listen because I know otherwise. I saw Voivod most recently last April in Brooklyn (review here) and like few I’ve ever seen on a stage, these bona fide legends of progressive thrash — still a microgenre they more or less entirely own — play with an infectious joy for which simply there is no wrong time. Sunday at 4PM it is. Weirdos’ll be lined up around the virtual block for this one in their War & Pain t-shirts. It’s been so long since I wore any that I don’t actually know where they are, but if I had a pair of jeans handy, I might even put them on for this one.

Nah, let’s not go that far. But still, it’s Voivod.

And hmm… they have a live album coming later this year on Century Media. Is it possible the two things might be related? We’ll have to wait and see.

From the PR wire:

VOIVOD Announce live-stream concert for August 9th, 2020.

Canadian progressive sci-fi metal innovators VOIVOD have announced an exclusive livestream appearance for Sunday, August 9th, 2020:

Come one, come all! In an event not to be missed, VOIVOD performs a live in-studio set for an exclusive one time streaming broadcast on Aug 9, 2020 at 4 PM EDT (Eastern Daylight Time). This multi camera shoot and audio mix will happen in real time at the same studio VOIVOD recorded their Juno winning album “The Wake”.

Why Aug 9? It’s Denis “Snake” Belanger’s birthday and he wanted to party safely with all his friends and fans from around the globe since VOIVOD touring the planet has been grounded by the Pandemic.

Tickets are $15 CDN plus applicable taxes based on your location. Buy a single ticket or group rates here https://lepointdevente.com/tickets/voivodshowlive

Check out further details here: https://www.facebook.com/events/590841571621202/

Most recently, VOIVOD have released a 3-track 12” Vinyl and Digital EP entitled “The End Of Dormancy” earlier this month worldwide via Century Media Records.

The EP is centered around a special “Metal Section” version of the title track “The End Of Dormancy” (Off VOIVOD’s latest album “The Wake”) with added trumpets, saxophone and trombones. The complementary tracks on this release are exclusive live versions of “The End Of Dormancy (Metal Section)” and the group’s classic “The Unknown Knows” recorded at Montreal Jazz Fest 2019. Here is the exact track-listing for the EP:

VOIVOD – “The End Of Dormancy” EP:
Side A:
1. The End Of Dormancy (Metal Section) [08:15]
Side B:
1. The End Of Dormancy (Live Montreal Jazz Fest 2019) [09:08]
2. The Unknown Knows (Live Montreal Jazz Fest 2019) [05:08]

“The Wake“ can still be ordered in various editions here: https://VOIVODBand.lnk.to/TheWake

Other VOIVOD news? “A live record will be released later this year on Century Media Records. VOIVOD hope to see you next year on tour!”. Indeed, stay connected…

VOIVOD are:
Denis “Snake” Belanger – Vocals
Daniel “Chewy” Mongrain – Guitar
Dominic “Rocky” Laroche – Bass
Michel “Away” Langevin – Drums

http://voivod.com
http://www.facebook.com/Voivod
http://www.centurymedia.com
http://www.facebook.com/centurymedia
http://www.cmdistro.com

Voivod, “The End of Dormancy (Metal Section)” official video

It’s been long enough since the last time we heard anything from Mammoth Volume that when you Google the band’s Facebook you get Mammoth Mammoth instead. I’ve talked about the band here once or twice, their 1999 self-titled debut was discussed here a few years back, but they belong to the era of pre-social media mobilization heavy from which many bands who existed in a MySpace ecosphere have virtually (literally, virtually) disappeared. The fact that Mammoth Volume broke up in the mid-aughts essentially means their CD-era catalog is in dire need of reissue — they were originally signed to The Music Cartel — and while they’re reportedly working on new material in the studio as we speak, they’ve posted a few archival offerings to a new Bandcamp page for listeners to check out.

Though it speaks to the very fact of their reunion, Return of the Mammoth Volume was tracked in 2005. Likewise, the Loved by Few, Hated by Dolphins EP was posted by the band in 2008 as their last outing (I think they were already broken up at the time) and Promo Vol. 1 & 2 – Tour & Turtle 1998 brings together two different demos sent out to initially try to score a record deal.

None of these has the presence of 2000’s Noara Dance or their swansong LP, A Single Book of Songs, but it’s been so long that it’s good just to know they’re out there doing anything at all. Credit to Remi VL for putting me onto the fact that they were active again.

Here’s info and audio:

Mammoth Volume was born in the winter of 1996, called into life by the main song writing team of Nicklas and Daniel. Nicklas engaged his older brother Jorgen to take over vocal duties and with the final addition of bass player Kalle, the band was born. The band is from the town of Lysekil, Sweden.

Mammoth volume formed as a recording project, but got a record deal right immediately and tours and various gigs became a fact. The band split ten years later. The band has released three full-length albums and a “maxicd” and a handful of demos.

Mammoth Volume is:
Jörgen Aston Andersson – vocals
Kalle Berlin – bass
Daniel Gustavsson – guitar
Nicklas Andersson – drums.

https://mammothvolume.bandcamp.com/

Mammoth Volume, Promo Vol. 1 & 2 – Tour & Turtle 1998 (2020)

Mammoth Volume, Loved by Few, Hated by Dolphins (2020)

Mammoth Volume, Return of the Mammoth Volume (2020)