There’s comment from project participants Bob Balch (who spearheaded the idea), Esben Willems (who drums on the entire record) and Peder Bergstrand (who plays bass on all but one track, sharing space with Scott Reeder) below, and when you can hear from members of Fu Manchu, Monolord and Lowrider, I sincerely doubt any comment I might make matters. Those three speak below on how Slower — the conceptual covers project that, yes, dooms up select Slayer tracks both originally speedy like “War Ensemble” streaming below or, duh, slower, like inevitable closer “South of Heaven” — came together, and with Year of the Cobra‘s Amy Barrysmith on vocals for the majority and The Discussion‘s Laura Pleasants (also ex-Kylesa) taking over for the aforementioned finisher, it’d be a release of note no matter who they were taking on.

Maybe next time out they’ll do Duran Duran. Or maybe they’ll finally unveil the insistent creep at the heart of “Raining Blood.” I won’t claim to know, but given both personnel and source material, I expect this will be a beacon as the underground emerges from the generally-dead doldrums of January and takes on 2024 in earnest. Looking forward to it, in other words.

But album preorders are up now, so don’t let me keep you. Heavy Psych Sounds announced last week it had snagged the oops-kind-of-a-supergroup outfit for this release, and Jan. 26 is the listed arrival date. By all means, dive in. From the PR wire:

Heavy Psych Sounds to announce SLOWER upcoming debut album – presale starts TODAY !!!

– new super band feat. members of Kyuss, Fu Manchu, Kylesa, Lowrider, Monolord and Year Of The Cobra – SLAYER tracks in a SLOWER mood

Today we are stoked to start the presale of the upcoming SLOWER self-titled debut album !!!

RELEASE DATE: JANUARY 26th

ALBUM PRESALE: https://www.heavypsychsounds.com/shop.htm#HPS288

USA PRESALE: https://www.heavypsychsounds.com/shop-usa.htm

RELEASED IN
10 ULTRA LTD TEST PRESS VINYL
100 ULTRA LTD SIDE A – SIDE B BLACK/ORANGE/WHITE VINYL
150 ULTRA LTD COLOR IN COLOR TRANSP. BACK. RED/SPLATTER BLACK VINYL
500 LTD NEON GREEN VINYL
BLACK VINYL
DIGIPAK
DIGITAL

TRACKLIST
SIDE A
War Ensemble – 10:39
The Antichrist – 8:13

SIDE B
Blood Red – 6:30
Dead Skin Mask – 6:08
South Of Heaven – 7:11

Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play “South Of Heaven” by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought “someone in the doom community should do this and name it SLOWER.”

A few years later I befriended Steven “Thee Slayer Hippy” Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I’m glad I got to know him even for a few years. He was a monster musician with a giant heart.

He will be greatly missed.

I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That’s how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can’t thank them enough.

This project has been a long time coming and I’m beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn’t have happened. Thanks to everyone involved and I hope you dig it! I’m a giant SLAYER fan so it’s been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen!

Esben Willems – When Bob first approached me with the idea and I heard his scratch guitars, my first thought was “This is genius”. Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I’m really proud of how this turned out.

Peder Bergstrand – “This might be blasphemous considering the circumstances, but when Bob reached out and asked if I’d want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me.

That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band’s insane performances pushed me to my most inspired playing to date.

So incredibly stoked for people to hear this album.”

CREDITS

“War Ensemble” “Dead Skin Mask” “Blood Red” “The Antichrist”
Esben Willems (drums) MONOLORD
Peder Bergstrand (bass) LOWRIDER
Amy Barrysmith (vocals) YEAR OF THE COBRA
Bob Balch (guitars) FU MANCHU

“South Of Heaven”
Esben Willems (drums) MONOLORD
Scott Reeder (bass) KYUSS
Laura Pleasants (vocals) KYLESA
Bob Balch (guitars) FU MANCHU

SLOWER is:
Esben Willems (drums) MONOLORD
Peder Bergstrand (bass) LOWRIDER
Amy Barrysmith (vocals) YEAR OF THE COBRA
Laura Pleasents (vocals) KYLESA
Bob Balch (guitars) FU MANCHU
Scott Reeder (bass) KYUSS

https://www.instagram.com/slower_666/

https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://www.instagram.com/heavypsychsounds_records/
https://heavypsychsoundsrecords.bandcamp.com/
http://www.heavypsychsounds.com/

Slower, “War Ensemble”

New York heavy rockers Thinning the Herd have announced the addition of Rob Sefcik (also Kings Destroy, Northern Heretic, Begotten, etc.) on drums. In 2021, the long-running outfit led by guitarist, vocalist, songwriter Gavin Spielman presented the single “Wolves Close In” (premiered here) as the preface to what would then have been their first album in eight years. It’s now been a full decade since they released 2013’s Freedom From the Known, and the post from the band below doesn’t mention recording one way or the other, but it’s easy enough to imagine Speilman plugging away at it behind the scenes. No doubt having a drummer helps.

I don’t know how many times I’ve watched Sefcik play live, with Kings Destroy mostly but also Begotten, but he’s both a monster behind the kit and a classy player mindful of the songs in which he’s working. You might recall Thinning the Herd drummer Rick Cimato passed away in 2012 ahead of the 2013 album release, and Spielman has seen a few others come and go since. I don’t know what their plans are if there are any other than local shows, or even if bassist Wes Edmonds is still in the band, but here’s what they had to say:

Thinning the Herd would like to give a big horns up Welcome to Rob S. on the drums! Filling the shoes of previous drummers ain’t an easy task but he’s a bad ass – and up for it!

Rob’s played in many bands that rocked, and we are super excited to have a solid guy and heavy drum smasher in the band for the long haul. We look forward to bringing y’all new music and performing old tunes as well as the new heaters.

If interested in an interview or to book our band hit the DM.

Since 2006 TTH has y’all groovin’ on the sludgy New York Metal, and look how far it’s come!

https://www.facebook.com/THINNINGTHEHERD
https://thinningtheherd.bandcamp.com/
http://www.tthmusic.com/

Thinning the Herd, “Wolves Close In” (feat. Pat Harrington) official video

Most bands get one debut. Here’s Hippie Death Cult‘s second. It’s been an interesting few years in the life of the Portland, Oregonian heavy rockers, who with their third full-length, Helichrysum, mark a new path forward. In the two years between 2019’s 111 (review here) and 2021’s Circle of Days (review here), the then-four-piece built remarkable momentum for a time that at least in part included pandemic shutdowns, and as they resumed domestic and international touring — fests, headlining dates, support slots, the whole thing — later in 2021 they bid farewell to vocalist/organist Ben Jackson. A change up front is always significant, and the departure of the keyboard that had up to then been a likewise formidable presence and distinguishing feature in their sound would probably derail some acts, but Hippie Death Cult not only kept going as a trio, they also faced the departure of drummer Ryan Moore this past January.

Helichrysum, then, represents a kind of going to ground. With Jackson and Moore gone, the band held fast with the core duo of bassist and now-lead vocalist and lyricist Laura Phillips and guitarist/riffmaker Eddie Brnabic (who also produced and mixed here, with assistance from Ben Barnett and Jeremy Romagna engineering) bringing in the classic-styled Harry Silvers (also Robots of the Ancient World) on swing-drums. Tours continued, songwriting and recording obviously happened or we wouldn’t be talking about a new record, and they even managed to get it released in time to keep a two-year interval between albums — whether or not that was a goal, I don’t know, but it’s impressive, considering — while reimagining their sound.

And there’s the crucial point. With Phillips up front and the organ gone, and with Silvers on drums in place of Moore — I’d imagine drummers could opine on their respective styles based solely on the builds of their respective kits on stage; rack cymbals out, soon-to-be-busted crash and big kick in — Hippie Death Cult aren’t trying to deny things are different this time, and that’s about more than just no-keys or the gender of their lead vocalist. They’re diving headfirst into it. In the brooding chug of on-theme opener “Arise,” the rawness of the punch in the bass and the corresponding currents of prog and metal that were in Brnabic‘s guitar to start with are highlighted from the outset, and while the dynamic and the chemistry of Hippie Death Cult has shifted — Phillips letting out the first of the album’s several righteous screams as they transition to the guitar solo at about four minutes into the six-minute piece; a sample about a minute later brings more with the lava-flow finish; not a complaint — both are accounted for in the new incarnation of their sound. It’s a little different, and that can be scary, I know, but the lesson of Helichrysum is that sometimes it’s worth starting over.

From “Arise” on through the smooth-boogie, maybe-written-later-in-the-process “Shadows,” which follows, and into the mellower psych-doom of “Better Days,” Phillips owns the role taken on in the material, and she, Silvers and Brnabic seem to revel in the subsequent centerpiece “Red Giant” and the subsequent hippies-go-metal “Toxic Annihilator,” the two shortest inclusions on the album and, at least as applies to the latter, the most aggressive output they’ve had to-date, in case you were concerned that just because Hippie Death Cult have never thrashed before that might mean they couldn’t do it. They do, and make it their own. Bolstered by the tension of Brnabic‘s speedy chug in “Red Giant” — hard-boogieing through its layered solo with a willful recklessness that, frankly, rules, they set up “Toxic Annihilator” not only with more vocal screams (as opposed to the tubes in their amps, likely also screaming) but a swagger they’ve never really shown before in a brief, stage-minded series of stops as well as the riff parade preceding — the energy at the start of “Toxic Annihilator” is electric, palpable.

The last time Hippie Death Cult made a three-minute song it was the acoustic interlude “Mrtyu” on 111. In its production, “Toxic Annihilator” isn’t metal, but in its actual construction and purposes, it most definitely is, and it’s easy to imagine that what feels so much like it was written for the stage is duly flattening in a live setting. Atop a torrent of guitar, Phillips shouts her way through the early verse with Silvers‘ crash for complement, then croons through the build up to an almost Slayer-ish growl (thinking Tom Araya at the end of the intro to “Angel of Death,” minus the high note preceding) at the transition point to a headspinning, hypnotic digging in marked by another scream at the start of the next cycle through before the making-sure-the-barn-is-all-the-way-burnt solo finishes.

For anyone missing keys, the penultimate “Nefilibata” is introduced by organ before it nestles quickly into its midtempo groove, and all seems business as usual — amazing how effectively ‘usual’ is redefined here while staying true to a high standard of what that means — until a layered arrangement of melodic vocals marks it out from its surroundings, emblematic perhaps of a reconstructed band trying something new that might or might not further manifest in their sound as they move forward, but it makes “Nefilibata” a late highlight, and with the reorientation of that initial organ line, there’s no interruption to the flow that has carried them really from “Arise” without any more hitches than they’ve seemingly wanted there to be as they turn to “Tomorrow’s Sky” to close, the by-now familiar thud of the drums, a spacious guitar, and yes, a little more keys, coming about as close as Hippie Death Cult might to drift with the guitar floating above, mirroring the lower-frequencies of the drums and bass holding the rhythm while feeling bright and engaging in the doing.

Fluid front-to-back, “Tomorrow’s Sky” wants nothing for angularity as its early melancholy gives over to a verse with a lightly progressive feel and the band oozes toward the somewhat-understated winding finish with a grace that’s both familiar from what they’ve done in the past while also distinct from it in form. New, in other words. It’s not just that Hippie Death Cult went through lineup changes before they made their third LP. They took advantage of the opportunity those changes represented to bring new perspectives to what they do, and so while Helichrysum is more outwardly raw in its sound than they’ve been before, the songs that comprise it benefit from the vitality that becomes so much of the album’s focus. They will, one hopes, continue to grow organically as they settle further into this modus over the next few years, but the efforts they’ve made and the resilience they’ve shown already have their payoff here.

Hippie Death Cult, Helichrysum (2023)

Hippie Death Cult on Bandcamp

Hippie Death Cult on Instagram

Hippie Death Cult on Facebook

Hippie Death Cult on Soundcloud

Hippie Death Cult website

Heavy Psych Sounds on Bandcamp

Heavy Psych Sounds on Instagram

Heavy Psych Sounds on Facebook

Issued by the band in January, there was little doubt the full-length debut from Danish doom metallers Dread Witch, Tower of the Severed Serpent (review here) would end up plucked from out of the digital ether for vinyl realization. Sure enough, DHU Records has stepped in to do the dirty work of standing behind the pressing, which conveys the severity of its intention and announces its of-the-genre stance with riffs and Branca Studio cover art alike. I almost met that dude this year at SonicBlast. He does art for the Portuguese fest as well and had a merch table. I wasn’t brave enough to say hi in the end. Maybe some day.

If you missed the record, the stream is below and if I didn’t think it was worth your time I wouldn’t be here writing about it. Band and label both posit an early 2024 release for the vinyl of Tower of the Severed Serpent, after which one imagines the band will at some point adjourn to the dank, cold, largely-unlit cave where they composed the first release in order to set fire beneath the cauldron of a follow-up. Be patient. Good doom takes time. It’s like the baked potato of musical genres.

On that note, this from the PR wire:

DHU Signs Dread Witch

*** LISTEN UP ***

DHU Records is thrilled to announce the signing of Denmark Death Doomers Dread Witch !! (#127465#)(#127472#)

“Tower Of The Severed Serpent” is the stunning, otherworldly, debut album by Dread Witch that will surely leave you aghast and in awe when immersing yourself in this bitter & weighty tome! Not to mention the Sinister & Delightfully fitting artwork by Branca Studio (#128013#)(#128128#)(#128396#)

Get ready for a very Dark, Low & Heavy trip at dreadwitch.bandcamp.com (#128266#)⚰

DHU Records will release Tower Of The Severed Serpent on Limited Edition Vinyl early 2024

Test Press, DHU Exclusive & Band Editions will be available…

More details & info to follow…

(#128367#)STAY DOOMED STAY HEAVY(#128367#)

https://www.facebook.com/DreadWitch666/
https://www.instagram.com/dreadwitch.official/
https://dreadwitch.bandcamp.com/

www.darkhedonisticunion.bigcartel.com
https://www.facebook.com/DHURecords/
https://instagram.com/dhu_records

Dread Witch, Tower of the Severed Serpent

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Nathanael Larochette

—

How do you define what you do and how did you come to do it?

For over 15 years I’ve been primarily creating instrumental acoustic music, particularly of a finger picked nature. It all began as a teenage obsession with heavy music that eventually sparked a deep fascination with the acoustic interludes that sporadically appeared on my favourite metal records. The first time I remember being completely blown away by acoustic riffing was when I first heard the intro to Blind Guardian’s “Time What is Time”. The next stage of my musical evolution occurred while learning the acoustic parts from Opeth and Agalloch songs while discovering dark folk classics such as Ulver’s “Kveldssanger”, Tenhi’s “Kauan” and Empyrium’s “Where at Night the Wood Grouse Plays”. Other artists and influences have since shaped my sound and playing but these experiences and records formed the blueprint for much of what I do.

Describe your first musical memory.

I’m not sure if I can pinpoint my first musical memory but one of my earliest would be hearing my father playing the flute. He had a demanding job as a plant manager for Michelin but always loved art and music so in his spare time he took jazz flute lessons and I remember hearing him practicing in his office. I started playing violin when I was four so some of my earliest memories of playing music would be childhood violin lessons and recitals. In terms of listening to music, the Gameboy soundtracks for Metroid 2 and Kirby’s Dreamland became burned into my memory after playing those games for hours as a kid.

Describe your best musical memory to date.

One of my best musical memories to date would be recording my interludes for Agalloch’s fourth record “The Serpent & The Sphere”. I discovered their classic “The Mantle” in early 2003, around the time I got my first guitar, so it was surreal for me to be in the studio with them recording my music for their new album in 2013. Although it’s one of my best memories it was also quite stressful because I was so nervous. Honestly, I think the time spent hanging out with the band in the studio and watching them record was the highlight for me.

When was a time when a firmly held belief was tested?

Whenever I see humans mistreating other humans it tests my firmly held belief that we are good by nature. Although tested, there is far greater evidence supporting this belief despite how often we are told to think otherwise.

Where do you feel artistic progression leads?

I like to think that artistic progression leads to a deeper understanding of oneself and a deeper sense of humility because regardless of how much you do or how great you are, there is always more to learn and more work to be done. These experiences will hopefully lead to a deeper sense of gratitude for having the opportunity to express yourself through art which should ultimately lead to a deeper sense of compassion for others.

How do you define success?

Having the opportunity to continually focus energy on fulfilling work is a true measure of success for me. In a broader sense, I believe the heart of success is a balancing act that involves the simultaneous development and nurturing of one’s emotional, physical, spiritual, interpersonal and financial health. Time and again we’ve seen so-called “successful” individuals excel in one of these aspects to the total neglect of others with predictably tragic results. I believe the first and most difficult step is succeeding in treating ourselves with kindness which is a lifelong process that is too easily overlooked. As I’ve gotten older, I’ve been working hard to prioritize my emotional and physical wellbeing because no amount of social or financial recognition will matter if we aren’t comfortable in our own skin. This is especially true for artists living creative lives in the digital age.

What is something you have seen that you wish you hadn’t?

Human beings dehumanizing their fellow human beings.

Describe something you haven’t created yet that you’d like to create.

I’d love to score films and video games someday.

What do you believe is the most essential function of art?

I think the most essential function of art is to offer momentary relief to the artist and those experiencing it.

Something non-musical that you’re looking forward to?

Any opportunity to spend quality time with my family.

[Photo by Jonathan Lorange.]

https://www.facebook.com/nlarochette
https://www.instagram.com/n_larochette
https://www.nathanaellarochette.bandcamp.com
https://www.youtube.com/@n_larochette
https://www.nathanaellarochette.com

Nathanael Larochette, Old Growth (2023)

Rocker. And I was talking about the song there, but if you took it as an assessment of yourself — i.e., that you’re a rocker — then in all likelihood you’re the target demographic for “Castle of Souls.” The new single from Vancouver troupe 88 Mile Trip doesn’t ask much from the listener, isn’t trying to do anything too fancy, but is a straightforward, classic-style groove and hook and the four-piece sound on point as they head toward the follow-up to 2015’s Through the Thickest Haze.

And no, I don’t know what’s behind the probably-nine-year stretch between 88 Mile Trip offerings, but you know, since both the band’s moniker and their last release’s title are both about having a hard time doing things — an 88 Mile Trip isn’t nothing, especially if you’re walking or biking, and maybe they got stuck in that thick haze for three or four years on their way; hell if I know — maybe we can give them a break in our content-obsessed age. That said, I guess the single counts as new content, so we’re all complicit in cultural entropy. You, me, whoever those fuckers were who bought Bandcamp this week and laid off half the staff. Knew ‘Bandcamp Daily’ was too pro to last.

But let me not get sidetracked. The third 88 Mile Trip outing doesn’t have a name yet, but I’m willing to bet that it will by the time it’s released, so stick around for more either way. Here’s details on the single, courtesy of the PR wire:

Canadian Heavy Rockers 88 MILE TRIP Release New Single, “Castle of Souls”

Heavy rockers 88 MILE TRIP have released new single, “Castle of Souls.” Recorded and produced by Derek Mattin, the song is available now on all major digital platforms, including the following:

Bandcamp: 88miletrip.bandcamp.com/track/castle-of-souls

Spotify: spotify.link/1oed3ArEXDb

Apple Music: music.apple.com/ca/album/castle-of-souls-single/1711150469

YouTube: youtu.be/-iBBhyMskJs

The new track, which will be included on the band’s as yet untitled, third collection of original material, follows 2015’s Through The Thickest Haze.

88 MILE TRIP was formed in Vancouver, BC (Canada) in 2013. Their unique blend of influences from classic rock and metal to contemporary stoner rock, doom , and hardcore make for a captivating cocktail of music that the band describes simply as “heavier rock and roll.”

88′ have played countless shows across Canada, both as a supporting act and headliner. Stay tuned for more new music and live appearances!

“Castle of Souls” single artwork by Ashy Derocher.

88 MILE TRIP is:
David Bell: Vocals
Casey James: Guitar
Darin Wall: Bass (Greyhawk, Glyph, Skelator)
Eddie Riumin: Drums (Maule)

https://www.facebook.com/88miletrip
https://www.instagram.com/88miletrip/
https://88miletrip.bandcamp.com/
https://www.youtube.com/@88MileTrip

88 Mile Trip, “Castle of Souls”

Hey alright, new Coogans Bluff on the way. The Berlin-based prog heavies released their Metronopolis (review here) in the early days of 2020 and followed up quickly that non-summer with four more songs under the complementary banner of Side-C of Metronopolis, so I guess they at least had been in a productive mode before… well… before. But 2024 will make it four years since then — an eternity in dog and rock and roll years — and if they’re ready to answer the equal-parts soothe and scorch considered sometimes-mania of those works with new material, whether it’s an album, a short release of some sort between EP, split, whatever, so much the better.

I know neither what shape the next offering they allude to in announcing the tour below will take nor when it will arrive, but while I’m in the dark I have both the luminescent comfort of the tour poster below and the blazing vision of an alternate, more complex classic heavy rock that a revisit to Metronopolis unveils for lighting the way, so no sweat to the anticipation, but yeah, this will be one to look forward to. The dates below are mostly in Germany, as will happen, but they veer into Austria and the Netherlands on either side of their home country as well, and one expects this won’t be the last batch of shows to be announced since, whatever’s coming, the band will obviously look to support it as much as possible.

So, with more to come, here are the dates from their socials:

Dear lovely Bluffonians,

We’re pleased as punch to present you the upcoming dates of the

!!!! TOUR BALADA 2024 !!!!

It’s gonna be a “release”- tour with lots of new music and first-class performances.

That’s right.
You heard right.
The secret word for tonight is…
Releeeeeeeeeease.

25.01.24 Nürnberg, Z-Bau
26.01.24 München, Feierwerk
27.01.24 AT – Wien, ARENA WIEN
08.02.24 Hannover, kulturzentrumfaust
09.02.24 Dresden, Chemiefabrik
22.02.24 Köln, Helios37
23.02.24 NL – Nijmegen, Doornroosje
24.02.24 Oldenburg, Cadillac
07.03.24 Bielefeld, Forum Bielefeld
08.03.24 Frankfurt/Main, DAS BETT
09.03.24 Jena, Cosmic Dawn
21.03.24 Hamburg, Knust Hamburg
22.03.24 Rostock, Peter-Weiss-Haus
23.03.24 Berlin, Neue Zukunft

get your ticket here: https://bitly.ws/YkZh

(#128248#)Danny Kötter

https://www.facebook.com/coogansbluff
https://www.instagram.com/coogansbluff
https://coogansbluff.bandcamp.com/

Coogans Bluff, Metronopolis (2020)

Coogans Bluff, The C-Side of Metronopolis (2020)

UK heavy psych fuzz rockers Josiah will release a new EP, titled rehctaW, on Dec. 1 through Interstellar Smoke Records. The band returned last year through Blues Funeral with the full-length We Lay on Cold Stone (review here), following a dearth of activity in the 2010s as founding guitarist/vocalist Mathew Bethancourt explored new spaces in Cherry Choke and began to feel out the experimentalist foundations of the solo-project Mathew’s Hidden Museum, which made its own self-titled debut (review here) earlier this year, also on Interstellar Smoke. With rehctaW — and yes, that’s ‘watcher’ backwards; sit tight, we’ll get there — Bethancourt, newcomer bassist Andy Shardlow and drummer Dan Lockton offer four songs that each have their own basis, style and function in the linear, 21-minute whole but that flow together with a kind of bruised grace in addition to the fuzz and vibe veering into the psychedelic at even its most straightforward moments, like the intro of second cut “By My Left Hand,” which peppers its repeating riff with right-channel wisps of lead guitar from Jack Dickinson (also Stubb), for whom Shardlow took over on bass.

Or the blowout buzz in the guitar of titular opener “rehctaW,” which takes peak-era Queens of the Stone Age bounce and sets it against garage boogie vibes for a swing that’s heavy and fluid in kind, lyrics tossing out references to mind control and machine-induced hypnosis around the kind of hook that, once written, was likely the impetus for the release in the first place. Since his early days roaming the pre-social-media English underground proffering riffs to a then-receding ’90s-generation audience around the turn of the century, and even through his contributions to other outfits, on We Lay on Cold Stone, etc., etc., as a defining feature of his work, Bethancourt has had an ability to lend accessible songs an element of danger through the looseness of their groove. It’s not that Josiah are pushing themselves so hard physically that “rehctaW” or anything else on the EP might come apart — much as “Become” is ‘together’ in any traditional sense to start with — like their hands would fall off or something, but in the internalized classic-heavy influence the band so ably wields, in the way they take a willfully simple idea like garage rock and use it as a vehicle for more complex craft, they’re less predictable than it seems.

Both “rehctaW” and the seven-minute “By My Left Hand” reinforce this, the latter starting gradually before it gets to the chic wub of its verse with Dickinson‘s second guitar distinct from Bethancourt‘s holding down the riff, building up and rolling forward an instrumental procession further bolstered by the piano guest spot from Morgan Sol, who complements the rise in rhythmic tension moving higher on the keyboard until a sudden cut to a lower thud ends a subtly fervent push. “By My Left Hand” further highlights the chemistry of the band as a whole as they sleek into and through a short and dreamy break at the start of that last build, and certainly their willingness to mess with form and the flexibility of their approach are on display in “Become,” which as alluded above departs from structure toward ambient ends. Echoing fills of drums at the start feel loosely ritualized, and when Bethancourt begins singing, his voice is in full incantation mode. The line, “scratch out your eyes and see no more,” arrives early in the piece, and becomes a defining point for the EP as right around 1:20 into the song, Bethancourt repeats the “no more” portion of that lyric in a delivery precisely drawn from a track written during his time in Leicester’s The Kings of Frog Island.

Can you guess the song? Well it’s “The Watcher,” of course, from 2008’s II (discussed here), and that meta-reference — just a tiny easter egg of a thing — brims with purpose no less in light of the context in which rehctaW places it. It is the juncture at which rehctaW reveals its full intention in engaging the scope of Josiah‘s work at this point, supplying on-theme introduction and even a last-second horror-style jump-cut while opening the door to the dark dimension for their reworking of “Black Annis (The Evocation Of),” originally by Cherry Choke. And what’s funny about that is when Bethancourt and Cherry Choke released the song on 2015’s Raising the Waters (review here), sure it was fleshed out with organ and had a similar sneak to its groove, but it was shorter and the character in the evocation’s jam is perfect for being tucked into the closer position on the EP, maintaining the ultra-weird of “Become” in a context of the band’s signature, swirl-prone class-ic heavy rock. Like each of the three songs before it, “Black Annis (The Evocation Of)” represents a different side of who Josiah are — the power trio, in the jam space, maybe freaking out — and after its done, the fading-in vocal echoes come forward just long enough for Bethancourt to once more advise, “Scratch out your eyes and see no more,” tying the closer to “Become” right before and bringing to light the expanses Josiah are able to reach in terms of atmosphere while remaining at their essence a rock and roll band.

Be it in the strange and eerie vocal layering, backward this-and-that, various whispers, shakers, and so on that finish “Become” or the catchy midtempo swing of its title-track, rehctaW draws together elements from the past of Josiah and other Bethancourt-inclusive or -led outfits — and that’s not to minimize the contributions of Lockton, Shardlow, or even Dickinson or Sol, but Josiah begins and ends at the say-so of its founding principal — and in so doing moves the band forward from where they were even a year ago. And they were plenty weird a year ago too, but the message being sent to the listener on rehctaW is that they’ll continue to push creatively in this state, reignited after nearly a decade’s absence and transitioning from ‘reunion band’ to ‘active band’ as many others have done before them. And where they likely could rest on the laurels of their first three records and do shows in London forever pumping out the same riffs to the same heads each year, that they’re choosing a more challenging (and ideally more fulfilling) creative path is the most essential display of character Josiah could make as a statement of who they are. They’ll do something after this. I have no idea what it’ll be in terms of sound, and that mystery is whole lot of fun.

Bethancourt was kind enough to offer a track-by-track breakdown of the EP to go with the premiere, discussing the folkloric background of “Black Annis” and “Become” — tying into the release’s definitely-NSFW cover art by Sara Koncilja; gorgeously detailed if perhaps wanting subtlety in concept — and the impetus behind “rehctaW” and “By My Left Hand.” You’ll find it after the player below, followed by release particulars for the EP.

Please enjoy:

Josiah, “rehctaW” track premiere

Josiah, Rehctaw EP track-by-track with Mathew Bethancourt:

1. rehctaW

Written and demo’d early January 2023. This track dropped like a fully formed ear worm. rehctaW was the driver for the EP, as it couldn’t wait for an album and almost felt at odds with everything else I’ve been writing lately. Lyrically based on the ideas of the inspiration that is Austin Osman Spare. Among many things AOS believed rehctaW was the symbol of reaching backwards in time to infinite remoteness by the mechanism of intense nostalgia. He also felt otherworld energies flowed through him when he reached this state of bliss. A creative force using the flesh to manifest its intent. Whilst not directly leaning on any AOS texts, rehctaW embodies the idea of a force within and without. The watcher within and without. Who’s really in control of your mind. Are you the one that’s always driving. Why did the Kozmik soup present me this fully formed track, did I write it – or…

2. By My Left Hand

This was originally written and recorded for Mark Lannegan. I wrote 6 tracks during the winter/spring of 20/21 for inclusion on what would have been his latest album, if it wasn’t for his sad and untimely death. I decided to keep it instrumental for the EP as I couldn’t get past the notion of Mark singing over the music. It was written for Mark with love and respect for a great artist. Another track that dropped into my mind fully heard. Like an old familiar friend. By My Left Hand speaks to those who take the other way.

3. Become

The rebirth of an idea under the spell of local Leicester folk legend Black Annis. Designed as the prefix to Black Annis. Become lets her spirit back into the band, back into our lives. Both Dan and I grew up with her legend and now we both live metres away from her bower. We live the folk lore that impregnates all our traditions and rituals. Annis is a bittersweet character that we have once again chosen to evoke. Obviously a woman of great power, hence her subsequent horrific action.

4. Black Annis (the evocation of)

There’s a few Cherry Choke tracks that could quite easily have been Josiah works. I felt we never quite did this song justice on Raising The Waters and the revisiting and ultimate reworking of the track felt right for this EP. It’s something I like the idea of. Revisiting your own work over and over. We will do it again in the future. Something common in jazz and blues but so well utilised in rock. We love the outcome though. There’s a ghost in the machine for sure and it’s thick with the scent of folklore. Sounds can be heard that none of us made. It’s a strange one to listen to.

You may pre-order the exclusive band edition of 75 black/gold hand numbered vinyl & gold CD via Josiah bandcamp store and limited label edition of 225 red/gold vinyl & gold CD via Interstellar Smoke Records from October 31st.

EP Release date: December 1st 2023 via Interstellar Smoke Records
Single streaming date: October 31st 2023

1. rehctaW (4:47)
2. By My Left Hand (7:02)
3. Become (3:31)
4. Black Annis (The Evocation Of) (6:00)

The Makers::
Dan Lockton – Drums
Andy Shardlow – Bass
Mathew Bethancourt – Voice, Guitar & Keys

By My Left Hand features additional musicians Morgan Sol on piano & Jack Dickinson on acid guitar.
Recorded & mixed by Mathew Bethancourt with the assistance of Kev ‘The Druid’ Lloyd at Ivy Road June 2023. Mastered by Satanic Audio.

Cover illustration by Sara Koncilja.

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