The lords of fuzz come back around with a new collection. Six years and one plague-interrupted three-EP 30th anniversary celebration later, San Clemente, California’s Fu Manchu offer what I count as their lucky 13th full-length, the 2LP The Return of Tomorrow, through their own At the Dojo Records. And while there’s been no lack of Fu-activity in the years since 2018’s Clone of the Universe (review here) — highlighted by the 18-minute “Il Mostro Atomico,” which featured a guest appearance from Alex Lifeson of Rush — the last year alone has seen solo- and other adjacent offerings from bassist Brad Davis (Gods of Sometimes), drummer Scott Reeder (Jacket Thief) and lead guitarist Bob Balch (Slower, Big Scenic Nowhere, Yawning Balch), with founding guitarist/vocalist Scott Hill as the only one not with a concurrent exploration, and fair enough as Hill‘s riffing has always been perceived as the central element to what Fu Manchu do. And as regards that core approach, The Return of Tomorrow is both loyal to the closely-guarded facets of the band’s structured, characteristic style, and willing to branch out a bit over the course of the included 13 songs and 50 minutes.

How Clone of the Universe ended with “Il Mostro Atomico” is relevant here in terms of The Return of Tomorrow‘s scope and how it’s presented as two shorter LPs combining to make the entire release, with the mullet-type construction of business-up-front-party-in-the-back, except with Fu Manchu, the business is the party. To explain, from “Dehumanize” through “Destroyin’ Light” — the first seven songs — the band are on an absolute tear. The material hits hard and is catchy in a way that fans will find familiar in pieces like “Roads of the Lowly,” “Hands of the Zodiac” and “Loch Ness Wrecking Machine,” etc., without really challenging the punk foundations of their sound or the clearly-ain’t-broken methodology of their songwriting. Hill delivers verses and choruses in recognizable patterns, and the band guide their listeners through a succession of stories about monsters (“Loch Ness Wrecking Machine”), psychic weirdos (“Hands of the Zodiac”) and the anxieties of the age and aging (“Dehumanize” and “(Time Is) Pulling You Under”) while kicking ass in classic Fu Manchu style, raw-ish in production in the spirit of the turn they made on 2014’s Gigantoid (review here) but wanting nothing for fullness of tone or emphatic groove.

It’s after “Destroyin’ Light” that an intended twist comes as “Lifetime Waiting” takes hold for the start of the second LP. Hill‘s stated purpose was to put the faster material first and then follow with a set of slower songs, each on its own platter, each like a short album unto itself. It doesn’t quite work out that way listening through — that is, it’s not so black and white between one and the other — as “Haze the Hides” digs in after “Hands of the Zodiac” or “The Return of Tomorrow” regrounds the proceedings following the Southern-rock-informed jammer “What I Need,” but one would hardly hold some display of dynamic against the band. It’s true the longest songs, “What I Need” (5:54) and “Solar Baptized” (6:00), both appear in the second half of the tracklisting, and while the penultimate “Liquify” bases itself around a funky start-stop riff, the lead flourish from Balch touches on psychedelia as it moves toward the end and the mellower instrumental vibing of “High Tide,” which closes in subdued, jammy fashion. So the listener can hear the one-to-the-other-type intention brought to bear in the songs themselves.

Mission accomplished? Yeah, at least mostly. Listening front-to-back, there is definitely a sense of expanding the reach as “Lifetime Waiting” gives over to “Solar Baptized,” but honestly, it’s all still Fu Manchu, and Fu Manchu wouldn’t be likely to put out a record at this point that wasn’t. That is to say, they know who they are and what they’re about, and while their songwriting has grown over the last three-plus decades and various productions have pushed them either toward largesse or a more stage-minded sound — The Return of Tomorrow leans toward the latter, which suits both the fast and slow material — taken as a whole, these songs aren’t trying to reinvent Fu Manchu 34 years later. You wouldn’t have asked Slayer not to be Slayer, or you wouldn’t tell Tony Iommi not to riff on a record.

To expect Fu Manchu to suddenly shift their entire approach when they’ve never shown any real interest in doing so would be ridiculous. Part of what makes The Return of Tomorrow work so well is the immediate familiarity of its hooks, with even the hard-hitting “Dehumanize” and “Haze the Hides” as a salve for tumultuous years, and the band can only be called correct to revel in that. Are they playing to audience? Maybe, but isn’t that also part of who they are as a band, writing a fresh batch of songs to take on the road for the next however long? Whether it’s two LPs or one, and even with the quirky construction — which is no less a showcase of the band’s persona than Hill‘s delivery of the title-line in “Loch Ness Wrecking Machine,” to be sure — The Return of Tomorrow celebrates Fu Manchu‘s context and their ability to make whatever they want to do fit with it. “High Tide” doesn’t conform to expectation in the same way as “Destroyin’ Light,” and “Solar Baptized” is downright expansive set next to “(Time Is) Pulling You Under,” which is a little over two minutes long and charged enough that the lines of the verse seem to interrupt each other on the way to Balch‘s next casually-shredded transitional solo.

The lesson here is probably that Fu Manchu can do whatever they want and make it work, even if part of that ambition is in maintaining the signature aspects of their broadly influential take on heavy rock and roll. At no point — even “Loch Ness Wrecking Machine” — do they slip into caricature, and their self-awareness becomes a strength as most of the material feels like it was made specifically for the stage and songs take different routes to get where they’re going. But it’s Fu Manchu, so yes, the songs are going, and the energy with which they do so is very much their own. Comforting even in its brashest moments, The Return of Tomorrow draws strength from self-awareness and dares some breadth around the central take reaffirmed by each chorus repeating in your head once it’s over. It wouldn’t be summertime without Fu Manchu.

Fu Manchu, “Hands of the Zodiac” visualizer

Fu Manchu on Facebook

Fu Manchu on Instagram

Fu Manchu on Bandcamp

Fu Manchu website

So, in my head, I’m reading a comma in the title of the new Black Capricorn album, Sacrifice Darkness … and Fire, which makes it a list; as if perhaps to propose the three as central elements of the band’s dark, engrossing take on semi-traditionalist doom, and they are sacrifice, darkness… and what’s the third one oh yeah fire. Without that comma, the name of the record instead becomes something like a proposal to sacrifice darkness and … hold on wait I forgot it again no I didn’t it’s fire. Like they’re giving up those things to some end or other. I’m not sure it matters which interpretation you roll with so long as you take away that the record is out July 12 through Majestic Mountain, but if you listen to the lead single “A New Day Rising” at the bottom of this post — it’s about 30 seconds into the clip that the song actually starts; heads up — the rolling groove speaks to the former reading, at least to me. I don’t know about sacrifice — other than, perhaps, sounding like they’ve given up a “normal” life to hermit themselves away with only despondent riffing for comfort — but darkness and fire hardly sound like they’re being forsaken here.

I’ll take it either way. The PR wire brought album info and the song for digging:

Black Capricorn – A New Day Rising

Scuzzy, hypnotic doom and psychedelia from Sardinia

Single and music video out June 7, 2024 on Majestic Mountain Records

LP “Sacrifice Darkness and … Fire” out July 12, 2024

Italy’s modern titans of doom rise once again, as the coven of scuzzy, occult psychedelia that is Black Capricorn deliver their latest slab of epic proto metal. Following up on their single “Sacrifice” ahead of the full-length “Sacrifice Darkness and … Fire”, out July 12 through Majestic Mountain Records, the trio present their newest track and music video “A New Day Rising”.

Thoroughly fuzzed-out and mystical in atmosphere, Black Capricorn sweep the listener off into a medieval tale of knights and grand, grisly battles. The keening vocals and stomping rhythm section are proto doom at its finest, while the gritty psychedelic guitar leads twist and turn into the song’s hazy climax. The band are in full command of their black arts on “A New Day Rising”, a promise of darker things yet to come this summer.

IN THE BAND’S OWN WORDS:

“A galloping wandering knight and his journey through a troubled life in the past centuries. We’ve paid tribute in the previous album to a legendary band with ‘Worshipping the Bizarre Reverend’.

We are still following the same attitude also in the new LP with ‘A New Day Rising’, a galloping heavy song that pays tribute, for music style, to one of the most influential contemporary doom bands, the mighty Lord Vicar!”

ABOUT THE ALBUM:

“Majestic Mountain Records believed in us once again and we are thrilled to announce the new album, the second released by the rec label and the seventh of our career. We can’t wait to start this new adventure and to spread the word!”

Black Capricorn – A New Day Rising (single)

Single out June 7, 2024 (Digital)
Album “Sacrifice Darkness and … Fire” out July 12, 2024 (Vinyl, CD, & Digital)
Majestic Mountain Records

All music by Black Capricorn
Recorded at Consultant Recording Studio
Produced by Fabrizio Monni
Engineered by Fabrizio Monni
Mastering: Mirko Toro
Art & Design: Fabrizio Monni

Black Capricorn:
Rachela Piras – Drums
Virginia Piras – Bass
Fabrizio Monni – Guitars/Vocals

https://www.facebook.com/blackcapricorn666
https://blackcapricorn.bandcamp.com/
https://blackcapricorn.bigcartel.com/

http://majesticmountainrecords.bigcartel.com
http://facebook.com/majesticmountainrecords
http://instagram.com/majesticmountainrecords

Black Capricorn, “A New Day Rising”

The science of realistic expectations made it abundantly clear in Spring 2009 — now 15 years ago — that the debut and only studio full-length from Heaven and Hell, The Devil You Know (review here), was not likely to form the basis for the legacy of any of the players involved in making it. Even the title itself seemed to be tamping down anticipation for what the assembled four-piece of vocalist Ronnie James Dio, guitarist Tony Iommi, bassist Geezer Butler and drummer Vinny Appice had put together for a studio follow-up to the LP that had introduced them — 2007’s Live From Radio City Music Hall — as a new incarnation of most of the Black Sabbath lineup that in 1980 released the album which would become the basis of their moniker, the mega-classic Heaven and Hell (discussed here). They were, in essence, that version of Black Sabbath operating under a name and without drummer Bill Ward, from whom Appice took over ahead of 1981’s Mob Rules (discussed here).

In style and sound, the 10 songs/54 minutes of The Devil You Know have the most in common with 1992’s Dehumanizer (discussed here), which was a one-off Black Sabbath reunion with Dio during the currently-having-a-revival Tony Martin era of the band, and like that record, it starts doomed. But where “Computer God’ seethed with one of Dio‘s most snarling performances and moved at a deceptive midtempo, “Atom and Evil” replaces that with a more complex melody and a stately slog with a chugging chorus. I’ll argue for it being the worst song on the record. How much stronger would The Devil You Know sound launched by “Fear,” which follows, and works from both a more interesting central riff, or even “Double the Pain,” the takes-a-bit-to-get-there intro of which could easily have served as an unfolding into the album itself.

“Atom and Evil” is more vocals-forward, and given that we’re talking about the last Ronnie James Dio studio album before his death in 2010, every second of his voice on the recording is a thing to be treasured, but while it would’ve been weird to put “Eating the Cannibals” in that spot just because, well, it’s a weird notion to start the record, at least the penultimate “Neverwhere” at least has a push. It’s not “Neon Knights” from Heaven and Hell, but it moves. “Atom and Evil” teases dynamic without paying it off and leans on Mike Exeter‘s keyboard line for personality. Not exactly the best first impression, but it does live up to The Devil You Know‘s titular promise of being mediocre. It feels familiar. Maybe that’s enough.

However, redemption comes quickly as the aforementioned “Fear” gives an energetic kick with the first of the record’s vital hooks, backed by the even-more-memorable “Bible Black,” which calls to mind the three songs Sabbath recorded with Dio — “The Devil Cried,” “Shadow of the Wind,” and “Ear in the Wall” — for 2007’s The Dio Years compilation. “Rock and Roll Angel” is a classic Dio lyric, and follows the duly-pounding-but-goes-somewhere “Double the Pain,” Butler‘s bassline setting the nod soon to unfold in the intro before they dive into the chugging verse, Appice‘s drums finding an approximate swing to complement the chorus and sounding duly relieved when the song shifts through the bridge to the next verse that follows. Iommi gets a moment to shine in the solo for “Rock and Roll Angel,” but has already delivered a slew of characteristic riffs and even an acoustic/electric blend at the start of “Bible Black,” so it’s not like he’s hurting at that point regardless.

The label, Rhino Records — what, Relapse didn’t want it? — released The Devil You Know as a three-sided 2LP, and that puts “Follow the Tears” in a well-justified highlight position at the beginning of the second platter. A tradeoff is the fact that “The Turn of the Screw” is somewhat lost between the more billowing “Rock and Roll Angel” and the relative gallop of “Eating the Cannibals,” which offers scorch even before Dio‘s first verse playing the restauranteur in lyrics that are some kind of comment on human-on-human cruelty but were maybe inspired more by the sound of the phrase itself than any particular idea that might’ve birthed it. “Eating the Cannibals” is the shortest inclusion at 3:35, but in that time there’s plenty of Iommic shred in line with the brief introduction, and it’s the moment here Heaven and Hell most seem to be enjoying what they’re doing. Appice seems comfortable timekeeping at a rocker’s clip, Butler adds nuance and persona as ever, and Dio‘s performance is spirited in a way that seems to find mischievous delight in the lyrics.

Soon enough they’ll close with “Breaking into Heaven,” which reaches toward Dio Sabbath epics like “Heaven and Hell” or “The Sign of the Southern Cross,” but “Follow the Tears” and “Neverwhere” precede, the former also with a theatrical aspect to its keys and the latter with due sweep such that the finale arrives with some momentum behind it. That suits the dramatic and still resoundingly heavy ending, calling back to the plod of “Atom and Evil,” but in a richer and more realized interpretation.

At the time, The Devil You Know felt like it was high stakes, but I’m not sure it was, and certainly after Dio‘s death, the time that Black Sabbath — because that’s what they were in everything but name — spent as Heaven and Hell is a footnote in the history of the band and players. But even if Dio, Iommi, Butler and Appice had moved forward from these songs to do, say, three more LPs between 2009-2024 — I’d gladly trade Black Sabbath‘s 2013 album, 13 (review here), for even one more Dio-fronted outing — The Devil You Know was never going to be the basis for the legacy of anyone involved. Indeed, one of the most satisfying ways to hear it is as a celebration of the band Dio Sabbath was and a victory lap for the Iommi/Dio dynamic as it played out in Heaven and Hell, Mob Rules and most especially Dehumanizer, on the other side of Black Sabbath presenting themselves as a metal band, having of course played a significant role in defining what that means for themselves and the generations of acts who’ve followed.

As always, I hope you enjoy. Thanks for reading.

—

This week was mostly dedicated in my head to the comedown and catchup after returning from Freak Valley this past Sunday. I posted every day, but much of it was written beforehand, and I got to spend some of the intervening time with my wife, whose company it feels like something of a novelty these days to enjoy given the high-impact nature of our co-parenting experience, the divergent nature of our individual lives — she’s a college professor and on the local board of ed; I do this, parent poorly, and periodically fly off to some festival — and other obligations, familial or not. We don’t hang out as much as we did when we were, say 17. Or 25. Or 35. When we do, it is a thing I appreciate.

Next week is full. I could look in the notes and list what it’s full with, but if you’re gonna read, you’re gonna read and if not, not. There’s a Fu Manchu review on Monday, I know that off-hand. As to the rest, in my head I’m in get-through-the-weekend mode, which since the next two days entail two kid-birthday parties and an ice skating performance to attend, feels like enough to get through. Today is a “patriotic performance” at school as well, where she’ll sing  “Grand Ol’ Flag” and “This Land is Your Land,” probably a couple others. Then Girl Scouts. Yesterday was skating rehearsal. She’s getting pretty good zipping around. Wants to do speed-skating, of course. “You mean there’s a more dangerous version of a thing I enjoy? Fuck yes!” seems to be the general frame of reference there. The mind boggles, continually.

The week after next, we’re traveling to the Nevada for a National Parks tour with The Patient Mrs.’ mother, whom I love dearly but probably has no idea what she’s in for traveling with the three of us. I will write as much as I can on any given day — as always — but if two weeks from now there are one or two posts a day instead of three, four or even five, that’s why. Heads up. I’ll probably remind of that next week as well.

I hope you have a great and safe weekend. I’m gonna go hit the weed store and then settle in as much as I can before we need to go back to school for all the hearts beating true for the red, white and blue, etc., maybe play a little Tears of the Kingdom, which I foolishly restarted on the flight home from Germany last weekend. Silly.

And if you kept up with the Freak Valley coverage at all, thanks. You might be curious to know my mother is doing fine, recovering, doing what the physical therapist says, all that stuff. Good behavior, cooperation. These things do not always abound among those who share my blood.

Thanks for reading. Great and safe weekend. No injuries, as few arguments as possible. Fun?

FRM.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

A righteous dose of lineup additions to Desertfest NYC 2024 today puts High on Fire and Amenra at the top of the bill thus far along with the previously announced Russian Circles, and unveils the bands who’ll play the pre-party as The Skull-offshoot Legions of Doom, Tee Pee Records‘ house classic heavy proggers Mirror Queen, the revamped Satan’s Satyrs, and Mustafina.

All well and good, don’t get me wrong. Killer, all the way through. For me though, the personal highlight here is Spaceslug coming from Poland to play, hopefully on the main stage at the Knockdown Center. Not only is their new album the latest in a string of immersive heavy psych semi-metal explorations, but right around the end of last year, I was angling trying to get myself out to Vegas to see them at Planet Desert Rock Weekend, where they featured this past January. The thought of seeing them in Brooklyn takes some of the sting out of missing their first US appearance, and as that will occur among the likes of Primitive Man, Blackwater Holylight and Spirit Mother, so much the better.

If you’re not from New York and have ever thought about traveling there, take a gander at the following:

DESERTFEST NEW YORK ANNOUNCES HIGH ON FIRE, AMENRA, PRIMITIVE MAN, BLACKWATER HOLYLIGHT, SPACESLUG + MORE FOR 2024 EDITION

🎟️ https://link.dice.fm/desertfest2024 🎟️

Performing at the Knockdown Center please welcome…
↠ High On Fire
↠ Amenra
↠ PRIMITIVE MAN
↠ Blackwater Holylight
↠ Spaceslug
↠ Spirit Mother

Who will all be joining the likes of Russian Circles, Acid King, GREEN LUNG, Truckfighters, Dozer, BelzebonG for the 4th edition of our independent East Coast venture, celebrating the best in underground heavy music! With more still to announce, including day splits – which will be released in July.

We are extremely proud of this line-up and the amount of EU bands we are able to bring over to you!
Plus we are thrilled to welcome doom metal super-group Legions of Doom (ft. members of Trouble, Saint Vitus, The Skull & COC) to headline our SOLD OUT pre-party, hosted by TeePee Records alongside the return of Satan’s Satyrs, plus local heroes Mirror Queen & Mustafina!

Will we see you there?? Check out more info at www.desertfestnewyork.com

Desertfest New York 2024 will take place September 12th – 14th. 3-Day Festival Passes (incl. pre-party access) and 2-Day Festival passes are available now via https://www.desertfestnewyork.com & https://link.dice.fm/desertfest2024

https://facebook.com/Desertfestnyc/
https://www.instagram.com/desertfest_nyc/
http://www.desertfestnewyork.com

Spaceslug, Out of Water (2024)

My first thought when I saw the poster below for Hippie Death Cult‘s upcoming tour alongside fellow Pacific Northwestern heavy rockers Kadabra? “Oh man, Europe gets all the cool shit.”

Of course, the good news is I was wrong about that. It’s a US tour. You could argue the occasion that brings the two bands to the Eastern Seaboard is their slated appearances at Desertfest New York — a festival brand that got its start in Europe and still mostly happens there, but not in this case — but the run itself covers much more ground than would a straight-shot to Brooklyn, turn around and go home.

The two bands both operate under the banner of Heavy Psych Sounds, which issued Hippie Death Cult‘s Helichrysum (review here) and Kadabra‘s Umbra (review here, also discussed here) last October, and it’s worth noting that both will have completed 2024 European tours before this September US stint takes place. Kadabra were there April into May, and Hippie Death Cult head abroad later this month (dates here). Lest anyone think they’re not hitting all the stops.

And as regards stops, maybe one of these is yours:

📣 We are 𝓋𝑒𝓇𝓎 excited to announce our upcoming tour across North America with @kadabra_band !!!

🎫 Tickets go on sale today at 10am PST! 🔗 in bio.

ɴᴏʀᴛʜ ᴀᴍᴇʀɪᴄᴀɴ ᴛʀᴀɴꜱᴄᴇɴᴅᴇɴᴛᴀʟ ᴛʀɪᴘ 2024👁️

9/2 Boise, ID – @neurolux
9/3 Salt Lake City, UT – @urbanloungeslc
9/4 Denver, CO – @hqdenver
9/5 Omaha, NE – @theslowdown
9/6 Milwaukee, WI – @clubgaribaldi
9/7 Chicago, IL – @cobralounge
9/8 Grand Rapids, MI – @pyramidschemegr
9/9 Newport, KY – @sghrevival
9/10 Youngstown, OH – @westsidebowl
9/11 Philadelphia, PA – @milkboyphilly
9/12 Providence, RI – @alchemy_providence
9/14 Queens, NY – @desertfest_nyc @knockdowncenter Center
9/16 Québec QC – @lasourcedelamartiniere
9/17 Ottawa, ON – @dominiontavern
9/19 Toronto, ON – @bovinesexclub
9/20 Detroit, MI – @sanctuarydetroit
9/21 Louisville, KY – @portal_louisville
9/22 Atlanta, GA – @masquerade_atl
9/23 Pensacola, FL – @thehandlebar850
9/24 Lafayette, LA – @freetown_boomboomroom Boom
9/25 Dallas, TX – @ruinsdeepellum
9/26 Houston, TX – @blackmagicsocialclub
9/27 Austin, TX – @thelostwell
9/28 Las Cruces, NM – @amadorbar
9/29 Albuquerque, NM – @sisterbar
9/30 Scottsdale, AZ – @pubrocklive
10/2 San Diego, CA – @brickbybricksd
10/3 Long Beach, CA – @alexsbarlbc
10/4 Los Angeles, CA – @permanentrecordsroadhouse
10/5 Oakland, CA – @elismilehighclub
10/6 Reno, NV – @lobarsocial
11/1 Vancouver, BC – @greenautomusic
11/2 Kelowna, BC – @jackknifebrewing
11/3 Calgary, AB – @palominosmokehouse
11/6 Spokane, WA – @thebigdipperspokane
11/7 Yakima, WA – @beardedmonkeymusic
11/8 Bend, OR – @volcanictheatrepub

More dates TBA.

Poster by : @fandydarisman
Presented by : @atomicmusicgroup & @heavypsychsounds_records

HIPPIE DEATH CULT is:
Laura Phillips – Bass/Vocals
Eddie Brnabic – Guitar
Harry Silvers – Drums

https://hippiedeathcult.bandcamp.com/
https://instagram.com/hippiedeathcultband/
https://www.facebook.com/hippiedeathcultband/
https://soundcloud.com/hippie-death-cult
https://www.hippiedeathcultband.com/

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

Hippie Death Cult, Helichrysum (2023)

Kadabra, Umbra (2023)

You can hear the burgeoning individualism of approach in Kurokuma‘s new single “I Am Forever,” which doubles as the opening track of their upcoming second LP, Of Amber and Sand, due out Aug. 9, and it’s as much evident in the patterning of the vocals and the insistence of the rhythm as it is in the baglama solo and percussion in the song’s second half. They’re not kidding when they talk about it being influenced by death metal, but the groove is sludge-born as well, and as the sub-five-minute run of “I Am Forever” hits into its finish, I’m left wondering how the rest of the record might flesh out around the atmosphere of this opening track. So yes, the single does its job as an interest-piquing teaser, for me anyhow.

Kurokuma‘s debut, Born of Obsidian, came out in 2022, and they were a band for almost a decade before that. They seem to have had some changes around their general circumstance, geography, etc., but they seem to be refining their take on extremity melded with a capital-‘h’ Heavy modus. Preorders are up and the song’s streaming at the bottom of this post. You know what to do.

Have at it:

KUROKUMA ANNOUNCE NEW ALBUM “OF AMBER AND SAND”

Pre-order now: https://kurokumauk.bandcamp.com/album/of-amber-and-sand

Vicious psych trio, Kurokuma brought a fresh heaviness to the extreme music scene in 2022 with their debut album, ‘Born of Obsidian’. In August the genre-mashing threesome will return with their new record, ‘Of Amber and Sand’.

But it’s not sludge, it’s not doom, it’s not death metal. It’s Kurokuma.

While their Sanford Parker-recorded debut, ‘Born of Obsidian’ dug deep into the ancient history of Mesoamerican civilisations, ‘Of Amber and Sand’ is based on the colossal concept of time, each track dealing with a different facet of temporality and eternity, probing its significance to creation, civilisation and the human experience.

Musically, the band have drawn influence from the instruments, melodies and rhythms of the Middle East/Balkans on this release. Guitarist and vocalist, Jake Mazlum explains:

“In terms of my own relationship with the new musical elements, it’s complicated. I’m an Orthodox Christian from the Muslim world, an immigrant to the UK, and a more recent immigrant to the Balkans, where ironically I feel like I fit in culturally more than anywhere else. Much of my family is ethnically Armenian but now resides in Turkey, where I spent the first few years of my life there.

My relationship with these ‘ethnic’ musical styles is a mix of appreciation for what they are, a familiarity due to their imposition in my life in various ways, and a very conscious detachment from the cultures, places and values that – like all art – deeply informs them.”

‘I Am Forever’ is the first single to be shared from the album with drummer Joe Allen stating, “this track is a mantra on meditation that opens up this concept album on time. We challenged ourselves to write something that worked even with repeated lyrical phrases, so it truly felt like a mantra. Jake had been listening to a lot of Nailbomb and Korn for the riffs, and then our mate, Babak stepped up with a blazing baglama solo. It starts off the album with a bang.”

The geographical influences, as well as the subject of time are combined and reflected in the album title; ‘Of Amber and Sand’ is a metaphor the band came up with, fleshed out and visualised in the artwork by Sheffield illustrator, Mila K.

Here ‘sand’ and its abundance represents infinite time, while ‘amber’ represents one moment – amber is known for capturing insects and preserving them. Joe explains:

“The mantis trapped in amber on the cover, it’s been there potentially millions of years, preserved and unmoving while civilisations have come and gone. Species have been born into being, evolved and become extinct – yet this mantis is frozen in that one pose. A snapshot relic of the past to be admired throughout history. This motif sums up a lot of what the album is about.”

‘Of Amber and Sand’ is a much more ‘metal’ and muscular album in comparison to their debut – one that feels faster and more urgent, taking nods from a variety of artists ranging from Nailbomb, Morbid Angel and System of A Down to Omar Souleyman, Barış Manço and the genre of dabke. Joe adds:

“We made a conscious effort to get a ‘real’ sound on this recording. We wanted to avoid any over-production and use of triggers and samples where possible. Saying that, we do think the sound is a big step up from Born of Obsidian.”

Originally active from 2014, the band have been based in the UK up until now, but 2024 sees them very much operating internationally, with only bassist Zakk still residing in the UK. With Jake relocating to Bulgaria, Joe is living as a digital nomad, currently in Albania. He adds that Kurokuma is still very much a band but that “this lifestyle choice was driven in part by wanting to avoid burning out on doing the same things over and over as a UK-based band, and as a promoter. I wanted to get away and see some more of the world, but making this album happen has proven we can still function as Kurokuma while all in different places.”

After the release of ‘Born of Obsidian’ in 2022, Kurokuma went on to perform at Desertfest London, Brutal Assault in the Czech Republic and Damnation Festival, as well as touring Central Europe.

Recorded at Stuck On A Name in Nottingham with Boulty, ‘Of Amber and Sand’ is self-released by the band on 9th August and is available on CD, vinyl and digitally.

Pre-order now: https://kurokumauk.bandcamp.com/album/of-amber-and-sand

Tracklisting:
1. I Am Forever
2. Sandglass
3. Death No More
4. Clepsydra
5. Fenjaan
6. Bell Tower
7. Neheh
8. Timekeeper
9. Crux Ansata
10. Awakening
11. Chronoclasm

Kurokuma are: Jacob Mazlum (guitar/vocals), Joe Allen (drums), Zakk Wells (bass/vocals)

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

Kurokuma, Of Amber and Sand (2024)

Kurokuma, Born of Obsidian (2022)

Today, Ruff Majik begin the process of following up 2023’s Elektrik Ram (review here), and the first single is “What a Time to Be a Knife,” which the band teased last month ahead of starting their European tour.

As that tour wraps up pretty much right this second, clearly it’s time to move on to the next thing, and that’s the album process. I think there are a few months to go on that, but at very least today is the preliminary steps moving forward from what was hands-down the band’s best effort to-date, following the charge and divergences-of-arrangement of 2020’s The Devil’s Cattle (review here) with tighter songwriting, smart-ass lyrics and a performance that was soaked in attitude not at the expense of the sincerity with which it was also telling you to get fucked.

Speaking of that sentiment, it is expressed verbatim at the open-up-to-the-nod culmination of “What a Time to Be a Knife,” which as I understand it will lead off the new album in a line of succession for adrenaline-fueled starters. At the start of the track, you’ll hear Reegan du Buisson (Facing the Gallows, Evergloom) talking about how Ruff Majik will never play in this town again, etc., and if the song is the band’s response, they seem entirely cool with that.

Fair enough as they set broader sights on the whole. They’ll be back in Europe this Fall for Desertfest Belgium (god damn I wanna go) and more besides. Dates TBA, but there are shows announced already. So far as I know, nothing is bringing them to the US this year, but fair enough for visa costs, and maybe they’ll get there in 2025. The album will be out on Sound of Liberation Records, which also happens to be the label wing of their Euro booking agency, further speaking to their overarching priorities.

More to come. For today, this from the PR wire [EDIT 06/07: An actual press release came after this post went up. I’ve updated with the text of that below; the difference is there’s more about the album. Thanks.]:

South African Fuzz Juggernaut RUFF MAJIK Announces New Studio Album “Moth Eater” On Sound Of Liberation Records; First Single (Feat. Reegan du Buisson of Facing The Gallows) Out Now!

Streaming: https://orcd.co/xqy6d0b

Following their latest, much acclaimed 2023-album ‘Elektrik Ram’, South Africa’s megalithic Ruff Majik has announced the release of a new studio offering! Moth Eater will be released on September 27, 2024 via SOL Records, the label imprint run by Sound Of Liberation (Desertfest Berlin, Keep It Low, Up In Smoke etc. and booking agency for numerous, high-class artists of the stoner, psych, rock and doom metal / sludge scene). Visit the SOL Records Shop here: https://shop.soundofliberation.com

A first album single taken off Ruff Majik’s upcoming banger, “What A Time To Be A Knife” feat. Reegan du Buisson of Facing The Gallows, is now streaming on all digital providers at: https://orcd.co/xqy6d0b

From a lyrical perspective, the first single release deals with the anger and frustration towards the status quo. It can be read as an allegory of governmental resistance and frustration with peers accepting the status quo, however, according to Ruff Majik it is more specifically aimed at the con-men and grifters in the local South African scene. As the band tells us:

“Right out the gate, we need to get some stuff off our chest. So, this song goes out to our local music industry promoters/suits/businessmen/naysayers that think they rule the world and shit gold. This is us drawing the line in the sand and throwing down the gauntlet – run up, we’re ready.

The scene is amazing, the bands are trying their best to make something good happen, and these greedy goblins are actively trying to destroy what we’re building.

So you think you’re the music biz messiah? Get f#@cked!”

Ruff Majik are:
Johni Holiday (vocals & guitar)
Cowboy Bez (guitar & vocals)
Jimmy Glass (bass)
Steven Bosman (drums)

http://www.ruffmajik.com
https://www.facebook.com/profile.php?id=100089579216305&mibextid=ZbWKwL
http://www.instagram.com/ruffmajik
https://www.tiktok.com/@ruffmajik

Ruff Majik, “What a Time to Be a Knife”

Ruff Majik, Elektrik Ram (2023)

Stalwart Californian heavy psychedelic rockers Nebula are mourning the passing of bassist Ranch Sironi, age 32. The band have canceled the European tour they were due to start today, which would have featured appearances at Hellfest, Heavy Psych Sounds Fest, Stoomfest, Rock in Bourlon and more, and this month are set to release a split with Black Rainbows titled In Search of the Cosmic Tale: Crossing the Galactic Portal to follow-up on the Livewired in Europe live outing from earlier this Spring. There has been no cause of death listed, but the loss is a tragedy for the band still likely reeling from the death of prior bassist Tom Davies, who passed away from cancer less than a year ago. They posted the following on social media:

It is with profound sadness that we announce the passing of our dear friend and bassist, Ranch, this morning. Due to this tragic loss, the Nebula Tour has been canceled. Our heartfelt condolences go out to his family and everyone who knew him. We appreciate your understanding and support during this difficult time.

The canceled tour dates are as follows:

TH. 06.06.24 IT PRATO – OFF TUNE FESTIVAL
FR. 07.06.24 IT BERGAMO – ROCK IN RIOT
SA. 08.06.24 CH MARTIGNY – HPS FEST CH
MO. 10.06.24 IT ZERO BRANCO – ALTROQUANDO
TU. 11.06.24 SL LJUBLJANA – GALA HALA
WE. 12.06.24 HR ZAGREB – THE VINTAGE INDUSTRIAL
TH. 13.06.24 DE RAVENSBURG – IRISH PUB SLAINTE
SA. 15.06.24 DE MUNSTER – RARE GUITAR
MO. 17.06.24 FR SEIGNOSSE – THE BLACK FLAG
TU. 18.06.24 ES SAN SEBASTIAN – DABADABA
WE. 19.06.24 ES MADRID – WURLIZER
TH. 20.06.24 ES BARCELONA – SALA UPLOAD
FR. 21.06.24 FR BORDEAUX – LA FETE DE LA MUSIQUE
SU. 23.06.24 FR BOURLON – ROCK IN BOURLON
FR. 28.06.24 FR CLISSON – HELLFEST
SA. 29.06.24 FR MANIGOD – NAMASS PAMOUSS FESTIVAL
SU. 30.06.24 FR CHAMBERY – BRIN DE ZINC
MO. 01.07.24 FR PARIS – SUPERSONIC
TH. 04.07.24 UK SHEFFIELD – YELLOW ARCH STUDIO
FR. 05.07.24 UK LONDON – STOOMFEST
SA. 06.07.24 UK NOTTINGHAM – ROUGH TRADE

Obviously it’s too soon for the band to have makeup plans in the works let alone made public. Founding guitarist/vocalist Eddie Glass brought the band back with live shows and the 2019 album Holy Shit with Mike Amster on drums and Davies on bass, and Sironi stepped in to take up the low end role as Davies’ heath declined. Sironi did not play on 2022’s Transmission From Mothership Earth and was making his studio debut with the band on the three songs of the coming split with Black Rainbows.

The loss of a player so young is especially hard to take; somebody just beginning what hopefully would have been a long and fruitful tenure with Nebula as part of his own career arc. On behalf of myself and this site, I offer condolences to Ranch Sironi’s family, friends and bandmates. I don’t have any other info at this time and honestly doubt more will be forthcoming publicly, but there’s no angle from which his death is anything but deeply sad. Hug your friends. Hug everybody.

Nebula, Live in France, Oct. 11, 2023