While the arrangements are full-band in terms of featuring guitar, bass, drums and the like, Stubai‘s recently-issued four-song Voyager EP carries solo-project intimacy to coincide with its outward accessibility — bedroom pop working from foundations that resonate in frequencies of grunge on a cut like “Broken Teeth” and progressive heavy emo on the leadoff title-track, the video for which you’ll find streaming below. The “Voyager” clip features artist-impression footage of and actual images taken by NASA’s two Voyager probes — Voyager 1 and 2, launched in Sept. and Aug. 1977, respectively (yes, two before one) — which are the farthest-out manmade objects in the cosmos, having left much of the sun’s gravity and certainly all the planets, Kuiper Belt, etc. behind. Voyager 1 is now over 15 billion miles away from the sun, and Voyager 2 is 13 billion. Not bad for pre-’80s technology.
Stubai, which is comprised of Matt T., is slightly more modern in influence, what with the ’90s-ism of “Another Way” and the particularly-Nirvana strum and drawl of the aforementioned “Broken Teeth,” as well as the early-Cave In vibe that “Voyager” itself is radiating. Thoughtful in melody and wistful even unto the dancier sway of capper “Do You Miss Me,” the EP is intended as a precursor to Stubai‘s debut full-length, We Were Here, set to release sometime this Fall. I haven’t heard that yet, but the songs feel crafted and fluid in like measure, and while the production is hardly flashy, it is clear and able to convey a due sense of breadth to suit the thicker-toned distortion being explored in “Voyager” itself.
You’ll note the final among the video’s snagged images is the famous image of Earth as viewed from roughly six billion miles out christened by astronomer Carl Sagan as the ‘Pale Blue Dot.’ It is a fitting and humbling reminder of our place in the cosmos itself, which is practically nowhere at all when put to even the tiniest fraction of such a scale. Ephemeral as we are, we nonetheless persist with things like art (yay) and war (boo), and the Voyager EP harnesses an urgency of expression that speaks of reaching out in a way to suit the stated theme of learning about humanity through the gold records on the Voyager probes containing information about the human species, the planet and our culture. If you want a more terrestrial interpretation, it’s also catchy with a hook to get stuck in your head and a flowing riff. Up to you how you want to look at it, ultimately.
My daughter, The Pecan, is deep into wanting to be an astrophysicist when she grows up, and, well, that’d be just fine. I showed her the video and we ended up watching it four times that day. When I put it on a bit ago to start writing about the EP, she remembered it on the basis of the song alone, came over, and sat down with me in front of the laptop to watch again. It isn’t the first song she’s liked, but it is the first one I’ve heard her say she liked. Ever. Not a minor or easily earned endorsement.
Stubai has written a fuzzed out stoner rock epic about NASA’s 1977 Voyager probes. It comes with a music video that takes the viewer on a cinematic journey through the solar system (shoutout to V101 Science for the awesome footage).
Voyager wonders how aliens might perceive us humans if they actually listened to the sounds on the probes’ famous Golden Records.
Strap yourself in and take a trip to the heliosphere and beyond!
NASA space probe Voyager’s journey through the solar system. Footage used with kind permission of @V101SPACE Edited by: Oscar Teffer
Music: “Voyager” from Stubai’s forthcoming debut album “We Were Here”, out October 2024
Posted in Whathaveyou on August 22nd, 2024 by JJ Koczan
Fun case with Unversum, which is the title given to the upcoming third album from Finnish three-piece DÖ. I originally had the title wrong front to back in this post. Just read it wrong. I had ‘Universum,’ as in, a Latin direct object form meaning something being done to the universe as a whole. Thought I was all clever with my I-took-electives-in-high-school knowledge base and my general interest in language. Hard truth is I fucking need glasses. This shit has happened like three times this year.
So lucky you, getting to witness the not-all-that-rare phenomenon of me feeling like an idiot. The album is called Unversum. It’s out Sept. 18 through the much-respected Lay Bare Recordings, and you’ll see in info the title’s all over it and I was just wrong. I don’t know what else was going on while I originally wrote the post, but I’m sure if I dug hard enough into reality I’d find some semi-valid excuse. Not me though. I’m pretty used to that whole ‘idiot’ thing. Fits better than most of my t-shirts at this point. Fuck it. I’m gonna go get stoned.
No audio from the record yet, but album details were shot down the PR wire by ignited propulsive methods, and you’ll find them below:
DÖ releases their third album in September
DÖ, the Finnish trio that channels the dark forces of the cosmos into fierce riffs, will release an album titled “Unversum” on September 18th.
This dark blend of stoner, doom, and psychedelia, featuring eight tracks, will be available on vinyl through the Dutch label Lay Bare Recordings, as well as on CD and digital platforms.
In line with the space theme, the journey to the finished album has been a long one. Songwriting began immediately after guitarist Teröid joined the band in 2019, but due to the pandemic and other setbacks, the production process ultimately stretched to nearly five years. During that time, the band managed to release a preview of the album’s offerings with the ‘Black Hole Mass’ EP in 2020.
The wait, however, has been worth it. More effort has been put into pre-production and recording than ever before, resulting in both the sound and the songs reaching entirely new heights in DÖ’s canon. Once again, the lyrics draw from the ideology of astral worship, celebrating cosmic forces and the insignificance of humankind.
The trio describes the album briefly as follows: “‘Unversum’ is a collection of very different songs that are hard to fit into one genre box. Some are nuanced and even surprising, while others are simply crushing heavy hitters. Influences and sources of inspiration range from the roots of psychedelic music to the ‘everything starts with a riff’ stoner doom aesthetic and pure cosmic escapism to fill the void.”
Unversum Lay Bare Recordings & Döömernaut Records (2024) 1. Call of the Supervoid (6:46) 2. Nuclear Emperor (5:17) 3. Sulfur Incense (5:35) 4. At the Melting Gaze of the Origin (4:27) 5. Ode to the Dark Matter (4:59) 6. Faster Than Light (6:51) 7. Moldy Moon (5:37) 8. Wasted Life Form (6:28)
Sweden’s Vokonis will release their fifth album, Transitions, on Oct. 25 through Majestic Mountain Records. It is unmistakably the boldest work the band have ever done, and that it is introduced to public eyes and ears by a goofball video for “Pink Fang” that includes Evil Dead 2 nods, well, could hardly be more perfect. Themed as a chronicle of guitarist/vocalist Simona Ohlsson‘s trans experience, the undertaking that is transitioning and the emotions surrounding, highs, lows, and a good bit of headbanging, as well as dealing with the shift in dynamic following Jonte Johansson‘s departure from the band.
The record could easily have gotten lost in navelgazing indulgence, not the least for the band’s foundation in progressive and atmospheric heavy rock. But while Transitions is for-sure a journey and intended to be one as it crucially delivers an it’s-going-to-be-okay message in putting the declarative “Arrival” before the tumultuous closing title-track on side B — the two extended cuts are clear complements and something of an album unto themselves — at no point do Vokonis let go of considering their audience, whether that’s such delivering of emotional comforts or, as with “Pink Fang,” throwing heavy bruiser elbows with chugging radness and riding a groove that dares to be fun, catchy and sweeping in a breakout triumph that’s no less a statement of freedom on the band’s part, and thus an all the more suitable analog for the 43-minute LP from whence it comes.
We’re a ways off from Oct. 25, and barring disaster, I’ll have a proper album review up before then as well (I would both do another premiere if offered and not presume to ask or be asked), but if you caught Vokonis‘ 2023 EP, Exist Within Light (discussed here), you have a good foundation as regards perspective for where Transitions is coming from. If you missed that, it’s streaming near the bottom of the post for when you’re done with “Pink Fang” and are inevitably ready for more. I think album preorders start tomorrow, when the single officially hits streaming services and all that.
Enjoy “Pink Fang” below. The PR wire brings context for song and LP beneath, in the blue text:
Vokonis, “Pink Fang” video premiere
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We are thrilled to bring you the first single “Pink Fang” and accompanying video from the much-anticipated new album “Transitions” by Sweden’s Vokonis.
“Pink Fang” launches directly into the heavy swing of what’s to come with the release of “Transitions” and features a heavy dose of hypnotic head nod with stomping grit and a glorious, anthemic chorus. Simona’s powerful vocals and raging riffing are unmistakably ever present with their constant fire and confident ferocity whilst the immensely thunderous rhythm section dead lifts the driving framework and added growl for this incendiary track.
Simona tells us a bit about the track and the video:
“..Its one of my favorite songs I’ve ever written. It’s upbeat with a huge chorus and I just felt like I wanted to have a song that was fun and danceable. When we were making the video, we had some discussions with Hampus who shot and edited it, and we wanted to do something that was very early YouTube. Subpar acting and FX but with a lot of heart and nods to films and shooting styles we love, like as Evil Dead 2. It’s comedy, it’s a little stupid in a way, and I love it.”
With beautiful artwork from the talented Kyrre Bjurling, though heavily censored, which in a way is allegorically fitting as well as kind of hilarious, we are served the full package of Vokonis in their current essence, a band at the top of their game, continuing their epic journey with the fiercest of focus and fire, kicking ass at it, and dare we say, having a bit of fun while doing it. (You’ll be able to see the full uncensored version of the artwork on Bandcamp who continue doing the good work by allowing artists to present their visuals unencumbered by the algorithm.)
“Pink Fang’s” official release [is] this Friday on 23.08!
Pink Fang was shot and edited by Hampus Melin. Featuring Daniel Jönsson as “The Thief.” Art by Kyrre Bjurling.
Majestic Mountain Records is proud to announce the official release of “Transitions” the fifth full length release from the incredible Vokonis.
“Transitions” is a triumphant and deeply multifaceted expression of resilience, determination, unflinching bravery and becoming and this highly anticipated new release from Sweden’s ever evolving Vokonis is nothing short of stunning in its conception, performance and delivery. This album demands space, time and attention and submitting to its power is a true and rewarding joy unlocked on the spectrum of modern, heavy rock.
In this latest addition to the Vokonis lore, the band unfurls six, huge tracks of progressive, technically articulated heavy metal with tinges of post rocking glory and djenty crush, blended vocals on the spectrum of blackened harshness to melodic, grungy crooning. Expect to be enthralled by absolute walls of gorgeously sanguine yet viciously viscous tone erupting from the vast spectrum of Simona’s masterful riffing, alongside bounding swing, neck snapping dirge and churning chug from the beguiling din of Oscar Johannesson’s rumbling bass and the blinding, percussive pertinacity of drummer Sven Lindstrom. In all of its supreme heaviness, “Transitions” gives us over 44 minutes of pure, exhilarating, heaving emotion and the band shows no signs of slowing their experimentally visceral, evolutionary train whilst they continue to build evocatively upon their progressively expansive trajectory. Emerging from the fire of this release is a reverent tenderness and an enveloping light enters through the shadows, like the warm luminosity of golden hour catching the reflection of the soul in its slow, languid glow. It is also through this vivid and tangible light that a sense of deep explorative wonder, dare we even say “fun” enters the proceedings as the band seem to truly let loose, harnessing their newest constellation with a natural finesse and a strong sense of purposeful, cathartic release.
Simona gives us this insight on the album: “Transitions is a vulnerable album for me. Obviously, it references myself and my transition, but it also reflects the band and how to adapt and transition into a new unit without Jonte. This band always felt like me and him against the world, so Transitions is a reflection of how to navigate life as a band without one of its most important pieces. This new constellation of the band is something I never thought possible and though we never approached things like we had to fill the shoes of Jonte, we thought more of what we wanted to do moving forward. With adding another guitar into the mix, we certainly can let loose a bit more and I have also been able to challenge myself with my vocals and grow into something I never thought I could.”
“Transitions” is a vehemently vulnerable and incandescently volatile elegy to the past yet it fiercely holds space in the present for the beauty of truth, the push of forging one’s own life’s path and regardless of the hardship, retaining a hope for the future. MMR is honoured to bring this seminal album from one of Sweden’s most spectacular bands to the world.
The pre-sale for “Transitions” begins on Friday, August 23 at 19:00. The album will come in three beautiful editions with the full Majestic treatment for your collections. “Transitions” officially hits the streets on October 25th. More information to come.
Vokonis are: Simona Ohlsson – guitar/vocals Hedvig Modig – noise/guitar/backing vocals Oscar Johannesson – bass/backing vocals Sven Lindstrom – drums
Posted in Whathaveyou on August 21st, 2024 by JJ Koczan
I mean, yeah, Descendants of Crom VI had me at Stinking Lizaveta. Of course. But they also had me at Faerie Ring, Blessed Black, Slow Wake, The Long Hunt and Rebreather, for whatever that’s worth. The Pittsburgh-based Descendants of Crom fest has always done well in pulling not only from the local underground, which remains vital, but from the Midwest too, and you can see that consistency in the lineup announcement below. With a half-day Friday and a full Saturday of bands, it’s a manageable, not-overwhelming amount of stuff; doesn’t seem unreasonable to think you could go, see all of it, and not regret doing so when it’s over. I’ve never been, but I’ve always wanted to.
The all-important ticket link, plus info and whatnot follow here, as yoinked off the event page on social media:
ATTENTION: Early Crow ticket pricing is available until 8/29.
8/30 tickets will increase so commit soon!
Pittsburgh’s heavy underground music scene is about to get a massive boost with the return of Descendants of Crom VI, set to take place at the Shred Shed in Allentown. This year’s festival promises a lineup that will shake the foundations with a mix of sludge, doom, psych, noise, hardcore, and post-metal, featuring both local and regional artists.
*Friday Night (7 PM Doors / 8 PM Start): Sundras Blessed Black (Cinci) Faerie Ring (Indy) Stinking Lizaveta (Philly)
*Saturday (2 PM Doors / 2:30 PM Start): Mires Slow Wake (Cleveland) Star Viper The Long Hunt Pillärs (Cleveland) FUNERALS Axioma (Cleveland) Úzkost Passover Rebreather (Youngstown) Spotlights (BKNY/Pgh)
In addition to the incredible lineup, descendant-goers can look forward to beverages, food from Onion Maiden, and a variety of vendors. DOC VI is all-ages and an all-inclusive experience. Everyone is welcome to enjoy the regional heavy underground sounds and what the incredible Pittsburgh community has to offer, here.
Tickets are available now. Get yours and stay tuned for more news and updates as we get closer to the event. Don’t miss your chance to be part of this epic celebration of heavy, heavy music.
Posted in Whathaveyou on August 21st, 2024 by JJ Koczan
Melbourne heavy psych rockers Seedy Jeezus are headed back to Europe this October — which sounds really far away in my head, but isn’t — to appear as part of the encompassing, stellar, someone-please-fly-me-over-so-I-can-cover-it lineup of Desertfest Belgium 2024, and while I have no reason to suspect I’ll be there to see them, if you are, I heartily recommend you take advantage of the opportunity. A special set at Rare Guitar in Münster sounds cool, or a stop at the Freak Valley Festival-associated Vortex Surfer Musikclub in Siegen. When I was lucky enough to catch Seedy Jeezus, it was at Freak Valley (review here), so hitting that feels appropriate enough. You can’t really go wrong with the classic psych and heavy, bluesy flow the Australian trio proffer.
It’s an eight-show run, mostly Germany with a gig in Amsterdam as well as the obvious exception of Desertfest Belgium, but that it’s happening at all is the thing here. It’s not their first time in Europe and ideally it won’t be their last, but for the dynamic they bring to the stage, it seemed in my mind like an occasion worth marking. I hear there’s a new Tranquonauts LP on the way; not sure when. Seedy‘s last LP was the 2022 double-live album The Hollow Earth (discussed here), released through the much-respected Lay Bare Recordings. A video for the title-track is at the bottom of the post if you’ve got a second to sample.
Dates from socials:
*****SEEDY JEEZUS – EUROPEAN TOUR ANNOUNCEMENT ******
This October we hit the road to Europe to play a handful of shows. We kick off Desertfest Antwerp 2024 and finish up with a extended set on the final night of the tour RARE GUITAR .
The events will be up soon, with presales available… We will share events an individual posters….
Seedy Jeezus European Tour: Oct. 19 Desertfest Antwerp BE Oct. 20 Lükaz Lünen DE Oct. 21 Backyard Club Recklinghausen DE Oct. 22 Sonic Ballroom Cologne DE Oct. 23 Bar 227 Hamburg DE Oct. 24 De Tanker in Noord Amsterdam NL Oct. 25 Vortex Surfer Musikclub Siegen DE Oct. 26 Rare Guitar Münster DE
Drenched in attitude and classic sneer, Heavy Velvet‘s “Modern Love is a Shame” offers boozy sway and a herald of things to come from the Austin, Texas-based band. There’s a heavy riff churning at its center from guitarist David Kent, formerly of Slow Season, but the I’m-about-to-do-something-I’ll-regret-oh-wait-I-already-did-well-fuck-it vibe comes through the vocals of Erika Leigh, duly molten but ready to throw a punch if it comes to it. And from the sound of the song, it might.
Five years ago, a different incarnation of Heavy Velvet released the full-length Sessions as a self-recorded debut, with Mucho Drums (Great Electric Quest) doing Bonham stomp during the open spaces of “Pretty Politician” and so on. The lineup has changed for “Modern Love is a Shame,” with bassist Justin Sedillo and drummer Jordan Espinoza holding down the groove, and true to the song, the production intent is a little fuller sounding and more modern, but the crunch is still there and the song wastes no time getting down to it, with Espinoza setting the pattern for the first verse in the intro and the band picking it up smoothly to set the scene for Leigh‘s vocals to reside in the cyclical riffing before a backing layer delivers the title line to open up to the chorus.
Tension and release, a hook, and a sense of purpose behind a ’70s/’90s/’10s meld, it can only be the stuff of future past. The kind of show where you might get a drink thrown on you by some overexcited reveler testifying to gods that can be heard and not seen. So it goes. You can wash that shirt, and if you need another in the immediate, well, you were probably going to hit the merch table anyhow. Is that modern love? Is it a shame? I don’t know. But Kent‘s riff remains at the core of the single and from there sources a tension that belies the short three-and-a-half-minute runtime, and in presence and performance across “Modern Love is a Shame” and the two other singles to come that I got to hear — those being “The Itch” and “Scarlet” — it becomes clear that Heavy Velvet both knew what they were doing when they chose their moniker and have disruption in their hearts. If you believe rock and roll is supposed to be dangerous, the gospel they’re preaching will surely resonate.
I don’t have info on a release plan or anything like that. I’m not plugging an album here. I think maybe they’re… just… putting out… songs? Crazy, I know. But hey, I like songs, and I like being punched in the face — not true; I’d cry because I’m sensitive — and all the rest of that about-to-careen-into-the-wall, mix-your-metaphors rebellious whathaveyou, and Heavy Velvet pack it in on “Modern Love is a Shame,” so right on.
You got three minutes for something you haven’t heard before today? Hell yes you do.
Enjoy:
Heavy Velvet, “Modern Love is a Shame” video premiere
Taking notes from rock titans from Led Zeppelin to Wolfmother to Cream, Heavy Velvet entwines sonic elements of grunge, psych, and blues to create a rock and roll sound all their own. Heavy, unrelenting riffs lay the foundation for the fiery and sultry vocal stylings that drip with a raucous edge.
Heavy Velvet aims to harness the nostalgic energy of the classics while exploring new uncharted territory through raw, explosive rock and roll energy, and an unforgiving live performance.
Ex-Slow Season (RidingEasy Records) guitarist David Kent, along with powerhouse vocalist Erika Leigh, relocated recently to Austin, TX to assemble a smoldering rhythm section for a sound that evokes classic 60s-70s hard rock with just a touch of 90s grunge.
Heavy Velvet: Jordan Espinoza: drums David Kent: guitar Justin Sedillo: bass Erika Leigh: vocals
Posted in Whathaveyou on August 21st, 2024 by JJ Koczan
I was fortunate enough to see Kosmodome at Freak Valley Festival in 2022 (review here), and after taking on the melodic reach and conveying-slog-without-being-a-slog sensibility of their new streaming track “Fatigue” (yes, it’s at the bottom of the post), I’m curious as to the spaces in which their upcoming second album, Ad Undas, might dwell. Proggy, weighted tonally but not so heavy they can’t give it a shove and have it move, the track heralds complexity and clarity of purpose in kind, and although I’m pretty sure the news they signed to Stickman came out while I was traveling a couple weeks ago (at least I thought it did) through social media, the PR wire makes it official with more details and, of course, the song itself.
Anybody notice Stickman‘s ongoing roster build? Yeah, you’ve got the Elder-adjacent stuff like Delving and Weite, but consider Full Earth, Temple Fang, Iron Jinn and Slomosa (who I think are still releasing through Stickman in Europe despite signing to MNRK Heavy in the US). Kosmodome push the label’s breadth into next-gen prog-psych even further, adding to the sphere while reaffirming their own intentions. If you can dig it — and you can; I believe in you — “Fatigue” waits below.
From the PR wire:
Norwegian Prog-Psych Rockers KOSMODOME Sign To Stickman Records & Release Album Details + Single From Upcoming Album “Ad Undas”!
Kosmodome, a rising star in the firmament of Norway’s flourishing prog music scene, have signed a deal with Stickman Records, who will proudly release the band’s sophomore studio album “Ad Undas” on October 11, 2024! The album pre-sale will start on September 6th.
The brainchild of the two Sandvik brothers, Sturle on guitars and vocals, and Severin on drums, Kosmodome’s music is riff-based rock with stoner elements all of which are placed within a progressive universe to great effect. Together, the duo bridges the gap between the explosive drive of bands such as Mastodon with melodic magic and retrospective, clever songwriting.
Today, the band is premiering a first single, the album closing track “Fatigue”, which Severin Sandvik describes as “a hard hitting song that captures the relentless grind — where every push feels like progress, but the weight of expectations and how you handle them pulls you under. It depicts the toll of constant striving and the need for balance in a hectic life. It’s the anthem of burning out, yet refusing to give up. Heavy psychedelic rock as well as progressive and stoner are genres that describe it.”
Hailing from Bergen, Kosmodome’s astonishing debut album from 2021 heralded the arrival of a melodic progressive powerhouse of a different stripe. While endlessly groovy, the band sidesteps the stoner genre by virtue of their sheer creativity, crafting extremely catchy but still unpredictable tracks topped by excellent vocals. With an explosive drive in which the melodious contrasts the hard and heavy music, Kosmodome came to blow minds with their psychedelic sounding, 60s atmosphere-coloured rock!
In recent years, the band has reached out beyond the Norwegian west coast and is now ready with their second full length album “Ad Undas”. On this album, they are less confined by genre expectations, but still sound like Kosmodome. Growing up with all types of music genres in a musical home from world music to metal is something the songwriting reflects.
Musically the record shows what else lives inside the progressive universe Kosmodome are building, where one/the goal is to avoid being stuck in genre expectations. Seeking a more dynamic and melodious sound than earlier, the songwriters – brothers Sandvik, but appearing as a stellar four piece live band – still deliver an album with heavy riffs, aggressiveness and many surprises.
Lyrically it delves into personal struggles with self-doubt, the pressures of societal expectations, and the existential battles of modern life. The songs touch on different aspects of the human condition, from the fear of failure and the need for growth to the turmoil of modern living and relentless self-exertion in a chaotic world. Ad undas is a Greek term meaning “to the waves”, but in Norway it is used as an expression when everything goes “to hell” or fails (everything goes south).
Kosmodome have played concerts on different stages in Norway and abroad, and are ready for more live performances after a studio hiatus in 2023 working on their much-awaited, second album, “Ad Undas” , set to be released on Stickman Records on October 11, 2024!
Chicago outfit ÇÖKÜŞ — whose moniker you might see all-caps, all-lowercase, and with various accent marks; for the purposes of this post I’m going all-in with ÇÖKÜŞ as a stylistic choice — are set to issue An Hour of Lies through Qumran Records on Sept. 13. The first lie is it’s not an hour long. The second? It’s pretty honest. Comprised of nine tracks, the longest of which is “Hit the Mattresses” (premiering below) at six minutes, the record tops out at an utterly-manageable-which-isn’t-to-say-tidy 33:36 bookended by the intro “It Died on the Vine” and its concluding reprise, and brings together elements of classic doom, metal and heavy rock. Three members of ÇÖKÜŞ used to be in Earthen Grave — vocalist Mark Wiener, guitarist Jason Muxlow (also The Living Fields) and drummer Chris Wozniak (also Lair of the Minotaur); the band is completed by guitarist Steve Ligeza and bassist Patrick Green — and so are part of the Trouble family tree along with labelmates like Sacred Dawn and Spillage.
And indeed, if you hear some Eric Wagner influence in the vocals of “Hit the Mattresses” or the post-intro opener “As it Falls,” I don’t think you’re wrong, but while led mostly by guitar and voice, the material throughout An Hour of Lies — again, not really an hour — digs into early Dio-style metallic riffing on “Leave it Behind,” which Wozniak turns propulsive with the kick drum, and centerpiece “Midnight Sun,” which skirts the line between metal and rock. This proves to be no less comfortably within the band’s reach than the lumber they hurl in “Wolf Moon” (which is not a Type O Negative cover), the chugging finish of which is made all the more spacious by vocal echo, and the same applies to the use of backing vocals in “Never Gone,” leaning toward harmony in a mix of higher and lower deliveries. Weiner is a belt-it-out singer either way and has been since I saw Earthen Grave in Wisconsin 12 years ago — let’s assume before then as well — and holds his own throughout An Hour of Lies in patterning verses and choruses as songs vary in mood from the tonally-thick strut of “Hit the Mattresses” to the charge the band holds in reserve for the penultimate “Hammer to Fall,” a three-minute breakout following the more sentimental “Never Gone.”
His performance isn’t the only defining aspect of ÇÖKÜŞ‘ debut — Wozniak‘s drumming, Muxlow and Ligeza‘s guitar work and Green‘s low end are of course essential — but in terms of band-persona, the frontman plays a significant role. This, coupled with shorter-track immediacy and the communion with influences from a prior generation, gives ÇÖKÜŞ their crux on this first offering: they hit hard and efficient, know what they’re about, and have enough experience behind them to back up the swagger of their execution. You’ll read in the PR wire info below that An Hour of Lies was recorded in pieces. Green captured his own bass, Muxlow did the guitars, etc. Whatever. Put altogether and mixed for impact, the record isn’t trying to sound like a fly-on-the-wall live-taped performance, but it is vibrant just the same, and has energy that hints at a live show that’d be worth seeing. I guess I’m due, if you believe in due. Either way, ÇÖKÜŞ bask in rock/metal glory-days in a way that nonetheless manages to be more about looking forward than back, and most of all about serving their songs. One never knows what the real-life future will bring, but hopefully it’s the beginning point of an ongoing progression for the band. One more lie: it definitely didn’t die on the vine.
“Hit the Mattresses” follows “Wolf Moon” and “Midnight Sun” as the third single from An Hour of Lies, and you’ll find it premiering in the visualizer embed below. It takes about 15 seconds to get going. Give it a little time and I doubt you’ll regret having done so.
As always, I hope you enjoy:
ÇÖKÜŞ, “Hit the Mattresses” premiere
Mark Weiner on “”Hit The Mattresses”:
“As the Dark One was left at the altar and betrayed by the Bright One, the spells had been cast onto the Earth. What was good is now bad. Lives were changed forever, and no one had control over anything. The War of Wars began. From the smallest of families to the most powerful organized families, everyone had to bear arms and Hit The Mattresses — a term used in organized crime…”
Chicago, Illinois-based doom metal outfit ÇÖKÜŞ will release their debut album, An Hour Of Lies, September 13th on Qumran Records.
Arising from the heart of the Chicago underground metal scene, ÇÖKÜŞ is the product of ten years of mostly virtual collaboration between former Earthen Grave bandmates, vocalist Mark Weiner (Earthen Grave), drummer Chris Wozniak (Vanishment, Earthen Grave, ex-Lair Of The Minotaur), and guitarist Jason Muxlow (Witchcryer, Earthen Grave, The Living Fields). Even though Muxlow and Wozniak had moved thousands of miles away after the abrupt conclusion of Earthen Grave in 2013, the three stayed in touch, trading riffs, beats, and lyrics from their respective corners of the United States. The material that emerged saw influences from the usual suspects — Black Sabbath, Judas Priest, Trouble, Dio — as well as old favorites like Soundgarden, Alice In Chains, and Kyuss.
Shortly before the pandemic, the group started meeting periodically in Chicago to write and record. Embracing a shorter, more polished format than their previous engagement, they privately released a demo under the moniker WMW in 2020, which generated a lot of buzz and positive feedback among those who had access to the recording. In 2021, the group re-branded as ÇÖKÜŞ (pronounced cho-koosh; Turkish for “decline” or “collapse”) and recruited bassist and longtime friend Patrick Green to complete the lineup and the material which will become the band’s debut album. Soon after, they were joined by another old friend, Steve Ligeza (Torg, Makahiya), on second guitar, and ÇÖKÜŞ began playing live.
ÇÖKÜŞ’ An Hour Of Lies was captured in three states – Illinois, Washington, and Texas – the drums and vocals recorded by John E. Bohmher, Jr. at Berwyn Recording, the bass recorded by Patrick Green, and the guitars recorded by Jason Muxlow, the finished recordings were mixed by Chris Wozniak and mastered by Chris Hanzsek (Melvins, Soundgarden, Helms Alee). The visual elements including the logo, cover art for the album and its singles, and video content was handled by Tom Denney (Soilent Green, Weedeater, Rwake).
An Hour Of Lies will be released on CD and digital platforms on Friday, September 13th.
