Rejoice! Comet Control will release their third album, http://www.bildung.de/?essay-write-a-book-review-for-me - Entrust your task to us and we will do our best for you top-ranked and cheap report to make easier your life No more fails with our high class essay services. Inside the Sun, on Aug. 27 through the ever-vigilant Writers For Psychology Papers provides best, custom and top rated essays online at affordable prices. Our expert essay writers guarantee remarkable quality with 24/7 Tee Pee Records. The first single “Secret Life” will be out on Friday — BUT — you can stream it right f’ing now because sometimes the universe lets not-horrible things happen. And when it does, it’s only right to take advantage. Song’s at the bottom of the post. I won’t begrudge you skipping the rest of this sentence to click play.

For anyone who stuck around, I’ll say that I got the record at the end of last week and I’ve been ‘spinning’ it — such as one does with a private stream — on steady rotation since. It’s eight tracks and 44 minutes of spuzzed-out-face-rock bliss, heavy and trippy and melodic melodic melodic all the way through. I don’t want to go too deep here, best to save some slathering for a review later on, but from the seven-minute rouse of opener “Keep on Spinnin'” down through the strut ‘n’ gaze of its hypnotic title-track and the cosmic ethereal folk of its closer, they answer 2016’s  Manuscript Editing Service: Your key to hassle-free study The Internet is flooded with various writing services, and everyone is inviting you to buy a dissertation paper. But when buying dissertations online, you should be sure of its quality while dissertation writing is not a good reason for experiments. Center of the Maze (review here) on all fronts, backs and side to sides. Oh, I dig it.

Preorders are up now. Actually I think they were up yesterday, but shh!

Info from the PR wire:

COMET CONTROL: Canadian Psych Rockers Set Controls for the Heart of the Sun with Blazing New Album

http://www.alpinemetaltech.com/?how-to-do-a-essay. They assess every essay independently. Your order information and individual information are private and will never ever be shown third celebrations. Order a custom-written paper from professional writers on our internet site. Position an order on our website to get initial papers for a low cost. As well as if you didn t have a chance to try us out, we provide an amazing discount rate on your initial purchase. Inside the Sun by Comet Control will be released on 27th August via Tee Pee Records

Album preorder: https://teepeerecords.com/products/comet-control-inside-the-sun-out-8-27-21

Formed in Toronto in 2013, after the break-up of Chad Ross and Andrew Moszynski’s acclaimed outsider outfit, Quest for Fire, Comet Control requires little introduction to anyone well-versed in the realms of contemporary psych.

After hashing out ideas for a new record following a European tour with Earthless in 2018, Ross and Moszynski escaped down the rabbit hole of their own Palace Sound Studio, to write and record new material. Material that will be unveiled this summer with the release of the band’s third studio album, Inside the Sun, on New York’s legendary underground label, Tee Pee Records.

Alongside bassist and fellow founder Nicole Ross, drummer Marco Moniz, keyboardist Jay Lemak and Godspeed You Black Emperor’s Sophie Trudeau, Comet Control form what is arguably one of the most kinetic and dynamic rock bands in recent memory. Drawing on a cosmic well laced with the imposing riffs of Dead Meadow and Sacri Monti, the motorik grooves of Krautrock, and those dimly lit passages of noise synonymous with the European shoegaze of Spiritualized and Ride, they are a phenomenal band, both on record and on stage. As anyone who has witnessed them live in support of acts like Boris, Black Mountain, King Gizzard & The Lizard Wizard and Vibravoid will attest.

Produced by Ross and Moszynski and recorded and mixed by Steve Chahley (U.S. Girls), Inside the Sun by Comet Control will be officially released on 27th August via Tee Pee Records. Pre-order the album here (digital) – https://orcd.co/cometcontrol

“‘Secret Life’ is a song that Andrew pretty much had in his head. He recorded the drums in one or two takes by memory and we moved quickly through the rest, never overthinking anything. Andrew and I have been collaborating for a long time now, and even though we’re usually on our own trips, we always seem to meet musically in the most unknown, perfect places.” Chad Ross

TRACK LISTING:
1. Keep on Spinnin’
2. Welcome to the Wave
3. Secret Life
4. Good Day to Say Goodbye
5. Inside the Sun
6. The Afterlife
7. Heavy Moments
8. The Deserter

COMET CONTROL:
Andrew Moszynski – Guitar
Chad Ross – Vocals, Guitar
Nicole Ross – Bass
Marco Moniz – Drums
Jay Lemak – Keyboards
Sophie Trudeau – Violin (Guest Musician)

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https://twitter.com/cometcontrol
https://cometcontrol.bandcamp.com/
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Comet Control, “Secret Life” track premiere

São Paulo-based doom rocking four-piece Writing thesis is a challenge even for the most attentive students. Professionals at the Rocketpaper.net http://www.bivteam.de/?prawn-farming-business-plan service can deliver your Weedevil present their new two-songer Buy Essay. Looking to buy Why choose Ultius when look at this sites? Ultius deeply understands your frustration when it comes to buying essays for reference The Death is Coming tomorrow through If you follow coursework custom tips, we can assure you coursework you will receive a custom grade for your course work. Custom Coursework Help from Professional Writers. However, if you feel that it is a bit difficult for coursework our writing center is here to help. Along with Powerpoint Presentations Samples you can request an custom bibliography as well as coursework rough draft of the paper. This way Abraxas. Though it only runs about 12 minutes long, there’s no lack of punch in either “The Death is Coming” or the accompanying “Hi! I’m Lucifer” — the exclamation point in the title there bringing me more raw joy than I can possibly express in written language. They roll and they groove and Category Archives: Essay Writer News. Countdown to a New APA Manual. APA editing, Communicating with your dissertation chair, dissertation, dissertation editing, dissertation proofreading, experts in APA, thesis, Writing tips By Brittany Thomas August 21, 2019. The Seventh Edition of the APA Publication Manual comes out this October. Calm yourselves from the excitement, and then Fabrina Valverde‘s vocals make a strong presence from the outset of the first verse, diving into modern cultistry via classic heavy blues, backed by the formidable tonality of Get http://ng6.toulouse.inra.fr/?buy-college-thesis in Canada for all possible concerns related to dissertation writing, statistical help or formatting. Contact our writers and Dani Plothow‘s bass and Find sample business plans, free templates, writing guides and interactive tools to help you develop a http://beachvolley.easyleague.ch/uploads/tf/?324. Caio Caraski‘s guitar and the crash and thick-popping snare of Buy A College Paper Online Phd dissertation writing Need is use hereafter your it get at can into but by advised the grammarly native spinbot end thereafter speaker it or to checked some. Disciplines afterwards a should cover wide of academic research range. With each specialist a document: review will a hence editors language a keep and around subject-area PhD. As for a PDF must seem the Flávio Cavichiolli‘s drums. It’s not a new formula, by any stretch of the imagination, and right up to the dual-layer soloing in “Hi! I’m Lucifer,” the  best website for writing essays Writing College Admission Essays 2011 how can i motivate myself to do my homework writer of the paper money lyrics Sabbath vibes run rampant, but if you’ve got a problem with that, there’s the door.

For the band,  And since, economics also deals with managing the economy, our service provides you an economical way to get your homework done. What your dollars can get with our economics assignment help. It is only normal for a student like you to think about your budget and by that, to choose a company offering Doing A Literature Review In Health And Social Care without squeezing what�s left of your allowance out of you. The Death is Coming follows up on the plague-era single “Follow the Smoke,” which was released last Fall and indeed was leading toward the riff-filled land. Some of that sense of  Professional How To Write Your Name In Graffiti On Papers offered by Dubai�s top career consultancy with the team of best resume writers; CVMaker.ae. Our prices start from as Sleepy lumber shows up in “The Death is Coming,” and some of the chug in “Hi! I’m Lucifer,” but as if in answer to their earlier-2020 self-titled EP, which boasted some more stoner-rocking vibes in “The Illusionist” and “Icarus,” the band has grown darker and meaner in the subsequent months, at least if these songs are anything to go by. Could just be bleak times calling for heavy groove, but for  Weedevil, who feel set on an inexorable course toward a debut full-length, the balance of the mix that they lock in on the newer tracks as compared to those still barely just 12 months old is telling in terms of their overarching progression.

As to where it all might lead, well, I hear great things about the Abyss of Lovecraftian Horror Riffage this time of year, if they might care to visit? One way or the other, this is the sound of a band finding their sound.

Enjoy:

With a life history that already had a potentially breathtaking birth the Brazilian stoner/doom band Weedevil started their journey in 2019 with the release of the single “Morning Star” and a subsequent participation in the renowned SIM SP with the well-known Swedish band Asteroid touring in Brazil. In May/2020 the band released their well-received debut EP via Abraxas Records and now the band brings us the powerful “The Death Is Coming”.

As always guided by the magnetic and engaging voice of Fabrina Valverde, the quartet completed by Flávio Cavichiolli (drums), Caio Caraski (guitar) and Dani Plothow (bass), all high-capacity musicians, brings us with “The Death is Coming” a great foreshadowing of his upcoming debut album. Recorded, mixed and mastered at Bay Area Studio in São Paulo in the month of April the release presents the band’s possible creative peak and most mature moment. With two well-crafted and striking compositions that immediately attract the listener, featuring Fabrina’s vocals at their best and with a full-bodied instrumental section, the Psychedelic, Doom and even Occult Rock aspects are precisely evoked inviting the listener to immersion and referencing names like Windhand, Purson, Acid King and others.

“The Death is Coming” will be released digitally in June, 16 through Abraxas Records.

Weedevil are:
Fabrina Valverde- Vocals
Caio Caraski- Guitars
Flávio Cavichiolli- Drums
Dani Plothow- Bass

Weedevil on Facebook

Weedevil on Instagram

Weedevil on Bandcamp

Abraxas on Facebook

Abraxas on Instagram

Abraxas on YouTube

Albuquerque, New Mexico-based heavy rockers L’Uomo Nero will continue their collaboration with Desert Records July 16 with the release of their second EP, Elle, de la Mer. And what they don’t make easy in terms of linguistics — their moniker is Italian, the first EP was 2020’s Andiamo Nel Deserto (review here), its title in Spanish, and this one is French, for “she, of the sea” — they certainly have covered in the actual listening process. Vocals are high in the mix through my speakers (always), but as guitarist Dominic Cagliostro, bassist Robson Guy and drummer Luke Seelau venture past their first offering, they do so with poise and a confident step, bringing together four tracks that launch with “De la Mer,” a song that wastes no time imagining Danzig in the House of the Rising Sun before unfolding to catchy post-grunge heavy blues, setting the tone for “I Know” to push further, its own hook a highlight of the four-song/18-minute release.

L’Uomo Nero manage to make thoughtful structures sound easy. Their material is not unworked-on, but they offer few frills of arrangement beyond a straight-up melody, and to be perfectly honest, they don’t need anything else. “I Know” carries smoothly into its second-half solo, the guitar speaking back to the vocal line in classic form, and even as “Elle” brings a more weighted tone and active kick, the sense of balance remains in the increased fullness of sound, so that as “Too Late too Long” pushes a more garage-style jangle in its riff, the arrival of post-Rolling Stones backing vocals isn’t any more jarring than the band intends it to be. Efficiently putting itself in position for a bigger-sounding payoff, “Too Late too Long” delivers that as the closing track on Elle, de la Mer, and is no less satisfying a trip for knowing where you’re going to end up when it’s done. Same could be said of the EP as a whole, really. L’Uomo Nero, in addition to being multilingual, know what they’re doing when it comes to songwriting.

EP release info follows under the player here, on which you can stream the premiere of “Too Late too Long.”

Enjoy:

New EP “Elle, De La Mer” out July 16 on Desert Records. Preorder: https://luomonero.bandcamp.com/album/elle-de-la-mer

About the second chapter of the trilogy: “She’s not dead, she is from Innsmouth a fictional town in Massachusetts created by American author H. P. Lovecraft and must return to that town and eventually the sea. ”The Innsmouth look” a result of the hybridization of humans with Deep Ones increases with age as does the heed to the call of the sea, there is some sort of hope that they can figure something out to be together, some spell, or a gift from a magical being.”

About the song, Dominic Cagliostro says: “This is a metaphor regarding addiction. The “innsmouth look” is the result of repeated use of drugs and alcohol, the progression with age of the deep ones is the progression of the circumstance of addiction. Before it’s too late, there’s always hope that we/they/she can get help AA, Counseling or treatment or all of the above.”

L’uomo Nero is a desert rhythm and blues rock three-piece hailing from the New Mexican High Desert. Are we helpless victims of unimaginable forces that can drive humans mad by their mere manifestation? Or fearless Investigators and Occult Detectives who confront the minions of darkness in encounters, in which humans, although appear outmatched, defend their sanity uncovering the mysteries of tranquility in defiance of the suffering we experience from the things we cannot manage or restrain.

Occult blues rockers L’uomo Nero play with their band name, ‘The Boogeyman’, to build an intriguing sonic trilogy made of three 4-track EPs: ‘Andiamo Nel Deserto’, ‘Elle, De La Mer’ and ‘Voda Atebo Ohen’. These follow the adventures of occult detectives Nico L’oscuro, Quello Bello and Sentire, and their supernatural and magical practices to uncover the mystery behind the disappearance of a woman from New Mexico. Created on a fantastic thriller basis and inspired by true events and by American author H.P. Lovecraft, the three EPs take the protagonist through the stages of grief, denial, anger, bargaining, depression and acceptance. All three records together form the framework of a gloomy occult crime investigation illustrated by a special artwork and layouts that reveals some missing clues. The entire trilogy will be issued between fall 2020 and spring 2021, with first EP ‘Andiamo Nel Deserto’ coming out via Desert Records.

L’UOMO NERO is:
Dominic Cagliostro (Domenico L’oscuro) – Vocals and guitar
Robson Guy (Quello Bello) – Bass guitar
Luke Seelau (Sentire) – Drums

L’uomo Nero on Facebook

L’uomo Nero on Instagram

Desert Records website

Desert Records on Facebook

Desert Records on Bandcamp

Desert Records store

Stuff that’s been on my mind lately or came in recently and caught my fancy. Nothing really too tricky to how this one came together. Heavy Temple and All Souls are the two most recent interviews I’ve done, and the King Buffalo and Moon Coven and Vokonis and Whims of the Great Magnet are also things I’ve covered lately. Ditto Cavern Deep. Electric Moon I bought a shirt from the other day — they’re putting together a new comp of their studio work — and the Somnuri record continues to demolish.

Déhà and Seputus and Gateway are killer and more extreme, Slomatics are recording, the Wooden Veins record is out on The Vinyl Division and was a record I wanted to give more attention to, and yeah, as far as motivation goes, this is basically what’s been circling around in my head for the last two weeks. More than that in some cases.

Without waxing poetic, I guess that’s kind of the point of the show. Hear new music, share new music. It’s not the most ambitious goal I’ve undertaken, but not to put too fine a point on it, it is essentially the rule by which I govern everything I do here. Next episode has more of a united theme (I already turned the playlist in; look at me being ahead of the game for once), but I think this flows well just the same.

Thanks for listening and/or reading. I hope you enjoy.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmemetal.com

Full playlist:

The Obelisk Show – 06.11.21

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is June 25 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Facebook

I’ll make this real, real easy for you. Austin, Texas’ Witchcryer release their new album, When Their Gods Come for You, on Aug. 20 through Ripple Music. The song premiering below is called “I Rise!” and it’s a burner. It’s got classic rock stomp to spare, attitude out the wazoo, and songwriting to back up the performances of its players. The vocals of Suzy Bravo feature alongside Jason Muxlow‘s guitar, impeccably mixed for an organic feel, but the weight of Marilyn Monroe‘s bass and Javi Moctezuma‘s drums is a grooving presence not to be understated. Across the span of the record, they move between hard-doom Sabbathian roll and Scorpions-style drive-at-night rightonnery — looking at you, “Nemesis, the Inevitable” — and in “Quetzalcoatl” alone, there’s enough swagger to carry the entirety of the record were it called upon to do so, which, guess what, it’s not.

But as an initial public offering from When Their Gods Come for You, they chose well in “I Rise!” even aside from the title’s inherent exclamatory excitement, but you should note, if they’d picked “Hellmouth” instead, I’d be sitting here praising the choice just the same for the low-end P-U-N-C-H of the bassline and severity of the still-melodic vocals. And if they’d gone with “Sisyphus (Holy Roller),” well, aside from the immediate points for cleverness, the clean, efficient and proto-metallic-but-modern-in-its-delivery path the track takes to its apex is an argument in favor of itself. Even opener “The Devil and the Deep Blue See,” though more atmospheric and serving as an intro to the record as a whole, would work. And of course any number of these or the rest of the tracks might show up between now and August, I’m just saying “I Rise!” is a standout among standouts. It represents Witchcryer‘s sophomore LP well in its sound and style — on the album, it leads into the purposeful stretch of the closing duo “Blackfoot Creation Story/Spirit Power” (7:38) and “When Their Gods Come for You” (7:34), which are the two broadest cuts included — but is by no means the sum-total of all they have to offer. You’re gonna want to be friends with it.

“I Rise!” has a guest appearance from Steve Colca from Destroyer of Light — speaking of underrated — in the chorus. The two are bandmates in Temple of Love and, even more crucially, married, and they complement each other well with Colca backing Bravo to add to the impact of the hook. And as you can see below, When Their Gods Come for You takes its lyrical foundation in a purposeful range of creation mythologies, and I’m not going to minimize the stories being told throughout — they are, after all, epics — but even the theme doesn’t outshine the songcraft, and Witchcryer‘s sound refuses to be bogged down by anything in the progression of the album’s 47 minutes. There are ebbs and swells, naturally, and the final two tracks reveal a deeper patience than anything prior, but even there, the songs move and are rife with intent and clarity of method. I feel I could go on, but you should probably just listen to the fucking song.

So do that. And if you want to know much, much more, there’s copious PR wire info below to dive into.

Album’s out Aug. 20. Witchcryer will be at RippleFest Texas 2021 on Aug. 7. More info on that via Facebook.

Enjoy:

Witchcryer on “I Rise!”:

“I Rise!” is first out the gate and it’s an uptempo stomper that tells of the resurrection of the vengeful mythological Greek Titan god Menoetius. Menoetius (“doomed might” in Greek) was known as a violent hot headed and prideful god. He was eventually struck down by Zeus with a bolt of lightning and banished to Tartarus. Menoetius was impetuous to the very end. In the song Menoetius returns from Tartarus threatening to destroy all humans and gods by harnessing the thunderous might of Zeus. Backing vocals in the chorus by Steve Colca from Destroyer of Light.

Preorder: https://ripplemusic.bandcamp.com/

Witchcryer was created by guitarist Jason Muxlow during his time with Chicago doom band, Earthen Grave (Ripple Records) and became his priority when he moved to Austin in early 2015. That summer, he began co-writing songs with drummer Javi Moctezuma and vocalist/lyricist Suzy Bravo joined the band later that year. The band’s demo, The Preying Kind was released that year to strong reviews.

With the final addition of San Antonio bassist Marilyn Monroe (Pillcrusher, Las Cruces), Witchcryer played its first show in April 2016.

In 2018, Witchcryer’s proper debut, Cry Witch was released on Ripple Records. Containing nine songs of classic doom produced by the band & Brant Sankey (recording & mix engineer). The band toured the Southern states with Italian doom band, Messa, made their way north to Chicago on their own later in the year, and played regularly throughout Texas.

In the fall of 2019, the band headed back to producer Brant Sankey’s new Studio E facility in San Antonio to begin working on the new album. Basic tracks were cut in two days. Guitars, vocals, and guest appearances were recorded between shows all the way up to the start of the pandemic, with the final mix and master delivered in the early months of 2021. This time out, the sound is bigger, grander, and more epic, and the band covers far more musical ground, leaning into their rock and metal roots with special guest vocals by doom metal vocalists Gary Rosas (Ungrieved, Mala Suerte) and Steve Colca (Destroyer of Light).

“Their Gods Will Come For You” is a conceptual album that features songs about gods across various ages of civilization throughout time. The album starts with “Devil & The Deep Blue See,” a Faustian tale of a damned soul swallowed whole by an apocalyptic leviathan, Hellmouth and the narrator’s attempt to fight for their life by climbing out of the fish’s mouth. The album continues with the song “Hellmouth” in which the narrator is now the Anglo-Saxon depicted demon fish itself. The album continues with songs about mythological Greek gods and titans with their tales of pride and punishment, a Mesoamerican sun deity that teaches its doomed warrior people to fly, a Roman goddess seeking justice for crimes against women, the tale of the Blackfoot creation god, and then the title track, “When Their Gods Come For You”. The title track comes full circle proclaiming that if one does not stand up for what they believe in, someone else will do the believing and choosing for them.

The album will include a digital download of a digital mythological book to accompany the concept of the album with album lyrics and artwork from artists that contributed their renderings of each god featured in the album. Artists include; David Paul Seymour for drawing “I Rise!”, John Michael Bowley for “Hellmouth”, Daniel Augustus Marschner for drawing “Nemesis, the Inevitable”, Gerardo Quetzatl Garcia for “Quetzatlcoatl”, and cover artist, Kyle Otto.

“On a personal note. This is the album that I’ve been writing in my head my entire life. When I was about 7 years old in 1983, my grandmother took me to the Aztec theatre in San Antonio to see a double feature of “Hercules” starring Lou Ferrigno and “Clash of the Titans”. I fell in love with Greek mythology and stories about these mighty gods. I would obsess over encyclopedias around the house and find every book I could about gods from every religion. I became a Jehovah Witness by myself when I was about 8 or 9. I used to read my yellow “Children’s Book of Bible Stories” and recite every story to memory. I’ll never forget how dazzled I was by the illustrations. I became a Christian when I was 11 years old all by myself. I would go to churches by myself and even got baptized by myself. I knew that whoever I wanted to be, I had to figure it out by myself. In high school I briefly got into Buddhism and then a teacher loan me a book called, “If You Meet the Buddha On the Road, Kill Him”. I was taken aback and was offended by the title. But, when I read the book, the book taught me that it was okay to question religious hierarchies. This is a very personal album, but I’m not trying to tell anyone what to believe in. Overall, the album is just my chance to tell a bunch of great stories with great illustrations.” -Suzy Bravo

Witchcryer are:
Suzy Bravo – vocals, lyrics
Jason Muxlow – guitar
Marilyn Monroe – bass
Javi Moctezuma – drums

Witchcryer website

Witchcryer on Bandcamp

Witchcryer on Facebook

Witchcryer on Instagram

Ripple Music on Facebook

Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music website

Hard to talk about Big Scenic Nowhere and not use the term ‘supergroup.’ The band, which made their first release through Blues Funeral Recordings‘ ‘PostWax’ subscription series and followed that 2019 proof-of-concept Dying on the Mountain EP (discussed here) quickly by signing to Heavy Psych Sounds to issue a debut album, Vision Beyond Horizon (review here) and a subsequent EP, Lavender Blues (review here), both in 2020. Founded with the collaboration between guitarists Gary Arce (Yawning Man) and Bob Balch (Fu Manchu) at its core, the band quickly came to include Tony Reed (Mos Generator) on vocals, bass and various keys, drummer Bill Stinson (Yawning Man), and a range of guests that has continued to expand even as the lineup solidified.

As Bob Balch talked about in his interview here last month, the four-piece got together in Nov. 2019 for a few days of jamming and they’re still going through the resultant material to piece together songs. Their second album, The Long Morrow, is set to see release this Fall through Heavy Psych Sounds, and its songs are being issued piecemeal, one at a time, ahead of the full LP’s arrival. Premiering today, “Lavender Bleu” is the third cut to make its way to public ears behind the more straightforward driving “LeDü” and the weighted-riff-into-harmonies-and-dream-build of “Murder Klipp,” and like each of the preceding songs, it finds Big Scenic Nowhere with a different look. Across just over five minutes, it centers around trademark Arce noodling and the more grounded impulses of Balch setting a path for Stinson‘s drums, while Reed‘s vocals enter gentle, not quite foreshadowing the pickup to come at around 1:40 in.

Though “Lavender Bleu” — which reworks themes from the prior EP as Balch explains below — gets heavier, it never pushes too far away from the classic prog rock spirit one finds at its beginning, and instead trades back and forth before a Mellotron-inclusive ending offers duly resonant culmination. It is prog-of-old filtered through desert ambience with a heavy rock underpinning, and for many bands, this song would be more than enough of a stylistic blueprint to serve as a career arc. That is to say, there are bands who put out albums less rich than this one track and do just fine. Yet one would not call “Lavender Bleu” overbaked or overthought. Sculpted around improvisation, it nonetheless retains that air of spontaneity no matter how many layers are situated atop the basic tracks.

It’s fascinating on a process level to hear Balch talk about how the material for The Long Morrow is coming together — if you didn’t watch that interview, your loss — but “Lavender Bleu” brings more fluidity than the sum of the parts making it, and the textures it speaks to only herald further depth of exploration still to come. I can’t wait to hear this record.

Each member of Big Scenic Nowhere offers some comment below, I think in a manner that represents personae well. Arce talks about the improv, Balch the chord progression, Stinson the overall vibe of the finished product and Reed the reference point from which the lyrics emerged and the melody of the vocals. You can also stream the other two songs near the bottom of this post.

Enjoy the track and stay tuned for more on The Long Morrow:

Big Scenic Nowhere, “Lavender Bleu” official track premiere

LAVENDER BLEU is the new BIG SCENIC NOWHERE single. The track is taken from the band’s upcoming new album THE LONG MORROW, to be released this fall on Heavy Psych Sounds.

Bob Balch on “Lavender Bleu”:

“Lavender Bleu” is actually a combination of two songs from our “Lavender Blues” EP. When we recorded back in November of 2019, we would play two riffs a few times back and forth and then just jam out on one of the riffs. Think
(riff A, riff B, riff A, riff B, jam out on riff A)
(riff A, riff B, riff A, riff B, jam out on riff B)
So the jams became “Lavender Blues” and “Labyrinths Fade” from our last EP. Now with “Lavender Bleu” you get to hear how those are actually sections of the same song.
I really like how this tune turned out. Can’t really think of another band that sounds like this. Everybody killed it on this one.

Tony Reed on “Lavender Bleu”:

“Lavender Bleu” was the first song I worked on after the November 2019 recording sessions. I had Dan (Joeright) set up a microphone during the sessions so I could sing Ideas that were happening when we were recording the jams. I think this was the only song where the vocal melody came to me as we were recording. This is my favorite song of all the material we’ve done together. I’m a huge fan of melody and this has tons of it. It has a melancholy / romantic feel that I find pleasing as well. “Bleu” is spelled this way after one of my all time favorite songs. A song called “Butterfly Bleu” by Iron Butterfly. The lyrics seem to be about taking a harder path. Making sacrifices in life to follow passion and calling rather than falling into a routine where, as you get older, you’re constantly saying “I wish I….”

Gary Arce on “Lavender Bleu”:

“Lavender Bleu” started with a mellow riff I was messing with for a awhile. We had been been jamming for a few hours and I wanted to slow it down and do something more open and spacious. So I started playing the main riff and everyone just kinda fell into place quietly and patiently. The second heavier part just happened naturally during the jam. It’s one of my favorite songs we’ve done so far. Tony kills it on vocals on this song.

Bill Stinson on “Lavender Bleu”:

This song really pulls you in different directions… melancholy and weaving a story through the music.

Big Scenic Nowhere, The Long Morrow (2021)

Big Scenic Nowhere on Facebook

Big Scenic Nowhere on Instagram

Big Scenic Nowhere on Bandcamp

Heavy Psych Sounds on Facebook

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Norwegian heavy rockers White Tundra release their new seven-inch single Honningfella on June 11 through All Good Clean Records. The Trondheim-based four-piece released their Graveyard Blues EP last March — the same week the world ended, more or less — and seem well within their rights to follow it up with a two-songer that stretches the limits of the 7″ format at a meaty 11 minutes in length. It’s an affair defined in no small part by its brashness, and as the title-track remains wildly catchy, propelled into imaginary entire-drunken-venue singalongs, fists in the air and the like by its non-lyric “whoa-whoa-whoooa” chorus following the plundering path of the coinciding riff, it’s still a bruiser, make no mistake. Some of those fists in the air are landing punches.

So it was on the EP as well, that four-song offering digging into vibes like earlier Clutch or Orange Goblin circa 2005. Heavy. Beery. Swaggering. White Tundra‘s rawness is accented by the vocals, but by no means limited to them. The guitar fuzz pushes out of both channels, and the cymbal crash behind cuts through with a punkish sense of straightforwardness. They’re a heavy rock band, but “Honningfella” delights in its rougher edge, and is all the more exciting for that, breaking in its midsection only to resume the circle-pit-but-nobody’s-a-dick-about-it shove to close out.

Thus ensues the more fuzz-forward “One More Place,” which tips over the six-minute line and makes a fitting B-side, following the immediacy of the prior cut with a groove that’s distinct but complementary. Stops in the verse let the lyrics pop out but they’re still willfully mumbled en route to the shoutier chorus and that’s just fine. The sort of inebriated primitivism on display remains good fun throughout, and they give it a little extra oomph at the end that feels bolstered by the mix and master from Truckfighters‘ own Niklas Källgren at the famed Studio Bombshelter, finishing with a solo on top of another duly electrified progression.

Thinking album? Yeah, they might be. And between what they show on Honningfella and Graveyard Blues they might have enough different looks to get there, but at this point, one of their assets is that they sound like a new band feeling out the stylistic ground they want to cover. White Tundra know their influences, sure enough, and they know what they’re going for, but the process of discovering how to manifest that is something precious, and it’s more important that they keep writing songs at this point than that they set themselves to some grander task. If a record happens or there’s some longer-form story they want to tell, bonus. But for a group so very clearly reveling in the pummel of these tracks, their best course would seem to be to keep going with what they’re doing and let the rest sort itself out naturally.

In any case, the single’s a blast. You’ll find it streaming on the player below, followed by a few words from the band.

Enjoy:

White Tundra on “Honingfella”:

‘Honningfella’ means ‘honey trap’ in Norwegian. The lyrics spins around the occult and undefined fear of the darkness and unseen but also obvious traps hidden behind beauty or gullibility. The theme in Honningfella is symbolised in the artwork of the single.

Active for the last four years, White Tundra have released one EP titled “Graveyard Blues” on All Good Clean Records last year and now are back with a new 7inch “Honningfella” to be released once again on All Good Clean Records.

Recorded in Trondheim, mixed and mastered by Niklas Källgren of Truckfighters and Enigma Experience at his studio Bombshelter, “Honningfella” is deeply rooted in the dirtier side of stoner rock, displaying a heavy riffage and uncompromising rhythms inspired by the likes of Monster Magnet, Uncle Acid & The Deadbeats and Skraeckoedlan.

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[Click play above to stream Somnuri’s Nefarious Wave in its entirety. Album is out Friday on Blues Funeral Recordings.]

The dive into pummeling intensity isn’t quite immediate on Somnuri‘s Nefarious Wave. They give it about three seconds. And though the Brooklynite trio will showcase a number of different looks on their second album and Blues Funeral Recordings debut — their first LP, 2017’s self-titled (review here, also discussed here), came out through Magnetic Eye, and they’ve since taken part in that label’s ‘Redux’ series twice, on tribute releases for Pink Floyd (discussed here) and Alice in Chains (review here) in 2018 and 2020, respectively, and issued a split LP with fellow NYC noisebringers Godmaker (review here) in 2018 through The Company — Nefarious Wave remains defined at least in part by its volatility, by the notion that at any moment the band can and might kick their sludge until it becomes mad enough to be the thrash and grind it is as they unleash “Tied to Stone” (3:54) and “Tooth and Nail” (2:26) at the outset.

Those two songs comprise just over six of Nefarious Wave‘s total 36-minute run, and the rest of the seven-track outing moves from shortest to longest as it makes its way toward the seven-minute titular cut, and though there’s some letup in tempo and further fleshing out of melody in that process, beginning with third song “Desire Lines” and its blend of weighted crash and airier singing — vocals handled by guitarist Justin Sherrell (ex-Blackout, etc.), who also handles bass here, and bassist Philippe Arman, while drummer Phil SanGiacomo (ex-Family) supplies the crash and mixed — and culmination in a build into angular riffing and throaty shouts worthy of comparison to Swarm of the Lotus. Perhaps it’s because they so very much nailed “Dirt” on the Alice in Chains tribute that one can’t help but hear an edge of grunge in their layered and harmonized vocals, but the context is different as Somnuri make these elements their own, and “Desire Lines” ultimately answers the unmitigated rush of “Tooth and Nail” with a massive lumber that opens wide enough to devour that false sense of security whole. What rough beast, its hour come at last, slouches toward Brooklyn to be born?

They’re not tricky about it. Somnuri aren’t trying to be clever for cleverness’ sake and the prog-noise-metal-sludge they choose at any given moment to inhabit is way more Lifesblood than even Remission, if one has to draw a line to Mastodon as the gallop in the beginning of centerpiece “Beyond Your Last Breath” would seem to warrant. But they wear brutality well, and just because it’s part of the plan rather than the entirety of it doesn’t make their proceedings any less brutal. As it moves into its midsection, a throaty bellow echoes out over a stomping procession, and soon the three-piece are twisting between one riff and the next as SanGiacomo gracefully handles change upon change, a quick stretch of melodic vocals giving way to a comedown before the chug surges forth again to round out. “Beyond Your Last Breath” is transitional no matter the format on which one listens.

It not only finishes side A of the vinyl, but taking Nefarious Wave as a linear entirety — CD/DL — it functions as a lead-in to the three longer pieces that comprise the remaining circa 20 minutes of the release. The longer half, as it were, made up of fewer tracks. Particularly, it’s easy to pair “Beyond Your Last Breath” and “Watch the Lights Go Out,” which follows, in terms of theme. The latter track trades cleaner verses for a harsher pre-chorus before the soaring hook, and feels not quite patient in its execution, but not far off. Its apex, which arrives around 4:40 into its 6:09, is as furious as it is restrained, lurching back and forth on drawn out lines of guitar topped with hard growls, where the beginning of the song, with its ride cymbal and engaging bludgeonry, seemed to recall the impulses that drove “Tied to Stone” and “Tooth and Nail” in we-like-to-start-fast fashion. Can’t blame them, given how well it works.

But “Watch the Lights Go Out,” whatever it carries over from side A and however malevolent its crescendo proves to be, moves Nefarious Wave into its next stage, bringing on the at-first-hypnotic-then-destructive-then-righteously-melodic-then-everything-all-together-then-breakdown-elbow-to-your-face “In the Grey,” the penultimate inclusion on the album and by no means its first tour de force. It’s true that Somnuri save actual patience for the title-track that finishes, but already coming from “Watch the Lights Go Out,” there’s a sense of the reach going wider that sets that up, so that the melodies that top “Nefarious Wave” aren’t out of place and the echoing solo in its first half is no more random than the are-those-keyboards-or-guitar-effects? layer that accompanies the last crashes before the title-track gives over its last minute to noise. One might be tempted to think of that as time to process, but it’s hardly enough for the head-spinnery Nefarious Wave has had on offer throughout.

What carries the album, however, is the sense of control with which the band deliver the material. The songs certainly are not without an element of danger — there’s a feeling at times like they’re pushing themselves physically as well as creatively — and of course a certain amount of confrontationalism is a regional delicacy of NYC, but Somnuri find a niche for themselves amid that tempest, and they’re able to create both a purpose in the album’s structure and a flow within and between the songs to enact that purpose. It would be easy to have Nefarious Wave unfold as base chaos, an extreme-sludge onslaught running the length of an LP, in and out and done. And there’s nothing wrong with that, but the mission here is different and one finds the richness of melody that ensues leaving no less an impression in the end than did the outright violence of the first two songs. You can hear as much in Nefarious Wave as you want to put into hearing it, and any such effort on the part of the listener is given due reward.

Somnuri, “Beyond Your Last Breath” official video

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