Caution Boy Premiere “Consolation” Video; Alligator Out Now

Posted in Bootleg Theater on September 17th, 2021 by JJ Koczan

caution boy

Pretoria, South Africa’s Is it worth Master39s Thesis Design Of Wind Turbine Foundation Slab online from professional academic writers? We are custom term papers writing service with years of experience and the great Caution Boy released their 10th full-length, Need fast turnaround services for your paper and envelopes? Add http://www.metropole-habitat.fr/?evaluating-critical-thinking-skills cutting, perforating, scoring or hole punching to just about any paper or Alligator, last week through College Application Report Writing 2013 is essential since they guarantee a top grade for students who would have done considerably worse otherwise. They provide a sense of relaxation and certainty that is invaluable for those who are already under tons of stress. So, if you’re dreading the necessity to write this project, all you should do is contact Writix. There are so many different educational establishments Mongrel Records. That’s 10 albums released in about five years, mind you. True some of the recordings date back much further, but 10 records of anything is an impressive milestone to reach, however long it took to get there. And these aren’t just rehearsal room jams. The Blog page Welcome towards the editing that is best – Proofreading Essay Services that may Undoubtedly Impress Your Tutors or Caution Boy play songs. Catchy songs. Varied songs. Rocking songs. Formerly a solo-project of guitarist/vocalist Online English Business Plan Writer South Africas from Content Development Pros remove any grammar, stylistic or plagiarism issues. Call now to engage our proofreaders Andi Cappo, the band enter  Top quality dissertation service. We offer the Home Page that money can buy, and we do it for a price that students can afford. Students deserve and need the best dissertation writing services they can find because their dissertation will add to their final score and qualification. Who qualifies dissertation writing help? The best custom writing is done by essayists and Alligator as a trio with  These are some of the basic aspects to consider apart from Argumentative Essay Abortion. It is because there is no value in paying high or low amounts but still deliver a poorly edited paper. H2: Are You Afraid of Thesis Editing Prices? Then Get Help from Us Because we consider the basics, always be sure to get the best when you rely on us. We cannot be numbered among the excellent services except we Treveshan Pather playing bass and  See; that’s why it’s important to choose the best Business Plan Table Of Contents Sample by following reviews. We need to clarify something: hiring academic writers is not illegal. This is the so-called concept of ghostwriting, which has always been present. Celebrities hire ghostwriters to complete their autobiographies, and don’t mind signing their name on those books. Many academics relied on Archie Kinnon on drums, and of course that has an effect on the material, the dynamic. Cappo had worked with a range of guests on records like 2018’s  auckland university masters thesis see post Online best buy resume application louisville ky good essay prompts Spastic Plastic or 2017’s We offer professional Need Someone To Write My Papers For Homework and article writing services for websites. Our cfreelance copywriting services include articl writing, website 2016-2017, but as I understand it,  Small Business Buyout Plan online - Quick and reliable writings from industry top agency. Use from our affordable custom dissertation writing services and Caution Boy have never been a full band in this way, and  Dissertation Explicative Le Horla - Perfectly crafted and custom academic essays. Instead of spending time in inefficient attempts, receive qualified help here Alligator is the first offering they’ve had through  Our Master Thesis Poverty service will support the fun and good times you can get during the college years. It depends on you, and the key to academic success is in your hands. There is no need to ensure all your academic tasks are finished on time with no signs of plagiarism. From this moment you are able to have the time of your life here and now. Lots of priceless memories will stay with you Mongrel.

Those who follow or are aware of the label’s oeuvre will maybe recognize the (co-)production hand of Looking to buy term paper online? It’s the 21st century now and Essay About Gm Food is the modern way that students today make it through Evert Snyman ( We are always in touch. Using our website, you get a bunch of opportunities from choosing the best Poems For School Homeworker to the non-stop customer Ruff Majik, solo work, etc.) on “Consolation,” a video for which is premiering below. The post- Songs for the Deaf desert-style fuzz and crunch of guitarcaution boy alligator tone on that topical, hooky album highlight extends to brash, punkish cuts like “Ever the Optimist” and “Mutual” — more Mondo Generator than Queens of the Stone Age, though not as willfully mean — as well as the grungy “So Sick.” “Consolation” arrives as the third piece of an opening salvo before “Ever the Optimist” goes deeper into aggression, with the opening title-track setting a careening, urgent tone (Snyman guesting on piano helps that) that the Melvinsian starts and stops of “Silence the Screams” gleefully bashes to bits like Rob Crow got mad at a thing. Speed wins the day, but “Swallow Me Whole,” like “Consolation” and really the rest of what surrounds ahead of the comedown-until-it-isn’t closer “Hue,” it’s clear that songwriting is the underlying focus. Seems highly unlikely a band gets to its 10th album otherwise. If you want to write songs, you need to write songs. There’s your deep-rooted insight for the day.

Because Alligator is already out — I’m late to the party, as ever — you can stream the eight-song album in its 27-minute entirety. Is that a full-length? They call it one, the songs flow together, and with the punkier aspects, arguing seems even more like a waste of time than usual, so yeah, it must be. In any case, unassuming though the amount of your busy day Caution Boy might take up with these tracks, the numbers are deceptive. Having listened once, one might be inclined to, say, put Alligator on again. One with less prior experience with the band’s work — like myself — might then be inclined to dig further back to 2019’s Vice Versa or the aforementioned Spastic Plastic to hear some of the differences between Caution Boy as a solo-project and as a full group, which, yes, do exist, despite a consistency of influence and a somewhat irreverent point of view. From there, who knows where one might end up? For what it’s worth, 2016’s Chapter 1-11 (Eleven) has plenty of hooks too. Have fun.

Video and PR wire info follow here.

Please enjoy:

Caution Boy, “Consolation” video premiere

Caution Boy on “Consolation”:

“Consolation” is a mirror held up to society, reflecting the reality of the pandemic generation. This is laced with glorified glimpses of the good times before & hopefully the good times to come, symbolized by karaoke, which is almost like a traditional pass time across the globe. This also symbolizes the transition for Caution Boy, which started as a solo project, performed as as 1 man “karaoke from hell” to a full band.

“Consolation” is an alternative dance punk rock homage to the covid 19 pandemic. From how the powers that be capitalized on the weak, to the individuals who were too stubborn to take precautions, to the internal & external struggles that go hand in hand with isolation.”

STREAM + ADD THE NEW ALBUM: https://orcd.co/alligator

The times are changing… and so is Caution Boy, what began as a demented, alternative punk rock “karaoke from hell” solo project; has metamorphosized into a monstrous trio, whose only mission is to destroy stages, ear drums & the normalized standards of society. Andi Cappo on the strings & screams, Treveshan Pather on the oh so low notes & Archie Kinnon on hides & twiggs.

What started as a sardonic reference to the cheesy phrase “see you later, Alligator”, turned into a ferocious animal, relentless, waiting to tear you limb from limb. It was inspired by the ruthless actions & reactions to orbiting the vicious virus spreading across the planet, from the effects of isolation to the political impacts, to the death of people near & dear to us.

The first recording dates just so happened to fall in the first week of South Africa’s (seemingly never- ending) lockdown. In the months that followed the mindset and songs started to change, some were dropped, new ones were written, and others became more relevant than ever. It is composed of eight high energy, pedal to the metal songs that Andi describes and “barely an album” – with a cheeky wink and his tongue in his cheek.

The bands latest album is co-produced and recorded by the band over a few days, spread over a few months from late 2020 to early 2021, with Evert Snyman (Pollinator, Ruff Majik) from Pariah Studios in the co- producer’s driving seat, and in charge of the recording, mix and master.

Caution Boy, Alligator (2021)

Caution Boy on Facebook

Caution Boy on Instagram

Mongrel Records website

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Somnuri Post “In the Grey” Video; Live Shows Happening

Posted in Bootleg Theater on September 16th, 2021 by JJ Koczan

somnuri

Best wishes to Brooklyn three-piece Somnuri, who this evening find themselves in Cambridge, Massachusetts, to begin a round of Fall shows along the Eastern Seaboard that will run for the next two weeks and leave them off in Buffalo, New York, after looping as far inland as Ohio. They go supporting the righteous cause of June 2021’s Nefarious Wave (review here) on Blues Funeral Records, and to herald the undertaking — and it’s worth mentioning that they’re playing with awesome bands up and down and side to side as they go — they’ve got a new video up for the hooky, metallic “In the Grey,” which I like both for its unashamed harsh-verse/clean-chorus interplay and for its use of “grey” with an ‘e’ instead of an ‘a.’ Also the video’s pretty funny.

Unlike the clip that accompanied the title-track in July (it’s also below if you don’t feel like clicking), this one was not put together by drummer Phil SanGiacomo, but one can hardly hold that against it given the layering and green-screen chicanery director Susan Hunt undertakes. It’s a good time, and the song is killer, and it’s the fourth video they’ve put out from Nefarious Wave, but like I said last time, the more the merrier. In this age of things-aren’t-the-way-they-used-to-be, I’m not sure why a band like Somnuri would stop putting out videos from one album until they either ran out of tracks or money or had another album to start putting out videos from.

In my mind, this band carries a legacy of aggro New York sludge that goes back at least 20 years, and they make it their own. Being from outside the city, I appreciate what they do, and to be honest with you, posting about them makes me happy. So here we are.

Enjoy:

Somnuri, “In the Grey” official video

somnuri shows

Like a whirlwind of progressive sludge and post-hardcore tinged with black metallic blasts, this new single once again showcases the NYC trio’s mastery for crushing genre boundaries, injecting contrast and various influences in their music, making it so exciting and unique. Says the band about the video: “‘In The Grey’ encompasses a lot of the different styles from our new record, ‘Nefarious Wave.’ The song is about the idea of being stuck in limbo or oblivion and confronting that inner turmoil. The video was produced and directed by Susan Hunt (Five Sigma Films).”

SOMNURI is:
Justin Sherrell — guitars/vocals (also bass on the album)
Philippe Arman — bass
Phil SanGiacomo — drums

Somnuri, “Nefarious Wave” official video

Somnuri, Nefarious Wave (2021)

Somnuri on Facebook

Somnuri on Instagram

Somnuri on Bandcamp

Blues Funeral Recordings on Bandcamp

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Blues Funeral Recordings website

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Video Interview: Chad Ross of Comet Control Talks Inside the Sun and More

Posted in Bootleg Theater, Features on September 16th, 2021 by JJ Koczan

comet control (Photo by Olde Night Rifter)

The third album from not-quite-Toronto’s Comet Control, Inside the Sun (review here), came out on Aug. 24 in a partnership with Tee Pee Records that extends back to before Comet Control was a band. It is a record that is both consistent with the band’s two prior outings, 2016’s Center of the Maze (review here) and 2014’s self-titled debut (review here), and marked by change, finding upon its release that guitarist/vocalist Chad Ross and bassist Nicole Ross (nĂ©e Howell) have relocated to Northern Ontario, and working on a home studio there while also parenting a soon-to-be-toddler. Meanwhile, the band has also restructured at least in its studio incarnation, with Andrew Moszynski moving from guitar to drums — Marco Mozin will handle the task live when/if that becomes a thing again — and Jay Lemak has taken over on keys. Oh and they built a studio for themselves too, but apparently that’s no big deal. They do it all the time.

Honestly, a new keyboardist would be enough change for most groups on one record — “Well, we’ve got a new keyboardist, so…” — but if you listen to Inside the Sun, it still sounds very much like Comet Control, and that aforementioned consistency comes from the partnership of Chad Ross and Andrew Moszynski, who’ve been working together since their days in acid explorers Quest for Fire. The foundation of that collab and the writing of both, as well as the pervasive melodicism and songcraft central to the band’s approach means that Inside the Sun is very much a third Comet Control album, and brings with it the sense of manifesting the essential aspects of their sound that one hopes a band who’ve now been at it for eight-plus years would be hitting toward. If I called it one of the year’s best records — it is — would that be enough summary?

Probably not, which is one more reason I wanted to talk to Ross about putting Inside the Sun together. And as we dug into the record, particularly the uptempo opener “Keep on Spinnin'” and the manner in which side B unfolds from there in lush fashion as it does, I grew more curious about the Ross/Moszynski writing as the core of Comet Control, especially as is pertained to their prior work in Quest for Fire, which is, if you listen to the two side-by-side, a different band. Ross discusses the divergent purposes between the two and the growth of Comet Control as its own thing, as well as where it might go in the unknowable future. In the more immediate, he’s also got a new solo record coming out next Spring under the moniker C. Ross, and if you ever dug into the stuff he released as Nordic Nomadic, you know that’s something to look forward to as well. I asked him outright for an early listen. Nothing yet, though he did tip me off to the new Dark Bird, and the Rick White & Eiyn Sof 2019 release, Secret River, Hidden Place, both of which are well worth searching out for the curious.

We spoke in the morning earlier this week, I in the wood paneling, he in the woods. The trees in his background were amazing, and he described going out there with an acoustic guitar and noodling around, which, yeah, made sense. How could you not?

Enjoy:

Comet Control, Inside the Sun Interview with Chad Ross, Sept. 13, 2021

Inside the Sun is available now through Tee Pee Records and streaming in full below. I’ll post more info on the forthcoming C. Ross album as I get it. More at the links.

Comet Control, Inside the Sun (2021)

Comet Control on Facebook

Comet Control on Instagram

Comet Control on Twitter

Comet Control on Bandcamp

Tee Pee Records on Facebook

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Sergio Ch. Premieres “Lirium” Video from New Album Koi

Posted in Bootleg Theater on September 15th, 2021 by JJ Koczan

sergio-ch

Amid a slew of others in the works, recent and forthcoming, across an ever-increasing range of projects, Buenos Aires-based experimentalist/heavy songwriter Sergio Chotsourian — aka Sergio Ch. — released his latest solo full-length, Koi (review here), in June through his own South American Sludge imprint. The album came out at the end of June, and already to coincide Chotsourian has produced five videos for its songs, with the gravelly “Lirium” — premiering below — as the sixth. To say the guy is in a productive period is to put it mildly, but over the last five or six years, that’s just kind of how it’s become for the former Los Natas frontman, whose work in Ararat, Soldati, with the label, and on his own has made him a staple and a figurehead of the Argentine and greater South American underground.

If you can keep up with his work, congratulations. I do my best in that regard, but after 25 years since the first Los Natas record, Chotsourian sets perhaps a more ambitious pace than ever. The clip for the closing track from Koi, a cover of Nine Inch Nails‘ “Hurt” featuring his daughter, Isabel Ch., came out just a couple weeks ago — his son Rafael features at the end of the prior song, “El Gran Chapparal,” as well; no video yet — and “Lirium” follows in a kind of visual meditation that’s fitting for the track’s descending piano line and throaty vocal, a folkish feel but richly atmospheric with backing drones adding an ethereal presence. That piano line is different when you actually listen, but it takes me back earliest Ararat, and I remember it being striking when 2009’s Musica de la Resistencia (review here) showed up with “Dos Horses,” so strikingly different from what would turn out to be the last Los Natas album, Nuevo Orden de la Libertad (review here), despite arriving just a couple months later and sharing different interpretations of its songs.

Perhaps that’s emblematic of the ongoing creative conversation Chotsourian is having across with work with the various sides of his own process. He’s done plenty piano/synth/etc. since, of course, and songs show up on one solo record, then find their way morphed onto another, or redone as a Soldati or Ararat track, or wherever the whim suits. That lack of predictability makes his output more exciting to hear — again, for those who might be able to keep up — but it’s just as much the restlessness that is his own as well as any particular sonic element or interpretive method. The expressive need.

You’ll find “Lirium” premiering below. I’ve also included “Hurt” and the Bandcamp stream of Koi, for good measure.

Enjoy:

Sergio Ch., “Lirium” official video premiere

VIDEO OFICIAL DEL DISCO DE SERGIO CH. – “KOI”
PRODUCIDO POR SERGIO CH.
VIDEO REALIZADO POR SERGIO CH.

isabel & Sergio Ch., “Hurt” (Nine Inch Nails cover) official video

Sergio Ch., Koi (2021)

Sergio Ch. on Facebook

Sergio Ch. on Instagram

South American Sludge Records on Bandcamp

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Video Interview: Allison “Sunny” Faris of Blackwater Holylight on Silence/Motion, Returning to Tour, and More

Posted in Bootleg Theater, Features on September 13th, 2021 by JJ Koczan

blackwater holylight (Photo by James Rexroad)

Right now it’s looking like Blackwater Holylight‘s Fall tour of Europe alongside Monolord is going to happen. It would not be the soon-to-formerly-be-Portland-Oregon-based outfit’s first run alongside the Swedish trio, but it arrives as a herald for Blackwater Holylight‘s third album, Silence/Motion, and that’s a significant distinguishing factor. Due next month through RidingEasy, the record brings new darkness and flourishes of extremity that coincide with the flowing psychedelia and melody previously established in the band’s sound.

Much has already been made and more surely will of the band — bassist/vocalist Allison “Sunny” Faris (also guitar on the record), guitarist/bassist Mikayla Mayhew, drummer Eliese Dorsay and synthesist Sarah McKenna — working with guest vocalists on Silence/Motion like ALN of Mizmor, who also produced, as well as Bryan Funck of Thou and Mike Paparo of Inter Arma on the record’s opening and closing tracks. I’m not saying that’s not interesting — it sure as shit was something I wanted to talk about in the interview — just also to consider the downward motion of guitar in the suitably titled “Falling Faster,” or the burst in the latter half of “Silence/Motion” itself, the charred-style squibblies in “MDIII” or the bleak post-punk in “Around You.” Yes, “Delusional” is a striking opener with Funck‘s rasp behind Faris‘ clean-sung verse, and “Every Corner” branches into territory Blackwater Holylight have never gone in its consuming second half especially, but there’s no less growth to be heard in the tense synth and guitar of “Who the Hell?” than in the novelty of the company the band are keeping.

I’m going to review the album (I kind of just did; whoops), so I’ll stem the opinion-izing there as much as possible, but in atmosphere and dynamic, Silence/Motion is a pull in a new direction from 2019’s Veils of Winter (review here) and 2018’s self-titled debut (review here), and deserves to be considered in its own light and in terms of what it portends for the band. Apparently new guitarist/backing vocalist Erika Osterhout can scream. Faris talks about wanting to write some death metal. I’d be up for that as interpreted by Blackwater Holylight.

There was, in fact, a lot to talk about, from making the album on a deadline underscored by a pregnancy in the band to working with an outside producer for the first time, to broadening the stylistic reach, to touring, to playing Psycho Las Vegas last month, to the sexual abuse that inspired the title-track, to moving to Los Angeles from Portland — which I think happened last week — to what kind of protein powder Faris puts in her morning shake alongside the peanut butter and banana. Spoiler alert: it is made from the crushed bones of her enemies.

Please enjoy the interview:

Blackwater Holylight, Silence/Motion Interview with Sunny Faris, Sept. 1, 2021

Blackwater Holylight release Silence/Motion Oct. 22 on RidingEasy Records. As of this post, their Fall tour of Europe with Monolord is still a go. Dates follow. Their early-2022 tour dates with All Them Witches are here. Check the links below for updates.

Monolord w/ Blackwater Holylight
Europe 2021:
18/11 DE Oberhausen Kuttempel
19/11 NL Utrecht DB’s
20/11 NL Nijmegen Doornroosje
21/11 BE Antwerp Zappa
22/11 UK Bristol Exchange
23/11 UK Glasgow Stereo
24/11 UK London Underworld
25/11 UK Manchester Soup
26/11 FR Dunkerque 4 Ecluses
27/11 FR Paris Petit Bain
28/11 FR Toulouse Rex
30/11 SP Madrid Caracol
01/12 SP Barcelona Boveda
02/12 FR Annecy Brise Glace
03/12 CH Aarau Kiff
04/12 AT Vienna Arena
05/12 DE Dresden Chemiefabrik
06/12 DE Berlin Zukunft am Ostkreuz
07/12 DE Hamburg Bahnhof St. Pauli
08/12 DK Copenhagen Stengade
09/12 SE Gothenburg Pustervik
10/12 SE Stockholm Debaser Strand
11/12 SE Malmo Babel
12/12 NO Oslo Youngs

Blackwater Holylight, Silence/Motion (2021)

Blackwater Holylight on Facebook

Blackwater Holylight on Instagram

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RidingEasy Records website

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Friday Full-Length: Cathedral, The VIIth Coming

Posted in Bootleg Theater on September 10th, 2021 by JJ Koczan

Like the entirety of Cathedral‘s decades-spanning discography, 2002’s The VIIth Coming is owed a reissue. Though as to who even own the rights, I don’t know where you might start. The album was released through Dream Catcher Records in the band’s native UK, and Spitfire had a CD out in the US, Toy’s Factory with a bonus track in Japan. Hellion Records released it in Brazil in 2003, and Vinyl Maniacs did a 2LP version in Sweden. Metal Mind had a tape out in Poland. You get the point. Secret Records re-released a vinyl in 2015 and has done a CD this year, but I’m thinking more in the line of what Hammerheart Records has done for Trouble: a full catalog remaster/reissue. Get it all out there for people who want to dig in and do it with the due appreciation for what this band accomplished.

Recorded in July 2002 by Kit Woolven and released that Fall, The VIIth Coming was structured as a double-vinyl during the period when the CD era was actively giving over to digital-everything. The album runs 53 minutes — 59 if you chase down that Japanese edition — and arrived just one year behind 2001’s Endtyme, the Coventry doomers’ sixth record. And in the arc of their career, this was a special time, bringing together the formative doom metal of their earliest work with the more heavy rock-minded offerings — and I don’t give a shit what you say, those records are underrated — that followed. Endtyme did this well, but The VIIth Coming refined the method to a stellar degree. The weight in Gaz Jennings‘ chug on closer “Halo of Fire” and the accompanying lumber of Brian Dixon‘s drums and Leo Smee‘s bass. The way the eight and a half minutes of that song’s LP1 counterpart “The Empty Mirror” taps the best of ’90s-era doom, makes it swing, and still finds room for guest organ work (credited throughout the album to Munch). The Dave Patchett phoenix cover art and complementary design from SunnO)))‘s Stephen O’Malley. Vocalist Lee Dorrian‘s disgust with the everyday on songs like “Resisting the Ghost,” “Iconoclast,” which makes a hook out of classic anarchist sloganeering, and “Congregation of Sorcerer’s.”

From the outset of “Phoenix Rising,” Cathedral‘s purpose in bringing together rock and doom is right there for the listener to behold. The band’s sound is full and densely weighted, and Dorrian‘s vocals carry their dark tales that make even the image of a burning phoenix rising in triumph seem somehow grim and grey. “Resisting the Ghost,” which is just two and a half minutes long and the speediest track on the outing as one might expect, is no less catchy than the openercathedral the viith coming before it, and “Skullflower” provides a middle ground before the more atmospheric, acoustic-laced “Aphrodite’s Winter” follows through on the band’s more progressive aspects. Again, the organ work here is key, but the current of acoustic running alongside Jennings‘ electric lines is part of it as well, and as with the album as a whole, it’s everybody working together to convey the sense of ‘doom-plus’ that defines it. As far as Cathedral went in one direction or another during their time together, they never lost that foundation in doom. It’s there as much in “Aphrodite’s Winter” as “The Empty Mirror” and “Halo of Fire.” It’s just a matter of what they can make doom do for their songs, which by the time they got to this seventh record was more or less anything they wanted.

“Nocturnal Fist” and “Iconoclast” mirror “Phoenix Rising” and “Resisting the Ghost” on the first LP, but “Iconoclast” is longer and spaces out for a jammier feel in its second half anchored by Smee‘s bass before the verse jolts back in en route to a final chorus of, “No gods, no masters, no authority/Only yourself/Divine disciples control your destiny/Believe in yourself,” leaving zero space to argue as the track ends cold and gives way to the slamming swagger of “Black Robed Avenger,” like a boogie riff at one-third speed, and the more aggro shove of “Congregation of Sorcerer’s,” which still manages to work in cowbell because Cathedral were a mystery and mysteries are complex sometimes and whatever maybe there’s a cowbell here. “Halo of Fire” is a darkened victory lap of bleak aural force, but even it picks up tempo in its midsection before rolling the album into sample-laced organ oblivion. A last slog to hammer the point home of ultimate doom, and I swear, if you read the lyrics, they could just as easily be about Boris Johnson steering Brexit as about the end of the world. Just saying. Some things are timeless, and the unending apocalypse would seem to be one of them.

As I recall, they came to the US during this era, though it might’ve been ahead of their next record. Cathedral would issue three more full-lengths after The VIIth Coming. They signed to Nuclear Blast ahead of 2005’s The Garden of Unearthly Delights (discussed here), stayed there for 2010’s The Guessing Game (review here) and completed their run with 2013’s The Last Spire (review here) through Dorrian‘s own Rise Above Records. For a doom band who toured with Black Sabbath and had a creative arc across nearly a quarter-century that helped define more than one niche genre, Cathedral are arguably still underrated. Yes, they played doom at a time doom wasn’t ‘cool,’ but to go back to their work now is to find it still resonates these years after the fact, and that their progression from 1991’s Forest of Equilibrium (discussed here; reissue review here) forward never stopped, even as they sought to summarize the entirety of it with their final album.

Two live albums were released on vinyl last year, also through Rise Above, and of course it’s rock and roll so one never says never as regards a full reunion, but Dorrian‘s got With the Dead and Smee is there as well, Jennings was in Lucifer, and Dixon was most recently drumming for The Skull, so there’s plenty happening in that camp, even before you get to Dorrian‘s label work, etc. Whether it happens eventually or it doesn’t, one can never say Cathedral didn’t deliver a full, landmark career worthy of ongoing appreciation. The VIIth Coming is an essential part of their story.

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

Yesterday I slept until 7AM. Today until a bit before six. This was a direct result of The Pecan going back to school starting on Wednesday. I did not get everything I wanted done this week — the Blackwater Holylight interview will be posted next week — but I did manage to book two more interviews and to review a whole bunch of stuff and that’s gonna have to do for now. I do not plan to pick up my laptop tomorrow. Family is in town from CT and my contingent from up the hill is coming down to hang out and that will be wonderful.

We had some bumps getting The Pecan to school, some bus miscommunication, but today I didn’t get bit once and that’s a definite win. I’ll take it.

Highlight of the week, aside from that sleep, was King Crimson sharing the live review. That was an unexpected bit of bliss, and while I don’t for one second imagine the band does their own social media management, it’s nice to have one’s work acknowledged by a band at that level regardless. Clutch doesn’t even share my reviews usually, for example.

Nothing against them for that, obviously, and if I’ve got Clutch on my brain, it’s because they’re playing new songs on tour and they’re the next show I want to see. May or may not happen, to be honest.

Slated a sixth day for the next Quarterly Review this morning. That starts Sept. 27. It’ll go as long as I need it to go.

No Gimme show this week, but I need to turn in a playlist. Any requests?

Trying to think if there’s any other housekeeping stuff that needs to be done around here, but not really, so I’m gonna punch out early and go read some before I need to pick up the kid at school. Fingers crossed for bus on Monday, but we’ll see.

Hope you have a great and safe weekend. Have fun, whatever you’re doing, and wear a mask if you’re out and about. Hydrate, always.

FRM.

The Obelisk Forum

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The Obelisk merch

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All Souls Post “Death Becomes Us” Video

Posted in Bootleg Theater on September 10th, 2021 by JJ Koczan

all souls (Photo by Memo Villasenor)

Two reasons for posting this video, right out of the gate. One, it gives me an excuse to put on the second All Souls album, 2020’s Songs for the End of the World (review here). Two, it gives me an excuse to send the band a message and say in my not so subtle way, hey-where’s-the-next-one?, which, yes, I did this morning.

There’s progress on that front, as according to bassist/backing vocalist Meg Castellanos, the band — she, guitarist/vocalist Antonio Aguilar, drummer Tony Tornay and guitarist Matt Price (Behold! the Monolith), who’ll make his debut with them on their next outing — have finished writing their third full-length and next week will begin pre-production with Alain Johannes helming. The band played the new song “Who Holds the Answer” in June as part of their ‘Virtual Volumes’ live stream (review here) with Fatso Jetson, with whom they share Tornay, and though that was actually Price‘s first public performance with the group, one could hear the interplay of his and Aguilar‘s guitars on what was the set-opener and it was only encouraging as to where the All Souls dynamic might be headed, particularly with the complexity of the melody involved.

It’s easy to daydream and consider what Johannes might bring to All Souls as a producer in terms of a fullness of sound and highlighting their more melodic side, which of course showed up plenty on Songs for the End of the World as well, but for now it’s pretty much daydreams, and that’s fair. New album next year. Maybe they’ll be able to tour for it. Maybe I’ll get to see All Souls in 2022. That’d be good, and hey, weirder things have happened.

So a found-footage video is welcome by me, and maybe as they think about embarking on their next outing, this is their way of bidding farewell to Songs for the End of the World. Like so many killer albums issued over the last 18-months, it hasn’t gotten a fair shake in the way it normally would — i.e. with the band touring to support it — but all you can do is move forward in the most productive way possible, and clearly that’s what All Souls are doing. Can’t wait to hear more of their new stuff.

For now, enjoy:

All Souls, “Death Becomes Us” official video

Meg made a video for our song “Death Becomes Us” using found footage. This song is off our album Songs for the End of the World.

Get your copy at:
www.allsoulsband.bigcartel.com!!!

All Souls, Orange Jam/Jam in the Van

All Souls, Songs for the End of the World (2020)

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The Misery Men Premiere “Cat With Nine Lives” Video from Devillusion

Posted in Bootleg Theater, Reviews on September 10th, 2021 by JJ Koczan

the misery men corey lewis rob wrong jeff larson sam henry

Portland, Oregon’s The Misery Men are set to release their third album, Devillusion, on Oct. 1 through Desert Records. It is a record that immediately wants some context, first for its homage to Chris “Snow Bud” Newman in the covers “Cat With Nine Lives” (premiering below) and “The Reaper.” Those tracks are by Newman-inclusive outfits Napalm Beach and Snow Bud and the Flower People and they appear here following Newman‘s death earlier this Spring and include different players from Portland’s underground than appear on the rest of Devillusion, save of course for The Misery Men founder Corey G. Lewis (vocals, rhythm guitar) and lead guitarist Rob Wrong, whom one might recognize from Witch Mountain or his work in The Skull circa 2019. Wrong also produced the album, with Lewis, at his newly established Wrong Way Recording Studio, though it’s easy enough to think that Billy Frickin’ Anderson, who plays bass, had some opinions to share in that regard as well, his engine-ear work being the stuff of legend at this point. Blah blah Neurosis, Sleep, Acid King, and if you need more names than that — you don’t — there are a million of ’em, right up to The Misery Men‘s 2020 album, Doomtopia (discussed here). While we’re talking about legends, Tad Doyle (TAD, Brothers of the Sonic Cloth) mastered.

The band proper, as opposed to the band doing the Newman tributes, is rounded out by Breath drummer Ian Caton, who also plays in the more meditative outfit Breathe, labelmates to The Misery Men on Desert Records. The mission here, which believe it or not given the swath of information above is stripped-down, digging to the roots of grunge where it turned from punk and noise to something thicker, groovier, and ultimately more its own. The Misery Men — Lewis, Wrong, Anderson and Caton — cap Devillusion with a cover of PJ Harvey‘s “To Bring You My Love” to emphasize the point, but it’s right there from the early, gritty chug of “Devil’s Balls” onward into the howl-laced “Werewolf” and the more decidedly punk “Iron Front,” sleek-but-lumbering riffs offset by Wrong‘s scorcher solos topped with Lewis‘ throaty delivery. In overall sound, the eight-song/38-minute course of Devillusion is lean and raw, suited to the style the band is leaning into, but as side B hits the brakes following “The Reaper” and plods out “Tardigrades” ahead of the more explosive “NirĂĽth,” which Cobain‘s out its ending lines as it invariably must, the procession of ideas is by no means disjointed. There’s a lot going on, one way or the other.

If you find that you’re somewhat overwhelmed by the fact that The Misery Men play out two of their eight inclusions here as a different lineup, or that you’re unfamiliar with Newman‘s work and concerned you might be missing something as regards hearing Devillusion, do what I do: put it on. The simple truth of the matter is that whether it’s the swing and swagger of “Cat With Nine Lives” taking hold after the “we don’t tolerate scum” reaffirmation of “Iron Front,” or the drawling, swirling conjurations of “To Bring You My Love” at the finish, The Misery Men make it easy on the listener. Riffs, grooves, guts. Whoever’s involved, when, where and why, the songs come together around Lewis‘ gruff vocals and around the baseline purpose of heavy, sludge-minded rock. The dive just happens to go deeper as well.

You can hear “Cat With Nine Lives” on the player below and watch the accompanying, shenanigans-laced video. What follows thereafter is info from Lewis about Devillusion, the process of making it and the reasoning why. It’s a lot, but if you didn’t like words, what are you still doing reading this?

Please enjoy:

The Misery Men, “Cat With Nine Lives” official video premiere

“I started writing Devillusion at the beginning of the Pandemic. 16 months of bloodletting 5 songs and 3 covers later we have an album. It was a therapeutic writing process to say the least. Inspired by the “Grunge” influencers in the PNW like Napalm Beach, Dead Moon, The Wipers, that definitely impacted TAD, Nirvana, Alice In Chains, Screaming Trees, Soundgarden, etc. I wanted to pay homage to the folks who laid the foundation and paved the path that we walk down. I’m humbled and grateful daily that I have found a vortex that aligns with my frequencies to allow me through great collaboration to tap into the ether, transmutating a Rock n’ Roll album I feel proud to be a part of and co-produce with Rob Wrong. We all had a good time making this album. It’s been challenging but ever rewarding.

I had asked Chris Newman to collaborate on something, maybe lay down a solo or harmonize on a song or write something together, and at first he was very interested and excited once he recovered from surgery. Unfortunately his health took a turn for the worse and Chris passed May 5th 2021. So Rob and I decided we needed to honor him and record a couple songs. We contacted Sam Henry (Napalm Beach, The Wipers, Jenny Don’t and the Spurs) to play drums and it just made sense to have Kelly Halliburton (Dead Moon, Pierced Arrows, Jenny Don’t and the Spurs) to play bass. We also recruited Jeffrey Larson (Lucky 13’s, Misfortunes of Mr Teal) to play rhythm guitar along with Rob Wrong on lead, plus me just on vocals. We recorded “Cat With Nine Lives” by Napalm Beach and The Reaper by Snow Bud and the Flower People. Both songs were Chris Newman songs, that turned out pretty damn good! Hell, we didn’t even practice together before we recorded. :)

Again I recruited Billy Anderson to play bass again on this album, because beyond his ability of musicianship and his legendary enginear status he’s also a pleasure to be around. Hilarious, kind, and smarter than your average Neanderthal bassist. Ha! He also studied anthropology so he knows a thing or two about humans. Not to mention he played a Baseball growing up, so I figured he must really know what he’s doing with basses. Oh and he’s the master of Pun!

Once again Ian Caton of Breath is playing drums on this album. Talk about a Beast Of Burden, what an absolute animal! He usually doesn’t have a problem playing any style or tempo and is able to tap into the ether with ease!

Of course Rob Wrong once again delivers some of the best solos he’s ever played. Not only that but he doubled the rhythm to give this album the full collective collaboration. I’m humbled to work with him and call him a best friend. It’s been a ton of fun making two albums with him at Wrong Way Recording.

Again I got Ben House to make some incredible artwork! It’s beyond expectations and couldn’t have been happier with the results!

Devillusion was also mastered by TAD, not to mention inspired by him as well. I originally wanted to call the album Devil’s Balls, but after watching the TAD documentary and the scene where he showed his mom the album and she said something like, “Tad you’re smiling…Tad God’s Balls? But Tad you have such a great smile.” :) Nevertheless, we have a song called Devil’s Balls and Werewolf that we’re most definitely influenced by some Tad. I’m forever grateful for his existence.“ – Corey Lewis, The Misery Men

Side A:
Devil’s Balls 4:28
Werewolf 5:29
Iron Front 5:43
Cat With Nine Lives 4:34

Side B:
The Reaper 2:52
Tardigrades 5:34
NirĂĽrth 4:22
To Bring You My Love 5:59

Recorded at Wrong Way Recording (c)2021
Produced by Corey G Lewis & Rob Wrong

Mixed by Rob Wrong
Mastered by Tad Doyle at Witch Ape Studios

All songs written by Corey G Lewis
Except
To Bring You My Love written by PJ Harvey
The Reaper by Snowbud & The Flower People (Written by Chris Newman & Nathan Jorg)
Cat With 9 Lives by Napalm Beach (Written by Chris Newman)

Personnel:
Corey G Lewis: Vocal, Rhythm
Rob Wrong: Rhythm & Lead
Billy Anderson: Bass
Ian Caton: Drums

Special Guest Performances as The Slughs tribute to Chris Newman on: The Reaper & Cat With 9 Lives
Sam Henry: Drums
Kelly Halliburton: Bass
Rob Wrong: Lead & Rhythm
Jeffrey Larson: Rhythm
Corey G Lewis: Vocals

This album is dedicated to the Master of the Wu Chris Newman aka Snow Bud / Pugsley! We miss you!

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