Quarterly Review: Worshipper, Dopethrone, The Mystery of the Bulgarian Voices, Omen Stones, Capra, Universo Rojo, Sergeant Thunderhoof, Fire Down Below, Stone Deaf, Cracked Machine

Posted in Reviews on July 20th, 2018 by JJ Koczan

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Well, we made it to the end of another Quarterly Review. One more batch and then it’s off to planning the next one for late September/early October. I hope you have found something this week that you’ve really dug. I have. A few, to be honest. Not everything is going to stick with every listener, of course, and that includes me, but for as much as putting this one together has been, there’s been some really good, year-end-list-type stuff included. At least as far as my own list goes. I sincerely hope you agree.

So let’s do this last one, then go sleep for a couple hours. Alright? Here we go:

Quarterly Review #41-50:

Worshipper, Mirage Daze

worshipper mirage daze

I don’t know if Worshipper knew they’d be embarking on their first West Coast tour in Summer 2018 when they hit Mad Oak Studios in Oct. 2016 to record the four cover tracks for their Mirage Daze EP on Tee Pee Records, but it certainly worked out in the Boston four-piece’s favor. Following-up their 2016 debut, Shadow Hymns (review here), Worshipper present four cover tracks in Uriah Heep’s “Easy Livin’,” The Oath’s “Night Child,” Pink Floyd’s “Julia Dream” and The Who’s “Heaven and Hell,” and while I’m a little sad that “Heaven and Hell” isn’t the Black Sabbath song, which I think they’d nail if they tried it, and I’m glad to have a studio version of their take on Floyd’s “Julia Dream,” which from the first time I saw them live was always a pleasure to watch live, I think the highlight of Mirage Daze might be “Night Child.” I never bought that The Oath record, and Worshipper’s take on its lead single is about the best argument I’ve seen for doing so. It may or may not be a stopgap issued to coincide with the tour, but Mirage Daze is a welcome arrival anyway. It’s a fan piece? Well, I’m a fan, so right on.

Worshipper on Thee Facebooks

Tee Pee Records website

 

Dopethrone, Transcanadian Anger

dopethrone transcanadian anger

Montreal scumsludgers Dopethrone return with Transcanadian Anger, an eight-track blister-fest of crunch riffing and misanthropic vibes. Delivered through Totem Cat Records, the 36-minute Weedeater-gone-bad-drugs sludge assault seems to invite superlatives front to back, even in the slamming instrumental “Killdozer” – a tribute to the band? – and the swinging penultimate cut “Kingbilly Kush.” Elsewhere, opener “Planet Meth,” “Snort Dagger,” “Tweak Jabber” and “Scuzzgasm” celebrate addiction and violence unto oneself and others, making a spectacle of decay set to voluminous sludge riffs and abrasive vocals. This is Dopethrone’s aesthetic territory, and they’ve done well over the last decade to make it their own. As they answer 2015’s full-length, Hochelaga (review here), and the next year’s 1312 EP with yet another filth-caked collection, they seem all the more in their own league of aural and narcotic self-punishment. They could be straightedge vegans for all I know, but they sure sound high as fuck, and I guess that’s the point. So, well done.

Dopethrone on Thee Facebooks

Totem Cat Records webstore

 

The Mystery of the Bulgarian Voices, BooCheeMish

the mystery of the bulgarian voices boocheemish

Lisa Gerrard of Dead Can Dance would seem to be trying to solve The Mystery of the Bulgarian Voices, a choral group from Bulgaria who, seemingly until teaming with Gerrard for the Prophecy Productions release BooCheeMish was known by the French name Le Mystère des Voix Bulgares. Whatever you call them, their history dates back nearly seven decades and their harmonies are utterly timeless. BooCheeMish is comprised of gorgeous folk renditions for 45 minutes of world-building perfection. Percussion of various sorts provides backing and on pieces like “Rano Ranila” they speed through at a pace and arrangement that’s head-spinning, while the later “Zableyalo Agne” finds them joined by flute for a nigh-religious experience and the subsequent “Tropanitsa” has a bounce worthy of any good times one might to envision from its evocative pulse. One can’t help but feel a bit of the cultural voyeur in taking it on – as well as feeling totally outclassed in reviewing it – but these songs were clearly meant to be enjoyed, and as their ambassadors, The Mystery of the Bulgarian Voices genuinely serve a public best interest.

The Mystery of the Bulgarian Voices on Thee Facebooks

Prophecy Productions website

 

Omen Stones, Omen Stones

omen stones omen stones

Virginia duo Omen Stones have no online presence as yet. No songs streaming. No cheeky logos-on-photos social media posts that new bands do when they’re sitting on their hands waiting to get material out there. What they – and by “they,” I mean guitarist/vocalist Tommy Hamilton of Druglord and drummer Erik Larson of Backwoods Payback, The Might Could, Alabama Thunderpussy, etc. – have is a four-song self-titled EP collecting about 13 minutes of material in demo fashion, bringing forth the Southern-shuffle-gets-weird-then-explodes opener “Secrete” as a first impression of a deceptive approach. You think it’s all good and then you get punched. Go figure. “Secrete” is also the longest track (immediate points) at 4:06, and the forward charge and harsher vocal of “Fertile Blight” follows, catchy as it is mean, and more indicative of what’s to follow in the maddening tension of “Sympathy Scars” and the fuckall sludgepunk of “Purity Tones.” Immediately against-trend, Omen StonesOmen Stones is a bird of prey unto itself. Hopefully at some point soon they make it publicly available.

Druglord on Bandcamp

Erik Larson on Bandcamp

 

Capra, Unholy Gallows

Capra Unholy Gallows

Taking influence from hardcore punk, post-hardcore and sludge, Lafayette, Louisiana’s Capra seem to fit in a Midwestern style of semi-metallic aggression that has flourished in the wake of the likes of The National Acrobat and Coliseum. The foursome’s Unholy Gallows single follows their also-two-song self-titled 2016 EP, and finds Tyler Harper (also of the recently-defunct The Midnight Ghost Train), Jeremy Randazzo, Ben Paramore and Lee Hooper aligned in their purposes of riff-led bludgeoning. Unholy Gallows is two songs/six minutes long – not by any means an afternoon commitment in terms of listening – but its furies are unveiled in far less time than that, and both “Red Guillotine” and “Hot Lips” waste no time in doling out their beatings. A sense of heft stems from tonal thickness, but they make it move to a propulsive degree, and aside from a quick feedback intro to “Red Guillotine,” there’s no letup; even as “Hot Lips” slows the pace some initially, it maintains geared toward foreshadowing the next fist to fly.

Capra on Thee Facebooks

Capra on Bandcamp

 

Universo Rojo, Impermanencia

Universo Rojo Impermanencia

Sprawl, sprawl, sprawl. Into space. Universo Rojo’s excellent four-track debut album, Impermanencia, makes you want to speak slowly enough to feel the words vibrate out of your mouth. The Chilean four-piece offer lengthy, jam-based excursions that echo out their feel across vast reaches of effects, progressive rhythm and melody-making unfurling all the while beneath an overarching swirl of effects, guitars and synth running atop the mix like competing currents of water. Opener “¿A Dónde Ir?” (8:13) gives way to the flute-laden krautrockism of “Visión Planetaria de los Tiempos” (8:40) as vocalist/guitarist/clarinetist Ferro Vargas-Larraguibel, drummer Naim Chamás, bassist Cristóbal Montenegro and synthesis Francisco Arellano conjure such molten possibilities. Though it’s just 34 minutes, Impermanencia is nonetheless expansive, with the 9:36 “Cinco (La Quinta Dimensión)” finding a place between drift and psych-jazz undulations while closer “Inmaterialización del Sentimiento Cósmico” (7:32) lets out a full-impulse burst of energy that’s blinding if you know just where to look. Not to be missed.

Universo Rojo on Thee Facebooks

Universo Rojo on Bandcamp

 

Sergeant Thunderhoof, Terra Solus

sergeant thunderhoof terra solus

Kudos to Bath, UK, four-piece Sergeant Thunderhoof on starting off their sophomore long-player, Terra Solus, with the album’s longest track in “Another Plane.” And likewise for the blend of psychedelia and burl that unfolds. In taking on the follow-up to their 2015 debut, Ride of the Hoof, they offer eight cuts and 51 minutes of spacious riffing charged with just an undercurrent of English boozer burl, Elephant Tree and Steak meeting head on for a raucous session of who knows what. “B Oscillation” taps nod and particularly satisfying fuzzy warmth in its lead section, while even a would-be bruiser like the subsequent “Diesel Breath” has a trip-out included. There is time for such things as every track but the penultimate and relatively minimalist soundscaper “Half a Man” tops six minutes, but Sergeant Thunderhoof make a much richer impression overall than their moniker might lead one to believe, and close out in particularly resonant fashion with “Om Shaantih,” emphasizing the breadth and post-rock elements that help make Terra Solus so engaging from the outset.

Sergeant Thunderhoof on Thee Facebooks

Sergeant Thunderhoof on Bandcamp

 

Fire Down Below, Hymn of the Cosmic Man

fire down below hymn of the cosmic man

The adaptation of Kyuss’ “Thumb” riff for Fire Down Below’s “Ignition/Space Cruiser” after the “Red Giant” intro on their second album, Hymn of the Cosmic Man (on Ripple), is nothing short of a clarion to the converted. The Belgian unit’s mission would seem to be to find that place on the horizon where the desert ground and space itself seem to meet and become one, and as side A closer “The Cosmic Pilgrim” turns from its initial crunch into more patient and drifting psych, they’d seem to get there. Atsmophere is certainly central to the record, as the aforementioned “Red Giant” and its side B counterpart “Nebula” demonstrate, never mind the other five tracks, and even as “Saviour of Man” runs through its janga-janga stoner-riffed hook there’s a flourish of effects to create a balance between the earthbound and the interstellar. Side B’s “Ascension” and especially 11-minute album-closer/highlight “Adrift in a Sea of Stars” seem to find the balance the four-piece is shooting for all along, and just before the nine-minute mark when the thick, fuzzed-out riff emerges from the jammy lead, the entire impetus for their journey seems to be laid bare. Well done.

Fire Down Below on Thee Facebooks

Ripple Music on Bandcamp

 

Stone Deaf, Royal Burnout

stone deaf royal burnout

Denver, Colorado’s Stone Deaf present a sans-frills desert rock vibe across the eight tightly structured tracks of their sophomore album, Royal Burnout (on Black Bow Records). Specifically, the compressed crunch in the guitar tone and some of the start-stop bounce riffing in cuts like “Room #240” and “Monochrome” seem to be drawn from the Songs for the Deaf methodology, and some of the vocals on opener “Spitshine” (video premiere here) remind of Queens of the Stone Age as well, but Stone Deaf – whose moniker, then, would be well sourced – have a deeper root in punk rock that underscores the “Go with the Flow” thrust of “Deathwish 62” as well as the chugging verses of “Boozy Spool” immediately preceding. It’s a sound that benefits greatly from the sharpness of its delivery and the craft Stone Deaf bring to it, and even when they seem to loosen up a bit on the midpaced pre-finale “That Lefty Request,” there’s a fervent sense of a plan unfolding. That plan would seem to be a success.

Stone Deaf on Thee Facebooks

Black Bow Records webstore

 

Cracked Machine, I, Cosmonaut

cracked machine i cosmonaut

Originally released last year, Cracked Machine’s debut, I, Cosmonaut, finds vinyl issue through PsyKA Records and earns it well with six tracks/45 minutes of mostly-instrumentalist and progressive space-psych. One assumes there’s a narrative thread at work across the span, as guitarist Bill Denton, bassist Chris Sutton, keyboardist/vocalist Clive Noyes and drummer Blazej Gradziel weave their way through “Twin Sons Rising” and “New Vostok” at the outset into the easy flow of “Baikonur Cosmodrome,” the harder-hitting title-track, the fuzzy declaration of “Svetlana” and the patiently executed 10-minute closer “Transorbital,” Denton’s guitar singing all the while. These places and, maybe, characters would seem to weave together to tell the story in impressions largely open to interpretation and correspondingly open in terms of their creativity, sounding spontaneous and maybe live-recorded if not entirely improvised, instead working to a plan for where each inclusion should go or end up. As Cracked Machine’s first album, it’s an ambitious work that does far more than get the band’s feet wet. It takes them out of the atmosphere and embarks on a journey beyond that one hopes is just beginning.

Cracked Machine on Thee Facebooks

Cracked Machine at PsyKA Records webstore

 

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Review & Full EP Premiere: Atavismo, Valdeinfierno

Posted in audiObelisk, Reviews on July 20th, 2018 by JJ Koczan

Atavismo Valdeinfierno

[Click play above to stream Atavismo’s Valdeinfierno EP in full. It’s out July 23 on Adansonia Records.]

True to form, even a short release from Atavismo has a pervasive sense of atmosphere. The Algeciras, Spain, band blew any and all minds willing to follow along with last year’s Inerte (review here), and to be perfectly honest, I’m still a little up in the air as to whether Inerte was their full-length debut or a sophomore outing after their first release, which was 2014’s Desintegración (review here). As it’s comprised of four central tracks, Valdeinfierno, which is their new ostensible extended-player and debut on Adansonia Records, shares some structure in common with that first offering, but the palette has grown exponentially. It’s been four years, which can be nothing in the life of a band, and Atavismo do retain some of the heavy psychedelic underpinnings that they began to develop into a more progressive mindset with Inerte, but Valdeinfierno is no less a leap from the last outing than that was from the first.

It once more finds guitarist/vocalist/synthesist Jose “Poti” Moreno (ex-Viaje a 800Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) expanding their sound. They’ve expanded the lineup of the band as well, welcoming Koe on keys, synth and vocals. I’m not sure who contributes what to which parts of “La Palmosa,” “Quejigo,” “Valdeinfierno” and “Sapo Sagapo” but with the intro “Tropmetillas de la Muerte” and the outro “Etreum al ed Sallitemport” — yes, the outro is the intro backwards, in content as well as name — Valdeinfierno is all the more about progression and showcasing different sides of their personality, with each cut offering something different to stand it out from its surroundings, whether it’s the proggy shuffle of “La Palmosa” or the folk-tinged acoustic/electric blend of “Sago Sagapo” or the jam into which “Quejigo” so fluidly launches or the title-track’s sudden turn from drifting heavy psych into Iberian-folk-tinged percussion and jamming. More and more, Atavismo seem to be defining their own stylistic parameters outside of prescribed genre lines. This only suits them all the more.

If we’re arguing that Valdeinfierno is an EP — and since the band says it is, basically we’re not arguing at all beyond a hypothetical — a point in favor of that position is the diversity within the tracks. Even from where they were early last year, Atavismo have taken very clear steps to move forward. That would be all well and good, except for the fact that there’s still such a flow between the songs. At 28 minutes, it could go either way– the debut, for what it’s worth, was 37, and Inerte was 42 — and the way these songs work off each other and seem to add to an overarching statement of stylized progadelic intent speaks to an LP methodology. Maybe it’s a hard sell. What matters more than what one should call it is the vibe the band takes such obvious care to present and to maintain over the course of those 28 minutes. The patient drift past the midpoint in “La Palmosa.” The brightness of the fuzz guitar blast in “Sapo Sagapo.” The slow beginning of “Valdeinfierno.” The mini-freakout of “Quejigo” with its uptempo bounce. All of these things help give the respective tracks a sense of personality of their own, and yet all of them tie the material together as well. They unite as much as they distinguish.

Atavismo

After the wash of keyboard and plucked acoustic guitar notes and clarinet and mellotron of “Trompetillas de la Muerte” — which, by the way, is 39 seconds long — “La Palmosa” takes hold with an insistent strum and plays back and forth between fuzz-laden breaks and an immediate build of forward momentum. Keys in the background help tie together transitions, and Atavismo jam their way through a midsection break that’s the hypnotic beginning of a build, except that instead of paying it off in traditional fashion, they leave off to silence and let the start-stop riff at the core of “Quejigo” — no less danceable than its predecessor — keep the spirit moving. The drums are crucial to this as the guitar joins their rhythm and blown-out vocals mark the beginning of the first verse. Like “La Palmosa,” “Quejigo” builds its own tension, but at 3:22, it opens up to pay it off with an uptempo jam and the already-noted bounce en route to the presumed end of side A.

The title-track is also the longest song on Valdeinfierno at 8:26, and in its concept, it’s the most striking inclusion of them. It works in two sections and the first of them is a lull. Gently, it rises to a serene level of volume with a patience over the course of its first two-plus minutes that feels born out of classical music, never mind prog, and when the airy guitar and drums kick in a bit before 2:30, their entry isn’t even so much a “kick in” as a “oh hi do you mind if we do this thing we promise it’ll be awesome ah cool thanks” and with what sounds an awful lot like a xylophone backing — keys? — Moreno unfurls a slow, jammy lead. By the midpoint about two minutes later, the mood is set and Atavismo set to exploring the landscape they’ve drawn, but then at 5:50 a surge of volume signals to the drums, which then begin cycles of tom runs and the guitar moves into a speedy and winding lead that seems to carry a Middle Eastern influence in its scales, but drops out after seven minutes to percussion and room-mic’ed shouts that end. That switch in volume and meter is so resoundingly important to Valdeinfierno. It’s the moment where the band proves that not only are they able to pull off different stylistic turns between their songs, but within them as well. As “Sago Sagapo” comes through with its soft keys in the background, easy lead layer behind acoustic strumming, the peaceful feel of earlier in the title-track returns, but it’s hard not to think maybe Atavismo will jump ship again and start adventuring into different terrain.

They don’t, really, and “Sapo Sagapo” brings up another fuzzy solo before dropping to silence and letting “Etreum al ed Sallitemport” run backwards through the EP’s intro with all the more of a progressive feel. But the lack of predictability remains firm and it’s become one of the strongest assets Atavismo have at their disposal. Ultimately, it doesn’t matter whether Valdeinfierno is an EP or an album. It only matters to me because when I invariably salivate over what they do next, compulsion will lead me to wonder if it’s their second LP, third EP, second EP, etc. Of far greater importance is that this mini-album is precisely that: a condensed full-album flow executed over a shorter series of tracks. It acts as a showcase of Atavismo‘s growth and experimental sensibilities, but it also inevitably bridges any and all gaps between those experiments as they arise. This band makes some of the most beautiful music I’ve heard in underground psych. It’s time more people started taking notice.

Atavismo on Thee Facebooks

Atavismo on Bandcamp

Adansonia Records website

Adansonia Records on Thee Facebooks

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Quarterly Review: Lucifer, Heilung, Amarok, T.G. Olson, Sun Dial, Lucid Grave, Domadora, Klandestin, Poor Little Things, Motorowl

Posted in Reviews on July 19th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

You know what’s disheartening? When someone goes ‘thanks dudes.’ You know, I share a review or something, the band reposts and goes ‘thanks to the crew at The Obelisk blah blah.’ What fucking crew? If I had a crew, I’d put up 10 reviews every single day of the year. “Crew.” Shit. I am the crew. In the description of this site, the very first thing it says is “One-man operation.” It’s a fucking solo-project. That’s the whole point of it. It’s like me looking at your bass and going, “Sweet guitar, thanks for the solos brah.” I’m happy people want to share links and this and that, but really? It’s been nine years. Give me a break.

Oh yeah, that’s right. Nobody gives a shit. Now I remember. Thanks for reading.

And while we’re here, please remember the numbers for these posts don’t mean anything. This isn’t a countdown. Or a countup. It’s just me keeping track of how much shit I’m reviewing. The answer is “a lot.”

Grump grump grump.

Quarterly Review #31-40:

Lucifer, Lucifer II

lucifer lucifer ii

Recorded as the trio of vocalist Johanna Sardonis (ex-The Oath), guitarist Robin Tidebrink (Saturn) and guitarist/drummer Nicke Andersson (Death Breath, ex-Entombed, ex-The Hellacopters), Lucifer’s second album, Lucifer II (on Rise Above), follows three years after its numerical predecessor, Lucifer I (review here), and marks its personnel changes with a remarkable consistency of mission. Like Mercyful Fate gone disco, the formerly-Berlin/London-now-Stockholm group bring stage-ready atmospheres to songs like “Phoenix” and the riff-led “Before the Sun,” while unleashing a largesse of hooks in “Dreamer” and the boogie-pushing “Eyes in the Sky.” “Dancing with Mr. D” brings nod to a Rolling Stones cover, and “Before the Sun” reaffirms a heavy ‘70s root in their sound. I can’t help but wonder if the doomier “Faux Pharaoh” is a sequel to “Purple Pyramid,” but either way, its thicker, darker tonality is welcome ahead of the bonus track Scorpions cover “Evening Wind,” which again demonstrates the ease with which Lucifer make established sounds their own. That’s pretty much the message of the whole album. Lucifer are a big band. Lucifer II makes the case for their being a household name.

Lucifer on Thee Facebooks

Rise Above Records webstore

 

Heilung, Lifa

heilung lifa

Lifa is the audio taken from the live video that brought Denmark’s Heilung to prominence. Captured at Castlefest in The Netherlands in last year, the impression the expansive Viking folk group made was all the more powerful with elaborate costuming, bone percussive instruments, antlers, animal-skin drums, and so on. Their debut studio album, Ofnir, came out in 2015 and like LIFA has been issued by Season of Mist, but the attention to detail and A/V experience only adds to the hypnotic tension and experimentalist edge in the material. Does it work with just the audio? Yes. The 12-minute “In Maijan” and somehow-black-metal “Krigsgaldr” maintain their trance-out-of-history aspect, and the 75-minute set blends multi-tiered melodies and goblin-voiced declarations for an impression unlike even that which Wardruna bring to bear. Whether it’s the drones of “Fylgija Futhorck” or the chants and thuds of “Hakkerskaldyr,” LIFA is striking from front to back and a cohesive, visionary work that should be heard as well as seen. But definitely seen.

Heilung on Thee Facebooks

Season of Mist website

 

Amarok, Devoured

amarok devoured

Eight years after their founding, an EP and several splits, Chico, California, atmosludge extremists Amarok make their full-length debut with Devoured on Translation Loss. If it’s been a while in the making, it’s easy enough to understand why. The album is rife with brutalist and grueling sensibilities. Comprised of just four tracks, it runs upwards of 70 minutes and brings a visceral churn to each cut, not forgetting the importance of atmosphere along the way, but definitely focused on the aural bludgeoning they’re dealing out. Tempos, duh, are excruciating, and between the screams and growls of bassist Brandon Squyres (also Cold Blue Mountain) and guitarist Kenny Ruggles – the band completed by guitarist Nathan Collins and drummer Colby ByrneAmarok make their bid for Buried at Sea levels of heft and rumble their way across a desolate landscape of their own making. Eight years to conjure this kind of punishment? Yeah, that seems about right. See you in 2026.

Amarok on Thee Facebooks

Translation Loss Records webstore

 

T.G. Olson, Ode to Lieutenant Henry

tg olson ode to lieutenant henry

Here’s a curious case: T.G. Olson, founding guitarist and vocalist of Across Tundras, is a prolific experimental singer-songwriter. His material ranges from psychedelic country to fuller-toned weirdo Americana and well beyond. He’s wildly prolific, and everything goes up on Bandcamp for a name-your-price download, mostly unannounced. It’s not there, then it is. Olson’s latest singe, Ode to Lieutenant Henry, was there, and now it’s gone. With the march of its title-track and a complementary cover of Townes van Zandt’s “Silver Ships of Andilar,” I can’t help but be curious as to where the tracks went and if they’ll be back, perhaps in some other form or as part of a different release. Both are plugged-in and coated in fuzzy tones, with Olson’s echoing vocals providing a human presence in the wide soundscape of his own making. The original is shorter than the cover, but both songs boast a signature sense of ramble that, frankly, is worth being out there. Hopefully they’re reposted at some point, either on their own as they initially were or otherwise.

Across Tundras on Thee Facebooks

T.G. Olson/Across Tundras on Bandcamp

 

Sun Dial, Science Fiction

sun dial sci fi

If space is the place, Sun Dial feel right at home in it. The long-running UK psychedelic adventurers collect two decades’ worth of soundtrack material on Science Fiction, their new release for Sulatron Records. Made with interwoven keyboard lines and a propensity to periodically boogie on “Mind Machine,” “Airlock,” “Infra Red,” etc., the experimentalist aspect of Science Fiction is all the more remarkable considering the album is compiled from different sources. One supposes the overarching cosmos is probably what brings it together, but with the samples and synth of “Saturn Return” and the lower end space-bass of pre-bonus-track closer “Starwatchers” – that bonus track, by the way, is a 15-minute version of opener “Hangar 13” – and though the vast majority of the Science Fiction relies on synth and keys to make its impression, it’s still only fair to call the proceedings natural, as the root of each one seems to be exploration. It’s okay to experiment. Nobody’s getting hurt.

Sun Dial on Thee Facebooks

Sun Dial at Sulatron Records webstore

 

Lucid Grave, Demo 2018

lucid grave demo 2018

There are three songs on Lucid Grave’s first outing, the aptly-titled Demo 2018, and the first of them is also the longest (immediate points), “Star.” It presents a curious and hard to place interpretation of psychedelic sludge rock. It is raw as a demo worthy of its name should be, and finds vocalist Malene Pedersen (also Lewd Flesh) echoing out to near-indecipherable reaches atop the feedback-addled riffing. Quite an introduction, to say the least. The subsequent “Desert Boys” is more subdued at the start but gets furious at the end, vocals spanning channels in an apparent call and response atop increasingly intense instrumental thrust. And as for “Ride the Hyena?” If I didn’t know better – and rest assured, I don’t – I’d call it doom. I’m not sure what the hell the København five-piece are shooting for in terms of style, but I damn sure want to hear what they come up with next so I can find out. Consider me enticed. And accordingly, one can’t really accuse Demo 2018 of anything other than doing precisely what it’s supposed to do.

Lucid Grave on Thee Facebooks

Lucid Grace on Bandcamp

 

Domadora, Lacuna

domadora lacuna

Comprised of four-tracks of heavy psychedelic vibes led by the scorch-prone guitar of Belwil, Domadora’s third album, Lacuna, follows behind 2016’s The Violent Mystical Sukuma (discussed here) and taps quickly into a post-Earthless league of instrumentalism on opener “Lacuna Jam.” That should be taken as a compliment, especially as regards the bass and drums of Gui Omm and Karim Bouazza, respectively, who hold down uptempo grooves there and roll along with the more structured 14-minute cut “Genghis Khan” that follows. Each of the album’s two sides is comprised of a shorter track and a longer one, and there’s plenty of reach throughout, but more than expanse, even side B’s “Vacuum Density” and “Tierra Last Homage” are more about the chemistry between the band members – Angel Hidalgo Paterna rounds out on organ – than about crafting a landscape. Fortunately for anyone who’d take it on, the Parisian unit have plenty to offer when it comes to that chemistry.

Domadora on Thee Facebooks

Domadora on Bandcamp

 

Klandestin, Green Acid of Last Century

klandestin green acid of last century

That’s a big “fuck yes, thank you very much” for the debut album from Indonesian stoner metallers Klandestin. Green Acid of the Last Century arrives courtesy of Hellas Records and is THC-heavy enough that if they wanted to, they could probably add “Bong” to the band’s name and it would be well earned. Eight tracks, prime riffs, watery vocals, dense fuzz, stomp, plod, lumber, shuffle – it’s all right there in homegrown dosage, and for the converted, Green Acid of the Last Century is nothing short of a worship ceremony, for the band itself as well as for anyone taking it on. With the march of “Doomsday,” the unmitigated rollout of “Black Smoke,” and the swirling green aurora of “The Green Aurora,” Klandestin wear their holding-back-a-cough riffage as a badge of honor, and couldn’t be any less pretentious about it if they tried. From the hooded weedian on the cover art to the Sleepy nod of closer “Last Century,” Green Acid of Last Century telegraphs its intent front-to-back, and is all the more right on for it.

Klandestin on Thee Facebooks

Hellas Records on Bandcamp

 

Poor Little Things, Poor Little Things

poor little things poor little things

You get what you pay for with “Rock’n’Roller,” which leads off the self-titled debut EP from Bern, Switzerland-based Poor Little Things. Around the core duo of vocalist Tina Jackson and multi-instrumentalist Dave “Talon” Jackson (also of Australia’s Rollerball) on guitar, bass, synth and percussion is Talon’s The Marlboro Men bandmate Fernando Marlboro on drums, and together the band presents five tracks of remember-when-rock-rocked-style groove. Fueled by ‘70s accessibility and a mentality that seems to be saying it’s okay to play big rooms, like arenas, cuts like “Drive” seem prime for audience participation, and “Break Another Heart” gives a highlight performance from Tina while “About Love” showcases a more laid back take. They close with the 6:37 “Street Cheetah,” which struts appropriately, and end with a percussive finish on a fadeout repeating the title line. As a showcase of their style and songwriting chops, Poor Little Things shows significant promise, sure, but it’s also pretty much already got everything it needs for a full-length album.

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Poor Little Things on Bandcamp

 

Motorowl, Atlas

motorowl atlas

Every now and then you put on a record and it’s way better than you expect. Hello, Motorowl’s Atlas. The German troupe’s second for Century Media, it takes the classic stylizations of their 2016 debut, Om Generator, and pushes them outward into a vast sea of organ-laced progressive heavy, soaring in vocal melodies and still modern despite drawing from an array of decades past. The chug in “The Man Who Rules the World” would be metal for most bands, but on Atlas, it becomes part of a broader milieu, and sits easily next to the expansive title-track, as given to post-rocking airiness in the guitar as to synth-laden prog. That mixture of influences and aesthetics would be enough to give the five-piece an identity of their own, but Atlas is further characterized by Motorowl’s ambitious songwriting and benefits greatly from the melodic arrangements and the clear intention toward creative development at work here. Those who take on its seven-track/45-minute journey will find it dynamic, spacious and heavy in kind.

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Motorowl at Century Media website

 

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Quarterly Review: Khemmis, Morag Tong, Holy Mushroom, Naisian, Haunted, Pabst, L.M.I., Fuzz Forward, Onségen Ensemble, The Heavy Eyes

Posted in Reviews on July 18th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

I always say the same thing on the Wednesday of the Quarterly Review. Day 3. The halfway point. I say it every time. The fact is, doing these things kind of takes it out of me. All of it. It’s not that I don’t enjoy listening to all these records — well, I don’t enjoy all of them, but I’m talking more about the process — just that it’s a lot to take in and by the time I’m done each day, let alone at the end of the week, I’m fairly exhausted. So every time we hit the halfway point of a Quarterly Review, I feel somewhat compelled to note it. Cresting the hill, as it were. It’s satisfying to get to this point without my head falling off.

Quarterly Review #21-30:

Khemmis, Desolation

khemmis desolation

Continuing their proclivity for one-word titles, Denver doom forerunners Khemmis take a decisive turn toward the metallic with their third album for 20 Buck Spin, the six-track/41-minute Desolation. Songs like opener “Bloodletting” and its side B counterpart “The Seer” are still tinged with doom, but the NWOBHM gallop in “Isolation” and “Maw of Time” – as well as the sheer force of the latter – is an unexpected twist. Khemmis showed classic metal elements on 2016’s was-a-very-big-deal Hunted (review here) and 2015’s debut, Absolution (review here), but it’s a question of balance, and as they’ve once again worked with producer Dave Otero, one can only read the shift as a conscious decision. The harder edge suits them – certainly suits the screams in “Maw of Time” and side A finale/album highlight “Flesh to Nothing” – and as Khemmis further refine their sound, they craft its most individualized manifestation to-date. There’s no hearing Desolation and mistaking Khemmis for another band. They’ve come into their own.

Khemmis on Thee Facebooks

20 Buck Spin website

 

Morag Tong, Last Knell of Om

morag tong last knell of om

A rumbling entry into London’s Heavy Generation, the four-piece Morag Tong unfold voluminous ritual on their debut full-length, Last Knell of Om. Largely slow and largely toned, the work of guitarists Alex Clarke and Lewis Crane brings the low end to the forefront along with the bass of James Atha while drummer Adam Asquith pushes the lurch forward on cuts like “New Growth” and “To Soil,” the band seemingly most comfortable when engaged in crawling tempos and weighted pummel. Asquith also adds semi-shouted vocals to the mire, which, surrounded by distortion as they are, only make the proceedings sound even more massive. There’s an ambience to “We Answer” and near-13-minute closer “Ephemera: Stare Through the Deep,” which gives the record a suitably noisy finish, but much of what Morag Tong are going for in sound depends on the effectiveness of their tonality, and they’ve got that part down on their debut. Coupled with the meditative feel in some of this material, that shows marked potential on the band’s part for future growth.

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Morag Tong on Bandcamp

 

Holy Mushroom, Blood and Soul

holy mushroom blood and soul

Working quickly to follow-up their earlier-2018 sophomore long-player, Moon (review here), Spain’s Holy Mushroom present Blood and Soul, an EP comprised of two songs recorded live in the studio. I’m not entirely sure why it’s split up at all, as the two-minute “Introito” – sure enough, a little introduction – feeds so smoothly into the 19-minute “Blood and Soul” itself, but fair enough either way as the trio shift between different instrumentation, incorporating sax, piano and organ among the guitar, bass, drums and vocals, and unfold a longform heavy psychedelic trip that not only builds on what they were doing with Moon but is every bit worthy of being released on its own. I don’t know if it was recorded at the same time as the record or later – both were done at Asturcon Studios – but it’s easy to see why the band would want to highlight “Blood and Moon.” Between the deep-running mix, the easy rhythmic flow into and out from drifting spaciousness, and the turn in the middle third toward more expansive arrangement elements, it’s an engaging motion that makes subtly difficult shifts seem utterly natural along the way. And even if you didn’t hear the latest full-length, Blood and Soul makes for a fitting introduction to who Holy Mushroom are as a band and what they can do.

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Clostridium Records website

 

Naisian, Rejoinder

naisian rejoinder

Sludge-infused noise rock serves as the backdrop for lyrical shenanigans on the three-song Rejoinder EP from Sheffield, UK, trio Naisian. Running just 12 minutes, it’s a quick and thickened pummel enacted by the band, who work in shades of post-metal for “90 ft. Stone,” “Mantis Rising” and “Lefole,” most especially in the middle cut, but even there, the focus in on harsh vocals and lumbering sonic heft. It’s now been seven years since the band sort-of issued their debut album, Mammalian, and six since they followed with the Monocle EP, and the time seems to have stripped down their sound to a degree. “Lefole” is the longest track on Rejoinder at 5:18 and it’s still shorter than every other song Naisian have put out to-date. Their crunch lacks nothing for impact, however, and to go with the swing of “Lefole,” everybody seems to contribute to a vocal assault that only adds to the punishing but thoughtful vibe.

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Naisian on Bandcamp

 

Haunted, Dayburner

haunted dayburner

The effects-laden vocal swirl at the outset of Haunted’s “Mourning Sun” and moments in the Italian act’s longer-form material, “Waterdawn” or “Orphic,” for example, will invariably lead some listeners to point to a Windhand influence, but the character of the band’s second album, Dayburner (on Twin Earth, DHU and Graven Earth all), follows their 2016 self-titled (review here) by holding steady to a developing identity of its own. To be sure, vocalist Christina Chimirri, guitarists Francesco Bauso and Francesco Orlando, bassist Frank Tudisco and drummer Dario Casabona make their way into a deep, murky swamp of modern doom in “Dayburner” (video posted here), but in the crush of their tones amid all that trance-inducing riffing, they cast themselves as an outfit seeking to express individuality within the set parameters of style. Their execution, then, is what it comes down to, and with “Orphic” (12:46) and “Vespertine” (13:19) back to back, there’s plenty of doom on the 66-minute 2LP to roll that out. And they do so in patient and successful form, with marked tonal vibrancy and a sense of controlling the storm they’re creating as they go.

Haunted on Thee Facebooks

Twin Earth Records website

DHU Records webstore

Graven Earth Records webstore

 

Pabst, Chlorine

pabst chlorine

So, the aesthetic is different. Pabst play a blend of noise, post-punk, heavy rock and grunge, but with the ready pop influence — to wit, the outright danceability of “Shits,” reminiscent in its bounce of later Queens of the Stone Age – and persistent melodicism, there’s just a twinge of what Mars Red Sky did for heavy rolling riffs happening on Chlorine, their Crazysane Records debut. It’s in that blend of dense low-end fuzz and brighter vocal melodies, but again, Pabst, hailing from Berlin, are on their own trip. Weird but almost more enjoyable than it seems to want to be, the 12-track/35-minute outing indulges little and offers singalong-ready vibes in “Catching Feelings” and “Waterslide” while “Waiting Loop” chills out before the push of “Accelerate” and the angularity of “Cheapskate” take hold. Chrlorine careens and (blue) ribbons its way to the drive-fast-windows-open stylization of “Summer Never Came” and the finale “Under Water,” a vocal effect on the latter doing nothing to take away from its ultra-catchy hook. It’s not for everyone, but it’s a record someone with just the right kind of open mind can come to love.

Pabst on Thee Facebooks

Crazysane Records webstore

 

L.M.I., IV

lmi iv

If you’ve got a dank basement full of skinny college kids, chances are Lansdale, Pennsylvania’s L.M.I. are ready to tear their faces off. The sludge-thickened riff punkers run abut 11 minutes with their five-song release, L.M.I. IV, and that’s well enough time to get their message across. Actually, by the end of “Neck of Tension” and “Weaning Youth,” roughly four and half minutes in, the statement of intent is pretty clear. L.M.I. present furious but grooving hardcore punk more given to scathe than pummel, and their inclusions on L.M.I. IV bring that to life with due sense of controlled chaos. Centerpiece “Lurking Breath” gives way to “First to Dark” – the longest cut at a sprawling 2:55 – and they save a bit of grunge guitar scorch and lower-register growling for closer “June was a Test,” there isn’t really time in general for any redundancy to take hold. That suits the feeling of assault well, as L.M.I. get in and get out on the quick and once they’re gone, all that’s left to do is clean the blood off the walls.

L.M.I. on Thee Facebooks

L.M.I. on Bandcamp

 

Fuzz Forward, Out of Nowhere

fuzz forward out of nowhere

Released one way or another through Discos Macarras, Odio Sonoro, Spinda Records and Red Sun Records, the eight-song/43-minute debut album from Barcelona’s Fuzz Forward, Out of Nowhere, has earned acclaim from multiple corners for its interpretation of grunge-era melodies through a varied heavy rock filter. Indeed, the vocals of Juan Gil – joined in the band by guitarist Edko Fuzz, bassist Jordi Vaquero and drummer Marc Rockenberg – pull the mind directly to a young Layne Staley, and forces one to realize it’s been a while since that low-in-the-mouth approach was so ubiquitous. It works well for Gil in the laid back “Summertime Somersaults” as well as the swinging, cowbell-infused later cut “Drained,” and as the band seems to foreshadow richer atmospheric exploration on “Thorns in Tongue” and “Torches,” they nonetheless maintain a focus on songwriting that grounds the proceedings and will hopefully continue to serve as their foundation as they move forward. No argument with the plaudits they’ve thus far received. Seems doubtful they’ll be the last.

Fuzz Forward on Thee Facebooks

Fuzz Forward on Bandcamp

 

Onségen Ensemble, Duel

Onsegen ensemble duel

The kind of record you’re doing yourself a favor by hearing – a visionary cast of progressive psychedelia that teems with creative energy and is an inspiration even in the listening. Frankly, the only thing I’m not sure about when it comes to Oulu, Finland, outfit Onségen Enseble’s second album, Duel, is why it isn’t being released through Svart Records. It seems like such a natural fit, with the adventurous woodwinds on opener “Think Neither Good Nor Evil,” the meditative sprawl of the title-track (video posted here), the jazz-jam in the middle of “Dogma MMXVII,” the tribalist percussion anchoring the 12-minute “Three Calls of the Emperor’s Teacher,” which surely would otherwise float away under its own antigravity power, and the free-psych build of closer “Zodiacal Lights of Onségen,” which shimmers in otherworldly fashion and improvised-sounding spark. On Svart or not, Duel is one of the best albums I’ve heard this year, and one the creativity of which puts it in a class of its own, even in the vast reaches of psychedelic rock. Whether it means to or not, it tells a story with sound, and that story should be heard.

Onségen Ensemble on Thee Facebooks

Onsegen Ensemble on Bandcamp

 

The Heavy Eyes, Live in Memphis

the heavy eyes live in memphis

Since so much of The Heavy Eyes’ studio presentation has consistently been about crispness of sound and structured songwriting, it’s kind of a relief to hear them knock into some feedback at the start of “Mannish Boy” at the outset of Live in Memphis (on Kozmik Artifactz). The three-piece of guitarist/vocalist Tripp Shumake, bassist Wally Anderson and drummer Eric Garcia are still tight as hell, of course, and their material – drawn here from the band’s LPs, 2015’s He Dreams of Lions (review here), 2012’s Maera, 2011’s self-titled, as well as sundry shorter offerings – is likewise. They’ve never been an overly dangerous band, nor have they wanted to be, but the stage performance does add a bit of edge to “Iron Giants” from the debut, which is followed by singing “Happy Birthday” to a friend in the crowd. One of the most enjoyable aspects of Live in Memphis is hearing The Heavy Eyes loosen up a bit on stage, and hearing them sound like they’re having as good a time playing as the crowd is watching and hearing them do so. That sense of fun suits them well.

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The Heavy Eyes at Kozmik Artifactz

 

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Review & Track Premiere: Electric Citizen, Helltown

Posted in audiObelisk, Reviews on July 17th, 2018 by JJ Koczan

electric citizen helltown

[Click play above to stream ‘Lunch’ from Electric Citizen’s Helltown. Album is out Sept. 28 on RidingEasy Records.]

The stated intention behind Electric Citizen‘s third album for RidingEasy RecordsHelltown, is a turn from where the band was two years ago on their sophomore outing, Higher Time (review here). Likewise, Higher Time brought the Cincinnati four-piece to someplace their 2014 debut, Sateen (review here), hadn’t dared to go. Around a central core of memorable hooks and classic heavy rock riffing, Electric Citizen wove a vision of heavy glam, taking the riff-led fare of Sateen to someplace entirely bigger — in production value, in scope, in its unabashed poppiness. Helltown once more finds vocalist Laura Dolan, guitarist Ross Dolan, bassist Nick Vogelpohl and drummer Nate Wagner in an aesthetic pivot. While it would same to be driven by the same impulse toward refining their sound and trying to bring their songs to different levels of expression, etc., the manifestation is markedly different. Dolan‘s voice still commands the proceedings with pointed melodicism, and the guitar runs the instrumental charge beneath with classic swing from the rhythm section.

What’s different is largely down to presentation, and it’s one that finds Electric Citizen engaged in entirely rawer fare. Gone is the pop-ready sheen of Higher Time, and it’s been replaced by proto-metal tonality on the part of Dolan — as heard in the solo of second cut “Hide it in the Night,” as well as the riffs throughout — and Vogelpohl, as well as a decided lack of the keys/organ that featured so prominently last time out — “Father Time,” “New Earth” and “Mother’s Little Reject” notwithstanding — in favor of a more stripped down approach overall. Vocals are treated but not as many-layered, and the album as a whole is shorter, running nine songs and 32 minutes where the last one was 10 and 40. They largely stay away from following a punkish impulse — even centerpiece “Ripper,” which is definitely not a cover of Judas Priest‘s “The Ripper,” holds more to classic metal style — but the LP’s purpose is clearly to shoot for a more live sound, something that can be brought to life on stage, say, when the band tours as support for Monster Magnet in support of Helltown this Fall.

That’s not to say there isn’t any progressive edge to be found. Dolan as a guitarist is an intricate riffer and has been since he was doing his best mid/late-’70s Iommi on Sateen. As much as the smoothness and fluidity of Higher Time suited his style, he thrives here in showcasing his chemistry with Laura‘s vocals and with the righteous solidity of the bass and drums. Of course, a more barebones production style like this is no less an aesthetic choice than something hyper-elaborate, but the stylistic turn suits him and the rest of the band well, and would seem to have been something purposefully brought to the songwriting process. These tracks, in addition to being fewer in number, feel shorter and tighter in their structure. There are still drum transitions in “Lunch” and Dolan isn’t shy about taking a solo when called on to do so, but Helltown — named for the Cincinnati neighborhood the band calls home, as if to further telegraph the “back to their roots” sentiment at play — seems to pull back on some of the expanse that Electric Citizen made their own last time out, and it’s a meaner sound for it.

electric citizen

Of course, what draws the work together is the craft behind it. “Father Time” is the longest cut on Helltown at 4:25, and its quiet, more gradual introduction would seem to be a departure from some of the immediacy held forth in songs like prior opening salvo of “Heart Attack,” “Hide it in the Night” or “Cold Blooded Blue,” all of which are into their first verse before the first 30 seconds are up. Pacing in general is a big part of what makes Helltown distinct in Electric Citizen‘s catalog. Sateen was dug into semi-garage doom shuffle, and so had a middling pace, and Higher Time followed suit with its more outwardly accessible fare. Helltown isn’t a Motörhead record or anything, but “Ripper,” “The Pawn,” “Heart Attack” have a quick pulse to be sure, and even as “New Earth” would seem to be a transitional moment into the closing duo of “Lunch” and “Mother’s Little Reject,” the momentum holds steady. And though “Lunch” digs into that eased-up tempo somewhat and “Mother’s Little Reject” starts out with organ-backed spoken word over a “War Pigs”-esque progression before igniting a finale-worthy bounce, the energy in Electric Citizen‘s delivery is unflinching.

If Helltown has a central message, that’s it. It’s enough of a declaration of who Electric Citizen are that part of me is surprised it isn’t self-titled. That identity can change, of course, and likely will if their three-to-date albums are anything to go by, but the statement in these tracks is clear and unmistakable. Whatever else Electric Citizen might do and wherever their sound might take them, they’re a heavy rock band at heart. Helltown is a performance-minded collection that would seem to be the result of some genuine soul-searching on the part of the band. It could well be they’ve found themselves as players and as a group and that whatever they do from here will be a hopeful step forward from where they currently are. Or it could be that this album, like the one before it, will spur an equal and almost-opposite reaction and the Electric Citizen will move in a different direction entirely. I like the fact that, four years and three records into their tenure as a band, I have no idea what to expect from them next.

Other than songwriting. That’s the key. It let them serve introductory notice on Sateen and it provided the foundation for the expanded-sound of Higher Time, and now it serves as the very core of being for Helltown. And if it wasn’t there, there’d be no hiding it. This is as stripped-down as Electric Citizen have gotten, and if they didn’t have the songs and didn’t have the performance and the vibe, it simply wouldn’t work. Fortunately, they do and it does. I won’t discount what each of the past two records did for their own accomplishments in their own contexts, but listening to Helltown, it very much seems to be marking a new level for Electric Citizen, and as they cull the most essential facets of their approach as a band, they emerge from that process stronger than ever and at their most vital.

Electric Citizen, “Hide it in the Night”

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Quarterly Review: Glanville, Destroyer of Light, The Re-Stoned, Ruff Majik, Soldat Hans, High Priestess, Weed Demon, Desert Storm, Ancient Altar, Black Box Warning

Posted in Reviews on July 17th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

So Day 1’s done and it’s time to move on to Day 2. Feeling stressed and totally overwhelmed by the sheer amount of stuff still to be done? Why yes, I am. Thanks for asking. In the past, I used to handle the Quarterly Review well ahead of time. It’s always a lot to get through, but the week before, I’d be setting up back ends, chasing down links and Bandcamp players, starting reviews, etc., so that when it came time, all I had to do was the writing and plug it all into a post and I was set.

There was some prep-work done this past weekend, but especially this time, with my old laptop having been stolen in May, it’s all been way more jazz-improv. I was still adding releases as of last Friday, and writing beforehand? Shit. With the baby having just figured out how to climb? Not bloody likely. Accordingly, here we are, with much to do.

It’ll get done. I haven’t flubbed a Quarterly Review yet, and if I took an extra day to get there, I’m under no delusion that anyone else would care. So there you go. Let’s hit it for Day 2:

Quarterly Review #11-20:

Glanville, First Blood

glanville first blood

First Blood is the aptly-titled five-song debut EP from Glanville, a newcomer dual-guitar outfit with established players Philip Michel (The Earwix) on lead and Christopher West (Named by the Sun, ex-Stubb, etc.) on rhythm, Wight’s Peter-Philipp Schierhorn on bass and René Hofmann on vocals, and Thomas Hoffman (ex-Bushfire) on drums. Based in Germany and the UK, the group present 23 minutes of material on their first outing, drawing from the guitar-led likes of Thin Lizzy and Judas Priest to capture early metal and present it with a heavy rocking soulfulness and modern production. The most raucous of the cuts might be centerpiece “Durga the Great,” but neither “God is Dead” nor “Dancing on Fire” before nor “Demons” and “Time to Go” after want for action, and especially the latter builds to a furious head to close out the release. Hofmann as a standalone singer wants for nothing in range or approach, and the band behind him obviously build on their collective experience to dig into a stylistic nuance rarely executed with such confidence. They’ve found a place willfully between and are working to make it theirs. Can’t ask for more than that.

Glanville on Thee Facebooks

Glanville on Bandcamp

 

Destroyer of Light, Hopeless

destroyer of light hopeless

Having just recently signed to Argonauta Records for a new album in 2019, Austin doomers Destroyer of Light follow their 2017 long-player, Chamber of Horrors (review here), with a further auditory assault in the lumbering Hopeless. Psychedelic and yet still somehow traditional doom lingers in the brain after “Nyx” and “Drowned” have finished – the latter with an Alan Watts sample discussing alcoholism – and the band moves into demos for Chamber of Horrors cuts “Into the Smoke,” “Lux Crusher” and “Buried Alive.” Between the two previously unreleased songs and those three demos, Hopeless pushes to 39 minutes, but it’s probably still fair to call it an EP because of the makeup. Either way, from the miserable plod of “Nyx,” in which each chug in the riff cycle seems to count another woe, to the rolling nod early and surprising melody late in “Drowned,” Hopeless is anything but. Anticipation was already pretty high for Destroyer of Light’s next record after the last one, but all Hopeless does is show further depth of approach and more cleverly-wielded atmospheric murk. And the more it sounds like there’s no escape, the more Destroyer of Light seem to be in their element.

Destroyer of Light on Thee Facebooks

Destroyer of Light on Bandcamp

 

The Re-Stoned, Stories of the Astral Lizard

the re-stonEd stories of the astral lizard

The inevitable question is “Why a lizard?” and if you make it four minutes into 11-minute opener “Fractal Panorama” and don’t have your answer, go back ad start over. Moscow heavy psych instrumentalists The Re-Stoned intend the reptile as a spirit guide for their new outing Stories of the Astral Lizard (on Oak Island Records), which follows quickly behind their late-2017 offering, Chronoclasm (review here), and given the ultra-patient desert vibes in the opener, the acoustic-laced folk-prog of “Mental Print for Free,” the languid meander of “A Companion from the Outside,” the swirling sprawl of the 16-minute “Two Astral Projections” and the final cowpoke drift of “The Heather Carnival,” one might indeed just find a lizard sunning its belly amid all the atmospheric evocations and hallucinatory vibes. I’ll take “Two Astral Projections” as the highlight, but mostly because the extra length allows the band to really dig in, but really the whole album feeds together gorgeously and is a new level of achievement when it comes to atmosphere for The Re-Stoned, who were already underappreciated and find themselves only more so now.

The Re-Stoned on Thee Facebooks

Oak Island Records on Thee Facebooks

 

Ruff Majik, Seasons

Ruff Majik Seasons

Right on fuzz, right on groove, right on vibe – there isn’t much else one might say about Ruff Majik’s Seasons (on Rock Freaks Records and Forbidden Place Records) beyond “right on.” Heavy rock with twists of psychedelia, the Pretoria, South Africa, three-piece of Johni Holliday, Jimi Glass and Benni Manchino make their home on the lines of various subgenres, but wherever they go, the proceedings remain decisively heavy. To wit, a cut like “Breathing Ghosts” or the later “Birds Stole My Eyes” might dig into shuffle boogie or extreme-metal-derived thrust, but there’s a chemistry between the members and a resonant looseness that ties the material together, and as the last 14 of the total 66 minutes are dedicated to “Asleep in the Leaves,” there’s plenty of progressive weirdness in which to bask, one song moving through the next such that neither “Hanami Sakura (And the Ritual Suicide” nor the semi-doom-plodding “The Deep Blue” nor the funky twists of “Tar Black Blood” come across as predictable. Seasons might take a few listens to sink in, but it’s easily worth that effort.

Ruff Majik on Thee Facebooks

Ruff Majik at Rock Freaks Records webstore

Forbidden Place Records on Bandcamp

 

Soldat Hans, Es Taut

SOLDAT HANS ES TAUT-750

Hyperbole-worthy post-ism from Switzerland’s Soldat Hans makes their sophomore outing, Es Taut – on Wolves and Vibrancy Records as a 2LP – a forward thinking highlight. As rich in atmosphere as Crippled Black Phoenix and as lethal as Converge or Neurosis or anyone else you might dare to put next to them, the six-piece made their debut with 2014’s Dress Rehearsal (review here) and served notice of their cross-genre ambitiousness. Es Taut finds them four years later outclassing themselves and most of the rest of the planet across three extended tracks – “Story of the Flood” (26:15), “Schoner Zerbirst, Part I” (8:03) and “Schoner Zerbirst, Part II” (18:56) – that sprawl out with a confidence, poise and abrasion that is nothing short of masterful. Es Taut may be a case of a band outdoing their forebears, but whatever their legacy becomes and however many people take notice, Soldat Hans singlehandedly breathe life into the form of post-metal and prove utterly vital in so doing, not only making it their own, but pushing forward into something new in ambience and heft. This is what a band sounds like while making themselves indispensable.

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Wolves and Vibrancy Records website

 

High Priestess, High Priestess

high priestess high priestess

Calling to order a nod that’s immersive from the opening strains of leadoff/longest-track “Firefly” (still immediate points), Los Angeles trio High Priestess build out the psych-doom ritualizing of their 2017 demo (review here) to make their self-titled full-length debut through Ripple Music. The difference between the demo and the album in terms of what’s included comes down to artwork and the track “Take the Blame,” which adds its bell-of-the-ride swing between the atmosphere and melodic focus of “Banshee” and the spacious roller “Mother Forgive Me.” Potential is writ large throughout from guitarist/vocalist Katie Gilchrest, bassist/vocalist Mariana Fiel and drummer Megan Mullins, as it was on their demo, and even the harsh growls/screams on “Despise” seem to have found their place within the proceedings. As they wrap with the guitar-led jam of “Earth Dive,” High Priestess put the finishing touch on what’s hands-down one of 2018’s best debut albums and offer a reminder that as much potential as there is in their sound for future development, the accomplishments here are considerable unto themselves.

High Priestess on Thee Facebooks

Ripple Music website

 

Weed Demon, Astrological Passages

weed demon astrological passages

Four tracks of gurgling riffy plunder pervade Astrological Passages, the 41-minute – longer if you get the digital version or the tape/CD, which includes the 7:24 “Dominion of Oblivion” – debut album from Columbus, Ohio’s Weed Demon. Delivered on vinyl through Electric Valley Records, the nodder/plodder carves out a cave for itself within a mountain of tonally thick stoner metal riffing, infusing a sense of sludge with shouted and growled vocals from guitarists Andy and Brian and bassist Jordan – only drummer Chris doesn’t get a mic – and an overarching sense of bludgeoning that’s Sleep-derived if not Sleep-adjacent in terms of its actual sound. Nasty? Why, yes it is, but as “Sigil of the Black Moon” heads toward the midpoint of its 10-minute run, the repetitive groove assault make the band’s intention plain: worship weed, worship riff. They get faster on “Primordial Genocide” and even sneak a bit of speed in amidst the crawl before the banjo takes hold in the second half of 12-minute closer “Jettisoned” – more Americana sludge please; thank you – but they never lose sight of their mission, and it’s the uniting factor that makes their debut hit like the brick to the head that it is.

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Electric Valley Records website

 

Desert Storm, Sentinels

desert storm sentinels

With Sentinels, Oxford, UK, five-piece Desert Storm pass a decade since making their self-titled debut in 2008. They followed that with 2010’s Forked Tongues (review here), 2013’s Horizontal Life and 2014’s Omniscient (review here), and though they had a single out in 2014 on H42 Records as a split with Suns of Thunder (review here) in 2016, Sentinels is their first outing on APF Records and their first long-player in four years. Burl has always been an important factor in what they do, and the High on Fire-meets-Orange Goblin slamming of “The Brawl” backs that up, but Desert Storm have left much of the hyper-dudeliness behind in favor of a more complex approach, and while Sentinels isn’t a minor undertaking at 10 songs and 51 minutes, longer cuts like “Kingdom of Horns” and “Convulsion” demonstrate the maturity they’ve brought to bear, even as the one-two punch of “Drifter”  and “The Extrovert” offer swinging-fist hooks and beard-worthy chug that assures any and all testosterone quotas are met.

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APF Records on Bandcamp

 

Ancient Altar, Cosmic Purge/Foie Gras

ancient altar cosmic purge foie gras

Based in Los Angeles, Ancient AltarScott Carlson (bass/vocals), Barry Kavener (guitar/vocals), Jesse Boldt (guitar) and Etay Levy (drums) – were last heard from on 2015’s dug-in atmosludger Dead Earth (review here), and they return lo these several years later with the two-tracker Cosmic Purge/Foie Gras, pushing into more extreme crush-of-riff with an abandon that’s anything but reckless. On the contrary, there’s some clear development in the 10-minute “Cosmic Purge” and 13-minute “Foie Gras,” rolling out oppressive grooves with blended screams/shouts and cleaner vocals. As with the last album, a drive toward individuality is central here, and Ancient Altar get there in tone while bringing forth a sense of scope to a sound so regularly thought of as closed off or off-putting in general. In its early going, “Foie Gras” hypnotizes with echoing melody and spaciousness only to resolve itself in a deeply weighted dirge march, furthering the pummel of “Cosmic Purge” itself. I don’t know if the EP – on vinyl through Black Voodoo Records, CD on Transcendental Void Records – will lead toward another album or not, but the sense of progression in Ancient Altar’s style is right there waiting to be heard, so here’s hoping.

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Black Box Warning, Attendre la Mort

black box warning attendre la mort

Listen to it on headphones and the kickdrum on Black Box Warning’s Attendre la Mort is downright painful. Next-level blown-out aggro pulsations. Brutal in a physical sense. The rest of the band doesn’t follow far behind in that regard. Riffs are viscous and violent in noise rock tradition, but denser in their tone despite some underlying punkishness, and the vocals are likewise distorted and abrasive. The five-song/23-minute EP’s title translates to “Waiting for Death,” and each of the tracks is a dose: Opener “5 mg” is followed by “4 mg,” “1 mg,” “2 mg” and “3 mg.” Unsurprisingly, pills are a theme, particularly on “4 mg,” and the sense of violent threat is clear in “2 mg” and 3 mg,” which boast lines like, “Watch them all scream/Watch your enemy bleeded,” and “You are the pig/I am the butcher,” respectively. Between the lyrical and the general aural cruelty, the dis-ease is consuming and unmitigated, sludge becoming a slow-motion grindcore, and that’s clearly the point. Not stabbing, but gouging.

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Quarterly Review: CHRCH, Bongripper, King Chiefs, Bonnacons of Doom, Boar, June Bug, Tired Lord, Bert, Zen Bison, Wheel in the Sky

Posted in Reviews on July 16th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

You know the deal by now, I’m sure: 50 reviews this week between now and Friday, in batches of 10 per day. It’s an unholy amount of music, but those who really dig in always seem to find something cool within a Quarterly Review. Frankly, with this much to choose from, I’d certainly hope so. I’m not going to delay at all, except to say thanks in advance for coming along on this one. It’s got some core-heavy and some-not-really-core-heavy stuff all bundled next to each other, so yeah, your patience is appreciated. Okay. No time like the present. Let’s do it.

Quarterly Review #1-10:

CHRCH, Light Will Consume Us All

chrch light will consume us all

Yeah, yeah, yeah, the songs are long. Blah blah blah it’s heavy as whatever kind of construction equipment you could want to name. What’s even more striking about Los Angeles doomers CHRCH’s Neurot Recordings debut, Light Will Consume Us All, is the sense of atmosphere. The follow-up to 2015’s massively well-received Unanswered Hymns (review here) is comprised of three songs presented in descending time order from opener/longest track (immediate points) “Infinite” (20:41) to centerpiece “Portals” (14:50) and closer “Aether” (9:29) and it finds CHRCH refining the unremitting patience of their rollout, so that even when “Aether” explodes in its second half to charred blastbeating and abrasive screams, the ambience is still dense enough to feel it in one’s lungs. CHRCH keep up this level of progression and soon enough someone’s going to call them post-something or other. As it stands, their second album builds righteously on the achievements of their debut, and is a revelation in its bleakness.

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Neurot Recordings website

 

Bongripper, Terminal

bongripper terminal

Pressed up as ever in DIY fashion, Bongripper’s Terminal presents two gargantuan slabs – one per vinyl side – that only seem to highlight the strengths in the Chicago instrumentalists’ approach. The tones are huge, the grooves nodding, the impact of each kick drum forceful. Repetition is central, that feeling of aural mass and destructiveness, but neither is Terminal – comprised of “Slow” (25:11) and “Death” (18:15) – lacking a sense of atmosphere. After 21 minutes of grueling pummel, “Slow” devolves into droning layers of noise wash and quiet guitar to finish out, and “Death” seems to hold onto an echoing lead in its closing minutes that accomplishes much the same thing in broadening the atmosphere overall. I don’t know if the two songs were composed to fit together –the titles would hint yes – but they invariably do, and as “Death” unleashes a more insistent punch before turning to a post-YOB gallop, it reconfirms Bongripper’s worship-worthy place in the stoner doom milieu, how their sound can be so familiar in its threat and yet so much their own.

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King Chiefs, Blue Sonnet

King Chiefs Blue Sonnet

Born as Chiefs ahead of their 2015 debut album, Tomorrow’s Over (review here), Arizona-based four-piece King Chiefs make their own first outing in the form of the easily-digestible desert rocker Blue Sonnet (on Roosevelt Row and Cursed Tongue Records), comprised of 10 tracks running just under 40 minutes of older-school laid back heavy, swinging easy on cuts like “Surely Never” and “Drifter” while still finding some Helmeted aggressive edge in the riffs of “Slug” and “Walk the Plank.” The overarching focus is on songwriting, however, and King Chiefs hone in cleverly on ‘90s-era desert rock’s post-grunge sensibility, so that their material seems ready for an alternative radio that no longer exists. Such as it is, they do just fine without, and hooks pervade the two-guitar outfit’s material in natural and memorable fashion all the way to five-and-a-half-minute closer “Shrine of the Beholder,” which embraces some broader textures without losing the structural focus that serves so well on the songs before it.

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Roosevelt Row Records website

Cursed Tongue Records website

 

Bonnacons of Doom, Bonnacons of Doom

bonnacons of doom bonnacons of doom

Heavy psychedelic experimentalism pervades the Rocket Recordings-issued self-titled debut album from Liverpool collective Bonnacons of Doom, rife with tripout ritualism and exploration of sound as it is, all chasing light and getting freaky in any sense you want to read it. Five tracks, each a voyage unto itself – even the bass-fuzzy push of shortest cut “Rhizome” (5:55) is cosmos-bound – feed into the larger weirdness at play that culminates in the undulating grooves of “Plantae” (8:39), which is perhaps the most solidified cut in terms of choruses, verses, etc., but still a molten, headphone-worthy freakout that pushes the limits of psychedelia and still holds itself together. If the album was a to-do list, it would read as follows: “Eat mushrooms. Get naked. Dance around. Repeat.” Whether you do or don’t is ultimately up to you, but Bonnacons of Doom make a pretty convincing argument in favor, and I don’t generally consider myself much of a dancer. Among the most individualized psych debuts I’ve heard in a long time.

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Rocket Recordings on Bandcamp

 

Boar, Poseidon

Boar Poseidon

Poseidon, at six songs and 39 minutes, is the second long-player from Finnish four-piece Boar. Released on vinyl with no shortage of backing — Lost Pilgrims Records, Dissonant Society, Impure Muzik, S.K.O.D., Rämekuukkeli-levyt – it hurls forth a High on Fire-informed vision of noise rock on its opening title-track only to take on a slower roll in the subsequent “Shahar’s Son” and dig into massive crashing on “12.” Using echo to add a sense of depth all the while, they scream in tradeoffs à la Akimbo and boogie in “Featherless” and seem to find a post-metallic moment on “Dark Skies” before closing with the alternately brooding and scathing “Totally out of This World,” the song sort of falling apart into the feedback and noise that ends the album. There’s a persistent sense of violence happening, but it’s as much inward as outward, and though some of Boar’s most effective moments are in that rawness, there’s something to be said for the contemplation at the outset of “Shahar’s Son” and “12” as well.

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June Bug, A Thousand Days

June bug A Thousand Days

Seemingly unrestrained by genre, the Lille, France-based duo June BugJune on vocals and multiple instruments and Beryl on backing vocals and multiple instruments – dig into some post-punk nudge on early cut “Reasons” from their debut album, A Thousand Days (Atypeek Music) after the folkish melodies of opener “Now,” but whether it’s the fuzzy indie vibes of “Freaks” or the harmonies, electronics and acoustic guitar of “Let it Rest,” or the keyboard-handclaps, lower tones and poppish instrumental hook of centerpiece “Mama,” there’s plenty of variety throughout. What ties the differing vibes and richly nuanced approach together is the vocals, which are mostly subdued and at times hyper-stylized, but never seem to fail to keep melodicism as their central operating method. That remains true on the subdued “Does it Matter” and the beat-laden “Silenced” at the album’s finish and brings everything together with an overarching sense of joy that holds firm despite shifts in mood and approach, making the complete front-to-back listen as satisfying as it might seem all over the place.

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Atypeek Music website

 

Tired Lord, Demo

tired lord demo

Released by the band last year, the four-song Demo by San Francisco outfit Tired Lord has been picked up for an official cassette issue through From Corners Unknown Records and will reportedly be the only release from the black metal/sludge genre-benders. Presumably that means they broke up, rather than just refuse to ever record again, though the latter possibility intrigues as well and would be meta-black metal. Spearheaded by guitarist Bryce Olson, Tired Lord effectively bring a thickness of tone to charred riffing, and a balance between screams and growls brings a cast of general extremity to the material. So I guess this is the part where I’m supposed to regret their dissolution and wish they’d do a proper release. Fair enough for the brutal chug in “Serpent’s Ascent” and the 7:51 closer “Astaroth,” which one wouldn’t mind hearing fleshed out from their current form. Failing that, one of the 30 tape copies pressed of Demo seems like decent consolation. At least while they’re there for the getting and before Tired Lord go gleefully into that black metal demo tape ether where so many seem to dwell.

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From Corners Unknown Records website

 

BerT, Relics from Time Zero

bert relics from time zero

Lansing, Michigan, trio BerT – bassist Phil Clark and brothers Ryan (guitar) and Rael (drums) Andrews – broke up. They even put out a posthumous rare tracks release in 2017’s The Lost Toes (review here), so what’s left? Well, another album, of course. Intended as a sequel to the sci-fi narrative of the never-released long-player Return to the Electric Church, the five-track/35-minute Relics from Time Zero is unfinished, sans vocals where they might otherwise be, and basically a look at what might’ve been had the band not dissolved. For those prior-exposed to the once-prolific heavy rock bizarros, some of the proceedings will seem familiar: riffs are plentiful and fluid in their tempo changes from driving rock to droned-out stomp, and there seems to be about 1.5 of them in the four-minute “In the Cave of the Batqueen,” so but for the fact that it’s not done, I’d just about call it business as usual for BerT. I know they’re done and all, but I still wouldn’t mind hearing these songs with some lyrics, let alone the record this one was intended to follow-up. Either way, even defunct, BerT remain on their own wavelength.

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Zen Bison, Krautrocker

zen bison krautrocker

Classic-style heavy rock riffing pervades opener “Blow My Mind” (5:47) and the subsequent “Backseat Lovers” (5:15) – somewhere between Stubb and Radio Moscow — on Zen Bison’s debut LP, Krautrocker, but as the five-track/42-minute self-release moves into the 11-minute title-track, guitarist/vocalist Philipp Ott, bassist Steffen Fischer and drummer Martin Konopka – joined by organist Hans Kirschner and percussionist Bobby Müller –move into deeper-grooving and more psychedelic fare. That turn suits the mostly-live-recorded outfit well on the longer instrumental piece, and that leads to a side B with the likewise-sans-vocals “La Madrugada” (9:56) and the closing cover of Don Nix’s blues rocker “Going Down” (10:24), jammed out at the end in its middle and end with quick return to the chorus between. There isn’t much on Krautrocker one might actually consider krautrock in the traditional sense, but there’s certainly plenty of rock to go around on the impressive and varied first offering from the Rostock trio.

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Wheel in the Sky, Beyond the Pale

wheel in the sky beyond the pale

From opener “Rivers of Dust” onward, Wheel in the Sky’s second album, Beyond the Pale (on The Sign Records), proffers classy and classic digs, informed by a heavy ‘70s uptempo spirit on its title-track and moving into more complex volume and arrangement shifts in “Burn Babylon Burn” (video premiere here) and a poppy, goth-informed hook on “The Only Dead Girl in the City,” all the while held together through a quality of songwriting that even the band’s 2015 debut, Heading for the Night (review here), seemed to hint toward. It’s a mover, to be sure, but Wheel in the Sky execute their material with poise and a sense of clear intention, and no matter where they seem to go, their tonality and natural production assures the listener has an easy time tagging along. Might be a sleeper for some, but there are going to be people who really, really dig this album, and I’ve got no argument with them.

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The Sign Records website

 

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Review & Full Album Stream: Saint Karloff, All Heed the Black God

Posted in audiObelisk, Reviews on July 16th, 2018 by JJ Koczan

saint karloff all heed the black god

[Click play above to stream Saint Karloff’s All Heed the Black God in full. Album is out on LP/CD July 27 through Twin Earth Records with cassettes through Hellas Records.]

Opening with the call of a crow, shortly working its way into sampled thunder and in the meantime igniting immediately Sabbathian riffage marked out by a subtle brightness in its fuzz, the debut album from Saint Karloff, All Heed the Black God, arrives via Twin Earth Records and Hellas Records like a message telegraphed to the converted. Opener “Ghost Smoker” tops seven minutes and dips into blues rocking twists and turns as guitarist Mads Melvold layers his own harmonies — unless that’s bassist Ole Sletner or drummer Adam Suleiman backing — in a midsection shuffle, and the Oslo three-piece delve into accessible melodies as they cross reaches they won’t see again until the bookending closer, pushes closer to the eight-minute mark with an even purer Sabbath worship, like “Under the Sun”‘s malevolent boogie given a modern edge.

I say this nearly every time I mention Twin Earth Records in any context, but the label has an ear for tone that’s second to none, and as Saint Karloff join the imprints ranks, they fit excellently in that regard. The thrust of “Space Junkie” and the birdsong-laced acoustic interlude “Ganymedes” follow “Ghost Smoker,” each following the Black Sabbath blueprint in their own way, but Saint Karloff manage to make their own impression tonally and the deftness of Sletner and Suleiman in pulling off shifts in tempo and lacing one groove into the next set the three-piece apart from the masses when it comes to capturing that aspect of their forebears. In that regard and in terms of general pacing, they’re simply better at it than most bands.

The task of “Ghost Smoker” is clear at the outset in terms of setting the mood and tone — figuratively and literally — for what will follow, and “Space Junkie” answers back the patient groove with the album’s most fervent shove, leading to the interlude. This one-two-three progression of songs is pivotal to the impression All Heed the Black God makes one whole. For one, it is utterly classic. Put your intro where your intro goes, dig into a righteous groove, follow with a good sprint and then hang a louie into something entirely unexpected. It’s a smart play, and clearly intended to keep the listener on their toes as they make their way through especially for the always-pivotal first listen — going for the, “I don’t know what’s happening here, but I’m into it” impression, which they succeed in capturing — but most importantly, it speaks to a conscientiousness of craft from Saint Karloff, so what while their sound might be easy to pinpoint in terms of its influences early — hang on, we’re getting there — the very fact of that stems from a clarity of purpose on the part of the trio. They meant to make it that way, in other words, and they’re educated enough in the roots of their approach to know what they’re doing.

That’s something that only continues to help them as “Ganymedes” gives way to the three-song punch of centerpiece “Dark Sun,” “Radioactive Tomb” and “When the Earth Cracks Open” ahead of “Spellburn.” This middle salvo is likewise crucial to the overarching feel of the record, particularly as it represents a branching out in terms of influence. “Dark Sun” feeds Uncle Acid‘s “Death’s Door” garage doom through a filter of early Witchcraft — and better, works well doing so — before launching at around four minutes into its total 5:35 into thicker riffing and an all-around meaner roll, Melvold either bemoaning or bragging, “We have no soul/We are soulless,” with just a touch of post-Jus Oborn inflection in his voice. That twist fades out to finish “Dark Sun” as a highlight and the subsequent “Radioactive Tomb” confirms a suspicion heretofore held throughout the tracks regardless of speed or anything else: that Saint Karloff have a great drummer.

saint karloff

I am a firm believer that a truly excellent drummer — like an excellent singer, bassist, guitarist or even keyboardist sometimes — can make the difference in a band, and listening to Suleiman shove along the gallop of “Radioactive Tomb” as naturally as he held back during the verses of “Ghost Smoker,” his class and creativity as a player come through in such a way as to vibrantly enhance the work of the other two players around him. “Radioactive Tomb” laces additional percussion into its first half, but even so, it’s the drums holding it together it all opens up heading into and through the midpoint, a consistent, familiar beat that Suleiman makes his own. And even as he counts on his ride after everything else has dissipated, it’s clear just how central the swing and character of his playing is to the band. On the more blown-out “When the Earth Cracks Open,” as Melvold wahs out a lead and Sletner explores a highlight performance of his own, the drums carry over a straightforward progression that makes each cymbal hit count amid tom runs every bit worthy of the Bill Ward comparison they seem to be shooting for. That, “how on earth is he keeping this together?” vibe.

That’s not to take away from the work Melvold and Sletner do here — as noted, Twin Earth sniffs out excellent tone, and they both bring plenty of it — it’s just that when called on to do so, Suleiman is more than able to hold down the songs in a way that sounds easy and simply isn’t. From that shift in “Dark Sun” through the early movement in “Spellburn” en route to the aforementioned “Under the Sun” chug, he always seems to be where he needs to be, and the whole band benefits from it. Still, it’s the guitar in the foreground as “Spellburn” heads toward its sudden cold ending, and the balance across the ultra-manageable 38 minutes of the release of contributions balances well.

There are many aspects of All Heed the Black God — one assumes such heeding would be done on, say, a special day of observance, likewise absent of light — which will seem familiar to the more experienced heads who take it on, but that’s half the point. The other half is in the potential for growth Saint Karloff demonstrate throughout this thesis in Iommic Studies. Even more than the universal symptom on display throughout much of the riffing, it’s that potential left as the primary impression of the album, and one hopes Saint Karloff will continue to build on the vital chemistry and aesthetic willfulness they conjure here.

Saint Karloff, “Spellburn” official video

Saint Karloff, “Ghost Smoker” official video

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