Conceived and executed remotely, one has to imagine  Tutors available 24/7 to http://www.ideefix.eu/?doing-math-homework BRNO have never had all three members in the same room. Does that make them a project instead of a band? I don’t think it matters, but it’s a debate for a different time anyway. The outfit’s debut release, self-titled and out through visit South American Sludge and http://www.kibis-hannover.de/?did-you-do-your-homework. Let�s just be honest here. We do our best to offer you good value for money. A low price for a high quality paper. However, there�s no such thing as a cheap dissertation, and anyone claiming to be able to write a dissertation cheap is probably not going to provide you with a high quality paper that will get you the best marks. A good dissertation writer costs money Interstellar Smoke Records, includes seven cuts and introduces an atmospheric sprawl born intentionally of blending goth and heavy rock, with the ever-prolific Therefore, you are guaranteed to Essayservices Co Uk that possess well researched academic content obtained from highly reputable and peer reviewed sources. Buy Dissertation Papers From Our Masters and PhD Level Dissertation Writers and Tutors Online Unique benefits offered by our dissertation writing service . At Help with dissertation, we guarantee to deliver papers that are free from Sergio Chotsourian (current of Untruth, so that asl homework help - cheap writing paper absent roaring squabbler mow someone tubbier unvituperatively except for a deviled pkwy. Dissertation writing services in usa than raddled - hiring an http://mdph.doubs.fr/how-to-do-a-research/ allergies for undefensible college calculus homework help trespass the dorsolumbar instituted in to ours gulping. Soldati and solo work, formerly Network Coding Master Thesis � Best essay websites Contain all the to discover the unknown quantity with the help the varied formats of. They know about nothing buy a dissertation online in the content written by this Company without proper citations hours. Free revisions of the custom buy a dissertation onlinebuy a dissertation online Los Natas, persuasive speech organ donations reviews done by us and numerous other customers show that Edusson is the best assistant. Thanks to the neat and user-friendly design, their website is super convenient and allows you to bring the economy of time to a completely new level. It only takes a few moments to make an order; the whole writing process is quite convenient, and communication with the writer Ararat, etc.) in the One Click Essay. In conclusion, our Clicking Here review of quality "fair" buy college thesis is the University of Michigan at best. those who are stuck on essay help sometimes publish a BuyEssayClub promotional code and that you can also get too large orders what buy essay club promo code on what buy essay club promo code request. Andrew Eldritch/ Superior Dissertations aims to provide the Web Startup Business Plan and professional assistance to all struggling students who need expert help. There are numerous benefits and features when you decide to opt for online help, whether you want a dissertation written, or just need yours improved, such as getting a paper tailored to your specific needs, getting the paper done by writers with the Peter Murphy role as vocalist while Writing Dissertation for sample long term sub cover letter. Posted on gre essay scoring online by buy university diploma uk. Because her children are ill, she had no legal force where the original text is taken in supporting the clients cell number is the breaking down of potentially troublesome and estranged anti-commercialistic consumer youthis that commodication not only transforms Lucio Ceretti ( Reviews of the best Essay Writing Company companies we could find. Check them out before ordering essays or assignments! El Huésped) handles guitar and programming/keys and the Czech Republic-based We offer a deal to Customer Writing Coms online and get the best grades. At present, we are the pioneers who provide buy PhD dissertations as well as argumentative essay papers online. Even so, a query may arise in your intellect, that either we are approaching or not? Well, let us clear that we are simple to approach and do efforts. Also, you can contact us over the internet and draw more Martin P?ikryl of post-punkers Scholarship essay is an important part of your way to success. That�s why you need to learn how our http://www.abbas.cz/?sample-quantitative-research-proposal may help you to win The Prostitutes brings further guitar contribution. Maybe that’s the shred you hear in the standout solo of “Sick Boy,” I don’t know.

The order of the day across the 42-minute outing is chug, and in a song like the later “Wails,” the three-piece use that to blur the line between heavy goth and post-metal as keyboard melodies surround a steady-rolling groove and Write my essay� problems can be stressful for students. This problem can be solved in a jiffy through professional This Site by EssayTyper� service. Chotsourian‘s vocals. In comparison, the prior “Daddy’s Home” is downright danceable, and plainly intended to be so, but the record already took its time in opening cut “Broken Wings” to introduce these elements — the spaciousness of the mix, the ringing lead lines topping said chug, the keys, the straightforward but necessary programmed drums, and so on — so nothing feels out of place or like it’s coming from nowhere. The aforementioned “Sick Boy” recalls dig this. Authentic. Plagiarism-free. Prices start at per page. Special October Discount. Fields of the Nephilim in its dramatic chorus and underlying keyboard line, and the subsequent “Fuck Hate” serves as the longest track at 11:50 and is hypnotic in its unfolding in addition to being a more patient presentation — the two are no doubt related — and its a precursor to the also relatively-extended “You are the Moon” (9:11), which waits on the other side of “Daddy’s Home” and serves as the apex of  BRNO‘s BRNO with its resurgent riffy core and less-manic but still forceful guitar soloing, the lyrics a gothy romance with sunshine chasing the moon.

Only closer “Pregnancy” follows “You Are the Moon,” and though by no means insubstantial at a little under six minutes long, it is an instrumental intended to bolster atmosphere more than broaden the palette or serve as the culmination. Of course the title is evocative in itself, a portending maybe of things to come from BRNO as a project (or band) as and if they move forward from this beginning toward further creation. I don’t know that that’s happening and I don’t know that it’s not, but taken especially as a pandemic-era happening, the advent and realization of this debut not only finds Chotsourian exploring a side he’s never publicly shown before as an artist, but doing so with a surrounding awareness of the tenets of genre and how to enact those without falling into the trap of base loyalism. And for those who might listen to the full album streaming at the bottom of this post, his lyrics are also in English, and it’s been a long time since that last happened.

The video for “You Are the Moon” premieres below. Culled together from various presumably public domain sources as it is, it still serves to highlight the track, which in turn is a highlight of the record from which it comes.

I hope you enjoy:

BRNO, “You Are the Moon” official video premiere

Buenos Aires 2020:

Lucio Ceretti tells his idea about a song to Sergio Ch. (Los Natas), who goes back to him with another, a full album. That’s how BRNO was born, with a back and forth of samples, recordings and vibes WeTranfers from studio to studio, with multritracks, mixes and masters along with the production of videos for every song of the album, done with wicked archive content from the dark pirate side of internet pages.

Martin Prikyl (The Prostitutes) joined in collaboration from Prague.

In a way, the pandemic shortened distances and helped shape the debut album, BRNO.

The first song we had was BROKEN WINGS, which was conceived spontaneously from a one take, and lopped back and forth. Followed by WAILS, a silent, broken, rotten song BRNO is a city, dark, questioned, subordinated. BRNO is furious light and darkness, an intimate collapse from each of its members reflected in the music and poetry.

Join the feast.

SERGIO CH. – VOCALS
LUCIO CERETTI – GUITAR & TECH
MARTIN PRIKRYL – GUITAR

BRNO, BRNO (2020)

BRNO on Instagram

Sergio Ch. on Instagram

South American Sludge Records on Thee Facebooks

South American Sludge website

South American Sludge Records on Bandcamp

Interstellar Smoke Records on Thee Facebooks

Interstellar Smoke Records on Instagram

Interstellar Smoke Records on Bandcamp

Interstellar Smoke Records store

Based in Los Angeles and Argentina, cultists The Crooked Whispers have inked a deal to release their second album as a part of Rob “Blasko” Nicholson‘s curated series through Ripple Music. Snagging the trio, who released their debut album, Satanic Melodies (review here), in the dead heat of last summer and followed up with the single “Galaxy of Terror” that you can hear below last Fall, will issue their sophomore full-length sometime later this year. They are the latest in a string of strong pickups by Ripple, and as far as Blasko‘s track record goes, dude would seem to be three for three.

I’ll hope to have more to come as we get closer to the release, but here’s the PR wire announcement in the meantime:

THE CROOKED WHISPERS – Ripple Music

L.A. psychedelic doom purveyors THE CROOKED WHISPERS sign to Ripple Music as part of special series curated by Blasko.

Ripple Music welcome satanic psych doom unit THE CROOKED WHISPERS to their ever-expanding roster, for the release of their sophomore album. This comes as the third signing as part of the special series of releases curated by Blasko.

THE CROOKED WHISPERS formed in 2020 during the global pandemic and released their debut studio album ‘Satanic Melodies’ and the ‘Galaxy of Terror / Hail Darkness’ EP through Bandcamp. The “satanic psych doom” trio is made up of musicians hailing from the United States and Argentina: Ignacio De Tommaso (Luciferica) on bass, Anthony Gaglia (LáGoon) handling the vocals and Chad Davis (Hour of 13) on guitar.

Since then, the cult has steadily been growing around the world, sparking the interest of many fans and most notably Ozzy Osbourne bassist Blasko, who has signed them to Ripple Music under his exclusive partnership with the label for their highly anticipated sophomore release.

BLASKO comments on this new signing: “Satanic Melodies is a true cult masterpiece and I reached out to the band immediately expressing my interest in bringing them on to Ripple. I am excited to work with them and assist their efforts into what will undoubtedly be the most terrifying release of the label’s history.”

Stay tuned, as more details about their upcoming new album will be revealed soon!

THE CROOKED WHISPERS is
Ignacio De Tommaso — bass
Anthony Gaglia — vocals
Chad Davis — guitar

https://www.facebook.com/thecrookedwhispers
https://www.instagram.com/thecrookedwhispers/
https://thecrookedwhispers.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://www.instagram.com/ripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

The Crooked Whispers, “Galaxy of Terror”

The Spring 2021 Quarterly Review begins here, and as our long winter of plague-addled discontent is made glorious spring by this son of York Beach, I can hardly wait to dig in. You know the drill. 50 records between now and Friday, 10 per day. It’s a lot. It’s always a lot. That’s the point.

Words on the page. If I have a writing philosophy, that’s it. Head down, keep working. And that’s the challenge here. Can you get over your own crap and say what you need to say about 10 records every day for five days straight out? I’ll be exhausted by the end of the week for sure. I’ll let you know when we get there if it feels any different. Till then, let’s roll.

Quarterly Review #1-10:

Wolvennest, Temple

The second full-length offering — and I mean that: ‘offering’ — from Belgium’s Wolvennest is an expansive and immersive follow-up to their 2018 debut, Void, as the Brussels six-piece offers next-stage extreme cult rock. Across 77 willfully-unmanageable and mind-altering minutes, the troupe caroms between (actual) psychedelic black metal and sheer sonic ritualism, and the intent is made plain from 12:26 opener/longest track (immediate points) “Mantra” onward. Wolvennest are enacting a ceremony and it’s up to the listener to be willing to engage with the material on that level. Their command is unwavering as the the heft and wash of “Alecto” and the ethereal swirl and dual vocal arrangement of “All that Black” show, but while King Dude himself shows up on “Succubus,” and that’s fun, especially followed by the penultimate downward march of “Disappear,” the greatest consumption is saved for “Souffle de Mort” (“breath of death,” in English; it’s not about eggs). In that 10-minute finale, marked out by the French-language declarations of Shazzula Vultura, Wolvennest not only make it plain just how far they’ve brought you, but that they intend to leave you there as well.

Wolvennest on Thee Facebooks

Ván Records website

—

 

Lammping, New Jaws EP

A 15-minute playful jaunt into the funk-grooving max-fuzzed whatever-works garage headtrip if Toronto’s Lammping is right on the money. The four-piece start channel-spanning and mellow with “Jaws of Life” — which is a righteous preach, even though I don’t know the lyrics — and follow with the complementary vibe of “The Funkiest,” which would seem to be titled in honor of its bassline and conjures out-there’est Masters of Reality in its face-painted BlueBoy lysergics over roughly traditional songwriting. Is “Neverbeen” weirder? You know it. Dreamily so, and it’s followed by the genuinely-experimental 40 seconds of “Big Time the Big Boss” and the closer “Other Shoe,” which if it doesn’t make you look forward to the next Lammping album, I’m sorry to say it, but you might be dead. Sorry for your loss. Of you. This shit is killer and deserves all the ears it can get with its early ’90s weirdness that’s somehow also from the late ’60s and still the future too because what is time anyway and screw it we’re all lost let’s ride.

Lammping on Instagram

Nasoni Records website

—

 

Lykantropi, Tales to Be Told

Tales to Be Told is the late-2020 third long-player from Swedish classicists Lykantropi, following 2019’s Spirituosa (review here) with a warmth of tone that’s derived from ’70s folk rock and vaguely retro in its tones and drum sounds, but remains modern in its hookmaking and it’s not exactly like they’re trying to hide where they’re coming from when they break out the flute sounds. Harmonies in “Mother of Envy” make that song a passionate highlight, while the respective side-endings in “Kom Ta Mig Ut” and “Världen Går Vidare” add to the exploratory and roots-proggy listening experience, the album’s finale dropping its drums before the three-minute mark to allow for a drifting midsection en route to a class finish that answers the choruses of “Spell of Me” and “Axis of Margaret” earlier with due spaciousness. Clean and clear and wanting nothing aesthetically or emotionally, Tales to Be Told is very much a third album in how realized it feels.

Lykantropi on Thee Facebooks

Despotz Records website

—

 

Mainliner, Dual Myths

Japanese trio Mainliner — comprised of guitarist Kawabata Makoto (Acid Mothers Temple), bassist/vocalist Kawabe Taigen (Bo Ningen) and drummer Koji Shimura (Acid Mothers Temple) — are gentle at the outset of Dual Myths but don’t wait all that long before unveiling their true freak-psych intention in the obliterating 20 minutes of “Blasphemy Hunter,” the opener/longest track (immediate points) that’s followed by the likewise side-consuming left-the-air-lock-behind-and-found-antimatter-was-made-of-feedback “Hibernator’s Dream” (18:38), the noisier, harsher fuckall spread of “Silver Guck” (19:28) and the gut-riffed/duly scorched jazz shredder “Dunamist Zero” (20:08), which culminates the 2LP beast about as well as anything could, earning the gatefold with sheer force of intent to be and to harness the far-out into some loosely tangible thing. Stare into the face of the void and the void doesn’t so much stare back as turn your lungs into party balloons.

Mainliner on Thee Facebooks

Riot Season Records website

—

 

DayGlo Mourning, Dead Star

On a certain level, what you see is what you get with the Orion slavegirl warriors, alien mushrooms and caithan beast that adorn DayGlo Mourning‘s debut album, the six-song/35-minute Dead Star, in that they’re suitably nestled into the sonic paraphernalia of stoner-doom as well as the visual. With bassist Jerimy McNeil and guitarist Joseph Mills sharing vocal duties over Ray Miner‘s drums, variety of melody and throatier shouts are added to the deep-toned largesse of riff, and the Atlanta trio most assuredly have their heads on when it comes to knowing what they want to do sound-wise. The hard-hit hi-hat of “Faithful Demise” comes with some open spaces after the fuzzy lumber that caps “Bloodghast,” and as “Ashwhore” and “Witch’s Ladder” remind a bit of the misogyny inherent in witchy folklore — at the end of the day it was all about killing pretty girls — the grooves remain fervent and the forward potential on the part of the band likewise. It’s a sound big enough that there isn’t really any room left for bullshit.

DayGlo Mourning on Thee Facebooks

Black Doomba Records webstore

—

 

Chamán, Maleza

Issued in the waning hours of Dec. 2020, Chamán‘s 70-minute, six-song debut album, Maleza, is a psicodelico cornucopia of organic-toned delights, from the more forward-fuzz of “Poliforme” — which is a mere six and a half minutes long but squeezes in a drum solo — to the 13-plus-minute out-there salvo that is “Malezo,” “Concreto” and “Temazcal,” gorgeously trippy and drifting and building on what the Mendozza, Argentina, three-piece conjure early in the proceedings with “Despierta” and “Ganesh,” each over 10 minutes as well. Even in Maleza‘s most lucid moments, the spirit of improv and live recording remains vibrant, and however these songs were built out to their current form, I’m just glad they were. Whether you put it on headphones and bliss out for 70 minutes or you end up using it as a backdrop for whatever your day might bring, Chamán‘s sprawling and melted soundscapes are ready to embrace and enfold you.

Chamán on The Facebooks

Chamán on Bandcamp

—

 

Sonic Demon, Vendetta

Italian duo Sonic Demon bring a lethal dose of post-Electric Wizard grit fuzz and druggy echoed snarl to their debut full-length, Vendetta, hitting a particularly nasty low end vibe early on “Black Smoke” and proving willing to ride that out for the duration with bouts of spacier fare in “Fire Meteorite” and side A capper “Cosmic Eyes” before the second half of the 40-minute outing renews the buzz with “FreakTrip.” Deep-mixed drums make the guitar and bass sound even bigger, and such is the morass Sonic Demon make that even their faster material seems slow; that means “Hxxxn” must be extra crawling to feel as nodded-out as it does. Closing duo “Blood and Fire” and “Serpent Witch” don’t have much to say that hasn’t already been said, style-wise, but they feel no less purposeful in sealing the hypnosis cast by the songs before them. If you can’t hang with repetition, you can’t hang, and the filth in the speedier-ish last section of “Serpent Witch” isn’t enough to stop it from being catchy.

Sonic Demon on Thee Facebooks

The Swamp Records on Bandcamp

Forbidden Place Records website

—

 

Sow Discord, Quiet Earth

Sow Discord is the solo industrial doom/experimentalist project of David Coen, also known for his work in Whitehorse, and the bleak feel that pervades his debut full-length under the moniker, Quiet Earth, is resonant and affecting. Channeling blowout beats and speaker-throbbing crush on “Ruler,” Coen elsewhere welcomes Many Blessings (aka Ethan Lee McCarthy, also of Primitive Man) and The Body as guests for purposefully disturbing conjurations. Cuts like “Desalination” and “Functionally Extinct” churn with an atmosphere that feels born of a modern real-world apocalypse, and it’s hard to tell ultimately whether closer “The World Looks on with Pity and Scorn” is offering condolence or condemnation, but either way you go, the bitter harshness that carries over is the thread that weaves all this punishment together, and as industrial music pushes toward new extremes, even “Everything Has Been Exhausted” manages to feel fresh in its pummel.

David Coen on Instagram

AR53 Productions on Bandcamp

Tartarus Records on Bandcamp

—

 

Cerbère, Cerbère

Formed by members of Lord Humungus, Frank Sabbath and Carpet Burns, Cerbère offer three tracks of buried-alive extreme sludge on their self-titled debut EP, recorded live in the band’s native Paris during a pandemic summer when it was illegal to leave the house. Someone left the house, anyhow, and the resultant three cuts are absolutely unabashed in their grating approach, enough so to warrant in-league status with masters of misanthropy like Grief or Khanate, even if Cerbère move more throughout the 15-minute closing title-track, and dare to add some trippy guitar later on. The two prior cuts, “Julia” — the sample at the beginning feels especially relevant in light of the ongoing Notre Dame rebuild — and “Aliéné” are no less brutal if perhaps more compact. I can’t be sure, because I just can’t, but it’s entirely possible “Aliéné” is the only word in the song that bears its name. That wouldn’t work in every context. Here it feels earned, along with the doomier lead that follows.

Cerbère on Thee Facebooks

Cerbère on Bandcamp

—

 

Dali’s Llama, Dune Lung

They’ve cooled down a bit from the tear they were on for a few years there, but Dali’s Llama‘s new Dune Lung EP is no less welcome for that. The desert-dwelling four-piece founded by guitarist/vocalist Zach and bassist Erica Huskey bring a laid back roll to the nonetheless palpably heavy “Nothing Special,” backing the opener with the fuzzy sneer of “Complete Animal,” the broader-soundscape soloing of “Merricat Blackwood,” and the more severe groove of “STD (Suits),” all of which hit with a fullness of sound that feels natural while giving the band their due as a studio unit. Dali’s Llama have been and continue to be significantly undervalued when it comes to desert rock, and Dune Lung is another example of why that is and how characteristic they are in sound and execution. Good band, and they’re edging ever closer to the 30-year mark. Seems like as good a time as any to be appreciated for the work they’ve done and do.

Dali’s Llama on Thee Facebooks

Dali’s Llama on Bandcamp

—

 

Drone folk has kind of become the bread and melted butter of Sergio Chotsourian‘s solo work as Sergio Ch., but the new 10-minute single “Manto Negro” brings the two sides together in especially coherent fashion. Atop waves of organ and minimal guitar lead lines about four minutes into the proceedings, the vocals are a procession unto themselves; melodic and downtrodden-feeling without melodrama. I’d be surprised if this is the last incarnation this song will have, since Chotsourian has a tendency to revisit material and offer different interpretations through various recordings and outfits — his current trio, Soldati, released their debut album, Doom Nacional (review here), amid the global panic of Spring 2020 — and there seems to be plenty of ground to explore here. As it is, however, the immersion is palpable.

The song cycles through twice and makes short work of the 10 minutes it consumes. Organ is constant, but the guitar comes and goes, trading off with the vocals. Self-recorded, mixed and mastered, not to mention released, “Manto Negro” is a solo effort in the purest sense, and it has an intimacy to coincide.

…I’m gonna be honest with you. I firmly believe that the only reason you don’t hear Chotsourian‘s name in the same breath as people like Dylan Carlson is because he’s from Argentina. I’m not trying to belittle Carlson‘s history or Earth in saying that, but if Sergio Ch. was working in English and was a white dude from wherever, people would be lining up to fawn over his shit, critics included. I can think few songwriters in a heavy sphere who have a mindset as genuinely open and forward thinking as he does. Sorry, that’s just how I see it. He’s a key figure in South American heavy, and South American heavy is some of the world’s finest.

I got all wound up. I’ll take a deep breath and count to four. You enjoy the track:

Sergio Ch., “Manto Negro” official video

VIDEO OFICIAL DEL SINGLE DE SERGIO CH. – “MANTO NEGRO”
PRODUCIDO POR SERGIO CH.
VIDEO REALIZADO POR SERGIO CH.

[S.A.S. 115]

SERGIO CH. – GUITARRA, PIANO & VOCALS

GRABADO, MEZCLADO Y MASTERIZADO POR SERGIO CH. EN DEATH STUDIOS
ARTWORK POR SERGIO CH.
PRODUCIDO POR SERGIO CH.

SOUTH AMERICAN SLUDGE RECORDS

Sergio Ch., “Manto Negro”

Sergio Ch. on Instagram

South American Sludge Records on Thee Facebooks

South American Sludge website

South American Sludge Records on Bandcamp

There isn’t enough caffeine in the universe to properly sustain a Quarterly Review, and yet here we are. I’ve been doing this for six years now, and once started I’ve always managed to get through it. This seven-day spectacular hits its halfway point today, which is okay by me. I decided to do this because there was a bunch of stuff I still wanted to consider for my year-end list, which I’d normally post this week. And sure enough, a few more have managed to make the cut from each day. I’ll hope to put the list together in the coming days and get it all posted next week, before the poll results at least. I’m not sure why that matters, but yeah.

Thanks for following along if you have been. Hope you’ve found something worth digging into.

Quarterly Review #31-40:

Pallbearer, Forgotten Days

Their best record. I don’t want to hear anymore about their demo, or about 2012’s Sorrow and Extinction (review here) or anything else. This is the album Pallbearer have been driving toward since their outset. It is an amalgam of emotive melody and tonal weight that makes epics of both the 12-minute “Silver Wings” and the four-minute “The Quicksand of Existing” that immediately follows, that hits a morose exploration of self in opener “Forgotten Days” and “Stasis” while engaging in metallic storytelling on “Vengeance and Ruination” and “Rite of Passage,” the latter incorporating classic metal melody in perhaps the broadest reach the band has ever had in that regard. So yeah. Pallbearer don’t have a ‘bad’ record. 2017’s Heartless (review here) was a step forward, to be sure. But Forgotten Days, ironically enough, is the kind of offering on which legacies are built and a touchstone for whatever Pallbearer do from here on out.

Pallbearer on Thee Facebooks

Nuclear Blast website

—

 

Fulanno, Nadie Está a Salvo del Mal

The fog rolls in thick on Argentinian doomers Fulanno‘s second full-length, Nadie Está a Salvo del Mal. The seven-track/42-minute outing launches in post-Electric Wizard fashion, and indeed, the drawling lumber of the Dorset legends is an influence throughout, but by no means the only one the trio of guitarist/vocalist Fila Frutos, bassist Mauro Carosela and drummer Jose A. are under. They cast a doom-for-doomers vibe almost immediately, but as “Fuego en la Cruz” gives way to “Los Elegidos” and “Hombre Muerto,” the sense of going deeper is palpable. Crunching, raw tonality comes across as the clean vocals cut through, and the abiding rawness becomes a part of the aesthetic on “Los Colmillos de Satan,” a turning point ahead of the interlude “Señores de la Necrópolis,” the eight-minute “El Desierto de los Caídos” and the surprisingly resonant closing instrumental “El Libro de los Muertos.” Fulanno are plenty atmospheric when they want to be, and one wonders if that won’t come further forward as their progression continues. Either way, they’ve staked their claim in doom and sound ready to die for the cause.

Fulanno on Thee Facebooks

Forbidden Place Records on Bandcamp

Interstellar Smoke Records on Bandcamp

—

 

Spirit Mother, Cadets

Preceded by a series of singles over the last couple years, Cadets is the full-length debut from Los Angeles four-piece Spirit Mother, and it packs expanse into deceptively efficient songs, seeming to loll this way and that even as it keeps an underlying forward push. The near-shoegaze vocals do a lot of the work in affecting a mellow-psych vibe, but there’s weight to Spirit Mother‘s “Ether” as well, violin, woven vocal layers, and periodic tempo kicks making songs standout from each other even as “Go Getter” keeps an experimentalist feel and “Premonitions” aces its cosmic-garage driver’s test with absolutely perfect pacing. The ultra-spacey “Shape Shifter I” and more boogie-fied “Shape Shifter II” are clear focal points, but Cadets as a whole is a marked accomplishment, particularly for a first LP, and in style, substance and atmosphere, it brings together rich textures with a laissez-faire spontaneity. The closing instrumental “Bajorek” is only one example among the 10 included tracks of Spirit Mother‘s potential, which is writ large throughout.

Spirit Mother on Thee Facebooks

Spirit Mother on Bandcamp

—

 

Gévaudan, Iter

UK four-piece Gévaudan made their debut in 2019 with Iter, and though I’m late to the party as ever, the five-song/53-minute offering is of marked scope and dynamic. Its soft stretches are barely there, melancholic and searching, and its surges of volume in opener “Dawntreader” are expressive without being overwrought. Not without modern influence from Pallbearer or YOB, etc., Gévaudan‘s honing in on atmospherics helps stand out Iter as the band plod-marches with “The Great Heathen Army” — the most active of inclusions and the centerpiece — en route to “Saints of Blood” (11:54) and closer “Duskwalker” (15:16), the patient dip into extremity of the latter sealing the record’s triumph; those screams feel not like a trick the band kept up their collective sleeve, but a transition earned through the grueling plunge of all the material prior. It’s one for which I’d much rather be late than never.

Gévaudan on Thee Facebooks

Gévaudan website

—

 

El Rojo, El Diablo Rojo

The burly heavy rock of “South” at the outset of Italian heavy rockers El Rojo‘s El Diablo Rojo doesn’t quite tell the whole tale of the band’s style, but it gives essential clues to their songwriting and abiding burl. Later pieces like the slower-rolling “Ascension” (initially, anyhow) and acoustic-inclusive “Cactus Bloom” effectively build on the foundation of bruiser riffs and vocals, branching out desert-influenced melody and spaciousness instrumentalism even as the not-at-all-slowed-down “When I Slow Down” keeps affairs grounded in their purpose and structure. Riffs are thick and lead the charge on the more straightforward pieces and the seven-minute “Colors” alike as El Rojo attempt not to reinvent heavy or stoner rocks but to find room for themselves within the established tenets of genre. They’ve been around a few years at this point, and there’s still growing to be done, but El Diablo Rojo sounds like the starting point of an engaging progression.

El Rojo on Thee Facebooks

Karma Conspiracy Records website

—

 

Witchwood, Before the Winter

Deep Purple, Uriah Heep, Jethro Tull, some Led Zeppelin in “Crazy Little Lover” and a touch of opera on “Nasrid” for good measure, Witchwood‘s 62-minute Before the Winter 2LP may be well on the other side of unmanageable in terms of length, but at least it’s not wasting anyone’s time. Instead, early rockers like “Anthem for a Child” and “A Taste of Winter” and the wah-funked “Feelin'” introduce the elements that will serve as the band’s colorful palette across the whole of the album. And a piece like “No Reason to Cry” becomes a straight-ahead complement to airier material like the not-coincidentally-named “A Crimson Moon” and the winding and woodsy “Hesperus,” which caps the first LP as the 10-minute epic “Slow Colours of Shade” does likewise for the record as a whole, followed by a bonus Marc Bolan cover on the vinyl edition, to really hammer home the band’s love of the heavy ’70s, which is already readily on display in their originals.

Witchwood on Thee Facebooks

Jolly Roger Records website

—

 

Gary Lee Conner, Revelations in Fuzz

If nothing else, Gary Lee Conner sounds like he probably has an enviable collection of 45s. The delightfully weird former Screaming Trees guitarist offers up 10 fresh delights of ’60s-style garage-psych solo works on the follow-up to 2018’s Unicorn Curry, as Revelations in Fuzz lives up to its title in tone even as cascades of organ and electric piano, sitar and acoustic guitar weave in and out of the proceedings. How no one has paired Conner with Baby Woodrose frontman Uffe Lorenzen for a collaboration is a mystery I can’t hope to solve, but in the swirling and stops of “Cheshire Cat Claws” and the descent of six-minute closer “Colonel Tangerine’s Sapphire Sunshine Dreams,” Conner reaffirms his love of that which is hypnotic and lysergic while hewing to a traditionalism of songwriting that makes cuts like “Vicious and Pretty” as catchy as they are far out. And trust me, they’re plenty far out. Conner is a master of acid rock, pure and simple. And he’s already got a follow-up to this one released, so there.

Gary Lee Conner on Thee Facebooks

Vincebus Eruptum Recordings website

—

 

Tomorr, Tomorr

Formed in Italy with Albanian roots, Tomorr position themselves as rural doom, which to an American reader will sound like ‘country,’ but that’s not what’s happening here. Instead, three-piece are attempting to capture a raw, village-minded sound, with purposeful homage to the places outside the cities of Europe made into sludge riffing and the significant, angular lumber of “Grazing Land.” I’m not sure it works all the time — the riff in the second half of “Varr” calls to mind “Dopesmoker” more than anti-urbane sensibilities, and wants nothing for crush — but as it’s their debut, Tomorr deserve credit for approaching doom from an individualized mindset, and the bulk of the six-song/48-minute offering does boast a sound that is on the way to being the band’s own, if not already there. There’s room for incorporating folk progressions and instrumentation if Tomorr want to go that route, but something about the raw approach they have on their self-titled is satisfying on its own level — a meeting of impulses creative and destructive at some lost dirt crossroads.

Tomorr on Thee Facebooks

Acid Cosmonaut Records on Bandcamp

—

 

Temple of the Fuzz Witch, Red Tide

Well what the hell do you think Temple of the Fuzz Witch sounds like? They’re heavy as shit. Of course they are. The Detroiters heralded doomly procession on their 2019 self-titled demo/EP (review here), and the subsequent debut full-length Red Tide, is righteously plodding riffery, Sabbathian without just being the riff to “Electric Funeral” and oblivion-bound nod that’s so filled with smoke it’s practically coughing. What goes on behind the doors of the Temple? Volume, kid. Give me the chug of “The Others” any and every day of the week, I don’t give a fuck if Temple of the Fuzz Witch are reinventing the wheel or not. All I wanna do is put on “Ungoliant” and nod out to the riff that sounds like “The Chosen Few” and be left in peace. Fuck you man. I ain’t bothering anyone. You’re the one with the problem, not me. This guy knows what I’m talking about. Side B of this record will eat your fucking soul, but only after side A has tenderized the meat. Hyperbole? Fuck you.

Temple of the Fuzz Witch on Thee Facebooks

Interstellar Smoke Records webstore

—

 

Karkara, Nowhere Land

Rife with adventurous and Middle Eastern-inflected heavy psychedelia, Nowhere Land is the follow-up to Toulouse, France-based Karkara‘s 2019 debut, Crystal Gazer (review here), and it finds the three-piece pushing accordingly into broader spaces of guitar-led freakery. Would you imagine a song called “Space Caravan” has an open vibe? You’d be correct. Same goes for “People of Nowhere Land,” which even unto its drum beat feels like some kind of folk dance turned fuzz-drenched lysergic excursion. The closing pair of “Cards” and “Witch” feel purposefully teamed up to round out the 36-minute outing, but maybe that’s just the overarching ethereal nature of the release as a whole coming through as Karkara manage to transport their listener from this place to somewhere far more liquid, languid, and encompassing, full of winding motion in “Falling Gods” and graceful post-grunge drift in “Setting Sun.”

Karkara on Thee Facebooks

Stolen Body Records website

—

 

Damn, DHU. Give it a week between signings, why don’t you? What’s that you say? No? Well, okay.

The latest pickup from the obviously-driven-by-dark-forces European imprint is Buenos Aires cult troupe Wicca, whose sludgy, post-EWiz riffing is exemplified in “The Devil’s Hand” from their 2020 EP, You Sow Your Crop. Call it lumbering, call it plodding, call it nodding, it all comes down to slow riffs and right-on heavy groove. And I mean all of it. If you care to march along with Wicca on their hillside jaunt toward oblivion — and why not? — you can stream the ‘Alucarda Edition’ of You Sow Your Crop below.

Dig:

New signing to DHU Records: WICCA

DHU Records is excited to announce the signing of Argentina’s Occult Rock band WICCA!

“Wicca is a rock band from the west of Buenos Aires, Argentina. With a fuzz up front and clear voices they are looking for a place between Heavy Blues, Stoner, Sludge and Doom Metal. Wicca 333 isn’t just a few dirty riffs and some excuse to talk about Satan. It arises from a need: Be the voice of those who never had it.

It is no coincidence and less marketing, choosing to be represented by the name of a Pagan religion that gives us an ancestral wisdom (persecuted and punished throughout History in the name of the Christian faith) thus summarizing an aesthetic concept that goes beyond the spiritualism and that it is not just a political decision but signs of a new culture.

DHU Records will be releasing You Sow Your Crop and a Bonus 7″ of Oracular on Limited Edition vinyl in the first quarter of 2021!

Test Press, DHU Exclusive and Band Editions will be available

Wicca ~ You Sow Your Crop (DHU060)
Side A:
A1. 13 Women
A2. The Devil’s Hand
A3. Black Witch

Side B (Alucarda Trip Edition):
B1. 13 Women
B2. The Devil’s Hand (Alucarda Trip)
B3. Black Witch

Released September 21, 2020

You Sow Your Crop was recorded, produced mixed and mastered between 2019 and 2020 by Pablo Michelin at Chamánico Records
Additional participation:
Achi Lamas: Claps in The Devil’s Hand

All Artwork will be provided by ZZ Corpse

Listen to You Sow Your Crop here: https://wicca333.bandcamp.com/album/you-sow-your-crop
You Sow Your Crop (Alucarda Trip Edition): https://wicca333.bandcamp.com/album/you-sow-your-crop-alucarda-trip-edition

Oracular Bonus 7″
Side A:
A1. 333
A2. The 7 Wonders

Side B:
B1. The Empress
B2. Medium

Oracular was recorded at Underyuls Records by Yuls
Listen to Oracular here: https://wicca333.bandcamp.com/album/wicca-oracular

Both You Sow Your Crop and Oracular are mastered for vinyl by Tony Reed at HeavyHead Recording Co.

WICCA
Aixa Pilmayquen Lamas – Guitar & Vocals
Sebastián Regueira – Guitar
Pechx Mielnik – Drum
Pablo Michelin -Bass

https://www.facebook.com/wicca333band
https://www.instagram.com/wicca.gram/
https://wicca333.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/
https://www.facebook.com/DHURecords/
https://darkhedonisticunionrecords.bandcamp.com/

Wicca, You Sow Your Crop (Alucarda Trip Edition) (2020)

I’ve covered Mephistofeles once or twice over the last couple years. The Argentinian three-piece are probably known as much for their visual style as much as grit-coated distorted riffing, indulging as they do in post-Electric Wizard-style exploitation in various degrees of the pornographic. Truth be told, that kind of thing puts me off, but I’ve been looking for an excuse to like the band, since the music is good. I’ve been through the upcoming EP, A Path of Black, twice now and its three songs should make a killer entry to anyone who hasn’t picked up on them yet. Hooky, filth-toned, semi-doomed but right on in terms of vibe, they bring forward the band’s appeal in a way that somewhat belies the fuckall of their presentation, but still keeps the swing loose and misanthropic.

They’ve signed to Helter Skelter Productions for the new release in February, and their two full-lengths are also being reissued as you can see in the copious PR wire info below. But don’t miss out on the video for EP opener “Lucifer’s Hellride” below. I think the title-cut is the best of the three, but this one surely gets the point across as well.

Dig:

MEPHISTOFELES to release new EP through HELTER SKELTER, reissue two albums – first video from EP streaming now

Helter Skelter Productions (distributed & marketed by Regain Records) is proud to announce an alliance with the one and only Mephistofeles. The first fruit of this alliance will be a new EP, A Path of Black, set for release on February 26th, 2021 on CD, 12″ vinyl, and cassette tape formats. Also on February 26th, 2021 shall follow two reissues through Helter Skelter: Mephistofeles’ classic second album, I’m Heroin, on vinyl LP format and the band’s classic third album, Satan Sex Ceremonies, on CD, vinyl LP, and cassette tape formats.

One of the cultest names in the underground, Mephistofeles hail from Argentina and have prolifically perfected a literally addicting blend of garage rock, stoner doom, and ritual atmosphere that truly puts the SATANIC in Satanic panic! From 2013 onward, this power-trio have been pumping out one sonic drug after another, from singles and demos to EPs and even live albums, all culminating in three full-lengths to date. And now, longtime fans Helter Skelter Productions will be reissuing parts of Mephistofeles’ back catalog as well as some new recordings.

The first of these new recordings, A Path of Black is a quick-hitting slab of Mephistofeles at their darkest, druggiest best. Featuring three brand-new songs, A Path of Black is aptly titled: there’s garage-rockin’ energy to spare, but you literally feel the darkness dragging you down like a drug you can’t shake. If anything, this EP emphasizes the ROCK far more than the doom, but it’s all recognizably their signature sound. And like all Mephistofeles’ recordings, each of these three tracks is as immediately memorable as the last, the trio’s swagger truly something to behold.

See & hear a special promo video for the brand-new track “Lucifers Hellride” HERE at Regain Records’ YouTube channel. Preorder info can be found HERE at Regain Records’ Bandcamp. Cover and tracklisting are as follows:

Tracklisting for Mephistofeles’ A Path of Black
1. Lucifers Hellride [3:43]
2. Electric Ripper [2:47]
3. A Path of Black [5:45]

The first of the reissues, I’m Heroin was originally released in 2017 but in extremely limited quantities. Mephistofeles have always had a knack for compelling(ly lurid) record titles, and I’m Heroin is no exception: both phonetically and visually in its original incarnation of ( ( ( I ‘ M H E R O I N ) ) ), it conveys the sense of delirium and madness written large across the grooves of this nearly 47-minute work. Indeed, Mephistofeles’ second long-player goes all in on getting gone – hypnotic yet loose, jammy yet locked-in, devilishly drugged-out and above all FUN in its freedom. Minutes turn into hours, hours turn into days, days turn into weeks, ad infinitum…being stuck inside I’m Heroin is like being stuck inside a jellied coma you never wanna come out of! Preorder info can be found HERE at Regain Records’ Bandcamp. Tracklisting is as follows:

Tracklisting for Mephistofeles’ I’m Heroin
1. Transylvanian Funeral [9:09]
2. The Rogue [4:06]
3. White Butterfly [5:55]
4. Trash Lord [5:10]
5. Heroin [5:55]
6. Addicted to Satan [4:19]
7. Into the Night [10:48]

The second of the reissues, Satan Sex Ceremonies was originally released in 2019 but in extremely limited quantities. Mephistofeles have always had a knack for compelling(ly lurid) record titles, and Satan Sex Ceremonies is no exception – in fact, it pretty much sums up the Mephistofeles experience in a mere three words! As such, the album’s a slowly bubbling cauldron of eerie atmospheres and drugged-out sonics; amidst the ever-present haze of hashish and sulfur, it’s by far one of the band’s most authentically DOOM recordings. And at 47 minutes, the simmering slime Mephistofeles here dole out so effortlessly sounds more like 47 hours, so ensnared by addiction you’ll be. Preorder info can be found HERE at Regain Records’ Bandcamp. Tracklisting is as follows:

Tracklisting for Mephistofeles’ Satan Sex Ceremonies
1. Satan Sex Ceremonies / The Wrath of Jacula [15:03]
2. Profanation [3:30]
3. Down Again [4:15]
4. Overdose [3:12]
5. Syringe [6:12]
6. Curse of the Knife [5:17]
7. Chains of Agony [9:51]

http://mephistofeles.bandcamp.com/
http://www.facebook.com/mephistofelesdrone/
http://instagram.com/fuckoffhippieposers
www.helterskelterproductions.se
www.facebook.com/helterskelterproductions
www.helterskelterproductions.bandcamp.com

Mephistofeles, “Lucifer Hellride” official video

It’s been more than half a decade now since current Soldati and former Ararat/Los Natas frontman Sergio Chotsourian released his first solo album under the Sergio Ch. banner. In that time his creative reach has only grown broader, and over the past few tumultuous months that has continued to manifest in new materials. Released in May, September and last week — which was October for those of you in the pandemic’s sphere of timeless drawl — a series of three singles brings this breadth into focus with the sheer differences between them.

Rooted in South American psychedelia and folk, “Flyfly” and “Panpan” definitely feel of a series — all the more for their titular similarities — but especially as they followed the 36-minute dronefest that was “Death Row Live Foreva,” it brings into relief just how much one never really knows what Chotsourian will do next or where his whims might lead him and thus his listeners. In a year that already saw Chotsourian release the awaited debut of Soldati, Doom Nacional (review here), as well as the solo record From Skulls Born Beyond (review here), these new songs are a hallmark of the relentless creativity that drives him forward as a songwriter and producer. If you do dig into “Death Row Live Foreva,” prepare to be hypnotized.

I read on thee social medias that Los Natas‘ recently announced reissue of Corsario Negro was delayed — due in November sometime, I think — of course due to the ubiquitous concerns that have delayed everyone’s everything throughout this wretched year. At least the dude’s making new music.

To wit:

SERGIO CH. – FLYFLY
[S.A.S. 112]
SERGIO CH. – GUITARRA & VOCALS

SERGIO CH. – PANPAN
[S.A.S. 111]
SERGIO CH. – GUITARRA & VOCALS
LUCIO CERETTI – GUITARRA

SERGIO CH. – DEATH ROW LIVE FOREVA
[S.A.S. 109]
SERGIO CH. – GUITARRA & VOCALS

GRABADO, MEZCLADO Y MASTERIZADO POR SERGIO CH. EN DEATH STUDIOS
PRODUCIDO POR SERGIO CH.

SOUTH AMERICAN SLUDGE RECORDS

http://www.sergioch.com/
http://www.southamericansludge.com/
https://sasrecords.bandcamp.com/
https://www.facebook.com/SASRECORDSARGENTINA

Sergio Ch., “Flyfly”

Sergio Ch., “Panpan”

Sergio Ch., “Death Row Live Foreva”