Day three. Yesterday had its challenges as regards timing, but ultimately I wound up where I wanted to be, which is finished with the writing. Fingers crossed I’m so lucky today. Last time around I hit into a groove pretty early and the days kind of flew, so I’m due a Quarterly Review where it’s a little more pulling teeth to make sentences happen. I’m doing my best either way. That’s it. That’s the update. Let’s go Wednesday.

Quarterly Review #21-30:

Godzillionaire, Diminishing Returns

Tell you what. Instead of pretending I knew Godzillionaire at all before this record came along or that I had any prior familiarity with frontman Mark Hennessy‘s ’90s-era outfit Paw — unlike everything else I’ve seen written about the band — I’ll admit to going into Diminishing Returns relatively blind. And somehow it’s still nostalgic? With its heart on its sleeve and one foot in we’re-all-definitely-over-all-that-shit-from-our-20s-by-now-right-guys poetic moodiness, the Lawrence, Kansas, four-piece veer between the atmospherics of “Spin Up Spin Down” and more grounded grooves like that of “Boogie Johnson” or “3rd Street Shuffle.” “Unsustainable” dares post-rock textures and an electronic beat, “Astrogarden” has a chug imported from 1994 and the seven-minutes-each capstone pair “Common Board, Magic Nail,” which does a bit of living in its own head, and “Shadow of a Mountain,” which has a build but isn’t a blowout, reward patient listens. I guess if you were there in the ’90s, it’s god-tier heavy underground hype. From where I sit, it’s pretty solid anyhow.

Godzillionaire website

Ripple Music website

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Time Rift, In Flight

In Flight is the second full-length from Portland, Oregon’s Time Rift, and it brings the revamped trio lineup of vocalist Domino Monet, founding guitarist Justin Kaye and drummer Terrica Catwood to a place between classic heavy rock and classic metal, colliding ’70s groove and declarative ’80s NWOBHM riffing — advance single “The Hunter” strikes with a particularly Mob Rulesian tone, but it’s relatable to a swath of non-sucky metal of the age — such that “Follow Tomorrow” finds a niche that sounds familiar in its obscurity. They’re not ultimately rewriting any playbooks stylistically, but the balance of the production highlights the organic foundation without coming across like a put-on, and the performances thrive in that. Sometimes you want some rock and roll. Time Rift brought plenty for everyone.

Time Rift on Bandcamp

Dying Victims Productions website

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Heavy Trip, Liquid Planet

Canadian instrumentalist trio Heavy Trip released their sophomore LP, Liquid Planet, in Nov. 2024, following on from 2020’s Burning World-issued self-titled debut (review here). A 13-minute title-track serves as opener and longest inclusion (immediate points), setting a high standrad for scorch that the pulls and shred of “Silversun,” the rush and roll of “Astrononaut” (sic) and capper “Mudd Red Moon” with its maybe-just-wah-all-the-time push and noisy comedown ending, righteously answer. It’s easy enough on its face to cite Earthless as an influence — instrumental band with ace guitarist throwing down a gauntlet for 40 minutes; they’re also touring Europe together — but Heavy Trip follow a trajectory of their own within the four songs and are less likely to dwell in a part, as the movement within “Astrononaut” shows plainly. I won’t be surprised when their next one comes with label backing.

Heavy Trip website

Heavy Trip on Bandcamp

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Slung, In Ways

An impressive debut from UK four-piece Slung, whose provenance I don’t know but who sound like they’ve been at it for a while and have come into their first album, In Ways, with clarity of what they want in terms of sound and songwriting. “Laughter” opens raucous, and “Class A Cherry” follows with a sleeker slower roll, while “Come Apart” pushes even further into loud/quiet trades for a soaring chorus and “Collider” pays off its early low-end tension with a melodic hook that feels so much bigger than what one might find in a three-minute song. It goes like that: one cut after another, for 11 songs and 37 minutes, with Slung skillfully guiding the listener from the front of the record to the back. The going can be intense, like “Matador” or the crashing “Thinking About It,” more contemplative like “Limassol” and “Heavy Duty,” and there’s even room for a title-track interlude before the somewhat melancholic “Nothing Left” and “Falling Down” close, though that might only be because Slung use their time so well.

Slung website

Slung on Bandcamp

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Greengoat, Aloft

Madrid-based progressive heavy rockers Greengoat return on a quick turnaround from 2024’s A.I. (review here) to Aloft, which over 33 minutes plays through seven songs each of which has been given a proper name: the album intro is “Zohar,” it moves into the grey-toned tension of “Betty,” “Jim” is moody, “Barney” takes it for a walk, and so on. The big-riffed centerpiece “Travis” is a highlight slog, and “Ariel,” which follows, is thoughtful in its melody and deceptively nuanced in the underlying rhythm. That’s kind of how Greengoat do. They’ve taken their influences — and in the case of closer “Charles,” that includes black metal — and internalized them toward their own methodologies, and as such, Aloft feels all the more individually constructed. Hail Iberia as Western Europe’s most undervalued heavy hotspot.

Greengoat website

Argonauta Records website

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Author & Punisher, Body Dome Light

If it seems a little on the nose for Author & Punisher, modern industrial music’s most doom-tinged purveyor, to cover Godflesh, who helped set the style in motion in the first place, yeah, it definitely is. That accounts for the reverence with which Tristan Shone treats the track that originally appeared on 1994’s Selfless LP, and maybe is part of why the song’s apparently been sitting for 11 years since it was recorded in 2014. Accordingly, if some of the sounds remind of 2015’s Melk en Honig (discussed here), the era might account for that. In Shone‘s interpretation, though, the defeated vocal of Justin K. Broadrick becomes a more aggressive rasp and the guitar is transposed to synth. One advantage to living in the age of content-creation is stuff like this gets released at all, let alone posted so you can stream or download as you will. Get it now so when it shows up on the off-album-tracks compilation later you can roll your eyes and be extra cool.

Author & Punisher website

Relapse Records website

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Children of the Sün, Leaving Ground, Greet the End

It’s gotta be a trap, right? The third full-length from Arvika, Sweden, heavy-hippie folk-informed psychedelic rockers Children of the Sün can’t really be this sweet, right? The soaring “Lilium?” The mellow, lap-steel-included motion in “Come With Us?” The fact that they stonerfy “Whole Lotta Love?” Yeah, no way. I know how this goes. You show up and the band are like, “Hey everything’s cool, check out this better universe we just made” and then the next thing you know the floor drops out and you’re doing manual labor on some Swedish farm to align yourself with some purported oneness. I hear you, “Starlighter.” You’re gorgeous and one of many vivid temptations on Leaving Ground, Greet the End, but you’ll not take my soul on your outbound journey through the melodic cosmos. I’m just gonna stay here and be miserable and there’s nothing you or that shiver-down-the-spine backing vocal in “Lovely Eyes” can do about it. So there.

Children of the Sün on Instagram

Children of the Sün on Bandcamp

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Pothamus, Abur

While the core math at work in Pothamus‘ craft in terms of bringing together crushing, claustrophobic tonality, aggressive purposes and expansive atmospherics isn’t necessarily new for a post-metallic playbook, but the melodies that the Belgian trio keep in their pocket for an occasion like “De-Varium” or the drone-folk “Ykavus” before they find another layer of breadth in the 15-minute closing title-track are no less engrossing across the subdued stretches within the six songs of Abur than the band are consuming at their heaviest, and the percussion in the early build of the finale says it better than I could, calling back to the ritualism of opener “Zhikarta” and the way it seems to unfold another layer of payoff with each measure as it crosses the halfway point, only to end up squeezing itself through a tiny tube of low end and finding freedom on the other side in a flood of drone, the entire album playing out its 46 minutes not like parts of a single song, but vivid in the intention of creating a wholeness that is very much manifest in its catharsis.

Pothamus on Bandcamp

Pelagic Records website

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Gentle Beast, Vampire Witch Reptilian Super Soldier (…From Outer Space)

Gentle Beast are making stoner rock for stoner rockers, if the cumbersome title Vampire Witch Reptilian Super Soldier (…From Outer Space) of the Swiss five-piece’s sophomore LP didn’t already let you know, and from the desert-careening of “Planet Drifter” through the Om-style meditation of “Riding Waves of Karma” (bonus points for digeridoo) ahead of the janga-janga verse and killer chorus of “Revenge of the Buffalo,” they’re not shy about highlighting the point. There’s a spoken part in the early going of “Voodoo Hoodoo Space Machine” that seems to be setting up a narrative, and the organ-laced ending of “Witch of the Mountain” certainly could be seen as a chapter of that unfolding story, but I can’t help but feel like I’m thinking too hard. Go with the riffs, because for sure the riffs are going. Gentle Beast hit pretty hard, counter to the name, and that gives Vampire Witch etc. etc. an outwardly aggressive face, but nobody’s actually getting punched here, they’re just loud having a good time. You can too.

Gentle Beast website

Sixteentimes Music website

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Acid Magus, Scatterling Empire

Metal and psychedelia rarely interact with such fluidity, but South Africa’s Acid Magus have found a sweet spot where they can lead a record off with a seven-minute onslaught like “War” and still prog out four minutes later on “Incantations” just because both sound so much in their wheelhouse. In addition, the fullness of their tones and modern production style, the way post-hardcore underlines both the nod later in “Wytch” and the shoving apex of “Emperor” is a unifying factor, while the bright-guitar interludes “Ascendancy” and “Absolution” broaden the palette further and contrast the darker exploration of “Citadel” and the finale “Haven,” which provides a fittingly huge and ceremonious culmination to Scatterling Empire‘s sense of space. It’s almost too perfect in terms of the mix and the balance of the arrangements, but when it hits into a more aggressive moment, they sound organic in holding it together. Acid Magus have actively worked to develop their approach. It’s hard to see the quality of these songs as anything other than reward for that effort.

Acid Magus on Bandcamp

Mongrel Records website

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Tomorrow, March 28, marks the release of the second Smoke Mountain full-length, The Rider, through Argonauta Records. With it, the Floridian three-piece bring into focus the gothic atmosphere somewhat obscured by the low fuzz of their debut, 2020’s Queen of Sin (review here), while saving room in the final three tracks for the band to do a complete revisit to the initial self-titled demo/EP (review here) that set them forth with such ceremony upon its arrival in 2017.

Those three songs appear in their original order, even, so if you told Smoke Mountain at any point in the last eight years or so you liked them, it would seem your voice was heard. The path the band take to get there makes up the heart of what The Rider have on offer, and as they take the chug of Type O Negative‘s verse riff to “Black No. 1” and revamp it for opener “Hell or Paradise,” they do so with a clearly conveyed intent to bridge the (imaginary) gap between doom, goth and heavy rock. This journey culminates in the likeminded march of “The Sun and Heavens Fall,” rich in presence and correspondingly lo-fi in its buzz, as is the procession through “The Way to Heaven” — faster, like late 1970s catchy heavy punk gone cult stoner, so yeah, a little Misfitsy as it gets swallowed by the noise of its own making — the big-on-crash “Bringer of Doom,” and the title-track, which runs under three minutes and has a “Neon Knights” or “Turn up the Night” kind of tension to it its verse.

The Rider, then, isn’t without its sense of dynamic, but it leaves little question that Smoke Mountain know what they’re about in terms of mood and songwriting, and the aesthetic they’re exploring here, continuing on from the first LP, is deceptive in its complexity owing in part to the rawness of the production and the live, in-the-room feel of the performances. And much to the band’s credit, they revisit their origins in such a way as to convey the progression they’ve undertaken since, whether that’s the hypnotic chorus of “Demon” or the stomp of “Violent Night” snapping you back to reality, or the eponymous “Smoke Mountain,” which remains a filthy delight of crunch and march while still letting the vocal cut through. The closing trilogy are distinct, but I don’t think so far out of character with the new material prior as to be incongruous. The tones are there. The structure, the melody. Groove is groove. You split hairs, I’ll nod out.

A suitably blasphemous thematic gives a metallic aftertaste, something dark and seething, and there’s a level of harshness intended in the recording itself, but for experienced heads, nothing on The Rider should be such a challenge as to be completely inaccessible. This is an asset on the band’s part, and something one hopes they’ll carry forward as they move toward the potential realizations of a third record, learning from the meld they undertake in these songs and bringing that experience to the studio as they did after the first outing going into this one. If you’d take on the whole album — awesome; it’s streaming below — keep an ear for the goth vibes and the malleable way the band speak to the different facets of their sound both before and after they dive back to retell their origin story.

And however you go, and wherever you end up, I hope you enjoy.

PR wire info follows:

Smoke Mountain, The Rider album premiere

The Rider combines elements of the past, present, and future of Smoke Mountain. In addition to featuring the three songs from our debut EP, The Rider contains five powerful new tracks that provide a glimpse into the direction the band is heading. We’re very happy with the final product.

Smoke Mountain, the celebrated doom trio hailing from Tallahassee, Florida, is thrilled to announce the release of their highly anticipated new album, The Rider, out March 28th, 2025, via Argonauta Records.

Formed in 2015, Smoke Mountain quickly carved out a place in the doom metal scene with their self-titled debut EP in 2017, which garnered widespread acclaim and set the stage for their first full-length album. Released via Italy’s Argonauta Records in 2020, Queen of Sin earned critical praise for its haunting melodies, crushing riffs, and atmospheric depth.

With The Rider, Smoke Mountain builds upon this legacy while exploring new sonic territories. The album remains true to the band’s doom roots, showcasing their signature blend of occult themes, heavy grooves, and evocative lyrics. At the same time, it reveals a matured approach to melody, arrangement, and production.

Tracklisting:
1. Hell or Paradise
2. The Way to Heaven
3. Bringer of Doom
4. The Rider
5. The Sun and Heavens Fall
6. Demon
7. Violent Night
8. Smoke Mountain

Smoke Mountain on Facebook

Smoke Mountain on Instagram

Smoke Mountain on Bandcamp

Argonauta Records on Facebook

Argonauta Records on Instagram

Argonauta Records on Bandcamp

Argonauta Records store

Well, the headline tells you what you need to know. Congrats to Portland, Oregon’s Breath on signing to Argonauta Records for a presumed full-length to come. Formerly a duo, the now-four-piece were last heard from with the semi-redux of their debut LP, Primeval Transmissions (Remixed and Remastered) (review here), in 2023. That second look at a first record broadened the scope in a way the band have obviously been chasing as they’ve added members in the last couple years around the core bass-and-drums configuration. The willingness to think beyond themselves shows in the audio as well, as you can hear at the bottom of this post.

More on the album if and when there is an album on which to have more. The signing announcement came down the PR wire:

Portland’s Meditative Doom Seekers BREATH Sign with Argonauta Records

Portland, Oregon’s meditative doom seekers BREATH have found a new home with Italy’s Argonauta Records! Their sound is a cultivated vehicle of stillness, riding the churning white water of doom metal flow. Beginning with a solid foundation of bass and drums, the duo is joined by keys and guitar, with collaborator Rob Wrong of Witch Mountain engineering the project, ushering in a new dawn of verdant growth.

Known for their immersive and transcendent take on doom metal, BREATH crafts a sound that merges meditative stillness with crushing sonic waves. They draw inspiration from bands like Earth, OM, Grails, as well as the timeless influence of Black Sabbath and Ravi Shankar.

Founded by childhood friends Steven O’Kelly and Ian Caton, BREATH evolved from years of collaboration as an inseparable rhythm section. This bond led them to explore their own unique voice. Their debut album, Primeval Transmissions, was originally released in 2021 via Desert Records, featuring the masterful engineering of Rob Wrong (Witch Mountain) and mastering by the legendary Tad Doyle. Wrong also contributed guitar work to key tracks, including Halls of Amenti, which was re-released in a remixed and remastered edition in 2023.

With an expansive musical vision that blends high-decibel doom, hypnotic Eastern influences, and dynamic rhythmic textures, BREATH has continued to evolve, incorporating Lauren Hatch on keys in 2023 and Justin Acevedo on guitar in 2024.

Now, as they embark on the next chapter of their journey with Argonauta Records, BREATH is ready to bring their unique sonic meditations to a global audience. Stay tuned for more details on their upcoming releases!

https://www.facebook.com/Breathpdx
https://www.instagram.com/breathpdx/
https://inbreath.bandcamp.com/
https://linktr.ee/BreathPDX

www.argonautarecords.com
www.facebook.com/ArgonautaRecords
https://www.instagram.com/argonautarecords/
https://argonautarecords.bandcamp.com/

Breath, Primeval Transmissions (Remixed and Remastered) (2023)

In the parlance of probabaly-not-our-times anymore, GTFO. Not that Stone Machine Electric signed to Argonauta — that’s good news and makes a lot of sense, hooray for everybody, hope a new record is coming soon, etc. — but that it’s been five years since Hurst, Texas’ number-one weirdo stone-fusion export last released an album.

Not that The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld (review here) wasn’t long-enough a title to hold the band over for half a decade, it just doesn’t feel like that much time has passed. Maybe part of that is that SME drummer Mark Kitchens has been keeping busy developing the experimentalist solo-project Slow Draw — he’s got a record coming out April 29; news post slated here for tomorrow for it — and maybe I’m just old and that’s how time passes now. I ask you, can’t it be both?

Stone Machine Electric were in the studio last year with Kent Stump at the helm, but I haven’t seen word of a release date or anything yet for what will be their first LP for Argonauta. Always worth keeping an eye on these guys though — they’re always up to some kind of shenanigans or other, usually of the distortion-fueled variety.

From the PR wire:

Psychedelic Stoner Rock Trio STONE MACHINE ELECTRIC Signs With Argonauta Records

Argonauta Records is thrilled to welcome Texas-based stoner rock trio Stone Machine Electric to its ever-growing roster of heavy, boundary-pushing artists! Renowned for their immersive and spacious brand of psychedelic jamming, which they have aptly named Doom Jazz, the band has been crafting their unique sonic identity since 2009.

Formed by Mark Kitchens and William (Dub) Irvin, Stone Machine Electric has been on an evolving journey, solidifying their lineup with the addition of bassist Erick Paxecko in 2023. Over the years, the band has independently released a demo, an EP, and five full-length albums, including their most recent record, The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld, which saw the light via Desert Records. Their dynamic and powerful live presence has also been captured on the album Vivere, released through Off The Record Label.

No strangers to the road, Stone Machine Electric has extensively toured their home state of Texas, making waves in Arizona, Oklahoma, and Louisiana, and sharing the stage with heavyweights like King Buffalo, Mothership, Wo Fat, and Jucifer. They have also left their mark on the Texas festival circuit, performing at End Hip End It, Fuzzed Out Fest, and Heavy Mash.

Now, with a new chapter unfolding, Stone Machine Electric is set to release their upcoming album Faces under the Argonauta Records banner. The band comments:

“We’re excited to work with Gero and Argonauta Records on releasing Faces as the next stop in our journey as Stone Machine Electric! It will be great to be a part of what Argonauta has contributed to the heavy underground and look forward to bringing our style of heavy into the fold of the other great bands that make up what this label is about. We are honored to work with Argonauta, and are looking forward to getting our new music out as far as it can reach.”

Stay tuned for more details on Faces, tour dates, and further announcements from Stone Machine Electric and Argonauta Records!

Stone Machine Electric are:
William “Dub” Irvin – Guitar/Vocals
Mark Kitchens – Drums/Vocals/Keyboard
Erick Paxecko – Bass

https://www.facebook.com/StoneMachineElectric/
https://www.instagram.com/stonemachineelectric/
http://stonemachineelectric.bandcamp.com/
http://www.stonemachineelectric.net/

www.argonautarecords.com
www.facebook.com/ArgonautaRecords
https://www.instagram.com/argonautarecords/
https://argonautarecords.bandcamp.com/

Stone Machine Electric, The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld (2020)

Lorquin’s Admiral make their self-titled full-length debut later this year through Argonauta Records. The band is comprised of vocalists Dawn Brown (The Fizz Fuzz) and Dandy Brown (The Fizz Fuzz, Hermano, solo), whose marriage becomes a character in itself as the album’s sides open with “My Blue Wife” and My Blue Husband,” respectively, as well as Nick Hannon and Marlon King, both of UK heavy progressives Sons of Alpha Centauri, who’d previously collaborated with Dandy Brown for the second album from Yawning Sons, the Yawning Man / Sons of Alpha Centauri offshoot first established late in the aughts.

As to why the moniker didn’t become ‘Centauri Fuzz’ or ‘Fizzy Sons,’ your guess is as good as mine. Lorquin’s Admiral take their name from a kind of butterfly, though, and one finds suitable bouncy float in the verses of a song like “Could Have Been Forever” early on or the later mellow swing of “These Lovely Things.” Songwriting is a big part of what they do. Cuts like the Dawn-led “Inexplicable Things” or side B’s “Burn and Heal” feel more specifically keyed in on desert rock; the winding lead line of “Inexplicable Things” comes across as speaking to a thread that began over 30 years ago, but that remains just a piece of what both song and album — which totals nine tracks/34 minutes — have on offer.

To wit, the start-stop blues of “Black Water” brings one of the seven total Dave Angstrom (Luna Sol, Hermano, Supafuzz) guest appearances on guitar, a duty shared with Mark Engel (Orquesta del Desierto), who has two. With Dandy on vocals, “Black Water” takes on a thoughtful strut, subdued even in its layered hook with tension in the shred looking to break out, which eventually it does, with class. The airy grunge in the lumbering back half of “Aren’t We” and the grounded Nirvana-ism of closer “To Temptation” are further ’90s ties, but there’s more than one kind of sentiment on display throughout Lorquin’s Admiral, and while it’s still definitely speaking to genre in desert rock, it’s also comfortable looking outside for inspiration. So, a bit of blues, a bit of punk attitude here and there. Not to the sacrifice of a welcoming sound, by any means.

Those who know Dandy Brown, Angstrom or ties-it-all-together drummer Steve Earle (also Afghan Whigs) from their work together in Hermano will find Lorquin’s Admiral dug into a natural tonality that feels as organic in the thicker “Burn and Heal” as in “My Blue Wife” or “Inexplicable Things.” It’s all pretty comfortable. As a contingent, they are not strangers to each other, and of course the same could be said of Hannon and King, so although they’re a ‘new band,’ the chemistry is explicable through context. Also songwriting. Also the warmth, be it of vocal melody in the varied arrangements shared between Dawn and Dandy — they swap lead spots and back each other; it’s never quite just one or the other, though balance Dandy wins out on songs fronted — or in the guitar(s) and bass tones backing them. The harmonized croon of “These Lovely Things,” for example, makes that song a late album highlight, but the abiding character that coincides with those harmonies comes from the nonetheless-crunching guitars.

Balance is the word. Also songwriting. Lorquin’s Admiral‘s Lorquin’s Admiral isn’t trying to catch the listener off guard or shock anyone with reinvention, but on a collaborative level, the record still excites by virtue of what this remote-working lineup of the Browns, Earle, Hannon, and King — plus Earle and Angstrom, who acquit themselves as essential personnel — have come up with being aligned to nobody more than anyone else. That is, Dawn and Dandy are singing, but the material belongs to Hannon and King no less, and while it’s not Sons of Alpha Centauri musically, neither is it The Fizz Fuzz or one of Dandy‘s other projects. Most of all, Lorquin’s Admiral sound like a band who could keep going, keep chasing down the path they set out here, and while there’s no guarantee that’ll happen since everyone involved here has other things happening, one hopes they manage to come ‘together’ in this fashion again. There are ideas laid out here begging to be explored.

I keep track throughout the year on stuff like this, so when I tell you I’ve put Lorquin’s Admiral in my notes among 2025’s best debuts — surely a category the entire field of which has yet to be revealed in February — understand I’m not speaking in hyperbole. I don’t know when it’s actually out, but keep an eye. In the meantime, it’s Valentine’s this week, so here’s a thing that was obviously made with love.

Please enjoy:

Lorquin’s Admiral, “Inexplicable Things” video premiere

Argonauta Records proudly announces the debut album from Lorquin’s Admiral, a groundbreaking heavy-psychedelic collaboration that promises to captivate audiences across the globe. Featuring a stellar lineup of current and former members of Afghan Whigs, the Fizz Fuzz, Hermano, Luna Sol, Orquesta del Desierto, Sons of Alpha Centauri, and Yawning Sons, the band delivers a unique blend of soul-stirring harmonies, mesmerizing riffs, and unforgettable hooks.

Building on the critically acclaimed writing partnership between Marlon King, Nick Hannon, and Dandy Brown (first established on the widely celebrated Yawning Sons album Sky Island), Lorquin’s Admiral encapsulates the essence of psychedelic rock while pushing the genre into exciting new territories. The band’s debut album highlights the stunning vocal interplay of husband-and-wife duo Dawn and Dandy Brown, and the commanding rhythms of celebrated drummer Steve Earle, creating an immersive sonic experience that is both heavy and hypnotic.

Adding to the album’s allure, guitar virtuosos David Angstrom (Hermano, Luna Sol) and Country Mark Engel lend their distinctive touch, enriching the record with lush, textured guitar landscapes. Angstrom’s contributions span seven tracks, while Engel’s masterful work graces two.

Drawing inspiration from desert rock pioneers while seamlessly incorporating elements of blues, psychedelic, and alternative music, Lorquin’s Admiral appeals to fans of Kyuss, Fu Manchu and Fatso Jetson, as well as admirers of the Cranberries, Screaming Trees and Garbage. The band carves out a unique space in the heavy-psychedelic scene, proving that rock music remains a powerful and evolving force.

Tracklisting:
1. My Blue Wife
2. Inexplicable Things
3. Could Have Been Forever
4. Black Water
5. My Blue Husband
6. Aren’t We
7. Burn and Heal
8. These Lovely Things
9. To Temptation

Produced by Dandy Brown & Sons of Alpha Centauri
Engineered & Mixed by Dan Lucas
Mastered by John McBain

Recorded at The Joplin House, Kent, UK
Additional Recording at:
Sierra Sounds, Arvada, Colorado
Brown’s Barn, Santa Rosa, California
MK Studios, Maidstone, Kent

Argonauta Records on Facebook

Argonauta Records on Instagram

Argonauta Records on Bandcamp

Argonauta Records store

Named for a type of butterfly, California’s Lorquin’s Admiral have taken a suitably winding course to bringing their debut full-length to fruition. The project has its roots in the collaboration between UK heavy progressives Sons of Alpha Centauri, once instrumental and seemingly always down to work with somebody news, and Dandy Brown of The Fuzz Fuzz, Hermano, and so on.

Both parties took part in the last Yawning Sons LP, and Lorquin’s Admiral would seem to have come about from there, with Country Mark Engel and Hermano and Luna Sol‘s David Angstrom adding guitar, Dawn Brown (who has worked with Dandy across a few projects, including being life-partners) sharing vocal duties and Steve Earle (The Afghan Whigs, Hermano) on drums. I don’t know if they’d call themselves a supergroup so much as nobody’s first time at the dance, but the results are pretty super in songs like “My Blue Wife,” “Could Have Been Forever,” “Burn and Heal,” “These Lovely Things,” and so on, with an emotive crux and varied arrangements around a central fuzz and desert-style sound.

Heads up on it, I guess. I’ve heard the record and I think might be premiering a single in about a month (it currently has a question mark next to it in my notes, so I’ll need to check/confirm that it’s a go) as the Hermano family tree continues to grow and Lorquin’s Admiral take flight therefrom. One way or the other, more to come.

For now, this from the PR wire:

Lorquin’s Admiral Signs with Argonauta Records for Highly Anticipated Debut Album

Argonauta Records proudly announces the signing of Lorquin’s Admiral, a groundbreaking heavy-psychedelic collaboration that promises to captivate audiences across the globe. Featuring a stellar lineup of current and former members of Afghan Whigs, the Fizz Fuzz, Hermano, Luna Sol, Orquesta del Desierto, Sons of Alpha Centauri, and Yawning Sons, the band delivers a unique blend of soul-stirring harmonies, mesmerizing riffs, and unforgettable hooks.

Building on the critically acclaimed writing partnership between Marlon King, Nick Hannon, and Dandy Brown (first established on the widely celebrated Yawning Sons album Sky Island), Lorquin’s Admiral encapsulates the essence of psychedelic rock while pushing the genre into exciting new territories. The band’s debut album highlights the stunning vocal interplay of husband-and-wife duo Dawn and Dandy Brown, and the commanding rhythms of celebrated drummer Steve Earle, creating an immersive sonic experience that is both heavy and hypnotic.

Adding to the album’s allure, guitar virtuosos David Angstrom (Hermano, Luna Sol) and Country Mark Engel lend their distinctive touch, enriching the record with lush, textured guitar landscapes. Angstrom’s contributions span seven tracks, while Engel’s masterful work graces two.

Drawing inspiration from desert rock pioneers while seamlessly incorporating elements of blues, psychedelic, and alternative music, Lorquin’s Admiral appeals to fans of Kyuss, Fu Manchu and Fatso Jetson, as well as admirers of the Cranberries, Screaming Trees and Garbage. The band carves out a unique space in the heavy-psychedelic scene, proving that rock music remains a powerful and evolving force.

Lorquin’s Admiral Signing Statement:

“We are incredibly excited and honored to be a part of the Argonauta stable of bands. When we were looking for a place to call home for the Lorquin’s Admiral album, our goals were simple: to find a team that had a track record of not only getting behind and developing their artists but also a label that believes strongly in expanding and promoting bands that push the envelope and explore multiple paths of expression. Gero and Argonauta have been doing just that for the past thirteen years, and it is thrilling to have our debut album released by a team that stays loyal to their roots while looking to the future with ears and eyes tuned to the unique and spirited. We can’t thank Argonauta enough for believing in what we’ve created, and we look forward to everyone having a chance to hear it.”

Stay tuned for the release date of Lorquin’s Admiral’s debut album and follow Argonauta Records for updates, singles and exclusive previews.

www.argonautarecords.com
www.facebook.com/ArgonautaRecords
https://www.instagram.com/argonautarecords/
https://argonautarecords.bandcamp.com/

Yawning Sons, Sky Island (2021)

Wow. This is a pretty good day. I mean, I knew that coming into it — I’m the one slating the reviews — but looking up there at the names in the header, that’s a pretty killer assemblage. Maybe I’m making it easy for myself and loading up the QR with stuff I like and want to write about. Fine. Sometimes I need to remind myself that’s the point of this project in the first place.

Hope you’re having an awesome week. I am.

Quarterly Review #21-30

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Thou, Umbilical

Even knowing that the creation of a sense of overwhelm is on purpose and is part of the artistry of what Thou do, Thou are overwhelming. The stated purpose behind Umbilical is an embrace of their collective inner hardcore kid. Fine. Slow down hardcore and you pretty much get sludge metal one way or the other and Thou‘s take on it is undeniably vicious and has a character that is its own. Songs like “I Feel Nothing When You Cry” and “The Promise” envision dark futures from a bleak present, and the poetry from which the lyrics get their shape is as despondent and cynical as one could ever ask, waiting to be dug into and interpreted by the listener. Let’s be honest. I have always had a hard time buying into the hype on Thou. I’ve seen them live and enjoyed it and you can’t hear them on record and say they aren’t good at what they do, but their kind of extremity isn’t what I’m reaching for most days when I’m trying to not be in the exact hopeless mindset the band are aiming for. Umbilical isn’t the record to change my mind and it doesn’t need to be. It’s precisely what it’s going for. Caustic.

Thou on Bandcamp

Sacred Bones Records website

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Cortez, Thieves and Charlatans

The fourth full-length from Boston’s Cortez sets a tone with opener “Gimme Danger (On My Stereo)” (premiered here) for straight-ahead, tightly-composed, uptempo heavy rock, and sure enough that would put Thieves and Charlatans — recorded by Benny Grotto at Mad Oak Studios — in line with Cortez‘s work to-date. What unfolds from the seven-minute “Leaders of Nobody” onward is a statement of expanded boundaries in what Cortez‘s sound can encompass. The organ-laced jamitude of “Levels” or the doom rock largesse of “Liminal Spaces” that doesn’t clash with the prior swing of “Stove Up” mostly because the band know how to write songs; across eight songs and 51 minutes, the five-piece of vocalist Matt Harrington, guitarists Scott O’Dowd and Alasdair Swan, bassist Jay Furlo and sitting-in drummer Alexei Rodriguez (plus a couple other guests from Boston’s heavy underground) reaffirm their level of craft, unite disparate material through performance and present a more varied and progressive take than they’ve ever had. They’re past 25 years at this point and still growing in sound. They may be underrated forever, but that’s a special band.

Cortez on Facebook

Ripple Music website

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Lydsyn, Højspændt

Writing a catchy song is not easy. Writing a song so catchy it’s still catchy even though you don’t speak the language is the provenance of the likes of Uffe Lorenzen. The founding frontman of in-the-ether-for-now Copenhagen heavy/garage psych pioneers Baby Woodrose digs into more straightforward fare on the second full-length from his new trio Lydsyn, putting a long-established Stooges influence to good use in “Hejremanden” after establishing at the outset that “Musik Er Nummer 1” (‘music is number one’) and before the subsequent slowdown into harmony blues with “UFO.” “Nørrebro” has what would seem to be intentional cool-neighborhood strut, and those seeking more of a garage-type energy might find it in “Du Vil Have Mere” or “Opråb” earlier on, and closer “Den Døde By” has a scorch that feels loyal to Baby Woodrose‘s style of psych, but whatever ties there are to Lorenzen‘s contributions over the last 20-plus years, Lydsyn stand out for the resultant quality of songwriting and for having their own dynamic building on Lorenzen‘s solo work and post-Baby Woodrose arc.

Lydsyn on Facebook

Bad Afro Records website

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Magick Potion, Magick Potion

The popular wisdom has had it for a few years now that retroism is out. Hearing Baltimorean power trio Magick Potion vibe their way into swaying ’70s-style heavy blues on “Empress,” smoothly avoiding the trap of sounding like Graveyard and spacing out more over the dramatic first two minutes of “Wizard” and the proto-doomly rhythmic jabs that follow. Guitarist/vocalist/organist Dresden Boulden, bassist/vocalist Triston Grove and drummer Jason Geezus Kendall capture a sound that’s as fresh as it is familiar, and while there’s no question that the aesthetic behind the big-swing “Never Change” and the drawling, sunshine-stoned “Pagan” is rooted in the ’68-’74 “comedown era” — as their label, RidingEasy Records has put it in the past — classic heavy rock has become a genre unto itself over the last 25-plus years, and Magick Potion present a strong, next-generation take on the style that’s brash without being willfully ridiculous and that has the chops to back up its sonic callouts. The potential for growth is significant, as it would be with any band starting out with as much chemistry as they have, but don’t take that as a backhanded way of saying the self-titled is somehow lacking. To be sure, they nail it.

Magick Potion on Instagram

RidingEasy Records store

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Weite, Oase

Oase is the second full-length from Berlin’s Weite behind 2023’s Assemblage (review here), also on Stickman, and it’s their first with keyboardist Fabien deMenou in the lineup with bassist Ingwer Boysen (Delving), guitarists Michael Risberg (Delving, Elder) and Ben Lubin (Lawns), and drummer Nick DiSalvo (Delving, Elder), and it unfurls across as pointedly atmospheric 53 minutes, honed from classic progressive rock but by the time they get to “(einschlafphase)” expanded into a cosmic, almost new age drone. Longer pieces like “Roter Traum” (10:55), “Eigengrau” (12:41) or even the opening “Versteinert” (9:36) offer impact as well as mood, maybe even a little boogie, “Woodbury Hollow” is more pastoral but no less affecting. The same goes for “Time Will Paint Another Picture,” which seems to emphasize modernity in the clarity of its production even amid vintage influences. Capping with the journey-to-freakout “The Slow Wave,” Oase pushes the scope of Weite‘s sound farther out while hitting harder than their first record, adding to the arrangements, and embracing new ideas. Unless you have a moral aversion to prog for some reason, there’s no angle from which this one doesn’t make itself a must-hear.

Weite on Facebook

Stickman Records website

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Orbiter, Distorted Folklore

Big on tone and melody in a way that feels inspired by the modern sphere of heavy — thinking that Hum record, Elephant Tree, Magnetic Eye-type stuff — Florida’s Orbiter set forth across vast reaches in Distorted Folklore, a song like “Lightning Miles” growing more expansive even as it follows a stoner-bouncing drum pattern. Layering is a big factor, but it doesn’t feel like trickery or the band trying to sound like anything or anyone in particular so much as they’re trying to serve their songs — Jonathan Nunez (ex-Torche, etc.) produced; plenty of room in the mix for however big Orbiter want to get — as they shift from the rush that typified stretches of their 2019 debut, Southern Failures, to a generally more lumbering approach. The slowdown suits them here, though fast or slow, the procession of their work is as much about breadth as impact. Whatever direction they take as they move into their second decade, that foundation is crucial.

Orbiter on Facebook

Orbiter on Bandcamp

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Vlimmer, Bodenhex

As regards genre: “dark arts?” Taking into account the 44 minutes of Vlimmer‘s fourth LP, which is post-industrial as much as it’s post-punk, with plenty of goth, some metal, some doom, some dance music, and so on factored in, there’s not a lot else that might encompass the divergent intentions of “Endpuzzle” or “Überrennen” as the Berlin solo-project of Alexander Donat harnesses ethereal urbanity in the brooding-till-it-bursts “Sinkopf” or the manic pulses under the vocal longing of closer “Fadenverlust.” To Donat‘s credit, from the depth of the setup given by longest/opening track (immediate points) “2025” to the goth-coated keyboard throb in “Mondläufer,” Bodenhex never goes anywhere it isn’t meant to go, and unto the finest details of its mix and arrangements, Vlimmer‘s work exudes expressive purpose. It is a record that has been hammered out over a period of time to be what it is, and that has lost none of the immediacy that likely birthed it in that process.

Vlimmer on Facebook

Blackjack Illuminist Records on Bandcamp

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Moon Goons, Lady of Many Faces

Indianapolis four-piece Moon Goons cut an immediately individual impression on their third album, Lady of Many Faces. The album, which often presents itself as a chaotic mash of ideas, is in fact not that thing. The band is well in control, just able and/or wanting to do more with their sound than most. They are also mindfully, pointedly weird. If you ever believed space rock could have been invented in an alternate reality 1990s and run through filters of lysergism and Devin Townsend-style progressive metal, you might take the time now to book the tattoo of the cover of Lady of Many Faces you’re about to want. Shenanigans abound in the eight songs, if I haven’t made that clear, and even the nod of “Doom Tomb Giant” feels like a freakout given the treatment put on by Moon Goons, but the thing about the album is that as frenetic as the four-piece of lead vocalist/guitarist Corey Standifer, keyboardist/vocalist Brooke Rice, bassist Devin Kearns and drummer Jacob Kozlowski get on their way to the doped epic finisher title-track, the danger of it coming apart is a well constructed, skillfully executed illusion. And what a show it is.

Moon Goons on Facebook

Romanus Records website

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Familiars, Easy Does It

Although it opens up with some element of foreboding by transposing the progression of AC/DC‘s “Hells Bells” onto its own purposes in heavy Canadiana rock, and it gets a bit shouty/sludgy in the lyrical crescendo of “What a Dummy,” which seems to be about getting pulled over on a DUI, or the later “The Castle of White Lake,” much of Familiars‘ Easy Does It lives up to its name. Far from inactive, the band are never in any particular rush, and while a piece like “Golden Season,” with its singer-songwriter vocal, acoustic guitar and backing string sounds, carries a sense of melancholy — certainly more than the mellow groover swing and highlight bass lumber of “Gustin Grove,” say — the band never lay it on so thick as to disrupt their own momentum more than they want to. Working as a five-piece with pedal steel, piano and other keys alongside the core guitar, bass and drums, Easy Does It finds a balance of accessibility and deeper-engaging fare combined with twists of the unexpected.

Familiars on Facebook

Familiars on Bandcamp

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The Fërtility Cült, A Song of Anger

Progressive stoner psych rockers The Fërtility Cült unveil their fifth album, A Song of Anger, awash in otherworldly soul music vibes, sax and fuzz and roll in conjunction with carefully arranged harmonies and melodic and rhythmic turns. There’s a lot of heavy prog around — I don’t even know how many times I’ve used the word today and frankly I’m scared to check — and admittedly part of that is how open that designation can feel, but The Fërtility Cült seem to take an especially fervent delight in their slow, molten, flowing chicanery on “The Duel” and elsewhere, and the abiding sense is that part of it is a joke, but part of everything is a joke and also the universe is out there and we should go are you ready? A Song of Anger is billed as a prequel, and perhaps “The Curse of the Atreides” gives some thematic hint as well, but whether you’ve been with them all along or this is the first you’ve heard, the 12-minute closing title-track is its own world. If you think you’re ready — and good on you for that — the dive is waiting for your immersion.

The Fërtility Cült on Facebook

The Fërtility Cült on Bandcamp

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Welcome to the Quarterly Review. Oh, you were here last time? Me too. All door prizes will be mailed to winning parties upon completion of, uh, everything, I guess?

Anywhazzle, the good news is this week is gonna have 50 releases covered between now — the 10 below — and the final batch of 10 this Friday. I’m trying to sneak in a bunch of stuff ahead of year-end coverage, yes, but let the urgency of my doing so stand as testament to the quality of the music contained in this particular Quarterly Review. If I didn’t feel strongly about it, surely I’d find some other way to spend my time.

That said, let’s not waste time. You know the drill, I know the drill. Just don’t be surprised when some of the stuff you see here, today, tomorrow, and throughout the week, ends up in the Best of 2024 when the time comes. I have no idea what just yet, but for sure some of it.

We go.

Quarterly Review #1-10:

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Gnome, Vestiges of Verumex Visidrome

Some bands write songs for emotional catharsis. Some do it to make a political statement. Gnome‘s songs feel specifically — and expertly — crafted to engage an audience, and their third full-length, Vestiges of Verumex Visidrome, underscores the point. Hooks like “Old Soul” and “Duke of Disgrace” offer a self-effacing charm, where elsewhere the Antwerp trio burn through hot-shit riffing and impact-minded slam metal with a quirk that, if you’ve caught wind of the likes of Rickshaw Billie’s Burger Patrol or Howling Giant in recent years, should fit nicely among them while finding its own sonic niche in being able to, say, throw a long sax solo on second cut “The Ogre” or veer into death growls for the title line of “Rotten Tongue” and others. They make ‘party riff metal’ sound much easier to manifest than it probably is, and the reason their reputation precedes them at this point goes right back to the songwriting. They hit hard, they get in, get out, it’s efficient when it wants to be but can still throw a curve with the stop and pivot in “Rotten Tongue,” running a line between punk and stoner, rock and metal, your face and the floor. It might actually be too enjoyable for some, but the funk they bring here is infectious. They make the riffs dance, and everything goes from there.

Gnome on Instagram

Polder Records website

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Hermano, When the Moon Was High…

The lone studio track “Breathe” serves as the reasoning behind Hermano‘s first new release since 2007’s …Into the Exam Room (discussed here), and actually predates that still-latest long-player by some years. Does it matter? Yeah, sort of. As regards John Garcia‘s post-Kyuss career, Hermano both got fleshed out more than most (thinking bands like Unida and Slo Burn, even Vista Chino, that didn’t get to release three full-lengths in their time), and still seemed to fade out when there was so much potential ahead of them. If “Breathe” doesn’t argue in favor of this band giving it the proverbial “one more go,” perhaps the live version of “Brother Bjork” (maybe the same one featured on 2005’s Live at W2?) and a trio of cuts captured at Hellfest in 2016 should do the trick nicely. They’re on fire through “Senor Moreno’s Plan,” “Love” and “Manager’s Special,” with Garcia, Dandy Brown, David Angstrom, Chris Leathers and Mike Callahan treating Clisson to a reminder of why they’re the kind of band who might get to build an entire EP around a leftover studio track — because that studio track, and the band more broadly, righteously kick their own kind of ass. What would a new album be like?

Ripple Music on Facebook

Ripple Music website

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Stahv, Sentiens Eklektikos

Almost on a per-song basis, Stahv — the mostly-solo brainchild of multi-instrumentalist/vocalist Solomon Arye Rosenschein, here collaborating on production with John Getze of Ako-Lite Records — skewers and melds genres to create something new from their gooey remnants. On the opening title-track, maybe that’s a post-industrial Phil Collins set to dreamtime keyboard and backed by fuzzy drone. On “Lunar Haze,” it’s all goth ’80s keyboard handclaps until the chorus melody shines through the fog machine like The Beatles circa ’64. Yeah that’s right. And on “Bossa Supernova,” you bet your ass it’s bossa nova. “The Calling” reveals a rocker’s soul, where “Plainview” earlier on has a swing that might draw from The Birthday Party at its root (it also might not) but has its own sleek vibe just the same with a far-back, lo-fi buzz that somehow makes the melody sound better. “Aaskew” (sic) takes a hard-funkier stance musically but its outsider perspective in the lyrics is similar. The 1960s come back around in the later for “Circuit Crash” — it would have to be a song about the future — and “Leaving Light” seems to make fun of/celebrate (it can be both) that moment in the ’80s when everything became tropical. There’s worlds here waiting for ears adventurous enough to hear them.

Stahv on Facebook

Ako-Lite Records on Bandcamp

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Space Shepherds, Cycler

I mean, look. The central question you really have to ask yourself is how mellow do you want to get? Do you think you can handle 12 minutes of “Transmigration?” Do you think you can be present in yourself through that cool-as-fuck, ultra-smooth psychedelic twist Space Shepherds pull off, barely three minutes into the the beginning of this seven-track, 71-minute pacifier to quiet the bad voices in your (definitely not my) brain. What’s up with that keyboard shuffle in “Celestial Rose” later on? I don’t know, but it rules. And when they blow it out in “Got Caught Dreaming?” Yeah, hell yeah, wake up! “Free Return” is a 15-minute drifter jam that gets funky in the back half (a phrase I’d like on a shirt) and you don’t wanna miss it! At the risk of spoiling it, I’ll tell you that the title-track, which closes, is absolutely the payoff it’s all asking for. If you’ve got the time to sit with it, and you can just sort of go where it’s going, Cycler is a trip begging to be taken.

Space Shepherds on Facebook

Space Shepherds on Bandcamp

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King Botfly, All Hail

It is all very big. All very grand, sweeping and poised musically, very modern and progressive and such — and immediately it has something if that’s what you’re looking for, which is super-doper, thanks — but if you dig into King Botfly‘s vocals, there’s a vulnerability there as well that adds an intimacy to all that sweep and plunges down the depths of the spacious mix’s low end. And I’m not knocking that part of it either. The Portsmouth, UK-based three-piece of guitarist/vocalist George Bell, bassist Luke Andrew and drummer Darren Draper, take on a monumental task in terms of largesse, and they hit hard when they want to, but there’s dynamic in it too, and both has an edge and doesn’t seem to go anywhere it does without a reason, which is a hard balance to strike. They sound like a band who will and maybe already have learned from this and will use that knowledge to move forward in an ongoing creative pursuit. So yes, progressive. Also tectonically heavy. And with heart. I think you got it. They’ll be at Desertfest London next May, and they sound ready for it.

King Botfly on Facebook

King Botfly on Bandcamp

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Last Band, The Sacrament in Accidents

Are Last Band a band? They sure sound like one. Founded by guitarists Pat Paul and Matt LeGrow (the latter also of Admiral Browning) upwards of 15 years ago, when they were less of an actual band, the Maryland-based outfit offer 13 songs of heavy alternative rock on The Sacrament in Accidents, with some classic metal roots shining through amid the harmonies of “Saffire Alice” and a denser thrust in “Season of Outrage,” a rush in the penultimate “Forty-Four to the Floor,” and so on, where the title-track is more of an open sway and “Lidocaine” is duly placid, and while the production is by no means expansive, the band convey their songs with intent. Most cuts are in the three-to-four-minute range, but “Blown Out” dips into psychedelic-gaze wash as the longest at 5:32 offset by comparatively grounded, far-off Queens of the Stone Age-style vocalizing in the last minute, which is an effective culmination. The material has range and feels worked on, and while The Sacrament in Accidents sounds raw, it hones a reach that feels true to a songwriting methodology evolved over time.

Last Band on Bandcamp

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Dream Circuit, Pennies for Your Life

Debuting earlier this decade as a solo-project of Andrew Cox, Seattle’s Dream Circuit have built out to a four-piece for with Pennies for Your Life, which throughout its six-track/36-minute run sets a contemplative emotionalist landscape. Now completed by Anthony Timm, Cody Albers and Ian Etheridge, the band are able to move from atmospheric stretches of classically-inspired-but-modern-sounding verses into heavier tonality on a song like “Rosy” with fluidity that seems to save its sweep for when it counts. The title-track dares some shouts, giving some hint of a metallic underpinning, but that still rests well in context next to the sitar sounds of “Let Go,” which opens at 4:10 into its own organ-laced crush, emotionally satisfying. Imagine a post-heavy rock that’s still pretty heavy, and a dynamic that stretches across microgenres, and maybe that will give some starting idea. The last two tracks argue for efficiency in craft, but wherever Dream Circuit go on this sophomore release, they take their own route to get there.

Dream Circuit on Facebook

Dream Circuit on Bandcamp

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Okkoto, All is Light

“All is Light” is the first single from New Paltz bliss-drone meditationalist solo outfit Okkoto since 2022’s stellar and affirming Climb the Antlers and Reach the Stars (review here), and its seven minutes carry a similar scope to what one found on that album. To be clear, that’s a compliment. Interwoven threads of synth over methodical timekeeping drum sounds, wisps of airy guitar drawn together with other lead lines, keys or strings, create a flowing world around the vocals added by Michael Lutomski, also (formerly?) of heavy psych rockers It’s Not Night: It’s Space, the sole proprietor of the expanse. A lot of a given listener’s experience of Okkoto experience will depend on their own headspace, but if you have the time and attention — seven-plus minutes of active-but-not-too-active hearing recommended — but “All is Light” showcases the rare restorative aspects of Okkoto in a way that, if you can get to it, can make you believe, or at least escape for a little while.

Okkoto on Instagram

Okkoto on Bandcamp

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Trappist Afterland, Evergreen: Walk to Paradise Garden

Underscored with a earth-rooted folkish fragility in the voice of Adam Geoffrey Cole (also guitar, cittern, tanpura, oud, synth, xylophone and something called a ‘dulcitar’), Melbourne’s Trappist Afterland are comfortably adventurous on this 10th full-length, Evergreen: Walk to Paradise Garden, which digs deeper into psych-drone on longest track “Cruciform/The Reincarnation of Kelly-Anne (Parts 1-3)” (7:55) while elsewhere digs into fare more Eastern-influenced-Western-traditional, largely based around guitar composition. With an assortment of collaborators coming and going, even this is enough for Cole and his seemingly itinerant company to create a sense of variety — the violin in centerpiece “Barefoot in Thistles” does a lot of work in that regard; ditto the squeezebox of opener “The Squall” — and while the arrangements don’t lack for flourish, the human expression is paramount, and the nine songs are serene unto the group vocal that caps in “You Are Evergreen,” which would seem to be placed to highlight its resonance, and reasonably so. As it’s Trappist Afterland‘s 10th album by their own count, it’s hardly a surprise they know what they’re about, but they do anyway.

Trappist Afterland on Facebook

Trappist Afterland on Bandcamp

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Big Muff Brigade, Pi

For a band who went so far as to name themselves after a fuzz pedal, Spain’s Big Muff Brigade have more in common with traditional desert rock than the kind of tonal worship one might expect them to deliver. That landscape doesn’t account for their naming a song “Terre Haute,” seemingly after the town in Indiana — I’ve been there; not a desert — but fair enough for the shove of that track, which on Pi arrives just ahead of closer “Seasonal Affective Disorder,” which builds to a nonetheless-mellow payoff before its fadeout. Elsewhere, the seven-minute “Pierced by the Spear” drops Sleepy (and thus Sabbathian) references in the guitar ahead of creating a duly stonerly lumber before they even unfurl the first verse — a little more in keeping with the kind of riff celebration one might expect going in — but even there, the band maintain a thread of purposeful songcraft that can only continue to serve them as they move past this Argonauta-delivered debut and continued to grow. There is a notable sense of outreach here, though, and in writing to genre, Big Muff Brigade show both their love of what they do and a will to connect with likeminded audiences.

Big Muff Brigade on Facebook

Argonauta Records website

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