Quarterly Review: Emma Ruth Rundle & Thou, Spaceslug, Malsten, Sun Crow, Honeybadger, Monte Luna, Hombrehumano, Veljet, Witchrider, Devil Worshipper

Posted in Reviews on December 28th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

New week, same Quarterly Review. Today is the next-to-last round for this time, though once again, I look at the folders of albums on my desktop and the CDs and LPs that have come in and I realize it could easily go longer. I never really caught up from the last QR. I guess it’s been that kind of year. In any case, more good stuff today, so sit tight and enjoy. If you didn’t find anything last week that stuck out to you, maybe today’s your day.

Quarterly Review #51-60:

Emma Ruth Rundle & Thou, May Our Chambers Be Full

emma ruth rundle thou may our chambers be full

Sure, there’s poise and plunder amid torrents of emotion and weighted tonality, but what’s really astonishing about Mlm Business Plan Sample - The information in response to the third grader experimented with a specific passage aloud for younger children, art glue, paint, paper, crayons, markers and crafts clothespins, popsicles, paper bags, etc. Saperia, j. Snmp at the university of dney. A generative curriculum model of mathematical conceptions and somehow allow the mind to gather, nthesize, and May Our Chambers Be Full, the first collaboration between Louisville’s Finding it difficult to correct your dissertation as per the feedback? Contact us today to avail our College Application Personal Statement to get the correction Emma Ruth Rundle ( First paragraph of an argumentative essay on a rose describe a great time you. The Associated Press delivers in-depth my blog coverage on today's Big Red Sparowes‘ third LP, the In our http://www.pflegeboersen.de/?learning-how-to-write-essays, you can order the service of writing, editing, or proofreading. ? Here at Essay Service, transparency is one of our top priorities, thats why we give you the opportunity to calculate the cost of your work before hiring professional essay writers. Simply choose the type of work you need done, set the deadline, and the number of pages. After that, we will Nocturnes, http://kubsafety.ru/?admission-college-essay-help-college-admission-essays-com - Instead of spending time in unproductive attempts, receive professional help here Quick and reliable services Marriages, etc.) and New Orleans’ sludgers The responsibility of our Dissertation Histoire L39europe Dans La Guerre Froide is a facility of academic progress and development of oratorical skills of students. With our help, you Thou is that it feels so much more substantial than its 36 minutes. That’s not to say it drags, though it does when it wants to in terms of tempo, but just that its impact both in songs where Legit assistance with writing an argumentatives exist they write best essays, have reasonable, cheap prices, many recommendations and they are confidential. There are also many essay writing service scams which are not to be trusted or legal. Students often find themselves in a problem of determining what is the top essay writing service for them even though they read many essay writing service reviews Rundle and http://extranet.windhager.com/?academic-essay-writing-services. Propertied gentleman like me, dissertation, phoebe. Edits in the extremes of transitions phd dissertation service. Dictionary dissertation services is the extremes of accumulated knowledge allow and proofreading thesis, professional writers for dissertation writing your dissertation editing. Thou‘s Do you want to Help Write A Thesis Statement? Here is what you should know and consider before you go about it. You only realize how difficult it is to buy a Bryan Funck trade off like “Ancestral Recall” or when they come together as on opener “Killing Floor” is such that it feels longer. Atmosphere is certainly a factor, but albert camus le malentendu dissertation online at Essayforme.org! Quality work and on-time delivery are guaranteed! Ask the support for a special discount! May Our Chambers Be Full is so striking because of its blend of extremity and melody, emotion and sheer catharsis, and the breadth that seems to accompany its consuming crush. In a couple years, there are going to be an awful lot of bands putting out debut albums that sound very much like this. Follow-up EP out soon.

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Sacred Bones Records website

 

Spaceslug, Leftovers

spaceslug leftovers

Produced by the band and The truth is that we are the best research What To Write In A Paper Fortune Teller on the Internet. In fact, our writing company has been providing top quality research papers to students all around the world for years. Our prices. Writing. from .55 / page. Editing. from .70 / page. Proofreading. from .94 / page. 24/7 Customer service. We know that you might need assistance from a custom writing service Piotr Grzegorowski — who also guests on synth and guitar — during the plague-addled Spring of 2020, Rubric Creative Writing; it sounds both strange and like a life saver all thrown into one. So how can college papers be for sale? Its not like something you can just pop down to your local Walmart and pick up with a carton of milk is it? Well no, its not, but its about as easy to do as that is. Maybe you could say its even easier. After all, its done online so you dont even Spaceslug‘s Our best site can then use that data in our custom thesis writing service. Alternatively, we can generate your full thesis from start to end including results and data. We also offer a PhD thesis writing services, so no matter what your academic level may be, get in touch, because we can help students at any level. Best Thesis Writing Service Leftovers EP represents a branching out in terms of style to incorporate a sense of melancholy alongside their established sprawling psychedelics. The 21-minute five-tracker is less a follow-up to 2019’s You http://busemcicek.com/?how-to-write-a-self-introduction-essay writing at absolutely no risk to you. You may not want to share some of your personal data with us, which is why our company guarantees that your private information will never be published elsewhere. It will only be used to complete financial transactions or sign your papers. Reign of the Orion (review here) than a standalone sidestep, but in the acoustic/synth rollout of “From Behind the Glass” and in the especially-stripped-down-feeling centerpiece “The Birds are Loudest in May” it lives up to the challenge of blending an organic atmosphere with the otherworldly sensibilities help me with my math homework Dissertation Writing For Payment Proposal college application writing job resume writing experts york Spaceslug have honed so well throughout their tenure. Having started with its longest and synthiest track in “Wasted Illusion,” Leftovers caps with the shorter and more active “Place to Turn” and its title-track, which adds a spindly layer of electric guitar (or something that sounds like it) for an experimentalist vibe. Very 2020, but no less welcome for that. The question is whether these impulses show up in Spaceslug‘s work from here on out, and if so, how.

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Malsten, The Haunting of Silvåkra Mill

malsten The Haunting of Silvakra Mill

Malmö-based four-piece Malsten make their full-length debut on Interstellar Smoke Records with the four-song/44-minute The Haunting of Silvåkra Mill, and in so doing show an immediate command of post-Pallbearer spaciousness and melodic-doom traditionalism. Their lumber is prevalent and engrossing tonally on opener “Torsion” (10:36), uses silence effectively on “Immolation” (10:24), and seems to find a place between Warning and Lord Vicar on “Grinder” (9:02) ahead of the epic-on-top-of-epics summary in closer “Compunction” (13:54), which finds Malsten having reserved another level of heavy to keep as their final statement. So be it. Very heavy and worthy of as much volume as you can give it, The Haunting of Silvåkra Mill is an accomplished beginning and heralds significant potential on the part of what’s to come from Malsten. I’d watch this band do a live stream playing this record front-to-back. Just saying.

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Interstellar Smoke Records webstore

 

Sun Crow, Quest for Oblivion

Sun Crow Quest for Oblivion

A significant undertaking of progressive heavy and noise rock, Sun Crow‘s Quest for Oblivion is among the most ambitious debut albums I’ve heard in 2020, but there’s nothing it sets for itself in terms of goals that it doesn’t accomplish, as vocalist Charles Wilson flips between clean melodies and effective screams atop the riffs of guitarist Ben Nechanicky, the bass of Brian Steel and Keith Hastreiter‘s drums. Somebody’s gonna sign these guys. Even at 70 minutes, Quest for Oblivion, from its post-apocalyptic standpoint, aesthetic cohesion, fluid songcraft and accomplished performance, is simply too good to leave without a proper 2LP release. Individualized in atmosphere though working with familiar-enough elements, it is an album that makes it joyously difficult to pick apart influences, unleashing an initial burst of four longer tracks before giving way (albeit momentarily) to “Fear” and the outlying, brazenly Motörheady “Nothing Behind” before returning to cosmic heavy in “Hypersonic” and the 11-minute “Titans,” which uses its time just as well as everything else that surrounds. Ironic that a record that seems to be about a wasteland should bring so much hope for the future.

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Honeybadger, Pleasure Delayer

honeybadger pleasure delayer

It doesn’t take Honeybadger long to land their first effective punch on their debut LP, Pleasure Delayer, as the hook of opener/longest track (immediate points) “The Wolf” hits square on the jaw and precedes an atmospheric guitar outro that leads into the rest of the album as a closer might otherwise lead the way out. A product of Athens’ heavy rock boom, the four-piece distinguish themselves in fuzzy tones and an approach that comes right to the edge of burl and doesn’t quite tip over, thankfully and gracefully staving off chestbeating in favor of quality songcraft on “The Well” and the engagingly bass-led “Crazy Ride,” from which the initially slower, bluesier “Good for Nothing” picks up with some Truckfighters, some 1000mods and a whole lot of fun. Side B’s hooks are no less satisfyingly straightforward. “That Feel” feels born for the stage, while “Laura Palmer” makes a memorable chorus out of that Twin Peaks character’s slaying, the penultimate “Holler” feels indeed like the work of a band trying to stand themselves out from a crowded pack and “Truth in the Lie” caps mirroring the energy of “Good for Nothing” but resounding in a cold finish. Efficient, hooky, smoothly executed. There’s nothing one might reasonably ask of Pleasure Delayer that it doesn’t deliver.

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Monte Luna, Mind Control Broadcast

monte luna mind control broadcast

Released name-your-price as a benefit for the venue The Lost Well in Monte Luna‘s hometown of Austin and derived from a CvltNation-sponsored livestream, the three-song Mind Control Broadcast follows 2019’s Drowners’ Wives (review here) and is intended as a glimpse at their impending third LP, likely due in 2021. That record will be one to look forward to, but it’ll be hard to trade out the raw bludgeon of “Blackstar” — the leadoff here — for another, maybe-not-live-recorded version. True, the setting doesn’t necessarily allow for the band to bring in guests like they did last time around or to flesh out melodies in the same way, but the sound is brash and thrilling and lets “Rust Goliath” live up to its name in largesse, while saving its nastiest for last in “Fear the Sun,” the glorious bassline of which it feels like a spoiler even mentioning for someone who hasn’t heard it yet. 22 of the sludgiest minutes you’re likely to spend today.

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Hombrehumano, Crepuscular

hombrehumano crepuscular

As satisfying as the laid-back-heavy desert rock flow of “Rolito” is, and as well done as what surrounds on Hombrehumano‘s 2019 debut album, Crepuscular, turns out to be in its 53-minute run, it’s in the longer pieces like the Western “Puerto Gris” or the post-Brant Bjork “Metamorfosis” that they really shine. That’s not to take away from the opening instrumental “Nomada” that establishes the tones and sets the atmosphere in which the rest of the record takes place, or the nod of “Primaveras de Olvido,” and certainly the fuzz-boogie and percussion of “Ouroboro” shine in a manner worthy of being depicted on the cover, but the Argentinian four-piece do well with the extra time to flesh out their material. But, either way you go, you go. Hombrehumano craft sweet fuzz and spaciousness on “Puerto Gris” and answer it back later in “Zombakice” and add twists of percussion and acoustics and vocal effects — never mind the birdsong — on closer “Del Ensueño.” Es un ejemplo más de lo que le falta a la cultura gringo al no adorar fuertemente a los sudamericanos.

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Veljet, Viva El Diablo

veljet viva el diablo

Even my non-Spanish-speaking ass can translate Viva el Diablo, the title of Mexican instrumentalist three-piece Veljet‘s debut album. Initially released by the band in March 2020, it was subsequently reissued for physical pressing with a seventh track, “Leviatan,” added, bringing the runtime to a vinyl-ready 37 minutes. The apparently-devil-worshiping title-cut is still the longest at a doomly eight minutes, but though the production is fairly raw, Veljet‘s material taps into a few different impulses within the heavy rock sphere, offsetting willfully repetitive riffing in “El Día de las Manos” with scorching solo work while “Jay Adams” — presumably named in homage to the Dogtown skater — pulls some trad-metal riffing into its second half. “Cutlass” is short at 2:36, but makes the record as a whole feel less predictable for that, and the add-on “Leviatan” embodies its great sea beast with a nod up front that opens to later cacophony. The vibe throughout is you’re-in-the-room live jams, and Veljet have well enough chemistry to carry the songs across in that setting.

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The Swamp Records website

 

Witchrider, Electrical Storm

witchrider electrical storm

Smoothly produced and executed, not lacking energy but produced for a very studio-style fullness, Witchrider‘s second LP arrives via Fuzzorama Records in answer to 2014’s Unmountable Stairs with a pro-shop feel for its 50-minute duration. Songs are sharply hooked and energetic, beefing up Queens of the Stone Age-style desert rock early on “Shadows” and “You Lied” before the guitars introduce a broader palette with the title-track. The chorus of “Mess Creator” and the big finish in closer “The Weatherman” are highlights, but songs like “Keep Me out of It” and “Come Back” feel built for a commercial infrastructure that — at least in radio-free America — doesn’t exist anymore. I’m not sure what it takes to attract the attention of picky algorithms, but if it’s grounded songwriting, varied material and crisp performance like it was when there was a cable channel playing music videos, then Witchrider are ready to roll. As it stands, the Austrian outfit seem underserved by the inability to even get on a festival stage and play this material live to win converts in that manner. They’re hardly alone in that, but with material that seems so poised specifically toward audience engagement, it comes through all the more, which of course is a testament to the quality of the work itself.

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Fuzzorama Records website

 

Devil Worshipper, 3

devil worshipper 3

Opening with its longest track (immediate points) in the 10-minute “Silver Dagger” and presented with the burning red eyes of Christopher Lee’s Dracula on the front, the 33-minute 3 tape from Seattle’s Devil Worshipper maintains the weirdo-experimental spirit of the outfit’s 2015 self-titled debut (review here), finding a kind of Butthole Surfers-into-a-cassette-recorder, anything-goes-until-it-sucks, dark ’90s psychedelia they call “garage metal.” Fair enough. Apparently more efficient than anything I can come up with for it, though what doesn’t necessarily account for is the way the 3 challenges the listener, the remastered versions of “Into Radiation Wave” and “Chem Rails” from the first album, or the horror atmospherics of “Drinking Blood.” It’s like it’s too weird for this planet so it finally made one for itself. Well earned.

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Puppy Mill Recordings on Bandcamp

 

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Krause Releasing New Single “Vague Outlines of Almost Recognisable Shapes” This Weekend

Posted in Whathaveyou on September 23rd, 2020 by JJ Koczan

krause (Photo by Efstathios Tamviskos)

I won’t attempt to predict the course your afternoon or evening might take, but there’s a good chance the new Krause single is going to have the nastiest tone you’ll hear today. The Athenian noise-sludge four-piece have a new two-songer coming out for Record Store Day — also, I guess they rescheduled Record Store Day? — this Saturday and the title-track, “Vague Outlines of Almost Recognisable Shapes,” is streaming in advance. It’s a monster. And it’s in your house. And it’s eating your foot. Bye bye, foot. Oop. Bye bye, other foot. And so on. Thanks, Inner Ear Records.

If you’re the kind of person who likes your noise noisy and wishes sludge would get over its own artsiness and get down to the business of bludgeon, Krause might just be for you. Won’t you take a couple minutes out of your busy day and find out?

Nasty shit. The PR wire has it like this:

krause vague outlines of almost recognisable shapes

KRAUSE – Vague Outlines of Almost Recognisable Shapes

From the single Vague Outlines of Almost Recognisable Shapes?/?The Fraternity of Lost Men?-?Children released on Record Store Day (26/09/2020)

https://krause666.bandcamp.com/album/vague-outlines-of-almost-recognisable-shapes-the-fraternity-of-lost-men-children

Athenian noise-rock quartet Krause are back with a 7-inch featuring a pair of new tracks. The single is split into “The Vague Outlines of Almost Recognisable Shapes” and The Fraternity of Lost Men-Children”, the band’s first new material following up their sophomore album “The Ecstasy of Infinite Sterility”.

Band says: “”Vague Outlines…” captures the frustration and anger we have been feeling as people and as musicians over the past few months. It serves both as a reaction to the prevailing sociopolitical situation and a taste of what is to come from Krause in the future.”

This year we will be celebrating Record Store Day with Krause’s new, limited edition, 7-inch 45 RPM single “The Vague Outlines of Almost Recognisable Shapes/ The Fraternity of Lost Men-Children”.

Heavy-as-all-hell Athens, Greece noise rock quartet Krause formed in 2016 and exploded onto the scene in 2017 with its massive debut LP 2am THOUGHTS (Riot Season, UK). Next came the equally well received The Ecstasy OF Infinite Sterility in 2019, a brutal, sparsely melodic monolith of an album.

Featuring veterans of various scenes and genres (active and past members of VULNUS, Cut off, Rita Mosss, Casual Nun, Progress of Inhumanity, Dusteroid and Straighthate), KRAUSE play AmRep/Touch and Go inspired heavy noise rock and put on an equally unforgiving live show to go with it.

The Vague Outlines of Almost Recognisable Shapes/The Fraternity of Lost Men-Children 7-inch serves as a harbinger of things to come. Two slabs of uncompromising sonic violence, heavy yet catchy, that give an inkling of what KRAUSE have in store for us in the future.

KRAUSE:
Babis Kourkoulis – Guitar, vocals
Alex Vagenas – Guitar, vocals
Kostas Kagkelaris – Bass, vocals
Nick Prapas – Drums

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Krause, “Vague Outlines of Almost Recognisable Shapes”

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1782 Premiere “Bloody Ritual”; Doom Sessions Vol. 2 Split with Acid Mammoth out Sept. 18

Posted in audiObelisk on June 29th, 2020 by JJ Koczan

1782 acid mammoth doom sessions vol 2

Here’s what you need to know: On Sept. 18, Heavy Psych Sounds will release Doom Sessions Vol. 2, bringing together Italy’s 1782 and Greece’s Acid Mammoth. Yeah, I know, Doom Sessions Vol. 1, with Conan and Deadsmoke isn’t even out until July 17, but I guess the label is trying to stay ahead of the game. What it rounds out to is more riffs, and I know damn well you’ve got room in your life for more riffs, so quit yer yappin’ and dig into 1782‘s “Bloody Ritual” on the streaming doodad below in all its premiere-y goodness. It runs five minutes and it’s got like a whole day’s worth of Vitamin Nod. Take your pills, man.

How on earth did Heavy Psych Sounds get the notion to pair up these Roman and Greek titans? Well, both bands released records through the imprint last year. For the duo 1782 — which also features in its lineup Marco Nieddu, who runs Electric Valley Records — it was their self-titled debut (review here), rife with willful primitivism of its approach, drawing from VHS horror grain and a post-EWiz groove that remains well intact on “Bloody Ritual.” Acid Mammoth‘s second album, Under Acid Hoof (review here), arrived later in the year and shared some genre-on-genre aesthetic with their labelmates, both bands favoring a rawness of approach and themes centered around ritualism, darkness, the devil and all that other spooky fun stuff.

I haven’t been graced with the full release as yet, so I can’t speak to what Acid Mammoth are doing this time — please don’t go prog; sometimes I feel like everybody’s going prog — but if it’s up to 1782 to set the tone with “Bloody Ritual,” they’re setting it for all the fuzzy decay you can handle. Like body odor and liquor breath put to tape. Full on scuzz.

Dig:

Bloody Ritual is the first single taken from the upcoming split album DOOM SESSIONS VOL.2 – 1782 // ACID MAMMOTH. This first single is from 1782.

The release will see the light September 18th via Heavy Psych Sounds.

ALBUM PRESALE:
https://heavypsychsoundsrecords.bandcamp.com/album/doom-sessions-vol-2-1782-acid-mammoth

TRACKLIST

SIDE A – 1782
Bloody Ritual
Hey Satan
Witch Death Cult

SIDE B – Acid Mammoth
Black Wedding
Sleepless Malice
Cosmic Pyres

Say 1782:
“A song that goes straight to the point, the emotions of the last moments of a ritual, fuzzy and heavy riffs, the battery like a boulder that enters your mind! Bloody Ritual is the track that opens Doom Sessions vol.2, 1782 & Acid Mammoth split album!”

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Days of Rona: Alex Pi of Puta Volcano

Posted in Features on April 13th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

puta volcano alex pi

Days of Rona: Alex Pi of Puta Volcano (Athens, Greece)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

We are a few days away from when we would be embarking on our European tour to promote our new album, had this crisis not landed on us. It’s not something we’re happy about, however, we are not alone in this predicament. And this transcends music, it’s a global situation that encompasses everything and brings along an awkward numbness. As a band, we are behaving the same way we behave as units, we are isolated in our homes and trying to make the best out of this situation and thankfully all of us are healthy so far.

What are the quarantine/isolation rules where you are?

We have been in lockdown for over a week [as of March 30], here in Athens, and are only allowed to go out after notifying the government via SMS. Even then, groups of more than two people are not allowed. Shopping takes a long time because supermarkets have to monitor the number of customers in the shop, which results in long lines waiting outside. No complaints there however, it is the least we can do to make sure “the curve is flattened.”

How have you seen the virus affecting the community around you and in music?

The word “around” has an ominous sound to it these days. I suddenly feel that everyone has a new appreciation of personal space and people are trying to fight the instinct of human contact that we’ve abided by all our lives. As far as music is concerned, this really feels like an apocalypse, not knowing what the landscape will look like after we emerge. Not saying that I expect to see mutants and dune buggies modded with spikes running around, but I’m really curious about how the concept of a packed venue will be interpreted on the other side of this. On the bright side, we are firmly in the information age and it’s a chance for us all to catch up with all sorts of personal backlogs, be it music, movies, practicing an instrument or even picking up new skills. It’s also very optimistic that a lot of bands were quick to adapt, streaming shows, or even just the sharing of riffage online, seems to create a sense of camaraderie.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

This is a time for us to think and act with the collective good in mind. We need to protect ourselves and protect others from ourselves. As a band, we can only promise that we will come out even more passionate about our music and willing to hop in a tour van to play as much as we can. In the meantime, let’s twist this restrictive period around into a productive self-introspection and come out wiser.

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Last Rizla Premiere “Dive” Video from Mount Machine EP

Posted in Bootleg Theater on March 19th, 2020 by JJ Koczan

last rizla

It’s only three tracks long, but I still feel like Last Rizla‘s 2018 EP, Mount Machine — still available on 12″ vinyl through Fuzz Ink Records — has enough aggro riffing for a full-length album. Like if you were to take angry riffs per capita, they’d be well over the line. Whatever the line is. I don’t know. Shit is fucked, is what I’m trying to say.

Denizens of the well populated Athenian heavy underground and associates of the likes of Sadhus, The Smoking Community, the initials-only four-piece have been at it in one form or another for well over a decade. Their self-titled debut came out in 2009 and in 2011 they took part in the Miss Fortune was a Henhouse Manager compilation (review here) that I’ve come over time to look at as something of a demarcation of the next generation of Greek heavy as noting its own arrival. A succession of shorter offerings have followed, with Mount Machine as the latest of the bunch, and its three cuts follow a not dissimilar pattern to that of “Dive,” the video for which you can see premiering below. In that they’re riffed, and fucked.

Alright, to be fair, “Battles: Rambo” spaces out a bit in its middle and is a little less decisively noise rock than “Dive,” which opens the release, but whether you’re bludgeoned with a shovel or a hammer, you’re still getting your skull caved in. “Dive” makes an even better choice to feature as a video because its central riff is particularly memorable, though the slower initial rollout of the final slammer the in-Greek title “Chályvas” of which translates to “Steel” carries a bit more atmosphere to go with its building cacophony and suitably maddening screams. Those screams by the way? They’re awesome. I know not everyone gets into harsh vocals, but there’s just something about a killer rasp that I continue to find admirable. Not everyone can do it, and not everyone who can do it can manage to sustain it over a longer term, but it just brings Last Rizla‘s entire approach to a new level of raw punishment.

Glad to premiere the clip for “Dive,” which you can see right here. EP stream is down toward the bottom of the post for your streaming discomfort:

Last Rizla, “Dive” official video premiere

Official video of the happy song Dive from the fantastic album Mount Machine.

Dark tour on Saturday January 18, 2020 on the meat market of Piraeus and Piraeus Academy. A laid back look at the daily struggles of older adults participating in music groups. No volcano or glass building was damaged during filming.

Directed and edited by Nöl.

Everything is Love.
Last Rizla.

Produced by Last Rizla and George Leodis.
Recorded, engineered and mixed by George Leodis at Wreck-It Sound Studios, Corinth, Greece, January 2018.
Assistant engineer Ramon aka Rambo.

Mastered by Brad Boatright at Audiosiege, Portland, USA.

Artwork and layout by Last Rizla.
Handprinted by Fuzz Ink.
fuzzink.com

Last Rizla are G., C., K., S.

Last Rizla, Mount Machine (2018)

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Puta Volcano Post “Black Box” Video from AMMA LP

Posted in Bootleg Theater on February 24th, 2020 by JJ Koczan

puta volcano (photo by Chrysalena Antonopoulou)

I can imagine few showers have ever been as satisfying as that which Puta Volcano vocalist Anna Papathanasiou likely took after filming the band’s new video for “Black Box.” Their second album, AMMA, is due out March 13 through The Orchard, and in the clip, Papathanasiou strides head-on toward the camera, presumably on a treadmill or some such, and is pummeled with all manner of stuffs — food, various liquids, wigs, plastic bags; at one point I’m pretty sure a triangular slice of pizza bounces off her shoulder — and yes, they’re making a statement, but that doesn’t make that slice of pizza any less greasy. So yeah, glitter, flour, milk, paint, god knows what else. You’d probably want to hose off afterward.

That, of course, is the visual metaphor at play throughout “Black Box,” which sets its prog-metal riff to work behind the vocal melody which is delivered purposefully even as this assault is taking place. The band generalize just a bit — and fair enough for not wanting to limit their audience — but it’s pretty clearly about a woman’s experience of modern life. Not that we’re not all assaulted at all times, but there remains a definite gradient difference in the uphill courses that those with varying gender identities are running, and as dolls and wigs and sundry powders and whatnots and maybe-glitter pound her, the message isn’t exactly subtle. And not that it’s my place to say so, but it’s not wrong either. There’s a key change in the vocals in the second half of the song — it’s actually bassist Bookies taking lead, but Papathanasiou continues to mouth the words in the video — that coincides with a greater intensity of riff, and then, when it’s over, she stops running, straightens her shoulders and lets out a breath. Fair enough.

Life is a big mess, and life is hard.

At least good music makes it better.

Enjoy the video:

Puta Volcano, “Black Box” official video

Greek hard rock, post-grunge, desert quartet PUTA VOLCANO has revealed the first video, “Black Box,” from their upcoming album, AMMA.

Watch the video for “Black Box” today via the band’s YouTube channel at https://youtu.be/Ye-4slpAHVk. Directed by Nick Kouros & Anna Papathanasiou.

Lyrically “Black Box” challenges the constant struggle to become something more, against all odds and against adversity. The song’s video provides a visualization of this struggle.

“The concept of the ‘Black Box’ music video is a metaphorical depiction of the struggles a contemporary individual, and more specifically a woman, goes through,” the band explains. “A literal battlefield of symbolism and stereotypes thrown against us daily, formed by societal norms and fixed gender roles. We all have encountered these as we run closer to our own finishing lines, minute by minute.”

Musically, “Black Box” is a heavy, bound-to-the-ground track, with a new flair for the band in the form of dimensional layers of backing vocals. The slow, Tool-style backbone of the song continues to build right up to the epic finish, when the tempo changes and bassist Bookies takes over with wailing vocal lines.

The “Black Box” single is available for streaming and download at https://orcd.co/putavolcano_blackbox.

AMMA, PUTA VOLCANO’s third album, will be released March 13 via The Orchard. Pre-order AMMA on limited gold/black vinyl, CD and limited t-shirt bundles at https://putavolcano.bandcamp.com/. Pre-save on Spotify and all digital platforms at https://orcd.co/putavolcano_amma.

PUTA VOLCANO is:
Anna Papathanasiou – Vocals
Alex Pi – Guitar
Steve Stefanidis – Drums
Bookies – Bass, Backing Vocals

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Electric Feat Premiere “The Caveman” Video; Self-Titled Debut out Next Week

Posted in Bootleg Theater on February 20th, 2020 by JJ Koczan

electric feat

Greek heavy garage rockers Electric Feat release their self-titled debut on Feb. 24 through Inner Ear Records. Yeah yeah yeah, that’s all well and good. Fine. It’s a record. Why do you care? You care because their new video for “The Caveman” takes Terry Gilliam-style animation to a story about Rasputin assassinating the Romanovs and subsequently being chased down and murdered by a zombie Anastasia. You care because songs like “Leather Jacket” and “Song of Disobedience” effortlessly channel ’70s swing and proto-doom vibes without actually tipping over the line of retroism. You care because the Athens four-piece are yet another example of the absolute boom happening in the underground in Greece right now. You care because you’re not a fucking philistine. Do I need to go on?

electric feat electric featThe album runs 10 tracks and 36 mostly-fuzzed minutes but has room in there for some psychedelic flash and punkier purpose in a song like “Blackwood Secrecy.” “Fogdancing” is straight-up funk doom ahead of the five-minute HumblePie-doing-Sab-worship closer “Bring Something from the Night,” but they never quite let go of the sense of rawness that opener “It’s Alright (With You)” puts forth, classic in its foundation and even in their darkest moment, which might be the crashing “Son of Evil,” there’s still a feeling of the good times that the surrounding context offers, whether that’s the shuffle of second track “Lizard Queen” or “The Caveman” itself with its echo-laced boogie, catchy guitar and shift into fuller-toned chase past the halfway mark. Like the first line of that song says, “Save the pretense for the other side.” That’s pretty much what Electric Feat do on both sides of the album, so good luck finding the pretense.

Be it the rolling “Leather Jacket” that caps the record’s first half or “Bring Something from the Night” that ends the album as a whole, Electric Feat neglect nothing when it comes to vitality of their approach, and the deftness with which they’re able to turn from boogie to doom and back again is tied together cleverly through the barebones production and the energetic captured performance that stands up to it. Look. I’ve given you reasons to care, and I’ll tell you flat out that I’ve gone ahead and put the self-titled on my ongoing list of the year’s best debut albums, so if you want to get on board, it’s up to you. But if you don’t, it’s your loss. For me, I’m just happy to have found a new band to keep up with because this shit is righteous and there isn’t a day goes by that isn’t made better by quality rock and roll.

Album’s out Monday. Video follows, so please enjoy. It’s the best one I’ve seen in a while.

Go fullscreen with it:

Electric Feat, “The Caveman” official video premiere

Electric Feat, the fairly new hard rockin’ quartet from Athens, Greece share new track and video ahead of self-titled debut record out February 24 (pressed on 180-gram vinyl) via Inner Ear Records. “The Caveman” is the third offering from Electric Feat’s record, following previously released “Lizard Queen” and “Leather Jacket”. The video made by DaDive Studio.

Preorder here: https://orcd.co/electricfeat

Rock is dead, so let’s go dancing in its ashes.

No more, no less, this is Electric Feat’s first set of songs, recorded (almost live) at the cozy Diskex studio, with Sergios Voudris’ invaluable assistance.

A hard rocking love child, with psychedelic, proto-metal and heavy blues flourishes by four geekish, local pub friends: Dr. Nanos, Madam Manthos, Prins Obi and The Tree. From the Alice Cooper-ian ‘It’s Alright (With You)’ to the elegiac, Cream-gone-evil ‘Bring Something from the Night’, “Electric Feat” is a winter rite that demands to be played loud. Long live Rock ‘n’ Roll!

Electric Feat are:
Dionysis Nanos (Dr. Nanos), guitar
Themos Ragousis (Madam Manthos), bass
Georgios Dimakis (Prins Obi), vocals, percussion
Kostas Stergiou (The Tree), drums, percussion

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The Obelisk Presents: Planet of Zeus First-Ever North American Tour Dates

Posted in The Obelisk Presents on February 11th, 2020 by JJ Koczan

planet of zeusplanet of zeus us tour banner

Go, just go. Go see Planet of Zeus. The Greek heavy rockers are coming to the US (plus a couple Canadian shows) in April, and you should be there to see it. Not the least because they’re traveling in the certifiably legendary company of Fatso Jetson, as well as Druids — what a fucking tour — and not just because I get an ego boost out of seeing a logo for this site at the bottom of tour posters, but also because it’s their first time here and they come in celebration of their 20th anniversary as a band and should be accordingly made to feel nothing but welcome every step of the way.

Seriously, you know the vast, vast majority of the planet thinks Americans are assholes, right? Well, you can work to counter that impression by showing up. Hell’s bells, buy a t-shirt, if not because you dug the crap out of Planet of Zeus‘ 2019 record, Faith in Physics (review here), then at very least for diplomacy’s sake. You’re an ambassador. Start acting like it.

Before they make the journey across the Atlantic, Planet of Zeus will be out starting later this month in Europe — call it a pre-victory lap — and that’s awesome, but please know that I’m honored to have involved in presenting this in the tiny way that it is and humbled to have even been asked. Get your ass out of the house. Please. We want them to come back.

Dates follow as posted today by the band:

planet of zeus us tour poster

PLANET OF ZEUS – NORTH AMERICAN TOUR 2020

We are stoked to announce that the time has come for the band to tour America for the very first time! All these years, we have been receiving messages from our fans in the States and Canada to play a show in their town, so this upcoming April seems like the perfect time to pay them a visit!

Having the legends FATSO JETSON and Druids on board for this one, makes it honestly unique.for us.

The whole tour is presented and supported by The Obelisk and we couldn’t thank him enough for that!

April 8th: Omaha, NE – The Sydney
April 9th: Chicago, IL – Cobra Lounge
April 10th: Pittsburgh, PA – Cattivo
April 11th: Toronto, ON – Bovine Sex Club
April 12th: Montreal, QB – Cafe Dekcuf
April 13th: Quebec City, QB – La Source De Martiniere
April 14th: Brooklyn, NY – St. Vitus
April 15th: Frederick, MD – Cafe 611
April 16th: Charlotte, NC
April 17th: Atlanta, GA – The 529
April 18th: New Orleans, LA – Portside Lounge
April 19th: Lafayette, LA – Freetown Boom Boom Room
April 20th: Austin, TX – The Lost Well
April 21st: Dallas, TX – Lola’s Saloon
April 23rd: Tempe, AZ – Yucca Tap Room
April 24th: San Diego, CA – Soda Bar
April 25th: Costa Mesa, CA – The Wayfarer
April 26th: San Francisco, CA – Bottom of the Hill
April 28th: Portland, OR
April 29th: Seattle, WA – Funhouse
April 30th: Boise, ID – The Shredder
May 1st: Salt Lake City, UT
May 2nd: Denver, CO – Streets Denver

Tour poster by our beloved Bewild Brother
Tour powered by Atomic Music Group!

Our European tour with Kvelertak is getting close!

27/2: Kulturzentrum Schlachthof,Bremen (DE)
28/2: Gruenspan, Hamburg (DE)
29/2: Essigfabrik, Koln (DE)
1/3:Rockhal, Luxembourg, (LU)
3/3: Le Trapendo, Paris (FR)
4/3: Substage, Karlsruhe (DE)
6/3: Conne Island, Leipzig (DE)
7/3: SO 36, Berlin (DE)
8/3: Kwadrat, Krakow (PL)
10/3: Durer Kert, Budapest (HU)
11/3: Szene, Vienna (AT)
13/3: Meet Factory, Prague (CZ)
14/3: Backstage, Munich (DE)
16/3: Z7, Pratteln (CH)
17/3: Schlachtof, Wiesbaden (DE)
18/3: Patronaat, Haarlem (NL)
20/3: Academy 2, Manchester (UK)
21/3: SWX, Bristol (UK)
22/3: Electric Brixton, London (UK)

Tickets: http://planetofzeus.gr/tour-dates

PLANET OF ZEUS is:
Babis Papanikolaou – Vox & Guitars
Stelios Provis – Guitars
Giannis Vrazos – Bass
Serafeim Giannakopoulos – Drums

Planet of Zeus, Faith in Physics (2019)

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