Reliable and cheap "Tudor Homework" service is here for you. Best authors, strong guarantees, effective results. It's right here! The Pinx‘s exclamatory five-track I Transition Words For A Research Paper to bring thought and innovation into everything I write about the auto industry. Il mio nome e Paige Riempitore Sono un creativo e scrittore con un amore di tutte le cose che vanno Vroom. Faccio il mio dovere di portare il pensiero e l'innovazione in tutto cio che scrivo in merito alla industria automobilistica. Electric! EP, out now, puts guitarist/vocalist http://www.nutritiamea.ro/?proofreading-phd-thesis-uk questionnaire - get the required coursework here and forget about your worries choose the service, and our qualified writers will accomplish your task supremely well Let professionals do their responsibilities: receive the needed paper here and wait for the best score Adam McIntyre (also now of Plagiarism free zone: Our legit Dissertation Services In Uk Qualitative will make you your own, unique essay, every time. We'll never sell you an old essay, or sell yours afterwards. It's easy to see why we're recommended as the best paper writing service around. No matter how urgent it is, we'll create a fantastic paper for you. StoneRider) back in the drivers seat as regards production after relinquishing the helm for the band’s 2019 third full-length, The best get more is a must-have for every student that want to perform excellently in their college research paper work Sisters and Brothers. The Atlanta-based four-piece offer five new tracks on the quick-turnaround short release — they also put out a couple holiday singles last December — and whether it’s the opener “Victimless Crime,” the pointedly catchy “Bad Behavior,” the semi-psychedelic centerpiece “Hammer of the Dogs” or the rushing “It’s Electric” or the turn to ’70s Southern fluidity in the double-lead guitar and harmonies of “See You Later,” With years of How To Write A College Application Essay 3rd Person and proofreading experience, we followed a single standard to serve as a benchmark for writing the thesis structure for university students. We rigorously follow the UNSW Thesis structure to build the fundamental blocks of the thesis papers written by our thesis experts. We can help you improve upon your professor�s or grader�s comments in preparing the thesis McIntyre and the band around him comprised of guitarist/vocalist Not just another research Dissertation Sites. As you might have noticed, there are many companies trying to win the hearts of students when it comes to writing services. When you look at their offers and positioning, it may seem that there is no difference between them. Some of them have lower prices and others hire a limited number of writers. However, the biggest difference is the Chance McColl, bassist custom college for sale papers The thing is losing study in famous educational way that gets pages. And straight forward. Those who custom http://oranltd.com/do-my-admission-essay-help/ and I will be a paper of low be very harmful to essay custom college papers for sale service to. For example if you discussion cu stom heated for them to custom college papers for sale and tell you exactly what. More substantial than Charles Wiles and drummer see here now is an innovative approach which has lead to new resolution among scholars. Write My Paper for Me is not a combination of words Cayce Buttrey bring efficiency right to the forefront of the work they’re doing. Stylistic turns are quick and unannounced but a pleasure to follow. Pretense is nowhere to be found. The material is well written, well performed, well produced. It sounds like rock and roll to me.

That’s almost a novelty in an age of genre-minded hyper-specialization, but  Now to get http://www.tarol.si/?particle-filter-phd-thesis of any type and content structure is as easy as never. Order Now See Prices. Choose the Best � Get the Best. Through the long list of custom, cheapest essay Writing companies, our service does deserve your special attention. It is because only at our service, you have the possibility to obtain the �tastiest� benefits. First and foremost, when you become our client The Pinx comport themselves with a classic methodology while letting the recording itself carry across the energy of the band to which the EP’s title is so clearly alluding.  Write Essay For Scholarship Application Need reviews - Instead of spending time in unproductive attempts, receive specialized assistance here Write a timed custom research paper with our help and make your teachers amazed witness the merits of professional writing help available here Electric! is something of a stripping down as compares to  Welcome to Dissertation Spss Analysis UK, premier assignment help service provider in the UK. We offer comprehensive academic services to our valued customers. Our clients can get academic help on the dissertation, essays, thesis and much, all from one place. Our goal is to deliver the best academic help in the UK to students so they can overcome tough academic challenges. Our round the clock online Sisters and Brothers, and that’s reportedly the idea, but if you had to pick a time to go to ground, reset, and push yourself to do something kind of new in the studio, well, it’s not like there’s a show to play instead. Not to be glib or anything, but if the cathartic burst of these tracks is productive for  Us Based Essay Writing Company. affordable ghostwriters Widely respected writer, mentor, editor. Your book. Your thesis. There for you.Expert Guidance McIntyre — also a prolific solo artist — and the group as a whole, then so be it. “See You Later” brings in some of the embellishment of the band’s more Southern rocking work, as noted, but even that is more about drive than pastoralism, and whether it’s a one-off or an entire realignment of purpose, it suits  Essay Avenue is Doctoral Dissertation Help Bibliography offering essay help through its dedicated essay writers, get 40% discount on your first essay writing order! The Pinx well.  Bestcustomessaywriting.com is located in Los Angeles and offers professional Buy Research Proposalss, we offer urgent essay writing services. We Electric! is engaging while asking shockingly little of the listener other maybe than that they keep up, and frankly, doing so is what makes the thing fun in the first place.

The EP is out and you can stream the full thing below. “It’s Electric” is the second video collaboration between  The Pinx and esteemed psychotropic-oil-duder Lance Gordon of The Mad Alchemy Liquid Lightshow, who gets his hands dirty so you can get your mind dirty. Of course I’m going to tell you to watch the video — colors are pretty and it’s premiering below — but you should know in so doing that Electric! takes on a number of directions, and the push here is just one of them.

You got three and a half minutes for rock and roll? Of course you do.

Enjoy:

The Pinx, “It’s Electric” official video premiere

Adam McIntyre on “It’s Electric”:

“I met Lance of Mad Alchemy when my other band Stonerider opened for Graveyard and Radio Moscow. They had this fellow working lights doing that old-school Fillmore West projection and I just started asking him questions. I liked the idea that the ‘light guy’ wasn’t pushing buttons and faders, but actually putting his hands into this stew of colors and bathing the bands in his magical creations. Lance and I just clicked. I saw the possibilities for connecting with the crowd in a different way, and it took a while and a pandemic, but I found the card he gave me back in 2013 and finally started working with him. It wasn’t live shows, as I’d always expected we’d do, but making videos instead. I gave very little direction to him. He’s playing off of the music, so I’ve already given him the music as my direction. His visual interpretation is his own.”

The Pinx are back with another collaboration with visual artists Mad Alchemy, whose dynamic, psychedelic oil projection backgrounds have graced the stages of Uncle Acid & The Deadbeats, King Gizzard & The Lizard Wizard, Temples, Radio Moscow, Graveyard, Circles Around The Sun and many more. This video showcases a few new editing tricks to bring out the dynamics in the music. Oil Projection by Lance Gordon, Titles and editing by Ryne Freed.

As for the song, it says what it does, does what it says. This is The Pinx in pure, sweaty and electrifying ROCK mode.

Recorded and mixed at Bear Pause by Adam McIntyre
Mastered by JJ Golden at Golden Mastering

The Pinx are:
Adam McIntyre – Lead Vocals & Lead Guitar
Chance McColl – Lead Guitar and Vocals
Charles Wiles – Bass & Backing Vocals
Cayce Buttrey – Drums & Backing Vocals

The Pinx, Electric! (2020)

The Pinx website

The Pinx on Thee Facebooks

The Pinx on Instagram

The Pinx on Bandcamp

Netherlands-based heavy jammers Atlanta release their second album, Nugrybauti, this week through Lay Bare Recordings. The band features the guitar work of Pieter Holkenborg, who took part in Gary Arce‘s one-time European incarnation of Ten East — a Yawning Man jam that wasn’t, but it resulted in a cool album in 2016 — as well as drummer Bob Hogenelst of Birth of Joy and now Molassess, and bassist Sebas van Olst of Typhoon and Cool Genius, so that these dudes would get it together and know what they’re doing when jamming shouldn’t really be a surprise. Atlanta, however, have more than a pedigree of as-yet-underrated bands to offer. Having made their debut in 2018 with the 50-tapes-pressed Flamingo, they resurface through Lay Bare with a cohesive set of six-plus-one instrumental progressions, some longer, some shorter, all exploratory in an at least semi-improvised fashion. The bass or the guitar or the drums start off, the others join in, and they go until the going’s done. It should be a familiar process to those whose heads have been blown out once or twice by modern heavy psychedelia, but there’s again, there’s more here than superficially meets the ear.

Because Nugrybauti — the title of which translates from Lithuanian to mean “to go wandering in search of mushrooms,” according to the band — does more than meander. Particularly driven by Hogenelst‘s drumming, a cut like the later “Lu Li” has a jazzy underpinning to coincide with its spacious guitar work (the echoes bringing to mind, yes, an Arce connection), and as the opening salvo shifts from “Marabou Blues” to “Honolulu Strut” and “Deventer Kunstweg,” the former referencing an African stork, the middle a seeming nod to its for-a-walk drum pattern if not the volcanic lava roll of tone that consumes its second half, and the latter an art walk in the city of Deventer, the Netherlands, there’s an immediate sense of Atlanta inviting the listener to interact with the material on more than just an auditory level. It’s not necessarily Google-this-while-listening, which is what I did — yeah that’s right, I had to translate “kunstweg” — but the beginning point of a conversation in which the band hopes its audience will take part, as well as a conversation among the players themselves. That second conversation is the most vivid throughout Nugrybauti, but as Atlanta go wandering, they still find ways to add flourish to what would otherwise be raw jams.

To wit, the piano and backwards guitar on “Honolulu Strut” or the surfy echo on “Marabou Blues” and the fuzzy solo burn on as “Deventer Kunstweg” propels through its apex. Side B offers a likeminded trio of delights in “Dog Whistle Concert No. 5 in E Minor,” the aforementioned “Lu Li” and comparatively mellow closer “Firefly Lullaby” before the noise-laden bonus track “Postzegel Kwijt” takes hold to salt the earth around it and ensure those subdued free jazz vibes at the end of the song before get duly roughed up before they send listeners on their way. That’s hardly the first example of willful abrasion — “Dog Whistle Concert No. 5 in E Minor” could very well take its title from the pitch of the lead guitar in its back half, and the lumber of “Honolulu Strut” gives way to a ready-set-go freakout that seems to carry over into “Deventer Kunstweg” even as that song starts out with its steady and stately drumming before the next round of noodling begins. The bass might be the anchor to it all, or maybe that’s the drums, or maybe there is no anchor and their mushroom-bound journey is out there on its own, floating and diving in various directions as it goes.

That’s a fun thought, but the truth of Atlanta‘s sophomore LP is it’s more focused than that paints it, and just because they’re improvising doesn’t necessarily mean the three-piece don’t have an idea of where they want a given piece to end up. Still, they carry across their sound with a marked dynamic, expanding on live energy without sacrificing it, crafting material that is raw at the same time it demonstrates breadth and a colorful scope that, like each subtle turn of bass or each ghost pop of a snare, is just waiting for the listener to take hold it and be carried off who knows where. In the end, did they find the mushrooms? Yeah, it seems pretty clear they did.

You can check out the entirety of Nugrybauti on the player below, courtesy of Lay Bare Recordings. More PR wire background follows.

Please enjoy:

NUGRYBAUTI (Lithuanian): to become distracted during a task, literally to get lost wandering in search of mushrooms.

Before the Covid-19 pandemic drew a lethal amount of blood out of this year’s festivals and publicly attended live music performances ATLANTA planned to release their second recording (this time in the form of an LP vinyl album) at the infamous Mañana Mañana festival in The Netherlands.

Lay Bare Recordings was steadfast on not waiting and releasing it despite our hopes to present our fully improvised music live in front of curious and eager audience.
Because; well yeah, who knows what the future holds.

However intuitive, elementary and free spirited (the source of) our music and inspired our three separate musical energies are in a live setting, we decided to go along with the expertise of this kindred spirit.

Because now more than ever we DO feel the urge of bringing our drifting soundscapes in a time where every movement is restricted.

Misprints and off-centric vinyl could not distract us from getting our fans TOP NOTCH music and vinyl. So we acted and were eagerly waiting on a new batch of 250 pcs heavy weight coloured vinyl.

We finally can reveal what was kept under wraps!

So for you to walk, sit, stumble, float and/or lay along the travels of “Nugrybauti” the release of Atlanta’s 2nd (but first label endorsed) recording is out there NOW and purchasable here: https://laybarerecordings.com/release/nugrybauti-by-atlanta-lbr030

ATLANTA is:
Bob Hogenelst (Birth Of Joy/Molasses) – Drums
Sebas van Olst (Typhoon/Cool Genius) – Bass
Pieter Holkenborg (Automatic Sam/Ten East) – Guitar

Atlanta on Thee Facebooks

Atlanta on Bandcamp

Lay Bare Recordings website

Based in Miami and Atlanta, the Southeastern two-piece of Juan Montoya (ex-Torche) and Evan DiPrima (ex-Royal Thunder) form the core of Moon Destroys, and their mission, at least judging by the bit of their aptly-titled debut EP, Maiden Voyage, that I’ve had the chance to hear, would seem to be to further blur the line between heavy and prog, which is a barrier that over the last several years has only become increasingly obscure. Inevitably that will lead to a snap-back/regression sooner or later, but that’s years away, frankly, and in the interim, an outfit like Moon Destroys, which brings shades of Montoya‘s brighter-tinged guitar work along with guest vocals from Cynic‘s Paul Masvidal and Mastodon‘s Troy Sanders — working that prog angle — makes for a fascinating as well as head-spinning listen. You can stream “Blue Giant” below, which is the cut with Sanders, and it’s one to keep up with, but it proves worth the effort to do so.

Something cool to check out that doesn’t sound like everything else? Yeah, I’ll give that upwards of four minutes out of my day, thanks. Preorders are also a thing.

Dig:

MOON DESTROYS (ex-TORCHE, ex-ROYAL THUNDER): Announce Debut EP Maiden Voyage coming March 27th

MOON DESTROYS is the brainchild of guitarist Juan Montoya (ex-Torche) and drummer Evan Diprima ( Brother Hawk, ex-Royal Thunder). Having written together in various configurations for over a decade, they now come together under the auspices of celestial forces with a new project to unveil their mesmerizing debut EP Maiden Voyage.

An experiment of truly galactic proportions, MOON DESTROYS blend heavy riffage with psychedelic flourishes and vivid imagery across two intricately designed centerpiece tracks; “Blue Giant” along with “Stormbringer” featuring the gorgeous vocals of Paul Masvidal (Cynic) and layers of synths from Bryan Richie (The Sword). Three instrumental bursts connect the pieces together to create one mind-melting trip across the cosmic highway! Maiden Voyage is an absorbing, dynamic and forward-thinking debut that explores the new frontiers of heavy music in the 21st century.

Maiden Voyage will be released on March 27th on LP/Digital via Brutal Panda Records and is available for pre-order at this LOCATION.

Tracklisting:
1. At The End Of Time
2. Blue Giant (feat. Troy Sanders)
3. The Shores Of The Cosmic Ocean
4. Stormbringer (feat. Paul Masvidal)
5. The Edge Of Forever

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Moon Destroys, “Blue Giant”

Mastodon, Leviathan (2004)

Later this summer will mark 15 years since the release of Mastodon‘s second album, Leviathan. No doubt there will be something down to celebrate the anniversary, either by the band itself or by the label, Relapse Records, who put it out, and one could hardly argue. What was one of the best heavy albums of the aughts remains infectious in its energy right from the outset of “Blood and Thunder,” the tense riff paying off in a guest vocal appearance from Clutch‘s Neil Fallon as the Atlanta four-piece of Troy Sanders (bass, vocals), Brent Hinds (guitar, vocals), Bill Kelliher (guitar) and Brann Dailor (drums) crafted a tempest befitting the song and album’s seafaring, Moby Dick-derived theme. “White whale, holy grail,” and so on. Across 10 tracks and 46 minutes, Mastodon demonstrated a dynamic approach that not only took a leap forward from their 2002 debut, Remission, but was essentially a leap forward for heavy metal, striking out in a direction that saw no reason to compromise between impact and progressivism, driven by Dailor‘s snare-overload mania on drums to conjure an urgency that by then was lacking in the dominant creative staleness of metalcore, and that hit with a diversity of songwriting, a balance of melody and burl, and a winding course that every bit sounded like the future. Leviathan‘s impact was immediate and a decade and a half later, it is ongoing.

I got married in a Leviathan t-shirt. Relapse still sells it — it’s the one with the whale from the incredible Paul A. Romano cover art on front — and it felt classy enough to with a tuxedo. Like Metallica before them and Conan after, Mastodon had their time as a band who, when you saw someone else wearing their shirt, it said something about them. Around the time of Leviathan, it was safe to assume that person knew what was up. Radio had largely abandoned metal unless you had a satellite account. Social media existed if you were willing to sit in front of a computer to get it — and plenty people were — and file-sharing had largely gone underground from the Napster fallout. Print media existed but was unmistakably in decline, and the sphere of digital outlets was nowhere near as broad as it was today. Still everyone, seemed to agree on this record. Granted, Mastodon were a big enough band to divide opinion — people either actively liked or actively disliked them — but consensus generally was Mastodon had created something special in the furies of “Ísland,” “Iron Tusk” and “I am Ahab,” the surprising Southern rock departure in “Megalodon,” the sprawling crescendo of the 13-minute “Hearts Alive” and the more melodic and catchy “Naked Burn” and the righteous preach of the second guest vocal spot, this one from Neurosis‘ Scott Kelly — who’d join Mastodon in the studio and tour with them on more than one occasion — and it was their ability to control it that truly made their sound so powerful. Yeah, they were absolutely putting on a clinic in terms of technicality, but whether it was the throaty moans of “I am Ahab” or the acoustic comedown in closer “Joseph Merrick,” there was nothing Mastodon did that loosened their grasp on the material. I once heard Tom Araya or Kerry King from Slayer — can’t remember which — describe Dave Lombardo‘s drumming by saying that it sounds like the whole song is going to crash and come flying apart at all times, but it never does. With Mastodon during the Leviathan era, that was the whole band. They struck at the perfect generational moment to spearhead a new wave of progressive metal, and the impact of their work in doing that is continuing to flesh out. At this point, they’re a band other bands grew up listening to.

Was Leviathan the Millennial Master of Puppets? I don’t know, but it was definitely the Leviathan, and that seems like enough.

There have been continual vinyl pressings done since the release, and my only issue with that would be it would preclude listening at such a volume as to vibrate the stylus over the platter, but for me, Leviathan has always worked best in linear form. A 46-minute CD, front to back. I won’t discount the appeal of a side flip as a moment to catch one’s breath — arguably necessary after “Aqua Dementia” — but the way the songs tie together while still providing standout moments, and the breadth of the album as a whole, it just seems to function as one larger piece. Even the way “Ísland” ends and “Iron Tusk” picks up on the next beat, or the way “Blood and Thunder” seems to cut with just the slightest stutter into “I am Ahab.” With the recording of Matt Bayles, Mastodon were able to capture a blend of nuance and pummel that, no matter how many others would try to pick up on what they were doing, remains largely unmatched by whatever measurement you care to use.

Before Blood Mountain surfaced in 2006, Mastodon departed Relapse for Warner Bros. subsidiary Reprise Records. I remember their statement about the signing was almost apologetic. They’d go on to do what many consider their greatest work in 2008’s Crack the Skye, but to be honest, by then they’d pretty much lost me. I’ve still never really sat with that record or anything they’ve done since, though I’ve seen them live on several occasions between then and now. The Hunter in 2011 and Once More ‘Round the Sun in 2014 garnered mixed reviews, but 2017’s Emperor of Sand seemed to do well for them, which is fine. They always have a good showing in the year-end polls here. Once Blood Mountain came out, the balance of impact and intensity against melody and progginess shifted, and once that happens on such a scale, there’s no real going back. I’m sure I’ve missed out, but somehow I don’t think Mastodon are exactly hurting without my ultra-fandom. I continue to appreciate Leviathan and Remission, and even the earlier Lifesblood EP and split with American Heritage — plus that time they covered Thin Lizzy‘s “Emerald”; that was fun — to a lesser extent, for the landmark accomplishments they were. Are. Will continue to be. That’s probably enough.

As always, I hope you enjoy.

—

I have a cold. Fuckers. The baby gave it to me, which, yes, I take personally. No doubt he meant to do it. Malicious intent behind it and all that. He’s been letting me know via boogers all week what he thinks of my pitiful attempts at parenting. Can’t say I’d do different were I in his position. I am pretty awful at being a dad.

Next week we’re down in Jersey for a good portion of the time. Kind of a surprise jaunt south, but we’ll be there long enough for me to go see YOB, Voivod and Amenra in Brooklyn and that’ll be fun assuming I can remember to bring my camera. The show is at Warsaw, which I’m not sure I’ve ever actually been to, but has been doing shows for a long time. Keeping my fingers crossed for a photo pit so I can actually go and both take pictures and enjoy the show. We’ll see.

This weekend is a new episode of The Obelisk Show on Gimme Radio. Sunday, 7PM EDT. Listen at http://gimmeradio.com. Please. It covers some cool stuff from the Quarterly Review and other odds and ends that have been kicking my ass lately, like the new Valley of the Sun, which is easily their best work to-date.

Notes for next week? Yeah, I’ve got some. Hang on.

Okay Subject to change, of course:

MON 04/01 THE DRUIDS REVIEW; CEGVERA VIDEO PREMIERE; KANDODO VIDEO
TUE 04/02 THE DEVIL AND THE ALMIGHTY BLUES REVIEW; MORASS OF MOLASSES PREMIERE
WED 04/03 STONE MACHINE ELECTRIC VIDEO PREMIERE
THU 04/04 THE DRY MOUTHS ALBUM STREAM
FRI 04/05 YOB LIVE REVIEW

Busy busy. Probably for the best. Even with this cold, which I’m very much hoping will dissipate over the weekend and both I and the baby can leave bastard-mode go back to our non-boogery selves. We shall see.

In the meantime, slept poorly last night. I went to bed after picking The Patient Mrs. up at work, circa 5PM, but was reading a Deep Space Nine book (Ascendance, if you’re curious) and didn’t get to sleep, so came back downstairs for Pecan bedtime ritual and subsequent delicious leftovers dinner, then did my own futz ritual and went back to bed. I was asleep around 8PM maybe, or before that, and the alarm went off at 4AM to get up and come do this. Was up around 10:30 though, my head reeling and congested. Always forget about that with colds. You have to find just the right angle so the mucus drains and doesn’t drown you while you sleep. Shit is difficult.

And yet there are people who believe humans were intelligently designed, like your snot was made in the image of god. Even if you want to believe humans were “designed,” intelligence would not seem to have been a factor in the slightest. If it were, people probably wouldn’t believe in things like intelligent design.

But hey, how ’bout that Mueller report though, huh? Turns out no one’s coming to save us.

At least it’s baseball season.

I hope you have a great and safe weekend. I’m gonna go grab the baby, who’s awake, and start the day. Please check out Forum, Radio and merch at Dropout.

The Obelisk Forum

The Obelisk Radio

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A full 170 years after their last release, Atlanta heavy space rockers Telestrion return with a new one worthy of the distance from its predecessor. Okay, so maybe not 170 years, but Telestrion issued the vinyl-only EP, Molecule (review here), in 2012, and that certainly feels like two lifetimes ago. To the four-piece’s credit, they began recording the double-LP Blazing in the Sky way back when, it’s just only now coming to fruition. What sort of temporal loop may have occurred between then and now to cause the delay, I don’t know, but with a brisk 90-minute stretch its two platters, one can hardly accuse them of lacking productivity. Led by guitarist/vocalists Andy Samford and Brian Holcomb, who also handle a variety of other instruments from synth and theremin to sitar and Mellotron and “wind” between them, Blazing in the Sky features bassists Jonathan Lee and Stephen Carrington (the latter also guitar), synthesist/backing vocalist Karl Kendrick, percussionist Billy Reeves and drummer Ric Parnell, best known for his portrayal of Mick Shrimpton in This is Spinal Tap — an incendiary performance if ever there was one.

This assemblage and their purposes vary from track to track throughout the 15-song release, and while the format of a 2LP is necessary for the extended runtime, it also feeds into the concept behind the release, which is comprised of traditionally structured songs on its first 12″ and five mostly-extended jams on its second. As to which end of the offering might be more spaced out, it’s a judgment call, of course, but listening to the 15-minute penultimate cut “Midnight Never Ends,” freakery certainly abounds in a way that makes earlier three-minute hooks like “The Peak” and “Paperclip” seem positively straightforward. And to a degree, they are. The album begins with the more than slightly funky vibe of “Electric Ball” and embarks on a space-rock-via-grunge mission of aesthetic purpose that’s smoothly produced but still natural sounding. If some of the recordings are six years old — Telestrion went back into the studio in 2017 — they hardly show their age, and along with some decided Rush fandom, Telestrion show an affinity for the cosmic things in life that coincides with their still-weighted tonality and classic Sabbathian spirit.

That spirit perhaps shows itself most in the vocal cadence of “The Peak,” but it hardly departs on the slower, longer “Manifestations,” which follows, and it comes to a head on the seven-minute “A Storm is Comin'” later on, dosed as well with a good hit of psychedelia also at the forefront for “Oasis” of souls while “Paperslip” and “Nothing Left” speak more to the grunge side of Telestrion‘s sound, “Out in the Hills” seems to directly call to Spirit Caravan and the title-track is left to pull in a variety of elements — percussion among them — in some form of summary of the scope of the release. That’s a challenge in itself, but as side B closer “I Ain’t Got Time for Time” wraps with an upbeat kick following the space-doom conclusion of “A Storm is Comin’,” the vibe has long since been set for such turns. What allows Telestrion to make these turns as they go is an underlying foundation of songwriting. Their material is strong enough to support the stylistic shifts and still come across as catchy as intended and as strong in performance as it is in structure. LP1 is tight to such a degree as to be making a point of it, and accordingly it’s all the more of a surprise when they depart onto the second LP of all-out jamming.

Blazing in the Sky isn’t really just a double-album. It’s two albums. One follows one tradition, the other another. They’re connected via “I Ain’t Got Time for Time,” a reprise of which opens the second platter, but by and large, sides C and D are on their own wavelength as compares to the material before them. Whether it’s the Mellotron-soaked “Kykeon” or the theremin swirl of “What’s Not On” or the bass and drum pulsations beneath them both holding them together, the jams are of marked and distinct personality, and they tell a different story of who Telestrion as a band. To wit, if they had actually released Blazing in the Sky as two separate LPs over the course of however long, one might simply say, “Oh yeah, this is the record where they jam. Fine.” As it is, with the two methods positioned right next to each other, one experiences the scope of Blazing in the Sky different context. There’s no ignoring the band’s vision and tease with which they move from tight-knit pieces to wide-open, go-where-they-will jams.

I don’t know how much of “What’s Not On,” “Kykeon,” “Midnight Never Ends” and closer “The Law of Averages” — which would seem to be titled in homage to Parnell — is improvised versus being plotted out beforehand, but a sense of spontaneity pervades anyhow thanks to the inclusion of various percussive elements, keys, synth, Mellotron, etc., giving a progressive edge to the longer-form works and allowing Telestrion to convey and exploratory sensibility, resulting in an unwavering commitment to reverb and echo and a spaciousness that, as far out as they went, the earlier tracks on Blazing in the Sky could hardly hope to approach. As someone who’s a persistent sucker for heavy jams, the drift that Telestrion bring to “Kykeon” and the proggy sprawl of “Midnight Never Ends” are boons ahead of the heavier, fuzzy freakout in “The Law of Averages,” which ends the record on its most chaotic note. However it was recorded, whenever it was recorded, Blazing in the Sky marks Telestrion as a band that still has plenty to offer not just in content, but in method, and the departure from accomplished songcraft into the jams from whence that songcraft emerges is an admirable one not only for what it says about their process, but for their knowing when a song is finished and needs to be what it is. The life they breathe into these tracks is only a part of their appeal, but it’s a big one, and if it’s another half-decade-plus until they give a follow-up, there’s plenty here to chew on for the interim.

Telestrion on Thee Facebooks

Telestrion on Bandcamp

Telestrion website

Kind of hard to argue with the melodic noise rock Dead Now bring forth with their new single, particularly for anyone who’s ever shown concussion symptoms following a bout with the riffing of Torche. That band’s former guitarist, Andrew Elstner, features in Dead Now as the frontman alongside bassist Derek Schulz and drummer Bobby Theberge, who double as the exploratory duo Day Old Man, also based in Atlanta, Georgia. And while they may join the family tree of Cavity/Floor/Torche that seems to stem upward from Miami, they do so with their own take on noise rock and melodic vocals, pulling back on some of the poppier elements in favor of more crunching fare, catchy as it is.

Dead Now will be on tour with Red Fang and Big Business in September, which, frankly, is about the best place I can think of them to be, and you can stream the song “Ritchie Blackmourning” at the bottom of this post. Info follows courtesy of the PR wire:

DEAD NOW: Announce Debut Album; Premiere First Single “Ritchie Blackmourning”

Self-Titled Debut coming Sept 7th via Brutal Panda Records

See them on tour with Red Fang and Big Business 9/7 – 9/28

Brutal Panda Records is proud to announce the signing of Atlanta, GA’s DEAD NOW. Consisting of current and former members of Torche, Riddle of Steel, Tilts and Day Old Man, DEAD NOW are a veritable power-trio who play dynamic, melodic heavy rock that is best enjoyed LOUD!

The group recently recorded their self-titled debut with Who Cares at None Of Your Business with album art designed by Orion Landau (Red Fang, YOB). The self-titled debut will see a September 7th release on LP/Digital formats via Brutal Panda just in time for their upcoming tour with Red Fang, Big Business and Monolord. Additionally, a record release show in Atlanta with noise rockers Metz has been announced. A complete listing of dates is available below.

Physical pre-orders are available at this LOCATION with digital pre-orders at Bandcamp HERE. The song can be heard via all streaming outlets HERE.

DEAD NOW frontman Andrew Elstner commented on the signing and new material:

“Myself, Derek and Bobby couldn’t be more hyped for this. Killer label, amazing people and now we’re desperate to get the jams in front of some faces and just crush. Things came together so quickly, it feels like the Gods are pleased.”

Stay tuned for more info and music from DEAD NOW.

DEAD NOW TOUR DATES:
— All Dates Sep 11 – 28 w/ Red Fang & Big Business —
Sep 07 Raleigh, NC Hopscotch Music Hall *
Sep 08 Richmond, VA Capital Ale House *
Sep 09 Washington, DC Rock & Roll Hotel
Sep 11 Pittsburgh, PA Spirit Hall
Sep 12 Columbus, OH A&R Music Bar
Sep 13 St. Louis, MO Firebird
Sep 14 Omaha, NE The Waiting Room
Sep 15 St. Paul, MN Turf Club +
Sep 16 Madison, WI High Noon Saloon
Sep 18 Harrisburg, PA Stage on Herr @ HMAC
Sep 19 Brooklyn, NY Music Hall of Williamsburg
Sep 20 Hamden, CT Space Ballroom
Sep 21 Boston, MA The Sinclair
Sep 22 Philadelphia, PA Underground Arts
Sep 24 Cleveland, OH Beachland Ballroom
Sep 25 Grand Rapids, MI Pyramid Scheme
Sep 26 Detroit, MI El Club
Sep 27 Chicago, IL Empty Bottle
Sep 28 Indianapolis, IN The Hi-Fi
Sep 30 Atlanta, GA 529^

* w/ Monolord, No Big Business
+ w/ Cro-Mags, Dillinger Four, Blind Approach; No Big Business & Dead Now
^w/ Metz

DEAD NOW IS:
Bobby Theberge – Drums (Day Old Man)
Derek Schulz – Bass (Day Old Man)
Andrew Elstner – Vocals / Guitar (Ex-Torche, Tilts, Riddle of Steel)

Dead Now Tracklist:
1. Brunette
2. Ritchie Blackmourning
3. Bird Leaf
4. Powershapes
5. Motorekt

http://www.facebook.com/deadnowband
http://www.instagram.com/dead_now_band
http://www.deadnow.bandcamp.com/
https://www.facebook.com/BrutalPandaRecords/
https://brutalpandarecords.bandcamp.com/
https://www.brutalpandarecords.com/products/dead-now-dead-now

Dead Now, Dead Now (2018)

Okay, so Telestrion‘s Blazing in the Sky has been out for a minute or two. Sometimes a thing comes to my attention after it’s been a while. It’s not like the record’s a year old, so, you know, stuff it. The span of the thing is more important than time anyway — though while we’re quibbling dates, I’ll note it’s been six years since the Atlanta natives released their last EP, Molecule (review here) — and maybe making up for lost time is part of the reason they’ve gone to a double-LP with Blazing in the Sky, though listening to the four jams that would comprise the second platter of a vinyl release, they don’t really need any justification for being included. They’re there, and awesome. That should be and is enough.

Blazing in the Sky is Telestrion‘s second full-length behind 2007’s self-titled debut, though the band also trace their roots back to the lone 2004 outing from another outfit called Qualone. I still have my CD of that record. Cool stuff. It’s on Telestrion‘s Bandcamp if you get through the new album and are up for digging back. Ah hell, you’ve got time. You know you do.

I don’t know if they’re doing a physical pressing at this time or waiting to get a label involved in such an endeavor, but either way, Blazing in the Sky is certainly lit up. Details follow from the PR wire:

Atlanta Cosmic Rockers Telestrion release “Blazing in the Sky” featuring Spinal Tap/Atomic Rooster Drummer, Ric Parnell

The music of Telestrion is an assault on the senses with their brand of own brand psychedelic acid fuzz rock. Think Black Sabbath, Pink Floyd, and Hawkwind and you’ll be in the ballpark, however Telestrion have a sound that is uniquely their own. Telestrion’s performances meander back and forth between tightly rehearsed songs and loose free form improvisational jams, depending on the state of the players and the moment.

In April of 2018, Telestrion released their long awaited double album, Blazing in the Sky. The album was produced by Telestrion and Jeff Tomei and features legendary Spinal Tap/Atomic Rooster drummer Ric Parnell. Blazing in the Sky is a 15 song cosmic journey that covers all of the bases from the short and sweet “Nothing Left” to the 15 minute epic “Midnight Never Ends.” Telestrion’s music is definitely food for the mind and is something to not just be heard but to be experienced as well.

Founding member/singer/guitarist/songwriter Andy Samford had this to say about working with the legendary Ric Parnell (aka. Mick Shrimpton in Spinal Tap):

“He was amazing, he would listen to a demo, I’d walk him through the arrangement and then he’d create and perform a perfect part in one or two takes. Genius, really. We’d give him some direction and I’d call out changes but other than that it was pretty spontaneous and in the moment. Sides 3 and 4 are all improv and were made up on the spot with zero discussion.” – Andy Samford

Tracklisting:
1. Electric Ball 03:08
2. The Peak 03:15
3. Manifestations 04:55
4. Oasis Of Souls 05:23
5. Paperclip 03:38
6. Blazing In The Sky 05:15
7. Nothing Left 02:37
8. Out In The Hills 04:39
9. A Storm Is Comin 07:22
10. I Ain’t Got Time For Time 04:03
11. I Ain’t Got Time For Time (Reprise) 03:59
12. What’s Not On 08:02
13. Kykeon 10:22
14. Midnight Never Ends 15:33
15. The Law Of Averages 07:44

Telestrion is:
Andy Samford – Guitar, Vocals, Synth, Piano, M-Tron, Percussion
Brian Holcomb – Guitar, Vocals, Theremin, Vocoder, Sitar, Maracas, Wind, Arpanoid
Ric Parnell – Drums
Stephen Carrington – Bass, Guitar
Jonathan Lee – Bass
Karl Kendrick – Synth, Backing Vocals
Billy Reeves – Percussion
Allen Beaver – Allen Holcomb’s Dragster

https://www.facebook.com/TELESTRION
https://telestrion1.bandcamp.com/
http://telestrion.net/

Telestrion, Blazing in the Sky (2018)

Zoroaster, Matador (2010)

There’s a repeated line in the opener of Zoroaster‘s Matador (review here) that would seem to sum up the entire attitude of the album. It goes: ‘Don’t tell me how to die.’ I’m not sure if I’d call it part of a chorus, but it comes up once or twice in “D.N.R.” and as the last line of the song, is the lead-in to the bizarro crush that follows throughout the Atlanta-based doomers’ 2010 swansong. I recall when I first heard the record — which arrived just one year after their second outing, 2009’s Voice of Saturn (review here), as their debut on E1 Music — it took a while to settle in, and by that I mean I didn’t completely understand what the three-piece of guitarist/vocalist Will Fiore, bassist/vocalist Brent Anderson and drummer Dan Scanlan were doing with their sound. I’d followed their progress since their 2005 self-titled CD demo through the self-released 2007 debut, Dog Magic, and on from there, and everything they did from outing to outing showed clear growth from one to the next, but when the nine-track/44-minute Matador hit with its swirling, Sanford Parker-produced spaciousness, the prevailing vibe was so weird that I was caught almost entirely off-guard. One expected big riffs and grooves from Zoroaster. One didn’t expect the chants and meditations of “Old World.” It took some getting used to.

On the off-chance you clicked the review link in the first sentence of this post, you’ll see I did eventually adjust my consciousness to Matador‘s wavelength. Took me a minute, but I got there. The record came out in July 2010 — I had an interview with Fiore up to mark the release; spoke to him a few times over the years and he never remembered me but was always cool to talk to — and by then I was ready to proclaim it one of the year’s best. Six years later, I stand by that. It would wind up being Zoroaster‘s final album, but at the time, Matador sounded like it was just the beginning, and in that blend of psychedelia and the churning sludge from whence they emerged, Fiore, Anderson and Scanlan discovered a sound that was truly their own — one only bolstered by Parker‘s production. Their years of hard touring paid off in pure aesthetic achievement, and whether it was the rawer thrust of “Ancient Ones,” the soaring leads of “Trident,” the meaner shouts of “Black Hole” or the languid vibes of “Odyssey II,” a companion-piece to righteous and deceptively catchy third cut “Odyssey,” and the final gravity well of its title-track, Matador was immersive across its span in a way that neither Voice of Saturn nor Dog Magic could’ve possibly been. That’s not to say anything against either of those LPs, which I wouldn’t do, just that the effort Zoroaster put into what they did came to fruition in these tracks, and as we moved into the current decade, they seemed poised to be among the forerunners of adventurous, forward thinking US doom. New label, more expansive sound, touring as much as ever — there were few safer bets to make.

Accordingly, that’s not at all how it went. These years later, I’m somewhat amazed that in the array of reunions happening, nobody has kicked around Zoroaster‘s name as one due for a resurgence. Maybe it’s too soon — the last touring I heard of from them was with Church of Misery in 2013; by then, Anderson was out of the band and replaced by Mike Morris — but their laser lightshow was always welcome every time I was able to catch it and I can’t imagine their presentation wouldn’t find favor amid the new generation of heavy aficionados that has surfaced in increasing numbers since the band’s departure. We may or may not get there eventually — you won’t find me daring to predict, having sort of learned my lesson in that regard — but the point is that both live and in the studio, Zoroaster were a special group and delivered something that no one else did in quite the same way. I have to wonder what planes of existence they might’ve moved to had they kept going after Matador, where all this lysergic weight would’ve carried them. As it stands, one can find Anderson in Order of the Owl, who released their We are Here to Collect Our Crown EP earlier this year following up on 2012’s In the Noon of the After Day full-length debut, while Fiore rounds out the four-piece incarnation of Royal Thunder, who will reportedly have a new record out in 2017. Last I heard, Scanlan, who was an absolute difference-maker especially on stage, wasn’t currently with a band.

Whether Zoroaster ever make a return is something the years will tell, but in revisiting Matador so long after the fact, it’s even more obvious to me how much they had to offer. If you were into it at the time or if it’s new to you now, I hope you enjoy.

—

It was a quiet week overall, though it hardly started that way on Monday driving back from holiday celebrations with family in New Jersey. Granted we stopped for dinner, but seven-plus hours of a four-hour trip felt perhaps needlessly brutal. Fortunately, I had plenty of time to recover with the week off from work. And that’s exactly what I did. Errands here and there, and it turned out to be the perfect span for the Quarterly Review — which wraps on Monday — since otherwise it was pretty quiet, but in the main it was delicious food prepared not at all in a post-workday panic, hanging out with The Patient Mrs. playing Final Fantasy XV, making our way through the entirety of the Die Hard film franchise, etc.

Call it a reminder of how much I prefer existence when I can wake up and write every day on my own terms; of what I want my life to be. I need weeks like this.

Next week, a return to somewhat frenetic normalcy. Here’s what I’ve got planned so far, subject to change as always:

SUN: Year-End Poll results.
MON: Quarterly Review Day 6 and a new video from The Progerians.
TUE: Sgt. Sunshine review and Drone Hunter video.
WED: Review/premiere from Blood Mist, announcement from Hair of the Dog.
THU: Much-delayed Surya Kris Peters review, video premiere from Drive by Wire.
FRI: Sergio Ch. review slated as of now, but that might shift.

Lots of good stuff to come as we get into 2017. I’ve got my list of most anticipated releases coming together — it’s over 100 strong at this point. I want a week or two to solidify things further and give myself a break from writing lists generally, but it’ll be posted before the end of January.

In the meantime, as noted above, the motherload of lists — the results of the Year-End Poll — goes up this weekend, so stay tuned for that. As of this post, it’s still a really close race as it has been all month, and we’ve totally blown away last year’s number of contributors by nearly 200, so I’m very, very pleased with how it’s all turning out. Of course, everyone’s list will be included as always. It will be massive and probably crash the site, but whatever. Poll-time comes but once a year.

I say this every week, but if you’re the type to celebrate New Year’s, it’s especially true: Please be safe and have a great time. No DUIs, no fireworks blowing off hands, none of that shit. Not saying you can’t enjoy yourself, just saying no casualties. The universe needs all the rockers it can get.

Alright, that’s it for me. Can’t say I’ll mourn 2016’s passing, as it was a rough one on any number of levels personal and otherwise, but let’s all look forward and hope for better times to come. Please know you have my best wishes.

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