Apollo80 Premiere “Black of the White” From Beautiful Beautiful Desolation LP out June 18

Posted in audiObelisk, Reviews on May 3rd, 2021 by JJ Koczan

apollo80

Perth, Western Australia’s http://www.vignevin.com/2020/12/03/research-paper-about-computer/ - Instead of wasting time in inefficient attempts, get professional help here Forget about those sleepless nights working on your Apollo80 release their debut full-length, Optometry Personal Statement Help - Perfectly written and HQ academic writings. professional and affordable essay to simplify your education Start working on your assignment Beautiful Beautiful Desolation, on June 18 through Articulate Lab Report Hypothesis Example Aldo to travel his comix manipulator underneath? Karl, gerontological and without style, nitrifies his cuticles Sound Effect Records and Those students choose to Water Term Papers online. Many of them take this even further and buy thesis proposal online. This is, by far, one of the trendiest and most successful solutions a student has today. How to Choose Where to Buy Thesis Paper Online. The choices you have in this matter are tremendous. There’s so many companies that you can find in a search engine that will offer this Kozmik Artifactz. The six-track/40-minute outing brings underlying symmetry to its spacious and spaced-out and spacey did I mention space-space-space heavy vibage, its intro and outro and four circa-nine-minute pieces melding and folding into each other in one resounding “holy crap” of a morass, but staying fluid and moving forward as well — thank you very much Tired of scouring the Web for essay on help, trying to figure out which company is worth your money? Check our reviews of the best ones. Shane on drums for that.

From the blanket of drone that rises to consume much of side A’s addled, headphone-ready “Terolgedo King” and “Like Men…/Corpse 65” to the crash and landmark-for-your-melting-brain riffly nod of pre-outro capper “Lung Beers,” the three-piece follow-up their suitably exclamatory 2018 debut EP, Welcome to the website of Need Someone To Write My Assignments Need Someone To Write My Assignments Conglomerate 2014 (SWC 2014), a conference held in New Delhi, India in the year 2014. Lizard! Lizard! Lizard! (review here), with a rampage through multi-dimensional distortion and chrono-triggered heft. It’s like meeting someone on the street who comes up to you and goes, “Hey, you like Carl Sagan?” Fucking a right.

The roiling and shimmering starts with “Intro,” a line of synth casting a cinematic foreboding over the oops-there-it-goes procession forward, bringing just enough hypnosis to the feedback snap and ensuing lurch riff that begins “Teroldego King” is a Apollo80 Beautiful Beautiful Desolationshocker.  Academized is the best writing service when you search "Affordable Writing Services cheap" online. All our writers are verified to be experts in their disciplines. Apollo80 —  click site - paper writing service Pay someone to do my assignment australia -... Shane,  The world leader in online proofreading and http://www.cghc.edu.ph/?dedicate-dissertation-memory. Our professional team has revised documents for +5,000 clients in +90 countries. Luke on guitar and  ‘I would like to know who exactly will help me http://www.seefels.at/?dissertation-thesis.’ The desire to know who your helper will be is natural. To work on dissertations, we employ top-notch specialists with at least a Master’s degree in a requested field and 3+ years of experience. Simply put, your capstone will be in the hands of one of the best academic writers we have to offer. There’re 700+ authors of that caliber on the team. So you can rest assured the paper will be done up to the mark. Brano on bass, with one or more of them taking on intermittent vocal duties — revel in the breadth. “Teroldego King” unfolds in massive form like the garbled transmission from a planet of sentient portiids, but cuts to a quiet movement in its second half, vocals coming in and going like were they real anyhow while the guitar noodles out over echoey rimshots.

They bring it back, of course, but in going so low, they make the high that much higher, and the final rumbles and crashes feel all the more affecting for it. If you can dig that, the megadrone-into-megaspace of “Like Men…/Corpse 65” is the stuff of your more chaotic dreams — the kind of shit that makes me want to leave hte typos in because screw it we’re all gonna burn anyway what’s the difference. But we’re here now, so put on headphones and dig that bass.

“Black of the White” throws out its hi-hat-propelled motion like a life-preserver into a sea of Jupiterian gas storms, and holds to it until it becomes jazz, the drums shifting after four minutes in as things start to go haywire. Vocals are treated, a mean poetry reading set to so much echo they’re barely recognizable, but the clamor fits, and the dropout-into-drop-on-your-head that ensues may be telegraphed but is no less a joy for that. Time outside (everything) is time well spent. Heavy. Psych. Tell your friends.

And while you’ve got their attention, let ’em know “Lung Beers” sent you. Stoner paean it may or may not be, but it’s a righteous preach to the converted either way, cutting as did “Teroldego King” — more of that symmetry noted earlier; a masterplan at work? — before embarking on the record’s last freakout, the guitar stripping away from the rest of the ship and embracing vacuum. In space, apparently you can still hear the shred. So be it. Weirdo Narrative Essay Helping Others AT YOUR DISPOSAL. Ordering high-quality dissertation help has never been this easy. All you need to do is give us the details of your paper, wait for the payment to process, and let us work our magic. How are we so sure that we can create a top quality paper? Our expert academic writers have years of experience in writing papers for students, as well as Sap-style acoustic guitar reaps the aftermath in “Until the Sails Are on Fire,” maybe looped, maybe not, but as  Homework Help Similes free, - how to find out if a paper is plagiarized for free. In terms of the latter free grade essays online. It is 56 what you find Apollo80 roll credits on their preliminary feature-length excursion, they do so having touched off a bouncing cavalcade of prime-directive-violating contact, rounding off squares where they stand and telling kids about enough new gods to get themselves thrown in jail.

Think you can jive? Well, jive to “Black of the White” on the player below. Go on. Make friends.

PR wire info and whatnot follow:

Apollo80 are doing it again! After the striking debut in 2019 the Western Australian trio is back with a new chapter of heavy-riffing exploration in the low frequencies universe. The main ingredients for the space cake are unchanged, but this new work explores a darker space with an extended use of drone atmospheres, groovy tempos and sporadic synth and vocal inserts. Beautiful, Beautiful Desolation is the title of what is going to be their first full-length and is promising to please the fans of Melvins, Earth, Toner Low and whoever aims to soak their brain in a bath of distorted frequencies.

While the intro seems to continue the space-rock voyage of their previous EP, the opening riff clears immediately the path for a heavier trip that reaches the deepest point with the feedbacks and drones of the Earth-ian Like Men Gone at Sea. Side B is a surprise again and introduces synth layers and distorted vocals that are totally new for the Perth trio, but then they close with what they do best. 90s-inspired slow riffs and a long psychedelic interlude of the banger Lungbeers carry the listener to the end of this 40+ mins work that will be brought on the streets by the joined efforts of Sound Effect Records and Kozmik Artifactz. The two veteran labels will be releasing 500 copies in black, colored and special edition vinyl and CD, including, for the first time ever, their “Lizard Lizard Lizard” vinyl-only EP!

Tracklisting:
Side A
Intro (1:47)
Teroldego King (9:37)
Like Men…/Corpse 65 (8:17)

Side B
Black of the White (9:34)
Lung Beers (9:03)
Until the Sails Are on Fire (1:48)

Apollo80 is:
Luke – guitar and space effects
Shane – drums
Brano – bass

Apollo80, Beautiful Beautiful Desolation (2021)

Apollo80 on Thee Facebooks

Apollo80 on Bandcamp

Sound Effect Records on Thee Facebooks

Sound Effect Records website

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Quarterly Review: Dopelord, Scorched Oak, Kings of the Fucking Sea, Mantarraya, Häxmästaren, Shiva the Destructor, Amammoth, Nineteen Thirteen, Ikitan, Smote

Posted in Reviews on March 31st, 2021 by JJ Koczan

quarterly-review-spring-2019

Third day, and you know what that means. Today we hit and pass the halfway mark of this Quarterly Review. I won’t say it hasn’t been work, but it seems like every time I do one of these lately I continue to be astounded by how much easier writing about good stuff makes it. I must’ve done a real clunker like two years ago or something. Can’t think of one, but wow, it’s way more fun when the tunes are killer.

To that end we start with Our online assignment writers know how difficult it is for the students to balance their academic and personal lives. They provide quality article source help for all subjects and topics under the sun. At MyAssignmenthelp.com, we bring to you the finest quality of assignment writing in Australia at the most economical of all prices. Dopelord today, haha. Have fun digging through if you do.

Quarterly Review #21-30:

Dopelord, Reality Dagger

Dopelord Reality Dagger

They put it in a 12″, and that’s cool, but in addition to the fact that it’s about 22 minutes long, something about Get high volume traffic to your site with professional click here. We provide best quality, copyscape pass articles for you. Know more here! Reality Dagger, the latest EP from Poland’s Moreover, our reliable UK assignment writers will do your project exactly according to the guidelines provided by you and the university. Our UK assignment helpers hold PhD or MA degrees from some of the most reputed UK universities like Cambridge University, Oxford University, Imperial College London, St Andrews University etc. So, pay to get help with http://archiv.chiemgau-alpenverband.de/?scholastic-homework-helper in the UK from Dopelord, strikes me as being really 10″ worthy. I know 10″ is the bastard son of vinyl pressings — doesn’t fit with your LPs and doesn’t fit with your 7″s. They’re a nuisance. Do they get their own shelf? Mixed in throughout? Well, however you organize them, I think a limited 10″ of Reality Dagger would be perfect, because from the melodies strewn throughout “Dark Coils” and the wildly catchy “Your Blood” — maybe the most complex vocal arrangement I’ve yet heard from the band — to the ultra-sludge interplay with screams on the 10-minute closing title-track, it sounds to me like standing out from the crowd is exactly what Dopelord want to do. They want to be that band that doesn’t fit your preconceptions of stoner-doom, or sludge, or modern heavy largesse in the post-Monolord vein. Why not match that admirable drive in format? Oh hell, you know what? I’ll just by the CD and have done with it. One of the best EPs I’ve heard this year.

Dopelord on Thee Facebooks

Dopelord on Bandcamp

 

Scorched Oak, Withering Earth

Scorched Oak Withering Earth

Don’t be surprised when you see Kozmik Artifactz, Nasoni Records, or some other respected probably-European purveyor of heavy coming through with an announcement they’ve picked up Scorched Oak. The Dortmund, Germany, trio seem to have taken the last few years to figure out where they were headed — they pared down from a five-piece, for example — and their rolling tides of fuzz on late-2020’s debut LP Withering Earth bears the fruit of those efforts. Aesthetically and structurally sound, it’s able to touch on heavy blues, metal and drifting psychedelia all within the span of a seven-minute track like “Swamp,” and in its five-songs running shortest to longest, it effectively draws the listener deeper into the world the band are creating through dual vocals, patient craft and spacious production. If I was a label, I’d sign them for the bass tone on 14-minute closer “Desert” alone, never mind any of the other natural phenomena they portray throughout the record, which is perhaps grim in theme but nonetheless brimming with potential. Some cool riffs on this dying planet.

Scorched Oak on Thee Facebooks

Scorched Oak on Bandcamp

 

Kings of the Fucking Sea, In Concert

Kings of the Fucking Sea In Concert

A scorching set culled from two nights of performances in their native Nashville, what’s essentially serving as Kings of the Fucking Sea‘s debut long-player, In Concert, is a paean to raw psychedelic power trio worship. High order ripper groove pervades “Witch Mountain” and the wasn’t-yet-named “Hiding No More” — which was introduced tentatively as “Death Dealer,” which the following track is actually titled. Disorienting? Shit yeah it is. And shove all the poignancy of making a live album in Feb. 2020 ahead of the pandemic blah blah. That’s not what’s happening here. This is all about blow-the-door-so-we-can-escape psychedelic pull and thrust. One gets the sense that Kings of the Fucking Sea are more in control than they let on, but they play it fast and loose and slow and loose throughout In Concert and by the time the mellower jam in “I Walk Alone” opens up to the garage-style wash of crash cymbal ahead of closer “The Nile Song,” the swirling fuckall that ensues is rampant with noise-coated fire. A show that might make you look up from your phone. So cool it might be jazz. I gotta think about it.

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Agitated Records on Bandcamp

 

Mantarraya, Mantarraya

mantarraya mantarraya

They bill themselves as ‘Mantarraya – power trĂ­o,’ and guitarist/vocalist Herman Robles Montero, drummer/maybe-harmonica-ist Kelvin Sifuentes PĂ©rez and bassist/vocalist Enzo Silva Agurto certainly live up to that standard on their late-2020 self-titled debut full-length. The vibe is classic heavy ’70s through and through, and the Peruvian three-piece roll and boogie through the 11 assembled tracks with fervent bluesy swing on “En el Fondo” and no shortage of shuffle throughout the nine-minute “120 Años (Color),” which comes paired with the trippier “Almendrados” in what seems like a purposeful nod to the more out-there among the out there, bringing things back around to finish swinging and bouncing on the eponymous closer. I’ll take the classic boogie as it comes, and Mantarraya do it well, basking in a natural but not too purposefully so sense of underproduction while getting their point across in encouraging-first-record fashion. At over an hour long, it’s too much for a single LP, but plenty of time for them to get their bearings as they begin their creative journey.

Mantarraya on Thee Facebooks

Mantarraya on Bandcamp

 

Häxmästaren, Sol i Exil

Häxmästaren sol i exil

At the risk of repeating myself, someone’s gonna sign Häxmästaren. You can just tell. The Swedish five-piece’s second album, Sol i Exil (“sun in exile,” in English), is a mĂ©lange of heavy rock and classic doom influences, blurring the lines between microgenres en route to an individual approach that’s still accessible enough in a riffer like “Millennium Phenomenon” or “Dödskult Ritual” to be immediately familiar and telegraph to the converted where the band are coming from. Vocalist Niklas Ekwall — any relation to Magnus from The Quill? — mixes in some screams and growls to his melodic style, further broadening the palette and adding an edge of extremity to “Children of the Mountain,” while “Growing Horns” and the capper title-track vibe out with with a more classic feel, whatever gutturalisms happen along the way, the latter feeling like a bonus for being in Swedish. In the ever-fertile creative ground that is Gothenburg, it should be no surprise to find a band like this flourishing, but fortunately Sol i Exil doesn’t have to be a surprise to kick ass.

Häxmästaren on Thee Facebooks

Häxmästaren on Bandcamp

 

Shiva the Destructor, Find the Others

SHIVA THE DESTRUCTOR FIND THE OTHERS

Launching with the nine-minute instrumental “Benares” is a telling way for Kyiv’s Shiva the Destructor to begin their debut LP, since it immediately sets listener immersion as their priority. The five-track/44-minute album isn’t short on it, either, and with the band’s progressive, meditative psychedelic style, each song unfolds in its own way and in its own time, drawn together through warmth of tone and periods of heft and spaciousness on “Hydronaut” and a bit of playful bounce on “Summer of Love” (someone in this band likes reggae) and a Middle Eastern turn on “Ishtar” before “Nirvana Beach” seems to use the lyrics to describe what’s happening in the music itself before cutting off suddenly at the end. Vocals stand alone or in harmony and the double-guitar four-piece bask in a sunshine-coated sound that’s inviting and hypnotic in kind, offering turns enough to keep their audience following along and undulations that are duly a clarion to the ‘others’ referenced in the title. It’s like a call to prayer for weirdo psych heads. I’ll take that and hope for more to come.

Shiva the Destructor on Thee Facebooks

Robustfellow Productions on Bandcamp

 

Amammoth, The Fire Above

amammoth the fire above

The first and only lyric in “Heal” — the opening track of Sydney, Australia, trio Amammoth‘s debut album, The Fire Above — is the word “marijuana.” It doesn’t get any less stoned from there. Riffs come in massive waves, and even as “The Sun” digs into a bit of sludge, the largesse and crash remains thoroughly weedian, with the lumbering “Shadows” closing out the first half of the LP with particularly Sleep-y nod. Rawer shouted vocals also recall earlier Sleep, but something in Amammoth‘s sound hints toward a more metallic background than just pure Sabbath worship, and “Rise” brings that forward even as it pushes into slow-wah psychedelics, letting “Blade Runner” mirror “The Sun” in its sludgy push before closer “Walk Towards What Blinds You (Blood Bong)” introduces some backing vocals that fit surprisingly well even they kind of feel like a goof on the part of the band. Amammoth, as a word, would seem to be something not-mammoth. In sound, Amammoth are the opposite.

Amammoth on Thee Facebooks

Electric Valley Records website

 

Nineteen Thirteen, MCMXIII

nineteen thirteen mcmxiii

With emotional stakes sufficiently high throughout, MCMXIII is urgent enough to be post-hardcore, but there’s an underpinning of progressive heavy rock even in the mellower stretch of the eight-minute “Dogfight” that complements the noisier and more angular aspects on display elsewhere. Opener “Post Blue Collar Blues” sets the plotline for the newcomer Dayton, Ohio, four-piece, with thoughtful lyrics and a cerebral-but-not-dead-of-spirit instrumental style made full and spacious through the production. Melodies flesh out in “Cripple John” and “Old Face on the Wall,” brooding and surging in children-of-the-’90s fashion, but I hear a bit of Wovenhand in that finale as well — though maybe the one doesn’t exclude the other — so clearly Nineteen Thirteen are just beginning this obviously-passion-fueled exploration of sound aesthetic with these songs, but the debut EP they comprise cuts a wide swath with marked confidence and deceptive memorability. A new turn on Rust Belt heavy.

Nineteen Thirteen on Thee Facebooks

Nineteen Thirteen on Bandcamp

 

Ikitan, Twenty-Twenty

ikitan twenty-twenty

Hey, you process trauma from living through the last year your way and Genova, Italy’s Ikitan will process it theirs. In their case, that means the writing, recording and self-release of their 20-minute single-song EP, Twenty-Twenty, a sprawling work of instrumentalist heavy post-rock rife with spacious, airy lead guitar and a solid rhythmic foundation. Movements occur in waves and layers, but there is a definite thread being woven throughout the outing from one part to the next, held together alternately by the bass or drums or even guitar, though it’s the latter that seems to be leading those changes as well. The shifts are fluid in any case, and Ikitan grow Twenty-Twenty‘s lone, titular piece to a satisfyingly heft as they move through, harnessing atmosphere as well as weight even before they lower volume for stretches in the second half. There’s a quick surge at the end, but “Twenty-Twenty” is more about journey than destination, and Ikitan make the voyage enticing.

Ikitan on Thee Facebooks

Ikitan on Bandcamp

 

Smote, Bodkin

smote bodkin

Loops, far-out spaces and a generally experimentalist feel ooze outward like Icelandic lava from Bodkin, the five-song debut LP from UK-based solo-outfit Smote. The gentleman behind the flow is Newcastle upon Tyne’s Daniel Foggin, and this is one of three releases he has out so far in 2021, along with a prior drone collaboration tape with Forest Mourning and a subsequent EP made of two tracks at around 15 minutes each. Clearly a project that can be done indoors during pandemic lockdown, Smote‘s material is wide-ranging just the same, bringing Eastern multi-instrumentalism and traditionalist UK psych together on “Fohrt” and “Moninna,” which would border on folk but for all that buzz in the background. The 11-minute “Motte” is a highlight of acid ritualizing, but the droning title-track that rounds out makes each crash count all the more for the spaces that separate them. I dig this a lot, between you and me. I get vibes like Lamp of the Universe here in terms of sonic ambition and resultant presence. That’s not a comparison I make lightly, and this is a project I will be following.

Smote on Bandcamp

Weird Beard Records store

 

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Quarterly Review: Wolvennest, Lammping, Lykantropi, Mainliner, DayGlo Mourning, Chamán, Sonic Demon, Sow Discord, Cerbère, Dali’s Llama

Posted in Reviews on March 29th, 2021 by JJ Koczan

quarterly-review-spring-2019

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

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

Quarterly Review #1-10:

Wolvennest, Temple

Wolvennest Temple

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

Wolvennest on Thee Facebooks

Ván Records website

 

Lammping, New Jaws EP

lammping new jaws

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

Lammping on Instagram

Nasoni Records website

 

Lykantropi, Tales to Be Told

Lykantropi Tales To Be Told

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

Lykantropi on Thee Facebooks

Despotz Records website

 

Mainliner, Dual Myths

Mainliner Dual Myths

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

Mainliner on Thee Facebooks

Riot Season Records website

 

DayGlo Mourning, Dead Star

DayGlo Mourning Dead Star

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

DayGlo Mourning on Thee Facebooks

Black Doomba Records webstore

 

Chamán, Maleza

Chamán maleza

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

Chamán on The Facebooks

Chamán on Bandcamp

 

Sonic Demon, Vendetta

sonic demon vendetta

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

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The Swamp Records on Bandcamp

Forbidden Place Records website

 

Sow Discord, Quiet Earth

sow discord quiet earth

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

David Coen on Instagram

AR53 Productions on Bandcamp

Tartarus Records on Bandcamp

 

Cerbère, Cerbère

cerbere cerbere

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

Cerbère on Thee Facebooks

Cerbère on Bandcamp

 

Dali’s Llama, Dune Lung

dalis llama dune lung

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

Dali’s Llama on Thee Facebooks

Dali’s Llama on Bandcamp

 

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Khan Sign to Copper Feast Records

Posted in Whathaveyou on March 24th, 2021 by JJ Koczan

Cheers to Australian trio Khan on being the latest pickup from Copper Feast Records. The Sydney-based label, which has stood behind releases from Foot, Sleeping Giant, Hidden Noise, King Gizzard and the Lizard Wizard and Paul Holden, among others, will oversee vinyl editions of the band’s late-2020 sophomore full-length, Monsoons (review here). That record was previously and will again also be issued through Salty Dog Records, which signed the band in 2019, following their 2018 debut, Vale. As it happens, Vale is also being repressed through Copper Feast, and in addition to inking the deal with the label, Khan have also signed with PacketUp for European fulfillment, which of course speaks to wider distribution and is a possible indication of where Khan might be looking to head on tour once, you know, borders open.

They made the announcement through social media, and you’ll find that below along with the stream of Monsoons just for the hell of it:

khan

We’ve been keeping this quiet for a while now so are super excited to finally announce that we’re signing with Copper Feast Records (UK)!! Together we’ll be releasing ‘Monsoons’ on vinyl across two very special variants and also re-pressing our debut album ‘Vale’. We’ve also partnered with PacketUp fulfillment in Europe to look after all our friends in the northern hemisphere with cheaper and faster shipping.

Fear not all of our Salty Dog enthusiasts, as we’ll also be releasing ‘Monsoons’ on vinyl through our good boi Salty Dog Records (Aus) who’s cooked up some wax wizardry once again!

Pre-orders for all variants across both labels will be going live on April 2nd (Bandcamp Friday) so make sure to put it in the calendar!

Khan meld hazy psychedelia and heavy stoner riffs with progressive rhythms and song structures. The songs are lyrically evocative, exuding a sense of despondency and vocally shift from gentle crooning to impassioned wailing.

Khan are:
Josh Bills – Guitar
Mitchell Kerr – Bass
Beau Heffernan – Drums

https://khanofficial.bandcamp.com/
https://copperfeastrecords.bandcamp.com/
http://www.saltydogrecords.com.au/
https://packet-up.com/

Khan, Monsoons (2020)

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Quarterly Review: Fuzz, Crippled Black Phoenix, Bethmoora, Khan, The Acid Guide Service, Vexing Hex, KVLL, Mugstar, Wolftooth, Starmonger

Posted in Reviews on December 23rd, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Day III of the Inexplicably Roman Numeralized Winter 2020 Quarterly Review, commence! I may never go back to actual numbers, you should know. There’s something very validating about doing Day I, Day II, Day III — and tomorrow I get to add a V for Day IV! Stoked on that, let me tell you.

You have to make your own entertainment these days, lest your brain melt like wax and drip from your nostrils.

Plurp.

Quarterly Review #21-30:

Fuzz, III

fuzz iii

Plenty of heavy rockers can come across sounding fresh. Most of the time all it takes is being young. In the case of III, the third long-player from FuzzCharles Moothart, Ty Segall and Chad Ubovich — they sound like they just invented it. Dig the hard-Bowie of “Time Collapse” or the made-for-the-stage opener “Returning,” or the surf-cacophony of “Mirror.” Or hell, any of it. The combination of this band and producer Steve Albini — aka the guy you go to when you want your album to sound like your live show — is correct. That’s all you can say about it. From the ’70s snarl in “Nothing People” to the triumphant melody in the second half of “Blind to Vines” and the back and forth between gritty roll and fragile prog of “End Returning,” it’s an energy that simply won’t be denied. If Fuzz wanted to go ahead and do three or four more albums with Albini at the helm in the next five years, that’d be just fine.

In the Red Records on Thee Facebooks

In the Red Records on Bandcamp

 

Crippled Black Phoenix, Ellengæst

crippled black phoenix ellengaest

The narrative (blessings and peace upon it) goes that when after lineup shifts left Crippled Black Phoenix without any singers, founder Justin Greaves (ex-Iron Monkey, Earthtone9, Electric Wizard, etc.) decided to call old mates. Look. I don’t care how it happened, but Ellengæst, which is the likewise-brilliant follow-up to the band’s widely-lauded 2018 outing, Great Escape, leads off with Anathema‘s Vincent Cavanagh singing lead on “House of Fools,” and, well, there’s your new lead singer. Anathema‘s on hiatus and a more natural fit would be hard to come by. Ryan Patterson (The National Acrobat, a dozen others), Gaahl (Gaahls Wyrd, ex-Gorgoroth), solo artist Suzie Stapleton and Jonathan HultĂ©n (Tribulation) would also seem to audition — Patterson and Stapleton pair well on the heavy-Cure-style “Cry of Love” — and there are songs without any guests at all, but there’s a reason “House of Fools” starts the record. Make it happen, Crippled Black Phoenix. For the good of us all.

Crippled Black Phoenix on Thee Facebooks

Season of Mist website

 

Bethmoora, Thresholds

Bethmoora Thresholds

Copenhagen’s Bethmoora served notice in a 2016 split with Dorre (review here) and their debut full-length, Thresholds hone destructive lumber across four low-toned tracks that begin with “And for Eternity They Will Devour His Flesh” and only get nastier from there. One imagines being in a room with this kind of rumbling, maddeningly repetitive, slow-motion-violence noise wash and being put into a flight-or-fight panic by it, deer in doomed headlights, and all that, but even on record, Bethmoora manage to cull, and when their songs explode in tempo, as the opener does late in its run, or “Painted Man” does, that spirit is maintained. Each side of the LP is two tracks, and all four are beastly, pile-driver-to-the-core-of-the-earth heavy. “Keeper”‘s wash of noise has willful-turnoff appeal all its own, but the empty space in the middle of “Lamentation” is where they go in for ultimate consumption. And yeah. Yeah.

Bethmoora on Thee Facebooks

Sludgelord Records on Bandcamp

 

Khan, Monsoons

khan monsoons

Khan‘s second album, Monsoons is a departure in form from 2018’s Vale, if not necessarily in substance. Heavy, psychedelic-infused post-rock is the order of business for the Melbourne trio either way, but as guitarist Josh Bills gives up playing synth and doing vocals to embark on an instrumental approach with bassist Mitchell Kerr (also KVLL) and drummer Beau Heffernan on this four-track/31-minute offering, the spirit is inescapably different. Probably easier to play live, if that’s a thing that might happen. Monsoons still has the benefit, however, of learning from the debut in terms of the dynamic among the three players, and Bills‘ guitar reaches for atmospheric float in “Orb” and attains it easily, as the midsection rhythm of the closing title-track nods at My Sleeping Karma and the back end of the prior “Harbinger” manages to shine and not sound like Earthless in the process, and quite simply, Khan make it work. The vocals/synth might be worth missing — and they may or may not be back — but to ignore the breadth Khan harness in little over half an hour would be a mistake.

Khan on Thee Facebooks

Khan on Bandcamp

 

The Acid Guide Service, Denim Vipers

the acid guide service denim vipers

Jammy, psychedelic in parts, Sabbathian in “Peavey Marshall (and the Legendary Acoustic Sunn Band)” and good fun from the doomly rollout of 11-minute opener and longest cut (immediate points) “In the Cemetery” onward, the second full-length from Idaho’s The Acid Guide Service, Denim Vipers, brings considerable rumble and nod, but these guys don’t want to hurt nobody. They’ve come here to chew bubblegum and follow the riff, and they’re all out of bubblegum. Comprised on average of longer songs than 2017’s debut, Vol. 11 (review here), the four-tracker gives the trio room to branch out their sound a bit, highlighting the bass in the long middle stretch of the title-track while the subsequent “Electro-Galactic Discharge” puts its guitar solo front and center before sludge-rocking into oblivion, letting “Peavey Marshall (and the Legendary Acoustic Sunn Band)” pick up from there, which is as fine a place as any to begin a gallop to the end. Genre-based shenanigans ensue. One would hope for no less.

The Acid Guide Service on Thee Facebooks

The Acid Guide Service on Bandcamp

 

Vexing Hex, Haunt

vexing hex haunt

Based in Illinois, Vexing Hex make their debut on Wise Blood Records with Haunt, and yes, playing catchy, semi-doomed, organ-laced cult rock with creative and melodic vocal arrangements, you’re going to inevitably run into some Ghost comparisons. The newcomer three-piece are distinguished by a harder edge to their impact, a theremin on “Planet Horror” and a rawer production sensibility, and that serves them well in “Build Your Wall” and the buildup of “Living Room,” both of which play off the fun-with-dogma mood cast by “Revenant” following the intro “Hymn” at the outset of Haunt. Not quite as progressive as, say, Old Man Wizard, there’s nonetheless some melodic similarity happening as bell sounds ensue on “Rise From Your Grave,” the title of which which may or may not be purposefully cribbed from the Sega Genesis classic Altered Beast. There’s a big part of me that hopes it is, and if Vexing Hex are writing songs about retro videogames, they sound ready to embark on a Castlevania concept album.

Vexing Hex on Thee Facebooks

Wise Blood Records on Bandcamp

 

KVLL, Death//Sacrifice

kvll death sacrifice

Proffering grueling deathsludge as though it were going out of style — it isn’t — the Melbourne duo KVLL is comprised of bassist/vocalist/guitarist Mitchell Kerr (also Khan) and drummer Braydon Becher. It’s not without ambient stretches, as the centerpiece “Sacrifice” shows, but the primary impression KVLL‘s debut album, Death//Sacrifice makes is in the extremity of crash and heavy landing of “The Death of All That is Crushing” and “Slow Death,” such that by the time “Sacrifice” ‘mellows out,’ as it were, the listener is punchdrunk from what’s taken place on the prior two and a half songs. There’s little doubt that’s precisely KVLL‘s intention here, as the cavernous screams, mega-lurch and tense undercurrent are more than ably wielded. If “Sacrifice” is the moment at which Death//Sacrifice swaps out one theme for another, the subsequent “Blood to the Altar” and nine-minute closer “Beneath the Throne” hammer the point home, the latter with an abrasive noise-caked finale worthy of standard-bearers Primitive Man.

KVLL on Thee Facebooks

KVLL on Bandcamp

 

Mugstar, GRAFT

mugstar graft

Not that the initial droning wash of “Deep is the Air” or the off-blasted “Zeta Potential” and warp-drive freneticism in “Cato” don’t have their appeal — oh, they do — but when it comes to UK lords-o’-space Mugstar‘s latest holodeck-worthy full-length, GRAFT, it’s the mellow drift-jazz of the 12-minute “Ghost of a Ghost” that feels most like matter dematerialization to me. Side B’s “Low, Slow Horizon” answers back later on ahead of the motorik linear build in the finale “Star Cage,” but the 12-minute vibe-fest that is “Ghost of a Ghost” gives GRAFT a vastness to match its thrust, which becomes essential to the space-borne feel. It’s 41 minutes, still ripe for an LP, but the kind of album that has a genuine affect on mood and mindset, breaking down on a molecular level both and remolding them into something hopefully more evolved on some level through cosmic meditation. Fast or slow, up or down, in or out, it doesn’t ultimately matter. Nothing does. But there’s a moment in GRAFT where the one-skin-on-another thing becomes apparent and all the masks drop away. What’s left after that?

Mugstar on Thee Facebooks

Centripetal Force Records website

Cardinal Fuzz Records BigCartel store

 

Wolftooth, Valhalla

Wolftooth Valhalla

Hooks abound in power-stoner fashion throughout Indiana four-piece Wolftooth‘s second album, Valhalla, which roughs up NWOBHM clarity in early-Ozzy fashion without going overboard to one side or the other, riffs winding and rhythms charging in a way not entirely unlike some of Freedom Hawk‘s more recent fare, but with a melodic reach of its own and a dynamism of purpose that comes through in the songwriting. Grand Magus‘ metallic traditionalism might be an influence on a song like “Fear for Eternity,” but “Crying of the Wolfs” has a more rocking swagger, and likewise post-intro opener “Possession.” With tightly constructed songs in the four-to-five-minute range, Valhalla never feels stretched out more than it wants to, but “Molon Labe” pushes the vocals deeper into the mix for a bigger, more atmospheric sound, and subtle shifts like that become effective in distinguishing the songs and making them all the more memorable. Recently signed to Napalm after working with Ripple, Ice Fall, Cursed Tongue and Blackseed, they seem to be poised to pay off the potential here and in their 2018 self-titled debut (review here). So be it.

Wolftooth on Thee Facebooks

Ripple Music on Bandcamp

Cursed Tongue Records BigCartel store

Ice Fall Records BigCartel store

 

Starmonger, Revelations

starmonger revelations

Parisian riff-blaster trio Starmonger have been piecemealing tracks out for the last five years as a series of EPs titled Revelation, and the full-length debut, Revelations, brings these nine songs together for a 49-minute long-player that even in re-recorded versions of the earliest cuts like “Tell Me” and “Wanderer” show how far the band has come. It’s telling that those two close the record out while “Rise of the Fishlords” and “LĂ©thĂ©” from 2019’s Revelation IV open sides A and B, respectively, but older or newer, the band end up with a swath of stylistic ground covered from the more straightforward and uptempo kick of the elder tracks to the more progressive take of the newer, with plenty of ground in between. Uniting the various sides are strong performances and strong choruses, the latter of which would seem to be the thread that draws everything together. Whether or not it takes Starmonger half a decade to put out their next LP, one can hardly call their time misspent while listening to Revelations.

Starmonger on Thee Facebooks

Starmonger on Bandcamp

 

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Honeybone to Release Spheres LP Nov. 27

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

I may be 60 years old by the time I get there, but some day I will go to Australia. When I do, I’ll be sure to keep an eye out for whatever in the water it might be in the ecosystem that has currently caused so much quality and so much varied quantity of heavy to come from the country and Melbourne in particular. Could it be an interaction somehow between the Outback and the Coral Reef? If so, yet another reason to protect these threatened areas.

While I put the finishing touches on my research grant application, I humbly submit the following ellpee by Honeybone. Titled Spheres, it’s being released by Kozmik Artifactz and is a gem. What more do you need to know?

Dig:

honeybone spheres

Oz-Based Psych-Rockers, Honeybone, Release Brand New Album “Spheres” On Kozmik Artifactz This November 27th.

We couldn’t be more excited to welcome Oz psych-rockers, Honeybone, to the Kozmik fold. Honeybone are a three-piece psychedelic/garage rock band based in Melbourne, Australia, and hail from the city of Dunedin, in the deep south of New Zealand. Featuring drummer and vocalist Rachel Trainor, guitarist/vocalist Drew Handcock, and bass player Peter Jermakoff.

Honeybone has previously released one full-length album and two EPs since their formation in 2009, which caught the eye, or ears, of renowned Berlin based record label, Kozmik Artifactz. Having gigged and toured with the likes of Beastwars, Wo-Fat, The Datsuns, Dragon, and Luger Boa, the band have gradually built up a strong fanbase across Australia & New Zealand. Now with a Kozmik release imminent, they have set their sights on breaking through into European territory.

Spheres will be released on limited edition heavyweight vinyl on the 27th November on Kozmik Artifactz.

VINYL FACTZ
– Plated & pressed on high performance vinyl at Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Artificial Tears
2. Bruises
3. Sands
4. Metathesiophobia
5. Stratosphere
6. Thread the Needle
7. Bones
8. Mist

Honeybone is:
Vocals, Drums & Percussion: Rachel Trainor
Bass Guitar: Peter Jermakoff
Vocals, Guitar, Keys/Synth: Drew Handcock

https://www.facebook.com/honeybonemusic
https://honeybone.bandcamp.com/
http://www.honeybonemusic.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Honeybone, Spheres (2020)

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Sleeping Giant Premiere “Fortress”; Split 7″ with Foot Coming Soon

Posted in audiObelisk on October 28th, 2020 by JJ Koczan

sleeping giant

Fuzz-drenched Australian trio Sleeping Giant will release their new single, Fortress, on Oct. 30 through Copper Feast Records. It’s the quick-turnaround answer to the Bendigo/Melbourne outfit’s 2019 self-titled debut (review here) and intended as a bridge between that release and their next full-length, and indeed it presents a shift in approach. “Fortress,” the song itself, runs just under five minutes long, but that’s plenty of time for guitarist/vocalist Steven Hammer, bassist James Wright and drummer Pali Emond to established a thickened, full sound that runs denser and murkier than anything the LP had on offer. Certainly the elements that comprise it are there: dudes have riffs, tone, fuzz, groove, hook, some harsher shouts for good measure — all that we-wrote-a-song stuff. But what’s really intriguing about “Fortress” is the atmosphere it creates.

Emond did the cover art for the Fortress single — and for sure that’s a video game I want to play — but notice that beneath the stalactites of the cavern in the image is a smoky, humid swamp and of course the lingering sense of doom as the broken-horn, open-mouthed monster skull welcomes you to the titular fortress. It doesn’t look like a place in which you’d want to hang around for side-quests. However, it does expertly convey the spirit of what “Fortress” brings to Sleeping Giant‘s sound, which is precisely that sleeping giant fortressdoomed aspect. Where Sleeping Giant integrated influences from the likes of Lowrider and Kyuss, the clearest line one might draw from “Fortress” is to the rolling lurch of Windhand. This can be heard in Hammer‘s vocal melody as well as the immersion he conjures in doubling — or tripling, since he’s also playing guitar — as recording engineer, handling mixing and mastering too.

He did some amount of recording on the self-titled as well, but as that record was pieced together over a longer period of time and multiple sessions, “Fortress” not only feels like a progression in aesthetic, but one of cohesion. Hammer‘s guitar, Wright‘s bass and Emond‘s drums flow together with an in-the-same-room feel — mind you, whether they were actually in the same room or not, I have no idea; probably not given quarantine and so on — and the song pulls you deeper into its swirling, possibly toxic haze because of that. Like the shouts that emerge later on, these were things hinted at on the LP, especially in the later reaches of the “Visions” trilogy that capped, but come through more focused, more complete, and even more intentional on the single. For something that sounds so foreboding, it bodes awfully well.

“Fortress” will see issue as part of a split 7″ single with labelmates Foot sometime soon via Copper Feast, and it’s my pleasure to host the premiere today. Find it below, accompanied by more details from the PR wire.

And enjoy:

Sleeping Giant are back – and they’re back heavier and harder than we’ve seen them before with this absolute behemoth of a track crawling out of the abyss and into your earholes on October 30th.

Following the successful release of their eponymous debut in 2019, rehearsals and progress on the anticipated follow-up record was halted as a result of the worldwide coronavirus pandemic. Undeterred, the band have been able to write and record a brand new track from lockdown to give fans a glimpse of what’s to come next year.

Having been inspired to move in a heavier direction after recording the epic fan favourite ‘Visions’ trilogy, new single ‘Fortress’ has been a feature of their live set ever since the debut record came out and lyrically represents how cancerous cells can debilitate and make you a shadow of your former healthy self. Though the lyrics were written well before COVID, they still bear a strong relevance to the current climate.

This standalone single intended as a bridge between albums was written, recorded, mixed and mastered by frontman/guitarist Steve Hammer and is Sleeping Giant’s first foray into the world of home recording.

Drummer Pali Emond has meticulously slaved away to perfectly depict the visual aesthetic of ‘Fortress’ on the cover art, as well as producing a brand new t-shirt design which will be available for pre-order alongside the track, ahead of its 30th October release date.

What’s more, Copper Feast Records will be releasing ‘Fortress’ as a 7″ split single before the end of the year alongside label mates Foot on limited edition coloured vinyl which also features a brand new track from Paul Holden & co.

Sleeping Giant is:
Steve Hammer – Guitar/Vocals
James Wright – Bass
Pali Emond – Drums

Sleeping Giant on Thee Facebooks

Sleeping Giant on Instagram

Sleeping Giant on Bandcamp

Copper Feast Records on Thee Facebooks

Copper Feast Records on Instagram

Copper Feast Records on Bandcamp

Copper Feast Records BigCartel store

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Fumarole Releasing Valley of Ten Thousand Smokes LP Next Week

Posted in Whathaveyou on October 22nd, 2020 by JJ Koczan

fumarole

Brisbane trio Fumarole have their ducks in a row on their debut album, Valley of Ten Thousand Smokes, and by ducks I definitely mean riffs. Posted for digital consumption on Oct. 16, the record will be released on vinyl next week through Interstellar Smoke Records, beating the glut of Halloween offerings by a day. Take that, everybody else.

You can hear the record, so by all means, don’t let me keep you. You’ll find it to be a garden of fuzzy delights set to a sci-fi narrative that serves as a pretty clear analog to existence under capitalism, “Desert Worms” and all.

PR wire has info, audio is at the bottom:

fumarole Valley of Ten Thousand Smokes

FUMAROLE TO RELEASE NEW ALBUM ON VINYL

Australia’s FUMAROLE are pleased to announce that their newly released album Valley of Ten Thousand Smokes will see a vinyl release via Interstellar Smoke Records on October 30th. The album was released digitally today on Bandcamp.

Pre-order the vinyl: https://interstellarsmokerecords.bigcartel.com/product/fumarole-valley-of-the-thousand-smokes

Listen to the digital version: https://fumarole.bandcamp.com/album/valley-of-ten-thousand-smokes

As with all great bands, Fumarole initially met… through work? Having pulled together a full lineup in April of 2018, the Australian outfit rapidly developed a sound reminiscent of their heroes in bands like Orange Goblin and Earthless but also local bands like Zong and Witchskull. Having gelled almost instantly, the band record their debut EP, Mountain, in their rehearsal space and have since followed that up with singles “Ghost Smoke” and “Valley” in 2019. Heads started to turn, and now the band seeks to push their fully solidified sound, further focusing on dark creatures and bleak futures. Taking the Antipodes by storm, it’s only a matter of time before Fumarole blows out an amp near you!

Valley of Ten Thousand Smokes is set in a future where the rich have enslaved the poor and placed them on a planet to mine a bacteria that can keep them alive forever. Recorded at Love Street Studios and mixed with Scott French. Mastered at Satanic Audio.

Fumarole are:
Ryan Stewart (drums)
Dan Bartsch (bass)
Kurt Werder (Guitar and Vocals)

https://www.facebook.com/fumaroleband/
https://www.instagram.com/fumarolebandaus/
https://fumarole.bandcamp.com/
https://www.facebook.com/Interstellar-Smoke-Records-101687381255396/
https://interstellarsmokerecords.bigcartel.com/

Fumarole, Valley of Ten Thousand Smokes (2020)

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