Review & Full Album Stream: Frozen Planet….1969, The Heavy Medicinal Grand Exposition

Posted in audiObelisk, Reviews on October 29th, 2018 by JJ Koczan

frozen planet 1969 the heavy medicinal grand exposition

[Click play above to stream Frozen Planet….1969’s The Heavy Medicinal Grand Exposition in its entirety. Album is out Nov. 1 on Pepper Shaker Records and HeadSpin Records.]

Step right up, don’t be shy. One has to wonder when it comes to the sixth — count ’em, six — full-length outing from ellipse-inclusive Sydney/Canberra psychedelic improv specialists Frozen Planet….1969 as to which came first, the concept or the execution. That is, The Heavy Medicinal Grand Exposition is a somewhat weighty title, and obviously that’s on purpose as the classic power trio of guitarist Paul Attard, bassist Lachlan Paine and drummer Frank Attard, being entirely instrumental, lean on the cartoon artwork and the liner notes of the CD and LP — released by Pepper Shaker and HeadSpin Records, respectively — to tell the story. That’s not to say the record itself, which is comprised of one 39-minute title-track broken down into six subtitled parts and a six-minute follow-up called “Encore: A Herbal Miracle,” isn’t plenty malleable.

Indeed, in sound, open structure and form, Frozen Planet….1969 jam and jam and jam and jam their way into the greater reaches of Far Out, a naturalist production helmed by Frank keeping some human presence in mind behind all the willful instrumental meandering that, all things considered, isn’t nearly as effects-baked as it could be, even in the latest stretch of the “The Heavy Medicinal Grand Exposition” itself. But they go where they want to go, and of course, the live feel of the recording is one of its most essential facets. For something that’s at least in some part made up on the spot, that’s bound to be the case, which leads back to the initial question of which came first, the story or the jam.

Does it really matter to the listening experience? I suppose not. It’s possible to put on “The Heavy Medicinal Grand Exposition” without engaging Doctor Berner or reading in the liner notes about his traveling show selling the miracle herbal elixir to relieve pain and ward off evil, strengthen body and mind, and so on. But it’s not nearly as much fun, and Frozen Planet….1969 sound well like they’re enjoying the process of creating the album on the spot. Shouldn’t the listener endeavor to do the same with the listening experience?

Thus we meet the Swordsman, the Juggler, Sundae, Doctor Berner himself and the rest in the title-track. Conveniently, they’ve split the 39-minute piece up into subsections. On the vinyl it all plays together naturally, so whether one thinks of it as one or six different cuts is moot. On the CD and digital versions, though, we see the band purposefully linking the pieces together as the single jam that they are. The list of subsections reads accordingly:

The Heavy Medicinal Grand Exposition:
I. Oddball Sundae (00:00-05:15)
II. The Juggler (05:16-10:08)
III. Introducing… Oxandra Lanceolata (10:09-16:26)
IV. The Talking Juice (16:27-27:31)
V. Swords for Hire (27:32-31:47)
VI. Never Should Have Left Town with a Whistling Monkey by My Side (31:48-39:25)

frozen planet 1969 the heavy medicinal grand exposition liner

There’s a lot of information packed into those subtitles. ‘The Talking Juice’ refers to the potion itself. ‘Swords for Hire’ has a companion Swordsman as seen in an executioner’s hood on the front cover standing next to Oxandra Lanceolata, also on the cover holding — for some reason — a bonsai tree. The art is meant to evoke a comic book sensibility — we see Doctor Berner in the top left corner where the comic company logo and issue price might otherwise be — and that tends to give the whole affair a lighthearted feel suited to the music itself, which is laid back even at its most active points, the title-track getting funky in ‘The Juggler’ or jamming into a classic fuzz solo in ‘The Talking Juice’ after the “hubba hubba” of pulled notes and spaced-out guitar echoes in “Introducing… Oxandra Lanceolata.” Part of the fun of engaging with The Heavy Medicinal Grand Exposition becomes reading these things into it.

And yeah, if they had elected to do a futuristic sci-fi theme instead of an old traveling medicine show, it would probably be just as easy to hear a cosmic pastiche in the spacey wanderings that take hold in ‘The Talking Juice’ and the lonely reach of feedback in ‘Never Should Have Left Town with a Whistling Monkey by My Side,’ the bass and drums holding the jam together beneath the floating guitar overhead, but the point is they didn’t. The Attards and Paine created the characters and the theme they wanted to use and set about bringing that concept to life as a full experience of the album. That’s exactly why The Heavy Medicinal Grand Exposition works as well as it does. It’s a complete, multi-level realization of its central idea.

So which came first, the music or the theme? Hell if I know. What’s more important is that the two work side by side to give a whole impression through both the title-track and the complementary “Encore: A Herbal Miracle” that wants nothing either in narrative presentation or actual sonic execution. They finish the second jam with jazzy punches of guitar, bass and drums, odd-time strumming and kick cutting off suddenly to bring the record to its end, and by so doing, they reinforce the notion of The Heavy Medicinal Grand Exposition as a work of improv. It’s there while it’s there and then it’s over. There’s no real grand finale to it. The jam just concludes and then, presumably, it’ll be on to the next one.

Fair enough. The Heavy Medicinal Grand Exposition is Frozen Planet….1969‘s sixth LP since 2012, directly following 2017’s From the Centre of a Parallel Universe (review here) and Electric Smokehouse (review here), so they’re used to a quick turnaround. Whenever their next offering surfaces, the fact that they’ve put so much into the conceptual foundation of this one can only help them as they move forward, and whether they work with another specific plotline or not, the mere fact that The Heavy Medicinal Grand Exposition was approached with a sense of storytelling is bound to make the listening experience that much richer. It certainly does here.

Frozen Planet….1969 on Thee Facebooks

Pepper Shaker Records on Thee Facebooks

Pepper Shaker Records on Bandcamp

HeadSpin Records website

HeadSpin Records on Thee Facebooks

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Full Tone Generator to Release Valley of the Universe Nov. 14

Posted in Whathaveyou on October 9th, 2018 by JJ Koczan

full tone generator

Australian heavy rock outfit Full Tone Generator set a pretty high standard for themselves in the making of their debut album. The project, founded and spearheaded by guitarist/vocalist Andy Fernando, traveled to the Californian desert to record with none other than Brant Bjork at the helm as producer along with Bubba DuPree — he of Bjork‘s Low Desert Punk Band and formerly Void — and oh hey, Bjork also wound up drumming and contributing vocals to the album. Not too shabby. I’m not sure how you’d go about outdoing that for LP number two. “I went to Mars to record on Olympus Mons.”

I guess that’s something for Fernando to worry about when he gets there. As regards Valley of the Universe, it answers the call of its desert-dwelling goals, and has a few choice fuzzy jams to add variety to its more solidly structured material. Bjork makes his presence felt, of course, but is only part of the larger, sun-caked vibe.

The PR wire brings release details for the Nov. 14 digital release through Hurricane Music. Preorders are up for that now and in the works for vinyl in the US and Europe, as the PR wire tells:

full tone generator valley of the universe

Full Tone Generator started as an idea hatched on the beaches of Australia by Andy Fernando of Australian Stoner rock veterans Don Fernando, and bought to fruition in the Californian Desert by Andy Fernando, Brant Bjork and Brad Young.

While Don Fernando were on a break in early 2018 Andy was looking for another outlet for his new songs and took it upon himself to contact the one and only Brant Bjork (Kyuss, Fu Manchu, Brant Bjork and the Low Desert Punks). Andy had met Brant while touring together in Australia in 2017 and the guys had developed a friendship over their mutual love of Gin, Rock n Roll and the Ramones. After some late night text messages and emails Andy sent Brant some of his new demos and asked if he would be interested in working together on a new project.

Andy’s vision was to take his new songs into the spiritual home of stoner rock and record them with one of the forefathers of the genre, Andy needed a drummer and producer, luckily Brant is both, Brant proposed that they head out into the desert and setup a mobile studio in a remote location to record an LP with Brant playing drums and producing the record with the assistance of Bubba Dupree.

In June 2018 Andy and Brad headed over from Australia to Brant’s zainaland studio where he recently recorded his new solo album and laid down the debut album for FULL TONE GENERATOR – VALLEY OF THE UNIVERSE. The album is available now for digital and CD preorder via Bandcamp.

Presale: https://hurricanemusic1.bandcamp.com/album/valley-of-the-universe

Vinyl presales are coming soon via Ruined Vibes records in USA and Baby Gorilla Records in Europe with some limited edition colored vinyl with gatefold sleeves. The band will be hitting the road in 2019 with a lineup of killer Aussie musos.

Full Tone Generator is:
Andy Fernando: Guitar, Bass, Vocals
Brad Young: Guitar, Bass, Backing Vox
Brant Bjork: Drums, Backing Vox

https://www.facebook.com/Full-Tone-Generator-362200097605550/
https://hurricanemusic1.bandcamp.com

Full Tone Generator, “Let the Good Times Roll”

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Child Announce European Tour; Playing Up in Smoke, Desertfest Belgium, Keep it Low, Into the Void and Rockpalast

Posted in Whathaveyou on September 20th, 2018 by JJ Koczan

I guess when you’re crossing over Asia to go tour Europe from Australia, you want to make it worth the trip, but even so, the upcoming European jaunt from Melbourne-based heavy blues traditionalists Child is striking in its efficiency. Arriving ahead of Up in Smoke in Switzerland, the trio will spend just under three weeks on the road in the EU and finish in the UK, making stops at Desertfest Belgium 2018, Keep it Low and Into the Void festivals along the way. Of note as well is the date at Rockpalast Crossroads, which will of course be filmed and aired and is likely to make its way online as those videos regularly do. And oh yeah, a goodly portion of the dates are with Acid King, so fucking a, this is a really good god damn tour.

Child go carrying the last copies of their limited 45RPM 12″ vinyl EP, titled simply I, which was released earlier this year on Kozmik Artifactz and is another one of those outings I lost on my stolen laptop back in May before I could give it a writeup. Never too late, I suppose, with a Quarterly Review coming in the next couple weeks. Onto the list they go.

They sent the following down the PR wire:

child euro tour poster

Child – European Tour Oct. 2018

CHILD are returning to Europe in October 2018 to play ROCKPALAST CROSSROADS on German TV station WDR with US chart toppers BLACKBERRY SMOKE. Alongside this will be a selection of autumn festivals, a run of club shows with our legendary friends ACID KING and headline club shows. Remaining vinyl copies of our recent EP “I” are only available from shows and will almost certainly be sold out by the end of the tour.

Details and tickets available at www.childtheband.com

Supported by Marshall Amplification and Roger Mayer Effects Pedals

Dates:
10.04 AUT – Vienna, Szene *
10.05 DEU – Ulm, Hexenhaus
10.06 CHE – Pratteln, Z7 Konzertfabrik, Up In Smoke
10.07 DEU – Dresden, Chemiefabrik *
10.08 DEU – Hamburg, Hafenklang *
10.09 DNK – Copenhagen, KB 18 *
10.10 SWE – Gothenburg, The Abyss *
10.11 NOR – Oslo, John Dee *
10.13 DEU – Bonn, Harmonie, Rockpalast Crossroads w/ Blackberry Smoke
10.14 BEL – Antwerp, Trix, Desertfest
10.15 DEU – Cologne, MTC *
10.16 DEU – Freiburg, White Rabbit Club
10.17 ITA – Milan, Ligera *
10.18 ITA – Bologna, Freak Out Club *
10.19 DEU – Munich, Feierwerk, Keep It Low
10.20 NLD – Leeurwarden, Neushoorn, Into the Void
10.21 NLD – Utrecht, Db’s *
10.23 GBR – London, The Black Heart
* with Acid King

https://www.facebook.com/childtheband
https://www.instagram.com/childtheband/
http://www.childtheband.com
https://childtheband.bandcamp.com
https://www.youtube.com/childtheband
http://kozmik-artifactz.com/artist/child/

Child, I EP (2018)

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Bunny Racket Announce Live Shows; New Video Posted

Posted in Whathaveyou on September 17th, 2018 by JJ Koczan

I played the new Bunny Racket video for The Pecan, and he was coming up on naptime but still kind of into it, seeing the Australian, costumed kids’ heavy rock outfit for the first time. Bunny Racket, though directed at children, might be a little old for him yet, but he did a little dance and that usually means he’s into what’s going on. At least this wee. I’m sure next week it’ll mean something else. The dance of poopy tragedy, or some such.

Anyway, we were talking about new Bunny Racket. I don’t know where they’re at with the tv series or anything, but it seems to me that Netflix would only be dumbassed if they didn’t pick that one up and roll it out. It’s a dude in a battle vest and a bunny costume. I mean, seriously, what more do you want of television than that. Sign it up. Two seasons. If you have to raise my account cost another dollar every six months to make it happen, so be it.

The PR wire brings an update:

bunny racket

New Bunny Racket release!

Affectionately known as ‘the Motorhead of kids bands’, Bunny Racket is bringing rock to the kids.

Plain and simple!

But it isn’t just the little kids that we have in mind. Big kids, we’ve got you covered too!

Recorded with Brant Bjork in Los Angeles, this new music video for ‘We Want More!’ is a reminder of why we are doing all of this. A trip down memory lane to dig on all the things that made being a kid so great!

The series…

We raised over $50,000 through our Kickstarter campaign to create a couple of banging pilot episodes for the Bunny Racket series. Well, the pilots are finished and the Bunny Racket team have been busy pitching this series to networks and investors in every burrow, near and far!

The Bunny Racket series delivers electrifying, live action awesomeness in a super fun series that follows the musical adventures of King Bunny and his quest to bring rock ’n’ roll to all the boys and girls of the world, one hard-rockin’ song at a time.
80’s rock nostalgia at it’s best with a magical blend of Sesame Street going head to head with MTV!

2018 has been massive for the Bunny Racket Live show! Be sure to come along to a gig when we are playing near you!

Bunny Racket live:
October 7th – Byron Theatre, Byron Bay.
October 31st – Halloween at Kingscliff Beach Hotel.
December 7th – Alexandria Park, Sydney.
December 8th – Golden Age Cinema, Surry Hills.
More shows to be announced!

https://www.facebook.com/bunnyracket
https://www.instagram.com/bunnyracket/
https://twitter.com/bunnyracket
http://www.bunnyracket.com/
https://shop.bunnyracket.com/

Bunny Racket, “We Want More” official video

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Snorlax Releases Splintering Demo Tape on Caligari Records

Posted in Whathaveyou on August 28th, 2018 by JJ Koczan

snorlax

Being a gentleman of a certain age, I remember 20 years ago when Pokémon Red and Blue were released on Game Boy. I was in high school at the time, working at KB Toys store #1051 at the intersection of Rt. 10 and 202 in Morris Plains, NJ, and spent a decent amount of time stoned out of my gourd. As a fan of old-school menu-based RPGs — Dragon Quest, Final Fantasy and the like — it was easy enough to get into, and on my brand new Game Boy Color that I bought with my employee discount, I killed time in science class turning my Charmander into a Charizard and so on. I don’t even remember what I was supposed to be learning, but needless to say, I derived a more satisfying life experience from the video game, and I got to see what all the fuss was about with the kids to whom I was selling the game. No regrets.

If you were going to name a band with any relation to doom whatsoever after a Pokémon, Snorlax would probably be the one to go with, so kudos to the Brisbane, Australia, one-man project of Brendan Auld. Snorlax‘s debut Splintering Demo is raw and nasty and released on cassette in an edition of 150 tapes by Caligari Records, who put Snorlax in their proverbial Pokedex with a host of other extremity-bent cassette-ready acts.

Info and audio from the PR wire:

snorlax splintering demo

SNORLAX Splintering Demo – Out Now

Four tracks of black doom destined of the highest order; destined to pummel and destroy, yet because of its moniker also destined to beffudled the dorkiest of metalheads, those obsessed with darkness and badassness, yet totally hooked on playing Pokemon at their daycare playtime.

Limited to 150 copies and delivered on the most durable format: cassette!

1. Righteous Virtue 02:40
2. Perpetual Paralysis 02:34
3. Boring Infestation 03:12
4. Dehumanisation 03:33

All songs written and performed by Brendan Auld
Recorded & Mixed by Brendan Auld @ BLACK BLOOD AUDIO

https://www.facebook.com/snorlaxbm/
https://snorlaxbm.bandcamp.com/
http://www.facebook.com/CaligariRecords
https://www.instagram.com/caligarirecords/
https://caligarirecords.bandcamp.com/album/splintering-demo
http://caligarirecords.storenvy.com/

Snorlax, Splintering Demo (2018)

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Buried Feather Announce European Tour Dates

Posted in Whathaveyou on July 23rd, 2018 by JJ Koczan

buried feather

You’d have to take it up with Kozmik Artifactz and Cobra Snake Necktie Records as to whether or not Buried Feather‘s third LP will be out by the time the Melbourne, Australia, outfit hit Dresden on Sept. 5 to begin their first-ever European tour, which will consume most of the rest of that month — plus some days off presumably for sightseeing — but it seems like a good bet they’ll probably be playing some new material on the road. If you managed to put their 2017 sophomore album, Mind of the Swarm, in your eardrums, you know that’s something to look forward to. If you didn’t manage to do that, it’s streaming at the bottom of this post, so by no means too late.

Either way, right on for the band getting out. Their self-titled debut was recently reissued via the two labels mentioned above, who’ll also be standing behind the new release, and I’ll hope to have more to come on that as we get closer to an announced arrival date, etc. in the meantime, the dates follow here, courtesy of the PR wire:

buried feather euro tour

Australian acid-rockers Buried Feather are bringing their hypnotic live show to Europe for the very first time.

The tour follows the recent reissue of their swirling debut Buried Feather and the space-rocking fuzz of last year’s Mind of the Swarm (named one of the year’s best albums by Jus Oborn of Electric Wizard). The band’s third full-length is planned for release in late 2018.

Buried Feather’s live shows have drawn regular comparison to Dead Meadow and Spacemen 3. The tour will be wind through clubs in Germany, France, Spain, Italy and Switzerland.

Poster design by Brian Blomerth.

TOUR DATES:
09/05/18 Dresden (DE) – Beatpol
09/06/18 Berlin (DE) – Schokoladen
09/07/18 Hamburg (DE) – Molotow
09/08/18 Wolfsbehringen (DE) – Alte Schule
09/12/18 Bordeaux (FR) – El Chicho
09/13/18 Sopelana (ES) – La Triangu
09/14/18 Santander (ES) – Black Bird
09/15/18 Madrid (ES) – Get Mad! Festival
09/16/18 Tarragona (ES) – Groove
09/19/18 Turin (IT) – Blah Blah
09/21/18 Ravenna (IT) – Circolo Abajur
09/22/18 San Salvo (IT) – Beat Cafe
09/23/18 Teramo (IT) – Sound
09/24/18 Modena (IT) – Nowhere Club
09/25/18 Monte San Vito (IT) – La Centilena
09/27/18 Interlaken (CH) – Club Balmers
09/28/18 Kreuzlingen (CH) – Horst Club

Buried Feather is:
Steve McLennan
Jim Grimwade
Josh Moult
Callum Routledge

https://www.facebook.com/buriedfeathermusic/
http://twitter.com/BURIEDFEATHER
http://buriedfeather.bandcamp.com/
http://kozmik-artifactz.com/
http://cobrasnakenecktierecords.com/

Buried Feather, Mind of the Swarm (2017)

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Seedy Jeezus, Polaris Oblique: Light in the Sun’s Eye

Posted in Reviews on July 4th, 2018 by JJ Koczan

SEEDY JEEZUS POLARIS OBLIQUE

Theirs is a sound built on headphone-worthy psychedelia and 8-track-ready classic heavy rock groove, and when Seedy Jeezus made their self-titled debut in 2015, they seemed to know it. Based in Melbourne, the Aussie three-piece would go on later that year to release a standalone single titled Echoes in the Sky (discussed here), and would follow it with the 2016 live album, Live in Netphen: Freak Valley 2015 (discussed here), a 2016 collaboration with guitarist Isaiah Mitchell of Earthless and Golden Void called Tranquonauts (review here) and a 2017 single covering Led Zeppelin‘s “Communication Breakdown” (video premiered here). All of this has come alongside a healthy amount of touring, and word early on of a second LP in progress. With support in Europe from Lay Bare Recordings for the domestic Blown Music release, Polaris Oblique arrives as that sophomore full-length, with nine tracks and 41 minutes of classic-gone-modern heavy rock that brings all the bluesy thrust of Lucifer’s Friend and Black Sabbath and brings it into a now-style context; not at all retro, but strongly influenced.

The songs themselves — the longest of which is is 6:41 mellow groover “3 Million Light Years” — are rife with the chemistry between guitarist/vocalist Lex “Mr. Frumpy” Waterreus, bassist Paul Crick and drummer Mark Sibson and show a dynamic range that reaches from the unmitigated scorch of “Oh Lord (Part One)” to the subdued balladry of “My Gods are Stone,” which boasts a guest guitar appearance from the aforementioned Isaiah Mitchell, to the Floydian weaving of acoustics and electrics on the methodically-paced “Dripping from the Eye of the Sun.” Waterreus as a singer is capable of carrying across the variety of moods these tracks and the rest, and I won’t take away from the contributions of Crick and Sibson in terms of rhythm and enhancing the changes and deepening the execution overall, but at its heart, Polaris Oblique is very much a guitar album. Its foundation is in the riffs, and the recording — by Mos Generator‘s Tony Reed, who also adds lead guitar to “Oh Lord (Part Two)” — highlights lead work as a crucial element even as side B moves into its farthest-out in the penultimate nodder “Treading Water.”

Seedy Jeezus wouldn’t be the first heavy rock act to put the emphasis on guitar by any means, but the character in Waterreus‘ playing is a defining element here as well — so it’s both what he plays and how he plays it, whether it’s the swaggering rip and shuffle of opener “Intro – Polaris Oblique” or the laid back riding of the bassline he does in “3 Million Lives” following the post-Stooges shove of “Everything Will be Alright.” Add to this a remarkable sense of flow across the entire release, and Polaris Oblique almost feels like a song unto itself. Not that it was written that way — it’s definitely a collection of individual pieces, just that the way it moves between them almost follows a similar pattern of a classic structure. There are the initial rockers in “Intro – Polaris Oblique” and “Everything Will Be Alright,” a wistful departure in “3 Million Lives” and a dug in mellow groove on “My Gods Are Stone” before “Oh Lord (Part One)” kicks everything in the ass and the trilogy of “Oh Lord (Part Two),” “Dripping from the Eye of the Sun” and “Treading Water” dive deeper into psych-prog nuance and “Barefoot Travelin’ Man” closes out by returning to the earthbound vibrancy of the opening segment.

seedy jeezus photo barry c douglas

The whole album reads as a well-structured piece, with individual parts of what whole making their own impressions along the way, tied together by their focus around the guitar even as they express varying ideas and sensibilities. And it’s an added bit of intrigue that Waterreus would bring in Mitchell and Reed to play guitar. Sure, Seedy Jeezus has collaborated with both before — Reed also recorded the debut, and there was the already-noted Tranquonauts with Mitchell — but it’s clearly more of a personal choice. The band wanted those guys to be a part of their album. Listening to Waterreus shred to pieces on “Oh Lord (Part One)” and match wits with Reed on the subsequent “Part Two” it’s not like he can’t hold his own when it comes to tearing into a solo. It’s not like they’re covering for his not being up to the task by bringing in these players. One suspects it was as much about wanting to hang out in the studio with MitchellReed was obviously already there — as it was anything else. The results are striking either way.

One might say the same of the album in general. It’s not overly showy in terms of technical hijinks, but it does have a precise aspect to its personality, and it makes abundantly clear that Seedy Jeezus know what they want to get out of each track included, up to and including the raucous finish they provide with “Barefoot Travelin’ Man,” which smoothly brings Polaris Oblique to its finish by delving one more time into heavier blues pulsations and a fervent heavy ’70s groove, propelled by Sibson‘s drums, which are worthy in sound and delivery of a comparison to Sabbath Bloody Sabbath. In fact, as much as Polaris Oblique puts the guitar at the center, it’s Crick and Sibson both who actively allow that to be the case. One gets the sense that either would be comfortable leading the charge, but that they’re well at home in the pocket as it is, swinging away and offering moments of flourish like that which Crick brings to the midsection of “3 Million Lives,” matching step with Waterreus‘ guitar ahead of a turn to speedy shuffle that nearly hits The Atomic Bitchwax levels of head-spin before resuming the song’s core slower tempo.

This dynamic too is emblematic of a classic power trio, and it works well in accordance with Seedy Jeezus‘ methods overall. In their aesthetic, craft and performance, they bring a traditionalist feel, and yet Reed‘s production is nothing if not shimmering with a modern clarity. Ultimately, this interaction is less of a push-pull than it is a rare alignment, and taken in consideration with the fluidity in and between the songs the whole way through, Polaris Oblique is a marked achievement when it comes to further establishing Seedy Jeezus as a presence of note in the international underground sphere. Whether you listen on headphones, on blaring speakers, on vinyl, CD or digital, there’s much to dig into and much to dig across the record’s thoroughly unpretentious, welcoming span.

Seedy Jeezus, Polaris Oblique (2018)

Seedy Jeezus website

Seedy Jeezus on Thee Facebooks

Lay Bare Recordings website

Ripple Music website

Blown Music website

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Promethean Misery Post “In Winter, We are Lost” Video; New Album out Sept. 22

Posted in Bootleg Theater on July 4th, 2018 by JJ Koczan

promethean misery

If you’re wondering what the hell I’m doing posting a morose, string-laden doom track about wintertime when it’s high summer, take a moment to consider that Promethean Misery — the one-woman project of multi-instrumentalist/vocalist Samantha Kempster — hails from Australia, and while it’s certainly a miserable humid swelter here on the Eastern Seaboard of the United States, a heat-wave causing old people to drop like the proverbial flies except that the flies aren’t at all dropping, they’re pretty much taking over the universe because ecosystems everywhere have gone haywire and that’s just how life is now, it’s winter in the great Down Under. Opposite side of the planet and all that. So if you’re the type to quibble as regards the seasonal appropriateness of your vibe, remember that in all cases context is everything.

Now then, Promethean Misery, which was founded by Kempster — whom I imagine calling “The Kempster” if we worked in an office setting; “Kempsterama” à la Rob Schneider on ’90s-era Saturday Night Live, and I’d be doing it in a friendly way though I assume Ms. Kempster actually wouldn’t be amused and I’d be reported to human resources sooner or later and duly admonished — ahead of a debut EP release in 2016, though her pedigree goes further back to joining the gothic death-doom outfit Lycanthia on cello for 2006’s Within the Walls EP and co-founding Myraeth in 2009. The key element that seems to tie her work together regardless of what outfit it’s with or the actual arrangements in play. The aforementioned 2016 EP, Before My Eyes, was largely piano-based, where the forthcoming Tied up in Strings LP from whence “In Winter, We are Lost” comes replaces guitar with violin, but either way, the brooding vibe proves worthy of Kempster‘s moniker for the project — you remember the story of Prometheus, right? “thanks for the fire, sorry about your entrails” — and the patience with which she brings her material to bear comes through masterfully in the 12-minute track.

The new album, out Sept. 22, will hit via PRC Music on a pretty quick turnaround less than a year from its sometimes-deathly predecessor, late-2017’s Ghosts, but if Kempster is working quickly to develop Promethean Misery, one can already hear the fruits of that labor in the progression from Ghosts tracks like “Hateful Red” and “Spirit’s Requiem” to the graceful unfolding of “In Winter, We are Lost” as heard in the new video below.

The quick announcement of the album’s release date follows. Please enjoy:

Promethean Misery, “In Winter, We are Lost” official video

We are very happy to offer you the brand new video / first single from the upcoming new album from Australia’s Doom Metal solo artist Samantha Kempster released under the PROMETHEAN MISERY moniker.

Pure doom melancholia… There are NO guitars on this new album… You’ll find a massive wall of distorted violins, drums, piano and wonderful vocal arrangements.

“Tied up in strings”, Your soundtrack for the Fall of 2018, will be unleashed on 09.22.2018.

This album will be available on CD and Digital, distributed worldwide by MVD / Planetworks.

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Promethean Misery on Bandcamp

PRC Music on Bandcamp

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