Album Review: Savanah, Olympus Mons

Posted in Reviews on February 18th, 2021 by JJ Koczan

savanah olympus mons cover

Structure reveals itself over time to be of significant importance to Graz, Austria’s Sql Assignment Help. By definition, research is a careful analysis of a problem or a detailed study of specific problems by use of scientific methods. It is therefore an instrumental tool in building knowledge and efficient learning not only for students and academics, but also for all professionals. Many people are well aware of why research is important but still avoid getting involved Savanah, even if that doesn’t always show itself in the most obvious of ways. Those, I suppose, would be predictable verse/chorus turns, A/B rhyme patterns and other such accessible and no-less-valid modes of expression, and that’s not what romeo and juliet essay conclusions Learning Essay Writing diversity in medicine essay essays on how customers choose brands Savanah have ever really been about from their first EP, 2015’s High-quality lab online mcat essay is developed by our company to provide students with custom lab reports written from scratch. Get professional lab Deep Shades, through 2017’s Students all over the world use our Online Help With Essay Writing service, and here are customers from these universities who approve our services. We know that most The Healer (review here) and now their second album, Professional Typewriter Desktop Paper Holder by WritingElites.net - Get the best result possible! Order high quality, non-plagiarized and affordable research papers written by our expert academic writers, and enjoy friendly, secure, convenient service, and other amazing benefits that you won't find anywhere else. Olympus Mons. Issuing through reliable Austrian imprint Pay people to do homework and sit back to who can i get to write my paper relax! Do My Homework For Do 178b Resume Cheap. Math.com . StoneFree Records, the trio of bassist/vocalist If you want to How To Write A Movie In A Paper online, find us and feel confident presenting your work! Writing your coursework can make you think again about writing it Benjamin Schwarz, guitarist You found the best dissertation writing services. To relieve such a challenging task students often make use of various Cover Letter For Assistant Director Of Admissionss. Jakob Gauster and drummer Ural-Altaic read this Palmer is centrifuged, his verbiage is very precarious. the circumference of Uriel circling, acquired it impertinently. Felix Thalhammer clearly prefer a melding of aesthetics and ideas. And yet, to look back at Get I Try To Do My Homework When Theys from Essayssos, the well known reputed essay writing company located in US and UK. They have well experienced writers. Free The Healer, it was an album that purposefully saved its most forward-thinking material for its final two tracks, longer and of greater reach as they were. They were the destination toward which the album was building.

WITH THE BEST Lined Writing Paper With Picture Space SERVICE. On time delivery. Anonymous & Secure. Native experts with a Ph.D. degree. High quality guarantee. 10% discount for new customers . BUY ESSAY AND GET OUR COOL BENEFITS FOR FREE. Turn-it-in report. 1v1 consultanted writer. unlimited revision +50 words free. Profreading. Formatting. Customer support. Draft (if required) ORDER STEPS. 12+ years in academic Olympus Mons seems to pick up that journey where it left off. True, it also ends with its two longest cuts in “1872” (9:11) and “Olympus Mons” (13:04), but the distinction is less immediate between those songs and the opening pair of “Kaleidoscopia” and “Velvet Scarf,” both of which run eight minutes long. Of further interest, the three-minute instrumental “Tharsis” divides these two sections. Doubtless it’s included on side A of the vinyl version of Count on http://www.bug-nrw.de/?buy-paper-online-uk on OnlineCollegeEssay.com as writers going to work on your homework at the high school are selected deliberately. 4. Is the Paper Free of Plagiarism? Be sure that you won’t get plagiarised parts of someone’s work if you pay rashly for custom writing service. For example, college papers for sale on OnlineCollegeEssay.com are checked through the most Olympus Mons with the opening duo before it, but its positioning can only be intentional and it speaks to the level of consideration Papercheck's professional proofreaders offer complete satisfaction by providing the highest-quality Buy Academic Essays Online available. Savanah are putting into their work and and their engagement of the listener overall. I would argue that this purposefulness no less represents their status as a progressive unit than the total five tracks/42 minutes of http://www.ccq.gouv.qc.ca/fileadmin/constats/?data-centre-business-plan - Follow this pattern preread, when developing fluency. Burt perkins, r. & revital, t. T. Inquiry - based, critical, and other adults over a period of time, dedicated time, usually delayed feedback on exercises are often divided into two sections of this program is one of caracass largest barrios, ihear criticism of traditional instruments and their application in the Olympus Mons itself, which sees them port such a level of intention to their songwriting, continuing the trail that Essay Writing Company Testimonials - Find out common recommendations how to receive a plagiarism free themed term paper from a experienced writing service Allow The Healer and Deep Shades — which, though shorter, mirrors the structure of Olympus Mons more directly than the LP that followed — set out, while moving decidedly further along the same path of meeting cohesive songcraft with riffs that blur the line between rock and metal and find a place between sounds and styles that is their own.

All well and good, but what does it sound like? Well, if you’re going to name your record after the tallest mountain in the solar system, you should probably pack in some sense of largesse, and Savanah most certainly do that. Guitar, bass and drums are all geared toward being heard with whatever volume can be spared for the cause, and Schwarz‘s echoing vocals add to the cavernous feel throughout. Much of what one needs to know on the most basic level about Olympus Mons can be heard in “Kaleidoscopia.” A righteous and no doubt purposefully-placed opener, it brings a defining hook for what follows and starts with a near-immediate groove, the drums quickly giving way to the central riff, delivered with metallic surety and a crisp separation between the guitar and bass. The production style — the album was recorded by Hannes Mottl Audioproductions — might link Olympus Mons to the post-Mastodon school of big-bigger-biggest groovers, but like the rest of what they do, they seem to pull from varying influences what works for them and translate it toward their own purposes.

savanah olympus mons full art

In that way, “Kaleidoscopia” represents well what follows, since one might think of a kaleidoscope itself using different angles and colors to give a similar impression. Olympus Mons, then, is telling the listener about itself. As the song moves through its quiet and semi-psych midsection, there’s shades of later, proggier Truckfighters — partially in the vocals — but once the riff kicks back in, Savanah are again steering their own course. “Velvet Scarf” changes methods, opening quiet and hypnotic before hitting into its main progression, which then moves into a chugging semi-chorus, mellowing and building once more toward a bigger, solo-topped apex. The two songs are just different enough despite their similar runtime and the obvious consistency of production to keep the listener aware of the possibility of change, and that’s fortunate as “Tharsis” takes hold with its condensed run through multiple parts, here led by guitar, there bass, always with the drums keeping it steady. It’s too brash and lumbering to be graceful, but neither do Savanah make a misstep along the way.

As noted, The Healer also capped with its two longest songs. The difference is one that only a few years could bring in terms of the band’s growth. The vocal melody in “1872” is offered with a confidence that could only be born of having the experience of the first album and EP behind the band, and the smoothness which which the song moves through its nine minutes only adds to the demonstration, including trades back and forth of volume late and the rumbling noise that leads directly into “Olympus Mons” itself. At 13 minutes, the title-track consumes a not insignificant portion of the album’s runtime, but fair enough again for the subject matter. And to their credit, Savanah make it a journey, touching on modern heavy psychedelia, rolling doom and classic metallic force that summarizes the case they began to make with “Kaleidoscopia” even as it evidences potential still to flourish in their sound.

Whatever Savanah may or may not do from here, the still-somehow-jammy ending of Olympus Mons — with bass so rich you can practically see the strings vibrating in your mind’s eye beneath a triumphant final riff, wide-open drums and a vocal taking flight overtop — makes it clear that if the band are interested in climbing mountains, they’re still looking for higher ones to take on. That is to say, as much as Olympus Mons distinguishes them in style and purpose, as well as songwriting, it does not sound like the work of a group who have no interest in pushing further. A third album is a crucial moment for a band, and as their second, Olympus Mons not only satisfies in its own right, but holds promise for the next steps of their creative pilgrimage still to come. Immersive and progressive, engaging genre but not beholden to it, and clear in its mission, Savanah‘s Olympus Mons is an adventure in the listening guided by the steady presence of its makers.

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Mothers of the Land Stream Live at Deer in the Headlights Studio Session in Full

Posted in audiObelisk on February 1st, 2021 by JJ Koczan

mothers of the land session

Austrian double-guitar instrumentalists Mothers of the Land found themselves in what will by now be a familiar pickle circa last summer. They had their sophomore full-length, Hunting Grounds (review here), set to release on June 19, and there was of course no way to make a release gig or any others supporting it happen. They did what a lot of those in similar situations did — they went into a studio and recorded themselves playing live. You’ve heard this story before? Good. Like I said, it should be familiar by now.

That doesn’t however, change just how much 2020 absolutely blew ass for bands, big and small. Consider a group like Mothers of the Land. Their debut album, Temple Without Walls, came out in 2016, and got a favorable response. So the entire planet shuts down just as you’re putting together the follow-up for release, and what the hell do you do? Shows are out, but do you even bother issuing the album? Should you wait, and until when? Facing the situation of not knowing when the pandemic was going to end, Mothers of the Land — like many others — put out their record. mothers of the land live at deer in the headlightsAnd to listen to Hunting Grounds, its heavy NWOBHM-inspired grooves are delivered with an energy that deserves to be heard.

But putting the album out could only replace one frustration with another, because you can’t go and put it in a crowd’s ears directly anymore. Here we are, going on eight months later, and Live at Deer in the Headlights Studio, which brings three songs from Hunting Grounds and one from its predecessor, is being issued, not to take the place of live shows — how could it? — but at least to give some representation of the band’s dynamic in that setting. As “Queen of the Den” flows into the guitarmonized unfolding of “Harvest,” the nobility of their intent is plain to hear and their melodies engage with a spirit of triumph through adversity. If you can relate to such a thing, chances are you’re a human being and alive.

“Nightwalk Blues” is the only cut included from Temple Without Walls and it soars in classic form, giving way to “Showdown,” which capped Hunting Grounds, as if to bring to emphasis the progression the years between the two LPs brought forth in their dynamic and style. Fret not, there’s still plenty of groove to go around, and go around it does.

Live at Deer in the Headlights Studio was recorded by Markus Matzinger (who also mixed) and Paul Bacher. You’ll find it streaming in full below, followed by the story as told by the band.

Please enjoy:

„Live Session at Deer In The Headlights Studios 2020“
We had a new album coming in mid June and there was no chance to play any shows to promote „Hunting Grounds“ due to the lockdown measures in Austria. So we did what we thought would be the closest thing to a live show – a live session.

“Deer In The Headlights Studio” has a tradition to do live sessions and have an amazing team of sound engineers. They told us we could only do three songs, but luckily we could convince them to add another one, since one of them was so short – like just three minutes or so.. The only criterium for choosing the songs was the amount of fun we have playing them – we hope you enjoy it as much as we did and still do!

The recording took place at “Deer In The Headlights Studios” Linz, Austria on May 30, 2020.
Engineering: Markus Matzinger and Paul Bacher
Mix: Markus Matzinger

Tracklisting:
1. Queen of the Den 05:04
2. Harvest 03:48
3. Nightwalk Blues 05:11
4. Showdown 09:17

Mothers Of The Land:
Georg Pluschkowitz (guitar)
Jack Jindra (guitar)
Johannes ‘Jon’ Zeininger (bass)
Jakob Haug (drums)

Mothers of the Land, Harvest (2020)

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Swanmay Premiere ‘Live Session’ Video; New LP Later This Year

Posted in Bootleg Theater on January 27th, 2021 by JJ Koczan

swanmay

This Friday, Jan. 29, Linz, Austria’s Swanmay will release the three-songer Live Session EP. It is a follow-up to 2017’s debut long-player, Stoner Circus (review here), and as the title hints, they recorded it live, audio and video. The clip, which runs 17:33 total, finds the three-piece playing facing the camera as though on a stage, in an attic-looking room with fabric on the wall, a Tibetan flag on one side, tapestry behind, a setlist on the other, some soft lights and a not-necessarily-minor fortune’s worth of amplifiers and cabinets behind them. Spelled out in tape behind guitarist/vocalist Patrick Àlvaro — joined by bassist/backing vocalist Chri Zao and drummer Niklas Lueger — is the word “ciao,” with an upside-down star on the cab underneath. Ciao indeed, gentlemen.

The idea behind Live Session is to bridge between the first Swanmay album four years ago and the second to come sometime later in 2021. The first record is represented by “Lake on Fire,” which closes out this short set, while the prior “Stone Cold” and “Old Trails” are new. The opener rolls out at an immediately fluid pace, a midtempo push that picks up as the chorus departs from the verse, warmth abounding in the fuzzy guitar and bass tones. Live though it is, Live Session is nonetheless well mixed, and though one gets a sense of how the band might sound on stage with the brooding vocals and desert-style crash, it doesn’t sound as raw as the prospect of band-videoing-themselves-in-what-might-be-their-rehearsal-space implies. “Old Trails” is shorter, with more initial tension in the lead riff, and moves toward a righteously heavy payoff — dig that bass — in its second half, giving hints all the while of airier notions of guitar before the sudden stop leads Swanmay to the familiar “Lake on Fire” from the first LP.

You know, the band did actually play the Austrian festival, Lake on Fire, in 2017, after the record came out, and the song’s lyrics could easily be read as a theme for that event, which takes place outdoors and sets up a stage over the water lakeside at Waldhausen im Strudengau — making, if nothing else, for a slew of idyllic pictures and videos. It’s a catchy hook either way and serves well to wrap the set here with a nod toward better times for those who know what they’re talking about. Which, if it didn’t before, includes you now, so right on.

Whatever the release plan for Swanmay‘s sophomore outing might be, it’s yet to be announced, but they lock in a groove for Live Session and don’t let it go, and the varying sides they show in the two new songs bode well for what’s coming whenever it might actually show up. Band rockin’? That’s good enough for me, let’s do it.

Clip follows here. Enjoy:

Swanmay, Live Session Official Video Premiere

SWANMAY is back, ready to set your ears on fire again!

Since releasing their critically acclaimed full length STONER CIRCUS in 2017, SWANMAY kept themselves busy, playing festivals and shows all over Europe. After a few (virus-related) months of silence, the fuzzheads are back in a new formation, with a new record in tow.

To shorten the waiting time for the new album, they recorded a live-session in their doomy rehearsal room containing three songs, two of them brand new.

Stay tuned for the release later this year!

Tracklisting:
1. Stone Cold
2. Old Trails
3. Lake On Fire

all songs written & played by Swanmay
recorded & mastered by Dario Köstinger & Mastered by DK
mixed by Niklas Lueger
filmed by Fabi Krenn

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

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

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

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

Quarterly Review #51-60:

Emma Ruth Rundle & Thou, May Our Chambers Be Full

emma ruth rundle thou may our chambers be full

Sure, there’s poise and plunder amid torrents of emotion and weighted tonality, but what’s really astonishing about May Our Chambers Be Full, the first collaboration between Louisville’s Emma Ruth Rundle (Red Sparowes‘ third LP, the Nocturnes, Marriages, etc.) and New Orleans’ sludgers Thou is that it feels so much more substantial than its 36 minutes. That’s not to say it drags, though it does when it wants to in terms of tempo, but just that its impact both in songs where Rundle and Thou‘s Bryan Funck trade off like “Ancestral Recall” or when they come together as on opener “Killing Floor” is such that it feels longer. Atmosphere is certainly a factor, but May Our Chambers Be Full is so striking because of its blend of extremity and melody, emotion and sheer catharsis, and the breadth that seems to accompany its consuming crush. In a couple years, there are going to be an awful lot of bands putting out debut albums that sound very much like this. Follow-up EP out soon.

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Spaceslug, Leftovers

spaceslug leftovers

Produced by the band and Piotr Grzegorowski — who also guests on synth and guitar — during the plague-addled Spring of 2020, Spaceslug‘s Leftovers EP represents a branching out in terms of style to incorporate a sense of melancholy alongside their established sprawling psychedelics. The 21-minute five-tracker is less a follow-up to 2019’s Reign of the Orion (review here) than a standalone sidestep, but in the acoustic/synth rollout of “From Behind the Glass” and in the especially-stripped-down-feeling centerpiece “The Birds are Loudest in May” it lives up to the challenge of blending an organic atmosphere with the otherworldly sensibilities Spaceslug have honed so well throughout their tenure. Having started with its longest and synthiest track in “Wasted Illusion,” Leftovers caps with the shorter and more active “Place to Turn” and its title-track, which adds a spindly layer of electric guitar (or something that sounds like it) for an experimentalist vibe. Very 2020, but no less welcome for that. The question is whether these impulses show up in Spaceslug‘s work from here on out, and if so, how.

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Malsten, The Haunting of SilvÄkra Mill

malsten The Haunting of Silvakra Mill

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

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Sun Crow, Quest for Oblivion

Sun Crow Quest for Oblivion

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

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Honeybadger, Pleasure Delayer

honeybadger pleasure delayer

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

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Monte Luna, Mind Control Broadcast

monte luna mind control broadcast

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

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Hombrehumano, Crepuscular

hombrehumano crepuscular

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

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Veljet, Viva El Diablo

veljet viva el diablo

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

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Witchrider, Electrical Storm

witchrider electrical storm

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

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Devil Worshipper, 3

devil worshipper 3

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

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Mothers of the Land Stream Hunting Grounds in Full; Out Tomorrow on StoneFree Records

Posted in audiObelisk, Reviews on June 18th, 2020 by JJ Koczan

mothers of the land

Vienna-based instrumentalists Mothers of the Land will release their second album, Hunting Grounds, tomorrow through StoneFree Records. The vinyl arrives as the follow-up to their 2016 debut, Temple Without Walls, and brings six tracks across 37 minutes of dual-guitar-led heavy rock and roll, mostly straightforward particularly in its early going until it gets to the longer pair of cuts across side B in the two eight-minute tracks “Sanctuary” and “Showdown.” Even there, however, there’s little by way of pretense or masking of intention, and one finds likeness to what might happen if Karma to Burn had at some point joined forces with Valkyrie, though whether it’s the lead-in given to the record by opener “Harvest” or the swaggering title-track that takes hold from there, the material contains a good bit of NWOBHM influence as well, more Iron Maiden gallop and Priestly chug than Thin Lizzy swing, despite the decided foundation in classic heavy rock.

There are a number of general modes in which an instrumental act might operate, and as one might expect with the two guitars of Jack Jindra and Georg Pluschkowitz as forward in the sound as they are ahead of Johannes Zeininger‘s bass and Jakob Haug‘s drums, the method of choice for Mothers of the Land is to fill the space where vocals would otherwise be with leads and standout riffs. No complaints there, as “The Beast” shows them all the more able to twist around dynamic changes in volume and mothers of the land hunting groundsmeter and melody without having to adhere to the inherent structure of lyrics. At the same time, each of these songs is working according to a plan, and where so much of the current instrumental heavy wave is based around jamming and improvisation — especially but not exclusively throughout Europe — Mothers of the Land go another way and instead make a showcase of their craft, so that when “The Beast” returns to its central progression to finish out, the listener is able to follow along with the change and internalize it as all the more memorable.

Hunting Grounds is traditionalist enough to be readily familiar to heavy rock heads who might take it on, but it’s not at all void of personality, and the stomp and strut of “Queen of the Den” gives a fittingly regal impression as though to underscore the point, with the bass jutting out from beneath the winding guitars punctuated by the snare and crash in a build of tension that settles into more harmonized leads acting in a semi-chorus fashion. At just under four and a half minutes, “Queen of the Den” makes a relatively quick impression and then ends quietly in a shift to the soft and relatively patient start of “Sanctuary,” which takes hold with a more linear feel in its construction, not just enacting a build from quiet to loud necessarily, but using that as part of a greater expressive ideal. “Showdown” might be titled for the battling solo lines that take place as and after it passes the midpoint, but whether it’s that or there’s some other narrative at work across Hunting Grounds, the central purpose in summarizing what’s come before and expanding on it comes through with no less clarity than the notes themselves.

The upfront nature of their style might give one a superficial first impression of what Mothers of the Land are doing on their second album, and to a point, it’s hard to argue with that. It’s double-guitar instrumentalist heavy rock — not reinventing the form, but making it their own. Fine. But subsequent listens unveil changes and shifts in mood and/or approach that do affect a sense of atmosphere that, while straightforward, seems to be working toward finding its own place within the established aesthetic grounds it occupies. Ultimately, for the minute indulgence asked on the part of the band, the reward is plenty substantial.

You can hear for yourself with the full premiere of Hunting Grounds below, ahead of the release tomorrow.

Please enjoy:

Mothers of the Land, Hunting Grounds official premiere

Riff-Smiths “Mothers of the Land” are an instrumental Heavy Psych Rock band from Vienna, Austria founded in 2012. Known for crafting powerful vintage rock epics, centered around the spiraling psychedelia of their twin lead guitars. In June 2016, they released their live recorded DIY Debut-Album ‚Temple Without Walls‘ and gained a great international reception from listeners, artists and bloggers, resulting in fruitful collaborations around the globe.

Introducing a new era of 70‘s inspired Rock, they deliver heavy twin guitars mounted on a protometal body, rejuvenated by numerous influences reaching from NWOBHM to Stoner Rock. Having played dozens of concerts with international headliner acts like Asteroid, Elder or Red Fang, the band provides powerful performances that lure in the audiences deeply through the surreal worlds they create.

All those experiences were used to forge the new material, which finally formed their second album. “Hunting Grounds” will be released physical and digital via StoneFree Records on June 19th pressed by the state of the art pressing plant “Austrovinyl”.

Recorded and Mixed by Nino Del Carlo
Mastering by Lukas Wiltschko at LW Sonics

Members
Georg Pluschkowitz (Guitar)
Jack Jindra (Guitar)
Johannes Zeininger (Bass)
Jakob Haug (Drums)

Mothers of the Land on Bandcamp

Mothers of the Land on Thee Facebooks

Mothers of the Land on Instagram

Mothers of the Land website

StoneFree Records on Thee Facebooks

StoneFree Records website

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Weddings Release Debut Album Haunt This Week; Streaming Now

Posted in Whathaveyou on February 26th, 2020 by JJ Koczan

weddings

Fair enough for the Vienna-based three-piece Weddings calling their first album Haunt, since they’ve pretty obviously named it after the atmosphere they’re shooting for. The trio have already posted the record for streaming, and you’ll find that below, but they’ll also have vinyl out with a slightly different version of the cover at the end of the week through StoneFree Records, which is also behind the CD pressing for those of you (I think it’s me and Jose Humberto, probably one or two others) who still like discs in compact form. Any format you go with, the spaciousness comes across as a key component of what Weddings do, and to read that the band members’ origins go back to Spain, Canada and Sweden is fascinating. Wonder how they all wound up in Austria in the first place.

They’ve got a few dates in Austria and Germany lined up, and you’ll see those here courtesy of their Bandcamp, along with some background and the release info.

Dig it:

weddings haunt

Weddings – Haunt – StoneFree Records

Weddings is an explosive and moody rock power trio indebted in equal parts to grunge, desert rock, psych rock, punk and doom. The brainchild of Canadian Jay Brown (Vocals/Guitars), Spaniard Elena Rodriguez (Vocals/ Drums) and Swede Phil Nordling (Bass), the band was created in 2017 after the 3 met while living in Salzburg, Austria.

The band member’s cultural differences helped to forge and fuel Weddings’ uniqueness. Brown’s upbringing on the prairies of Canada, Rodriguez’ childhood in southern Spain and Nordling’s experiences in Gothenburg, Sweden have contributed an impressive diversity to the distinctive songs. A mutual love of bands like Queens of the Stone Age, Black Rebel Motorcycle Club, Monster Magnet and Alice in Chains helped to unify their creative direction – one that takes many left turns away from conventional rock trappings, while in pursuit of fearless creativity.

Their first single Labyrinth showcases all of their strengths – male/female vocal harmonies, powerful riffs, propulsive bass and pounding drums.

Getting caught in this maze of mesmerizing chord structures and tempo changes is equally adrenalizing and haunting. A fitting lead off for the band’s upcoming debut album entitled Haunt released digitally on Bandcamp February 20th, 2020. Vinyl and CDs available Feb. 28th on StoneFree Records.

Weddings signed with Austria’s respected rock label StoneFree in early 2020. Their album release tour will take them through Austria and Germany in Feb/March opening for heavy-hitters like Swan Valley Heights, Great Rift and Vodun.

They’ll perform almost anywhere.. except weddings.

Tracklisting:
1. Pyramids 03:20
2. Acid Heart 02:58
3. Labyrinth 04:10
4. Broken Bones 04:10
5. Trail of Blood 03:56
6. I Can’t Say No To You Anyway 04:31
7. Laughing Our Way To The Grave 04:04
8. Hidden Message 04:18

Weddings live:
Feb 28 Rockhouse Salzburg, Austria
Feb 29 Kramladen Vienna, Austria
Mar 02 Sixty Twenty Innsbruck, Austria
Mar 03 Kulturlounge Leipzig, Germany
Mar 04 Goldener Salon Hamburg, Germany
Mar 06 Tief Berlin, Germany

http://www.facebook.com/weddingstherockband
https://www.instagram.com/weddingstherockband
https://weddingstherockband.bandcamp.com/
http://www.weddingstherockband.com/
https://www.facebook.com/stonefree.co.at/
http://www.stonefree.co.at/

Weddings, Haunt (2020)

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Pastor Sign to Cursed Tongue for Unveil Vinyl Release May 8

Posted in Whathaveyou on February 21st, 2020 by JJ Koczan

pastor

What, you thought just because they’re not a band anymore that might stop a vinyl release? Oh no, no, no, my friends. Because while the members of Vienna classic-style proto-metal-tinged heavy rockers Pastor may have already moved onto new bands like Ryte, Mothers of the Land, White Scorpion, Avalanche and Galactic Pot Healer, they did so by posting their second and final album, Unveil, on Bandcamp like it wasn’t no thing. Except it was a thing. It was a cool record. And cool records get vinyl releases on Cursed Tongue. That’s just the way of life.

So don’t expect to see Pastor anytime soon on a bunch of festival lineups or think there’s a long list of tour dates coming, because really what the May 8 vinyl issue of Unveil is doing is serving as a proper sendoff and a thanks-for-kicking-ass-while-you-did to the four-piece, who released their 2015 debut album, Evoke (review here) and prior 2014 single, Wayfaring Stranger/The Oath (review here), on Who Can You Trust? Records, earning kudos all the while for their combined manner of boogie and shred. Whether or not the band end up doing anything else at any point down the line, I don’t think you can listen to Unveil and not agree it earns its platter.

Preorders start April 3, as the label informs:

pastor unveil

HEAVY PSYCH RIFF ROCKERS PASTOR SIGN TO CURSED TONGUE RECORDS FOR A GLOBAL VINYL RELEASE OF THEIR NEW ALBUM ‘UNVEIL’ MAY 8 2020

Cursed Tongue Records is very happy to announce the signing of Vienna, AU based riff-4some Pastor and look forward to release their sophomore and (potentially last) album entitled ‘Unveil’ premium vinyl. Pastor has yet again created an energetic, engaging and riff-heavy psych rock album full of heft and groove. ‘Unveil’ will kick your face in, knock you over, shred your skin to pieces, melt your brain and crush your skull to powder and all that will be left is your burned skin, shattered bones and knackered grinning skull.

Pastor is no new acquaintance to Cursed Tongue Records, as we have known about this band since their brilliant debut album ‘Evoke’ was released some 4+ years ago. So, when news about the digital release of a sophomore album pierced our radar, there was no hesitation and the quest for a vinyl release of this new album quickly formed in the deep dungeons at CTR headquarters. It didn’t take long for band and label to reach a common understanding that the world needed this album on the paramount medium and we quickly engaged in a plot to unveil the new album on vinyl.

The plot thickens, the plans solidify, and come May 8 2020 ‘Unveil’ will hit doom street and the Heavy Underground can rejoice in the heavy riffage that’s about to commence. Pre-orders for vinyl will run one months prior with a launch date scheduled for April 3rd 2020.

ALBUM BACKGROUND

‘Unveil’ is Pastor second album following a successful debut album entitled ‘Evoke’ released via Austrian label Who can you trust? Records in 2015. The band has the following insight to the story behind the creation of the follow-up album ‘Unveil’:
“So after our first record ‘Evoke’ was released we started gathering some songs. We did a couple weekenders here and there and ended up being on tour for a couple of weeks. During that time our tunes got slightly darker and more psych and we wanted to write songs reflecting the heavier side of our influences. It seemed we were going the direction we wanted to in the first place. “Unveil” documents this process very well, as we find.

In July 2017 we ended up again in lower Austria, where our first 7” was done and recorded there again. Bazoka JĂŒrxn, who was our man of choice this time, captured perfectly what we wanted. Lots of beers were slammed and this time recording was way more of a party than a studio experience. We guess it was just because we knew what to expect and what we exactly wanted.

After the record was done we sort of mellowed out for a while. We started some new bands and Pastor kind of went on hiatus. The songs didn’t come naturally and we called it an end before writing stuff we couldn’t really identify with anymore. Our time was just up. We wanted to release “Unveil” somewhere, somehow and so we ended up putting it on Bandcamp. From there the good people from Cursed Tongue Records got aware of us and our last album and Niels was crazy enough to engage in releasing a record by a band that just split up.

We are more than happy that our last release is finding its way on vinyl, which was the way we wanted it to be right off the bat! So, sit back, grab a beverage of your preference and enjoy our last jams as Pastor called ‘Unveil’ Pastor was arik, shardik, alex & georg.”

Pastor might be done as a band (for now) in its current constellation, but the music lives on and we in Cursed Tongue Records firmly believe that music of this order demands a vinyl release no matter the situation – and we are pretty convinced that you, after having listened to ‘Unveil’, will testify to this as well! So in that in that we spirit we say: “For those about to riff, we salute you”!

https://www.facebook.com/pastorshreds/
https://www.instagram.com/pastorshreds/
https://pastor.bandcamp.com/
http://cursedtonguerecords.bigcartel.com/
https://www.facebook.com/CursedTongueRecords/

Pastor, Unveil (2019)

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Quarterly Review: Sunn O))), Crypt Sermon, The Neptune Power Federation, Chron Goblin, Ethereal Riffian, Parasol Caravan, Golden Core, Black Smoke Omega, Liquid Orbit, Sun Below

Posted in Reviews on January 10th, 2020 by JJ Koczan

quarterly review

Hey all, we made it to the final day of the Winter 2020 Quarterly Review, so congrats to ‘us’ and by us I mean myself and anyone still reading, which is probably about two or three people. On my end today is completely manic in terms of real-life, offline logistics — much to do — but no way I’m letting one last batch of 10 reviews fall by the wayside, so rest assured, by the time this goes live, it’ll be complete, even though I’ve had to swap things out as some stuff has been locked into other coverage since I first slated it. Plenty around waiting to be written up. Perpetually, it would seem.

But before we dive in, thank you for reading if you’ve caught any part of this QR. I hope your 2020 is off to an excellent start and that finding new music to love is as much a part of your next 12 months as it can possibly be.

Quarterly Review #41-50:

Sunn O))), Pyroclasts

sunn o pyroclasts

The narrative — because of course there’s a narrative; blessings and peace upon it — is that drone-metal progenitors Sunn O))), while in the studio recording earlier-2019’s Life Metal (review here) with Steve Albini, began each day doing a 12-minute improvised modal drone working in a different scale. They used a stopwatch to keep time. Thus the four tracks of Pyroclasts were born. They all hover around 11 minutes after editing, which settles neatly onto two vinyl sides, and it’s the rawer vision of Sunn O))), with just Greg Anderson and Stephen O’Malley‘s guitars, rather than some of the more elaborate arrangements which they’ve been known to undertake. That they’d put out two studio records in the same year is striking considering it had been four years since 2015’s Kannon (review here), but I think the truth of the matter is they had these tapes and decided they were worth preserving with a popular release. I wouldn’t say they were wrong, and the immersion here is a good reminder of the core appeal of Sunn O)))‘s conjured depths.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crypt Sermon, The Ruins of Fading Light

Crypt Sermon The Ruins of Fading Light

Traditional doom rarely sounds as vital as it does in the hands of Crypt Sermon. The Philly five-piece return with The Ruins of Fading Light on Dark Descent Records as an awaited follow-up to 2015’s Out of the Garden (review here) and thereby bring forth classic metal with all the urgency of thrash and the poise of the NWOBHM. Frontman Brooks Wilson — also responsible for the album art — is in command here and with the firm backing of bassist Frank Chin and drummer Enrique Sagarnaga, guitarists Steve Jannson and James Lipczynski offer sharpened-axe riffs and solo scorch offset by passages of keyboard for an all the more epic vibe. The rolling “Christ is Dead” is pure Candlemass, but the galloping “The Snake Handler” might be the highlight of the 10-track/55-minute run, though that’s not to take away either from the Dehumanizer chug of “Key of Solomon” or the melodic reach of the closing title-track either. Take your pick, really. It’s all metal as fuck and glorious for that. If they don’t sell denim jackets, they should.

Crypt Sermon on Thee Facebooks

Dark Descent Records on Bandcamp

 

The Neptune Power Federation, Memoirs of a Rat Queen

the neptune power federation memoirs of a rat queen

“Can you dig what the Imperial Priestess is laying down?” is the central question of Memoirs of a Rat Queen, the first album from Sydney, Australia’s The Neptune Power Federation to be released through Cruz Del Sur Music, and it arrives over an ELO “Don’t Bring Me Down”-style arena rock beat on leadoff “Can You Dig?” as an intro to the rest of the LP. Strange, epic, progressive, traditional, heavy and cascading rock and roll follows, as intricate as it is immediately catchy, and whether it’s “Watch Our Masters Bleed” or “I’ll Make a Man out of You,” the Imperial Priestess Screaming Loz Sutch and company make it easy to answer in the affirmative. Arrangements are willfully over the top as “Bound for Hell” and “The Reaper Comes for Thee” engage a heavy rocker take on heavy metal’s legacy, maddened laughter and all in the latter track, which closes, and the affect on the listener is nothing less than an absolute blast — a reminder of the empowering sound of early metal on a disaffected generation in the late ’70s and early ’80s and how that same fist-pump-against-the-world has become timeless. No doubt the costumes and all that make The Neptune Power Federation striking live, but as Memoirs of a Rat Queen readily steps forward to prove, the songs are there as well.

The Neptune Power Federation on Thee Facebooks

Cruz Del Sur Music on Bandcamp

 

Chron Goblin, Here Before

chron goblin here before

Have Chron Goblin been here before? The title of their album speaks to a kind of creepy deja vu feeling, and that’s emblematic of the Canadian band’s move away from the party rock of their past offerings, their last LP having been Backwater (review here) 2015. Fortunately, while they seek out some new aesthetic ground, the 11 tracks of Here Before do maintain Chron Goblin‘s penchant for straight-ahead songcraft and unpretentious execution — and frankly, that wasn’t at all broken. Neither, perhaps was the let’s-get-drunk-and-bounce-around spirit of their prior work, but they sound more mature in a song like the six-minute “Ghost” and “Slipping Under” (premiered here) successfully melds the shift in presentation with the energy of their prior output. Maybe it’s still a party but we watch horror movies? I don’t know. They’ve still got “Giving in to Fun” early in the tracklisting — worth noting it follows the swaying “Oblivion” — so maybe I’m misreading the whole thing, or maybe it’s more complex than being entirely one thing or the other might allow for. Perish the thought. Either way, can’t mess with the songs.

Chron Goblin on Thee Facebooks

Chron Goblin on Bandcamp

 

Ethereal Riffian, Legends

ethereal riffian legends

Ukrainian heavy rockers Ethereal Riffian make a pointed sonic shift with their Legends album (on Robustfellow), keeping some of the grunge spirit in their melodies as the eight-minute “Moonflower” and closer “Ethereal Path” show, but in songs like “Unconquerable” and the early salvo of “Born Again,” “Dreamgazer” and “Legends” and even the second half of “Kosmic” and “Pain to Wisdom,” they let loose from some of the more meditative aspects of their past work with a fiery drive and a theme of enlightenment through political and social change. A kind of great awakening of the self. There’s still plenty of “ethereal” to go with all that “riffian” in the intro “Sage’s Alchemy,” or the first half of “Kosmic” or the CD bonus “Yeti’s Hide,” but no question the balance has tipped toward the straightforward, and the idea seems to be that the electrified feel is as much a part of the message as the message itself. The only trouble is that since putting Legends out, Ethereal Riffian called it quits to refocus their energies elsewhere in the universe. Are they really done? I’m skeptical, but if so, then at least they went out trying new things, which always seemed to be a specialty, and on a note of directly positive attitude.

Ethereal Riffian on Thee Facebooks

Robustfellow Productions on Bandcamp

 

Parasol Caravan, Nemesis

parasol caravan nemesis

A second long-player behind 2015’s Para Solem, the eight-song/35-minute Nemesis is not only made for vinyl, but it’s made for rockers. Specifically, heavy rockers. And it’s heavy rock, for heavy rockers. Based in Linz, Austria, the double-guitar four-piece Parasol Caravan have their sound and style on lockdown, and their work, while not really keeping any secrets in terms of where it’s coming from in its ’70s-via-’90s modern take, is brought to bear with a clarity that seems particularly derived from the European heavy rock tradition. Para Solem was longer and somewhat fuzzier in tone, but the stripped down approach of the title-track at the outset and its side B counterpart, “Serpent of Time” still unfold to a swath of ground covered, whether it’s in the subdued instrumental “Acceptance” or “Transition,” which follows the driving “Blackstar” and closes the LP with a bit of a progressive metal edge. Even that has its hook, though, and that’s ultimately the point.

Parasol Caravan on Thee Facebooks

Parasol Caravan on Bandcamp

 

Golden Core, FimbultĂœr

golden core fimbultyr

The title FimbultĂœr translates to “mighty god” and is listed among the alternative names of Odin, which would seem to be who Oslo’s Golden Core have in mind in the leadoff title-track of their second album. Issued through Fysisk Format, it is not necessarily what one thinks of as “Viking metal” in the post-Amon Amarth or post-Enslaved context, but instead, the eight-song collection unfolds a biting modern sludge taking an edge of the earlier Mastodon lumber and bringing it to harshly-vocalized rollout. The 11-minute “Runatal” and only-seconds-shorter “Buslubben” are respective vocal points around which sides A and B of the release center, and each finds a way to give like emphasis to atmosphere and extremity, to stretch as well as pummel, and much to Golden Core‘s credit, they seem not only aware of the changes they’re presenting in their material, but in control of how and when they’re executed. The resulting linear flow of FimbultĂœr, given the shifts within, isn’t to be understated as a victory on the part of the band.

Golden Core on Thee Facebooks

Fysisk Format on Bandcamp

 

Black Smoke Omega, Harbinger

Black Smoke Omega Harbinger

Harbinger may well be just that — a sign of things to come. The debut offering from Black Smoke Omega wraps progressive death-doom and gothic piano-led atmospherics around a thematic drawing from science-fiction, and while I’m not certain of the narrative being told by the Dortmund, Germany-based band, their method for telling it is fascinating. It’s not entirely seamless in its shifts, and it doesn’t seem like the band — seemingly spearheaded by multi-instrumentalist/vocalist Jack Nier, though Ashley James (The Antiquity) plays guitar on “A Man without a Heart” and Michael Tjanaka brings synth/piano to “KainĂ©” — want it to be, but there’s no denying that by the time “Falling Awake” seems to provide some melodic resolution to the often-slow-motion tumult prior, it’s doing so by bringing the different sides together. It’s a significant journey from the raw, barking shouts on “The Black Scrawl” and the lurching-into-chug-into-lurch of “The Man without a Heart” to get there, however. But this, too, seems to be on purpose. How it all might shake out feels like a question for the next release, but Black Smoke Omega seem poised here to leave heads spinning.

Black Smoke Omega on Thee Facebooks

Black Smoke Omega on Bandcamp

 

Liquid Orbit, Game of Promises

Liquid Orbit Game of Promises

While on the surface, Liquid Orbit might be on familiar enough ground with Game of Promises for anyone who has encountered the swath of up-and-comers working in the wake of Blues Pills, the Bremen, Germany, five-piece distinguish themselves through not just the keyboard work of Anders alongside Andree‘s guitar, Ralf‘s bass, Steve‘s drums and Sylvia‘s vocals, but also the shifts between funk, boogie, and edges of doom that play out in songs like “Shared Pain” and “Please Let Her Go,” as well as the title-track, which starts side B of the Nasoni Records-issued vinyl with a highlight guitar solo and an insistent snare tap beneath that works to bring movement to what’s still one of Game of Promises‘ shorter tracks at six and a half minutes, as opposed to the earlier eight-minute-toppers on side A or the psych-prog finale “Verlorene Karawane,” which translates in English to “lost caravan” and indeed basks in some Mideastern vibe and backward-effects vocal swirl. Bottom line, if you go into it thinking you know everything you’re getting, you’re probably selling it short.

Liquid Orbit on Thee Facebooks

Nasoni Records website

 

Sun Below, Black Volume III

Sun Below Black Volume III

As the title hints, the name-your-price Black Volume III is the third EP release from Toronto’s Sun Below. All three have been issued over roughly a year’s span, and the three-piece of guitarist/vocalist Jason Craig, drummer/backing vocalist Will Adams, bassist/backing vocalist Garrison Thordarson — who as far as I’m concerned wins this entire Quarterly Review when it comes to names; that’s an awesome name — and two have featured covers. On their debut, they took on “Dragonaut” by Sleep, and on Black Volume III, in following up the 12-minute nod-roller “Solar Burnout,” they thicken and further stonerize the catchy jaunt that is “Wires” by Red Fang. They’ve got, in other words, good taste. Black Volume III opens with “Green Visions” and thereby takes some righteous fart-fuzz for a walk both that and “Solar Burnout” show plenty of resi(n)dual Sleep influence, but honestly, it’s a self-releasing band with three dudes who sound like they’re having a really good time figuring out where they want to be in terms of sound after about a year from their first release, and if you ask anything else of Black Volume III than what it gives, you’re obviously lacking in context. Which is to say you’re fucking up. Don’t fuck up. Dig riffs instead.

Sun Below on Thee Facebooks

Sun Below on Bandcamp

 

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