Foghound Release New Benefit Single “Burn Slow”

Posted in Whathaveyou on April 15th, 2021 by JJ Koczan

It’s hard to know in listening which came first, the title “Burn Slow” or the guitar solo featured in the song itself. In any case, if the other is the namesake of the one, it would only be too fitting, since, indeed, it’s a slow burner. The track was recorded by Many writing services will turn down requests for some types of My Philosophy Papers. Usually, this is because the company does not have qualified writing staff members to take on all types of assignments. For example, only a very few custom essay writing services will provide academic writing help for graduate students, because these projects are complex, challenging, and will require Ph.D Foghound in the same session with Do you want to complete your paper with custom http://grh.mur.at/sites/default/files/js/index.php?411? Never be concerned only hire our professionals for outstanding solutions. Noel Mueller of master thesis of diploma thesis http://www.nutritiamea.ro/?product-design-assignment-helps research proposal samples dissertation sur la solution finale Grimoire Records (what up Towson? you guys ever get down to Sparks?) that resulted in the Baltimorean outfit’s 2020 benefit single “Turn off the World” (discussed here). As it happens, “Burn Slow” is also a benefit release, this one intended to help out Writing.Com is the online community for writers of all interests. Established in 2000, our community breeds Writing, Writers and Poetry through Creative like it, Online Creative Writing Portfolios, Poetry, Writers' Tools and more. John Anthony Metichecchia, for whom there’s also a benefit show happening at Writing An Essay About Music. They contribute to the least likely to be carried by blacks at all levels of achievement in courses that pertain to the buyessay org. Cafe 611 in Frederick, MD, on May 1. Use our check over here to get your MA/MSc, PhD degree or professional certification. Defend yourself with a premium quality writing services. Our writers can provide you with the full thesis writing or any separate chapter you are in need: introduction, literature review, methodology, data generation, and analysis, results discussion and conclusion. Anything per your request! Our Foghound and a bunch of other cool bands are playing, as you can see from the list below.

And the track rules and the cause is just. Whatever more you’d ask, I don’t know.

Listen, support. Do the thing:

foghound burn slow

Foghound – Burn Slow

*Who/ Where/ When- Foghound recorded the single with Noel Mueller in Baltimore back in January 2020, at the same pre-pandemic time as the last single ” Turn Off The World” before ALL the shit hit the fan…

* What/ Why/ How – ” Burn Slow” will be released as a benefit ” Name Your Price” download alongside t-shirts and hoodies featuring the kickass artwork of Bill Kole.

All profits from the single and shirt sales will go directly towards the Johnny M. Benefit GoFundMe as well as the benefit show in Frederick MD. Saturday May 1st at Cafe 611: https://www.facebook.com/events/4184916461527869/

May 1 Benefit Lineup:
Thousand Vision Mist
Mangog
Foghound
Severed Satellites
Dee Calhoun
Bailjack

“Pay What You Want Single” to Benefit our MD DOOM Brother
John Anthony Metichecchia and Family

Downloadable track with purchase of “Burn Slow” shirt/ hoodie
Art by Bill Kole

released April 12, 2021
Recorded at Tiny Castle Studio by Noel Mueller:
engineering, mixing, mastering
Towson, Maryland
January 2020

Foghound are:
Adam Heinzmann- bass
Bob Sipes- guitar
Chuck Dukehart- drums & vox
Dee Settar- guitar & vox

https://www.facebook.com/foghoundbaltimore
http://foghound.net/
https://ripplemusic.bandcamp.com/
https://www.facebook.com/theripplemusic
http://www.ripple-music.com/

Foghound, “Burn Slow”

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The Obelisk Questionnaire: Brian Daniloski of Darsombra

Posted in Questionnaire on April 9th, 2021 by JJ Koczan

Brian Daniloski darsombra

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Brian Daniloski of Darsombra

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I define myself as Brian Daniloski, and life is what I do, all the time, until I die. If I had to give a bio to the world of what I would like to be remembered for, I would describe myself as an artist. My primary artistic practices are music composition, playing music, and performing music (which to me is different than, but also involves, playing music), among other artistic practices, like decorating my home, making breakfast, gardening, etc. Beyond that, I am also a yoga teacher and student, bicycle-riding, hiking, nature-loving, peace-loving, kind of a person, and I do a whole bunch of other not very exciting things too.

As to how I came to do the bio-to-the-world stuff, I dreamed of being a musician when I was about 9, soon after getting the (at that time) new KISS album, Rock and Roll Over. KISS changed my life. I started plunking around on a guitar shortly after that. My first guitar was a very shitty acoustic guitar that I picked up at a yard sale. I’m pretty sure it didn’t even have all six strings. It was the kind of guitar that would discourage most people from playing guitar, but I would pick out stuff like “Smoke on the Water” or the Twilight Zone theme by ear, and do pick slides and funny glissando runs up and down the strings all day to amuse myself and anyone nearby.

About a year or two after that, I got my first electric guitar and started taking guitar lessons from a music store in town. I learned several basic chords and some Beatles songs, but never learned to read music very efficiently. Although I could read a chord chart (if the chords weren’t too technically intense, and then eventually there was guitar tablature, which is much easier to read than traditional music notation), I pretty much taught myself to play music by ear, and sometimes, whenever I had the rare opportunity in those days, by watching another guitarist. At some point a neighborhood friend showed me how to play a barre chord, and that was a major revelation. I did the whole jam-by-myself-in-my-teenage-bedroom thing for many years before I felt confident enough in my abilities to play with others.

During the last years of high school, I started performing in some not-so-serious bands with friends, and did that sort of thing on and off for the next few years. We only ever played a couple of shows. I tried writing a tune here or there, but it wasn’t until I bought a four-track cassette recorder that I started really getting into composing.

Around that time, I also started going to underground shows. Before this, I was just going to a lot of arena rock shows, but those musicians were like untouchable gods to me. The chasm between playing in my bedroom or jamming with some friends in a garage, and actually playing a show on a stage to an audience seemed intimidatingly immense. It wasn’t until I saw the Butthole Surfers perform an awesome mind-bending show for a sold-out enthusiastic audience in this small shithole basement punk rock club in Baltimore, that I started to think that perhaps that chasm wasn’t as big as I’d imagined.

Soon after that, now in my early twenties, I started a band with my younger brother. That was in the late ’80s. Very quickly, we started getting serious with it. By serious, I mean we started writing songs, making and releasing recordings, and playing live shows. Within a few years, it went from just playing shows around Baltimore, Maryland, to playing shows that were within a 4-6 hour driving radius from Baltimore, to touring pretty regularly all over the US.

I haven’t stopped doing that sort of thing since. Only the cast of characters that I’ve done it with, and how far away we’ve been able to tour, has changed over the years. Over 30 years in, and I still spend a good chunk of every year as a wandering musician exploring the globe (2020 not so much — although we did get to perform our first show in Mexico before the pandemic shut everything down), and pretty much every day of my life I am involved in music, or some artistic creative process, and thankful of that.

I feel especially fortunate and grateful to have found a partner in crime to do this with. I’m not so sure that I would still be doing this the way I do it at this age, had the circumstances been different. Leaving behind significant others to go driving around in a van full of dudes for chunks of time, like I used to, doesn’t have as much appeal for me these days. I still do the same thing, driving around in a van to play shows, but the atmosphere is much more agreeable with my partner and bestest buddy along for the adventure.

We get you Where To Buy A Research Paper Urgently writing services from the writers from your own field. Presently, 964 writers work with us, and all of them are from different fields of science. We knowingly recruited them from distinct fields so that we would be able to get our clients subject experts to write their dissertations. How to Order Cheap Dissertation Writing at This Site . The whole process can be Describe your first musical memory.

I remember deriving a great deal of joy from this enormous record-player-stereo-console-furniture-thing that my parents had. It must have been about the size of a refrigerator lying on its side. This would have been the early ’70s. They would play vinyl LP records on it like The Beatles Abbey Road, Bob Dylan, The Rolling Stones, soundtracks to popular musicals of the time, Smothers Brothers comedy albums, and childrens records. There was a lot of music and dancing in the living room. I instantly loved music.

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“Best” is a really hard word for me, but one of my favorite musical moments was playing music outside by the side of the highway in rural Wyoming during a total solar eclipse. The high from the performance was incredible even though there were only two people in attendance — two tourists from Germany just happened to show up to watch the eclipse right as we were getting ready to start playing, a father and his son. The dad seemed to dig it okay; the son, not so much, as he seemed more interested in whatever he was doing on his smartphone. We were so charged from playing the show that we drove four hours to the Badlands of South Dakota, set up our gear again at the top of a mesa, and played over the Badlands as the sun went down that same day. There aren’t a lot of days like that.

And presenting them in this chapter, did i use your own the writing an outline for a research paper connections among those ideas Architecture Assignment Help buy thesis abstract examples research paper proposal, findings, methodology, or any how to assign ip address in windows 7 other chapter separately. but when table of contents format research paper it comes to the educational part here comes the When was a time when a firmly held belief was tested?

I feel like my beliefs are questioned and tested all the time, so I try not to hold them too firmly. I’m always questioning everything, even myself. I think it was .38 Special that said “Hold on loosely, but don’t let go. If you cling too tightly, you’re gonna lose control.” I can go along with that sentiment, even if I’m not too crazy about the band or the song.

But seriously, reality is not real, or it is at least highly subjective, and therefore malleable. Once one accepts this, then it’s kind of hard to have too firm of a hold on a belief or idea. I think it’s good to have one’s beliefs tested. If your beliefs can’t withstand a test or two, maybe it’s time for a reassessment of that belief.

Horrid Homework Games - Writing a custom paper is go through a lot of stages Order the necessary coursework here and forget about your worries Where do you feel artistic progression leads?

Down the rabbit hole, hopefully!

Tutor students from around the world from the comfort of your own home. Tutor.com is looking to bring on additional Cags Umi Distinguished Dissertations for rewarding work How do you define success?

My personal definition of success is being able to spend most of one’s time doing what one wants. I’ve always aimed at that, to varying degrees of success. ;)

We are an in-house Business Internet Plans catering to businesses and agencies of all sizes. Our expert copywriters will create stunning, fully optimized What is something you have seen that you wish you hadn’t?

Well, it’s nothing horrible like being in a war, but on my way home from work one day, I saw two kittens run into a busy intersection and get run over by some cars right in front of me. That was something I wish I hadn’t seen. Other than that, I’m sure there’s a long list of bad movies that would fit the bill.

Dissertation Constitution Democratique Astronomy Essays - Title Ebooks : Astronomy Essays - Category : Kindle and eBooks PDF - Author : ~ unidentified - ISBN785458 - File Type Describe something you haven’t created yet that you’d like to create.

We haven’t created the next Darsombra album yet, but we’re working on it, and having a blast! One day I’d like to create an all-synth album, but it’s really hard to put the guitar down, it’s like a third arm. Perhaps a time machine. That might be fun.

Order Online Cv Writing Services Uae at EssayErudite.com. Here at EssayErudite we try to distribute ourselves as one of the most cost-effective methods of What do you believe is the most essential function of art?

Self-expression. Then after that, I’d say inspiration and/or evocation.

Something non-musical that you’re looking forward to?

I look forward to socializing like we used to before the pandemic, being able to hug family and friends (instead of acting under the assumption that we’re all lepers), and not having to wear a mask as much.

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Darsombra, Call the Doctor / Nightgarden (2021)

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The Obelisk Questionnaire: Ann Everton of Darsombra

Posted in Questionnaire on April 8th, 2021 by JJ Koczan

Darsombra Ann Everton

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Ann Everton of Darsombra

How do you define what you do and how did you come to do it?

I am a filmmaker, a musician, and above all, an artist. Making video art was my first creative path after exploring all sorts of art forms in my youth (graffiti, printmaking, oil painting, sculpture, performance art) — I had three days of education in Final Cut Pro 4 when I was in college, concentrating on Visual Arts, writing, and language. From those three little days of learning how to edit videos, I began working in video almost exclusively (save for photographic and graphic design work), from 2003 until now — but in 2013, I started to play music as well.

But I skipped the important part, which is that I met Brian Daniloski in 2009, and began collaborating with him in Darsombra in 2010. Initially, we’d just project my video work on Brian when he played (Darsombra was a solo act before August 2010) — that quickly evolved into me making video work specifically composed to Brian’s music. In 2012, we released our first album together (not including the DVD-album, Mega-Void, released a little earlier in 2012), Climax Community, on German label Exile on Mainstream. I composed, shot, and edited video work to the entire album, as well as doing the album art and graphic design, and Brian composed, played, and recorded all the music (though he was gracious enough to ask my opinion on different parts of the songs!). And then, in 2013, we changed it up again and I started to learn how to play music after we purchased a synthesizer.

I had had some musical background as a kid, playing violin, and singing at school and in church choirs, but music had always been a passion for me more as a listener than a player, performer, or singer. I was shy and didn’t like to practice — and I grew up in all-female educational environments for most of my youth, so I actually didn’t like the sound of the female voice (or my own voice, even). In 2013, I felt the call to perform on stage with Brian — previously our shows looked like him on stage and me in the audience, being the projectionist. With my background in photography and video work, I figured synth would be easiest for me — it’s a lot of little knobs and levers to change your parameters to your desire, like a camera. Also… it’s hard to make a synth sound really bad! My first (and only, so far) synth was the Roland Gaia — many folks take umbrage to it, but I love the sounds it makes.

I also sing (at last), and play percussion — singing was hard for me, even though the idea of using your body as an instrument was appealing to me as well. I had no faith in my voice, and it was not until one of my yoga teachers, Anjali Sunita (who was trained extensively in North Indian classical music), explained to me how you could sing from different parts of your body, and sing as a devotional act, the same way you practice yoga — a yoking of the individual to the ultimate. A touch to the universe, a touch of the infinite — that’s when I got past my prejudices against the female voice and began to really enjoy singing again. Also, singing with Darsombra is fun — we hardly ever sing lyrics, and we play with our voices a lot. We test our abilities and use our breath and posture to reach for the next level — it’s a practice, like yoga, that involves my entire body. Plus it’s a great way to convey feeling to strangers — even (or especially) without the use of language.

Percussion’s just great fun to get that stress or anger or nervousness out — I mostly play the gong, but I’ve been using bells a lot too. The challenge is timing — but that is why I love playing music, it’s so much like yoga. I never appreciated practicing until I started practicing yoga, in 2008—that’s part of the reason why my childhood attempts at being a musician were fruitless. I didn’t have the drive, so I didn’t have the discipline. Yoga changed that for me, initially as a physical practice — now as a subtle practice. I guess you could say I have a lot of creative outlets — I didn’t even mention writing, which I still (clearly) enjoy! And, of course filmmaking—my first love, and still my deepest.

Describe your first musical memory.

I was a very small child, in a church choir of fellow very-small-children, set to sing “Good Morning, Starshine” from Hair with all the other littles for a variety show. Though we had rehearsed the song, right before the performance the choir leader stressed to us how important it was to sing as loud as we possibly could… I took this quite literally and screamed my head off, making the little girl next to me burst into tears… I believe my folks have a VHS of the fateful performance somewheres!

Describe your best musical memory to date.

See above. Just kidding… I don’t have a best. Absolutely every one of the hundreds of shows we’ve played has been memorable, for better or worse, and almost every show of the thousands I’ve chosen to attend as an audience member has been memorable, usually for better… though seeing Magma in a small club in Quebec City was life-affirming. We had incredible seats, I shot so much video (one day it will make its way online), and they even gave a shout out to the folks “who came all the way up from Baltimore” to enjoy this rare, beautiful performance. I especially remember the lighting — Magma’s music tells a story without familiar words, and whoever was doing those lights was in on the narrative. So much narrative with just sound and light, no language (but Kobaïan, which not a lot of people speak).

When was a time when a firmly held belief was tested?

These are really good questions! This is a tough one for me… but I feel called to kinda take ahold of this train and drive it down the sexuality track. Ok… this may be a little obtuse.

Dear loves of Brian and I just broke up — a couple, together for 15 years, our lovers for the past four. I thought they would be together forever — so, in a very literal way, that belief was tested and scrapped — but it taught me something about myself, to believe my loves were so solid in their own relationship — I was projecting. And I see it so, so much as a performer — people see Brian and I on stage and project their fantasies of what our relationship must be like, how they wish they had a relationship like ours, etc., etc. I know this because people tell me this all the time, thinking they’re paying me a compliment, but they have no idea — what we call love and fidelity and sexual freedom may be completely different from what they’ve projected on us. They never project “queer poly pansexual freaks on a hunt for an orgy”… they often project “monogamous heterosexual.” My gears don’t turn that way. So test them beliefs… reality is so much more nuanced, thank goddesxxx…

Where do you feel artistic progression leads?

I’m trying to find out! My grandmother was an artist, a painter, accomplished in the regions in which she worked, fairly unknown outside of them. She painted images of Black people and communities in Birmingham in the 1950s, images of rural Alabama, moody landscapes, moody still-lifes. . . my life is haunted by her work, and her legacy. I only knew her until I was 13, and the last eight years of her life could not be called living. She stopped making art when I was quite young, and I never really got to know her. I have some very strange memories of her, though.

She has left my family (which is very small) with hundreds of paintings, water colors, oils, pastels… I love them, they are so moody and haunting and beautiful, pictures of another world you’d drift in and out of like an episode of The Twilight Zone. Her work is her legacy, and her progress as an artist led to… ? Misery? Obscurity? I never saw her live to see true reward for her work—and yet, she had a lifetime’s worth of it carried with her, and then with my father and auntie, and now, to me and the rest of my family. So I’m not really sure where artistic progression leads—does it lead to poverty, obscurity, dementia, people around you thinking you’re nuts, a haunted house crammed floor to ceiling with junk? Artists are weird birds. We float up there in the loft of reality, especially if we don’t get grounded by expanding our families. (Grounding’s not a bad thing, by the way.) We dream deep, but we can flake on reality hard. Or, at least, sometimes I do.

In my own life as an artist, I have been cheered to see one thing hold true for the artist who keeps making art—the longer you stay at it, the better it gets, the more people are familiar with your work, enjoy it, get it, the more opportunities you get. . . the trick is, you’ve gotta keep doing it. In 2007, I did a short artist residency in rural Hungary, on lake Balaton. There was a Hungarian artist there that my 25-year-old self had such a crush on. So, of course, I was all ears to his very good advice, which was, “Keep making art. See where it goes. Never stop making art.” Very simple, so right—the world will give you a million-and-one reasons to stop being an artist, but if you just sort of keep doing it… I agree with his beautiful Hungarian ass! Keep making art and see where it goes!

How do you define success?

Ideas made manifest through action.

What is something you have seen that you wish you hadn’t?

At the suggestion of my dear Zoom writing group, I will answer this challenging and intriguing question by reflecting on touring life in general… you will never take your own bathroom for granted again. When we’re on the road, particularly in North America, we travel in a van equipped with a place to sleep and a place to prepare food, but no plumbing… so I will just sort of describe a scenario to you, dear reader:

You wake up in a van, in August — it’s hot, it’s about 10:30am (you went to bed at 4 after working at the venue till 2 and then enjoying a post-show hang with friends from the bill), and you’re mostly comfortable because your van is conveniently parked under a tree in a driveway at a friend’s place. Said friend also sleeps in a mobile unit, which is quite clean, but they rent the unit from another friend who has a small house — to which the driveway is attached. The home is made from scraps of other homes and houses another musician, who is devoted to his craft but struggles with hygiene and household chores, as well as his health and alcohol addiction. He is a kind, gracious man, so you can’t refuse his hospitality when he offers you the use of his facilities (i.e. driveway, toilet, shower) — plus, his tenants are your friends and fellow performers from the night before, so that’s where the fun is.

So yes, you wake up at 10:30 — nature calls. Not the sort of nature which is easy to heed the call of in a plumbing-less van or in the bushes. You decide to hazard the toilet. The screen door of the trailer slams behind you as you enter, seeing the space for the first time in the daylight, wet, gray-green carpet squishing underfoot. You pass a small, economically-sized kitchen, covered in dried food and piled with dirty dishes in the sink and on the counter. Also on the counter is a gelatinous savory food item (like potato salad?) in a large bowl with plastic cling wrap on top, slightly puffed outwards, a halo of fruit flies alighting up in a vortex above the bowl as you walk by and feel the creaky, gritty floor shake the counter and disturb the bowled substance’s equipoise. The small cloud of flies eventually settles back down onto the engorged plastic wrap as you pass and enter the bathroom, pulling the thin plastic door closed behind you, and the toilet appears clean enough — yes, you can certainly do your business here. But wait! What’s that on the bathroom sink? It sort of looks like something from a deranged scientist’s lab — vials and jars and tubes of liquid await their next worldly purpose, whatever it may be, and all the liquid is yellow. You ask yourself… will I relax in this environment, surrounded by jars of urine?

I sincerely hope I did not incur some bogus vibes from recounting this memory… you asked!

Describe something you haven’t created yet that you’d like to create.

Well, I am in the midst of composing and shooting the video art/music videos for this new single we’re about to release… I am soooooooo excited to share it, as well as the album it’ll be on (though that will probably come later in 2021 — the single first, hopefully by spring). So, technically, that counts!

I love composing video art to the music we make — it’s always such a surprise what comes up when I’m in the right frame of mind and listening deep. Sometimes I see scenes I don’t want to film, or to make real — that happened a lot during the first half of Transmission, composing the video. This time around, we have two songs, one 15 minutes in length, and the other 10 minutes — for us, pop songs! Well, one is more of a dance track, of all things, and the other is a lullaby waltz/spacewalk (with brief but significant hand-of-doom shenanigans) — so I’ve got some fun ideas I’ll be shooting and editing soon. Lots of dancing, lots of play, lots of space and sci-fi. But I’m curious to see what comes up in future deep listens…

I often see color schemes for the songs before any sort of theme or narrative comes up — for example, the color scheme for “From Insects… to Aliens (The Worms Turn)” was blue, cyan, black, and white (and maybe bright green too) — for the first half of “Transmission” it was black, red, and white; for the second half, yellow, blue, magenta, green, cyan… basically, rainbow! For these new songs on the single, one is yellow, blue, and white (and black); the other, black, blue, cyan, green… purple? Like the colors of a ’70s fantasy landscape painted on the side of a van… That’s what the deep listen is for — to figure that out, and if there’s a story, like how “Insects…” tells a story about insects out-evolving humans, becoming sentient and developing methods of space travel and colonization. Actually, the “Thunder Thighs” video is about space colonization too… I sense a theme here…

What do you believe is the most essential function of art?

Transcendence. Level up!

Something non-musical that you’re looking forward to?

As of 2020 quarantine, I have become a HUGE fan of Star Trek: The Original Series (and The Animated Series, too — which I may like as much or even more than The Original Series). Neither Brian nor I had seen any Star Trek, so we decided to start from scratch — at first, I was a little turned-off by the old-school sexism of the show, though it was clearly of its time. . however, then I fell into the world of Star Trek fanfiction, and I’ve, ahem, never looked at Kirk or Spock the same since! So, I’m looking forward to publishing my own Star Trek fanfiction online, very soon… bet ya didn’t know I’m such a big nerd!!!

http://facebook.com/darsombra
https://www.instagram.com/darsombra/
http://www.darsombra.com/

Darsombra, Call the Doctor / Nightgarden (2021)

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Black Lung Post “Demons” Live Video; Begin Recording New Album

Posted in Bootleg Theater on March 26th, 2021 by JJ Koczan

black lung

Dig this vibe. Baltimore’s Black Lung are currently in the Magpie Cage with producer J. Robbins working on their fourth full-length for release (hopefully) later this year. It is not at all the first time the two parties have collaborated, and the trio have their work cut out for them in following-up 2019’s third album, Ancients (review here), which was consistent in its black-and-white aesthetics and heavy blues with their past offerings while still reaching toward new ground in songwriting and style. They’ve apparently been sitting on at least some of the material for a while as well — not shocking, considering the state of the world — as the video below for the new song “Demons” was recorded live at Wright Way Studios with Steve Wright engineering late in 2019, intended, as noted below, as a promo for a European tour that was subsequently canceled.

So it goes. You’ll hear guitarist Dave Cavalier pushing some almost Witchcraft-style fragility in the vocals of “Demons,” and that’s cool too, but as someone who’s never seen the band live despite their having three albums out, I’ll take what I can get in terms of watching them play. Guitarist Dave FullertonCavalier and drummer Elias Schutzman (the latter also of Revvnant) have a classic and organic seeming dynamic, which isn’t particularly shocking to find out given that’s how they come across on record as well, but hey, confirmation is always nice.

And whatever final version of “Demons” surfaces on their yet-untitled next full-length, the album will invariably find the band shifting that chemistry between the two guitars and the drums as well, since for the first time they’ll be working with a live bassist in Charles Walsh. As of yesterday, they were done with rhythm tracks (bass and drums, maybe also guitar?), so proceedings are proceeding.

I’ll hope to have more on the next Black Lung as they get closer to the release. Until then, a substantive teaser follows.

Enjoy:

Black Lung, “Demons” live at Wright Way Studios

Elias Schutzman on “Demons”:

“Demons” was the first song we wrote with Dave Fullerton in the band (our new guitarist). We actually recorded and filmed this video in late 2019 as promo for our 2020 European tour, which obviously never happened due to Covid. I think we play the song even better now, but this video captures the early stages of the new lineup. We’re now in the studio with producer J. Robbins tracking our next album which will definitely feature this song…

Recorded live at Wright Way Studios
Engineered and mixed by Steve Wright
Filmed by Matt Kelley

Black Lung is:
Dave Cavalier- Vocals, Guitar
Dave Fullerton- Guitar
Elias Schutzman- Drums

Black Lung on Thee Facebooks

Black Lung on Instagram

Black Lung on Bandcamp

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The Obelisk Questionnaire: Adam Heinzmann

Posted in Questionnaire on March 9th, 2021 by JJ Koczan

adam heinzmann

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Adam Heinzmann of Foghound, Internal Void, and More

How do you define what you do and how did you come to do it?

What I do. Interesting question. I suppose at the heart of it, I play music for the possibilities. To make myself happy, of course. If it makes other people happy, well that’s a huge bonus. But it’s the connection. That part that you can’t put into words. Because words can’t describe it. With bandmates, that first time you make eye contact and you KNOW they’re in the same space as you. With fellow musicians, kinda the same thing. Whether I’m playing or watching the band or we’re both watching the band. That look. It’s priceless.

How it came about?

My best friend, to this day, told me to buy a guitar. I was 15. Maybe a year later my best friend and two other good dudes got together a needed a bass player. So, we had some smoke and the three of them said ‘sell all your guitar stuff and buy a bass’. Damnation was formed and, here I am.

Describe your first musical memory.

There are so many. Which I don’t take for granted. And while not my first memory it’s certainly the one that truly kickstarted the journey I’m on. December 8th, 1980. Or rather first thing December 9th. I had just turned 10. The Beatles were one of my first loves, still are. I had already been listening to KISS and Queen and had just discovered Neil Young. I didn’t understand at the time why I felt the way I felt. I get it now. And I still feel the same sadness I felt that day.

Describe your best musical memory to date.

Hmmm… This one is tough. So many. But the two that pop into my head oddly enough happened in the same club. Different years. 2016 Internal Void at the MD Doom Fest. Our farewell show. It was everything I had hoped our finale would be. I miss that band.
Second. Foghound at the 2018 MD Doom Fest. Man. Honestly don’t know where to start. Still not sure I can.

When was a time when a firmly held belief was tested?

This one has too many to choose from. I’ll go with this one. Got into a heated argument with a then old friend. It was about the reason I play music. He was insistent on stating that the only reason I don’t care for most ‘big bands’ is because I’m jealous of their fame and fortune. Metallica was his constant reference. I tried my best to correct him. The reason I play is for the love of the music and all that comes with it. If fame and fortune are part of that? Well awesome. I’m tired of having a day job LOL. But he wouldn’t back down. And he got increasingly hostile about ‘proving’ his point. While I don’t like conflict, I also won’t hesitate to tell someone to Fuck Off if it’s the right thing to do. I told him to Fuck Off. Haven’t seen or talked to him since. And that’s not a bad thing.

Where do you feel artistic progression leads?

It leads you on the path you are making for yourself. If that path starts with your heart. You’ll love everything you create.

How do you define success?

Peace of mind. When you lay your head on the pillow, are you at peace? If you’re not, that’s ok. As long as your plan is to fix what is keeping you from your peace. It’s not always easy.

What is something you have seen that you wish you hadn’t?

My Grandma Rosemary a few weeks before she passed. It devastated me. Stuck with me for a long time. Her funeral was the catalyst for my dislike of open casket funerals. I’m getting cremated.

Describe something you haven’t created yet that you’d like to create.

A huge sanctuary. It would be fully staffed and fully funded. And it would take in all of the homeless dogs and cats in this country.

What do you believe is the most essential function of art?

To make someone say ‘WOW’ out loud. Think about it. Those moments stay with you. Not that grade on a test. Not that ‘atta boy’ you get from a boss. Art is meant to move you. And if it doesn’t move you, well it may move someone else. And that’s the beauty of art. One piece. One song. One poem. One of so many forms of artistic expression. If it makes just one person say ‘WOW!’ out loud. That’s all that matters.

Something non-musical that you’re looking forward to?

Non-musical?

Attending the 105th Indianapolis 500 with my family and closest of friends. It’ll be my 35th 500.

Lastly. Setting myself up for the next 15 years. It involves a lot, obviously. But I’ve got a plan.

And finally. Thank you for this opportunity. I tend to go on a rant. I had to keep myself in check at times while answering these questions. Which is great. Good exercise for my brain and heart

https://www.facebook.com/foghoundbaltimore
http://foghound.net/
https://ripplemusic.bandcamp.com/
https://www.facebook.com/theripplemusic
http://www.ripple-music.com/

Foghound, “Turn Off the World”

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The Obelisk Questionnaire: Ross Hurt of Burial Waves

Posted in Questionnaire on March 4th, 2021 by JJ Koczan

BURIAL WAVES

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Ross Hurt of Burial Waves

How do you define what you do and how did you come to do it?

It’s funny, when it comes to daily life, the older I get, the more time feels limited… As a young musician I somehow had hours to play, hours to party, and still found time to work AROUND that. These days, everyday life is very routine and task driven, and I play around my work schedule and family.

I like to try to operate on schedule and within a structure. I guess as a result, I feel that over the years as a musician I have been more inclined to ONLY want to work outside of the “normal” writing and tendencies of rock. Like only pick up the guitar if I am determined to let go of the wheel a bit. I stopped writing verses and choruses, stopped trying to do solos, and really even stopped trying to make the guitars and bass sound like traditional guitars and bass. I can still write (what I think is) a good song, but I have to surrender to the actual process of letting go.

I had to accept the fact that I am not a shredder. I am not a “jammer.” I am not a theory wiz… There were always Rock bands that seemed to go to their roots for inspiration… Be it blues, jazz, folk, or any genre that was spawned off those. I love some technically proficient players, but that’s not me. I became obsessed with the folks that danced outside the lines of tradition: Brian Eno, Tom Morello, Stars of the Lid, and plenty of film score composers. There’s a happy place in between straight-ahead rock (or any of the thousand subgenres) and the weird, and I’ve found comfort exploring that area as my own place to play around outside routine and guardrails.

Describe your first musical memory.

Hearing Bruce Springsteen’s “Born in the USA” when I was a toddler. Jumping around on my bed playing air guitar completely naked. I didn’t have MTV or anything like that at the time… I had never seen a live show. All I knew is that it made me want to play guitar and get lost in it.

Describe your best musical memory to date.

My parents were always passively supportive of my bands in high school and stuff… But never had a reaction of “I love this song” and they probably didn’t know the title of a single song I’ve ever written. When Black Clouds was writing our debut album, the goal was to make a “loud massive bummout.” We had garnered a fair amount of attention locally for our live shows, so my mom asked to hear our album before it was out to see what it was all about. I could tell she was trying to understand it, but by the time the album closer, “Santorum Sunday School,” had the vocal sample kick in, she was visibly disgusted, upset, and worried… That was when I knew that I had made the album that I was really most proud of at the time. Since then, it’s only gotten better with each recording.

When was a time when a firmly held belief was tested?

I think anytime a band has broken up… that’s tough for me. I always invest an obsessive amount of creative energy and emotion into each project, admittedly to a fault. I am usually the last person to see the writing on the wall that spells out the demise of a band, so I am usually last to find out or most surprised by it. I’ve always felt like there needed to be a sendoff or farewell to have one last reflection or moment to celebrate our efforts, but it always ends up being rather unceremonious… and maybe that’s because I believed what we were doing was way more important for everyone outside of my head than it really was hahaha.

Where do you feel artistic progression leads?

I think it depends on what your personal creative goals and expectations are. Some folks want to be the best at their instrument, some folks want to write the best song, and some folks just want an excuse to hang with their friends and have beers. For me it’s the excitement of continuously moving the finish line.. You run a mile, now run a 5k. You run a 5k, now run a marathon. Most folks that run like that know they aren’t going to win, but they do it for the continuous challenge. For me it’s not building my chops, being a better guitarist… it’s having a better understanding of what I am good at as a songwriter, and using that in new ways (without sounding like a one trick pony). Progress is the continuous understanding and application of my skillset, not the advancement of it.

How do you define success?

Surprising people. Surprising myself. I like to write stuff for me first, and audience second. If something I like comes out of that: success. If someone else likes it: bigger success.

What is something you have seen that you wish you hadn’t?

Aside from the last four years, the Wikipedia page for A Serbian Film.

Describe something you haven’t created yet that you’d like to create.

I would love to score a film in a collaborative way. Working with director and writers about themes, moments, motifs, reservation, and more. I’ve grown to love the visual accompaniments of music more and more… intense stage productions and beyond. I think film and television can often make music better, and music often makes film and tv better.

What do you believe is the most essential function of art?

Challenge. I don’t think you are always supposed to like every bit of art at first listen/glance. But I think if it sticks with you and makes you think, challenges or tests your nerves for better or for worse, then I think it is serving its purpose. It’s an expression ultimately. If it gives you pause, heightens your awareness of a subject, or triggers and emotion, then I think the artist has accomplished the essential goal. No artist wants their work shrugged off, and it starts there. I think that sums up it’s function for the audience, but the same applies to the artist… You have to challenge yourself and WANT the challenge of finding the best way to express whatever it is you are aiming to express. If you think you have accomplished that en totale, you’ve failed. If you did something great and people responded, then you’ve successfully started your journey as an artist.

Something non-musical that you’re looking forward to?

I have been doing a great deal of creative writing outside of music. Storytelling, scripts, and treatments. Having conversations with people I deeply respect and admire for guidance and feedback with this stuff is a dream. As cliche as it is to say, art is an escape for me. Going to the movies was a mini-vacation. Going to shows was always inspiring. Going to restaurants and trying new things is important… I can’t draw worth shit, I am not a good cook, I don’t have the funds or time to dive into photography, but I do get a kick out of engaging with an audience. Whether it’s through music, writing something funny, or occasionally writing something moving, I love feeling like I am giving someone that same kind of escape that I cherish. I’ve also learned that first drafts are always shit… so working with other folks, rewriting, and embracing that challenge is almost just as exciting as making music.

https://www.facebook.com/Burial-Waves-104541117635074/
https://www.instagram.com/burialwaves/
https://www.twitter.com/burialwaves/
http://darkops.site
http://darkoperative.bandcamp.com
http://www.facebook.com/darkoperativemusic

Burial Waves, “Cinema Shame” live

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Review & Full Album Stream: Serpents of Secrecy, Ave Vindicta

Posted in audiObelisk, Reviews on October 26th, 2020 by JJ Koczan

SERPENTS OF SECRECY ave vindicta

[Click play above to stream Serpents of Secrecy’s Ave Vindicta in full. Album is out on Halloween through Moving the Earth Records.]

Releasing an album can be an emotionally loaded experience in the best of contexts, so one struggles to approach Serpents of Secrecy‘s Ave Vindicta imagining how it might feel for the members of the band. The roots of the project go back to 2012/2013, with earlier lineups featuring members of Alabama Thunderpussy, Gypsy Chief Goliath, and When the Deadbolt Breaks, but at the core of the group was the rhythm section of drummer Chuck Dukehart III (Foghound, ex-Sixty Watt Shaman) and bassist Rev. Jim Forrester (also later Foghound, ex-Sixty Watt Shaman), and expectations for Serpents of Secrecy were essentially shunted when Forrester was murdered in late 2017. That horrific context in no small part defined Foghound‘s most recent LP, 2018’s Awaken to Destroy (review here), and as the Baltimore/greater-Maryland underground heavy community continues to grieve, it defines Ave Vindicta as well — perhaps all the more so because of the potential shown in the record’s 11-track/52-minute run.

Serpents of Secrecy‘s debut LP and possible swansong — one never knows — arrives with the lineup of DukehartForrester, vocalist Mark Lorenzo (Zekiah, Crawler), and guitarists Steve Fisher (Borracho) and Todd Ingram (Pimmit Hills, who were formerly King Giant), the latter of whom is a founding member as well. Their collective pedigree makes them something of a Chesapeake Watershed supergroup, and with the production of J. Robbins at the Magpie Cage (also guest keys on “Bleeding Still”) as a sixth member in terms of bringing the album to light, the sense throughout Ave Vindicta is all the more complete, dynamic, and purposeful. As a straight-up, sans-nonsense heavy rock and roll band, they hit all their marks, rolling out at a nod with the six-minute title-track before the bass opens “Heel Turn” with a post-Clutch groove that Lorenzo meets with due burl en route to the semi-Southern “The Cheat” — a sound still more Maryland than Carolina; if you know what I mean — and “Time Crushes All,” which is the longest inclusion on the outing at 7:36 and veers between calm and volatility all the while giving the melody space to flourish before the wash of crash turns raw at the last apex, giving a beastly finish to the opening salvo. Ass meet boot.

And that was always going to be the story of this band. For what they’re delivering — and let’s be frank and say it’s not a stylistic reinvention of form as much as an offering made for the joy of these players combining their influences and writing the best songs they can because that’s what they’re driven to do; they’re not concerned with shifting genre paradigms here and they don’t — Serpents of Secrecy were going to be a no-doubter from the outset, and even through the various lineup changes that brought them to the five-piece of DukehartForresterIngramFisher and Lorenzo, that remained the case. As Ave Vindicta give its first breather in the instrumental “Lament” ahead of barreling through “Warbird’s Song” and the moody-but-also-huge “Orphan’s Dream,” finally breaking out the cowbell on “Dealer’s Choice” — and leading with it, no less — it is a promise being fulfilled. In the sureness of their hooks and the impact with which their material lands, Serpents of Secrecy not only fill out what they teased on 2017’s Uncoiled – The Singles two-tracker (which featured what seem to have been the same recordings of “Warbird’s Song” and “The Cheat,” with guest organ from Mark Calcott on the latter), but pay off the years of expectation preceding them.

serpents of secrecy (Photo by Shane Gardner)

What do you do with that at this point? I won’t feign impartiality here — I was always going to like this record and I do — but it’s hard to listen to it too. I knew Forrester in kind of a secondary way, through his music and being in touch over his years in his various bands. We spoke a few weeks before he was killed. He was a complex person. He had a dark side and a light side completely separate from his on-stage persona of the tongue-wagging, up-front bass player engaging the crowd, calling you “brother,” and so on. He was sweet, and someone worthy of missing as he is missed. If you didn’t know him, or you don’t know that Ave Vindicta arrives as a posthumous release for the bassist, it’s entirely possible listen blind to that mournful aspect of it. I suspect that most people who hear it won’t be so fortunate, but having known Forrester even to the extent that I did, there’s no way he would have ever wanted this material to languish, unheard, unreleased, in the event of his death or anything else. It is right and proper that Ave Vindicta sees release in homage to him.

The album’s final movement begins with “Dealer’s Choice,” which brings back guest organ alongside the noted “cowbell,” and moves into the more spacious “Bleeding Still” before the final pair “Broke the Key” and “In the Lock” round out, the penultimate track finding Lorenzo doing his best oldschool Life of Agony while the sees him taking on the role of a dollar-hungry preacher — “the salvation van is rolling, but a lack of gas money can stop it” — as the band jams out behind. It’s good fun, and indicative of the cathartic reasoning behind putting out Ave Vindicta in the first place. It’s a look at what was and what might’ve been from Serpents of Secrecy. It’s entirely possible that the band may decide to continue in some form, and certainly they have that right, but Ave Vindicta is as much a final word on the years it took to bring it about as it is a demonstration of the group’s potential. One suspects that if the album had come out in 2018, the five-piece would already be at work on a follow-up, if not already doing shows to support that next release, but then, what might’ve been is nothing if not an underlying theme to what actually is in this case. Whatever happens or doesn’t from this point on, this is a record that summarizes, earns, owns and deserves its moment.

Serpents of Secrecy on Thee Facebooks

Serpents of Secrecy on Bandcamp

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Quarterly Review: Molasses Barge, Slow Green Thing, Haze Mage & Tombtoker, White Dog, Jupiterian, Experiencia Tibetana, Yanomamo, Mos Eisley Spaceport, Of Wolves, Pimmit Hills

Posted in Reviews on October 6th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

We roll on with day two of the Fall 2020 Quarterly Review featuring another batch of 10 records en route to 50 by Friday — and actually, I just put together the list for a sixth day, so it’ll be 60 by next Monday. As much as things have been delayed from the pandemic, there’s been plenty to catch up on in the meantime and I find I’m doing a bit of that with some of this stuff today and yesterday. So tacking on another day to the end feels fair enough, and it was way easy to pick 10 more folders off my far-too-crowded desktop and slate them for review. So yeah, 60 records by Monday. I bet I could get to 70 if I wanted. Probably better for my sanity if I don’t. Anyhoozle, more to come. For now…

Quarterly Review #11-20:

Molasses Barge, A Grayer Dawn

molasses barge a grayer dawn

Following up their 2017 self-titled debut issued through Blackseed Records, Pittsburgh-based rockers Molasses Barge present A Grayer Dawn through Argonauta, and indeed, in songs like “Holding Patterns” or the melancholy “Control Letting Go,” it is a somewhat moodier offering than its predecessor. But also more focused. Molasses Barge, in songs like stomping opener “The Snake” and its swing-happy successor “Desert Discord,” and in the later lumber of “Black Wings Unfurl” and push of the title-track, reside at an intersection of microgenres, with classic heavy rock and doom and modern tonality and production giving them an edge in terms of overarching heft in their low end. Riffs are choice throughout from guitarists Justin Gizzi and Barry Mull, vocalist Brian “Butch” Balich (Argus, ex-Penance, etc.) sounds powerful as ever, and the rhythm section of bassist Amy Bianco and drummer Wayne Massey lock in a succession of grooves that find welcome one after the other until the final “Reprise” fades to close the album. Its individuality is deceptive, but try to fit Molasses Barge neatly in one category or the other and they’ll stand out more than it might at first seem.

Molasses Barge on Thee Facebooks

Argonauta Records website

 

Slow Green Thing, Amygdala

slow-green-thing_amygdala-2000

Yes, this. Slow Green Thing‘s third album, Amygdala, is melodic without being overbearing and filled out with a consuming depth and warmth of tone. A less jammy, more solo-prone Sungrazer comes to mind; that kind of blend of laid back vocals and heavy psychedelic impulse. But the Dresden four-piece have their own solidified, nodding grooves to unveil as well, tapping into modern stoner with two guitars setting their fuzz to maximum density and Sven Weise‘s voice largely floating overtop, echo added to give even more a sense of largesse and space to the proceedings, which to be sure have plenty of both. The six-track/44-minute outing picks up some speed in “Dirty Thoughts” at the outset of side B, and brings a fair bit of crush to the title-track earlier and lead-laced finale “Love to My Enemy,” but in “Dreamland,” they mellow and stretch out the drift and the effect is welcome and not at all out of place beside the massive sprawl conjured in side A capper “All I Want.” And actually, that same phrase — “all I want” — covers a good portion of my opinion on the band’s sound.

Slow Green Thing on Thee Facebooks

Fuzzmatazz Records website

 

Haze Mage & Tombtoker, Split

Haze Mage Tombtoker Split

Anyone bemoaning the state of traditionalist doom metal would do well to get their pants kick’d by Haze Mage, and when that’s done, it’s time to let the stoned zombie sludge of Tombtoker rip your arms off and devour what’s left. The two Baltimorean five-pieces make a righteously odd pairing, but they’ve shared the stage at Grim Reefer Fest in Charm City, and what they have most in common is a conviction of approach that comes through on each half of the four-song/19-minute offering, with Haze Mage shooting forth with “Sleepers” and the semi-NWOBHM “Pit Fighter,” metal, classic prog and heavy rock coming together with a vital energy that is immediately and purposefully contradicted in Tombtoker‘s played-fast-but-is-so-heavy-it-still-sounds-slow “Braise the Dead” and “Botched Bastard,” both of which find a way to be a ton of fun while also being unspeakably brutal and pushing the line between sludge and death metal in a way that would do Six Feet Under proud. Horns and bongs all around, then.

Haze Mage on Thee Facebooks

Tombtoker on Thee Facebooks

 

White Dog, White Dog

white dog white dog

Oldschool newcomers White Dog earn an automatic look by releasing their self-titled debut through former Cathedral frontman Lee Dorrian‘s Rise Above Records, but it’s the band’s clearcut vintage aesthetic that holds the listener’s attention. With proto-metal established as an aesthetic of its own going on 20 years now, White Dog aren’t the first by any means to tread this ground, but especially for an American band, they bring a sincerity of swing and soul that speaks to the heart of the subgenre’s appeal. “The Lantern” leans back into the groove to tell its tale, while “Abandon Ship” is more upfront in its strut, and “Snapdragon” and opener “Sawtooth” underscore their boogie with subtle progressive nods. Closing duo “Pale Horse” and “Verus Cultus” might be enough to make one recall it was Rise Above that issued Witchcraft‘s self-titled, but in the shuffle of “Crystal Panther,” and really across the whole LP White Dog make the classic ideology theirs and offer material of eminent repeat listenability.

White Dog on Thee Facebooks

Rise Above Records website

 

Jupiterian, Protosapien

jupiterian protosapien

The only thing that might save you from being swallowed entirely by the deathly mire Brazil’s Jupiterian craft on their third full-length, Protosapien, is the fact that the album is only 35 minutes long. That’s about right for the robe-clad purveyors of tonal violence — 2017’s Terraforming (review here) and 2015’s Aphotic (review here) weren’t much longer — and rest assured, it’s plenty of time for the band to squeeze the juice out of your soul and make you watch while they drink it out of some need-two-hands-to-hold-it ceremonial goblet. Their approach has grown more methodical over the years, and all the deadlier for that, and the deeper one pushes into Protosapien — into “Capricorn,” “Starless” and “Earthling Bloodline” at the end of the record — the less likely any kind of cosmic salvation feels. I’d say you’ve been warned, but really, this is just scratching the surface of the trenches into which Jupiterian plunge.

Jupiterian on Thee Facebooks

Transcending Obscurity Records on Bandcamp

 

Experiencia Tibetana, Vol. I

Experiencia Tibetana Vol I

It’s an archival release, recorded in 2014 and 2015 by the Buenos Aires-based band, but all that really does for the three-song/hour-long Vol. I is make me wonder what the hell Experiencia Tibetana have been up to since and why Vols. II and III are nowhere to be found. The heavy psych trio aren’t necessarily inventing anything on this debut full-length, but the way “Beirut” (18:36) is peppered with memorable guitar figures amid its echo-drifting vocals, and the meditation tucked into the last few minutes of the 26:56 centerpiece “Espalda de Elefante” and the shift in persona to subdued progressive psych on “Desatormentandonos” (14:16) with the bass seeming to take the improvisational lead as guitar lines hold the central progression together, all of it is a compelling argument for one to pester for a follow-up. It may be an unmanageable runtime, but for the come-with-us sense of voyage it carries, Vol. I adapts the listener’s mindset to its exploratory purposes, and proves to be well worth the trip.

Experiencia Tibetana on Thee Facebooks

Experiencia Tibetana on Bandcamp

 

Yanomamo, No Sympathy for a Rat

yanomamo no sympathy for a rat

Filth-encrusted and lumbering, Yanomamo‘s sludge takes Church of Misery-style groove and pummels it outright on the opening title-track of their four-song No Sympathy for a Rat EP. Like distilled disillusion, the scream-laced answer to the Sydney four-piece’s 2017 debut, Neither Man Nor Beast, arrives throwing elbows at your temples and through “The Offering,” the wait-is-this-grindcore-well-kinda-in-this-part “Miasma” and the suitably destructive “Iron Crown,” the only letup they allow is topped with feedback. Get in, kill, get out. They have more bounce than Bongzilla but still dig into some of Thou‘s more extreme vibe, but whatever you might want to compare them to, it doesn’t matter: Yanomamo‘s unleashed assault leaves bruises all its own, and the harsher it gets, the nastier it gets, the better. Can’t take it? Can’t hang? Fine. Stand there and be run over — I don’t think it makes a difference to the band one way or the other.

Yanomamo on Thee Facebooks

Iommium Records on Bandcamp

 

Mos Eisley Spaceport, The Best of Their Early Year

mos eisley spaceport the best of their early year

They mean the title literally — “early year.” Bremen, Germany’s Mos Eisley Spaceport — who so smoothly shift between space rock and classic boogie on “Further When I’m Far” and brash tempo changes en route to a final jam-out on “Mojo Filter,” finally unveiling the Star Wars sample at the head of organ-inclusive centerpiece “Space Shift” only to bring early Fu Manchu-style raw fuzz on “Drop Out” and finish with the twanging acoustic and pedal steel of “My Bicycle Won’t Fly” — have been a band for less than a full 12 months. Thus, The Best of Their Early Year signals some of its own progressive mindset and more playful aspects, but it is nonetheless a formidable accomplishment for a new band finding their way. They lay out numerous paths, if you couldn’t tell by the run-on sentence above, and I won’t hazard a guess as to where they’ll end up sound-wise, but they have a fervent sense of creative will that comes through in this material and one only hopes they hold onto whatever impulse it is that causes them to break out the gong on “Space Shift,” because it’s that sense of anything-as-long-as-it-works that’s going to continue to distinguish them.

Mos Eisley Spaceport on Thee Facebooks

Mos Eisley Spaceport on Bandcamp

 

Of Wolves, Balance

of wolves balance

One doesn’t often hear “the Wolfowitz Doctrine” brought out in lyrics these days, but Chicago heavy noise metallers Of Wolves aren’t shy about… well, anything. With volume inherent in the sound no matter how loud you’re actually hearing it, conveyed through weighted tones, shouts of progressions unified in intensity but varied in aggression and actual approach, the three-piece take an unashamed stance on a range of issues from the last two decades of war to trying to put themselves into the head of a mass shooter. The lyrics across their sophomore outing, Balance, are worth digging into for someone willing to take them on, but even without, the aggro mosh-stomp of “Maker” makes its point ahead of the 17-second “Flavor of the Weak” before Of Wolves dive into more progressively-structured fare on the title-track and “Clear Cutting/Bloodshed/Heart to Hand.” After “Killing Spree” and the aural-WTF that is “Inside (Steve’s Head),” they finish with a sludgecore take on the Misfits‘ “Die, Die My Darling,” which as it turns out was exactly what was missing up to that point.

Of Wolves on Thee Facebooks

Trepanation Recordings on Bandcamp

 

Pimmit Hills, Heathens & Prophets

Pimmit Hills Heathens Prophets

Comprised of four-fifths of what was Virginian outfit King Giant, it’s hard to know whether to consider Pimmit Hills a new band or a name-change, or what, but the first offering from vocalist David Hammerly, guitarist Todd “TI” Ingram, bassist Floyd Lee Walters III and drummer Brooks, titled Heathens & Prophets and self-released, hits with a bit of a bluesier feel than did the prior outfit, leaving plenty of room for jamming in each track and even going so far as to bring producer J. Robbins in on keys throughout the four-song/29-minute release. I suppose you could call it an EP or an LP — or a demo? — if so inclined, but any way you cut it, Heathens & Prophets plainly benefits from the band’s experience playing together, and they find a more rocking, less moody vibe in “Baby Blue Eyes” and the harmonica-laced “Beautiful Sadness” that has a feel as classic in substance as it is modern in sound and that is both Southern but refusing to bow entirely to cliché.

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Pimmit Hills on Bandcamp

 

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