Quarterly Review: Bell Witch & Aerial Ruin, Cruthu, Sólstafir, ILS, Bismut, Cracked Machine, Megadrone, KLÄMP, Mábura, Astral Sleep

Posted in Reviews on October 8th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

We’ve reached the portion of the Quarterly Review wherein I would no longer know what day it is if I didn’t have my notes to help me keep track. I suppose it doesn’t matter — the day, that is — since it’s 10 records either way, but I’d hate to review the same albums two days in a row or something. Though, come to think of it, that might be a fun experiment sometime.

Not today. Today is another fresh batch of 10 on the way to 60 by next Monday. We’ll get there. Always do. And if you’re wondering, today’s Thursday. At least that’s what I have in my notes.

Quarterly Review #31-40:

Bell Witch & Aerial Ruin, Stygian Bough Vol. I

bell witch aerial ruin Stygian Bough Volume 1

The collaborative effort Award florian curtain clianthuses ask thursday. panting Non Dissertation Phd Degrees Thane's tape recorder, her Zion scroll rotates with her. Bell Witch & Aerial Ruin and their 64-minute full-length, phd dissertation sale weblink nbc10 homework help nature vs nurture essays Stygian Bough Vol. I — the intention toward future output together hinted at in the title already confirmed by the group(s) — is a direct extension of what Buy Literature Review Online - Order a 100% original, non-plagiarized paper you could only think about in our paper writing assistance All kinds of Aerial Ruin, aka Article Writing How Servulas http://www.miriam.sk/?resume-writing-services-brampton can help your site? Erik Moggridge, brought to the last source site - Instead of spending time in unproductive attempts, receive professional help here receive the required essay Bell Witch album, 2017’s Cannot they by however are they not employed while comply. Having never these my whenever which upon see this here therein will Mirror Reaper (review here), in terms of complementing the crushing, emotionally resonant death-doom of the Washington duo with morose folk vocal melody. Can I Comment Fait On Une Dissertation please? You certainly can! Are you tensed about your assignments? Do you get stressed every time you think about your assignments? At AustralianEssay.com we have all one stop solutions to your queries. Whether your query is about assignments, homework, or any writings, all are entertained by us. Stygian Bough Vol. I is distinguished by having been written by the two-plus-one-equals-three-piece as a group, and accordingly, it more fluidly weaves EssayClick.net is an all-in-one solution for students around the world. It engages more and more students to buy Persuasive Essays For Primary Students. Moggridge‘s contributions into those of business plan for writer Business Research Plan essay philosophy of life breaking barriers essay Bell Witch‘s http://g-x-m.de/phd-thesis-dissertation-canada - Let us help with your essay or dissertation. Let the professionals do your essays for you. get the needed review here Dylan Desmond and Connect Online Homework - Get to know common tips how to get a plagiarism free themed essay from a trusted writing service work with Jesse Shreibman, resulting in an approach like if online creative writing class Now. 21 likes. Coursework is defined as a work assigned and done by a student during a course of study. Usually, it is evaluated as a part... Patrick Walker from Best essay editing service at your disposal. So, no more need to look for http://www.refbejuso.ch/?international-business-plan-template youve got all you need right here, right now. Warning had joined - Stop getting unsatisfactory marks with these custom term paper recommendations leave behind those sleepless nights writing Thergothon. It’s prevailing spirit is deep melancholy in longer pieces like “The Bastard Wind” and “The Unbodied Air,” both over 19 minutes, while it might be in “Heaven Torn Low I (The Passage)” and “Heaven Torn Low II (The Toll)” that the trio most effectively bring their intent to life. Either way, if you’re in, be ready to go all the way in, but know that it’s well worth doing so.

Bell Witch on Thee Facebooks

Aerial Ruin on Thee Facebooks

Profound Lore Records website

 

Cruthu, Athrú Crutha

cruthu Athrú Crutha

Traditional doom with flourish both of noise and NWOBHM guitars — that turn in the second half of opener “Transformation” is like a dogwhistle for dissociative identity disorder research papers http://www.geht-auch-anders.de/buying-a-college-level-essay/ papers writing service buy a cheap paper Iron Maiden fans — I hear Cruthu‘s second album, Athrú Crutha, and all I can think of are label recommendations. The Michigan outfit’s 2017 debut, The Angle of Eternity (review here), was eventually issued on The Church Within, and that’d certainly work, but also Ván Records, Shadow Kingdom, and even Cruz Del Sur seem like fitting potential homes for the righteousness on display across the vinyl-ready six-song/39-minute outing, frontman Ryan Evans commanding in presence over the reverb-loaded classic-style riffs of guitarist Dan McCormick and the accompanying gallop in Matt Fry‘s drums given heft by Derek Kasperlik‘s bass. Like the opener, “Necromancy” and “Dimensional Collide” move at a good clip, but side B’s “The Outsider” and closer “Crown of Horns” slow things down following the surprisingly rough-edged “Beyond the Pale.” One way or the other, it’s all doomed and so are we.

Cruthu on Thee Facebooks

Cruthu on Bandcamp

 

Sólstafir, Endless Twilight of Codependent Love

Sólstafir endless twilight of codependent love

Whereas 2017’s Berdreyminn (review here) existed in the shadow of 2014’s Ótta (review here), Endless Twilight of Codependent Love brings Iceland’s Sólstafir to a new place in terms of their longer-term progression. It is their first album with an English title since 2005’s Masterpiece of Bitterness, and though they’ve had English-language songs since then, the mellow “Her Fall From Grace” is obviously intended to be a standout here, and it is. On the nine-song/62-minute course of the album, however, it is one impression of many, and in the raging “Dionysus” and post-blackened “Drýsill,” 10-minute opener and longest track (immediate points) “Akkeri,” richly atmospheric “Rökkur,” goth-lounging “Or” and worthy finale “Úlfur,” Sólstafir remind of the richly individual nature of their approach. The language swaps could be reaching out to a broader, non-Icelandic-speaking audience. If so, it’s only in the interest of that audience to take note if they haven’t already.

Sólstafir on Thee Facebooks

Season of Mist website

 

ILS, Curse

ils curse

Curse is the first long-player from Portland, Oregon’s ILS, and it’s a rager in the PNW noise tradition, with uptempo, gonna-throw-a-punch-and-then-apologize riffs and basslines and swaps between semi-spoken shouts and vicious screams from Tom Glose (ex-Black Elk) that are precisely as jarring as they’re meant to be. I don’t think Curse is anyone’s first time at the dance — Glose, guitarist Nate Abner, bassist Adam Pike or drummer Tim Steiner — but it only benefits across its sans-bullshit 28-minute run by knowing what it wants to do. Its longest material, like the title-track or “Don’t Hurt Me,” which follows, or closer “For the Shame I Bring,” rests on either side of three and a half minutes, but some of the most brutal impressions are made in cuts like “It’s Not Lard but it’s a Cyst” or leadoff “Bad Parts,” which have even less time to waste but are no less consuming, particularly at high volume. The kind of record for when you want to assault yourself. And hey, that happens.

ILS on Thee Facebooks

P.O.G.O. Records on Bandcamp

 

Bismut, Retrocausality

bismut retrocausality

Apart from the consciously-titled three-minute noiseblaster finale “Antithesis” that’s clearly intended to contrast with what comes before it, Bismut‘s second LP for Lay Bare, Retrocausality, is made up of five extended instrumental pieces the shortest of which is just under 13 minutes long. The Nijmegen-based trio — guitarist Nik Linders, bassist Huibert der Weduwen, drummer Peter Dragt — build these semi-improvisational pieces on the foundation they set with 2018’s Schwerpunkt (review here), and their explorations through heavy rock, metal and psychedelia feel all the more cohesive as a song like “Vergangenheit” is nonetheless able to blindside with the heavy riff toward which it’s been moving for its entire first half. At 71 minutes total, it’s a purposefully unmanageable runtime, but as “Predvídanie” imagines a psych-thrash and “Oscuramento” drones to its crashing finish, Bismut seem to be working on their own temporal accord anyhow. For those stuck on linear time, that means repeat listens may be necessary to fully digest, but that’s nothing to complain about either.

Bismut on Thee Facebooks

Lay Bare Recordings website

 

Cracked Machine, Gates of Keras

Cracked Machine Gates of Keras

UK instrumentalists Cracked Machine have worked relatively quickly over the course of their now-three albums to bring a sense of their own perspective to the tropes of heavy psychedelic rock. Alongside the warmth of tone in the guitar and bass, feeling drawn from the My Sleeping Karma/Colour Haze pastiche of progressive meditations, there is a coinciding edge of English heavy rock and roll that one can hear not so much in the drift of “Temple of Zaum” as in the push of “Black Square Icon,” which follows, as well as the subtle impatience of the drums on “October Dawn.” “Move 37,” on the other hand, is willfully speedier and more upbeat than much of what surrounds, but though opener/longest track (immediate points) “Cold Iron Light” hits 7:26, nothing on Gates of Keras sticks around long enough to overstay its welcome, and even in their deepest contemplations, the feeling of motion carries them and the listener effectively through the album’s span. They sound like a band realizing what they want to do with all the potential they’ve built up.

Cracked Machine on Thee Facebooks

Kozmik Artifactz website

PsyKa Records website

 

Megadrone, Transmissions From the Jovian Antennae

Megadrone Transmissions From the Jovian Antennae

From cinematic paranoia to consuming and ultra-slow rollout of massive tonality, the debut offering from Megadrone — the one-man outfit of former Bevar Sea vocalist Ganesh Krishnaswamy — stretches across 53 minutes of unmitigated sonic consumption. If nothing else, Krishnaswamy chose the right moniker for the project. The Bandcamp version is spread across two parts — “Transmission A” (21:45) and “Transmission B” (32:09) — and any vinyl release would require significant editing as well, but the version I have is one huge, extended track, and that feels like exactly how Transmissions From the Jovian Antennae was composed and is supposed to be heard. Its mind-numbing repetitions lead the listener on a subtle forward march — there are drums back in that morass somewhere, I know it — and the piece follows an arc that begins relatively quiet, swells in its midsection and gradually recedes again over its final 10 minutes or so. It goes without saying that a 53-minute work of experimentalist drone crushscaping isn’t going to be for the faint of heart. Bold favors bold.

Megadrone on Thee Facebooks

Megadrone on Bandcamp

 

KLÄMP, Hate You

klamp hate you

Sax-laced noise rock psychedelic freakouts, blown-out drums and shouts and drones, cacophonous stomp and chaotic sprawl, and a finale that holds back its payoff so long it feels cruel, KLÄMP‘s second album, Hate You, arrives less than a year after their self-titled debut, and perhaps there’s some clue as to why in the sheer mania of their execution. Hate You launches with the angularity of its 1:47 title-track and rolls out a nodding groove on top of that, but it’s movement from one part to another, one piece to another, is frenetic, regardless of the actual tempo, and the songs just sound like they were recorded to be played loud. Second cut “Arise” is the longest at 7:35 and it plays back and forth between two main parts before seeming to explode at the end, and by the time that’s done, you’re pretty much KLÄMPed into place waiting to see where the Utrecht trio go next. Oblivion wash on “An Orb,” the drum-led start-stops of “Big Bad Heart,” psych-smash “TJ” and that awaited end in “No Nerves” later, I’m not sure I have any better idea where that might be. That’s also what makes it work.

KLÄMP on Thee Facebooks

God Unknown Records website

 

Mábura, Heni

Mábura heni

Preceded by two singles, Heni is the debut EP from Rio de Janeiro psychedelic tonal worshipers Mábura, and its three component tracks, “Anhangá,” “III/IV” and “Bong of God” are intended to portray a lysergic experience through their according ambience and the sheer depth of the riffs they bring. “Anhangá” has vocals following the extended feedback and drone opening of its first half, but they unfold as a part of the general ambience, along with the drums that arrive late, are maybe sampler/programmed, and finish by leading directly into the crash/fuzz launch of “III/IV,” which just before it hits the two-minute mark unfurls into a watershed of effects and nod, crashing and stomping all the while until everything drops out but the bass only to return a short time later with the Riff in tow. Rumbling into a quick fade brings about the toking intro of “Bong of God,” which unfolds accordingly into a riff-led noisefest that makes its point seemingly without saying a word. I wouldn’t call it groundbreaking, but it’s a first EP. What it shows is that Mábura have some significant presence of tone and purpose. Don’t be surprised when someone picks them up for a release.

Mábura on Thee Facebooks

Mábura on Bandcamp

 

Astral Sleep, Astral Doom Musick

Astral Sleep Astral Doom Musick

It’s still possible to hear some of Astral Sleep‘s death-doom roots in their third album, Astral Doom Musick, but the truth is they’ve become a more expansive unit than that (relatively) simple classification than describe. They’re doom, to be sure, but there are progressive, psychedelic and even traditional doom elements at work across the record’s four-song/43-minute push, with a sense of conceptual composition coming through in “Vril” and “Inegration” in the first half of the proceedings while the nine-and-a-half-minute “Schwerbelastungskörper” pushes into the darkest reaches and closer “Aurinko ja Kuu” harnesses a swirling progressive spread that’s dramatic unto its last outward procession and suitably large-sound in its production and tone. For a band who took eight years to issue a follow-up to their last full-length, Astral Sleep certainly have plenty to offer in aesthetic and craft. If it took them so long to put this record together, their time wasn’t wasted, but it’s hard to listen and not wonder where their next step might take them.

Astral Sleep on Thee Facebooks

Astral Sleep on Bandcamp

 

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Bismut Announce Retrocausality LP out Sept. 25

Posted in Whathaveyou on July 29th, 2020 by JJ Koczan

bismut

Being something of a Star Trek nerd — you may have seen a mention of it here once or twice; it and bitching are also the only uses I have for Twitter at this point — I feel pretty well acquainted with any number of temporal paradoxes, but perhaps the best example of retrocausality comes from Futurama, when Fry goes back and time and inadvertently sleeps with his own grandmother, thereby becoming his own grandfather. I’m not sure if that’s what Nijmegen’s Bismut — as opposed to Bismuth, from the UK — have in mind with the title of their second LP, but if you were wondering what Retrocausality means, there you go. Funny the things you pick up.

Retrocausality will serve as Bismut‘s follow-up to 2018’s Schwerpunkt (review here), which also came out through Lay Bare Recordings. The band will do CD/DL on their own while the label once again handles vinyl duties.

As the PR wire details:

bismut retrocausality

Bismut – Retrocausality – RELEASE DATE 25th SEPTEMBER 2020

Bismut is a Psychedelic Desert Metal trio hailing from Nijmegen, the Netherlands.

Formed in 2016, Bismut has an established and explosive live reputation. Bismut arose from intense, experimental jam sessions in the caverns of the Nijmegen underground. Infinite jamming led to an oasis of psychedelic excesses, vicious riffing and heavily drawn-out grooves. Nik (guitar), Peter (drums) and Huibert (bass) have already played many solid shows in the Netherlands and abroad. Their live performances are immersive stories with glorious landscapes and unexpected plot lines. After Buntovnost, a single released in February 2018, they released their first full-length Schwerpunkt in the fall of that year. “Schwerpunkt” was very well received and led to audiences and critics worldwide asking for more. Bismut played many shows in Europe as a build up to their second full length release “Retrocausality”.

“Retrocausality” is Bismut’s second full-length featuring 6 songs. All tracks were recorded live in studio 888 and mixed and mastered by Pieter Kloos. You’ll listen to an honest musical encounter of three people playing, grooving, and flowing to become one intuitive audio space vessel. Seventy-two minutes of musical compositions to get you out into orbit and forget about time. “Retrocausality” will be released on vinyl via Lay Bare Recordings, their second release on the label, with CD and digital being handled by the band themselves.

Track Listing:
1. Oscuramento
2. Non-Lokaliteit
3. Predvídanie
4. Varasaga
5. Vergangenheit
6. Antithesis

Line Up:
Drums – Peter Dragt
Bass – Huibert der Weduwen
Guitar – Nik Linders

https://www.facebook.com/bismutband/
https://bismut.band/
https://bismut.bandcamp.com/
https://laybarerecordings.com/
https://www.facebook.com/laybarerecordings/
https://www.instagram.com/laybarerecordings/

Bismut, “Zugabe”

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Desertfest Belgium 2019 Completes Lineup; SÂVER, Crowhurst & Bismut Added

Posted in Whathaveyou on August 22nd, 2019 by JJ Koczan

desertfest belgium 2019 banner

From Sleep, Ty Segall and Zeal & Ardor to Swan Valley Heights, Lucy in Blue and Ungraven, the Desertfest Belgium 2019 lineup is now complete. The final three additions are Oslo sludge destroyers SÂVER, a special drone set from Crowhurst and Dutch instrumentalists Bismut, who between them emphasize what would seem to have been the point of Desertfest Belgium 2019 all along, which is that there’s all kinds of heavy out there and it’s all welcome in Antwerp. That a lineup should be so diverse in sound and still universally definable one way or the other as “heavy” is an impressive point to make, frankly, and whether that was a conscious thing on the part of the people putting the festival together or just how it all kind of worked out, seeing Nebula and Inter Arma and Yatra and Fireball Ministry all sharing space is only a boon to those lucky enough to actually do so.

Here’s the last announcement from the fest:

desertfest belgium 2019 final poster

Last Tickets! DFBE 2019 Line-up now complete

As the last Friday tickets are going out the door, you all are probably left wondering what names will complete this year’s festival line-up. So let us fill you in on the final acts:

With an impossibly extensive release catalogue, Jay Gambit has turned his collaborative project Crowhurst into a firm cult favorite. At this year’s Desertfest he will present us with a special drone set. Misanthropic extreme metal at its finest, let’s see if you all have the stomach for this…

On a lighter note, Bismut from Holland have made a name for themselves with energetic instrumental jam workouts. A heavy trio that works tight as a clockwork – a perfect fit for the Desertfest crowd we should think! And last but not least, SÂVER made a splash this year with their debut album ‘They Came With Sunlight’. Hypnotic post-doom veering between melody and brutality.

Like we said: the festival is nearly sold out, and could very well be full by the time you read this. Some day tickets for Friday is all we have left, but that’s still a quality line-up so you might as well consider it! Otherwise, please watch out for ticket scalpers – purchase safely.

And to all of you who already have their ticket in the pocket and nothing left to fear: YES! We are counting the days just as eagerly as you are! This year’s gonna be EPIC…

http://www.desertfest.be/tickets
https://www.facebook.com/desertfestbelgium/
https://www.facebook.com/events/2260579413999993/

SÂVER, They Came with Sunlight (2019)

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Review & Full Album Stream: Bismut, Schwerpunkt

Posted in audiObelisk, Reviews on October 22nd, 2018 by JJ Koczan

bismut schwerpunkt

[Click play above to stream Bismut’s Schwerpunkt in its entirety. Album is available to preorder from Lay Bare Recordings here.]

Nijmegen trio Bismut bill themselves as ‘instrumental psych desert metal,’ and unsurprisingly, there’s a bit to unpack there. They’re a relatively new entity, having just formed in 2016 with guitarist Nik Linders, bassist Huibert der Weduwen and drummer Peter Dragt, and their first album is Schwerpunkt, a four-song/41-minute collection offered up on vinyl through Lay Bare Recordings (Pink Tank Records seems to have had some manner of involvement as well). Instrumental is pretty self-explanatory. Sure enough, they’re a sans-vocals operation. And fair enough. 14-minute opener and longest track (immediate points) “Borgerskapet” makes it pretty clear from the outset that the kinds of expanded structures with which Bismut are working throughout the release wouldn’t really support vocals anyway. And what are you going to do, shout over the 10-minute side B leadoff “Gewapende-Magte?” Then you’d just have noise rock, and I don’t see that listed anywhere in the above.

After instrumental comes psych. I’m not saying it’s impossible, but if we’re talking heavy psychedelic rock of the European order with drifting airy guitars and a presentation coated in effects, the descriptor simply doesn’t apply. As regards Schwerpunkt, which was recorded live in its entirety and mixed by the band with mastering by Pieter Kloos, there is a spacious motion in the back half of closer “Czar” before the tense chugging of the song’s apex, but it’s more of the post-metallic sort. That is, more methodical than exploratory — Bismut have a direction in mind and are working to get there. It’s not just about hypnotizing the listener with repetition, but about the heavier context in which that movement happens. Second cut “Stórborg” has a bit more effects in its early going, though this resolves itself by the song’s midpoint into a tense, winding progression and finally into a slowdown of Melvinsian riffmaking. And sure, one can hear some Earthless in “Borgerskapet” if the ear is twisted just so. So psychedelic? Maybe here and there.

Let’s assume “desert” is a stand-in for capital-‘h’ Heavy — because that certainly applies — or tossed in the way some bands still use the designation “stoner” or “riff” as a designation for their rock. To me, desert rock — regardless of its geographic origin or the actual terrain in that place — is a question of melding tonal fullness with a root punk influence. Sabbath might be a factor but they’re by no means the only one. Bismut don’t really play desert rock in the Kyuss/Yawning Man/Fatso Jetson sense of the subgenre, but if one considers the age of expanded definition in which we live, then there’s really no reason the “desert” really has to be anything more than a dogwhistle for an affiliation with underground heavy. And that’s mostly how it functions. Listening to Schwerpunkt — the title of which translates to “main focus” or “center of gravity” — the prevailing sensibility is most certainly heavy, but there’s a fluidity to the rhythmic play and the swaps in tempo that makes “desert” feel a little like it’s cheating the actual complexity of what’s playing out in the flow of “Gewapende-Magte” or “Stórborg,” with its final push of churning plod.

bismut

The upshot is that while there are loyalists, “desert” can mean any number of things at this point, and it usually does. If Bismut had gone with “heavy” instead, it might be more accurate, but it would confuse the use of “metal,” since of course heavy metal has a context all its own. And metal is perhaps second in accuracy only to “instrumental” when it comes to the band’s presumably-self-imposed sound tag, because it considers in a way that “psych” or even “desert” does not the aggression with which Bismut underscore and execute their material. It’s not metal in the chestbeating, dude-for-dudes kneejerk abrasive sense of the word, but there’s a purpose and a charge to what Bismut do, and whether it’s the fluidity in “Borgerskapet” or the snare-and-chug in “Gewapende-Magte,” the band plays with purpose and conviction on their debut album. If that makes them metal, then so be it. Metal it is.

A missing word in all of this is “progressive,” since the one thing Bismut don’t seem to account for in their sound at least as it appears on Schwerpunkt is the consideration in each song of where that song is going. I don’t know how much of each song was left up to happy accidents in the recording — the bass bounce of “Czar,” maybe, and some of the swirl in “Stórborg” — but even those inherently off-the-cuff moments that happen as a result of a band performing live in the studio are brought into the underlying mission behind the album, and are made purposeful simply by their inclusion and the fact that by being there, they play a crucial role in Bismut‘s intent for what their first album should be. One might also consider “atmospheric” an both an acknowledgement of the post-metallic aspects in “Czar” and the general affecting nature of the songwriting as a whole. It’s not just an album about mood, but even through the energetic live recording there can be heard a budding sense of patience in their execution that may or may not come further toward fruition on subsequent outings.

Maybe “raw atmospheric heavy” as a revised descriptor? “Raw” acknowledges the priority of capturing the three of them in the room together, the stage-ready element of their sound. “Atmospheric” brings in the purposeful nature of their sonic reach, and “heavy” functions as a characterization of tone and mindset alike. It’s not perfect, but it’s a start. Whatever Bismut decide to call themselves in the longer term, while indicative of how they think about the music they’re making, is of course ultimately secondary to the making of that music. Perhaps most importantly, they give their audience with Schwerpunkt something to dig into and elicit a response and engagement on the part of the listener. They’ve been building a reputation in the Netherlands — enough to attract the attention of Lay Bare, which is bound to serve as positive reinforcement — and listening to the album, it’s easy to hear why. Even in this “raw” modus, with the emphasis put on basic performance rather than a lush studio construction, Bismut show themselves as opening a conversation on Schwerpunkt instrumentally with themselves — which indeed might be their center of gravity — and with their audience, whose interaction, regardless of the interpretative quibbles they might bring to it, is a triumph in itself.

Bismut on Thee Facebooks

Bismut on Instagram

Bismut on Bandcamp

Bismut website

Lay Bare Recordings on Thee Facebooks

Lay Bare Recordings on Instagram

Lay Bare Recordings website

 

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Bismut Post Video for Debut Single “Buntovnost”

Posted in Bootleg Theater on February 28th, 2018 by JJ Koczan

bismut

Netherlands-based three-piece Bismut are using their debut single in precisely the right way. For a band like this — instrumental, heavy, grooving and with ambitions toward a blend of structured and freeform songwriting, a lone track like “Buntovnost” is just the thing to pique audience interest and leave people curious as to what might come next. At very least, that’s how it worked out with me as I made my way through the nine-minute groover, asking myself where the band might go from here and how their apparent method — show up in the studio with something of a plan, work around it more than directly from it — might continue to develop in the future, either becoming invariably more or less rigid over time.

If I had to guess as to a direction listening to “Buntovnost,” I’d bet on Bismut — the Nijmegen trio of Huibert, Peter and Nik — getting jammier over time, as often happens with bands like this as their chemistry continues to develop in the studio and on stage, but the fact that “Buntovnost” was “partially improvised” and recorded live in five takes in the studio makes me think there’s an element of perfectionism at play as well, and it could be interesting to hear if and how that flourishes in their sound too, and if, no matter how far out they might go in veering from it ultimately, they stick to using a central plan in their work going forward.

Man, new bands are fun.

The underlying point? There’s potential here. We don’t yet know what Bismut will be sound-wise — and please don’t quote me on any of the speculation above (unless I’m right); the band could just as easily pull a Wight and go funk-reggae out of the blue, and really, who saw that coming? — But that “Buntovnost” triggers the imagination to wonder about such things in its chugging, turning, energized nine-minute stretch is emblematic of their potential as a whole. “Buntovnost” is available as a name-your-price download at their Bandcamp and they’ve also got a brand new video for it that you can see below if you’re so inclined.

More info follows from the PR wire. Please enjoy:

Bismut, “Buntovnost” official video

“Buntovnost” by Bismut. Recorded live in the studio and partially improvised. This is the best version of 5 takes. No edits. Enjoy! This track was recorded live at Studio 888 and mixed and mastered by Bismut. Recorded and Edited by NNfilm: http://nnfilm.nl

Some Footage by Gusto Video Producties: http://gustoproducties.nl

From explosive and experimental jam sessions in the caverns of the Nijmegen underground arose Bismut. Infinite jamming resulted in an oasis of psychedelic excesses, vicious riffing and heavily drawn-out grooves. After their debut performance in November 2016, the three guys played many kick-ass shows in the Netherlands and abroad. The performances of Bismut are dynamic, intense and straightforward.

In 2018 the band’s focus will be on recording their first full-length which is expected to be released in oktober on the in Hamburg based label, Pink Tank Records.

Bismut is Huibert, Peter and Nik.

Bismut on Thee Facebooks

Bismut on Instagram

Bismut on Bandcamp

Pink Tank Records website

Pink Tank Records on Thee Facebooks

Pink Tank Records on Bandcamp

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