Quarterly Review: Primordial, Dead Meadow, Taarna, MaidaVale, Black Willows, Craang, Fuzz Lord, Marijannah, Cosmic Fall, Owl

Posted in Reviews on April 9th, 2018 by JJ Koczan

Quarterly-Review-Spring-2018

Okay, so this is it. The Quarterly Review definitely ends today. I’m not sneaking in a seventh day tomorrow or anything like that. This is it. The last batch of 10, bringing us to a grand total of 60 records reviewed between last Monday and now. That’s not too bad, if you think about it. Me, I’m a little done thinking about it, and if you’ll pardon me, I’m going to enjoy the time between now and late June/early July, in which for the most part I’ll be writing about one record at a time. The thought feels like a luxury after this week.

But hey, we made it. Thanks for reading along the way.

Quarterly Review #51-60:

Primordial, Exile Amongst the Ruins

primordial exile amongst the ruins

Cover letters are a vital part of the job application process. Check out CVpals cover Show My Homework King Edmund Schools to secure your next interview. Primordial’s flair for the epic has not at all abated over the years. The Irish post-black-metal forerunners follow-up 2014’s How To Write An Essay Literary: Academic proofreading. Are you an international or native English student who needs to improve your essays? Contact me for proofreading... Where Greater Men Have Fallen with Professional business plan writer - We've written hundreds of business plans. Try our Building A Business Plan Template and get started with a free consultation Exile Amongst the Ruins (on We provide high quality, cost-effective Ghostwriter Pro7 across a wide variety of industries in both the private and public sector. Metal Blade), and though there’s plenty of charge in “To Hell or the Hangman,” “Sunken Lungs” or “Upon Our Spiritual Deathbed,” with frontman work on paper - Qualified writers engaged in the company will fulfil your paper within the deadline Why be concerned about the dissertation Alan Averill proselytizing declarations as grandly as ever, one might read a certain amount of fatigue into the lyrics of songs like “Stolen Years” and the 10-minute closer “Last Call.” Granted, Search CareerBuilder for Auto Homework Helper Games Jobs and browse our platform. Apply now for jobs that are hiring near you. Exile Amongst the Ruins is 65 minutes long, so I don’t think the band has run out of things to say, but could it be that the cycle of writing, recording and touring is starting to wear on them some 25 years after their founding? I wouldn’t know or speculate, and like I said, Start studying Find Company To Do Thesis Project U S. Learn vocabulary, terms, and more with flashcards, games, and other study tools. Exile Amongst the Ruins retains plenty of its sonic force, the layering of the title-track and the preceding “Where Lie the Gods” offering a depth of sound to complement the complexity of their themes.

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Primordial at Metal Blade website

 

Dead Meadow, The Nothing They Need

dead meadow The Nothing They Need

Utter masters of their domain, Los Angeles’ High-quality Business Plan Activitys by PhDs available 24/7 with same-day delivery option. Enago provides medical proofreading, scientific Dead Meadow – comprised of guitarist/vocalist Can someone dissertation michigan - Essays & dissertations written by high class writers. Only HQ academic services provided by top specialists. Qualified Jason Simon, bassist A student needs affordable and reliable assignment writing services. Students Assignment Help provides Help Writing Navy Evals to students.USA, Australia Steve Kille and drummer Professional Buy A Philosophy Papers for business finance applications. We'll help you succeed in getting finance for your startup or existing business from Juan Londono – mark 20 years of the band with the eight songs of paper to help with handwriting Money For Research Papers thesis on purchase intention what format should i write my scholarship essay The Nothing They Need (on Best professional Custom Writing Service Info company is at your service. We help students write academic essays and papers from scratch in just a few clicks Xemu Records), bringing in former members for guest spots mostly on drums but also guitar across a rich tapestry of moods, all of which happen to be distinctly career goal essay >>>CLICK HERE<<< Write my essay south park East Lindsey order case study on mandatory plz discover cashback sign up buy movie Dead Meadow’s own. The ramble in opener “Keep Your Head” or “I’m So Glad” is unmistakable, and the fuzz of the six-minute “Nobody Home” bounces with a heavy psychedelic groove that should be nothing less than a joy to the converted. Recorded in their rehearsal space, released on their own label and presented with their own particularly blend of indie pulse, psych dreamscaping and more weighted tone, a song like the swaying eight-minute “The Light” is a reminder of everything righteous how to write a good application for a job http://www.fime.it/?pay-for-college-papers homework help for teens drama phd thesis Dead Meadow have accomplished in their two decades, and of the vast spread their influence has taken on in that time. Perhaps the greatest lesson of all is that no matter who’s involved, Dead Meadow sound like Dead Meadow, which is about the highest compliment I can think of to pay them.

Dead Meadow on Thee Facebooks

Xemu Records website

 

Taarna, Sanguine Ash

taarna sanguine ash

It’s not entirely clear what’s happening at the start of Taarna’s 29-minute single-song EP, Sanguine Ash, but the samples are vague and violent sounding and the noise behind them is abrasive. A strum and build takes hold as the Portland, Oregon, black metallers, who feature former members of Godhunter in their ranks, continue in the first couple minutes to develop a suicidal thematic, and six minutes in, a wash of static takes hold with drums behind it only to give way, in turn, to lush-sounding keys or guitar (could go either way) that patiently leads to a rumbling, roiling lurch of blacksludge. Cavern-vocals echo and cut through molasses tones and Taarna ride that malicious groove for the next several minutes until, at around 18:30, samples start again. This leads to more quiet guitar, resonant blackened thrust, noise, noise, more noise and a final emergent wash of caustic anti-metal that couldn’t possibly be clearer in its mission to challenge, repel and come across as completely fucked as it can. Done and done, you scathing bastards.

Taarna on Thee Facebooks

Taarna on Bandcamp

 

MaidaVale, Madness is Too Pure

maidavale madness is too pure

I already discussed a lot of what is working so well on MaidaVale’s second album, Madness is Too Pure (The Sign Records), when I put up the video for “Oh Hysteria!” (posted here), but it’s worth reemphasizing the sonic leap the Swedish four-piece have made between their 2016 debut, the bluesy and well-crafted Tales of the Wicked West (review here) and this nine-song offering, which stretches far outside the realm of blues rock and encompasses psychedelic jamming, spontaneous-sounding explorations, brazen but not at all caustic vibes, and an overarching energy of delivery that reminds both of a live presentation and, on a song like “Gold Mine,” of what Death Alley have been able to revitalize in space-punk. Memorable progressions like that of “Walk in Silence” and the freaked out “Dark Clouds” offer standout moments, but really, it’s the whole album itself that’s the standout, and if the debut showed MaidaVale’s potential, Madness is Too Pure ups that factor significantly.

MaidaVale on Thee Facebooks

The Sign Records on Thee Facebooks

 

Black Willows, Bliss

black willows bliss

About a year and a half after releasing their 2016 sophomore outing, Samsara (review here), Swiss post-doomers Black Willows return with a 19-minute single-song EP they’ve dubbed Bliss. It is utterly hypnotic. The sonic equivalent of watching a bonfire take hold of dry wood. It consumes with its dense heft of riff and then lulls the listener with stretches of minimalism and ambience, the first of which provides the intro to the piece itself. Black Willows are no strangers to working with longform material, and as Bliss also appears as the band’s half of a Bloodrock Records split with Craneium, it’s understandable they’d want to bring their best, but the weight of their groove feels unexpected even in terms of having heard their past work. So they’ve gotten heavier? Yeah, maybe. What really matters is how they wield that weight, and on Bliss, they put it to use as much as an atmospheric table-setter as in a display of sheer force. Beware the noise wash at the end. That’s all I’ll say.

Black Willows on Thee Facebooks

Black Willows on Bandcamp

 

Craang, Shine

craang shine

Greek heavy psych rockers Craang set up a dynamic quickly on their new two-song full-length, Shine (also stylized as S H IN E) that both encourages and rewards patience and trust on the part of the listener. They begin 24:52 opener and longest track (immediate points) “Horizon – Tempest” quietly and commence to unfold through ebbs and flows, clean vocals and shouts, open spaces and dense(r) riffing. There is a break near and at the halfway point that presumably is the shift between one part of “Horizon – Tempest” and the other, and the second half follows that lead with a more active presentation. The accompanying “Ocean – Cellular” (19:41) launches with a bed of synth that fades as the bass, drums and guitar enter and begin a linear build that retains a progressive edge, dropping off at about eight minutes in perhaps as another transition into “Cellular,” which indeed follows a more winding, intricate path. One can only say Craang are clear in their representation of what they want to convey, and because of that, Shine is all the more of an engaging experience, the listener essentially following the band on this journey from place to place, idea to idea.

Craang on Thee Facebooks

Craang on Bandcamp

 

Fuzz Lord, Fuzz Lord

Fuzz Lord fuzz lord

We start at “The Gates of Hell” and end up in “Infamous Evil,” so one might say Ohio trio Fuzz Lord – guitarist Steven “Fuzz Lord” joined by bassist/vocalist “Stoner” Dan Riley and drummer/vocalist Lawrence “Lord Buzz” – have their thematic well set on their eight-track self-titled debut (on Fuzzdoom Records). Likewise, their tones and the sense of space in the echoing vocals of “Kronos Visions Arise” and the later, extra-Sabbathian “World Collide” seem to know precisely where they’re headed. Riley recorded the 39-minute outing, while Justin Pizzoferrato (Elder, Dinosaur Jr., many others) mixed, and the resulting conjuration is earthbound in its low end while allowing the guitar to either roll out riffy largesse or take an airier approach. The uptempo “The Lord of the Underground” speaks to a punker underpinning, while the preceding “The Warriors Who Reign” seems to have a more classic metal take, and “Infamous Evil,” also the longest track at 7:51, peppers in layered guitar leads amid a doomier, Luciferian vibe and fervent hook.

Fuzz Lord on Thee Facebooks

Fuzzdoom Records on Thee Facebooks

 

Marijannah, Till Marijannah

Marijannah till marijannah

Comprised of members of Wormrot and The Caulfield Cult, Singapore-based newcomers Marijannah execute four tracks of blown-out tones and psychedelic cavernousness with their Pink Tank Records debut release, Till Marijannah. Touches of garage swing make their way into opener “1974,” and second cut “Snakecharmer” blazes and scorches with wah-drenched solos around crunching rhythms and melodic vocalizations. A march emerges on the nine-minute “Bride of Mine” and only gets more fervent as the track makes its way forward, and driving finale “All Hollow’s Eve” presents a cacophonous but controlled take from Marijannah that reinforces the notion of nothing on their first outing happening by accident. Impressive and just a bit frenetic, it leaves one wondering what further ground the band might look to explore from here, whether they’ve set their sonic course and will look to refine their processes along these lines or whether this is just the beginning of a wider stylistic melding, and their next offering might sound completely different than Till Marijannah. The one seems as likely as the other, and that’s incredibly refreshing.

Marijannah on Thee Facebooks

Pink Tank Records website

 

Cosmic Fall, In Search of Outer Space

cosmic fall in search of outer space

Immediate points to Berlin jammers Cosmic Fall for opening their six-song/43-minute third album, In Search of Outer Space, with the 11-minute longest track “Jabberwocky.” The three-piece introduced new guitarist Marcin Marowski last year on Jams for Free (review here), and as bassist Klaus Friedrich steps up to take the vocalist role and drummer Daniel Sax continues to hold together impossible spaciousness with a fluidity of groove, Marowski seems right at home wah-noodling in the open reaches of “Jabberwocky” and soldering shred and swirl together on the later “Lumberjam.” Some of In Search of Outer Space’s most effective moments are its quietest, as on “Purification” or second cut “Narcotic Vortex,” but neither will I decry the bass fuzz that takes hold near the finish there or the molten churn that bookends closer “Icarus,” but as “Spacejam” hits into the vastness, it seems Cosmic Fall as just as apt to float as to rocket their way out of the atmosphere. In either case, they most certainly get there.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

Owl, Orion Fenix

owl orion fenix

The solo-project of Christian Kolf of avant death-crunchers Valborg, Owl issues the 22-minute single-song EP Orion Fenix – with its chanting repetitions of “reborn in fire” – as a precursor to the upcoming LP, Nights in Distortion. Like Owl’s last EP, 2015’s wondrously dark Aeon Cult (review here), Orion Fenix is both intense churn and slow-rolling melancholy, bridging a gap between classic doom (that lead 15 minutes in) and post-doom rhythms and atmosphere. If the project’s purpose is to find beauty in darkness, Orion Fenix accomplishes this quickly enough, but the track’s runtime and lush layering allow Kolf to lend a sense of exploration to what is no doubt a meticulous creative process, since he’s handling all the instruments and vocals himself. Either way, Orion Fenix, as a herald, bodes remarkably well for forward progress on Nights in Distortion to come, and is a remarkable accomplishment on its own in both heft and spaciousness.

Owl on Thee Facebooks

Owl on Bandcamp

 

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Buried Treasure: Delving into Heavy ’70s Obscurities

Posted in Buried Treasure on December 13th, 2010 by JJ Koczan

After my success at the Second Saturday Record Show last month, I hit up the Void Records store on eBay and made a wishlist of obscure ’70s curios. The box arrived over this weekend and I’ve been in trance after psychedelic trance ever since. Most of the stuff is on Gear Fab Records, a label that specializing in this kind of thing, but here’s a rundown of what I picked up in case you’re interested in doing the same:

Christopher, Christopher: Originally released in 1969, it’s psych sub-folk with a couple heavier numbers. Some Hendrix vibes, a great bass sound and on “Wilbur Lite,” lyrics about a rainbow inside Doug Walden‘s head. Not as riffy as some of the others, but still pretty good.

Gandalf the Grey, The Grey Wizard am I: First off, it sounds like it was recorded on a Fisher Price tape recorder, but for the cover alone, this one’s worth what Void was charging. Weirdo acid folk half about Lord of the Rings and half about whatever’s around. Druggy distraction, I guess. Fun.

Salem Mass, Witch Burning: Killer overblown proggy indulgence with some really heavy parts. I had a feeling this one was going to be a highlight and it was. Fans of bands like Black Widow and Coven should take note. Memorable riffs and a great organ sound.

Bliss, Bliss: Bluesy and rudimentary heavy psych from 1970, there are covers of “Rock Me Baby” and “Gangster of Love,” among others. It’s kind of surprising in terms of how clear the audio is, but it’s got a great vinyl sound. More influenced than influential, but still cool.

Blind Ravage, Blind Ravage: Angrier in a political sense, these Quebecers reminded me some of Jethro Tull, and that’s by no means a negative. Lots of killer organ work and an opening cover of “Susie-Q” that was even more endearing than I could have hoped.

Khazad Doom, Cherry Town: Earlier, from 1968, these acid rockers took The Beatles‘ approach of creating a cast of characters and exploring them in drugged-out melodies and gave it a lo-fi garage treatment. “Mrs. Murphy’s Purple Grocery Store” precedes “Zany Zeke the Blacksmith,” and then I woke up with my shirt off.

Stone Harbour, Emerges: More psych than heavy, I found some of my favorite cuts on the Lion Productions reissue were the bonus tracks, “Taurus” and “Witch to You” being particular favorites. They were recorded later than the album proper, in 1975, and a little more hard-driving. The album itself is still also worth checking out though.

Ellison, Ellison: Another highlight of the haul, this riffy Gear Fab number from ’71 has a killer post-Deep Purple vibe that’s just a little looser instrumentally and grooving in a way that if it came out today I’d definitely be calling it stoner rock. Only about 29 minutes long, but solid front to back.

There were a couple others thrown in the box that I haven’t checked out yet (hey, it’s only been two days): The Third Estate, Dreu Ferguson Sr., but I’m looking forward to getting there. In the meantime, if you want to dig into any of the above, Void‘s eBay store is here.

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