Posted in Whathaveyou on April 7th, 2023 by JJ Koczan
All this week on a one-per-day basis, the Oslo-based Høstsabbat fest has been adding bands to its increasingly righteous lineup, filling out the poster space beneath headliners Bongripper and the likes of Yawning Man and Black Rainbows with a broad-ranging assortment of styles as they progress into not only having more acts play, but embrace a multifaceted vision of heavy that has room for the likes of Spaceslug as well as the inhumane extreme pummel of Denmark’s LLNN. The latter are a highlight of the latest batch of announcements, returning to Høstsabbat this October after leveling the place in 2019. It was — and I mean this — breathtaking to witness.
The care and curation put into this bill should be obvious to anyone who even samples the Spotify playlist at the bottom of this post, never mind actually searches out releases from the band in question, and though I’m still hobbling somewhat after last October’s edition and the subsequent knee surgery it required, I very much hope to be back in Oslo this Fall to see Høstsabbat 2023 in-person.
Here’s what they posted throughout the week, starting with Spurv today and working back to FFHH on Monday:
Høstsabbat 2023 – SPURV
It’s Friday, and time for the last treat from our large easter egg-drop. Today’s egg contains no chick, but an incredibly beautiful sparrow.
Spurv are the top providers of Norwegian atmospheric post-rock, releasing their third album this fall. It sounds absolutely breathtaking, full of enchanting, calming soundscapes, as well as nerve and intensity.
The sparrow might be small and quick, but the sound of this band is huge and floating.
Weaving instruments together into a carpet of sound that embraces you, and keeps you safe, but simultaneously sends shivers down your spine. Taking you through all the strongest emotions in life, from joy and love, to sorrow, longing and grief.
We can’t wait to let the sparrow take us onto its wings again. Just close your eyes, and try not to cry. Or on second thought – let the river loose, crying is healthy.
Please welcome Spurv to Høstsabbat 2023!
1234!
1234! The holidays are finally here!
Todays announcement are not just keeping their band name simple. Everything about this band is cut to the bone. They are are a two-piece playing rock and roll in its absolute purest form. Bass and drums, four hands in total sync, channeling a very raw feel to their output.
Their debut album from last year, appropriately named «Power and Speed» draws comparison to a wide range of artists, spanning from QOTSA to Motörhead, but still maintaining to keep an honest and catchy sassiness to their well-executed, action-filled sound.
We love a good two-piece at Høstsabbat, and we cant wait to present the in-your-face type of execution from 1234!
They will leave you all in awe.
Please welcome 1234! to Høstsabbat 2023!
LLNN
Holy shitballs, the furious Danes are coming back!
If you were one of the lucky ones attending LLNN back in 2019, I bet you are a bit excited too, right? I dont think we have ever witnessed a gig as demolishing as when LLNN baptized The Crypt in floods of anger and despair. The push these guys are capable of is nothing less than insane. They hit the drums, keys and strings in such a tight manner, you WILL physically feel the riffs, as they are pawing their way through your stomach, further up your spine, until they crush your brain and your head spins. It’s that heavy. It’s that good. LLNN is nuts live.
Not too bad on record either, their recent masterpiece «UNMAKER» from 2021 truly set the bar for LLNN, as they have been featured on every significant festival there is in its wake.
Well done, and well deserved guys! Now back to church:
As it is our anniversary, LLNN was one of those pinnacle bands we felt we had to invite back, and as they never rely on previous achievements, we are positive their return will be triumphant.
We are happy the love between LLNN and Høstsabbat is mutual.
Please welcome LLNN to Høstsabbat 2023!
BONG VOYAGE
New bands appear for so many different reasons. Some because of ambition, some because of pure cynicism, some because of friendship. Some bands, like todays announcement, seems to grow out of something that is already flourishing without restraint.
BONG VOYAGE feels like a testament of the unbelievably vital Oslo-scene, documenting this period of time in the name of rock and roll, as the scandi-rockers and black metallers did before them.
BONG VOYAGE, to us, is a tongue-in-cheek celebration of a new generation of killer bands, finding fellow axe and swordsmen within the walls of the same couple of bars, stretching for the same kind of goals and feels, while sharing a solid passion for catchy riffs, hooks and grooves. And most importantly: BONG VOYAGE never lets the slightly humorous approach go at the expense of their sheer quality. This bunch of stoner rockers is living proof of what a vivid underground scene can, and will do to your city. Høstsabbat is proud of being a part of it.
Bong Iver, Bong Jovi, Elton Bong and Bong Juan will launch Verkstedet to space!
Yes – BONG VOYAGE!
FORCEFED HORSEHEAD
Are we dropping a band on a Monday?
Indeed we are, and we’ll be bringing you the Høstsabbat joy throughout this festive week.
Today´s announcement has literally been grinding around the filthy basements of the Oslo underground for more than a decade. Picking up bits and pieces from more or less every sub-genre of the extreme, Forcefed Horsehead is utilizing their experience to perfection. Their creative stew of punishing, frightening and spellbinding riff-mania crafts a unique blend of metal, previously unheard on our home turf. It never gets boring. It´s unforgiving.
FFHH just unveiled a masterpiece of an album, «Monoceros» is monumental and monstrous in every way. From the intense start of “Every Death You Take”, the album shows a confident band sliding from tar-dripping heaviness to furious d-beats with the greatest of ease. The complexity and intensity are being delivered in an almost laid back manner. Pure madness in its absolute best form.
It’s with a tipsy mix of horror and delight we await the rampage of this beautiful beast!
Posted in Reviews on January 6th, 2023 by JJ Koczan
There was some pretty good stuff this week, I gotta say. Feels self-congratulatory to be like, ‘hey good job slating reviews, me!’ but there it is. I don’t regret hearing anything I have thus far into the Winter 2023 Quarterly Review, and sometimes that’s not the case by the time we get to Friday.
Of course, there’s another week to go here as well. We’ll pick it back up on Monday with another 10 records and proceed from there. If you’ve been following along, I hope you’ve found something you dig as well.
Winter 2023 Quarterly Review #41-50:
Astrosaur, Portals
This is what happens when you have virtuoso players writing songs rather than paeans to their own virtuosity. Led by founding guitarist Eirik Kråkenes, with drummer Jonathan Eikum (also Taiga Woods) and bassist Steinar Glas (also Einar Stray Orchestra), Astrosaur are blindingly progressive on their third full-length, Portals (on Pelagic), operating with post-metallic atmospheres as a backdrop for stunning instrumental turns, builds and crashes, willful repetition and the defiant denial of same. There’s more scope in the intro “Opening” than on some entire albums, and what “Black Hole Earth” begins from there is a dizzying array of sometimes cosmic sometimes earthborn riffing, twisting bass and mindfully restless drums. “The Deluge” hitting into that chase after four minutes in, that seemingly chaotic swirling noise suddenly stopping “Reptile Empire” and the false start to the 23-minute epic “Eternal Return” — these details and many besides give the overarching weight of Portals at its heaviest a corresponding depth, and when coupled with the guitar’s ability to coast overhead, they are genuinely three-dimension in their sound. You’d be right to want to hear Portals for “Eternal Return” alone, but there’s so much more to it than that.
Kvasir‘s Sagittarius A* Star is named for the black hole at the center of the galaxy, and the 21-minute single-song EP is the follow-up to their 2021 debut album, 4 (review here), a dug-in proto-metallic exploration composed in movements that flow together as a whole organic work. The Portland-based four-piece of guitarists Christopher Lee (also vocals) and Gabriel Langston, bassist Greg Traw and Jay Erbe work on either side between traditional metal and heavy rock riffing, inhabiting both here as “Sagittarius A* Star” launches into its initial verses over the first four minutes, a solo emerging after 5:30 to set the pattern that will hold for the remaining three-fourths of the song. A slowdown takes hold about a minute later and grooves until at about nine minutes in when the bass comes forward and things get funkier. The vocals return at about 11:30 to complement a galloping riff that’s fleshed out until just after the 14-minute mark, when a jazzier instrumental movement begins and the band makes it known they’re going out and not coming back, the swaying finish with more insistent guitar, first interjecting then satisfyingly joining that sway, capping with a (still plotted) jammier feel. If that’s the Milky Way succumbing to ultragravity and being torn apart molecule by molecule en route to physics-defying oblivion, then fair enough. Worse ways to go, certainly.
Though the leadoff Sins of the Father gets reminds of circa-’90s noise metal like Nailbomb, Marylander four-piece Bloodshot lean more into a hardcore-informed take on heavy rock with their aggressively-purposed debut album. Comprised of vocalist Jared Winegardner, guitarist Tom Stacey, bassist Joe Ruthvin (ex-Earthride) and drummer JB Matson (ex-War Injun, organizer of Maryland Doom Fest, etc.), the band push to one side or the other throughout, as on the more rocking “Zero Humility” and the subsequent metallic barker “Uncivil War,” the mid-period Megadeth-style riffer “Beaten Into Rebellion,” the brooding-into-chugging closing title-track and “Fyre,” which I’m pretty sure just wants to kick my ass. The 10-track entirety of the album, in fact, seems to hold to that same mentality, and there’s a sense of trying to recapture something that’s been lost that feels inherently conservative in its theme — “Faded Natives,” “Visions of Yesterday,” the speedier “Worn and Torn,” and so on — but gruff though it is, Sins of the Father offers a pissed-off-for-reasons take on heavy that’s likewise intense and methodical. That is to say, they know what they’re doing as they punch you in the throat.
A second release through Heavy Psych Sounds and Tons‘ third full-length overall, Hashension wears its love of all things cannabian on its crusty stoner sludge sleeve throughout its six-track/39-minute run, begun with the riffnotic “Dope Dealer Scum” before “A Hash Day’s Night” introduces the throatripper vocals and backing growls and a more heads-down, speedier tempo that hits into a mosh of a slowdown. “Slowly We Pot” — a play on Obituary‘s Slowly We Rot — to go along with the Beatles, Rolling Stones and Pink Floyd (and Gummo) titular references — follows in a spirit as angry as one imagines Bongzilla might be if someone un-freed their weed. Yes, “Hempathy for the Devil” and “Ummagummo” precede the sample-topped slamming march of “Hashended,” and lo, the well-baked extreme sludge they’ve wrought rumbles and thuds its way out, not so much gnashing in the way of “A Hash Day’s Night” or the roll after the midpoint in “Ummagummo” — though the lyrics there seem to be pure weed-worship — but lumbering in such a way as to ensure the point gets across anyhow. I’m not going to tell you you should be stoned listening to it, because I don’t know, maybe you’re driving or something, but I doubt Tons would argue if you brought some edibles to the gig. Enough to share, perhaps.
Mothman & the Thunderbirds vs. World Eaters, Split
In the battle of Philly solo-project Mothman and the Thunderbirds vs. Ontario-based duo World Eaters, the numbers may be on the side of the latter, but each act offers something of its own on their shared 18-minute EP. Presenting two tracks from each band, the outing puts Mothman and the Thunderbirds‘ “Rusty Shackleton” and “Nephilim” up front, the latter particularly reinforcing the Devin Townsend influence on the part of multi-instrumentalist/vocalist Alex Parkinson, while “Flash of Green” and “The Siege” from World Eaters — drummer Winter Stomp and guitarist/bassist/vocalist/synthesist David Gupta — present an atmospheric death metal, more than raw bludgeoning, but definitely that as well. As a sampler platter for both bands, there’s more time to get to know World Eaters since their songs are markedly longer, but the contrast from one to the other and the progression into the mire of “The Siege” gives the split an overlaid personality, almost a narrative, and the melodies in Parkinson‘s two cuts have a lingering presence over the masterful decay that follows in World Eater‘s material. One way or the other, these are both relatively upstart projects and their will toward progression is clear, as pummeling as its form may be. Right on.
Preceded by the two-song single Witches Brew/Psychedelic Roadkill, the six-song/24-minute Dark Matter Pt. 1 is short but feels nonetheless like a debut album from Sonoma County, California (try the cabernet), three-piece Deer Lord, who present adventures like getting stoned with witches on a mountaintop, riding free with an out-on-bail “Hippie Girl” in the backseat of presumably some kind of roadster, going down the proverbial highway and, at last, welcoming you to “Planet Earth” after calling out and casting off any and all “Ego” along the way. It is a modern take on stonerized heavy, starting off with “Witches Brew” as the opener/longest track (immediate points) with a languid flow and psychedelic underpinnings that flesh out even amid the apex soloing of “Planet Earth” or the fervent push of the earlier “Ride Away,” that tempo hitting a wall with the intro of “Ego” (don’t worry, it takes off) so as to support the argument in favor of Dark Matter Pt. 1 as an admittedly brief full-length, the component tracks working off each other to enhance the entirety. The elements beneath are familiar enough, but Deer Lord put an encouraging spin of their own on it, and especially as their debut, it’s hard to imagine some label or other won’t get on board, if not for pressing this, then maybe Pt. 2 to come. Perhaps both?
IO Audio Recordings, Awaiting the Elliptical Drift & VVK
Compiling two 2022 EPs into a single LP and releasing through a microcosm of underground imprints in various terrestrial locales, IO Audio Recordings‘ Awaiting the Elliptical Drift & VVK is my first exposure to the Orange, CA, out-there-in-space unit, and from the blower kosmiche rocking “Awaiting the Elliptical Drift” to the sitar meditation “Luminous Suspension,” and the hazy wash of “Sunrise and Overdrive” (that’s side A) to the experimentalist consumption of “VVK” and “Gramanita” rounding out with its heartbeat rhythm giving over to a hardly-flatlined drone after shuffling cool and bassy and fuzzy with jangly jam strum overtop, I tell you in all sincerity it won’t be my last. There’s a broad cross-section stylistically, which suits a compilation mindset, but I get the feeling that if you called it an album instead, the situation would be much the same thanks to an underlying conceptualism and the adventuring purpose beneath the open-structured fluidity. That’s just fine, as IO Audio Recordings‘ sundry transformations only enhance the anything-that-works-goes and shelf-your-expectations listening experience. Not that there’s no tension in their groovy approach, but the abiding sensibility advises an open mind and maybe a couple deep breaths in and out before you take it on. But then definitely take it on. If you need me, I’ll be spending money I don’t have on Bandcamp.
While “bong” in a band name usually connotes dense sludge in my head, Oslo four-piece Bong Voyage defy that stereotype with their Dec. 2022-released second single, “Feverlung” — the first single was October’s “Buzzed Aldrin” — and no, the song isn’t about the pandemic, it’s about getting high. The six-minute rocker hoists jammy flourish mostly in its second half, in a break that, in turn, shifts into uptempo semi-space rock post-Slift pulsations atop a progression that, while I’ll readily admit it sounds little like the song on the whole still puts me in mind of Kyuss‘ “Odyssey” in its vocal patterning and melody. That ending is a step outward from the solidified early verses, which are more straight ahead heavy rock in the vein of Freedom Hawk or a less-directly-Ozzy take on Sheavy, and while one listening for them to bring it back around to the initial riff will find that they don’t, the band’s time isn’t necessarily misspent in terms of serving the song by letting it push beyond exospheric traps. They won’t catch me by surprise next time aesthetically, and it wouldn’t be a shock to find Bong Voyage in among the subset of up and coming heavy rockers that’s put Norway on the underground radar so much these last couple years. Either way, I’ll look forward to more here.
In its early going, Sun Years‘ “Codex” stagger-sludges like Eyehategod with guitarist Dalton Huskin‘s shouty echoing vocals on top, but as it moves into its second half, there’s a pickup in tempo and a bit of swirling lead guitar emerges in the 4:37 song’s closing stretch as Asechiah Bogdan (ex-Windhand, ex-Alabama Thunderpussy) makes his presence felt. Alongside bassist Buddy Bryant and drummer Erik Larson (once-and-again guitarist for Alabama Thunderpussy, drummer of Avail, Omen Stones, ex-Backwoods Payback, the list goes on), Bogdan and Huskin explore mellower and more melodic reaches the subsequent “Teeth Like Stars,” still holding some of their demo’s lead track’s urgency as a weighted riff takes hold in trade with the relatively subdued verse. That’s a back and forth they’ll do again, moving the second time from the more weighted progression into a solo and build into a return of the harsher vocals, some double-kick drumming and a last shove that lasts until everything drops out except one guitar and that riffs for a few seconds before being cut off mid-measure. Well, that’s a band with more dynamic in their first two tracks than some have in their entire careers, so I guess it’s safe to say it’ll be worth following the Richmond, Virginia, foursome to see where they end up next time out.
Recorded by Jan Oberg (Grin, Slowshine, EarthShip) at Hidden Planet Studio in Berlin, Daevar‘s five-track/32-minute 2023 debut album, Delirious Rites, arrives likewise through Oberg‘s imprint The Lasting Dose Records and finds the man himself sitting in for guest vocals on the 10-minute “Leviathan” alongside the band’s own bassist/vocalist Pardis Latif, who leads the band from the depths of the rhythm section’s lurch on the gradually unfolding Windhand-vibing leadoff “Slowshine,” the particularly Monolordian “Bloody Fingers” with Caspar Orfgen‘s guitar howling over a marching riff, and “Leila” where Moritz Ermen Bausch‘s drums offer a welcoming grounding to Electric Wizardly nod and swirl. Thus, by the time his spot in the aforementioned “Leviathan” rolls (and I do mean rolls) around, just ahead of closer “Yellow Queen,” the layers of growling and screaming he adds to the procession are a standout shift well placed to play off the atmosphere established by the previous tracks. Shortest at 5:10, “Yellow Queen” lumbers through more ethereal doom and hints at a psychedelic current that might continue to develop in a midsection drifting break that builds back into the catchy plod from whence it came. Not necessarily innovative at this point — they’re a new band — but they seem to know what they want in terms of sound and style, and that only ever bodes well.
