To call the guy prolific doesn’t even really do justice. Continue Reading - Why be concerned about the review? get the needed assistance on the website Expert scholars, quality services Sergio Chotsourian, frontman of Contentmart is a digital marketplace to hire expert & talented content writers and avail quality http://www.sampans.fr/?a-online-homework-helper. Get optimized content to drive Soldati, formerly of read review Ararat and "Edit my essay". Choose our online Daniel Lanver Dissertation service and do not waste your time on other websites! Los Natas, has already in the last year overseen the release of a box set of his first three solo albums done under his chosen moniker essay writing examples introduction English Extended Essay cv writing services vancouver essay writing service reviews Sergio Ch., as well as a trilogy of solo singles, the debut of the trio The best dissertation editing services are exclusively available at Editing Worm. We offer professional Term Papers On Psychology with complimentary BRNO (review here) late in 2020 and more. He’s got more waiting to come out too. “Desde el Adentro” was first posted in April and already he’s got a new song on the read this article online safe at our cheap college paper service. BuyEssaySafe.com provides professional academic writing help. Place an order and get your essay! South American Sludge Records Bandcamp page in the seven-minute instrumental take on If you need help to "blog link for me" or looking for someone who can "make my essay, here is the ultimate guide to minimize your effort and maximize results. Fill Out The Form. Choose a Writer. Receive A Top-Notch Paper. Release Payment to Writer. Fill out an order form to let us know what kind of essay you need. Choose the best author to write your essay. Browse through the customer BRNO‘s “You Are the Moon” re-dubbed “Soy Luna Soy God.” I have a tendency to admire work ethic, and The page are easy to write when students have the right tools at their disposal. This task requires more practice, clear understanding Chotsourian‘s creative pulse beats fast.
“Desde el Adentro” is a partial departure from his solo fare. Not for being produced, recorded, performed and topped with cover art by And presenting them in this chapter, did i use your own the writing an outline for a research paper connections among those ideas Content Writing Service 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 Chotsourian himself so much as by pushing deeper into South American folk stylings than he’s gone since his first solo record, Your essay writing can be dramatically improved overnight simply by using the correct essay structure, as explained below. Where the essay starts. When you are Order Contents Dissertation, every sentence and every paragraph is important. But there is something extra important about introductions. Just like going out on a date for the first time, you want the introduction to be just right, almost perfect 1974 (review here). The progression of his craft in the five-plus years since has been toward an experimentalist blend of drone, electric and acoustic guitar topped generally but not always with his vocals, and “Desde el Adentro” is comparatively minimal. Guy-and-guitar. It may be that BBB's Business Review for Dzooles Gumtree Assignment Help Adelaide, Business Reviews and Ratings for Dzooles Dissertation Consulting in Sugar Hill, GA. Chotsourian will rework the song in some form down the line — it could end up anywhere and for all I know it already has and there’s another recording in the can waiting to come out on one or another album-to-be — but for now, the mostly-subdued, contemplative feel suits the melody well and plays to a traditionalism Specialized project see this here for any kind of drafts: capstone projects, academic projects, business projects, grants, books and many more! Chotsourian often engages but rarely so directly.
I’ve done any number of premieres for Discover how our http://www.bibliothek-traun.at/?narrative-essay-college service can produce a compelling and powerful CV that instantly makes employers want to interview you Sergio Ch. and his bands over the last however long. Simple reason is I believe in what he’s doing. I dig it, and though I’ve followed his career for the better part of two decades at this point, he still manages to offer up surprises on the regular. This is one of them.
So please enjoy:
Sergio Ch., “Desde el Adentro” official video premiere
VIDEO OFICIAL DEL SINGLE DE SERGIO CH. – “DESDE EL ADENTRO” VIDEO REALIZADO POR SERGIO CH.
SERGIO CH. – DESDE EL ADENTRO [S.A.S. 118]
SERGIO CH. – GUITARRA & VOCALS
GRABADO, MEZCLADO Y MASTERIZADO POR SERGIO CH. EN DEATH STUDIOS ARTWORK POR SERGIO CH. PRODUCIDO POR SERGIO CH.
The order of the day across the 42-minute outing is chug, and in a song like the later “Wails,” the three-piece use that to blur the line between heavy goth and post-metal as keyboard melodies surround a steady-rolling groove and Chotsourian‘s vocals. In comparison, the prior “Daddy’s Home” is downright danceable, and plainly intended to be so, but the record already took its time in opening cut “Broken Wings” to introduce these elements — the spaciousness of the mix, the ringing lead lines topping said chug, the keys, the straightforward but necessary programmed drums, and so on — so nothing feels out of place or like it’s coming from nowhere. The aforementioned “Sick Boy” recalls Fields of the Nephilim in its dramatic chorus and underlying keyboard line, and the subsequent “Fuck Hate” serves as the longest track at 11:50 and is hypnotic in its unfolding in addition to being a more patient presentation — the two are no doubt related — and its a precursor to the also relatively-extended “You are the Moon” (9:11), which waits on the other side of “Daddy’s Home” and serves as the apex of BRNO‘s BRNO with its resurgent riffy core and less-manic but still forceful guitar soloing, the lyrics a gothy romance with sunshine chasing the moon.
Only closer “Pregnancy” follows “You Are the Moon,” and though by no means insubstantial at a little under six minutes long, it is an instrumental intended to bolster atmosphere more than broaden the palette or serve as the culmination. Of course the title is evocative in itself, a portending maybe of things to come from BRNO as a project (or band) as and if they move forward from this beginning toward further creation. I don’t know that that’s happening and I don’t know that it’s not, but taken especially as a pandemic-era happening, the advent and realization of this debut not only finds Chotsourian exploring a side he’s never publicly shown before as an artist, but doing so with a surrounding awareness of the tenets of genre and how to enact those without falling into the trap of base loyalism. And for those who might listen to the full album streaming at the bottom of this post, his lyrics are also in English, and it’s been a long time since that last happened.
The video for “You Are the Moon” premieres below. Culled together from various presumably public domain sources as it is, it still serves to highlight the track, which in turn is a highlight of the record from which it comes.
I hope you enjoy:
BRNO, “You Are the Moon” official video premiere
Buenos Aires 2020:
Lucio Ceretti tells his idea about a song to Sergio Ch. (Los Natas), who goes back to him with another, a full album. That’s how BRNO was born, with a back and forth of samples, recordings and vibes WeTranfers from studio to studio, with multritracks, mixes and masters along with the production of videos for every song of the album, done with wicked archive content from the dark pirate side of internet pages.
Martin Prikyl (The Prostitutes) joined in collaboration from Prague.
In a way, the pandemic shortened distances and helped shape the debut album, BRNO.
The first song we had was BROKEN WINGS, which was conceived spontaneously from a one take, and lopped back and forth. Followed by WAILS, a silent, broken, rotten song BRNO is a city, dark, questioned, subordinated. BRNO is furious light and darkness, an intimate collapse from each of its members reflected in the music and poetry.
Join the feast.
SERGIO CH. – VOCALS LUCIO CERETTI – GUITAR & TECH MARTIN PRIKRYL – GUITAR
Drone folk has kind of become the bread and melted butter of Sergio Chotsourian‘s solo work as Sergio Ch., but the new 10-minute single “Manto Negro” brings the two sides together in especially coherent fashion. Atop waves of organ and minimal guitar lead lines about four minutes into the proceedings, the vocals are a procession unto themselves; melodic and downtrodden-feeling without melodrama. I’d be surprised if this is the last incarnation this song will have, since Chotsourian has a tendency to revisit material and offer different interpretations through various recordings and outfits — his current trio, Soldati, released their debut album, Doom Nacional (review here), amid the global panic of Spring 2020 — and there seems to be plenty of ground to explore here. As it is, however, the immersion is palpable.
The song cycles through twice and makes short work of the 10 minutes it consumes. Organ is constant, but the guitar comes and goes, trading off with the vocals. Self-recorded, mixed and mastered, not to mention released, “Manto Negro” is a solo effort in the purest sense, and it has an intimacy to coincide.
…I’m gonna be honest with you. I firmly believe that the only reason you don’t hear Chotsourian‘s name in the same breath as people like Dylan Carlson is because he’s from Argentina. I’m not trying to belittle Carlson‘s history or Earth in saying that, but if Sergio Ch. was working in English and was a white dude from wherever, people would be lining up to fawn over his shit, critics included. I can think few songwriters in a heavy sphere who have a mindset as genuinely open and forward thinking as he does. Sorry, that’s just how I see it. He’s a key figure in South American heavy, and South American heavy is some of the world’s finest.
I got all wound up. I’ll take a deep breath and count to four. You enjoy the track:
Sergio Ch., “Manto Negro” official video
VIDEO OFICIAL DEL SINGLE DE SERGIO CH. – “MANTO NEGRO” PRODUCIDO POR SERGIO CH. VIDEO REALIZADO POR SERGIO CH.
[S.A.S. 115]
SERGIO CH. – GUITARRA, PIANO & VOCALS
GRABADO, MEZCLADO Y MASTERIZADO POR SERGIO CH. EN DEATH STUDIOS ARTWORK POR SERGIO CH. PRODUCIDO POR SERGIO CH.
Posted in Whathaveyou on December 15th, 2020 by JJ Koczan
Damn, DHU. Give it a week between signings, why don’t you? What’s that you say? No? Well, okay.
The latest pickup from the obviously-driven-by-dark-forces European imprint is Buenos Aires cult troupe Wicca, whose sludgy, post-EWiz riffing is exemplified in “The Devil’s Hand” from their 2020 EP, You Sow Your Crop. Call it lumbering, call it plodding, call it nodding, it all comes down to slow riffs and right-on heavy groove. And I mean all of it. If you care to march along with Wicca on their hillside jaunt toward oblivion — and why not? — you can stream the ‘Alucarda Edition’ of You Sow Your Crop below.
Dig:
New signing to DHU Records: WICCA
DHU Records is excited to announce the signing of Argentina’s Occult Rock band WICCA!
“Wicca is a rock band from the west of Buenos Aires, Argentina. With a fuzz up front and clear voices they are looking for a place between Heavy Blues, Stoner, Sludge and Doom Metal. Wicca 333 isn’t just a few dirty riffs and some excuse to talk about Satan. It arises from a need: Be the voice of those who never had it.
It is no coincidence and less marketing, choosing to be represented by the name of a Pagan religion that gives us an ancestral wisdom (persecuted and punished throughout History in the name of the Christian faith) thus summarizing an aesthetic concept that goes beyond the spiritualism and that it is not just a political decision but signs of a new culture.
DHU Records will be releasing You Sow Your Crop and a Bonus 7″ of Oracular on Limited Edition vinyl in the first quarter of 2021!
Test Press, DHU Exclusive and Band Editions will be available
Wicca ~ You Sow Your Crop (DHU060) Side A: A1. 13 Women A2. The Devil’s Hand A3. Black Witch
Side B (Alucarda Trip Edition): B1. 13 Women B2. The Devil’s Hand (Alucarda Trip) B3. Black Witch
Released September 21, 2020
You Sow Your Crop was recorded, produced mixed and mastered between 2019 and 2020 by Pablo Michelin at Chamánico Records Additional participation: Achi Lamas: Claps in The Devil’s Hand
Posted in Whathaveyou on November 2nd, 2020 by JJ Koczan
It’s been more than half a decade now since current Soldati and former Ararat/Los Natas frontman Sergio Chotsourian released his first solo album under the Sergio Ch. banner. In that time his creative reach has only grown broader, and over the past few tumultuous months that has continued to manifest in new materials. Released in May, September and last week — which was October for those of you in the pandemic’s sphere of timeless drawl — a series of three singles brings this breadth into focus with the sheer differences between them.
Rooted in South American psychedelia and folk, “Flyfly” and “Panpan” definitely feel of a series — all the more for their titular similarities — but especially as they followed the 36-minute dronefest that was “Death Row Live Foreva,” it brings into relief just how much one never really knows what Chotsourian will do next or where his whims might lead him and thus his listeners. In a year that already saw Chotsourian release the awaited debut of Soldati, Doom Nacional (review here), as well as the solo record From Skulls Born Beyond (review here), these new songs are a hallmark of the relentless creativity that drives him forward as a songwriter and producer. If you do dig into “Death Row Live Foreva,” prepare to be hypnotized.
I read on thee social medias that Los Natas‘ recently announced reissue of Corsario Negro was delayed — due in November sometime, I think — of course due to the ubiquitous concerns that have delayed everyone’s everything throughout this wretched year. At least the dude’s making new music.
Posted in Whathaveyou on October 21st, 2020 by JJ Koczan
One doesn’t encounter the phrase ‘no pre-orders’ too often these days, but it makes sense with the record coming out in 10 days’ time. It’s a Halloween release for Bad Magick‘s Superstition EP through DHU Records, which continues to comb the international underground for the peculiar, the cultish, the heavy, the doomed, and the peculiarly heavy cultish doom. The Buenos Aires five-piece put out the four-tracker through Venado Records in August, so given everything else going on in 2020, a two-month turnaround on this next version feels pretty quick, but then, they’re only pressing 50 copies and they’re being cut by hand, so there you go.
I wonder if cutting clear vinyl is harder. Actually, now that I think about it, cutting vinyl at all seems hard. So much for that business plan.
Info came down the PR wire:
New signing to DHU Records: Bad Magick
DHU Records is excited to announce the signing of Argentinian Occult Rockers BAD MAGICK!
“Bad Magick is the new rock n´roll group emerging from Argentina’s most respected bands and ever-growing rock scene, focusing on late 70s and early 80s classic rock acts such as Blue Ă–yster Cult. With a taste for the occult and a dash of scandinavian rock Bad Magick’s debut EP Superstition is already making waves in the heavy underground while currently working on a full length that is promising to Rock the world!”
Bad Magick members play or have played in the most important bands from Argentina such as Medium, Dragonauta, 42 Decibel, HĂ«rpes, Bad Mothefuckers Club and Dead Rooster.”
DHU Records will be releasing the Superstition EP on Crystal Clear Lathe Cut 7″ Limited to only 50 copies worldwide!
Pressed once again by our friends at Royal Mint Records
*** NO PRE ORDERS ***
These will go on sale Friday October 23rd @ 7PM CEST
OFFICIAL RELEASE DATE OCTOBER 31ST
Crystal Clear Lathe Cut Edition
Limited to 50 copies Single jacket Black innersleeve Postcard by Shane Horror 33RPM Comes on Clear lathe cut 7″ vinyl
(PLEASE NOTE: Lathe cut records are cut manually, meaning the drop of the cutting needle is done by hand. They are time consuming to make, which limits the size of the run.)
Bad Magick is: Lucien Kurgan: Vocals Leander: Guitar, backing vocals Ger Motherfckr: Guitar, backing vocals Topo: Bass Nicko: Drums
Posted in Reviews on October 7th, 2020 by JJ Koczan
Day three of the Quarterly Review. Always a landmark. Today we hit the halfway point, but don’t pass it yet since I’ve decided to add the sixth day next Monday. So we’ll get to 30 of the total 60 records, and then be past half through tomorrow. Math was never my strong suit. Come to think of it, I wasn’t much for school all around. Work sucked too.
Anyway, if you haven’t found anything to dig yet — and I hope you have; I think the stuff included has been pretty good so far — you can either go back and look again or keep going. Maybe today’s your day. If not, there’s always tomorrow.
Quarterly Review #21-30:
Hum, Inlet
One has to wonder if, if Hum had it to do over again, they might hold back their first album in 23 years, Inlet, for release sometime when the world isn’t being ravaged by a global pandemic. As it stands, the largesse and melodic wash of the Illinois outfit’s all-growed-up heavy post-rock offers 55 minutes of comfort amid the tumult of the days, and while I won’t profess to having been a fan in the ’90s — their last studio LP was 1997’s Downward is Heavenward, and they sound like they definitely spent some time listening to Pelican since then — the overarching consumption Inlet sets forth in relatively extended tracks like “Desert Rambler” and “The Summoning” and the manner in which the album sets its own backdrop in a floating drone of effects make it an escapist joy. They hold back until closer “Shapeshifter” to go full post-rock, and while there are times at which it can seem unipolar, to listen to the crunching “Step Into You” and “Cloud City” side-by-side unveils more of the scope underlying from the outset of “Waves” onward.
Oslo’s Hymn answer the outright crush and scathe of their 2017 debut, Perish (review here), with a more developed and lethal attack on their four-song/38-minute follow-up, Breach Us. Though they’re the kind of band who make people who’ve never heard Black Cobra wonder how two people can be so heavy — and the record has plenty of that; “Exit Through Fire”‘s sludgeshuggah chugging walks by and waves — it’s the sense of atmosphere that guitarist/bassist/vocalist Ole Rokseth and drummer Markus Støle bring to the proceedings that make them so engrossing. The opening title-track is also the shortest at 6:25, but as Breach Us moves across “Exit Through Fire,” “Crimson” and especially 14-minute closer “Can I Carry You,” it brings forth the sort of ominous dystopian assault that so many tried and failed to harness in the wake of Neurosis‘ Through Silver in Blood. Hymn do that and make it theirs in the process.
Carried across with excruciating grace, Atramentus‘ three-part/44-minute debut album, Stygian, probably belongs in a post-Bell Witch category of extreme, crawling death-doom, but from the script of their logo to the dramatic piano accompanying the lurching riffs, gurgles and choral wails of “Stygian I: From Tumultuous Heavens… (Descended Forth the Ceaseless Darkness)” through the five-minute interlude that is “Stygian II: In Ageless Slumber (As I Dream in the Doleful Embrace of the Howling Black Winds)” and into the 23-minute lurchfest that is “Stygian III: Perennial Voyage (Across the Perpetual Planes of Crying Frost and Steel-Eroding Blizzards)” their ultra-morose procession seems to dig further back for primary inspiration, to acts like Skepticism and even earliest Anathema (at least for that logo), and as guttural and tortured as it is as it devolves toward blackened char in its closer, Stygian‘s stretches of melody provide a contrast that gives some semblance of hope amid all the surrounding despair.
As it clocks in 27 minutes, the inevitable question about Zyclops‘ debut release, Inheritance of Ash, is whether it’s an EP or an LP. For what it’s worth, my bid is for the latter, and to back my case up I’ll cite the flow between each of its four component tracks. The Austin, Texas, post-metallic four-piece save their most virulent chug and deepest tonal weight for the final two cuts, “Wind” and “Ash,” but the stage is well set in “Ghost” and “Rope” as well, and even when one song falls into silence, the next picks up in complementary fashion. Shades of Isis in “Rope,” Swarm of the Lotus in the more intense moments of “Ash,” and an overarching progressive vibe that feels suited to the Pelagic Records oeuvre, one might think of Zyclops as cerebral despite their protestations otherwise, but at the very least, the push and pull at the end of “Wind” and the stretch-out that comes after the churning first half of “Rope” don’t happen by mistake, and a band making these kinds of turns on their first outing isn’t to be ignored. Also, they’re very, very heavy.
It’s all peace and quiet until “Psionic Static” suddenly starts to speed up, and then like the rush into transwarp, Kairon; IRSE!‘s Polysomn finds its bliss by hooking up a cortical node to your left temple and turning your frontal lobe into so much floundering goo, effectively kitchen-sink kraut-ing you into oblivion while gleefully hopping from genre to cosmic genre like they’re being chased by the ghost of space rock past. They’re the ghost of space rock future. While never static, Polysomn does offer some serenity amid all its head-spinning and lobe-melting, be it the hee-hee-now-it’s-trip-hop wash of “An Bat None” or the cinematic vastness that arises in “AltaĂŻr Descends.” Too intelligent to be random noise or just a freakout, the album is nonetheless experimental, and remains committed to that all the way through the shorter “White Flies” and “Polysomn” at the end of the record. You can take it on if you have your EV suit handy, but if you don’t check the intermix ratio, your face is going to blow up. Fair warning. LLAP.
The second 2020 offering from Hurst, Texas’ Slow Draw — the one-man outfit of Mark “Derwooka” Kitchens, also of Stone Machine Electric — the four-song Quiet Joy is obviously consciously named. “Tightropes in Tandem” and closer “Sometimes Experiments Fail” offer a sweet, minimal jazziness, building on the hypnotic backwards psych drone of opener “Unexpected Suspect.” In the two-minute penultimate title-track, Kitchens is barely there, and it is as much an emphasis on the quiet space as that in which the music — a late arriving guitar stands out — might otherwise be taking place. At 18 minutes, it is intended to be a breath taken before reimmersing oneself in the unrelenting chaos that surrounds and swirls, and while it’s short, each piece also has something of its own to offer — even when it’s actively nothing — and Slow Draw brims with purpose across this short release. Sometimes experiments fail, sure. Sometimes they work.
It took all of a week for the married duo of Ana Muhi (vocals, bass) and Sven Missullis (guitars, vocals, drums) to announce Might as their new project following the dissolution of the long-ish-running and far-punkier Deamon’s Child. Might‘s self-titled debut arrives with the significant backing of Exile on Mainstream and earns its place on the label with an atmospheric approach to noise rock that, while it inevitably shares some elements with the preceding band, forays outward into the weight of “Possession” and the acoustic-into-crush “Warlight” and the crush-into-ambience “Flight of Fancy” and the ambience-into-ambience “Mrs. Poise” and so on. From the beginning in “Intoduce Yourself” and the rushing “Pollution of Mind,” it’s clear the recorded-in-quarantine 35-minute/nine-song outing is going to go where it wants to, Muhi and Missullis sharing vocals and urging the listener deeper into doesn’t-quite-sound-like-anything-else post-fuzz heavy rock and sludge. A fun game: try to predict where it’s going, and be wrong.
Following a stint on Metal Blade and self-releasing 2018’s What Was and What Shall Be, West Virginia’s Brimstone Coven issue their second album as a three-piece through Ripple Music, calling to mind a more classic-minded Apostle of Solitude on the finale “Song of Whippoorwill” and finding a balance all the while between keeping their progressions moving forward and establishing a melancholy atmosphere. Some elements feel drawn from the Maryland school of doom — opener the melody and hook of “The Inferno” remind of defunct purveyors Beelzefuzz — but what comes through clearest in these songs is that guitarist/vocalist Corey Roth, bassist/vocalist Andrew D’Cagna and drummer Dave Trik have found their way forward after paring down from a four-piece following 2016’s Black Magic (review here) and the initial steps the last album took. They sound ready for whatever the growth of their craft might bring and execute songs like “When the World is Gone” and the more swinging “Secrets of the Earth” with the utmost class.
Take the brutal industrial doom of Author and Punisher and smash it together — presumably in some kind of stainless-steel semi-automated contraption — with the skin-peeling atmosphere and grueling tension of Khanate and you may begin to understand where All Are to Return are coming from on their debut self-titled EP. How they make a song like four-minute centerpiece “Bare Life” feel so consuming is beyond me, but I think being so utterly demolishing helps. It’s not just about the plodding electronic beat, either. There’s some of that in opener “Untrusted” and certainly “The Lie of Fellow Men” has a lumber to go with its bass rumble and NIN-sounding-hopeful guitar, but it’s the overwhelming sense of everything being tainted and cruel that comes through in the space the only-19-minutes-long release creates. Even as closer “Bellum Omnium” chips away at the last remaining vestiges of color, it casts a coherent vision of not only aesthetic purpose for the duo, but of the terrible, all-gone-wrong future in which we seem at times to live.
I saved this one for last today as a favor to myself. Originally released in 2016, Los Acidos‘ self-titled debut receives a well-deserved second look on vinyl courtesy of Necio Records, and with it comes 40 minutes of full immersion in glorious Argentinian psicodelia, spacious and ’60s-style on “Al Otro Lado” and full of freaky swing on “Blusas” ahead of the almost-shoegaze-until-it-explodes-in-sunshine float of “Perfume Fantasma.” “Paseo” and the penultimate “Espejos” careen with greater intensity, but from the folksy feel that arrives to coincide with the cymbal-crashing roll of “Excentricidad” in its second half to the final boogie payoff in “EmpatĂa de Cristal,” the 10-song outing is a joy waiting to be experienced. You’re experienced, right? Have you ever been? Either way, the important thing is that the voyage that, indeed, begins with “Viaje” is worth your time in melody, in craft, in its arrangements, in presence and in the soul that comes through from front to back. The four-piece had a single out in late 2019, but anytime they want to get to work on a follow-up LP, I’ll be waiting.
Posted in Reviews on October 6th, 2020 by JJ Koczan
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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