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Review & Full Album Premiere: The Sabbathian, Latum Alterum

Posted in audiObelisk, Reviews on January 22nd, 2019 by JJ Koczan

the sabbathian latum alterum

[Click play above to stream The Sabbathian’s Latum Alterum in full. Album is out Jan. 25 on Svart Records.]

Anette Uvaas Gulbrandsen — who has worked with Leaves’ Eyes, Nàttsòl and Mandylion, and many more — and Chad Davis, of Hour of Thirteen, The Ritualist, Anu, Jenzeits and dozens of others, are The Sabbathian. She’s in Norway and he’s in the US, but they render borders moot with their Svart Records-delivered first album, Latum Alterum, which follows the 2014 EP, Ritual Rites, and furthers a blend of extreme metal, cultish impulses, near-operatic melodies and an overarching atmosphere of doom. Songs like “One Night of Cruelty” and the penultimate “Embrace the Dark,” which follows, tap into The Devil’s Blood-style mystique, with Gulbrandsen delivering her lines in self-harmonized layers while the multi-instrumentalist Davis handles guitar, bass and drums (and maybe a bit of vocals as well).

The construction of the band reminds somewhat of the earliest incarnation of Hour of 13, which was Davis on instruments and standalone-singer Phil Swanson, but while The Sabbathian has its doomed elements, the overarching feel of the band is different and entirely more grand. Of course, a large portion of the credit for that has to go to Gulbrandsen, who makes even coming in for the first lines of closer “Evig Hvile/Libera Me… (Outro)” in the pocket of the beat feel stately, but even in Davis‘ breadth of guitar tone on the earlier “Liti Kjersti,” which in another context would easily be black metal, there’s a resonant grandeur that complements the work done on vocals. From the beginning of the chanting opener “Requiem…” through the slow-moving “The Brightest Light,” Latum Alterum — Latin for “on the other side” — the progression of the album feels geared for maximum listener consumption, and the intercontinental duo get going, there’s nothing stopping the feeling of plunging further and further into a deep-reaching metallic abyss. It’s their first album, but it’s nobody’s first album, if you know what I mean, and the experience of knowing how they want to sound and how to make that happen is writ large in the material.

Though rich in its melody, it is not easy listening. Though there’s nothing in its run one would consider abrasive given proper indoctrination and openness to a consistent distorted wash, but Latum Alterum requires attention. As it makes its way toward and through nine-minute centerpiece “Head of a Traitor,” which boasts a guest appearance from Liv Kristine of Leaves’ Eyes, and onward to the final echoing organ and choral lines of the outro portion of the finale, the tracklisting demands engagement. It’s worth the effort of a headphones-on experience, thanks in no small part to the depth of its mix and the reaches the sound seems to find. Even as “The Brightest Light” seems to dig its heels into engrossing darkness, the layering of vocals and details in the forward push of guitar, bass and drums gives an impression of nuance that the rest of the album continues to build upon. “The Brightest Light” finishes just before the seven-minute mark, but is hypnotic in its fluid execution — and when I say “execution,” I’m thinking guillotine — and cedes ground to “Liti Kjersti,” which derives from a Norwegian folk song telling the story of a girl meeting a dwarf or troll in the mountains, and again, pushes into more outwardly extreme sounds in the guitar.

It’s thanks in part to the steady groove of the drums that the song doesn’t tip over into a more outwardly extreme spirit, but there’s no doubt the motion is dragging the listener deeper into the progression under way, and of course there’s no letup with “Head of a Traitor” in that regard either, the longest song on Latum Alterum beginning with a creep of intertwined guitar lines before bursting forward in a sudden surge, and even before the first verse, causing one to imagine hearing buried screams so deep in the mix as to barely be audible. This is prior to the arrival of the harmonies between Gulbrandsen and Kristine, which are masterful by the midpoint of the track and set up a second half of continuing buzz and a stretch of guitar topped with final lyrics that ends by giving way to residual noise and the immediately carbonized feel of “One Night of Cruelty.”

These turns and shifts are there, and swiftly applied, but can be easy to miss the first time through if, again, one isn’t giving the proper level of interactivity to the listen. Latum Alterum in its side B delves even further in misanthropic and grueling darkness, as both “One Night of Cruelty” and the aptly-titled “Embrace the Dark” seem to careen downward, the latter with a punctuated march that’s as majestic as it is weighted. “Embrace the Dark” ends with lower register vocals that would seem to set up a bleaker turn in “Evig Hvile/Libera Me… (Outro),” but the truth is things are plenty bleak by then anyway. The finisher might be another folk song by Bjørn Eidsvåg reinterpreted, or there’s a Nortt song from 2003 with the same name, I’m not really sure, but wherever it comes from The Sabbathian make it their own no less than they did with “Liti Kjersti,” reinforcing the atmospheric shimmer and downer spirit of the proceedings with a patiently unfolding rhythm with the vocals woven over-top.

There isn’t so much a grand finale as a dirge march outward, and as the last strains cut off and let the outro take hold, organ and vocals, the scope of Latum Alterum continues to be among the album’s primary assets. Whatever stylistic tags one might want to apply or force upon it, The Sabbathian create their own sonic persona on their first long-player, and do so with a sure-minded purpose toward ambient weight. Their prior experience on the EP — which was more in a vein of cult metal and is included in a 2CD edition of this release — helped solidify their approach, but Latum Alterum is on a different level entirely for The Sabbathian, and though invariably geographical complications are a factor, one hopes they continue along this path of resonant drear.

The Sabbathian on Thee Facebooks

The Sabbathian on Bandcamp

Svart Records website

Svart Records on Thee Facebooks

Svart Records on Twitter

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The Sabbathian Announce Jan. 25 Release for Latum Alterum

Posted in Whathaveyou on November 21st, 2018 by JJ Koczan

the sabbathian

Following the debut EP Ritual Rites, which Svart issued in 2014, The Sabbathian will issue their debut long-player on Jan. 25. The group has pared down from a trio to a two-piece since the EP, with multi-instrumentalist Chad Davis (GnuJenzeitsHour of Thirteen, so many others) and Norewgian-native vocalist Anette Uvaas Guldbransen (Nàttsòl, Mäctätus) as its sole inhabitants — though Liv Kristine of Leaves’ Eyes makes a guest appearance as well — and if the band itself positions the songs more in line with classic metal and doom. A comparison to early Bathory is always a mixed bag: How early are we talking? But with that intrigue added, I’m only more on the hook for listening to the album when the time comes.

Art and info came down the PR wire:

the sabbathian latum alterum

THE SABBATHIAN set release date for SVART debut album

Today, Svart Records sets January 25th, 2019 as the international release date for The Sabbathian’s highly anticipated debut album, Latum Alterum, on CD and vinyl LP formats.

The words “highly anticipated” come quickly to mind when talking of the US-Norwegian project The Sabbathian and the chance that there will be new material from them. The band, formed by Chad Davis (Hour of 13 and many more) and Anette Uvaas Guldbrandsen (Nàttsòl), released their debut EP, Ritual Rites, on Svart Records in 2014. The duo’s personal approach to old-school doom won over many metal hearts, and the wait for new material is over in January 2019.

The Sabbathian’s debut full-length, Latum Alterum, is scheduled for release on January 25th on LP, digital, and limited double CD (including Ritual Rites EP on CD for the first time). The album is a considerably darker affair compared to the EP, a step away from the origins of doom metal and towards the heavier vistas traversed by Nordic metalmongers such as Bathory or Candlemass. Vocalist Anette Uvaas Guldbransen describes the album thus: “The overall theme can be described as slightly morbid, as it is very much about passing over to the other side – latum alterum. The odd one out is the song ‘Embrace The Dark,’ which retains the sound of the EP. The intro and outro tracks are meant as a way of blessing the souls on their journey.”

“The way we work on the music takes time,” adds Guldbransen. “Chad would send me the music and I then work my way through the songs. As the music is quite different now, I must admit I had quite a struggle at first with some of the tracks. My best friend Liv Kristine Espenæs has joined me on one track, mainly because I thought her voice would lift the song and also because I love her voice. I have sung on several songs with her ex-band Leaves’ Eyes, and now I felt it was her turn to sing on something I made.”

First track premiere and preorder info to be revealed shortly.

Tracklisting for The Sabbathian’s Latum Alterum
1. Requiem… (Intro)
2. The Brightest Light
3. Liti Kjersti
4. Head Of A Traitor
5. One Night Of Cruelty
6. Embrace The Dark
7. Evig Hvile / Libera me… (outro)

www.facebook.com/thesabbathianband
https://thesabbathian.bandcamp.com
www.svartrecords.com
www.facebook.com/svartrecords
www.twitter.com/svartrecords

The Sabbathian, Ritual Rites (2014)

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Hour of Thirteen Post New Song “Harvest Night”; Deathly Nights LP Coming Soon

Posted in Whathaveyou on July 9th, 2018 by JJ Koczan

Late in 2016, multi-instrumentalist/spearhead Chad Davis of Hour of 13 announced the return of the band following a breakup and years of inactivity. Davis, who’d been through two frontmen in Phil Swanson (also Upwards of Endtime) and Ben Hogg (also Beaten Back to Pure), would take on vocal duties himself, but before the band moved forward, there was a look back to be had in 2017’s compilation, Salt the Dead: The Rare and Unreleased (review here), issued in a likewise-revitalized accord with Shadow Kingdom Records.

Davis had at that point moved from his longtime home in North Carolina to California, and hinted toward new material. Well, here we are. Hour of 13 has become Hour of Thirteen, and Davis checks in below with a discussion of the sonic shifts that correspond to that of the moniker on the band’s new album, Deathly Nights. Also coming out through Shadow Kingdom, it doesn’t have a release date as yet, but the track “Harvest Night” has been posted as well as the cover art, so, you know, it exists. That’s a pretty important first step.

A tape EP may or may not precede, and a 7″ single will reportedly follow, as Davis informs:

HOUR OF THIRTEEN DEATHLY NIGHTS

HOUR OF THIRTEEN – SOMETHING DEATHLY COMES…

In the years before the debut HOUR OF 13 album was unleashed, there was an earlier history that belonged to the name…

Beginning in the early part of 1995, there was an entity known as HOUR OF 13 PRODUCTIONS that was an experimental music label I was running that proved to be only fruitful to one double cassette compilation release. Upon a late night pondering which was/is a very common practice, I had decided to shelve the name as I knew it was something to be used for a better purpose. And then one fateful day in September of 2003 it was unearthed again. Even thought the masses know of the first “professional” time the HOUR OF 13 name was used in regards to the Shadow Kingdom release of the self-titled 2007 album, there in fact was a prior use of the name and in a much different format…

Year 2003 saw the coming together of drummer Dave Easter (also a member of the live Ho13 lineup during 2010-2011 and on the first demo recording of “Grim Reality”) and bassist Scott Cline, the three of us also forming the psychedelic doom monster MOUNTAIN OF JUDGEMENT. We had been doing MoJ for some months and decided to play a Halloween show in 2003 with a local fave band of ours (PUJ) and some goons from Charlotte NC (Graveyard Boulevard) at a local music venue. I had written a handful of tunes that were more horror/deathrock sounding so we learned them along with our favorite MISFITS and SAMHAIN tunes and played the show. And the name of the entity for that performance was…

HOUR OF THIRTEEN

A few months followed after that and we had decided to do it again for a show with local NC band WEEDEATER and Virginia maniacs DICK BUTKIS (members now of INTER ARMA) and shortly afterwards the band/name was once again to be saved for a later time. Maybe there was an idea to do the same the following Halloween, but we never did so it slept until 2006, when the early versions of the debut HOUR OF 13 songs had begun to be written. The name was resurrected, THIRTEEN changed to 13, and everything else after that written in stone… Until now…

In this year, 2018, I have faithfully resurrected the HOUR OF THIRTEEN name to move this musical entity forward, regaining the original idea of the focus of the music to what it once was, but also still retaining some of the signature sound that most of you have become accustomed to. This was a decision I had to make, not only for the die hard supporters of the previous incarnation of the band, but also to myself in the midst of letting something I have worked so hard to keep alive just fade into obscurity again. As amazing as that seemed in the past year, I simply cannot let it go, nor will I allow past acquaintances to be privy to my hard work and ideas only to be bastardized into something second rate. There will be no live shows as there is no point in bringing anymore strife and hardship against the name, for it never ceases to seem like any type of plans to do so result in injured feelings and cursed promises. It shall remain a studio effort only, as I’d rather give you quality music than empty hopes.

With this writing, I am pleased to announce the next chapter of this music’s existence with “Deathly Nights”, and brand new album from HOUR OF THIRTEEN to be released by the mighty Shadow Kingdom Records on all formats available. This “revitalization” of the sound can be explained as the mix of the sound everyone has known but with more atmosphere and less guitar solos. Not too far away from the styling of the debut Ho13 album, but also not “imitating” the said album either. One simply will need to listen with open ears and minds and help smash the devastation of the modern day Metal scene that has become more stagnant that the pop music radio stations of today. A pre-release discussed before the new album could possibly see a cassette EP to debut some different mixes from the new album, and following will be a 7″ EP featuring a new tune along with two cover songs, all to be announced in due time (but knowing me I’ll post them early anyway).

In closing, I want to thank each and every one of you that have been along for the ride, both personally and impersonally, as your support for this entity is eternally grateful. I look forward to moving this musical vessel into a direction that steers away from cliche’ and begins to spread even more darkness than before.

Regards,
Chad Davis – 2018

http://hourofthirteen.blogspot.com/
http://www.shadowkingdomrecords.com
http://www.facebook.com/shadowkingdomrecords
https://shadowkingdomrecords.bandcamp.com

Hour of Thirteen, “Harvest Night”

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The Sabbathian Release Ritual Rites Sept. 3 on Svart

Posted in Whathaveyou on August 28th, 2014 by JJ Koczan

If you follow the varied work of guitarist Chad Davis (Hour of 13, Tasha-Yar, etc.), then you probably at some point in the last year or two saw The Sabbathian namedropped as a project in the making. Their debut EP, Ritual Rites, has been a while coming, and apparently the band’s new label, Svart, is looking to make up for some lost time. All the better, what with the three-track offering reveling as it does in bleak, classic doom the likes of which Davis seems to be able to so readily conjure.

Doubtless part of the delay in putting the whole thing together — if you want to call it a delay; sometimes these things just take a minute to get going — was in coordinating with vocalist Anette Gulbrandsen, who is based in Norway while Davis and guitarist Joey Downs reside in North Carolina. Whatever the case, the vinyl/download will be out shortly and it’ll look like this:

the sabbathian ritual rites

THE SABBATHIAN to release SVART debut, feature Hour of 13 member

Today, Svart Records announces September 3rd as the international release date for The Sabbathian’s debut mini-album, Ritual Rites, to be released on vinyl and digital formats. The Sabbathian comprise two fundamental elements: doom metal, and the occult forces of nature and energy. These elements brought together three individuals in the form of The Sabbathian. Taking their roots to the core of true, heavy, darkened metal, The Sabbathian draw an unparalleled ion from the likes of Candlemass and Black Sabbath, all while retaining a sound very personable to them. Formed by Chad Davis (Hour of 13), the journey is to create music for the hours of darkness and gloom.

Joined by guitarist Joey Downs (Altar Blood), his contribution adds the element of power and everything the sense of heavy. Featuring the sheer vocal beauty of Anette Gulbrandsen (Leave’s Eyes, Nattsol, Mäctätus) at the forefront, her alto/soprano vocal stylings bring forth medieval choirs and haunting apparitions that complete what is The Sabbathian: a journey into darkness, a voyage into the cosmic void unknown. With Ritual Rites, The Sabbathianhave arrived as a force to be reckoned with in the world of modern-day occult doom rock, and will remain the top contender until death. First proof can be heard HERE. Cover and tracklisting are as follows:

Tracklisting for The Sabbathian’s Ritual Rites
1. Ancient’s Curse
2. Ritual Rites
3. Nightshade Eternal

MORE INFO:
www.facebook.com/thesabbathianband
http://www.svartrecords.com/

The Sabbathian, “Ancient’s Curse”

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Hour of 13 Pay Homage to Jason McCash with Final Recorded Song

Posted in Bootleg Theater on April 8th, 2014 by JJ Koczan

Though they’ve been effectively defunct since their final full-length, 2012’s 333, and will remain that way, North Carolina’s Hour of 13 has been resurrected in the form of a one-off single called “Upon Black Wings We Die.” The track is a trad metal homage to The Gates of Slumber bassist Jason McCash, who passed away this weekend, and finds band founder Chad Davis (also of Romannis MötteTasha-Yar, etc.) playing all the instruments, adding the vocals and recording himself in a true one-man-band production.

Davis offers his own words of tribute to McCash even as he closes the book on Hour of 13, so I won’t delay further except to note that tribute shows for McCash are starting to come together in Baltimore and Boston, and those links as well as the link to the fund to help Jason McCash‘s family with their finances can be found below.

Enjoy:

Hour of 13, “Upon Black Wings We Die”

Cosmic dust. We all return to it from our birthplace. And a long journey it is to make that return. An act so simple brings forth the beginning of that journey, regardless of proper timing…

Upon hearing the news of Jason McCash’s passing, it left me extremely awestruck. The late night conversations we had, discussing the mysteries of the universe, the state of modern day Heavy Metal, and the amazing basslines that solidified all of Christian Death’s music. All now a thing of the past. And so it brings forth this:

Last night I wrote a song for Jason, a farewell to his unquestionable legacy as one of the most solid bass players in the US Heavy Metal scene. A farewell to his kind and supportive nature. A farewell to the ideas we had tossed around of doing a project in the future.

And with this memoriam brings forth the demise of Hour Of 13.

This is the last and final document of HO13. A document that proves US Heavy Metal is still alive and strong. With many great bands around to continue to carry that flame, there is no better time to let go and begin my own personal journey. Mentally I cannot foresee any other reason to remain active, as all of the bands that mattered in the resurrection of Traditional Heavy Metal have all suffered loss, it only brings about confusion and disdain. This feeling became apparent witht the passing of my celestial brother Selim Lemouchi, and now solidified with the passing of Jason. And so it begins….

Sleep well brothers, and may the experiences you both now have unlock all of the answers to the questions we had always asked.

Regards,
Chad Davis – Hour Of 13

Hour of 13 on Thee Facebooks

Baltimore Jason McCash tribute event page

Boston Jason McCash tribute event page

McCash Family Fund

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The Obelisk Radio Add of the Week: Innominandivm, Nocturnivm Ritvalis

Posted in Radio on January 2nd, 2014 by JJ Koczan

I happened to see on New Year’s Eve there were a few people who tuned into the radio stream the whole night. Presumably this was done as maybe some background for festivities or whathaveyou. That’s fucking awesome and I was thrilled. Innominandivm‘s Nocturnivm Ritvalis is not that kind of album. Basically, it’s the opposite. Comprised of four unflinchingly bleak drones, it’s not without a pulse, but is so resoundingly dark that light is hard-pressed to escape. The project, whose name is nigh-on-impossible to type correctly the first time — Innominandivm; nope, missed it again — is the dark-ambient alter ego of Chad Davis, multi-instrumentalist for Hour of 13 and any number of other outlets, among them Romannis Mötte, Anu, Tasha-Yar, Chains, Draath, Set, and so on. One more outlet in an already densely-populate discography? Maybe, but that doesn’t take away from the value of Nocturnivm Ritvalis in the slightest.

Each of the four cuts, titled “I” through “IV” on the 35-minute Innominandivm debut is based around a central atmosphere. The first is creeping and cinematic, the second more religious with a slow progression of organ-style tones amid open-drone wind, the third lower, more mechanical like if a cybernetic didgeridoo suddenly became sentient, and the last a 13-minute enfolding that’s tension without mercy and, like the opener, something John Carpenter would’ve been lucky to have in his heyday. Nothing is under six minutes, it’s all instrumental. There’s no payoff, no release, no hope, and since that’s obviously the intent, I can only say it works to glorious fashion. It’s easy to imagine that Davis wound up with these ideas as the result of working on other projects, or that maybe these pieces or the initial sparks from which they arose (such as anything here arises; mostly it sinks deeper and deeper) were intended for use in another context. So be it. They may be formative and minimal, but they resound nonetheless with aesthetic intent. If Davis wants to use them as the basis for future idea development or keep Innominandivm in his back pocket as a project to periodically toss out similar explorations, that’s his business.

What his long-term intent for the project might be, I don’t know, but he seems to hint that there’s more to come from Innominandivm and if that’s the case, Nocturnivm Ritvalis (am I wrong in thinking that U should be a V?) sets a deeply ambient foundation on which to build. It’s not friendly. It’s not party music. The depressive challenge Innominandivm makes, however, is one worth taking on, and for that reason, I’m glad to be able to add it to The Obelisk Radio. Check it out there now as part of the regular 24/7 stream or get a taste of “IV” in the YouTube clip below:

Innominandivm, “IV”

Innominandivm on Thee Facebooks

Chad Davis on YouTube

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Chad Davis Updates on Status of Hour of 13

Posted in Whathaveyou on May 3rd, 2013 by JJ Koczan

No strangers over their years “together” to tumult, Hour of 13 seem to be entering into their next phase. Multi-instrumentalist and songwriter Chad Davis provides a glimpse of where the band is at, its continued turbulent relationship with vocalist Phil Swanson (also Vestal Claret, Seamount, etc.) and what the future might hold for the band, which released its third album, 333, in 2012. For more from Davis, he’s interviewed here.

Here’s the latest:

Chad Davis / Hour Of 13 official press release 5-3-2013:

I am grateful for all of the support everyone has shown for Ho13, and honored to have been able to bring everyone quality music to a very thriving and revitalized movement. It has been extremely trying over the years, the constant interchanging of personnel, missing out on great opportunities to move the band further to all of you in a live setting, internal strife and conflicts of interest. But, in hindsight, things happened the way they have, and it is pointless to dwell on the past. The future is now…

I am glad to announce that new material will be created to carry the Ho13 namesake into the next phase of its existence. A much needed break and rest from all of it was a good source of medicine, healing the mind and allowing me to be able to refocus energy back into this musical force. Ho13 has always been an amazing outlet for me, a magnificent way to incorporate all of the influences that had helped me sharpen my craft.

A recent interview with Phil Swanson that was posted on a rather small blog, in which he made some very bold statements. I am not here to defend myself or counteract anything he may feel towards Ho13 or myself directly. His point of view is entirely his own prerogative. In an attempt to not discredit his persona, his ideas are quite far from reality. My reality. So, with that said, I wish him nothing but the best in any musical endeavor he may embark on. A talented vocalist he is, but he is NOT the be-all-end-all of Ho13.

In closing, the only thanks I can extend is once again to all of you. The fans. You have helped us more than anything. The music is for you. And I am extending to you guys the longevity of this band until the finality comes. Thank all of you!!

Regards,
Chad Davis

Hour of 13, “Who’s to Blame?” official video

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Hour of 13 Release New Video for “Who’s to Blame?”

Posted in Bootleg Theater on December 12th, 2012 by JJ Koczan

As it goes in December, there’s an awful lot of discussion around the interwebs lately about the best albums of the year. Well, as if to remind us all of their lurking presence, Hour of 13 have unveiled a new video for the track “Who’s to Blame?” from their 2012 third album, 333. Multi-instrumentalist Chad Davis (interview here) stripped the band down to its original parts for the latest outing, those being he and vocalist Phil Swanson, and the result was a collection of memorable cult doom right in line with the classic tenets of horror atmospheres and kickass riffs.

If you missed it, Davis‘ newest project Witchcoven premiered their first recorded track last Friday, so there’s even more to look forward to there, but Hour of 13 remain a constant shadow creeping behind, never quite there and never quite gone. Enjoy “Who’s to Blame?” on the player below:

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