Album Review: REZN, Chaotic Divine

Posted in Reviews on October 15th, 2020 by JJ Koczan

rezn chaotic divine

Bon voyage. Since the 2018 release of their well received second album, MYiNK Dissertation Proposal Examples focuses on helping businesses stand out with professional brand development, content marketing and enticing original Calm Black Water, Chicago four-piece  Buy low-priced essays from our The easiest way to buy cheap essays the best decision for you is to http://totaltheatre.org.uk/ghostwriter-buch/ for cheap from a REZN have branched out across two at-least-semi-collaborative offerings. Last year, they issued  No idea how to write your essay? - Dissertation Writing Assistance Vocabularys with the best quality now! Guaranteed essay delivery on your given deadline. Live at Electrical Audio, recorded at the famed Chicago studio in collaboration with post-hardcore heavy rockers CustomThesis.org offers the importance of obeying orders essays & Best Custom Dissertation Writing Services UK at affordable price. We provide professional Lume, and earlier 2020 brought  These Persuasive Essay Words To Use offer top-quality paper help. These features make any company a top paper helper for students. What Else Should Be Taken into Infected Ambient Works, a collection of 26 mostly-short, synth-focused atmospheric pieces, listed as a collaboration with  ADVICE ON HOW TO CHOOSE A DISSERTATION TOPIC HTTP://How To Write A Good Transfer Essay.COM/ESSAYS-ARTICLES/DISSERTATION-TOPIC/ Choose a Subject That You Are Interested In - Your Catechism, which is in fact a solo-project of  Professional custom writing service offers Custom Dissertation Writing Service Philippiness, term papers, research papers, thesis papers, reports, reviews, speeches and dissertations of REZN‘s own Online study help with accounting project can be your best savior! Call Tutorhelpdesk to avail quality accounting assignment help and Essay Writing Tools. Spencer Ouellette, who in addition to synth also might be found handling percussion, sax or flute on a given track.

As one approaches the band’s third proper full-length, Best Essay Writing Services have created the list of the best Writing In College. This should help you to choose the most suitable one. Chaotic Divine, clearly the lesson to take away from the last two years is that Declare yourself at Drew. No matter how gorgeous your prose is, assignment helpers in malaysia you cant get into college watch REZN  First paragraph of an argumentative essay on a rose describe a great time you. The Associated Press delivers in-depth Jane Goodall Research Paper coverage on today's Big Ouellette alongside guitarist/vocalist  You wont have to spend much time searching for answers to your most pressing questions about the manner we work, when you ask us if we can Homework No. You may have the idea that you can only gain assistance from AccountingAssistanceHelp.net if you need financial accounting homework help. Rob McWilliams, bassist/vocalist  You should buy research papers online you can certainly buy research paper online If you How To Write A Dissertation Dedication online from one of the Phil Cangelosi and drummer Are you looking for dynamic & compelling content from a UK cat writer & http://www.glarus24.ch/?an-essay-about-teachers with an international client base? contact@emilyfowlerwrites.com. Patrick Dunn — are branching out. And the consuming, untamed 64 minutes of the 11 songs they bring to this album bears that out, as throughout its span one might find Custom Writing Service will help you get an "A" easily. Professional Compare And Contrast Essay 123helpmes specializing in more than 40 industries. McWilliams handling oud,  Cangelosi a baglama or rainstick, and Dunn some off-kit percussion or a sitar in addition to Ouelette‘s array of keys/synth, sax, percussion and flute as noted above. All of this is factored into a backdrop of deep-running heavy riffing and psychedelic lumber, with the weighted-and-drifting “Emerging” setting the forward march on its way with vocal effects recalling earlier Monolord and a hypnotic final section that’s perhaps even more effective in drawing in the listener.

“Emerging” is both a foundation and a departure, and it comes grouped on side A with “Waves of Sand” and “Garden Green,” the former of which brings the first standout flourish of saxophone and a subtle build of tension over the course of its just-under-seven-minutes that approaches slow-space-rock freakout levels before the crushing tonality finally wakes up to stamp everything into dust. As payoffs go, that of “Waves of Sand” is nothing if not earned, but again, the subsequent comedown is no less exciting, and a cricket-chirping transition into “Garden Green” finds REZN experimenting with reggae undertones with an almost frightening smoothness before a side flip to “The Door Opens” seems to reset the pattern to where it began with “Emerging.” Gruff vocals, more direct riffing, massive, lumbering groove; familiar enough elements set to righteous purpose, they coincide with an effective psychedelic midsection, huge-sounding crashing finish and obscure samples (or something) at the end.

This is one of the many examples throughout Chaotic Divine of REZN taking established genre methods and making them their own. “The Door Opens” gives way to “Clear I,” the first of two interludes that build on the soundscaping the band has done as far back as “Pipe Dream” from their 2017 debut, Let it Burn (review here), but pushes farther, pulling out the drums in favor of a genuine sense of float that moves with windy synth into the sweeping launch of “Optic Echo.” Like “Waves of Sand” and the later, speedier “Scarab,” it is itself a standout that nonetheless feeds into and enhances the whole 2LP flow of which it is a part, drawing down to quiet silence with sax in conversation with subdued guitar ahead of the 10-minute “Mother/Forever Time” beginning side C with the arrival of McWilliams‘ oud and arguably Chaotic Divine‘s most effective stretch of heavy psychedelic ritualizing.

rezn

It is a wash that feels delicately crafted and organic just the same, gaining largesse in its midsection (aren’t we all?) and then gracefully receding in its second half into experimentalist ambience, assuring that the drums beginning “Inner Architecture” are duly grounding. With melodic vocals set over drifting verses offset by weighted push in the chorus, there are flashes of Mars Red Sky-style sweetness — around the 2:45-3:00 mark — but the central riff around which it’s based is almost pure Sleep once one digs past the surrounding elements. Not that one necessarily should, as those elements are essential in the quiet/loud tradeoffs that make “Inner Architecture” a particularly resonant hook instrumentally and structurally, fading to silence before the last side flip brings “Scarab,” the effect of which is like someone bursting into a smoke filled room and waving their arms around to clear the air.

The side D leadoff is without a doubt the fastest track on Chaotic Divine, and so distinguished by that, but it’s also a clinic in how to do stoner-doom drumming right, and though it’s only four minutes long, the function it serves is to add momentum just as the album is heading into its final movement. There’s still plenty of swirl to be had in the layers of soloing and riffs, but even amid the big finish, the swinging groove remains the priority, which is only fair heading into the cinematic drone of “Clear II.” Shorter than its earlier companion piece, the penultimate interlude serves as a fitting breather after “Scarab” and an intro for closer “The Still Center,” the main guitar progression of which follows a pattern set by Neurosis‘ “Reach” but, like other recognizable bits and pieces throughout, is set to individualized purpose by REZN in a way that makes it all the more a worthy finish.

And they end not with a grand overblown crash, but instead in that wash of melody that they’ve waded through so patiently throughout Chaotic Divine. The sax is there, the wandering guitar figure, the steady drums and bass and echoing vocals. It is an outward motion, but one could say the same of the whole record, and its sudden cutting short after coming quickly to a head at the very end gives the listener a palpable sense of being let go into the ether that the residual silence represents — a no less impressive finish for how conceptual it feels as relates to the entirety of what precedes.

Of molten intent and cross-subgenre execution, REZN offers a psychedelthickness that seems to be as much a sign of things to come as of its moment. It’s easy sometimes to think of a third album as being where a band finds itself in terms of sound and style, and if that’s what’s happening here as Chaotic Divine adds arrangement breadth and general narrative scope to what REZN did on their first two offerings, then all the better, but satisfying and engaging and fluid and as much of an achievement as they are, the explorations in these tracks still come across with an energy that feels nascent and speaks to the potential for more expansion to come. One can only hope that turns out to be so.

REZN, Chaotic Divine (2020)

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Quarterly Review: Molasses Barge, Slow Green Thing, Haze Mage & Tombtoker, White Dog, Jupiterian, Experiencia Tibetana, Yanomamo, Mos Eisley Spaceport, Of Wolves, Pimmit Hills

Posted in Reviews on October 6th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

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

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.

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Argonauta Records website

 

Slow Green Thing, Amygdala

slow-green-thing_amygdala-2000

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.

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Fuzzmatazz Records website

 

Haze Mage & Tombtoker, Split

Haze Mage Tombtoker Split

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.

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White Dog, White Dog

white dog white dog

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.

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Rise Above Records website

 

Jupiterian, Protosapien

jupiterian protosapien

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.

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Transcending Obscurity Records on Bandcamp

 

Experiencia Tibetana, Vol. I

Experiencia Tibetana Vol I

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.

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Yanomamo, No Sympathy for a Rat

yanomamo no sympathy for a rat

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.

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Iommium Records on Bandcamp

 

Mos Eisley Spaceport, The Best of Their Early Year

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.

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Of Wolves, Balance

of wolves balance

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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Trepanation Recordings on Bandcamp

 

Pimmit Hills, Heathens & Prophets

Pimmit Hills Heathens Prophets

Comprised of four-fifths of what was Virginian outfit King Giant, it’s hard to know whether to consider Pimmit Hills a new band or a name-change, or what, but the first offering from vocalist David Hammerly, guitarist Todd “TI” Ingram, bassist Floyd Lee Walters III and drummer Brooks, titled Heathens & Prophets and self-released, hits with a bit of a bluesier feel than did the prior outfit, leaving plenty of room for jamming in each track and even going so far as to bring producer J. Robbins in on keys throughout the four-song/29-minute release. I suppose you could call it an EP or an LP — or a demo? — if so inclined, but any way you cut it, Heathens & Prophets plainly benefits from the band’s experience playing together, and they find a more rocking, less moody vibe in “Baby Blue Eyes” and the harmonica-laced “Beautiful Sadness” that has a feel as classic in substance as it is modern in sound and that is both Southern but refusing to bow entirely to cliché.

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The Tempter: Chicago-Based One-Off Collaboration Cover Trouble

Posted in Whathaveyou on September 7th, 2020 by JJ Koczan

The PR wire makes it pretty plain: don’t go expecting The Tempter to be a real band. Chicago already has one badass doom outfit named after Trouble‘s work and that’s The Skull. Don’t — no, you don’t — no — hey — don’t go thinking maybe these guys who are all in other bands are gonna suddenly come together and write an album that has this same kind of vibe and is awesome like this is awesome except somehow it’s original material too. Don’t go thinking it’s gonna happen.

Yeah but…

NO!

Yeah but… still. Wouldn’t it be kind of awesome if that did happen?

Wouldn’t it?

Well it’s not going to. Welcome to 2020.

From the PR wire:

the tempter

THE TEMPTER: One-Time Collaborative Effort Featuring Members Of Yakuza, Pelican, The Atlas Moth, And More Records Cover Of Trouble Classic; All Proceeds To Benefit Chicago’s The Night Ministry

“…a collective bunch of new and old Chicago characters coming together to raise some funds and pay tribute to our musical heroes.” – Bruce Lamont

THE TEMPTER is a loving, one-time tribute honoring Chicago doom legends, Trouble, featuring members of Snow Burial, Huntsmen, The Atlas Moth, Pelican, and Yakuza. The idea came together by producer and multi-instrumentalist Sanford Parker shortly after Chicago’s lockdown hit. He thought there was no better person to lay down the vocals then friend, bandmate, and business partner, Bruce Lamont (Yakuza, Bloodiest). The next step was to lock in the rhythm section, with Mike Miczek (The Atlas Moth, Broken Hope) on drums and Mark Njjar (Huntsmen) on bass. Guitar tracks were laid down by Dallas Thomas (Pelican) and Ben Bowman (Snow Burial) while Parker mixed and mastered the track. Artwork was created by Stavros Giannopoulos (The Atlas Moth) with Lamont creating the video for the track.

The group chose “The Tempter” as the single as well as the band name because, as Lamont states, “What can’t be said about Trouble? They’re legends around these parts. ‘The Tempter’ was the obvious choice. It’s the classic first cut off their debut Psalm 9. Heavy as fuck. It was an honor to cover this.”

To purchase the single, visit THE TEMPTER Bandcamp page HERE: http://thetempter.bandcamp.com

All proceeds from the sale of the single will go to Chicago’s The Night Ministry, who work to provide housing, health care, and human connection to members of the community struggling with poverty or homelessness. For more information, go to THIS LOCATION and to donate directly go HERE.

THE TEMPTER:
Mike Miczek – drums
Mark Najjar – bass
Ben Bowman – guitar
Dallas Thomas – guitar solos
Bruce Lamont – vocals, Baritone saxophone (intro)
Sanford Parker – mixing, synths (intro)

http://thetempter.bandcamp.com
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The Tempter, “The Tempter” official video

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REZN Post “Waves of Sand” Official Live Video

Posted in Bootleg Theater on September 7th, 2020 by JJ Koczan

rezn

We’re less than a month away from the release through Off the Record Label of the new REZN album, Chaotic Divine. To herald its arrival and perhaps in some small way to fill some piece of the void left in our lives by the dearth of live music happening at the moment in this wretched excuse for a country, the Chicago-based outfit have put together an official live video for the track “Waves of Sand” from the forthcoming outing. It’s a lush vibe unfolding over the course of seven minutes, and if you weren’t looking forward to Chaotic Divine before, well, you probably should’ve been, but this will only further the case.

Unless you’re my wife.

You see, The Patient Mrs., seated next to me on the couch as I write this and as I viewed the video for the umpteenth time, hates psychedelic sax. It’s kind of a running gag in our household at this point that, every time it comes up, is remarked upon. And you know, not every psych band has sax, but I run into it about every other month maybe, and it would seem that’s enough for her. For what it’s worth, I think the sax here is gold, and likewise the melody it supports and reinforces, so it’s a point of disagreement between myself and the love of my life. I’m confident our relationship can stand the divide.

Though it would be something if the psych-sax was what finally pushed her over the edge of leaving my ass. “Nope, can’t take the sax. I’m out.” I’d be like, “Well damn,” before probably crying forever.

Chaotic Divine is due out Oct. 1, and preorders are up now through Bandcamp and through Off the Record Label, all linked below.

Enjoy the clip (and the sax):

REZN, “Waves of Sand” official live video

Live at Ohmstead, Chicago, USA
Engineered & Mixed by Adrian Kobziar
Video & Edit by Austin Isaac Peters

“Waves Of Sand” is the first single off of ‘Chaotic Divine’, set to release October 1.

Purchase the record here:
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rezzzn.bandcamp.com
offtherecordlabel.bigcartel.com

REZN are:
Phil Cangelosi
Patrick Dunn
Rob McWilliams
Spencer Ouellette

REZN, Chaotic Divine (2020)

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Trouble Announce June 2021 UK/Ireland Live Dates

Posted in Whathaveyou on September 1st, 2020 by JJ Koczan

Hammerheart Records picked up Chicago doom legends Trouble earlier this year and announced that the band’s entire discography would be reissued. For sure plenty of their records could stand a little renewed appreciation. The Skull and Psalm 9 are out now through the label and though I haven’t seen much word about the new album that was said to be in the works for the back end of 2020 — also 2019, as I recall — the fact that the band are set to travel abroad in June 2021 makes it seem ever more possible that such a thing might happen. It would be the first Trouble record since 2013’s The Distortion Field (review here); a seven- or eight-year divide between LPs that, while not insubstantial, is not at all the longest of Trouble‘s career. It was 12 between 1995’s Plastic Green Head and 2007’s Simple Mind Condition. So there you go.

Only four live shows have been announced thus far. There may or may not be more coming or an actual tour announcement, I have no idea. I saw these posted by the band on thee social medias, each with their own separate post, and pieced it together accordingly. Not sure I’d do that for every band in the universe, but well, Trouble have been around in one form or another since 1978 and sometimes you make the extra effort to cut and paste. Again, so there you go.

If I see more, I’ll update:

trouble june 14

There will be Trouble in #Wolverhampton at KK’S Steel Mill – Live Music ¥
Info / ticketing link: https://www.kkssteelmill.co.uk/event-trouble.php

JUST ANNOUNCED: American doom metal pioneers Trouble are back in the studio writing new material and we cannot wait to welcome them to London’s O2 Academy Islington on Monday 14 June 2021.

On O2 Priority Tickets on sale now and Ticketmaster United Kingdom 10am Saturday 29 August.

*Announcement* Doom metal overlords Trouble will hit Belfast and Dublin in June 2021. See them at Limelight Belfast on the 15th and The Grand Social, Dublin the following night. Tickets on sale Monday 10am. Please note that tickets from the cancelled shows this year will not be valid so if you haven’t already gotten your refund on those shows, please do so.

Trouble is:
Kyle Thomas : vocals,
Bruce Franklin : guitar,
Rick Wartell : guitar,
Rob Hultz : bass,
Marko Lira : drums

https://www.facebook.com/TroubleMetal/
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https://www.hammerheart.com/

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Finding Comfort in Live Music When There Isn’t Any

Posted in Features on August 12th, 2020 by JJ Koczan

Bands and festivals have begun to announce 2021 dates and all that, but let’s be realistic: it’s going to be years before live music is what it once was. Especially in the United States, which is the country in the world hardest hit by the ol’ firelung in no small part because of the ineptitude of its federal leadership, an entire economic system of live music — not to mention the venues, promotions and other cultural institutions that support it on all levels — needs to be rebuilt from the ground up. It isn’t going to be just as simple as “social distancing is over and we can all crowd into the bar again.” Maybe not ever.

You’ve likely seen a band do a live stream at this point, even if after the fact, and I have too. Not the same as a real-life gig, duh, but if it helps raise some funds and keeps creative people working on something and gives an act a way to connect with its audience, you can’t call it bad. I’ve found, though, that with the dearth of live music happening and the nil potential that “going to a show” will happen anytime soon, I’ve been listening to more and more live albums.

This, in no small part, is because there are plenty to listen to. Some groups attempting to bring in cash either for themselves or relevant causes have put out live records in the last few months and made use of the downtime that would’ve otherwise been given to actually being on a stage or writing together in a room or whatever it might be. It’s been a way for a band to not just sit on its collective hands and wonder what the future will bring. When so much is out of your own control, you make the most of what you’ve got.

In that spirit, here’s a quick rundown of 10 recent live outings that I’ve been digging. If you’ve found you’re in the need of finding comfort in live music and whatever act you want to see isn’t doing a stream just this second, maybe you can put one of these on, close your eyes, and be affected a bit by the on-stage energy that comes through.

Thanks as always for reading, and thanks to Tim Burke, Vania Yosifova, and Chris Pojama Pearson for adding their suggestions when I asked on social media. Here we go, ordered by date of release:

Arcadian Child, From Far, for the Wild (Live in Linz)

arcadian child from far for the wild

Released Jan. 24.

Granted, this one came out before the real impact of COVID-19 was being felt worldwide, but with the recent announcement of Arcadian Child‘s next studio album coming out this Fall, including From Far, for the Wild (Live in Linz) (discussed here) on this list seems only fair. The Cyprus-based four-piece even went so far as to include a couple new songs in the set that’ll show up on Protopsycho as well this October, so it’s a chance to get a preview of that material as well. Bonus for a bonus. Take the win.

Kadavar, Studio Live Session Vol. 1

kadavar studio live session

Released March 25.

Germany began imposing curfews in six of its states on March 22. At that point, tours were already being canceled, including Kadavar‘s European run after two shows, and the band hit Blue Wall Studio in Berlin for a set that was streamed through Facebook and in no small part helped set the pattern of streams in motion. With shows canceled in Australia/New Zealand and North America as well, Kadavar were hoping to recover some of the momentum they’d lost, and their turning it into a live record is also a part of that, as is their upcoming studio release, The Isolation Tapes.

Øresund Space Collective, Sonic Rock Solstice 2019

Øresund Space Collective Sonic Rock Solstice 2019

Released April 3.

Of course, I’m perfectly willing to grant that Sonic Rock Solstice 2019 (review here) wasn’t something Øresund Space Collective specifically put out because of the pandemic, but hell, it still exists and that enough, as far as I’m concerned. As ever, they proliferate top notch psychedelic improv, and though I’ve never seen them and it seems increasingly likely I won’t at the fest I was supposed to this year, their vitality is always infectious.

Pelican, Live at the Grog Shop

pelican Live at The Grog Shop

Released April 15.

Let’s be frank — if you don’t love Pelican‘s music to a familial degree, it’s not that I think less of you as a person, but I definitely feel bad for you in a way that, if I told you face-to-face, you won’t find almost entirely condescending. The Chicago instrumentalists are high on my list of golly-I-wish-they’d-do-a-livestream, and if you need an argument to support that, this set from Ohio should do the trick nicely. It’s from September 2019, which was just nearly a year ago. If your mind isn’t blown by their chugging progressive riffs, certainly that thought should do the trick.

SEA, Live at ONCE

sea live at once

Released June 19.

Also captured on video, this set from Boston’s SEA finds them supporting 2020’s debut album, Impermanence (review here) and pushing beyond at ONCE Ballroom in their hometown. The band’s blend of post-metallic atmosphere and spacious melody-making comes through as they alternate between lumbering riffs and more subdued ambience, and it makes a fitting complement to the record in underscoring their progressive potential. The sound is raw but I’d want nothing less.

Sumac, St Vitus 09/07/2018

sumac st vitus

Released July 3.

Issued as a benefit to Black Lives Matter Seattle and a host of other causes, among them the Philadelphia Womanist Working Collective, this Sumac set is precisely what it promises in the title — a live show from 2018 at Brooklyn’s famed Saint Vitus Bar. I wasn’t at this show, but it does make me a little wistful to think of that particular venue in the current concert-less climate. Sumac aren’t big on healing when it comes to the raw sonics, but there’s certainly enough spaciousness here to get lost in should you wish to do so.

YOB, Pickathon 2019 – Live From the Galaxy Barn

YOB Pickathon 2019 Live from the Galaxy Barn

Released July 3.

They’ve since taken down the Bandcamp stream, but YOB’s Pickathon 2019 – Live From the Galaxy Barn (review here) was released as a benefit for Navajo Nation COVID-19 relief, and is an hour-long set that paired the restlessness of “The Lie that is Sin” next to the ever-resonant “Marrow.” Of all the live records on this list, this is probably the one that’s brought me the most joy, and it also inspired the most recent episode of The Obelisk Show on Gimme Metal, which jumped headfirst into YOB‘s catalog. More YOB please. Also, if you haven’t seen the videos of Mike Scheidt playing his guitar around the house, you should probably hook into that too.

Dirty Streets, Rough and Tumble

dirty streets rough and tumble

Released July 31.

If you’re not all the way down with the realization that Justin Toland is the man when it comes to heavy soul and blues guitar, Dirty Streets‘ new live record, Rough and Tumble, will set you straight, and it won’t even take that long. With the all-killer bass and drums of Thomas Storz and Andrew Denham behind, Toland reminds of what a true virtuoso player can accomplish when put in a room with a crowd to watch. That’s an important message for any time, let alone right now. These cats always deliver.

Amenra, Mass VI Live

amenra mass vi live

Released Aug. 7

Look, I’m not gonna sit here and pretend I’m the biggest Amenra fan in the world. I’m not. Sometimes I feel like they follow too many of their own rules for their own good, but there’s no question that live they’re well served by the spectacle they create, and their atmospherics are genuinely affecting. And I know that I’m in the minority in my position, so for anyone who digs them hard, they put up this stream-turned-record wherein they play a goodly portion of 2017’s Mass VI, and even as the self-professed not-biggest-fan-in-the-world, I can appreciate their effort and the screamy-scream-crushy-crush/open-spaced ambience that ensues.

Electric Moon, Live at Freak Valley Festival 2019

Electric Moon Live at Freak Valley Festival 2019

Releasing Sept. 4.

Yeah, okay, this one’s not out yet, but sometimes I’m lucky enough to get things early for review and sometimes (on good days) those things happen to be new live records from Germany psychonauts Electric Moon. The Always-Out-There-Sula-Komets are in top form on Live at Freak Valley Festival 2019 as one would have to expect, and they’re streaming a 22-minute version of “777” now that rips so hard it sounds like it’s about to tear a hole into an alternate dimension where shows are still going on so yes please everyone go and listen to it and maybe we’ll get lucky and it’ll really happen. The magic was in you all along.

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REZN Announce New LP Chaotic Divine out Oct. 1

Posted in Whathaveyou on August 6th, 2020 by JJ Koczan

REZN

In the great hellscape of should’ves that is 2020, REZN should be headed abroad this October for the first time to appear at Høstsabbat in Oslo, presumably among others. That their new album, Chaotic Divine, is due Oct. 1 would seem no coincidence in light of this, and for all I know, that show is still happening. I’d love to go if it is, and if I went, you know damn well I’d be checking out REZN provided that many Americans are allowed to all occupy the same space at the same time. Who’s to say what the next two months might bring?

Well, except that it’ll bring new REZN. The Chicago-based outfit have only been increasingly well-received since their first outing, and with the new song “Waves of Sand,” they may just have hit the moment of arrival in their sound. The individualism on display is palpable while still in the realm of psychedelic heavy, and while it’s in some ways an unfortunate time for a band to be doing their best work, that still beats the alternative.

I didn’t really get to hear Oct. 2018’s Calm Black Water (discussed here), but I dug 2017’s Let it Burn (review here), so I hope the new one makes it out this way. We’ll see I guess. Golly it would be cool to see these cats in Norway.

Preorders are up in the meantime:

rezn chaotic divine

‘Chaotic Divine’, our third full-length record, will be released on October 1st. Preorders are available now through our website, Bandcamp, and Off The Record Label:

rezn.band (US / North America)
rezzzn.bandcamp.com (US / North America)
offtherecordlabel.bigcartel.com (EU / International)

The first single, “Waves Of Sand”, is available now for download and streaming everywhere.

Repressings of ‘Let It Burn’ and ‘Calm Black Water’ have also been added to our merch store, as well as a new shirt design and pins.

Eternal thanks for all the support over these past three years. Can’t wait to see where this new sonic portal takes us.

REZN are:
Phil Cangelosi
Patrick Dunn
Rob McWilliams
Spencer Ouellette

facebook.com/reznhits
instagram.com/rezzzn
rezzzn.bandcamp.com
offtherecordlabel.bigcartel.com
https://www.facebook.com/Off-The-Record-1558728014411885/
https://www.offtherecordshop.nl/index.php/off-the-record-label

REZN, Chaotic Divine (2020)

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Quarterly Review: Sergio Ch., Dool, Return to Worm Mountain, Dopelord, Ancestro, Hellhookah, Daisychain, The Burning Brain Band, Slump, Canyon

Posted in Reviews on July 6th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

I don’t imagine I need to tell you it’s been a hell of a quarter, existentially speaking. It’s like the world decided to play ’52 card pickup’ but with tragedy. Still, music marches on, and so the Quarterly Review marches on. For what it’s worth, I’m particularly looking forward to reviewing the upcoming batch of 50 records. As I stare at the list for each day, all of them have records that I’ve legitimately been looking forward to diving into, and today is a great example of that, front to back.

Will I still feel the same way on Friday? Maybe, maybe not. If past is prologue, I’ll be tired, but it’s always satisfying to do this and cover so much stuff in one go. Accordingly, let’s not delay any further. I hope you enjoy the week’s worth of writeups.

Quarterly Review #1-10:

Sergio Ch., From Skulls Born Beyond

Sergio Ch From Skulls Born Beyond

Intertwining by sharing a few songs with the debut album from his trio Soldati, Doom Nacional (review here), the latest solo endeavor from former Los Natas/Ararat frontman Sergio Ch. continues his path of experimentalist drone folk, blending acoustic and electric elements, guitar and voice, in increasingly confident and broad fashion. The heart of a piece like “Sombra Keda” near the middle of the album is still the strum of the acoustic guitar, but the arrangement of electric and effects/synth surrounding, as well as the vocal echo, give a sense of space to the entirety of From Skulls Born Beyond that demonstrates to the listener just how much range Sergio Ch.‘s work has come to encompass. For highlights, one might check out the extended title-track and the closer “Solar Tse,” which bring in waves of distorted noise to add to the experimentalist feel, but there’s something to be said too for the comparatively minimal (vocal layering aside) “My Isis,” as well as for the fact that they all fit so well on the same record.

Sergio Ch. on Thee Facebooks

South American Sludge Records on Bandcamp

 

DOOL, Summerland

Dool Summerland

The follow-up to DOOL‘s 2017 debut, Here Now There Then (review here), does no less than to see the Netherlands-based outfit led by singer Ryanne van Dorst answer the potential of that album while pushing forward the particular vision of Dutch heavy progressive rock that emerged in the wake of The Devil’s Blood, acknowledging that past — Farida Lemouchi (now of Molassess) stops by for a guest spot — while presenting an immersive and richly arranged 54-minute sprawl of highly individualized craft. Issued through Prophecy Productions, it brings cuts like the memorable opener “Sulphur and Starlight” and the dynamic “A Glass Forest” as well as the classic metal chug of “Be Your Sins” and the reaches of its title-cut and acoustic-inclusive finale “Dust and Shadow.” DOOL are a band brazen enough to directly refuse genre, and it is to their benefit and the audience’s that they pull off doing so with such bravado and quality of output. For however long they go, they will not stop progressing. You can hear it.

DOOL on Thee Facebooks

Prophecy Productions website

 

Return to Worm Mountain, Therianthropy

return to worm mountain Therianthropy

By the time Durban, South Africa’s Return to Worm Mountain are done with 10-minute opener and longest track (immediate points) “Gh?l” from their second album, Therianthropy, the multi-instrumentalist duo of Duncan Park (vocal, guitar, bass, banjo, jaw harp) and Cam Lofstrand (vocals, drums, synth, guitar, bass, percussion) have gone from High on Fire-meets-Entombed crunch to psychedelic Americana to bare-essential acoustic guitar, and unsurprisingly, the scope doesn’t stop there. “Mothman’s Lament” is folksy sweetness and it leads right into the semi-industrial grind of “Mongolian Death Worm” before “Olgoi-Khorkoi” sludge-lumbers into Echoplex oblivion — or at very least the unrepentantly pretty plucked strings of “Tatzelwurm.” The title refers to a human ability to become an animal — think werewolf — and if that’s a metaphor for the controlled chaos Return to Worm Mountain are letting loose here, one can hardly argue it doesn’t fit. Too strange to be anything but progressive, Therianthropy‘s avant garde feel will alienate as many as it delights, and that’s surely the point of the entire endeavor.

Return to Worm Mountain on Thee Facebooks

Return to Worm Mountain on Bandcamp

 

Dopelord, Sign of the Devil

dopelord sign of the devil

Primo weedian stoner sludge doom of precisely the proportion-of-riff one would expect from Polish bashers Dopelord, which is to say plenty huge and plenty grooving. “The Witching Hour Bell” sets the tone on Sign of the Devil, which is the fourth full-length from the Warsaw-based four-piece. They lumber, they plod, they crash, and yes, yes, yes, they riff, putting it all on the line with “Hail Satan” with synth flourish at the end before “Heathen” and the ultimately-more-aggro “Doom Bastards” reinforce the mission statement. You might know what you’re getting going into it, but that doesn’t make the delivery any less satisfying as Dopelord plod into “World Beneath Us” like a cross between Electric Wizard and Slomatics and of course stick-click in on a quick four-count for the 94-second punk blaster “Headless Decapitator” to cap the 36-minute vinyl-ready run. How could they not? Sure, Sign of the Devil preaches to the choir, but hell’s bells it makes one happy to have joined the choir in the first place.

Dopelord on Thee Facebooks

Dopelord on Bandcamp

 

Ancestro, Ancestro

ancestro self titled

Numbered instrumental progressions comprise this third and self-titled offering from Peruvian trio Ancestro (issued through Necio Records and Forbidden Place Records), and the effect of the album being arranged in such a fashion is that it plays through as one long piece, the cascading volume changes of “II” feeding back into the outset count-in of the speedier “III” and so on. Each piece of the whole has its own intention, and it seems plain enough that the band composed the sections individually, but they’ve been placed so as to highlight the full-album flow, and as Ancestro move from “IV” into “V” and “VI,” with songs getting longer as they go en route to that engrossing and proggy 13-minute closer, their success draws from their ability to harness the precision and maybe even a little of the aggression of heavy metal and incorporate it as part of an execution both thoughtful and no less able to be patient when called for by a given piece. Hard-hitting psychedelia is tough to pull off, but Ancestro‘s Ancestro is no less spacious than terrestrial.

Ancestro on Thee Facebooks

Necio Records on Bandcamp

Forbidden Place Records on Bandcamp

 

Hellhookah, The Curse

hellhookah the curse

In 2016, Lithuanian two-piece Hellhookah made it no challenge whatsoever to get into the traditionalist doom of their debut album, Endless Serpents (review here), and the seven songs of The Curse make for a welcome follow-up, with an uptick in production value and the fullness of the mix and a decided affinity for underground ’80s metal in cuts like “Supremacy” and “Dreams and Passions” to coincide with the Dio-era-Sabbath vibes of centerpiece “Flashes” and the nodding finisher “Greed and Power,” which follows and contrasts “Dreams and Passions” in a manner that feels multi-tiered in its purpose. Departing from some of the Vitus-ness of the first full-length, The Curse adopts a more complex tack across its 38 minutes, but its heart and its loyalties are still of doom, by doom, and for the doomed, and that suits them just fine. Crucially, their lack of pretense carries over, and their love of all things doomed translates into every riff and every stretch on offer. If you’d ask more than that of them, well, why?

Hellhookah on Thee Facebooks

Hellhookah on Bandcamp

 

Daisychain, Daisychain EP

Daisychain Daisychain EP

Bluesy in opener “Demons,” grunge-tinged in “Lily” and fuzz-folk-into-’70s-soul-rock on “How Can I Love You,” Daisychain‘s self-titled debut EP wants little for ambition from the start, but the Chicago-based four-piece bring a confidence to their dually-vocalized approach that unites the material across whatever stylistic lines it treads, be it in the harmonies of the midtempo rocker “Are You Satisfied” or the righteously languid “Fake Flowers,” which follows. With six songs and 21 minutes, the self-released outing is but a quick glimpse at what Daisychain might have in store going forward, but the potential is writ large from the classic feel of “Demons” to the barroom spirit of closer “The Wrong Thing,” which reminds that rock and roll doesn’t have to sacrifice efficiency in order to make a statement of its own force. There’s plenty of attitude to be found in these songs, but beneath that — or maybe alongside it — there’s a sense of an emergent songwriting process that is only going to continue to flourish. What they do with the momentum they build here will be interesting to see/hear, but more than that, they’re developing a perspective and persona of their own, and that speaks to a longer term ideal. To put another way, they don’t sound like they’re half-assing it.

Daisychain on Thee Facebooks

Daisychain on Bandcamp

 

The Burning Brain Band, The Burning Brain Band

The Burning Brain Band The Burning Brain Band

Capping with a slide-tinged take on the traditional “Parchman Farm” (see also: Blue Cheer, Cactus, etc.), Ohio’s The Burning Brain Band‘s self-titled debut casts a wide net in terms of influences, centering the penultimate “The Dreamer” around 12-string acoustic guitar on an eight-minute run that’s neither hurried nor staid, but all the more surprising after the electronica-minded “Interlude (Still Running),” which, at four minutes is of greater substance than one might expect of an interlude just as the seven-and-a-half-minute warm-up “Launch Sequence” is considerably broader than one generally considers an intro to an album. There isn’t necessarily a foundational basis from which the material emanates — though “Brain Food” is an effective desert-ish rocker, it moves into the decidedly proggier “Bolero/Floating Away” — but “Launch Sequence” is immersive and the four-piece bring a performance cohesion and a clarity of mindset to the proceedings of this debut that may not unite the songs, but carries the listener through with a sure hand just the same. Who ever said everything on a record had to sound alike? For sure not The Burning Brain Band, who translate the mania of their moniker into effective sonic variety.

The Burning Brain Band on Thee Facebooks

The Burning Brain Band on Bandcamp

 

Slump, Flashbacks From Black Dust Country

Slump Flashbacks from Black Dust Country

Count Slump in a freakout psych renaissance, all punk-out-the-airlock and ’90s-noise thisandthat. Delivered through Feel It Records, the Richmond, Virginia, outfit’s debut, Flashbacks From Black Dust Country indeed touches ground every now and again, as on “Desire Death Drifter,” but even there, the vocals are so soaked wet with echo that I’m pretty sure they fucked up my speakers, and as much as “Tension Trance” tries, it almost can’t help but be acid grunge. In an age of nihilism, Slump aren’t so much unbridled as they are a reminder of the artistry behind the slacker lean, and in the thrust of “(Do The) Sonic Sprawl” and the far-out twist of “Throbbing Reverberation,” they affirm that only those with expanded minds will survive to see the new age and all the many spectral horrors it might unfurl. Can it be a coincidence that the album starts “No Utopia?” Hardly. I’m not ready to call these cats prophets, but they’ve got their collective ear to the ground and their boogie is molten-core accordingly. Tell two friends and tell them to tell two friends.

Feel It Records on Thee Facebooks

Feel It Records on Bandcamp

 

Canyon, EP III

canyon ep iii

It’s a ripper, inciting Larry David-style “prettay good” nods and all that sort of approval whatnot. If you want to think of Canyon as Philly’s answer to Memphis’ Dirty Streets, go ahead — and yes, by that I mean they’re dirtier. EP III boasts just three tracks in “No Home,” “Tent Preacher” and “Mountain Haze,” but with it the classic-style trio backs up the power they showed on 2018’s Mk II (review here), tapping ’70s blues rock swagger for the first two tracks and then blowing it out in a dreamy Zeppelin/Rainbow jam that’s trippy and righteous and right on and just plain right. Maybe even right-handed, I don’t know. What I do know is that these guys should’ve been picked up by some duly salivating label like last week already and they should be putting together a full-length on the quick. They’ve followed-up EP III with a stonerly take on The Beatles‘ “Day Tripper,” and that’s fun, but really, it’s time for this band to make an album.

Canyon on Thee Facebooks

Canyon on Bandcamp

 

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