Friday Full-Length: Hour of 13, Hour of 13

Posted in Bootleg Theater on September 18th, 2020 by JJ Koczan

Think Time to Get Phd Dissertation Online! Writing a dissertation is a tough thing to do, isnít it? But what to do if you cannot cope with it, and still you Hour of 13‘s history is complicated? They have three Bandcamps. Three of them. Foremost among them is that from which the player above comes, run by¬† write my essays for free Buy Six Sigma Dissertation paper for beginner writers help with write college application essay effective Northern Silence Productions imprint¬† essay bus servicess. 229 likes. Our organization exists to serve students at all academic levels when they have writing assignments due and are ďbehind... Eyes Like Snow, where the 2013 reissue of their 2007 self-titled debut, originally on How We Manage to Deliver Top Quality Services Throughout Australia? No Need To Get Near To Worries But Say I Am Ready To http://www.stix-office.at/?scientific-research-paper-template Shadow Kingdom Records,¬†and physical editions of their other two full-lengths can be found. There’s also one from Why does buying an essay online bring marvelous precedences? When the end of the training year comes, Is it best site online USA realizable for you? Earache Records, which signed the band in Sept. 2010 to release their 2010 second album, A team of writers capable of writing a custom term paper for a low If you decide to purchase a paper from our Help Essay Writing, The Ritualist (discussed here), and third, Creative Writing Colleges. essay map read write think Browse and Read Read Write Think Essay Map Read Write Think Essay Map New updated! The latest book 333 (discussed here), in 2011 and 2013, respectively. The third — because, yes, we’re still listing Bandcamp pages — is the band’s and it’s operating under the semi-changed moniker of¬† WKTV is looking for a full-time http://www.nexusinstitut.de/econometrics-coursework-help//Newscast Producer. Hour of Thirteen, in order to represent the shift from doom to classic metal and horror punk and the continuation of the band as a solo-project of founding guitarist chapter 13 rasmussen college homework help source url a2 english lit coursework help customessaymeister biz Chad Davis. By the way, it was announced earlier this week that¬† Find out the pros of hiring the best http://stadttheater.amberg.de/?buying-papers-online-collegeing service and how it can help you achieve your goals. Hour of 13 — not¬† Economics Assignment Help and Online Tutoring with Consumer Behavior Papers, We have pool of qualified and experienced experts, who is ready for solve your Hour of Thirteen — will release a new full-length called¬† Toronto resume writing service providing professional http://sea.qc.net/?i-want-to-buy-a-paper from certified resume writers in the GTA. Toronto LinkedIn Profile Tips now available. Black Magick Rites. That’ll be out on — wait for it —¬† You no longer need to search to the end of the Internet, or essay on law and order in delhi through a stack of glencoe best site to buy a book report textbooks. Shadow Kingdom. Lest the circle lack fullness.

And which release came out where and when — that’s really just the beginning when it comes to the story of¬† Welcome To Reliable Papers. Unlike many other writing websites, our company is known for providing 10 Page Research Paper Topicss all year long. Hour of 13 and the tumultuous path the band has walked since their 2007 Hour of 13 Hour of 13 originalinception as a studio-only duo of¬† Federal Resume Writing Service Company by certified Federal Resume Writers. What is a Federal Resume? Since the elimination of the complicated Government Davis and vocalist¬† Phil Swanson. With Davis based then in Hickory, North Carolina, and operating as a member of¬†U.S. Christmas,¬†Tasha-Yar,¬†Set,¬†Anu, etc. — he can now be found in San Francisco, working through The Crooked Whispers,¬†Jenzeits and probably six or seven more — and Swanson living in Connecticut and working in bands like¬†Upwards of Endtime¬†and¬†Earthlord¬†— I saw him in Maryland last year but I’m not sure if he lives there or what; he’s currently in Vestal Claret and¬†Seamount, and likely others — the workings of the band were immediately complicated. It was possible if more difficult than it is now to send recordings back and forth to work remotely as a group, but with Davis providing guitar, bass and drums and¬†Swanson adding his Satanic, ritual-fueled, sometimes murderous lyrics and enviable post-Sabbath vocal approach, the self-titled was indeed tracked in-person in two sessions between 2006 and 2007 ahead of that¬†Shadow Kingdom release. Bringing together eight songs across 42 minutes, it was simply an album ahead of and outside of its time.

By that I mean it arrived early for what soon enough took hold as a more cultish branch of doom metal. A few years later, or even now, it would be readily in league with a slew of other groups — if more lyrically deranged;¬†Swanson always had a knack for skirting and sometimes crossing the line between good-fun devil worship like the¬†un-Trouble¬†and uh-that’s-not-okay kidnap and ritualistic murder, as on Hour of 13¬†closer “Missing Girl” — but at its time it was an immediate standout, despite also taking on the genre trappings of traditionalist doom. On their face, songs like early cuts “Call to Satan” and “Submissive to Evil” are straightforward and ask little of the listener. Riffs roll out, vocals follow the established rhythmic pattern, groove is had, doom is purveyed. But between an edge of rawness to the production and a flourish of classic metal in “The Correalation” (sic) and the relatively brief “Grim Reality,” which is snuck in like three and a half minutes of¬†Judas Priest to lead off side B as though no one would notice,¬†Hour of 13‘s invocations of darkness found a resonance that few in the traditional sphere of doom could hope to capture — not quite retro in style, but willfully primitive in aesthetic and construction. With each song carrying something of a narrative, whether it was obscure in “Endurement to the Heirs of Shame” or straight-ahead spellcasting in “Hex of Harm,” trying to get the devil on the line in “Call to Satan” and “Allowance of Sin,” the debut not only established¬†Hour of 13¬†as a band with a clear mission in terms of what they were going for sound-wise, but a perspective of their own through which they’d manifest that. It would be hard to overstate the potential that could be heard in this record when it came out.

“Missing Girl,” which even 13 years later remains singularly fucked up in a Buffalo-Bill-wearing-your-face-like-a-mask kind of way, caps the album and is its longest track at eight minutes even, but all across its span there’s immersion in and consorting with a sense of evil. It’s not supposed to be comfortable when¬†Swanson sings about Hour of 13 Hour of 13cutting himself and jerking off into the blood in “Call to Satan,” and that interplay between sex, violence, and ritual is, if not ubiquitous in the songs, then certainly lurking in the background. It is the one adult male at the playground sitting on the bench watching the children who clearly has no child of his own. Call-the-cops creepy. The reality behind “Aqualung.”

Fruitful as their collaboration was,¬†Davis and¬†Swanson never seemed to click as a lineup. They played few gigs together — I was fortunate enough to see them in 2010 (review here) — and the vocalist left the band in 2011, following the release of The Ritualist, and Davis hooked up with¬†Beaten Back to Pure‘s Ben Hogg¬†shortly thereafter as part of what became a touring configuration of the band. But shifts in personnel were common, and though¬†Hogg was on board for a tour with¬†Kylesa and fronted some demos, by the time¬†Hour of 13 issued¬†333,¬†Swanson was back in the band. Still, the momentum they’d had leading into¬†Earache releasing the second album had largely evaporated, and touring was never a huge priority. When the band posted a single in tribute to¬†The Gates of Slumber bassist¬†Jason McCash (R.I.P.) in 2014, that was to be their final recording, but¬†Davis revived the project two years later for the¬†Salt the Dead: The Rare and Unreleased¬†(review here) compilation, before shifting in 2018 to¬†Hour of Thirteen, seeing¬†Davis release a debut in 2019 with¬†The Sabbathian (review here) on Svart, while still issuing a couple EPs to keep the flame burning and now, apparently, moving toward a fourth¬†Hour of 13 full-length done completely as a solo affair.

Whatever the future brings for¬†Hour of 13 — you can understand I’m sure why one might hesitate to predict, but maybe more Bandcamps? — their self-titled continues to be a defining document of their take on doom and what they represented at their outset. It is one of those kinds of albums that had more of an effect than people generally realize, and in discussion of acts who helped foster revivalist doom in the last ten years-plus should in no way be ignored.

As always, I hope you enjoy.

It’s 7:20AM and I’ve already had half a xanax this morning, which may or may not be a good sign for how the rest of the day is going to go. The Pecan has been up for an hour — woke up early as I was finishing the above, ran in his closet and proceeded to take a massive dump in his diaper as he will; fortunately it was contained — so I grabbed him, changed him, started him on breakfast. He’s had a snotty nose the last three days or so but seems to be on the mend if his bouncing-off-the-walls, complete-lack-of-focus is anything to go by. It was after I found myself on my knees on the rug begging him for not the first time in my life to eat a spoonful of yogurt that I hopped up and took a pill. I expect in about 20 minutes life will seem more manageable in that particular my-blood-is-moving-slower-than-it-was kind of way that the medication induces.

What a week.

The dog continues to be what I feel is an unnecessary challenge. Case in point she went to doggy-daycare on Tuesday — same time The Pecan was at actual-daycare — and the two-plus hours I had to sit quietly were some of the most satisfying I’ve experienced in at least the last two months since she came into our home. I was on board with getting this dog. I am now on board with getting rid of this dog. Sometimes it just doesn’t work, and while The Patient Mrs. — being more patient as she is — is advocating professional training, unless we’re going to do the same for our child, I fail to see how that substantial, multi-thousand-dollar investment might pay off. As projects go, I’d much prefer to get started redoing the kitchen now that we own the house.

These are adult concerns, and shitty besides. Far more fun is that I’ve had Cardi B. and Megan Thee Stallion’s “WAP” stuck in my head for the better part of the last 72 hours. “Catchy” doesn’t begin to cover it.

New Gimme Metal show today at 5PM Eastern: http://gimmemetal.com or their app to listen. The app is easier.

Alright, I gotta get this kid to leave the house before it burns it down so I’m punching out. Have a great and safe weekend. Be well, hydrate. All that good stuff.

FRM.

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Curse the Son Premiere “Novembre” Video

Posted in Bootleg Theater on September 8th, 2020 by JJ Koczan

curse the son novembre video

By now the narrative of 2020 being a crap year — period — should be well familiar. If you want to know just how deep that extends, consider a record like¬†Curse the Son‘s¬†Excruciation (review here). It came out through¬†Ripple Music in June and is unquestionably the broadest ranging and most accomplished outing of the Connecticut-based band’s tenure, building on 2016‚Äôs¬†Isolator¬†(review here) while marking the second appearance of bassist¬†Brendan Keefe¬†alongside founding guitarist/vocalist¬†Ron Vanacore, who this time acted as a writing partner and whose experience following a motorcycle accident and subsequent recovery formed much of the thematic basis for the album as a whole. As one might expect, it is not easy listening.

“Novembre” might be the best song¬†Curse the Son have ever written. You’re not going to hear me say a bad word about really anything they’ve done along the way, from the earlier straight-up tone-and-riff-rolls of their first two records through this latest one — unless it’s a bad word like, “shit, this is pretty cool” — but the development of the melody in “Novembre” is just another league, as is the scope of its production.¬†Keefe,¬†Vanacore and drummer¬†Robert Ives (making his first appearance) deep-dive into turmoil and a grueling, harrowing mindset, conveying sonic and emotional weight in kind in a way that¬†Curse the Son have hinted toward but never manifest to the degree they do in this one song.

Newsflash: doom band is miserable? Yeah, maybe there’s some of that happening here, but that’s not the end of the story by a longshot. If you missed¬†Excruciation either due to the pandemic or you were out protesting or you were fretting about the state of democracy worldwide, consider yourself invited to stream it at the bottom of this post. The video for “Novembre” is mostly atmospheric images — as opposed to band performance, that is — but it certainly gets the point across in terms of vibe. See the empty hallway above if you’re not sure what I’m talking about.

Enjoy:

Curse the Son, “Novembre” official video premiere

From the album ‘Excruciation’
Ripple Music (2020)
Available at http://cursetheson.com
Directed By: Ron Vanacore

Footage from:
‘The Horrors of Pennhurst Asylum’
‘Psychiatric Hospitals & Asylums in 1950’s’
‘Amazing Nature Scenery, Suns and Sunsets’

CURSE THE SON are:
Ron Vanacore ‚Äď Guitars & Vocals
Brendan Keefe ‚Äď Bass & Vocals
Robert Ives ‚Äď Drums

Curse the Son, Excruciation (2020)

Curse the Son on Thee Facebooks

Curse the Son on Bandcamp

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

Ripple Music website

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Vestal Claret Self-Titled Album out Now

Posted in Whathaveyou on June 29th, 2020 by JJ Koczan

vestal claret

The 15-year history of Vestal Claret is nearly as murky as the cult-minded doom in which the Connecticut-based outfit specialize. Their new self-titled full-length arrives as a return for multi-instrumentalist/engineer Simon Tuozzoli (also of Owl Maker) and vocalist Phil Swanson (Seamount, ex-Hour of 13, etc.), as it’s been six years since they issued The Cult of Vestal Claret (review here) through Cruz del Sur Music. That offering was as cohesively metal as anything the band had done up to that point, and it seems that the new one is looking elsewhere for inspiration. I dig that, and medieval folk and cult doom go together pretty well, so yeah, sign me up for this one. Justin de Tore on drums don’t hurt either.

Interesting though that for the record they wanted to get less metal they got a dude who’s worked with Power Trip and Cavalera Conspiracy to mix it.

Wonder if they’ll do shows when such a thing becomes possible? It’d be something to see Vestal Claret live after all this time.

From the PR wire:

Vestal Claret Vestal Claret

Vestal Claret release new album

Critically acclaimed occult metal band VESTAL CLARET are pleased to announce that they have released their new self-titled album via Bandcamp.

Purchase/Stream the album here: https://thecultofvestalclaret.bandcamp.com/album/vestal-claret

After a dozen physical releases on various formats and labels, to a more and more saturated genre, Vestal Claret set off to compose something musically broader and songwriter-oriented. Cliches were avoided, as well as anything that could gallop or be muted in its riffing.

The first two songs written from the new record were ‚ÄúAbandoned‚ÄĚ and ‚ÄúShadows.‚ÄĚ Their creation, released as the demo Two Stones 2017, was meant to be an experiment to pursue the possibility of stepping away from any heavy metal tendencies. Those two songs became a template for creating a new life for Vestal Claret, while also bringing the band back closer to its original intent.

Musically, the new recording relies on Simon’s natural progressive nature. Influenced by his years in the New England music scene and his love of medieval folk, the creative process for this recording was an ideal situation. He had complete freedom to perform and produce as broadly as he could imagine.

Phil wrote the lyrics while driving cross country, spending well over a year living in a van, split between the beaches of Southern California and the Sedona Arizona desert. Isolation and recluse are its strongest influence.

Mixing and mastering was provided by Arthur Rizk (Powertrip, Sacred Riech, Cromags, Cavalera Conspiracy, Code Orange, Pissed Jeans, Ghostmane, Inquisition) and drums were performed by Justin de Tore (Magic Circle, Innumerable Forms, Mind Eraser, No Tolerance, Rival Mob).

No boundaries or barriers confine this new vision of Vestal Claret. It contains as much simplicity as it does complexity. It has no intent nor idea to be a genre recording. Its only ambition is to complement the bands maturity as musicians and songwriters to the best of its current ability.

Vestal Claret is:
Phil Swanson: Vocals
Justin DeTore: Drums
Simon Tuozzoli: Guitars, Bass, Organ, Percussion, Vocals, Various Instruments

Additional musicians:
Matt Campbell: Piano
David Caldarella: Violin
Jessie May: Cello
Madeline Baldwin: Vocals
The Mother: Vocals

https://www.facebook.com/VestalClaret/
https://thecultofvestalclaret.bandcamp.com/

Vestal Claret, Vestal Claret (2020)

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Curse the Son Post “Suicide by Drummer” Video; Excruciation out Now

Posted in Bootleg Theater on June 15th, 2020 by JJ Koczan

curse the son

Connecticut’s Curse the Son released their new album, Excruciation (review here), through Ripple Music, and their posting of the video below for opening track “Suicide by Drummer” at the end of the week is a bit of late promotional push that the record well earns. In a time where so much struggle is focused on outward factors, sociopolitical or otherwise, Excruciation focuses on inner and personal experience, drawing the listener into a tumult and turmoil that is at times exemplified by the riffs that seem to roll out of the speakers one after the other.

I could go on about the record, how it blows the roof off what Curse the Son have done before, the writing collaboration between guitarist/vocalist/founder Ron Vanacore and bassist/vocalist Brendan Keefe bringing new complexity and melodic reach in collaboration with producer Eric Lichter (who also participated instrumentally and on vocals), drummer Robert Ives, and guest vocalist/guitarist Joetown (who takes lead in both regards on CD bonus closer “Phoenix Rising”). I could, but hell, I already reviewed the album, and you can hear the whole thing for yourself with the Bandcamp stream at the bottom of this post, so don’t let me spoil it. Suffice it to say that Excruciation stands among 2020’s most welcome arrivals. See you at list time, boys.

Enjoy the video below, followed by more from the PR wire and that album stream:

Curse the Son, “Suicide by Drummer” official video

From the album ‘Excruciation’
Ripple Music
Release date: June 12, 2020

Vinyl, CD and Digital Download available at:
http://cursetheson.com
http://ripplemusic.com

Produced and Edited by : Todd Rawiszer
Live footage : Steve Wytas & Brandon J. Rashan

New Haven’s doom rock warriors CURSE THE SON unleash a second video taken from their dark and genre-defying fourth album ‘Excruciation’, available Friday 12th June on Ripple Music.

Marking their great return, their 2020 full-length ‘Excruciation’ was recorded at Dirt Floor studios in August 2019, produced by Eric Lichter.

CURSE THE SON are:
Ron Vanacore ‚Äď Guitars & Vocals
Brendan Keefe ‚Äď Bass & Vocals
Robert Ives ‚Äď Drums

Curse the Son, Excruciation (2020)

Curse the Son on Thee Facebooks

Curse the Son on Bandcamp

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

Ripple Music website

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Album Review: Curse the Son, Excruciation

Posted in Reviews on June 8th, 2020 by JJ Koczan

Curse The Son Excruciation

Curse the Son records do not happen every day, and for those who have or those who haven’t followed the trajectory of the Connecticut-based outfit over the years as founding guitarist/vocalist Ron Vanacore has seen lineups come and go and years pass at an ever-increasing pace, their catalog only really tells part of the tell of everything they’ve been through. That’s especially the case with Excruciation, which is the band’s second offering through Ripple Music behind 2016’s Isolator (review here), and fourth overall, with their prior two long-players being 2012‚Äôs Psychache¬†(review here) and 2011’s Klonopain¬†(review here).

If you notice there a decreasing rate of releases, from one year between the first two records to four between each the second and the third and the third and the fourth, lineup shifts account for part of it.¬†Vanacore brought in bassist¬†Brendan Keefe on¬†Isolator and¬†Keefe returns on¬†the nine-song/49-minute¬†Excruciation¬†with an even deeper level of contribution to the songwriting — even going so far as to take on vocal and guitar duties apart from those already fulfilled by¬†Vanacore in addition to handling the low end.

Songs like “Novembre,” the twang-inflected blues blowout that is the penultimate “Devil Doctor Blues,” and the call and response that emerges in the standout chorus of “Worry Garden” would seem to be examples of the greater level of musical conversation particularly between the two players, and many of¬†Excruciation‘s overarching themes — almost universally based around various turmoils and distraught/despairing feelings; it’s by no means a “happy” record on its face (or lack of a face, if you’re looking at the cover art) — are reportedly derived from¬†Keefe‘s experience being involved in and eventually recovering from the trauma of a motorcycle accident in late-2018. Though the album ends on a hopeful note with the classic metal-tinged wailing vocals of and uptempo groove of “Phoenix Risin’,” the message of going through hell to get to that point isn’t at all lost on the listener. Tough times meeting with heavy riffs; this is the stuff upon which doom is made, and Curse the Son are well in their element in this sphere.

At the same time, as they also welcome drummer¬†Robert Ives for his first studio appearance with them,¬†Curse the Son also use the increased amount of collaboration as a means to expand the parameters of their sound. Rest assured, the foundation of Excruciation is still in the depth of tone and the manner in which the riffs lead the way through the songs, but the key difference between this album and what the three-piece brought to their earlier outings is that the balance between “riff” and “song” has changed, and it’s the former serving the latter to a greater degree than they’ve ever put to record before.

Their melodies, especially on vocals, are richer, their progressions are more varied, and there’s more atmosphere throughout Excruciation that ties the material together in exciting and dynamic ways. Vanacore and¬†Curse the Son have never had a problem busting out memorable hooks —¬†Isolator,¬†Psychache and Klonopain were full of them — and so is this album. The uptempo circa-’75 Sabbathian jumper that is opener “Suicide by Drummer” makes its presence felt first with a key change in the vocals in the first verse and thereby signals the greater range through which the band will work across the record that follows.

curse the son

Ives brings suitable swing there and adds to the downward-moving march of the subsequent “Disaster in Denial,” the later harmonies of which payoff a potential¬†Curse the Son¬†seemed to tease on¬†Isolator as the first effort with¬†Keefe backing¬†Vanacore on vocals, but there’s no question¬†Curse the Son¬†are a stronger band for what the bassist(-plus) brings to the proceedings throughout these tracks. Playing off¬†Vanacore‘s familiar rolling riffs and echoing verses, a song like the sprawling “Novembre” touches ground that wouldn’t have even seemed possible for¬†Curse the Son four years ago, hitting on notions of layering and melody-construction that are surprising and thrilling in like measure.

And though “Novembre” arguably pushes farthest in that regard, it’s by means the only instance. “Worry Garden”‘s backing vocals, the grunge-style brooding of the title-track, the pure¬†Alice in Chains-style showing in “Infinite Regression” and the kick-into-payoff of “Black Box Warning” — all of this and more feeds into the notion of¬†Curse the Son as a more dynamic and aesthetically broad unit than they’ve ever been.

The big irony of Excruciation, then, is that as much misery as it’s conveying, the record itself is a complete victory. Even as it rounds out with “Devil Doctor Blues,” drawing to mind some of¬†Geezer‘s earlier slide work, and “Phoenix Risin'” showing off a fist-up-heavy-metal vocal soar that’s a kind of who-knew-they-had-it-in-’em? moment in itself — those verse lines get a little repetitive, but hell’s bell’s, repetition is the point — Excruciation sees¬†Curse the Son pursuing new avenues of expression, and though by modern standards, the album is on the longer end of a single LP at 49 minutes, the songwriting around which it’s based¬†and the riffs from which these songs take their shape more than justify the journey the listener undertakes from front end to back, emotionally grueling as that might be at times.

Tracked over a period of months beginning in August 2019 and culminating in a mix completed in January 2020, Excruciation is the second record¬†Curse the Son have put together at¬†Dirt Floor Studios in Haddam, CT, working with producer¬†Eric Lichter, and the band themselves have noted giving¬†Lichter a larger role in the presentation of the songs and the way in which the material was finalized and arranged. If the result of that is some of the lengthening of¬†Curse the Son‘s sonic reach as can be heard throughout their fourth album, then clearly they’ve found the right pair of ears to help them make the most of what they’ve been doing all along — all the more because it’s in no way overproduced.

For those seeking pure riff-based heavy, Curse the Son will satisfy no less than they ever have, but that’s only a piece of what¬†Excruciation has to offer, and if the experiences that inspired it were difficult, then at very least it wasn’t all for nothing. A work like this is the kind of thing bands dream of realizing.

Curse the Son, Excruciation (2020)

Curse the Son on Thee Facebooks

Curse the Son on Bandcamp

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

Ripple Music website

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Buzzard Canyon Post “Ashes” Video; Announce New Album & Lineup Change

Posted in Whathaveyou on May 5th, 2020 by JJ Koczan

Well, the track is raw and that would seem to suit¬†Buzzard Canyon just fine. The Connecticut-based heavy rockers bid farewell to bassist¬†Randall Dumas and a howdy-ho to¬†Rob Birkbeck, who takes on the role even as progress continues on the band’s forthcoming second album. Obviously there’s work to be done, mixing, mastering, but hell, listening to the version of “Ashes” that comes with the new video of compiled studio footage, the song sounds pretty close, and certainly suits the name of the to-be-realized LP,¬†Drunken Tales of an Underachiever: The Saga Continues, which, while it may be cumbersome, definitely gets its point across in terms of the vibe the band are going for.

With intertwining vocal lines and choice driving riffery at their disposal,¬†Buzzard Canyon give their new record an enticing tease here, and if it’s something they put together because they’re on lockdown and bored and/or antsy to do something, anything, well hell, I’ll take that.

Rock and roll:

buzzard canyon video

New Buzzard Canyon Member Announced and New Video

Hey folks, as you may or may not know, Buzzard Canyon has been hard at work on our follow-up record to Hellfire and Whiskey over the past…. while now. We are excited to say that it is near completion! The amazing Bill Kole is currently working on the art, we are in the final stages of mixing and we’ll be sending it off to mastering once that is done. It’s a 10 track journey of fast paced, hip swinging rock and roll, filled with whiskey flavored riffs, psychedelic nuances, and drunken tales of woe… You will not be disappointed.

We have also had a lineup change to announce. Randall Dumas was a member of Buzzard Canyon for many years, and we have mutually agreed to part ways. We wish him well and thank him for his time with us!

With all of that said, we would like to take this moment to welcome the very talented Rob Birkbeck on bass. With the departure of Dumas, Rob stepped up and leaned the songs in a very short time, and recorded his tracks from home during this current lockdown.

We would like to present the following video for “Ashes” off of the new album titled: “Drunken Tales of an Underachiever: The Saga Continues….”

This version of the song is mostly mixed and not mastered.

We look forward to getting back out there with you all and making memories that will be forgotten in a drunken haze the next morning.

Enjoy the video, stay tuned, drop out, and stay safe.

Buzzard Canyon

https://www.facebook.com/BuzzardCanyon/
https://buzzardcanyon.bandcamp.com/
https://www.facebook.com/SaltOfTheEarthRec/
www.SaltOfTheEarthRecords.com

Buzzard Canyon, “Ashes” official video

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Review & Full Album Stream: Lord Fowl, Glorious Babylon

Posted in audiObelisk, Reviews on April 22nd, 2020 by JJ Koczan

Lord Fowl Glorious Babylon

[Click play above to stream Lord Fowl’s Glorious Babylon in full. Album is out this Friday, April 24, on Small Stone Records.]

Connecticut-based four-piece¬†Lord Fowl were already well underrated in 2012 when they released their second album,¬†Moon Queen (review here), as their debut on¬†Small Stone Records. They played regionally throughout the Northeast to support it and did label showcases and heavy fests hither and yon, but it’s been eight years since that record came out and their third offering,¬†Glorious Babylon, inevitably finds them in different circumstances as a unit. Recorded as ever by bassist/some-guitar-ist Jon Conine at BirdsEye Studios in West Haven, CT, with Steve Hill assisting, the 10-track/37-minute full-length almost can’t help but reflect the times in which it has been made. There is an undercurrent of cynicism or perhaps just warning in the early-arriving title-track that is very much in¬†Lord Fowl‘s wheelhouse, and even as side A moves beyond its opening salvo of “Fire Discipline,” “Glorious Babylon” and “Get Lost” into the slower and moodier “Deep Empty” and “The Wraith,” their sense of having a party like it’s 1977 comes tinged with this aspect. We all know how it worked out for Babylon, right? It fell. Hard.

Driven by the dual guitars and lead-vocal tradeoffs between¬†Vechel Jaynes and¬†Mike Pellegrino¬†and with¬†Michael Petrucci on drums — since out of the band to, as legend has it, wander the earth as a journeyman percussive wizard, spreading rhythmic joy wherever he goes;¬†Van Hartley has taken up the position¬†—¬†Lord Fowl traffic between classic heavy rock and nascent NWOBHM-ism, but their sound is never overly aggressive, even in the sharper turns of a cut like “The Gramercy Riffs,” and their craft lends itself to standout hooks and a ’70s vibe, but¬†Conine‘s production is never anything but modern. This was a turn¬†Lord Fowl¬†were ahead of the curve in making circa¬†Moon Queen, predicting that the retroism that was so prevalent throughout the early part of the last decade (and of which there’s still plenty around today) would soon enough have to go somewhere and the only place to go was the forward in time. It continues to suit them on Glorious Babylon, the studio presentation of the band working toward capturing the energy they bring to the stage and the clarity of their songwriting generally.¬†Glorious Babylon is a record rife with fascinating contradictions, but just as its take-then-and-make-it-now ethic finds them spanning decades with ease, so too do their songs come together with a full LP flow despite their seeming contrasts.

To wit,¬†Glorious Babylon brings some of the rawest and most immediate moments of heavy rock that¬†Lord Fowl have honed since their 2008 debut,¬†Endless Dynamite, and in songs like “Fire Discipline” — I’m not sure what it means to “walk a hot wire,” but the instruction to do so is delivered with authority — “Glorious Babylon” itself, side B’s fuzzy leadoff “In Search Of” and the bounce-via-ThinLizzy penultimate track “Epitaph,” they give a look not only at the prevalence of their own dynamic in what they do in terms of the fluidity of rhythm between¬†Conine‘s bass, the two guitars and¬†Petrucci‘s drumming, but also the sheer effectiveness of verses and choruses when so well composed. Of course the chemistry between¬†Jaynes¬†and¬†Pellegrino — who seem to come together throughout as much as they pull apart at times, broadening the scope of the band’s material overall — plays a central role in defining the personality of¬†Glorious Babylon¬†to the extent that it’s willing to be defined, and while that plays out over the more barebones structures, it’s also to be found in the more expansive songs as well, the scope of cuts like “The Wraith” and even the mini-freakout in “Red Cloud” or the if-Bowie-went-psych finale “Space Jockey” push to places¬†Lord Fowl haven’t been before.

Lord Fowl (photo by Meg Herlihy)

All the while, this blend of immediacy and patience plays out across songs that, in themselves, play up and down in mood and atmosphere across the record’s still-relatively-brief span. This is something perhaps best given emphasis in the title-track itself. “Glorious Babylon” is a fun song about impending tragedy.¬†Lord Fowl wouldn’t be the first to compare present-America to the ancient Babylonian empire, and likewise, it’s not the first time they’ve injected a subtle political edge into their material. Frankly, it’s something one wishes they did more of — though one also wishes for more from them generally, so take that as you will — but as much “Fire Discipline” and “Epitaph” swagger, so too does “Deep Empty” roll through its chorus following the spoken intro en route to the culminating solo, and “Red Cloud” makes its way to its noisy finish with the most insistent shove the band has on offer throughout, furthering the spread between basic stage-style energy and more meditative themes and tempos.

What the hell does it all mean?

It means¬†Lord Fowl are a more complex band than they were eight years ago. They’re a band who do more than one thing with their songs, a band who sound like they’re bringing together the work of multiple songwriters, and a band who nonetheless emerge with a cohesive album flow despite — and in some ways because — of that. While¬†Glorious Babylon is bound to win nods among the heavy rock converted with its forward hooks and more upbeat material, the record also invites further digging as each of its two intended sides develops its own progression, with side B returning to ground in “Epitaph” before “Space Jockey” further transcends genre boundaries. As a result of its multifaceted nature and the fact that it has more than just those forward hooks to take on, it may be a few listens before¬†Glorious Babylon completely unfolds itself to a given listener, but again, that invitation is there, and Lord Fowl provide sure guidance for their audience making its way through. They were underrated eight years ago. Well, they’re still underrated. Whatever the future might hold for the band, in style and substance, they are a well kept secret of the Northeastern heavy rock underground, and whether you’re taking them on for the boogie and fuzz or the broader territories their songs can reach, Babylon’s glories are there for the getting while the getting’s good.

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Curse the Son Premiere “Suicide by Drummer”; Confirm June 12 Release for Excruciation

Posted in audiObelisk, Whathaveyou on April 16th, 2020 by JJ Koczan

curse the son

If you’re here, the song is probably why. I won’t keep you. It’s at the bottom of this post and should be heard as soon as possible. The relevant details, which follow, will still be here when you scroll back up. Now then…

Connecticut trio Curse the Son have had a hell of a few years, and they put their (largely negative, it would seem) experience to work for them on their impending fourth album, Excruciation. As floated here last month, the record has a June release — it’s June 12, specifically — and today, in addition to that specificity, the album art, more details behind its making and the tracklisting, we’re also getting the first audio from the outing in the form of leadoff track “Suicide by Drummer.”

All told, Excruciation‘s nine tracks run a vinyl-challenging 49 minutes, but they’re filled with substance like the band has never produced before. I don’t want to spoil it — not the least because I’ll review the thing some point between now and June — but Curse the Son‘s shift in their songwriting process and newly-honed chemistry has resulted in a broader scope than they’ve ever had, and with guitarist Ron Vanacore‘s tone and vocals as a foundation to work from, they’re free to explore this new ground with confidence. And they do. I’ll say this. I’ve been a fan of Curse the Son for nearly a decade at this point, and this is their best work, no question. You’re gonna dig it. And “Suicide by Drummer” is just the start, figuratively and literally, of what they have on offer throughout.

Preorders are here: http://ripplemusic.bigcartel.com/product/curse-the-son-excruciation

Enjoy:

Curse The Son Excruciation

Ron Vanacore on Excruciation:

The past few years have certainly been extremely difficult for Curse the Son. Between what appeared to be endless drummer changes, individual tragedies, and of course, Brendan’s very serious motorcycle accident… The band had been put to the test.
We are very proud to say that we rose above all of that to create what is possibly our heaviest and certainly our most diverse and creative record to date.

The record is titled Excruciation and offers a glimpse into our lives (particularly Brendan’s) from November 2017-2018.

Ron wrote songs, Brendan wrote songs and the band collaborated on a few. Pushing the creative boundaries even further, Brendan sings lead on a couple songs as well as playing lead and rhythm guitar on some tracks.

Recording began at Dirt Floor studios in August 2019. We completed mixing in January 2020. We chose to really utilize everything the studio had to offer us as well as giving Eric Lichter a much larger role as producer and songsmith. Eric contributed backing vocals as well as playing a vast array of instruments to add to the musical landscape. With “Excruciation” the band really wanted to push the envelope and boundaries of the genre.

“Suicide By Drummer” was written almost two years ago. It can be viewed as strangely prophetic with its apocalyptic theme that currently resonates very strongly in these uncertain times we find ourselves in.”

Watch for the video to be released soon!

Curse the Son toured regionally in support of the “Isolator” record throughout 2017 and continued to garner growing attention and fans along the way. Unfortunately long time drummer Michael Petrucci was no longer able to continue with the band and a replacement was needed. Robert Ives (Drums) joined the group in April of 2018 and Curse the Son hit the road again performing at many high profile festivals such as The Maryland Doom Fest, Descendants of Crom and the New England Stoner/Doom festival amongst others. Writing began in Summer of 2018, but was put on hold after bassist Brendan Keefe suffered extensive injuries in a devastating motorcycle accident in November of 2018.

Curse the Son’s new release “Excruciation” (Ripple Music) is a defining moment for a band who has dealt with multiple challenges since the release of “Isolator”, and responded in full with their most diverse, ambitious, and genre shattering record to date! Keefe developed a much larger role in the writing and performance aspect on the record. Vanacore was fueled by the extremely trying times the band had endured as a whole and individually. “Excruciation” is shaded heavy and light. “Excruciation” is beautiful and disfigured. “Excruciation” is depressingly sad but strangely uplifting at the same time. It is a record that defies genres, defies limitations and generalizations. A true musical experience for one and all who love their music HEAVY!

TRACK LISTING:
1. Suicide By Drummer
2. Disaster In Denial
3. Novembre
4. Worry Garden
5. Excruciation
6. Infinite Regression
7. Black Box Warning
8. Devil Doctor Blues
9. Phoenix Risin’

Curse the Son are:
Ron Vanacore – Guitars & Vocals
Brendan Keefe – Bass & Vocals
Robert Ives – Drums

https://www.facebook.com/cursetheson/
https://cursetheson.bandcamp.com/
https://www.facebook.com/theripplemusic/
ripplemusic.bandcamp.com
http://www.ripple-music.com/

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