Posted in Whathaveyou on April 14th, 2021 by JJ Koczan
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Of those, I Didn't Custom Dissertation Writing Service Anyone Used Because | Chaud, Benjamin, Cali, Davide | ISBN: 9781452125510 | Kostenloser Versand fur alle Bucher mit Versand und Verkauf duch Amazon. Rift Giant has been around the longest with a five-year tenure, and they clearly know what they’re going for in terms of sound — giant riff(t)s.
From the PR wire:
RIFT GIANT Announces Cataclysm Album Details
Denmark Stoner/Sludge RIFT GIANT is stoked to announce that their new album Cataclysm will be released on May, 1st via Planet K Records. The album is going to be shortly available as a jewel case and in digital download.
Rift Giant is a 2-piece band based in Copenhagen, Denmark. Together, guitarist/bassist/vocalist Matthew Pither (UK) and drummer Thomas Ramkilde (Denmark) focus on creating powerful, driving riffs interspersed with heavy, groovy melodies. Founded in 2016, the duo writes music with lyrics inspired by the fantasy literature genre; mammoths, demons, witches, and, of course, giants, feature prominently in their world.
Cataclysm has been recorded by the band himself in an adapted World War 2 bunker. Mixed by Patrick Fragtrup at Wolf Rider Sound Production and mastered by Lasse Ballade at Ballade Studios (Copenhagen). Artwork by Adam C Design & Illustration.
For fans of Doctor Smoke, High on Fire, and Mastodon
Track Listing: 1. Into the Rift (5:09) 2. Hubris (5:37) 3. Queen Witch (7:49) 4. Slaves, She Made Us (5:47) 5. To Three (5:59) 6. Blocks Out the Sun (5:51) 7. Rift Giant (7:34) 8. Cataclysm (3:58)
Line-Up: Matthew Pither – Guitar, Bass, Vocals Thomas Ramkilde – Drums
Friday morning and the Spring 2021 Quarterly Review draws to a close. It’s been a good one, and though there are probably enough albums on my desktop to make it go another few days, better to quit while I’m ahead in terms of not-being-so-tired-I’m-angry-at-everything-I’m-hearing. In any case, as always, I hope you found something here you enjoy. I have been pleasantly surprised on more than a few occasions, especially by debuts.
We wrap with more cool stuff today and since I’m on borrowed time as it is, let me not delay.
Quarterly Review #41-50:
Sonic Flower, Rides Again
Like After You Tell Us, "Please Critical Thinking And Reflection for Me" Our Experts will Ensure Your Happiness with Top-Quality Work. Our professional team consists of Church of Misery‘s groove but feel kind of icky with all those songs about serial killers? Legit. Say hello to Online Bullying Essay. If you have not time for thesis writing, CustomWritingServices.org is here to offer thesis help, doctoral thesis writing or PhD thesis writing help. If you do not know how to write a thesis, you are welcome to rely on our knowledge. We have successfully written more than 200 theses and you can become one of our successful clients as well. Thesis help is easy to use. Moreover, it Tatsu Mikami‘s Premier Custom Writings - All sorts of writing services & custom papers. Leave your assignments to the most talented writers. Let specialists accomplish their Sonic Flower. Once upon a 2003, the band brought all the boogie and none of the slaughter of Looking for best http://bola-bicycle.com/?essays-on-online-bankings to solve a tough finance assignment, a tricky law essay, a technical project management report or a general Tatsu‘s now-legendary Dissertation editing can help in aspects of writing from the writing style to the apparatus of documentation to the inclusion of support material. An overview of valuable basicss includes the following: Format and layout of the body of the dissertation Sabbathian doom rock outfit to a self-titled debut (reissue review here), and Rides Again is the lost follow-up from 2005, unearthed like so many of the early ’70s forsaken classics that clearly inspired it. With covers of The Meters and Graham Central Station, Sonic Flower makes their funky intentions plain as day, and the blowout drums and full-on fuzz they bring to those cuts as well as the five originals on the short-but-satisfying 28-minute offering is a win academically and for casual fans alike. You ain’t gonna hear “Jungle Cruise” or their take on “Earthquake” and come out complaining, is what I’m saying. This is the kind of record that makes you buy more records.
With Viscera, Copenhagen’s Demon Head make their debut on Metal Blade Records. It is their fourth album overall, the follow-up to 2019’s Hellfire Ocean Void (review here), and it continues the five-piece’s enduring exploration of darker places. Dramatic vocals recount grim narratives over backing instrumentals that are less doom at the outset with “Tooth and Nail” and “The Feline Smile” than goth, and atmospheric pieces like “Arrows” and “The Lupine Choir” and “A Long, Groaning Descent” and “Wreath” and certainly the closer “The Triumphal Chariot of Antimony” further the impression that Viscera, though its title conjures raw guts, is instead an elaborate entirety — if perhaps one of raw guts — and meant to be taken in its 36-minute whole. Demon Head make that LP-friendly runtime a progression down into reaches they’d not until this point gone, tapping sadness for its inherent beauty.
Next time someone asks you what the future sounds like, you’ll have a good answer for them. Combined into a six-piece band, Brazilian outfits Rakta and Deafkids harness ambience and space-punk thrust into a sound that is born of a past that hasn’t yet happened. Their Live at Sesc Pompeia LP follows on from a 2019 two-songer, but it’s in the live performance that the spirit of this unity really shines through, and from opener/longest track (immediate points) “Miragem” through the semi-industrialized effects swirl of “Templo do Caos,” into the blower-noise dance party “Sigilo,” the weirdo-chug-jam of “Forma” and the space rock breakout “Flor de Pele” and the percussed buzz and echoing howls of “Espirais,” they are equal parts encompassing and singular. It is not to be ignored, and though there are moments that border on unlistenable, you can hear from the wailing crowd at the end that to be in that room was to witness something special. As a document of that, Live at Sesc Pompeia feels like history in the making.
A madcap, weighted-but-anti-genre sensibility comes to life in supernova-experimentalist fashion throughout the four songs of Timo Ellis‘ Death is Everywhere. The lockdown-era EP from Ellis (Netherlands, Yoko Ono, Cibo Matto, on and on) makes post-modern shenanigans out of apocalypses inner and outer, and from lines like “this bridal shower is bumming me out” in the unabashedly hooky “Vampire Rodeo” to “the earth will still breathe fire without you!” in “Left Without an Answer,” the stakes are high despite the flittering-in-appreciation-of-the-absurd mood of the tracks themselves. The title-track and “Evolve or Die” blend sonic heft and the experimental pop movement that “Vampire Rodeo” sets forth — the third cut is positively manic and maniacally positive — while “Left Without an Answer” almost can’t help but be consuming as it rolls into a long fade leaving intertwining vocals lines as the last to go, telling the listener to “learn to say goodbye” without making it easy. Won’t be for everyone, doesn’t want to be. Is expression for itself. Feels genuine in that, and admirable.
With not-at-all-subtle nods to Humble Pie and Ennio Morricone in its opening tracks, Heavy Feather‘s second LP, Mountain of Sugar, has boogie to spare. No time is wasted on the 38-minute/11-track follow-up to 2019’s Débris & Rubble (review here), and true to the record’s title, it’s pretty sweet. The collection pits retro mindset against modern fullness in its harmonica-laced, duly-fuzzed title-track, and goes full-Fleetwood on “Come We Can Go” heading into a side B that brings a highlight in the soft-touch-stomp of “Rubble and Debris” and an earned bit of Southern-styled turn in “Sometimes I Feel” that makes a fitting companion to all the bluesy vibes throughout, particularly those of the mellow “Let it Shine” earlier. The Stockholm outfit knew what they were doing last time out too, but you can hear their process being refined throughout Mountain of Sugar, and even its most purposefully familiar aspects come across with a sense of will and playfulness.
Don’t tell him I told you so, but Slow Draw is starting to sound an awful lot like a band. What began as a drone/soundscaping project from Stone Machine Electric drummer/noisemaker Mark Kitchens has sprouted percussive roots of its own on Yellow & Gray, and as Kitchens explores textures of psychedelic funk, mellow heavy and even a bit of ’70s proggy homage in “Sylvia” ahead of the readily Beck-ian jam “Turntable” and acousti-drone closer “A Slow Move,” the band-vibe is rampant. I’m going to call Yellow & Gray a full-length despite the fact that it’s 24 minutes long because its eight songs inhabit so many different spaces between them, but however you want to tag it, it demonstrates the burgeoning depth of Kitchens‘ project and how it’s grown in perhaps unanticipated ways. If this is what he’s been doing in isolation — as much as Texas ever shuttered for the pandemic — his time has not been wasted.
Freak! Out! The 66-minute Nuclear Candy Bar from Hungarian psychedelicists Pilot Voyager might end mostly drifting with the 27-minute “23:61,” but much of the four tracks prior to that finale are fuzz-on-go-go-go-out-out-out heavy jams, full in tone and improv spirit however planned their course may or may not actually be. To say the least, “Fuzziness” lives up to its name, as guitarist/founder Ákos Karancz — joined by bassist Bence Ambrus (who also mastered) and drummers Krisztián Megyeri and István Baumgartner (the latter only on the closer) — uses a relatively earthbound chug as a launchpad for further space/krautrocking bliss, culminating in a scorching cacophony that’s the shortest piece on the record at just under seven minutes. If you make it past the molten heat of the penultimate title-track, there’s no turning away from “23:61,” as the first minute of that next day pulls you in from the outset, a full-length flow all unto itself. More more more, yes yes yes. Alright you get the point.
Sit with The Ginger Faye Bakers‘ Camaro EP for a little bit. Don’t just listen to the first track, or even the second, third or fourth, on their own, but take a few minutes to put it all together. Won’t take long, the thing’s only 17 minutes long, and in so doing you’ll emerge with a more complex picture of who they are as a band. Yeah, you hear the opening title-cut and think early-Queens of the Stone Age-style desert riffing, maybe with a touch of we’re-actually-from-the-Northeast tonal thickness, but the garage-heavy of “The Creeps” feels self-aware in its Uncle Acid-style swing, and as the trio move through the swinging “The Master” and “Satan’s Helpers,” the last song drawing effectively from all sides, the totality of the release becomes all the more sinister for the relatively straight-ahead beginning just a short time earlier. Might be a listen or two before it sinks in, but they’ve found a niche for themselves here and one hopes they continue to follow where their impulses lead them.
If you’re not yet keeping an eye on Regain Records offshoot Helter Skelter Productions, Rome’s Neromega are a fervent argument for doing so. The initials-only cultish five-piece are Italian as much in their style of doom as they are in geography, and across their four-song Nero Omega debut EP, they run horror organ and classic heavy rock grooves alongside each other while nodding subtly at more extreme fare like the death ‘n’ roll rumble in closer “Un Posto” or the dirt-coated low end that caps “Pugnale Ardore,” the drifting psych only moments ago quickly forgotten in favor of renewed shuffle. Eight-minute opener “Solitudine,” might be the highlight as well as the longest inclusion on the 24-minute first-showing, but it’s by no means the sum total of what the band have on offer, as they saunter through giallo, psychedelia, doom, heavy riffs and who knows what else to come, they strike an immediately individual atmospheric presence even while actively toying with familiar sounds. The EP is cohesive enough to make me wonder what their initials are.
Some of the made-even-bigger-by-echo vocals from guitarist Craig Kasamis might remind of Maurice Bryan Giles from Red Fang, but Ventura, California’s Tung are up chasing down a different kind of party on 2020’s Bleak, though Kasamis, guitarist David Briceno (since replaced by Bill Bensen), bassist Nick Minasian and drummer Rob Dean have a strong current of West Coast noise rock in what they’re doing as well in “Runaway,” a lurcher like “Spit” later on or the run-till-it-crashes finisher “Fallen Crown,” which the only song apart from the bookending opener “Succession Hand” to have a title longer than a single word. Still, Tung have their own, less pop-minded take on brashness, and this debut album leaves the bruises behind to demonstrate its born-from-hardcore lineage. Their according lack of frills makes Bleak all the more effective at getting its point across, and while they’d probably tell you their sound is nothing fancy, it’s fancy enough to stomp all over your ears for about half an hour, and that’s as fancy as it needs to be. Easy to dig even in its more aggressive moments.
Posted in Questionnaire on March 5th, 2021 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Scott “Dr. Space” Heller of Øresund Space Collective & Aural Hallucinations
—
How do you define what you do and how did you come to do it?
I make space sounds using mostly analog synthesizers. Magnus Hannibal from Mantric Muse was the first one to encourage me to experiment with synthesizers. If it was not for him, I probably never would have played synthesizers. My friend Doug Walter (RIP) from Alien Planetscapes was a huge musical inspiration towards exploring and making unusual music.
Describe your first musical memory.
Listening to Chuck Berry with my dad. Later taking the records into my room and trying to transcribe the lyrics. I recently found the book that I wrote them down in (see picture).
Describe your best musical memory to date.
This is a very hard question and a bit vague. When I played with Gas Giant in a small concrete bunker club in Leipzig Germany in 2003. The band was on fire, the audience was so intense and into it. I had never experienced anything like that. The power of live music and looking out and seeing these people moving to the sound and we would space out and jam and they were there for every last second and the way the place would erupt when we ended a song or a jam. I was totally blown away. It is hard to describe. I felt like I was levitating! Another was when Øresund Space Collective played the Freak Stage at Burg Herzberg Festival at 23 and just looking out and seeing a solid sea of people as far as I could see. Wow. We played til 3 am with a short break!!
When was a time when a firmly held belief was tested?
Well, quite recently, when I signed a contract to build my music studio and after 8 months, the builder had not worked one day but only provided excuse after excuse for months on end. I always want to give people the benefit of the doubt and believe that they will do what they said they would, especially when you sign a contract. Anyway, I was hugely let down and delayed but this. So not, all people are good to their word, this is for sure, sometimes you can be too trusting of people.
Where do you feel artistic progression leads?
It hopefully leads to one feeling good about oneself and to unique musical creation. I have always been involved with bands that it is important to make music for the moment. I would not last long in a band that played the songs the exact same every night, as most bands do. I need that feeling of danger, excitement, that you get when you improvise and try new things and experiment with sound. This is progression for me. The same song can progress to something new each night, like with Black Moon Circle!!
How do you define success?
Can I still listen to it and say, “hell yeah, that is cool?” Then I succeeded. If you are speaking in a bit more generic terms, then I would say, “Am I happy, do I make other people happy, am I contributing to try to make the world a better place?” If so, then I have succeeded in life.
What is something you have seen that you wish you hadn’t?
Tommy TuTone playing between Rose Tattoo and ZZ Top in 1981. Terrible ’80s pop music after rocking out with Rose Tattoo and waiting for ZZ Top. Totally ruined our mood. That should never have happened.
Describe something you haven’t created yet that you’d like to create.
My music studio. I hope it will be created this year and I can go on to record so many of the cool bands that I know like Papir, Syreregn, Øresund Space Collective, Elder, Black Moon Circle, White Hills, and more.
What do you believe is the most essential function of art?
Art should take you away from the current reality you are in. Be it a painting that you can look into and disappear or a song that just transports you away. A ballet, theatre, anything where you can forget the fucked up world we have and disappear into it. Then it has served its function.
Something non-musical that you’re looking forward to?
Starting my new garden this year and seeing if have good success with some new varieties of chilis I have never grown before!!!
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Frederik Denning & Rasmus Cleve Christensen of Mythic Sunship
—
How do you define what you do and how did you come to do it?
Frederik Denning: One word comes to mind: Exploration. The foundation of Mythic Sunship is our love for music of all kinds. Be it early heavy rock, japanese noise or 60’ies free jazz. We don’t really have any limits to how we play and what we play, and I honestly feel extremely privileged to play with that kind of freedom and still have people enjoying what we’re doing. I think it’s fundamentally because our love for all kinds of music shines through in what we’re doing. We don’t really discriminate, so we find inspiration in Coltrane, Black Sabbath, Lana Del Ray, Run The Jewels and Robert Hood equally. Yeah, sometimes we try something out and figure: ‘You know, this isn’t really what Mythic Sunship is about”, but we never shy away from trying out new stuff, and we’re always actively trying to evolve. The first three records are sorta grouped together, then Another Shape of Psychedelic Music and Changing Shapes, and now: It’s time for something else.
Rasmus Cleve Christensen: As Frederik hints to, Mythic Sunship is very much about exploring musical creation through collective improvisation. Those are some expensive words, but it’s quite basic really. It’s just playing music without setting up a lot of boundaries for ourselves. And whatever musical ideas or ideals we share then shape what comes out of it. We don’t have one favorite sound or genre or artist we can all agree on, but there are many overlaps in our tastes within the band. And that tension, I guess, is what drives the music forward.
Describe your first musical memory.
Frederik Denning: When I played the 3-tone keyboard part of a song for the school’s spring concert at age 8, I knew at that specific point that music would be an integral part of my life until the day I die.
Rasmus Cleve Christensen: Dancing around to Michael Jackson or The Beach Boys in my parents’ living room (both were early favorites, can’t remember which came first). Playing actual music myself wasn’t a thing until much later in my life.
Describe your best musical memory to date.
Frederik Denning: That is a pretty tough question to answer, because there have been more mindblowing experiences than I can count. In a Mythic Sunship context, playing Roadburn was an incredible experience.
Rasmus Cleve Christensen: So many great memories from recording and touring with these guys! Playing and just being at Roadburn was definitely a highlight. Also mindblowing concert experiences with Boredoms, Sun Ra, Peter Brötzmann Chicago Tentet and Grouper spring to mind.
When was a time when a firmly held belief was tested?
Rasmus Cleve Christensen: I firmly believed that our music appealed to very few people, but have been proven wrong by people who I know don’t normally listen to instrumental longform music who have loved going to our shows.
Where do you feel artistic progression leads?
Rasmus Cleve Christensen: Not sure I quite get this question. Whenever I feel like we evolve as a band it leads to many new experiences and realisations about what music can be. When you put yourself out there, you get so much back.
How do you define success?
Frederik Denning: By the quality of the music we make. Another Shape of Psychedelic Music saw a fair amount of commercial success, considering the content of the album, but the real success is the material on that record. Regardless of how Wildfire will be received, I also consider that album to be a success.
Rasmus Cleve Christensen: Doing something you believe in and then have it acknowledged by your surroundings.
What is something you have seen that you wish you hadn’t?
Frederik Denning: Plenty of things in the past four years, but I prefer not to mix art and politics.
Rasmus Cleve Christensen: There was this roadside restroom in Slovenia… that I prefer not to talk about.
Describe something you haven’t created yet that you’d like to create.
Frederik Denning: At some point we will do a sick Mythic Sunship Astral Family record. We’ve experimented with it live, playing with a ton of amazing artists, and at this point I can’t even point to one performance I prefer over the other. If you’re interested you can find some of the performances on YouTube. I know there are recordings from Le Guess Who, Festival of Endless Gratitude and our residency at ALICE CPH. At some point we’ll do this in the studio, and it will be absolutely killer.
Rasmus Cleve Christensen: I sometimes dream of a Mythic Sunship record with really slick production, and I don’t know why, ’cause it’s really not in the cards with our kind of music, but I just imagine it to my inner ear sometimes.
What do you believe is the most essential function of art?
Frederik Denning: Art should push the mind to be able to reflect without the barriers of language. In turn philosophy (or the language) should then reflect over the art, moving the barriers further. And that’s kind of the endless dynamic between art and philosophy.
Rasmus Cleve Christensen: Definitely that experience which can’t be confined by language, as Frederik points to. That experience can be utter catharsis, a questioning of your whole existence or a feeling of inner peace or unity.
Something non-musical that you’re looking forward to?
Frederik Denning: COVID-19 being history.
Rasmus Cleve Christensen: The end of world hunger, inequality, climate issues, racism etc., but yeah springtime and a shot of covid vaccine are also high on the list.
Posted in Whathaveyou on February 8th, 2021 by JJ Koczan
This news came in just before the weekend, and I’d been expecting it, as word of new Mythic Sunship was making the rounds on social media. The Copenhagen unit’s jump from El Paraiso Records to Tee Pee is notable, but more than that, I put on the track, “Maelstrom,” which opens the new record Wildfire that’s coming out April 2 with preorders up now, and holy god damn, man, the thing just blazes. The PR wire below talks about scorched-earth, and yeah, I don’t even know. It’s like scorched-genre. Free jazz meets extreme, frenetic space rock. It’s the musical equivalent of trying to imagine a million of something. Picture a million people in your mind. You can’t do it. That’s how I feel trying to figure out what’s happening in “Maelstrom.”
I’ve got the record, I won’t lie to you, but it might honestly be until April that I feel like I have any kind of grip on what Mythic Sunship are doing on it. Bright light right in your ears. Or wild fire. Fair enough.
Here’s art, info, audio:
Psychedelic Rockers MYTHIC SUNSHIP To Release ‘Wildfire’ on April 2nd via Tee Pee Records
Copenhagen-based quintet MYTHIC SUNSHIP have established themselves among Europe’s finest purveyors of psychedelic music; bridging the gap between heavy riff worship and expansive, free-jazz experimentation.
With their sixth studio album ‘Wildfire’ due for release this April – their first on New York’s legendary underground label, Tee Pee Records – Denmark’s most experimental sons simultaneously open a new chapter on their journey, while razing the foundations on which their previous albums were built. Recorded over the course of four intense days in Stockholm’s vintage RMV Studio, the album documents the erratic, visceral, untameable musical singularity that Mythic Sunship becomes once unleashed in improvisatory interplay.
Working with legendary Danish punk Per Buhl Acs behind the mixing desk, the group has reinvented itself to produce an album which showcases that essence, in its most primal form, is rare. Fusing together raw, kinetic outbursts, Wildfire takes the listener from groovy fuzz rock and cosmic jams into newer territories centered around crunched melodies, uncanny harmonies, turbulent rhythms, and ecstatic walls of guitar insanity. As best exemplified on the new single “Maelstrom” and its frenzied wails of electric dissonance, as their self-proclaimed “anaconda rock” collides with furious freak-outs and lysergic saxophony.
As exhilarating and electrifying as psychedelic records come, ‘Wildfire’ showcases Mythic Sunship’s scorched-earth approach in the search for new ideas, and will be released on April 2nd, 2021 via Tee Pee Records.
Posted in Whathaveyou on February 1st, 2021 by JJ Koczan
If the thought of Copenhagen’s Papir releasing a double-vinyl collection of jams called simply Jams doesn’t immediately pique your interest, well, I’m sorry. Sincerely. Because it should. I double-dog-dare you to take on the 20 minute creative sprawl that they’ve titled “17.01.2020 #1” and see if your mind isn’t changed for the better.
The Danish outfit were last heard from with 2019’s VI (review here), and though Stickman Records doesn’t list an exact release date in their newsletter — for which you might consider signing up — the band’s Bandcamp page has it as an April 9 release. Whether that means vinyl will be after the digital, I don’t know. I don’t know anything. All I know is I dig Papir jamming and this is two 12″ platters’ worth of Papir jamming. Sometimes the universe does you favors.
The band’s own Nicklas Sørensen provided the update via the label:
New Papir album “Jams” to be released in spring 2021
Stream a song from the record at Bandcamp now!
2LP coming this spring
“Jamming has always been an essential part of Papir. Jamming in the rehearsal room, jamming in the studio, collectively jamming live and getting in to a common zone of rocking outbursts, ambient soundscapes, repetitive trances or whatever comes through. Sometimes it can just feel like a hard work of even trying to get into the zone. But mostly it’s just good times and fun, and I guess that’s why we do it. It’s all about musical energy!
So why haven’t we released a pure jam record before you might ask? Well, that’s a great question and all we can say is that we don’t really know, but this time we went all in on the jams. This record is a product of the jams we did during our recording sessions in The Black Tornado Studio last year. So is this the raw uncensored version of Papir? No, not really. There are always choices to make, so we picked out the best jams for you. Hope you will enjoy it!”
– Nicklas Sørensen
Papir is: Nicklas Sørensen Christoffer Brøchmann Christensen Christian Becher Clausen
Posted in Reviews on December 23rd, 2020 by JJ Koczan
Day III of the Inexplicably Roman Numeralized Winter 2020 Quarterly Review, commence! I may never go back to actual numbers, you should know. There’s something very validating about doing Day I, Day II, Day III — and tomorrow I get to add a V for Day IV! Stoked on that, let me tell you.
You have to make your own entertainment these days, lest your brain melt like wax and drip from your nostrils.
Plurp.
Quarterly Review #21-30:
Fuzz, III
Plenty of heavy rockers can come across sounding fresh. Most of the time all it takes is being young. In the case of III, the third long-player from Fuzz — Charles Moothart, Ty Segall and Chad Ubovich — they sound like they just invented it. Dig the hard-Bowie of “Time Collapse” or the made-for-the-stage opener “Returning,” or the surf-cacophony of “Mirror.” Or hell, any of it. The combination of this band and producer Steve Albini — aka the guy you go to when you want your album to sound like your live show — is correct. That’s all you can say about it. From the ’70s snarl in “Nothing People” to the triumphant melody in the second half of “Blind to Vines” and the back and forth between gritty roll and fragile prog of “End Returning,” it’s an energy that simply won’t be denied. If Fuzz wanted to go ahead and do three or four more albums with Albini at the helm in the next five years, that’d be just fine.
The narrative (blessings and peace upon it) goes that when after lineup shifts left Crippled Black Phoenix without any singers, founder Justin Greaves (ex-Iron Monkey, Earthtone9, Electric Wizard, etc.) decided to call old mates. Look. I don’t care how it happened, but Ellengæst, which is the likewise-brilliant follow-up to the band’s widely-lauded 2018 outing, Great Escape, leads off with Anathema‘s Vincent Cavanagh singing lead on “House of Fools,” and, well, there’s your new lead singer. Anathema‘s on hiatus and a more natural fit would be hard to come by. Ryan Patterson (The National Acrobat, a dozen others), Gaahl (Gaahls Wyrd, ex-Gorgoroth), solo artist Suzie Stapleton and Jonathan Hultén (Tribulation) would also seem to audition — Patterson and Stapleton pair well on the heavy-Cure-style “Cry of Love” — and there are songs without any guests at all, but there’s a reason “House of Fools” starts the record. Make it happen, Crippled Black Phoenix. For the good of us all.
Copenhagen’s Bethmoora served notice in a 2016 split with Dorre (review here) and their debut full-length, Thresholds hone destructive lumber across four low-toned tracks that begin with “And for Eternity They Will Devour His Flesh” and only get nastier from there. One imagines being in a room with this kind of rumbling, maddeningly repetitive, slow-motion-violence noise wash and being put into a flight-or-fight panic by it, deer in doomed headlights, and all that, but even on record, Bethmoora manage to cull, and when their songs explode in tempo, as the opener does late in its run, or “Painted Man” does, that spirit is maintained. Each side of the LP is two tracks, and all four are beastly, pile-driver-to-the-core-of-the-earth heavy. “Keeper”‘s wash of noise has willful-turnoff appeal all its own, but the empty space in the middle of “Lamentation” is where they go in for ultimate consumption. And yeah. Yeah.
Khan‘s second album, Monsoons is a departure in form from 2018’s Vale, if not necessarily in substance. Heavy, psychedelic-infused post-rock is the order of business for the Melbourne trio either way, but as guitarist Josh Bills gives up playing synth and doing vocals to embark on an instrumental approach with bassist Mitchell Kerr (also KVLL) and drummer Beau Heffernan on this four-track/31-minute offering, the spirit is inescapably different. Probably easier to play live, if that’s a thing that might happen. Monsoons still has the benefit, however, of learning from the debut in terms of the dynamic among the three players, and Bills‘ guitar reaches for atmospheric float in “Orb” and attains it easily, as the midsection rhythm of the closing title-track nods at My Sleeping Karma and the back end of the prior “Harbinger” manages to shine and not sound like Earthless in the process, and quite simply, Khan make it work. The vocals/synth might be worth missing — and they may or may not be back — but to ignore the breadth Khan harness in little over half an hour would be a mistake.
Jammy, psychedelic in parts, Sabbathian in “Peavey Marshall (and the Legendary Acoustic Sunn Band)” and good fun from the doomly rollout of 11-minute opener and longest cut (immediate points) “In the Cemetery” onward, the second full-length from Idaho’s The Acid Guide Service, Denim Vipers, brings considerable rumble and nod, but these guys don’t want to hurt nobody. They’ve come here to chew bubblegum and follow the riff, and they’re all out of bubblegum. Comprised on average of longer songs than 2017’s debut, Vol. 11 (review here), the four-tracker gives the trio room to branch out their sound a bit, highlighting the bass in the long middle stretch of the title-track while the subsequent “Electro-Galactic Discharge” puts its guitar solo front and center before sludge-rocking into oblivion, letting “Peavey Marshall (and the Legendary Acoustic Sunn Band)” pick up from there, which is as fine a place as any to begin a gallop to the end. Genre-based shenanigans ensue. One would hope for no less.
Based in Illinois, Vexing Hex make their debut on Wise Blood Records with Haunt, and yes, playing catchy, semi-doomed, organ-laced cult rock with creative and melodic vocal arrangements, you’re going to inevitably run into some Ghost comparisons. The newcomer three-piece are distinguished by a harder edge to their impact, a theremin on “Planet Horror” and a rawer production sensibility, and that serves them well in “Build Your Wall” and the buildup of “Living Room,” both of which play off the fun-with-dogma mood cast by “Revenant” following the intro “Hymn” at the outset of Haunt. Not quite as progressive as, say, Old Man Wizard, there’s nonetheless some melodic similarity happening as bell sounds ensue on “Rise From Your Grave,” the title of which which may or may not be purposefully cribbed from the Sega Genesis classic Altered Beast. There’s a big part of me that hopes it is, and if Vexing Hex are writing songs about retro videogames, they sound ready to embark on a Castlevania concept album.
Proffering grueling deathsludge as though it were going out of style — it isn’t — the Melbourne duo KVLL is comprised of bassist/vocalist/guitarist Mitchell Kerr (also Khan) and drummer Braydon Becher. It’s not without ambient stretches, as the centerpiece “Sacrifice” shows, but the primary impression KVLL‘s debut album, Death//Sacrifice makes is in the extremity of crash and heavy landing of “The Death of All That is Crushing” and “Slow Death,” such that by the time “Sacrifice” ‘mellows out,’ as it were, the listener is punchdrunk from what’s taken place on the prior two and a half songs. There’s little doubt that’s precisely KVLL‘s intention here, as the cavernous screams, mega-lurch and tense undercurrent are more than ably wielded. If “Sacrifice” is the moment at which Death//Sacrifice swaps out one theme for another, the subsequent “Blood to the Altar” and nine-minute closer “Beneath the Throne” hammer the point home, the latter with an abrasive noise-caked finale worthy of standard-bearers Primitive Man.
Not that the initial droning wash of “Deep is the Air” or the off-blasted “Zeta Potential” and warp-drive freneticism in “Cato” don’t have their appeal — oh, they do — but when it comes to UK lords-o’-space Mugstar‘s latest holodeck-worthy full-length, GRAFT, it’s the mellow drift-jazz of the 12-minute “Ghost of a Ghost” that feels most like matter dematerialization to me. Side B’s “Low, Slow Horizon” answers back later on ahead of the motorik linear build in the finale “Star Cage,” but the 12-minute vibe-fest that is “Ghost of a Ghost” gives GRAFT a vastness to match its thrust, which becomes essential to the space-borne feel. It’s 41 minutes, still ripe for an LP, but the kind of album that has a genuine affect on mood and mindset, breaking down on a molecular level both and remolding them into something hopefully more evolved on some level through cosmic meditation. Fast or slow, up or down, in or out, it doesn’t ultimately matter. Nothing does. But there’s a moment in GRAFT where the one-skin-on-another thing becomes apparent and all the masks drop away. What’s left after that?
Hooks abound in power-stoner fashion throughout Indiana four-piece Wolftooth‘s second album, Valhalla, which roughs up NWOBHM clarity in early-Ozzy fashion without going overboard to one side or the other, riffs winding and rhythms charging in a way not entirely unlike some of Freedom Hawk‘s more recent fare, but with a melodic reach of its own and a dynamism of purpose that comes through in the songwriting. Grand Magus‘ metallic traditionalism might be an influence on a song like “Fear for Eternity,” but “Crying of the Wolfs” has a more rocking swagger, and likewise post-intro opener “Possession.” With tightly constructed songs in the four-to-five-minute range, Valhalla never feels stretched out more than it wants to, but “Molon Labe” pushes the vocals deeper into the mix for a bigger, more atmospheric sound, and subtle shifts like that become effective in distinguishing the songs and making them all the more memorable. Recently signed to Napalm after working with Ripple, Ice Fall, Cursed Tongue and Blackseed, they seem to be poised to pay off the potential here and in their 2018 self-titled debut (review here). So be it.
Parisian riff-blaster trio Starmonger have been piecemealing tracks out for the last five years as a series of EPs titled Revelation, and the full-length debut, Revelations, brings these nine songs together for a 49-minute long-player that even in re-recorded versions of the earliest cuts like “Tell Me” and “Wanderer” show how far the band has come. It’s telling that those two close the record out while “Rise of the Fishlords” and “Léthé” from 2019’s Revelation IV open sides A and B, respectively, but older or newer, the band end up with a swath of stylistic ground covered from the more straightforward and uptempo kick of the elder tracks to the more progressive take of the newer, with plenty of ground in between. Uniting the various sides are strong performances and strong choruses, the latter of which would seem to be the thread that draws everything together. Whether or not it takes Starmonger half a decade to put out their next LP, one can hardly call their time misspent while listening to Revelations.
Posted in Whathaveyou on December 2nd, 2020 by JJ Koczan
This is as crucial a moment as I can think of Demon Head as having in their career. Certainly since their first album, anyhow. With the details of their fourth long-player and label debut for Metal Blade Records, Viscera, the five-piece aren’t just sharing a track off the record like it’s nothing, business as usual. They’re basically introducing themselves to a new listenership thanks to their new home’s larger distribution and promotional footprint. Don’t get me wrong, it was a big deal when they put out Hellfire Ocean Void (review here) and set about moving deeper into the darkened reaches of their own sound, but “The Triumphal Chariot of Antimony” has a pivotal role to play as preorders launch for Viscera.
And Demon Head don’t shy away from it. For those who’ve followed the band, the new track/video shows immediately that they’ve continued to progress. It’s arguably the most atmospheric song they’ve done as a group, and they’ve never been shy about setting a mood. And for those new to the band, “The Triumphal Chariot of Antimony” serves as an exciting outside-genre look at a band come into their own sound. The fact that it’s the closer alone makes it a brave choice as a first single. I can’t wait to hear the rest of the LP.
From the PR wire:
Demon Head reveals details for new album, ‘Viscera’; launches video for new single, “The Triumphal Chariot of Antimony”
On January 29th, Demon Head will release their new album, Viscera, via Metal Blade Records. For a first preview of the record, a video for the new single, “The Triumphal Chariot of Antimony” (created by Justine Morrow aka lathe.of.heaven), can be viewed at: metalblade.com/demonhead – where Viscera can be pre-ordered in the following formats:
– hardcover digisleeve-CD – 180g clear deluxe edition vinyl w/ o-card, backpatch, and poster (Kings Road exclusive – limited to 300 copies) – 180g black vinyl (EU exclusive) – clear ash grey marbled vinyl (EU exclusive – limited to 250 copies) – dark red / black marbled vinyl (EU exclusive – limited to 250 copies) – clear / black dust vinyl (Kings Road exclusive – limited to 100 copies) – clear brown marbled vinyl (US exclusive)
Demon Head is comprised of five internationally based and widely acclaimed musicians; Mikkel Sander Fuglsang, Birk Gjerlufsen Nielsen, Marcus Ferreira Larsen, Thor Gjerlufsen Nielsen and Jeppe Wittus. Though hesitant to compromise the description of the music they perform through generalizing terms of genre, they’ve coined the term “diabolic rock” as an appropriate presentation.
Their fourth full-length – Viscera – is a new beginning for Demon Head. Recorded during the first months of 2020 between the legendary Sweet Silence Studios by Flemming Rasmussen (Metallica, Morbid Angel, Rainbow) and a remote country house in Sweden, the album was mixed by Martin ‘Konie’ Ehrencrona (In Solitude, Tribulation, Nifelheim). The production shows the impeccable qualities of joined forces, where old techniques meet new aesthetics, and major label possibilities meet underground, uncompromising DIY dedication. The resulting 10 songs showcase acoustic instruments, flourishing mellotron strings, brass instruments, tape manipulation and church organ – displayed in equal measure to the sound of the crushing drums of J.W, cryptic guitars of brothers B.G.N and T.G.N, pounding bass lines of M.S.F, and the vocals of M.F.L combined with the eerily captivating falsetto and baryton of B.G.N.
Demon Head comments: “We are now ready to offer You ‘Viscera’. It contains more of us than any album we have made before, and we hope that You will welcome it as sincerely as it will welcome You.”
Viscera track-listing 1. Tooth and Nail 2. The Feline Smile 3. Arrows 4. Magical Death 5. The Lupine Choir 6. A Long, Groaning Descent 7. In Adamantine Chains 8. Black Torches 9. Wreath 10. The Triumphal Chariot of Antimony
Demon Head will play a release show on January 30th at Pumpehuset in Copenhagen. “A release ceremony will take place in Copenhagen when this year is newly dead. Tokens for the passage are available here: https://pumpehuset.dk/koncerter/demon-head-slaegt-shaam-larein/
Demon Head line up: Mikkel Sander Fuglsang – bass Birk Gjerlufsen Nielsen – guitars Marcus Ferreira Larsen – vocals Thor Gjerlufsen Nielsen – guitars Jeppe Wittus – drums
