https://www.high-endrolex.com/18

Coroza Premiere Video for Title-Track of New Album As Within Out May 20

Posted in Bootleg Theater, Reviews on March 11th, 2024 by JJ Koczan

coroza as within

Cork, Ireland-based atmospheric sludge/post-metal four-piece Coroza will release their second album, As Within, through Cursed Monk Records on May 20. Today they’re premiering their video for the title-track, which takes the familiar notion of a band-in-a-place-type clip and uses it as a means of emphasizing the mood and character of the music. As the 10-minute finale of the LP that bears its name unfolds, its quiet intro pulls back from the colorful stained glass of the initial shot and shifts into black and white as the pullback from the window reveals Coroza set up on the floor of what looks to be a fancy university library or some such. At about a minute in, both the song and the clip burst to life around a heavier part change, the color returns with vivid clarity and the band play through the closing cut that gives the album its name.

That visual change is thoughtful, not haphazard, and like the various mirror effects and swirls throughout, it coincides with where the song is going and highlights the considered aspects of Coroza‘s craft. In following their 2019 debut, Chaliceburner (review here), guitarist/vocalists Jack O’Neill and Ciarán Coghlan, bassist Tomás O’Brien (who makes his first recorded appearance on the album) and drummer Oliver Cunningham depart from some of the ultra-extended fare on offer such that, where only one song on Chaliceburner was under 10 minutes long, on As Within, the only track that crosses the same line is “As Within” itself, however close others might come.

It’s not a huge upheaval in aesthetic terms, but at five songs and 42 minutes, As Within gives a more efficient impression even in the take-a-moment-to-commune-with-the-deity-or-deities-of-your-choice-before-the-riff-hits break in the penultimate “Scorched Earth.” Whether that’s a purposeful change of approach, mindful creative progressioncoroza (Photo by Shane J Horan) or simply the shape the songs took as the bludgeoning nods were compiled, I don’t know, but like when the color pops back on in the “As Within” video, the methodical manner in which the bordering-on-extreme heft of “Immersed” is delivered, and the way the instrumental “The Shifting Sands” follows its quiet-loud-quiet pattern as something of an interlude-plus for the centerpiece of the digital and CD versions of the album, it feels like they meant for it to happen.

But to be sure, the crux of As Within is in its crush, conveyed immediately upon the start of opener “Myrrh,” which has well-I’m-sure-this-is-about-as-heavy-as-it’ll-get written all over it until “Immersed” comes on some nine minutes later and is even more trenchantly apocalyptic. Given space in the reverb on that low distortion as well as in the vocal tradeoffs between Coghlan and O’Neill — a guttural rasp reminiscent of Celestial-era Isis meeting with chant-like meditative melodies in the cleaner parts — As Within opens further in “The Shifting Sands” en route to the renewed intensity of “Scorched Earth” and the title-track’s subdued intro and ensuing productive destruction resolved in mood and thoughtful in execution. If it’s never occurred to you to say the phrase, “Hail Irish heavy” out loud, the monolithic lumber and roiling tension of “As Within” might get you there.

They provide a bit of relief around six minutes in, and the leads in the second half carry an airier reach not entirely removed from the plod-and-tremolo finish of “Myrrh,” the opener and closer giving a symmetrical feel to As Within while further emphasizing the sense of purpose brought to the album as a whole work. They know of what they obliterate — which is to say they’re schooled in genre and I don’t think anyone here would try to get away with saying they’d never heard Neurosis — but Coroza‘s second full-length takes significant strides in establishing the band’s place in the harder-hitting depths of the post-metallic sphere, doing so with distinct, affecting and cathartic force.

Coroza will play at Cursed Monk Records‘ 2024 edition of Monk Fest on July 6, performing As Within in its entirety. I hope someone gets video with soundboard audio.

More on that (including the ticket link) and about the record (including the preorder link) follows the video premiere below, courtesy of the PR wire.

Please enjoy:

Coroza, “As Within” video premiere

Cursed Monk Records are thrilled to announce that we will be releasing Coroza’s sophomore album “As Within.”

Not only will Coroza be joining us for this year’s Monk Fest, but they will also be playing their new album “As Within” in full! Monk Fest 2024 will take place on July 6th. Monk Fest is in aid of Temple St. Children’s Hospital. Tickets are available here: https://www.eventbrite.com/e/monk-fest-2024-tickets-765729105367

Preorders: https://cursedmonk.bandcamp.com/album/as-within

Coroza was formed in Cork, Ireland in mid-2015 and over the course of two years honed their sound into a devastatingly heavy form, which encompasses heavy blues, metal, sludge, doom and stoner elements, leading to the release of their well-received self-titled demo in 2017.

Extensive gigging cemented them into the local scene and soon Coroza began appearing on bills around Ireland, landing support slots to international touring bands such as Conan, Bolzer and Tusker. 2019 saw the release of their debut album Chaliceburner which was met with positive reviews.

Coroza’s second album titled “As Within”, was recorded and mixed by renowned producer Aidan Cunningham and mastered by Magnus Lindberg (Cult of Luna).

Says the band: “We would like to thank Aidan Cunningham – Mixing for recording and mixing this album. All tracks were recorded live in the room with some overdubs added afterward. Aidan’s work ethic, knowledge and insight was invaluable and we cannot thank him enough for how this album turned out. He captured the exact sound we were hoping for. Also, a huge thanks to Magnus Lindberg Productions for mastering the album and ensuring it gets heard perfectly in all formats.”

‘As Within’ releases May 20th on LP, CD, Cassette, and Digital!

Preorders are open via the Cursed Monk Bandcamp: https://cursedmonk.bandcamp.com/album/as-within

Tracklisting:
1. Myrrh (9:40)
2. Immersed (8:51)
3. The Shifting Sands (4:24)
4. Scorched Earth (9:03)
5. As Within (10:14)

AS ABOVE – SO BELOW
AS WITHIN – SO WITHOUT

Coroza are:
Ciarán Coghlan – guitar/vocals
Ollie Cunningham – drums
Tomás O’Brien – bass
Jack O’Neill – lead guitar/vocals

[Live photo by Shane J. Horan Photography.]

Coroza on Facebook

Coroza on Instagram

Coroza on YouTube

Cursed Monk Records website

Cursed Monk Records on Facebook

Cursed Monk Records on Instagram

Cursed Monk Records on YouTube

Tags: , , , , ,

The Obelisk Questionnaire: Ciarán Coghlan of Coroza, Astralist & Obsidian Imagery

Posted in Questionnaire on May 27th, 2022 by JJ Koczan

Ciaran Coghlan of Coroza Astralist Obsidian Imagery

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: Ciarán Coghlan of Coroza, Astralist & Obsidian Imagery

How do you define what you do and how did you come to do it?

I would reluctantly call myself an artist in the sense that I make music and art in various forms. It’s something I’ve always done, before I could talk or walk, I was creating things. Most of us are like this from an early age. Unfortunately, some people just stop or don’t consider it a worthwhile endeavor and put it to the back of their mind for the rest of their life. I have always had a creative streak and it’s what makes life interesting for me – trying to create something that I am proud of. And behind that one thing that works are 100 other things that failed for me to get there. It’s about learning lessons and applying them to the next thing you create.

Describe your first musical memory.

My first real musical memory (besides background noise on the radio) was hearing my older brother playing Nirvana and Guns ‘n’ Roses loud as hell in his room (probably around 1993). That really opened my ears up to the fact that music could be a source of expression that channeled anger, depression, frustration, attitude, rebelliousness and many, many more perspectives that you won’t hear on the radio.

Describe your best musical memory to date.

I could name about a thousand different things – but the best in recent memory was playing a headline gig in Limerick, here in Ireland in November 2021 with Coroza and having my other band Astralist as one of the opening bands for our debut performance. It was our first time back playing with Coroza since 2019 because of all the lockdowns and no live music being performed in two years. It was a cathartic experience; the crowd was happy to be back witnessing live music and we were just all so happy to be back on a stage again. If that would have been the last time I ever played music I would have been happy to go out on that night alone.

When was a time when a firmly held belief was tested?

I have always been a strict atheist bordering on some nihilistic tendencies. In the past couple of years I had a series of bizarre coincidences and synchronicities in my life that really made me question things and start to explore the more esoteric and spiritualistic side of life. I still don’t hold any particular belief to heart, but I was once convinced that life was a futile thing with no real meaning – I firmly held that belief until suddenly I felt there very well could be something else beneath and beyond our reality.

Where do you feel artistic progression leads?

Artistic progression should lead to a better understanding of the world and of people. We’re all different in so many ways and all so similar in other ways. Art being subjective means that there are infinite possibilities for progression in infinite directions. Try and do something that hasn’t been done before, create a chord progression you’ve never heard before, draw something you’ve never seen before. By crossing boundaries and pushing the envelop we discover things about ourselves and the world we live in and about each other. Why does someone love or hate a particular piece of art or music you made? Their honest answer will help you learn more about them, about yourself and about your art.

How do you define success?

I define success by how happy and content you are in life. Money and material possessions will never be able to guarantee that. For me, the act of creating art that releases a part of yourself into the world and is consumed by others to move them in some way is success. You made somebody feel something, made them reflect on things and think about the world differently.

What is something you have seen that you wish you hadn’t?

Manowar closing out Hellfest in 2009. Just a terrible, terrible thing to witness. It was 60 percent speeches about how metal they are and then the rest was just bad power metal, bad acting and fireworks. It was the kind of thing that if it were someone’s first introduction to metal I fully would understand if they never wanted to hear metal ever again.

Describe something you haven’t created yet that you’d like to create.

I’d like to try my hand at a music video at some point. I did some video editing in college many moons ago and only very recently have started teaching myself how to use Adobe Premiere Pro and After Effects again. I’ve always had an interest in photography and videography. There’s a lot of room to tell stories in a visual aspect that can lend so much more to a song’s meaning – whether you’re seeking to clarify things to the listener or obscure them even further.

What do you believe is the most essential function of art?

To me, the function of art is to make people think differently about the world around them. With visual art that is by rearranging objects that exist in society to make people view society in a different way. With music the same is true but you are using musical notes and arrangements to essentially do the same thing. We’ve all had that one of those moments where a song, or a movie or a piece of art changed your life – something that came at you from the left field and turned your worldview upside down and inside out. That, to me, is what art should aim to do. Even if it’s just a fraction of that feeling – but it should stir something in the observer/listener.

Something non-musical that you’re looking forward to?

Travelling abroad again in a post-pandemic world. I think travel is such an important thing to do in order to gain some perspective on life.

https://www.facebook.com/CorozaBand
https://coroza.bandcamp.com/
https://soundcloud.com/coroza

https://www.facebook.com/astralistband
https://www.instagram.com/astralist_band/
https://astralist.bandcamp.com/

https://www.facebook.com/obsidianimagery
https://instagram.com/obsidian_imagery
https://obsidian-imagery.com/

Coroza, The Plutonian Drug – Live 2019 (2020)

Astralist, 2020 Demo

Tags: , , ,

The Obelisk Questionnaire: of DJ Howard of Partholón, The Magnapinna & Paranoid Beast Promotions

Posted in Questionnaire on December 28th, 2021 by JJ Koczan

dj howard partholon the magnapinna

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: DJ Howard of Partholón, The Magnapinna & Paranoid Beast Promotions

How do you define what you do and how did you come to do it?

I’m a musician and artist and it’s difficult to articulate what that even means.

Compulsion comes to mind. It’s the rattling of some sort of primordial instinct to create and share. For me, music and performing were never escapism. It feels far more like a visceral connection to reality. Art is the same, connecting to things and stepping back to experience it all through the eyes of another.

In terms of how I came to do it, I was probably led towards music by my father. He was a musician doing it the hard way in hard times before he had kids and things got harder. He was always banging out tunes at parties and I was hyper-aware of how people reacted. My oldest sister guided me a bit later on. I’d get home an hour before her after school and listen to Prince cassettes on her hifi. I was fascinated with her obsession with one musical act, I didn’t know you could “follow” an artist back then. She started dating an older guy when I was a teenager, and his musical taste really really influenced me towards the heavier side of music. I owe them both a lot of gratitude. She took me to my first proper arena show, Metallica in ’96. There was no going back.

Art came naturally, I just saw drawing as a thing you did and went from there.

Describe your first musical memory.

I got a small alarm clock radio as a young kid and I’d sit by it for hours turning the plastic dial looking for guitar music. We had no money for records at the time and a TV with two channels, so music through the media was very difficult to come by. Having that radio opened up a big world to me. I remember hearing “Jailbreak” by Thin Lizzy for the second time and just losing my mind in the excitement of recognizing a tune. I was probably 5 or 6 years of age.

Describe your best musical memory to date.

Memories are such a fluid thing, it’d be impossible to single out one moment in particular. The best of my memories are in the people I’ve met through playing shows. When I think of stand out shows or moments, it always centres around an individual or group of people. There’s a sadness in that at times, but I’m lucky to have amazing memories with some of the best people through music.

When was a time when a firmly held belief was tested?

I don’t feel like I carry any firmly held beliefs with me in general. I grew up in a very religious setting, particularly with regards to education, so firmly held beliefs were achieved through intimidation, manipulation and fear. I try to keep an open mind through reason and logic as best I can and let any firmly held beliefs wear themselves out.

Where do you feel artistic progression leads?

I have no idea, but I’m all in to find out.

How do you define success?

Success is the death of endeavour and I’m very much in the endeavour phase of success. Long may it last.

What is something you have seen that you wish you hadn’t?

Catholic education in the ’80s was a covertly brutal place for any child. There’s a residual ignorance and discomfort in Irish society even today when it comes to addressing it. I made it through by the skin of my teeth but I saw enough to give me sleepless nights into adulthood. I already know I’ll be pressed on this answer should anyone local encounter it. It usually comes with the prefix “be very careful” or “the dead can’t defend themselves.” The irony is fucking lost on them.

Describe something you haven’t created yet that you’d like to create.

I’m currently working on a portrait for a friend. It’s very important and personal to her and her partner and I’m battling with myself to produce something worthy for them. I’m working on it right now while answering these questions and contemplating starting it over. I’d really like to create a way of just getting it done.

What do you believe is the most essential function of art?

I went to Art college straight out of high school. I was young and out of my depth, but I had talent. This question was asked and answered a lot in my time there with increasingly hyperbolic sentiment. I’m not sure that you can boil Art down into any essential function. It’s everything and nothing and a little bit of what you’re having yourself.

Something non-musical that you’re looking forward to?

I have a couple of art pieces on the horizon that are going to be challenging. It’s going to require some time away from my dayjob and a brief retreat from the world, but I’m looking forward to figuring it all out.

https://www.facebook.com/paranoidbeastpromotions/
https://theparanoidbeast.bandcamp.com/

http://www.facebook.com/themagnapinna
https://twitter.com/themagnapinna
https://themagnapinna.bandcamp.com/

https://www.facebook.com/partholonian/
https://partholonian.bandcamp.com/

The Magnapinna, “Werewolves of London”

Partholón, Follow Me Through Body (2016)

Tags: , , , ,

Abysm Sign to Desert Records for EP Series

Posted in Whathaveyou on February 1st, 2021 by JJ Koczan

Cork, Ireland’s Abysm released the debut EP, A Grim Reminder, in October 2020. The project was founded as a solo endeavor split off from Worn Out during lockdown. One suspects 2021 is going to bring a lot of quarantine-era solo outfits, and fair enough. For Abysm, the debut EP is reportedly to begin a series, which it’s now been announced will be released through Desert Records. A Grim Reminder, then, is the first installment of a trilogy of short releases. Not like there wasn’t time to come up with plenty of stuff.

The plot thickens when the band hints at lineup expansion, i.e. becoming a band rather than a project, and adding vocals to what was instrumental initially. How that means A Grim Reminder will serve as a lead-in to the series it’s beginning, I don’t know. Depends on how the progression of what Abysm is/does plays out over the subsequent releases. We could just be hearing an extended intro this time around, which I find fascinating.

Here’s the announcement from the PR wire, spliced with a few words from Abysm when the EP came out:

abysm logo

Abysm – Desert Records

Please welcome the sludge metal project ABYSM to Desert Records.

Based out of Cork, Ireland (a city I absolutely love), I’m very happy to bring you the first EP, A Grim Reminder.

The EP is up on Bandcamp now! It’s NYP.

Please support this and pay whatever you can afford if you’re digging this. $1 from many supporters can really help a band these days.

The big news: Desert Records will be releasing a trilogy of EP’s from ABYSM this this year.

“I have been putting a lot of work into piecing this together and I couldn’t be more proud of the outcome,” says Abysm. “The process of creating a follow up is well underway and expect some new things from the next release, and also some vocals as well, but more on that on when the time is right.”

EP2 and EP3 will continue the story arc of EP1.

Dig it here:
abysm-sludge.bandcamp.com/album/a-grim-reminder

https://www.facebook.com/ABYSMNOISE/
https://abysm-sludge.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Abysm, A Grim Reminder (2020)

Tags: , , , , ,

Quarterly Review: Mrs. Piss, Ulcerate, Shroom Eater, Astralist, Daily Thompson, The White Swan, Dungeon Weed, Thomas V. Jäger, Cavern, Droneroom

Posted in Reviews on October 9th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Today is what would be the last day of the Fall 2020 Quarterly Review, except, you know, it’s not. Monday is. I know it’s been a messed up time for everybody and everything, but there’s a lot of music coming out, so if you’re craving some sense of normalcy — and hey, fair enough — it’s right there. Today’s an all-over-the-place day but there’s some killer stuff in here right from the start, so jump in and good luck.

And don’t forget — back on Monday with the last 10 records. Thanks for reading.

Quarterly Review #41-50:

Mrs. Piss, Self-Surgery

mrs piss self surgery

If “Nobody Wants to Party with Us” as the alternately ambient/industrial-punk fuckall of that song posits, most likely that’s because they’re way too intimidated to even drop a text to invite Mrs. Piss over. The duo comprised of vocalist/guitarist Chelsea Wolfe and guitarist/bassist/drummer/programmer Jess Gowrie issue Self-Surgery as an act of sheer confrontation. The screams of “You Took Everything.” The chugging self-loathing largesse of “Knelt.” The fuzzed mania of ‘M.B.O.T.W.O.,” which, yes, stands for “Mega Babes of the Wild Order.” The unmitigated punk of “Downer Surrounded by Uppers” and the twisted careen-and-crash of the title-track. The declaration of purpose in the lines, “In the shit/I’m sacrosanct/I’m Mrs. Piss” in the eponymous closer. Rage against self, rage against other, rage and righteousness. Among the great many injustices this year has wrought, that Wolfe and Gowrie aren’t touring this material, playing 20-something-minute sets and destroying every stage they hit has to be right up there. It’s like rock and roll to disintegrate every tired dude cliché the genre has. Yes. Fuck. Do it.

Mrs. Piss on Instagram

Sargent House website

 

Ulcerate, Stare into Death and Be Still

Ulcerate Stare into Death and Be Still

As progressive/technical death metal enjoys a stylistic renaissance, New Zealand’s Ulcerate put out their sixth full-length, Stare into Death and Be Still and seem right in line with the moment despite having been around for nearly 20 years. So be it. What distinguishes Stare into Death and Be Still amid the speed-demon wizardry of a swath of other death metallers is the sense of atmosphere across the release and the fact that, while every note, every guitar squibbly, every sharpened turn the 58-minute album’s eight tracks make is important and serves a purpose, the band don’t simply rely on dry delivery to make an impression. To hear the cavernous echoes of the title-track or “Inversion” later on, Ulcerate seem willing to let some of the clarity go in favor of establishing a mood beyond extremity. In the penultimate “Drawn into the Next Void,” their doing so results in a triumphant build and consuming fade in a way that much of their genre simply couldn’t accomplish. There’s still plenty of blast to be found, but also a depth that would seem to evoke the central intention of the album. Don’t stare too long.

Ulcerate on Thee Facebooks

Debemur Morti Productions on Bandcamp

 

Shroom Eater, Ad.Inventum

shroom eater ad inventum

Nine songs running an utterly digestible 38 minutes of fuzz-riffed groove with samples, smooth tempos and an unabashed love for ’90s-style stoner rock, Shroom Eater‘s debut album, Ad.Inventum feels ripe for pickup by this or that heavy rock label for a physical release. LP, CD and tape. I know it’s tough economic times, but none of this vinyl-only stuff. The Indonesian five-piece not only have their riffs and tones and methods so well in place — that is, they’re schooled in the style they’re creating; the genre-converted preaching to the genre-converted, and nothing wrong with that — but there are flashes of burgeoning cultural point of view in the lead guitar of “God Isn’t One Eyed” or the lyrics of “Arogant” (sic) and the right-on riffed “Traffic Hunter” that fit well right alongside the skateboarding ode “Ride” or flourish of psychedelia in the rolling “Perspective” earlier on. Closing with “Dragon and Tiger” and “Friend in the High Places,” Ad.Inventum feels like the work of a band actively engaged in finding their sound and developing their take on fuzz, and the potential they show alongside their already memorable songwriting is significant.

Shroom Eater on Instagram

Shroom Eater on Bandcamp

 

Astralist, 2020 (Demo)

astralist 2020 demo

I’m not usually one to think bands should be aggrandizing their initial releases. It can be a disservice to call a demo a “debut EP” or album if it’s not, since you only get one shot at having an actual first record and sometimes a demo doesn’t represent a band’s sound as much as the actual, subsequent album does, leading to later regret. In the case of Cork, Ireland’s Astralist, it’s the opposite. 2020 (Demo) is no toss-off, recorded-in-the-rehearsal-space-to-put-something-on-Bandcamp outing. Or if it is, it doesn’t sound like it. Comprised of three massive slabs of atmospheric and sometimes-extreme doom, plus an intro, in scope and production value both, the 36-minute release carries the feel and the weight of a full-length album, earning its themes of cosmic destruction and shifting back and forth between melodic progressivism and death-doom or blackened onslaught. In “The Outlier,” “Entheogen” and “Zuhal, Rise” they establish a breadth and an immediate control thereof, and their will to cross genre lines gives their work a fervently individualized feel. Album or demo doesn’t ultimately matter, but what they say about Astralist‘s intentions does.

Astralist on Thee Facebooks

Astralist on Bandcamp

 

Daily Thompson, Oumuamua

daily thompson oumuamua

Lost in the narrative of initial singles released ahead of its actual arrival is the psychedelic reach Dortmund trio Daily Thompson bring to their fourth album, Oumuamua. Yes, “She’s So Cold” turns in its second half to a more straightforward heavy-blues-fuzz push, but the mellow unfurling that takes place at the outset continues to inform the proceedings from there, and even through “Sad Frank” (video posted here) and “On My Mind” (video posted here), and album-centerpiece “Slow Me Down,” the vibe remains affect by it. Side B has its own stretch in the 12-minute “Cosmic Cigar (Oumuamua),” and sandwiched between the three-minute stomper “Half Thompson” and the acoustic, harmonized grunge-blues closer “River of a Ghost,” it seems that what Daily Thompson held back about the LP is no less powerful than what they revealed. It’s still a party, it’s just a party where every room has something different happening.

Daily Thompson on Thee Facebooks

Noisolution website

 

The White Swan, Nocturnal Transmission

The White Swan Nocturnal Transmission

Following up 2018’s Touch Taste Destroy (review here), Ontario’s The White Swan present their fourth EP in Nocturnal Transmission. That’s four EPs, in a row, from 2016-2020. If the trio — which, yes, includes Kittie‘s Mercedes Lander on vocals, drums, guitar and keys — were waiting to figure out their sound before putting out a first full-length, they were there two years ago, if not before. One is left to assume that the focus on short releases is — at least for now — an aesthetic choice. Like its predecessor, Nocturnal Transmission offers three circa-five-minute big-riffers topped with Lander‘s floating melodic vocals. The highlight here is “Purple,” and unlike any of the other The White Swan EPs, this one includes a fourth track in a cover of Tracy Bonham‘s “Tell it to the Sky,” given likewise heft and largesse. I don’t know what’s stopping this band from putting out an album, but I’ll take another EP in the meantime, sure.

The White Swan on Thee Facebooks

The White Swan on Bandcamp

 

Dungeon Weed, Mind Palace of the Mushroom God

Dungeon Weed Mind Palace of the Mushroom God

A quarantine project of Dmitri Mavra from Skunk and Slow Phase, Dungeon Weed is dug-in stoner idolatry, pure and simple. Mavra, joined by drummer Chris McGrew and backing vocalist Thia Moonbrook, metes out riff after feedback-soaked, march-ready, nod-ready, dirt-toned riff, and it doesn’t matter if it’s the doomier tolling bell of “Sorcerer with the Skull Face” or the tongue-in-cheek hook of “Beholder Gonna Fuck You Up” or the brash sludge that ensues across the aptly-named “Lumbering Hell,” all layered solos and whatnot, the important thing is that by the time “Mind Palace” comes around, you’re either out or you’re in, and once you make that choice there’s no going back on it. Opener “Orcus Immortalis/Vox Mysterium” tells the tale (or part of it, as regards the overarching narrative), and if ever there was a band that could and would make a song called “Black Pudding” sound heavy, well, there’s Dungeon Weed for you. Dungeon Weed, man. Don’t overthink it.

Dungeon Weed on Thee Facebooks

Forbidden Place Records website

 

Thomas V. Jäger, A Solitary Plan

thomas v jager a solitary plan

The challenge of rendering songcraft in the nude can be a daunting one for someone in a heavy band doing a solo/acoustic release, but it’s a challenge Thomas V. Jäger of Monolord meets with ease on the home-recorded A Solitary Plan, his solo debut. Those familiar with his work in Monolord will recognize some of the effects used on his vocals, but in the much, much quieter context of the seven-song/29-minute solo release — Jäger plays everything except the Mellotron on the leadoff title-track — they lend not only a spaciousness but a feeling of acid folk serenity to “Creature of the Deep” and “It’s Alright,” which follows. Mixed/mastered by Kalle Lilja of Långfinger, A Solitary Plan is ultimately an exploration on Jäger‘s part of working in this form, but it succeeds in both its most minimal stretches and in the electric-inclusive “The Drone” and “Goodbye” ahead of the buzzing synth-laced closer “The Bitter End.” It would be a surprise if this is the only solo release Jäger ever does, since so much of what takes place throughout feels like a foundation for future work.

Thomas V. Jäger on Bandcamp

RidingEasy Records website

 

Cavern, Powdered

CAVERN POWDERED

Change has been the modus operandi of Cavern for a while now. They still show some semblance of their post-hardcore roots on their new full-length, Powdered, but having brought in bassist/vocalist Rose Heater in 2018 and sometime between then and now let out of Baltimore for Morgantown, West Virginia, their sonic allegiance to a heavier-ended post-rock comes through more than ever before. Guitarist/synthesist Zach Harkins winds lead lines around Heater‘s bass on “Grey,” and Stephen Schrock‘s drums emphasize tension to coincide, but the fluidity across the 24-minute LP is of a kind that’s genuinely new to the band, and the soul in Heater‘s vocals carries the material to someplace else entirely. A song like “Dove” presents a tonal fullness that the title-track seems just to hint at, but the emphasis here is on dynamic, not on doing one thing only or locking their approach into a single mindset. As Heater‘s debut with them, Powdered finds them refreshed and renewed of purpose.

Cavern on Thee Facebooks

Cavern on Bandcamp

 

Droneroom, …The Other Doesn’t

droneroom the other doesnt

Droneroom is the solo vehicle of guitarist Blake Edward Conley and with …The Other Doesn’t, experiments of varying length and degree of severity are brought to bear. The abiding feel is spacious, lonely and cinematic as one might expect for such guitar-based soundscaping, but “Casual-Lethal Narcissism” and “The Last Time Someone Speaks Your Name” do have some measure of peace to go with their foreboding and troubling atmospherics. An obvious focal point is the 15-minute dronefest “This Circle of Ribs,” which feels more forward and striking than someone of Droneroom‘s surrounding material, but it’s all on a relative scale, and across the board Conley remains a safe social distance away from structural traditionalist. Recorded during Summer 2020, it is an album that conveys the anxiety and paranoia of this year, and while that can be a daunting thing to face in such a way or to let oneself really engage with as a listener — shit, it’s hard enough just living through — one of the functions of good art is to challenge perceptions of what it can be. Worth keeping in mind for “Home Can Be a Frightening Place.”

Droneroom on Thee Facebooks

Humanhood Recordings on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Quarterly Review: Ufomammut, Horehound, Lingua Ignota, Valborg, Sageness, Glacier, MNRVA, Coroza, Noosed, zhOra

Posted in Reviews on October 4th, 2019 by JJ Koczan

quarterly review

Oh hi, I didn’t see you there. Earlier this week — Sunday, Monday, Tuesday, and yes, even Wednesday — the alarm went off at 4AM as usual and I got up, got coffee going and a protein bar and sat down to write, starting basically around quarter-after with a quick email check and whatnot. In terms of basic timing, this last morning of the Fall 2019 Quarterly Review is no different. I even have the baby monitor streaming on my phone as I would most mornings, so I can keep an eye on when The Pecan gets up. What’s changed is I’m sitting in a hotel lobby in Oslo, Norway, having just arrived on an overnight flight from Newark. Managed to sleep some on the plane and I’m hopeful adrenaline will pick up the rest of the slack as regards getting through the day. That and caffeine, anyhow.

Although, speaking of, my debit card doesn’t work and I’ll need to sort that out.

First thing’s first, and that’s reviews. Last batch of 10 for the week. We made it. Thanks as always for reading and being a part of this thing. Let’s wrap it up in style, and because I like working on a theme, three Irish bands in a row close out. Hey, I went to Ireland this year.

Quarterly Review #41-50:

Ufomammut, XX

UFOMAMMUT XX

Five years ago, Roman cosmic doom masters Ufomammut took a reflective look back at their career for its 15th anniversary with the documentary/live-performance DVD XV (review here). And since one might define the arc of their tenure as constantly trying to top themselves, for their 20th anniversary, they’ve issued a 12LP boxed set, titled simply XX, that compiles their nine albums to-date and tops them off with the mostly-subdued-style XX itself, which reimagines past cacophonies like “Mars” and “Plouton” in a quieter context. That part of the mega-offering issued through their own Supernatural Cat imprint comprises six songs recorded live and makes highlights out of the hypnotic strum and incantations of “Satan” as well as the rumbling drone of “Lacrimosa,” which takes on new emotional resonance for the shoegazy treatment it receives. I’ve said on multiple occasions throughout the years that Ufomammut are a band to be treasured, and I stand by that 100 percent. The XX box should be perceived by fans as an opportunity to do likewise.

Ufomammut on Facebook

Supernatural Cat website

 

Horehound, Weight

horehound weight

Less than a year after issuing their second long-player in the form of Holocene (review here) through Blackseed and Doom Stew Records, Pittsburgh atmosludgers Horehound align with DHU Records for the two-song 8″ EP Weight, which brings “Unbind” and “The Heavy,” two new cuts that, while I’m not sure they weren’t recorded at the same time as the last album — that is, they may have been — they nonetheless showcase the emergent melodic breadth and instrumental ambience that is developing in their sound. Even as “Unbind” rolls toward its low-end tempo kick, it does so with marked patience and a willingness to stay slow until just the right moment, which is not something every band cane effectively do. “The Heavy,” meanwhile, builds itself around a Crowbar-style dirge riff before Shy Kennedy‘s verse arrives as a standalone element, all the instruments around her dropping out from behind. That moment alone, frankly, is worth the price of admission, as whether it’s through that extra inch in diameter of the platter itself or through the audio of the tracks in question, Horehound continue to distinguish themselves.

Horehound on Facebook

DHU Records BigCartel store

 

Lingua Ignota, CALIGULA

LINGUA IGNOTA CALIGULA

I’m not sure I’m qualified to write about Lingua Ignota‘s CALIGULA (on Profound Lore), but I’m not sure anyone else is either. Like a self-harmonizing mega-Jarboe turning existential horror into epic proclamations of “I don’t eat/I don’t sleep” on “DO YOU DOUBT ME TRAITOR?” amid bass throb and terrifying melodic layering before making bedroom black metal sound like the lightweight self-indulgence it’s always been on the subsequent check-out-the-real-shit “BUTCHER OF THE WORLD,” Kristin Hayter‘s work is little short of experimentalist brilliance. She is minimal and yet over-the-top, open in creative terms but unwaveringly dark and rife with melody but severe to the point now and again of true aural abrasion. She weaves a context of her own into “FUCKING DEATHDEALER” as she recalls the lyrics to the aforementioned “BUTCHER OF THE WORLD,” while the outright brutality of “SPITE ALONE HOLDS ME ALOFT” is married to a piano-led meditation that, even without the noise wash from whence it comes, is enough to recast visions of what heavy is and can be in musical terms. I won’t pretend to get all the references like “kyrie eleison” (“lord have mercy”) worked into “IF THE POISON WON’T TAKE YOU MY DOGS WILL” and the violent strains surrounding, but it’s impossible not to realize the power of what you’re hearing when you listen.

Lingua Ignota on Facebook

Profound Lore Records on Bandcamp

 

Valborg, Zentrum

valborg zentrum

With an intensity born out of a history of industrial music and focus on tight rhythms making an impact in even-tighter songwriting, Valborg are neither beholden to death metal nor entirely separate from it, but their style has taken on a life of its own over the course of the last 10 years, and their latest offering, Zentrum (on Prophecy Productions), is the German trio’s most individualized take yet, whether that’s shown in the unbridled melodicism of “Anomalie,” the sludgy riff that drives the barking “Ultragrab” or the seemingly unrelenting snare pops of “Kreuzer” that, even when they finally release that tension, still make it only a temporary reprieve. Valborg‘s sense of control through the epic “Nonnenstern” should not be understated, and though the track is under four minutes long, yes, “epic” very much applies. Suitably enough, they close with “Vakuum” and throw everything at the listener at once before resolving in relatively peaceful atmospherics that could just as easily serve as an introduction to the next round of malice to come, whenever it shows up.

Valborg on Facebook

Prophecy Productions webstore

 

Sageness, Akmé

sageness akme

Spanish trio Sageness — also written SageNESS — conjure smooth Electric Moon-style soundscapes on their second album, Akmé, and yes, that is a compliment. The record brings forth six tracks of easy-rolling instrumentalist jam-based heavy psychedelia that offer much and take little in return, the richness of the guitar tone from Dawyz and Michi‘s bass given jazzy fluidity by Fran‘s drumming. “Ephemeral” touches most directly on a Colour Haze, as it would almost have to, but even there, the feeling of spaciousness that Sageness present in the recording is a factor that helps them come across as more individual. Earlier, “The Thought” is a little more directly space rock, but opener “Andromeda” seems to be charting the course with its liquefied effects and somehow-even-more-liquefied groove, and if you can’t get down with that, I’ve got nothing for you and neither does the rest of the universe.

Sageness on Facebook

Spinda Records website

 

Glacier, No Light Ever

glacier no light ever

It’s not exactly true, about their being no light ever on Boston post-metallers Glacier‘s latest full-length, No Light Ever. Sure, it’s plenty dark and heavy and brooding and all that fun stuff, and the riffs get loud and the drums break stuff and all that, but it’s certainly colorful in its way as well, and more than just shades of black on black. Comprised of four tracks cumbersomely titled in keeping with the traditions of the likes of Red Sparowes and the band’s own past work, cuts like “O World! I Remain No Longer Here.” and “The Bugles Blow, Fanned by Hysteria.” stretch themselves out along a scope as massive as the tonality the band emits, and as the wash of “We Glut Our Souls on the Accursed,” — the comma is part of the title there — gives way to feedback and the onset of “And We Are Damned Amid Noble Sound.” the sense of immersion is complete and clear as the priority under which they’re working. It’s about the whole album, or at least the two sides, as a unified work, and about crafting a world through the atmosphere evoked in the material. It works. If they say there’s no light in that world, so be it. It’s whatever they want it to be.

Glacier on Facebook

Wolves and Vibrancy Records webstore

 

MNRVA, Black Sky

mnrva black sky

Not-entirely-bereft-of-vowels South Carolina heavy trio MNRVA make their debut with the three-song EP Black Sky, a beast of a short release led by the riffs of guitarist Byron Hark on a stretch of ’90s-style crunch and sludge, with bassist/vocalist Kevin Jennings and drummer Gina Ercolini adding to the weight and shove of the proceedings, respectively. “Not the One” has the hook, “No Solution” has the impact and the title-track has both, and though I’m by no means saying the issue of their sound is settled 100 percent and they won’t grow or find their way from this — again, their debut — EP, they do prove to be well in charge of where their songs head in terms of mood and the atmosphere that comes through elements like the blown-out vocals and the rumbling bass beneath the lead guitar in the second half of “Black Sky” itself. Indeed, it’s those harsher aspects that help MNRVA immediately establish their individuality, and the vibe across these 18-plus minutes is that the punishment is only getting started.

MNRVA on Facebook

MNRVA on Bandcamp

 

Coroza, Chaliceburner

coroza chaliceburner

Just because Irish four-piece Coroza — guitarist/vocalists Ciaran Coghlan and Jack O’Neill, bassist/vocalist Jonny Canning and drummer Ollie Cunningham — might write a song that’s 18 minutes long, that doesn’t mean they forgot to actually make it a song as well. Thus it is that extended cuts like “The Plutonian Drug” (18:24) and closer “Iron from the Sky” (19:30) have plenty of room to flesh out their more progressive aspects amid the other three also-kind-of-extended pieces on Chaliceburner, the group’s ambitious hour-plus/five-track debut full-length. Each song essentially becomes a front-to-back movement on its own, with shifts between singers arranged thoughtfully from one part to the next and hooks along the way to serve as landmarks for those traversing, as in the opening “Chaliceburner” or the gruff winding moments of “Mountain Jaw,” which follows the nine-minute sax-inclusive centerpiece “Scaltheen,” because of course there’s a saxophone in there somewhere. All of this is a recipe for a band biting off more than they can chew stylistically, but Coroza manage pretty well the various twists and turns of their own making, particularly considering it’s their first album.

Coroza on Facebook

Coroza on Bandcamp

 

Noosed, She of the Woods

noosed she of the woods demo

Encased front and back by witchy samples and creepy vibes, Sept. 2019’s She of the Woods is the second demo in two months to come from Cork, Ireland’s Noosed. And you know it when they get around to the closing seven-minute title-track because it’s just about the only thing other than “Intro” that isn’t raging with grind intensity, but that stuff can be fun too. I don’t know how much witch-grind-doom is out there, but Noosed‘s first, self-titled demo (released in August) had a sludgy edge that seems to have separated out to some degree here into a multifaceted personality. Can one possibly be certain of the direction the band will ultimately take? Shit no. It’s two demos with basically no time differential between them. But if they can effectively bridge the gap between “Fuck Up,” “Wretch” and “She of the Woods,” or even play directly with the contrast, they could be onto something with all this noise and fuckall.

Noosed on Facebook

Noosed on Bandcamp

 

zhOra, Ruthless Bastards

zhora ruthless bastards

The narrative — blessings and peace upon it — has it such that Irish four-piece zhOra wanted to do something less complicated than was their 2017 album, Ethos, Pathos, Logos (discussed here), so they went ahead and wrote a song that’s five minutes long and purposefully hops between subgenres, going from sludge to doom to a deathcore breakdown, with a snare-pop count-in, to blackened death metal and then back to a lumbering chug to finish out. Okay, zhOra, “Ruthless Bastards” is a an awful lot of metal and an awfully good time, but you missed the mark on “simple” by a considerable margin. If indeed the band had been plotting toward something, say, easier to play or to compose, “Ruthless Bastards” ain’t it. They’ll have to settle for being brutal as fuck instead. Something tells me they’ll survive having made that trade, as much as anything will.

zhOra on Facebook

zhOra on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,