TOOMS Premiere “One Ton Soup”; The Orb Offers Massive Signals out Friday

Posted in audiObelisk on July 14th, 2020 by JJ Koczan

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Limerick, Ireland’s Literature Review 10 Page - put out a little time and money to get the essay you could not even think of witness the benefits of professional custom TOOMS will release their debut album, Place Clicking Here order and consider it done by competent academic writers with years of experience. Save your time and enjoy yourself together with The Orb Offers Massive Signals, this Friday, July 17, through http://www.loosecardiff.com/homework-online-do/ - Best Term Paper Writing and Editing Website - We Help Students To Get Custom Assignments For Me High-Quality Assignment Writing and Cursed Monk Records. The acronym-monikered three-piece have already unveiled a couple tracks from the offering, as one will, but as the (I assume) last piece to a densely-weighted riffy puzzle, they offer the fitting summary “One Ton Soup,” and as you’ll probably expect given the context of the band’s name, the song’s title, the label putting it out and just about everything else up to the looks on their faces in their press photo, it’s rather heavy. They call it “thicc” and I’m not inclined to argue.

Something else “One Ton Soup” does, though is blend styles in some unexpected ways. The angularity of the opening progression, for example, and the manner in which it gives way to lurching extremity, the overarching weight seeming to rumble in the high end as well as the low, the whole thing sounding fierce and lurching with samples behind, obscured by the next round of pummeling that soon begins. The song runs seven minutes total, so it’s not a minor sampling by any means of the 10 track offering — though I’ll admit to no small amount of curiosity to hear tooms the orb offers massive signals“Megalobong,” especially given their stated affinity for earlier Finding it difficult to correct your dissertation as per the feedback? Contact us today to avail our http://para-sun.com/essay-for-master-degree/ to get the correction Mastodon — and as “One Ton Soup” breaks at its halfway point to crashes and snare march (and samples), the procession feels all the more extreme-sludge for its sense of militarism; the song almost sounds like it’s beating itself with itself. Like if you were to self-flagellate by slapping your own face, but with the riff.

Is it massive? Well it’s frickin’ called “One Ton Soup,” so yes thank you very much it is. A quiet line of Fender Rhodes comes in to finish, kind of out of nowhere, but the distorted underpinning remains, and the landscape over which  College Acceptance Essay - receive a 100% original, plagiarism-free essay you could only dream about in our academic writing service Perfectly written TOOMS just marched for the last three and a half minutes of the track is duly flattened. I don’t know what happens when “Krokodil Den” takes hold as the next track on  visit here. The Ethiopian Institute for Higher Education starts etHELP and HELL. condolence message. AAU-monthly News letter. AAU-monthly News letter. The Orb Offers Massive Signals, but I know listening to “One Ton Soup” makes me curious to find out, so I suppose that’s one reason to roll out the ol’ ‘Mission Accomplished’ banner, if you needed one.

Preorders are up now through  At the same time, our relatively Phd Dissertation Semantic Web realizes the financial opportunities of every student are usually limited. Cursed Monk‘s Bandcamp, from which the following player also comes, bringing the premiere of “One Ton Soup.”

Before I turn you over to the music, I’d like to extend thanks to the band for the thought and detail and personality they put into the quote about it. Sometimes you ask a band for a quote about a song and they give you a half-sentence that equates to “duh we wrote it dude.” Fair enough, but it’s clear  As a university student a time may come when you need to ask someone, Can you see here? When that time arrives reach out to us via phone, email, or our website. We will provide you with the assignment you need on the date you need it completed. TOOMS took the time to really give some background — right down to the lyrics and the gear they used — and it is appreciated.

Enjoy the track:

TOOMS on “One Ton Soup”:

With “One Ton Soup” we basically tried to write the nastiest, heaviest choon possible at that time.

The intro was 100% inspired by High On Fire’s “Hung Drawn and Quartered.” The rest of the song? Not sure exactly where it came from, just carved itself out of the stratosphere by jamming, and we managed to stumble upon these riffs.

There is a chord in the slowed down part that we call the Lamb of God chord, and the main part of the song, in hindsight, was probably inspired by “Mother Puncher”-era Mastodon. There is also that black metal tremolo part before the thicc crushing S L O W outro, so we were certainly drawing from many different influences.

We actually recorded the drums for this way before we did guitars, and did this strange slow-down-speed-up thing with the drums during the bridge between main riff sections with vocals. It was super hard to recreate on guitar, and just didn’t seem right, so we chopped the drums a little for that part to make it feel less stumbling, and because of that it gives it a little feel of industrial/electronic music, which was totally a happy accident.

The guitars are layered much on the whole album with many many pedals, from wah-pedals cocked all the way down and drowned in distortion, to filter pedals mangled with custom built fuzz pedals,(“The Sodomizer” being a aptly named one) But on this particular song, the guitar tone is mostly just coming from overdriven amp distortion. Used a modded Bugera head that’s basically a Fender Bassman, and a Jch50 on the overdrive channel. Layered em both, used a 2×12 cab with celestions in it, and boom, TONE.

Our sound engineer and recording genius Chris also came up with some great ideas, one of which being to vari-speed the guitars; which is basically, play the riff twice as fast, record that, then slow it back to its written speed and pitch correct it. It gives a dragging, lumbering feel (have probably got that way wrong, but that is the jist). Chris also played all the nasty bubbling sounds that you can hear beneath the riffs during the bridge. He also followed the guitar’s melody line during the outro and played the Fender Rhodes that fades in and takes the song to a whole new level, which was a collective idea that stemmed from many hours together in little rooms making guitars sound horrible.

The sample just before the outro kicks into full gear is taken from Black Dynamite, just to remind us all that metal can be heavy as fuck, but doesn’t need to be super serious all the time (Looking at you death metal).

Vocal and lyrical wise, it’s a song basically about soup that drinks you and follows the description of you (the listener) becoming used as an ingredient in the Devil’s broth, and describes in detail all the gross ways in which you are dismantled and turned into a human crouton.

It had originally just been the first couple of lines repeated over and over. But on the day of tracking the vocals, it didn’t seem right or do the music justice, so the vocals were written as they were being tracked. As far as the vocal delivery is concerned, it was very much “vocals as an instrument” kind of approach. We thought about putting more vocals on the outro, but felt like it just didn’t need any there, it felt complete and once the Rhodes melody was added, we knew it was done.

Lyrics:
One. One tone. One. Tone soup burns you.
Burns. Boils teeth. Melts. Gums and scalds lips.
You. You chose. The. Special of the day.
Death. Death broth. Death. Death broth drinks you.
Wake. Wake up. Wake. Wake up in wok.
Now. Now your. Now. Now you’re sautéed.
Shaved. And skinned. Hung. You been bleed dry.
Blow. It’s hot. Blow. Or tongue get sore.
Death. Death broth. Death. Death broth bubbles.
One. One tone. One. Tone soup drank you.
Your. Your blood. Your. Blood and guts gone.
Hot. Hot oils. Skin. Crispy garnish.
Taste. Taste good. Hu. Hu-man hot pot.
Devil. Devil chef. Serve. You soup on plate.
Death. Death broth. Death. Death rules world

TOOMS are:
Drums, gong – Kieran ‘Slippy Fingers’ AKA ‘Chodo Baggins’ AKA ‘The Wobbler’ Grace
Bass – Anto ‘The Wizard’ AKA ‘Farmer Arms’ AKA ‘Old Man’ AKA ‘Coldplay’ Donnellan
Guitar, vocals – Alex ‘The Riffsmiff AKA Big Slim(e) AKA The Vanilla Gorilla’ AKA ‘Half-Bar’ Hölzinger

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The Mountain King Release Wicked Zen CD on Cursed Monk Records

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

With pieces of the album recorded in the US, Venezuela, Germany and Greece, it’s no wonder that This othello essay is really Writing A Research Paper In Apa not happening Essay help; Instead of spending hours doing research, drafting, revising, and editing you The Mountain King‘s debut long-player, How basics do doctoral dissertation writing help approach I make a comment. Important:. Wicked Zen, carries a marked sense of stylistic scope. The album has been snagged by Irish imprint Place source site order and consider it done by competent academic writers with years of experience. Save your time and enjoy yourself together with Cursed Monk Records for a limited release on CD, and by “limited” I mean there are 50 copies on the band’s Bandcamp and the label’s Bandcamp, and that’s it. I’m not even sure if that’s 50 total or 50 each, but either way, it’s not a lot. 50 though is more than the handmade first-edition special book/CD version of the album the band put out themselves on CD, which was 33 copies, though there was also a digipak pressing that had 66 copies. Okay, so maybe add that all up and it comes out to “still pretty limited.”

There’s a tape, too. 66 copies.

I have no idea — how would I? — how many copies of any or all of these there are left, but the difference near as I can tell with the my link introduction should include - Quality and affordable paper to make easier your education Professionally written and custom academic Cursed Monk version of Premium Writers Club USA leading see it here gives you certainty to manage your custom scholarly paper in light of the fact that the specialists Wicked Zen is it has two bonus tracks. That right there makes it worth chasing down in my book, whatever other options may coincide with it. And I’m not trying to spend your money or anything, but no one ever said you had to stick to one, either

I cobbled the following together from various announcements and whatnot:

The Mountain King Wicked Zen

CURSED MONK RECORDS – THE MOUNTAIN KING – WICKED ZEN

SURPRISE RELEASE!!! (We told you we had something cool planned.)

Cursed Monk Records would like to welcome The Mountain King to the cult!

The Mountain King play a heady mix of psychedelia tinged, mediative funeral doom. It is an awe inspiring sound!

Their album “Wicked Zen” is available from our store now on CD and DD. Recorded by The Mountain King in Germany, USA, Venezuela and Greece. Check it out below.

The band says: “The great Cursed Monk Records and we crossed paths and thus came into being an extended version of Wicked Zen with 2 bonus tracks and an exclusive artwork by Steffen and myself. We’re really stoked about all this, honestly.”

The Mountain King are:
Eric McQueen: Guitars, Bass, Theremin, Hammond, Synths, Vocals, Lyrics
Frank Gr’mbarth Dillschnitter: Additional guitar
Daniel Gallardo: Drums
Manuel El Churro Churión: Sitar
Yorgos Mourkousis: Saz

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The Mountain King, Wicked Zen (2020)

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Days of Rona: Rodger Mortis of Cursed Monk Records

Posted in Features on April 29th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Rodger Mortis of Cursed Monk Records

Days of Rona: Rodger Mortis of Cursed Monk Records (Galway, Ireland)

Disaster Recovery Plan Sample For Small Business writing service providing professionally written dissertations. You will graduate this year! How are you dealing with this crisis as a label? Have you had to rework plans at all? How is everyone’s health so far?

We’re doing OK. We’ve stopped mailing orders for a few weeks as we are limiting going outside as much as possible. We have made our entire digital catalog free so hopefully this will help folks while away the hours of isolation. We’ve also started up a podcast (The Cursed Cast) which will highlight some of our favourite labels and the excellent acts they put out. So again, hopefully this will help people pass the time. Health-wise, we’re fine. We both came down with a cold the first week, which ramped up the paranoia as we’re both high risk. But thankfully it passed. We also had to postpone our wedding, but that’s small potatoes in the grand scheme of things.

We are a legitimate source url company offering top-quality paper writing services for college & graduate students. Order your custom essay today! What are the quarantine/isolation rules where you are?

We’re in lockdown at the moment, so you have to stay at home except to buy food, care for vulnerable people, do work deemed essential or briefly exercise within 2km (1.2 miles) of home. When you are out you have to adhere to social distancing. The state has deployed hundreds of extra police on the streets and passed laws to enforce the restrictions – violators can be arrested, fined €2,500 ($2715) and jailed for six months.

How have you seen the virus affecting the community around you and in music?

We live in a small town in the West of Ireland, the community seem to be taking this very seriously which is great. Ireland as a whole seems to be doing its best and giving the situation the gravity it deserves. Plus, comparatively to other countries, it’s not too bad here yet. The Government has taken the proper steps, you can get a test if you need to, and there’s plenty of food on the shelves. I think it’s much scarier for Amanda (Cursed Monk Records co-founder, Rodge’s Fiancee) as her whole family lives in the States.

Music-wise, I can see the community coming together and helping each other through. It’s a beautiful thing. Times are hard, but we will come out the other side.

What is the one thing you want people to know about your situation, either as a label, or personally, or anything?

I want people to take this very seriously. Wash your hands. Give people space if you absolutely have to go out. If you’re wearing protective gloves or homemade masks, please learn how to use them properly. But most of all, if you are not working on the front lines or in essential services, just stay at home. It’s easy. There’s endless entertainment online, in books, around the house, in your own head. Plus, the world is more connected than it has ever been. If you need to talk to someone, jump online or pick up the phone. There’s no excuse.

As for our situation as a label, I want people to know that we are not going anywhere, and we will strive to keep releasing dark musical esoterica from the underground.

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Nocturnal Convocation to Release Mors Omnia Solvit on Cursed Monk Records

Posted in Whathaveyou on November 14th, 2019 by JJ Koczan

‘Italian necro doom,’ huh? Yeah, I’ll check that out. Nocturnal Convocation aren’t quite what I’d expect though when it comes to actually listening. I was thinking standard fog-laced cultistry perhaps with a Paul Chain flourish, but actually hearing “Capitulum II,” it sure sounds a lot like black metal. Enough so that I went back and made sure I had clicked the right link. And looking at the art? Yeah, that kind of looks like it could be black metal. And the whole anonymous-band-unnamed-songs-releasing-on-the-darkest-night-of-the-year thing? Well, that could definitely be black metal too.

I think this one might just be black metal. At least in the one song, if not the full record. I don’t know what might be going on elsewhere with it as yet.

Where does the line draw between one style and another? What is to be gained by transgressing one genre for another? I’m nerdy for these questions, and I know not everyone is, but if you might be, it’s something to think about what you check out the song in the video below. Seems like the band might just be one guy, but whatever/whoever/however many, it’s pretty nasty stuff.

Dig:

nocturnal-convocation-Mors-Omnia-Solvit

Cursed Monk Records are thrilled to announce that we will be releasing Nocturnal Convocation’s debut album “Mors Omnia Solvit.”

This mysterious Italian Necro Doom band has entered a pact with one another to not disclose their photos, nor information about their members, nor even information about the lyrics of their songs. Their ritualistic necro doom speaks for itself.

Mors Omnia Solvit will be released on CD and DD during the Winter Solstice, December 21st, when night is at its longest.

You can check out a video for “Capitulum II” which is the first track to be released from the album, here.

“Mors Omnia Solvit” is available for preorder here: https://cursedmonk.bandcamp.com/album/mors-omnia-solvit

Tracklisting:
1. Capitulum I
2. Capitulum II
3. Capitulum III
4. Capitulum IV
5. Capitulum V
6. Capitulum VI

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Quarterly Review: Salem’s Bend, Motorpsycho, Sigils, Lord Dying, Sunn O))), Crimson Heat, Molior Superum, Moros, Glitter Wizard, Gourd

Posted in Reviews on July 2nd, 2019 by JJ Koczan

quarterly-review

Today is Tuesday, I’m pretty sure, and hey, that’s nifty. I thought yesterday kicked off the Summer 2019 Quarterly Review really well, and any time I get through one of these without my head caving in on itself, I feel like that’s a victory, so yeah. Now we wade even deeper into what will ultimately be a 60-review plunge, with another 10 offerings of various stripes and takes on heavy. Some higher profile stuff in here, which is fine, I guess, but most of it is pretty recent, so if there’s something you haven’t heard yet, I hope you find something you dig, as always.

Quarterly Review #11-20:

Salem’s Bend, Supercluster

salems bend supercluster

This is the sound of a band who’ve figured it out. Salem’s Bend have taken retroist boogie and modern tonalism, production and melody and turned it into something of their own. Supercluster (on Ripple) follows the Los Angeles trio of guitarist/vocalist Bobby Parker, bassist/vocalist Kevin Schofield and drummer Zach Huling‘s 2016 self-titled debut (review here), and with an uptick in the complexity of songwriting overall and particularly in the arrangements of dual-vocals, it is a marked step forward palpable as much in the hook of “Ride the Night” — and if you’re gonna call a song that, you better bring it — as the heavy crash ending “Heavenly Manna” and the languid, lucidly dreaming groove in “Infinite Horizon,” which appears ahead of the acoustic hidden track “Beltaine Chant.” That won’t be the last time these guys unplug, but whether it’s the raw Zeppelin vibe of “Show Me the Witch” or the crunching low-end nod of “Thinking Evil” or the leadoff thrust in “Spaceduster,” the message is clear that Salem’s Bend have arrived.

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Motorpsycho, The Crucible

motorpsycho the crucible

The latest in Motorpsycho‘s nigh-on-impossible-to-chart and ever-growing discography is The Crucible, issued through Stickman Records, and taking some of the heavy rock push of 2017’s The Tower (review here) and stretching out to more willfully progressive execution across three increasingly extended tracks. Running from shortest to longest, the album begins with “Psychotzar” (8:44) which resolves itself in maddening turns after fleshing through an energetic beginning, and rounds out side A with the 11-minute “Lux Aeterna,” with vocal harmonies and mellotron building into a graceful swell of volume before a headspinner solo and jam take hold, break to near-silence and finish in a burst of directly earliest-King Crimson majesty. This all before the 20:51, side B-consuming title-track crashes in with immediate tension and plays back and forth at releasing that through a course that is rife with melody and an emphasis on the mastery of Motorpsycho over their sound and direction. Onto the list of the year’s best records it goes.

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Sigils, You Built the Altar, You Lit the Leaves

Sigils You Built the Altar You Lit the Leaves

Hypnotic and immersive heavy post-rock and metal becomes the genre tag well enough, but what New York’s Sigils do on their markedly impressive self-recorded, self-released debut album, You Built the Altar, You Lit the Leaves, is more soulful and emotive than “post-” anything generally conveys. With four tracks/38 minutes best taken as a whole, single listening experience, the band offer resonant depths of tone and vocal echoes centered around airy but still weighted guitar and consuming rhythms brought to bear with the patience of an organic Jesu. The ultimate triumph is in the melody and payoff of 13-plus-minute closer “The Wicked, the Cloaked,” which seems to manifest the haunting sensibility that “Samhain” and “Ritual” advocate on side A, but neither will I discount the chug of the prior “Faceless” or the underlying churn in those two leadoff tracks. Especially as a first album, You Built the Altar, You Lit the Leaves casts a sonic identity for itself that is striking and sees the band already beginning to push themselves forward. One hopes they continue to do so.

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Lord Dying, Mysterium Tremendum

Lord Dying Mysterium Tremendum

Following 2015’s Poisoned Altars (review here), subsequent years of touring and a jump from Relapse to eOne Metal, Lord Dying‘s Mysterium Tremendum is enough of a stylistic melting pot that the best thing to do is call it progressive and just let it roll. Comprised of 11 tracks themed around death and the afterlife, the record takes the Portland, Oregon, outfit’s prior death-doom ways and expands them to incorporate an array of styles and melodies, like a vocoder-less Cynic or even Atheist, but more focused on the songs themselves. It’s being widely hailed as one of 2019’s best metal releases, and honestly I can’t speak to that because who the hell knows what “metal” even means, but it sees Lord Dying pull off a major sonic leap and if this is the direction they’re headed from now on, then I guess “metal” is going to be whatever the hell they want. So there. Expect to see a lot of Lord Dying t-shirts around in the years to come.

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Sunn O))), Life Metal

sunn life metal

The core of Sunn O)))‘s sound — that is, the drone-riffed tonality of Greg Anderson and Stephen O’Malley, has proven amorphous enough over the last two decades to either be orchestral, minimalist, impossibly bleak, or now, something brighter. The Steve Albini-recorded Life Metal is one of two purported Sunn O))) releases slated for this year, and it follows behind 2015’s Kannon (review here) in manifesting their project in a new way. It is 68 minutes long, comprised of four tracks — the first, “Between Sleipnir’s Breaths,” is notable for the inclusion of vocals from Hildur Guðnadóttir; the rest is instrumental — and while one wonders how much is the power of suggestion amid their colorful artwork and titular presentation, “life” as opposed to death metal, etc., their resonance throughout “Aurora” (19:07) and “Novae” (25:24) strips away much of the flourish that has engulfed Sunn O))) in their post-maturity years and reminds of the power at their center. They chose the right producer.

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Crimson Heat, Crimson Heat

Crimson Heat Crimson Heat

With a handful of tracks of dirt-coated Sabbathian doom rock, Crimson Heat make their debut with a self-titled demo/EP in no small part defined by its lack of pretense. I’d buy the tape at the show. You’d buy the tape at the show. The download is free. Clearly this is a band figuring out what they want to do and trying to catch a few ears, but the sound is right on. Notable as well for the participation of Sam Marsh of Sinister Haze, tracks like “At My Door” blend Tee Pee Records-style skate vibes with darker traditionalist crunch, and the subsequent acoustic interlude “Firewood” indeed adds a bit of burning-stove smell to the procession ahead of doomed shuffler finale “Deep Red.” They might be new, but from the nod of “Premonition” and the double-layered guitar of “Fortune Teller,” they very clearly know where they’re coming from. What they do with that from here will tell the tale, but for now, selling the tape at the show isn’t nothing. Guess they better get on pressing some up.

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Molior Superum, As Time Slowly Passes By…

Molior Superum As Time Slowly Passes By

The boogie runs strong in Molior Superum‘s first album in seven years, As Time Slowly Passes By… (on H42 Records), the title of which might just hint at the distance between their two full-lengths. Their debut was Into the Sun (discussed here) in 2012, and they answered that with 2014’s Electric Escapism (review here), but for a band who sound so energized on cuts like “Att Födas Rostig” and “Through Valleys of Wonder,” the time differential from one record to the next is curious. Still, no question the Swedish four-piece make the most of the 36 minutes they present on their sophomore offering, realizing classic vibes and fuzz tones through modern production that recalls the likes of GraveyardJeremy Irons and the Ratgang Malibus and even, on “Into the Grey,” Demon Head‘s doomier fare, with an overarching bluesy sensibility that remains exciting even in moments like the hypnotic midsection build of centerpiece “Divinity Blues.” Even the closing soft-guitar title-track has movement. They sound hungry in a way that suggests maybe it won’t be another seven years before a third LP arrives.

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H42 Records

 

Moros, Weapon

moros weapon

Just because Philly is leading the Eastern Seaboard in terms of psychedelic charge, that doesn’t mean there isn’t room for the guttersludge extremity of a unit like Moros. The destructive three-piece’s first full-length, Weapon (on Hidden Deity Records), is vicious in its bite and downright nasty in its groove, abrasive from the static intro “(Vortexwound)” onward through “We Don’t Deserve Death” and “Devil Worshipper,” which recalls slower Napalm Death in its riff but is met with a harsh scream as well as shouts. The brutality continues through “Wizard of Loneliness” and into the outright pummel of “Death Nebula,” such that the locked-in nodder groove in the second half of “Every Day is Worse Than the Last” feels almost like a lifeboat, though there’s little salvation on offer in the closing title-track, which fades out on a noisy note in much the same way it faded in. Filthy, mean and heavy. The crust is real and it is thick.

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Glitter Wizard, Opera Villains

glitter wizard opera villains

I was enticed to dig further into Glitter Wizard‘s Opera Villains (on Heavy Psych Sounds) by the recent video for opener “A Spell So Evil” (posted here), and it’s not a choice I regret. The San Fran-based weirdo collective are putting on a show, no doubt, but the quality of their songwriting on “The Toxic Lady” and the punkish underpinning of “Dead Man’s Wax,” etc., puts them in a classic rocking no man’s land in which they absolutely revel. The laser-strewn drama of “March of the Red Cloaks” and the organ- and flute-laced swing of “Hall of the Oyster King” embrace the grandiose in brazen fashion, and thereby make it that much easier for the listener to join them on this wavelength that is so thoroughly their own. Closer “Warm Blood” taps prog-of-old pomposity in its largesse while the earlier “Fear of the Dark” seems to do the same thing with just an acoustic guitar and some vocal harmonies. A record that knew exactly what it wanted to be and then became that thing. Awesome.

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Gourd, Moldering Aberrations

gourd moldering aberrations

Ambient darkness is inflicted with only the cruelest of spirit throughout Gourd‘s Moldering Aberrations EP, the Irish two-piece alternating minimalist spaciousness with gurgling drone intensity, the extremity of which doesn’t so much come through in pummel or drive, but in the swell of volume and its contrast with the emptiness surrounding. Also the growls. Three tracks are offered up like monuments to pain, and through “Befoulment,” “Mycelium” and the title-track, they conjure a heft of atmosphere as much as one of low end, the claustrophobic feeling of their craft coming through even in the relatively peaceful opening of the last song. That peace, of course, isn’t so much moment of respite as it is precursor to the next plunge, and either way, Gourd work in grueling fashion over 23 minutes to dismantle consciousness and expectation with a grim, distortion-fueled chaos from which there seems to be no escape, until the rumble and noise leave “Moldering Aberrations” and there’s just residual hum and a cymbal crash left. Madness.

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Gourd to Release Moldering Aberrations EP on May 30; New Video Streaming

Posted in Whathaveyou on May 7th, 2019 by JJ Koczan

GOURD

Once upon a time a couple years ago, I was brought to Dublin by the good care of Sid Daly, who had organized a festival of mostly-but-not-entirely-Irish bands called Emerald Haze. For me, it was a chance not only to go someplace I’d never been — airport aside — but to get an education in the thriving underground there. One of the stages was even named after this site. It was incredible, and I was fortunate to be asked. Long story short, Gourd opened the second night of the fest (review here) and they were devastating. There was plenty of heavy going around that weekend, and it took plenty of forms, but Gourd‘s ultra-malevolent atmospherics reminded me then and still remind me now of Khanate, and that is a comparison I’ll almost never make because it’s a standard to which almost nobody can live up to.

Cursed Monk Records — based in Galway — has the release on May 30 for Gourd‘s Moldering Aberrations, and you can stream the video for the title-track at the bottom of this post. Do that, but take a breath first.

From the PR wire:

gourd moldering aberrations

GOURD – Moldering Aberrations EP

On the 30th of May Cursed Monk Records will be releasing GOURD’s new EP ‘Moldering Aberrations’ on Limited edition CD, and Digital (CMR013)

GOURD is an Irish two member band that started in the summer of 2014. The band is made up of Ray (Wreck of the Hesperus, Beneath the Sod) and Hick (On Pain of Death, Coscradh). Ray plays drums and creates noise as well as visuals and videos. Hick does vocals, plays guitar and builds extra walls of gritty, cacophonous noise. GOURD attempts to write filthy, twisted songs with extras layers of rotten madness and wonky weirdness to make the music a deeply unsettling experience.

‘Moldering Aberrations’ is available for preorder now.
https://cursedmonk.bandcamp.com/album/moldering-aberrations

Watch the music video for the title track.

Tracklisting:
1. Befoulment
2. Mycelium
3. Moldering Aberrations

Gourd are:
Hick (On Pain of Death)
Ray (Wreck of the Hesperus)

https://www.facebook.com/GOURDDOOM/
https://cursedmonk.bandcamp.com/

Gourd, “Moldering Aberrations” official video

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Oldd Wvrms Release Codex Tenebris This Month; New Video Streaming

Posted in Whathaveyou on January 8th, 2019 by JJ Koczan

oldd wvrms

Belgian instrumentalist post-metal trio Oldd Wvrms will release their new album, Codex Tenebris, this month through Cursed Monk Records and Fear of Gun, with the former handling the CD and the latter the tape version. The band are currently streaming a video for the opening track, “Ténèbres” that’s 10 minutes of cerebral atmospheric plunder set to manipulated silent film footage. I’m going to go ahead and assume that not all five tracks on the record are 10 minutes long, but even if they are, Oldd Wvrms would seem to have the stylistic reach — and creative spelling! — to accommodate fickle attention spans. I don’t know the exact release date, because there are all kinds of things I don’t know and that’s just one of them, but I have no reason to think anyone’s lying when they say end of this month. Would be kind of a silly thing to lie about.

Info and narrative came down the PR wire like so:

oldd wvrms codex tenebris

Oldd Wvrms’s new offering – Codex Tenebris

“Fear is the price for imagination”: these words can describe the descent into the depths of this overwhelming instrumental landscape, drawing his inspiration from all things obscure…

Feel the serpent crawl upon your flesh and embrace the haunting emptiness within.

ØW is a triple entity, officiating in an occult register, blending Sludge/Doom/Black and Post-Metal, including drones for an hypnotic and intoxicating result.

Working live with « A Thousand Lost Civilizations » for video projections and lightshow. Video for the first song “Ténèbres” out now.

To be released through Cursed Monk Records for the CD version and Fear of Gun for the cassette edition around end of January…

Album tracklist :
Ténèbres
A l’or, aux ombres et aux abîmes
Misère & Corde
La vallée des tombes
Fléau est son âme

Oldd Wvrms is:
Cho : Drums
Oli : Bass
Ben : Guitar

https://olddwvrms.bandcamp.com
https://www.facebook.com/OLDDWVRMS/
https://www.facebook.com/cursedmonk/
https://twitter.com/CursedMonkRec
https://www.instagram.com/cursedmonkrecords/
https://cursedmonk.bandcamp.com/
https://www.facebook.com/fearofgun/
https://fearofgun.bandcamp.com/

Oldd Wvrms, “Ténèbres” official video

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Review & Track Premiere: Shallow Grave, Threshold Between Worlds

Posted in audiObelisk, Reviews on September 24th, 2018 by JJ Koczan

Shallow Grave Threshold Between Worlds

[Click play above to stream the premiere of ‘The Horrendous Abyss’ from Shallow Grave’s Threshold Between Worlds. Album is out Oct. 31 on Sludgelord Records, Cursed Monk Records, Black Voodoo Records and Minor Label.]

All that happens in the first 30 seconds of Shallow Grave‘s second album, Threshold Between Worlds, is a fade-in of an introductory riff, and yet even that seems crushing. The Auckland four-piece made 55-minute their self-titled debut (review here) in 2013 via Astral Projection, and while they’ve trimmed the runtime down to an LP-ready 38 minutes for four songs, the sense of impact remains a major concern. Mostly, I’d think, for seismologists. It is not long after that fade-in that Shallow Grave begin the 10-minute “The Horrendous Abyss” in earnest, with a buzzsaw tone worthy of namedrops like Beast in the Field and Swarm of the Lotus from guitarists Tim Leth (also vocals) and Mike Rothwell, furious low end distortion from bassist Brent Bidlake and an almost noise-rocking rhythm from drummer James Bakker, who succeeds in pushing deeper into “The Horrendous Abyss” while cutting through the mire with a snare that seems to hit with no less of a thud than the toms.

Largesse is the order of business, and business is lethal, but in “The Horrendous Abyss” and onward through “Garden of Blood” (9:41) and side B’s “Master of Cruel” (13:11) and “Threshold Between Worlds” (5:31), the band craft an atmosphere of chaotic churn, marked by vicious noise and, for all the madness unfolding, a feeling that the worst violence is still being held back. To wit, “The Horrendous Abyss,” in its eighth minute, pulls back to minimalist guitar notes, but even these are backed with windy drones, giving all the more a feeling of being alone somewhere in the wild. Presumably, we’ve arrived at the titular locale. That’s actually how the track ends, fading out to let the faster start of “Garden of Blood” come on to stomp itself between the line of sludge and brutalist noise. An angularity of rhythm emerges, and Leth‘s largely indecipherable vocals call to mind Tomas Lindberg in their rasp, but the primary impression thanks to a consistency of tone is still one of lumber, and Shallow Grave take due time to revel in it.

And who would argue? The foreboding is palpable early in “Garden of Blood,” as it was throughout “The Horrendous Abyss,” and before it hits the 2:30 mark, “Garden of Blood” slows its pace to a crawl and lurches-out for the next minute, growing an increasing wash of noise as its march leads toward an inevitable decay, drums cutting out just prior to four minutes in and the volume receding to let an airy guitar take hold momentarily before a momentum of riff picks up — exactly the source of the two band-comparisons above, neither of which one is inclined to make lightly — and shoves forward through the next several minutes, once again increasing in wash before the vocals return, caked in echo and even less human/humane for that. It may not be a horrendous abyss, as the first song was, but neither is it a relaxing beach-day getaway.

shallow grave (photo by Damian McDonnell)

Instead, it is an apex of pummel that reveals the second movement in “Garden of Blood” for the linear build it’s been all along, cleverly concealed by the surrounding onslaught. The last two minutes of “Garden of Blood” are given to a noisy, mechanical-seeming drone that fades out to conclude side A and prepare the ground for “Master of Cruel,” which in effect is the closing argument Shallow Grave will make here. A swell of low distortion provides a bed for the drums to come forward in the mix — bit of a role reversal there, since it’s been the drums anchoring the proceedings all along throughout “The Horrendous Abyss” and “Garden of Blood” — before an impressive and extended scream from Leth brings with it a surge of guitar.

By the time they’re past three minutes deep, the drums are gone entirely, and is the guitar, as they recede completely to a drone as the foundation for a line of standalone guitar soon enough met with cymbal wash. Just when you might think you have them figured out and that they’re starting another forward build in the vein of the preceding cut, instead of making their way through with deceptive patience, they thrust ahead all at once into a huge-sounding plod, brutally delivered before evening out to a steady hi-hat-punctuated roll. They are not yet, it’s worth noting, at the midpoint of “Master of Cruel,” the title of which would seem to betray its ambitions.

That steadying transition leads to a push-pull nod that will consume much of the second half of the track, as the vocals show up amid a proceeding decrease in tempo and increase in noise. By the time they’re 11 minutes deep, the direction is set and telegraphed to the listener: once more into the morass. Undulations of harsh frequencies mark the noisy finish, less about feedback directly than one might think, but still working on another long fade into a drone that shifts directly into the shorter closing title-track, which executes a tonal deathblow in a midsection surrounded on either side by noise. The effectiveness of those elements isn’t to be understated. Drones in the transitions, long fades, etc. — these are the things that help craft the atmosphere that winds up playing such a significant role in the effect of Threshold Between Worlds on the listener.

I won’t take away from the force of their delivery or the intensity of their heaviest moments — how could I? — but it’s the ambient factors that let Shallow Grave‘s sophomore release become more than just a very heavy sludge record and really begin to find its own personality in terms of style. And that personality may be psychopathic, but that still counts. With a half-decade between their debut and Threshold Between Worlds, it doesn’t seem fair to anticipate a follow-up anytime soon from Shallow Grave, but when/if it does happen that they put out a third release, one might expect them to continue to toy with this balance, as it seems so crucial to their purposes overall. At the same time, to think at all of Threshold Between Worlds, it feels less safe making predictions of any sort for what might come. Other than darkness, which most certainly is lurking on the horizon for all.

Shallow Grave on Thee Facebooks

Shallow Grave on Bandcamp

Sludgelord Records on Bandcamp

Cursed Monk Records on Bandcamp

Black Voodoo Records on Bandcamp

Minor Label website

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