Land Mammal Post “Psychedelic Hand” Video; Slow Your Mind Out Sept. 24

Posted in Bootleg Theater on August 25th, 2021 by JJ Koczan


There is an ancient Mesopotamian dictum that says, ‘Arguing with catchy songs is the provenance of jerks.’ And I’m nothing if not an adherent to ancient Mesopotamian dictums, thus you’ll not find me debating against  Expert Term Paper Unemployment Ghostwriting is a writing text to order. Texts can be from columns in the media to books. At the same time, the author refuses Land Mammal‘s “Psychedelic Hand” or the accompanying video below. The song leads off the Dallas-based duo’s impending debut album, is unethical, but so is the university system, built on corruption and false promises of employability, that youre working in today. Slow Your Mind, which is set to release Sept. 24 through  Help Writing Rhymess Fundamentals Explained. PhD dissertation help is one of the significant dissertation writing services in the usa. You can be assured your dissertation is going to be completed not just on time but exactly the way its been stated by the professor. Your dissertation is just one of the main assignments you will complete in college. Kozmik Artifactz, and makes a strong statement of intent for the 10-tracker that follows, fostering traditionally-structured heavy rock and roll that touches on modern-style garage doom even as it plays to classic forms.

A guest solo from  How to get Professional Order Resume Online Xbox One Online. There are a few tips to help make the ordering easy. When the paper is chosen, a student must take several steps to obtain thesis writing help: Choose the desired topic. Before paying, you have to select the type of paper and state the topic and length. Describe any details. Familiarize the writer with the basic requirements: the Earthless‘ - Discover main recommendations how to get a plagiarism free themed term paper from a trusted provider Give your essays to the most Isaiah Mitchell doesn’t hurt — he posted a few I think for general use? not sure if this is one of them or what but who’s gonna say no to him anyway? — and neither does the organ from  Do you agree with Custom Motorcycle Business Plans TrustScore? Voice your opinion today and hear what 1 customers have already said. | True Turner, but the core duo of singer  go to link from well-known and trusted custom writing service. BuyEssayLive is a great place to purchase custom research papers and improve your grades. Kinsley August and guitarist  Doctoral study is unique, as such our have been designed for students to be customised to each customer and based on full collaboration; Our PhD writing support service is fully inclusive of background reading and research. We will collaborate with you on an outline to include the key elements UK universities require to form a robust doctoral dissertation ; When you Will Weise ( Top Essay Writing Websites is a premium custom essay writing service with over 20 years of experience providing quality essays by expert writers to satisfied clients. 1-800-204-4681 Sign In Bryan David plays drums and bass and co-produced the record) offer weighted- When it comes to choosing the best company to custom here, write term papers for money or write research papers for money - beware of Blind Melon vibes on “Ring the Bell” and a due sense of strut to go with the slide guitar on “Fuzzy Purple Jacket,” so there’s more happening across  Outline On A Research Paper - Instead of worrying about essay writing get the needed assistance here Essays & researches written by professional writers. Use this Slow Your Mind‘s 35 minutes than hooks. But yes, those too, and that’s just fine thank you very much.

With aland mammal slow your mind style that’s way more SoCal sunshine than Texas roughneck,  Leadership Vs Management Essay, Los Angeles, California: Rated 5 of 5, check 10 Reviews of Writer For Hire, Business Consultant Land Mammal continue the procession of straight-ahead, thoughtfully arranged tracks in the mellower “One Woman to Love” and “Grow,” which presumably rounds out side A, organ — handled by  Buy speech of premium quality from custom speech writing service. Essay Order Points written from scratch by highly qualified online speech writers. Jake Dexter on most of the record, save the opener and “One Woman to Love,” where it’s Getting the best from Nih Research Proposal is the dream of every client, but there are traits to consider in order to achieve this Adam Pickrell — again a factor in the latter cut as College Application Essay Pay Start paper is a result of your work from the specific discipline. One of the most important requirement is a logical structure of exposition. First of all, it means that the topic must be exact, meaningful and argumentative. When you choose the topic, you should lean on your own knowledge. The essay topic should be attractive, no matter what they will be the text. Because the topic August‘s vocals are highlighted. It would come as no surprise that the subsequent title-track (presumed side B leadoff) would be more rocking, and it is, but the vibe remains semi-psychedelic, a little more patient in tempo, and that works just as well to expand Slow Your Mind‘s dynamic.

Ultimately, Weise and August are more clearheaded in their intention than most current psych, which resides either on the jammier or drifitier end of that colorful spectrum, but grounded though their craft may be, they’re still able to bring a sense of atmosphere to “Right From the Start” or the sitar-meets-hard-riffs “Full Ascension” and bluesy “Sing Me a Song,” which follows in the penultimate spot. The shaker that accompanies acoustic closer “Better Days” reinforces the earlier Blind Melon comparison — an inherent compliment to August‘s performance as well, as far as I’m concerned — and wraps the album on a less wistful note than “Sing Me a Song,” but with a movement that feels natural from one track to the next, even if it’s a revisit from the band’s 2019 self-titled EP.

Slow Your Mind is well put together and makes few demands of its listenership. The songs are accessible and immediate but mostly not overbearing, and Land Mammal make their mission clear at the outset and then fulfill that through songwriting, their own playing, and the album’s clarity of production. As a first full-length, it is strikingly cohesive. They sound like a band with plans, and leave one wondering only what those might include going forward.

Video and preorder links, etc., follow here.

Please enjoy:

Land Mammal, “Psychedelic Hand” official video

Pre-order the Debut Album from Land Mammal. Available as a limited edition vinyl record (two different colors) and a digital format:

Vinyl records are courtesy of Kozmik Artifactz (Artifact 129). You can also order directly from the record label:

Full album release on September 24th.

Song written by Kinsley August and Will Weise, Produced by Land Mammal and Bryan David.

Vocals: Kinsley August, Guitar: Will Weise, Drums/bass: Bryan David, Guitar solo: Isaiah Mitchell, Organ: True Turner.

Land Mammal, Slow Your Mind (2021)

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Land Mammal website

Kozmik Artifactz website

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Friday Full-Length: Wo Fat / Egypt, Cyclopean Riffs

Posted in Bootleg Theater on August 20th, 2021 by JJ Koczan

wo fat egypt cyclopean riffs

The secret ingredient is groove. Only it’s not a secret. It’s pretty much right there, the whole time, from the second you press play on Wo Fat‘s near-13-minute opus “Nameless Cults,” and it remains unrelinquished until the entirety of Cyclopean Riffs (review here) is over with the fading jammy strains of Egypt‘s “Ancient Enemy” on side B. Totem Cat Records issued this split in 2013 between the Texan and North Dakotan outfits, and some eight years later it remains a standout in both discographies. And eight years later, I still have no idea what specifically about these riffs makes them cyclopean — Legend of the One-Eyed Riff? — but sometimes a thing sounds cool enough that it doesn’t matter. However many eyes these riffs have — could just as easily be dozens, I’d think — there’s no mistaking two locked-in bands sharing space on a record, hitting it hard with thick tones, big jams and what’s-that-word-again-oh-yeah groove. All the groove.

Even in this age of various split series and releases from Ripple Music‘s The Second Coming of Heavy and Turned to Stone to Heavy Psych SoundsDoom Sessions, and so on, the split is usually an overlooked form when it comes to longer term listening. That is, if two bands are on tour and they put out a seven-inch together to mark the occasion, hey, great. I still have a Pelican/Scissorfight single that I picked up when they played Knitting Factory in Manhattan and it’s a great memory every time I see it. But, series aside, a lot of times bands putting out splits is just about sharing costs for pressing, and there’s always a chance that the two productions will be uneven, or the quality of the material will, or whatever. There’s a lot that can result in a split that gets put on the shelf and left there, either figuratively or literally speaking.

Cyclopean Riffs is the other kind of split. “Nameless Cults” and “Electric Hellhound” finds Wo Fat — guitarist/vocalist Kent Stump (who also recorded), drummer/backing vocalist Michael Walter, bassist Tim Wilson — at a high point. In 2012, the Dallas three-piece offered The Black Code (review here; also discussed here) through Small Stone and it remains a highlight of their catalog as well as of the heavy rock of the last decade more generally. Having perfected their early approach across their first three albums, the fourth was a showcase point from which they’d continue to expand their sound, and the two tracks they brought to the split with Egypt every bit stood up to the LP that preceded them, the former speaking to the more jam-intentioned side of the band while the latter reminded that they’re still songwriters at heart, with a classic energy and an arsenal of hooks. In under 20 minutes, they reaffirm what worked so well on The Black Code, reverse it by putting the longer-form work as the first song on the 12″ (immediate points), and give their listenership another chance to dive in and indulge. The material doesn’t sound like leftovers, mostly I think because it isn’t.

Similarly, Egypt fucking bring it. Based in Fargo, the trio of bassist/vocalist Aaron Esterby, guitarist Neal Stein (who also also recorded), and drummer Chad Heille had issued their debut album, Become the Sun (review here) through Totem Cat and Doomentia Records in January, and thereby offered nearly an hour of call-it-a-slab-worthy heft and nod, offset by an underlying predilection for boogie that came through even the sludgiest of moments. With Esterby‘s rough-edged vocals surrounded by this wash of bobbing-head groove, their two nine-minute inclusions on Cyclopean Riffs — “Blood Temple Hymn” (9:06) and “Ancient Enemy” (9:02) — still ring to me like a bonus round for the record prior, though they’re up to something of their own as well and stand apart in their purpose. With Nolan Brett at Wo Fat‘s Crystal Clear Sound mastering, there’s no dip in production value — Stein engineered and mixed at the Opium Den in Moorhead, Minnesota — and “Blood Temple Hymn” is a dirt-riffer’s daydream, an act of volume worship that’s as much call to prayer as expression of ingrained Sabbathian faith. Fuzz in excelsis. The structure of “Ancient Enemy” is different with its later repeated lines, but neither song is worried about getting mellow when it wants to and riding back to more weighted fare.

The bouncing movement under the solo of “Blood Temple Hymn” is a special moment unto itself, never mind where the release as a whole stands. But the lightning-in-a-bottle truth of Cyclopean Riffs is that it brought two acts together who were hitting their stride and had found their sound at the same time. Their journey there was different, and their sounds were different, but I’m sorry, anyone who wants to debate the quality of what’s on offer here simply hasn’t listened to it. I wouldn’t be surprised if Cyclopean Riffs was in part responsible for the barrage of split series that started a couple years later. Either way, the work speaks for itself, grooves for itself, and needs no prattling from me to do so.

Egypt would go on to put out two full-lengths after Cyclopean Riffs in 2015’s Endless Flight (review here) and 2017’s Cracks and Lines (review here) before calling it quits for what was actually the second time, the band having broken up before their first album (it’s a long story, but that’s pretty much it). Both bands from here expanded their territory to include Europe. Wo Fat had already been in Spring 2013 for the first of several incursions, playing Roadburn (review here) in the Netherlands, Desertfest, etc., but Egypt would make their way abroad in 2015 to herald Endless Flight, touring with Tombstones en route to Freak Valley Festival, and be back the following Spring after the release, for Desertfest 2016 in London and Berlin. Wo Fat‘s two studio LPs since Cyclopean Riffs, 2014’s The Conjuring (review here) and 2016’s Midnight Cometh (review here), found them continuing to refine their approach. I hear a new one’s in the works and has been for a while now. Half a decade since they were last heard from, I’m ready to find out where they might go.

In any case, sometimes you want groove. Cyclopean Riffs continues to provide. Little bit of a different structure to this post, with the artwork on top instead of the side and the two embedded players. All four tracks weren’t on Bandcamp and I didn’t feel like wading into YouTube. Think of clicking play twice like flipping the sides of a record. I’m sure you can handle it.

As always, I hope you enjoy. Thanks for reading.

It’s 6:28AM. The Pecan is upstairs, banging away on his walls. He put a hole in the wall of his closet. His bedroom is pretty barren compared to the living room, which doubles as his main play space, but he’s got toys and stuff up there. I guess banging on the wall is more satisfying. He and The Patient Mrs. patched the one hole he made, and he’s made another since. He’s very much that kind of kid.

His last week of camp is this coming week. He has a week and a half between camp ending and school starting — stop me if I’ve told you this already, which I think I might’ve, but it continues to be on my mind — and I’ve been getting up at 4:30 to accommodate that in terms of my own writing schedule. It’s worked to a fair degree, but I find that by the middle of the day, I’m dead on my feet. Or more likely, dead on the couch. He goes upstairs to take a rest in the afternoon and more often than not I nod off wherever I am at least for 15 or 20 minutes, longer if I can. I’d much rather spend the time reading, or writing for that matter, or doing anything vaguely productive, but yeah.

I took this past Monday off from doing a review in order to finish PostWax liner notes for Mammoth Volume. That may just have to be how those get done this Fall, though frankly I hate the thought. But the internet didn’t end without me, as I’ve always told myself it won’t, so an uncommitted day like that can still be put to decent use. The liner notes turned out okay. Lot of personality in that band. Hopefully my writing wasn’t so dry as to sap all of it. Shrug. I do what I do.

This weekend, that’s get questions out for The Otolith to answer. Plenty to talk about there, since the band is “formed from the ashes of” — a phrase I definitely won’t use in the final draft — SubRosa. Plus the record’s awesome, so I could do worse than listening.

Green Lung video interview is gonna go up on Monday. They talk about playing Bloodstock and their new record, which is killer and out in October. Early bird for a chat, I know, but whatever. There’s nothing like advanced notice.

New Gimme Show today at 5PM. Please listen and thanks if you do:

It’s a good show. Next one will be good too. Already started the playlist, in my head if not actually Google Sheets.

Hey you. Have a great and safe weekend. Thanks for reading. Please hydrate, watch your head, hold your loved ones close and everybody else at a respectable distance, wear your mask when you’re out and about, get your shot if you haven’t, but otherwise, have the fun you can and feel what good you can.


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Monte Luna and Temptress Announce Fall Tour; Playing Heavy Mash & More

Posted in Whathaveyou on August 20th, 2021 by JJ Koczan

Looks like a good run. It’s more than three weeks on the road that Texas heavy troupes Monte Luna and Temptress will spend together, and that’s pretty significant. Frankly, I have to think that if these shows weren’t going to happen, they wouldn’t have been booked in the first place. Of course, like everything now, they’re pending too, but the tour starts at the Obelisk-presented Heavy Mash 2021 in Arlington on Oct. 2 before picking up on Oct. 5 and heading out from there.

What can you say at this point? Go safe? Observe any and all local precautions? You know, if there was ever any doubt that heavy bands do it for love, consider touring in a surging pandemic as evidence. I don’t know, but I doubt Monte Luna or Temptress are getting live-off-this-money guarantees, and it’s a marked risk being undertaken on their part. I’m not saying they shouldn’t tour, just that they’re clearly doing so because they believe in what they do, and that’s worthy of respect.

These are strange times.

From the PR wire:

monte luna temptress tour

Two Tons Of Texas Tone! MONTE LUNA & TEMPTRESS Confirm Fall U.S. Tour Dates

From Texas, by way of Austin and Dallas/Fort Worth, comes two tons of tone as MONTE LUNA and TEMPTRESS have joined together to ramble on with a slew of tour dates this Fall.

MONTE LUNA, a psychedelic sludge metal band from Austin Texas, is James Clarke, Danny Marschner, and Garth Condit. Joining forces in 2015, the heavy trio was largely influenced by dark and experimental bands such as Neurosis, The Melvins, and Eyehategod. With punishing riffs and titanic drumming, Monte Luna has been carving a name for themselves since the debut of their EP ‘The Hound’ (2016). They released their full-length, self-titled album in Fall 2017 to outstanding reviews and followed up with relentless touring in 2018.

The band signed with Italian label Argonauta Records in December 2018 and has since re-released their ‘Monte Luna’ debut on vinyl into the international markets. In 2019, Monte Luna successfully released their second album ‘Drowners Wives’, but, as with countless others, their accompanying U.S./EU. tour was postponed due to the pandemic. The band performed a CVLT Nation-Sponsored Livestream in 2020, with the audio released as a benefit to their local music venue The Lost Well. Monte Luna has slowly begun to return to shows over the past year with the culmination of this Fall 2021 tour with Temptress.

TEMPTRESS is a quartet of misfits thunderously tempting fate to boom their way across Big Texas and beyond at the speed of sound. Kelsey Wilson, Andi Cuba, Erica Pipes, and Christian Wright all decided to get together in mid-January 2019 for a simple afternoon of rocking out with the intent for nothing more than keeping their skills sharpened. They weren’t planning to be a band, it just worked.

In five months, these four seasoned players went from jamming for fun in a practice space to writing and recording some potent heavy metal songs. As Temptress, they began performing them live and in June 2019, they presented their first original songs in the ‘Temptress’ EP release. Temptress is currently putting the finishing touches on their debut full-length album, which is expected for release in early 2022.

Today, the Texas heavy duo of Temptress and Monte Luna share their travel plans in a run of U.S. tour dates for Fall 2021. Starting October 2nd in Arlington, Texas for HEAVY MASH FEST with the likes of Holy Death Trio, Summit, Warlung, Hippie Death Cult, and Rainbows Are Free, the tour then routes up the Eastern seaboard and winds across the Midwest and back down to finish in Tulsa, Oklahoma on Halloween, October 31st.


Oct. 02 – Arlington, TX @ Division Brewing / Growl Records – Heavy Mash Fest
(w/ Holy Death Trio, Summit, Warlung, Hippie Death Cult, Rainbows Are Free)

Oct. 07 – Houston, TX @ 1810 Ojeman
Oct. 08 – Lafayette, LA @ Freetown Boom Boom Room
Oct. 09 – Baton Rouge, LA @ 524
Oct. 10 – New Orleans, LA @ Santos Bar
Oct. 11 – Panama City, FL @ Sharks’
Oct. 13 – Athens, GA @ Flicker Theatre
Oct. 14 – Asheville, NC @ Odditorium
Oct. 15 – Chapel Hill, NC @ The Kraken
Oct. 16 – TBA
Oct. 17 – Baltimore, MD @ The Depot
Oct. 18 – Philadelphia, PA @ Kung Fu Necktie
Oct. 19 – Jewett City, CT @ Altone’s Music Hall
Oct. 20 – Brooklyn, NY @ Gold Sounds
Oct. 21 – Allston, MA @ O’Briens
Oct. 22 – Youngstown, OH @ Westside Bowl
Oct. 23 – Columbus, OH @ Spacebar
Oct. 24 – Indianapolis, IN @ Black Circle Brewing Co.
Oct. 25 – Chicago, IL @ Reggies
Oct. 26 – Cincinnati, OH @ Legends
Oct. 27 – Louisville, KY @ Mag Bar
Oct. 28 – Nashville, TN @ The East Room
Oct. 29 – Birmingham, AL @ The Nick
Oct. 30 – Little Rock, AR @ Kanis Skatepark – Kanis Bash
Oct. 31 – Tulsa, OK @ The Whittier Bar

Temptress, “Heavy Blues”

Monte Luna, ‘Live at Studio E’

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The Angelus Premiere “Hex Born”; Why We Never Die out Aug. 20

Posted in audiObelisk on July 20th, 2021 by JJ Koczan

the angelus

The Angelus make their label debut for Desert Records on Aug. 20 with their third album, Why We Never Die. It is perhaps an unfortunate outing, monetarily, since for anyone not previously familiar with the band’s work, it just might make one inclined to buy everything they’ve done to-date. Heavy Western vibes pervade the Dollars-trilogy-esque bells of the introductory “Honor to Feasts,” and that two-minute preliminary is followed immediately by the bluesier fuzz of “Hex Born,” of a spiritual kinship somehow to the likes of All Them Witches, latter-day Greenleaf, harmony-laced Wovenhand‘s tense rhythm changes, Lord Buffalo and others while working with their own carefully carved identity. They make fitting labelmates to Cortége in mood (also those bells), and though their arrangements have been stripped down somewhat since their string-laced 2011 debut, On a Dark and Barren Land, and the choruses in “Hex Born” and the subsequent “Ode to None” are hooks enough to set a tone of songcraft-focus for everything that follows, the Dallas trio led by guitarist/vocalist Emil Rapstine with Justin Evans on drums/backing vocals and Justin Ward on bass, are not at all without subtlety either in presentation or aesthetic. Earthy psychedelia pervades as Why We Never Die moves deeper into its ultra-manageable 34-minute procession, but The Angelus never grow so ethereal as to forget to bring their audience along.

“Ode to None” in particular has the feeling of a landmark in its position backing “Honor to Feasts” and “Hex Born” with a longer runtime and a more patient feel. The following “Of Ashen Air” is suitably floating in its midsection vocals and brings fluid forward motionThe Angelus Why We Never Die in the drums, less lush than the song before it, but flowing easily enough from one to the other. Momentum is already on The Angelus‘ side as the first half of Why We Never Die careens ahead, never really bursting out with energy or pushing over the top, but not at all staid in its delivery either. Both “Of Ashen Air” and the more shimmer-and-crash-prone heavy post-rock of “When the Hour is Right” hold to the central atmosphere, which is not necessarily paramount — that’s songwriting and performance, as regards priorities — but always there in terms of the backdrop on which the action of the songs takes place; a stretched out Western landscape, breeze blown and looming, maybe threatening. The quicker “Another Kind” sneaks in post-industrial electronics ahead of its satisfyingly thickened payoff, leading into the seven-minute title-track, the arrival of which feels no less momentous than that of “There Will Be No Peace” on the 2017 sophomore LP of the same name, despite the fact that the intro didn’t reference it specifically. Harmonies and instrumental dynamics alike serve as strengths alongside old-timey phrasing in the lyrics, as heard when the instruments drop out behind the vocals after four minutes in, the melody quickly setting up the building triumph that follows. This is considered, progressive movement in craft, but the mood behind it feels real.

Along with a looped-seeming fuzzy guitar line that borders on techno, the outro “Hustle the Sluggard” provides closing Morricone-ism to bookend that of “Honor to Feasts,” right down to a moment of military snare drum, as the album carries to its finish. It is a last reminder of the coherence at work in The Angelus‘ material, pushing forward even as they move farther out from the place they were as a unit. This is bolstered by a smoothness of the production and a balance of mix brings perfect emphasis on the shifting balance of melody and heft throughout. Why We Never Die is impeccable in its realization, but it does not come across as forced even in its most nuanced reaches.

On the player below, you can stream the premiere of “Hex Born.” Rapstine, also of Dead to a Dying World, offers some comment on the track, and more PR wire info follows.

Please enjoy:

Emil Rapstine on “Hex Born”:

Death and rock & roll, rock & roll and death. Hex Born was one of the first songs I started working on for “Why We Never Die” and the first I finished the lyrics for. Those lyrics would set the theme and tone for the rest of the record.

“The curse is spoken, cast down to me.
The spell remains unbroken, calling out forever unto thee.”

The curse mentioned is one shared by all humanity and one handed down from generation to generation. A curse to die. The unbroken spell is the music we summon up, an eternal current we connect to to find meaning, and one that will ring out long after we are gone.

“Come lay your head beneath this heavy stone, come carve your given name.
We’ll save you a space, where we’re dreaming no more, with the waking and the slain”

As we leave this world we mark our place with headstones and engravings for others to remember us by. Music can also serve this purpose, creating a record and space for the world to remember our hopes and desires and in a way letting us live forever.

In a dim world, with death our only guarantee, The Angelus returns with their third full-length offering ‘Why We Never Die’. An album full of songs both powerfully engulfing and mesmerizingly intimate, the album’s title alludes to one’s constant rebirth through the creation of music and to the band’s hope to transcend the impending eventuality of death when all that remains is the music, and art becomes artifact. The cover art, featuring a highly stylized rendering of a white peacock resembling the traditional description of the phoenix, reinforces the hope that rebirth through creation allows us to live forever in the material world. The Dallas, Texas trio consists of Emil Rapstine (Dead To A Dying World) on guitar and vocals, accompanied by his stalwart co-conspirator Justin Evans on drums and backing vocals, and their newest accomplice Justin Ward on bass. The album, saturated with plaintive, intoning, and harmonizing vocals, despairing lyrics and darkly droning guitar, draws from post-rock, doom, folk, and dark psychedelic rock. The pleading voices and resounding chords here do not decay because they belong to any ears open to hear them as they reverberate for eternity.

Honor To Feasts
Hex Born
Ode To None
Of Ashen Air
When The Hour Is Right
Another Kind
Why We Never Die
Hustle The Sluggard

“Why We Never Die” was recorded by Alex Bhore (formerly of This Will Destroy You) in Dallas, TX at Elmwood Recording, which belongs to Grammy Award winning producer John Congleton (SWANS, Chelsea Wolfe, St. Vincent, Angel Olsen). The album was mastered by Sarah Register (Protomartyr, Horse Lords, Lower Dens).

The Angelus: Emil Rapstine (guitar, vocals), Justin Evans (drums, vocals), and Justin Ward (bass)

The Angelus on Facebook

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The Angelus website

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Desert Records on Instagram

Desert Records on Bandcamp

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Krigsgrav to Release The Sundering Aug. 6 on Wise Blood Records

Posted in Whathaveyou on June 9th, 2021 by JJ Koczan

I’m not always a huge black metal guy, but every now and then you have the kind of day that makes you want to rip your own throat out and sometimes a record comes along that hits just that right spot of aural catharsis. Hello, The Sundering. The impending sixth long-player by Texas-based trio Krigsgrav is set to release Aug. 6 through Wise Blood Records and uses charred sounds as a foundation from which to spread its intense, driving and in many cases destructive gospel. Acoustic stretches and slower passages ensure consideration beyond genre-stamp-and-move-on, guitar wizardry ensures a sense of soaring above the devastation only to plunge back into it with the next riff, and the theme of a hurricane hitting Galveston over a century ago is well represented by the torrent of their execution. Madness ensues.

Nothing public from it yet, but their Bandcamp is a trove for the brave. Album info from the PR wire:

krigsgrav the sundering

Wise Blood Records presents KRIGSGRAV

Texan atmospheric black metal trio Krigsgrav have been an ever-evolving force since forming in 2004. Originating as a two-man band led by David Sikora, the band transitioned into a full four-piece unit in 2011, with frequent conspirator Justin Coleman being a mainstay ever since. The Sundering is the first album featuring newly recruited lead guitarist Cody Daniels (Giant of the Mountain), and the results inspire awe. The Sundering is Krigsgrav’s sixth LP, and it’s a masterpiece of slicing riffs and apocalyptic gloom. The album will mesmerize fans of rustic darkness (Agalloch and Woods of Ypres), melodic death/doom (Katatonia and My Dying Bride), and ’90s Swedish black metal (Dissection and Dawn). The Sundering will roar out of the storm clouds on August 6th from Wise Blood Records on CD, Cassette, and digital formats.

“Krigsgrav represents the bleakness through which we view this world and how we interpret those emotions musically”. explains vocalist/guitarist Justin Coleman. “It is our version of spirituality, I guess you could say. Thematically, Krigsgrav is based around beauty in darkness, our stoic internal reflection and just the smallest amount of hope that can still be found, even at life’s darkest moments.”

The Sundering is an exceptionally dark and downcast record that considers black metal a canvas instead of a genre prison. Krigsgrav channel the rustic atmospheres of Agalloch and Woods of Ypres while the somber moods of Katatonia and My Dying Bride seep into each composition. But the album also brings a storm of riffs with its dark-cloud ambience. Think the Swedish greats like Dissection and Dawn playing as cataclysmic winds come with nightfall.

In 1900, a devastating hurricane hit the thriving coastal city of Galveston in Krigsgrav’s home state of Texas. It was the deadliest storm in the young history of the United States, with approximately 8,000 fatalities. While the city was resilient in the face of so much carnage, it was a reminder of Mother Nature’s destructive power. The Sundering was partially inspired by that tragedy, and feels timely in an age where nature has humbled humanity yet again.

“This album is based around the dread of a natural event occurring and having no control,” Coleman shares, “but trying to find the means to pull yourself together to get through it all. It is about personal perseverance in the face of absolute crushing odds that should not allow it. Our lyrical content is almost consistently about our place in this world, and how finite and fragile our existence is.”

The Sundering will commence with a track premiere and pre-order launch on the summer solstice, June 21st. It will then be released on CD, Cassette, and digitally on August 6th through Wise Blood Records. Listen to one of the year’s best black metal albums and face the darkness with Krigsgrav.

Krigsgrav is:
David Sikora: Drums, Bass, Backing Clean Vocals
Justin Coleman: Vocals, Rhythm Guitars, Ambient Noise
Cody Daniels: Lead Guitars

Krigsgrav, “Isolation Hell”

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Wo Fat Announce New LP and First Three Album Reissues

Posted in Whathaveyou on November 3rd, 2020 by JJ Koczan

Texas fuzz forerunners Wo Fat made their debut on Ripple Music with Midnight Cometh (review here), in 2016, following it with a rework of 2015’s Live Juju at Freak Valley (review here) as Live Juju at Freak Valley… and Beyond! in 2017. Since then the band has focused on playing live which… well. Okay.

You’ll note the self-titled Funkadelic reference in their bio info below. That’s no accident, as the band have always had that edge going back to their beginnings. And if you’re newer to their work, you’ll get the chance to find out for yourself as Ripple will oversee reissues of Wo Fat‘s first three records in addition to releasing their next full-length next Fall. Really guys, no need to wait. The sooner the better. Unless, you know, you want to promote it on a stage or anything.

It’s good news one way or the other, so have at it:

wo fat

Texas psychedelic doom veterans WO FAT announce new album on Ripple Music; first three records to be available for the first time in the US!

Chief purveyors of Texas-sized psychedelic doom WO FAT once again team up with Ripple Music for the upcoming release of their awaited seventh studio album — and followup to 2017’s acclaimed ‘Midnight Cometh’ — next year. Ripple Music is also set to reissue the trio’s first three albums in the coming months, making these long out-of-print classics available to North American fans for the very first time.

Over the course of a sonic odyssey which spans six studio albums, one live recording and two splits, Texas’ very own psychedelic doom mongers WO FAT have stayed true to the deep, dark blues that wail from within and have continually infused their riffs with primal grooves. Having secured their legendary status within the stoner rock community by appearing on much coveted bills at Roadburn, Desertfest, Freak Valley Festival, Hellfest and Psycho Las Vegas, their latest release and collaboration with Ripple Music, ‘Live Juju: Freak Valley’ seemed to be the perfect follow-up to their critically acclaimed 2017 album ‘Midnight Cometh’.

While WO FAT have just confirmed the release of their seventh full-length in the fall of 2021, Ripple Music will repress the band’s long out-of-print Nasoni Records albums from days past, starting with ‘Psychedelonaut’ (2009) in the spring of 2021, followed by ‘The Gathering Dark’ (2006) and ‘Noche Del Chupacabra’ (2011) in 2022. All upcoming reissues will be available on black vinyl and limited edition colored vinyl with new liner notes, for the first time ever to North American fans.

With voodoo drums beating and molten blues-tempered waves of guitar riffery, they are carrying on the WO FAT tradition of keeping things heavy and fuzzy, but also groovy, which, all too often, is a missing element in much modern heavy music. You can hear the echoes of field hollers and that oft forgotten “way back yonder funk” that fuel the fire that burns deep in the swamp at the witching hour. You can feel the rush of living on the edge and glimpse a phantasmal Coltrane in your peripheral vision as they careen through improvisational jams. And all this with an unrelenting metal heaviness underscoring apocalyptic lyrics that conjure visions of the end of an age, and black midnight bargains and the consequences reaped. While Wo Fat may be speaking a familiar language to the apostles of the riff, there isn’t anyone that sounds quite like them.

WO FAT is:
Kent Stump – guitar, vocals
Michael Walter – drums
Zack Busby – bass

Wo Fat, Midnight Cometh (2016)

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Holy Roller Baby Set Oct. 9 Release for Debut Album Frenzy

Posted in Whathaveyou on August 27th, 2020 by JJ Koczan

With funky, soulful riffs, rampant melodies, hooky songcraft and markedly smooth production, Holy Roller Baby sound like a band with some measure of experience behind them on their upcoming debut album, Frenzy. As well they should since the Texas-based band (Austin and Dallas) features three-fourths of the defunct Heavy Glow. Jared Mullins, Nick Snyder and Patrick Smith from that band join up with drummer Luke Callaway — also in Snyder‘s bluesy solo-ish project, Nick Snyder & The Real Deal, which released a debut EP in March — and while there remains a strong current of Josh Homme-style melody in Mullins‘ voice, Holy Roller Baby feel immediately less restrained by heavy rock convention than the prior outfit. Eschewing psychedelic elements for an earthier feel, a cut like “Blue Devin Inn” finds its way into the ethereal nonetheless, likewise the closer “Mantra,” and the starts and stops of “Id Vicious” and the strut of “Ravings at Your Window” expand on the core desert-hued familiarity one might hear in the opener “Leper Blues/Spread Your Love Around” and a song like “Eve.” It is an encouraging debut, built with a clear intention toward reaching out to an audience beyond the heavy rock underground and offering everyone a glimpse at what they’ve been missing.

Holy Roller Baby issued “Leper Blues” a few months back as a kind of sneak preview single and there’s a video below that’s ready for digging in. To guide you on your way, here’s the album announcement from the PR wire:

holy roller baby frenzy

Louder than the sounds of rowdy groups and leaders in authority are the ever-so-honest thoughts of those who view life from the corner. Described as “rock that rolls with primitive swagger,” Holy Roller Baby’s upcoming album release offers rock lovers the intensity of a rock album with the heart of a soul record. Seeking to illuminate the human experience without being preachy or judgemental, this record is not about taking sides. By rallying listeners to simply figure out complex things together, all are invited to the “Frenzy” on October 9, 2020.

“A lot of cool kids make music, and I don’t really fit into that world,” says singer/songwriter Jared Mullins, candidly. “I don’t know what it’s like to be the cool kid.”

Written at a time where division may seem prevalent, Holy Roller Baby’s unfiltered lyrics throughout “Frenzy” offer listeners a fresh look at what it means to be human. All tracks were written by Jared Mullins using simple “rudimentary drum loops and very basic guitar parts” before they were presented to the band. Notably, Ian Davenport (Demob Happy, Band of Skulls, Radiohead) responded to their demos with great enthusiasm, inviting the band to record the full-length record at Courtyard Studios in Oxfordshire, England, owned by Radiohead’s management company; doors opened for Holy Roller Baby to open for Band of Skulls and Demob Happy during their US tour (September 9th). The band partnered with Chalupa Production in Dallas, TX to create music videos for this album, one of which (“Ravings At Your Window, released June 14th, 2019) hit 100K+ views within about three months of its debut.

Complex in its simplicity, “Frenzy” signifies a turning point for Holy Roller Baby, once subject to descriptions that didn’t match who they know they are, deep down. By fusing the extremes of songs that are heavy (“Leper Blues” and “Eve”) with a soulful-Motown feel (“Your Body Will Sing”), the result is an unboxed sound that beams with confidence. With pure intentionality, the band’s ability to articulate what they’re about has come to inform everything they do. From recklessly-fun rhythms to their edgy lyrics, listeners will find it nearly impossible not to relate.

As Jared put it plainly, “I don’t f***ing get life yet. I feel like I should, but I don’t.”

In many ways, Holy Roller Baby’s music marks an era where it’s okay not to have it all figured out. To view life from the corner alongside them, join the “Frenzy.”

Holy Roller Baby are:
Jared Mullins – Lead Guitars, Vocals, Rhodes
Nick Snyder – Lead Guitars, Slide Guitar
Patrick Smith – Bass, GoPros
Luke Callaway – Drums

Holy Roller Baby, “Leper Blues” official video

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Friday Full-Length: True Widow, Circumambulation

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

Yesterday was miserable. Wretched. Front to back. I wanted nothing more than for the day to end. I slept late, until about 6:30AM, took a two-hour nap in the afternoon — same as The Pecan — and went to bed around 8:30PM, and it was still too much day, by far. I wished I could’ve run through the thing at 1.5x speed, like you can do on YouTube. Just get it over with.

Today will be better. Or it won’t. I don’t know. It’s kind of out of my hands these days, or at least it feels that way.

I asked on the Twitterer a little bit ago where to start with True Widow, and 2013’s Circumambulation, above, was the clear pick. I’ll admit I haven’t dug in as deep as I might otherwise like to do before I write about something — though if I was to put a number to it I’d say I’ve made it through listening five or six times, and certainly I’ve reviewed records on less, if poorly — but even superficially it’s clear enough to understand why. The Austin, Texas-based three-piece’s third album came out in 2013 (right time) on Relapse Records (right place) with a murky sound that has helped define heavy/doomgaze in the years since. I read somewhere someone comparing them to Dead Meadow — their bio, maybe? I don’t know — and can’t get that out of my head, though the mood throughout Circumambulation is plainly darker. And in addition to the drums of Timothy “Slim Texas” Starks keeping things rolling, the well placed lead vocal tradeoffs between bassist Nicole Estill and guitarist Dan Phillips — as on “S:H:S” and “Fourth Teeth” — are an asset toward staving off ‘gaze monotony that, frankly, even Dead Meadow don’t have.

But it’s mellow, and it’s melancholy, and it has tonal presence, and for a lot of people into the heavier end of stuff finding it due to the exposure from releasing on Relapse — their first two records, a 2008 self-titled and 2013’s As High as the Highest Heavens and From the Center to the Circumference of the Earth were on End Sounds and Kemado, respectively — it’s easy enough to understand why it would make an impression. I did write about it in 2013, but it was only basically to note that I hadn’t heard it. What can I say? I suck at this. My head was elsewhere that year.

I wonder if I’ll say that about 2020 seven years from now. “Oh that? That was the plague year. No wonder I missed that record.”

Haven’t been sleeping, or sleeping well. I was up just about every hour last night, and I’ve been taking ZzzQuil, which is NyQuil’s sleep aid that’s not a cough suppressant. The Patient Mrs. has also been up, and has been sharing her anxiety dreams with me. She remembers more than I do. Yesterday morning, before I went upstairs to get The Pecan and received the first of the day’s many toddler-faceslaps for the effort, she told me about one in which we were running to find safety in a kind of posttrue widow circumambulation-apocalyptic dystopian ethnofascist state — so now, basically — while being chased I guess by republicans who were maybe zombies but were definitely coming for us probably because she read the wrong books and one time on the internet I said Bernie Sanders wasn’t liberal enough, and we had a rag-tag crew with us but no kid I guess so at least it was probably quiet. The way she described it was somewhere between National Lampoon’s Vacation and The Walking Dead.

For what it’s worth, last night I dreamt I was at SXSW but SXSW was also Roadburn and I was hanging out with Jarvis from Scissorfight (random; he’s a nice guy in the times we’ve spoken, but I don’t know him that well) talking about old sludge bands and then I went and saw Usher and I was the only white person there but Usher was good and it wasn’t too crowded so that’s a win. There were no zombies or republicans.

I yelled at a couple cops outside Wegman’s the other day for not wearing masks. It was a minor thrill.

I’m afraid.

I don’t even know of what anymore though. Getting sick and dying in horrible pain? Fine. Bring it.

I’ve kept The Patient Mrs. on pretty severe lockdown. She doesn’t go in places or anything like that. My family is on pretty severe lockdown, as overseen by my sister. And The Pecan is young enough that I’m not worried about him getting it — I think of the 73,000-plus US deaths, one has been a child under three. Something like that. In any case, I’m way more concerned he’ll undo the locks on his window and climb out saying to himself “I can do it” before he plummets from the second floor.

When I think about it, our position could be far worse, but these are hard days and not at all given to logical reasoning.

We’re ramping up rhetoric about getting a dog. I don’t want one. I still miss my little dog Dio and any dog we get is going to pale in comparison to She Who Was The Best Dog. But on the other hand it might still be months before The Pecan can be around other kids and he needs something that isn’t his parents to spend his time with. So, dog. Ugh. Have fun, kid. Here’s a thing you can watch get old and die. That’s what’s going to happen to daddy!

Last night for dinner I made a salad with baby spinach, some leftover roasted chicken breast cut up and heated on the stove with oil, pepper and fresh-grated parm reg cheese, peppers, and toasted pine nuts. The internet is out here — need a new router, maybe, I don’t know; that’s today’s problem to solve (yesterday it was removing an old fridge from the kitchen, which I did in satisfyingly dudely fashion) — so after putting The Pecan to bed The Patient Mrs. and I ate at the table instead of on the couch streaming Star Trek, as is our wont, and then we moved into the living room to read for a bit and have dessert. She streamed an Indigo Girls live-in-the-living-room thing and was into that and I read and ate too much dessert, as I will do these days. Gotta have some reason to hate myself when I go to bed, apart from, you know, the rest of it.

But hey, the True Widow record is pretty good and I’m glad to hear something I whiffed on seven years ago. They followed it up with Avvolgere in 2016 so maybe I’ll check that out next and when the next one comes along not be such a dope. See? Learning is a lifelong process.

It’s just past 6:30AM now and I can hear the kid banging on the walls upstairs, so I should go grab him. Great and safe weekend. Wash your hands and all that shit.

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