Quarterly Review: Steve Von Till, Cyttorak, Lambda, Dee Calhoun, Turtle Skull, Diuna, Tomorrow’s Rain, Mother Eel, Umbilichaos, Radar Men From the Moon

Posted in Reviews on October 5th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Oh hi there. It’s Quarterly Review time again, and you know what that means. 50 records between now and Friday — and I may or may not extend it through next Monday as well; I think I have enough of a backlog at this point to do so. It’s really just a question of how destroyed I am by writing about 10 different records every day this week. If past is prologue, that’s fairly well destroyed. But I’ve yet to do a Quarterly Review and regret it when it’s over, and like the last one, this roundup of 50 albums is pretty well curated, so it might even be fun to go through. There’s a thought. In any case, as always, I hope you find something you enjoy, and thank you for reading if you do or as much as you do.

Quarterly Review #1-10:

Steve Von Till, No Wilderness Deep Enough

steve von till no wilderness deep enough

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Neurot Recordings on Bandcamp

 

Cyttorak, Simultaneous Invocation of Apocalyptic Harbingers

Cyttorak Simultaneous Invocation of Apocalyptic Harbingers

Take a breath before you hit play only to have it punched right out from your solar plexus by the brutalist deathsludge Type in: "My Hrw Homework Help" - and well find you the best writer, awake to fix the problem. Any Subject, Any Field. Stop spreading yourself thin on subjects you are not too good at get top-shelf, custom papers done by true experts in any field. Fits the Format . Be it an academic or business paper, your writer will make sure it meets any odd requirement set by your educational institution. Cyttorak cleverly call “slowerviolence.” Dominated by low end and growls, screams, and shouts, the lumbering onslaught is the second standalone EP for the three-piece who hail from scenic Pawtucket, Rhode Island (former home of the PawSox), and throughout its six-track run, the unit conjure an unyieldingly punishing tonal morass set to aggressive purpose. That they take their name from the Marvel Universe character who controls X-Men villain Juggernaut should not be taken as coincidence, since their sound indeed seems intended to put its head down and smash through walls and/or anything else that might be in its path in pursuit of its quarry. With styles of apa papers http://ris.schoeningen.de/?divorce-rate-cause-and-effect-essay need help with narrative essay my pet dog essay in english Conan-esque lyrical minimalism, the songs nonetheless give clues to their origins — “Royal Shokan Dismemberment” refers to Goro from Mortal Kombat, and finale “Domination Lord of Coldharbour” to Skyrim (which I still regret not playing) — but if you consider comics or video games to be lighter fare, first off, you’re working with an outdated mentality, and second, Cyttorak would like a bit of your time to smother you with volume and ferocity. They have a new split out as well, both on tape.

Cyttorak on Thee Facebooks

Tor Johnson Records website

 

Lambda, Heliopolis

lambda heliopolis

Also signified by the Greek letter from which they take their moniker, Czech four-piece Purchase term papers online, Critical Thinking Reading And Writing A Brief Guide To Argument cheap, scientific paper writing service | Complete set of services for students of all levels Lambda represent a new age of progressive heavy post-rock. Influences from Russian Circles aren’t necessarily surprising to find coursing through the instrumental debut full-length, Our business model is built around the phrase Help Write Term Papers as its mostly what our customers ask us to do. In any case, we have well-trained writers who can tackle all types of projects. Apart from all these writing services, we can also guide you throughout the education period as you learn paper writing. All you have to do is join our amazing paper writing community! Here, we'll do Heliopolis, but there are shades of Elder as well behind the more driving riffs and underlying swing of “Space Express,” which also featured on the band’s 2015 EP of the same name. The seven-minute “El Sonido Nuevo” did likewise, but older material or newer, the album’s nine-song procession moves toward its culminating title-track through the grace of “Odysea” and the intertwining psychedelic guitars of “Milkyway Phaseshifter” with an overarching atmosphere of the journey to the city of the sun being undertaken. And when they get there, at the closer, there’s an initial sense of peace that gives way to some of the most directly heavy push Heliopolis has to offer. Payoff, then. So be it. Purposeful and somewhat cerebral in its execution, the DIY debut brings depth and space together to immersive effect.

Lambda on Thee Facebooks

Lambda on Bandcamp

 

Dee Calhoun, Godless

dee calhoun godless

Following his 2016 debut, Rotgut (review here) and 2018’s Go to the Devil (review here), Godless is the third full-length from former Iron Man and current Spiral Grave frontman Dee Calhoun, and its considerable 63-minute runtime finds him working in multiple directions while keeping his underlying roots in acoustic-based heavy metal. Certainly “To My Boy” — and Rob Calhoun has appeared on his father’s releases before as well — has its basis in familial expression, but its pairing with “Spite Fuck” is somewhat curious. Meanwhile, “Hornswoggled” cleverly samples George W. Bush with a laugh track, and “Here Under Protest,” “The Greater Evil,” “Ebenezer” and “No Justice” seem to take a worldly view as well. Meanwhile again, “Godless,” “The Day Salvation Went Away” and “Prudes, Puritanicals and Puddles of Piss” make their perspective nothing if not plain for the listener, and the album ends with the two-minute kazoo-laced gag track “Here Comes the Bride: A Tale From Backwater.” So perhaps scattershot, but Godless is nonetheless Calhoun‘s most effective outing yet in terms of arrangements and craft, and shows him digging further into the singer-songwriter form than he has up to now, sounding more comfortable and confident in the process.

Dee Calhoun on Thee Facebooks

Argonauta Records website

 

Turtle Skull, Monoliths

Turtle Skull Monoliths

Melodic vocal lines weave together and float over alternately weighted and likewise ethereal guitars on Turtle Skull‘s second album, Monoliths. The percussion-inclusive (tambourine, congas, rain stick, etc.) Sydney-based heavy psychedelic outfit create an immersive wash that makes the eight-song/55-minute long-player consuming for the duration, and while there are moments of clarity to be found throughout — the steady snare taps of “Why Do You Ask?” for example — but the vast bulk of the LP is given to the overarching flow, which finds progressive/space-rock footing in the 11-plus minutes of finale “The Clock Strikes Forever” and is irresistibly consuming on the drifting wash of “Rabbit” or the lysergic grunge blowout of “Who Cares What You Think?,” which gives way to the choral drone of “Halcyon” gorgeously en route through the record’s back half. It’s not the highest profile heavy psych release of 2020, but neither is it to be overlooked for the languid stretch of “Leaves” at the outset or the fuzz-drenched roll in the penultimate “Apple of Your Eye.”

Turtle Skull on Thee Facebooks

Art as Catharsis on Bandcamp

Kozmik Artifactz website

 

Diuna, Golem

diuna golem

In some ways, the dichotomy of Diuna‘s 2019 sophomore full-length, Golem, is set by its first two tracks, the 24-second intro “Menu” and the seven-minute “Jarmark Cudów” that follows, each longer song throughout is prefaced by an introduction or interlude, varying in degrees of experimentation. That, however, doesn’t cover the outsider vibes the Polish trio bring to bear in those longer songs themselves, be it “Jarmark Cudów” devolving into a post-Life of Agony noise rock roll, or the thrust in “Frank Herbert” cut into starts and stops and shouting madness. Heavy rock, noise, sludge, post-this-or-that, it doesn’t matter by the end of the 12-track/44-minute release, because Diuna establish such firm control over the proceedings and make so clear the challenge to the listener to keep up that it’s only fun to try. It might take a couple listens to sink in, but the more attention one gives Golem, the more one is going to be rewarded in the end, and I don’t just mean in the off-kilter fuckery of closer “Pan Jezus Idzie Do Wojska.”

Diuna on Thee Facebooks

Diuna on Bandcamp

 

Tomorrow’s Rain, Hollow

tomorrows rain hollow

“Ambitious” doesn’t begin to cover it. With eight songs (plus a bonus track) and 11 listed guest musicians, the debut full-length, Hollow, from Tel Aviv-based death-doomers Tomorrow’s Rain seems to be setting its own standard in that regard. And quite a list it is, with the likes of Aaron Stainthorpe of My Dying Bride, Greg Mackintosh of Paradise Lost, Fernando Ribeiro of Moonspell, Mikko Kotamaki of Swallow the Sun, and so on, it is a who’s-who of melodic/gothic death-doom and the album lives up to the occasion in terms of the instrumental drama it presents. Some appear on one track, some on multiple tracks — Ribeiro and Kotamaki both feature on “Misery Rain” — and despite the constant shifts in personnel with only one of the eight tracks completely without an outside contributor, the core six-piece of Tomorrow’s Rain are still able to make an impression of their own that is bolstered and not necessarily overwhelmed by the extravagant company being kept throughout.

Tomorrow’s Rain on Thee Facebooks

AOP Records website

 

Mother Eel, Svalbard

mother eel svalbard

Mother Eel‘s take on sludge isn’t so much crushing as it is caustic. They’re plenty heavy, but their punishment isn’t just meted out through tonal weight being brought down on your head. It’s the noise. It’s the blown-out screams. It’s the harshness of the atmosphere in which the entirety of their debut album, Svalbard, resides. Five tracks, 33 minutes, zero forgiveness. One might be tempted to think of songs like “Erection of Pain” as nihilistic fuckall, but that seems incorrect. Nah, they mean it. Fuckall, yeah. But fuckall as ethos. Fuckall manifest. So it goes through “Alpha Woman” and “Listen to the Elderly for They Have Much to Teach,” which ends in a Primitive Man-ish static assault, and the lumbering finish “Not My Shade,” which assures that what began on “Sucking to Gain” half an hour earlier ends on the same anti-note: a disaffected malevolence writ into sheer sonic unkindness. There is little letup, even in the quiet introductions or transitions, so if you’re looking for mercy, don’t bother.

Mother Eel on Thee Facebooks

Mother Eel on Redbubble

 

Umbilichaos, Filled by Empty Spaces

Umbilichaos Filled by Empty Spaces

The four-song/39-minute atmospheric sludge long-player Filled by Empty Spaces is listed by Brazilian solo outfit Umbilichaos as being the third part of, “the Tetralogy of Loneliness.” If that’s the emotion being expressed in the noise-metal post-Godflesh chug-and-shout of “Filled by Empty Spaces Pt. 02,” then it is loneliness viscerally presented by founding principal and multi-instrumentalist Anna C. Chaos. The feel throughout the early going of the release is plodding and agonized in kind, but in “Filled by Empty Spaces Pt. 01” and “Filled by Empty Spaces Pt. 03” there is some element of grim, crusted-over psychedelia happening alongside the outright dirge-ism, though the latter ultimately wins out in the four-minute instrumental capper “Disintegration.” One way or the other, Chaos makes her point through raw tonality and overarching intensity of purpose, the compositions coming across simultaneously unhinged and dangerously under control. There are many kinds of heavy. Filled by Empty Spaces is a whole assortment of them.

Umbilichaos on Thee Facebooks

Sinewave website

 

Radar Men From the Moon, The Bestial Light

radar men from the moon the bestial light

Fueled by avant grunge/noise impulsion, Radar Men From the Moon‘s latest foray to Planet Whothefuckknows arrives in the eight-song/41-minute The Bestial Light, a record alternately engrossing and off-putting, that does active harm when the sounds-like-it’s-skipping intro to “Piss Christ” comes on and then subsequently mellows out with psych-sax like they didn’t just decide to call the song “Sacred Cunt of the Universe” or something. Riffs, electronics, the kind of weirdness that’s too self-aware not to be progressive, Radar Men From the Moon take the foundation of experimentation set by Astrosoniq and mutate it via Swans into something unrecognizable by genre and unwilling to compromise its own direction. And no, by the time “Levelling” comes on to round out, there is no peace to be found, though perhaps a twisted kind of joy at the sheer postmodernism. They should score ballets with this stuff. No one would go, but three centuries from now, they’d be worshiped as gods. Chance of that anyway, I suppose.

Radar Men From the Moon on Thee Facebooks

Fuzz Club Records on Bandcamp

 

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Dee Calhoun Posts “No Justice” Video; Godless Preorder Available

Posted in Whathaveyou on June 9th, 2020 by JJ Koczan

Imagine that when Dee Calhoun wrote the track “No Justice” he was talking about one incident. That was the world in the before-times, the long-long ago. And I’m not noting that to downplay the tragic loss what was the shooting of Rev. Jim Forrester of Foghound, Sixty Watt Shaman — the community around Maryland doom is still reeling from that, and rightly so — but these days one could easily look around and say, “Yeah, ‘No Justice,’ but could you be more specific?”

Calhoun‘s new record, Godless, is set to arrive on July 10 in a continued partnership with Argonauta Records. Preorders are up and for those seeking something of a dark acousti-metal flavor, I know of few parties who might be able to deliver with the boom Dee has in his voice and the passion for what he does. My two cents.

Info and video came down the PR wire:

dee calhoun

DEE CALHOUN, voice of iconic IRON MAN & SPIRAL GRAVE, releases system- critical video of “No Justice”!

Brand new album, Godless, coming out July 10th on Argonauta Records!

July 10th, 2020 will see Dee Calhoun, voice of iconic doom titans, IRON MAN, and SPIRAL GRAVE release his upcoming, third solo- album titled Godless. The haunting and dark, entirely acoustic affair, was recorded in Dee’s home studio, The DustBuster in Walkersville, MD. The mastering was done by Doug Benson in nearby Thurmont MD at the Commodore Recording Studios. Dee handled vocals, guitars and other various instruments, while Dee’s Iron Man and Spiral Grave bandmate, Louis Strachan, provided the bass tracks. Dee’s son Robert, “Little ‘Houn” Calhoun, appears on the record with percussion and backing vocals performances.

Today, Dee is presenting us a very special song taken from Godless, to the touching and system- critical track “No Justice”. “I wrote this song for the great Rev. Jim Forrester, who was bassist for Foghound and beloved by the Maryland Doom scene.“ Dee explains. “It was written on the day his murderer was acquitted, and all of us who loved Jim again felt betrayed by the system in this country. In recent days, that idea has taken on a much bigger scope. As we now sit and watch the response to injustice, we can only hope that steps are being taken to assure that there will be a change, and that betrayal, heartbreak, and death from this broken system can be eliminated.”

Dee Calhoun began his musical journey nearly 40 years ago, and first appeared on record in the late 1980s. Aside being the vocalist of Spiral Grave, he was the singer and lyricist for Doom icons Iron Man from 2010 until the passing of founding member Alfred Morris III in 2018, appearing on two of their EPs and the critically acclaimed 2013 LP South of the Earth. Calhoun released two critically acclaimed solo-albums to date, his new album Godless will be available on July 10th via Argonauta Records. The pre-sale is now available at THIS LOCATION.

‘Godless’ album lineup:
Dee Calhoun: voice, guitars, keyboards, harmonica, ukulele, kazoo
Louis Strachan: bass guitar
Robert Calhoun: backing vocals, percussion

additional performers:
Meghan Randall: flute solo on “The Day Salvation Went Away”
Alfred Morris III: guitar effects on “Prudes, Puritanicals, Puddles of Piss”

www.screamingmaddee.com
https://www.facebook.com/screamingmaddee/
www.argonautarecords.com

Dee Calhoun, “No Justice” official video

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Dee Calhoun to Release Godless July 10 on Argonauta; Teaser Posted

Posted in Whathaveyou on May 14th, 2020 by JJ Koczan

When current Spiral Grave and former Iron Man singer Dee Calhoun checked in at the start of April for a Days of Rona feature, he curiously didn’t mention the new album he’d be putting out in July, but sure enough, here we are with Godless due July 10 on Argonauta Records, which has stood behind all of his solo releases to-date. Godless would seem to pick up in theme right where 2018’s Go to the Devil (review here) left off, and you can see the cover art below looks more like Slayer circa God Hates Us All than anyone one might expect from a record that’s probably going to be largely acoustic in form. Speaking of: hey Dee, how about a cover of “New Faith?” I think it could work unplugged.

The PR wire checked in with album details and a teaser clip that’s actually been out for a while it would seem. Fair enough. In addition to some flute courtesy of Meghan Randall, you’ll note a posthumous appearance from Iron Man guitarist Alfred Morris III and a returning vocal spot from Dee‘s son, Robert Calhoun, as well as former Iron Man/current Spiral Grave bassist Louis Strachan once again sitting in.

Info follows:

dee calhoun godless

DEE CALHOUN, the voice of iconic IRON MAN, reveals details & teaser for upcoming solo-album!

Godless coming July 10th on Argonauta Records!

The voice of iconic doom titans, IRON MAN, and SPIRAL GRAVE vocalist DEE CALHOUN, revealed the details about his upcoming, third solo- album titled Godless. Slated for a release on July 10th via powerhouse label Argonauta Records, today Dee is not only presenting us the cover art, tracklist and release info about Godless, a haunting and dark acoustic affair, but also a first video teaser!

“To say that I am excited about this album is an understatement.“ Dee comments. “I began writing the songs on it shortly after Go to the Devil was released, and a lot of this was written during some very turbulent times. I think there is a blunt honesty in this record that people will identify with. I’ve played some of these songs live, and the response has been amazing.”

Godless was recorded in Dee’s home studio, The DustBuster in Walkersville, MD. The mastering was done by Doug Benson in nearby Thurmont MD at the Commodore Recording Studios. Dee handled vocals, guitars and other various instruments, while Dee’s Iron Man and Spiral Grave bandmate, Louis Strachan, provided the bass tracks. Dee’s son Robert, “Little ‘Houn” Calhoun, appears on the record with percussion and backing vocals performances.

Get a preview of DEE CALHOUN’s upcoming album Godless with this first and promising teaser HERE!

Godless Tracklisting:
01. Here Under Protest
02. Godless
03. The Moon Says Goodbye
04. Hornswoggled
05. To My Boy
06. Spite Fuck
07. No Justice
08. Ebenezer
09. Ride Away
10. The Greater Evil
11. The Day Salvation Went Away
12. Prudes, Puritanicals, Puddles Of Piss

‘Godless’ album lineup:
Dee Calhoun: voice, guitars, keyboards, harmonica, ukulele, kazoo
Louis Strachan: bass guitar
Robert Calhoun: backing vocals, percussion

additional performers:
Meghan Randall: flute solo on “The Day Salvation Went Away”
Alfred Morris III: guitar effects on “Prudes, Puritanicals, Puddles of Piss”

www.screamingmaddee.com
https://www.facebook.com/screamingmaddee/
www.argonautarecords.com

Dee Calhoun, Godless teaser

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