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Mythosphere Post “For No Other Eye” Lyric Video; Debut LP Pathological Out Now

Posted in Bootleg Theater on November 23rd, 2022 by JJ Koczan

mythosphere (Photo by Shane Gardner)

However you want to take this, I read Mythosphere‘s new lyric video as a reminder to anyone who hasn’t yet checked out their debut album, Pathological (review here), to do so, please and thank you. The offering that brings together guitarist/vocalist Dana Ortt (Pale Divine, ex-Beelzefuzz), bassist Ron “Fezz” McGinnis (Pale Divine, Admiral Browning, so many more), drummer Darin McCloskey (Pale Divine, ex-Beelzefuzz) and Connecticut-based lead guitarist Victor Arduini (Fates Warning, Arduini/Balich, etc.) issued Pathological just last week, and though the modern model of release promotion seems to be ‘months of hype beforehand followed by either nothing or touring, depending on the band,’ it’s encouraging to see an act like Mythosphere — who likely won’t be out on the road for months at a time — find a way to get something out to add to the momentum coming off the release.

I’ve been in something of a bind as regards Pathological, and it’s forced my hand in terms of what I consider a debut full-length this year. Three of these guys play together in Pale Divine, and the lineage from Ortt and McCloskey‘s time in Beelzefuzz is writ large in Mythosphere‘s sound — not a complaint, mind you — even with Arduini adding metallic shred to the mix. Given their prior familiarity with each other, is Pathological still a first album, or some kind of extension of what they’ve done before? A branch or a new tree?

To an embarrassing degree, I’ve been back and forth on this question, and really the only reason it can even pretend to matter is thinking of where to place it in terms of 2022’s best debut albums come list-time next month. Because if it is a debut, it’s most definitely high on the list of the year’s finest. But Mythosphere aren’t the only former-members-of band to release a first record in 2022, and if I count them, it wouldn’t be fair to not also include the work of others born from similar circumstance. Ultimately, I’ve decided to err on the side of inclusion — which I think is a decent policy across the board — and if it’s one more chance for someone to catch on to what Pathological has to offer because they saw it here instead of there in a year-end post, so much the better. What are we doing here otherwise?

These are, sadly, the kinds of things that keep me up at night. In any case, I’m glad to have the excuse to post about Pathological again after the release. You’ll find the full album streaming at the bottom of this post — the band played a release show this past weekend in Frederick, Maryland, in the friendly company of Severed Satellites and High Noon Kahuna — for further digging.

Please enjoy:

Mythosphere, “For No Other Eye” lyric video

U.S. Progressive/Psychedelic Metal quartet MYTHOSPHERE – featuring past and present members of Pale Divine, Beezlefuzz and Fates Warning – have released a lyric video for “For No Other Eye,” a track from debut album Pathological. Check it out at youtu.be/TUL8GZsJlf8

Pathological was released November 18 on CD, vinyl, and digital formats via Cruz Del Sur Music. The album can be streamed in its entirety at:
mythosphere.bandcamp.com/album/pathological

Purchase Pathological:
CD: tinyurl.com/2xwr74c5
LIMITED EDITION GOLD VINYL (LMT 100): tinyurl.com/5aa3zb7c
LIMITED EDITION MARBLED VIOLET VINYL (LMT 200): tinyurl.com/b79n5h9d
REGULAR BLACK VINYL: tinyurl.com/bdcunb9u
BANDCAMP: mythosphere.bandcamp.com/releases

Line-up:
Dana Ortt – Vocals/guitar
Victor Arduini – Guitar
Ron McGinnis – Bass
Darin McCloskey – Drums

Mythosphere, Pathological (2022)

Mythosphere, “Pathological” official video

Mythosphere on Facebook

Mythosphere on Bandcamp

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Cruz Del Sur Music on Instagram

Cruz del Sur Music website

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Full Album Premiere & Review: Mythosphere, Pathological

Posted in audiObelisk, Reviews on November 15th, 2022 by JJ Koczan

Mythosphere Pathological

[Click play above to stream Mythosphere’s Pathological in full. Album is out Nov. 18 on Cruz Del Sur Music with preorders here.]

If Mythosphere‘s Pathological is Maryland doom — and it’s definitely that, at least in part — then it’s among the finest debut albums that venerable scene has produced. But then, of course, the band is new but the players are more familiar. Fronted by guitarist/vocalist Dana Ortt, formerly of Beelzefuzz, then Righteous Bloom, then Beelzefuzz again, then also Pale Divine, the band features drummer Darin McCloskey — who co-founded Pale Divine and has his own pedigree, but made the Beelzefuzz journey as well — bassist Ron “Fezz” McGinnis, known for his work in Admiral BrowningThonian HordeBailjack, and others including also Pale Divine, and guitarist Victor Arduini.

The latter comprises the non-Chesapeake Region contingent of Mythosphere, as he’s based in Connecticut, and has a CV going back to the start of Fates Warning circa 1984, including more recently his work in Entierro and Arduini/Balich, and his solo parts are distinguished in class and the sharp-edged metallic traditionalism of his shred, while the punch he seems to bring to rhythm tracks adds impact to what one might expect from Ortt‘s riffing as well given his prior outfit, which ended up with two guitars by the time they were done too (it was Pale Divine‘s Greg Diener in Beelzefuzz‘s final incarnation, as if another connection was needed to make the point).

So is Mythosphere a new band or a continuation of the same voyage on a different path? It’s not the first time I’ve asked this question this year, and it doesn’t seem impossible that the covid-19 pandemic played a role on some level in the reshuffling, the starting of a new project born out of the old, and so on. Ortt offers a tour de force performance on vocals throughout Pathological‘s eight-track/35-minute run, with his voice soaring and theatrical in a way that is both classic metal and cult rock, controlled in its delivery but able to jump up to a higher note at the end of a word or phrase in a way that is exciting and demonstrates how little is actually out of his reach as a singer.

He and Arduini complement each other surprisingly well in the recording/mix by Noel Mueller at Tiny Castle Studios (also Grimoire Records, which one assumes isn’t releasing Mythosphere because of these players’ prior association with Cruz Del Sur), with differentiation between them that is in songs like “Walk in Darkness” or the earlier single “King’s Call to Arms” the difference between electric and acoustic guitar; the latter which is used to emphasize a folkish strum highlighting the lyrical storytelling, a kind of medievalism in theme that feels born out of the music itself rather than laid on top of it.

The album begins with “Ashen Throne,” and acoustic is immediately a part of the fray along with an electric rhythm track and a lead track over the so-solid-they-should-make-construction-company-style-t-shirts-as-a-rhythm-section — ‘groove you can rely on’ comes to mind as a slogan (a political campaign-style shirt would also work) — efforts of McCloskey/McGinnis, the latter of whom emerges in a final salvo of the three shorter tracks “Star Crossed,” “No Halo” and “Through the Night” with essential tonal punch. A fluid blending of these elements, bolstered by (some of) the players’ prior experience together and further strengthened by the depth of craft in the songwriting.

mythosphere

One does not need to know the output of Beelzefuzz, or Pale Divine, or Entierro, or any of the members’ other various units to understand where Mythosphere are coming from, in part because the approach the new band takes is so individualized. But it doesn’t hurt, either. From “Ashen Throne” through the sleek chugging of “For No Other Eye,” a mellow-heavy roll that leaves plenty of open space for both the lead guitar and the vocal melodies to fill, which they do, and into the more urgent jabs of and solo angularity of the title-track, Pathological is in some ways the record that Beelzefuzz were always working toward but never had the chance to manifest, and thinking of it as the manifestation of more than a decade’s worth of reshuffling and development since that band got their start around 2011, the maturity and the sureness with which Mythosphere offer these songs makes sense.

But it’s not like “King’s Call to Arms” is too inward to bring the listener along as it marches off to who knows what battle, or like the hook of “Star Crossed” won’t resonate its classic metal vibe if you don’t know Arduini‘s prior work and where all that ripping soloing is coming from — Ortt also adds leads, Arduini also plays rhythm tracks; it is not quite as stark a division of duties as you-do-this and you-do-that — but you can hear when that extra layer of a guitar solo enters in “Walk in Darkness” or the amid the NWOBHM gallop in the penultimate “No Halo,” though admittedly in the latter, the lead guitar is more of a constant than something that comes and goes (not a complaint, considering). Mythosphere manage to be their own thing, a project and the beginning of a progression separate from its own past but not entirely ignoring it.

A key difference is in dynamic. The guitar-as-organ tonality that’s a signature of Ortt‘s methods as much as his soaring vocals is present here, as well as the kind of bouncing style of riff in “King’s Call to Arms,” “Walk in Darkness,” etc., but like the acoustic guitar (and it feels like less than the acoustic, but I hope you’ll forgive me if I spare myself plotting out percentages), it is used for flourish more than foundation. A thread of guitar chug — and really, in focusing so much on the guitar, one isn’t trying to detract from what McGinnis and McCloskey do on bass and drums; they hold it down and it’s just never a question; relax they’ll take care of it — shows up as “Ashen Throne” smooths out from its noodlier beginning, and becomes a recurring theme, and even as “Through the Night” rounds out with what feels like a daring and perhaps subliminal nod to ’80s-era Dio, part of what ties it to the rest of Pathological before it, in addition to the acoustics brought back to the forefront of the mix and the fluidity of the groove overall is the capturing of tension in that chug.

Melodically, rhythmically, in its construction and presentation, Mythosphere‘s first full-length — first release of any kind apart from a limited CD sampler that featured some of its tracks sold at Maryland Doom Fest earlier this year — is a triumph of substance and style. It is apart from the current wave of traditionalist metal rising in generational throwback fashion, but relevant to it, and it is of doom without losing the progressive thoughtfulness of its arrangements either of guitar or vocals, or even the level of detail that makes the snare in “Ashen Throne” such a punctuating wake up. One of 2022’s best debuts, if that’s how it’s to be counted, and at the same time it pays off a decade-plus of creative growth for Ortt, it refuses to look anywhere but forward at its own potential to push even further.

Mythosphere, “Pathological” official video

Mythosphere on Facebook

Mythosphere on Bandcamp

Cruz Del Sur Music on Facebook

Cruz Del Sur Music on Instagram

Cruz del Sur Music website

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Mythosphere Set Nov. 18 Release Date for Pathological

Posted in Whathaveyou on September 21st, 2022 by JJ Koczan

Couple different angles from which to approach Mythosphere, whether you take them as three-fourths of the current lineup of Cruz Del Sur Music labelmates Pale Divine or half of the band that was Beelzefuzz coming together with guitarist Victor Arduini of Arduini/Balich and Entierro, among others. Any way you go, the trad metal clarity of purpose in the songwriting and guitar and folkish mystique in Dana Ortt‘s vocals makes for a fascinating and immediately individualized blend. The band previously premiered their video for “King’s Call to Arms” here when they announced they’d signed with Cruz Del Sur, and preorders have now launched for their debut full-length, Pathological, ahead of a Nov. 18 release date.

Cool record. Works from familiar pieces but thankfully avoids both “true metal” posturing and sounding like everything else. I assume another song or two will be unveiled before the album itself, but if you missed that “King’s Call to Arms” video, it’s under the PR wire info below, along with a new teaser that’s handy-dandy shareable on the old-style social medias.

Check it out:

Mythosphere Pathological

Mythosphere – “Pathological” to be released on Nov 18

Past and present members of Beezlefuzz, Fates Warning and Pale Divine team up in new band that marries pure metal with rich, progressive rock flourishes!

On their Pathological debut album, Mythosphere e re-ignites the flame of classic, emotional metal with eight songs of depth, introspection and harmony.

PRE-ORDER CD: https://tinyurl.com/2xwr74c5
PRE-ORDER LIMITED EDITION GOLD VINYL (LMT 100): https://tinyurl.com/5aa3zb7c
PRE-ORDER LIMITED EDITION MARBLED VIOLET VINYL (LMT 200): https://tinyurl.com/b79n5h9d
PRE-ORDER REGULAR BLACK VINYL: https://tinyurl.com/bdcunb9u
BANDCAMP: https://mythosphere.bandcamp.com/

Pathological track listing:
1. Ashen Throne
2. King’s Call to Arms
3. For No Other Eye
4. Pathological
5. Walk in Darkness
6. Star Crossed
7. No Halo
8. Through the Night

MYTHOSPHERE’s origins began in 2020 when Ortt and McCloskey started working on material intended to be the continuation of BEELZEFUZZ. Their songs came to fruition in 2021 once the pandemic subsided, prompting Ortt to reach out to Arduini to lend his identifiable brand of lead guitar playing. McGinnis was the natural choice for bass, thus completing MYTHOSPHERE, an outfit steeped in traditional metal and doom history that promises to live up to its lofty billing.

Recorded & Mixed by Noel Mueller at: Tiny Sound Studios
Mastered by Arthur Risk
Produced by Noel Mueller & Mythosphere

Logo by Shane Rice
Front & Back Cover Design by Bill Kole
Photos by Shane Gardner
Layout by Tamara Abarzua-Valencia

Mythosphere lineup:
Dana Ortt: Vocals/guitar
Victor Arduini – Guitar
Ron McGinnis – Bass
Darin McCloskey – Drums

https://www.facebook.com/Mythosphere-103752001922863
https://mythosphere.bandcamp.com/

cruzdelsurmusic.com
facebook.com/cruzdelsurmusic
cruzdelsurmusic.bandcamp.com

Mythosphere, Pathological teaser

Mythosphere, “King’s Call to Arms” official video

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Mythosphere Sign to Cruz Del Sur Music; Premiere “King’s Call to Arms” Video

Posted in Bootleg Theater on June 14th, 2022 by JJ Koczan

mythosphere

Next week, Mythosphere will play their first gig Maryland Doom Fest 2022 as part of a packed lineup, and part of what they’ll be celebrating as they do is not only their advent as a new project working secretly in the shadows on putting together a debut full-length — and apparently having completed one — but also their signing to Cruz Del Sur Music to release said album. The band, which unites Pale Divine members Dana Ortt (also ex-Beelzefuzz), Darin McCloskey (also also ex-Beelzefuzz) and Ron “Fezzy” McGinnis (also Admiral Browning, etc.) with lead guitarist Victor Arduini of Fates Warning, Entierro and Arduini/Balich — bridging a geographical divide from the Chesapeake Watershed to New England in the doing — will have a limited number of self-made CDs on hand to share at the fest.

That I want one goes without saying. Gonna keep my finger on the trigger for when they launch a merch page and hopefully have a couple leftovers.

In any case, those familiar with Beelzefuzz‘s run — which began about about 13 years ago and ended seemingly for good at Maryland Doom Fest 2019 (review here) after two LPs — or who were made familiar with Pale Divine‘s most recent outing, 2020’s righteous Consequence of Time (review here), will recognize Ortt‘s stepping back into a frontman-ish role for Mythosphere on “King’s Call to Arms.” The song has a sweeping melody and a rhythmic foundation of swing that’s classic as much as defined by what OrttMcGinnis and McCloskey have done in the past, but I also get the sense in listening that Mythosphere isn’t necessarily a redux of Beelzefuzz with Arduini‘s ripper solos over top so much as a new collaboration between parties familiar with each other that is in the process of setting out to find its own path. Can you hang with it? Oh most definitely.

If you’re heading to Maryland Doom Fest, and you go to the merch table, tell them I sent you, or at least that I said hi. Truth be told, I’ve done a near-embarrassing level of premieres and unveilings and streams around these players over the last decade-plus between their various bands, but I am still excited to find out where Mythosphere and this upcoming first collection of songs might take them. I like what I like — same as everyone — but this first impression is resoundingly positive. And kudos on the band signing to Cruz Del Sur.

Dig:

Mythosphere, “King’s Call to Arms” video premiere

MYTHOSPHERE Feat. PALE DIVINE and Ex-FATES WARNING Members Signs With CRUZ DEL SUR MUSIC; Debut Live Appearance Scheduled for MARYLAND DOOM FEST

Cruz Del Sur Music is proud to announce the signing of MYTHOSPHERE, the band founded by PALE DIVINE guitarist/vocalist Dana Ortt and drummer Darin McCloskey. The pair are joined by their PALE DIVINE bandmate Ron McGinnis (bass) and none other than former FATES WARNING guitarist Victor Arduini. Their debut album will be released in 2023.

MYTHOSPHERE’s origins began in 2020 when Ortt and McCloskey started working on material intended to be the continuation of BEELZEFUZZ. Their songs came to fruition in 2021 once the pandemic subsided, prompting Ortt to reach out to Arduini to lend his identifiable brand of lead guitar playing. McGinnis was the natural choice for bass, thus completing MYTHOSPHERE, an outfit steeped in traditional metal and doom history that promises to live up to its lofty billing.

“I see it as Dana’s project,” says Arduini. “He is the primary songwriter and instrumentalist. I get to interpret the songs and come up with my own ideas and sounds. It’s great to see the merging of our two unique playing styles and how it forms something new. I’ve learned that when you do a project on your own, it will only represent your musical approach which is cool for a solo project. But Dana allowed an outside influence and I think we are both very pleased with how this came out. I can’t say enough about the band. Darin and Ron are both very passionate and committed to the music. They are very involved in the writing process and are great musicians. It allows me to focus on what I enjoy doing and not have to put the weight of the entire project on my shoulders.”

“From my perspective, I’m just reacting to what Dana presents,” adds McCloskey. “We will work off the basic ideas he presents and sometimes work out the arrangements together. Other times, Dana will have everything pretty well mapped out. I think there’s a bit of nuance from previous bands, but there’s also a progression into some uncharted territory which makes things really exciting!”

MYTHOSPHERE recorded their as-yet-titled debut album at Tiny Castle Studio in Towson, Maryland, with producer/engineer Noel Mueller. Arduini tracked at his home studio and delivered his parts to the rest of the band. “The music would be best described as an expansion of where BEELZEFUZZ left off,” says McCloskey. “A bit less doom as the songs have deeper progressions with soundscapes and melodic overtones which were brought into the mix by Victor creating a whole new vibe and listening experience.”

For the here and now, MYTHOSPHERE will make its live debut on June 24 at the Maryland Doom Fest. That gig will be followed by an appearance at the New England Stoner and Doom Fest on October 7. Fans will be given a sneak preview of MYTHOSPHERE’s debut album and will also be treated to some surprises from their past.

“We’ll be playing the songs we’ve recently recorded for the album and experimenting with the setlist and finding out what songs will go over the best in a live setting,” closes McCloskey. “We are also looking to include a bit of BEELZEFUZZ into the set that matches the vibe of our new music and Victor’s signature guitar playing. He brings a new element of depth and color to the songs.”

The lineup is:
Dana Ortt – Guitar/Vocals
Victor Arduini – Lead guitar
Darin McCloskey – Drums
Ron “FeZZy” McGinnis -Bass

https://www.facebook.com/Mythosphere-103752001922863
https://mythosphere.bandcamp.com/

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Mythosphere, “King’s Call to Arms”

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Wasted Theory Announce Indefinite Hiatus; All Shows & Euro Tour Cancelled

Posted in Whathaveyou on July 24th, 2019 by JJ Koczan

Yo, I saw Wasted Theory like a month ago and they sure didn’t look like a band who were about to announce an ‘indefinite hiatus.’ In fact, they kicked plenty of ass. I haven’t always seen eye-to-eye with the ultra-dudely Delaware heavy rockers on pressing issues like flagrant use of cartoon boobs in artwork and writing songs called “Doomslut Rodeo” — by contrast, totally cool with “Bongronaut” (video posted here) — but what the hell, guys? What happened between June and July that you went from, “about to tour Europe for the first time” to “effectively not a band anymore?”

Because that’s right, Wasted Theory were heading abroad this Fall to tour with Plainride, and pushing to do it on their own, no less. Their 2018 album, Warlords of the New Electric (review here), burned each and every barn that had the misfortune to be in its path, and it just seemed like momentum was much more on their side than not. I mean, some breakups I get. Bands run their course, interest wanes, sometimes the fanbase doesn’t show up and people get discouraged. Hell, maybe someone gets a job, right? Could happen. But Wasted Theory were just talking about starting to write some new material, and here we are. I am genuinely surprised and genuinely curious.

Are they done for good? Maybe not. “Indefinite hiatus” is not “fuck you we’re never doing this again,” to be sure, but they’re certainly done for now. They always brought it on stage, and for as much as they engaged their audience, they were clearly no less driven by their own passion.

Their announcement was fairly short and went like this:

wasted theory (Photo by Shane Gardner)

It is with a heavy heart that we must officially announce that Wasted Theory will be going on an indefinite hiatus. All upcoming performances will unfortunately be cancelled.

There is no bad blood between the members of the band and we truly appreciate everyone’s patience and understanding during this time. We would also like to take this opportunity to thank everyone who has played an integral part in the band over the years, with special mention to our label Argonauta Records for their support and belief in us. We don’t exactly know what the future holds for Wasted Theory, I guess only time will tell.

Until we meet again…. stay high Wastoids!
-WT

www.americanweedrock.com
https://www.facebook.com/wastedtheoryband/
https://www.instagram.com/wastedtheory/
https://www.youtube.com/channel/UCci0QWWVsPmJUNtXI2yPXNA/videos
www.argonautarecords.com
https://www.facebook.com/ArgonautaRecords/
https://www.instagram.com/argonautarecords/

Wasted Theory, Warlords of the New Electric (2018)

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Wasted Theory Post “Bongronaut” Video; Touring Europe This Fall with Plainride

Posted in Bootleg Theater on June 28th, 2019 by JJ Koczan

wasted theory

There’s a quick shot at 4:34 into the total 5:53 of Wasted Theory‘s new video of the Delaware Memorial Bridge. Probably not all that significant if you’re not from the region, but immediately recognizable if you are. It spans over the Delaware River and resides at what, from my perspective, has always been the bottom end of New Jersey; the spot I land when I know I’m driving south. For Wasted Theory — and I think they’re southbound (certainly in terms of sound, always), but I can’t be 100 percent sure — it’s probably a sign of home, based in the state of Delaware as they are. It’s the kind of thing that, if you were from someplace else, you might not give a second thought, but imagine being out on the road for a minute and getting back to your bridge and all the recognizable elements of your home surrounding it. I don’t know if that’s why the four-piece included it in the clip for “Bongronaut” — there look to be some sights from flying into Philly as well — but it works nonetheless.

The travel footage seems all the more relevant since Wasted Theory will head abroad for the first time this September, joining forces with Plainride for a 17-date European tour. They go supporting last year’s Warlords of the New Electric (review here), which came out through Italy’s Argonauta Records, and having had the fortune of seeing them just this past weekend in Maryland (review here), they seemed ready for it. Their stage presence was locked in, the material tight, and the volume delivered at full force. I don’t always get down with what they do thematically, but I wouldn’t argue with how much they put into the show. It’s an “all-out” kind of affair, and most of the video for “Bongronaut” centers around that, with live footage captured at various shows here and there. There’s even a shot of their enviably-neat merch table, just to complete the experience. Don’t miss it.

Cities and venues are still TBA for the tour, so when I see them come through I’ll get a post up. Enjoy the video in the meantime:

Wasted Theory, “Bongronaut” official video

Recorded over three months at multiple shows, across the U.S.
There are a lot of high fives and thank yous we wish we could send out.

Edited by Heavy Bite Productions

Camera footage shot by:
Raymond Huffman
Jackie Castaneda
Larry Jackson

***TOUR ANNOUNCEMENT!!!***

The hits just keep on coming! We are stoked to finally announce we will be heading overseas for our first European tour from September 13th-29th 2019. Joining us on all dates will be the mighty Plainride!!! Full list of cities and venues will be posted soon!!!

Wasted Theory website

Wasted Theory on Thee Facebooks

Wasted Theory on Instagram

Argonauta Records website

Argonauta Records on Thee Facebooks

Argonauta Records on Instagram

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Quarterly Review: Sumac, Cortez & Wasted Theory, Thunder Horse, The Howling Eye, Grime, URSA, Earthling Society, Bismarck, Grand Reunion, Pledge

Posted in Reviews on December 7th, 2018 by JJ Koczan

quarterly-review

As we land on what would otherwise be the end of a Quarterly Review — day 5, hitting the standard 50 records across the span of a week that this time we’re doubling with another 50 next week — it occurs to me not how much 100 albums is, but how much it isn’t. I mean, it’s a lot, don’t get me wrong. I’ve been sitting and writing about 10 records every day this week. I know how much that is. But it’s astounding to me just how much more there is. With the emails I get from people looking for reviews, discs sent in the mail, the messages on Facebook and everything else, I could do another 100, easy.

Well, maybe not ‘easy,’ but it would be full.

Is it a new golden age of heavy? 45 years from now are rockers going to look back and say, “Hell yeah, from like 2012-2019 was where it’s at,” all wistful like they do now for the ’70s? Will the Heavy ’10s be a retro style? I don’t know. But if it was going to happen, there would certainly be enough of an archive to fuel it. I do my best to cover as much as I can, but sometimes I feel like we barely crack the surface. With 100 records.

That said, time’s a-wasting.

Quarterly Review #41-50:

Sumac, Love in Shadow

sumac love in shadow

What are Sumac if not the most vital and highest profile atmospheric metal act out there today? With Aaron Turner (Isis, etc.) on guitar/vocals, Brian Cook (Russian Circles) on bass and Nick Yacyshyn (Baptists) on drums, they qualify easily as a supergroup, and yet their third album, Love in Shadow (on Thrill Jockey), is still more about creative growth and the exploration of sound than anything else. Certainly more than ego — and if it was a self-indulgent exercise, it’d probably still be pretty good, frankly. As it stands, the four massive tracks through which Sumac follow-up 2016’s What One Becomes (review here) and their 2015 debut, The Deal (review here), refine the sound Sumac has developed over the past three years-plus into a sprawling and passion-driven sprawl that’s encompassing in scope, challenging in its noise quotient, and in utter refusal to not progress in its approach. And when Sumac move forward, as they do here, they seem to bring the entire aesthetic with them.

Sumac on Thee Facebooks

Thrill Jockey Records on Bandcamp

 

Cortez & Wasted Theory, The Second Coming of Heavy: Chapter Nine

cortez wasted theory second coming of heavy ch 9

Ripple Music‘s split series The Second Coming of Heavy hits its ninth chapter in bringing together Boston’s Cortez and Delaware’s Wasted Theory, and neither band fails to live up to the occasion. Cortez‘s range only seems to grow each time they hit the studio — vocalist Matt Harrington makes easy highlights of the opener and longest track (immediate points) “The Firmament” and the echo-laden “Close” — and Wasted Theory‘s “Ditchpig,” “Abominatrix,” “Baptized in Gasoline” and “Heresy Dealer” are so saturated with whiskey it might as well be coming out of their pores. It’s a decidedly North/South release, with Cortez rolling straightforward New England heavy rock through “Fog of Whores” and the Deep Purple cover “Stormbringer” while Wasted Theory dig with all good speed into a grit that’s more and more become their own with time, but there’s a shared penchant for hooks and groove between the two acts that draws them together, and whatever aspects they may or may not share are ultimately trumped by that. As Ripple starts to wind down the series, they continue to highlight some of the finest in heavy that the underground has to offer. One would expect no less.

Cortez on Thee Facebooks

Wasted Theory on Thee Facebooks

Ripple Music on Bandcamp

 

Thunder Horse, Thunder Horse

thunder horse thunder horse

There’s an unmistakable sense of presence throughout Thunder Horse‘s six-song/43-minute self-titled debut that undercuts the notion of it as being the San Antonio four-piece’s first album. With professionalism and a firm sense of what they want to be as a band, the Texans liberally sprinkle samples throughout their material and hone a professional sound built around massive riffs and even-more-massive lumbering grooves. Indeed, they’re not strangers to each other, as three-fourths of the group — guitarist/vocalists Stephen Bishop, guitarist/sampler T.C. Connally and drummer Jason West — double in the more industrial-minded Pitbull Daycare, whose debut LP came out in 1997. Completed by bassist/vocalist Dave Crow, Thunder Horse successfully cross the genre threshold and are well comfortable in longer cuts like “Liber ad Christ Milites Templi” and “This is the End,” both of which top nine minutes, and shorter pieces like the rocking “Demons Speak” and the shimmering finale “Pray for Rain.” With “Coming Home” and the sneering “Blood Ritual” at the outset, Thunder Horse pulls listener quickly toward dark atmospheres and flourishes amid the weighted tones therein.

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The Howling Eye, Sonorous

the howling eye sonorous

Poland’s The Howling Eye make a lengthy long-player debut with Sonorous, but more important than the reach of their runtimes — closer “Weedblazer” tops 16 minutes, the earlier “Reflections” hits 12, etc. — the reach of the actual material. The common pattern has been that psychedelic jamming and doom are two distinct things, but The Howling Eye tap into a cosmic interpretation of rolling riffs and push it with an open spirit far into the ether of spontaneous creation. It’s a blend that a group would seem to need to be cautious to wield, lest the whole notion fall flat, but with the assurance of marked chemistry behind them, the Bydgoszcz-based trio of drummer/sometimes vocalist Hubert “Cebula” Lewandowski (also harmonica where applicable), guitarist Jan Chojnowski and bassist Mi?osz Wojciechowski boldly shift from the more structured beginnings of the funky “Kairos” and the aggro beginning “Stranded” into an outward push that’s ambient, psychedelic and naturalistic all at once, with room left over for more funk and even some rockabilly on “The Potion.” It is not a minor conglomeration, but it works.

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Grime, What Have We Become

grime what have we become

Their roots in metal, North Dakota trio Grime — not to be confused with the Italian sludge outfit of the same name — unleash their first full-length in the form of What Have We Become, an ambitious 51-minute offering of progressive heavy rock marked by thoughtful lyrics and fluid songwriting made all the more so by the shared vocals of bassist Andrew Wickenheiser and guitarist Nick Jensen, who together with drummer Tim Gray (who would seem to have been replaced by Cale Mogard) effect a classic feel through “Alone in the Dark” while chugging and winding through the not-a-cover “Hand of Doom” with some harsher vocals peppered in for good measure. Seven-minute opener and longest track (immediate points) “Through the Eye” sets a broad tone that the rest of the record seems to build on, with the penultimate “Sunshine” delivering the title line ahead of the grittier closer “The Constant Grind,” which seems to payoff everything before it with a final explosion before a big rock finish. They’ll need to decide whether their sound will ultimately tighten up or loosen over time, but for now, what they’ve become is a band with a solid foundation to grow from.

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URSA, Abyss Between the Stars

ursa abyss between the stars

Modern doom meets a swath of metallic influences on URSA‘s full-length debut, Abyss Between the Stars (on Blood Music), as members of Petaluma, California’s Cormorant take on such classic themes as wizards, dragons, yetis, witches, a spider king, mountains, and… actually, yeah, that covers the six included tracks on the 46-minute LP, which shifts gracefully between epic fantasy doom and darker, soemtimes more extreme fare. It’s easy enough to put URSA in the narrative of a band started — circa 2016 — around a central idea, rather than just dudes picking up instruments and seeing what happened next. Not just because bassist/vocalist Matt Solis, guitarist/keyboardist Nick Cohon and drummer Brennan Kunkel were already three-quarters of another band, but because of the purposefulness with which they approach their subject matter and the cohesion in all facets of their approach. They may be exploring new ground here, but they’re doing so on sure footing, and that comes not only from their experience playing together, but from knowing exactly where they want to be in terms of sound. I would not be surprised if that sound adopted more post-Candlemass grandeur with time — one can hear that burgeoning in “Serengeti Yeti” — but whatever direction they want to go, their debut will only help them on that path.

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Blood Music website

 

Earthling Society, MO – The Demon

earthling society mo the demon

Look, if you can’t get down with a bunch of freaks like Earthling Society tapping into the lysergic fabric of the cosmos to come up with an unsolicited soundtrack to a Hong Kong martial arts movie, I just don’t know what to tell you. Issued by Riot Season, the seven-track MO – The Demon is reportedly the end of the band’s technicolor daydream, and as they crash their plane into the side of “Mountains of Bliss” and hone space rock obliteration throughout “Super Holy Monk Defeats the Black Magic Mothafucker,” their particular experimentalist charm and go-anywhere-anytime sensibility demonstrates plainly exactly why it will be missed. There’s a sharp high-pitched tone at the start of opener “Theme from MO – The Demon” that’s actually pretty abrasive, but by the time they’re through the kosmiche laser assault in “Spring Snow” and the let’s-be-flower-children-until-it’s-time-to-freak-the-fuck-out throb of closer “Jetina Grove,” that is but a distant memory. So is consciousness. Fare thee well, Earthling Society. You were a band who only sought to make sense to yourselves, and for that, were all the more commendable.

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Riot Season Records on Bandcamp

 

Bismarck, Urkraft

bismarck urkraft

Norwegian five-piece Bismarck bring spaciousness to doom riffing on their debut album, Urkraft, which is constructed of five molten tracks for a 34-minute totality that seems much broader than the time it takes to listen. Vocals are growls and shouts across a cosmic stretch of tone, giving a somewhat aggressive pulse to heavier psychedelic soundscaping, but a bouncing rhythm behind “A Golden Throne” assures the song is accessible one way or the other. The 10-minute “Vril-Ya” is naturally where they range the farthest, but the Bergen outfit even there seem to be playing by a set of aesthetic principles that includes maintaining a grounded groove no matter how spaced they might otherwise get. Rolling riffs bookend in opener “Harbinger” and closer “The Usher,” as “A Golden Throne,” playing-to-both-sides centerpiece “Iron Kingdom” and the subsequent “Vril-Ya” explore atmospheres that remain resonant despite the low end weight that seems to chug out beneath them. The mix by Chris Fielding at Skyhammer (who also co-engineered) doesn’t hurt in crafting their largesse, but something tells me Urkraft was going to sound big no matter what.

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Apollon Records website

 

Grand Reunion, In the Station

grand reunion in the station

In the Station doesn’t seem like anything too fancy at first. It’s produced cleanly, but not in any kind of overblown fashion, and Grand Reunion‘s songwriting is so solid that, especially the first time through their eight-track debut LP, it’s easy to say, “Okay, that’s another cool hook,” and not notice subtleties like when the organs turn to keyboard synth between opener “Eres Tan Serpiente” and second cut “Gordon Shumway,” or to miss the Latin percussion that Javier Tapia adds to Manuel Yañez‘s drumming, or the ways that guitarist Christian Spencer, keyboardist Pablo Saveedra, bassist Mario Rodríguez and Tapia work to complement guitarist Cristóbal Pacheco on vocals. But all of that is happening, and as they make their way toward and through the eight-minute fuzzer “Band Band the Headbang,” through the soaring “Weedow” and into the acoustic-led closer “It’s Alright,” the character and maturity in Grand Reunion‘s songwriting shows itself more and more, inviting multiple listens in the most natural fashion possible: by making you want to hear it again.

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Pledge, Resilience

pledge resilience

16 minutes of scathing post-hardcore/sludge from Portuguese four-piece Pledge, who are in and out of their Resilience EP with a clean break and a windmill kick to the face. The newcomers lack nothing for ferocity, and with the throat-searing screams of Sofia M.L. out in front of the mix, violent intentions are unmistakable. “Profer Lumen Caecis,” “The Great Inbetweeness,” “Doom and Redemption” and “The Peter, the Wolf” nonetheless have groove built on varying degrees of extremity and angularity, with Vítor Vaz‘s bass maintaining a steady presence alongside the guitar of Hugo Martins and Filipe Romariz‘s drumming, frenetic as it sometimes is. I wouldn’t say things calm down in “The Peter, the Wolf” so much as the boiling seems to take place beneath the surface, waiting for a time to burst out, which it eventually does, but either way, for all its harsher aspects, Pledge‘s material isn’t at all void of engagement. It does, however, state the requirement right there on the front cover.

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Review & Video Premiere: Wasted Theory, Warlords of the New Electric

Posted in Bootleg Theater, Reviews on October 4th, 2018 by JJ Koczan

WASTED THEORY WARLORDS OF THE NEW ELECTRIC

Wasted Theory, ‘Rawhide Hellride’ official video premiere

[Click play above to stream the premiere of Wasted Theory’s new video for ‘Rawhide Hellride.’ Their new album, Warlords of the New Electric, is out Oct. 26 on Argonauta Records.]

Wasted Theory have a thing for titles. Their third record, Warlords of the New Electric, is their second for Argonauta Records behind last year’s reissue of 2016’s Defenders of the Riff (review here), and both albums set lofty ambitions as regards positioning the band. This is interesting to note, because their songwriting could hardly be more grounded. Based out of Delaware, the Southern heavy riff rockers have brandished straightforward, ultra-dudely chug and groove since even before the release of their 2014 debut, Death and Taxes (review here), and done so proudly. It’s worked for them, and it continues to work for them as they push their sound forward on the eight-track/36-minute long-player, which is inarguably their tightest and most professional-sounding collection to-date.

They toured both coasts supporting Defenders of the Riff, so some sonic progression was to be expected, but in teaming with producer/engineer Joseph Boldizar at Retro City Studios in Philadelphia, they’ve found a space for themselves that is both crisp in and full in its tone on Warlords of the New Electric, and as their penchant for titles extends to the songs themselves in “Rawhide Hellride,” “Bongronaut,” “The Son of a Son of a Bitch” and nearly every other inclusion — you can keep “Doomslut Rodeo,” which feels willfully blind both to the cultural moment we’re living in and general decency to others; you’re not 12, grow up — and familiar homage is paid to whiskey, weed and Black Sabbath, there’s no lack either of live energy in the material. Indeed, Warlords of the New Electric itself feels both born of touring in terms of its craft on shorter, stage-ready cuts like “Rawhide Hellride,” “Heavy Bite” and “Drug Buzzard,” and in some nomadic implication of the name they’ve given it, which, whatever else it may be hardly feels like happenstance. They clearly put some thought into these things.

Comprised here of guitarist/vocalist Larry Jackson, Jr., guitarist Andrew Petkovic, bassist Rob Michael (since out of the band) and drummer Brendan Burns, Wasted Theory work quickly to demonstrate how far they’ve come in two years with a sound less outwardly about burl than the groove itself. Burns is right at home on his hi-hat in “Drug Buzzard” following the opening “Rawhide Hellride,” and as Jackson belts out lines like “Heavy metal heavy drinkin'” in the second track, even his guttural delivery seems to have taken on more character than it’s had in the past, and as they move into “Bongronaut” and “The Son of a Son of a Bitch,” and especially “Bastard County,” he reminds here and there of Earthride‘s Dave Sherman, who over time has also been able to make a rough-throated, “whiskey-soaked” vocal style his own.

wasted theory

Petkovic, who’s new to the lineup as of this record, provides standout work on guitar in “Bongronaut” and the later “Weed Creature” particularly, adding a sense of spaciousness to the songs that is welcome alongside Wasted Theory‘s signature crunch, which itself makes a highlight of “The Son of a Son of a Bitch” at the end of side A, with a post-Pepper Keenan central riff brought to bear with fervent push from Burns and a righteous slowdown of an apex. Still under four minutes long, “The Son of a Son of a Bitch” is emblematic of nearly everything that works so well on Warlords of the New Electric, and alongside the rolling “Bastard County,” it’s a subtle dynamic at play as the band looses memorable hooks and weighted vibes, Boldizar (who’s worked with The Age of TruthRuby the Hatchet and others in the Philly heavy underground) complements their work excellently with a full mix that allows some Geezer-style effects to make their way into “Bastard County”‘s second half and still sound natural doing so. The speedier fare on “Heavy Bite” only furthers the impression of Wasted Theory‘s overarching progression, tapping into more angular, semi-metal riffing as the drums gallop crisply behind. For all their grit and dirt-rocking mindset, they sound awfully clean in these songs.

And it works because that doesn’t seem contrary at all to their mission. Cuts like “Heavy Bite,” “Drug Buzzard,” “The Son of a Son of a Bitch” and the harder-push of “Weed Creature,” which touches on latter-day Orange Goblin fist-pumpery in its verses, feel like they were written with the intent of kicking ass on stage, but the momentum translates to the recording as well. “Weed Creature” just about splits in half from its raging front end to a more nodding finish — take your pick on the leads; they’re both gems — and as Jackson‘s vocals emanate from deeper in the mix as growls in the latter part of the track, it underscores the point of how comfortable Wasted Theory are expanding not just their aesthetic, but the reaches their mix occupies. I don’t know if Petkovic is the difference-maker on guitar or if it’s a general evolution of their style, but the balance between earthy rhythm and that airier lead tone help establish Warlords of the New Electric as moving toward the goal it has laid out even more than Defenders of the Riff made a show of its straight-ahead attack.

They finish with the aforementioned “Doomslut Rodeo” on a riff that channels Goatsnake taking on “Hole in the Sky” with a slowdown on drums in the bridge that mirrors “The Son of a Son of a Bitch” and a last chorus to remind that it’s the songcraft where they’ve most progressed over time, and while I’ll gladly argue they still have some kinks to work out of their titles — doesn’t have to be “safe,” but there’s a difference between edgy and hateful — they meet the task before them on Warlords of the New Electric with a vitality that indeed speaks of the album’s own triumphs, of which there are many. Though lineup changes invariably mean Wasted Theory are more likely to have a shifted dynamic their next time out, that they’ve been able to capture the band as it is here is worth preserving and provides a high water mark for their boozy flood of heaviness. They’ve only ever moved forward. They keep moving forward.

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Argonauta Records website

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