It doesn’t take too long into “Lucifero,” the opening track of Danish doomers The Hyle‘s four-song Demo, to figure out where they’re coming from. Pressed in a limited edition of 150 tapes by Caligari Records — pro-printed thick-stock four-panel j-card, black and clear case, purple cassette with the print directly on it (rather than a label) — the release finds the somewhat mysterious three-piece nestled into the post-Electric Wizard frame of doom, starting out with quiet, spacious, foreboding guitar and opening quickly into a rolling groove topped with a winding smoke-trail of a lead. Echoing clean vocals provide further basis for the comparison throughout “Lucifero” and its side one companion, “Serpent King,” as well as side two’s “Spiritual Sacrifice” and “Children of the Divine,” but if it’s a sonic likeness noted, let that also stand as testament to The Hyle‘s ability to craft a hook, since “Lucifero” likewise serves significant notice in that regard.

They keep lineup information minimal, but Demo was recorded, mixed and mastered by Jens Dandanell and Caligari has seen fit to keep true to its overarching atmosphere with the tape, the inside liner of which is dedicated to a murky, almost black metal-style photo by Rasmus Leo that complements the All is Visual cover of the release itself. The music is similarly cohesive. It may or may not be The Hyle‘s first release, but Demo sounds like the work of a band who knows what they want out of their sound, “Serpent King” branching out further vocally than “Lucifero” and helping distinguish the band from their central point of influence even as they continue to weave a torrent of low end punctuated by classically swinging drums with an otherworldly psychedelic vibe. “Serpent King” fades out long on a guitar solo to close out side one of the tape, a moment’s respite consumed by droning before “Spiritual Sacrifice” and “Children of the Divine” take hold.

A more fervent stomp provides the resounding impression of “Spiritual Sacrifice,” at least initially until the slow unfolding hypnosis takes hold, pushing farther out into darkened psychedelics and an obscure morass of deep tonality. By then, The Hyle‘s nod is locked in, and they do nothing to interrupt it as side two plays out, though they clearly save their nastiest riffing for last. “Children of the Divine” is meaner in tone than its predecessors, if consistent in its overall approach, its abyssal drear and spaciousness marked by a particularly memorable riff and groove-riding vocals, laid back in their delivery, but showing a burgeoning personality that could easily develop over time, layers arriving in a languid call-and-response chorus that coincide with some later guitar harmonics to speak to a stronger sense of arrangement and performance to come as The Hyle move past Demo. As a first release, though, these four songs are confident in their presentation of aesthetic and likewise assured in their craftsmanship. For many listeners, elements will ring familiar, but it’s in the flashes of individuality throughout Demo that The Hyle‘s real potential is unveiled.

The Hyle, Demo (2014)

The Hyle on Thee Facebooks

The Hyle on Bandcamp

Demo at Caligari Records

Caligari Records on Bandcamp

There’s just something about doom on a purple tape that feels right. Comprised of four tracks split up onto two sides, Danish four-piece The Hyle unfurl the wizardly electricity of their debut Demo on tape via respected purveyor Caligari Records. The riffy doomers are a relatively recent advent — they’ll play their first “official” show this month, though I don’t know how many unofficial gigs precede it (the photo above had to be taken somewhere) — but the four cuts bleed well together for nearly a half-hour immersive runtime of languid doom that’s already started to catch attention. Hence the cassette release.

Only 150 copies are being pressed by Caligari, who sent the following down the intestinal windings of the PR wire:

THE HYLE – Demo Out Now On Tape – Danish Doom

The Hyle hail from Denmark and this 4-song demo introduces their sublime doom rock to audiences that are more used to bestial vulgarity, chauvinistic rock and roll, raunchy thrash metal, generic metal ov death and cheesy heavy metal than they are to swift arrangements and expansive guitars, clean vocals elucidating dark and curiously morbid lyrics and paused drumming and subjugated bass playing. Listen to The Hyle and let your perception get the message; their unnerving passivity reveals something insalubrious lurking beneath.

The Hyle is inspired by the occult and esoteric teachings of Robert Fludd, who among others had difficulties defining the term the Hyle. It can’t be described in isolation, because it is in fact, the essence of not being anything: it is infinite non-existence. Therefore The Hyle is not created, for it is the material of which created things spring.

The Hyle receives its main inspiration from the gap between existence and non-existence, and the sound can be seen as a manifestation of something both created, and creating.

4 songs and almost thirty minutes of music, it is all it takes for The Hyle to turn their insides out…

Pro Tapes / Pro JCards

Limited to 150 Copies

This is the 21st release of CALIGARI Records.

https://caligarirecords.bandcamp.com/album/demo
http://caligarirecords.storenvy.com/collections/277955-all-products/products/10967700-the-hyle-demo-cal-021
https://www.facebook.com/CaligariRecords
https://www.facebook.com/thehyleband
http://thehyle.bandcamp.com/

The Hyle, Demo (2014)

Spanish cult rockers Lewis and the Strange Magics have worked fast. In late June, the Barcelona garage doomers released their debut demo, aptly-titled Demo, with an initial three songs available digitally for those who might have the inclination to check them out. Less than two months later, the band — whose lineup remains a mystery and of whom no photos have surfaced — signed a deal with Soulseller Records to release their first album, on which they’ve already begun work. The Demo itself moves with similar efficiency. Barely 90 seconds have passed into opener “How to be You” before Satan is invoked in a catchy chorus reminiscent of Ghost for its harmonies and The Devil’s Blood for its psychedelic swirl, but rougher in its production than either. Both of those bands owed a considerable debt to ’70s cultistry, and Lewis and the Strange Magics do likewise — see Coven, Salem Mass, Black Widow, etc. — but a sense of theatricality comes through the subsequent “Cloudy Grey Cube” (also featured in July’s podcast), and it’s more in line with classic Alice Cooper Band than anything so specifically devilish.

There also seems to be a different vocalist on the second of Demo‘s three cuts from that on “How to be You” — the opener also being the longest inclusion; immediate points — but I could be way off on that, and I suppose the nebulous unknown is part of what makes Lewis and the Strange Magics an engaging listen. So far as I know, they’ve done no shows, and while the elephant in the room stylistically here is unquestionably Uncle Acid and the Deadbeats, who rode similar garage mystique all the way to an opening slot for Black Sabbath and an impending major market US tour, Lewis and the Strange Magics aren’t so singular in their influence as the construction of their moniker might have you believe. Tonally, Lewis and company delve into vintage-isms, and there are at least two guitars on “Cloudy Grey Cube,” though that could just as easily be tape layering in the solo section before a return to the classic stoner swing of the verse riff that finishes out.

“Golden Threads” rounds out in spooky proto-metal form, a late ’60s Halloween psychedelia persisting in echoing soul vocals and a jangly but threatening intro/chorus riff, a dead giveaway of some underlying metallic influence. The closer opens up to a doomly groove, but never loses its swing, and deftly returns to its verse and instrumental chorus to close the quick 15-minute romp with a hint at darker explorations to come. Whoever they are, Lewis and the Strange Magics have arrived with a strong sense of what they’re looking to accomplish aesthetically, and while I wouldn’t be surprised to find their Soulseller debut a more complex, individualized effort than Demo, the three tracks included here make it easy to understand what all the hubbub is about, trading as they do in a fresh sound and giving another spin on what’s quickly becoming an established subgenre in its own right with garage-influenced doom rock. One way or another, expect to hear more about Lewis and the Strange Magics as they approach their debut proper, since buzz of this sort rarely disappears overnight.

Lewis and the Strange Magics, Demo (2014)

Lewis and the Strange Magics on Thee Facebooks

Lewis and the Strange Magics on Bandcamp

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[mp3player width=480 height=150 config=fmp_jw_widget_config.xml playlist=aot38.xml]

As I’ve tried not to do since I started making podcasts again, I kept away from a consistent theme this time around, but I wanted to at least get a blend of bands you’ve probably heard and bands maybe you haven’t. Of course the new Sleep was a given, and new cuts from Electric Wizard and Karma to Burn felt like they needed to be there as well, so they are. But there are a few corresponding inclusions of stuff I’ve been digging that I haven’t had the chance to write about yet — looking at you, USA out of Vietnam, Lewis and the Strange Magics and Deamon’s Child — and while I’ve no doubt you’re already down with those and the rest of what’s included here because you’re on it like that, putting them in here seemed a good way to feature them for anyone not yet exposed who might be interested in checking them out.

If that’s you, please enjoy. The second hour, as usual, is consumed by longer songs, but there are a few in the first hour as well (that Electric Wizard track is over 10 minutes, and the Sleep is close to it), but of the podcasts I’ve put together in the last few months, this one easily flows the best. It was pretty late as I was putting it together last night, so I had the headphones on and was working totally without distraction. I know it’s an unrealistic expectation to think anyone will be able to listen in that manner, but if you get the chance or if you don’t, I hope you have a good time.

First Hour:
Sleep, “The Clarity” from Adult Swim Singles Series (2014)
Electric Wizard, “I am Nothing” from Time to Die (2014)
Lewis and the Strange Magics, “Cloudy Grey Cube” from Demo (2014)
USA Out of Vietnam, “You are a Comet, You are on Fire” from Crashing Diseases and Incurable Airplanes (2014)
Serpent Venom, “Lord of Life” from Of Things Seen and Unseen (2014)
Deamon’s Child, “Lutscher!” from Deamon’s Child (2014)
Rabbits, “Reek and Ye Shall Find” from Untoward (2014)
Karma to Burn, “Fifty Seven” from Arch Stanton (2014)
The Heavy Co., “One Big Drag” from Uno Dose (2014)

Second Hour:
Wolf Blood, “Dancing on Your Grave” from Wolf Blood (2014)
Frown, “Harpocrates Unborn” from The Greatest Gift to Give (2014)
Merlin, “Lucifer’s Revenge” from Christ Killer (2014)
Causa Sui, “Incipiency Suite” from Pewt’r Sessions 3 (2014)

Total running time: 1:57:27

Thank you for listening.

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With a persistent murk and pervasively foggy sensibility, Welsh four-piece Reclvse make their debut with their self-titled three-song demo. The doubly-bassed Swansea doomers craft an aesthetic of sonic obscurity throughout “Temptress!,” “Of Many Names” and “Bewitch the Sky,” broiling themselves in molten garage demos of old while offering glimpses of ideas more complex, be it the nascent battle-metal melody in the chorus of the opener or the acoustic finale that closes out. Their name (which they often use stylized in all-caps, though that’s somewhat less reclusive) speaks to a cult mentality, but there’s little of that mindset in their actual songs, which are stripped to the bone stylistically and rounded off with medieval cruelty, turning otherwise simplistic trad doom grooves into something more cavernous and malevolent.

“Temptress!” resides deep in the mix, and Reclvse stay there for the duration, varying some in tempo while keeping an otherwise consistent sound no more telling than the single initials by which they identify themselves — J. (guitar/vocals), P. and B. (bass) and C. (drums) — but which should be relatable enough to experienced ears. The opener is the most rolling of the three tracks, though “Of Many Names” follows suit somewhat while keeping a less finished feel and spacing out in its midsection, while “Bewitch the Sky,” which stretches past the seven-minute mark as the longest cut here, moves at a crawl for most of its duration. Reclvse‘s middle piece, though shorter, varies some from the doomly atmospheres of “Temptress!” or “Bewitch the Sky.” “Of Many Names” was previously released in December 2013 as the band’s first recorded audio, and while the entire release this time around has some of that rehearsal-room air to it, the songs are cohesive and ably executed. Hard to know how they might hold up under a more elaborate production, but that’s not a concern for the time being.

As it stands, the raw feel only adds to the ambience — a phenomenon more commonly associated with black metal — and Reclvse‘s Reclvse ends up a cassette-ready demo that announces the band’s arrival well while giving a sense of where they might be headed creatively as they plunge deeper into ancient metals and altered-consciousness doom. You can hear the tracks now as part of The Obelisk Radio‘s 24/7 stream, and grab yourself a name-your-price download courtesy of the Bandcamp player below.

Reclvse, Reclvse Demo (2014)

Reclvse on Thee Facebooks

Reclvse on Bandcamp

Technically speaking, the limited-to-50-tapes Demo isn’t Green Dragon‘s first outing, though it is the North Jersey trio’s first on their own, their debut having been on a 2013 split tape with Purple Knights (review here). The three-piece of guitarist/vocalist Zack Kurland, bassist Jennifer Klein and drummer Nathan Wilson released a video for an earlier recording of “Downflame,” which opens this cassette, late in 2012, but in the time since, they seem to have dropped the “The” from the front of their name and come further into their sound. Demo is exactly that: a rudimentary showing of what Green Dragon have to offer sonically, and its four songs — the aforementioned “Downflame,” as well as “Psychonaut,” “Earth Children” and “Book of Shadows” — strike with the urgency and exploratory feel of a band’s earliest going. So if it isn’t precisely their first release, it’s not far off.

Kurland, who was also in Purple Knights and Sweet Diesel , leads the trio’s charge in gritty riffs and blown out vocals. The tape repeats all four tracks on both sides, and altogether each side is just over 14 minutes long, so any way you go, it’s a quick look at Green Dragon‘s approach, which nestles itself somewhere between garage shuffle and doomly grooving. Klein and Wilson add a fervent swing to “Psychonaut,” pushing the song’s Motörhead-style riff into more swaggering territory as Kurland drawls out intonations that would be nearly indecipherable were it not for the included lyric sheets in both the cassette and CD versions of the release. They never get into the same kind of malevolent psycho-delic melodicism as Uncle Acid, but some of the sway in “Earth Children” and the guitar in “Book of Shadows” hint in that direction if presenting a ’90s alt-rock crunch, while “Downflame” shows more of a classic metal root, hitting its stride in Iron Maiden-style hits and gallop in its second half.

A steady underpinning of Sabbath influence serves as a uniting factor and whole the key is remembering that it’s a demo release, Green Dragon show off some sonic fluidity between the tracks as the feedback that ends “Psychonaut” fades out an into that which starts the rolling bass groove of “Earth Children.” It might be me reading into it, but the second two cuts feel more complex than “Downflame” and “Psychonaut,” with “Earth Children” pushing more into psych ground and hitting a fuller stride in the bridge after its second chorus, leading to Kurland ‘s repeating the line, “Earth children are free,” and “Book of Shadows” sounding altogether more patient and assured in its pacing. If those are earlier or later in terms of the songwriting, I don’t know, but listening to the demo front to back — and then flipping over to side two and doing so again — it’s easy to read a narrative of progression into the material. At that point, whether or not it’s there is a secondary consideration (though still relevant of course). You can hear it.

What that might mean for Green Dragon‘s progression remains to be seen, but the balance of elements they devise on Demo intrigues as a solid demo should, and the gnarl in Kurland‘s guitar and Klein ‘s bass feels particularly suited to the compression of a tape, though I’ll say as well that both the CD and digital versions work with a little more frequency room to space out. Think of it as a choose-your-own-adventure release. “You’ve just encountered a Green Dragon…”

Green Dragon, Demo (2014)

Green Dragon on Bandcamp

Green Dragon’s website

Fuck. Yes. I nerded out pretty hard when Rochester, NY, heavy rockers Velvet Elvis knocked me on my ass with their debut long-player, In Deep Time (review here), last year. Well, Velvet Elvis seem to have been shortlived, which is unfortunate, but guitarist/vocalist Randall Coon and drummer Scott Donaldson have teamed up with guitarist/vocalist Sean Mcvay and bassist/vocalist Dan Reynolds — both of Rochester-based outfit Abandoned Buildings Club — to form King Buffalo, and if the languid, naturalistic grooves that pervade their aptly-titled debut demo, Demo, are anything to go by, that pairing is working out pretty well. The demo has three songs that you could easily split into two 10″ vinyl sides, and for having been recorded over the course of two days at the band’s practice space comes through clear and naturally, the airy guitars leading the charge of an organic vibe that recalls some of the heavy psych of recent King Buffalo tourmates All Them Witches, a light rural touch and Neil Young influence in the vocals on the open verses of “Pocket Full of Knife” leading to a jammy march that’s immediately and viciously engaging, becoming only more so when the quiet break swaggers into a stop and subsequent full-tone fuzz riffing.

In my head I’ve started to write a list of crucial American neo-heavy psych bands pulling from the blues and Americana where and when they want to and blending it with a classic stonerly influence, and I might just have to add King Buffalo to it. Drop it into another context, maybe speed it up a bit, and “In Dim Light” could be a Fu Manchu riff, but King Buffalo put it to work in a spacious field rather than a surf-ready beach, nascent harmonies topping thick riffs such that the potential for what the band might do on a debut full-length is exciting even on multiple listens, Donaldson‘s Sleep-esque snare march making the groove all the more righteous en route to the choppy modulated guitar solo and a Doors-echoing break leading to resurgence of the main riff to finish. Put them together and “Pocket Full of Knife” and “In Dim Light” add up to just about match the 11:15 of third track “Providence Eye,” but the closer’s more or less in a world of its own, starting out with wandering notes over rhythm strum and diving into a bowl of proggadelic noodles that unfold to riffy triumph around the two-minute mark.

Maybe that’s quick for an 11-minute song, but King Buffalo play it smart in loud quiet tradeoffs, each more satisfying than the last, jamming heavy psych-style after the second before bringing the chorus around to bear again. Then it’s time to boogie. A shuffling riff takes hold and gets a touch of quirk via space-rocking synth, and several stages of an instrumental conclusion play out in driving rhythms slowing, speeding up, changing to classic heavy ’70s groove and meeting with echoing leads before Donaldson and Reynolds are finally tasked to wrap the whole thing up with the drum and bass that have all along been the anchor of the psychedelic fray. Man, that’s groovy. The demo came out in mid-November, and King Buffalo reportedly already have plans to record an LP that will hopefully surface sometime in 2014. Until then, whether you heard Velvet Elvis or not, the demo warrants getting down:

King Buffalo, Demo (2013)

King Buffalo on Thee Facebooks

King Buffalo on Bandcamp

King Buffalo’s website

They may or may not have pared down to a trio since, but it appears that for the bulk of their short tenure, Richmond, Virginia’s Sinister Haze were fronted by Brandon Malone, also of Fire Faithful. He’s not listed as being in the band now — the current lineup given is guitarist/vocalist Brandon Marcey (Cough), bassist Sam Marsh (Dry Spell) and drummer Joe Dillon (Balaclava) — but Malone‘s low, Southern metal soul delivery definitely has left a mark on Sinister Haze‘s aptly-titled 2013 Demo, whether it’s the bluesy Church of Misery-style swagger of “Changin’ Ways” or the loose Electric Wizard affiliation shown through the nine-minute “Black Shapeless Demon.” Marcey‘s own vocals are mostly screams that come forward more on the shorter “Betrayed by Time,” which closes out the three-song affair, but there are times especially on the first two tracks when it’s pretty clear there are two voices working in tandem, and presumably that’s a result of Malone and Marcey both contributing, not just different layers on the Griffin IV-recorded CD and tape, which is set for release through Unholy Anarchy Records in time for the band’s headlining gig at the first night of this year’s Autumn Screams Doom at The Ottobar in Baltimore, Oct. 25.

If it seems strange that a band just putting out their first demo of whom there seems to be no record going back any further than the start of 2013 would be playing last for the night at a fest that also features Negative Reaction, Weed is Weed, Iron Man, Wizard Eye and Serpent Throne — all of whom have been around considerably longer and are not without pedigree of their own in varying degrees — one might chalk it up to the immediately recognizable and acknowledged Saint Vitus influence in Marcey‘s guitar, delivered in kind with Dillon‘s bombastic crash. Or hell, maybe they know someone. Point is it’s a fucking quality demo, full of Southern grit without the post-Down dudely posturing, and raw and fucked-up sounding without making a lo-fi caricature of garage doom. “Black Shapeless Demon” is probably my pick of the three cuts here, but “Betrayed by Time” has a creeper catchiness to it that begs for repeat listens and even “Changin’ Ways” makes a hook out of its chorus, as oddly dismantled as it might seem. If nothing else, they make it apparent that their interest in fucking around is slim to none.

And with the prospect of what could be a different configuration that’ll either position Marcey as the frontman or bring someone else into the band to replace Malone, there’s even more intrigue for Sinister Haze as they move past their Demo, but most importantly for their first time out, these songs are heavy as hell and show Sinister Haze as being more than able to take the reins on a drunken sludge lurch. Always a welcome find, and bonus if it leads to further distorted misanthropy down the road.

You can hear Sinister Haze‘s Demo now streaming as part of the 24/seven The Obelisk Radio playlist, or check it out on the Bandcamp player below:

Sinister Haze, Demo (2013)

Sinister Haze on Thee Facebooks

Sinister Haze on Bandcamp