Phog Sign to Desert Records for Whole Horse Both Barrels LP

Posted in Whathaveyou on November 24th, 2020 by JJ Koczan

So, uh, this rules. I hadn’t heard  Law Dissertation Proposal Examples Online - jva-brv-foerderverein.de Phog‘s  University assignments are a big challenge, but we can guide you. Let's find out Where can I buy essays online? Sudoku http://www.hahnemann.de/?dhcp-dns-dissertation is a can Whole Horse Both Barrels before this signing announcement came in from  We're a Homepage in West Yorkshire. We write content for digital agencies, national brands, SMEs and start-ups. Outsource your content Desert Records, but I kind of dig the crap out of it. Hailing not from Albuquerque, where the label is based, but from Portland, Oregon, via South Dakota, they nonetheless remind me some of defunct Albu-quirkies  Hire help for essay writing from UK essay writing service. Special discount for first order: -50% Off. Prices start at just ?18 per page. Special November Offer! Leeches of Lore in their lo-fi heavy-meets-psych-country blend. For  Why You Need Us for Your Diverse Nature Of Psychology Paper Service. Do you know how to tweak essay in the shortest time possible? Rewriting an essay requires someone who is Phog though, that comes paired with a psychedelic sprawl that feels all the more niche for the lap steel guitar included. Americana and heavy have been stylistic buds for going on 15-plus years at this point, but that’s not really the extent of what’s happening with  my site If you are interested how to make sure your writings are legal then this article is just for you. Practice Areas Joint Degree Let our Whole Horse Both Barrels, as both are put to use to serve the band’s overarching, individualized weirdness. As I said, I dig it.

I’m sure you’ve heard it already, but if not, it’s down at the bottom of this post, and vinyl info from  Great find thiss that ensure high grades! We differ from other custom writing companies because right now we can offer you: A live chat with your writer; When you order a college essay, you have a right to make sure that it is under a professional's control. Desert Records follows:

phog whole horse both barrels

Phog – Whole Horse Both Barrels – Desert Records

We would like to welcome Phog from Portland, Oregon to Desert Records! We will be releasing their album ‘Whole Horse Both Barrels’ on a limited edition 100 individually numbered “Blue Dream” vinyl! We here at Desert Records are thrilled to welcome these fine South Dakota bred, Portland honed gents to the family!

pronouncedfog.bandcamp.com/releases

“Whole Horse Both Barrels” is phOGs open love letter to classic rock, country western music, the 70s and heavy metal. Recorded over the course of 2019, and maybe some of 2018, re-visiting songs previously demo’d before Zach was in the band, and rolling out some more fresh material for an easy 30 minute listening experience, of 5 songs that flow right into one another, we hope you enjoy the journey. All songs were written, produced, and recorded by phOG via the Tascam 388 reel to reel in the basement of The Convent in Portland, Oregon.”

Album art for “Whole Horse Both Barrels” created by Ted Nasmith (Canadian artist, illustrator and architectural renderer. best known as an illustrator of J. R. R. Tolkien, and George R.R Martin works).

Phog are:
Samuel Cody Matson (lap Steel)
Adam Mundorf (Guitar, Vocals)
Zachary Retzl (Bass)
Jonathan “Jonny V” Ventrella (Drums)

https://www.facebook.com/phogband/
https://pronouncedfog.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Phog, Whole Horse Both Barrels (2020)

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When the Deadbolt Breaks Premiere “Floyd’s Machine” From Until it All Collides Remix out Nov. 29

Posted in Whathaveyou on October 23rd, 2020 by JJ Koczan

So just to make your life confusing, here’s a remixed track from a remixed record. But the remixed track is a bonus track that’s not part of the remixing process the rest of the record underwent, instead an outside collaboration. But the rest of the record, CV Creation by Lodene Behr Phone 074 336 9185. Facebook site: click here. Email: lodene.cvcreation@gmail.com. Outline For Mla Research Papers Create CV & Email (per Until it All Collides — originally released in 2016 on ( Have done lots of research and need it evaluated) reply to thread view you want to How To Write A Good Expository Essay; If you want a PhD then you have to work for one Salt of the Earth Records — has been remixed and remastered. Corey Blake hired Ghostwriters when CEOs and thought leaders wanted to Buy University Papers to write their book. After working with dozens of ghostwriters When the Deadbolt Breaks, in sound or style or method, have never taken it easy on the listen. It’s just not the way of founding guitarist/vocalist Best-UK-Dissertation.com is the reputed Ghostwriter Vhs UK to Buy Dissertation Online. We offers custom dissertation writing service Aaron Lewis or the Connecticut outfit that’s been his destructive, extremist sludge vehicle for 15 years.

To wit, the premiere of “Floyd’s Machine (Remix)” below is one of two Interested in the information about our Picture Editing Services? Here, learn about the most professional bio writing services if you need for professional Juno6 remixes included on the forthcoming new version of Argumentative Essays - Let professionals deliver their tasks: order the needed paper here and wait for the best score Entrust your essay to Until it All Collides is fascinating and unlike anything the band has done before. Think In 2011, Eurographics extended the Research Awards Programme by creating an additional read review Award. The aim is to recognize good thesis work in Godflesh or some of Obtain Phd? In a wink! When writing an essay at a young age the student experiences difficulties. Chances are good it will also be Napalm Death‘s techno experimentations and you’ll be on the right track. When the Deadbolt Breaks have always been able to harness an atmosphere of threat, and certainly “Floyd’s Machine” keeps that as part of the foundation from which it builds, but it also takes an unexpected — and effective; like, Lewis might want to consider doing a whole record like this — turn with the outside reinterpretation of the band’s work.

When the Deadbolt Breaks have a new LP in the works for Desert Records in 2021 and a new lineup as well. Lewis updates below and “Floyd’s Machine (Remix)” premieres down at the bottom:

when the deadbolt breaks

When The Deadbolt Breaks will be releasing the album Until It All Collides as remix on Friday Nov. 29th via Desert Records along with the songs Floyd’s Machine and Just Before Twilight. The band will also release a new full-length album in 2021 on Desert Records.

“WTDB was the first band I signed to the label in 2018,” says Desert Records founder Brad Frye. “I couldn’t be happier to help them release these two albums. The remixes are dirty, grimey, filthy and disgusting in the best way possible and will be released on Black Friday 2020, as a digital album for ‘name your price’ on Bandcamp. I heard one of the new songs from the upcoming album…killer stuff. Get ready for new music from the Psychedelic Doom hailing from the woods of Connecticut.”

Aaron Lewis on Until it All Collides remixes:

I was never really quite happy with the way the Until It All Collides EP sounded, which, I can only blame myself for since it was recorded at my studio like all of our records have been. But, I probably wasn’t in the right frame of mind to be working on that project at that time due to personal issues I was facing. So, I wanted to give the album the proper mix and master that it deserves. However this time, we removed the live songs and have added two remix versions of older When the Deadbolt Breaks songs as remixed and reimagined by our friend Juno6.

Those remixes will include ‘Floyd’s Machine’ from our 2018 album Angels are Weeping… God has abandoned.,. and ‘Just Before Twilight,’ from our 2010 double album The Last Day of Sun. Juno6 first sent us the remix of Floyds Machine close to two years ago now, and we wanted to wait for the right time to release it. Now is that time through Desert Records.

Over the past few months, we have also been working on a new record, which honestly I couldn’t be more pleased about. With the addition of Charlie Platterborze on guitar and Rob Birkbeck on drums, a whole new pathway has been opened for our music. The new music is more extreme, more diverse and more crushing than anything we’ve done in the past.

We are extremely excited to welcome both Rob and Charlie to the band, and to work with Desert Records on both of these releases.

https://www.facebook.com/WhentheDeadboltBreaks/
https://whenthedeadboltbreaks.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

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Stone Machine Electric Sign to Desert Records; The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld Due Dec. 4

Posted in Whathaveyou on October 13th, 2020 by JJ Koczan

stone machine electric

I don’t even know how many times I’ve said this since 2009, but you know why I like Stone Machine Electric? Because I genuinely don’t know what’s coming next. Of how many bands is that true 11 years later? I’ve heard two of the three tracks on the upcoming album, cumbersomely titled The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld, and yeah, there’s a sense that William “Dub” Irvin and Mark “Derwooka” Kitchens are going to be jamming at this point — they certainly were on last year’s Darkness Dimensions Disillusion (review here), but as to what shape that’s going to take was still a mystery going into the new material.

“Journey on the Nile” tops 20 minutes and “At Crystal Lake…” is over 15, so Dub and Kitchens are plenty dug in here, but even between the two pieces there’s a decided shift in atmosphere. I’m keeping my fingers crossed to review before December comes, and there’s no audio from the record out yet, so I won’t spoil it more than I have, but the way I see it these guys remain way undervalued in their loyalty to their own creativity over genre or other concerns.

They’re a good fit for Desert Records, which has signed the band and sent along the following:

stone machine electric the inexplicable vibrations of frequencies within the cosmic netherworld

Stone Machine Electric – The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld

Record Label: Desert Records
Release Date: 12/4/2020

Stone Machine Electric is a Texas-based stoner rock duo best known for crafting a dark and spacious brand of psychedelic jamming that they have dubbed Doom Jazz. Formed in the summer of 2009 by Mark Kitchens and William (Dub) Irvin, the duo began to unleash their Wo Fat and Earthless inspired sonic explorations upon the earth. Since their inception, the band has self-released a demo, an EP and four full lengths, the most recent of which, Darkness Dimensions Disillusion, came out on Sludgelord Records. On top of this they have a live record, Vivere, which was released with Off The Record Label.

“Be prepared to experience the COSMIC NETHERWORLD,” warns Desert Records’ Brad Frye. “I don’t know what strain those dudes are smoking in Texas, but Stone Machine Electric is about to drop a psychedelic juggernaut. Wait ’til you hear the song Journey on the Nile. Stoked to have these guys on board!”

SME have toured throughout the Lonestar State and even made it out to Arizona, Oklahoma and Louisiana. Along the way they have played alongside groups like Mothership, Wo Fat and Jucifer as well as having performed at a variety of Texas festivals including End Hip End It, Fuzzed Out Fest and Heavy Mash.

Tracks:
1: Journey on the Nile
Recorded by Josh Block at Niles City Sound, Fort Worth, Texas on May 19, 2019
Mastered by Kent Stump at Crystal Clear Sound, Dallas, Texas

2: At Crystal Lake…
Recorded by Kent Stump at Crystal Clear Sound, Dallas, Texas on July 28, 2018
Mastered by Kent Stump at Crystal Clear Sound, Dallas, Texas

3: Free Thought
Recorded live at Freetown Boom Boom Room, Lafayette, Louisiana on February 22, 2020
Mastered by Kent Stump at Crystal Clear Sound, Dallas, Texas

Artwork:
Front Cover and Layout: Joshua Mathus

Photography:
Lynda Kitchens

Stone Machine Electric are:
Dub – Guitar/Vocals
Kitchens – Drums/Vocals/Keyboard

https://www.facebook.com/StoneMachineElectric/
https://www.instagram.com/stonemachineelectric/
http://stonemachineelectric.bandcamp.com/
http://www.stonemachineelectric.net/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Stone Machine Electric, Darkness Dimensions Disillusion (2019)

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The Penitent Man Sign to Desert Records

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

This is a good fit. Based in Salt Lake City, The Penitent Man bring a high-desert bluesy sensibility to Desert Records‘ roster, and as the label has established its mission as expanding the notion of what “desert” means in musical terms, the self-titled debut from the five-piece outfit would seem to be a way to do exactly that. A Western melodicism pervades heavy melancholia, and along with acts like label honcho Brad Frye‘s own Red Mesa, as well as The Misery Men, L’Uomo Nero and Book of Wyrms, The Penitent Man stand tall on the budding imprint’s quickly expanding lineup.

Desert Records has an edition of The Penitent Man‘s self-titled up now — there was apparently some trouble with the vinyl pressing the band had done, but they exist — and the label will also release the follow-up live album, Live at Pale Horse Sound for the next Bandcamp Friday, which will feature new material.

Details follow here:

the penitent man

The Penitent Man – Desert Records

The Penitent Man (essentially meaning a “man of constant sorrow”) is a 5 piece stoner/desert/blues rock band based out of Salt Lake City, Utah. Established in the fall of 2018, the band has quickly created a catalogue of music that spans various genres of rock, blues, funk, and soul.

The Penitent Man’s self titled debut album was released on March 20th, 2020 and can now be found streaming on most digital platforms. For more info on the band visit any of the links below. Vinyl and merch can be purchased on the bandcamp website.

Their debut album is now available on Desert Records Bandcamp. The band has put up Vinyl LP’s and a few Test Pressings.

Desert Records will help the band release their “Live at Pale Horse Sound” album on Friday, October 2nd. It will be accompanied by the full performance on Video.

These songs from the live album are all new and not on the debut album. Some of these will show up on their second studio album due out in 2021.

https://www.facebook.com/thepenitentmanband
https://www.instagram.com/thepenitentmanband/
https://thepenitentman.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

The Penitent Man, The Penitent Man (2020)

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The Misery Men: Doomtopia LP Available to Preorder

Posted in Whathaveyou on September 2nd, 2020 by JJ Koczan

Last I looked there were 58 copies of Doomtopia left available for preorder ahead of the album’s upcoming official vinyl release. They will, one assumes, be gone in short order if they aren’t already. The second full-length from Portland, Oregon’s The Misery Men is seeing issue through Desert Records, which, yes, is well aware that Portland is nowhere near the desert. Some things transcend landscape, and you know Desert Records is all about the expanded definition anyway, so the four-song long-player — which earns through vibe its “Type O Negative green” vinyl coloration — is plenty at home one way or the other.

The band self-released Doomtopia digitally on April 20, because of course, so you can stream the full thing now at the bottom of this post. Seems only to be an enticement to order the vinyl version, if the green itself wasn’t.

The label posted the following:

the misery men doomtopia

The Misery Men – Doomtopia – Desert Records

Desert Records has teamed up with The Misery Men for a very special VINYL LP release.

The alliance with the Pacific Northwest has been forged.

Hailing from Portland, OR and led by my longtime friend Corey G Lewis, THE MISERY MEN are a very unique band with some badass personnel.

“Doomtopia” the 2nd album by the Doom/Grunge band was recorded by ROB WRONG of Witch Mountain and was mastered by BILLY ANDERSON, the legendary engineer for such bands as Sleep, (the) Melvins, High On Fire, Neurosis, Witch Mountain, Acid King.

100 extremely Limited Edition Vinyl LP’s will be pressed in “Type O Negative Green”!

Click this link to listen to the album, see the vinyl photos, and pre-order your copy: https://www.diggersfactory.com/vinyl/230729/the-misery-men-doomtopia

Catalog number: DSRT420

Tracklisting:
1. Lion’s Head 11:34
2. Houdini’s Eyes 08:52
3. Meg Mucklebones 10:32
4. Vampires 05:21

The Misery Men:
Rhythm Guitar Vocals: Corey G Lewis
Bass: Steven O’Kelly
Drums: Ian Caton
Lead: Rob Wrong (Lion’s Head, Houdini’s Eyes, Meg Mucklebones)
Bass: Billy Anderson (Lion’s Head, 2nd half of Houdini’s Eyes)

https://www.facebook.com/themiserymen
https://www.instagram.com/themiserymen/
https://themiserymen.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

The Misery Men, Doomtopia (2020)

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L’uomo Nero Premiere “Nel Deserto” from Debut EP Andiamo Nel Deserto

Posted in audiObelisk on August 7th, 2020 by JJ Koczan

luomo nero

Albuquerque, New Mexico, three-piece L’uomo Nero will release their debut EP, Andiamo Nel Deserto, on Nov. 6 through Desert Records. The title of the release and the band’s name are both Italian. The former, “Let’s go to the desert,” and the latter, “the boogeyman,” or, more literally, “the black man.” The undertones there notwithstanding the political scrutiny of a sensitive time, the EP explores vocalist/guitarist/songwriter Dominic Cagliostro‘s personal-trauma-turned-narrative across four tracks and reportedly serves as the first of three offerings that will flesh out the story being introduced here.

Though there’s obviously still more to be revealed as Cagliostro, bassist Robson Guy and drummer Luke Seelau — either all or some of whom also feature in cosplay rockers The Horned God, who were the first band Desert Records signed — more from Andiamo Nel Deserto into the release-dates-TBA-four-songers Del la Mer and Voda Atebo Ohen, their songwriting and aesthetic intricacy fits with the expanded-definition of desert rock that Desert Records has taken as its mission to champion. It is, then, about more than homage to ’90s fuzz. In the case of L’uomo Nero, far more.

“Nel Deserto,” the first single from Andiamo Nel Deserto and the penultimate of the four tracks, is the most stylistically diverse of the bunch. luomo nero andiamo nel desertoCloser “Walk Away” sets itself to a particularly strong hook that builds on what the band does earlier with “Afterman,” and “Andiamo” — true to the idea of “let’s go” — feels like an introduction to the band, the release, and the concept as a whole with intonations of the moniker atop a brooding and weighted sensibility that soon pushes into heavier rock territory, Cagliostro‘s vocals forward and soulful in a fashion that calls to mind a Southwestern-vibing Shadow Witch, “Afterman” tapping classic rock en route to “Nel Deserto,” which brings a more choice lyrics about god being “just another stuffed shirt” and the like.

At 4:47, it’s the longest song on the EP, but not by much, and “Walk Away” rounds out afterward with the back-to-ground effect of its chorus and an engaging finish that, one supposes, is serving the dual purpose as a lead-in for the next installment of the story. One of the dangers of a conceptual release — let alone three of them — is that the songs are sacrificed to the story, but L’uomo Nero find a balance there that works for them in terms of not letting the impact of each of their tracks hold its own even as it feeds into the whole. For a relatively short EP, a first one, and a plotline awaiting completion, that is markedly impressive.

You can stream “Nel Deserto” below, followed by some comment from Cagliostro about the tragedy that inspired his songwriting, and more info on the EP release.

Please enjoy:

Dominic Cagliostro on Andiamo Nel Deserto:

I am a clinical social worker. My friend got murdered, they found her in a river, she had a drinking problem. We were on and off for a few years, and I couldn’t get her to stop partying. When she died… I don’t know… my friend said the courts were trying to get her to testify regarding some drug shit. When I poked around, she told me to stop and not get involved and scared me. So I did. And luckily for me, I am an expert at giving out the tools and helping others deal with this type of stuff: mental health, depression, grief, acceptance, trauma, substance abuse, etc. So instead of getting myself killed or relapsing, I decided to sublimate the negative experience and make music out of it. This is that music.Sublimation, Freud shit to change from this experience in a healthy manner.

Please welcome to Desert Records Albuquerque’s blues rockers L’UOMO NERO!

First chapter ‘Andiamo Nel Deserto’ will be issued on Nov. 6th through Desert Records, with first single “Nel Deserto” dropping on August 7th.

“So far, we only know that the Flagstaff Police Department is investigating the death of a woman from New Mexico. Private Occult Detective Nico L’oscuro is using supernatural and magical practices to uncover this mystery and others.” Debut single “Nel Deserto” proves to be the centerpiece of a truly groovy and melodic rock opera, with Dominic Cagliostro’s soulful vocals and ardent riffs filling the gap between contemporary heavy and Masters Of Reality’s heritage.

Occult blues rockers ‘L’UOMO NERO’ play with their band name, ‘The Boogeyman’, to build an intriguing sonic trilogy made of 3, four song EPs: ‘Andiamo Nel Deserto’, ‘Del la Mer’ and ‘Voda Atebo Ohen’. The records follow the adventures of occult Detectives Nico L’oscuro, Quello Bello and Sentire, and their supernatural and magical practices to uncover the mystery behind the “disappearance” of a woman from New Mexico. Created on a fantastic thriller basis and inspired by true events and by American author H.P. Lovecraft, the three EPs take the protagonist through the stages of grief, denial, anger, bargaining, depression and acceptance. All three records together form the framework of a gloomy occult crime investigation illustrated by a special artwork and layouts that reveals some missing clues. The entire trilogy will be issued between fall 2020 and spring 2021, with first EP ‘Andiamo Nel Deserto’ coming out on Nov. 6th 2020 through Desert Records.

Tracklisting:
1. Andiamo
2. Afterman
3. Nel Deserto
4. Walk Away

L’UOMO NERO is:
Dominic Cagliostro (Domenico L’oscuro) – Vocals and guitar
Robson Guy (Quello Bello) – Bass guitar
Luke Seelau (Sentire) – Drums

L’uomo Nero, Andiamo Nel Desierto EP promo

L’uomo Nero on Thee Facebooks

L’uomo Nero on Instagram

Desert Records on Thee Facebooks

Desert Records on Bandcamp

Desert Records BigCartel store

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Quarterly Review: Katatonia, Marmalade Knives, King Witch, Glass Parallels, Thems That Wait, Sojourner, Udyat, Bismarck, Gral Brothers, Astral Glide

Posted in Reviews on July 9th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Welcome to the penultimate day of the Summer 2020 Quarterly Review. I can only speak for myself, but I know it’s been a crazy couple months on this end, and I imagine whatever end you’re on — unless and probably even if you have a lot of money — it’s been the same there as well. Yet, it was no problem compiling 50 records to review this week, so if there’s a lesson to be taken from it all, it would seem to be that art persists. We may still be painting on cave walls when it comes to the arc of human evolution, but at least that’s something.

Have a great day and listen to great music.

Quarterly Review #31-40:

Katatonia, City Burials

katatonia city burials

Like their contemporaries in My Dying Bride and Paradise Lost, the latter-day period of work from Sweden’s Katatonia veers back toward some measure of direct heaviness, as City Burials showcases in cuts like “Rein,” “Heart Set to Divide” and “Behind the Blood,” but more than either of those others mentioned, the Stockholm outfit refuse to forsake the melody and progressivism they’ve undertaken with their sound in the name of doing so. By the time they get to “Untrodden” at the end of the album’s 50-minute/11-song run, they’ve run a gamut from dark electronica to progressive-styled doom and back again, and with the founding duo of guitarist Anders Nyström and vocalist Jonas Renkse at the helm of the songwriting, they are definitive in their approach and richly emotive; a melancholy that is as identifiable in their songs as it is in the bands working under their influence. Their first work in four years, City Burials is an assurance that Katatonia are in firm ownership and command of all aspects of their sound. As they approach their 30th year, they continue to move forward. That’s a special band.

Katatonia on Thee Facebooks

Peaceville Records website

 

Marmalade Knives, Amnesia

marmalade knives amnesia

Boasting production, mixing and percussion from The Golden GrassAdam Kriney, Marmalade Knives‘ debut album, Amnesia, is a delight of freaky-but-not-overblown heavy psychedelia. Oh, it’s headed far, far out, but as the opening narration and the later drones of second cut “Rivuleting” make plain, they might push, but they’re not trying to shove, if you know what I mean. The buzz in “Best-Laid Plans” doesn’t undercut the warmth of the improvised-seeming solo, and likewise, “Rebel Coryell” is a mellow drifter that caps side A with a graceful sense of wandering the soundscape of its own making. The vibe gets spacey on “Xayante,” and “Ez-Ra” touches on a funkier swing before seeming to evolve into light as one does, and the 10-minute “Astrology Domine” caps with noise and a jammed out feel that underscores the outbound mood of the proceedings as a whole. Some of the pieces feel like snippets cut from longer jams, and they may or may not be just that, but though it was recorded in three separate locations, Amnesia draws together well and flows easily, inviting the listener to do the same.

Marmalade Knives on Thee Facebooks

Electric Valley Records webstore

 

King Witch, Body of Light

king witch body of light

Edinburgh’s King Witch toe the line between classic metal and doom, but whatever you want to call them, just make sure you don’t leave out the word “epic.” The sweeping solo and soaring vocals on the opening title-track set the stage on their second LP, the hour-long Body of Light, and as much mastery as the band showed on their 2018 debut, Under the Mountain (review here), vocalist Laura Donnelly, guitarist Jamie Gilchrist, bassist Rory Lee and drummer Lyle Brown lay righteous waste to lofty expectations and bask in grandiosity on “Of Rock and Stone” and the linear-moving “Solstice I – She Burns,” the payoff of which is a high point of the album in its layered shred. Pieces like “Witches Mark” and “Order From Chaos” act as confirmation of their Euro-fest-ready fist-pumpery, and closer “Beyond the Black Gate” brings some atmosphere before its own headbang-worthy crescendo. Body of Light is a reminder of why you wanted to be metal in the first place.

King Witch on Thee Facebooks

Listenable Records on Bandcamp

 

Glass Parallels, Aisle of Light

Glass Parallels Aisle of Light

Eminently listenable and repeat-worthy, Glass Parallels‘ debut LP, Aisle of Light, nonetheless maintains an experimentalist flair. The solo-project of Justin Pinkerton (Golden Void, Futuropaco), covers a swath of ground from acid folk to psych-funk to soul vibes, at times bordering on shoegaze but seeming to find more expressive energy in centerpiece “Asphyxiate” and the airy capper “Blood and Battlegrounds” than any sonic portrayal of apathy would warrant. United by keys, pervasive guitar weirdness and Pinkerton‘s at-times-falsetto vocals, usually coated in reverb as they are, Aisle of Light brings deceptive depth for being a one-man production. Its production is spacious but still raw enough to give the drums an earthy sound as they anchor the synth-laden “March and April,” which is probably fortunate since otherwise the song would be liable to float off and not return. One way or another, the songs stand out too much to really be hypnotic, but they’re certainly fun to follow.

Glass Parallels on Thee Facebooks

Glass Parallels on Bandcamp

 

Thems That Wait, Stonework

thems that wait stonework

Stonework is the self-aware debut full-length from Portland, Maine, trio Thems That Wait, and it shoulders itself between clenched-teeth metallic aggression and heavier fuzz rock. They’re not the first to tread such ground and they know it, but “Sidekick” effectively captures Scissorfight-style groove, and “Kick Out” is brash enough in its 1:56 to cover an entire record’s worth of burl. Interludes “Digout” and “Vastcular” provide a moment to catch your breath, which is appreciated, but when what they come back with is the sure-fisted “Paragon” or a song like “Shitrograde,” it really is just a moment. They close with “Xmortis,” which seems to reference Evil Dead II in its lyrics, which is as good as anything else, but from “Sleepie Hollow” onward, guitarist/vocalist Craig Garland, bassist Mat Patterson and drummer Branden Clements find their place in the dudely swing-and-strike of riffs, crash and snarl, and they do so with a purely Northeastern attitude. This is the kind of show you might get kicked at.

Thems That Wait on Thee Facebooks

Thems That Wait on Bandcamp

 

Sojourner, Premonitions

sojourner premonitions

Complexity extends to all levels of Sojourner‘s third album and Napalm Records debut, Premonitions, in that not only does the band present eight tracks and 56 minutes of progressive and sprawling progressive black metal, varied in craft and given a folkish undercurrent by Chloe Bray‘s vocals and tin whistle, but also the sheer fact that the five-piece outfit made the album in at least five different countries. Recording remotely in Sweden, New Zealand, Scotland and Italy, they mixed/mastered in Norway, and though one cringes at the thought of the logistical nightmare that might’ve presented, Sojourner‘s resultant material is lush and encompassing, a tapestry of blackened sounds peppered with clean and harsh singing — Emilio Crespo handles the screams — keyboards, and intricate rhythms behind sprawling progressions of guitar. At the center of the record, “Talas” and “Fatal Frame” (the shortest song and the longest) make an especially effective pair one into the other, varied in their method but brought together by viciously heavy apexes. The greatest weight, though, might be reserved for closer “The Event Horizon,” which plods where it might otherwise charge and brings a due sense of largesse to the finale.

Sojourner on Thee Facebooks

Napalm Records website

 

Udyat, Oro

udyat oro

The order of the day is sprawl on Udyat‘s recorded-live sophomore LP, Oro, as the Argentinian outfit cast a wide berth over heavy rock and terrestrial psych, the 13-minute “Sangre de Oro” following shorter opener “Los Picos de Luz Eterna” (practically an intro at a bit over six minutes) with a gritty flourish to contrast the tonal warmth that returns with the melodic trance-induction at the start of “Los últimos.” That song — the centerpiece of the five-track outing — tops 15 minutes and makes its way into a swell of fuzz with according patience, proceeding through a second stage of lumbering plod before a stretch of noise wash leads pack to the stomp. The subsequent “Después de los Pasos, el Camino Muere” is more ferocious by its end and works in some similar ground, and closer “Nacimiento” seems to loose itself in a faster midsection before returning to its midtempo roll. Oro borders on cosmic doom with its psychedelic underpinnings and quiet stretches, but its movement feels ultimately more like walking than floating, if that makes any sense.

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Bismarck, Oneiromancer

Bismarck Oneiromancer

To anyone who might suggest that extreme metal cannot also be forward-thinking, Bismarck submit the thoughtful bludgeon of Oneiromancer, a five-song/35-minute aesthetic blend that draws from doom, death, hardcore and sundry other metals, while keeping its identity in check through taut rhythm and atmospheric departures. Following the chants of opening intro “Tahaghghogh Resalat,” the Chris Fielding-produced follow-up to Bismarck‘s 2018 debut, Urkraft (review here), showcases an approach likewise pummeling and dynamic, weighted in ambience and thud alike. “Oneiromancer” itself starts with blastbeats and a plundering intensity before breaking into a more open midsection, but “The Seer” is absolutely massive. Despite being shorter than either the title-track or “Hara,” both of which top nine minutes, and closer “Khthon” underscores the blood-boiling tension cast throughout with one last consuming plod. Fucking raging. Fucking awesome. Pure sonic catharsis. Salvation through obliteration. If these are dreams being divined as the title hints, the mind is a limitless and terrifying place. Which, yes.

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The Gral Brothers, Caravan East

gral brothers caravan east

I won’t say it’s seamless or intended to be, but as Albuquerque, New Mexico, two-piece The Gral Brothers make their initial move on Caravan East between cinematic Americana and industrial brood, samples of dialogue on “Cactus Man” and violin in the seven-minute soundscaper “In Die Pizzeria” seem to draw together both a wistfulness and a paranoia of the landlocked. Too odd to fall in line with the Morricone-worship of Cali’s Spindrift, “Crowbar” brings Spaghetti West and desert dub together with a confidence that makes it seem like a given pairing despite the outwardly eerie vibes and highly individualized take, and “Santa Sleeves” is beautiful to its last, even if the lone bell jingle is a bit much, while “Silva Lanes” pushes even further than did “Circuit City” into mechanized experimental noisemaking. They end with the birdsong-inclusive “Ode to Marge,” leaving one to wonder whether it’s sentiment or cynicism being expressed. Either way, it’s being expressed in a way not quite like anything else, which is an accomplishment all on its own.

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Astral Glide, Flamingo Graphics

astral glide flamingo graphics

When you’re at the show and the set ends, Flamingo Graphics is the CD you go buy at the merch table. It’s as simple as that. Recorded this past March over the course of two days, the debut album from Floridian foursome Astral Glide is raw to the point of being barebones, bootleg room-mic style, but the songwriting and straightforward purposes of the group shine through. They’re able to shift structures and mood enough to keep things from being too staid, but they’re never far off from the next heavy landing, as “Devastation” and the closer “Forever” show in their respective payoffs, that latter going all out with a scream at the end, answering back to the several others that show up periodically. While their greatest strength is in the mid-paced shove of rockers like “Space Machine” and “Scarlett” and the speedier “Workhorse,” there are hints of broader intentions on Flamingo Graphics, though they too are raw at this point. Very much a debut, but still one you pick up when the band finishes playing. You might not even wait until the end of the show. Meet them back at the table, and so on.

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Red Mesa Premiere “Desert Moon”; The Path to the Deathless out June 12

Posted in audiObelisk, Reviews on May 12th, 2020 by JJ Koczan

red mesa

New Mexico’s Red Mesa will issue their third long-player, The Path to the Deathless, on June 12 through guitarist/vocalist Brad Frye‘s own Desert Records label. The seven-tracker runs 40 minutes and makes a curious impression on first go, subsequently opening up to the listener in terms of its ambition. That is, as much as Red Mesa pledge allegiance to the idea and ideals of desert rock in their name and that of Frye‘s imprint, they’re not through the two-and-a-half-minute opening intro “Ghost Bell” — the actual bell of which, yes, is answered toward the end of closer “Swallowed by the Sea” — before they’ve introduced elements like harsher shouting vocals behind Frye‘s croon and a flourish of violin that comes up again later.

Certainly the title-track and subsequent “Desert Moon” have their riffy roots right on their sleeve for all to see — the band even notes below that the latter is a direct play on Kyuss — but at the same time, “The Path to the Deathless” echoes out its midsection like drifting Monster Magnet, and Frye, bassist/vocalist Alex Cantwell and drummer/backing vocalist Roman Barham bridge a large flyover gap in bringing aboard Earthride frontman Dave Sherman (also Spirit Caravan, Galactic Cross, Weed is Weed, etc.), who reigns as one of the principal figures in Maryland doom, to sing and provide lyrics on “Desert Moon.”

So clearly we’re not just taking about a desert rock record here.

red mesa the path to the deathlessPulling the rug out from under expectation isn’t new for Red Mesa. Their 2018 sophomore outing, The Devil and the Desert (review here) manifested half in roaring grooves and half in subdued acoustic form — a stylistic theme The Path to the Deathless centerpiece “Death I Am” continues and pushes further toward country via pedal steel guitar and twanging lead vocals — so they’re obviously comfortable reaching beyond sandier landscapes. And on repeat listens, The Path to the Deathless not only bring those melodic, quieter and heavier rocking sides together in a more cohesive fashion than its predecessor, it continues the outward push.

The violin — contributed by Kristen Rad, who wins as far as surnames go — throws open the context of The Path to the Deathless right at the outset, giving a tie to post-metal à la SubRosa that, like the bell on “Ghost Bell,” also finds an answer and realization as part of the album-encompassing-summary that is the finishing track “Swallowed by the Sea” (there’s more pedal steel there too). At the same time, Red Mesa aren’t shy about their appreciation for the finer things as regards rock. Scott “Wino” Weinrich (Spirit CaravanThe Obsessed, etc.) shreds “Disharmonious Unlife” to bits in addition to contributing vocals to the piece — another East/West tie-in for side B — and Red Mesa strip back to the bare trio for the all-out penultimate thruster “Revelation,” as if to cleanse the palette ahead of the undertaking that is the nine-minute finale to follow.

Bottom line? There’s a lot going on with The Path to the Deathless, and that’s before you even get to the overarching spiritual theme of the work, exploring life and death as the three-piece are, or the fact that this is their first offering with Cantwell in the lineup and the dynamic shift that brings in terms of he, Frye and Barham all working together on vocals and providing further variety there. Can one song on the album hope to capture all of that? Well, the “Swallowed by the Sea” comes close, but even that doesn’t encapsulate the bicoastal aspects of the Sherman and Wino appearances, so when it comes to giving a sampling of the whole, there isn’t really a single track that does the job. So we might as well groove.

Enter “Desert Moon,” which you’ll find premiering on the player below courtesy of Red Mesa‘s Bandcamp. As noted, FryeBarham and Sherman all check in with some perspective about the track, and you’ll find that down there in blue.

Hope you dig it:

Brad Frye on “Desert Moon”:

“‘Desert Moon’ is Desert Rock meets Doom. The main riff is like a backwards Kyuss riff. The chorus is an ode to Maryland Doom. The bridge is a psychedelic journey. Red Mesa wrote the music, Dave Sherman wrote the lyrics and sung all the vocals. This was pure collaboration magic. Much love to Dave for being on this. He absolutely killed the vocals and nailed the desert vibes.”

Roman Barham on “Desert Moon”:

“We wanted to have some great special guests on our new album. Dave Sherman came up right away since he was a good friend, and both a badass frontman and musician. To have Sherman a part of ‘Desert Moon’ was both an honor and was very humbling. He crushes on this song and makes it come alive. I fucking love his lyrics. East meets West.”

Dave Sherman on “Desert Moon”:

“Recording and performing for the Red Mesa project was so badass because it mixed East Coast and Southwest styles together. This turned out to be a monster song, in my opinion. Having John ‘Johnny Wretched’ Koutsioukis on board tracking it for us made it pure Maryland doom for the brotherhood of music.”

“THE PATH TO THE DEATHLESS” the third studio album by the Albuquerque, NM band will be released by DESERT RECORDS on June 12th.

This album is a concept record about death and beyond. Death and dying are harsh realities of the physical world, but the soul and spirit lives on through the “deathless”.

The album was recorded, engineered, and produced by Matthew Tobias at Empty House Studio (who has recorded albums by (OM, AL CISNEROS, SUPERGIANT) in January and February of 2020. The album was mastered by John McBain (original MONSTER MAGNET guitarist).

1. Ghost Bell
2. The Path To The Deathless
3. Desert Moon (Feat. Dave Sherman)
4. Death I Am
5. Disharmonious Unlife (Feat. Wino)
6. Revelation
7. Swallowed By The Sea

Red Mesa is:
Brad Frye: guitar, vocals
Roman Barham: drums, backup vocals
Alex Cantwell: bass, vocals

Plus:
Wino: Vocals and Lead Guitars on “Disharmonious Unlife”
Dave Sherman: All Vocals on “Desert Moon”
Kristen Rad: Violin on “Ghost Bell” and “Swallowed by the Sea”
Alex McMahon: Pedal Steel on “Death I Am and “Swallowed by the Sea”
Steve Schmidlapp: Acoustic Guitar on “Death I Am”

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