Shrooms Circle Sign to DHU Records for Asylum LP Release

Posted in Whathaveyou on July 30th, 2019 by JJ Koczan

shrooms circle

Swiss murk-doomers Shrooms Circle have signed to DHU Records to release their debut album, Asylum, on vinyl. Originally issued by the band in 2018, the album is a more than justifiable pickup, with swirling grim psychedelia and a pervasive melodic sensibility that feels born of the likes of Electric Wizard and Windhand will deigning to push deep into its own miseries from its 11-minute opening title-track onward, a slogging march there casting a suitably wretched pall over everything that follows, not that at any point throughout Shrooms Circle are exactly wanting for “wallow.” Spells are cast in dense tones and nodding riffs, a feeling of largesse only going to make them sound that much more overwhelming as they deliver slow-motion punishment throughout “Witches are There!” and the abysmal “Out from the Grave.”

They make a centerpiece of “The Druggist” — as one will — and the organ seems to come out more there and in the subsequent “A House Behind the Hills” than in some of the earlier rollers, as vocalist Odile weaves her voice around the riffs as though directing a tempest to her will. The speedier “Trapped” is suitably claustrophobic and bodes well for future growth in some later harmonies, and closer “The Island” taps into some of the most dirt-caked riffing Asylum has to offer, finishing with organ to lead the procession outward, a final dirge for the long-since dead. It’s not entirely unfamiliar in its overarching approach, but a cool listen nonetheless, especially as their first record.

All the better then that it should get the vinyl exposure from DHU. Not sure on an exact release date, but I know the label keeps busy, so I’d guess maybe Winter 2020? We’ll see. Don’t quote me on that.

From the social medias:

shrooms circle asylum

!!! LISTEN UP !!!

DHU Records is excited to announce the signing of Switzerland’s Hallucinogenic Doom Trip Shrooms Circle to release their debut full length 2018 album Asylum on Limited Edition vinyl!

Worship the Asylum here: shroomscircle.bandcamp.com

More details and info coming soon…

STAY DOOMED STAY HEAVY

Shrooms Circle are:
Scorp – Drums
Johann – Bass
Kelen Ob – Guitar, Vocals
Asknt – Guitar, FX
Teckel – Organ, Mellotron
Odile – Vocals

https://www.facebook.com/shrooms.circle/
http://shroomscircle.bandcamp.com
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Shrooms Circle, Asylum (2018)

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The Red Widows Release Debut Album Fuzzifixion Today

Posted in Whathaveyou on June 5th, 2019 by JJ Koczan

History shows again and again how nature points out the folly of those who write of British bands bearing goofy names and/or album titles. Thus, when I see London’s The Red Widows have dubbed their debut full-length Fuzzifixtion — as in, like being crucified except the cross is fuzz, I guess; maybe you’re nailed to a giant Big Muff? — I find no reason to think the release itself is a joke. And even if I did, the thing’s out today, so it would be easy enough to pop over to their Bandcamp and find out. Whatever time it is where you are, it’s probably past noon GMT.

DHU Records has already signed on to do the vinyl, and that’ll be out in a few months, but hey, you like instant gratification — and you like it now! — so today seems as good a time as any for the digital release. Get a jump on all those Friday releases. Weekend-monopolizing jerks.

Have at it:

the red widows fuzzifixion

The Red Widows – Fuzzifixion to be unleashed digitally Wednesday June 5th 2019

The Red Widows Debut Full Length Album “Fuzzifixion” to be unleashed digitally June 5th

This Wednesday June 5th noon-ish The Red Widows will unleash their full length debut album Fuzzifixion digitally on bandcamp!

A little over 60min of earth shattering DOOM will hit your speakers through 5 Hymns to our Lord Satan; Unholy dirges of the unlight worshipping Amps not Gods! So sit back and let the Heavy Fuzz consume you whole!

Vinyl release is being processed and is scheduled for late summer. DHU Exclusive, Test Press and Band Editions will be available on Limited Edition 2LP

More info and details coming soon…

STAY DOOMED STAY HEAVY

The Red Widows ~ Fuzzifixion (DHU040)
Tracklist:
A1. Pendulum 13:20
B1. Lucifer’s Maiden 16:33
C1. There Is No God 10:20
C2. Cursed Forever 9:37
D1. His Name Is Death 12:12

Killer artwork/photography done by David Johnson / The Doom Aesthetic

The Red Widows
Starr Red Widow: Singer & Bass
Rev. Mojo fuzz: Guitars & Backingvocals
Slöth: Drums

https://www.facebook.com/theredwidows/
https://www.instagram.com/theredwidows/
https://theredwidows.bandcamp.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

The Red Widows, Rising (2017)

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Youngblood Supercult Call it Quits

Posted in Whathaveyou on May 31st, 2019 by JJ Koczan

Bands come and go — it’s the nature of things — but it’s always a little bit sadder to see a band call it a day who both had potential and had yet to fully realize it in their work. Such is the case with Topeka, Kansas, four-piece Youngblood Supercult, and while I believe guitarist Bailey Smith when she says “see you in the future,” it’s not at all clear what shape that future will take.

Youngblood Supercult released three albums in their time in the form of 2017’s The Great American Death Rattle (review here), 2016’s High Plains (review here) and their 2014 debut, Season of the Witch, all of which were remarkably well received and which put forth a marked sonic progression one into the next. To what or where that might lead Smith and the other members of the band — drummer Weston Alford, bassist Brad Morris and vocalist David Merrill — I wouldn’t be able to guess, but Youngblood Supercult as a whole seemed to have more to say after the last record.

So it goes.

As noted, Smith made the announcement over Thee Facebooks, in two posts I’ve combined here:

youngblood supercult

First thing’s first: I’ve been having some issues with Bandcamp (again) on the merch side of things. ALL orders made between March and today should be shipped in a couple days whether or not you already received your order or got money back from something that wasn’t received. Thank goodness I have some backstock, and I apologized tremendously for the problems that have arisen from this. Thank you for your patience, everyone.

Secondly (and I wanted to post this as a separate announcement, because of the weight of it)….Youngblood Supercult, in its current existence, is no more. I will not be elaborating on the grimy details of what went wrong here, but unfortunately, this incarnation of the band has come to an end. I want to extend my deepest thanks to everyone who has supported us over the years, especially Robert Black, who gave us our first vinyl release and believed in us before anyone else did. To writers and reviewers who praised our musicianship. To everyone who came out to a show or told a friend about our music. To Joshua M. Wilkinson for collaborating with RB and DHU Records on our last release. You all are fantastic and special to me.

When I started this group in 2013, I had NO idea the impact our music would make on people all across the globe. My gratitude is endless. However, I WILL continue this group. I don’t know when, where, or with who. But it is the musical extension of my soul, and I have no intentions of letting it die. It might be a while. But you will see Youngblood Supercult in the future. In the meantime, I have a closet full of vinyl, including some first editions of High Plains and The Great American Death Rattle represses that recently arrived at my door. Once I get the merch from the previous post out, I’ll be posting links for those of you who are interested. You all kick ass, and I will see you in the future.

–Bailey

https://www.facebook.com/youngbloodsupercult/
https://youngbloodsupercult.bandcamp.com/

Youngblood Supercult, The Great American Death Rattle (2017)

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Psychic Hit Sign to DHU Records; Fortune’s Wheels EP Coming Soon

Posted in Whathaveyou on May 22nd, 2019 by JJ Koczan

The Fortune’s Wheels EP by Psychic Hit can be streamed in full through the band’s Bandcamp page. Formerly known as Promo 2018 and released on tape, the four-song outing will be pressed in an ultra-limited edition of 66 copies in what DHU Records is calling an “exclusive press.” I won’t quibble with that, but I can’t help but think that especially given the band’s traditionalist aesthetic that “private press” wouldn’t work just as well. No, not everything in the universe needs to be retro, but I mean, imagine 40 years from now trying to hunt down and original copy of this edition of this EP. Doesn’t “private press” just seem right for whatever bragging you’d end up doing for the rest of your life at having encountered such a thing?

Just saying.

Here’s the announcement from the PR wire:

psychic hit

Psychic Hit sign to DHU Records

DHU Records is extremely excited to announce the signing of Oakland, CA Proto Metal Sweethearts Psychic Hit to release their debut EP “Fortune’s Wheels” (DHU038) (previously known as “Promo 2018”) on extremely Limited Edition vinyl!

In a new series of releases by DHU Records known as an Exclusive Press, 66 copies will be pressed on Crystal Clear 180Gr Lathe Cut vinyl through Royal Mint Records.

Oakland, CA based hard rockin proto-metal sweetheart band, Psychic Hit, was formed in 2017 by guitarist Andrea Genevieve (Queen Crescent, Purple Rhinestone Eagle) and vocalist/violinist Ariana Jade (Hedersleben, Nik Turner’s Hawkwind). Having met through the thriving Bay Area rock n roll network, the tenacious pair began to dream up a project that fused their wide-ranging tastes in music. What resulted was a band that would combine the raw power of early Judas Priest and Scorpions, the melodic sensibilities of Fleetwood Mac, and the esoteric appeal of lesser known acts such as Lucifer’s Friend and Flower Travellin’ Band.

In 2018, the duo was joined by bassist Melanie Burkett (Ovvl) and drummer Justin Divver (Funeral Chant). With the talented rhythm section locked in, the four musicians began to embark on a songwriting enterprise that resulted in their first, self-recorded demo in the fall of that year. After the demo was recorded, the band welcomed fifth member, Jake Palladino (Pins of Light, Hightower), to join Andrea Genevieve on guitar.

Although Psychic Hit’s sound is heavily influenced by both 70s greats and rarities, the band is anything but an anachronism. Like modern contemporaries such as Kadavar, Lucifer, and Hällas, Psychic Hit seeks to recast rock music in their own image, rather than to just simply imitate eras past. In an age where the dark forces of monotony and monocracy loom large on the horizon, Psychic Hit appeals to their listeners to embrace the regenerative, communal power of rock n roll.

Exclusive Press
Limited to 66 copies
Single Sleeve w/ 3mm Spine
Black flood inside
Double sided full color inlay
Black polylined innersleeves
Artwork by Caitlin Mattisson
Housed in a PVC sleeve
Comes on 180Gr Crystal Clear 12″ Lathe Cut vinyl

Side A:
A1. The Fool
A2. Fortune’s Wheels

Side B:
B1. Plateau
B2. The Whip

Pre order and release date coming soon…

Psychic Hit
Ariana Jade (vocals, violin, synthesizer)
Andrea Genevieve (lead guitar, synthesizer)
Melanie Burkett (bass guitar, acoustic guitar)
Justin Divver (drums)

https://www.facebook.com/psychichit/
https://www.instagram.com/psychic_hit/
https://psychichit.bandcamp.com/
https://www.psychic-hit.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Psychic Hit, Promo 2018

Psychic Hit, “Plateau” official video

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Sàbba Sign to DHU Records; Pentacle Vinyl Coming Soon

Posted in Whathaveyou on May 14th, 2019 by JJ Koczan

sabba

New York trio Sàbba released their debut EP, Pentacle, in the early hours of 2019. The tape edition largely gone (Sludgelord Records still has it) and I wouldn’t expect much different as the response when DHU Records gets behind the vinyl release for a very, very limited pressing of 66 copies. I think they’ll probably do a second run somewhere down the line — or at least I’d kind of hope? — but if you ever needed an example of it paying to get your preorders in, this has to be it. 66 copies! That’s like nothing. The wax is clear, and if you haven’t heard the tracks yet, they’re name-your-price on Bandcamp. I’d just hate to see you miss out on it twice. You know me. Looking out.

DHU sent the following down the PR wire:

sabba pentacle

SÀBBA sign to DHU Records to release debut Pentacle

DHU Records is proud to announce the signing of Brooklyn, New York’s Occult Doom band SÀBBA to release their debut record “Pentacle” on extremely Limited Edition vinyl!

Sàbba is a Brooklyn bred doom metal/stoner rock band with themes ranging from total obliteration to daunting practices of the occult. Sàbba, meaning Sabbath in southern Italian, offers a sound which mushrooms from psychedelic, trance-inducing hypnotism into a brick wall of crushing annihilation.

“Pentacle” will be the first release in the Exclusive Press series Limited to 66 copies on Crystal Clear Lathe Cut which will be pressed by Royal Mint Records

Info and details for pre orders coming real soon

Side A:
A1. Pentacle
A2. Smoke Goddess

Side B:
B1. IVPITER

Pentacle was Recorded and Mixed at AVERNVS BK Studio in Brooklyn, NY
Mixed by Kevin Dawkins
Engineered by Kevin Dawkins and Mike Calabrese
Produced by Sàbba

Art Design by Kevin Dawkins
Cover photo by Hex Kim

SÀBBA
Drums- Kevin Dawkins
Guitar/Bass- Mike Calabrese
Vocals- Valerie Russo

https://www.facebook.com/sabbadoom/
https://www.instagram.com/sabbadoom/
https://sabbadoom.bandcamp.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://twitter.com/dhu_records
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Sàbba, Pentacle (2019)

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Doomstress Premiere “Burning Lotus” from Sleep Among the Dead out May 10

Posted in audiObelisk, Reviews on May 1st, 2019 by JJ Koczan

doomstress (Photo by thepassionoftherice)

Texas four-piece Doomstress make their full-length debut with Sleep Among the Dead on May 10 through DHU Records (LP) and Ripple Music (CD), and if it feels like it’s been an extra-long wait for the album’s arrival, that’s probably a result of all the touring the band has done since getting together in 2016. To the best of my recollection they haven’t gone out for two months at a time or anything like that, but there’s been a steady chipping away at various Stateside regions that’s kept momentum well on their side as they’ve issued engaging-if-frustratingly-not-an-LP releases like 2017’s The Second Rite (discussed here) and 2016’s Supernatural Kvlt Sounds (discussed here) EPs, and along with slots at fests like Descendants of Crom and Maryland Doom FestSXSW and others, they’ve done a lot of the kind of preliminary work that would go into supporting a record before even having the record to support. Sleep Among the Dead, obviously, flips that scenario, and arrives not late but right on time with seven tracks and 41 minutes of right on Lone Star doom rock that shows the band’s foundations in acts like Well of Souls and Project Armageddon in its early riffing on “Bitter Plea” or “Burning Lotus” and uses that uptempo initial thrust to launch a more varied exploration of mood and impact. As their lineup has solidified with bassist/vocalist Doomstress Alexis, guitarists Brandon Johnson and Matt Taylor, and drummer Tomasz Scull (Sparrowmilk, ex-Venomin James), the band has clearly grown more confident in their approach, as can be heard in the tempo drawback of “Dreaming Spider,” which follows the opening one-two punch and begins to introduce the breadth of the album’s full scope.

So be it. Band has worked. Band has album. Great. When it comes to what distinguishes Doomstress from the multitudes who also might fit that generalized description, one doesn’t have to look far. The guitar work on “Bitter Plea” and even more on “Burning Lotus” might take a listen or two to sink in, but ultimately serves as the heart of Sleep Among the Dead, and in kind with Alexis‘ voice — itself more assured and melodic than it’s yet been on a recording and a vital instrument doomstress sleep among the deadput to welcome use here — the guitars drive the songs forward. That’s not to take away from Scull‘s drumming or Alexis‘ bass work, obviously, but there’s a willingness to engage with heavy metal in the melodic sensibility that is purely Texan throughout, and it’s introduced early, but manifests even in the later leads of centerpiece “Your God is Blind” and the righteously grandiose hook of “Bones and Rust,” even as the title line is delivered at the end in harmonized layers that should be taken by the band as a blueprint for future intent — I don’t usually say shit like that, but it works really well and is not an idea to be left alone. This amalgam of doom, heavy rock and metal isn’t necessarily revolutionary, but it’s more than enough to give Sleep Among the Dead an identity of its own and leave the lasting impression of being what the EPs and steady touring were building toward — the album itself something of a payoff, never mind the chugging apex in the 7:53 penultimate cut “Apathetic Existence,” with a Sabbath-via-C.O.C. swing brought to bear after a doomly opening worthy of reminder that Doomstress‘ home state once produced Solitude Aeturnus.

As “Bitter Plea” and “Burning Lotus” set Sleep Among the Dead forth with uptempo thrust and a fervent rocking vibe, “Apathetic Existence” and the subsequent closing title-track bring the record down, way down, to its darker finish. There’s still plenty of guitar theatrics, and the chug in both songs ties them together effectively, but Doomstress leave little question about their intent that the record should push further into the ground as it goes, perhaps living up to its title in its realization through the listening process. That atmosphere is a further example of the real takeaway from Sleep Among the Dead as a whole, which is that Doomstress are not screwing around. Their level of craft, in terms of construction of this material and its execution, is well beyond the “first record” expectation of a band getting their feet wet or figuring out their sound. Doomstress are past that, and they took the hard way around, honing their approach on tour. That’s admirable, but the record would still need to stand up on its own, and so it’s doubly fortunate that Sleep Among the Dead does precisely that, answering the anticipation of its landing with a collection that’s dramatic without pretense, showy without indulgence and that despite the simmering performances throughout, still puts the songs first. Will Doomstress go on to outclass it? Maybe. They’ll have their work cut out for them in that regard, but that hasn’t stopped them yet. What’s more important for the time being is that Doomstress set themselves up for a big moment of arrival with their full-length debut, and Sleep Among the Dead lives up to that and then some.

My pleasure today to host the premiere of “Burning Lotus.” Please dig in on the player below.

And enjoy:

Doomstress Alexis on “Burning Lotus”:

“This was a rad one to work out in the studio, Tomasz really crushed it with that drum pattern and how it builds into the verse when the vocals kick in! It’s just a ripper of a track and top it all off with killer solos by Matt and special guest solo by Kent Stump of Wo Fat.”

Order Link: https://ripplemusic.bandcamp.com/album/sleep-among-the-dead

Order Link: https://darkhedonisticunionrecords.bigcartel.com/product/doomstress-sleep-among-the-dead

Doomstress is:
Doomstress Alexis – Bass/Vocals
Brandon Johnson – Guitar
Matt Taylor – Guitar
Tomasz Scull – Drums

Doomstress website

Doomstress on Bandcamp

Doomstress webstore

Doomstress on Thee Facebooks

Doomstress on Instagram

DHU Records webstore

DHU Records on Thee Facebooks

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

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Quarterly Review: JOY Feat. Dr. Space, Rosetta, Pendejo, Lightsabres, Witch Hazel, CBBJ, Seedium, Vorrh, Lost Relics, Deadly Sin (Sloth)

Posted in Reviews on March 22nd, 2019 by JJ Koczan

quarterly-review-spring-2019

Day Five. What would traditionally be the end of the Quarterly Review if going to six wasn’t the new going to 11. Whatever, I can hack it. The amount of good stuff included in these batches really helps. I’m not saying there are days that are a flat-out bummer, but I feel like the proportion of times in this Quarterly Review I’ve gone, “Wow, this is pretty awesome,” has seen a definite spike this time around. I won’t complain about that. Makes the whole thing fun.

Today will be no exception, and then we finish up on Monday with the last 10. Thanks for reading if you do.

Quarterly Review #41-50:

JOY Feat. Dr. Space, Live at Roadburn 2018

joy feat dr space live at roadburn 2018

Brought together as part of the ‘San Diego Takeover’ at Roadburn 2018 that featured a host of that city’s acts performing in an even broader host of contexts, JOY and Scott “Dr. Space” Heller of Øresund Space Collective took the stage at the tiny Cul de Sac near the very end of the festival. It was how I closed out my Roadburn (review here). Dr. Space did a short spoken introduction and then they were off and they didn’t look back. The centerpiece of the limited LP is an extended jam simply titled “Jam.” It’s edited on the platter, but the digital version has the full 54 minutes, and the more the merrier. They round out with takes on Road‘s “Spaceship Earth” and JOY‘s “Miles Away,” and those are cool too, but the real highlight is about halfway through the longer “Jam” when the drums kick into the next gear and you suddenly snap out of your trance to realize how far you’ve already come. And you’re still only at the midpoint. I don’t know. Maybe you had to be there. So be there.

Øresund Space Collective on Thee Facebooks

JOY on Thee Facebooks

JOY Feat. Dr. Space at Øresund Space Collective Bandcamp

 

Rosetta, Sower of Wind

rosetta sower of wind

Philadelphia-based post-whatever-you-got outfit Rosetta continue to set their own terms with Sower of Wind, a self-recorded four-track/half-hour offering that’s something of an outgrowth of their most recent album, Utopioid. Broken into four tracks each assembled from ideas and layers churning throughout the four sections of that record, it brings out the ambient side of the band as guitarist/keyboardist/bassist Matt Weed serves as engineer for “East,” “South,” “West” and “North” as he, guitarist/keyboardist Eric Jernigan and vocalist Mike Armine — who here just adds samples and noise — construct fluid soundscapes that can either build to a head, as on “East” or offer a sense of foreboding like “West” and “North,” depending solely on the band’s will. It’s intended as an exploration, and it sounds like one, but if that wasn’t the point, Sower of Wind probably wouldn’t have been released in the first place. It’s not at all their first ambient release, but this modus continues to be viable for them creatively.

Rosetta on Thee Facebooks

Pelagic Records webstore

 

¡Pendejo!, Sin Vergüenza

pendejo sin verguenza

Whatever your current working definition might be for “over the top,” chances are Pendejo — also stylized as the exclamatory ¡Pendejo! — will make short work of it. Sin Vergüenza, their third long-player, sees release through their own Chancho Records imprint, and it’s not through opener “Don Gernàn” before the Amsterdam-based outfit break out the horns. Fronted by El Pastuso, who supplies the trumpet, the band roll through dense toned heavy rock in a crisply-executed, high-energy 10 tracks and 40 minutes that, even when you think they’re letting up, on the later “El Espejo,” they still manage to burst out a massive riff and groove in the second half. It’s the kind of record that’s breathtaking in the sense of you’re trying to run to keep up with its energy. That, however, should not be seen as undercutting the value of the band’s songwriting, which comes through regardless of language, and whether it’s the start-stops of “La Mala de la Tele” or the gleeful weirdo push of “Bulla,” Pendejo have their sonic terrain well staked out and know how to own it. They sound like a band who destroy live.

Pendejo on Thee Facebooks

Pendejo webstore

 

Lightsabres, A Shortcut to Insanity

LIGHTSABRES A SHORTCUT TO INSANITY

It’s rare for an artist to grow less predictable over time, but Lightsabres mastermind and multi-instrumentalist John Strömshed hits that standard with his former one-man outfit. Joined by session drummer Anton Nyström, Strömshed brings forth 11 tracks of genre-bending songcraft, melding fuzz and progressive folk, downer rock and thoughtful psych, garage push with punker edge, and seemingly whatever else seems to serve the best interests of the song at hand. On “Born Screaming,” that’s a turn to classical guitar plucking sandwiched on either side by massive riffs and vocals, like that of “Tangled in Barbed Wire,” remind of a fuzz-accompanied take on Life of Agony. At just 36 minutes, A Shortcut to Insanity isn’t long by any means, but it’s not an easy album to keep up with either, as Strömshed seems to dare his listenership to hold pace with his shifts through “Cave In,” rolling opener and longest track (immediate points) “From the Demon’s Mouth” and the sweetly melodic finale “Dying on the Couch,” which is perhaps cruelest of all for leaving the listener waiting for the other shoe to drop and letting that tension hang when it’s done.

Lightsabres on Thee Facebooks

DHU Records webstore

 

Witch Hazel, Otherworldly

Witch Hazel Otherworldly

Classic-style doom rockers Witch Hazel shift back and forth between early metal and heavy rock on their second full-length, Otherworldly, and the York, Pennsylvania, four-piece of vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn keep plenty of company in so doing, enlisting guest performances of organ and other keys throughout opener “Ghost & the Fly” and “Midnight Mist” and finding room for an entire horn section as they round out 11-minute closer “Devastator.” Elsewhere, “Meat for the Beast” and “Drinking for a Living” marry original-era heavy prog with more weighted impact, and “Zombie Flower Bloom” plays out like what might’ve happened if mid-’80s Ozzy had somehow invented stoner rock. So, you know, pretty awesome. The strut and shuffle of “Bled Dry” adds a bit of attitude late, but it’s really in cuts like the title-track and the aforementioned “Midnight Mist” earlier on that Witch Hazel showcase their formidable persona as a group.

Witch Hazel on Thee Facebooks

Witch Hazel on Bandcamp

 

CBBJ, 2018 Demo

CBBJ 2018 Demo

To a certain extent, what you see is what you get with CBBJ‘s 2018 Demo, right down to the wood paneling on the cover art. The band’s name — also written as CB/BJ — would seem to be taken from its members, Cox (that being Bryan Cox, founding drummer of Alabama Thunderpussy), Ball, Bone, and Jarvis, and as they look toward a Southern Thin Lizzy on demo finale “The Point of it All,” there’s something of a realization in what they’re putting together. It’s four tracks total, and finds some thrust in “Wreck You,” but keeps it wits there as well as in the sleazier nod of “The Climb” that precedes it as the opener and even in the penultimate “Can’t Go Home,” which gives booziest, earliest AC/DC a treatment of righteous bass. They’re apparently in the studio again now, or they just were, or will, or won’t, or up, or down, but whatever. Point is it’ll be worth keeping an ear out for when whatever comes next lands.

CBBJ on Thee Facebooks

CBBJ on Bandcamp

 

Seedium, Awake

seedium awake

Go on and get lost in the depths of Seedium‘s debut three-songer, Awake. The Polish outfit might be taking some cues as regards thickness from their countrymen in Dopelord or Spaceslug, but their instrumental tack on “Mist Haulers,” “Brain Eclipse” and “Ruina Cordis” oozes out of the speakers with right-on viscosity and comes across as infinitely stoned. The centerpiece tops 11 minutes and seems to indicate very little reason they couldn’t have pushed it another 10 had they so desired, and through “Ruina Cordis” is shorter at a paltry 7:08, its blasted sensibility and ending blend of spaciousness and swirl portends good things to come. With the murky first impression of “Mist Haulers” calling like a prayer bell to the riff-worshiping converted, Seedium very clearly know what they’re going for, and what remains to be seen is how their character and individual spin on that develops going forward. Still, for its tones alone, this first offering is a stunner.

Seedium on Thee Facebooks

Seedium on Bandcamp

 

Vorrh, Nomads of the Infinite Wild

vorrh nomads of the infinite wild

Programmed drumming gives Nomads of the Infinite Wild, the debut release from the Baltimore duo of Zinoosh Farbod and John Glennon an edge of dub, but the guitar work of songs like “Mercurial,” looped back on itself with leads layered overtop and Farbod‘s echoing vocals, remains broad, and the expansive of atmosphere puts them in a kind of meditative post-doom feel. Opener “Myths” strikes as a statement of purpose, and as “Morning Star” shows some Earth influence in the spaces left by Glennon‘s guitar, the band immediately uses that nuance to craft an individual identity. “Flood Plane” saunters through its instrumental trance before getting noisy briefly at the finish, only to let “These Eyes” work more effectively through a similar structure with Farbod on keys, seeming to set up the piano-foundation of “Ancient Divide,” which closes. This is a band who will benefit greatly from the fact that they record themselves, because they’ll have every opportunity to continue to experiment in the studio, which is exactly what they should be doing. In the meantime, Nomads of the Infinite Wild effectively heralds their potential for aesthetic innovation.

Vorrh on Thee Facebooks

Vorrh on Bandcamp

 

Lost Relics, 1st

lost relics 1st

Well, they didn’t call it 1st because it’s their eighth album. Denver noise rock trio Lost Relics debut with the aptly-titled 18-minute four-songer, bringing Neurosis-style vocal gutturalism to riffy crunch more reminiscent at times of Helmet‘s discordant heyday. Dense tonality and aggression pervade “Dead Men Don’t Need Silver,” “Scars,” the gets-raucous-later “Whip Rag” and closer “Face Grass,” which somehow brings a Clutch influence into this mix, and even more somehow makes it work, and then even more somehow indulges a bit of punk rock. The vocals and sense of tonal lumber tie it all together, but Lost Relics set a pretty wide base for themselves in these tracks, leaving one to wonder how the various elements at work might play out over the course of a longer release. As far as a debut EP goes, then, that’s the whole point of the thing, but something seems to be saying Lost Relics have more tricks up their sleeve than they’re showing here. One looks forward to finding out if that’s the case.

Lost Relics on Thee Facebooks

Lost Relics on Bandcamp

 

Deadly Sin (Sloth), VII: Sin Seven

deadly sin sloth vii sin seven

Deadly Sin (Sloth) play the kind of sludge that knows how well and truly fucked we are. The kind of sludge that doesn’t care who’s president because either way the chicken dinner you’re cooking is packed full of hormones. The kind of sludge that well earns its Scott Stearns tape artwork. VII: Sin Seven is not at all void of melody or purpose, as “Ripping Your Flesh” and the Danziggy “Glory Bound Grave” grimly demonstrate, but even in those moments, its intent is abrasion, and even the slower march of “Icarus” seems to scathe as much as the raw gutterpunk in “F One” and opener “Exit Ramp”‘s harshest screams. Not easy listening. Not for everybody. Not really for people. It’s a malevolent bludgeoning that even in the revivalism of “Blood Bought Church” seems only to be biding its time until the next strike. It does not wait all that long.

Deadly Sin (Sloth) on Thee Facebooks

Deadly Sin (Sloth) on Bandcamp

 

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Doomstress to Release Sleep Among the Dead LP April 30

Posted in Whathaveyou on March 20th, 2019 by JJ Koczan

doomstress

Fair enough to call Doomstress‘ debut album awaited since their second EP, The Second Rite (discussed here) came out in 2017 and they were already touring hard at that point. They stopped at some point last year long enough to record Sleep Among the Dead, however, and DHU Records and Ripple Music will have it out on vinyl and CD this Spring, respectively. Preorders for the LPs start on March 29, which is astonishingly not that long from now, and I wouldn’t be surprised if a song or two surfaced before the album itself shows up a month later. The art comes courtesy of Goatess Doomwych, and the tracklisting has been unveiled as well — you’ll note “Bitter Plea” included from the 2017 EP — and it seems like only a matter of time before the four-piece get back out on the road to support it, so stay tuned.

Info from the PR wire:

doomstress sleep among the dead

Doomstress to release debut full length album “Sleep Among the Dead” April 30th Walpurgisnacht

After releasing a 7″ in 2016 and a Split with Cleveland’s Sparrowmilk on DHU Records in 2017, the time has come for Doomstress to release their full length debut album titled “Sleep Among the Dead” on Limited Edition vinyl through DHU Records and on CD through Ripple Music respectively in this, The New Year of Heavy MMXIX.

“Sleep Among the Dead” was recorded amid the hectic and tense live touring schedule in 2018, and that intensity and raw energy you will hear and feel as you press play on this bad mother.

Musically and lyrically drawing from many wells of the dark side of life, personal experiences and the ever present doomed real world events, making this a deep seated Heavy Metal Doom monster from start to finish, mark my words!

Artwork for “Sleep Among the Dead” is done by the ever great Goatess Doomwych who also did the artwork for the Split with Sparrowmilk, side Doomstress, and it is a powerful piece.

Pre orders for the Doomstress – “Sleep Among the Dead” Limited Edition vinyl will go live Friday March 29th at 7PM CET

Official release date April 30th Walpurgisnacht

Available in following Editions:

-Burning Lotus Edition
(DHU Exclusive)
Limited to 90 copies
Single sleeve w/ 3mm spine
Flooded in black
Black polylined innersleeves
Double sided full color inlay
Artwork by Goatess Doomwych
Hand numbered DHU Exclusive card
Comes on Green/White Cornetto effect w/ Purple and Black Splatter 12″ vinyl

-Bones & Rust Edition
Limited to 150 copies
Single sleeve w/ 3mm spine
Flooded in black
Black polylined innersleeves
Double sided full color inlay
Artwork by Goatess Doomwych
Comes on Oxblood w/ Silver Splatter 12″ vinyl

-Test Press
Limited to 10 copies
Single sleeve w/ 3mm spine
Alternate artwork by Goatess Doomwych
White polylined innersleeves
Hand numbered
Hand stamped
Deluxe PVC sleeve
Black 12″ vinyl

Doomstress – Sleep Among the Dead (DHU032)

Side A
A1. Bitter Plea
A2. Burning Lotus
A3. Dreaming Spider
A4. Your God is Blind

Side B
B1. Bones and Rust
B2. Apathetic Existence
B3. Sleep Among the Dead

Doomstress is:
Doomstress Alexis – Bass/Vocals
Brandon Johnson – Guitar
Matt Taylor – Guitar
Tomasz Scull – Drums

www.doomstress.com
www.doomstress.bandcamp.com
www.doomstress.bigcartel.com
https://www.facebook.com/DoomstressBand/
instagram.com/Doomstress_band
twitter.com/Doomstress
www.darkhedonisticunion.bigcartel.com
https://www.facebook.com/DHURecords/
https://twitter.com/dhu_records
https://www.facebook.com/theripplemusic/
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Doomstress, “Bitter Plea” official video

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