Daily Thompson Post “Sad Frank” Video; Oumuamua out Aug. 21

Posted in Whathaveyou on June 11th, 2020 by JJ Koczan

DAILY THOMPSON (Photo by Dennis Tre)

Dortmund, Germany’s Daily Thompson didn’t exactly make it hard to dig what they were up to on their 2018 full-length, Thirsty (review here), and their new single, “Sad Frank,” brings more subtlety of nuance in craft and outward charm to bear that’s only well complemented by the video you can see for the track below. Noisolution will have the full-length, titled Oumuamua, out in August, so the single is something of an early look at what it’s all about, and it’s a lightness of spirit I can get behind, with a touch of boogie blues that doesn’t lose its modern aspects in the name of searching out a vintage aesthetic.

And to make matters ever-so surreal, there are tour dates! That’s right, live shows. They’re for this Fall and they’re in Germany and Spain. Will they happen? Maybe. Pretty impressive that the list exists either way. It’s been a while since I posted a tour. I’ve missed looking at the names of cities and venues and fests and whatnot. So hey, drink it in with me, and enjoy.

From the PR wire:

daily thompson oumuamua

DAILY THOMPSON – Oumuamua – Noisolution

The machine starts rolling. DAILY THOMPSON present “Sad Frank” on June 12th. The first song from their new album “Oumuamua”. A powerful work, heavy, rolling, full of hits, full of riffs and full of melodies.

And there is a fine video! Was John Waters involved in this and turned into Hairspray Two? A terrific work that perfectly stages the trio’s joy of playing and burns a colorful fireworks display with this single that leaves no doubt about its qualities. And the album still has a lot to offer!

Official single release June 12th
Taken from the new album “Oumuamua” , release August 21st via Noisolution

Directed by Daniel Hacker und Dirk Rosenlöcher
www.danielhacker.de

DAILY THOMPSON live:
11.09.2020 – DE Forum / Bielefeld
18.09.2020 – DE Live Club / Bamberg
19.09.2020 – DE Südsternhaus / Landau
24.09.2020 – ES La Triangu / Sopelana
25.09.2020 – ES Paruqe Municipal / Burlada
26.09.2020 – ES La Ley Seca / Zaragoza
27.09.2020 – ES Anvil Live Pub / Castellón
29.09.2020 – ES ZZ Pub / Malaga
30.09.2020 – ES Louie Louie Rock / Estepona
01.10.2020 – ES Ambigú Axerquía / Córdoba
02.10.2020 – ES Tebernas Desert Rock Fest / Alméria
10.10.2020 – DE Hagenbusch / Marl
17.10.2020 – DE Turbojugend Party at Zukunft / Chemnitz
13.11.2020 – DE Diemelkult Festival / Marsberg
26.-28.11.2020- PIN Music Conference / Skopje MKD
06.12.2020 – DE Cadillac / Oldenburg*
08.12 .2020 – DE Markthalle Marx / Hamburg*
09.12.2020 – DE Museumskeller / Erfurt*
10.12.2020 – DE Piano / Dortmund*
12.12.2020 – DE Zauberberg / Passau*?
14.12.2020 – DE Backstage / München*
15.12.2020 – DE Instant / Budapest HU?*
17.12.2020 – DE Sputnik Café / Münster*
18.12.2020 – DE Treibsand / Lübeck*
*w / Kamchatka

Daily Thompson are:
Danny – guitar and vocals
Mercedes – bass and vocals
Matze – drums

https://www.facebook.com/dailythompson.band/
https://www.instagram.com/dailythompson_/
https://dailythompsonband.bandcamp.com/
https://difymusic.com/daily-thompson
http://www.noisolution.de/
https://www.facebook.com/noisolution
https://www.instagram.com/noisolution/

Daily Thompson, “Sad Frank” official video

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Quarterly Review: Sunn O))), Crypt Sermon, The Neptune Power Federation, Chron Goblin, Ethereal Riffian, Parasol Caravan, Golden Core, Black Smoke Omega, Liquid Orbit, Sun Below

Posted in Reviews on January 10th, 2020 by JJ Koczan

quarterly review

Hey all, we made it to the final day of the Winter 2020 Quarterly Review, so congrats to ‘us’ and by us I mean myself and anyone still reading, which is probably about two or three people. On my end today is completely manic in terms of real-life, offline logistics — much to do — but no way I’m letting one last batch of 10 reviews fall by the wayside, so rest assured, by the time this goes live, it’ll be complete, even though I’ve had to swap things out as some stuff has been locked into other coverage since I first slated it. Plenty around waiting to be written up. Perpetually, it would seem.

But before we dive in, thank you for reading if you’ve caught any part of this QR. I hope your 2020 is off to an excellent start and that finding new music to love is as much a part of your next 12 months as it can possibly be.

Quarterly Review #41-50:

Sunn O))), Pyroclasts

sunn o pyroclasts

The narrative — because of course there’s a narrative; blessings and peace upon it — is that drone-metal progenitors Sunn O))), while in the studio recording earlier-2019’s Life Metal (review here) with Steve Albini, began each day doing a 12-minute improvised modal drone working in a different scale. They used a stopwatch to keep time. Thus the four tracks of Pyroclasts were born. They all hover around 11 minutes after editing, which settles neatly onto two vinyl sides, and it’s the rawer vision of Sunn O))), with just Greg Anderson and Stephen O’Malley‘s guitars, rather than some of the more elaborate arrangements which they’ve been known to undertake. That they’d put out two studio records in the same year is striking considering it had been four years since 2015’s Kannon (review here), but I think the truth of the matter is they had these tapes and decided they were worth preserving with a popular release. I wouldn’t say they were wrong, and the immersion here is a good reminder of the core appeal of Sunn O)))‘s conjured depths.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crypt Sermon, The Ruins of Fading Light

Crypt Sermon The Ruins of Fading Light

Traditional doom rarely sounds as vital as it does in the hands of Crypt Sermon. The Philly five-piece return with The Ruins of Fading Light on Dark Descent Records as an awaited follow-up to 2015’s Out of the Garden (review here) and thereby bring forth classic metal with all the urgency of thrash and the poise of the NWOBHM. Frontman Brooks Wilson — also responsible for the album art — is in command here and with the firm backing of bassist Frank Chin and drummer Enrique Sagarnaga, guitarists Steve Jannson and James Lipczynski offer sharpened-axe riffs and solo scorch offset by passages of keyboard for an all the more epic vibe. The rolling “Christ is Dead” is pure Candlemass, but the galloping “The Snake Handler” might be the highlight of the 10-track/55-minute run, though that’s not to take away either from the Dehumanizer chug of “Key of Solomon” or the melodic reach of the closing title-track either. Take your pick, really. It’s all metal as fuck and glorious for that. If they don’t sell denim jackets, they should.

Crypt Sermon on Thee Facebooks

Dark Descent Records on Bandcamp

 

The Neptune Power Federation, Memoirs of a Rat Queen

the neptune power federation memoirs of a rat queen

“Can you dig what the Imperial Priestess is laying down?” is the central question of Memoirs of a Rat Queen, the first album from Sydney, Australia’s The Neptune Power Federation to be released through Cruz Del Sur Music, and it arrives over an ELO “Don’t Bring Me Down”-style arena rock beat on leadoff “Can You Dig?” as an intro to the rest of the LP. Strange, epic, progressive, traditional, heavy and cascading rock and roll follows, as intricate as it is immediately catchy, and whether it’s “Watch Our Masters Bleed” or “I’ll Make a Man out of You,” the Imperial Priestess Screaming Loz Sutch and company make it easy to answer in the affirmative. Arrangements are willfully over the top as “Bound for Hell” and “The Reaper Comes for Thee” engage a heavy rocker take on heavy metal’s legacy, maddened laughter and all in the latter track, which closes, and the affect on the listener is nothing less than an absolute blast — a reminder of the empowering sound of early metal on a disaffected generation in the late ’70s and early ’80s and how that same fist-pump-against-the-world has become timeless. No doubt the costumes and all that make The Neptune Power Federation striking live, but as Memoirs of a Rat Queen readily steps forward to prove, the songs are there as well.

The Neptune Power Federation on Thee Facebooks

Cruz Del Sur Music on Bandcamp

 

Chron Goblin, Here Before

chron goblin here before

Have Chron Goblin been here before? The title of their album speaks to a kind of creepy deja vu feeling, and that’s emblematic of the Canadian band’s move away from the party rock of their past offerings, their last LP having been Backwater (review here) 2015. Fortunately, while they seek out some new aesthetic ground, the 11 tracks of Here Before do maintain Chron Goblin‘s penchant for straight-ahead songcraft and unpretentious execution — and frankly, that wasn’t at all broken. Neither, perhaps was the let’s-get-drunk-and-bounce-around spirit of their prior work, but they sound more mature in a song like the six-minute “Ghost” and “Slipping Under” (premiered here) successfully melds the shift in presentation with the energy of their prior output. Maybe it’s still a party but we watch horror movies? I don’t know. They’ve still got “Giving in to Fun” early in the tracklisting — worth noting it follows the swaying “Oblivion” — so maybe I’m misreading the whole thing, or maybe it’s more complex than being entirely one thing or the other might allow for. Perish the thought. Either way, can’t mess with the songs.

Chron Goblin on Thee Facebooks

Chron Goblin on Bandcamp

 

Ethereal Riffian, Legends

ethereal riffian legends

Ukrainian heavy rockers Ethereal Riffian make a pointed sonic shift with their Legends album (on Robustfellow), keeping some of the grunge spirit in their melodies as the eight-minute “Moonflower” and closer “Ethereal Path” show, but in songs like “Unconquerable” and the early salvo of “Born Again,” “Dreamgazer” and “Legends” and even the second half of “Kosmic” and “Pain to Wisdom,” they let loose from some of the more meditative aspects of their past work with a fiery drive and a theme of enlightenment through political and social change. A kind of great awakening of the self. There’s still plenty of “ethereal” to go with all that “riffian” in the intro “Sage’s Alchemy,” or the first half of “Kosmic” or the CD bonus “Yeti’s Hide,” but no question the balance has tipped toward the straightforward, and the idea seems to be that the electrified feel is as much a part of the message as the message itself. The only trouble is that since putting Legends out, Ethereal Riffian called it quits to refocus their energies elsewhere in the universe. Are they really done? I’m skeptical, but if so, then at least they went out trying new things, which always seemed to be a specialty, and on a note of directly positive attitude.

Ethereal Riffian on Thee Facebooks

Robustfellow Productions on Bandcamp

 

Parasol Caravan, Nemesis

parasol caravan nemesis

A second long-player behind 2015’s Para Solem, the eight-song/35-minute Nemesis is not only made for vinyl, but it’s made for rockers. Specifically, heavy rockers. And it’s heavy rock, for heavy rockers. Based in Linz, Austria, the double-guitar four-piece Parasol Caravan have their sound and style on lockdown, and their work, while not really keeping any secrets in terms of where it’s coming from in its ’70s-via-’90s modern take, is brought to bear with a clarity that seems particularly derived from the European heavy rock tradition. Para Solem was longer and somewhat fuzzier in tone, but the stripped down approach of the title-track at the outset and its side B counterpart, “Serpent of Time” still unfold to a swath of ground covered, whether it’s in the subdued instrumental “Acceptance” or “Transition,” which follows the driving “Blackstar” and closes the LP with a bit of a progressive metal edge. Even that has its hook, though, and that’s ultimately the point.

Parasol Caravan on Thee Facebooks

Parasol Caravan on Bandcamp

 

Golden Core, Fimbultýr

golden core fimbultyr

The title Fimbultýr translates to “mighty god” and is listed among the alternative names of Odin, which would seem to be who Oslo’s Golden Core have in mind in the leadoff title-track of their second album. Issued through Fysisk Format, it is not necessarily what one thinks of as “Viking metal” in the post-Amon Amarth or post-Enslaved context, but instead, the eight-song collection unfolds a biting modern sludge taking an edge of the earlier Mastodon lumber and bringing it to harshly-vocalized rollout. The 11-minute “Runatal” and only-seconds-shorter “Buslubben” are respective vocal points around which sides A and B of the release center, and each finds a way to give like emphasis to atmosphere and extremity, to stretch as well as pummel, and much to Golden Core‘s credit, they seem not only aware of the changes they’re presenting in their material, but in control of how and when they’re executed. The resulting linear flow of Fimbultýr, given the shifts within, isn’t to be understated as a victory on the part of the band.

Golden Core on Thee Facebooks

Fysisk Format on Bandcamp

 

Black Smoke Omega, Harbinger

Black Smoke Omega Harbinger

Harbinger may well be just that — a sign of things to come. The debut offering from Black Smoke Omega wraps progressive death-doom and gothic piano-led atmospherics around a thematic drawing from science-fiction, and while I’m not certain of the narrative being told by the Dortmund, Germany-based band, their method for telling it is fascinating. It’s not entirely seamless in its shifts, and it doesn’t seem like the band — seemingly spearheaded by multi-instrumentalist/vocalist Jack Nier, though Ashley James (The Antiquity) plays guitar on “A Man without a Heart” and Michael Tjanaka brings synth/piano to “Kainé” — want it to be, but there’s no denying that by the time “Falling Awake” seems to provide some melodic resolution to the often-slow-motion tumult prior, it’s doing so by bringing the different sides together. It’s a significant journey from the raw, barking shouts on “The Black Scrawl” and the lurching-into-chug-into-lurch of “The Man without a Heart” to get there, however. But this, too, seems to be on purpose. How it all might shake out feels like a question for the next release, but Black Smoke Omega seem poised here to leave heads spinning.

Black Smoke Omega on Thee Facebooks

Black Smoke Omega on Bandcamp

 

Liquid Orbit, Game of Promises

Liquid Orbit Game of Promises

While on the surface, Liquid Orbit might be on familiar enough ground with Game of Promises for anyone who has encountered the swath of up-and-comers working in the wake of Blues Pills, the Bremen, Germany, five-piece distinguish themselves through not just the keyboard work of Anders alongside Andree‘s guitar, Ralf‘s bass, Steve‘s drums and Sylvia‘s vocals, but also the shifts between funk, boogie, and edges of doom that play out in songs like “Shared Pain” and “Please Let Her Go,” as well as the title-track, which starts side B of the Nasoni Records-issued vinyl with a highlight guitar solo and an insistent snare tap beneath that works to bring movement to what’s still one of Game of Promises‘ shorter tracks at six and a half minutes, as opposed to the earlier eight-minute-toppers on side A or the psych-prog finale “Verlorene Karawane,” which translates in English to “lost caravan” and indeed basks in some Mideastern vibe and backward-effects vocal swirl. Bottom line, if you go into it thinking you know everything you’re getting, you’re probably selling it short.

Liquid Orbit on Thee Facebooks

Nasoni Records website

 

Sun Below, Black Volume III

Sun Below Black Volume III

As the title hints, the name-your-price Black Volume III is the third EP release from Toronto’s Sun Below. All three have been issued over roughly a year’s span, and the three-piece of guitarist/vocalist Jason Craig, drummer/backing vocalist Will Adams, bassist/backing vocalist Garrison Thordarson — who as far as I’m concerned wins this entire Quarterly Review when it comes to names; that’s an awesome name — and two have featured covers. On their debut, they took on “Dragonaut” by Sleep, and on Black Volume III, in following up the 12-minute nod-roller “Solar Burnout,” they thicken and further stonerize the catchy jaunt that is “Wires” by Red Fang. They’ve got, in other words, good taste. Black Volume III opens with “Green Visions” and thereby takes some righteous fart-fuzz for a walk both that and “Solar Burnout” show plenty of resi(n)dual Sleep influence, but honestly, it’s a self-releasing band with three dudes who sound like they’re having a really good time figuring out where they want to be in terms of sound after about a year from their first release, and if you ask anything else of Black Volume III than what it gives, you’re obviously lacking in context. Which is to say you’re fucking up. Don’t fuck up. Dig riffs instead.

Sun Below on Thee Facebooks

Sun Below on Bandcamp

 

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Quarterly Review: Blood of the Sun, Evoken, IAH, Asylum, Merlin, The Hazytones, Daily Thompson, Old Man Lizard, Tuskar, Space Coke

Posted in Reviews on December 11th, 2018 by JJ Koczan

quarterly-review

I had to think long and hard just now about what day it is. It’s Tuesday. — See how confident I was in saying that? A mask for insecurity, as always.

Anyway, the QR continues today with 10 more records and a pretty solid mix of whatnot. Some of this I’ve written about before here, but basically want to have another shot at the records themselves, so as we wind down 2018, it seems like the time to do that is now. As always, I hope you find something you dig. Seems pretty likely, frankly. If you go the entire 100 records with nothing but a “meh” to show for it, the problem isn’t likely to be the records. Not trying to insinuate anything, I’m just saying. 100 records is a lot. 10 records is a lot. And that’s what we’re doing today, so let’s get going.

Quarterly Review #61-70:

Blood of the Sun, Blood’s Thicker than Love

blood of the sun bloods thicker than love

Drummer Henry Vasquez (also Saint Vitus) returns to his ultra-Texan heavy rock roots with Blood of the Sun‘s first album in six years, Blood’s Thicker than Love (on Listenable). Driven by his own fervent rhythmic push, the six-song collection is given further classic heavy vibe through the prominent organ/keyboard work of Dave Gryder. Oh, and also the riffs from newcomer guitarists Wyatt Burton and Alex Johnson. Oh, and also bassist Roger “Kip” Yma‘s quick turns on bass. Oh, and also Sean Vargas‘ vocals. So yeah, pretty much the whole damn thing is classic uptempo heavy boogie, produced modern but making no mistake about where its heart lies. Vargas‘ voice has a pre-metal swagger that helps define tracks like “Livin’ for the Night” and the capper “Blood of the Road,” and while the follow-up to 2012’s Burning on the Wings of Desire (review here) is enough to make one wistful for the days when their contemporaries in Dixie Witch once also roamed the land, Blood of the Sun make classic rock their own and give it a vibrancy that’s nothing if not a show of love, regardless of how thick that may be.

Blood of the Sun on Thee Facebooks

Listenable Records on Bandcamp

 

Evoken, Hypnagogia

evoken hypnogogia

Unremitting. Unrelenting. Unforgiving. Whatever else one might say about New Jersey death/doombringers Evoken, it better start with the prefix “un-.” The negativity runs through the 60 minutes of their latest work, Hypnagogia (on Profound Lore), and one would expect no less than the ultra-mournful crush of “To Feign Ebullience” or the buzzing, resonant disdain of “Valorous Consternation,” the string sounds playing such a large role in crafting both the melodies and the relentless nature of their lung-deflating atmosphere. They may only break into speedier sections on rare occasion, but there’s no way to listen to Hypnagogia and call it anything other than extreme metal. It’s so cast down and so grinding that it not only conveys mood but affects it. Evoken are masters of the form, of course, and while Hypnagogia is their first full-length since 2012’s Atra Mors (review here), their history spans more than a quarter-century and time seems only to have made their miseries plunge even deeper.

Evoken on Thee Facebooks

Profound Lore Records website

 

IAH, II

iah ii

In part, the gift that Argentinian trio IAH give with their aptly-titled second outing, II — following their 2017 self-titled debut EP (review here) — is to allow their parts to flesh out naturally across the six-song/38-minute span, so that even as second cut “HH” turns to more weighted chug, that in turn evolves into something no less spacious than the drift brought to bear in the second half of the later “La Niña del Rayo,” which makes its way ultimately through similar interplay. This back and forth is exceptionally smooth throughout II, as the instrumental outfit blend heavy psychedelia and progressive metal with an unflinching cohesion of their songwriting. The longest inclusion is the penultimate “Pri” at 7:35, which caps with massive start-stops en route to closer “Sheut,” which serves as one last showcase of the cosmic doom dynamic burgeoning in the band’s sound, as much ready to depart the earth as leave impact craters on it.

IAH on Thee Facebooks

IAH on Bandcamp

 

Asylum, 3-3-88

asylum 3-3-88

The band who a short time later would evolve into Unorthodox, Asylum have long stood as a testament to the enduring power of Maryland doom. 3-3-88 is the second official issue of their material Shadow Kingdom has stood behind, following 2008’s reissue of 1985’s The Earth is the Insane Asylum of the Universe (review here), and it’s no less a document of the classic metal that’s still very much the foundation of what Maryland doom is. From the Sabbathian opening of “World in Trouble” and the later “Psyche World” to the kind of feeling-out-the-riff happening in “Funk 69” and the concluding instrumental “Unorthodox,” there’s a rawness to the sound that suits it well in the spirit of Pentagram‘s First Daze Here, but even in barebones form, Asylum‘s doomly vibes brook no bullshit and weed out the feint of heart. Straightforward working-class doom grit stripped to its essentials. Hard to ask for anything more when you actually hear it.

Unorthodox on Thee Facebooks

Shadow Kingdom Records website

 

Merlin, Dank Souls and Dark Weed: A Live Experience

merlin dank souls and dark weed

Kansas City doom rockers Merlin expanded to a six-piece early in 2018, and Dank Souls and Dark Weed: A Live Experience, as the title hints, captures this form of the band on stage. They’re playing a hometown gig at the Riot Room, and from the nodding groove that opens with “Abyss” from this year’s The Wizard (review here) to the extended reaches of a 19-minute take on “Tales of the Wasteland” that’s actually shorter than the studio version from 2016’s Electric Children (review here), the band explore reaches that are vast with a patience befitting their quickly-earned veteran status. The recording is remarkably clear and allows for the wash of “The Wizard Suite” to be discernible in its progressive rollout, and as they close with “Night Creep” from the 2016 LP, their energy comes through no less prevalent than the distortion driving it forward. The crowd are right to holler.

Merlin on Thee Facebooks

Merlin on Bandcamp

 

The Hazytones, II: Monarchs of Oblivion

the hazytones ii monarchs of oblivion

Touching on garage-doom influences, Montreal three-piece The Hazytones effectively sleek into the groove of “The Great Illusion” on their second Ripple LP, II: Monarchs of Oblivion, finding a balance between swing, melody and heft that pushes beyond the seemingly-requisite Uncle Acid influence to a place that isn’t shy about working in crisp tones or unabashed vocal harmonies. The title-track is a two-parter, and touches on theatrics-sans-pretense in the first piece while dedicating the second to following a central riff well worthy of the attention they give it toward a galloping solo finish. Opener “Empty Space” sets a creper vibe, and by the time they’re down to finishing out with the “Hole in the Sky”-style riff of “The Hand that Feeds,” that sensibility is reaffirmed as an essential component of The Hazytones‘ aesthetic. Whether it’s the chugging “Hell” or the way-blown-out “The Beast,” they hold firm to that central purpose and work with it to effect a sound that one can hear becoming their own all the more.

The Hazytones on Thee Facebooks

Ripple Music on Bandcamp

 

Daily Thompson, Thirsty

daily thompson thirsty

Three albums in, Dortmund’s Daily Thompson indeed sound Thirsty — or maybe it’s hungry, but either way, the Dortmund trio’s MIG Music offering captures a tight presentation based around nonetheless natural energy born of their time on tour, as the three-piece of guitarist/vocalist Danny Zaremba, bassist Mercedes, and drummer Stefan Mengel touch on Spidergawd-style classic heavy rock strut with “Brown Mountain Lights” and make their way through the semi-acoustic drift of “Stone Rose” and toward the later roll of “River Haze” with a trail of hooks behind them. Songwriting is central to what they do, but while Thirsty isn’t a minor undertaking at a CD-era reminiscent 10 songs/53 minutes, the band offer a chemistry between them and a fullness of sound that allows them to play to different sides of their approach, be it the fuzz-blues of “Gone Child” or the final summation “Spit out the Crap” that seems to shove all the more to its cymbal-wash finish. The title Thirsty brings to mind connotations of need, but Daily Thompson sound like they’ve got it all taken care of.

Daily Thompson on Thee Facebooks

MIG Music website

 

Old Man Lizard, True Misery

old man lizard true misery

A strong enough current of noise rock runs beneath Old Man Lizard‘s True Misery (on Wasted State) that leadoff track “Shark Attack” is enough to remind of Akimbo‘s Jersey Shores, and in under two minutes, the subsequent “Snakes” ties that into crawling-paced doom riffery such that the lumbering “Tree of Te?ne?re?” opens like the gaping jaws of some deep-sea trench. From there it unfolds a bit more uptempo than one might initially think, but it shows how fluidly Old Man Lizard shift from one impulse to the other. Accordingly, True Misery plays out with familiar-enough tones put to deceptively subtle and unpredictable purposes, making one-two highlights of the eight-minute back-to-backers “Cursed Ocean, Relentless Sea” and “Misery is Miserable” — which says it all, really — ahead of the finale, well titled “Return to Earth.” A better band than people know, Old Man Lizard bring a progressive touch to what from many others would just be sludge riffing — a bit of Elder on that closer — and manage to do so without losing touch with the righteousness of their groove. True Misery takes a couple listens to sink in, but well earns those and more besides.

Old Man Lizard on Thee Facebooks

Wasted State Records website

 

Tuskar, The Tide, Beneath, The Wall

tuskar the tide beneath the wall

Tuskar‘s second offering through Riff Rock Records arrives titled for its three songs, “The Tide,” “Beneath” and “The Wall,” and comprises three tracks of largesse-minded sludge, burying its shouted vocals beneath mountainous low end. The Tide, Beneath, The Wall sets itself up through noisy churn and a roll that’s somehow misanthropic at the same time it seems well geared to have an entire bar headbanging. Either way, the feedback-worship in “The Wall” — sure enough a massive thing to slam into — makes a fitting end to the 20-minute release that seems to run so much longer, as “The Tide” and “Beneath” each set forth a grueling sprawl of malevolence that touches on the chaos to come without ever fully giving away what’s in store for the finale. At the same time this assault is cast, there’s an atmosphere to the proceedings as well such that Tuskar aren’t simply bludgeoning for the sake of bludgeonry, but finding a place for themselves within that in order to develop their attack. They do that successfully here and sound well up to the inevitable task before them of a debut full-length.

Tuskar on Thee Facebooks

Riff Rock Records website

 

Space Coke, L’Appel du Vide

space coke lappel du vide

I just about never do this, but I’m gonna go ahead and make the call: Space Coke‘s L’Appel du Vide is going to get picked up for a vinyl release in 2019. I don’t know who, how or when, but it’s basically a lock. The Columbia, South Carolina, organ-laced four-piece play classic-as-now heavy rock with right-on songcraft and a hard-hitting presentation that’s begging for some label with ears to hear it and press it to the platter it deserves. Be it the molten unfolding of the title-track or the fuzz-swirl of “Thelemic Ritual” or the cosmic stretch of “Kali Ma,” they’re locked in to a degree that utterly defies the notion that this is their first record, and from the vocal-effects smash in “Lucid Dream” and the samples laid over-top of “Interlude,” there’s never really a sense of where Space Coke — extra kudos for the Cheech & Chong reference — might go next, and yet their sound is cohesive, directed, and well aware of exactly what it’s doing and what it wants to do. Never a guarantee of anything in this world, but with Space Coke‘s take on modern stoner sprawl, I’d be amazed if someone didn’t grab this in the New Year, if not before. Eyes peeled on the PR wire for the announcement.

Space Coke on Thee Facebooks

Space Coke on Bandcamp

 

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Daily Thompson Sign to Bilocation Records

Posted in Whathaveyou on October 25th, 2013 by JJ Koczan

While I’m not sure to whom I’d give the title of “Germany’s finest fuzz rockers” — where do you even start? — Bilocation Records‘ passion for Dortmund upstarts Daily Thompson seems well enough earned by the significant promise the trio showed on their debut demo. That promise, also on display in the warm tones of “Attract Me,” the video for which you can see below, will hopefully begin to pay off for the band as they enter the studio to record their first album for release in 2014. Thus far, their sound seems more desert than retro-minded, which is kind of refreshing at this point. One to keep an ear out for, maybe.

The PR wire has the goods, and by goods, I mean details. Since details are good. Ah hell, here’s the press release:

Germanys finest Fuzzrockers Daily Thompson sign to Bilocation Records

The band will go into studio in the next weeks and record their first full length after the huge success of their 3 track demo, featuring their version of superfuzzy heavyrock! The debut album will be available in 2014.

The three soundvisionaries of Daily Thompson mix their personal influences from early Grunge & best Stonerrock combined with their special groove to a massive overridden, extremly fudgy Superfuzz-Bigmuff! Guitar, bass, drums. Rehearsals – Recordings – playing shows!

Out of this mentality, musical playfulness and the associated enthusiasm for absolute lunacy the band “Daily Thompson” was formed in late 2012. The listeners can hear from the live in the studio recording sessions the usual Fuzz-, WahWah- and distortion attacks of Daily Thompson in such a raw and honest manner that everybody will notice: this band from Dortmund/Germany takes no prisoners!

https://www.facebook.com/dailythompson.band/
http://shop.bilocationrecords.com/

Daily Thompson, “Attract Me” official video

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