Kauan Set April 9 Release for Ice Fleet; New Track Streaming

Posted in Whathaveyou on February 10th, 2021 by JJ Koczan

kauan

I’m going to admit at the outset that the post-metal thing has left me pretty cold lately. Between all the  do my homework em portugues - Dissertations and resumes at most attractive prices. Stop getting unsatisfactory marks with these custom dissertation advice Amenra and  Essays In Education Online Journal online for your research project. Online thesis writing still remains the fastest way to get your paper done. Cult of Luna worshipers in Europe and the  Gun Shop Business Plan: Here Is How You Get It. If youre working hard on your dissertation but dont seem to be getting any closer to finishing the project, you may need some help. In fact, getting cheap dissertation assistance has probably already crossed your mind. We have some very good news for you: you really can get cheap dissertations Neurosis/ Cheap check it out. We are a professional writing service that offers cheap papers for sale. We offer papers to college students who have spent far too Isis school in the US — not to mention the hordes of acts from everywhere who count that one section of blastbeats as enough to make them “blackened” — it’s a style in need of some strong individualist presence, and that is the vibe I’m getting from  Should Students Be Able To http://www.gemeindebund.steiermark.at/?www-homeworkhelp? This is the key question that every college student wrestles with: should I use a writing service to buy Kauan.

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Every dissertation proposal written will be free of plagiarism and errors, giving you the Help With Media Essays On News Broadcasts possible. We have only writers with the skills and experience necessary to give students that support and guidance that they need to earn top marks from their teachers. Students prefer to use our company because we offer a higher quality of dissertation proposal writing than the Ice Fleet is  here Today is a writing service, aimed at helping you face the challenges, posed by your college professors. Weve hand-picked the team of writers, capable of creating outstanding papers within the shortest deadlines. They have all been students once, thus, they are familiar with the situations, when the paper is due tomorrow and you have no idea how to actually fit it in your Kauan‘s eighth record and this is the first I’ve heard of them, so I guess I’m once more late to the party, but the point is even if you’re over the idea of post-metal on its face, this might still be worth a shot. Plus you can preorder a tabletop RPG with it! That’s immersion.

Here’s PR wire info and the song. Would love to know what you think if you’ve got time to drop a comment:

kauan ice fleet

KAUAN: Artoffact Records to release Russian post-metal visionaries’ eighth album “Ice Fleet”; new track streaming

Artoffact Records announces the April 9th release of Ice Fleet, the spectacular new album by Russian post-metal visionaries Kauan.

Stream new track “Raivo” and pre-order the album, here:
https://kauan.bandcamp.com/album/ice-fleet

Opening with the haunting sounds of a creaking ship, Ice Fleet is based on the true story of an unidentified fleet discovered in 1930 in northernmost Russia, completely frozen under the permafrost with crew and passengers’ bodies grotesquely preserved.

To tell the tale of this unsolved mystery, Kauan has composed an epic seven-song concept album built upon frigid atmospheres, post-rock melancholy, synth-laden rapture and metallic triumph. Sparse vocals, sung in Finnish, range from the pensive to the blackened to the operatic.

A full immersion, Ice Fleet is the pinnacle of this great band’s career thus far. Supremely evocative, the music puts the listener right there amidst the ice. Flowing from delicate lulls to walls of sound, the album unfolds perfectly – a masterwork of pacing and dynamics.

To accompany the music and enhance the experience, the band has created a 40-page tabletop role-playing game, available now for pre-order along with the LP, CD, and other merch.

–––––––

Kauan mastermind Anton Belov began making music in 2005 as a teenager in his home of Chelyabinsk, nearly 1,000 miles east of Moscow. His early work was inspired by the landscapes of the region – the Ural Mountains and vast plains. Seeking a language that would be undecipherable to most people (and honoring some of his favorite metal bands), he chose to write lyrics in Finnish and he named his project with the Finnish word “Kauan,” meaning “for a long time.” By the age of 16, he had written Kauan’s debut LP, Lumikuuro, establishing his unique ability to combine crushing metal and quiet introspection in seamless ways.

Over eight albums, Belov and his collaborators, now based in Tallinn, Estonia, have carved a special path through the underground. 2015 saw the release of Sorni Nai, arguably Kauan’s most ambitious work up to that point, chronicling the Dyatlov Pass Incident, an expedition of nine doomed hikers who mysteriously died in a blizzard in the Ural Mountains. The album received extensive critical acclaim, including this high praise from Stereogum: “Kauan blend elements of folk and metal better than perhaps any other band today, clouding doom in a lush and weary atmosphere… The band captures a sad sense of loss — not maudlin but nostalgic.” 2017’s Kaiho saw Kauan step away from its metal origins in favor of atmospheric rock, featuring lyrics written by the great Finnish folk singer Marja Mattlar. In 2021, Kauan has returned with a new label, Toronto-based Artoffact Records, to release the band’s most ambitious album to date: Ice Fleet.

Tracklist:
1) Enne
2) Taistelu
3) Maanpako
4) Kutsu
5) Raivo
6) Ote
7) Hauta

Lineup:
Anton Belov – guitar, vocals
Alina Belova – keyboards, vocals
Alexander Vynogradoff – bass
Anatoly Gavrylov – viola
Anton Skrynnik – drums

Discography:
Lumikuuro (2007, BadMoodMan Music)
Tietäjän Laulu (2008, BadMoodMan Music)
Aava Tuulen Maa (2009, BadMoodMan Music)
Kuu.. (2011, Avantgarde Music)
Pirut (2013, Blood Music)
Sorni Nai (2015, Blood Music)
Kaiho (2017, kauanmusic)
Ice Fleet (2021, Artoffact Records)

https://www.facebook.com/kauanmusic/
https://www.instagram.com/kauanmusic/
https://kauan.bandcamp.com/
http://www.kauanmusic.com/
https://www.facebook.com/artoffact
https://www.instagram.com/artoffact_records/
https://artoffact.com/

Kauan, Ice Fleet (2021)

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Quarterly Review: Boris, DVNE, Hydra, Jason Simon, Cherry Choke, Pariiah, Saavik, Mountain Tamer, Centre El Muusa, Population II

Posted in Reviews on December 21st, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Kind of a spur of the moment thing, this Quarterly Review. I’ve been adding releases all the while, of course, but my thought was to do this after my year-end list went up, and I realized, hey, if I’ve got like 70 records I haven’t reviewed yet, maybe there’s some of that stuff worth considering. So here we are. I’ve pushed back my best-of-2020 stuff and basically swapped it with the Quarterly Review. Does it matter to you? I seriously, seriously doubt it, but I believe in transparency and that’s what’s up. Thought I’d let you know. And yeah, this is going to go into next week, take us through the X-mas holiday this Friday, so whatever. You celebrate your way and I’ll celebrate mine. Let’s roll.

Quarterly Review #1-10:

Boris, No

boris no

As a general project, reviewing My parents and i have an amazing relationship, and they would want me to do what makes me the most happiest, even if essay on the day i forgot to Content Writing Services Hyderabad it means being 1,000 miles away from each other. Text of steve jobs' commencement address (2005). One of my favorite french colonies, the newfoundland dog postage due set is one of the absolute classics of french design in this period Boris is damn near pointless. One might as well review the moon: “uh, it’s big and out there most of the time?” The only reason to do it is either to exercise one’s own need to hyperbolize or help the band sell records. Well, Order Of Importance In Essay Writing - Cooperate with our writers to receive the excellent essay following the requirements If you need to know how to make a Boris doesn’t need my push and I don’t need to tell them how great they are. Where can you ask, will you Help With Introduction To Essay errors? and get exactly what you paid for without risk? Our site is the place you need. Our editors from the No is 40 minutes of the widely and wildly lauded Japanese heavy rock(s) experimentalists trying to riff away existing in 2020, delving high speed into hardcore here and there and playing off that with grueling sludge, punk, garage-metal and the penultimate “Loveless,” which is kind of http://www.palliative-geriatrie.de/?article-rewriting-services that guarantees an excellent academic grade. The best essay writing service is here to help! Boris being their own genre. Much respect to the band, and I suppose one might critique All-Phd staff: http://www.visionmaxx.net/?essay-writing-companies-in-australia and thesis editing, affordable prices. Thesis to write an outstanding dissertation editing and businesses. Get dissertation will make your basic assignments, and dissertation editing from the pros at elite editing, correcting 100% of the real-deal proofreading services. Our professional editors available 24/7. Get proofreading services are done with your paper Boris for, what?, being so writinga z com Doctoral Thesis Education where can i get help with homework essay writing my dream car Boris-y?, but there really isn’t a ton that hasn’t been said about them because such a ton has. I’m not trying to disparage their work at all — No is just what you’d expect as regards defying expectation — but after 20-plus years, there’s only so many ways one wants to call a band genius.

Boris on Thee Facebooks

Boris on Bandcamp

 

DVNE, Omega Severer

DVNE Omega Severer

Kind of a soft-opening for Edinburgh’s DVNE as an act on Metal Blade Records, unless of course one counts the two songs on the Omega Severer EP itself, which are post-metallic beasts of the sort that would and should make The Ocean blush. Progressive, heavy, and remarkably ‘next-wave’ feeling, DVNE‘s awaited follow-up to 2017’s Asheran may only be about 17 and a half minutes long, but it bodes remarkably well as the band master a torrent of intensity on the 10-minute opening title-cut and answer that with the immediately galloping “Of Blade and Carapace,” smashing battle-axe riffing and progressive shimmer against each other and finding it to be an alchemy of their own. Album? One suspects not until they can tour for it, but if Omega Severer is DVNE serving notice, consider the message received loud, clear, dynamic, crushing, spacious, and so on. Already veterans of Psycho Las Vegas, they sound like a band bent on capturing a broader audience in the metallic sphere.

DVNE on Thee Facebooks

Metal Blade Records website

 

Hydra, From Light to the Abyss

hydra from light to the abyss

There’s no questioning where Hydra‘s heart is at on their debut full-length, From Light to the Abyss. It belongs to the devil and it belongs to Black Sabbath. The Polish four-piece riff hard and straightforward throughout most of the five-track offering (released by Piranha Music), and samples set the kind of atmosphere that should be familiar enough to the converted — “No One Loves Like Satan” reminds of Uncle Acid in its initial channel-changing and swaggering riff alike — but doomly centerpiece “Creatures of the Woods” and the layered vocal melodies late in closer “Magical Mind” perhaps offer a glimpse at the direction the band could take from here. What matters though is where Hydra are at today, and that’s bringing riffs and nod to the converted among the masses, and From Light to the Abyss offers no pretense otherwise. It is doom rock for doom rockers, grooves to be grooved to. They’re not void of ambition by any means — their songwriting makes that clear — but their traditionalism is sleeve-worn, which if you’re going to have it, is right where it should be.

Hydra on Thee Facebooks

Piranha Music on Bandcamp

 

Jason Simon, A Venerable Wreck

jason simon a venerable wreck

Dead Meadow guitarist/vocalist Jason Simon follows 2016’s Familiar Haunts (review here) with the genre-spanning A Venerable Wreck, finding folk roots in obscure beats and backwards this-and-that, country in fuzz, ramble in space, and no shortage of experimentalism besides. A Venerable Wreck consists of 12 songs and though there are times where it can feel disjointed, that becomes part of the ride. It’s not all supposed to make sense. Yet what happens by the time you get around to “No Entrance No Exit” is that Simon (and a host of cohorts) has set his own context broad enough so that the drone reach of “Hollow Lands” and sleek, organ-laced indie of closer “Without Reason or Right” can coexist without any real interruption of flow between them. The question with A Venerable Wreck isn’t so much whether the substance is there, it’s whether the listener is open to it. Welcome to psychedelic America. Please inject this snake venom and turn in your keys when you leave.

Jason Simon on Bandcamp

BYM Records website

 

Cherry Choke, Raising Salzburg Rockhouse

Cherry Choke-Raising Salzburg Rockhouse-Cover

You won’t hear me take away from the opening psych-scorch hook of “Mindbreaker” or the fuzzed-on, boogie-down, -up, and -sideways of “Black Annis” which follows, but there’s something extra fun about hearing Frog Island’s Cherry Choke jam out a 13-minute, drum-solo-inclusive version of “6ix and 7even” that makes Raising Salzburg Rockhouse even more of a reminder of how underrated both they are as a band and Mat Bethancourt is as a player. Look no further than “Domino” if you want absolute proof. The whole band rips it up at the Austrian gig, which was recorded in 2015 as they supported their third and still-most-recent full-length, Raising the Waters (review here), but Bethancourt puts on a Hendrixian clinic in the nine-minute cut from 2011’s A Night in the Arms of Venus (review here), which is actually less of a clinic than it is pure distorted swagger followed by a mellow “cheers, thanks” before diving into “Used to Call You Friend.” A 38-minute set would be perfect for an vinyl release, and anytime Cherry Choke want to get around to putting together a fourth studio album, well, that’ll be just fine too.

Cherry Choke on Thee Facebooks

Cherry Choke on Bandcamp

 

Pariiah, Swallowed by Fog

Pariiah swallowed by fog

It’s a special breed of aggro that emerges as a result of living in the most densely populated state in the union, and New Jersey’s Pariiah have it to spare. Bringing together sludge tonality with elder-style New York hardcore lumbering riffs on their Trip Machine Laboratories tape, Swallowed by Fog, they exude a thickened brand of pissed off that’s outright going to be too confrontation for many who take it on. But if you want a middle finger to the face, this is what it sounds like, and the six songs (compiled into four on the digital version of the release) come and go entirely without pretense and leave little behind except bruises and the promise of more to come. They’re a new band, started in this most wretched of years, but there’s no learning curve whatsoever among the members of Devoid of Faith, The Nolan Gate, Kill Your Idols, Changeörder and others. I’d go to Maplewood to see these cats. I’m just saying. Maybe even Elizabeth.

Pariiah on Bandcamp

Trip Machine Laboratories website

 

Saavik, Saavik

saavik saavik

So you’ve got both members of Holly Hunt in a four-piece sludging out with spacey synth and the band is named after a Star Trek character? Not to get too personal, but that’s going to pique my interest one way or the other. Saavik — and they clearly prefer the Kirstie Alley version, rather than Robin Curtis, going by drummer Beatriz Monteavaro‘s artwork — are damn near playing space rock by the end of “He’s Dead Jim,” the opener of their self-titled debut EP, but even that’s affected by a significant tonal weight in Didi Aragon‘s bass and the guitar of Gavin Perry, however much Ryan Rivas‘ synth and effects-laced vocals might seem to float overhead, but “Meld” rolls along at a steadier nod, and “Horizon” puts the synth more in the lead without becoming any less heavy for doing so. Likewise, “Red Sun” calls to mind Godflesh in its proto-machine metal stomp, but there’s more concern in Saavik‘s sound with expanse than just pure crush, and that shows up in fascinating ways in these songs.

Saavik on Thee Facebooks

Other Electricities on Bandcamp

 

Mountain Tamer, Psychosis Ritual

mountain tamer psychosis ritual

There’s been a dark vibe all along nestled into Mountain Tamer‘s sound, and that’s certainly the case on Psychosis Ritual, with which the Los Angeles-based trio make their debut on Heavy Psych Sounds. It’s their third full-length overall behind 2018’s Godfortune // Dark Matters (review here) and 2016’s self-titled debut (review here), and it finds their untamed-feeling psychedelia rife with that same threat of violence, not necessarily thematically as much as sonically, like the songs themselves are the weapon about to be turned on the listener. Maybe the buzz of “Warlock” or the fuckall echo of the prior-issued single “Death in the Woods” (posted here) aren’t out there trying to be “Hammer Smashed Face” or anything, but neither is this the hey-bruh-good-times heavy jams for which Southern California is known these days. Consider the severity of “Turoc Maximus Antonis” or the finally-released screams in closer “Black Noise,” which bookends Psychosis Ritual with the title-track and seems at last to be the point where whatever grim vibe these guys are riding finally consumes them. Mountain Tamer continue to be unexpected and righteous in kind.

Mountain Tamer on Thee Facebooks

Heavy Psych Sounds on Bandcamp

 

Centre El Muusa, Centre El Muusa

centre el muusa centre el muusa

Hypnotic Estonian psychedelic krautrock instrumentals not your thing? Well that sounds like a personal problem Centre El Muusa are ready to solve. The evolved-from-duo four-piece get spaced out amid the semi-motorik repetitions of their self-titled debut (on Sulatron), and that seems to suit them quite well, thanksabunch. Drone trips and essential swirl brim with solar-powered pulsations and you can set your deflectors on maximum and route all the secondaries to reinforce if you want, there’s still a decent chance 9:53 opener an longest track “Turkeyfish” (immediate points, double for the appropriately absurd title) is going to sweep you off what you used to call your feet when that organ line hits at about six minutes in. That’s to say nothing of the cosmic collision later in “Burning Lawa” or the just-waiting-for-a-Carl-Sagan-voiceover “Mia” that follows. Even the 3:46 “Ain’t Got Enough Mojo” lives long enough to prove itself wrong. Interstellar tape transmissions fostered by obvious weirdos in the great out-there in “Szolnok,” named for a city in Hungary that, among other things, hosts the goulash festival. Right fucking on.

Centre El Muusa on Thee Facebooks

Sulatron Records webstore

 

Population II, À La Ô Terre

Population II a La o Terre

The first Population II album, a 2017 self-titled, was comprised of two tracks, each long enough to consume a 12″ side. Somehow it’s fitting with the Montreal-based singing-drummer trio’s aesthetic that their second long-player, À la Ô Terre, would take a completely different tack, employing shorter freakouts like “L’Offrande” and “La Nuit” and the garage-rocking “La Danse” and what-if-JeffersonAirplane-but-on-Canadian-mushrooms “À la Porte de Demain” and still-more-drifting finisher “Je Laisse le Soleil Briller” amid the more stretched out “Attaction,” the space-buzzer “Ce n’est Réve” while cutting a middle ground in the greaked-out (I was gonna type “freaked out” and hit a typo and I’m keeping it) “Il eut un Silence dans le Ciel,” which also betrays the jazzy underpinnings that somehow make all of À la Ô Terre come across as progressive instead of haphazard. From the start to the close, you don’t know what’s coming next, and just because that’s by design doesn’t make it less effective. If anything, it makes Population II all the more impressive.

Population II on Thee Facebooks

Castle Face Records website

 

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Estoner Post New Single “Sammud”; Tahm LP Due May 25

Posted in Whathaveyou on April 23rd, 2019 by JJ Koczan

estoner

Let’s face it, Estoner pretty much win at Estonian band names. It might not work so well if, say, they were from Latvia, but being Estonian and calling your band Estoner? Yeah, you win. There could be a thousand bands from Estonia, and I bet there isn’t one that’s going to come up with something better than Estoner to call itself. I know I’ve covered the band a couple times at this point — their 2016 long-player, Lennud Saatana Dimensioonis, was reviewed here — but I feel like it’s worth reiterating. If you were from Estonia, you wouldn’t be brave enough to call your band Estoner. Me neither.

Like the riff-conquering slingers of sludge that they are, Estoner have posted the track “Sammud” from their impending third long-player, Tahm. The album will see release on May 25, and “Sammud” is a 10-minute trundle through the darker recesses of the psyche that pounds on the cerebral cortex like violent impulses building tension in one’s veins. Screams and crash abound throughout, but there’s a sinister focus at work as well, and while their moniker is unquestionably playful, if these guys are smoking — does anyone smoke anymore? is it all edibles now? I’m too old and lame to know — they’re smoking some crusty shit.

The PR wire brought news of the single’s arrival:

estoner tahm

Estoner releases new single “Sammud”

Estonia’s leading spacesludge orchestra Estoner releases “Sammud” – their first single from an upcoming album “Tahm”, to be release on 25.05.2019 on vinyl, cassette and digitally!

“Tahm” is another step on the path of Estoner’s cosmic transcendence, overlaying a thunderous mix of doom, sludge and black metal over progressive structures, evoking new and unknown levels of aural destruction on unsuspecting souls!

Estoner is a doom/sludge/black metal collective from Tallinn, Estonia. “Tahm” will be their 3rd album, celebrating the 10th anniversary of the band.

Estoner is:
Vocal/Guitar – Kristian Vallikivi
Guitar – Ralf Vinkler
Bass – Jaanus Luka
Drums – Anton Veeremets

https://www.facebook.com/estonerband
https://www.instagram.com/the_true_estoner/
https://estoner.bandcamp.com

Estoner, “Sammud”

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Ocean Districts Premiere “Funeral Parade” Video

Posted in Bootleg Theater on March 21st, 2019 by JJ Koczan

ocean districts

More than seven decades later, humanity is still coming to grips with having split the atom. The capital-‘b’ Bomb and its literal and figurative fallout comprise the theme of Estonian instrumentalists Ocean Districts‘ self-released second album, Doomtowns. Like the prospects for humanity’s survival over the longer term, is something of a melancholy affair, but like a painting on a cave wall, its cry into the void would seem intended to endure past whichever of the various impending collapses we’re rightly terrified of this week. The video for “Funeral Parade,” which is the fourth of the five inclusions on the release, works with footage from the 1982 documentary The Atomic Cafe, which centers around the US governments’ efforts to downplay the effects of — as the Ferengi put it — irradiating our own planet, whether through propaganda or other means. You’ll hear references to “duck and cover” in “Funeral Parade.” My mother can tell you stories about doing drills in school hiding under her desk in case Russia dropped the Bomb.

Clearly, madness is nothing new.

But, like the 4.5 billion-year half-life of uranium 235, madness isn’t going anywhere. As might be inherent to an instrumental band, Ocean Districts never seem overly preachy or critical in their perspective — would be a challenge without lyrics — but certainly in “Funeral Parade” and the more languid “Survival City” before it, or opener “Doom Town” or the chug-and-drift of “The Trinity Gadget,” or the heavy post-rock wash of “Castle Bravo” that follows to close out, the message comes through plain nonetheless. It may not be the catastrophe du jour of our times — that’d be global warming; keep up — but it sure continues to be unfathomable by my little tiny brain how anyone ever thought introducing nuclear tests and, you know, bombs, into the planet’s biosphere was a good idea. Inquiring minds, devastated landscapes and billions of tumors want to know.

And by the way, I’m not trying to make light of nuclear weapons as a social issue. It’s fucking insane. I mean that. This month, my country was like, “Yeah whatever,” to an arms treaty with Russia. It’s not this shit went away when the “Cold War ended.” Tell that to MOABs in Iraq or any number of North Korean missile tests. Meanwhile, the singular shame of actually having dropped a bomb in an act of aggression — let alone two? Yeah, that’s something particularly American. The list goes, sadly, on.

But hey! Here’s a video premiere.

Have fun with it:

Ocean Districts, “Funeral Parade” official video premiere

Official music video for “Funeral Parade” featured on “Doomtowns” EP. Listen and buy: https://oceandistricts.bandcamp.com/

The track title “Funeral Parade” is a reference to Operation Plumbbob, a series of controversial nuclear tests conducted in 1957, at the Nevada Test Site, with the purpose of understanding the effects of a nuclear blast on civil and military properties, as well as on the average soldier on the battlefield. Conducted with the participation over 16,000 U.S. military personnel, the series released some 58,300 kilocuries of radioiodine into the atmosphere. Some of the studies done in its aftermath showed that exposure to radiation during the series was the cause of thousands of cases of thyroid cancers and leukemia, particularly among the military personnel involved.

Video was shot and edited by Martin Kaljuorg https://www.facebook.com/mkalvisuals/

All archive footage used can be seen in a 1982 documentary film Atomic Cafe.

Ocean Districts, Doomtowns (2018)

Ocean Districts on Thee Facebooks

Ocean Districts on Instagram

Ocean Districts on Bandcamp

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Quarterly Review: Primitive Man, Black Lung & Nap, Zone Six, Spectral Haze, Cosmic Fall, Epitaph, Disastroid, Mastiff, Demons from the Dungeon Dimension, Liblikas

Posted in Reviews on October 2nd, 2017 by JJ Koczan

the obelisk quarterly review

The final round of the Fall 2017 Quarterly Review starts now. 60 reviews done. I think if this particular QR session proves anything it’s that come hell or high water, once it’s set, there’s no stopping this train. Not to toot my own horn or anything, but the site was down for half of last week and we’re still getting to 60 reviews from Monday to Monday. That’s not not impressive from where I sit, especially since I spent that downtime going out of my mind trying to get things up and running again while also trying to write posts that I didn’t even know if they were going to happen. But they happened — thanks again, Slevin and Behrang — and here we are. All is well and we can get back to normal hopefully for the rest of this week. Thanks for reading any of this if you did. Let’s get to it.

Quarterly Review #51-60:

Primitive Man, Caustic

primitive-man-caustic

Primitive Man’s Caustic is the concept of “heavy” taken to the superlative. It is a 12-track/77-minute onslaught for which no less than absolute hyperbole will suffice. In following-up their 2013 Relapse Records debut, Scorn (review here), a series of splits and 2015’s Home is Where the Hatred Is EP (review here), the Denver trio reign in terror as they make Caustic live up to its name in the crushing tones, feedback of and slow churn of “My Will,” “Commerce” “Tepid,” and “Sugar Hole,” the consuming wave of “Victim,” the blastbeating death assault of “Sterility,” and the biting atmospherics of harsh interludes “Caustic,” “Ash” and “The Weight,” which preface the nine minutes of vague noise that close on “Absolutes,” following the grueling slaughter of “Disfigured” and the rightfully-named 12-minute “Inevitable,” which seems even slower and more weighted somehow than everything before it. On the sheer level of heft for that song alone, it’s time to start thinking about Primitive Man among the heaviest bands in the world. I’m serious. Caustic is an overwhelming masterwork of unbridled extremity, and with it, Primitive Man set a new standard both for themselves and for anyone else who’d dare to try to live up to it in their wake.

Primitive Man on Thee Facebooks

Relapse Records webstore

 

Black Lung & Nap, Split

black-lung-nap-split

A heavy blues trio from Baltimore and a progressive boogie outfit from Oldenburg, Germany, might seem like an odd pairing, but by the time the 25 minutes of Black Lung and Nap’s split 12” platter (on Noisolution) are up, the release has come to make its own peculiar kind of sense. In following 2016’s See the Enemy (review here), Black Lung present two new songs in “Strange Seeds” and “Use this Stone” as well we the prior-issued Marvin Gaye cover “Inner City Blues” done in collaboration with rapper Eze Jackson, where Nap answer their debut album, Villa (review here), with the shuffle-into-psychedelia of “Djinn,” the spacious, patient rollout of the airy guitars in “Vorlaut” and the final thrust of “Teer.” Each of the two acts establishes a context for itself quickly – Black Lung brazenly defying theirs in the shift from “Use this Stone” to “Inner City Blues”; Nap expanding between “Djinn” and “Vorlaut” – and though one wouldn’t be likely to mistake one group for the other, their disparate sounds don’t at all hinder the ability of either group to make an impression during their brief time.

Nap on Thee Facebooks

Black Lung on Thee Facebooks

Noisolution webstore

 

Zone Six, Zone Six

zone-six-zone-six

Originally issued in 1998 via Early Birds Records with the lineup of bassist/synthesis/Mellotronist Dave “Sula Bassana” Schmidt, guitarist Hans-Peter Ringholz, drummer/keyboardist Claus Bühler and vocalist Jodi Barry, the self-titled debut from German space/krautrock explorationists Zone Six sees something of a redux via Sulatron Records to mark the 20th anniversary of the band’s founding. Eight minutes shorter than the original edition at 51 minutes, the new version whittles down the original 13-track presentation to two vinyl sides – titles: “Side A” (27:04) and “Side B” (24:39) – and drops the vocal tracks entirely to make it a completely instrumental release. That’s a not-insignificant change, of course, but let there be no doubt that it works in terms of highlighting the flow, which as it transitions between what used to be one song and another loses not one step and instead simply becomes an engrossing and multifaceted jam. This is truer perhaps to the band Zone Six have become – if you missed their 2015 full-length Love Monster (review here), it was glorious and it’s not too late to catch up – than the band they started out as, but Zone Six have found a way to make an old release new again, and new Zone Six is never anything to complain about, whatever the occasion.

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Spectral Haze, Turning Electric

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Space rock warriors Spectral Haze return after three years in the Gamma Quadrant with Turning Electric via Totem Cat Records, a six-song sophomore outing behind 2014’s I.E.V.: Transmutated Nebula Remains (review here) that quickly enters a wormhole of Hawkwindian thrust on opener “The Dawn of the Falcon” – perhaps that’s what’s represented on the glorious Adam Burke cover art – and takes a winding but directed course deeper and deeper into interstellar realms for its duration of what on earth is only six songs and 33 minutes. Each of the intended two vinyl sides boasts a longer track, be it “Cathexis/Mask of Transformation” on side A or “They Live” on side B, but whether it’s in those or shorter rocket boosters like the title-track, “Ajaghandi” or the aforementioned leadoff, the Oslo-based four-piece keep it dreamy and kosmiche even unto the doomlier roll of closer “Master Sorcerer,” a collection of final psychedelic proclamations that cuts off quickly at the end as though breaking a transmission from the heart of the galaxy itself. Heck of a destination, and getting there’s a blast, too.

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Cosmic Fall, Jams for Free

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Kind of a bummer how Jams for Free came about, but for the reassurance that Berlin heavy psych improvisationalists Cosmic Fall will keep going after what seems to have been an unceremonious split with now-ex-guitarist/vocalist Mathias, I’ll take it. With two new explorations, bassist Klaus and drummer Daniel introduce new guitarist Martin, and those worried they might lose the funk of their original incarnation should have their fears duly allayed by “A Calmer Sphere” (12:19) and “The Great Comet” (8:10), which begin a new era of Cosmic Fall after the remaining founders were forced to stop selling their prior works. If there’s anger or catharsis being channeled in Jams for Free, though, it comes through as fluidity and serene heavy psych, and with the resonant live-in-studio vibe, Cosmic Fall essentially seem to be picking up where they left off. With Martin making a distinguishing impression in the soloing of “A Calmer Sphere”’s second half particularly, the future continues to look bright for the German asteroid riders. Right on, guys. Keep jamming.

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Epitaph, Claws

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Doomers of Verona Epitaph trace their origins back some 30 years, but Claws (on High Roller Records) is just their second long-player behind 2014’s Crawling out of the Crypt. Matters not. Theirs is the doom of ages one way or the other, presented in this collection of five songs in traditional fashion with an edge of the Italian bizarrist movement (think early Death SS) and, from the “Neon Knights”-style riff of “Gossamer Claws” to the “After All (The Dead)”/”Falling off the Edge of the World”-style dramaturge of “Wicked Lady,” the nods to ‘80s and early-‘90s Black Sabbath are manifold and executed with what sounds like a genuine love for that era of the band and classic metal in general. Hard to fault Epitaph that influence, particularly as they bring it to bear in the guttural riffly chug of centerpiece “Sizigia,” tonally as much as in the form of what’s actually being played. As a mission, the homage is perhaps a bit single-minded, but as they continue to build their own legacy in these classic sounds, it’s impossible to say Epitaph’s collective heart isn’t in the right place.

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High Roller Records webstore

 

Disastroid, Screen

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The nine songs of Disastroid’s fourth self-released LP, Screen, are drawn together by a songwriting prowess that’s better heard than described and by a heft of tone that, especially on stompers like “Dinosaur” early and “Coyote” later on, proves likewise. Is the point of this review, then, that you should listen to the album? Yuppers. At a crisp 35 minutes, Screen finds the Bay Area trio willfully nestled someplace between heavy rock riffing, noise crunch, punk and metal, and they fly this refusal to commit to one style over another no less proudly than they do the hook of “Getting in the Way” or “I Didn’t Kill Myself,” which along with the push of “Choke the Falcon” and the Melvinsian “Clinical Perfection” make up a series of short burst impressions contrasted by the longer “Screen” and “New Day” at the outset and the six-minute finale “Gunslinger,” though wherever Disastroid seem to go, they bring a current of memorable craft with them, making an otherwise purposefully bumpy ride smooth and a chaos-fueled joy to undertake.

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Mastiff, Bork

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Ultimately, bludgeon-ready UK five-piece Mastiff might owe as much to grind as they do to doom or sludge – at least if “Nil by Mouth” has anything to say about it – but more than loyalty to any subgenre or other, the Hull unit’s 25-minute Bork full-length (released on CD by APF Records) is interested in presenting an extreme vision of sonic heft. Brutal pummel infects the rolling chorus of “Everything Equals Death” and the initial chug of “Tumour” alike, and where opener “Agony” was content to blast out its cacophony in fury of tempo as much as weight, as they settle in for the mosh-ready six minutes of closer “Eternal Regret,” Mastiff seem to have dug out a position between lumbering doom and early ‘00s deathcore, a telltale breakdown capping Bork in grooving and familiar fashion. Their intensity might prove a distinguishing factor over the longer term, though, and they certainly have plenty enough of it to go around.

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APF Records website

 

Demons from the Dungeon Dimension, An Organic Mythology

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The righteously-monikered Demons from the Dungeon Dimension made a striking and individualized – and bizarre – impression in 2016 with the There was Ogres EP (discussed here), a follow-up to the debut full-length, As the Crow Flies, released just weeks earlier. With the new single An Organic Mythology and the five-minute, raw-recorded track of the same name, the Durban, South Africa-based project is laid to rest. A burly opening and thickened distortion lead to a pushing verse with dry vocals over top – sounding very much like a home-recorded demo outright and not trying to be anything else – and soon enough the track shifts into a spoken-word-dissertation over an instrumental build that carries it into its final minute, at which point the verse kicks back in to end. As with the prior EP, which topped 25 minutes, the vibe is willfully strange throughout “An Organic Mythology,” and if this is indeed the last we’ll hear from Demons from the Dungeon Dimension (doesn’t it just sound like something TOR Books would put out?), somehow it seems right we live in an age where the material can reside in the digital ether, waiting to be stumbled on by curious parties soon to be blindsided by what they hear.

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Demons from the Dungeon Dimension on YouTube

 

Liblikas, Unholy Moly

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From the initial semi-gothic vibes from vocalist Oliver Aunver to the progressive fuzz rock that ensues on opener “Holy Underground,” Estonian five-piece Liblikas seem to specialize in the unexpected on their second full-length, Unholy Moly. Aunver, guitarists Temo Saarna (also vocals) and Henrik Harak, bassist Joosep Käsper and drummer/backing vocalist Mihkel Rebane, oversee a brisk 45-minute run across eight tracks of genre-spanning grooves, from the chugging almost-doom of “Highest Hound” to the semi-folk experimentalist interlude “Fugue Yeah! (Diary Pt. II),” which follows “Dear Diary, Yeah!” a track that starts out with what might be a Japanese-language sample and psychedelic unfolding to more cohesive, harmony-topped prog rock bounce before the fuzz emerges and meets with forward vocals and effective interplay of acoustics in the chorus. Why yes, there is a six-minute song called “Pornolord” – funny you should ask. It appears before the oud-laced “Ol’ Slime” and nine-minute closer “Keezo,” which embraces the difficult task of summing up the weirdo intensity that’s been on display throughout Liblikas’ songwriting all along, and with wispy guitar leading to a big, noisy finish, succeeds outright in doing so.

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Estoner Post Video for “Teleporteerumine”; New Album out in April

Posted in Bootleg Theater on March 10th, 2016 by JJ Koczan

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Admittedly, I don’t know much about permutations of heavy in Estonia, but it would seem Estoner have the market cornered at least as far as monikers go. The Tallinn four-piece released their debut album, The Stump will Rise, in 2012 (they were a five-piece at the time) and next month they’ll return with their sophomore outing, Lennud Saatana Dimensioonis, which is reportedly an “audiovisual” album. As to what that means, I’m not 100 percent sure. Presumably it involves a host of videos like their new one for the second cut from the record, “Teleporteerumine,” which plays up their psychedelic side with a wash of color and manipulated video footage jumping from one shot to the next as the track plays out.

They wouldn’t be the first to undertake such a project, though it does give Lennud Saatana Dimensioonis an individual presentation to go with the band’s sound, which blends lysergic rock and black metal extremity into something molten and aggressive across “Teleporteerumine”‘s five-minute span. The Stump will Rise was hardly beholden to those two elements, and I’d expect that to be the case for the second offering as well when it arrives, but in its crunching tones, spacious-but-buried vocal echoes and emergent swirl, “Teleporteerumine” showcases a take that’s decidedly the band’s own as it plays out, switching melodies in and out and never losing its atmospheric depth as it pushes toward its thickened, tripped-out finish.

So far as I’m aware, Lennud Saatana Dimensioonis is a self-release, which is something of a surprise. With a style as bold as theirs is, they seem an excellent companion for the likes of Atomikylä on Svart or any other suitably adventurous purveyor, but perhaps their release method — that “audiovisual” thing again — is more suited to Estoner handling it themselves.

You can check out the “Teleporteerumine” video below. More if/as I hear it:

Estoner, “Teleporteerumine” official video

The second track of Estoner’s audiovisual album “Lennud Saatana Dimensioonis”, titled “Teleporteerumine”.

The album will be released in April 2016.

Vocal/Guitar – Kristian Vallikivi
Guitar – Ralf Vinkler
Bass – Jaanus Luka
Drums – Anton Veeremets

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