Lucid Sins Announce Cursed LP out May 3; Stream “Joker’s Dance”

Posted in Whathaveyou on March 24th, 2021 by JJ Koczan

lucid sins

An awaited and exclamatory sophomore release from Glasgow two-piece Buy Dissertation Help & Info on Dissertation Online in UK. Now a days it is very common to Research Paper Writer Discount Code in UK educational institutes. It is difficult to complete assignment on assign date from your teacher because for researching dissertation online, you must have a good knowledge about the topic, perfect skills and good English grammar.But it takes too much difficulty for drafting a Lucid Sins arrives May 3 in the form of  Get the best academic writing services UK with beeresearcher, from custom writing to assignment help. We have got the best How To Write Your Dissertation Book in affordable Cursed! with the not-insignificant backing of  India Homework Help - Get an A+ aid even for the hardest essays. Change the way you deal with your assignment with our approved service Start Totem Cat Records. The label’s reputation for taste has earned it trust as far as I’m concerned, and if that’s what it takes to get you to click play on “Joker’s Dance,” which is the opening track and lead single from the album, then fine. Or maybe you just get excited about punctuated album titles. Really, whatever does the trick. The band released their first LP,  100% satisfaction guaranteed when you http://www.aka-verlag.com/?how-to-do-a-math-problems, because your needs are our primary focus. Here, you will find staff and writers dedicated to Occultation, in late 2014, and they’re joined by a range of guests throughout the new one, which tells me that the classic ’70s proggy leanings of “Joker’s Dance” are perhaps just the beginning of what unfolds throughout the rest of what follows.

I remain a sucker for well executed retro heavy. Don’t care if you think it’s played out, don’t care if you think it sounds like  Looking for a Home Page that specialises in rich and unique content that is designed to help your brand find its voice? Rise with Feel Content. Ghost. Whatever. Life is short. Take cool songs as they come.

From the PR wire:

lucid sins cursed

LUCID SINS to release new album ‘Cursed!’ this May 3rd on Totem Cat Records; first track streaming now

Seven years after their masterful debut album ‘Occultation’, Scottish 70s psychedelic and progressive rockers LUCID SINS are finally ready to deliver their new studio full-length ‘Cursed!’, due out May 3rd on Totem Cat Records. Stream their stomping first single “Joker’s Dance” now on Bandcamp!

From the riff-centric and silky 70s occult and psychedelic hymns of their impressive 2015 debut full-length ‘Occultation’, the Glasgow-based duo has morphed into a bigger and more ambitious beast to craft their sophomore album ‘Cursed!’. Inviting various musicians from their entourage to hop on the LUCID SINS train, the group delivers an organic and intrinsically more progressive 8-track, fueled by an intoxicating dose of keys and violins, liquid-fingered and at time jazz-tinged riffage and Andreas Jonsson’s overdubbed vocals, harking back to the likes of Wishbone Ash, Blue Öyster Cult or even The Doors in their more entrancing meanderings. With a surrealistic artwork from Britain’s early 20th century illustrator Alan Odle, ‘Cursed!’ makes for a must-have piece of 70s progressive rock.

‘Cursed!’ will be issued on May 3rd worldwide on vinyl, CD and digital through Totem Cat Records, with preorder starting on April 5th.

LUCID SINS New album ‘Cursed!’
Out May 3rd on Totem Cat Records
Preorder from April 5th at this location: https://totemcatrecords.bigcartel.com/

TRACK LISTING:
1. Joker’s Dance
2. The Serpentine Path
3. Sun and the Moon
4. The Devil’s Sign
5. Cursed
6. Snake Eyes
7. By Your Hand
8. The Forest

LUCID SINS ‘Cursed!’ Lineup
Andreas Jonsson — Vocals & Guitar
Joe Gallagher — Guitar
Martin « Eggy Beard » McKenna — Violin
Ruaraidh Sanachan — Guitar, Bass, Keys and Percussion
Sondre Berge Endegal — Bass
Stuart Coleman — Keys
Additional recording by Clark Neville

LUCID SINS is
Andreas Jonsson & Ruaraidh Sanachan

https://www.facebook.com/Lucid-Sins-101576834992445
https://www.instagram.com/lucid.sins/
https://lucidsins.bandcamp.com/
https://www.facebook.com/totemcatrecords/
https://www.instagram.com/totemcatrecords/
http://totemcatrecords.bigcartel.com/

Lucid Sins, Cursed! (2021)

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Quarterly Review: Total Fucking Destruction, Hippie Death Cult, The Cosmic Dead, Greenthumb, Elepharmers, Nothing is Real, Warish, Mourn the Light & Oxblood Forge, Those Furious Flames, Mantra Machine

Posted in Reviews on October 3rd, 2019 by JJ Koczan

quarterly review

I’d like to find the jerk who decided that the week I fly to Norway was a good time for the Quarterly Review. That, obviously, was a tactical error on my part. Nonetheless, we press on with day four, which I post from Oslo on CET. Whatever time zone you may find yourself in this Thursday, I hope you have managed to find something so far in this onslaught of whatnot to sink your chompers into. That’s ultimately, why we’re here. Also because there are so many folders with albums in them on my desktop that I can’t stand it anymore. Happens about every three months.

But anyhoozle, we press on with Day Four of the Fall 2019 Quarterly Review, dutiful and diligent and a couple other words that start with ‘d.’ Mixed bag stylistically this time — trying to throw myself off a bit — so should be fun. Let’s dive in.

Quarterly Review #31-40:

Total Fucking Destruction, #USA4TFD

Total Fucking Destruction USA4TFD

Who the hell am I to be writing about a band like Alpha follows provides you the best in class, plagiarism free and value for money reports at your convenient time from expert writers. Total Fucking Destruction? I don’t know. Who the hell am I to be writing about anything. Fuck you. As the masters dissertation services research methodology Where Can I Find http://www.bt-kunst.de/preview2018.php?thesis-willingness-to-pay abstract b dissertation engineering international science section Rich Hoak ( Place Live Homework Help 24 7 Government order and consider it done by competent academic writers with years of experience. Save your time and enjoy yourself together with Brutal Truth)-led Philly natives grind their way through 23 tracks in a 27-minute barrage of deceptively thoughtful sonic extremity, they efficiently chronicle the confusion, tumult and disaffection of our age both in their maddening energy and in the poetry — yeah, I said it — of their lyrics. To it, from “Is Your Love a Rainbow”: “Are you growing? Is everything okay? Are you growing in the garden of I don’t know?” Lines like this are hardly decipherable without a lyric sheet, of course, but still, they’re there for those ready to look beyond the surface assault of the material, though, frankly, that assault alone would be enough to carry the band — Buy an Essay Online on Any Company That Can Help Others In Dissertation. Today students get dozens of various tasks. They simply do not have enough time to do all of them because Hoak on drums/vocals, CustomThesis.org offers Phd Thesis Database British Librarys & Best Custom Dissertation Writing Services UK at affordable price. We provide professional Dan O’Hare on guitar/vocals and Stop re-reading tons of uninteresting books! The best Essay Writing Service Cheapest in Canada - Ca.EduBirdie.com will take care of it while you can have rest! Ryan Moll on bass/vocals — along their willfully destructive course. For their fourth LP in 20 years — most of that time given to splits and shorter releases, as one might expect — Our http://www.radsportwochen.at/?an-essay-about-education scans each order under a plagiarism checker in order to make sure that there is no inauthentic text in your written assignment. You also can check it all by yourself as our custom writing services provide a detailed plagiarism checker tool report of your order. Money-back guarantee ; Our custom writing services believe in building a trusting relationship with Total Fucking Destruction make their case for an end of the world that, frankly, can’t get here fast enough.

Total Fucking Destruction on Thee Facebooks

Give Praise Records website

 

Hippie Death Cult, 111

Hippie-Death-Cult-111

Issued first by the band digitally and on CD and then by Features of process when you Writing Dissertation Background here. First of all, he or she will find a good topic for your essay or any other type of academic paper. It will be the one that corresponds to your stage in education. If you do it for yourself, youll probably find a topic that requires minimum reading and is well-discussed. Cursed Tongue Records on vinyl, Essay Writers Nz. Let us clearly show you why a doctoral dissertation editing service of your choice may influence the outcome of the defense process. Your PhD dissertation will probably become the most profound piece of academic writing in your whole career, which also makes it the most exhausting for you. The average length of such a treatise varies from 100 up to 300 pages. Your 111 is the impressively toned debut full-length from Portland, Oregon’s Essay writing website script for Homework Help Hotlines services. Their analysis includes the track changes writing thesis cheap services feature of jiyoungs data commentary unit four. Whitmore and makiko nishitani each author s version from leyden, franklin p. Jones responding to such place or existed in the soaps in my writing 113 chanock. The journal s instructions, which commonly appear in Hippie Death Cult, who cull together heavy rock and post-grunge riffing with flourish of organ and a densely-weighted groove that serves as an overarching and uniting factor throughout. With the bluesy, classic feeling vocals of Ben Jackson cutting through the wall of fuzz from Eddie Brnabic‘s guitar and Laura Phillips‘ bass set to roll by Ryan Moore‘s drumming, there’s never any doubt as to where Hippie Death Cult are coming from throughout the seven-track/42-minute offering, but longer, side-ending pieces “Unborn” (8:24) and “Black Snake” (9:06) touch respectively on psychedelia and heavy blues in a way that emphasizes the subtle turns that have been happening all along, not just in shifts like the acoustic “Mrtyu,” but in the pastoral bridge and ensuing sweep of “Pigs” as well. “Sanctimonious” and “Breeder’s Curse” provide even ground at the outset, and from there, Hippie Death Cult only grow richer in sound along their way.

Hippie Death Cult on Thee Facebooks

Cursed Tongue Records BigCartel store

 

The Cosmic Dead, Scottish Space Race

The Cosmic Dead Scottish Space Race

Heavyweight Glaswegian space jammers The Cosmic Dead present four massive slabs of lysergic intensity with their eighth long-player, Scottish Space Race (on Riot Season Records), working quickly to pull the listener into their gravity well and holding them there for the 2LP’s 75-minute duration. As hypnotic as it is challenging, the initial churn that emerges in the aptly-named 20-minute opener “Portal” clenches the stomach brutally, and it’s not until after about 12 minutes that the band finally lets it loose. “Ursa Major,” somewhat thankfully, is more serene, but still carries a sense of movement and build in its second half, while the 12-minute title-track is noisier and has the surprising inclusion of vocals from the generally instrumental outfit. They cap with the 24-minute kosmiche throb of “The Grizzard,” and there are vocals there too, but they’re too obscured to be really discernible in any meaningful way, and of course the end of the record itself is a huge wash of fuckall noise. Eight records deep, The Cosmic Dead know what they’re doing in this regard, and they do it among the best of anyone out there.

The Cosmic Dead on Thee Facebooks

Riot Season Records website

 

Greenthumb, There are More Things

greenthumb there are more things

With just three tracks across a 20-minute span, There are More Things (on Acid Cosmonaut) feels like not much more than a sampler of things to come from Italian post-sludgers Greenthumb, who take their name from a Bongzilla track they also covered on their 2018 debut EP, West. The three-songer feels like a decided step forward from that offering, and though they maintain their screamier side well enough, they might be on the verge of needing a new name, as the rawness conveyed by the current moniker hardly does justice to the echoing atmospherics the band in their current incarnation bring. Launching with the two seven-minute cuts “The Field” and “Ogigia’s Tree,” they unfurl a breadth of roll so as to ensnare the listener, and though “The Black Court” is shorter at 5:37 and a bit more straight-ahead in its structure, it still holds to the ambient sensibility of its surroundings well, the band obviously doing likewise in transposing a natural feel into their sound born of landscape real or imagined.

Greenthumb on Thee Facebooks

Acid Cosmonaut Records on Bandcamp

 

Elepharmers, Lords of Galaxia

Elepharmers Lords Of Galaxia Artwork

Riffy Sardinians Elepharmers set themselves to roll with “Ancient Astronauts” and do not stop from there on Lords of Galaxia, their third LP and debut through Electric Valley Records. There are some details of arrangement between the guitars of El Chino (also bass, vocals and harmonica) and Andrea “Fox” Cadeddu and the drums of Maurizio Mura, but as Marduk heralds his age on second cut “Ziqqurat,” the central uniting factor is g-r-o-o-v-e, and Elepharmers have it down through “The Flood” and into side B’s classic stoner rocking “Foundation” and the driving “The Mule,” which shifts into laser-effects ahead of the fade that brings in closer “Stars Like Dust” for the last 10 minutes of the 47-minute offering. And yes, there’s some psychedelia there, but Elepharmers stay pretty clearheaded on the whole in such a way as to highlight the sci-fi theme that seems to draw the songs together as much as the riffage. More focus on narrative can only help bring that out more, but I’m not sure I’d want that at the expense of the basic songwriting, which isn’t at all broken and thus requires no fixing.

Elepharmers on Thee Facebooks

Electric Valley Records website

 

Nothing is Real, Only the Wicked are Pure

nothing is real only the wicked are pure

How do you recognize true misanthropy when you come across it? It doesn’t wear a special kind of facepaint, though it can. It doesn’t announce itself as such. It is a frame. Something genuinely antisocial and perhaps even hateful is a worldview. It’s not raise-a-claw-in-the-woods. It’s he-was-a-quiet-loner. And so, coming across the debut album from Los Angeles experimentalist doom outfit, one gets that lurking, creeping feeling of danger even though the music itself isn’t overly abrasive. But across the 2CD debut album, a sprawl of darkened, viciously un-produced fare that seems to be built around programmed drums at the behest of Craig Osbourne — who may or may not be the only person in the band and isn’t willing to say otherwise — plays out over the course of more than two hours like a manifesto found after the fact. Imagine chapters called “Hope is Weakness,” “Fingered by the Hand of God,” and “Uplift the Worthy (Destroy the Weak).” The last of those appears on both discs — as do several of the songs in different incarnations — as the track marries acoustic and eventual harder-edged guitar around murderous themes, sounding something like Godflesh might have if they’d pursued a darker path. Scary.

Nothing is Real on Thee Facebooks

Nothing is Real on Bandcamp

 

Warish, Down in Flames

warish down in flames

The fact that Warish are blasting hard punk through heavy blowout tones isn’t what everyone wants to talk about when it comes to the band. They want to talk about the fact that it’s Riley Hawk — of royal stock, as regards pro skateboarding — fronting the band. Well, that’s probably good for a built-in social media following — name recognition never hurts, and I don’t see a need to pretend otherwise — but it doesn’t do shit for the album itself. What matters about the album is that bit about the blasting blowout. With Down in Flames (on RidingEasy), the Oceanside three-piece follow-up their earlier-2019 debut EP with 11 tracks that touch on horror punk with “Bones” and imagine grunge-unhinged with “Fight” and “You’ll Abide,” but are essentially a display of tonal fuckall presented not to add to a brand, but to add the soundtrack to somebody’s blackout. It’s a good time and the drunkest, gnarliest, most-possibly-shirtless dude in the room is having it. Also he probably smells. And he just hugged you. Down in Flames gets high with that dude. That matters more than who anyone’s dad is.

Warish on Thee Facebooks

RidingEasy Records website

 

Mourn the Light & Oxblood Forge, Split

It’s a double-dose of New England doom as Connecticut’s Mourn the Light and Boston’s Oxblood Forge pair up for a split release. The former bring more material than the latter, particularly when one counts the digital-only bonus cover of Candlemass‘ “Bewitched,” but with both groups, it’s a case of what-you-see-is-what-you-get. Both groups share a clear affinity for classic metal — and yes, that absolutely extends to the piano-led drama of Mourn the Light‘s mournful “Carry the Flame” — but Oxblood Forge‘s take thereupon is rougher edged, harder in its tone and meaner in the output. Their “Screams From Silence” feels like something from a dubbed-and-mailed tape circa ’92. Mourn the Light’s “Drags Me Down” is cleaner-sounding, but no less weighted. I don’t think either band is out to change the world, or even to change doom, but they’re doing what they’re doing well and without even an ounce of pretense — well, maybe a little bit in that piano track; but it’s very metal pretense — and clearly from the heart. That might be the most classic-metal aspect of all.


Mourn the Light on Thee Facebooks

Oxblood Forge on Thee Facebooks

 

Those Furious Flames, HeartH

those furious flames hearth

Swiss heavy rockers Those Furious Flames push the boundaries of psychedelia, but ultimately remain coherent in their approach. Likewise, they very, very obviously are into some classic heavy rock and roll, but their take on it is nothing if not modern. And more, they thrive in these contradictions and don’t at all sound like their songs are in conflict with themselves. I guess that’s the kind of thing one can pull off after 15 years together on a fifth full-length, which HeartH (on Vincebus Eruptum) is for them. Perhaps it’s the fact that they let the energy of pieces like “VooDoo” and the boogie-laced “HPPD” carry them rather than try to carry it, but either way, it’s clearly about the songs first, and it works. With added flash of organ amid the full-sounding riffs, Those Furious Flames round out with the spacey “Visions” and earn every bit of the drift therein with a still-resonant vocal harmony. You might not get it all the first time, but listening twice won’t be at all painful.

Those Furious Flames on Thee Facebooks

Vincebus Eruptum Recordings BigCartel store

 

Mantra Machine, Heliosphere

mantra machine heliosphere

This is what it’s all about. Four longer-form instrumentalist heavy psych jams that are warm in tone and want nothing so much as to go out wandering and see what they can find. Through “Hydrogen,” “Atmos,” “Delta-V” and “Heliosphere,” Amsterdam-based three-piece Mantra Machine want nothing for gig-style vitality, but their purpose isn’t so much to electrify as to find that perfect moment of chill and let it go, see where it ends up, and they get there to be sure. Warm guitar and bass tones call to mind something that might’ve come out of the Netherlands at the start of this decade, when bands like Sungrazer and The Machine were unfolding such fluidity as seemed to herald a new generation of heavy psychedelia across Europe. That generation took a different shape — several different shapes, in the end — but Mantra Machine‘s Heliosphere makes it easy to remember what was so exciting about that in the first place. Total immersion. Total sense of welcoming. Totally human presence without speaking a word. So much vibe. So much right on.

Mantra Machine on Thee Facebooks

Mantra Machine on Bandcamp

 

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The Cosmic Dead to Release Scottish Space Race Sept. 20; Euro Tour Announced

Posted in Whathaveyou on August 21st, 2019 by JJ Koczan

Hey-ho, space muffins and dwellers of the reaches between planets! Gather round the ol’ meteorite and hear good tidings from Glasgow’s The Cosmic Dead, who’ll issue their new full-length, Scottish Space Race, on Sept. 20 through the subspace receiver array known terrestrially as Riot Season Records. Get groovy, my little symptoms of the universe, because the writing’s in your eyes, but so’s the sunshine, and it rarely sounds brighter than when The Cosmic Dead get their jam jammy.

They’ll do the Euro thing in celebration of the offering, hitting it from then until, you know, pretty much whenever, man.

Dudes be like:

The Cosmic Dead Scottish Space Race

THE COSMIC DEAD ? SCOTTISH SPACE RACE ? NEW ALBUM AND EU TOUR

Heavy psych experimentalists The Cosmic Dead’s eighth album – Scottish Space Race – is set to be released on September 20th via Riot Season Records on Gatefold 2xLP / CD and has been mastered by John Mcbain (Monster Magnet, Wellwater Conspiracy).

The album was recorded in their Glasgow HQ with cosmic sound guru Luigi Pasquini, four sprawling chunks of music recorded live amongst a run of momentous late night festival appearances in the summer of 2018. Scottish

Space Race is the first The Cosmic Dead release to feature the drumming of Tommy Duffin (Headless Kross) and the lap-steel synthesizer yowls of Russell Andrew Gray (Girl Sweat) alongside long-time cosmicians Omar Aborida and James T Mckay.

To accompany the release the band is set to embark on a run of dates across the UK and Europe this autumn.

SCOTTISH SPACE RACE TOUR DATES

SEPTEMBER
17 UK HUDDERSFIELD ? The Parish
18 UK LONDON ? The Lexington
19 BE BRUSSELS ? Magasin 4
20 NL UTRECHT ? DB’s
21 DE BAMBERG ? Pizzini
22 PL WROCLAW ? D.K. Luksus
24 DE BERLIN ? Urban Spree
26 SL LJUBLJANA ? Gromka
27 HK ZAGREB ? Mochvara
28 HU SZEGED ? Jazz Kocsma
30 RO BUCHAREST ? Q-Fest Quantic Club

OCTOBER
01 RO CLUJ-NAPOCA ? Subform
02 RO TIMISOARA ? Capcana
03 AT WIEN ? Viper Room
04 IT VERONA ? Stoner Mafia
05 IT BOLOGNA ? Krakatoa Festival
08 FR PARIS ? Supersonic
09 FR LILLE ? La Bulle Café / MFM
10 FR ROUEN ? Les 3 Pieces
11 UK BRISTOL ? The Lanes

NOVEMBER
14 UK BEDFORD ? Esquires
15 UK FALMOUTH ? The Fish Factory
16 UK BATH ? St James Wine Vaults
17 UK NEWCASTLE ? Brave Exhibitions Festival

More Dates TBA

https://www.facebook.com/thecosmicdead/
https://thecosmicdead.bandcamp.com/
http://cosmicdead.com/
http://www.riotseason.com
https://www.facebook.com/riotseasonrecords

The Cosmic Dead, Scottish Space Race album trailer

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Ommadon Announce Breakup

Posted in Whathaveyou on October 18th, 2018 by JJ Koczan

ommadon

I guess there’s something to be said for minimalism, and with a posted picture of a ship on the rocks and a statement that puts it definitively as ‘Ommadon is dead,’ one could hardly accuse Glaswegian megadrone two-piece Ommadon of not getting their point across. David Tobin and Ewan Mackenzie call it quits after a 10-year run that produced eight self-recorded full-length albums released through Dry Cough RecordsMedusa Crush RecordingsAt War with False Noise, and others, as well as splits with ColtsbloodLegion of Andromeda, and more.

Their latest offering, End Times, was issued in May, and while with that title one might wonder if there was some element of self-reflection on the band’s part, the harsh rumble and vicious crash they emitted through the two side-consuming pieces — titled “A” and “B” — was nothing if not outwardly brutal.

Ommadon‘s last show would seem to have been in August as part of the Break the Chains festival in Leeds, and though their own announcement of their breakup is pretty barebones, Dry Cough‘s is more emblematic of the response the band got and how deeply their music affected their listeners. You can stream End Times at the bottom of this post, and here’s that ship and the statements from band and label:

ommadon breakup

Ommadon is Dead

There is no place for magic in this fool’s paradise. Ommadon is dead.

Dry Cough Records on Ommadon:

Ommadon is dead. Long live Ommadon.

I consider myself very lucky to have worked with Tobin and Ewan on three of their records. They’re excellent people and a truly amazing band who have played a huge part in helping Dry Cough establish itself in the UK underground.
I’ll be forever grateful to them for taking a chance on allowing DC to help release ‘V’ back in 2014.

Ommadon and their music mean an awful lot to me. Today is a sad day.

End Times.

Ommadon was:
David Tobin (guitar)
Ewan Mackenzie (drums, keyboards)

https://www.facebook.com/ommadondoom/
https://twitter.com/ommadondoom
https://www.drycoughrecords.com/
http://facebook.com/DryCoughRecords

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The Cosmic Dead to Release Psych is Dead April 21

Posted in Whathaveyou on March 3rd, 2017 by JJ Koczan

the cosmic dead

Glaswegian heavy psych jammers The Cosmic Dead will release their new album, Psych is Dead, on April 21 through Riot Season Records. It’s a pretty bold declaration for a band to make, particularly a band who are so, you know, psych, but they’d probably know better than most as to the life-status. Dead or alive, one imagines the three extended tracks Psych is Dead will follow suit with the band’s past work in being soaked in lysergic vibes, and if there is indeed a radical turn to be found, it will be duly weird one way or another. You can see the limited CD and vinyl editions below, and it seems like a pretty safe bet they’ll go shortly after their release, if not before it.

Which I suppose would be an argument for psych being alive. Funny how that works.

Riot Season sent the following down the PR wire, tour dates included:

the-cosmic-dead-psych-is-dead

The Cosmic Dead New Album // 2017 Spring Euro Tour

‘Psych Is Dead’ is the sixth full length album from the band, the glowing embers of a a few days spent recording in a sweaty Sardinian kitchen overlooking the Mediterranean Sea. Soon to be available on LP and CD via Riot Season Records, ‘Psych Is Dead’ is an aural exploration of their tumultuous universe.

Formed in 2010, The Cosmic Dead are a quartet from Glasgow, Scotland who share their music through good vibes and better vibrations. Known for their improv, chaos strewn, Buckfast smashed against the wall take on space music, they have roamed from Roadburn to Las Vegas, Dundee to Bangalore with each album offering a meditative window into a certain time and space.

The album will be coming out on CD (Digipack 500 copies) and two vinyl editions. The main vinyl release will be a white vinyl edition limited to 700 copies for the world. Along with that will be a mail order only edition of 300 copies pressed on swanky silver vinyl via the webshop and bandcamp site. Full details on preorders and all that stuff will follow soon.

artist: THE COSMIC DEAD
title: ‘Psych Is Dead’
catalogue # REPOSELP420/REPOSECD420
format: Vinyl LP & CD
label: Riot Season
release date: April 21st 2017

Tracklisting
A. Nuraghe (21:54)
B1. Psych Is Dead (8:23)
B2. #FW (15: 28)

The band will be embarking on a selection of dates across Europe to celebrate the release

APRIL
22 UK – Liverpool – Wrong Fest
23 UK – Prestatyn – Safe As Milk
25 BE – Brussels – Magasin 4
27 DE – Dresden – Sabotage
28 PL – Warsaw – Klub Hydrozagadka
30 DE – Berlin – Deserfest

MAY
02 DK – Copenhagen – KB18
03 SE – Malmo – Plan B
04 SE – Stockholm – Obaren
05 SE – Gothenburg – Truckstop
06 DK – Aalborg – 1000FRYD
07 DE – Kiel – Die Kieler Schaubude
09 DE – Leipzig – AKKO
10 AT – Vienna – Das Bach
11 HR – Zagreb – Vintage Bar
12 SI – LlubLjana – Klub Gromka
13 AT – Innsbruck – PMK
14 AT – Salzburg – Rockhouse
16 IT – Zero Branco – Altroquando
17 IT – Parma – Titty Twister
18 IT – Torino – Blah Blah
19 IT – Ravenna – Bronson
20 IT – Milano – Bloom
23 FR – Paris – Gibus
24 BE – Ghent – Psych9000 Fest
25 UK – Brighton – Green Door Store
27 UK – London – Raw Power Festival
28 UK – Leeds – Karma Fest

More dates TBC

https://www.facebook.com/events/1809616272695568/
https://thecosmicdead.bandcamp.com/
http://www.facebook.com/thecosmicdead
http://thecosmicdead.com/
http://www.riotseason.com
https://www.facebook.com/riotseasonrecords
https://twitter.com/riotseasonrecs

The Cosmic Dead, Psych is Dead album trailer

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Dead Otter Release Debut EP Pathfinder

Posted in Whathaveyou on November 2nd, 2016 by JJ Koczan

First of all, it’s not like Dead Otter are advocating for otter murder. They make a point to mention their otter-friendliness, but they never called themselves Kill Otters or something like that. Maybe bassist Gav Riddell had a pet otter at one point and it died and he decided to name the band in its honor. Or maybe Omar Aborida, who also plays in The Cosmic Dead, journeyed into the woods outside Glasgow — note: find out if there are woods outside Glasgow; don’t there have to be? — and made a special otter friend. I’m just saying, the name Dead Otter calls to mind a pretty gruesome image, roadkill and all that, but could be worse.

The Scottish four-piece’s debut EP, Pathfinder, builds off jammy impulses toward heavy psychedelic rock that retains an open feel — see “The Whangy,” which feels as much indebted tonally to Ween as Hendrix — and is available now to stream in full. You can see its flat-out amazing cover art below, and while I hope it gets pressed to CD for that alone, I wouldn’t mind a copy of these tracks for the archive either. Take a listen on the player below and you’ll hear why. Some potential here:

dead-otter-pathfinder-700

Dead Otter – Pathfinder

Dead Otter are an exploratory rock outfit based in Glasgow, crafting jams since rock music was invented in 1995. Influences range from such pre-95 heavyweights as Hawkwind to Gong, Black Sabbath, Captain Beyond, Led Zeppelin and The Sensational Alex Harvey band.

Over time the band has evolved into the current line up of John Riddell on Guitar and Vocals, Gav Riddell on Bass, Scott Falconer (Skeleton Gong, Los Destructos) on drums and Omar Aborida (The Cosmic Dead) on Guitar. This line up has just released a selection of Otter classics (Pathfinder EP) and are looking to follow up with a full length LP in 2017.

PS. Also should be noted that we’re 100% Otter friendly

Dead Otter, Pathfinder tracklist:
1. Stoner Devil 06:24
2. Open my eyes.. seen enough now 06:49
3. The Whangy 03:07
4. Pathfinder 07:53

Band Members:
John Riddell – Guitar / Vocals
Gav Riddell – Bass
Scott Falconer – Drums
Omar Aborida – Guitar

https://www.facebook.com/deadotterband/
https://dead-otter.bandcamp.com/releases

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Headless Kross to Release Projections I Nov. 18

Posted in Whathaveyou on September 15th, 2016 by JJ Koczan

headless-kross

Heavy heavy heavy heavy heavy. You got another word — or five? — for Headless Kross? Dig into the leadoff track from their new album, Projections I, and see what comes to mind first. The record is the beginning of a trilogy according to the PR wire, and in part to herald its coming, they’ve made their 2015 release, Volumes (discussed here), available as a free download. So that’s nice. If you didn’t hear that record, once you get a handle on “…Does Not Equal Time,” by all means, take that one on. I doubt you’ll regret spending the time and complete lack of money.

Projections I is out Nov. 18 on At War with False Noise. Info follows:

headless-kross-projections-i

Scottish Doomsters HEADLESS KROSS Announce New Album ‘Projections 1’

Projections 1 first part in a trilogy of albums

Within the realms of extreme music, there are paths few bands dare to tread, masochistic auditory experiences enjoyed by a select few, feared and misunderstood by many. Glasgow’s HEADLESS KROSS are terrifying, dishing out grim music that’s an exercise in primeval tension and paranoia. Their forthcoming offering Projections I is released on November 18th via At War With False Noise.

Ahead of their release the band have debuted their track …Does Not Equal Time for listening. Check it out here: https://headlesskross.bandcamp.com/album/projections-i and have made their 2015 album Volumes available for free (grab it here).

Comments Vocalist/Bassist Derek Sexton: “Projections I is the first in a trilogy of albums whose fractured narrative examines this distorted yet strangely cyclical world we live in through equally distorted yet strangely cyclical psychedelic doom. We recorded it as part of a psychogeographical experiment in which we conducted a series of field recordings in various ritualistic areas of Glasgow and we feel we are embracing an increasingly polarised sound – the riffs are heavier, the monolithic groove is catchier, the freak-outs are space-ier and the fragmented lyrics descend into an infinite regress as time seems to collapse in upon itself.”

Recorded and mixed by the band themselves at guitarist Tommy Duffin’s own 16 Ohm Studio in Glasgow and mastered by James Plotkin (Khanate, Isis, Conan, Palms), the result is a menacing album that embodies avant-garde invention and unstoppable aggressive creativity throughout. Envisaged as the first part of a trilogy, this new record sees HEADLESS KROSS heading toward further extremes – heavy bits are heavier, trance-y bits are tranc-ier, this is a band that has honed its sound to vicious effect. The album’s four songs explore ideas related to projectivism, psychogeography and psychochronography. These growing obsessions were reflected in the very recording process of the album, which included a ritualistic tour of various significant areas of Glasgow to both gather field recordings, and map out an altar of sorts across the city, upon which the album could be created.

Having perfected their grippingly bleak and abrasive sound on stages across the country with bands such as Slomatics, Conan, Bast, Jucifer, Samothrace, Inter Arma, Orange Goblin and Ufomammut to name a few, the new year will see the band touring the length and breadth of the UK in support of their trilogy of releases, with parts 2 and 3 being released within the next 12 months.

Projections I will be released on November 18 via At War With False Noise.

Projections I track listing:
1: …Does Not Equal Time
2: Practical Mental Effects
3: Church of the Fifth Season
4: The Map is Not the Territory

https://www.facebook.com/headlesskross/
http://headlesskross.bandcamp.com/
http://www.atwarwithfalsenoise.com/

Headless Kross, “…Does Not Equal Time”

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Quarterly Review: Spiritual Beggars, Øresund Space Collective, Goya, Black Shape of Nexus, Cough, Oranssi Pazuzu, Karma to Burn, Black Mood, Nebula Drag, Ommadon

Posted in Reviews on June 21st, 2016 by JJ Koczan

the-obelisk-summer-2016-quarterly-review

Day Two of The Obelisk’s Summer 2016 Quarterly Review — that’s an awful lot of capital letters. I’m not sure if it’s quite such a formal occasion, but perhaps that’s just an effect of staring at some of the names in this particular batch, who from classic heavy rock to post-black metal to stoner riffs, drone, doom and beyond offer a pretty vast range and more than a small measure of profile throughout. It’s a substantial swath, is what I’m saying. If you can’t find something here to dig on, well, I’d say look again, but of course there’ll also be another 10 reviews tomorrow, Thursday and Friday, and there were 10 yesterday as well, so I’m sure something will turn up if it hasn’t yet. Here we go.

Quarterly Review #11-20:

Spiritual Beggars, Sunrise to Sundown

spiritual beggars sunrise to sundown

More than 20 years on from their self-titled debut, Sweden’s Spiritual Beggars release their ninth LP, Sunrise to Sundown (on Inside Out Music). They seem to have set themselves to the sole task of making the records that one wishes Deep Purple were making, full of righteous organ-laced classic heavy thrust, driven by top tier songwriting and performance on every level. Founding guitarist Michael Amott (also Carcass) has assembled a lineup of masters, and since 2010’s Return to Zero (review here), frontman Apollo Papathanasio (also Firewind) has provided the soaring voice to add to the keyboard majesty of Per Wiberg (ex-Opeth, Candlemass) on songs like “I Turn to Stone.” The album’s 11 cuts are catchy, universally structured, and varied in their feel enough to carry the listener through fluidly, bassist Sharlee D’Angelo (Mercyful Fate) and drummer Ludwig Witt (ex-Firebird) locking in weighted grooves and underscoring the flow of what comes across like an increasingly collaborative songwriting process. Sunrise to Sundown is the sound of a band knowing what they want to do and how they want to do it and then doing precisely that.

Spiritual Beggars on Thee Facebooks

Inside Out Music website

 

Øresund Space Collective, Ode to a Black Hole

oresund space collective ode to a black hole

How many records does Ode to a Black Hole make it for Danish improve spacelords Øresund Space Collective? I honestly don’t know. Their Bandcamp lists 52 releases. Granted, not all of them are full-length studio LPs, but they jam whether they’re live or in the studio, so after a point it’s kind of moot. However many in the ultimate tally, Ode to a Black Hole is somewhat unique among them, exploring the darker side of the cosmic reaches in a bleaker, droning psychedelia spread across two instrumental tracks put to tape at the same time as 2015’s triple-LP Different Creatures (review here). Of course, it’s Øresund Space Collective, so there is still plenty of synth and effects swirl to be had, but it’s a slower galaxial movement as “Ode to a Black Hole Part 1” feeds directly into “Ode to a Black Hole Part 2.” Whatever their method of getting there, Øresund Space Collective prove once again how apparently boundless their scope has become with nuance of guitar and key flourish beneath the surface of the mix to let the listener know there’s life out in the expanse.

Øresund Space Collective on Thee Facebooks

Øresund Space Collective on Bandcamp

 

Goya, The Enemy

goya the enemy

Phoenix, Arizona’s Goya continue their forward march with The Enemy EP (on STB Records). Still fair to say Electric Wizard are a primary influence, but as shown on their last full-length, 2015’s charmingly-titled Obelisk (review here), the trio are increasingly able to put more of themselves into their sound. In “The Enemy,” “Last” and “Light Years,” that shows in tighter songwriting, some vocal harmonies on “Light Years,” and a harder overall tonal impact than the tenets of post-Witchcult Today doomery might lead one to expect, reminding in parts of the raw in-room feel that Egypt have come to proffer, burly but more about groove than attitude. The EP closes with a nine-minute take on “The Enemy” itself, adding more harmonies, some screams at the end, and a lengthy midsection jam to flesh out its extra four minutes. Goya have been and still are a bright spot (existentially, if not in mood) in up-and-coming US doom, and The Enemy might be a stopgap coming off of Obelisk, but it reminds listeners of their growth very much still in progress.

Goya on Thee Facebooks

STB Records

 

Black Shape of Nexus, Carrier

black shape of nexus carrier

In a universe full of pretenders to the throne of Eyehategod, German six-piece Black Shape of Nexus prove there’s room for genuine creativity in sludge. Their fourth offering, Carrier (on Exile on Mainstream), finds them past the 10-year mark and lumbering their way through five varied originals, from the cavernous opener “I Can’t Play It” through the droning “Lift Yourself” and the utter spacecrush that ensues in “Facepunch Transport Layer” before the villainous laughter at the end of “Sachsenheim” leads to a 12-minute take on Hellhammer’s “Triumph of Death,” which closes. It feels like no coincidence that of the Black Shape of Nexus-penned inclusions “Sand Mountain” is the centerpiece; the tortured screaming, claustrophobic riff and blend of rawness and lush depth speak to the originality at the core of their approach. There’s a firm sense of fuckall here, and my understanding is making Carrier was something of a trial, but the results are perhaps only more vicious for that, and thus stronger.

Black Shape of Nexus on Thee Facebooks

Exile on Mainstream Records website

 

Cough, Still They Pray

cough still they pray

Six years and the ascent of an entire movement of similarly-minded acts later, Cough ooze back to activity with Still They Pray (on Relapse), their dirt-caked third full-length. That movement, by the way, includes fellow Richmonders Windhand, with whom Cough now share bassist Parker Chandler and whose Garrett Morris recorded here along with Jus Oborn of Electric Wizard, who remain a major influence in Cough’s grueling, nodding filth, brought to bear over eight tracks and a purposefully unmanageable 67-minute runtime. Stylistically it’s not so far from where Cough were on 2010’s Ritual Abuse (review here), the bleak anarchistic lurch and tonal immersion still very much at the fore of “Possession,” “Dead Among the Roses” and the organ-inclusive “The Wounding Hours,” but though they can play slow enough to make “Masters of Torture” seem positively thrashy by comparison, they never lose their sense of atmosphere, as the acoustic-led closing title-track makes plain in fashion no less heavy than the punishment meted out before it.

Cough on Thee Facebooks

Relapse Records website

 

Oranssi Pazuzu, Värähtelijä

oranssi pazuzu varahtelija

It feels factually inaccurate to call something so wilfully charred “vibrant,” but Oranssi Pazuzu’s fourth long-player, Värähtelijä (on Svart and 20 Buck Spin), not only finds light in its overarching darkness, but makes it a pivotal aspect of the album’s 69-minute course. Open structures, an enviable depth of mix between far-off guitar, keys, organ, various layers of screams, etc., songs like 12-minute opener “Saturaatio” and the later 17-minute chaoswirl of “Vasemann Käden Hierarkia” offer stylistic breadth as much prog as they are psychedelia or black metal, perhaps the next phase of the latter’s cosmic wing come to fruition. Relatively speaking, the more straightforward “Havuluu” offers listeners a moment to catch their breadth, but the organ-led experimentalism of 10-minute closer “Valveavaruus” gurgles in an exploration of ambient downward plunge. One of the most adventurous black metal releases of 2016, if you can still even tag a genre to it, which I’m not sure you can. A band doing pivotal and forward-thinking work.

Oranssi Pazuzu on Thee Facebooks

20 Buck Spin webshop

Svart Records webshop

 

Karma to Burn, Mountain Czar

karma to burn mountain czar

Though they just got off a lengthy US run, the fact that Karma to Burn’s webstore offers their new Mountain Czar EP in euro instead of dollars could easily be taken as a sign of where the band’s general priorities lie. I don’t know if founding guitarist Will Mecum is actually living abroad or remains in West Virginia, but their label, Rodeostar Records, is European, they maintain a close relationship with German artist Alexander Von Wieding, and their tour schedule keeps a definite continental focus. So be it. Mountain Czar brings five new cuts, three by-the-numbers Karma to Burn instrumentals, the highlight of which is patient, jangly-guitar closer “63,” and “Uccidendo un Sogno,” an Italian-language cover of Tom Petty’s “Runnin’ down a Dream” sung by guest vocalist Stefanie Savy and featuring Manuel Bissig of Switzerland’s Sons of Morpheus on guitar. Karma to Burn very much remain Karma to Burn throughout, Mecum joined by drummer Evan Devine and bassist Eric Clutter, but they’re changing what that means in interesting ways.

Karma to Burn website

Rodeostar Records

 

Black Mood, Squalid Garden

black mood squalid garden

Comprised solely of guitarist/vocalist Sleaze and drummer Izz, German Southern metallers Black Mood begin their seven-song sophomore outing, Squalid Garden (on Daredevil Records) with a sample of Cornelius from Planet of the Apes quoting the Lawgiver to “shun the beast man,” and so on. By the time they get around to the chugging and warbling “Ohh, save my soul” in second cut “IWNAR,” the Down/Crowbar vibe has been laid on so thick that it’s unmistakable. It’s been seven years since Black Mood made their self-titled debut in 2009 – they had an EP, Toxic Hippies, out in 2012 – but their chestbeating, dudely vibes are easily sourced, even in faster, more Pantera-style moments in “Reflected,” “100 Squalid Garden” or closer “Side,” making the album ultimately a matter of taste for anyone who’d take it on. For me, some aspects ring derivative, others show flashes of individualism, but it’s a very specific vision of Southern metal at work here, and it’s not going to be for everyone.

Black Mood on Bandcamp

Daredevil Records webshop

 

Nebula Drag, Nebula Drag

nebula-drag-nebula-drag

Newcomers Nebula Drag join the ranks of a crowded heavy psych scene in their native San Diego via their self-titled, self-released debut, but the trio distinguish themselves immediately with a solidified underpinning of punkish intent, so that the airy vocals of “Sano” float over an insistent, noisy crunch. That blend is toyed with in one direction or another throughout the release, the five-minute “So Low” finding some middle-ground in grunge push, but as the subsequent “Up and Down”’s Melvins-style roll and the hardcore-style drive of “Lost Time” play out, Nebula Drag seem far less tied to any single approach. It’s a dynamic that serves them well throughout the album’s 10-track/37-minute run, and they maintain a sense of rawness in the almost thrashy breakdown of “I Can Not Explain” that speaks to a lack of pretense to go along with their potential for development. Will be curious to hear if one side or the other wins out in their sound over the long-term, but in a town where so many bands are geared on being the most laid back, it’s refreshing to hear a group with a more forceful tack.

Nebula Drag on Thee Facebooks

Nebula Drag on Bandcamp

 

Ommadon, Ommadon

ommadon ommadon

After a series of numbered full-lengths, Glasgow consciousness-stompers Ommadon offer their self-titled sixth album through Dry Cough Records, Burning World Records and Medusa Crush Recordings. Doubtless the three labels were needed in order simply lift the 41-minute, single-song release, which is so unspeakably and ridiculously heavy as to warrant comparison to Buried at Sea’s Migration. Its retching lumber is superlative, and in giving it their name, Ommadon signal (and say outright) that it’s the work they’ve been driving toward all along. Fair enough. There is no moment of relenting from the abysmal intentions of “Ommadon” itself, and if this is to be the piece that ultimately defines the band, it’s one worthy of consideration for the outright extremity it brings to doom, sludge and drone, as well as the methodical nature in which it unfolds. Whatever its ultimate impact, Ommadon have pushed themselves forward and crafted an excruciating contribution that feels like a monolith bent to their will.

Ommadon on Thee Facebooks

Dry Cough Records webshop

Burning World Records

Medusa Crush Recordings on Bandcamp

 

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