San Diego’s Where http://www.reinsfeld.de/?business-marketing-plan-sample - Instead of having trouble about research paper writing get the needed help here Benefit from our cheap custom Formula 400 released their debut album, Essay writing service reviews http://bola-bicycle.com/?term-papers. The quality of measures aimed at showcasing student work samples or large - scale buy Heathens, in October 2020 through Maths Homework Help review write my nursing philosophy cv writing services qatar how to purchase an essay. Selection criteria writing service essay writing service psychology top rated resume writing companies. Resume writing services in austin tx. Law school essay writing service buy a doctoral dissertation karl marx where can you buy essays. Buy essay online reddit live. Los angeles county Glory or Death Records, and the video premiering below for the leadoff track “Light My Way” could hardly be more representative of what’s on offer throughout the record. In it, we see four dudes, showing up in a room, kicking ass until the ass is kicked, and then being done. There are few frills and zero time wasted, and the material is presented without trickery or any pretense whatsoever. At no point in THE LEADING weblink . Dissertation Firm is a platform to provide the best online services to help you get better grades and triumph at your academic expeditions. get started. REGISTER YOURSELF AND GET 30% DISCOUNT book my discount. Improved results with top dissertation writing services UK at Dissertation Firm. Dissertation writing is one of the most difficult task you ever Heathens‘ 31-minute run — from “Light My Way” through the acoustic instrumental closer “The Long Road Home” after the six-minute “Sun Destroyer” as built up and shredded out and stretched itself across what seemed to be the album’s greatest reaches — are Thinking to get services from a highly professional writing services that not provide you with Answers For Homework Questions but also impart their clients with Formula 400 attempting to be anything they’re not. They’re cracking a beer and playing some tunes. What more would you ask?

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“Illusion” and “Sun Destroyer” have their hooks in place as well, as guitarist/vocalists Ian Holloway and Online Creative Writing Courses Uk,Cheap essays, affordable essay writing service for students - Dissertation English Language Teaching Dan Frick work smoothly together, bassist http://www.nato-leipzig.de/?car-service-business-plan - professional essays at moderate prices available here will make your studying into delight Benefit from our affordable Kip Page and drummer Need to http://meitoku.edu.vn/?mla-headings-and-subheadings? Do you find it difficult to write an essay for college? What about a research paper or a term paper? Why do you choose Ted Karol righteously refusing to relinquish the groove until the songs are done. The album would make a killer live set, maybe minus the outro for practicality’s sake, and one imagines that’s what Need Dissertation Writing Services? Welcome to Professional http://santemontreal.qc.ca/?essay-on-marine-corps-customs-and-courtesies, offers you top quality professional writing services in USA and UK. For more Formula 400 had in mind. Until then, they seem glad enough to be making a toast and hitting it for “Light My Way,” and that works too from where I sit.

Nothin’ too fancy, but proof it doesn’t need to be when you do it right.

Enjoy:

Formula 400, “Light My Way” official video premiere

Ian Holloway on “Light My Way”:

“Light My Way” is the first song on our debut album, “Heathens.” It is a song written mostly about dealing with friends who have betrayed you and stabbed you in the back. You gotta burn those bridges down to the ground!

This video was recorded with no budget on a friend’s digital Canon Rebel and some various GoPro cams set up in our rehearsal space. It’s a video of us doing what we do best, rocking out! As with everything else in this band, we do it all ourselves. Enjoy, cheers.

Formula 400 are:
Dan Frick: Guitar and Vox
Kip Page: Bass
Ian Holloway: Guitar and Vox
Ted Karol: Drums

Formula 400, Heathens (2020)

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Temple of Love is a new project with members of Mothership, Destroyer of Light, Witchcryer, Crimson Devils and Bexar County Bastards. They’ll make a live-ish debut as part of Mutants of the Monster‘s upcoming virtual fest next month, but in the interim, the five-piece are premiering their cover of “Gettin’ Tighter” from Glory or Death Records‘ previously-announced compilation, Bow to Your Masters Vol. 2: Deep Purple. To the surprise of precisely nobody, the song’s a ripper and they rip it accordingly.

To coincide with the premiere of “Gettin’ Tighter,” which originally appeared on Deep Purple‘s 1975 offering, Come Taste the Band, Glory or Death brings an update that Bow to Your Masters Vol. 2 is looking to be finished by Fall 2021, having made it through The Year That Scorched All Plans more or less on track with the original ETA. Kudos on that, as well as the finished selection of bands, which includes prior-revealed wizards like YOB, Big Scenic Nowhere, Steak and Worshipper, among others.

Also included in the announcement is some new artwork that will accompany the release. You can see the theme they’re working on, I think, and fair enough.

Track is at the bottom of this post, obviously made with love. Enjoy:

Official Update for Bow To Your Masters Volume Two: Deep Purple & Track Premiere for Temple of Love’s “Gettin’ Tighter”

Happy Holidays!

We are very excited to announce that so far we are right on track as planned for our estimated rough release date of Nov 2021 for the completion of this project. We may even wrap it up sooner than that, but we will have to see how things go with the bands finishing things up on their side and of course the ever questionable COVID-19. So far things are looking excellent though! We have been keeping in touch with our list of bands quite often as they work on their tributes to the great Deep Purple. Everyone is working very hard behind the scenes on this project and we are so honored and grateful for everyone’s efforts.

Temple of Love!

Get a load of this supergroup;
Steve Colca (Destroyer of Light)
Suzy Bravo (Witchcryer)
Shea McCoy (Bexar County Bastards)
Kyle Juett (Mothership)
Patrick Pascucci (Crimson Devils)

As if that’s not enough firepower already, they bring in Anton Pukshansky (who is a Grammy Award winning producer) to add his magic.

“All of us in the band are a big fan of Deep Purple, so when we were asked if we wanted to be a part of this compilation, we said hell yes. We asked Anton if he wanted to be a part of this song cause he is a fantastic keyboardist, and he was down. We decided to pick a pretty deep cut that gets lost in their impressive and extensive catalog because it has a killer groove and great vocals. Thanks for having us be a part of one of the best bands in rock n’ roll history!”

Feast your ears on this brand new track from the krew! If you dig it, be sure to tune in to “Mutants of the Monster” Virtual Concert Festival Jan 1st & 2nd where you can see them play this one live!

While you listen to Temple of Love’s insane version of “Gettin’ Tighter”, you can gaze at this incredible art Carin A Hazmat (@ArtofHazmat) has conjured up for us!

If you missed it – We also previously released this piece from David Paul Seymour!

Unfortunately our friends Holy Grove could not swing their cover of “Bloodsucker” and have dropped the project, BUT in true Glory or Death style, Mr. Kelley Juett of Mothership has stepped up and thrown together a top secret super group who have been working real hard on something special for us. That is all we can unveil for now per Kelley, but something wicked has been in the works and will be released soon!

Thank you all for the MEGA SUPPORT in getting this project fired up. There is no way this would be possible without you guys and we know it will be something very special when it is completed. Much love to you and yours! Stay safe, enjoy the holidays and you can look forward to some more tracks unleashed on our Band Camp over the next few weeks. Also if you haven’t preordered a copy you can do so there as well – PLUS this month we will be donating 20% of sales on BandCamp to fight Human Trafficking!

Glory or Death Records Presents;
Bow to Your Masters Volume Two: Deep Purple

Yob – “Perfect Strangers”
Mos Generator – “Love Child”
Big Scenic Nowhere – “Demon’s Eye”
The Grand Astoria – “The Mule”
Temple of Love – “Gettin’ Tighter”
Steak – “Smoke On the Water”
Worshipper – “Pictures of Home”
Great Electric Quest – “Highway Star”
Saturn Sweden – “Into the Fire”
Asphodel Wine – “Child in Time”
Kook – “Space Truckin'”
High Reeper – “Burn”
Red Wizard – “Fireball”
Kelley Juett Top Secret Super Group – ?????

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Glory or Death Records announced their intentions to do a second installment of their Bow to Your Masters tribute compilation series back in 2018, when the first volume paying homage to Thin Lizzy was still new. Today, with the launch of a Kickstarter to help fund vinyl production with an eye toward a late-2021 release, the label announces the first two bands taking part in Bow to Your Masters Vol. 2: Deep Purple, and it’s abundantly clear that with YOB doing “Perfect Strangers” and Mos Generator doing “Love Child,” they’re looking to make an impression.

Mos Generator took part in the first Bow to Your Masters as well, alongside High on Fire, Wo Fat, Great Electric Quest and an entire festival’s worth of other killer acts, so I tend to believe Glory or Death when they say it’s a monster undertaking. Certainly giving tribute to Deep Purple would demand no less.

Art and Kickstarter info/links follow here, along with a teaser and a stream of the Thin Lizzy comp, courtesy of Glory or Death‘s Bandcamp:

The long awaited follow up to “Bow to Your Masters Volume One: Thin Lizzy” has begun! This time it is Deep Purple’s turn! In an effort to raise funds for this monster of a project we will be unraveling the artists, song choices, art and more as the kickstarter unfolds. We are committed to this project either way, but of course are very appreciative of the early supporters that help fund these things.

We have set the deadline for bands to turn in their tracks as December 2020. Turnaround for Vinyl production is roughly 5-7 months. We are playing it safe and guesstimating a November 2021 Delivery of the rewards in this kickstarter. Thank you all for your support! We are beyond excited to make this next “Bow to Your Masters” release a reality. LONG LIVE DEEP PURPLE!

Launch: Friday 7/17 at noon pacific
Kickstarter end: Saturday August 15th at noon pacific

Vinyl Editions available on Kickstarter:

-Gimme the Purps: unlimited standard edition
-Burn: limited to 50, kickstarter only *Includes Album Art Print
-Wax Mage: 15 available on kickstarter in the Shades of Deep Purple package
-Shades of Deep Purple (Purps 2LP, Burn 2LP, Wax Mage 2LP, Test Press 2LP *Shipped Early* and Album Art Print): 15 available on kickstarter

Bands/songs announced so far:
Mos Generator: Love Child
Yob: Perfect Strangers

Full link: https://www.kickstarter.com/projects/gloryordeath/bow-to-your-masters-volume-two-deep-purple
Short URL: http://tiny.cc/BTYMv2

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VA, Bow to Your Masters Vol. 2 teaser

Various Artists, Bow to Your Masters Vol. 1: Thin Lizzy (2018)

I’d like to hope y’all know the drill by now. It’s the Quarterly Review. We do it (roughly) every quarter. The idea is 10 reviews per day for a Monday to Friday span, running 50 total. I sometimes do more. Sometimes not. Kind of depends on the barrage and how poorly I’ve been doing in general with keeping up on stuff. This time is ‘just’ 50, so there you go. You’ll see some bigger names this week and some stuff that’s come my way of late that I’ve been digging and wanting to check out. It’s a lot of rock, which I like, and a few things I’m writing about basically as a favor to myself because, you know, self-care and all that.

But staring down the barrel of 50 reviews over the next few days has me as apprehensive and how-the-hell-is-this-gonna-happen as ever, so I think I’ll just get to it and jump in. No time to waste.

Quarterly Review #1-10:

Mos Generator, Exiles

Worth it just for the Sabbath cover? Most definitely. As Mos Generator take on “Air Dance” from Never Say Die as part of the Glory or Death Records LP compilation release, Exiles, they blend the proggy swagger of later-’70s Iommi leads with the baseline acoustic guitar fluidity that makes those final Ozzy-era records so appealing in hindsight. It’s just one of the six reasons to take on Exiles however. The A side comprises three outtakes from 2018’s Shadowlands (review here), and guitarist/vocalist Tony Reed‘s Big Scenic Nowhere bandmate Bob Balch sits in on “Battah,” while a duly manic reworking of Van Halen‘s “Light up the Sky,” the Black Sabbath track and a live version of Rush‘s “Anthem” from 2016 make up side B. It’s a quick listen and it’s Mos Generator. It may be a stopgap on the way to whatever they’re doing next, but if you think about it, so is everything, and that’s no reason not to jump in either for the covers or the originals, both of which are up to the band’s own high standard of output.

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Glory or Death Records on Bandcamp

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Psychic Lemon, Freak Mammal

The distorted wails of Andy Briston‘s guitar echo out of Freak Mammal — the five-track/46-minute third LP from London’s Psychic Lemon — like a clarion to the lysergic converted. A call to prayer for those worshiping the nebulous void, not so much kept to earth by Andy Hibberd‘s bass and Martin Law‘s drums as given a solidified course toward the infinite far out. Of course centerpiece “Afrotropic Bomb” digs into some Ethiopian groove — that particular shuffling mania — and I won’t take away from the lower buzz of “Free Electron Collective” or the tense hi-hat cutting through all that tonal wash or the ultra-spaced blowout that caps six-minute finale “White Light,” but give me the self-aware mellower jaunt that is the 13-minute second track “Seeds of Tranquility” any day, following opener “Dark Matter” as it does with what would be a blissful drift but for the exciting rhythmic work taking place beneath the peaceful guitar, and the later synthesized voices providing a choral melody that seems all the more playfully grandiose, befitting the notion of Freak Mammal as a ceremony or at very least some kind of lost ritual. Someday they’ll dig up the right pyramid and call the aliens back. Until then, Psychic Lemon let us imagine what might happen after they return.

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Drone Rock Records website

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Planet of Zeus, Faith in Physics

There’s a context of social commentary to Planet of Zeus‘ Faith in Physics that makes one wonder if perhaps the title doesn’t refer to gravity in terms of what-goes-up-must-come-down as it might apply to class hierarchy. The mighty, ready to fall, and so on. Songs like the post-Clutch fuzz roller “Man vs. God” and “Revolution Cookbook” (video premiere here) would seem to support that idea, but one way or the other, as the later “Let Them Burn” digs into a hook that reminds of Killing Joke and the dense bass of eight-minute closer “King of the Circus” provides due atmospheric madness for our times, there’s a sense of grander statement happening across the album. The Athens-based outfit make a centerpiece of the starts and stops in “All These Happy People” and remind that whatever the message, the medium remains top quality heavy rock and roll songcraft, which is something they’ve become all the more reliable to deliver. The more pointed perspective than they showed on 2016’s Loyal to the Pack suits them, but it’s the nuance of electronics and arrangements of vocals and guitar on cuts like “The Great Liar” that carry them through here. If you believe in gravity, Planet of Zeus have plenty on offer.

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Heavy Psych Sounds website

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Brass Hearse, Oneiric Afterlife

Experimentalist keyboard-laced psychedelic goth your thing? Well, of course it is. You’re in luck then as Brass Hearse — an offshoot of once madly prolific Boston outfit Ice Dragon — unveil three new songs (plus an intro) with the Oneiric Afterlife and in 10 minutes work to unravel about 30 years of genre convention while still tying their material to memorable hooks. “Bleed Neon,” “Indigo Dust” and “Only Forever” seem simple on the surface, and none of them touch four minutes long, let alone “A Gesture to Make a Stop,” the 26-second introduction, but their refusal of stylistic constraint is as palpable as it is admirable, with a blend of folk guitar and dark-dance-party keys and percussive insistence on “Bleed Neon” and a ’60s Halloweeny rock organ line in “Only Forever” that’s complemented by low-end fuzz and a chorus that would rightly embarrass Ghost if they heard it. In comparison, “Indigo Dust” is serene in its presentation, but even there is a depth of arrangement of keys, guitar, bass and drums, and the skill tying it all together as a cohesive sound is not to be understated. A quick listen with a lot to unpack, it’s not going to be everyone’s thing, but those who get it will be hit hard and rightly so.

Brass Hearse on Thee Facebooks

Brass Hearse on Bandcamp

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Mother Turtle, Three Sides to Every Story

The first of three tracks on Greek progwinders Mother Turtle‘s fourth LP, Three Sides to Every Story, “Zigu Zigu,” would seem to cap with a message of congratulations: “You’ve listened to three musicians indulging themselves with some kind of weird instrumental music.” It then goes on to question its own instrumentalism, because it has the words presently being spoken, continuing in this manner until a long fadeout of guitar leads to the funky start of the 15-minute-long “Notwatch.” Good fun, in other words. Mother Turtle maybe aren’t so weird as they think they are, but they are duly adventurous and obviously joyful in their undertaking, bringing chants in over drifting guitar and synth swirl in “Notwatch” before building to a crescendo of rock guitar and organ, ultimately dominated by a solo as it would almost have to be, before intertwining piano lines in 16:46 closer “A Christmas Postcard from Kim” lead to further shenanigans, vocal experimentation, plays on metal, holiday shimmer, and a fade into the close. At 38 minutes, Three Sides to Every Story doesn’t at all overstay its welcome, but neither is it an exercise looking for audience engagement in the traditional sense. Rather, it resonates its glee through its offbeat sensibility and thus works on its own level to craft a hook. One can’t help but smile while listening to the fun being had.

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Sound Effect Records website

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The Legendary Flower Punk, Wabi Wu

It is something to consider, perhaps as you dive into the nine-minute “Prince Mojito” on The Legendary Flower Punk‘s Wabi Wu, that the band started as a psych-folk solo-project. Currently working as a core trio plus a range of guests, the Russian troupe make their debut on Tonzonen with the brazenly prog seven-tracker, totaling just a 44-minute run but with a range that would seem to be much broader. Alternately jazzy and synth-laden, technically intricate but never overly showy, pieces like the bass-led “Azulejo” and the penultimate “Trance Fusion På Ryska” present a meeting of the minds with founding guitarist Kamille Sharapodinov at the center of most compositions, he and bassist Mike Lopakov and drummer Nick Kunavin digging into nothing’s-off-limits textures from fusion onward through New Wave and dub. The abiding rule followed seems to be whatever moves the band about a given track is what they roll with, and though The Legendary Flower Punk has evolved well beyond its origins, there’s still a bit of flower and still a bit of punk amid all the legends being made. Good luck keeping up with it.

The Legendary Flower Punk on Bandcamp

Tonzonen Records website

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Slow, VI – Dantalion

With the follow-up to 2018’s V – Oceans (review here), Belgian duo Slow rattle off another 78 minutes of utterly consuming, crushing, atmospheric and melancholic funeral doom like it’s absolutely nothing. Well, not like it’s nothing — more like it’s a weight on their very soul — but even so. Issued through Aural Music, VI – Dantlion brings the two-piece of guitarist/vocalist/drummer Déhà and bassist/lyricist Lore B. once again into the grueling, megalithic churn of self-inflicted riff-punishment that’s so encompassing, so dark, so deep and so dramatic it almost can’t help but also be beautiful. To wit, second track “Lueur” is a 17-minute downward journey into ambient brutalism, yet as it moves toward the midsection one can still hear melodic elements of keyboard and orchestral sounds peaking through. There is letup in the lush finale “Elégie,” but to get there, you have to make your way through “Incendiaire,” which is possibly the most extreme movement of the seven inclusions. Though frankly, after a while, you’re buried so far down by Slow‘s glorious miseries that it’s hard to tell. The world needs this band. They are what humanity would sound like if it was ever honest with itself.

Slow on Thee Facebooks

Aural Music on Bandcamp

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OKO, Haze

Adelaide, Australia, newcomers OKO present their debut EP in the form of Haze, a 14:44 single-song outing that sees the instrumental three-piece of guitarist Nick Nancarrow, bassist Tyson Ruch and drummer Ash Matthews tap into organic heavy psych vibes while working cross-planet with Justin Pizzoferrato (known for his work with Elder, among others) on the mix and master. The resulting one-tracker has a clarity in its drum sound and clean feel that one suspects might speak of more progressive intentions on the part of OKO in the longer term, but as they are here they have a sense of tonal warmth that serves them well across the unpretentious span of “Haze” itself, the winding riff inevitably bringing to mind some of Colour Haze‘s jammier work but still managing to find its own direction. I hear no reason OKO can’t do the same, regardless of the influences they’re working under in terms of sound. Further, the longform modus suits them, and while future work will inherently develop some variety in general approach, the natural exploration they undertake on this first outing easily holds attention for its span and is fluid enough that, had they wanted, they could have pushed it further.

OKO on Thee Facebooks

OKO website

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Vug, Onyx

Vug are not the first European heavy rock band to blend vintage methods with modern production. They’re not the first band to take classic swagger and drum urgency and meld it with a pervasive sense of vocal soul. I’m not sure I’d tell them that though, because frankly, they’re doing pretty well with it. At its strongest, their Tonzonen-released sophomore outing, Onyx, recalls Thin Lizzy via, yes, Graveyard, but there’s enough clarity of intention behind the work to make it plain they know where they’re coming from. Such was the case as well with their 2018 self-titled debut (review here), and though they’ve had some lineup turnover since that first offering, the self-produced four-piece bring a character to their material on songs like “Tired Of” and the penultimate boogier “Inferno” before closing with the acoustic “Todbringer” — a mirror of side A’s “On My Own” — that they carry the classic-style 39-minute long-player off without a hitch, seeming to prep the heavy ’10s for a journey into a new decade.

Vug on Thee Facebooks

Noisolution webstore

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Ultracombo, Season 1

As the title hints, the Season 1 EP is the debut from Italy’s Ultracombo, and with it, the five-piece of vocalist Alessio Guarda, guitarists Alberto Biasin and Giordano Tasson, bassist Giordano Pajarin and drummer Flavio Gola work quickly to build the forward momentum that brings them front-to-back through the 23-minute five-track release. “Flusso” and opener “The King” feel particularly drawn from an earlier Truckfighters influence, but Guarda‘s vocals are a distinguishing factor amidst all that ensuing fuzz and straight-ahead drive, and in “Sparatutto” and the closer “Il Momento in Cui Non Penso,” they seem to strip their approach to its most basic aspects and bring together the tonal thickness and melodicism that’s been at root in their sound overall. The subtlety, such as it is, is to be found in their songwriting, which results in tracks that transcend language barriers through sheer catchiness. That bodes better for them on subsequent outings better than a wall o’ fuzz ever could, though of course that doesn’t hurt them either, especially their first time out.

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Ultracombo on Bandcamp

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You know my feelings on Mos Generator: the more the merrier. Fortunately, the band generally seems to work under this ethic as well. There’s been a fair amount of news from the Port Orchard, Washington, heavy rockers over the last couple months as they’ve played limited regional live shows but announced releases like the Spontaneous Combustions jam collection and the redux The Late Great Planet Earth Suite, following up on the bootleg-ish live record Night of the Lords earlier this year. Add to that list Exiles, due out at the end of this month through Glory or Death Records with preorders up now. The two-sided offering brings together tracks recorded during the sessions for Mos Generator‘s 2018 studio LP, Shadowlands (review here), with various covers of Van Halen, Rush and Black Sabbath on side B.

Cool stuff all around. The Sabbath cover — “Air Dance,” from Never Say Die — has been posted by the band before, and you can hear it below. I hate to say it, but would it be too much to ask Mos Generator to cover that whole album? I mean, I know that might be a lot of time, but they’ve done plenty of Sabbath tunes over the years any, as guitarist/vocalist Tony Reed notes below, and “Air Dance” really, really fits with their sound. I’d love to hear them do that entire record. And with the rate at which Mos does stuff these days, figure maybe they’d be up for it, just to keep busy.

I’ll look for an announcement of that soon (not really, but it would be cool). In the meantime, here’s preorder info for Exiles:

Mos Generator – Exiles

Side A of this release is a collection of outtakes from our last album Shadowlands. “Twelve Psychics” which was pulled from Shadowlands at the eleventh hour, and “Battah”, show a more metal side to our writing which is usually represented by at least one song on each of our albums. The third track on side A is an alternate version of a song from Shadowlands called Woman Song. “The Lady Vanishes” is an extended (and at times drastically different) version of the track that made it on the album. I think I prefer this version and I’m not sure why I put the edit on the final tracklisting for Shadowlands.

Side B is comprised of three covers we recorded over the last few years. The first is a song from Van Halen II. This is my favorite VH song and I’m very happy with how it came out. Next up is “Air Dance” by Black Sabbath. I really enjoy the Never Say Die album and although it doesn’t fall into the classic Sab album lineup, it has a lot to offer as a unique and diverse album. We’ve done a lot of Sabbath covers over the years and this was by far the most challenging. Last on side B is “Anthem” by Rush. Sometimes I think Rush get overlooked as being a powerhouse heavy rock band and I think Anthem is the proof. This was from our first live performance of it from Vancouver BC 2016.
– Reed, August 2019

Mos Generator – Exiles
Program One:
Twelve Psychics
Battah
The Lady Vanishes

Program Two:
Light Up The Sky (Van Halen)
Air Dance (Black Sabbath)
Anthem (Rush)

PreOrders are open now with official release set as October 28th.

You can secure your copy at Glory or Death Records Web Store;
gloryordeathrecords.bigcartel.com

Mos Generator “Exiles”

Side A
1. Twelve Psychics 03:49
2. Battah (Featuring Bob Balch of Fu Manchu) 03:42
3. The Lady Vanishes 05:05

Side B
4. Light up the Sky (Van Halen Cover) 03:09
5. Air Dance (Black Sabbath Cover) 05:19
6. Anthem (Rush Cover) 04:31

Available in 4 options;

Test Press;
12” Test Press “Exiles”

Die Hard Version;
Metallic Mix Cherry Bomb 12″ Vinyl
2′ x 3′ Mos G/Glory or Death Tapestry
(Photo attached)
Mega Mos G/Glory or Death Sticker Pack
(Photo attached *CD not included)
Digital Download

Transparent/Clearwater Blue 12″ Vinyl Mos Generator – “Exiles”;
Transparent/Clearwater Blue 12″ Vinyl
Random Stickers
Digital Download

Transparent/Clear 12″ Vinyl Mos Generator – “Exiles”;
Transparent/Clear 12″ Vinyl
Digital Download

Mos Generator is:
Tony Reed: guitar, vocals
Jono Garrett: drums
Sean Booth: bass

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https://www.gloryordeathrecords.com/

Mos Generator, “Air Dance” (Black Sabbath cover)

Day four of the six-dayer. Head’s a little reeling, but I’m not sure any more so than, say, last week at this time. I’d be more specific about that, but oddly enough, I don’t hook my brain up to medical scanners while doing reviews. Seems like an oversight on my part, now that I think about it. Ten years later and still learning something new! How about that internet, huh?

Since I don’t think I’ve said it in a couple days, I’ll remind you that the hope here is you find something you dig. There’s a lot of cool stuff in this batch, so that should at least make skimming through it fun if you go that route. Either way, thanks for reading if you do.

Quarterly Review #31-40:

Electric Octopus, Smile

It’s been about two months since Electric Octopus posted Smile, so they’re about due for their next release. So, quick! Before this 82-minute collection of insta-chill jams is out of date, there’s still time to consider it their latest offering. Working as the four-piece of Tyrell Black and Dale Hughes — both of whom share bass and guitar duties — drummer Guy Hetherington and synthesist Stevie Lennox, the Belfast improv jammers rightfully commence with the 25-minute longest track (immediate points) “Abberation” (sic), which evolves and devolves along its course and winds up turning from a percussive jam to a guitar-led build up that still stays gloriously mellow even as it works its way out. You can almost hear the band moving from instrument to instrument, and that’s the point. The much shorter “Spiral,” “Dinner at Sea, for One” and closer “Mouseangelo” bring in a welcome bit of funk, “Moth Dust” explores minimalist reaches of guitar and ambient drumming, and “Hyperloop” digs into fuzz-soaked swirl before cleaning up its act in the last couple minutes. These cats j-a-m. May they do so into perpetuity.

Electric Octopus on Thee Facebooks

Electric Octopus on Bandcamp

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Crypt Trip, Haze County

Onto the best-albums-of-2019 list go San Marcos, Texas, trio Crypt Trip, who, sonically speaking, are way more Beto O’Rourke than Ted Cruz. The three-piece have way-way-upped the production value and general breadth from their 2018 Heavy Psych Sounds debut, Rootstock, and the clarity of purpose more than suits them as they touch on ’70s country jams and hard boogie and find a new melodic vocal confidence that speaks to guitarist Ryan Lee as a burgeoning frontman as well as the shredder panning channels in “To Be Whole.” Fortunately, he’s backed by bassist Sam Bryant and drummer Cameron Martin in the endeavor, and as ever, it’s the rhythm section that gives the “power trio” its power. Centerpiece “Free Rain” is a highlight, but so is the pedal steel of intro “Forward” and the later “Pastures” that precedes six-minute closer “Gotta Get Away,” which makes its transport by means of a hypnotic drum solo from Martin. Mark it a win and go to the show. That’s all you can do. Haze County is a blueprint for America’s answer to Europe’s classic heavy rock movement.

Crypt Trip on Thee Facebooks

Heavy Psych Sounds website

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Love Gang & Smokey Mirror, Split Double EP

A bit of Tull as Love Gang‘s flute-inclusive opener “Can’t Seem to Win” skirts the line of the proggier end of ’70s worship. The Denver outfit and Dallas’ Smokey Mirror both present three tracks on Glory or Death Records‘ Split Double EP, and Love Gang back the leadoff with “Break Free” and “Lonely Man,” reveling in wall-o’-fuzz chicanery and organ-laced push between them, making their already unpredictable style less predictable, while Smokey Mirror kick off side B in particularly righteous fashion via the nine-minute “Sword and Scepter,” which steps forth to take ultra-Sabbathian ownership of the release even as the filthy tone of “Sucio y Desprolijo” and the loose-swinging Amplified Heat-style megashuffle of “A Thousand Days in the Desert” follow. Two bands in the process of finding their sound coming together to serve notice of ass-kickery present and future. If you can complain about that, you’re wrong.

Love Gang on Thee Facebooks

Smokey Mirror on Thee Facebooks

Glory or Death Records BigCartel store

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Heavy Feather, Débris & Rubble

Very much a solid first album, Heavy Feather‘s 11-song Débris & Rubble lands at a run via The Sign Records and finds the Stockholm-based classic heavy blues rockers comporting with modern Euro retroism in grand fashion. At 41 minutes, it’s a little long for a classic-style LP if one measures by the eight-track/38-minute standard, but the four-piece fill that time with a varied take that basks in sing-along-ready hooks like those of post-intro opener “Where Did We Go,” the Rolling Stones-style strutter “Waited All My Life,” and the later “I Spend My Money Wrong,” which features not the first interplay of harmonica and lead guitar amid its insistent groove. Elsewhere, more mellow cuts like “Dreams,” or the slide-infused “Tell Me Your Tale” and the closing duo of the Zeppelinian “Please Don’t Leave” and the melancholy finisher “Whispering Things” assure Débris & Rubble never stays in one place too long, though one could say the same of the softshoe-ready boogie in “Hey There Mama” as well. On the one hand, they’re figuring it out. On the other, they’re figuring it out.

Heavy Feather on Thee Facebooks

The Sign Records on Bandcamp

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Faith in Jane, Countryside

Five full-lengths deep into a tenure spanning a decade thus far, Faith in Jane have officially entered the running to be one of the best kept secrets of Maryland heavy. Their late-2018 live-recorded studio offering, Countryside, clocks in at just under an hour of organic tonality and performance, bringing a sharp presentation to the chemistry that’s taken hold among the three-piece of guitarist/vocalist Dan Mize, bassist Brendan Winston and drummer Alex Llewellyn, with Mize taking extended solos on the Wino model throughout early cuts “All is All” and “Mountain Lore” while the trio adds Appalachian grunge push to the Chesapeake’s flowing groove while building “Blues for Owsley” from acoustic strum to scorching cacophonous wash and rolling out the 9:48 “Hippy Nihilism” like the masters of the form they’re becoming. It’s not a minor undertaking in terms of runtime, but for those in on what these cats have been up to all the while, hard to imagine Countryside is seen as anything other than hospitable.

Faith in Jane on Thee Facebooks

Faith in Jane on Bandcamp

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The Mound Builders, The Mound Builders

Lafayette, Indiana’s The Mound Builders last year offered a redux of their 2014 album, Wabash War Machine (review here), but that was their last proper full-length. Their self-titled arrives as eight bruiser slabs of weighted sludge/groove metal, launching with its longest track (immediate points) in the 7:30 “Torchbearer,” before shifting into the outright screams-forward pummel of “Hair of the Dogma” and the likewise dry-throated “Separated from Youth.” By the time they get to the hardcore-punk-via-sludge of “Acid Slugs,” it’s not a little heavy. It’s a lot heavy. And it stays that way through the thrashing “Star City Massacre” and “Regolith,” hitting the brakes on “Broken Pillars” only to slam headfirst into closer “Vanished Frontier.” Five years later and they’re still way pissed off. So be it. The four-formerly-five-piece were never really all that gone, but they still seem to have packed an extended absence’s worth of aggro into their self-titled LP.

The Mound Builders on Thee Facebooks

Failure Records and Tapes

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Terras Paralelas, Entre Dois Mundos

It’s a fluid balance between heavy rock and progressive metal Terras Paralelas make in the six inclusions on their debut full-length, Entre Dois Mundos. The Brazilian instrumentalist trio keep a foundation of metallic kickdrumming beneath “Do Abismo ao Triunfo,” and even the chugging in “Espirais e Labirintos” calls to mind some background in harder-hitting fare, but it’s set against a will toward semi-psychedelic exploration, making the giving the album a sense of refusing to play exclusively to one impulse. This proves a strength in the lengthier pieces that follow “Infinito Cósmico” and “Do Abismo ao Triunfo” at the outset, and as Terras Paralelas move from the mellower “Bom Presságio” and “Espirais e Labirintos” into the more spaciously post-rocking “Nossa Jornada Interior” and the nine-minute-plus prog-out title-track that closes by summarizing as much as pushing further outward, one is left wondering why such distinctions might matter in the first place. Kudos to the band for making them not.

Terras Paralelas on Thee Facebooks

Terras Paralelas on Bandcamp

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The Black Heart Death Cult, The Black Heart Death Cult

Though one wouldn’t accuse The Black Heart Death Cult of being the first cumbersomely-named psych-rocking band in the current wave originating in Melbourne, Australia, their self-titled debut is nonetheless a gorgeous shimmer of classic psychedelia, given tonal presence through guitar and bass, but conjuring an ethereal sensibility through the keys and far-back vocals like “She’s a Believer,” tapping alt-reality 1967 vibes there while fostering what I hear is called neo-psych but is really just kinda psych throughout the nodding meander of “Black Rainbow,” giving even the more weighted fuzz of “Aloha From Hell” and the distortion flood of “Davidian Dream Beam” a happier context. They cap with the marshmallowtron hallucinations of “We Love You” and thereby depart even the ground stepped on earlier in the sitar-laced “The Magic Lamp,” finding and losing and losing themselves in the drifting ether probably not to return until, you know, the next record. When it shows up, it will be greeted as a liberator.

The Black Heart Death Cult on Thee Facebooks

Oak Island Records webstore

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Orbiter & Roadog, Split

I’m pretty sure the Sami who plays drums in Orbiter is the same dude playing bass in Roadog, but I could easily be wrong about that. Either way, the two Finnish cohort units make a fitting complement to each other on their two-songer 7″ single, which presents Orbiter‘s six-minute “Anthropocene” with the hard-driving title-track of Roadog‘s 2018 full-length, Reinventing the Wheels. The two tracks have a certain amount in common, mostly in the use of fuzz and some underlying desert influence, but it’s what they do with that that makes all the difference between them. Orbiter‘s track is spacier and echoing, where “Reinventing the Wheels” lands more straightforward in its three minutes, its motoring riff filled out by some effects but essentially manifest in dead-ahead push and lyrics about a motorcycle. They don’t reinvent the wheel, as it happens, and neither do Orbiter, but neither seems to want to do so either, and both bands are very clearly having a blast, so I’m not inclined to argue. Good fun and not a second of pretense on either side.

Orbiter on Thee Facebooks

Roadog on Thee Facebooks

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Hhoogg, Earthling, Go Home!

Space is the place where you’ll find Boston improvisationalists Hhoogg, who extend their fun penchant for adding double letters to the leadoff “Ccoossmmooss” of their exclamatory second self-released full-length, Earthling, Go Home!, which brings forth seven tracks in a vinyl-ready 37 minutes and uses that opener also as its longest track (immediate points) to set a molten tone to the proceedings while subsequent vibes in “Rustic Alien Living” and the later, bass-heavy “Recalled to the Pyramids” range from the Hendrixian to the funkadelicness he helped inspire. With a centerpiece in “Star Wizard, Headless and Awake,” a relatively straightforward three-minute noodler, the four-piece choose to cap with “Infinitely Gone,” which feels as much like a statement of purpose and an aesthetic designation as a descriptor for what’s contained within. In truth, it’s a little under six minutes gone, but jams like these tend to beg for repeat listens anyway. There’s some growing to do, but the melding of their essential chemistry is in progress, and that’s what matters most. The rest is exploration, and they sound well up for it.

Hhoogg on Thee Facebooks

Hhoogg on Bandcamp

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Man, get ready for a trip. Due out March 25, II is the aptly-named second full-length from likewise aptly-named San Jose desert-style noise kooks KOOK, and it’s a far-out blower with an underpinning of the bizarre, earthy psychedelia born of Californian sands with just a bit of urbane crunch to its tones. Like if Queens of the Stone Age moved to Oakland, kept their edge and got weird, or if Fatso Jetson nixed the boogie and added more angry and a bit of Faith No More at their least predictable. The six-tracker runs 44 minutes and seems destined to be A research subject for years to come on the relative potency of edibles. Delivered through Glory or Death Records, it commences with “Escape Velocity,” which serves as an eight-minute barrage of you in the future asking what the hell just happened, and only ups the volatility factor with “Chains” and “Left Behind,” which offsets its languid groove and hook with a sense that at any moment it might haul off and punch you upside the head. Does it? Yeah, and a suitable reeling racket of noise follows as though KOOK also need to recover.

They don’t, but you might. Those three tracks are side A of the thing and they’re beastly in their scope and conjuring of ’90s bizarro threat rock and under-influence suggestion. “Escape Velocity” seems to tip hat to the Melvins in Karl Larson‘s guitar and the out-for-a-walk bassline of Jeff Wilson, but the punctuation of Erik Wilkins‘ drumming makes for sharper corners, and Troy Aschenbrenner‘s vocals are way out there on another plane, covered in hair, if you know what I mean. Still, they hold together this first of two cuts on II over eight minutes long — “Left Behind” is the other one, and it’s just a bit longer — and with the aggro strut of “Chains,” they preface the fuzzed swing of “Human Container” at the setoff of side B, which turns beastly in a second-half slowdown that devolves into a noise wash sustained in effects on a long fuckall fade ahead of “Frequency 8,” which underscores the you-are-not-in-control-but-they-might-be vibe while casting another assault of tone and coming out of it somehow making sense en route to closer “Chased by Monsters,” where they line up tense chug and subsequently tap into their inner Primus carnival manifestation. Shit gets wild. Shit starts wild, and then gets wilder. And then they end by thrashing out because fucking of course they do.

Being a gentleman of a certain age, I remember when the Heaven’s Gate cult warned that Planet Earth was about to be recycled and the only way to avoid that grim fate was to hitch a ride on the UFO hiding behind the passing comet Hale-Bopp. KOOK sample audio and imagery from Heaven’s Gate’s leader, Do — whose writings you can still find online, if you’re up for falling down a hole — and the somewhat futuristic but also completely off the rails thematic could hardly suit them better. It’s high time someone took on the subject matter, and KOOK would seem to be the perfect band to do it. It’s a riotously colorful niche of cultism.

Ahead of the official release next month, KOOK hit the road (they’ll have copies of the album at the merch table) and play alongside many righteous bands in and around appearances at SXSW, the stoner revival of which has not gone unnoticed. Nonetheless, it’s a schedule busy enough to suit KOOK‘s sound, and before they go, they’re giving another glimpse at the weirdo triumphs II has in store. Preorders for the record are up if that’s your thing, and you can check out the “Escape Velocity” lyric video below, with all the Hale-Bopp you need and some dizzying rocket footage to boot.

Dig and enjoy:

Kook, “Escape Velocity” lyric video premiere

The third lyric video and song released from KOOK’s upcoming album, II, available (digital, vinyl, tape, and CD) via Glory or Death Records 3/26/29 at http://wearekook.bandcamp.com. A song for those who follow the blind into the unknown and find only darkness.

Headed out to Texas this March to play some shows at SXSW and touring to California to celebrate the release of our second album, II. Playing with amazing bands along the way we can’t list them all, but come see a show if we pass near you!

KOOK live:
MAR 14 Austin, TX Spider House Cafe and Ballroom Wicked Bad Stoner Jam
MAR 14 San Antonio, TX The Mix
MAR 15 Arlington, TX Division Brewing
MAR 16 Austin, TX Kick Butt Café Gravity Fest
MAR 17 El Paso, TX The Rockin’ Cigar Bar & Grill
MAR 18 Albuquerque, NM Moonlight Lounge
MAR 20 Tempe, AZ Palo Verde Lounge
MAR 21 San Diego, CA The Bancroft
MAR 22 Los Angeles, CA 5 Star Bar
MAR 23 El Monte, CA Silver Dollar Saloon

KOOK is:
Karl Larson-Guitar
Troy Aschenbrenner-Vocals
Eric Wilkins-Drums
Jeff Wilson- Bass

KOOK, II (2019)

KOOK on Thee Facebooks

KOOK on Instagram

KOOK website

Glory or Death Records on Thee Facebooks

Glory or Death Records on Instagram

Glory or Death Records on Bandcamp

Glory or Death Records webstore

I think we all know Valentine’s Day is some beat shit. Manufactured to sell greeting cards. And if you love someone and you have to buy into some prepacked sentiment to tell them so, guess what, you’re fucking up, and you should probably be in therapy. You don’t need to wait for some special day to buy someone candy or some corny-ass stuffed bear or whatever other gender-prescribed red-tinted crap they’re hocking at CVS, and frankly, neither should you. Love is all the time, every day.

That said, a new split from Denver’s Love Gang and Dallas’ Smokey Mirror out today through Glory or Death Records is just about enough to get me through this most dopey of faux-holidays — and there’s some stiff competition in that regard; don’t get me started on Mother’s and Father’s Days — bringing three killer tracks from each band out at a name-your-price rate with limited vinyl available for those who’d like to give it the archival treatment. I’ll admit it’s tempting, especially as it’s the first time either band have been pressed to platter and they’ll both have new records out later this year. I don’t know if those will also be through Glory or Death or what, but listening to these tracks, I can rattle off five labels who should be chasing down either band, easily.

So to sum up: Crappy holiday, cool tunes. Take what you can get in this life. Especially when it’s riffs.

From the PR wire:

LOVE GANG AND SMOKEY MIRROR SPLIT DOUBLE EP

Valentines day is a mixed bag to say the least but this Special Edition Double EP slab featuring the saturated grooves of LOVE GANG & SMOKEY MIRROR will moisten any undergarment regardless of romantic affiliation. This is the FIRST vinyl offering for either band and will prove to be a gem that leads to both bands highly anticipated 1st FULL LENGTH LP later this year.

Digital release is available today and as a special heart warming gift for those lost in romantic despair the crew at Glory or Death Records along with the Bands alike have made all 6 tracks available to download free-of-charge.

So go downloads some tunes, light one up, and consider yourself the Valentine of both LOVE GANG & SMOKEY MIRROR because blasting these tunes will never end in heartbreak.

GLORY OR DEATH RECORDS to release a first in the “Double Impact” Vinyl series featuring Love Gang and Smokey Mirrors available at https://gloryordeathrecords.bandcamp.com/album/love-gang-smokey-mirror-double-ep

GLORY OR DEATH SPLIT
LOVE GANG & SMOKEY MIRROR
SIDE A:
1. CAN’T SEEM TO WIN
2. BREAK FREE
3. LONELY MAN

SIDE B:
1. SWORD AND SCEPTER
2. SUCIO Y DESPROLIJO
3. A THOUSAND DAYS IN THE DESERT

Limited to:
100 Triple Splatter
100 OBI signed and number by Album Artist
25 Waxmage

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https://lovegangco.bandcamp.com/
https://www.facebook.com/smokeymirrortx/
https://smokeymirrortx.bandcamp.com/
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https://www.instagram.com/glory_or_death_records/
https://gloryordeathrecords.bandcamp.com
https://gloryordeathrecords.bigcartel.com/
https://www.gloryordeathrecords.com/

Love Gang & Smokey Mirror, Split Double EP (2019)