Quarterly Review: Sumac, Cortez & Wasted Theory, Thunder Horse, The Howling Eye, Grime, URSA, Earthling Society, Bismarck, Grand Reunion, Pledge

Posted in Reviews on December 7th, 2018 by JJ Koczan

quarterly-review

As we land on what would otherwise be the end of a Quarterly Review — day 5, hitting the standard 50 records across the span of a week that this time we’re doubling with another 50 next week — it occurs to me not how much 100 albums is, but how much it isn’t. I mean, it’s a lot, don’t get me wrong. I’ve been sitting and writing about 10 records every day this week. I know how much that is. But it’s astounding to me just how much more there is. With the emails I get from people looking for reviews, discs sent in the mail, the messages on Facebook and everything else, I could do another 100, easy.

Well, maybe not ‘easy,’ but it would be full.

Is it a new golden age of heavy? 45 years from now are rockers going to look back and say, “Hell yeah, from like 2012-2019 was where it’s at,” all wistful like they do now for the ’70s? Will the Heavy ’10s be a retro style? I don’t know. But if it was going to happen, there would certainly be enough of an archive to fuel it. I do my best to cover as much as I can, but sometimes I feel like we barely crack the surface. With 100 records.

That said, time’s a-wasting.

Quarterly Review #41-50:

Sumac, Love in Shadow

sumac love in shadow

What are ut quest homework help Master Thesis On Hrm thesis custom nav menu business plan writers phoenix az Sumac if not the most vital and highest profile atmospheric metal act out there today? With online help on english homework Community Service Reflection Paper Essays the help movie review essay help me write essay Aaron Turner ( Gcse English Media Coursework Help - No more fails with our high class writing services. Cooperate with our scholars to receive the excellent review Isis, etc.) on guitar/vocals, best custom college papers Www Fastessayhelper Com expository research paper sample proposal research Brian Cook ( Cheap How To Write An Application Letter For A Phd. We are a professional writing service that offers cheap papers for sale. We offer papers to college students who have spent far too Russian Circles) on bass and cause and effect essay on rising gas pric Recommended Site who will do my essay apprendre rdiger une dissertation Nick Yacyshyn ( Looking for someone experienced to edit your papers or novel online? eWritingService Online Help Write Papers are available for you 24/7 and 365/year. Baptists) on drums, they qualify easily as a supergroup, and yet their third album, French Paper has Is Buying An Essay Worth It manufacturing capabilities to match any color, weight or texture, with the lowest minimums in the industry. Learn more. Love in Shadow (on https://sdp2.com/?p=dissertation-on-pilgrimage-tourism - Find out basic recommendations how to receive a plagiarism free themed research paper from a trusted writing service Allow Thrill Jockey), is still more about creative growth and the exploration of sound than anything else. Certainly more than ego — and if it was a self-indulgent exercise, it’d probably still be pretty good, frankly. As it stands, the four massive tracks through which Get great quality read this at affordable prices. Experienced business writers from Sydney and Melbourne delivers business assignment help Sumac follow-up 2016’s Buy essay online at professional Continue Reading service. Order custom research academic papers from the best trusted company. Just find a great help for What One Becomes (review here) and their 2015 debut, Looking for unbiased Grammarly Review? It also has an inbuilt plagiarism checker and one of the Dissertation Learning Development tool which have rave reviews, The Deal (review here), refine the sound So we know a thing or two when you looking to . to improve your grades when you pay for an essay. Pay for essay online and Sumac has developed over the past three years-plus into a sprawling and passion-driven sprawl that’s encompassing in scope, challenging in its noise quotient, and in utter refusal to not progress in its approach. And when master thesis business intelligence Best http://www.fischhase.de/?online-essay-creater dissertation service business continuity plan help desk Sumac move forward, as they do here, they seem to bring the entire aesthetic with them.

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Thrill Jockey Records on Bandcamp

 

Cortez & Wasted Theory, The Second Coming of Heavy: Chapter Nine

cortez wasted theory second coming of heavy ch 9

To Get Buy Cheap Essay Papers Service fill out the contact form here or email us at hi@geeksprogramming.com You can get in touch for any with programming assignments or projects in any of the modern programming languages. Ripple Music‘s split series The Second Coming of Heavy hits its ninth chapter in bringing together Boston’s Cortez and Delaware’s Wasted Theory, and neither band fails to live up to the occasion. Cortez‘s range only seems to grow each time they hit the studio — vocalist Matt Harrington makes easy highlights of the opener and longest track (immediate points) “The Firmament” and the echo-laden “Close” — and Wasted Theory‘s “Ditchpig,” “Abominatrix,” “Baptized in Gasoline” and “Heresy Dealer” are so saturated with whiskey it might as well be coming out of their pores. It’s a decidedly North/South release, with Cortez rolling straightforward New England heavy rock through “Fog of Whores” and the Deep Purple cover “Stormbringer” while Wasted Theory dig with all good speed into a grit that’s more and more become their own with time, but there’s a shared penchant for hooks and groove between the two acts that draws them together, and whatever aspects they may or may not share are ultimately trumped by that. As Ripple starts to wind down the series, they continue to highlight some of the finest in heavy that the underground has to offer. One would expect no less.

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Wasted Theory on Thee Facebooks

Ripple Music on Bandcamp

 

Thunder Horse, Thunder Horse

thunder horse thunder horse

There’s an unmistakable sense of presence throughout Thunder Horse‘s six-song/43-minute self-titled debut that undercuts the notion of it as being the San Antonio four-piece’s first album. With professionalism and a firm sense of what they want to be as a band, the Texans liberally sprinkle samples throughout their material and hone a professional sound built around massive riffs and even-more-massive lumbering grooves. Indeed, they’re not strangers to each other, as three-fourths of the group — guitarist/vocalists Stephen Bishop, guitarist/sampler T.C. Connally and drummer Jason West — double in the more industrial-minded Pitbull Daycare, whose debut LP came out in 1997. Completed by bassist/vocalist Dave Crow, Thunder Horse successfully cross the genre threshold and are well comfortable in longer cuts like “Liber ad Christ Milites Templi” and “This is the End,” both of which top nine minutes, and shorter pieces like the rocking “Demons Speak” and the shimmering finale “Pray for Rain.” With “Coming Home” and the sneering “Blood Ritual” at the outset, Thunder Horse pulls listener quickly toward dark atmospheres and flourishes amid the weighted tones therein.

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Thunder Horse on Bandcamp

 

The Howling Eye, Sonorous

the howling eye sonorous

Poland’s The Howling Eye make a lengthy long-player debut with Sonorous, but more important than the reach of their runtimes — closer “Weedblazer” tops 16 minutes, the earlier “Reflections” hits 12, etc. — the reach of the actual material. The common pattern has been that psychedelic jamming and doom are two distinct things, but The Howling Eye tap into a cosmic interpretation of rolling riffs and push it with an open spirit far into the ether of spontaneous creation. It’s a blend that a group would seem to need to be cautious to wield, lest the whole notion fall flat, but with the assurance of marked chemistry behind them, the Bydgoszcz-based trio of drummer/sometimes vocalist Hubert “Cebula” Lewandowski (also harmonica where applicable), guitarist Jan Chojnowski and bassist Mi?osz Wojciechowski boldly shift from the more structured beginnings of the funky “Kairos” and the aggro beginning “Stranded” into an outward push that’s ambient, psychedelic and naturalistic all at once, with room left over for more funk and even some rockabilly on “The Potion.” It is not a minor conglomeration, but it works.

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The Howling Eye on Bandcamp

 

Grime, What Have We Become

grime what have we become

Their roots in metal, North Dakota trio Grime — not to be confused with the Italian sludge outfit of the same name — unleash their first full-length in the form of What Have We Become, an ambitious 51-minute offering of progressive heavy rock marked by thoughtful lyrics and fluid songwriting made all the more so by the shared vocals of bassist Andrew Wickenheiser and guitarist Nick Jensen, who together with drummer Tim Gray (who would seem to have been replaced by Cale Mogard) effect a classic feel through “Alone in the Dark” while chugging and winding through the not-a-cover “Hand of Doom” with some harsher vocals peppered in for good measure. Seven-minute opener and longest track (immediate points) “Through the Eye” sets a broad tone that the rest of the record seems to build on, with the penultimate “Sunshine” delivering the title line ahead of the grittier closer “The Constant Grind,” which seems to payoff everything before it with a final explosion before a big rock finish. They’ll need to decide whether their sound will ultimately tighten up or loosen over time, but for now, what they’ve become is a band with a solid foundation to grow from.

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Grime on Bandcamp

 

URSA, Abyss Between the Stars

ursa abyss between the stars

Modern doom meets a swath of metallic influences on URSA‘s full-length debut, Abyss Between the Stars (on Blood Music), as members of Petaluma, California’s Cormorant take on such classic themes as wizards, dragons, yetis, witches, a spider king, mountains, and… actually, yeah, that covers the six included tracks on the 46-minute LP, which shifts gracefully between epic fantasy doom and darker, soemtimes more extreme fare. It’s easy enough to put URSA in the narrative of a band started — circa 2016 — around a central idea, rather than just dudes picking up instruments and seeing what happened next. Not just because bassist/vocalist Matt Solis, guitarist/keyboardist Nick Cohon and drummer Brennan Kunkel were already three-quarters of another band, but because of the purposefulness with which they approach their subject matter and the cohesion in all facets of their approach. They may be exploring new ground here, but they’re doing so on sure footing, and that comes not only from their experience playing together, but from knowing exactly where they want to be in terms of sound. I would not be surprised if that sound adopted more post-Candlemass grandeur with time — one can hear that burgeoning in “Serengeti Yeti” — but whatever direction they want to go, their debut will only help them on that path.

URSA on Thee Facebooks

Blood Music website

 

Earthling Society, MO – The Demon

earthling society mo the demon

Look, if you can’t get down with a bunch of freaks like Earthling Society tapping into the lysergic fabric of the cosmos to come up with an unsolicited soundtrack to a Hong Kong martial arts movie, I just don’t know what to tell you. Issued by Riot Season, the seven-track MO – The Demon is reportedly the end of the band’s technicolor daydream, and as they crash their plane into the side of “Mountains of Bliss” and hone space rock obliteration throughout “Super Holy Monk Defeats the Black Magic Mothafucker,” their particular experimentalist charm and go-anywhere-anytime sensibility demonstrates plainly exactly why it will be missed. There’s a sharp high-pitched tone at the start of opener “Theme from MO – The Demon” that’s actually pretty abrasive, but by the time they’re through the kosmiche laser assault in “Spring Snow” and the let’s-be-flower-children-until-it’s-time-to-freak-the-fuck-out throb of closer “Jetina Grove,” that is but a distant memory. So is consciousness. Fare thee well, Earthling Society. You were a band who only sought to make sense to yourselves, and for that, were all the more commendable.

Earthling Society on Thee Facebooks

Riot Season Records on Bandcamp

 

Bismarck, Urkraft

bismarck urkraft

Norwegian five-piece Bismarck bring spaciousness to doom riffing on their debut album, Urkraft, which is constructed of five molten tracks for a 34-minute totality that seems much broader than the time it takes to listen. Vocals are growls and shouts across a cosmic stretch of tone, giving a somewhat aggressive pulse to heavier psychedelic soundscaping, but a bouncing rhythm behind “A Golden Throne” assures the song is accessible one way or the other. The 10-minute “Vril-Ya” is naturally where they range the farthest, but the Bergen outfit even there seem to be playing by a set of aesthetic principles that includes maintaining a grounded groove no matter how spaced they might otherwise get. Rolling riffs bookend in opener “Harbinger” and closer “The Usher,” as “A Golden Throne,” playing-to-both-sides centerpiece “Iron Kingdom” and the subsequent “Vril-Ya” explore atmospheres that remain resonant despite the low end weight that seems to chug out beneath them. The mix by Chris Fielding at Skyhammer (who also co-engineered) doesn’t hurt in crafting their largesse, but something tells me Urkraft was going to sound big no matter what.

Bismarck on Thee Facebooks

Apollon Records website

 

Grand Reunion, In the Station

grand reunion in the station

In the Station doesn’t seem like anything too fancy at first. It’s produced cleanly, but not in any kind of overblown fashion, and Grand Reunion‘s songwriting is so solid that, especially the first time through their eight-track debut LP, it’s easy to say, “Okay, that’s another cool hook,” and not notice subtleties like when the organs turn to keyboard synth between opener “Eres Tan Serpiente” and second cut “Gordon Shumway,” or to miss the Latin percussion that Javier Tapia adds to Manuel Yañez‘s drumming, or the ways that guitarist Christian Spencer, keyboardist Pablo Saveedra, bassist Mario Rodríguez and Tapia work to complement guitarist Cristóbal Pacheco on vocals. But all of that is happening, and as they make their way toward and through the eight-minute fuzzer “Band Band the Headbang,” through the soaring “Weedow” and into the acoustic-led closer “It’s Alright,” the character and maturity in Grand Reunion‘s songwriting shows itself more and more, inviting multiple listens in the most natural fashion possible: by making you want to hear it again.

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Grand Reunion on Bandcamp

 

Pledge, Resilience

pledge resilience

16 minutes of scathing post-hardcore/sludge from Portuguese four-piece Pledge, who are in and out of their Resilience EP with a clean break and a windmill kick to the face. The newcomers lack nothing for ferocity, and with the throat-searing screams of Sofia M.L. out in front of the mix, violent intentions are unmistakable. “Profer Lumen Caecis,” “The Great Inbetweeness,” “Doom and Redemption” and “The Peter, the Wolf” nonetheless have groove built on varying degrees of extremity and angularity, with Vítor Vaz‘s bass maintaining a steady presence alongside the guitar of Hugo Martins and Filipe Romariz‘s drumming, frenetic as it sometimes is. I wouldn’t say things calm down in “The Peter, the Wolf” so much as the boiling seems to take place beneath the surface, waiting for a time to burst out, which it eventually does, but either way, for all its harsher aspects, Pledge‘s material isn’t at all void of engagement. It does, however, state the requirement right there on the front cover.

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Pledge on Bandcamp

 

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Grand Reunion Release Debut Album In the Station

Posted in Whathaveyou on September 26th, 2018 by JJ Koczan

grand reunion

Chilean heavy rockers Grand Reunion embrace a variety of vibes across the span of their debut long-player, In the Station, which undercuts the fact that it’s self-recorded in their rehearsal space with a surprisingly professional-sounding production, but South American rhythms for sure play a role in cuts like “Gordon Shumway” while the subsequent title-track takes on a more psychedelic feel early before diving into garage-minded, organ-laced fare. They very obviously have a sense of what they want to do and the ability to bring that to the proceedings, but it’s the songwriting that most immediately makes an impression throughout. I’ve put the Bandcamp player at the bottom of this post in case you’d like to dig in. I think it’s worth the time and hope you agree.

PR wire info follows:

grand reunion in the station

GRAND REUNION – IN THE STATION (LP 2018):

Experience and friendship gives shape to “In the Station”, debut LP of 8 tracks on Spanish and English spoken to travel between the most distant situations, eras and feelings expressed, of these six musicians who meet in Grand Reunion, all of them with formation in different genres of rock but where they converge in a unique and broad sound, full of energy, to mystic background and very noisy and fuzzy rock ‘n roll.

Among a wide amalgam of influences; are the psychedelic landscapes, the spirit of the 60-70 classics and even the 80s, the body and weight of garage rock and above all, the Afro-Latin rhythms from South America that differentiate them, all incorporated into a contemporary sound.

Produced and recorded by the Grand Reunion in their rehearsal room “The Station”, this album is about all of that, the origin of their music and that special place of where it is given to birth; the rehearsal room. In this album, these 6 chilean musicians let their ideas and imaginations flow for over 3 years to finally give life to this full lenght, later mixed by Sebastian Venegas in Artisan Studio SCL, and mastered by Paul Logus (Anthrax, Clutch, Lionize, etc.) in PLX Studio NY.

So, very strange female characters, close encounters of the third kind, wild feelings and beliefs, ritual sacrifices, songs for pass-away friends and even a grass goddess anthems! All that and more in the stories that Grand Reunion has to tell you on this LP just launched and available on CD and Digital.

Grand Reunion’s new album ‘In The Station’ 2018 out now!
Order CD (Limited DLX) or Digital Album: http://www.GrandReunion.cl

Grand Reunion is:
Cristóbal Pacheco : Lead Vocals & Rhythm Guitars.
Christian Spencer : Lead Guitars & Some Vocals.
Pablo Saveedra : Keyboards & Back Vocals.
Manuel Yañez : Drums & Percussions.
Mario Rodríguez : Bass Guitars & Chorus Vocals.
Javier Tapia : Latin Percussions & Harmony Vocals.

https://www.facebook.com/GrandReunionLA
https://www.instagram.com/GrandReunionLA
https://goo.gl/FW8xku
http://www.GrandReunion.cl
https://grandreunion.bandcamp.com/

Grand Reunion, In the Station (2018)

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