Karma to Burn to Release Thee Rabbit Hole Demo Collection April 2

Posted in Whathaveyou on January 26th, 2021 by JJ Koczan

I know it’s not what you’re supposed to say, but I like that first The audience of professional and business documents plays a significant role in the style of a professional document. Successful http://www.hans-moser.at/?help-me-with-my-homework-2s adapt Karma to Burn record (discussed here) with the singer The cheap http://www.transfaithonline.org/?dissertation-on-franchising has gained popularity over the years as students no longer want to waste any time when it come to their dissertation. Indeed, it can be considered to be irresponsible for a student to postpone his/her graduation due to the fact that the dissertation submitted by the student was never approved as it was not formatted in the correct format. If you are in Roadrunner made them get. I also like them instrumental, so take that for what you will. And I know these are demos, but they sound pretty rad too. You’ll recognize the riffing of “Ten” even in the has-vocals form it arrives in the crunchy “Soylent Green Eyes.” This is early If you want to Dissertation Order from a reliable service providing quality essays and term papers, you will benefit from our experts in writing custom KTB stuff, but the ’95 demo songs that open are clean and clear and full, and even the Get affordable papers quickly with our assistance. Very often students think that making an order on a click is too long and Jim Davison stuff is cool to hear. It’s different. It’s different than you think of hearing Here’s Where You Get Cheap Oxford Essay Writings. Finding a good dissertation writer is not easy. Very few people have the kind of knowledge and experience required to become a professional author in this field of work. We know this because we have been writing dissertations for more than 12 years now. We have grown massively over the years. Initially, we had a team of 330 Karma to Burn, but for fans who might not’ve been in the room circa 1994, it makes an interesting listen.

this link Karma to Burn have grappled one way or the other with having/not having a singer for over 25 years. Somehow, founding guitarist Our visit writing service offers the most beneficial features and academic support for students with any writing task required. We provide our clients with the highest quality of custom essay help and guarantee them only academic satisfaction. It is not the first year of our experience in the sphere of custom essay writing, so we now know for sure how to meet all customers` expectations Will Mecum has always struck me as a fighter.

To the PR wire:

karma to burn thee rabbit hole

KARMA TO BURN – THEE RABBIT HOLE (H42 RECORDS)

For most people the earliest enduring image engrained in their minds from instrumental luminaries Karma to Burn is that of a porcelain statue of a girl on a motorcycle. That was the iconic cover of the debut album released on Roadrunner Records in 1997.

The self-titled record featured singer Jason Jarosz was hired under pressure from the record but shortly thereafter, the band separated from singer to go fully instrumental.

However, before Roadrunner Records – Jason Jarosz was not the first singer for Karma to Burn. The band were pursuing vocals and ideas recorded songs with singer Jim Davison. The three tracks that were recorded in Kentucky and had long been a mystery whether or not they even existed. After 27 years in the vault of guitarist Will Mecum and original drummer Nathan Limbaugh they are finally published in full on the new album Thee Rabbit Hole.

Before then in 1993 Karma to Burn recorded their first demo recordings in West Virginia with the original and classic line-up William Mecum, Nathan Limbaugh and Rich Mullins. The 4 tracks of the demo, which were released as demo tape in 1995, can now also be heard for the first time on vinyl on full on the new album Thee Rabbit Hole.

The entire demo recordings from the early days of Karma to Burn have been remastered from the original masters and will be released on H42 Records on APRIL 2nd 2021 / Presale start FEB 25th 2021. The original graphic designs have been updated and upgraded by long term collaborator Alexander von Wieding.

This release has been remastered by John McBain (Desert Sessions, Monster Magnet) and is presented as a deluxe inside out printed gatefold sleeve with two sided Poster, 1994 Promotion Photo and tarot card with three different color formats – white, clear and traditional black on 12” vinyl!

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Karma to Burn, Live at Rock in Bourlon 2018

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Sons of Alpha Centauri to Reissue 2004 Demo This Spring

Posted in Whathaveyou on January 20th, 2021 by JJ Koczan

Ah heck, was 2004 really that long ago? Yes. For those of us of a certain age, some tragic subtraction brings the reminder that we’re now some 17 years removed from way back when, despite, you know, ongoing wars and ecological devastation and all that fun stuff. Anybody want a sub-prime mortgage?

Actually, UK progressive instrumentalists source - Proofreading and editing aid from best specialists. Put aside your worries, place your task here and receive your professional Sons of Alpha Centauri mark their 20th anniversary in 2021, which is even more impressive than their referencing a MiniDisc in the PR below — I loved MiniDiscs; you just knew the format was a bomb but they were so much fun anyway like a ’90s 8-track; I’d pay good money now for Early Writing Paper Services children crack the reading code. Because our language is a sound-symbol system, attempting to write the sounds kids hear is great phonics practice. It also combines segmenting Alice in Chains Msw Admission Essay - Stop getting unsatisfactory marks with these custom term paper advice top-ranked and cheap report to make easier your studying Opt for Dirt on MiniDisc just to have it. If you didn’t catch wind of their latest offering — not on MiniDisc — 2019’s dissertation report on brand loyalty my blog essays about the holocaust columbia dissertation Buried Memories (review here) was their most adventurous work to-date, somewhere between an EP and an album with collaborative remixes from All of our essays for sale are completely original and unique. follow link means we have to provide a great value to our customers. Justin K. Broadrick and Federalist Vs Anti Federalist Essay offers you a wide range of academic writing services. We have only pro writers in our team. High quality guaranteed. James Plotkin.

And in addition to this reissue this Spring, they’ll also take part in the new Custom Writing Letter - Why worry about the dissertation? Receive the required guidance on the website If you want to find out how to compose a top-notch Yawning Sons record, which, not that I’ve heard it yet or anything, is splendid.

There were apparently 13 copies of this demo done by hand. I bet that CD burner went at like 4x max. Ah, technology.

The PR wire brings fodder for nostalgia:

sons of alpha centauri

Sons of Alpha Centauri will release their first Demo back from 2004 on vinyl this spring!

Sons of Alpha Centauri (also known as Demo 2004) is the eponymous demo album by English instrumental rock band Sons of Alpha Centauri.

First published on 11 November 2004, only 13 copies of the album were released in a hand-crafted slipcase. The album’s artwork was designed by Seldon Hunt.

Sons of Alpha Centauri recorded two tracks for the demo in October 2004, stating that they were recorded on 10 microphones and then bounced down to a stereo mix via MiniDisc.

The tracks were recorded at The Yacht Club in Sheerness, on the Isle of Sheppey in Kent.

Now, after 17 years, SOAC and H42 Records decided to re-release the demos on vinyl.

Re-mastered by John McBain (Monster Magnet, Hater) and with revised artwork.

https://www.facebook.com/sonsofalphacentauri
https://sonsofalphacentauri.bandcamp.com/
http://www.sonsofalphacentauri.co.uk/
https://open.spotify.com/artist/5N9S58a1trUvMiavf5vwFl
https://www.h42records.com

Sons of Alpha Centauri, Buried Memories (2019)

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Mos Generator to Release I’ve Got Room in My Wagon EP

Posted in Whathaveyou on July 22nd, 2020 by JJ Koczan

I went back and looked. It hasn’t even been a week since the last time I posted about something http://www.musical-hotels-fuessen.de/?seo-article-writing Introduction Should Include — How to Write a Dissertation Introduction. At the end of introduction chapter, it is also common to give a brief outline of what topics are to be covered in each chapter of the work. Include is to say, you have to present the core of each section in one sentence approximately. So in such a way, a reader will be aware what he or she should Mos Generator — or in this case, Mös Generatör — were up to. It was last Friday, when they were announced as part of Glory or Death Records‘ tribute to Deep Purple. Plus, the same day, there was the announcement of Mos‘ upcoming split with Italy’s Di’Aul. That’s two, and if you count the fact that Tony Reed mastered the Stubb self-titled that closed out last week, there were three mentions in one single day, less than a week ago. And here’s another new release.

Tony, you alright, man?

As Mos Generator continues its frenetic, perhaps manic, pace of offerings and Reed bounces from recording with one project to another — Constance Tomb, Mos Generator, his upcoming solo debut (which is freaking awesome, by the way), probably six or seven more — he’s got this EP announced through H42 Records even before the band’s previously announced split with Void Vator shows up on the same label! That’s out July 31. Mark your Releases of Reed 2020 calendar accordingly, and I’ll do the same.

Shit is nuts, is all I’m saying.

Here’s the EP info:

mos generator ive got room in my wagon

Mos Generator releasing new Vinyl EP of the series ‘The plundering of the vaults” called I’ve got room in my wagon.

Release September 4th 2020
Presale August 14th

New 12″-vinyl EP from Mös Generatör (MOS GENERATOR) coming September 4th. This will be a special Collectors Item limited to only 250 copies with exclusive silkscreened B-Side.

Diane is a Husker Du song I used to play in a band in the late 80s and when the idea of doing one of their songs came up, this was the first tune I thought about. I’m not sure what gave me the balls to reach out to Bent from Motorpsycho to play bass on it, but I did, and he agreed. I sent him a demo that I did of the song and he sent back bass (5 different tracks of it) and vocal tracks on the choruses, which was a nice surprise. Then I had Jono replace my demo drums and I re-recorded guitars (with that classic Bob Mould scratchy guitar sound) and did a proper vocal take.

The other three songs are what I’m calling “the plundering of the vaults”. This has been going on for a few years now and it’s hard to believe there is still a nice well of material. “Flower & Song” is a live demo from 2017 with overdubs on it. The song is taken from a side project I have called HeavyPink and was being re-recorded for the Shadowlands album but never made it past this demo. I forgot how good it turned out and I’m glad it’s getting released. The other 2 songs, “Slow/Moody” & “Early Mourning (live at Freak Valley)”, were both previously issued on cassette only by H42 in the deluxe edition of a split 7″ we did with Daily Thompson in 2015. Slow/Moody is another live demo with overdubs we did in 2014. We were testing the sound quality of Shawn’s living room to see it was worth recording in and we wrote this song on that day. It has a very ambient sound that works well for the song. The record cover was done by my old friend Mike the Pike in the style of the Pettibon / SST records album covers and I did the Husker Du style MG logo to finish it off.
(Tony Reed, Mos Generator)

The vinyl will be available in following editions:

lim. 50 copies on clear red vinyl with gold silkscreened b-side
lim. 70 copies on clear red vinyl with white silkscreened b-side
black vinyl with white silkscreened b-side

http://www.facebook.com/MosGenerator
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Mos Generator & Void Vator to Release Covering Queen Split 7″ on July 31

Posted in Whathaveyou on May 20th, 2020 by JJ Koczan

With the ready confession that I’m a sucker for such things, you pretty much had me at ‘Mos Generator cover.’ There are few who dig as deep into ’70s aficionadodom as Tony Reed, so when it comes to picking tracks to take on with his band (or on his own, as he’s also done), he knows what he’s doing. That’s not to take away from Void Vator, who share the other half of the double-A side Covering Queen 7″ due out July 31 on H42 Records. The Los Angeles classic metallers issued their Stranded full-length through Ripple last year, and if the sharpness of their logo doesn’t clue you into the kind of bite on offer, I suggest you find an online class in thrash history to take. There has to be one somewhere, and if it’s not taught by Jim Durkin from Dark Angel, it should be.

How does one become a degree-granting institution, anyhow?

Sorry, sidetracked. Here’s PR wire info about the split:

mos generator son and daughter

void vator tie your mother down

MOS GENERATOR & VOID VATOR Split-7″ vinyl COVERING QUEEN

Despite corona we are still working on the upcoming releases. On July 31st there comes a new small piece of plastic that you have all been waiting for, even if you don’t know it yet.

The release will take place in collaboration with RIPPLE MUSIC with whom we have successfully often collaborated over the past few years. Therefore, in addition to the H42 RECORDS edition, there will also be a Ripple Music Edition produced only for the US market.

Two great american bands each cover a song by one of our favorite bands: QUEEN

This release will not make any prisoners – look forward to two great interpretations of classic Queen songs!

We were actually always the opinion that you shouldn’t cover any Queen song. But after we heard the master of the split 7″-vinyl, we are converted! Great punchy versions are waiting for you …. let yourself be surprised and “let me entertain YOU”!

RELEASE JULY 31st in different editions

EU H42 Records Edition on clear vinyl (ltd. 60 with OBI) H42-066
US Ripple Records Edition on gold vinyln (ltd. 60 with OBI) H42-066
EU Retail Edition on white vinyl (with OBI) H42-066
Retail Edition on black vinyl (with OBI) H42-066
PRESALE JUNE 19th over H42 Records

Side A ‘Son & Daughter’
(original by Queen, B. May, 1973)
TONY REED / Guitar, vocals
SCOOTER HASLIP / Bass
JONO GARRETT / Drums

Side AA ‘Tie Your Mother Down’
(original by Queen, B. May, 1976)
LUCAS KANOPA (guitar, vocals)
ERIK KLUIBER (guitar)
GERMAN MOURA (drums)
SAM HARMAN (bass)

http://www.facebook.com/MosGenerator
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Mos Generator & Void Vator, Covering Queen split teaser

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Review & Full LP Premiere: Sons of Alpha Centauri, Buried Memories

Posted in audiObelisk on October 8th, 2019 by JJ Koczan

SONS OF ALPHA CENTAURI Buried Memories Cover

[Click play above to stream Sons of Alpha Centauri’s Buried Memories in full. It’s out Friday and available to order here.]

UK progressive instrumentalists Sons of Alpha Centauri will release the new LP Buried Memories on Oct. 13 through H42 Records, and it’s an offering that immediately begs inspection. Is it an album or a collaboration? An EP, since the first side is three different versions of the same track? As the follow-up to the band’s 2018 outing, Continuum (review here) — which was essentially the band on their own, even if they did work with Aaron Turner (Sumac, ex-Isis) as producer/mixer and John McBain (ex-Monster Magnet) for mastering — it continues a string of joined-f0rces efforts that goes back to their 2009 outing with Karma to Burn side-project Treasure Cat, which included tracks by Alpha Cat with both bands working together. Along the way, in addition to their 2007 self-titled debut (discussed here) and Continuum some 11 years later, they’ve also worked with Gary Arce of Yawning Man as Yawning Sons for the 2009 album, Ceremony to the Sunset (review here), and had a trilogy of splits with Karma to Burn (2010, 2014, 2015) as well as splits with A Death Cinematic and Hotel Wrecking City Traders/WaterWays (review here) in 2010 and 2012, respectively.

All of this, as one might expect, has made them somewhat hard to track, as they’re in and out of different incarnations and collaborations, but I think the band probably wouldn’t have it another way, and Buried Memories shows some of where that impulse comes from. The six-track/47-minute 12″ dwells in its complication no less than it dwells in instrumentalists depth and purpose, and I should point out right away that while “Hitmen” is the first three songs, not one version is immediately recognizable from the others. And that’s doubly to Sons of Alpha Centauri‘s credit, because it shows how much they’re willing to let their material be malleable. You see, each half of Buried Memories is dedicated to an outside mix collaboration. For “Hitmen,” they bring in three different incarnations of Godflesh‘s Justin K. Broadrick, who takes the song on first under the guise of himself, then as Jesu and finally as JK Flesh, bringing a distinctly different feel to each edition of the same root work. It’s perhaps easier to do since the songs don’t have verses or choruses weighing them down to a strict structure, but it’s true that each one carves its own impression, and as they move from eight-and-a-half, nine- and nine-and-a-half-minute versions, Broadrick seems to pull the track further from its foundation and bring something of his own to it. It’s not just a simple process of mixing in the sense of finding the right volume for Marlon King‘s guitar or Blake‘s synth, Nick Hannon‘s bass and Stevie B.‘s drums, but of exploring what distance “Hitmen” can cover from its origin. As the Broadrick mix turns to the more melodic Jesu mix to the avant-electro JK Flesh mix, that distance turns out to be pretty vast.

The second-side collaborator is no less than James Plotkin, whose mastering and production work covers myriad outfits and whose work in Khanate alone — never mind his copious other projects — deserves an eternity of thank-you cards, who takes on three different songs, all under the guise of himself. So side A, one song mixed by three versions of the same person. Side AA, three songs mixed by one version of the same person.

Everyone got it?

Okay.

Sons of Alpha Centauri 2019

And much to Plotkin‘s credit, the three inclusions he takes on also push further and further out as they go. “Warhero” (9:33) is relatively straight ahead, but in comparison to Broadrick‘s “Hitmen” shows a focus on bringing out a sense of space in the work, while the shorter “Remembrance” (2:42) dips into minimalist drone guitar almost as a transition into closer “SS Montgomery,” which also takes on a more electronic vibe, in a kind of dark-industrial vein that still holds a heavy presence thanks to the prominence of the live drums, but nonetheless surrounds those with a chaos-swirl of synth and the guitar. “SS Montgomery” is the payoff for the whole release, pushing through clarity toward destructive noise wash in its quick apex and leaving behind residual noise on a long outward fade, and the fact that even given all the shifts of style and intent that Buried Memories holds, Sons of Alpha Centauri would be able to pull everything together at the end speaks to what makes them so underrated in the first place. They are very much a conceptual outfit but still not blind to the basic purpose of making an album, of making songs.

That underlying message comes through clearly across Buried Memories, and whether you consider it an album, an EP, a one-off, or something else, there’s never any doubt Sons of Alpha Centauri are ready and willing to push themselves to take their music to new places and to try and encompass different ideas and evoke various mindsets as they go. It’s not every band who would be willing to hand off their material like this, even to the likes of Plotkin and Broadrick, let alone put it out in such a way that allows the tracks to take on a life of their own within their overarching catalog. I won’t pretend to know what Sons of Alpha Centauri might do next or where they’ll go from here — though they were certainly busy enough in between, it’s notable that it was 11 years from their self-titled to Continuum — but the way their progressiveness extends not only to the sound of the band but to the very makeup and intent thereof continues to make them individually flexible in a universe that seems rigid by comparison. Whatever they might do, this openness and dexterity can only continue to bolster their work. Imagine asking Justin Broadrick for three mixes by different personae. Imagine telling James Plotkin, “Just go with it.” The beauty of Buried Memories is in its outward movement and the sense of freedom it portrays: art as a living thing, music as sculpting clay to be shaped and re-shaped. As regards the creative, there are few ideas more noble.

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Sons of Alpha Centauri website

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H42 Records on Bandcamp

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Sons of Alpha Centauri Announce Buried Memories Collaborative LP with JK Broadrick & James Plotkin

Posted in Whathaveyou on August 20th, 2019 by JJ Koczan

Sons of Alpha Centauri 2019

You have to give it to Sons of Alpha Centauri: they keep good company. These are gentlemen of refined taste. Their last album? Produced by Aaron Harris of Isis and mastered by John McBain, formerly of Monster Magnet. Before that, oh, they’d worked with the likes of Gary Arce and Karma to Burn, and so on, producing killer splits and collaborative offerings in the process. Now? They’ve got a kinda-EP/kinda-LP called Buried Memories coming that has four songs total — one is a revisit of a song from their first record — with mixes by Justin Broadrick, who does three different versions of “Hitmen” in various guises as Justin K. Broadrick, JK Flesh and Jesu, and James Plotkin, who’s only James Plotkin throughout but when you played in Khanate that’s enough as far as I’m concerned. Sons of Alpha Centauri‘s sense of sonic adventurousness continues to extend to a meta level, and if you’re not intrigued to hear this, you probably just haven’t paid enough attention. Snap to it.

It doesn’t actually say so below, but the press kit lists Oct. 13 as the release date through H42 Records, so let’s go with that. They’ve got a quick teaser posted as well, and you’ll find that at the bottom of the post, along with the stream of 2018’s Continuum (review here). Enjoy:

SONS OF ALPHA CENTAURI Buried Memories Cover

H42 Records: SONS OF ALPHA CENTAURI Announce New Album with JK BROADRICK and JAMES PLOTKIN!

Sons of Alpha Centauri are back to release Buried Memories, a collaborative post metal colossus and the second part of the journey that started with last album Continuum!

The new album Buried Memories has been mixed by industrial metal icon Justin K. Broadrick (Godflesh, Jesu…) and ambient gloom metal maestro James Plotkin (Khanate, Jodis etc.). Buried Memories contains two 10 minute slabs of eclectic ambient progressive rock and a series of interpretative remixes of the theme tracks by both Broadrick and Plotkin.

Justin Broadrick collaborates with the band on side A through the progressive riff saga of Hitmen which he has mixed and also provided two remixes in his guise as Jesu and another as the eponymous JK Flesh. These three staggering pieces of music elapse over 27 minutes of pure instrumental voyage in a way only Sons of Alpha Centauri and Justin Broadrick could deliver!

James Plotkin and SOAC collaborate through several tracks including Warhero a sprawling 10 minute odyssey and a masterful remix of SS Montgomery – the single from the bands classic instrumental landmark debut album.

After entering the Continuum (2018) the listener must now bury their memories. The darkness will envelope the listeners in this second part of their epic sprawling progressive dark rock saga.

The LP version of Buried Memories comes on a selection of 180 gram heavyweight colored vinyl in a gatefold sleeve with photo inlay and download code.

Tracklist
1. Hitmen [Justin K. Broadrick Mix]
2. Hitmen [Jesu Remix]
3. Hitmen [JK Flesh Remix]
4. Warhero [James Plotkin Mix]
5. Remembrance [James Plotkin Mix]
6. SS Montgomery [James Plotkin Remix]

https://www.facebook.com/sonsofalphacentauri
https://sonsofalphacentauri.bandcamp.com/
http://www.sonsofalphacentauri.co.uk/
https://www.h42records.com

Sons of Alpha Centauri, Buried Memories teaser

Sons of Alpha Centauri, Continuum (2018)

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Quarterly Review: Salem’s Bend, Motorpsycho, Sigils, Lord Dying, Sunn O))), Crimson Heat, Molior Superum, Moros, Glitter Wizard, Gourd

Posted in Reviews on July 2nd, 2019 by JJ Koczan

quarterly-review

Today is Tuesday, I’m pretty sure, and hey, that’s nifty. I thought yesterday kicked off the Summer 2019 Quarterly Review really well, and any time I get through one of these without my head caving in on itself, I feel like that’s a victory, so yeah. Now we wade even deeper into what will ultimately be a 60-review plunge, with another 10 offerings of various stripes and takes on heavy. Some higher profile stuff in here, which is fine, I guess, but most of it is pretty recent, so if there’s something you haven’t heard yet, I hope you find something you dig, as always.

Quarterly Review #11-20:

Salem’s Bend, Supercluster

salems bend supercluster

This is the sound of a band who’ve figured it out. Salem’s Bend have taken retroist boogie and modern tonalism, production and melody and turned it into something of their own. Supercluster (on Ripple) follows the Los Angeles trio of guitarist/vocalist Bobby Parker, bassist/vocalist Kevin Schofield and drummer Zach Huling‘s 2016 self-titled debut (review here), and with an uptick in the complexity of songwriting overall and particularly in the arrangements of dual-vocals, it is a marked step forward palpable as much in the hook of “Ride the Night” — and if you’re gonna call a song that, you better bring it — as the heavy crash ending “Heavenly Manna” and the languid, lucidly dreaming groove in “Infinite Horizon,” which appears ahead of the acoustic hidden track “Beltaine Chant.” That won’t be the last time these guys unplug, but whether it’s the raw Zeppelin vibe of “Show Me the Witch” or the crunching low-end nod of “Thinking Evil” or the leadoff thrust in “Spaceduster,” the message is clear that Salem’s Bend have arrived.

Salem’s Bend on Thee Facebooks

Ripple Music webstore

 

Motorpsycho, The Crucible

motorpsycho the crucible

The latest in Motorpsycho‘s nigh-on-impossible-to-chart and ever-growing discography is The Crucible, issued through Stickman Records, and taking some of the heavy rock push of 2017’s The Tower (review here) and stretching out to more willfully progressive execution across three increasingly extended tracks. Running from shortest to longest, the album begins with “Psychotzar” (8:44) which resolves itself in maddening turns after fleshing through an energetic beginning, and rounds out side A with the 11-minute “Lux Aeterna,” with vocal harmonies and mellotron building into a graceful swell of volume before a headspinner solo and jam take hold, break to near-silence and finish in a burst of directly earliest-King Crimson majesty. This all before the 20:51, side B-consuming title-track crashes in with immediate tension and plays back and forth at releasing that through a course that is rife with melody and an emphasis on the mastery of Motorpsycho over their sound and direction. Onto the list of the year’s best records it goes.

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Stickman Records website

 

Sigils, You Built the Altar, You Lit the Leaves

Sigils You Built the Altar You Lit the Leaves

Hypnotic and immersive heavy post-rock and metal becomes the genre tag well enough, but what New York’s Sigils do on their markedly impressive self-recorded, self-released debut album, You Built the Altar, You Lit the Leaves, is more soulful and emotive than “post-” anything generally conveys. With four tracks/38 minutes best taken as a whole, single listening experience, the band offer resonant depths of tone and vocal echoes centered around airy but still weighted guitar and consuming rhythms brought to bear with the patience of an organic Jesu. The ultimate triumph is in the melody and payoff of 13-plus-minute closer “The Wicked, the Cloaked,” which seems to manifest the haunting sensibility that “Samhain” and “Ritual” advocate on side A, but neither will I discount the chug of the prior “Faceless” or the underlying churn in those two leadoff tracks. Especially as a first album, You Built the Altar, You Lit the Leaves casts a sonic identity for itself that is striking and sees the band already beginning to push themselves forward. One hopes they continue to do so.

Sigils on Thee Facebooks

Sigils on Bandcamp

 

Lord Dying, Mysterium Tremendum

Lord Dying Mysterium Tremendum

Following 2015’s Poisoned Altars (review here), subsequent years of touring and a jump from Relapse to eOne Metal, Lord Dying‘s Mysterium Tremendum is enough of a stylistic melting pot that the best thing to do is call it progressive and just let it roll. Comprised of 11 tracks themed around death and the afterlife, the record takes the Portland, Oregon, outfit’s prior death-doom ways and expands them to incorporate an array of styles and melodies, like a vocoder-less Cynic or even Atheist, but more focused on the songs themselves. It’s being widely hailed as one of 2019’s best metal releases, and honestly I can’t speak to that because who the hell knows what “metal” even means, but it sees Lord Dying pull off a major sonic leap and if this is the direction they’re headed from now on, then I guess “metal” is going to be whatever the hell they want. So there. Expect to see a lot of Lord Dying t-shirts around in the years to come.

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eOne Heavy on Thee Facebooks

 

Sunn O))), Life Metal

sunn life metal

The core of Sunn O)))‘s sound — that is, the drone-riffed tonality of Greg Anderson and Stephen O’Malley, has proven amorphous enough over the last two decades to either be orchestral, minimalist, impossibly bleak, or now, something brighter. The Steve Albini-recorded Life Metal is one of two purported Sunn O))) releases slated for this year, and it follows behind 2015’s Kannon (review here) in manifesting their project in a new way. It is 68 minutes long, comprised of four tracks — the first, “Between Sleipnir’s Breaths,” is notable for the inclusion of vocals from Hildur GuĂ°nadĂłttir; the rest is instrumental — and while one wonders how much is the power of suggestion amid their colorful artwork and titular presentation, “life” as opposed to death metal, etc., their resonance throughout “Aurora” (19:07) and “Novae” (25:24) strips away much of the flourish that has engulfed Sunn O))) in their post-maturity years and reminds of the power at their center. They chose the right producer.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crimson Heat, Crimson Heat

Crimson Heat Crimson Heat

With a handful of tracks of dirt-coated Sabbathian doom rock, Crimson Heat make their debut with a self-titled demo/EP in no small part defined by its lack of pretense. I’d buy the tape at the show. You’d buy the tape at the show. The download is free. Clearly this is a band figuring out what they want to do and trying to catch a few ears, but the sound is right on. Notable as well for the participation of Sam Marsh of Sinister Haze, tracks like “At My Door” blend Tee Pee Records-style skate vibes with darker traditionalist crunch, and the subsequent acoustic interlude “Firewood” indeed adds a bit of burning-stove smell to the procession ahead of doomed shuffler finale “Deep Red.” They might be new, but from the nod of “Premonition” and the double-layered guitar of “Fortune Teller,” they very clearly know where they’re coming from. What they do with that from here will tell the tale, but for now, selling the tape at the show isn’t nothing. Guess they better get on pressing some up.

Sinister Haze on Thee Facebooks

Crimson Heat on Bandcamp

 

Molior Superum, As Time Slowly Passes By…

Molior Superum As Time Slowly Passes By

The boogie runs strong in Molior Superum‘s first album in seven years, As Time Slowly Passes By… (on H42 Records), the title of which might just hint at the distance between their two full-lengths. Their debut was Into the Sun (discussed here) in 2012, and they answered that with 2014’s Electric Escapism (review here), but for a band who sound so energized on cuts like “Att Födas Rostig” and “Through Valleys of Wonder,” the time differential from one record to the next is curious. Still, no question the Swedish four-piece make the most of the 36 minutes they present on their sophomore offering, realizing classic vibes and fuzz tones through modern production that recalls the likes of Graveyard, Jeremy Irons and the Ratgang Malibus and even, on “Into the Grey,” Demon Head‘s doomier fare, with an overarching bluesy sensibility that remains exciting even in moments like the hypnotic midsection build of centerpiece “Divinity Blues.” Even the closing soft-guitar title-track has movement. They sound hungry in a way that suggests maybe it won’t be another seven years before a third LP arrives.

Molior Superum on Thee Facebooks

H42 Records

 

Moros, Weapon

moros weapon

Just because Philly is leading the Eastern Seaboard in terms of psychedelic charge, that doesn’t mean there isn’t room for the guttersludge extremity of a unit like Moros. The destructive three-piece’s first full-length, Weapon (on Hidden Deity Records), is vicious in its bite and downright nasty in its groove, abrasive from the static intro “(Vortexwound)” onward through “We Don’t Deserve Death” and “Devil Worshipper,” which recalls slower Napalm Death in its riff but is met with a harsh scream as well as shouts. The brutality continues through “Wizard of Loneliness” and into the outright pummel of “Death Nebula,” such that the locked-in nodder groove in the second half of “Every Day is Worse Than the Last” feels almost like a lifeboat, though there’s little salvation on offer in the closing title-track, which fades out on a noisy note in much the same way it faded in. Filthy, mean and heavy. The crust is real and it is thick.

Moros on Thee Facebooks

Hidden Deity Records website

 

Glitter Wizard, Opera Villains

glitter wizard opera villains

I was enticed to dig further into Glitter Wizard‘s Opera Villains (on Heavy Psych Sounds) by the recent video for opener “A Spell So Evil” (posted here), and it’s not a choice I regret. The San Fran-based weirdo collective are putting on a show, no doubt, but the quality of their songwriting on “The Toxic Lady” and the punkish underpinning of “Dead Man’s Wax,” etc., puts them in a classic rocking no man’s land in which they absolutely revel. The laser-strewn drama of “March of the Red Cloaks” and the organ- and flute-laced swing of “Hall of the Oyster King” embrace the grandiose in brazen fashion, and thereby make it that much easier for the listener to join them on this wavelength that is so thoroughly their own. Closer “Warm Blood” taps prog-of-old pomposity in its largesse while the earlier “Fear of the Dark” seems to do the same thing with just an acoustic guitar and some vocal harmonies. A record that knew exactly what it wanted to be and then became that thing. Awesome.

Glitter Wizard on Thee Facebooks

Heavy Psych Sounds website

 

Gourd, Moldering Aberrations

gourd moldering aberrations

Ambient darkness is inflicted with only the cruelest of spirit throughout Gourd‘s Moldering Aberrations EP, the Irish two-piece alternating minimalist spaciousness with gurgling drone intensity, the extremity of which doesn’t so much come through in pummel or drive, but in the swell of volume and its contrast with the emptiness surrounding. Also the growls. Three tracks are offered up like monuments to pain, and through “Befoulment,” “Mycelium” and the title-track, they conjure a heft of atmosphere as much as one of low end, the claustrophobic feeling of their craft coming through even in the relatively peaceful opening of the last song. That peace, of course, isn’t so much moment of respite as it is precursor to the next plunge, and either way, Gourd work in grueling fashion over 23 minutes to dismantle consciousness and expectation with a grim, distortion-fueled chaos from which there seems to be no escape, until the rumble and noise leave “Moldering Aberrations” and there’s just residual hum and a cymbal crash left. Madness.

Gourd on Thee Facebooks

Cursed Monk Records on Bandcamp

 

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Daal Dazed Premiere “Invisible Prison” from Self-Titled Debut EP

Posted in audiObelisk on July 2nd, 2019 by JJ Koczan

daal dazed

German six-piece Daal Dazed release their self-titled debut EP on Aug. 9 through H42 Records. “Invisible Prison” is the leadoff cut on the three-song outing, and it quickly nestles into a comfortable heavy blues vibe, organ and two guitars interweaving melodic lines behind the vocals of Philipp Staab, who makes his presence felt early in soulfully belting out the lyrics, and in the course of an efficient 4:41, the song sets the Aschaffenburg outfit apart for their clarity of sound amid a horde of fuzz-overloaders, and the subsequent “Freedom” follows suit despite a jammier vibe, ebbing and flowing through semi-psychedelic liquidity, shuffling drums and percussion adding movement all the while. A more weighted groove persists in the chorus of closer “Angel Babe,” though that’s accompanied by a driving punctuation of snare in the verse, so there’s a balance between the build and release of tension as it plays out.

There’s nothing overly fancy happening in Daal Dazed, but the straightforward tack of the songwriting isn’t to be discounted just daal dazed daal dazedbecause it’s not a wash of tone. Rather, Daal Dazed have an all the more classic sound for their to-the-point aspects. “Freedom” is under four minutes long and “Angel Babe” is under three, so there isn’t really much messing around anywhere you look. That’s fitting enough for a debut EP — they’ll grow into their sound and flesh it out over time — but even an early emphasis on crafting their material bodes well for wherever they might be headed next. Nothing against those who want to jam or fuzz themselves into oblivion, but for Daal Dazed, they seem to be shooting for something else, and the focus on songwriting is what’s allowing and what will continue to allow them to get there.

Would that I could be as efficient in language as they are in music. What it rounds out to is the EP is a rocker by rockers and for rockers. You’ll hear classic elements at play with modern production methods and a bluesy spirit throughout. If you need anything more than that to get you through the track, well, the cover artwork also rules, and there’s that organ too.

So have at it, and enjoy:

DAAL DAZED announced their debut release, a self-titled 3-song 12” EP! It’s a raw and bluesy hard rocker featuring bottleneck guitars and a percussion heavy rhythm section.

Available as:
12″-vinyl on clear vinyl with silkscreened ‘Moon’ b-side (ltd. 100)
12″-vinyl on universe black with handsigned b-side (ltd. 120)
download/stream on all platforms

Release will be August 9th 2019!
Presale starts July 9th 2019 via H42 Records.

Invisible Prison starts out as a smooth opener before climaxing into an organ-driven, heavy finale.
Freedom combines funky drumming with Hendrix-esque guitars & vocal delivery!
And lastly, Angel Babe closes the EP with a bang!

Daal Dazed is:
Philipp Bergmann: Drums
Philipp Staab: Vocals
Michael Imhof: Percussion
Julian Kaatz: Bass
Simon Steigerwald: Guitar
Kim Steigerwald: Guitar

Daal Dazed on Thee Facebooks

Daal Dazed on Instagram

H42 Records website

H42 Records on Thee Facebooks

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