Quarterly Review: Novembers Doom, Abrams, The Grand Astoria, Hosoi Bros, Codeia, Ealdor Bealu, Stone Lotus, Green Yeti, Seer, Bretus

Posted in Reviews on July 13th, 2017 by JJ Koczan

quarterly-review-summer-2017

So, after kvetching and hemming and hawing and all that other stuff that basically means ‘fretting and trying to shuffle a schedule around’ for the last several days, I think I’ve now found a way to add a sixth day to this Quarterly Review. Looking at all the records that still need to be covered even after doing 50, I don’t really see any other way to go. I could try to do more The Obelisk Radio adds to fit things in, but I don’t want to over-tax that new server, so yeah, I’m waiting at the moment to hear back on whether or not I can move a premiere from Monday to Tuesday to make room. Fingers crossed. I’ve already got the albums picked out that would be covered and should know by tomorrow if it’s going to happen.

Plenty to do in the meantime, so let’s get to it.

Quarterly Review #31-40:

Novembers Doom, Hamartia

novembers-doom-hamartia

Look. Let’s be honest here. More than 20 years and 10 records in, one knows at least on a superficial level what to expect from Chicago’s The list of the student http://busemcicek.com/?order-resume-online-pickup-in-store you can find in this review is credible, time-tested, and affordable. One of the best examples of the online Novembers Doom. Since their first album arrived in 1995, they’ve played to one side or the other between the spectrum of death-doom, and their work legitimately broke ground in the style for a US band and in general. After a push over their last couple albums including 2014’s Wondering who will help to Printmaster Homework Helper assignment on time? Use our professional online writing service offers to ensure excellent grades and complete Bled White (review here) into more deathly fare, 2nd Law: Master Thesis Event Marketing Online custom order assignment online essays, term papers, research papers, reports, reviews and homework assignments. Get Hamartia (on help for law students with add writing papers This Site write assignments for you flannery o connor essay The End Records) brings 10 tracks and 58 minutes of the melancholy dramas – special hello to the piano/acoustic-led title-track – and gut-wrenching, crushingly emotive miseries – special hello to “Waves in the Red Cloth” and “Ghost” – that have defined them. One doesn’t expect a radical departure from them at this point and they don’t deliver one even as they turn to another side of their overarching aesthetic, but whether it’s the still-propulsive death gallop of “Apostasy” or the lush nine-minute finale “Borderline,” Microcredit Master Thesis - Perfectly written and custom academic papers. Why worry about the assignment? Receive the needed assistance on the website Novembers Doom reinforce their position as absolute masters of the style and give their longtime fans another collection of vital woes in which to revel.

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The End Records website

 

Abrams, Morning

abrams morning

Not a hair out of place in the execution of Hire a website content writer from a trusted website Art Research Essay to write engaging and exciting content for your website or blog. Morning, the Need Write An Essay Myself? Browse profiles and reviews of top rated copy writers and have your marketing material professionally written today. Sailor Records second long-player from Denver three-piece Browse Pay For School Essayss and connect with a professional American writer in ten minutes. Free revisions, 24/7 support and 700+ customer reviews. Abrams (interview here). That has its ups and downs, naturally, but is suited to the band’s take on modern progressive heavy rock à la newer Customer Relationship Management Assignment offers qualified writing assistance at fair prices. On time delivery guaranteed. Mastodon and Essaylions.com Provides Importance Of Doing Homework Help, CPM homework service, Math, CC courses, Geometry, Algebra, CC Integrated Calculus. Baroness, and with production from Looking for a weblink expert ? Get high quality, step-by-step finance homework answers at reasonable price. Ask for finance tutor help today. Andy Patterson (of Stuck with your assignments writing task? Call us and say read here, and our expert writers will provide you best academic writing work at SubRosa) and We deliver Critical Analysis Dissertation writing solutions that will surpass your expectations. Hire essay writers today and enjoy instant discounts and bonuses to save Dave Otero ( Dissertation Innovation Et Croissance Conomique - Essays & dissertations written by high class writers. forget about your fears, place your task here and receive your quality Khemmis, Home Page - Essay help sites. Looking for a world-class essay writing service? We offer every type of essay service for a wide variety of topics. Cephalic Carnage, etc.), the crisp feel is both purposeful and well earned. Their 2015 debut, Lust. Love. Loss. (review here), dealt with a similar emotional landscape, but bassist/vocalist Taylor Iversen, guitarist/vocalist Zachary Amster and drummer Geoffrey Cotton are tighter and more aggressive here on songs like opener “Worlds Away” (video posted here), “At the End,” “Rivers,” “Can’t Sleep” and “Burned” (video posted here), and “Mourning,” “In this Mask” and closer “Morning” balance in terms of tempo and overall atmosphere, making Morning more than just a collection of master-blasters and giving it a full album’s flow and depth. Like I said, not a hair out of place. Structure, performance, delivery, theme. Abrams have it all precisely where they want it.

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Abrams on Bandcamp

 

The Grand Astoria, The Fuzz of Destiny

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Dubbed an EP but running 29 minutes and boasting eight tracks, The Grand Astoria’s The Fuzz of Destiny is something of a conceptual release, with the St. Petersburg, Russia-based outfit paying homage to the effect itself. Each song uses a different kind of fuzz pedal, and as the ever-nuanced, progressive outfit make their way through the blown-out pastoralism of opener “Sunflower Queen” and into the nod of “Pocket Guru,” the organ-inclusive bursting fury of “Glass Walls” and the slower and more consuming title-track itself, which directly precedes closer “Eight Years Anniversary Riff” – yup, it’s a riff alright – they’re able to evoke a surprising amount of variety in terms of mood. That’s a credit to The Grand Astoria as songwriters perhaps even more than the differences in tone from song to song here – they’ve certainly shown over their tenure a will to embrace a diverse approach – but in giving tribute to fuzz, The Fuzz of Destiny successfully conveys some of the range a single idea can be used to conjure.

The Grand Astoria on Thee Facebooks

The Grand Astoria on Bandcamp

 

Hosoi Bros., Abuse Your Allusion III

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Oh, they’re up to it again, those Hosoi Bros. Their 2016 full-length, Abuse Your Allusion III, from its Guns ‘n’ Roses title reference through the Motörhead riffing of “Saint Tightus” through the stoner punk of “Topless Gnome” and the chugging scorch of the penultimate “Bitches are Nigh” offer primo charm and high-order shenanigans amid the most professional-sounding release of their career. Across a quick 10 tracks and 36 minutes, Hosoi Bros. readily place themselves across the metal/punk divide, and while there’s plenty of nonsense to be had from opener “Mortician” onward through “Lights Out” (video premiere here) and the later swagger of “Unholy Hand Grenade,” the band have never sounded more cohesive in their approach than they do on Abuse Your Allusion III, and the clean production only seems to highlight the songwriting at work underneath all the zany happenings across the record’s span, thereby doing them and the band alike a service as they make a convincing argument to their audience: Have fun. Live a little. It won’t hurt that much.

Hosoi Bros on Thee Facebooks

Hosoi Bros. on Bandcamp

 

Codeia, “Don’t be Afraid,” She Whispered and Disappeared

codeia-dont-be-afraid-she-whispered-and-disappeared

There’s actually very little that gets “Lost in Translation” in the thusly-titled 22-minute opener and longest cut (immediate points) of German post-metallers Codeia’s cumbersomely-named Backbite Records debut album, “Don’t be Afraid,” She Whispered and Disappeared. With heavy post-rock textures and an overarching sense of cerebral progressivism to its wash underscored by swells of low-end distortion, the three-piece of guitarist/backing vocalist Markus L., bassist/vocalist Denis S. and drummer Timo L. bring to bear patience out of the peak-era Isis or Cult of Luna sphere, sudden volume shifts, pervasive ambience, flourish of extremity and all. Nine-minute centerpiece “Shaping Stone” has its flash of aggression early before shifting into hypnotic and repetitive groove and subsequent blastbeaten furies, and 16-minute closer “Facing Extinction” caps the three-song/48-minute offering with nodding Russian Circles-style chug topped with growls that mask the layer of melodic drone filling out the mix beneath. They’re on familiar stylistic ground, but the breadth, depth and complexity Codeia bring to their extended structures are immersive all the same.

Codeia on Thee Facebooks

Backbite Records website

Mountain Range Creative Factory website

 

Ealdor Bealu, Dark Water at the Foot of the Mountain

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“Water Cycle,” the 13-minute opener and longest track (immediate points) of Ealdor Bealu’s debut full-length, Dark Water at the Foot of the Mountain, introduces a meditative feel and a breadth of sound that helps to define everything that follows. The ostensible side B leadoff of the self-release, “This too Shall Endure” (11:04), offers no less depth of atmosphere, and the graceful psychedelic expanses of the penultimate “Behind the Veil” continue to add to the overall scope with interplay of tempo variety and acoustic and electric guitar, but even earlier, shorter cuts like the wistful indie rocker “Deep Dark Below” and the linear-building “Behold the Sunrise” have an underlying progressivism that ties them to the longer form material, and likewise the particularly exploratory feeling “Ebb and Flow,” which though it’s the shortest cut at just over five minutes resonates as a standout jam ahead of “Behind the Veil” and subtly proggy seven-minute closer “Time Traveler.” The Boise-based four-piece of guitarist/vocalist/spearhead Carson Russell, guitarist Travis Abbott (also The Western Mystics), bassist/vocalist Rylie Collingwood and drummer/percussionist/saxophonist Alex Wargo bring the 56-minute offering to bear with marked patience and impress in the complexity of their arrangements and the identifiable human core that lies beneath them.

Ealdor Bealu on Thee Facebooks

Ealdor Bealu on Bandcamp

 

Stone Lotus, Comastone

I can take spicier foods than I ever could before.

One might consider the title of “Mountain of Filth,” the second cut on Stone Lotus’ debut album, Comastone, a mission statement for the Southwestern Australian trio’s vicious ‘n’ viscous brand of rolling, tonal-molasses sludge. Yeah, the three-piece of guitarist/vocalist Dave Baker, bassist Samuel Noire and drummer Reece Fleming bring ambience to the interlude “Aum,” the slower loud/quiet shifts in “Anthropocene” and the subsequent “Umbra” that leads into the creepy launch of the title-track – in fact, quiet starts are something of a theme throughout Comastone; even the thudding toms that begin opener “Swamp Coven” pale in comparison to the volume swell of massive distortion that follows closely behind – but it’s the rhythmic lumber and the harsh vocals from Baker that define their course through the darker recesses of sludged-out misanthropy. No complaints there, especially on a first long-player, but Stone Lotus are right to keep in mind the flourish of atmosphere their material offers, and one hopes that develops parallel to all the crushing weight of their mountainous approach.

Stone Lotus on Thee Facebooks

Stone Lotus on Bandcamp

 

Green Yeti, Desert Show

I'm not sure if that's an effect of dropping carbs or how it would be, but it's strange.

Even before it announces its heft, Green Yeti’s Desert Show casts forth its spaciousness. The second offering from the Athens-based trio in as many years dogwhistles heavy riffing intent even unto its David Paul Seymour album cover, but the five track rollout from guitarist/vocalist Michael Andresakis, bassist/producer Danis Avramidis and drummer Giannis Koutroumpis, as it shifts from the opening salvo of “Black Planets (Part 1)” and “Black Planets (Part 2)” into the Spanish-language centerpiece “Rojo” (direct homage perhaps to Los Natas? if so, effectively done) and into the broader-ranging “Bad Sleep (Part 1)” and 15-minute closer “Bad Sleep (Part 2)” builds just as much on its atmosphere as on its newer-school stoner rock groove and fuzz riffing. It is a 41-minute span that, without question, speaks to the heavy rock converted and plays to genre, but even taken next to the band’s 2016 debut, The Yeti has Landed, Desert Show demonstrates clear growth in writing and style, and stands as further proof of the emergence of Greece as a major contributor to the sphere of Europe’s heavy underground. Something special is happening in and outside of Athens. Green Yeti arrive at the perfect time to be a part of it.

Green Yeti on Thee Facebooks

Green Yeti on Bandcamp

 

Seer, Victims

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Let’s just assume that Seer won’t be asked to play at Dorney Park anytime soon. The Allentown, Pennsylvania, three-piece dig into largesse-minded instrumental riffing someplace between doom and sludge and do so on raw, formative fashion on the two-song Victims EP, which features the tracks “Victims… Aren’t We All?” and “Swollen Pit,” which is a redux from their 2015 debut short release, Vaped Remains. Some touch of Electric Wizard-style wah in Rybo’s guitar stands out in the second half of the opener, and the closer effectively moves from its initial crawl into post-Sleep stonerized idolatry, but the point of Victims isn’t nearly as much about scope as it is about Rybo, bassist Kelsi and drummer Yvonne setting forth on a stomping path of groove and riff worship, rumbling sans pretense loud enough to crack the I-78 corridor and offering the clever equalizer recommendation to put the bass, treble and mids all at six. Think about it for a second. Not too long though.

Seer on Thee Facebooks

Seer on Bandcamp

 

Bretus, From the Twilight Zone

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Doom! Horror! Riffs! Though it starts out with quiet acoustics and unfolds in echoing weirdness, Bretus’ new album, …From the Twilight Zone, more or less shouts these things from the proverbial cathedral rafters throughout its seven tracks. The Catanzaro, Italy, foursome weren’t shy about bringing an air of screamy sludge to their 2015 sophomore outing, The Shadow over Innsmouth (discussed here), but …From the Twilight Zone shifts more toward a Reverend Bizarre trad doom loyalism that suits the Endless Winter release remarkably well. Those acoustics pop up again in expanded-breadth centerpiece/highlight “Danza Macabra” and closer “Lizard Woman,” and thereby provide something of a narrative thread to the offering as a whole, but on the level of doom-for-doomers, there’s very little about the aesthetic that Bretus leave wanting throughout, whether it’s the faster-chug into drifting fluidity of “The Murder” or the nodding stomp of “In the Vault” (demo posted here) and crypto-NWOBHM flourish of “Old Dark House” (video posted here). Not trying to remake doom in their own image, but conjuring an eerie and engaging take in conversation with the masters of the form.

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Endless Winter Records

 

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Novembers Doom to Release Hamartia April 14; New Single Streaming

Posted in Whathaveyou on February 1st, 2017 by JJ Koczan

novembers doom

Just to put something the band says below to scale: Novembers Doom trace their roots back to 1989. They’re coming up on their 30th anniversary before the end of this decade, and there’s nothing to make one think they won’t get there. So when vocalist Paul Kuhr notes that the upcoming Hamartia is the first time they’ve ever had the same lineup from one album to the next, it’s a pretty striking statistic. By my count, it’s their 10th album. That’s 10 records, each marked out by some change in personnel. It’s a wonder they’ve managed to survive, let alone progress through the darkened extremities they have as one of the US’ groundbreaking death-doom acts.

The lineup that Hamartia shares last appeared on 2014’s Bled White (review here), also released through the band’s longtime label home, The End Records. April 14 is the appointed issue date for Hamartia, cover art is by Eugen Poe, there’s a gloriously gloomy new single streaming, and more album details follow here, courtesy of the PR wire.

Dig it:

novembers-doom-hamartia-eugen-poe

NOVEMBERS DOOM IS SET TO RELEASE NEW STUDIO ALBUM HAMARTIA ON APRIL 14 // PRE-ORDER

NEW TRACK & ALBUM DETAILS

Novembers Doom is set to release their tenth full-length album entitled Hamartia, out April 14 via The End Records. Formed in 1989, this release marks the band’s 28th anniversary year, and is a sonic testament to their legacy as one of the earliest U.S. dark & doom metal bands still active today. The album is available now for pre-order on iTunes, Amazon, and Google Play.

Considered by the band to be their best work to date, Harmartia’s mastery is due in part to the synergy of its lineup, who constituted their previous album Bled White: Paul Kuhr (founder/vocalist), Larry Roberts (guitars), Vito Marchese (guitars), Mike Feldman (bass), and Garry Naples (drums).

Recorded at Belle City Sound in Racine, WI, this album sees production from long-time Novembers Doom producer Chris Djuricic (Jungle Rot, Malevolence), and Mix Master metal legend Dan Swano (Opeth, Dissection, Katatonia). The album also sees guest appearances from Ben Johnson on keyboards, Rhiannon Kuhr on backing vocals (“Ever After,” “Miasma,” “Zephyr”), Andrew Craighan (My Dying Bride) on guitar melody (“Waves In The Red Cloth”), Bernt Fjellestad (Susperia) on backing vocals (“Borderline”), and Dan Swanö on backing vocals (“Borderline”).

Says vocalist Paul Kuhr, “For the first time in this band’s existence, we have the same line-up on two consecutive albums. Without the need to focus on a new element, we could concentrate on the writing process more clearly, and the synergy between the group is apparent in the end result. I actually mean it when I say in my own humble opinion, I truly feel Novembers Doom have created our very best work to date. From the writing, to the captured performances, to the overall mix and sound of this album. Hamartia is a logical evolution from Bled White but adds some of the darker elements from The Pale Haunt Departure. It’s a Novembers Doom album, through and through, and hopefully others will share my enthusiasm once they get a chance to hear it.”

The first single “Plague Bird” is available now for download and streaming. CLICK HERE to reserve your copy today!

Official Tracklist

01. Devils Light
02. Plague Bird
03. Ghost
04. Ever After
05. Hamartia
06. Apostasy
07. Miasma
08. Zephyr
09. Waves In The Red Cloth
10. Borderline

https://www.facebook.com/NovembersDoom1989/
https://twitter.com/NovembersDoom
http://www.novembersdoom.com/
https://www.facebook.com/theendrecords
https://twitter.com/theend

Novembers Doom, “Plague Bird”

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