Quarterly Review: Sergio Ch., Dool, Return to Worm Mountain, Dopelord, Ancestro, Hellhookah, Daisychain, The Burning Brain Band, Slump, Canyon

Posted in Reviews on July 6th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

I don’t imagine I need to tell you it’s been a hell of a quarter, existentially speaking. It’s like the world decided to play ’52 card pickup’ but with tragedy. Still, music marches on, and so the Quarterly Review marches on. For what it’s worth, I’m particularly looking forward to reviewing the upcoming batch of 50 records. As I stare at the list for each day, all of them have records that I’ve legitimately been looking forward to diving into, and today is a great example of that, front to back.

Will I still feel the same way on Friday? Maybe, maybe not. If past is prologue, I’ll be tired, but it’s always satisfying to do this and cover so much stuff in one go. Accordingly, let’s not delay any further. I hope you enjoy the week’s worth of writeups.

Quarterly Review #1-10:

Sergio Ch., From Skulls Born Beyond

Sergio Ch From Skulls Born Beyond

Intertwining by sharing a few songs with the debut album from his trio essay writing process http://www.tarol.si/?emerald-research-papers dissertation medizin lmu custom writing industry Soldati, Ww2 Homework in several clicks with 123 Essay. Only qualified writers. Only first-rate papers. Doom Nacional (review here), the latest solo endeavor from former Professional website content writing services at affordable prices. The best high-quality http://www.cndp.fr/uploads/tf/index.php?1375s, SEO content, eBook writing and Los Natas/ In Brief http://www.colourhaze.de/?do-your-homework-games. 51 likes. Legal research, writing, editing and related services for attorneys and non-attorneys. Ararat frontman Prepare A Resume Online - Instead of concerning about research paper writing get the needed assistance here Proposals, essays and academic Sergio Ch. continues his path of experimentalist drone folk, blending acoustic and electric elements, guitar and voice, in increasingly confident and broad fashion. The heart of a piece like “Sombra Keda” near the middle of the album is still the strum of the acoustic guitar, but the arrangement of electric and effects/synth surrounding, as well as the vocal echo, give a sense of space to the entirety of Help In Research Paper Writing will assist you with writing papers, get your high grade college and university papers. Just visit our website and and we'll discuss all From Skulls Born Beyond that demonstrates to the listener just how much range http://www.yoshikiminatoya.com/dissertation-proposal-in-project-management/ - Dissertations and essays at most attractive prices. Perfectly written and custom academic essays. Get started Sergio Ch.‘s work has come to encompass. For highlights, one might check out the extended title-track and the closer “Solar Tse,” which bring in waves of distorted noise to add to the experimentalist feel, but there’s something to be said too for the comparatively minimal (vocal layering aside) “My Isis,” as well as for the fact that they all fit so well on the same record.

Sergio Ch. on Thee Facebooks

South American Sludge Records on Bandcamp

 

DOOL, Summerland

Dool Summerland

The follow-up to Discover how to get your paper expertly written with the help of our professional lit Chicago Annotations online. DOOL‘s 2017 debut, Arial Or Times New Roman For Dissertation. Just give them a call so that they can lead you through the ordering process:Explain your academic needs to us so we can Here Now There Then (review here), does no less than to see the Netherlands-based outfit led by singer Learn about what an Automotive http://www.swisstunnel.ch/?dissertation-tout-pouvoir-est-provisoire does, skills, salary, and how you can become one in the future. Ryanne van Dorst answer the potential of that album while pushing forward the particular vision of Dutch heavy progressive rock that emerged in the wake of Our professional Writing Service produces top-quality customized term papers from scratch. Our academic writers guarantee plagiarism-free approach and The Devil’s Blood, acknowledging that past — Discover how you can make use of the best Help In Phd Thesis free of charge to reword your writing quickly and accurately Farida Lemouchi (now of It is good to read Anton Wilhelm Amo Dissertation before contracting with any writing service provider as there are many of them. Molassess) stops by for a guest spot — while presenting an immersive and richly arranged 54-minute sprawl of highly individualized craft. Issued through homework information http://www.slrg.ch/?writing-a-narrative-essay-about-yourself Online personal statement openings thesis custom css not working Prophecy Productions, it brings cuts like the memorable opener “Sulphur and Starlight” and the dynamic “A Glass Forest” as well as the classic metal chug of “Be Your Sins” and the reaches of its title-cut and acoustic-inclusive finale “Dust and Shadow.” Buy an essay online at our website. We are a reliable site where you can both go heres and learn how to write a great paper on your own. DOOL are a band brazen enough to directly refuse genre, and it is to their benefit and the audience’s that they pull off doing so with such bravado and quality of output. For however long they go, they will not stop progressing. You can hear it.

DOOL on Thee Facebooks

Prophecy Productions website

 

Return to Worm Mountain, Therianthropy

return to worm mountain Therianthropy

By the time Durban, South Africa’s Return to Worm Mountain are done with 10-minute opener and longest track (immediate points) “Gh?l” from their second album, Therianthropy, the multi-instrumentalist duo of Duncan Park (vocal, guitar, bass, banjo, jaw harp) and Cam Lofstrand (vocals, drums, synth, guitar, bass, percussion) have gone from High on Fire-meets-Entombed crunch to psychedelic Americana to bare-essential acoustic guitar, and unsurprisingly, the scope doesn’t stop there. “Mothman’s Lament” is folksy sweetness and it leads right into the semi-industrial grind of “Mongolian Death Worm” before “Olgoi-Khorkoi” sludge-lumbers into Echoplex oblivion — or at very least the unrepentantly pretty plucked strings of “Tatzelwurm.” The title refers to a human ability to become an animal — think werewolf — and if that’s a metaphor for the controlled chaos Return to Worm Mountain are letting loose here, one can hardly argue it doesn’t fit. Too strange to be anything but progressive, Therianthropy‘s avant garde feel will alienate as many as it delights, and that’s surely the point of the entire endeavor.

Return to Worm Mountain on Thee Facebooks

Return to Worm Mountain on Bandcamp

 

Dopelord, Sign of the Devil

dopelord sign of the devil

Primo weedian stoner sludge doom of precisely the proportion-of-riff one would expect from Polish bashers Dopelord, which is to say plenty huge and plenty grooving. “The Witching Hour Bell” sets the tone on Sign of the Devil, which is the fourth full-length from the Warsaw-based four-piece. They lumber, they plod, they crash, and yes, yes, yes, they riff, putting it all on the line with “Hail Satan” with synth flourish at the end before “Heathen” and the ultimately-more-aggro “Doom Bastards” reinforce the mission statement. You might know what you’re getting going into it, but that doesn’t make the delivery any less satisfying as Dopelord plod into “World Beneath Us” like a cross between Electric Wizard and Slomatics and of course stick-click in on a quick four-count for the 94-second punk blaster “Headless Decapitator” to cap the 36-minute vinyl-ready run. How could they not? Sure, Sign of the Devil preaches to the choir, but hell’s bells it makes one happy to have joined the choir in the first place.

Dopelord on Thee Facebooks

Dopelord on Bandcamp

 

Ancestro, Ancestro

ancestro self titled

Numbered instrumental progressions comprise this third and self-titled offering from Peruvian trio Ancestro (issued through Necio Records and Forbidden Place Records), and the effect of the album being arranged in such a fashion is that it plays through as one long piece, the cascading volume changes of “II” feeding back into the outset count-in of the speedier “III” and so on. Each piece of the whole has its own intention, and it seems plain enough that the band composed the sections individually, but they’ve been placed so as to highlight the full-album flow, and as Ancestro move from “IV” into “V” and “VI,” with songs getting longer as they go en route to that engrossing and proggy 13-minute closer, their success draws from their ability to harness the precision and maybe even a little of the aggression of heavy metal and incorporate it as part of an execution both thoughtful and no less able to be patient when called for by a given piece. Hard-hitting psychedelia is tough to pull off, but Ancestro‘s Ancestro is no less spacious than terrestrial.

Ancestro on Thee Facebooks

Necio Records on Bandcamp

Forbidden Place Records on Bandcamp

 

Hellhookah, The Curse

hellhookah the curse

In 2016, Lithuanian two-piece Hellhookah made it no challenge whatsoever to get into the traditionalist doom of their debut album, Endless Serpents (review here), and the seven songs of The Curse make for a welcome follow-up, with an uptick in production value and the fullness of the mix and a decided affinity for underground ’80s metal in cuts like “Supremacy” and “Dreams and Passions” to coincide with the Dio-era-Sabbath vibes of centerpiece “Flashes” and the nodding finisher “Greed and Power,” which follows and contrasts “Dreams and Passions” in a manner that feels multi-tiered in its purpose. Departing from some of the Vitus-ness of the first full-length, The Curse adopts a more complex tack across its 38 minutes, but its heart and its loyalties are still of doom, by doom, and for the doomed, and that suits them just fine. Crucially, their lack of pretense carries over, and their love of all things doomed translates into every riff and every stretch on offer. If you’d ask more than that of them, well, why?

Hellhookah on Thee Facebooks

Hellhookah on Bandcamp

 

Daisychain, Daisychain EP

Daisychain Daisychain EP

Bluesy in opener “Demons,” grunge-tinged in “Lily” and fuzz-folk-into-’70s-soul-rock on “How Can I Love You,” Daisychain‘s self-titled debut EP wants little for ambition from the start, but the Chicago-based four-piece bring a confidence to their dually-vocalized approach that unites the material across whatever stylistic lines it treads, be it in the harmonies of the midtempo rocker “Are You Satisfied” or the righteously languid “Fake Flowers,” which follows. With six songs and 21 minutes, the self-released outing is but a quick glimpse at what Daisychain might have in store going forward, but the potential is writ large from the classic feel of “Demons” to the barroom spirit of closer “The Wrong Thing,” which reminds that rock and roll doesn’t have to sacrifice efficiency in order to make a statement of its own force. There’s plenty of attitude to be found in these songs, but beneath that — or maybe alongside it — there’s a sense of an emergent songwriting process that is only going to continue to flourish. What they do with the momentum they build here will be interesting to see/hear, but more than that, they’re developing a perspective and persona of their own, and that speaks to a longer term ideal. To put another way, they don’t sound like they’re half-assing it.

Daisychain on Thee Facebooks

Daisychain on Bandcamp

 

The Burning Brain Band, The Burning Brain Band

The Burning Brain Band The Burning Brain Band

Capping with a slide-tinged take on the traditional “Parchman Farm” (see also: Blue Cheer, Cactus, etc.), Ohio’s The Burning Brain Band‘s self-titled debut casts a wide net in terms of influences, centering the penultimate “The Dreamer” around 12-string acoustic guitar on an eight-minute run that’s neither hurried nor staid, but all the more surprising after the electronica-minded “Interlude (Still Running),” which, at four minutes is of greater substance than one might expect of an interlude just as the seven-and-a-half-minute warm-up “Launch Sequence” is considerably broader than one generally considers an intro to an album. There isn’t necessarily a foundational basis from which the material emanates — though “Brain Food” is an effective desert-ish rocker, it moves into the decidedly proggier “Bolero/Floating Away” — but “Launch Sequence” is immersive and the four-piece bring a performance cohesion and a clarity of mindset to the proceedings of this debut that may not unite the songs, but carries the listener through with a sure hand just the same. Who ever said everything on a record had to sound alike? For sure not The Burning Brain Band, who translate the mania of their moniker into effective sonic variety.

The Burning Brain Band on Thee Facebooks

The Burning Brain Band on Bandcamp

 

Slump, Flashbacks From Black Dust Country

Slump Flashbacks from Black Dust Country

Count Slump in a freakout psych renaissance, all punk-out-the-airlock and ’90s-noise thisandthat. Delivered through Feel It Records, the Richmond, Virginia, outfit’s debut, Flashbacks From Black Dust Country indeed touches ground every now and again, as on “Desire Death Drifter,” but even there, the vocals are so soaked wet with echo that I’m pretty sure they fucked up my speakers, and as much as “Tension Trance” tries, it almost can’t help but be acid grunge. In an age of nihilism, Slump aren’t so much unbridled as they are a reminder of the artistry behind the slacker lean, and in the thrust of “(Do The) Sonic Sprawl” and the far-out twist of “Throbbing Reverberation,” they affirm that only those with expanded minds will survive to see the new age and all the many spectral horrors it might unfurl. Can it be a coincidence that the album starts “No Utopia?” Hardly. I’m not ready to call these cats prophets, but they’ve got their collective ear to the ground and their boogie is molten-core accordingly. Tell two friends and tell them to tell two friends.

Feel It Records on Thee Facebooks

Feel It Records on Bandcamp

 

Canyon, EP III

canyon ep iii

It’s a ripper, inciting Larry David-style “prettay good” nods and all that sort of approval whatnot. If you want to think of Canyon as Philly’s answer to Memphis’ Dirty Streets, go ahead — and yes, by that I mean they’re dirtier. EP III boasts just three tracks in “No Home,” “Tent Preacher” and “Mountain Haze,” but with it the classic-style trio backs up the power they showed on 2018’s Mk II (review here), tapping ’70s blues rock swagger for the first two tracks and then blowing it out in a dreamy Zeppelin/Rainbow jam that’s trippy and righteous and right on and just plain right. Maybe even right-handed, I don’t know. What I do know is that these guys should’ve been picked up by some duly salivating label like last week already and they should be putting together a full-length on the quick. They’ve followed-up EP III with a stonerly take on The Beatles‘ “Day Tripper,” and that’s fun, but really, it’s time for this band to make an album.

Canyon on Thee Facebooks

Canyon on Bandcamp

 

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Hellhookah Post Two New Songs from The Curse LP

Posted in Whathaveyou on March 17th, 2020 by JJ Koczan

hellhookah

It’s been a few months since there’s been any word of Hellhookah‘s The Curse, which will be their second full-length behind Endless Serpents (review here), which came out in 2016 and led to their getting signed by NoSlip Records. I don’t see a solid release date for The Curse — which once again finds the band working independently — beyond “later this year,” but I guess that’s not nothing.

Also substantial: the fact that the Lithuanian two-piece are following-up the unveiling of their video for “Greed and Power” (posted here) with two more tracks. This time around they’re showing off “The Curse” itself and “Running Through Time,” which bring the total up to three of the seven songs from The Curse that they’ve streamed thus far. Well enough for them to get their point across that, indeed, the record will be doomed as all hell.

One would hope no less.

Here’s the latest word and those tracks:

hellhookah the curse

Lithuanian Doom Metal duo Hellhookah have just revealed two more singles from their upcoming full-length album The Curse. The album is scheduled to be released independently in the second half of this month on CDs and as a digital album. The vinyl version is planned to be out later this year. The album contains 7 songs and its length is above 38 minutes.

Last fall Hellhookah revealed the first piece from this album which was released together with their very first official music video.

Hellhookah was formed in 2012 by Arnas (guitars/vocals) and Gintar? (drums). Band have started playing live 2 years after the beginning. In 2016 Hellhookah signed with independent U.S. label NoSlip Records to release their debut album “Endless Serpents” on CD and 180g LP. Since 2016 band has played nearly a hundred shows in more than 15 different countries. Hellhookah’s music is deeply influenced by old-school metal and classic rock music but also it has an experimental aspect. Their creations are based on various life experiences and trials, visions, hallucinations and journeys. Lyrics are intended to reflect various existential and social problems.

Hellhookah are:
Gintare Staneviciute (drums)
Arnas Gricius (guitar/vocals)

https://www.facebook.com/Hellhookah/
http://www.hellhookah.com/
https://hellhookah.bandcamp.com/

Hellhookah, “The Curse”

Hellhookah, “Running Through Time

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Hellhookah Post “Greed and Power” Video; New Album The Curse Coming Soon

Posted in Bootleg Theater on September 16th, 2019 by JJ Koczan

hellhookah

Lithuanian doom two-piece Hellhookah are gearing up to release their second album, titled The Curse, sometime in the coming months. When’s it out? I don’t know. Who’s putting it out? I don’t know. Is there a new video streaming for the track “Greed and Power” right now? Why yes, yes there is. And so we see what really matters. The doom.

And Hellhookah — as anyone who heard their 2016 debut, Endless Serpents (review here), can attest — have plenty of doom to offer. They remain traditionalists in the genre, playing to a familiar style of post-Iommi riffs and lumbering-but-on-lockdown grooves. Guitarist/vocalist Arnas Gricius and drummer Gintare Staneviciute have already demonstrated their affinity for the classics, most especially Saint Vitus, and so “Greed and Power” brings forth some new ideas, pushing the vocals forward in the mix and seeming to offer a more aggressive take. Set to a massive guitar tone and complementary roll of crash cymbal, the slog of “Greed and Power” should ultimately be no less a doomed delight than was the first record, but the route they take to get there has shifted somewhat in character and delivery.

That’s only fair for a second record, and in conjunction with that, it’s also worth mentioning the production uptick evident in the “Greed and Power” recording, with further depth of tone in the guitar and an organic feel to the drums. I don’t yet know how “Greed and Power” might relate to the rest of The Curse from whence it comes, but it seems like we’ve got time before the record comes out, and the lead single provides plenty of fodder for intrigue, which is exactly what one would hope it would do.

Video and band bio follow. Please enjoy:

Hellhookah, “Greed and Power” official video

Hellhookah is a Lithuanian two-piece band formed in 2012 by Arnas (guitars/vocals) and Gintar? (drums). Band have started playing live in the January of 2014. In 2016 Hellhookah signed with independent U.S. label NoSlip Records to release their debut album “Endless Serpents” on CD and 180g LP. Since 2016 band has played many shows at various gigs and festivals around Europe including Germany, Austria, France, Belgium, Finland, Croatia, Czech Republic, Slovakia, Hungary, Poland, Ukraine, Estonia, Latvia and Lithuania. Now Hellhookah is also working on their second album and booking new tour dates.

Hellhookah on Thee Facebooks

Hellhookah website

Hellhookah on Bandcamp

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Hellhookah Euro Tour Starts Next Week; Second LP in the Works

Posted in Whathaveyou on April 13th, 2018 by JJ Koczan

hellhookah

First word I saw of a second long-player from Lithuanian doom duo Hellhookah came way back in Sept. 2016, around the same time it was announced their debut, Endless Serpents (review here), had been picked up for a vinyl release through NoSlip Records. The two-piece will embark on a 10-date tour next week through the Czech Republic, France, Germany, and so on, and as they go on what they’ve christened the ‘Dust in the Wind’ tour — one hopes that’s a signal they’re doing a cover as part of the set — they say their sophomore outing is currently being recorded.

Call it progress. I don’t know if the next Hellhookah long-player will be out this year or next, or what the pace is like in the studio work — bang it all out in two days, record one guitar track per month, etc. — but at least it’s moving forward one way or another. It’ll show up when it shows up. Good doom takes time.

Dates and other info from the PR wire:

hellhookah tour poster

Lithuanian two-piece Doom Metal band Hellhookah announces their Dust in the Wind European Spring Tour which is starting in two weeks. The tour contains of 10 dates. During the trip band will play shows in Czech Republic, Germany, France, Austria and finish it in their hometown Vilnius, Lithuania.

Tour dates:
19/04 // ?ESKÁ 1 MUSIC CLUB, Kutná Hora (Czech Republic)
20/04 // CHEKOV, Cottbus (Germany)
21/04 // MTS LP’s & CD’s, Oldenburg (Germany)
22/04 // Dirty Dancing -OS, Osnabrück (Germany)
24/04 // Jungle Club, Köln (Germany)
25/04 // Le Midland, Lille (France)
26/04 // P8, Karlsruhe (Germany)
27/04 // Kunstverein, Nürnberg (Germany)
29/04 // Club Wakuum, Graz (Austria)
11/05 // XI20, Vilnius (Lithuania)

Hellhookah have started playing live in the beginning of 2014. In 2016 their full-length album Endless Serpents was released by independent US label NoSlip Records on CDs and 180g LPs. During 4 active years band has played dozens of shows at various gigs and festivals around Europe, including Germany, Belgium, Finland, Croatia, Czech Republic, Slovakia, Hungary, Poland, Ukraine, Latvia, Estonia and Lithuania. Now Hellhookah is also working hard in studio recording their second full-length album.

https://www.facebook.com/Hellhookah/
http://www.hellhookah.com/
https://hellhookah.bandcamp.com/

Hellhookah, Endless Serpents (2015)

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Hellhookah Touring this Month in Europe

Posted in Whathaveyou on March 6th, 2017 by JJ Koczan

hellhookah

There was a raw charm at the heart of Hellhookah‘s 2015 debut album, Endless Serpents (review here), that seemed to come as a direct result of the band’s utter lack of frills. The Lithuanian doom traditionalists came right out with it. They weren’t afraid to cover Saint Vitus‘ “Born too Late.” Hell no. They flew that shit proudly, like any worthy flag should be flown. It was awesome. They were doomers playing doom. Doesn’t mean it was groundbreaking, but it does mean it was from the heart, and if it’s one or the other, I’ll take from the heart just about every single time.

They’ve been reportedly working on a second record for a while now. At least since it was announced last September that NoSlip Records had picked up Endless Serpents for a release. I don’t know when they’ll have it done and out, but it’ll be interesting to hear how they develop from the debut, whether they can bring an individual stamp to those classic influences or what vibes will rule the day.

We’ll find out when we get there. In the meantime, Hellhookah have some shows on the road this month they’re calling their ‘Twisted Mind’ tour. Dates and links follow here, as culled from the PR wire:

hellhookah tour

Lithuanian two-piece Doom Metal band HELLHOOKAH announces their Twisted Mind European Spring tour dates for this March. The tour includes Poland, Germany, Belgium and Netherlands.

Hellhookah are a Lithuanian two-piece band formed in 2012 by Arnas (guitars/bass/vocals) and Gintar? (drums).

HELLHOOKAH‘s first public appearance happened in 2014. In 2016 they signed US independent record label NoSlip Records and released their debut album „Endless Serpents“ which was pressed on CDs and LPs. Last year Hellhookah also kicked off touring around Europe including Germany, Finland, Poland, Estonia, Latvia and Ukraine. Now band is also working on their second full-length album.

HELLHOOKAH ‘Twisted Mind’ Tour dates:
16th March // Alternativa Club, Poznan, PL:
https://www.facebook.com/events/1850679118479086/

17th March // Tiefgrund, Berlin, DE:
https://www.facebook.com/events/741227769380012/

18th March // Roter Baum e.V., Dresden, DE:
https://www.facebook.com/events/1243230382403981/

21th March // Antwerp Music City, Antwerp, BE:
https://www.facebook.com/events/232748717188498/

22th March // The Cave, Amsterdam, NL:
TBA

25th March // 2KO?A Pub Motocyklowy, Warsaw, PL:
TBA

https://www.facebook.com/Hellhookah/
http:///www.hellhookah.com/
https://hellhookah.bandcamp.com/

Hellhookah, Endless Serpents (2015)

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Hellhookah Release Endless Serpents Vinyl; New Album in the Works

Posted in Whathaveyou on September 7th, 2016 by JJ Koczan

Doomly duo Hellhookah have issued their 2015 debut, Endless Serpents (review here), on vinyl through NoSlip Records. The same label previously handled a CD release of the traditionally-styled full-length, and a mere 300 copies of the LP version have been pressed up, which it’s pretty easy to imagine will go quickly given the response the album got when it first came out.

At the same time, Arnas and Gintar? have reportedly begun work on a follow-up to Endless Serpents that should presumably be ready to come out sometime in 2017. More details on that as I hear them (or it, as regards the album itself), but in the meantime, if you like large plastic platters, here’s the info for the Endless Serpents release, as sent down the PR wire:

hellhookah

HELLHOOKAH release “Endless Serpents” on LP

Hellhookah announces that their full-length debut album “Endless Serpents” is now available on vinyl. The release contains 180 gram audiophile classic black vinyl, 11×11 insert, reversed board cover and poly lined sleeve. LP is extremely limited to only 300 presses. “Endless Serpents” is also available in digital audio and CD.

You can get these records directly at their online store (https://hellhookah.bigcartel.com/) or their record company NoSlip Records (https://nosliprecords.bigcartel.com/).

Hellhookah are a Lithuanian Doom Metal band, formed in 2014 by Arnas (vocals/guitars/bass) and Gintar? (drums). Highly influenced by classic rock and oldschool metal music, Hellhookah are often classified as Traditional Doom Metal band, in vein of Saint Vitus, Pentagram, Witchfinder General, Cathedral, etc. Though, Hellhookah is also an experimental band because of their unusual two-piece line-up.

In 2016 Hellhookah signed independent US record label NoSlip Records, released their first album and started to tour around Europe. In a last few months they have played at some gigs and festivals around Germany, Poland and Ukraine. Now the band is working on their second album and are planning to tour around many more countries.

https://www.facebook.com/Hellhookah/
https://hellhookah.bigcartel.com/
http://www.helllhookah.com/
https://hellhookah.bandcamp.com/
https://nosliprecords.bigcartel.com/

Hellhookah, Endless Serpents (2015)

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Hellhookah Release Debut Album Endless Serpents

Posted in Whathaveyou on February 8th, 2016 by JJ Koczan

hellhookah

Lithuanian duo Hellhookah have released their debut album, Endless Serpents (review here), through NoSlip Records. Mostly. The seven-track, Tony Reed-mastered full-length is available now to stream and download through the label’s Bandcamp, and preorders are up for the jewel-case CD release, which is impending. No exact date yet on that physical manifestation, but the impression I’ve got is that it’s sooner than later.

Hellhookah have been pushing the album pretty hard, and the raw traditionalism they elicit in their doom is easy justification for that. If Reed‘s involvement wasn’t enough of a tie to the band, they round out Endless Serpents with a cover of Saint Vitus‘ crucial anthem, “Born too Late,” and while they’re pretty clearly still getting their bearings in terms of finding their niche within the overarching sphere of doom, they’re off to a solid start in that endeavor.

The band sent the following down the PR wire:

hellhookah endless serpents

Lithuanian Doom duo HELLHOOKAH reveals full album!

Lithuanian Doom duo HELLHOOKAH has just revealed their full album “Endless Serpents”. This publication consists of 7 pieces and its length is 35 minutes. Mixing was done by Vaidotas D. (Nyksta), mastered by Tony Reed (Mos Generator, Stone Axe) at HeavyHead Recording Co. who is also Saint Vitus‘s latest album “Lillie: F-65” producer. New cover artwork was designed by Aist? Vyšniauskait?.

In a very meantime “Endless Serpents” will be out on CDs. First run will be 500 jewel-cases along with 8-panel booklet filled with lyrics, photos and other information. The album is being published by independent US label NoSlip Records. You can already pre-order CDs from NoSlip Bigcartel or Bandcamp.

Tracklisting:
1. A Storm In The Hidden World 04:35
2. Endless Serpents 05:40
3. The Way 06:34
4. No Breaks 03:52
5. The Overman’s Eye 04:29
6. Free Fall ( Instrumental ) 03:23
7. Born Too Late ( Saint Vitus cover) 06:20

Hellhookah are a Lithuanian two-piece band formed in 2012 by Arnas (guitars/bass/vocals) and Gintare (drums).

https://www.facebook.com/Hellhookah/
http://www.hellhookah.com/
https://hellhookah.bandcamp.com/album/endless-serpents/
https://nosliprecords.bandcamp.com/album/endless-serpents/
http://nosliprecords.bigcartel.com/product/hellhookah-endless-serpents-cd/

Hellhookah, Endless Serpents (2016)

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Quarterly Review: Saviours, Dave Heumann, The Dead Nobodies, Old Man Lizard, Kalamata, Unimother 27, Electric Magma, Mane of the Cur, Major Kong, Hellhookah

Posted in Reviews on January 7th, 2016 by JJ Koczan

the obelisk quarterly review winter

This, I suppose, is where things get interesting. As I normally would’ve been putting these reviews together, my laptop decided it had apparently had too much of riffs and decided to unceremoniously shit the bed. Naturally, this is a bummer of considerable proportion. As to what it means to the rest of this Quarterly Review, I guess we’ll find out over the next two days. For now I’m using an old machine of The Patient Mrs.‘ which, among other charms, has no battery in it and can only run when plugged in. Hope that cable doesn’t come loose. A goodly portion of the music I was going to review in this and tomorrow’s batch, of course, is on my busted, hopefully-soon-to-be-repaired laptop, but with Bandcamps and the fact that it’s not my first time hearing any of these records, I should be able to get by. Still, an element of adventure. Unexpected and shitty. Whether it’s repair or replace, I do not anticipate it will be a cheap fix, so I’ll relieve stress the best way I know how, which is by reviewing 10 albums in a row.

Quarterly Review #31-40:

Saviours, Palace of Vision

saviours-palace-of-vision

Strange to think of the decade that has passed since Oakland dual-guitar four-piece Saviours offered up their first EP, Warship, and yet it’s difficult to imagine the sphere of underground heavy rock without them. Particularly on the West Coast, their skate-thrash-meets-thick-grooves has had a marked influence, and their fifth full-length, 2015’s Palace of Vision (also their debut on Listenable Records), affirms their hard-driving take on classic metal even as “Flesh of Fire” and “Cursed Night” show an acute melodic awareness, the latter in doom-caked guitars and a rolling groove that, for many bands, would be enough to base their entire sound. For Saviours, it answers the gallop of the prior “The Beast Remains” and precedes 6:38 closer “The Seeker,” a vast departure from how raw they once were, but another example of the righteousness that has held steady throughout their growth. They’re an easy band to take for granted, mostly because they’re so damn reliable.

Saviours on Thee Facebooks

Listenable Records

Dave Heumann, Here in the Deep

dave heumann here in the deep

The solo debut from underrated vocalist/guitarist Dave Heumann from likewise underrated Baltimore fuzz-folkers Arbouretum, Here in the Deep (on Thrill Jockey) basks in a glow of ’70s singer-songwriter intent, but tends to surprise with just how much is going on at any given moment. A solo album in name, it’s by no means minimal, even though it sometimes veers into guy-and-guitar methods, as on the sweet instrumental “Leaves Underfoot.” Elsewhere, arrangements of strings, drums, acoustic and electric guitars create a rich variety of mood and depth of mix, wistful on “Ides of Summer” and “Here in the Deep,” joyous on “Greenwood Side” and the pointedly psych-folk “Holly King on a Hill.” The seven-minute penultimate “Ends of the Earth” is as close as Heumann – who’s joined by a swath of players throughout, including the rest of Arbouretum on this track – comes to his main outfit stylistically, but by then the context is so much Here in the Deep‘s own and between that and the sonic clarity permeated all the while, it just becomes one more turn on an album that makes difficult ones seem effortless. Heumann remains a more accomplished songwriter than people know.

Dave Heumann on Thee Facebooks

Thrill Jockey Records

The Dead Nobodies, The Wake

the dead nobodies the wake

Between their underlying currents of grunge in the guitar, metal in the drums and an air of Foo Fighters in the vocals (“Blues in You”), Massachusetts trio The Dead Nobodies are up front about their ’90s influence. The 10-track, Tad Doyle-mixed/mastered The Wake is their third album behind 2014’s Return of the Tide and 2012’s Ride in with Death, and some of the material has been released by the band before on demos and other short offerings. Still, there’s an air of cohesion to the melodies that surface in “Somatic Complaints,” “Pancakes” and the later “Joel Returns.” Self-released on CD, the album eschews the trappings of genre – or at least of subgenre – for the most part and takes a more overarching approach to not-quite-metal, but what they’re doing seems to work for them, so I’m not inclined to argue. More hard rock than heavy rock for those inclined to split hairs, but accessible enough anyway.

The Dead Nobodies on Thee Facebooks

The Dead Nobodies on Bandcamp

Old Man Lizard, Old Man Lizard

old man lizard old man lizard

Making their debut on Heavy Psych Sounds, UK-based Old Man Lizard revisit a 2012 EP with what’s become their self-titled sophomore full-length. All the tracks from that five-song outing are included here, the order adjusted, and two more are added on in the closing duo “Craniopagus Parasiticus” and “A Gruesome Mess,” and what I don’t know is if the entire album was re-recorded, or it’s the old recording with two new songs tacked on, or all of it was recorded prior to the release of Old Man Lizard‘s 2014 debut LP, Lone Wolf vs. Brown Bear. It matters mostly because Old Man Lizard is good, and it’s a question of which came first to see how their progression is playing out, whether the techishred of “El Doctor” is the latest step or a first. Either way, the band skillfully brings together twanging riffs, neo-prog post-Mastodon crush and a swing that brings to mind the scope of Elder circa Dead Roots Stirring, sounding even more patient on the aforementioned “Craniopagus Parasiticus” than anything before it. If I continue to have questions about the release, the quality isn’t one of them.

Old Man Lizard on Thee Facebooks

Heavy Psych Sounds

Kalamata, You

kalamata you

An instrumental three-piece based in Hildesheim, Germany, Kalamata make their message pretty plain in the seven tracks of their debut album, You (originally released in 2014, with vinyl new from Pink Tank Records), which line up to form the sentence, “You have to die soon mother fucker.” The music is somewhat less aggressive, Peter Jaun leading the trio with open-spaced riffs as Maik Blümke fills those spaces — see “Have” — with an engaging rumble and drummer Olly Opitz holds tension until the gradual payoff hits. Never an easy thing for a band whose sound is by necessity based on dynamic to make a debut, but Kalamata pull off You without a second thought, making the centerpiece, “Die,” a highlight of classic semi-desert heavy rock that unfolds a patient linear build that leaves closer “Fucker” the task of rolling out the record’s largest nod. No doubt this material would make more of an impact live, but particularly on repeat listens, the depth of tone comes across well and the trio match their aggression to a crisp delivery.

Kalamata on Thee Facebooks

Pink Tank Records

Unimother 27, Frozen Information

unimother 27 frozen information

Italy’s futuristically named Unimother 27 – which sounds like the futurebot that raised some dystopian antihero protagonist of a novel/film franchise; I’m sure it’s a reference I’m too ignorant to know – is populated only by multi-instrumentalist and sometimes-vocalist Piero Ranalli. Ranalli, who also plays bass in Insider with his brother, Marco, progs out hard on the solo-project’s fourth full-length and first in eight years, Frozen Information (on Pineal Gland Lab). One expects a certain amount of indulgence on an album of keyboard-laden krautrock explorations, and “Clear Light Healing” certainly delivers on that, but from the opening “Moksha (to Huxley)” through the closing pair of “Hymn to the Hidden God” and “Brief Moments of Eternity,” which features an extended if vague spoken word from Ranalli, Frozen Information remains immersive and, with its quiet, maybe-programmed drums, hypnotic across its span. It is enduringly and endearingly weird, and experimental in a genuine way that most could only hope to be.

Unimother 27 on Thee Facebooks

Pineal Gland Lab

Electric Magma, Silverball

electric magma silverball

The wah that shows up in the second half of “Tad” on Toronto instrumental trio Electric Magma‘s seventh full-length, Silverball, has a distinct mark of Clutchitude to it, but the band owe more to the Fu Manchu pastiche of trad heavy fuzz. Karma to Burn are a name that comes to mind out of necessity more than direct comparison, but the three-piece of guitarist Tim Reesor, drummer Neil Lukewich-Pheaton and bassist Tryg Smith aren’t quite so straightforward, “The Oscillator” tossing a Sleep-style riff into its middle and the later “Sidebar” finding itself on funkier ground altogether. The eight-track/32-minute release seems to set pinball as its central theme, starting with the intro “Silverball” and ending with the harmonica’d “Multiball,” but more than that, they’re preaching a riff-led gospel that the converted should have no trouble getting on board with, the band putting up no pretenses as to doing anything more than having a good time.

Electric Magma on Thee Facebooks

Electric Magma website

Mane of the Cur, Three of Cups

mane-of-the-cur-three-of-cups

Portland, Oregon’s Mane of the Cur would seem to be making a reboot with the three-song Three of Cups EP, some shuffling of lineup establishing them as vocalist Melynda Amann, guitarist Shawn Mentzer, bassist Cory DeCaire, keyboardist “Nasty” Nate Baisch and drummer Blaine Burnham (ex-Lamprey). The five-piece outfit are quick to establish themselves somewhere between classic doom and cult rock, but while Three of Cups doesn’t have the most elaborate production I’ve heard this week, it seems to avoid a lot of the ’70s traditionalism that much of the style embraces so wholeheartedly. That’s not to say the gradually-deconstructed “Kiss of Neptune,” the lightly progressive “Prehistoric Bitch” and the noddingly ethereal “Foolish are Magic” don’t sound natural, just that they don’t sound like it’s 1972. This is to their credit, ultimately, since it only helps Three of Cups give a more individual impression overall, which can’t hurt leading to whatever the band decides to do next.

Mane of the Cur on Thee Facebooks

Mane of the Cur on Bandcamp

Major Kong, Galactic Cannibalism

major-kong-galactic-cannibalism

Polish instrumentalists Major Kong oversaw a vinyl release of their 2012 debut, Doom for the Black Sun (review here), in 2014 on Transubstans, but they’re once again working under their own banner for the four-song Galactic Cannibalism, a 24-minute (or thereabouts) riffpusher that’s set its controls for the heart of oblivion and is happy to tone-crush anything in its path. Guitarist Misiek, bassist Domel and drummer Bolek also released a split with Dopelord in 2015 on which the EP’s closer, “Magnetar,” also appeared, but Galactic Cannibalism has them all on their own, and unsurprisingly they nail it. They’re not doing anything outlandish stylistically, but they effectively conjure and capture big riffs and big nod, varying pace between “Supercluster,” “Diabolic Mind Control” and the mega-chugging “Morlock” to give a sense of flow, but keeping in mind the next plus-sized groove, which seems always to be right around the corner. With two full-lengths out, I’m a little surprised they went for a shorter release rather than a third album, but they make it hard to argue.

Major Kong on Thee Facebooks

Major Kong on Bandcamp

Hellhookah, Endless Serpents

hellhookah endless serpents

Lithuanian two-piece Hellhookah make their debut with the full-length Endless Serpents, a seven-track/35-minute collection of tracks that’s shy neither about showcasing its influences — it caps with a cover of Saint Vitus’ “Born too Late,” for example — nor about rolling molasses-thick grooves one into the next. Recording as guitarist/bassist/vocalist Arnas and drummer Gintare, they meter out dense tonality and traditional formulations in the mission-setting title-track, which follows the somewhat quicker opener “A Storm in the Hidden World.” Rhythmically, they add some shuffle to “No Brakes,” “The Overman’s Eye” and even the midsection of “The Way,” which is the longest cut here at 6:34 and presumably the end of what would be a vinyl side A, but the core sensibility and atmosphere of doom is maintained throughout, and as the instrumental “Free Fall” leads into that aforementioned take on “Born too Late,” there’s no doubt as to where Hellhookah’s heart lies. Formative and raw it may be, but Endless Serpents hits its marks as the beginning of the band’s progression.

Hellhookah on Thee Facebooks

Hellhookah on Bandcamp

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