Caskets Open to Release Concrete Realms of Pain on Wise Blood & Seeing Red Records

Posted in Whathaveyou on February 24th, 2021 by JJ Koczan

caskets open (Photo by Perttu Salo)

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There are references to acts below like  Dissertation Only Phd - work with our writers to receive the excellent review following the requirements Stop getting unsatisfactory marks with these Carnivore and  how to head a personal statement http://visioservices.franche-comte.fr/?paying-for-education-essay Uk do i title my college application essay write my dissertation uk online In Solitude and I heard shades of Professional link for non-profits, schools and businesses. High record of success. Trusted. Qualified. Misfits when I made my way through as well, but these guys are four records deep as they’re starting to hit home, so don’t be surprised when it comes through with an identity of its own either.

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PR wire has it like this:

caskets open concrete realms of pain

Caskets Open – Concrete Realms of Pain – Wise Blood & Seeing Red

For 14 years, Finnish doom trio Caskets Open have written songs rife with strife and dark-souled riffs. Their fourth LP “Concrete Realms of Pain” emerged from the wasteland of a pandemic summer as the band’s brooding masterwork. Caskets Open’s evocative compositions conjure the frailty of the crestfallen ballads of Type O Negative and Danzig. Meanwhile, there’s also a simmering snarl of hardcore punk that raises a chalice to Peter Steele’s Carnivore. Throughout the years, Caskets Open has warmed up the stage for bands as awesomely diverse as Church of Misery, Wolves in the Throne Room, and Primitive Man. Bonded by a mutual love for this album, Seeing Red Records and Wise Blood Records have brought the songs stateside to celebrate this stunning doom achievement.

Originally released in March 2020 when COVID struck worldwide, Finnish misfits CASKETS OPEN released the album Concrete Realms of Pain quietly on Nine Records (Poland) via CD/Digital. When listening to this record you may recall the dirge of Type O Negative, the vibe & aesthetic of early Danzig, and the melancholic emptiness of country-mates In Solitude. There is probably a bunch more you will pick out as they seem to flirt with post punk and there are certainly moments that lean heavy into the hardcore punk realm, but with that said, it’s along the same lines as Type O’s harder moments or even Peter’s previous work in Carnivore. CASKETS OPEN not only blend all of these influences brilliantly, but in such authentic fashion I’d swear these songs were written between ’89-’91!

Recorded and mixed 2019 at Tonehaven Recording Studio by Tom Brooke. Mastered 2019 by James Plotkin. Front cover and band photo by Perttu Salo.

PREORDER Vinyl / Cassette:
Seeing Red Records (U.S. & Canada): https://casketsopen-fi.bandcamp.com/album/concrete-realms-of-pain
OR shop.seeingredrecords.com
Wise Blood Records (Cassette): https://wisebloodrecords.bandcamp.com/

Track Listing:
1. Four Shrines
2. Riding on a Rotting Horse
3. Homecoming
4. Tunnel Guard
5. White Animal
6. Tadens Tolthe
7. Blossom
8. Soul Stained Glass
9. Pale Hunter

Line-up
Timo Ketola – bass, vocals
Antti Ronkainen – guitars
Pyry Ojala – drums

Caskets Open, “Tunnel Guard” official video

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Desert Lord to Release Symbols This Fall; Title-Track Video Posted

Posted in Whathaveyou on August 13th, 2020 by JJ Koczan

Look carefully at that discography — or at least kind of carefully — and you’ll note that it’s been six years since Finnish doom rockers  Essay Empire is a leading firm in the UK to do your essay efficiently. Just tell us, “please write my Critical Thinking College Students” and get a top-quality paper at cheap. Desert Lord released their full-length debut,  Informing students on the best possible method of buying blog here from reputable websites offering only high-quality papers in all subjects To the Unknown. The forthcoming  Write My Religion Paper - forget about your fears, place your order here and get your top-notch project in a few days Benefit from our Symbols, which will be issued through  Argument Research Papers For Sale - Hire the professionals to do your homework for you. Perfectly crafted and custom academic papers. experienced writers engaged Under a Serpent Sun Records as a vinyl/DL-only offering (shout to my fellow CD fan Jose Humberto; we’re a dying breed you and I), is preceded by a video for the title-track that you can see below. It’s noteworthy that with a sub-five-minute runtime, “Symbols” is shorter than anything that appeared on the first record, but as to how that might play out across the record as a whole, I couldn’t say, as I haven’t heard it.

Nevertheless, would you be surprised if I told you the “Symbols” video comes loaded with visual metaphor? I certainly hope not. Blending cinematic and band-performance elements, it’s a fitting presentation to the thick-toned, roll-riffed cut, with just an underlying touch of more extreme metal. You’ll hear it.

Announcement and video follow here, from the PR wire:

desert lord

Desert Lord – Symbols

Desert Lord releases a music video of a new song from the forthcoming record

Finnish Doom/Stoner/Heavy metal band Desert Lord will release a new album ’Symbols’ in autumn from which the self titled opening track is taken from.

The album is a follower to the debut album ’To the Unknown’ released in 2014, which attracted a lot of positive reception from both the media and listeners. The band has been preparing the upcoming album for a long time in the depths of the rehearsal room and the recordings have taken place at the Animalhouse studio. The album will be released on LP, digitally and on streaming services by Under a Serpent Sun Records.

The music video is directed by Henri Tondi.

Runner: Antti Askolin
Actor: Asko Laine
Set assistants: Antti Jouhten, Jesse Bollström
Set artist: Konsta Ojala
Set designer: Samuli Juopperi
Art designer: Kaamanen
Director and Camera operator: Henri Tondi
Editor: Samuli Juopperi

Special thanks to Kalasataman seripaja, Valofirma & co.

Desert Lord Discography:
2020 – Symbols LP (Under a Serpent Sun Records, julkaistaan syyskuussa 2020)
2014 – To the Unknown CD (Under a Serpent Sun Records)
2011 – Salvation 7″ (Under a Serpent Sun Records)

Desert Lord are:
Janne – Guitar
Mika – Drums
Sampo – Vox
Roni – Bass

https://facebook.com/desertlorddoom
https://desertlorddoom.bandcamp.com
https://www.instagram.com/desertlord_band

Desert Lord, “Symbols” official video

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Mercury Circle Set Aug. 14 Release for The Dawn of Vitriol; Teaser Video Posted

Posted in Whathaveyou on June 19th, 2020 by JJ Koczan

mercury circle

Alright, so the teaser got me. I guess I didn’t read the whole press release before I clicked on the link to check out the video and I thought it was going to be a whole song, then when it faded out just as it seemed like everything was about to kick in, I kind of got annoyed at it. Because I couldn’t hear more. The teaser totally worked. It doesn’t always, but yeah, pretty much nailed me this time.

Finland’s Mercury Circle, Aug. 14, first EP, The Dawn of Vitriol, on Noble Demon and The Vinyl Division. Members of Swallow the Sun, the way, way, way underrated Hallatar and a host of others. Preorders/pre-saves are up now. And yeah, the teaser sounds pretty cool.

You’ll find that below. Just don’t expect the whole song.

From the PR wire:

mercury circle the dawn of vitriol

MERCURY CIRCLE (feat. members of SWALLOW THE SUN) sign worldwide record deal with Noble Demon and announce first EP!

Noble Demon is proud to announce the newest signing to their eclectic artist roster: MERCURY CIRCLE, the brand new project by ICONCRASH’s and SWALLOW THE SUN’s Jaani Peuhu, has signed a worldwide deal with the German record company! Dark metal infused with powerful synth/electro waves and doom – Helsinki, Finland based MERCURY CIRCLE is creating a diverse offering of atmospheric and darkly music where the songs differ wildly in expression and sonic aesthetics. Truly a genre of its own, grabbing the listener’s attention while establishing their very own kind of “New Doom”.

Says Jaani Peuhu about the signing:

“We are so excited about these news! I was on a North American tour with Swallow the Sun supporting Children of Bodom and we shared a bus with Wolfheart. One day I was chatting with Tuomas Saukkonen about our future plans and he told me about this new label who will release the Dawn of Solace album. I have known Tuomas since he started with Before the Dawn because I produced their first two albums and I know that he knows what he is doing. Always. I’d already forgotten the conversation we had, but a few months later I was talking about the Mercury Circle album with an A&R of one of my fav labels and he said that Noble Demon would be a perfect label for us because I want to do something fresh and fearless with this band. No rules and 100% artistic freedom. Our agent then contacted Patrick and he instantly understood my vision and we have been a team since.”

Furthermore he comments: “Noble Demon does not care about social media numbers or how many gigs we have played. They were willing and excited to start an adventure with a band who were still working with their first demos. That is rare these days when nothing is certain in the music industry. All that matters to me and Noble Demon is the quality of the art.”

Already preparing for their first full length record for late 2020, today MERCURY CIRCLE announced the release of “The Dawn Of Vitriol”, the band’s first EP and a fantastic preview of what to follow. To be released on August 14th on Noble Demon (Digital) and The Vinyl Division (Vinyl + Digipack CD), make sure to check out the official trailer and a first appetizer for “The Dawn Of Vitriol”, streaming here:

Two times Finnish grammy award nominated producer, songwriter and musician Jaani Peuhu, who joined SWALLOW THE SUN in the year of 2019 and has also worked with various multiplatinum-selling Finnish pop artists and metal acts like Before The Dawn, Lord of the Lost, Thunderstone and Hallatar, continues to stir up the scene with his brand new and unique sounding project, MERCURY CIRCLE.

On the official landing-page you can already NOW give permission to have a release saved to your streaming library or added to your playlist as soon as it is out. So no need to mark your calendar anymore! You will also find the videos streaming and links to physical pre-orders at THIS LOCATION

Tracklist:
01. Oil Of Vitriol
02. The Beauty Of Agony
03. Black Flags
04. The Last Fall
05. New Dawn

MERCURY CIRCLE are:
Jaani Peuhu – Vocals, Guitars, Synths (Iconcrash, Swallow the Sun, Hallatar)
Jussi Hämäläinen – Guitars, Synths, Backing vocals (Hanging Garden, The Chant)
Juppe Sutela. – Guitars (To/Die/For)
Ande Kiiski – Bass (Sleep of Monsters, Rytmihäiriö)
Juuso Raatikainen- Drums (Swallow the Sun)

https://www.facebook.com/mercurycircleofficial
https://www.instagram.com/mercurycircleband
http://nobledemon.com
https://fb.me/nobledemonrecords
https://www.youtube.com/c/NobleDemon
https://www.instagram.com/nobledemonrecords/
https://snd.click/nobledemon
https://nobledemon.bandcamp.com/
https://www.tiktok.com/@nobledemonrecords
https://sptfy.com/4Oow
http://facebook.com/TheVinylDivision/

Mercury Circle, The Dawn of Vitriol teaser

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Superfjord Release For the Moment Vol. 1 Live Album

Posted in Whathaveyou on June 16th, 2020 by JJ Koczan

superfjord

Am I the only one who looks at live albums with a kind of wistfulness now? Like, “Oh yeah, I remember when concerts were a thing.” It’s not like it’s been years or anything. Certainly in my life I’ve got a few months without going to a show before, but I guess there’s something about the shows not even happening that makes the difference. Finland’s Superfjord, who released the stellar All Will Be Golden (review here) through Svart in 2018, are beginning a new live series they’re calling For the Moment, focusing as they apparently do when onstage on improv and exploration. For the Moment Vol. 1 is streaming at the bottom of this post and is on Bandcamp, Spotify and I assume all the rest.

It makes for quite a moment:

superfjord for the moment vol 1

New live release series from Superfjord

Improvisation in live performance has always been at the heart of Finnish cosmic psych-rockers Superfjord. Following the release of the band’s well-received second album (All Will Be Golden / Svart Records 2018), in concert the band found themselves gradually tipping the balance between composed and freeform music, evermore in favour of the latter.

For The Moment, vol. 1 is the first release in a digital series of live recordings that aims to capture Superfjord at their purest, in a way no studio recordings are able to. Volume 1 features excerpts – or captured Moments – from the band’s January 2020 concert at Helsinki’s G Livelab. The venue’s state-of-the-art audio fidelity and cozy atmosphere allowed the band an ideal opportunity to chase after that chakra-opening critical mass, where band and audience travel together through no one knows what exactly.

As its name implies, the new release series is all about what happens in the Moment. Enjoy.

For The Moment, vol. 1 is available on all major streaming platforms and as a digital download on Bandcamp.

1. Moment 1 10:09
2. Moment 2 11:00
3. Rainbow 08:03
4. Moment 3 11:22

Superfjord – For The Moment, vol. 1:
Sampo Fagerlund: drums, percussion
Mikko Kapanen: vocals, guitars
Juho Ojala: vocals, keyboards, synthesizers
Jussi Ristikaarto: vocals, guitars, electronics, percussion
Teemu Soininen: bass
Olavi Töyli: tenor saxophone, percussion
Jukka Hyvärinen: recording, mixing, mastering
Rami Mursula: cover art

https://open.spotify.com/album/6gcpzxaxaUfZxKfwEULTIp
http://superfjord.bandcamp.com
www.facebook.com/superfjord
www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords

Superfjord, For the Moment, Vol. 1 (2020)

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Caskets Open Premiere “Tunnel Guard” Video from Concrete Realms of Pain LP

Posted in Bootleg Theater on March 6th, 2020 by JJ Koczan

caskets open (Photo by Perttu Salo)

Finland’s Caskets Open release their new album, Concrete Realms of Pain, on March 20 through Nine Records. It is the depressive Helsinki three-piece’s fourth full-length in a tenure that dates back to 2007, and it brings together nine songs for 46 minutes that alternate between willful slog and outright thrashing punk. With little more notice than a grunt from bassist/vocalist Timo Ketola, the drums of Pyry Ojala and the riffs of Antti Ronkainen might take off at any moment and speedily complement the downer movement of a cut like the opener “Four Shrines” or the later and especially grueling “Tadens Tolthe” — which goes from minimalist crawl to Misfits-style brashness — with a rush of raw adrenaline.

The more-melodic-but-also-screamy “Homecoming” and decidedly midtempo “Tunnel Guard,” which follows, find some measure of balance between the two extremes as laid out in “Four Shrines” and all-go second cut “Riding on a Rotten Horse,” but Concrete Realms of Pain continues to bring in a variety of sonic elements, be it the Type O Negative-style bass fuzz on “White Animal,” the chug and starts and stops of “Blossom,” and the melo-punk-into-noise-wash procession of “Soul Stained Glass” ahead of the building finale “Pale Hunter,” which moves from the ground up in increasingly aggro fashion.

There are shades of the rich history of Finnish doom to be heard here and there among the other aspects of the band’s persona,caskets open concrete realms of pain but Caskets Open have clearly established parameters for their sound and work effectively in pushing forward one side, the other, or in some cases, both at the same time. It works well for them throughout Concrete Realms of Pain in creating an atmosphere that’s never quite lush, but neither afraid to incorporate or cast off melody as the song requires, whichever song it might be. In the three tracks that top six minutes — “Four Shrines,” “Tadens Tolthe” and “Pale Hunter” — they’re able to find room to flesh out the journey from beginning to end more than, say, “Tunnel Guard,” which though it gets more aggressive vocally in its second half and Ketola tosses in one of the record’s several effective “ough” grunts, largely holds to its central pace and style around that.

Nothing against either approach — if anything, the diversity of the material is one of Concrete Realms of Pain‘s greatest strengths; it is a less predictable album because of it — but though the album itself is longer than was its 2017 predecessor, Follow Nothing, its songs seem shorter on average than anything Caskets Open have done before, which speaks to an interesting cohesion taking hold in their execution, perhaps even a shifting of focus to more traditionalist songcraft. No matter. In the center of the centerpiece, at the midpoint of “White Animal,” it’s still that bass fuzz getting the band’s point across.

Doom is engaged, internalized, reformed and deployed, and 13 years on from their formation, Caskets Open righteously hold onto a volatile sensibility that makes Concrete Realms of Pain as exciting as it sometimes seems barebones. It is a doom record, to be sure, but it nonetheless forces one to ask themselves exactly what that means and how that is judged. Righteous.

The video for “Tunnel Guard” is premiering below. Please have at it. PR wire info for Concrete Realms of Pain follows.

Enjoy:

Caskets Open, “Tunnel Guard” official video

“Tunnel Guard” from Caskets Open’s fourth full-length album “Concrete Realms of Pain”. Recorded and mixed at Tonehaven Recording Studio by Tom Brooke. Mastered by James Plotkin. Shot and edited by Sakari Rinta-Valkama.

Finnish Doom Lords Caskets Open will release Concrete Realms of Pain, the trio’s fourth album, March 20 on Nine Records.
Suicide plans in a nocturnal ski-jump tower, existential anxiety in a bleak sports bar, long walks in the shadows of the Central Park, Concrete Realms of Pain is a journey into experiences of loss and human suffering. Icicle sharp guitar leads guide the listener through sorrowful doom metal to gnarly hardcore punk parts. And of course the songs are enveloped by the band’s trademark buzzing bass sound. Caskets Open have outdone themselves on Concrete Realms of Pain.

Concrete Realms of Pain was recorded and mixed at Tonehaven Recording Studio by Tom Brooke. It was mastered by James Plotkin.

Track Listing:
1. Four Shrines
2. Riding on a Rotting Horse
3. Homecoming
4. Tunnel Guard
5. White Animal
6. Tadens Tolthe
7. Blossom
8. Soul Stained Glass
9. Pale Hunter

Line-up
Timo Ketola – bass, vocals
Antti Ronkainen – guitars
Pyry Ojala – drums

Caskets Open on Thee Facebooks

Caskets Open on Instagram

Caskets Open on Bandcamp

Nine Records on Thee Facebooks

Nine Records on Bandcamp

Nine Records website

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Orbiter to Release Debut EP The Deluge Next Week

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

Following up on their announcement last November of the single Bone to Earth, Finnish heavy five-piece Orbiter have now put out word that their debut EP, a four-tracker titled The Deluge, will be out on Jan. 29. Rest assured, I have no frickin’ idea what day it is as I write this, but when I take the millisecond to glance downward at the calendar, it says that’s next week, so there you go. Quick turnaround.

“Bone to Earth” will lead off the EP, and its rolling groove is welcome to be sure. Orbiter‘s take is in a place between heavy rock and doom, and Carolin Koss‘ vocals highlight an edge of psychedelia in the guitar, but that only makes the overall outing richer in sound. The Deluge‘s scope might be familiar to experienced heads, but that does nothing to make it less enjoyable, particularly in the righteously atmospheric eight-minute closer “In Echoes.” Admittedly, I’m still digging into the release, but that’s an immediate standout.

One to keep an eye on. Maybe mark your calendar. Set a reminder. Do the thing. Get involved. Make your way. Blah blah blah. Whatever, it’s right on. You like music, right?

Dig:

orbiter (photo by Pauli Bostrom)

Finnish doom metal band Orbiter to release debut EP “The Deluge” on January 29, 2020

The Finnish doom metal band Orbiter will release their debut EP The Deluge on Wednesday, 29 January. The four-song EP is a blend of heavy riffing, atmospheric psychedelia, and soaring vocals. The central theme of the record is human nature and its contradictions: over and over again people’s aspirations towards wisdom are in danger of being drowned under the waves of their own greed. The EP has been mastered by Brad Boatright (Audiosiege), one of the most renowned mastering engineers in the industry worldwide.

Orbiter released a pre-single Bone to Earth in late November. In addition to the Finnish media, the song also received international attention in Germany, Spain, France, and America.

Founded at the turn of the year 2014-2015, the band has been influenced by the genre’s founder Black Sabbath, 90s stoner bands like Kyuss, and 21st century doom bands. Additional influences have been drawn from psychedelic and progressive rock.

Orbiter’s new vocalist Carolin Koss joined the band last April. She’s an artist, filmmaker, and singer originally from Germany, and now residing in Finland. This is Orbiter’s first record with Koss. The band has previously released three singles, most recently Anthropocene in early 2019.

Upcoming gigs (in Finland)
6.2. Lepakkomies, Helsinki
10.4. Ravintola Cactus, Helsinki

Orbiter: The Deluge
1. Bone to Earth
2. Astral Racer
3. Orchids
4. In Echoes

Orbiter
Carolin Koss – Vocals
Alexander Meaney – Guitar
Jere Remes – Guitar
Tuomas Talka – Bass
Sami Heiniö – Drums

https://www.facebook.com/orbiterconnection
https://www.instagram.com/orbiterband/
https://orbiterconnection.bandcamp.com/

Orbiter, “Bone to Earth”

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Orbiter Announce New Single “Bone to Earth” Due out Nov. 28

Posted in Whathaveyou on November 27th, 2019 by JJ Koczan

Orbiter (photo by Pauli Bostrom)

Not the kind of thing I usually say when I put up a track with a news post, but the song at the bottom here, which comes from Orbiter‘s 2019 split with Roadog (review here), doesn’t really do much to represent where the Helsinki five-piece are coming from on their new single, “Bone to Earth.” Sure, the new cut still has some of those haze-doom underpinnings — a feeling of psychedelic immersion set to big-feeling riffly-roll derived in part from “Witchcult Today” but transmogrified into something less willfully cartoonish, but with vocalist Carolin Koss making her debut in the band, it’s nonetheless a significant change that’s taken place, and it has an effect on their sound of course. For what it’s worth, I’ve heard the new song — it’s out tomorrow, so you know, not really so much advance listening there — and it’s awesome. Also of note is the uptick in the production of the drums. The snare sounds right on in the new track.

Promises of good things to come? Here’s hoping. We’ve got a whole new decade arriving in a little over than a month. Time to start filling it with killer tunes.

From the PR wire:

orbiter bone to earth

Orbiter – New single ‘Bone to Earth’ out on November 28!

Founded at the turn of the year 2014-2015, the band has been influenced by the genre ancestor Black Sabbath, 90s stoner bands like Kyuss, and 21st century doom bands. Additional influences have been drawn from psychedelic and progressive rock.

Now Orbiter is releasing new music! Bone to Earth single will be released on Thursday 28 November. The song is a pre-release from the band’s upcoming debut EP The Deluge, which will come out on January 29.

Bone to Earth is a song about the duality of human nature, which is self-destructive and yet longing for wisdom. The song’s unhurried and heavy riffing blends hypnotically with the voice of the new vocalist, Carolin Koss, who joined the band in April. Koss is an artist, filmmaker and singer originally from Germany, and now residing in Finland.

The upcoming four-song EP contains previously unrecorded material from the band’s earlier days as well as newer songs composed with Koss. Orbiter has previously released three singles, most recently Anthropocene in early 2019.

Upcoming gigs (in Finland)
30.11.19 Ravintola La Barre, Joensuu
11.1.20 UUS HOI SIE, Lappeenranta
10.4.20 Ravintola Cactus, Helsinki
23.5.20 Henry’s Pub, Kuopio

Orbiter
Carolin Koss – Vocals
Alexander Meaney – Guitar
Jere Remes – Guitar
Tuomas Talka – Bass
Sami Heiniö – Drums

https://www.facebook.com/orbiterconnection
https://www.instagram.com/orbiterband/
https://orbiterconnection.bandcamp.com/

Orbiter, “Anthropocene”

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Review & Full Album Stream: The Lone Madman, Let the Night Come

Posted in audiObelisk, Reviews on October 22nd, 2019 by JJ Koczan

the lone madman let the night come

[Click play above to stream Let the Night Come by The Lone Madman in its entirety. Album is out Oct. 25 on Saturnal Records.]

With the melodic grandeur of Candlemass, the grim moral certitude of Reverend Bizarre and a patient-but-intense severity behind their execution across four mostly-extended tracks of darkened doom, Helsinki, Finland’s The Lone Madman offer an unconventional take on the genre’s traditional elements with their Saturnal-issued debut LP, Let the Night Come. A dual-guitar four-piece with Turkka Inkilä (also vocals) and Juuso Raunio handling the downtrodden riffery, Veera Vallinkoski on bass and Leevi Lönnrot on drums, there isn’t much about the group on paper that would make one necessarily expect anything crazy from the 42-minute proceedings. They’ve been together for five years, released a single and their Dreary Task EP in 2016, have played shows mostly around their hometown and are very clearly dug into doom as a foundation for what they do. Fine. Certainly there are worse places to start, but unless one has a particular fetish for Finnish doom — which would be understandable — there’s not much to immediately catch the brain. No gimmick to speak of. Even when the flute shows up in “Häxan,” it feels reasonable. But The Lone Madman nonetheless subtly bring together shades of NWOBHM self-righteousness with doom’s utter disaffection in a way that strikes a surprisingly individualized note. The gang shouts in “The Downfall” feel to my East Coast US ears derived from Type O Negative, while some of Inkilä‘s melodies on vocals bring to mind a Finnfolk-infused vision of underground metal that’s a tradition unto itself, apart from doom or anything else.

The Lone Madman thrive in this context, offering little by way of letup in terms of the emotional and spiritual downerism being showcased. From the catchy opening provided by the title-track to the plotted lead in the first half of closer “House of Mourning” before a tempo kick ignites a midsection charge — leading, naturally, to the final slowdown acting as the apex of the song — this is not drink-a-beer-and-ride-a-motorcycle doom, or if it is, it’s with the addendum of being miserable while doing so. Perhaps helping distinguish Let the Night Come from some of its traditionalist forebears (Reverend Bizarre notwithstanding) is the fact that the material feels purposefully longform. The penultimate “Häxan” (7:29) is the only inclusion under 11 minutes long, while “Let the Night Come” (11:04),” “The Downfall” (11:27) and “House of Mourning” (12:47) each seem to push deeper into the spiritual miasma in which the band are, well, not quite reveling — that would imply some kind of celebration — but certainly enamored. This I guess leads to another impressive aspect of Let the Night Come, particularly as The Lone Madman‘s debut album, in that it presents itself in this emotional mire and down-down-down existentialist position, but it isn’t a drag to hear. Of course that’s owed to the songwriting generally, and also to the band’s will to throw in a curve every now and again, usually on a one-per song basis.

the lone madman

That’s maybe how you wind up with the gang shouts on “The Downfall,” the flute on “Häxan,” later Valborgian shouts and the faster solo that tops the (relative) thrust in “House of Mourning.” With “Let the Night Come” at the outset, The Lone Madman set a working foundation for themselves by giving their audience a straightforward look at their style, with a strong presence from Inkilä on vocals and hints at layering of melodies, crashing riffs and flourish of softer complementary meanderings that enhance the overarching impact of that to which they invariably lead, i.e. more doom. I wouldn’t suggest The Lone Madman — yes, all four of them — sat down and decided they needed a way to change up each track on the album just a little bit, but following an instinct for what a given song needs in its arrangement isn’t something to be ignored in a band’s sound. Especially on their first record. So as Let the Night Come unfolds, it sees the band making these decisions with clarity and purpose, resulting in a whole that’s even richer than it would otherwise be, tense in its execution, but using that to help convey its emotional state, not beating the listener over the head with its depression diagnosis as some modern melodic doom can do, but finding a ground that expresses such a state on multiple levels. The changes from song to song, while minute on the bigger scale of the album itself — it’s not like at some point they put the guitars down and pick up a lute; though if they did I bet they could make that work — bolster the underlying affect.

At the same time, there’s a formative feel to Let the Night Come as well, as though this instinct is really just beginning a larger exploration of style and intent and that, yeah, The Lone Madman may get those lutes yet, or at least a kantele. Or maybe just some keyboard. Either way, the ground they lay out on these tracks holds the potential for future statements even as they make their own in the present, bringing a weight of atmosphere as much as tone while remaining mindful of its roots and striving toward something more individual. There’s little else one could reasonably ask of a debut album, and though living in a culture of mass shootings, an American might raise an eyebrow at a moniker like The Lone Madman, it’s worth keeping in mind that Finland, by contrast, had three such sprees between 2008 and 2013, and for what it’s worth, the band give no outward signs of being fascinated with political extremism of any sort. With the storytelling of “Häxan” perhaps as an exception, they seem more concerned with inner turmoil and alienation, and though their sound is cold and isolated, its nascent outward reach demonstrates a will to progress that one hopes The Lone Madman pursue as they move forward. As it is, they find a balance where they need one and thereby secure a place for themselves to proceed however they should desire to do so. Future prospects are exciting, but present accomplishments shouldn’t be overlooked on that account either.

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