Quarterly Review: Fuzz, Crippled Black Phoenix, Bethmoora, Khan, The Acid Guide Service, Vexing Hex, KVLL, Mugstar, Wolftooth, Starmonger

Posted in Reviews on December 23rd, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Day III of the Inexplicably Roman Numeralized Winter 2020 Quarterly Review, commence! I may never go back to actual numbers, you should know. There’s something very validating about doing Day I, Day II, Day III — and tomorrow I get to add a V for Day IV! Stoked on that, let me tell you.

You have to make your own entertainment these days, lest your brain melt like wax and drip from your nostrils.

Plurp.

Quarterly Review #21-30:

Fuzz, III

fuzz iii

Plenty of heavy rockers can come across sounding fresh. Most of the time all it takes is being young. In the case of go to site Writing. When you’re considering buying thesis proposal writing, it’s important that you choose someone reliable. We are that someone. We guarantee to hit your deadline and deliver a custom written paper (no plagiarism or reselling) and we pride ourselves on offering good value for money. We believe that our coupling of low price and the best writers makes us the best III, the third long-player from This Site : Buy essays online cheap — Buy cheap papers | Pay for essay writing • Essay writer service. Fuzz Enjoy the Best Personal Essays Online Services by Professional Writers. Buy Coursework at Affordable Prices by The Coursework UK and Get Top Grades for Charles Moothart, this websites For Hire. Looking for help with dissertation writing is a very popular choice among students. Because of how difficult dissertation structure writing is, and how many scholars struggle with it. You are not alone, and you also do not have to write this alone. You can hire the professional dissertation writers from StudentsAssignmentHelp.com that make your Ty Segall and Many Students have a query,who can do my assignment for me to Do your Assignment at type “basics for me Chad Ubovich — they sound like they just invented it. Dig the hard- Benefits Enjoyed When You Music Essay Phd Level from Us. We urge students from all over the world to make good use of our affordable writing services and buy a dissertation from us. You deserve the peace of mind we provide with the quality of service we offer. Your thesis could not be in safer hands as each dissertation we deliver goes through various processes to produce a high-quality paper Bowie of “Time Collapse” or the made-for-the-stage opener “Returning,” or the surf-cacophony of “Mirror.” Or hell, any of it. The combination of this band and producer Essay-Writing.net provides personalized, high-quality, and fast Hire Dissertation Writing Your services. High-school, college and university students are welcome to benefit from our offers. Request writing or editing help right now! Steve Albini — aka the guy you go to when you want your album to sound like your live show — is correct. That’s all you can say about it. From the ’70s snarl in “Nothing People” to the triumphant melody in the second half of “Blind to Vines” and the back and forth between gritty roll and fragile prog of “End Returning,” it’s an energy that simply won’t be denied. If Our reliable http://fanatka.com.ua/?how-to-write-an-a-research-paper service offers complete safety and professional integrity compared to hiring a freelance writer. Our competent experts are adept at writing a research paper and case study paper that is unique and written from scratch. They can prepare an essay draft twice as fast as a regular student. Have no doubts when it comes to the speed delivering quality essays by our Fuzz wanted to go ahead and do three or four more albums with Expert’s essay Homework For Preschool is what we can do the best! We know all the tricks and tips needed to perform outstanding written pieces. Every essay writer in the company is a qualified specialist with expertise in a certain field of study. It makes our essay help really professional and reliable. PaperHelpWriting.com always assigns an expert in a matching field of study to write your essay Albini at the helm in the next five years, that’d be just fine.

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Crippled Black Phoenix, Ellengæst

crippled black phoenix ellengaest

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Season of Mist website

 

Bethmoora, Thresholds

Bethmoora Thresholds

Copenhagen’s Bethmoora served notice in a 2016 split with Dorre (review here) and their debut full-length, Thresholds hone destructive lumber across four low-toned tracks that begin with “And for Eternity They Will Devour His Flesh” and only get nastier from there. One imagines being in a room with this kind of rumbling, maddeningly repetitive, slow-motion-violence noise wash and being put into a flight-or-fight panic by it, deer in doomed headlights, and all that, but even on record, Bethmoora manage to cull, and when their songs explode in tempo, as the opener does late in its run, or “Painted Man” does, that spirit is maintained. Each side of the LP is two tracks, and all four are beastly, pile-driver-to-the-core-of-the-earth heavy. “Keeper”‘s wash of noise has willful-turnoff appeal all its own, but the empty space in the middle of “Lamentation” is where they go in for ultimate consumption. And yeah. Yeah.

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Sludgelord Records on Bandcamp

 

Khan, Monsoons

khan monsoons

Khan‘s second album, Monsoons is a departure in form from 2018’s Vale, if not necessarily in substance. Heavy, psychedelic-infused post-rock is the order of business for the Melbourne trio either way, but as guitarist Josh Bills gives up playing synth and doing vocals to embark on an instrumental approach with bassist Mitchell Kerr (also KVLL) and drummer Beau Heffernan on this four-track/31-minute offering, the spirit is inescapably different. Probably easier to play live, if that’s a thing that might happen. Monsoons still has the benefit, however, of learning from the debut in terms of the dynamic among the three players, and Bills‘ guitar reaches for atmospheric float in “Orb” and attains it easily, as the midsection rhythm of the closing title-track nods at My Sleeping Karma and the back end of the prior “Harbinger” manages to shine and not sound like Earthless in the process, and quite simply, Khan make it work. The vocals/synth might be worth missing — and they may or may not be back — but to ignore the breadth Khan harness in little over half an hour would be a mistake.

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The Acid Guide Service, Denim Vipers

the acid guide service denim vipers

Jammy, psychedelic in parts, Sabbathian in “Peavey Marshall (and the Legendary Acoustic Sunn Band)” and good fun from the doomly rollout of 11-minute opener and longest cut (immediate points) “In the Cemetery” onward, the second full-length from Idaho’s The Acid Guide Service, Denim Vipers, brings considerable rumble and nod, but these guys don’t want to hurt nobody. They’ve come here to chew bubblegum and follow the riff, and they’re all out of bubblegum. Comprised on average of longer songs than 2017’s debut, Vol. 11 (review here), the four-tracker gives the trio room to branch out their sound a bit, highlighting the bass in the long middle stretch of the title-track while the subsequent “Electro-Galactic Discharge” puts its guitar solo front and center before sludge-rocking into oblivion, letting “Peavey Marshall (and the Legendary Acoustic Sunn Band)” pick up from there, which is as fine a place as any to begin a gallop to the end. Genre-based shenanigans ensue. One would hope for no less.

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Vexing Hex, Haunt

vexing hex haunt

Based in Illinois, Vexing Hex make their debut on Wise Blood Records with Haunt, and yes, playing catchy, semi-doomed, organ-laced cult rock with creative and melodic vocal arrangements, you’re going to inevitably run into some Ghost comparisons. The newcomer three-piece are distinguished by a harder edge to their impact, a theremin on “Planet Horror” and a rawer production sensibility, and that serves them well in “Build Your Wall” and the buildup of “Living Room,” both of which play off the fun-with-dogma mood cast by “Revenant” following the intro “Hymn” at the outset of Haunt. Not quite as progressive as, say, Old Man Wizard, there’s nonetheless some melodic similarity happening as bell sounds ensue on “Rise From Your Grave,” the title of which which may or may not be purposefully cribbed from the Sega Genesis classic Altered Beast. There’s a big part of me that hopes it is, and if Vexing Hex are writing songs about retro videogames, they sound ready to embark on a Castlevania concept album.

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Wise Blood Records on Bandcamp

 

KVLL, Death//Sacrifice

kvll death sacrifice

Proffering grueling deathsludge as though it were going out of style — it isn’t — the Melbourne duo KVLL is comprised of bassist/vocalist/guitarist Mitchell Kerr (also Khan) and drummer Braydon Becher. It’s not without ambient stretches, as the centerpiece “Sacrifice” shows, but the primary impression KVLL‘s debut album, Death//Sacrifice makes is in the extremity of crash and heavy landing of “The Death of All That is Crushing” and “Slow Death,” such that by the time “Sacrifice” ‘mellows out,’ as it were, the listener is punchdrunk from what’s taken place on the prior two and a half songs. There’s little doubt that’s precisely KVLL‘s intention here, as the cavernous screams, mega-lurch and tense undercurrent are more than ably wielded. If “Sacrifice” is the moment at which Death//Sacrifice swaps out one theme for another, the subsequent “Blood to the Altar” and nine-minute closer “Beneath the Throne” hammer the point home, the latter with an abrasive noise-caked finale worthy of standard-bearers Primitive Man.

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Mugstar, GRAFT

mugstar graft

Not that the initial droning wash of “Deep is the Air” or the off-blasted “Zeta Potential” and warp-drive freneticism in “Cato” don’t have their appeal — oh, they do — but when it comes to UK lords-o’-space Mugstar‘s latest holodeck-worthy full-length, GRAFT, it’s the mellow drift-jazz of the 12-minute “Ghost of a Ghost” that feels most like matter dematerialization to me. Side B’s “Low, Slow Horizon” answers back later on ahead of the motorik linear build in the finale “Star Cage,” but the 12-minute vibe-fest that is “Ghost of a Ghost” gives GRAFT a vastness to match its thrust, which becomes essential to the space-borne feel. It’s 41 minutes, still ripe for an LP, but the kind of album that has a genuine affect on mood and mindset, breaking down on a molecular level both and remolding them into something hopefully more evolved on some level through cosmic meditation. Fast or slow, up or down, in or out, it doesn’t ultimately matter. Nothing does. But there’s a moment in GRAFT where the one-skin-on-another thing becomes apparent and all the masks drop away. What’s left after that?

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Centripetal Force Records website

Cardinal Fuzz Records BigCartel store

 

Wolftooth, Valhalla

Wolftooth Valhalla

Hooks abound in power-stoner fashion throughout Indiana four-piece Wolftooth‘s second album, Valhalla, which roughs up NWOBHM clarity in early-Ozzy fashion without going overboard to one side or the other, riffs winding and rhythms charging in a way not entirely unlike some of Freedom Hawk‘s more recent fare, but with a melodic reach of its own and a dynamism of purpose that comes through in the songwriting. Grand Magus‘ metallic traditionalism might be an influence on a song like “Fear for Eternity,” but “Crying of the Wolfs” has a more rocking swagger, and likewise post-intro opener “Possession.” With tightly constructed songs in the four-to-five-minute range, Valhalla never feels stretched out more than it wants to, but “Molon Labe” pushes the vocals deeper into the mix for a bigger, more atmospheric sound, and subtle shifts like that become effective in distinguishing the songs and making them all the more memorable. Recently signed to Napalm after working with Ripple, Ice Fall, Cursed Tongue and Blackseed, they seem to be poised to pay off the potential here and in their 2018 self-titled debut (review here). So be it.

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Ice Fall Records BigCartel store

 

Starmonger, Revelations

starmonger revelations

Parisian riff-blaster trio Starmonger have been piecemealing tracks out for the last five years as a series of EPs titled Revelation, and the full-length debut, Revelations, brings these nine songs together for a 49-minute long-player that even in re-recorded versions of the earliest cuts like “Tell Me” and “Wanderer” show how far the band has come. It’s telling that those two close the record out while “Rise of the Fishlords” and “LĂ©thĂ©” from 2019’s Revelation IV open sides A and B, respectively, but older or newer, the band end up with a swath of stylistic ground covered from the more straightforward and uptempo kick of the elder tracks to the more progressive take of the newer, with plenty of ground in between. Uniting the various sides are strong performances and strong choruses, the latter of which would seem to be the thread that draws everything together. Whether or not it takes Starmonger half a decade to put out their next LP, one can hardly call their time misspent while listening to Revelations.

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Album Review: IAH, III

Posted in Reviews on September 14th, 2020 by JJ Koczan

iah iii

The instrumentalist, CĂłrdoba, Argentina-based three-piece of guitarist Mauricio Condon, bassist Juan Pablo Lucco Borlera and drummer JosĂ© LandĂ­n continue and impressive streak under the collective banner of IAH with III, their third overall release and second full-length behind 2018’s II (review here) and their 2017 self-titled EP (review here). They very clearly not only have an idea of what they’re going for in terms of their sound, but an awareness of what has worked for them leading up to this stage in their career, in terms both of aesthetic and practical considerations. III is easily the trio’s most expansive offering to-date. In its digital version, released on Sept. 11, III comprises six tracks and runs what might almost be a near-unmanageable 55 minutes were it not managed so fluidly, and finds the band continuing a collaboration sharing production duties with Mario Carnerero at 440 Estudio in CĂłrdoba, who engineered and mixed (Magnus Lindberg mastered).

This partnership would seem to have grown more familiar over time, as III not only progresses from where IAH were two years ago in terms of patience and exploratory reach, but brings forward the varied dynamic of their sound in more expansive ways. Beginning with the 11-minute “Uaset,” III unfolds with a summary of things to come, and in so doing brings together the swath of ground IAH proceed to cover, a slow emerging of fading in effects-guitar and a shhh of cymbal wash setting an immediately atmospheric backdrop for whatever will follow. It is nearly 90 seconds into the song before the first guitar line begins, and not until 1:51 that LandĂ­n‘s drums join it, and that spaciousness established at the outset is crucial to how the entire album that follows plays out. III sees IAH dig further into heavy post-rock even than did II, as Condon‘s guitar floats over the drums and bass across the early going of “Uaset,” but the progressive metal elements that made themselves felt last time out come through as well, and the moments of solidification — all three players coming together around a single progression for however long it might be — are all the more effective for the dream-state from which they seem to take hold.

“Uaset” brings its impact in its midsection and rolls out a deeply weighted nod and chug, but ultimately recedes again, and though some residual energy is retained, it is the float that wins out in the end, carrying into the more direct tonality and riff of “Raju,” which is the shortest piece on III at 6:25 and, for a time at least, seems to reverse the structure of the opener. ‘Quiet, loud, quiet’ becomes ‘loud, quiet, loud,’ but a fourth movement is added to the mix that renews the airy sound of “Uaset” in a way that “Raju” hasn’t yet tapped. This reinforces the notion of the two songs representing a companion-type structure, and indeed, the rest of III bears that out in symmetrical fashion. What would be side A is two tracks, likewise what would be sides B and C; each one bringing together a longer cut and a shorter one as “Uaset” and “Raju” have done, with “Cilene” (10:38) and “Ennui” (8:25) proceeding from the silence at the end of “Raju” and building outward from what the opening salvo has done in terms of melody and rhythm.

Starting III‘s centerpiece movement, “Cilene” makes a case for being the most outwardly heavy of the three longer pieces — though “Lo Que Hoy es Evidente” (11:19) still has something to say about it — and has a flow to mirror that at the record’s very beginning, if one that holds more tension in the drums. The speedier motion and turn-of-phrase in the guitar circa 3:45 would seem to call out Colour Haze‘s heavy psychedelia filtered through the full-toned precision of Elder, and should meet with no complaints from fans of either, but IAH nestle into harder-edged chug before “Cilene” is done, not quite turning to doom, but riding a slower groove to its logical dissolution before going back to ground, rebuilding, and dissipating again in the last three and half minutes of the song. They do this gracefully, unhurried, and with time left over for a few seconds of contemplative silence before “Ennui” begins, its insistent first-half drum pattern and sharper guitar/bass groove tapping into Pelican/Russian Circles territory as it moves forward, but smoothing out in its second half to a middle ground topped with a solo that’s anything but staid as the title might suggest and soon bursts forward again, only to pull back once more.

Given the departure from one-word titles for the closing pair of the aforementioned “Lo Que Hoy es Evidente” and “Una Vez Fue Imaginario” (7:07), one has to wonder if they’re not to be considered bonus tracks for the digital edition of the album or if pressing a physical version has yet to be worked out. I don’t know, but the change seems purposeful one way or the other. “Lo Que Hoy es Evidente” is the longest song on III and builds up in still-linear fashion more smoothly than “Uaset” such that it’s not until the guitar and bass drop out momentarily and fire back at the six-minute mark that the real push of the 11-minute song seems to be revealed. As an apex, it is particularly hard hitting, but maintains an edge of psychedelic wash as well, which eases the transition into the comedown at the finish, which seems to wink again at Colour Haze, and moves into the near-silence that begins “Una Vez Fue Imaginario” to close out the offering. It is another full build, but a fitting one for the end, as it shifts into a post-metallic sphere and features some howling sounds in the background that, indeed, might just be vocals, if it’s not my own imagination getting the best of me.

One way or the other, they close on one of their most crushing stomps, and finish cold, leaving the silence to do the work of residual ambience, which it does. One would be remiss not to note that III was tracked in June 2020, during lockdown for the COVID-19 pandemic, and studio pictures of IAH show them wearing masks while recording. Given some of the intimacy of the quiet stretches and the manner in which the more forceful side of the band seems to feed off them, it seems fair to wonder if maybe the global situation fed into the mood of the studio time at all. I don’t know that it did, but it’s hard to imagine it wouldn’t, at least in some way. The dynamic of changing volumes isn’t necessarily new for IAH, but they do bring these shifts with an overarching melancholic sensibility, perhaps not void of hope, but looking at it from a distance. And even if that interpretation is completely inaccurate, that these pieces would evoke the question stands as testament to III‘s power to move the listener. That also is something IAH have had since their beginnings just a few years ago, but never have they sounded more resonant.

IAH, III (2020)

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Fuzz to Release III Oct. 23; New Song Posted

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

The return after some five years of the Ty Segall-fronted heavy rockers Fuzz is only bound to find welcome, and freaks in the know will likewise nod approvingly at their choice of producer for their aptly-titled third record, III. Set to issue via In the Red Records, III is helmed by the esteemed Steve Albini, whose reputation for capturing a band’s live sound is second to none for good reason — for easy reference and to do yourself a favor more generally, go listen to Neurosis or Weedeater or any number of the other countless acts he’s produced whom you might’ve seen on a stage when that was a thing that happened.

As to what Albini might bring to Fuzz, they’re streaming the opening track “Returning” now, so it’s easy enough to get a sampling. Say, at the bottom of this post. All about convenience here.

Fresh off the PR wire:

fuzz iii

FUZZ announce new album on In The Red Records

Share new track “Returning”

One only knows one. Two is balanced therefore stagnant. III both active and reactive. Charles Moothart, Ty Segall and Chad Ubovich are FUZZ. FUZZ is three. And III has returned. Songs for all, and music for one.

III was recorded and mixed at United Recording under the sonic lordship of Steve Albini. Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave FUZZ the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for FUZZ — three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long you can hold on before you’re thrown off.

FUZZ
III
In The Red

Released 23rd October 2020

Tracklist
1. Returning
2. Nothing People
3. Spit
4. Time Collapse
5. Mirror
6. Close Your Eyes
7. Blind To Vines
8. End Returning

Three points reflected in three Mirrors; a pyramid of sonic destruction and psychic creation. Nothing People feed the roots while the freaks fly free in the treetops – Blind to Vines, Eyes Closed, Stuck in Spit, triumphing the Returning of beginnings and Ends Returning while beginning to see the Time Collapse. Love is the only way to annihilate hate, and Sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.

Engineered by Steve Albini
Assistant Engineer Scott Moore
Mixed by Steve Albini and Fuzz
Recorded and Mixed at United Recording August 22-30 2019
Cover Photography Denée Segall
Artwork Tatiana Kartomten
Layout Denée Segall
All songs written and arranged by Fuzz

https://www.facebook.com/tysegall666/
https://ty-segall.com/
https://www.facebook.com/In-The-Red-Recordings-39064159876/
https://intheredrecords.com/

Fuzz, “Returning”

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Bask Post “Rid of You” Video; III Release Tour Announced

Posted in Bootleg Theater on October 29th, 2019 by JJ Koczan

bask (Photo by Jamie Kay and Arlie)

Alright, so stop me if you’ve heard this one before, but the new Bask record is pretty good. Yes, I know. You have heard it before. From me. You heard me speculating on it when the Asheville, North Carolina-based four-piece announced in April they were recording with Matt Bayles, and again in August after the album was done. Then came the “New Dominion” video (posted here) with the release date. Then I went ahead and actually reviewed III (review here) in the last Quarterly Review because I liked that single and wanted an excuse to dig further ahead of the Nov. 8 arrival. Then I got the chance to do the premiere of opening track “Three White Feet” (posted here) like the day after the review went live, and I wasn’t gonna say no to that. And now here we are. There’s another video, and I’m posting about that too.

The central thesis of all these posts is pretty much the same, and yes, I’m willing to admit that. Hey, you know that new Bask record III that’s coming out Nov. 8 on Season of Mist? It’s a good ‘un. You might wanna chase it down if you’re feeling some righteous modern heavy prog with a penchant for melody and just a touch of Southern edge via Baroness and the like. There you go. That’s all. That’s all it’s ever been.

It’s like the equivalent of being at the show and being the guy who says to someone from the band, “Hey man, great set.” That’s who I am. Often. Cool songs. New stuff sounds good.

Some new tour dates came down the PR wire. They’re back in Brooklyn on Nov. 23 and I should probably go even though that’s like the worst week ever and I’m apparently terrified of venues I’ve never been to before. Anxiety, man. Woof.

What were we talking about?

Enjoy the video:

Bask, “Rid of You” (official video)

Appalachian psych rockers BASK have shared the official music video for the new song “Rid of You.” The track is taken from the band’s upcoming album, ‘III,’ which will be released worldwide on November 8 via Season of Mist, making it their debut to the label. The video, which was created in analog format by Yovozol, can be seen HERE.

BASK comment: “We are excited to announce the third single, ‘Rid of You,’ from our upcoming album, ‘III.’ We’ve collaborated with analog video artist Yovozol to bring you this visual accompaniment. We hope you enjoy.”

‘III’ can be pre-ordered in various formats HERE.

BASK have previously announced a run of headlining North American dates in support of ‘III,’ including a hometown show on the day of the record release. The full itinerary is as follows:

BASK “III” Album Release Tour:
11/08: Asheville, NC @ The Mothlight **album release show**
11/14: Atlanta, GA @ 529
11/15: Columbia, SC @ Columbia Museum of Art
11/16: Greenville, SC @ The Radio Room
11/17: Richmond, VA @ Banditos
11/19: Buffalo, NY @ Mohawk Place
11/20: Ottawa, ON @ Cafe Dekcuf
11/21: Montreal, QC @ Turbo Haus
11/22: Cambridge, MA @ Hong Kong
11/23: Brooklyn, NY @ Gold Sounds
11/24: Baltimore, MD @ The Depot **Matinee Show**
11/25: Philadelphia, PA @ Kung Fu Necktie
11/26: Kent, OH @ The Outpost Concert Club
11/27: Detroit, MI @ Sanctuary
11/29: Charlotte, NC @ Snug Harbor
11/30: Johnson City, TN @ The Hideaway

Line-up:
Jesse Van Note – bass
Scott Middleton – drums
Ray Worth – guitar
Zeb Camp – guitar/vocals

Guest Musicians:
Jed Willis – Pedal Steel on “Maiden Mother Crone”
Meg Mulhearn – Violin on “Maiden Mother Crone”

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Lucifer Announce Southern Tour; Lucifer III Due in March

Posted in Whathaveyou on October 17th, 2019 by JJ Koczan

lucifer

You know, with the reception Lucifer have gotten over their time together, you’d think Nicke Andersson was in The Hellacopters or something. Or that vocalist Johanna Sadonis came out of hotly-tipped but ultimately shortlived cult duo The Oath or whatever. Oh wait. Okay, so maybe it’s not much of a mystery while the heavy underground has embraced them with open arms, but the work they’re doing speaks for itself. First and foremost, they’ve busted their collective ass touring in Europe and North America, and their records — the latest being last year’s Lucifer II (review here) — have only been met with increasing fervor. Gosh. Maybe they’re a good band or something.

New record, Lucifer III, will be out in March 2020 through Century Media, but somehow I’ll always think of them as a Rise Above band. Maybe that’s just me.

Info from the PR wire:

lucifer tour

LUCIFER ANNOUNCE NORTH AMERICA PART III HEADLINE TOUR

Heavy-rock band LUCIFER have just announced their third and final leg of their North American headline tour today. The band will hit the road starting on January 15th in Memphis, TN and ending on January 26th in Tampa, FL. For more information and to purchase tickets for the band’s upcoming tour dates, visit LUCIFER’s Facebook page.

LUCIFER has been touring nonstop in support of their recent full-length album Lucifer II. The band recently wrapped a tour with The Hellacopters for select European shows in May and their first two North American headline tours. Additionally, the band has performed at festivals like Metal Days, Bukta Festival, and Beyond The Gates. They have previously performed at KISS Cruise, Psycho Las Vegas, Desertfest, Hellfest, Muskelrock, Sweden Rock, and Freak Valley.

The group, led by Johanna Sadonis and Nicke Andersson, celebrated massive success in 2018 with the release of Lucifer II, turning heads with their addictive Sabbath-ian hard rock. The album charted at #40 on the German charts, #1 on the Swedish vinyl and hard rock charts, and #2 on the physical album charts. The record is available on vinyl, CD and digitally HERE.

“Oh my Lord! We are incredibly thrilled to announce that the mighty Philip Shouse (bass for Ace Frehley / guitar for Gene Simmons) will join LUCIFER on bass in the US on our upcoming Southern tour! What a legend! Don’t miss this! Tickets go on sale this Friday.”

LUCIFER have commenced work on Lucifer III, which is set for release March 2020. Stay tuned for more details on the forthcoming release.

LUCIFER NORTH AMERICA PART III TOUR 2019
January 15 – Memphis, TN – The Hi Tone
January 16 – Dallas, TX – Three Links
January 17 – Austin, TX – Come And Take It Live
January 18 – Houston, TX – Secret Group
January 19 – New Orleans, LA – Santos
January 21- Birmingham, AL – The Nick
January 22 – Atlanta, GA – 529
January 23 – Tampa, FL – Crowbar
January 24 – Jacksonville, FL – 1904 Music Hall
January 25 – Miami, FL – Churchill’s Pub
January 26 – Orlando, FL – Will’s Pub

LUCIFER is
Johanna Sadonis – vocals
Nicke Andersson – drums
Alexander Mayr – bass
Martin Nordin – guitar
Linus Björklund – guitar

https://www.facebook.com/luciferofficial/
https://www.instagram.com/lucifertheband/
https://kingsroadmerch.com/lucifer/
http://www.centurymedia.com/
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Lucifer, “California Son” official video

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Bask Premiere “Three White Feet” from III

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

bask (Photo by Jameykay and Arlie Huffman)

North Carolina’s Bask release their new album, III, on Nov. 8. It is, as you might expect, their third album, as well as being their debut on Season of Mist after issuing 2017’s Ramble Beyond through tastemaking Euro imprint This Charming Man Records and their 2014 debut, American Hollow, through Crimsoneye and Wonder Records. If what you’re reading in that is a steady progression, then you’re getting the underlying message that applies as well to the sound of the band, which reaches to new heights of melodic accomplishment on III‘s seven-track/36-minute run. I’ll say that it’s not often I review an album and then the same week do a track premiere from that same record. Generally I’d try to coordinate those things together or, having already reviewed it, take a pass on the premiere and cover something else. In the case of Bask, it’s an exception for a record that I think is worth the extra focus.

III isn’t and shouldn’t be shy about its pastoral aspects, and that is something that begins as the Asheville four-piece of guitarist/vocalist Zeb Camp (who since he’s apparently the only one singing does a lot of self-harmonizing on the recording, I suppose), guitarist Ray Worth, bassist Jesse Van Note and drummer Scott Middleton get the proceedings underway with “Three White Feet.” As the opening song premieres below, it’s interesting to note that it was also the first song that came together when they started writing this batch of material. Mostly because it’s so complex. One might guess at the riff that kicked them off — you’ll know it when you hear it, and subsequent side A installments “New Dominion” and “Stone Eyed” operate similarly in solidifying around a capital-‘r’ Riff, while centerpiece “Rid of You” centers more around the melody, and “Noble Daughters I: The Stave” recalls much-missed NC natives Caltrop in its vocal, “Noble Daughters II: The Bow” pays off itself as well as its predecessor and, really the whole album, and “Maiden Mother Crone” exits on a banjo-fied note — but the rest of the track brims with rich melody and progressive stylistic turns that indeed foreshadow a large part of III‘s personality. If this was how they started off, then clearly they knew what the fuck they were doing going into making the album.

Their quote on the subject, aside from that useful info nugget, is pretty short, but you’ll find that below, as well as the preorder link for III courtesy of Season of Mist. I won’t delay you further from the song.

Please enjoy:

Bask, “Three White Feet” official track premiere

Bask on “Three White Feet”:

“We are excited to bring you ‘Three White Feet,’ a song of devotion and revenge. It’s track one on our upcoming album ‘III,’ and the first to take shape during the writing process.”

Taken from the forthcoming album, ‘Bask III.’ Release Date: November 8, 2019.

Order here: https://smarturl.it/BaskIII

Bask is:
Jesse Van Note – bass
Scott Middleton – drums
Ray Worth – guitar
Zeb Camp – guitar/vocals

III Guest Musicians:
Jed Willis – Pedal Steel on “Maiden Mother Crone”
Meg Mulhearn – Violin on “Maiden Mother Crone”

Bask on Thee Facebooks

Bask on Bandcamp

Bask on Instagram

Bask website

Season of Mist on Thee Facebooks

Season of Mist on Instagram

Season of Mist website

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Quarterly Review: Monkey3, Asthma Castle, The Giraffes, Bask, Faerie Ring, Desert Sands, Cavalcade, Restless Spirit, Children of the SĂĽn, Void King

Posted in Reviews on September 30th, 2019 by JJ Koczan

quarterly review

Call two friends and tell them to tell two friends to tell two friends, because the Quarterly Review has returned. This time around, it’s 50 records front to back for Fall 2019 and there are some big names and some smaller names and a whole lot of in between which is just how I like it. Between today and Friday, each day 10 album reviews will be posted in a single batch like this one, and although by Wednesday this always means I’m totally out of my mind, it’s always, always, always worth it to be able to write about so much cool stuff. So sit tight, because there’s a lot to get through and, as ever, time’s at a premium.

Thanks in advance for keeping up, and I hope you find something you dig.

Quarterly Review #1-10:

Monkey3, Sphere

monkey3 sphere

It’s a full-on Keanu Reeves “whoa” when opening track “Spirals” kicks in on Monkey3‘s sixth album, Sphere (released by Napalm), and that’s by no means the last one on the cinematic six-tracker. The long-running Swiss mostly-instrumentalists have been consistently, persistently underappreciated throughout their career, but whether it’s the aural scope of guitar and keys in “Axis” or the swaps between intensity and sprawl in 14-minute closer “Ellipsis,” their latest work is consuming in its sense of triumph. Even the four-minute “Ida,” which seems at first like it’s barely going to be more than an interlude, finds a thread of majestic cosmic groove and rides it for the duration, while the proggy immersion of “Prism” and the harder drive of “Mass” — not to mention that shredding solo — make the middle of the record anything but a post-hypnosis dip. I won’t pretend to know if Sphere is the record that finally gets the Lausanne four-piece the respect they’ve already well deserved, but if it was, one could only say it was for good reason. Blends of heft, progressive craft, and breadth are rarely so resonant.

Monkey3 on Thee Facebooks

Napalm Records website

 

Asthma Castle, Mount Crushmore

Asthma Castle Mount Crushmore

When you call your record Mount Crushmore, you need to bring it, and much to their credit, Baltimorean sludge-rocking five-piece Asthma Castle do precisely that on their debut full-length. Issued through Hellmistress Records, the 37-minute/six-track outing is a wordplay-laced pummeler that shows as much persona in its riffing and massive groove as it does in titles like “The Incline of Western Civilization” and “The Book of Duderonomy.” Trades between early-Mastodonic twists and lumbering sludge crash add a frenetic and unpredictable feel to pieces like the title-track, while “Methlehem” trades its plod for dual-guitar antics punctuated by metallic double-kick, all the while the vocals trade back and forth between growls, shouts, cleaner shouts, the odd scream, etc., because basically if you can keep up with it, Asthma Castle wouldn’t be doing their job. One shudders to think of the amount of Natty Bo consumed during its making, but Mount Crushmore is a wild and cacophonous enough time to live up to the outright righteousness of its title. If I graded reviews, it would get a “Fuckin’ A+,” with emphasis on “fuckin’ a.”

Asthma Castle on Thee Facebooks

Hellmistress Records website

 

The Giraffes, Flower of the Cosmos

the giraffes flower of the cosmos

Some day the world will wake up and realize the rock and roll powerhouse it had in Brooklyn’s The Giraffes, but by then it’ll be too late. The apocalypse will have happened long ago, and it’ll be Burgess Meredith putting on a vinyl of Flower of the Cosmos in the New York Library as “FAKS” echoes out through the stacks of now-meaningless tomes and the dust of nuclear winter falls like snow outside the windows. The band’s tumultuous history is mirrored in the energy of their output, and yet to hear the melody and gentle fuzz at the outset of “Golden Door,” there’s something soothing about their work as well that, admittedly, “Raising Kids in the End Times” is gleeful in undercutting. Cute as well they pair that one with “Dorito Dreams” on this, their seventh record in a 20-plus-year run, which has now seen them find their footing, lose it, find it again, and in this record and songs like the masterfully frenetic “Fill up Glass” and the air-tight-tense “Like Hate” and “Romance,” weave a document every bit worthy of Mr. Meredith’s attention as he mourns for the potential of this godforsaken wasteland. Oh, what we’ll leave behind. Such pretty ruins.

The Giraffes website

The Giraffes on Bandcamp

 

Bask, III

bask iii

In the fine tradition of heavy rock as grown-up punk, North Carolina’s Bask bring progressive edge and rolling-Appalachian atmospherics to the underlying energy of III, their aptly-titled and Season of Mist-issued third album. Their foot is in any number of styles, from Baroness-style noodling to a hard twang that shows up throughout and features prominently on the penultimate “Noble Daughters II – The Bow,” but the great triumph of III, and really the reason it works at all, is because the band find cohesion in this swath of influences. They’re a band who obviously put thought into what they do, making it all the more appropriate to think of them as prog, but as “Three White Feet” and “New Dominion” show at the outset, they don’t serve any aesthetic master so much as the song itself. Closing with banjo and harmonies and a build of crash cymbal on “Maiden Mother Crone” nails the point home in a not-understated way, but at no point does III come across as hyper-theatrical so as to undercut the value of what Bask are doing. It’s a more patient album than it at first seems, but given time to breathe, III indeed comes to life.

Bask on Thee Facebooks

Season of Mist on Bandcamp

 

Faerie Ring, The Clearing

fairie ring the clearing

Listening to the weighty rollout of opening cut “Bite the Ash” on Faerie Ring‘s debut album, The Clearing (on King Volume Records), one is reminded of the energy that once-upon-a-time came out of Houston’s Venomous Maximus. There’s a similar feeling of dark energy surging through the riffs and echoing vocals, but the Evansville, Indiana, four-piece wind up on a different trip. Their take is more distinctly Sabbathian on “Lost Wind” and even the swinging “Heavy Trip” lives up to its stated purpose ahead of the chugging largesse of finisher “Heaven’s End.” They find brash ground on “The Ring” and the slower march of “Somnium,” but there’s metal beneath the lumbering and it comes out on “Miracle” in a way that the drums late in “Lost Wind” seem to hint toward on subsequent listens. It’s a mix of riff-led elements that should be readily familiar to many listeners, but the sheer size and clarity of presentation Faerie Ring make throughout The Clearing makes me think they’ll look to distinguish themselves going forward, and so their first record holds all the more potential for that.

Faerie Ring on Thee Facebooks

King Volume Records on Bandcamp

 

Desert Sands, The Ascent EP

Desert Sands The Ascent

Begun as the solo-project of London-based multi-instrumentalist/vocalist Mark Walker and presently a trio including Louis Kinder and Jonathan Walker as well, Desert Sands make their recorded debut through A Records with the three-song/half-hour The Ascent EP, a work of psychedelic existentialism that conveys its cosmic questioning even before the lyrics start, with an opening riff and rhythmic lurch to “Are You There” that seems to throw its central query into a void that either will or won’t answer. Does it? The hell should I know, but The Ascent proves duly transcendent in its pulsations as “Head Towards the Light” and 11:45 closer “Yahweh” — yeah, I guess we get there — bring drifting, languid enlightenment to these spiritual musings. The finale is, of course, a jam in excelsis and if drop-acid-find-god is the narrative we’re working with, then Desert Sands are off to a hell of a start as a project. Regardless of how one might ultimately come down (and it is, by my estimation at least, a comedown) on the question of human spirituality, there’s no denying the power and ethereal force of the kind of creativity on display in The Ascent. One will wait impatiently to see what comes next.

Desert Sands on Thee Facebooks

A Recordings on Thee Facebooks

 

Cavalcade, Sonic Euthanasia

Cavalcade Sonic Euthanasia

Say what you want about New Orleans or North Carolina or wherever the hell else, Midwestern sludge is another level of filth. To wit, the Carcass-style vocals that slice through the raw, dense riffing on “Aspirate on Aspirations” feel like the very embodiment of modern disillusion, and there’s some flourish of melodic guitar pluck there, but that only seems to give the ensuing crunch more impact, and likewise the far-back char of “Freezing in Fire” as it relates to the subsequent “Dead Idles,” as Cavalcade refute the trappings of genre in tempo while still seeming to burrow a hole for themselves in the skull of the converted. “Noose Tie” and “We Dig Our Own Graves” tell the story, but while the recording itself is barebones, Cavalcade aren’t now and never really have been so simple as to be a one-trick band. For more than a decade, they’ve provided a multifaceted and trickily complex downer extremity, and Sonic Euthanasia does this as well, bringing their sound to new places and new levels of abrasion along its punishing way. Easy listening? Shit. You see that eye on the cover? That’s the lizard people staring back at you. Have fun with that.

Cavalcade on Thee Facebooks

Cavalcade on Bandcamp

 

Restless Spirit, Lord of the New Depression

restless spirit lord of the new depression

Long Island chug-rockers Restless Spirit would seem to have been developing the material for their self-released debut album, Lord of the New Depression, over the last couple years on a series of short releases, but the songs still sound fresh and electrified in their vitality. If this was 1992 or ’93, they’d be signed already to RoadRacer Records and put on tour with Life of Agony, whose River Runs Red would seem to be a key influence in the vocals of the nine-track/39-minute offering, but even on their own, the metal-tinged five-piece seem to do just fine. Their tracks are atmospheric and aggressive and kind, and sincere in their roll, capturing the spirit of a band like Down with somewhat drawn-back chestbeating, “Dominion” aside. They seem to be challenging themselves to push outside those confines though in “Deep Fathom Hours,” the longest track at 7:35 with more complexity in the melody of the vocals and guitar, and that suits them remarkably well as they dig into this doomly take on LOA and Type O Negative and others from the early ’90s NYC underground — they seem to pass on Biohazard, which is fine — made legendary with the passage of time. As a gentleman of a certain age, I find it exceptionally easy to get on board.

Restless Spirit on Thee Facebooks

Restless Spirit on Bandcamp

 

Children of the SĂĽn, Flowers

Children of the Sun Flowers

An eight-piece outfit based in Arvika, Sweden, which is far enough west to be closer to Oslo than Stockholm, Children of the SĂĽn blend the classic heavy rock stylizations of MaidaVale, first-LP Blues Pills and others with a decidedly folkish bent. Including an intro, their The Sign Records debut album, Flowers, is eight track and 34 minutes interweaving organ and guitar, upbeat vibes and bluesier melodies, taking cues from choral-style vocals on “Emmy” in such a way as to remind of Church of the Cosmic Skull, though the aesthetic here is more hippie than cult. The singing on “Sunschild” soars in that fashion as well, epitomizing the lush melody found across Flowers as the keys, guitar, bass and drums work to match in energy and presence. For a highlight, I’d pick the more subdued title-track, which still has its sense of movement thanks to percussion deep in the mix but comes arguably closest to the flower-child folk Children of the SĂĽn seem to be claiming for their own, though the subsequent closing duo of “Like a Sound” and “Beyond the Sun” aren’t far off either. They’re onto something. One hopes they continue to explore in such sĂĽnshiny fashion.

Children of the SĂĽn on Thee Facebooks

The Sign Records on Thee Facebooks

 

Void King, Barren Dominion

void king barren dominion

Having made their debut with 2016’s There is Nothing (discussed here), Indianapolis downtrodden heavy rock four-piece Void King come back for a second go with Barren Dominion (on Off the Record Label), a title of similar theme that finds them doom riffing through massive tonality on “Burnt at Both Ends,” asking what if Soundgarden played atmospheric doom rock on “Crippled Chameleon” — uh, it would be awesome? yup — and opening each side with its longest track (double immediate points) in a clearly intended vinyl structure hell bent on immersing the listener as much as possible in the lumber and weight the band emit. Frontman Jason Kindred adds extra burl to his already-plenty-dudely approach on “Crippled Chameleon” and closer “The Longest Winter,” the latter with some harmonies to mirror those of opener “A Lucid Omega,” and the band around him — bassist Chris Carroll, drummer Derek Felix and guitarist Tommy Miller — seem to have no trouble whatsoever in keeping up, there or anywhere else on the eight-song/46-minute outing. Topped with striking cover art from Diogo Soares, Barren Dominion is deceptively nuanced and full-sounding. Not at all empty.

Void King on Thee Facebooks

Off the Record Label BigCartel store

 

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Bask Post “New Dominion” Video; III out Nov. 8

Posted in Whathaveyou on September 16th, 2019 by JJ Koczan

bask (Photo by Jamie Kay and Arlie)

Asheville’s Bask have set a Nov. 8 release for their Season of Mist debut album, III, and posted a video for the track “New Dominion” from the record. Amid shimmering guitar and fervent underlying chug speaking to the tension that plays out rhythmically in progressive fashion, the four-piece offer crash and melody alike, precise and their delivery but not impatient in going about their building movement. It’s modern in the post-Baroness sense, but less hued to that identity outright in its noodling, and, frankly, less pretentious. That’s certainly a welcome aesthetic shift, and the interplay of guitar layers here and vocals overtop bodes well for digging into the rest of the full-length, which is still a month and a half away, but will no doubt be led into with more teaser audio along the way. In the meantime, the colors in the video for “New Dominion” feel exceedingly well earned, so dig in at the bottom of this post.

III details follow, courtesy of the PR wire:

bask iii

BASK Unveil New Album Details, Reveal Music Video

Psychedelic rock formation BASK will be releasing their third studio album, aptly titled ‘III,’ on November 8 via Season of Mist, making it their debut to the label. The effort was recorded and mixed by Matt Bayles (Pearl Jam, Mastodon, Minus The Bear, etc.). The album art and track-listing can be found below.

In conjunction with the announcement, BASK has premiered the first single, New Dominion,” along with a kaleidoscopic new music video. Watch and listen at THIS LOCATION.

BASK comment: “We bring you our premiere single and video for ‘New Dominion.’ We’ve waited anxiously to share these songs and stories with you. We hope you enjoy listening as much as we enjoyed writing and recording.”

‘III’ can be pre-ordered in various formats HERE.

Tracklist:
1. Three White Feet (05:53)
2. New Dominion (04:28)
3. Stone Eyed (04:17)
4. Rid of You (04:40)
5. Noble Daughters I: The Stave (05:49)
6. Noble Daughters II: The Bow (06:16)
7. Maiden Mother Crone (04:40)
Total: 0:36:03

Line-up:
Jesse Van Note – bass
Scott Middleton – drums
Ray Worth – guitar
Zeb Camp – guitar/vocals

Guest Musicians:
Jed Willis – Pedal Steel on “Maiden Mother Crone”
Meg Mulhearn – Violin on “Maiden Mother Crone”

https://www.facebook.com/basknc
https://www.instagram.com/baskband/
https://basknc.bandcamp.com/
https://www.facebook.com/seasonofmistofficial
https://www.instagram.com/seasonofmistofficial/
https://shopusa.season-of-mist.com/

Bask, “New Dominion” (official video)

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