Quarterly Review: Emma Ruth Rundle & Thou, Spaceslug, Malsten, Sun Crow, Honeybadger, Monte Luna, Hombrehumano, Veljet, Witchrider, Devil Worshipper

Posted in Reviews on December 28th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

New week, same Quarterly Review. Today is the next-to-last round for this time, though once again, I look at the folders of albums on my desktop and the CDs and LPs that have come in and I realize it could easily go longer. I never really caught up from the last QR. I guess it’s been that kind of year. In any case, more good stuff today, so sit tight and enjoy. If you didn’t find anything last week that stuck out to you, maybe today’s your day.

Quarterly Review #51-60:

Emma Ruth Rundle & Thou, May Our Chambers Be Full

emma ruth rundle thou may our chambers be full

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Emma Ruth Rundle on Thee Facebooks

Thou on Instagram

Sacred Bones Records website

 

Spaceslug, Leftovers

spaceslug leftovers

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Spaceslug on Thee Facebooks

Spaceslug on Bandcamp

 

Malsten, The Haunting of SilvÄkra Mill

malsten The Haunting of Silvakra Mill

Malmö-based four-piece Malsten make their full-length debut on Interstellar Smoke Records with the four-song/44-minute The Haunting of SilvĂ„kra Mill, and in so doing show an immediate command of post-Pallbearer spaciousness and melodic-doom traditionalism. Their lumber is prevalent and engrossing tonally on opener “Torsion” (10:36), uses silence effectively on “Immolation” (10:24), and seems to find a place between Warning and Lord Vicar on “Grinder” (9:02) ahead of the epic-on-top-of-epics summary in closer “Compunction” (13:54), which finds Malsten having reserved another level of heavy to keep as their final statement. So be it. Very heavy and worthy of as much volume as you can give it, The Haunting of SilvĂ„kra Mill is an accomplished beginning and heralds significant potential on the part of what’s to come from Malsten. I’d watch this band do a live stream playing this record front-to-back. Just saying.

Malsten on Thee Facebooks

Interstellar Smoke Records webstore

 

Sun Crow, Quest for Oblivion

Sun Crow Quest for Oblivion

A significant undertaking of progressive heavy and noise rock, Sun Crow‘s Quest for Oblivion is among the most ambitious debut albums I’ve heard in 2020, but there’s nothing it sets for itself in terms of goals that it doesn’t accomplish, as vocalist Charles Wilson flips between clean melodies and effective screams atop the riffs of guitarist Ben Nechanicky, the bass of Brian Steel and Keith Hastreiter‘s drums. Somebody’s gonna sign these guys. Even at 70 minutes, Quest for Oblivion, from its post-apocalyptic standpoint, aesthetic cohesion, fluid songcraft and accomplished performance, is simply too good to leave without a proper 2LP release. Individualized in atmosphere though working with familiar-enough elements, it is an album that makes it joyously difficult to pick apart influences, unleashing an initial burst of four longer tracks before giving way (albeit momentarily) to “Fear” and the outlying, brazenly Motörheady “Nothing Behind” before returning to cosmic heavy in “Hypersonic” and the 11-minute “Titans,” which uses its time just as well as everything else that surrounds. Ironic that a record that seems to be about a wasteland should bring so much hope for the future.

Sun Crow on Thee Facebooks

Sun Crow on Bandcamp

 

Honeybadger, Pleasure Delayer

honeybadger pleasure delayer

It doesn’t take Honeybadger long to land their first effective punch on their debut LP, Pleasure Delayer, as the hook of opener/longest track (immediate points) “The Wolf” hits square on the jaw and precedes an atmospheric guitar outro that leads into the rest of the album as a closer might otherwise lead the way out. A product of Athens’ heavy rock boom, the four-piece distinguish themselves in fuzzy tones and an approach that comes right to the edge of burl and doesn’t quite tip over, thankfully and gracefully staving off chestbeating in favor of quality songcraft on “The Well” and the engagingly bass-led “Crazy Ride,” from which the initially slower, bluesier “Good for Nothing” picks up with some Truckfighters, some 1000mods and a whole lot of fun. Side B’s hooks are no less satisfyingly straightforward. “That Feel” feels born for the stage, while “Laura Palmer” makes a memorable chorus out of that Twin Peaks character’s slaying, the penultimate “Holler” feels indeed like the work of a band trying to stand themselves out from a crowded pack and “Truth in the Lie” caps mirroring the energy of “Good for Nothing” but resounding in a cold finish. Efficient, hooky, smoothly executed. There’s nothing one might reasonably ask of Pleasure Delayer that it doesn’t deliver.

Honeybadger on Thee Facebooks

Honeybadger on Bandcamp

 

Monte Luna, Mind Control Broadcast

monte luna mind control broadcast

Released name-your-price as a benefit for the venue The Lost Well in Monte Luna‘s hometown of Austin and derived from a CvltNation-sponsored livestream, the three-song Mind Control Broadcast follows 2019’s Drowners’ Wives (review here) and is intended as a glimpse at their impending third LP, likely due in 2021. That record will be one to look forward to, but it’ll be hard to trade out the raw bludgeon of “Blackstar” — the leadoff here — for another, maybe-not-live-recorded version. True, the setting doesn’t necessarily allow for the band to bring in guests like they did last time around or to flesh out melodies in the same way, but the sound is brash and thrilling and lets “Rust Goliath” live up to its name in largesse, while saving its nastiest for last in “Fear the Sun,” the glorious bassline of which it feels like a spoiler even mentioning for someone who hasn’t heard it yet. 22 of the sludgiest minutes you’re likely to spend today.

Monte Luna on Thee Facebooks

Monte Luna BigCartel store

 

Hombrehumano, Crepuscular

hombrehumano crepuscular

As satisfying as the laid-back-heavy desert rock flow of “Rolito” is, and as well done as what surrounds on Hombrehumano‘s 2019 debut album, Crepuscular, turns out to be in its 53-minute run, it’s in the longer pieces like the Western “Puerto Gris” or the post-Brant Bjork “Metamorfosis” that they really shine. That’s not to take away from the opening instrumental “Nomada” that establishes the tones and sets the atmosphere in which the rest of the record takes place, or the nod of “Primaveras de Olvido,” and certainly the fuzz-boogie and percussion of “Ouroboro” shine in a manner worthy of being depicted on the cover, but the Argentinian four-piece do well with the extra time to flesh out their material. But, either way you go, you go. Hombrehumano craft sweet fuzz and spaciousness on “Puerto Gris” and answer it back later in “Zombakice” and add twists of percussion and acoustics and vocal effects — never mind the birdsong — on closer “Del Ensueño.” Es un ejemplo mĂĄs de lo que le falta a la cultura gringo al no adorar fuertemente a los sudamericanos.

Hombrehumano on Thee Facebooks

Hombrehumano on Bandcamp

 

Veljet, Viva El Diablo

veljet viva el diablo

Even my non-Spanish-speaking ass can translate Viva el Diablo, the title of Mexican instrumentalist three-piece Veljet‘s debut album. Initially released by the band in March 2020, it was subsequently reissued for physical pressing with a seventh track, “Leviatan,” added, bringing the runtime to a vinyl-ready 37 minutes. The apparently-devil-worshiping title-cut is still the longest at a doomly eight minutes, but though the production is fairly raw, Veljet‘s material taps into a few different impulses within the heavy rock sphere, offsetting willfully repetitive riffing in “El DĂ­a de las Manos” with scorching solo work while “Jay Adams” — presumably named in homage to the Dogtown skater — pulls some trad-metal riffing into its second half. “Cutlass” is short at 2:36, but makes the record as a whole feel less predictable for that, and the add-on “Leviatan” embodies its great sea beast with a nod up front that opens to later cacophony. The vibe throughout is you’re-in-the-room live jams, and Veljet have well enough chemistry to carry the songs across in that setting.

Veljet on Thee Facebooks

The Swamp Records website

 

Witchrider, Electrical Storm

witchrider electrical storm

Smoothly produced and executed, not lacking energy but produced for a very studio-style fullness, Witchrider‘s second LP arrives via Fuzzorama Records in answer to 2014’s Unmountable Stairs with a pro-shop feel for its 50-minute duration. Songs are sharply hooked and energetic, beefing up Queens of the Stone Age-style desert rock early on “Shadows” and “You Lied” before the guitars introduce a broader palette with the title-track. The chorus of “Mess Creator” and the big finish in closer “The Weatherman” are highlights, but songs like “Keep Me out of It” and “Come Back” feel built for a commercial infrastructure that — at least in radio-free America — doesn’t exist anymore. I’m not sure what it takes to attract the attention of picky algorithms, but if it’s grounded songwriting, varied material and crisp performance like it was when there was a cable channel playing music videos, then Witchrider are ready to roll. As it stands, the Austrian outfit seem underserved by the inability to even get on a festival stage and play this material live to win converts in that manner. They’re hardly alone in that, but with material that seems so poised specifically toward audience engagement, it comes through all the more, which of course is a testament to the quality of the work itself.

Witchrider on Thee Facebooks

Fuzzorama Records website

 

Devil Worshipper, 3

devil worshipper 3

Opening with its longest track (immediate points) in the 10-minute “Silver Dagger” and presented with the burning red eyes of Christopher Lee’s Dracula on the front, the 33-minute 3 tape from Seattle’s Devil Worshipper maintains the weirdo-experimental spirit of the outfit’s 2015 self-titled debut (review here), finding a kind of Butthole Surfers-into-a-cassette-recorder, anything-goes-until-it-sucks, dark ’90s psychedelia they call “garage metal.” Fair enough. Apparently more efficient than anything I can come up with for it, though what doesn’t necessarily account for is the way the 3 challenges the listener, the remastered versions of “Into Radiation Wave” and “Chem Rails” from the first album, or the horror atmospherics of “Drinking Blood.” It’s like it’s too weird for this planet so it finally made one for itself. Well earned.

Devil Worshipper on Thee Facebooks

Puppy Mill Recordings on Bandcamp

 

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Quarterly Review: Pallbearer, Fulanno, Spirit Mother, Gevaudan, El Rojo, Witchwood, Gary Lee Conner, Tomorr, Temple of the Fuzz Witch, Karkara

Posted in Reviews on December 24th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

There isn’t enough caffeine in the universe to properly sustain a Quarterly Review, and yet here we are. I’ve been doing this for six years now, and once started I’ve always managed to get through it. This seven-day spectacular hits its halfway point today, which is okay by me. I decided to do this because there was a bunch of stuff I still wanted to consider for my year-end list, which I’d normally post this week. And sure enough, a few more have managed to make the cut from each day. I’ll hope to put the list together in the coming days and get it all posted next week, before the poll results at least. I’m not sure why that matters, but yeah.

Thanks for following along if you have been. Hope you’ve found something worth digging into.

Quarterly Review #31-40:

Pallbearer, Forgotten Days

pallbearer forgotten days

Their best record. I don’t want to hear anymore about their demo, or about 2012’s Sorrow and Extinction (review here) or anything else. This is the album Pallbearer have been driving toward since their outset. It is an amalgam of emotive melody and tonal weight that makes epics of both the 12-minute “Silver Wings” and the four-minute “The Quicksand of Existing” that immediately follows, that hits a morose exploration of self in opener “Forgotten Days” and “Stasis” while engaging in metallic storytelling on “Vengeance and Ruination” and “Rite of Passage,” the latter incorporating classic metal melody in perhaps the broadest reach the band has ever had in that regard. So yeah. Pallbearer don’t have a ‘bad’ record. 2017’s Heartless (review here) was a step forward, to be sure. But Forgotten Days, ironically enough, is the kind of offering on which legacies are built and a touchstone for whatever Pallbearer do from here on out.

Pallbearer on Thee Facebooks

Nuclear Blast website

 

Fulanno, Nadie EstĂĄ a Salvo del Mal

fulanno Nadie estĂĄ a salvo del mal

The fog rolls in thick on Argentinian doomers Fulanno‘s second full-length, Nadie EstĂĄ a Salvo del Mal. The seven-track/42-minute outing launches in post-Electric Wizard fashion, and indeed, the drawling lumber of the Dorset legends is an influence throughout, but by no means the only one the trio of guitarist/vocalist Fila Frutos, bassist Mauro Carosela and drummer Jose A. are under. They cast a doom-for-doomers vibe almost immediately, but as “Fuego en la Cruz” gives way to “Los Elegidos” and “Hombre Muerto,” the sense of going deeper is palpable. Crunching, raw tonality comes across as the clean vocals cut through, and the abiding rawness becomes a part of the aesthetic on “Los Colmillos de Satan,” a turning point ahead of the interlude “Señores de la NecrĂłpolis,” the eight-minute “El Desierto de los CaĂ­dos” and the surprisingly resonant closing instrumental “El Libro de los Muertos.” Fulanno are plenty atmospheric when they want to be, and one wonders if that won’t come further forward as their progression continues. Either way, they’ve staked their claim in doom and sound ready to die for the cause.

Fulanno on Thee Facebooks

Forbidden Place Records on Bandcamp

Interstellar Smoke Records on Bandcamp

 

Spirit Mother, Cadets

spirit mother cadets

Preceded by a series of singles over the last couple years, Cadets is the full-length debut from Los Angeles four-piece Spirit Mother, and it packs expanse into deceptively efficient songs, seeming to loll this way and that even as it keeps an underlying forward push. The near-shoegaze vocals do a lot of the work in affecting a mellow-psych vibe, but there’s weight to Spirit Mother‘s “Ether” as well, violin, woven vocal layers, and periodic tempo kicks making songs standout from each other even as “Go Getter” keeps an experimentalist feel and “Premonitions” aces its cosmic-garage driver’s test with absolutely perfect pacing. The ultra-spacey “Shape Shifter I” and more boogie-fied “Shape Shifter II” are clear focal points, but Cadets as a whole is a marked accomplishment, particularly for a first LP, and in style, substance and atmosphere, it brings together rich textures with a laissez-faire spontaneity. The closing instrumental “Bajorek” is only one example among the 10 included tracks of Spirit Mother‘s potential, which is writ large throughout.

Spirit Mother on Thee Facebooks

Spirit Mother on Bandcamp

 

GĂ©vaudan, Iter

gevaudan iter

UK four-piece GĂ©vaudan made their debut in 2019 with Iter, and though I’m late to the party as ever, the five-song/53-minute offering is of marked scope and dynamic. Its soft stretches are barely there, melancholic and searching, and its surges of volume in opener “Dawntreader” are expressive without being overwrought. Not without modern influence from Pallbearer or YOB, etc., GĂ©vaudan‘s honing in on atmospherics helps stand out Iter as the band plod-marches with “The Great Heathen Army” — the most active of inclusions and the centerpiece — en route to “Saints of Blood” (11:54) and closer “Duskwalker” (15:16), the patient dip into extremity of the latter sealing the record’s triumph; those screams feel not like a trick the band kept up their collective sleeve, but a transition earned through the grueling plunge of all the material prior. It’s one for which I’d much rather be late than never.

GĂ©vaudan on Thee Facebooks

GĂ©vaudan website

 

El Rojo, El Diablo Rojo

el rojo el diablo rojo

The burly heavy rock of “South” at the outset of Italian heavy rockers El Rojo‘s El Diablo Rojo doesn’t quite tell the whole tale of the band’s style, but it gives essential clues to their songwriting and abiding burl. Later pieces like the slower-rolling “Ascension” (initially, anyhow) and acoustic-inclusive “Cactus Bloom” effectively build on the foundation of bruiser riffs and vocals, branching out desert-influenced melody and spaciousness instrumentalism even as the not-at-all-slowed-down “When I Slow Down” keeps affairs grounded in their purpose and structure. Riffs are thick and lead the charge on the more straightforward pieces and the seven-minute “Colors” alike as El Rojo attempt not to reinvent heavy or stoner rocks but to find room for themselves within the established tenets of genre. They’ve been around a few years at this point, and there’s still growing to be done, but El Diablo Rojo sounds like the starting point of an engaging progression.

El Rojo on Thee Facebooks

Karma Conspiracy Records website

 

Witchwood, Before the Winter

witchwood before the winter

Deep Purple, Uriah Heep, Jethro Tull, some Led Zeppelin in “Crazy Little Lover” and a touch of opera on “Nasrid” for good measure, Witchwood‘s 62-minute Before the Winter 2LP may be well on the other side of unmanageable in terms of length, but at least it’s not wasting anyone’s time. Instead, early rockers like “Anthem for a Child” and “A Taste of Winter” and the wah-funked “Feelin'” introduce the elements that will serve as the band’s colorful palette across the whole of the album. And a piece like “No Reason to Cry” becomes a straight-ahead complement to airier material like the not-coincidentally-named “A Crimson Moon” and the winding and woodsy “Hesperus,” which caps the first LP as the 10-minute epic “Slow Colours of Shade” does likewise for the record as a whole, followed by a bonus Marc Bolan cover on the vinyl edition, to really hammer home the band’s love of the heavy ’70s, which is already readily on display in their originals.

Witchwood on Thee Facebooks

Jolly Roger Records website

 

Gary Lee Conner, Revelations in Fuzz

gary lee conner revelations in fuzz

If nothing else, Gary Lee Conner sounds like he probably has an enviable collection of 45s. The delightfully weird former Screaming Trees guitarist offers up 10 fresh delights of ’60s-style garage-psych solo works on the follow-up to 2018’s Unicorn Curry, as Revelations in Fuzz lives up to its title in tone even as cascades of organ and electric piano, sitar and acoustic guitar weave in and out of the proceedings. How no one has paired Conner with Baby Woodrose frontman Uffe Lorenzen for a collaboration is a mystery I can’t hope to solve, but in the swirling and stops of “Cheshire Cat Claws” and the descent of six-minute closer “Colonel Tangerine’s Sapphire Sunshine Dreams,” Conner reaffirms his love of that which is hypnotic and lysergic while hewing to a traditionalism of songwriting that makes cuts like “Vicious and Pretty” as catchy as they are far out. And trust me, they’re plenty far out. Conner is a master of acid rock, pure and simple. And he’s already got a follow-up to this one released, so there.

Gary Lee Conner on Thee Facebooks

Vincebus Eruptum Recordings website

 

Tomorr, Tomorr

tomorr tomorr

Formed in Italy with Albanian roots, Tomorr position themselves as rural doom, which to an American reader will sound like ‘country,’ but that’s not what’s happening here. Instead, three-piece are attempting to capture a raw, village-minded sound, with purposeful homage to the places outside the cities of Europe made into sludge riffing and the significant, angular lumber of “Grazing Land.” I’m not sure it works all the time — the riff in the second half of “Varr” calls to mind “Dopesmoker” more than anti-urbane sensibilities, and wants nothing for crush — but as it’s their debut, Tomorr deserve credit for approaching doom from an individualized mindset, and the bulk of the six-song/48-minute offering does boast a sound that is on the way to being the band’s own, if not already there. There’s room for incorporating folk progressions and instrumentation if Tomorr want to go that route, but something about the raw approach they have on their self-titled is satisfying on its own level — a meeting of impulses creative and destructive at some lost dirt crossroads.

Tomorr on Thee Facebooks

Acid Cosmonaut Records on Bandcamp

 

Temple of the Fuzz Witch, Red Tide

temple of the fuzz witch red tide

Well what the hell do you think Temple of the Fuzz Witch sounds like? They’re heavy as shit. Of course they are. The Detroiters heralded doomly procession on their 2019 self-titled demo/EP (review here), and the subsequent debut full-length Red Tide, is righteously plodding riffery, Sabbathian without just being the riff to “Electric Funeral” and oblivion-bound nod that’s so filled with smoke it’s practically coughing. What goes on behind the doors of the Temple? Volume, kid. Give me the chug of “The Others” any and every day of the week, I don’t give a fuck if Temple of the Fuzz Witch are reinventing the wheel or not. All I wanna do is put on “Ungoliant” and nod out to the riff that sounds like “The Chosen Few” and be left in peace. Fuck you man. I ain’t bothering anyone. You’re the one with the problem, not me. This guy knows what I’m talking about. Side B of this record will eat your fucking soul, but only after side A has tenderized the meat. Hyperbole? Fuck you.

Temple of the Fuzz Witch on Thee Facebooks

Interstellar Smoke Records webstore

 

Karkara, Nowhere Land

karkara nowhere land

Rife with adventurous and Middle Eastern-inflected heavy psychedelia, Nowhere Land is the follow-up to Toulouse, France-based Karkara‘s 2019 debut, Crystal Gazer (review here), and it finds the three-piece pushing accordingly into broader spaces of guitar-led freakery. Would you imagine a song called “Space Caravan” has an open vibe? You’d be correct. Same goes for “People of Nowhere Land,” which even unto its drum beat feels like some kind of folk dance turned fuzz-drenched lysergic excursion. The closing pair of “Cards” and “Witch” feel purposefully teamed up to round out the 36-minute outing, but maybe that’s just the overarching ethereal nature of the release as a whole coming through as Karkara manage to transport their listener from this place to somewhere far more liquid, languid, and encompassing, full of winding motion in “Falling Gods” and graceful post-grunge drift in “Setting Sun.”

Karkara on Thee Facebooks

Stolen Body Records website

 

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Weird Tales Post “Got the Blues for Murder Only”; New EP out Jan. 15

Posted in Whathaveyou on December 4th, 2020 by JJ Koczan

Some genuinely fascinating cultural interaction here. Weird Tales will release an EP of blues covers on Jan. 15 given the cumbersome title Y’all Motherfuckers Forgot ‘Bout Good Ol’ Son of a Bitchin’ Blues, and in so doing, the Polish heavy trio continue a tradition nearly 130 years old at this point of European interest in African-American culture. From France importing jazz in the early 1900s and thus granting it legitimacy in the eyes of the American white middle and upper class, to Eastern Europe’s flourishing hip-hop scene, to Weird Tales taking on Lonnie Johnson‘s “Got the Blues for Murder Only” and beefing up its 12-bar structure with weighted riffing and a rolling groove, it’s never been entirely without a shade of cultural appropriation, and it certainly isn’t now, but this is a conversation that’s been happening for a long time, if not always in this form.

Did we motherfuckers forget about the blues? I guess there’s a case to be made amid all the proggy whatnot flourishing in heavy rock these days, but as anyone over the age of 15 knows, these things are cyclical. If Weird Tales are gonna help strip it all back to basics, they’re not hurting anyone or anything by doing so.

From the PR wire:

weird tales got the blues for murder only

WEIRD TALES – Got the Blues for Murder Only

Polish doom trio WEIRD TALES are gearing up to release their latest EP “Y’all Motherfuckers Forgot ‘Bout Good Ol’ Son of a Bitchin’ Blues,” due out Jan. 15 via Interstellar Smoke Records.

The EP is a collection of four forgotten blues songs by the likes of Muddy Waters, Lonnie Johnson, Skip James and Blind Willie Johnson.

Here’s their first single, “Got The Blues For Murder Only,” the Lonnie Johnson cover: https://weird.bandcamp.com/track/got-the-blues-for-murder-only

“This is our version of ‘Got the Blues for Murder Only’ originally performed by mighty Lonnie Johnson,” says the band. “This is a single from our upcoming EP ‘Y’all Motherfuckers Forgot ‘Bout Good Ol’ Son of a Bitchin’ Blues’, so you may guess what it’s gonna be about. Blues. Dirty and desperate. Lonely and painful.”

Weird Tales are:
Dima (guitar, lead vocal)
Kriss (bass, vocal)
Matt (drums, vocal)

https://www.facebook.com/weirdtalesband/
https://www.instagram.com/weirdtalesband/
https://weird.bandcamp.com/
https://www.facebook.com/Interstellar-Smoke-Records-101687381255396/
https://interstellarsmokerecords.bigcartel.com/

Weird Tales, “Got the Blues for Murder Only”

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Fumarole Releasing Valley of Ten Thousand Smokes LP Next Week

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

fumarole

Brisbane trio Fumarole have their ducks in a row on their debut album, Valley of Ten Thousand Smokes, and by ducks I definitely mean riffs. Posted for digital consumption on Oct. 16, the record will be released on vinyl next week through Interstellar Smoke Records, beating the glut of Halloween offerings by a day. Take that, everybody else.

You can hear the record, so by all means, don’t let me keep you. You’ll find it to be a garden of fuzzy delights set to a sci-fi narrative that serves as a pretty clear analog to existence under capitalism, “Desert Worms” and all.

PR wire has info, audio is at the bottom:

fumarole Valley of Ten Thousand Smokes

FUMAROLE TO RELEASE NEW ALBUM ON VINYL

Australia’s FUMAROLE are pleased to announce that their newly released album Valley of Ten Thousand Smokes will see a vinyl release via Interstellar Smoke Records on October 30th. The album was released digitally today on Bandcamp.

Pre-order the vinyl: https://interstellarsmokerecords.bigcartel.com/product/fumarole-valley-of-the-thousand-smokes

Listen to the digital version: https://fumarole.bandcamp.com/album/valley-of-ten-thousand-smokes

As with all great bands, Fumarole initially met… through work? Having pulled together a full lineup in April of 2018, the Australian outfit rapidly developed a sound reminiscent of their heroes in bands like Orange Goblin and Earthless but also local bands like Zong and Witchskull. Having gelled almost instantly, the band record their debut EP, Mountain, in their rehearsal space and have since followed that up with singles “Ghost Smoke” and “Valley” in 2019. Heads started to turn, and now the band seeks to push their fully solidified sound, further focusing on dark creatures and bleak futures. Taking the Antipodes by storm, it’s only a matter of time before Fumarole blows out an amp near you!

Valley of Ten Thousand Smokes is set in a future where the rich have enslaved the poor and placed them on a planet to mine a bacteria that can keep them alive forever. Recorded at Love Street Studios and mixed with Scott French. Mastered at Satanic Audio.

Fumarole are:
Ryan Stewart (drums)
Dan Bartsch (bass)
Kurt Werder (Guitar and Vocals)

https://www.facebook.com/fumaroleband/
https://www.instagram.com/fumarolebandaus/
https://fumarole.bandcamp.com/
https://www.facebook.com/Interstellar-Smoke-Records-101687381255396/
https://interstellarsmokerecords.bigcartel.com/

Fumarole, Valley of Ten Thousand Smokes (2020)

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Temple of the Fuzz Witch Announce New LP Red Tide

Posted in Whathaveyou on October 1st, 2020 by JJ Koczan

Apparently Detroit’s Temple of the Fuzz Witch aren’t kidding when they say their new album, Red Tide, is coming soon. Soon, as in next week. Better get those preorders up before they’re just orders, I guess.

The full-length is the second for the band behind their 2019 self-titled debut (review here), and it’s seeing release through Interstellar Smoke Records. Though that’s a pretty quick follow-up to their first offering, Temple of the Fuzz Witch have already this year posted a single called “Burn” and a collection of unreleased songs and live tracks aptly-titled Live and Unreleased. Whether “Burn” or any of that other material might feature on the upcoming LP, I’ve no idea, but hell, at least we don’t have to wait that long to find out.

While we’re on the subject of things I don’t know — as we so very, very often — I’m not sure if the Oct. 9 release is digital with vinyl later, i.e., if that’s when LP preorders go up, or if the record will actually be out and has been in the can already for however long. I’m sure you’re hipper to that situation than I am, but I dug the debut, so finding out there’s another on the way is welcome news as far as I’m concerned. And if I haven’t made the point yet, Oct. 9 is next week.

The following is culled from band and label posts:

temple of the fuzz witch red tide

It confirmed news, @templeofthefuzzwitch with brand new album ,Red Tide’ will be release via Interstellar Smoke.

“NEW TEMPLE OF THE FUZZ WITCH ALBUM COMING SOON. The title of the next release is “Red Tide”. We are very proud of this work and it will be on colored and splattered vinyl. There will be pre-orders soon.”

Planned release date is set for October 9th.

Stay tune (!)
Stay Wild (!)

https://www.facebook.com/ToTFW/
http://www.instagram.com/templeofthefuzzwitch/
https://templeofthefuzzwitch.bandcamp.com/
https://www.facebook.com/Interstellar-Smoke-Records-101687381255396/
https://interstellarsmokerecords.bigcartel.com/

Temple of the Fuzz Witch, “Burn”

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Weird Tales Sign to Interstellar Smoke Records

Posted in Whathaveyou on September 15th, 2020 by JJ Koczan

Murk riffing doom rockers Weird Tales will release their next album through Interstellar Smoke Records. 2019’s Hell Services Cost a Lot cast a number of riffy hypnotic spells and plunged to good-fun-style smokey depths, and it’s listed below as their debut, which I guess would make 2018’s The Fall a demo? I don’t know. Either way, they’re reportedly at work on a new full-length that one assumes will surface sometime in 2021, by which time it should make a fitting accompaniment to the apocalypse that’s sure to continue and only get worse as the rest of this year plays out. Seriously, is anyone expecting anything to get better? Ever? Why would you?

Hold fast to your loved ones, your livelihoods, your democracies.

And despair, despair, despair.

Anyway, band’s cool. The internet thought so too:

weird tales

INTERSTELLAR SMOKE RECORDS – WEIRD TALES

ACID DOOM METAL

BAND ORIGIN

Weird Tales has arisen to heal mental traumas, to patch up injured minds. Pour the whole mess into the music while getting rid of it. Such a mistake.Thrilling and shivering riffs began to scratch the festering brain’s wound instead. Treacherous sonic mass has risen like a cancer, while greedily absorbing the remnants of ourselves. The black plague of our consciousness. Not everyone was able to bear it. Those who have survived will spread the disease further.

BIO

WEIRD TALES is a Warsaw Doom Power Trio made up of Dima (guitar, lead vocal), Kriss (bass, vocal) and Matt (drums, vocal). WEIRD TALES has toured the Poland and neighbouring countries, sharing stage with well-known bands such as Church of Misery, Belzebong, Dopelord. Band was started in the middle of 2015. They are extensively playing gigs from 2016. In 2017 they recorded two EPs. In 2019 they launched debut Full Length album “Hell Services Cost a Lot.” It grabbed great responses among the audience. The band recently have signed INTERSTELLAR SMOKE RECORDS. Together they are preparing new release.

https://www.facebook.com/weirdtalesband/
https://www.instagram.com/weirdtalesband/
https://weird.bandcamp.com/
https://www.facebook.com/Interstellar-Smoke-Records-101687381255396/
https://interstellarsmokerecords.bigcartel.com/

Weird Tales, Hell Services Cost a Lot (2019)

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Quarterly Review: Paradise Lost, Vinnum Sabbathi, Nighthawk, Familiars, Mountain Witch, Disastroid, Stonegrass, Jointhugger, Little Albert, Parahelio

Posted in Reviews on July 10th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Last day, you know the drill. It’s been a pleasure, honestly. If every Quarterly Review could feature the quality of material this one has, I’d probably only spend a fraction of the amount of time I do fretting over it. I hope you’ve enjoyed reading and enjoyed the music as much as I have. If you haven’t found something here to sit with and dig into yet, well, today’s 10 more chances to do just that. Maybe something will stick at last.

See you in September.

Quarterly Review #41-50:

Paradise Lost, Obsidian

paradise lost obsidian

It is impossible to listen to Obsidian and consider Paradise Lost as anything other than masters of the form. Of course, that they were one of the original pioneers of gothic death-doom helps, but even in the decade-plus since they began to shift back toward a more metallic approach, they have established a standard that is entirely their own. Obsidian collects nine tracks across a palatable 45 minutes, and if the hook of “Fall From Grace” is fan-service on the part of the band, then it is no less righteous for that. In atmosphere and aggression, cuts like “The Devil Embraced” and the galloping “Ghosts” deliver on high expectations coming off 2017’s Medusa (review here), even as side B’s “Ending Days” and “Hope Dies Young” branch into a more melodic focus, not departing from the weight of impact presented earlier, but clearly adjusting the approach, leading to an all the more deathly return on “Ravenghast,” which closes out. Their doom remains second to none; their model remains one to follow.

Paradise Lost on Thee Facebooks

Nuclear Blast webstore

 

Vinnum Sabbathi, Of Dimensions and Theories

Vinnum Sabbathi Of Dimensions and Theories

The narrative thread carried through the six tracks of Vinnum Sabbathi‘s Of Dimensions and Theories is a futuristic sci-fi tale about humanity’s first foray into deep space amid a chaos of environmental collapse and nuclear threat. The real story, however, is the sense of progression the instrumentalist Mexico City outfit bring in following up their debut LP, 2017’s Gravity Works (review here). Tying thematically to the latest Cegvera album — the two bands share personnel — pieces at the outset like “In Search of M-Theory” and “Quantum Determinism” maintain the exploratory vibe of the band’s jammier works in their “HEX” series, but through spoken samples give a human presence and plotline to the alternately atmospheric and lumbering tones. As the record progresses through the airier “An Appraisal” and the feedback-drenched “Beyond Perturbative States,” their dynamic finds realization in “A Superstring Revolution I” and the drum-led “A Superstring Revolution II.” I don’t know about humanity’s prospects as a whole, but Vinnum Sabbathi‘s remain bright.

Vinnum Sabbathi on Thee Facebooks

Stolen Body Records website

 

Nighthawk, The Sea Legs EP

Nighthawk The Sea Legs EP

Composed as a solo outing prior to the founding of Heavy Temple, the Nighthawk solo endeavor (presumably she wasn’t a High Priestess yet), The Sea Legs EP, is plenty self-aware in its title, but for being a raw execution of material written performed entirely on her own, its four tracks also have a pretty significant scope, from the post-QOTSA heavy pop of “Goddamn” leading off through the quick spacegaze of “I’m From Tennessee Woman, All We Do is Honky Tonk,” into the deceptively spacious “I Can Haz” with its far-back toms, dreamy vocal melody and vaguely Middle Eastern-sounding guitar, and ending with the if-Ween‘s-country-album-had-been-weirder finish of “Stay Gold.” Nighthawk has issued a follow-up to The Sea Legs EP in the full-length Goblin/John Carpenter-style synth of The Dimensionaut, but given the range and balance she shows just in this brief 12 minutes, one hopes that indeed her songwriting explorations continue to prove so multifaceted.

Nighthawk on Bandcamp

Heavy Temple on Thee Facebooks

 

Familiars, All in Good Time

familiars all in good time

Contending for one of the year’s best debut albums, FamiliarsAll in Good Time offers eight songs across 43 minutes that blend organic-feeling grit with more ethereal, landscape-evocative psychedelics. The Ontario three-piece have a few singles to their credit, but the lushness of “Rocky Roost” and the emergent heft of “Barn Burning,” the fleshy boogie of “The Dirty Dog Saloon” and the breadth of “Avro Arrow” speak not just to Familiars‘ ability to capture a largesse that draws their songs together, or the nuance that lets them brings subtle touches of Americana (Canadiana?) early on and echoing desert roll to the fuzzy “The Common Loon,” but also to the songwriting that makes these songs stand out so much as they do and the sense of purpose Familiars bring to All in Good Time as their first long-player. That turns out to be one of the most encouraging aspects of the release, but in that regard there’s plenty of competition from elements like tone, rhythm, melody, craft, performance — so yes, basically all of it.

Familiars on Thee Facebooks

Familiars on Bandcamp

 

Mountain Witch, Extinct Cults

Mountain Witch Extinct Cults

Mountain Witch‘s fourth album, Extinct Cults, brings the Hamburg-based duo of guitarist RenĂ© Sitte and drummer/vocalist RenĂ© Roggmann back after a four-year absence with a collection that straddles the various lines between classic heavy rock, proto-metal, ’70s heavy prog and modern cultism. Their loyalties aren’t necessarily all to the 1968-’74 period, as the chug and gruff vocals of “Back From the Grave” show, but the post Technical Ecstasy sway of the title-track is a fascinating and rarely-captured specificity, and the vocal melodies expressed in layers across the record do much to add personality and depth to the arrangements while the surrounding recording remains essentially raw. No doubt vinyl-minded, Extinct Cults is relatively brief at six songs and 33 minutes, but the Priestly chug of “Man is Wolf to Man” and the engrossing garage doom of closer “The Devil Probably” offer plenty of fodder for those who’d dig in to dig into. It is a sound familiar and individual at once, old and new, and it revels in making cohesion out of such contrasts.

Mountain Witch on Thee Facebooks

This Charming Man Records website

 

Disastroid, Mortal Fools

disastroid mortal fools

You might find San Francisco trio Disastroid hanging out at the corner of noise and heavy rock, looking disreputable. Their first record for Heavy Psych Sounds is Mortal Fools, and to go with its essential-bloody-essential bass tone and melodic semi-shouted vocals, it brings hints of angularity rounded out by tonal thickness and a smoothness between transitions that extends to the flow from one song to the next. While for sure a collection of individual pieces, Mortal Fools does move through its 43 minutes with remarkable ease, the sure hand of the three-piece guides you through the otherwise willfully tumultuous course, brash in the guitar and bass and drums but immersive in the overarching groove. They seem to save a particular melodic highlight for the verses of closer “Space Rodent,” but really, whether it’s the lumbering “Hopeless” or the sharper-toothed push of “Bilge,” the highlight is what Disastroid accomplish over the course of the record as a whole. Plus that friggin’ bass sound.

Disastroid on Thee Facebooks

Heavy Psych Sounds website

 

Stonegrass, Stonegrass

stonegrass self titled

I don’t know when this was first released, but the 2020 edition seems to be a remaster, and whenever it first came out, I’m pleased to have the chance to check it out now. Toronto duo Stonegrass brings together Matthew “Doc” Dunn and Jay Anderson, both of a markedly psyched-out pedigree, to dig into experimentalist acid-psych that pushes boundaries stylistic and national, tapping Afrobeat vibes with closer “Drive On” and the earlier 13-minute go-go-go jam “Tea” while “The Highway” feels like a lost psychedelic disco-funk 45, “The Cape” drones like it’s waiting for someone to start reading poetry over-top, and mellow hand-percussion and Turkish psych on centerpiece “Frozen Dunes.” The whole thing, which runs a manageable 39 minutes, is as cool as the day is long, and comes across like a gift to those of expanded mind or who are willing to join those ranks. I don’t know if it’s new or old. I don’t know if it’s a one-off or an ongoing project. I barely know if it’s actually out. But hot damn it’s rad, and if you can catch it, you should.

Cosmic Range Records on YouTube

Cosmic Range Records on Bandcamp

 

Jointhugger, I Am No One

jointhugger i am no one

Norwegian half-instrumental trio Jointhugger have already captured the attention of both Interstellar Smoke Records and Ozium Records with their four-song debut long-player, I Am No One, and as the follow-up to their 2019 Daemo, it leaves little question why. The more volume, the merrier, when it comes to the rolling, nodding, undulations of riff the band conjure, as each member seems geared toward bringing as much weight to bear as much as possible. I’m serious. Even the hi-hat is heavy, never mind the guitar or bass or the cave-echoing vocals of the title-track. “Domen” slips into some shuffle — if you can call something that dense-sounding a shuffle — and underscores its solo with an entire bog’s worth of low end, and though closer “Nightfright” is the only inclusion that actually tops 10 minutes, it communicates an intensity of crush that is nothing if not consistent with what’s come before. There are flashes of letup here and there, but it’s impact at the core of Jointhugger‘s approach, and they offer plenty of it. Don’t be surprised when the CD and LP sell through, and don’t be surprised if they get re-pressed later.

Jointhugger on Thee Facebooks

Ozium Records webstore

Interstellar Smoke Records webstore

 

Little Albert, Swamp King

Little Albert Swamp King

Stepping out both in terms of style and substance from his position as guitarist in atmospheric doomers Messa, Little Albert — aka Alberto Piccolo — pronounces himself “swamp king” in the opening lines of his debut solo release of the same name, and the mellow ambiance and psychedelic flourish of tone in “Bridge of Sighs” and “Mean Old Woman” and the aptly-titled “Blues Asteroid” offer an individualized blend of psychedelic blues that seems to delight in tipping the balance back and forth from one to the other while likewise taking the songs through full band arrangements and more intimate wanderings. Some of the songs have a tendency to roll outward and not return, as does “Mary Claire” or “Mean Old Woman,” but “Outside Woman Blues” and the closer “Hard Time Killing Floor Blues” hold tighter to the ground than some of what surrounds, so again, there’s a balance. Plus, as mellow as Swamp King is in its overarching affect, it’s neither difficult nor anything but a pleasure to follow along where Piccolo leads. If that’s off the psych-blues deep end, so be it. Only issue I take with him being king of the swamp is that the album’s domain hardly seems so limited.

Little Albert on Thee Facebooks

Aural Music on Bandcamp

 

Parahelio, Surge Evelia, Surge

Parahelio Surge Evelia Surge

Beautiful, patient and pastoral psychedelia fleshes out across the three tracks of Parahelio‘s debut full-length, Surge Evelia, Surge. Issued on vinyl through Necio Records, the three-song offering reportedly pays homage to a mining town in the band’s native Peru, but it does so with a breadth that seems to cover so much between heavy post-rock and psych that it’s difficult not to imagine places decidedly more ethereal. Beginning with its title-track (12:33) and moving into the swells and recessions of “Gestos y Distancia,” the album builds to an encompassing payoff for side A before unveiling “Ha’Adam,” a 23-minute side-consuming rollout that encompasses not only soundscaping, but a richly human feel in its later take, solidifying around a drum march and a heavy build of guitar that shouldn’t sound strange to fans of Pelican or Russian Circles yet manages somehow to transcend the hypnotic in favor of the dynamic, the immersive, and again, the beautiful. What follows is desolation and aftermath, and that’s how the record ends, but even there, the textures and the spirit of the release remain central. I always do myself a favor with the last release of any Quarterly Review, and this is no exception.

Parahelio on Thee Facebooks

Necio Records on Bandcamp

 

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LĂĄGoon to Release Maa Kali Trip LP June 29

Posted in Whathaveyou on June 10th, 2020 by JJ Koczan

Portland-based fucko freaks LĂĄGoon have a new record coming out on June 19. It’s not this one. This is Maa Kali Trip, which the band put out in March. It’s being released on June 29 on a black and orange LP through Interstellar Smoke Records. You might recall yesterday I posted about Mystery Dudes signing to the label and said there was more news to come — well, here we are. Maa Kali Trip has more the garage’d-out sample-laden sludge than you can shake your bag of caps at, and the record nestles itself into a place that’s likewise filthy, heavy and psychedelic. If you’re feeling freaky, you’re probably not feeling freaky enough. Nonetheless, you persist.

Maa Kali Trip is, of course, streaming in its both-proto-and-post-grunge, sometimes-screamy anti-glory below. Preorders for the vinyl — limited copies, of course — start Friday. The new one from LĂĄGoon is called Father of Death. It’s their fourth overall, and I don’t know if Interstellar Smoke will be putting that out too or not, but hey, if you can handle one trip, maybe you can sign up for another go.

It’s this or Squaresville, Jack:LAGOON MAA KALI TRIP lp

LĂĄGoon – Maa Kali Trip – Interstellar Smoke Records

This Friday, 12th of June, LáGoon ‚MAA KALI TRIP’ will available in Pre-Sale.

Album comes in single-pocket cover and poster A3 size. Hand-crafted heavy weight 180gr vinyl, Orange & Black solid colour. To get the highest quality sound, pressing in 45 RPM.

Maa Kali Trip is the third full length offering from the Portland, Oregon based two-piece.

The songs on this album were inspired by the maa kali mushroom truffle. Turn up your stereo and step inside the maa kali trip.

Album Art – David Paul Seymour

Orange Haze Edition is limited to 250 pcs Worldwide; at the Store you will have 180 pcs avaialable (!)

Shipping is scheduled at 29th of June 2020.

Thank you in advance for your support

Band Members:
Guitar/Vocals – Anthony Gaglia
Drums – Brady Maurer

https://www.facebook.com/LaGoonPDX/
https://www.instagram.com/lagoonpdx/
https://lagoonpdx.bandcamp.com/
https://www.facebook.com/Interstellar-Smoke-Records-101687381255396/
https://interstellarsmokerecords.bigcartel.com/

LĂĄGoon, Maa Kali Trip (2020)

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