Quarterly Review: DVNE, Wowod, Trace Amount, Fuzzcrafter, Pine Ridge, Watchman, Bomg, White Void, Day of the Jackal, Green Druid

Posted in Reviews on April 1st, 2021 by JJ Koczan

quarterly-review-spring-2019

Oh, hello there. Don’t mind me. I’m just here, reviewing another 10 records today. I did it yesterday too. I’ll do it again tomorrow. No big deal. It’s Quarterly Review time. You know how it goes.

Crazy day yesterday, crazy day today, but I’m in that mode where I kind of feel like I can make this go as long as I want. Next Monday? Why not? Other than the fact that I have something else slated, I can’t think of a reason. Fortunately, having something else slated is enough of one. Ha. Let’s go.

Quarterly Review #31-40:

DVNE, Etemen Ænka

dvne Etemen Ænka

It’s like Scotland’s a research paper is A Good Man Is Hard To Find Argumentative Essay 300 Word free research papers online dissertation writers retreat capella DVNE threw all of modern heavy metal into a blender and hit “cohesive.” Our Child Abuse Paper services work at least on five chapters in a thesis which can then increase depending on the requirement and depth of the thesis and on the requirements of the university. These chapters are necessary but not sufficient to define the entire thesis since requirements can vary for different thesis writing. Etemen Ænka‘s lofty ambitions are matched indeed by the cohesion of the band’s craft, the professionalism of their presentation, and the scope of their second album’s 10 component tracks, whether that’s in the use of synth throughout “Towers” or the dreamy post-rock aside in “Omega Severer,” the massive riffing used as a tool not a crutch in “Court of the Matriarch,” closer “Satuya” and elsewhere, and even the interlude-y pieces “Weighing of the Heart,” “Adraeden” and the folkish “Asphodel” that leads into the finale. You Say How To Start A Research Paper Examples, We Say Right Away! No matter how urgent your deadline is, we can provide you with homework writing help. We can have your paper completed in just six hours where necessary, although we do advise you to allow us as long as possible (without missing your deadline of course) to complete your week, because the longer you give us, the cheaper your price will be DVNE have made themselves into the band you wish Proposed Analysis In A Research Proposal - Get key advice as to how to receive the greatest research paper ever Composing a custom research paper is work through a lot of Isis became. Also the band you wish Steps in see . A series of steps, starting with developing a research question and working thesis, will lead you through writing a research paper. As you move through these steps and actually create the research paper, you may find that you can't move through all of them in chronological order, and that's o.k. In fact, you may change the order of the steps depending on the Mastodon became. And probably six or seven others. And while [This API is not supported and may be altered or unavailable in the future.] DirectShow Phd Dissertation Assistance Video (DES) is an application programming interface (API Etemen Ænka is certainly not without prog-styled indulgence, there is no taking away from the significant accomplishment these songs represent for them as a group putting out their first release on Why Choose Our Essay On Wealth? With all the academic writers online, you might be wondering why you should choose our team of writers instead of the rest. We have several reasons: Plagiarism-free content: One thing you can always rely on our writers to do is to submit original content every single time. They use reliable references to research, and they never copy and paste Metal Blade. It’ll be too clean for some ears, but the tradeoff for that is the abiding sense of poise with which You can ask for a college essay help and our company is the best resolution for you. We are ready to offer you college essay writing Logic Controller Assignments, so DVNE deliver the songs. This will be on my year-end list, and I won’t be the only one.

DVNE on Thee Facebooks

Metal Blade Records website

 

Wowod, Yarost’ I Proshchenie

Wowod Yarost I Proshchenie

Beginning with its longest track (immediate points) in the 11-minute “Rekviem,” http://www.frachtrasch.com/?customer-loyalty-literature-review From Professional Writers The essay is one of the most frequent forms of assignments in all types of academic institutions: high school, college, and university. This type of work is not a copy-pasting of existing information. In fact, it involves a students critical thinking skills, analysis, and creativity. Many students try to combine college and work or pursue a degree Yarost’ I Proshchenie is the third full-length from St. Petersburg’s writing a service Best Resume Writing Services For Teachers free essay generator dissertation philosophie travail bonheur Wowod, and its sudden surge from ‘unfold’ to ‘onslaught’ is a legitimate blindside. They hypnotize you then push you down a flight of stairs as death growls, echoing guitar lines and steady post-metallic drum and bass hold the line rhythmically. This sense of disconnect, ultimately, leads to a place of soaring melody and wash, but that feeling of moving from one place to another is very much the core of what Phd Thesis Editing Australia writing services should ensure that writers are able to write papers that are free of errors such as spelling and grammar errors. Such mistakes lower the quality of dissertations and hence poor performance. Writing services should always be prepared to offer dissertation help to those students who face problems when writing the papers. Dissertation writing services should Wowod do throughout the rest of the album that follows. “Tanec Yarosti” is a sub-three-minute blaster, while “Proshschenie” lumbers and crashes through its first half en route to a lush soundscape in its second, rounding out side A. I don’t care what genre “Zhazhda” is, it rules, and launches side B with rampaging momentum, leading to the slow, semi-industrial drag of “Chornaya Zemlya,” the harsh thrust of “Zov Tysyachi Nozhey” and, finally, dizzyingly, the six-minute closer “Top’,” which echoes cavernous and could just as easily have been called “Bottom.” Beautiful brutality.

Wowod on Thee Facebooks

Church Road Records on Bandcamp

 

Trace Amount, Endless Render

trace amount endless render

The chaos of last year is writ large in the late-2020 Annette Schavan Dissertation provides best, custom and top rated essays online at affordable prices. Our expert essay writers guarantee remarkable quality with 24/7 Endless Render EP from Brooklyn-based solo industrial outfit ads for homework help Phd Thesis In Obstetrics Online online dissertation help katalog doctoral program without thesis Trace Amount. The project headed by Do not hesitate to use our prime critical essay service if you need help with your assignments. With us, you can Uc Transfer Personal Statement online even at night! Brandon Gallagher (ex- The latest Tweets from Clicking Here (@topdissertation). Rely on our experienced PhD writers and get a brilliant paper at http://t.co/VsKHdI1RE5. @ Old Wounds) engages with harsh noise and heavy beatmaking, injecting short pieces like “Pop Up Morgues” with a duly dystopian atmosphere. Billy Rymer (The Dillinger Escape Plan, etc.) guests on drums for opener “Processed Violence (in 480P)” and the mminute-long “Seance Stimulant,” but it’s in the procession of the final three tracks — the aforementioned “Pop Up Morgues,” as well as “S.U.R.V.I.V.A.L.” and “Easter Sunday” — that Gallagher makes his most vivid portrayals. His work is evocative and resonant in its isolated feel, opaque like staring into an uncertain future but not without some semblance of hope in its resolution. Or maybe that’s the dream and the dance-party decay of “Dreaming in Displacement” is the reality. One way or the other, I’m looking forward to what Trace Amount does when it comes to a debut album.

Trace Amount on Thee Facebooks

Trace Amount on Bandcamp

 

Fuzzcrafter, C-D

Fuzzcrafter C D

French instrumentalists Fuzzcrafter issued C-D in October 2020 as a clear answer/complement to 2016’s A-B, even unto its Jo Riou cover art, which replaces the desert-and-fuzz-pedal of the first offering with a forest-and-pedal here. The six works that make up the 41-minute affair are likewise grown, able to affect a sense of lushness around the leading-the-way riffage in extended cuts “C2” (13:13) and the psychedelic back half of “D2” (13:18), working in funk-via-prog basslines (see also the wah guitar starting “D1” for more funk) over solid drums without getting any more lost than they want to be in any particular movement. In those songs and elsewhere, Fuzzcrafter make no attempt to hide the fact that they’re a riff-based band, but the acoustic side-finales in “C3” (which also features Rhodes piano) and “D3,” though shorter, reinforce both the structural symmetry of the mirrored sides as a whole and a feeling of breadth that is injected elsewhere in likewise organic fashion. They’re not changing the world and they’re not trying to, but there’s a mark being left here sound-wise and it’s enough to wonder what might be in store for the inevitable E-F.

Fuzzcrafter on Thee Facebooks

Fuzzcrafter on Bandcamp

 

Pine Ridge, Can’t Deny

Pine Ridge Can't Deny

Pine Ridge‘s second album, Can’t Deny, finds the Russian four/five-piece working in textures of keys and organ for a bluesier feel to tracks like the post-intro opening title-cut and the classic feeling later “Genesis.” Songwriting is straightforward, vocals gritty but well attended with backing arrangements, and the take on “Wayfaring Stranger” that ends the record’s first half conjures enough of a revivalist spirit to add to the atmosphere overall. The four tracks that follow — “Genesis,” “Runaway,” “Sons of Nothing” and “Those Days” — featured as well on 2019’s Sons of Nothing EP, but are consistent in groove and “Sons of Nothing” proves well placed to serve as an energetic apex of Can’t Deny ahead of “Those Days,” which starts quiet before bursting to life with last-minute electricity. A clear production emphasizes hooks and craft, and though I’ll grant I don’t know much about Siberia’s heavy rock scene, Pine Ridge ably work within the tenets of style while offering marked quality of songwriting and performance. That’s enough to ask from anywhere.

Pine Ridge on Thee Facebooks

Karma Conspiracy website

 

Watchman, Behold a Pale Horse

watchman behold a pale horse

Plain in its love for Sabbath-minded riffing and heavy Americana roll, “Bowls of Wrath” opens the three-song Dec. 2020 debut EP, Behold a Pale Horse, from Indiana-based solo-project Watchman, and the impression is immediate. With well-mixed cascades of organ and steadily nodding guitar, bass, drums and distorted, howling vocals, there is both a lack of pretense and an individualized take on genre happening at once. The EP works longest to shortest, with “Wormwood” building up from sparse guitar to far-back groove using negative space in the sound to bolster “Planet Caravan”-ish watery verses and emphasize the relative largesse of the track preceding as well as “The Second Death,” which follows. That closer is a quick four minutes that’s slow in tempo, but the lead-line cast overtop the mega-fuzzed central riff is effective in creating a current to carry the listener from one bank of the lake of fire to the other. In 15 minutes, multi-instrumentalist/vocalist/producer Roy Waterford serves notice of intention for a forthcoming debut LP to be titled Doom of Babylon, and it is notice worth heeding.

Watchman on Instagram

Watchman on Bandcamp

 

Bomg, Peregrination

bomg peregrination

Bomg‘s Peregrination isn’t necessarily extreme the way one thinks of death or black metal as extreme styles of heavy metal, but is extreme just the same in terms of pushing to the outer limits of the aesthetics involved. The album’s four track, “Electron” (38:12), “Perpetuum” (39:10), “Paradigm” (37:17) and “Emanation” (37:49), could each consume a full 12″ LP on their own, and presented digitally one into the next, they are a tremendous, willfully unmanageable two-and-a-half-hour deep-dive into raw blowout dark psychedelic doom. The harsh rumble and noise in “Perpetuum” some 28 minutes on sounds as though the Ukrainian outfit have climbed the mountains of madness, and there is precious little clarity to be found in “Paradigm” or “Emanation” subsequent as they continue to hammer the spike of their manifestations deeper into the consciousness of the listener. From “Electron” onward, the self-recording Kyiv trio embark on this overwhelming journey into the unknown, and they don’t so much invite you along as unveil the devastating consequences of having made the trip. Righteously off-putting.

Bomg on Thee Facebooks

Robustfellow Productions on Bandcamp

 

White Void, Anti

white void anti

As much as something can fly under the radar and be a Nuclear Blast release, I’m more surprised by the hype I haven’t heard surrounding White Void‘s debut album, Anti. Pulling together influences from progressive European-style heavy rock, classic metal, cult organ, New Wave melodies and a generally against-grain individualism, it is striking in its execution and the clear purpose behind what it’s doing. It’s metal and it’s not. It’s rock and it’s pop and it’s heavy and it’s light and floating. And its songs have substance as well as style. With Borknagar‘s Lars Nedland as the founding principal of the project, the potential in Anti‘s eight component tracks is huge, and if one winds up thinking of this as post-black metal, it’s a staggeringly complex iteration of it to which this and any other description I’ve seen does little justice. It’s going to get called “prog” a lot because of the considered nature of its composition, but that’s barely scratching the surface of what’s happening here.

White Void on Thee Facebooks

Nuclear Blast Records store

 

Day of the Jackal, Day Zero

Day of the Jackal Day Zero

Leeds, UK, four-piece Day of the Jackal bring straight-ahead hard rock songwriting and performance with an edge of classic heavy. There’s a Guns ‘n’ Roses reference in “Belief in a Lie” if you’re up for catching it, and later cuts like “Riskin’ it All” and “‘Til the Devil” have like-minded dudes-just-hit-on-your-girlfriend-and-you’re-standing-right-there vibes. They’re a rock band and they know it, and while I was a little bummed out “Rotten to the Core” wasn’t an Overkill cover, the 10 songs of love and death that pervade this debut long-player are notably hooky from “On Your Own” to “Deadfall” and “Rock ‘n’ Roll Deathride,” which casually inhabits biker riffing with no less ease of movement than the band would seem to do anything else. Production by James “Atko” Atkinson of Gentlemans Pistols highlights the clarity of the performance rather than giving a rawer glimpse at who Day of the Jackal might be on stage, but there’s plenty of vitality to go around in any case, and it’s headed your way from the moment you start the record.

Day of the Jackal on Thee Facebooks

Day of the Jackal on Bandcamp

 

Green Druid, At the Maw of Ruin

green druid at the maw of ruin

Following their 2018 debut, Ashen Blood (review here), Denver heavy lifters Green Druid give due breadth to their closing take on Portishead‘s “Threads,” but the truth is that cover is set up by the prior five tracks of huge-sounding riffery, basking in the varying glories of stoner doom throughout opener “The Forest Dark” while keeping an eye toward atmospheric reach all the while. It is not just nod and crush, in other words, in Green Druid‘s arsenal throughout At the Maw of Ruin, and indeed, “End of Men” and “Haunted Memories” bridge sludge and black metal screaming as “A Throne Abandoned” offers surprising emotional urgency over its ready plod, and the long spoken section in “Desert of Fury/Ocean of Despair” eventually gives way not only to the most weighted slamming on offer, but a stretch of noise to lead into the closer. All along the way, Green Druid mark themselves out as a more complex outfit than their first record showed them to be, and their reach shows no sign of stopping here either.

Green Druid on Thee Facebooks

Earache Records website

 

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The Obelisk Questionnaire: Sacha Besson of Fuzzcrafter

Posted in Questionnaire on March 26th, 2021 by JJ Koczan

fuzzcrafter-sacha BESSON

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Sacha Besson of Fuzzcrafter

How do you define what you do and how did you come to do it?

It’s a strange instrumental mix of fuzz rock and progressive music, with a lot of different influences ranging from funk to doom metal and world music. We have already released two albums, A – B and C – D, that were both recorded during live studio sessions. We feel that recording that way, in an age of overproduced albums with thousands of tracks, allows us to reach the authenticity and wildness that made the rock ‘n’ roll classics we love.

We try to make music we would be happy to listen to: with massive amounts of fuzz, long tracks with complicated structures, and musical changes you wouldn’t have expected a second earlier.

Describe your first musical memory.

I’m not coming from a musician family, I was not really exposed to music as a child. But I remember having a kind of revelation when playing Zelda Link’s Awakening on my Gameboy when I was like six or seven. The goal of the game is to pick up eight musical instruments through the dungeons. Every time you pick one, the instrument plays his part, then once again with the ones you already got. You literally assist to the creation of the arrangement. I played that on repeat and was like “Wooah, that’s cool, I wanna do this!”

Not really rock ‘n’ roll is it? Fuzzy stuff came later.

Describe your best musical memory to date.

We had a lot of good times with the band, but I’d say the day we finished tracking the second album. It was a challenging session, we had two rough days. It was the first time we recorded tracks that long and technical. When we finally laid down the last track, I was very proud of what we had accomplished. There’s an euphoria you’d never get if you record the instruments one by one.

When was a time when a firmly held belief was tested?

As an independent band, I don’t think there are that many occasions for this kind of dilemmas. We’re just having fun playing music we love.

Where do you feel artistic progression leads?

The more you progress, the more you understand how little you really know. I sure feel that way with music, I guess it’s the same in other artistic fields.

How do you define success?

Setting yourself goals that seem a bit too high, and working your ass off until you finally achieve something you’re proud of. The rest is bonus.

What is something you have seen that you wish you hadn’t?

Humanity going completely crazy, speeding up the extinction of entire species all over the planet to preserve short-term personal comfort… And… Star Wars Ep. VIII.

Describe something you haven’t created yet that you’d like to create.

We would really like to incorporate more guest musicians, and different kind of instruments in the next releases. We really love the trio format, and I think the limitations it imposes pushes the inspiration in a cool way; but why not bonus tracks with a way bigger band?

What do you believe is the most essential function of art?

Isn’t not having a function one of the main characteristics of art?

Something non-musical that you’re looking forward to?

A good beer in a bar with friends when that weird Covid situation is over!

https://www.facebook.com/fuzzcrafter
https://www.instagram.com/fuzzcrafterband/
https://fuzzcrafter.bandcamp.com/

Fuzzcrafter, C-D (2020)

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Goatfather Sign to Argonauta Records; Monster Truck out in 2021

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

It brings a sense of normalcy to my day when news comes through about Argonauta Records signing a band. Really, it’s good to know that amid all the pervasive chaos that seems to unfold every single exhausting day, Gero is out there snagging this or that act for release sometime in the not-too-distant-yet-still-entirely-unknowable future. In this case, it’s French burl-rockers Goatfather, whose 2017 single “Black Goat” you can hear below and who made their debut in 2016 with a record that somehow they decided it was a good idea to call Hipster Fister. Well then. If you need me, I’ll be giving the benefit of the doubt that all such sexual aggression is taking place in a loving and consensual context.

The new full-length has the more innocuous title of Monster Truck, and as the parent of a toddler who spends a goodly portion of his day thinking about such things, I know damn well somebody who is going to be excited about whatever video might accompany the release. Fingers crossed anyhow.

Release is tagged for “early 2021,” as per the PR wire:

goatfather

French Heavy Stoner Rock Overlords GOATFATHER Sign Worldwide Deal with Argonauta Records!

New Album, “Monster Truck”, Coming in Early 2021!

French heavy stoner rock overlords, GOATFATHER, have announced their signing with Argonauta Records, who will release the band’s sophomore album in early 2021!

With their acclaimed debut album, “Hipster Fister”, GOATFATHER quickly gained high praise from both fans and critics alike, and burst into the heavy rock scene with shows in support of acts such as STONED JESUS, MARS RED SKY or PLANET OF ZEUS to name just a few. Their filthy blend of high-voltage, heavy and powerful stoner rock takes you on a wild ride, and GOATFATHER’s new album will show no signs of slowing down on that trip! Fasten your seatbelts, as the “Monster Truck” will be rollin‘ as LP, CD and Digital formats in early 2021, says the band about their upcoming collaboration with Argonauta Records:

“Stonerheadz!

As Bruce Willis once said, to be the best you have to work with the best. So we’re very proud to announce our collaboration with Argonauta Records and All Noir! We know that Gero, Mona and all the Argonauta family are real music lovers, who like it heavy, fuzzy and groovy. Seems we were made to get along!

Now let’s kick some asses! Goatfather’s 2nd album “Monster Truck” will be released in 2021 in LP, CD and digital. So brace yourself and see you all in the pit (hopefully)!“

Label owner, Gero Lucisano, comments: “I’ve got the chance to be in touch with Raphaël, band’s drummer, a few months ago, he sent me some links and some band details I immediately found intriguing. After exchanging few messages I immediately got the band would have been ready for a collaboration with a label. They not only have a top notch sounding album, they also have that kind of attitude that I dig when it comes to understand that from now on we will work as a team. So do not expect GOATFATHER being just a band with a massive wall of groovy songs, yet also a bunch of guys with attitude and the need to shout their strength to the whole world. I’m excited to start now to work with them!”

Goatfather is:
Drums : Raph “Grizzly” J.
Bass : Quentin “Greunt” J.
Lead Guitar : Pierre “Menhir” B.
Rhythm Guitar/Vocals : Yann “Olaf” S.

www.facebook.com/goatfatherstoner
www.goatfather.bandcamp.com
www.argonautarecords.com

Goatfather, “Black Goat”

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Quarterly Review: Les Discrets, Test Meat, Matus, Farflung, Carpet, Tricky Lobsters, Ten Foot Wizard & Chubby Thunderous Bad Kush Masters, The Acid Guide Service, Skunk, The Raynbow

Posted in Reviews on July 10th, 2017 by JJ Koczan

quarterly-review-summer-2017

My friends, the time has come. Well, actually the time came about two weeks ago at the end of June, but I won’t tell if you don’t. Better late than never as regards all things, but most especially The Obelisk’s Quarterly Review, which this time around features releases recent, upcoming and a bit older, a mix of known and lesser known acts, and as always, hopefully enough of a stylistic swath to allow everyone whose eyes the series of posts catches to find something they dig between now and Friday. As always, it’ll be 50 records from now until then, 10 per day, and I see no reason not to jump right in, so let’s do that.

Quarterly Review #1-10:

Les Discrets, Prédateurs

les discrets Prédateurs

After offering a preview of their marked stylistic turn in last year’s Virée Nocturne EP (review here), Lyon, France’s Les Discrets return with the suitably nighttime-urbane vibing of their Prédateurs full-length via Prophecy Productions. Five years after Ariettes Oubliées (review here), Fursy Teyssier and company reinvent their approach to the sonic lushness of their earlier work, departing the sphere of post-black metal they previously shared with sister band Alcest in favor of an anything-goes heavy experimentalism more akin to Ulver on cuts like “Le Reproche” or the deeply atmospheric “Fleur des Murailles.” Drones pepper “Rue Octavio Mey” and closer “Lyon – Paris 7h34” effectively conveys the sense of journey its train-schedule title would hint toward, and indeed Les Discrets as a whole seem to be in flux throughout Prédateurs despite an overarching cohesion within each track. It’s a fine line between multifaceted and disjointed, but fortunately, Teyssier’s grip on melodicism is unflinching and enough to tie otherwise disparate ideas together here.

Les Discrets on Thee Facebooks

Les Discrets at Prophecy Productions

 

Test Meat, Demo

test meat demo

Considering the pedigree involved in guitarist/vocalist Darryl Shepard (ex-Milligram, Blackwolfgoat, Kind, etc.), bassist Aarne Victorine (UXO, Whitey) and drummer Michael Nashawaty (Planetoid, Bird Language), it’s little surprise that Test Meat’s Demo would have a pretty good idea of where it wants to come from. The five-track first showing from the Boston trio blends raw-edge grunge and noise rock on “He Don’t Know” after opening with its longest inclusion (immediate points) in the 3:50 “Cuffing Season,” and though centerpiece “Done” nods at the starts-and-stops of Helmet, the subsequent 2:35 push of “If You Wanna” is strikingly post-Nirvana, and closer “Permanent Festival” rounds out by bridging that gap via a still-straightforward heavy rock groove. Formative, yeah, but that’s the whole point. Test Meat revel in their barebones style and clearly aren’t looking to get overly lush, but one can’t help but be curious how or if they’ll develop a more melodic sensibility to go with the consuming, full buzzsaw tones they elicit here.

Test Meat on Thee Facebooks

Test Meat on Bandcamp

 

Matus, Intronauta

matus intronauta

Worth noting that while the opening cut here, “Claroscuro,” shares its title with Matus’ 2015 full-length (review here), that song didn’t actually appear on that album. Does that mean that the Lima, Peru, classic progressive rockers are offering leftovers from the same sessions on their new EP and perhaps final release, Intronauta? I don’t know, but the four tracks of the digital outing are a welcome arrival anyway, from the laid back easy vibes of the aforementioned opener through the riffier “Intronauta (Including Hasta Que El Sol Descanse en Paz),” the Theremin-soaked finish of the harder-driving “Catalina” and the acoustic-led four-part closer “Arboleda Bohemia,” which unfolds with lushness that remains consistent with the naturalism that has always been underlying in the band’s work. They’ve said their last few times out that the end is near, and if it’s true, they go out with a fully-cast sonic identity of their own and a take on ‘70s prog that remains an underrated secret of the South American underground.

Matus on Thee Facebooks

Matus on Bandcamp

 

Farflung, Unwound Celluloid Frown

farflung unwound celluloud frown

The jury, at least when it comes to the internet, still seems to be somewhat divided on whether the name of Farflung’s five-track/34-minute EP is Unwound Celluloid Frown or Unwound Cellular Frown. I’d say another argument is whether it’s an EP or an LP, but either way, let the follow-up to the more clearly-titled 2016 album (review here) demonstrate how nebulous the long-running Los Angeles space rockers can be when it suits them. Hugely and continually underrated, the troupe once again aligns to Heavy Psych Sounds for this release, which is rife with their desert-hued Hawkwindian thrust and weirdo vibes, permeating the rocket-fuel chug of the title-track and the noise-of-the-cosmos 13-minute headphone-fest that is “Axis Mundi,” which seems to end with someone coming home and putting down their car keys before a slowly ticking clock fades out and into the backwards swirling intro of lazily drifting closer “Silver Ghost with Crystal Spoons.” Yeah, it’s like that. Whatever you call it, the collection proves once again that Farflung are a secret kept too well.

Farflung on Thee Facebooks

Heavy Psych Sounds website

 

Carpet, Secret Box

carpet secret box

Immersive and progressive psychedelia unfolds from the very opening moments of Carpet’s third album, Secret Box (on Elektrohasch Schallplatten), as the Augsberg, Germany-based five-piece explore lush arrangements of Moog, Rhodes, trumpet, vibraphone, etc. around central compositions of fluid guitar-led melodies and engaging rhythms. Their 2015 Riot Kiss 7” (review here) and 2013 sophomore long-player, Elysian Pleasures (review here), came from a similar place in intent, but from the funk wah and percussion underscoring the pre-fuzz-explosion portion of “Best of Hard Times” and the okay-this-one’s-about-the-riff “Shouting Florence” to the serene ambience of “For Tilda” and ethereal fluidity of “Pale Limbs” later on, the secret of Secret Box seems to be that it’s actually a treasure chest in disguise. Opening with its longest track in “Temper” (immediate points), the album hooks its audience right away along a graceful, rich-sounding melodic flow and does not relinquish its hold until the last piano notes of the closing title-track offer a wistful goodbye. In between, Carpet execute with a poise and nuance all the more enjoyable for how much their own it seems to be.

Carpet on Thee Facebooks

Carpet on Bandcamp

 

Tricky Lobsters, Worlds Collide

tricky lobsters worlds collide

Full, natural production, crisp and diverse songwriting, right-on performances and a name you’re not about to forget – there’s nothing about Tricky Lobsters not to like. Worlds Collide is their sixth album and first on Exile on Mainstream, and the overall quality of their approach reminds of the kind of sonic freedom proffered by Astrosoniq, but the German trio of guitarist/vocalist Sarge, bassist/vocalist Doc and drummer/vocalist Captain Peters have their own statements to make as well in the stomping “Battlefields,” the mega-hook of “Big Book,” the dreamy midsection stretch of “Father and Son” and the progressive melody-making of “Tarred Albino” (video premiere here). The emphasis across the nine-song/42-minute outing is on craft, but whether it’s the patient unfolding of “Dreamdiver Pt. I & II” or the harp-and-fuzz blues spirit of closer “Needs Must,” Tricky Lobsters’ sonic variety comes paired with a level of execution that’s not to be overlooked. Will probably fly under more radars than it should, but if you can catch it, do.

Tricky Lobsters on Thee Facebooks

Tricky Lobsters at Exile on Mainstream Records

 

Ten Foot Wizard & Chubby Thunderous Bad Kush Masters, Special

ten-foot-wizard-chubby-thunderous-bad-kush-masters-special

Dubbed Special for reasons that should be fairly obvious from looking at the cover art, this meeting of minds, riffs and cats between Manchester’s Ten Foot Wizard and London’s Chubby Thunderous Bad Kush Masters brings four tracks – two per band – and goes so far as to find the groups collaborating on the former’s “Get Fucked,” which opens, and the latter’s “Dunkerque,” which begins their side of the 7”, as vocalists The Wailing Goblin (of Chubby Thunderous) and Gary Harkin (of Ten Foot Wizard) each sit in for a guest spot on the other band’s cuts. Both bands also offer a standalone piece, with Ten Foot Wizard digging into heavy rock burl on “Night Witches” and Chubby Thunderous blowing out gritty party sludge in “Nutbar,” which rounds out the offering, and between them they showcase well the sphere of the UK’s crowded but diverse heavy rock underground. Kind of a niche release in the spirit of Gurt and Trippy Wicked’s 2016 Guppy split/collab, but it works no less well in making its impact felt.

Ten Foot Wizard on Thee Facebooks

Chubby Thunderous Bad Kush Masters on Thee Facebooks

 

The Acid Guide Service, Vol. 11

the acid guide service vol 11

It turns out that Vol. 11 is actually Vol. 1 for Garden City, Idaho, three-piece The Acid Guide Service, who dig into extended fuzz-overdose riffing on the 52-minute nine-tracker, proffering blown-out largesse even on shorter cuts like the five-minute “Into the Sky” while longer pieces like opener “Raptured” (7:16), “EOD” (9:38) and closer “Black Leather Jesus” (10:04) skirt lines between structure and jams as much as between heavy rock and psychedelia. Proffered by the trio of guitarist/vocalist Russ Walker, bassist/vocalist Tyler Walker and drummer Nick McGarvey, one can hear shades of Wo Fat in the guitar-led expanse of “Rock ‘n’ Roll (Is the Drug I’m On),” but on the whole, Vol. 11 speaks more to the late-‘90s/early-‘00s post-Kyuss stoner rock heyday, with flourish of Monster Magnet and Fu Manchu for good measure in the hard-swinging “Dude Rockin’” and its chugging companion piece, “Marauder King.” Big tones, big riffs, big groove. The Acid Guide Service are preaching to the converted, but clearly coming from a converted place themselves in so doing. Right on.

The Acid Guide Service on Thee Facebooks

The Acid Guide Service on Bandcamp

 

Skunk, Doubleblind

skunk doubleblind

Professing a self-aware love for the earliest days of heavy metal in idea and sound, Oakland’s Skunk offer their full-length debut with the self-released Doubleblind, following up on their 2015 demo, Heavy Rock from Elder Times (review here). That outing featured four tracks that also appear on Doubleblind – “Forest Nymph,” “Wizard Bong,” “Black Hash” and “Devil Weed.” Working on a theme? The theme is “stoned?” Yeah, maybe, but the cowbell-infused slider groove and standout hook of “Mountain Child” are just as much about portraying that ‘70s vibe as Skunk may or may not be about the reefer whose name they bear. Presumably more recent material like that song, “Doubleblind,” closer “Waitin’ Round on You” and leadoff cut “Forest Nymph” coherently blend impulses drawn from AC/DC, Sabbath and Zeppelin. John McKelvy’s vocals fit that spirit perfectly, and with the grit brought forth from guitarists Dmitri Mavra and Erik Pearson, bassist Matt Knoth and drummer Jordan Ruyle, Skunk dig into catchy, excellently-paced roller riffing and cast their debut in the mold of landmark forebears. Mothers, teach your children to nod.

Skunk on Thee Facebooks

Skunk on Bandcamp

 

The Raynbow, The Cosmic Adventure

the raynbow the cosmic adventure

As they make their way through a temporal drift of three tracks that play between krautrocking jazz fusion, psychecosmic expansion and Floydian lushness, Kiev-based explorers The Raynbow keep immersion central to their liquefied purposes. The Cosmic Adventure (on Garden of Dreams Records) is an aptly-titled debut full-length, and the band who constructed it is comprised of upwards of eight parties who begin with the 16-minute opener and longest track (immediate points) “Changes,” which builds toward and through a metallic chug apex, sandwiching it on either side with ultra-patient molten tone and soundscaping that continues to flourish through the subsequent “Cosmic Fool” (5:17) and “Blue Deep Sea Eyes” (8:18), the whole totaling a still-manageable outward trip into reaches of slow-moving space rock that whether loud or quiet at any individual moment more than earns a volume-up concentrated headphone listen. The kind of outfit one could easily imagine churning out multiple albums in a single year, The Raynbow nonetheless deliver a dream on The Cosmic Adventure that stands among the best first offerings I’ve heard in 2017.

The Raynbow on Thee Facebooks

Garden of Dreams Records on Bandcamp

 

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Sunder, Sunder: Lucid Dreams (Plus Full Album Stream)

Posted in audiObelisk, Reviews on October 29th, 2015 by JJ Koczan

sunder sunder

[Note: Press play above to hear Sunder’s Sunder in full. It’s out tomorrow, Oct. 30, on Tee Pee and Crusher Records. Preorders are available from Tee Pee, at iTunes or on Amazon.]

Don’t call it a reboot. More like a do-over, maybe. The story goes like this: Early in 2014, a band from Lyon, France, called The Socks released their self-titled debut (review here) on Small Stone Records. Good album. Very much in the post-Kadavar/Graveyard retro-boogie vein, but ably executed, particularly for a young band on their first LP. About a year and a half later, that same band — identical lineup: guitarist/vocalist Julien Méret, drummer Jessy Ensenat, bassist Vincent Melay and organist/backing vocalist Nicolas Baud — reemerge as Sunder, and take a second shot at a self-titled debut, this time through Tee Pee and Crusher Records.

Near as I can tell, the major jump is in Baud swapping out a guitar for keys, but one of the most striking aspects of Sunder‘s first album is that it really is far enough away from what these guys were doing as The Socks to justify being a different band. Songs like the fortified opening salvo of “Deadly Flower,” “Daughter of the Snows” and “Cursed Wolf” — which were also included on Sunder‘s demo (review here) earlier this year — give the listener an immediately fuller sense of breadth, incorporating elements culled from earlier psychedelic and garage rock, less directly indebted to one band or another than to an aesthetic itself that, while undeniably drawn from these decades-old tenets, sounds refreshing for the nuance and melody with which Sunder carry it. If this is a do-over, they’re doing it right.

As with their prior incarnation, Sunder‘s debut arrives with remarkably little pretense. Its nine tracks comprise a thoroughly manageable 33:43, and from the beginning organ line and fuzz of “Deadly Flower” (video premiere here), the foursome maintain an efficient balance of resonant hooks, open vibe and pervasive groove. Nothing’s overcooked, but the material feels thought through and vocal arrangements tap Beatles-style harmonies without falling into a post-Uncle Acid trap, and while “Daughter of the Snows” has some of that Graveyardian swing, Sunder bring more than enough of their own personality to make the shuffle fit with the surrounding material, “Cursed Wolf” playing back and forth on the throttle early before shifting into a sun-caked midsection fuzz jam that seems like it’s going to be a departure point for a build but winds up trailing back to the verse and chorus to close — just a little break from reality, then. A welcome one at that.

sunder

“Wings of the Sun” is complementary in its trippy spirit and vocal harmonies, natural sounding but still leaving space for Ensenat‘s drums to thud out an easily-followed beat or for Baud‘s organ to bolster the overarching lysergic nostalgia, which presents a mood much more 1966 than 1971, leaning well over the cusp of the psychedelic era as though — not to harp on it — trying to capture a moment between Rubber Soul and Revolver, plus the organ and minus the cynicism that would later inform what became heavy rock. Sunder‘s Sunder has several legitimately gorgeous stretches, and “Wings of the Sun” is one of them.

Centerpiece “Bleeding Trees” follows and is perhaps even more of an accomplishment, since not only does it bask in the same warmth as the song before it, but it pushes that warmth to a weightier purpose. A darker turn in the verse, shoutier in its bridge, more direct in its choral fullness, “Bleeding Trees” brings out Mellotron backing for a high-point guitar solo and is still done in under four minutes, setting a quick return to the sun with “Eye Catcher,” an A-side in the making that freaks out on fuzz in its first half and goes buzzsaw in its second, all while keeping a fast pace and holding firm to the energy Sunder have shown throughout.

Méret presides over the subsequent “Thunder and Storm” with crisp frontman presence, though the backing he receives from the layered keys and Ensenat‘s what-did-the-drum-do-to-deserve-such-a-beating snare is not to be understated. These quick bursts in “Eye Catcher” and “Thunder and Storm” help propel Sunder‘s second half, but also add to the complexity of the first, expanding the album’s opening progression by showing the band aren’t necessarily beholden to one tack or another. The dynamic is emphasized in the slowdown of  the love-lorn “Don’t Leave it Behind,” an open crash, choice key line and balance in the high and low end showing just how deep in the mix Sunder can do while Méret — if I’m not mistaken — turns the vocals backwards from within the swirl. Closing out, the swaggering roll of “Lucid Dreams” is as close as they come to the five-minute mark at 4:51 and a legitimately earned victory lap through another memorable chorus.

It’s no small thing for a band to stop what they’re doing, look around them, decide they want to be somewhere else sonically, and then actually make that change happen. Not only to do it, but to do it without changing a lineup. Sunder‘s first LP is a standout release for the context in which it arrives, but it’s the songwriting and the potential the band shows in their arrangements that make it one of 2015’s strongest debuts, as brazen as it is completely realized. One hopes in listening to it that MéretBaudMelay and Ensenat have found the place they’ll call home in terms of style, because what they’re doing across these tracks suits them well and seems to be ripe for any number of avenues for future progression.

Sunder on Thee Facebooks

Sunder at Tee Pee Records

Sunder at Crusher Records

Preorder at Amazon

Preorder on iTunes

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Sunder Announce Oct. 30 Release Date for Self-Titled Debut

Posted in Whathaveyou on September 23rd, 2015 by JJ Koczan

sunder

French heavy psych rockers Sunder will make an anticipated debut on Oct. 30 with their self-titled on Tee Pee Records. The four-piece, formerly known as The Socks and having released a self-titled (review here) under that moniker on Small Stone last year, seem to be departing from the straight-ahead boogie of their old band in favor of more ethereal vibes. The album’s release will follow a run through Europe alongside Harsh Toke that includes a stop at Desertfest Belgium 2015, as well as a flexi-single issued for the track “Cursed Wolf” that came out on Sept. 11.

Album details and those tour dates follow, as seen on the PR wire:

sunder sunder

SUNDER to Release Self-Titled Debut Album October 30

Heavy Psych Four-Piece Premieres New Single “Cursed Wolf”

French heavy psychedelic rock band SUNDER will release its self-titled debut album on October 30 via Tee Pee Records (and in Europe / Japan via Crusher Records). Formerly known as The Socks, the group is known for its edgy, electric sound that draws from the heavier side of 1960’s / 70’s rock and swings with acid grooves. SUNDER, who has performed live with like-minded bands such as Earthless, Danava and Radio Moscow, will tour Europe this October with new Tee Pee label mates Harsh Toke.

In advance of the album’s release, SUNDER has issued the new single “Cursed Wolf” as a special silver foil stamped 7” flexi disc.

“It’s with great pleasure and pride to be part of two of the most amazing heavy/psych labels in the world,” said the band in a statement. “The Socks were of Lyon, France. Sunder is of the world and it is with the sounds of Sunder that the shores of the world will be plundered.”

Track listing:

1.) Deadly Flower
2.) Cursed Wolf
3.) Daughter of the Snows
4.) Wings of the Sun
5.) Bleeding Trees
6.) Eye Catcher
7.) Thunder and Storm
8.) Don’t Leave it Behind
9.) Lucid Dreams

SUNDER features Julien Méret (guitar / vocals) Jessy Ensenat (drums), Vincent Melay (bass) and Nicolas Baud (Farfisa, Mellotron, backing vocals).

HARSH TOKE and SUNDER on tour
Oct. 01 – Holland, Landgraaf – Oefenbunker
Oct. 02 – Germany, Siegen – Vortex
Oct. 03 – Germany, Mannheim – mohawk club
Oct. 04 – Germany, Kassel – Goldgrube
Oct. 05 – France, Paris – La Mecanique Ondulatoire
Oct. 06 – France, Lyon – Ayers Rock Boat
Oct. 07 – France, Strasbourg – Mudd Club
Oct. 08 – Germany, Köln – Limes
Oct. 09 – Germany, wurzburg -Immerhin
Oct. 10 – Belgium, Antwerp – Desertfest
Oct. 11 – Germany, Berlin – Bassy
Oct. 12 – Austria, Vienna – Arena
Oct. 13 – Germany, Munich – Backstage
Oct. 14- Germany, Lichtenfels – Paunchy Cats
Oct. 15 – Swiss, Horstklub – Kreuzlingen
Oct. 16 – Swiss, Olten – Le Coq D´Or

https://www.facebook.com/officialsunder
teepeerecords.com/products/

Sunder, “Cursed Wolf”

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Harsh Toke and Sunder Announce European Tour Dates

Posted in Whathaveyou on August 19th, 2015 by JJ Koczan

Rules. Don’t get me wrong, I’ve been quietly hoping for news of Harsh Toke putting together a follow-up to their 2013 Tee Pee Records debut Light up and Live, but if that’s not forthcoming, word that the San Diego jammers are headed back to Europe for a run alongside their newcomer labelmates Sunder is a more than decent consolation prize. Still wouldn’t mind some album news, but I’ll take what I can get.

Sunder‘s first release for Tee Pee is set to be a flexi 7″ that’s due out Sept. 11. They’ll reportedly have more to follow. They had two records out under their former moniker, The Socks, so they’re not exactly a brand new band, but it should be interesting to hear when the time comes what aesthetic shifts surface to go along with the name change. Their demo (review here) was right on.

Tour info culled from the information superhighway:

harsh toke sunder euro tour

HARSH TOKE & SUNDER // european tour // October 2015

Swamp Booking, Vivarium Music Group, Crusher Records and Tee Pee Records proudly present:

HARSH TOKE and SUNDER on tour
Oct. 01 – Holland, Landgraaf – Oefenbunker
Oct. 02 – Germany, Siegen – Vortex
Oct. 03 – Germany, Mannheim – mohawk club
Oct. 04 – Germany, Kassel – Goldgrube
Oct. 05 – France, Paris – La Mecanique Ondulatoire
Oct. 06 – France, Lyon – Ayers Rock Boat
Oct. 07 – France, Strasbourg – Mudd Club
Oct. 08 – Germany, Köln – Limes
Oct. 09 – Germany, wurzburg -Immerhin
Oct. 10 – Belgium, Antwerp – Desertfest
Oct. 11 – Germany, Berlin – Bassy
Oct. 12 – Austria, Vienna – Arena
Oct. 13 – Germany, Munich – Backstage
Oct. 14- Germany, Lichtenfels – Paunchy Cats
Oct. 15 – Swiss, Horstklub – Kreuzlingen
Oct. 16 – Swiss, Olten – Le Coq D´Or

HARSH TOKE
SAN DIEGO – USA

Psychedelic rockers HARSH TOKE explore sound and space through music. On the San Diego Acid Rock band’s debut album Light Up and Live, loud, heavy guitars, swimming bass lines and smashing drums warp to full throttle, working together to launch the group’s “Haze Maze” of unapologetic psychedelic-blues into interstellar overdrive. Recorded by Brian Ellis (also of the prog-rock band ASTRA) and mastered by Carl Saff (Earthless, OFF!, Unsane)

HARSH TOKE are equal parts atmospheric and anarchic, merging raging, blind fury musicianship with unprecedented white-knuckle volume abuse. Tense and surreal, HARSHTOKES’ songs slowly build from hallucinatory haze into grand overtures of noise and feedback; a cosmic buffet of pounding, pummeling and punishing planes of sound. Heavy. Cosmic. Kinetic.

HARSH TOKE lay down sizzling grooves with every needle on the soundboard pinned to the red. If Blue Cheer could be called “Louder than God” in 1968, forty five years later, HARSH TOKE can easily be pegged as “Louder than Satan.” Run for your lives – into the din.

https://www.facebook.com/theHARSHTOKEgoons/
http://teepeerecords.com/bands/harsh_toke/index.php

SUNDER
LYON – FRANCE

The Gods of Rock have seen fit to bestow upon the masses a reincarnation of the psychedelic force previously known as The Socks.

Comprising the same lineup, this incarnation of reverberation that goes by the name ofSunder is destined to sell out stadiums throughout the world, splitting heads through the ears with their brand of thunderous, heavy rock.

Signed to Crusher Records in Europe and Tee Pee Records in the States, Sunder is poised to leave their mark the world over.

https://www.facebook.com/officialsunder
http://teepeerecords.com/pages/sunder

https://www.facebook.com/events/1463924630575826/

Harsh Toke, “Light up and Live”

Sunder, “Deadly Flower” (Demo)

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Quarterly Review: Horsehunter, Church, Corpse Light, Sunder, T-Tops, The Space Merchants, Etiolated, Blown Out, Les Discrets, Beast Modulus

Posted in Reviews on June 30th, 2015 by JJ Koczan

the obelisk summer quarterly review

Day one down and feeling good so far. Day two continues the thread of mixing more known quantities with bands either self-releasing or putting out demos, etc., and I like that. More than last time around — last quarter, if you want to use the business-y sounding language for it — I tried to really get a balance across this batch of reviews, posted yesterday and coming up over the next couple days. We’ll see how it works out when it’s over. It remains a ton of stuff, and I hope you dig it. Day two starts right now.

Quarterly review #11-20:

Horsehunter, Caged in Flesh

horsehunter caged in flesh

Pushing their way to the fore of Melbourne’s heavy surge, double-guitar four-piece Horsehunter proffer oppressive tonal crush on the four tracks of their 2LP Magnetic Eye Records debut, Caged in Flesh. The story goes that, unsatisfied the initial recordings weren’t heavy enough, the band – guitarists Michael Harutyanyan (also vocals) and Dan McDonald, bassist/vocalist Himi Stringer and drummer Nick Cron – went back into the studio and redid the entire thing. Mission accomplished. By the time 16-minute opener and longest track (immediate points) “Stoned to Death” is done, lungs are suitably deflated, spines are cracked, skulls cleaved, and so on. They’re hardly the only ones in the world to conjure formidable tonal heft, but it’s the deft changes in vocals – clean here, shouts there, more abrasive at the start of the title-track – and the sense of atmosphere in the three-minute penultimate interlude that really distinguish Horsehunter, as well as how smoothly that atmosphere integrates with the pummel in the second half of closer “Witchery,” attention to detail and awareness of the need for more than just sonic weight boding well for future progression.

Horsehunter on Thee Facebooks

Magnetic Eye Records on Bandcamp

Church, Unanswered Hymns

church unanswered hymns

A staggeringly heavy debut full-length from Sacramento, CA, five-piece Church, Unanswered Hymns was initially released digitally by the band and quickly picked up for a cassette issue by Transylvanian Tapes and forthcoming LP through Battleground Records. One gets the sense listening to the three extended tracks – 19-minute opener “Dawning” being the longest of the bunch (immediate points) – that those won’t be the last versions to come. Psychedelic doom blends seamlessly with vicious sludge extremity, creating a morass engulfing in its tones, spacious in its breadth and unrepentantly heavy, making it one of 2015’s best debut releases, hands down, and a glorious revelry in bleak tectonics that challenges the listener to match its level of melancholy without giving into an impulse for post-Pallbearer emotive theatrics. As thrilling as they are plodding, expect the echoes of “Dawning,” “Stargazer” and “Offering” to resonate for some time to come, and should Church show any predilection for touring in the next couple years, they have the potential to make a genuine impact on American doom. Yes, I mean it.

Church on Thee Facebooks

Transylvanian Tapes

Battleground Records

Corpse Light, Without Form

corpse light without form

Recorded in a day and released by Grimoire Records, the four-track Without Form is slated as the debut from Baltimore atmospheric doomers Corpse Light, but the band have had tracks come out in drips and drabs since getting their start as Ophidian in mid-2012, even if this is their first proper release. Either way, “The Fool” sets up an immediate and grim ambience, the churning lurch from guitarists Keiran Holmes and Don Selner and bassist Aurora Raiten set to roll by Lawrence Grimes (The Osedax) and given earthy aggression by the vocals of Jim Webb. “Lying in State” fleshes out these morose aggro vibes, but it’s with the drop-everything-and-kill peak of the subsequent “R Complex” that Corpse Light hit their angriest mark. If Without Form was just about that, it would be the highlight, but the album’s 29 minutes have more to offer than pissed off tonally-weighted post-hardcore, as closer “Kenophobia”’s clever turns and deceptive forward momentum demonstrate, though a touch of that kind of thing never hurts either.

Corpse Light on Thee Facebooks

Grimoire Records on Bandcamp

Sunder, Demo

sunder demo

Heavy psych four-piece Sunder will make their debut this summer through Tee Pee and Crusher Records with a 7” for “Cursed Wolf,” so consider this notice of the tracks on their not-for-public-consumption demo a heads up on things to come. Their “Deadly Flower” was streamed here this past April, and the band’s previous incarnation, The Socks, released their self-titled debut (review here) on Small Stone in 2014, but with songs like the key-laced stomper “Bleeding Trees,” the ‘70s rusher “Against the Grain,” and the Uncle Acid-style swinging “Daughter of the Snows,” the Lyon, France, outfit continue to refine a style drawing together different vibes of the psychedelic era. “Deadly Flower” was also distinguished by its key work, and as for “Cursed Wolf” itself, the melody reminds of proto-psych Beatles singles (thinking “Rain” specifically), but the groove still holds firm to a sense of weight that’s thoroughly modern, and by that I mean it sounds like 1972. Keep an eye out.

Sunder on Thee Facebooks

Tee Pee Records

T-Tops, T-Tops

t-tops t-tops

Granted not everyone is going to make this immediate association, but when I first saw the moniker T-Tops, I couldn’t help think of like C-grade generic stonerisms, songs about beer and pretending to be from the South and all that. If you experienced something similar in seeing the name, rest easy. The Pittsburgh trio of guitarist/vocalist Pat Waters (ex-The Fitt, Wormrigg), bassist Jason Orr (Wormrigg) and drummer Jason Jouver (ex-Don Caballero) are down with far more sinister punk and noise on their self-titled, self-released debut full-length, riding, shooting straight and speaking truth on cuts like “Wipe Down” and the catchy “Pretty on a Girl” after the tense sampling of “A Certain Cordial Exhilaration” turns over the power-push to “Cruisin’ for a Bruisin’.” “Ralphie” is probably an inside-joke if not a Christmas Story reference, but point is these guys are way less about-to-sing-about-muscle-cars than the name implies and their tight, crisp rhythmic turns come accompanied by vicious tonal force and an utter lack of bullshit, which is a scenario far preferable to that which one might otherwise expect.

T-Tops on Thee Facebooks

T-Tops on Bandcamp

The Space Merchants, The Space Merchants

the space merchants the space merchants

Issued by Aqulamb in the imprint’s standard 100-page art book/download format, the self-titled debut from fellow Brooklynites The Space Merchants seeks to draw a line between psychedelic rock and country. And not pretend country like people with a Johnny Cash fetish because he covered that Nine Inch Nails song one time – actual, bright, pastoral, classic country. Call the results psychtwang and applaud the effort, which works oddly well in a thoroughly vintage context to come across on “Mainline the Sun” like something from a lost ‘60s variety show. Parts of “One Cut Like the Moon” and the later fuzz of “One Thousand Years of Boredom” give away their modernity, but The Space Merchants’ push toward a stylistic niche suits them well, and the intertwined vocal arrangements from guitarist Michael Guggino, bassist Aileen Brophy and keyboardist Ani MonteleoneCarter Logan drums to round out the four-piece – add to the rich, welcoming feel that remains prevalent even as the eight-minute “Where’s the Rest of Life” slips into wah-soaked noise to finish out.

The Space Merchants on Thee Facebooks

Aqualamb on Bandcamp

Etiolated, Grey Limbs, Grey Skies

etoliated grey limbs grey skies

The undercurrent of black metal coursing beneath the surface of Etiolated’s debut full-length, Grey Limbs, Grey Skies, eventually comes to the surface in 10-minute opener “Internal Abyss” and 16-minute eponymous closer, which bookends, but in part it’s the tension of waiting for those rampaging surges that keeps one hooked to the Armus Productions release. Guttural death growls echo up from dense tonal reaches, and tempo shifts, whether in those longer tracks or three-minute lumbering slice “Futility” are fluid, the North Carolina five-piece executing a slow-grinding chug in centerpiece “Exsanguinate,” which seems like a murk without end until the 1:47 “For Your Hell” kicks into a speedier, more blackened rush, guest vocalist Ryan McCarthy joining guitarist/vocalists James Storelli and Walls, bassist Cody Rogers and drummer Elliot Thompson in furthering the already prevalent sense of extremism before “Etiolated,” after a surprisingly peaceful if brooding midsection, plods the album to a close. To say “not for the faint of heart” would be putting it lightly, but if I had a vest and if Etiolated had patches, the two parties would definitely meet up at some point in the near future.

Etiolated on Thee Facebooks

Armus Productions on Bandcamp

Blown Out, Planetary Engineering

blown out planetary engineering

It has not taken long for the discography of UK psych jammers Blown Out to become a populated murky cosmos of its own. Planetary Engineering is released on Oaken Palace Records and finds the three-piece of guitarist Mike Vest (also Bong, etc.), bassist John-Michael Hedley (also Pigs Pigs Pigs Pigs Pigs Pigs Pigs) and drummer Matt Baty (also the head of Box Records) exploring two mesmeric and sprawling instrumentals – one per side – that bend and flourish and hypnotize in organically-concocted swirl. Side A’s “Transcending Deep Infinity” tops 20 minutes and shifts from its spacey build to a low key groove at about 7:30 in, pulsing forward once more amid head-turning repetition, deep echoes and longform nod, culminating in a two-minute fadeout that brings forward “Thousand Years in the Sunshine,” an immediate bass groove and interstellar swirl no less trance-inducing than its predecessor. Cyclical drum fills morph over time behind the guitar and bass, and Planetary Engineering seems to push continually further out until, of course, it disintegrates, presumably as it crosses the galactic barrier.

Blown Out on Thee Facebooks

Oaken Palace Records on Bandcamp

Les Discrets, Live at Roadburn

les discrets live at roadburn

I was fortunate enough to have been in attendance at Het Patronaat in Tilburg when French post-black metallers Les Discrets took the stage at Roadburn 2013. As such, it’s with some trepidation I approach their Live at Roadburn recording on Prophecy Productions – the impression they made live wasn’t something I’d want potentially spoiled or brought to earth by a document proving it was just another set. With Neige of Alcest on bass with guitarist/vocalist Fursy Teyssier, Les Discrets proved to be something really special to those who, like me, were there to catch them, and the eight-track Live at Roadburn – fortunately – captures both the majestic lushness they brought with them and the underlying weight that seemed to add impact to the material. What might sound like post-production mixing on “L’Echappée” or the wash of “Chanson D’Automne” isn’t – it really was that beautiful and that perfectly balanced coming from the stage. A vastly underrated act and a document that reminds of how stellar they were without sullying the memory in the slightest.

Les Discrets on Thee Facebooks

Prophecy Productions

Beast Modulus, Beast Modulus

beast-modulus-beast-modulus

Brooklynite foursome Beast Modulus seem to care less about meshing with ideas of genre than sticking them in a meatgrinder and seeing what comes out. To wit the riotous chugging of “Cowboy Caligula,” and the blackened thrust of “WaSaBi!” on their self-released, self-titled outing, which leads to dueling growls and screams on the tonally weighted post-hardcore “Fabulous,” and the appropriately mathy turns of the thrashing “Tyranny of Numbers.” Inventive in their stylizations and in where the six songs included on the release actually go – hint: they go to “heavy” – the lineup of vocalist Kurt Applegate, guitarist Owen Burley, bassist Jesse Adelson and drummer Jody Smith have some post-Dillinger Escape Plan vibe in the calculated chaos of “Kalashnikov,” but closer “Killing Champion” is too impatient to even be held by that, the prevailing manic angularity of Beast Modulus ultimately crafting its own identity from the physical assault the music seems intent on perpetrating upon the listener.

Beast Modulus on Thee Facebooks

Beast Modulus on Bandcamp

 

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