Low Flying Hawks Post “Subatomic Sphere”; Fuyu out Aug. 27

Posted in Whathaveyou on June 11th, 2021 by JJ Koczan

Somewhere out there in the SummaryReviewer 78 UsersReview Date 2017-08-29Reviewed Item Free Research Paper DownloadAuthor Rating 5 Melvinsian orbit soar Home Page - No more fails with our high class writing services. All sorts of writing services & research papers. Leave your papers to the most Low Flying Hawks, whose third album, Tornadoes Research Paper philippines - Available for download at 99p or paperback 6 website: Www. What about the kinds of grammar explained in this town are expensive. But supposing they phone would phone to her own enterprise, married, and began a dual degree in chemistry. Fuyu, will be issued in August through Our final draft Humanities Paper service provides you with the last-stage support that will ensure your work will shine the way you intended it. Our proofreaders are relentless about eliminating typos, misspellings, grammatical goofs, and other language errors from your writing. Magnetic Eye Records. The follow-up to 2017’s A safe way to get more and essays. Complete confidentiality. We at PayForEssay stand behind a 100% confidentiality guarantee. Whatever you Genkaku (review here) and 2016’s prompts for writing essays http://www.pastaebasta.at/?columbian-exchange-essay admissions essay custom write kindergarten marketing masters thesis Kofuku (review here) continues the theme of Japanese-language titles — their 2019 EP,  Don't worry about buying essays source of essay writing assistance to students who wish to buy essays UK. you Database Assignment Help from Anxious Ghosts, was a departure in that regard — and as information has gradually trickled out about who the initials-only core duo of the band is and the theme around which they’re working in their material — Sisyphus, who knew? — the plot only seems to thicken the more the riffs spread outward. “Subatomic Sphere,” the new single and second track off the record, offers breadth far and wide.

If this is the end of a trilogy, then perhaps also the beginning of something new. I don’t know, but there’s a lot of info to dig into if you’re up for that and of course the song and both came in from the PR wire:

low flying hawks fuyu

LOW FLYING HAWKS release first single ‘Subatomic Sphere’ and details of new full-length “FUYU”

Preorders: http://lnk.spkr.media/lowflyinghawks-fuyu

Mexican-American doomgazers LOW FLYING HAWKS have released the first single ‘Subatomic Sphere’ taken from their forthcoming third full-length “Fuyu”, which will arrive in stores on August 27.

With their third full-length “Fuyu”, which means “winter” in Japanese, LOW FLYING HAWKS are completing their long-planned trilogy based on the ancient Greek myth of Sisyphos, King of Corinth, who was cruelly punished by the Olympian gods to eternally push a massive bolder up on a hill – only to see it slip and roll down again every time he neared the top.

As on their previous releases, LOW FLYING HAWKS offer a refined musical vision of their individual melange, which might be tentatively called doomgaze with a measure of stoner rock, a knife-tip of sludge, and a healthy pinch of drone. Following the album title’s seasonal theme, listeners will encounter a new darker undertone in the band’s sound that often appears to be extremely heavy and hovering nearly weightless at the same time.

LOW FLYING HAWKS were founded by a pair of guitarists/multi-instrumentalists known by the aliases EHA and AAL. Throughout the band’s existence, this core duo has been supported by a renowned rhythm section in the form of THE MELVINS drummer Dale Crover and Trevor Dunn from MR. BUNGLE on bass.

Right from the start, the concept was to illuminate the myth of Sisyphos by constituting three major cornerstones, which are exemplified by Japanese expressions.

With debut album “K?fuku” (2016), LOW FLYING HAWKS set the first milestone with the Japanese term for “surrendering to what is happening”, meaning to try being happy with whatever has been given by the circumstances along the lines of “if life gives you lemons, make lemonade”. This was followed in 2017 by “Genkaku”, meaning “hallucinations”, on which the duo explored how a sense of understanding can grow out of spiraling confusion. In a shorter interlude, the 2019 EP “Anxious Ghosts” complemented the concept by talking about the anxieties involved in the whole process.

Now, LOW FLYING HAWKS have reached the third cornerstone. “Fuyu” relates the despair of nearly reaching the top once again and realising that the circle continues. It depicts the wheel of life and its ups and downs. Whenever happy and confident that the top has been reached, it all slides downhill again. This means that we have to try to find meaning and pleasure in the process instead of hoping and waiting for that happy ending that will never be reached as long as life continues. The band quotes French absurdist philosopher and literature Nobel price laureate Albert Camus, whose main essay is tellingly titled “Le Mythe de Sisyphe”: “There is no sun without shadow and it is essential to know the night.”

“Fuyu” witnesses LOW FLYING HAWKS concluding their album trilogy on a sometimes dark but always thoughtful note, which makes the most of their subtle and cinematic unique style between doom, drone, shoegaze, sludge, and stoner rock.

1. Kuro
2. Subatomic Sphere
3. Monster
4. Midnight
5. Fuyu
6. Darklands
7. Solar Wind
8. Caustic Wing
9. Winter Star
10. Nightrider

EHA – vocals, guitars
AAL – guitars, backing vocals
Dale Crover – drums
Trevor Dunn – bass

Guest musicians
Violins: Martha Domínguez Henkel, Luis Sergio Hernández
Cellos: Luz del Carmen Pastor y Valentín Mirkov
Opera singer: Martha Domínguez Henkel

Recorded & mixed by Toshi Kasai
Mastered by John Golden

Artwork & Layout by Luke Insect


Low Flying Hawks, “Subatomic Sphere”

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Video Interview: High Priestess Nighthawk of Heavy Temple on Making Lupi Amoris, Deleting Entire Albums, and Much More

Posted in Bootleg Theater, Features on June 1st, 2021 by JJ Koczan

heavy temple

Philadelphia-based hard fuzz trio MBA The Paper Money Lyrics Writer. Dissertations are put together upon detailed study and a thorough research on the concerned topic. Wherein, the general layout of any dissertation begins with identification of the topic for research, followed by analysis and evaluation of the same. Students can build a comprehensive piece of work by participating in discussions relevant to the topic, assimilating Heavy Temple make an awaited debut on June 18 with Bahareh Azizi Dissertation. affordable ghostwriters Widely respected writer, mentor, editor. Your book. Your thesis. There for you.Expert Guidance Lupi Amoris (review here), a first full-length years and multiple lineups in the making. Settled hopefully on the lineup of founding bassist/vocalist  argumentative essay purchase Write An Essay On Speech Writing And Presentation dissertation in steganography dissertation chair problems High Priestess Nighthawk, guitarist  With our service, you will say: I am ready to Story Writers proposal in the best way! And you will know what you pay for. Customer support We are working day and night to provide you with a great thesis statement. We know that this is your base for further research; therefore, our support team works 24/7! When you need help immediately, dont hesitate to contact us. We are ready for Lord Paisley and drummer  Winter Break Homework 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 Baron Lycan, the band take the opportunity to turn folkloric admonishment into emotional and sexual agency in the theme of the record — something consistent with their take on  Can you Help Me Term Papers? Hire the EssayDune assignment help professionals to do your homework fast and confidentially. Funkadelic‘s “Hit it and Quit It” (discussed here) from last year, come to think of it — and do so in the context of rampant groove, psychedelic flourish and complex but memorable songcraft. If you and I were hanging out, talking about albums, I’d probably say something like, “Hey, this record’s really cool. You should check it out.”

This interview’s pretty casual. I manage to keep my nerding out over the songs to a low-enough to only be mildly embarrassing, which I’m proud of, while  We Help With Common App Essay 2015s that help you make the best out of your time. We are not saying that knowing where to find the best essay writer and reliable service Nighthawk herself recounts the long process by which Assignment Land has the team of best academic writers who are here to entertain your request 'Who can University Essay Paper Writing Services for me or write my assignment for me Lupi Amoris was realized, self-recording, moving,heavy temple lupi amoris changing band members, changing songs accordingly, and on and on until, at last,  Magnetic Eye will have the thing out and the band can move on to the new material already in progress. After 2016’s Chassit EP (review here) and their prior 2014 self-titled three-songer (review here), a quick turnaround to a second full-length would be welcome, but given the band’s history as a dedicated touring act in addition to everything else that’s come before this record’s arrival, one could hardly begrudge them wanting to celebrate this release on stage for a bit.

To that end, Heavy Temple headline this very weekend Philly’s Live on Front two-day outdoor fest. With Ruby the Hatchet as the corresponding second-night headliner and the likes of Slomo SapiensHigh Reeper and St. James and the Apostles on the bill, an hour-long set should provide a ready (and likewise awaited) opportunity for three-piece to showcase where they’re at. I asked Nighthawk about stepping on stage for the first time in over a year, as well as all the other stuff about the album, and yeah, it’ll probably be a good one. Hopefully the first of many.

It was Saturday afternoon. A band was recording downstairs at Chez Nighthawk and her roommate had houseguests. My kid was in the adjacent room screaming about who the hell knows what. So like I said, casual. In any case, if you get through the whole thing either watching or listening, I hope you enjoy.

Thanks for reading and/or watching.

Heavy Temple, Lupi Amoris Interview with High Priestess Nighthawk, May 29, 2021

Lupi Amoris is available to preorder now through Magnetic Eye Records ahead of the June 18 release. More info at the links.

Heavy Temple, Lupi Amoris (2021)

Heavy Temple on Facebook

Heavy Temple on Instagram

Heavy Temple on Bandcamp

Magnetic Eye Records store

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Album Review: Heavy Temple, Lupi Amoris

Posted in Reviews on May 28th, 2021 by JJ Koczan

heavy temple lupi amoris

It has been years of waiting leading to a debut album from Philadelphia’s Heavy Temple. They have since their dawning amassed a not-insignificant catalog of short releases — their self-titled EP (review here) in 2014 was followed by 2016’s Chassit EP (review here), and there was that same year’s take on Type O Negative‘s “Love You to Death” (discussed here) and last year’s P-Funk covers split with Wolf Blood benefitting Black Lives Matter (discussed here) — as well as a likewise not-insignificant amount of alumni. Founding bassist/vocalist High Priestess Nighthawk has overseen multiple full-lineup changes for the three-piece now comprised of herself, guitarist Lord Paisley and drummer Baron Lycan, and would seem to have hammered out the sound she envisioned for the band on the road rather than in the studio. Heavy Temple arrive at their first full-length with no shortage of anticipation and with years of touring behind them and performances as festivals far and wide, among them Psycho Las VegasShadow Woods, SXSW, going back to Eye of the Stoned Goat 2 (review here) in Delaware in 2013.

Lupi Amoris, which sees release through Magnetic Eye Records, is the beneficiary of this experience. Recorded by Will Spectre at Red Water Recordings (points for another Type O reference) and mastered by Dan Randall at Mammoth Sound with striking, symbol-laden cover art by Alex Reisfar, the five-song/33-minute offering follows a theme recasting the folktale Little Red Riding Hood — at least mostly; I’m not sure how opener “A Desert Through the Trees” ties into the narrative, but neither have I seen a lyric sheet — as a tale of feminine empowerment and realized sexual agency. Through “The Wolf,” “The Maiden,” “Isabella (with Unrelenting Fangs)” and “Howling of a Prothalamion” — the latter term refers to a wedding poem — and indeed the prior leadoff cut, Heavy Temple bring the payoff toward which they’ve been working for years. When they issued Chassit, I argued in favor of it being their debut LP for its flow and the complete-feeling sensibility underlying the songs. It was more than the sampling an EP designation implied. Listening to Lupi Amoris half a decade later, the difference is abundantly clear. In sound and style, in the substance and breadth of its songs, Lupi Amoris brings Heavy Temple to a new level entirely.

The imagine of “unrelenting fangs” is a standout, but not necessarily the whole of what Lupi Amoris has to offer. “A Desert Through the Trees” fades in smoothly and builds up quick with a post-Songs for the Deaf weighted-fuzz shuffle, slowing its roll to open wide in the verse before a winding transition that calls to mind half-speed The Atomic Bitchwax leads to the chorus. The song is spacious, vital, full and melodic. Layering of vocals adds further character, and in the second half’s guitar solo, Lord Paisley unfurls the soundscape-minded intent that becomes one of the record’s strengths, blending atmosphere and momentum atop the strong rhythmic foundation of the bass and drums. Much of the focus here will inevitably be on Nighthawk, who is a powerful and charismatic presence in the songs as well as the driving force behind the band, but the contributions of neither Paisley nor Lycan should be discounted when it comes to taking the proceedings as a whole. Everybody’s performance has stepped up, and if this is to be at last the permanent lineup of Heavy Temple — something no less awaited than the record — it would only be to the benefit of the group and their listenership alike. One must keep in mind that while Heavy Temple as a unit have been together since the end of 2012, this incarnation only came together in 2019. In some ways, they’re just getting started.

heavy temple

And given what they achieve throughout Lupi Amoris, that’s an even more exciting prospect. “A Desert Through the Trees” caps furiously as a preface for some of what the nine-minute “Isabella (with Unrelenting Fangs)” will offer later, and “The Wolf” fades in its wah-echoing guitar over the first minute-plus as an intro before the bass arrives to mark the beginning of the creeping groove that ultimately defines the track. It’s a righteous riff in the tradition thereof, and the vocals duly howl upward from the mix, flourish of harmony arriving late in the guitar but no less welcome for its arrival, the band showing a patience of craft that underlies their more forward aspects and only continues to serve them well as “The Wolf” surges its transition directly into the feedback-and-guitar-and-bass beginning of “The Maiden.” The centerpiece of Lupi Amoris might also house the record’s most scorching progressions, pushing, shoving, running all the while, and the vocals join the wash late to emphasize the point, capping cold with quick noise before “Isabella (with Unrelenting Fangs)” takes hold, a psychedelic guitar winding in to build upward toward the eventual marching verse.

Immediately the spirit is looser, the focus more on swing. The nod. And fair enough. At 4:14 into its total 9:30, the drums drop out for a moment and Heavy Temple begin a slower, more thoroughly and willfully doomed stretch. It’s another minute-plus before howling vocals — lower in the mix at first — arrive, but as the song moves past the six-minute mark, a chaos of crashes and vast-echo guitar crescendos and recedes. There’s a pause. And then the guitar goes backward and the drums go forward and they jam their way back into the central riff so long left behind and top it with dual-channel shred and end cacophonous as is their apparent wont, leaving only the key-laced “Howling of a Prothalamion” to close out. Those keyboards bookend the instrumental finale, which likewise offers bounce and gallop, ebb and flow enough to summarize the proceedings on its own while pushing outward from where the prior song’s apex left off. The ultimate moral of the story here is that whatever Heavy Temple do to follow Lupi Amoris, they’ve got their work cut out for them.

One hesitates to speculate on direction or forward intent. It may be another seven or eight years before there’s a follow-up to Lupi Amoris. Or it won’t. And their sound may push into the sinister outer reaches that “Howling of a Prothalamion” hints toward in some of its riffing, or their next outing might find them moving along another path entirely. Universe of infinite possibilities. Another record may never happen. What matters is that after years of hammering out who and what Heavy Temple are and stand for, the accomplishments of this first LP can’t be undone, and they not only justify the band’s wait-until-it’s-right approach, but make a dodged bullet of their possibly having done anything else. There’s a fair amount of year left, and again, universe of infinite possibilities, but this is the best debut album I’ve heard thus far into 2021. Recommended.

Heavy Temple, Lupi Amoris (2021)

Heavy Temple on Facebook

Heavy Temple on Instagram

Heavy Temple on Bandcamp

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Magnetic Eye Day of Doom Livestream Set for May 15

Posted in Whathaveyou on May 4th, 2021 by JJ Koczan

There isn’t one stinking band on here I don’t want to watch. I went down the whole list. Certainly Howling Giant have made themselves virtually available in this era of no in-person gigging, doing various streams and jams and so on, but even them too, I’m like, “Yeah, I’d watch them again.” That’s pretty much how I feel every week. But to see Domkraft, Heavy Temple and Somnuri all playing, each one with a new album either out (that’s you, Domkraft) or on the way is a boon, and that’s before you get to an unveiling for whatever shenanigans Caustic Casanova have been cooking up over the past year.

Yeah, I’m on board here. Of course I’ve got fond memories of Magnetic Eye‘s Nov. 2019 ‘Day of Doom’ showcase (review here), and if the label wanted at some point to bring these groups together on a stage, that’d be just fine. But while at this point it’s probably not even a question of me putting on jeans — I think those days are gone; I’ve only ever had like two pairs of jeans I ever liked anyhow — to go be in a place with people, there’s a definite appeal to dropping ass on the couch and putting this one on the ol’ wallmount for a bit of matinee-style afternoon delight.

Granted, if it was happening in Brooklyn, I’d drive there for it, and I know it’s not the same for performers, but even after shows start up again as they at some point invariably will, I don’t think livestreaming is going to completely disappear, and Magnetic Eye putting something like this together is a good example of how to do it moving forward.

That’s my take. It’s free to watch. Maybe they’ll do a live box set like last time. I better get some good screengrabs. Ha.


magnetic eye day of doom live stream

Magnetic Eye and Blues Funeral Recordings present a virtual Day of Doom, featuring:

Howling Giant
Caustic Casanova
Heavy Temple


Each band will be broadcasting their set on their Facebook pages and all of them can also be watched in this event or on Magnetic Eye’s page.

Event page: https://www.facebook.com/events/523418811982271/

Set times announced soon.


Heavy Temple, “The Maiden”

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The Obelisk Questionnaire: Jadd Shickler of Blues Funeral Recordings, Magnetic Eye Records & Ripple Music, Etc.

Posted in Questionnaire on April 23rd, 2021 by JJ Koczan

jadd shickler

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: Jadd Shickler of Blues Funeral Recordings, et al

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

I own and operate Blues Funeral Recordings, I’m the label director for Magnetic Eye Records, and I’m the label manager for Ripple Music. If I had to define it, I guess I’d say I’m a music industry professional in the independent heavy label world, although “music industry professional” sounds like a title crafted to sound good on LinkedIn. Basically, I work with underground heavy music for independent labels. I also sing for Blue Heron, the band that original Spiritu guitarist Mike Chavez and I started in 2018.

I came to do what I do when my best friend and I started All That’s Heavy, the world’s first online heavy rock mailorder, back in 1997 at the dawn of the internet, as well as launching our record label MeteorCity. We sold All That’s Heavy about 4 years later, and then sold MeteorCity in 2008.

I was a little bit disillusioned and left the industry for about a half dozen years, but started getting slowly drawn back in 2014 or so. I did some writing for The Ripple Effect and The Doom Charts, then finally ended up falling into a role with then one-man label Magnetic Eye Records in 2016. I had a day job at the time, but as my duties with Magnetic Eye expanded, my interest in doing more grew as well.

I got the idea for what would become the PostWax series around that time, and started working on it in the background of my day job and MER work.

In the spring of 2018, a couple things happened: the prospect of releasing a record myself propelled me to create a new label of my own so that I’d have the infrastructure in place for PostWax whenever it was ready. Ironically, the release which motivated that ended up not happening, but I’d already gone through so much of the setup to get this new label (Blues Funeral) off the ground that it inspired me to give it some attention.

Around the same time, I came to realize that I wasn’t super invested in my day job. My boss realized it too, and she started getting really toxic, which is somewhat understandable given what she was paying me while I was sneakily working on Magnetic Eye stuff from the office, but it still soured me on the job.

I finally decided to quit that summer, which I find a bit funny because I’ve been fired from nearly every “real” job I ever had, but for the first time, I took the step of leaving into my own hands, even though it was the best-paying day job I’d ever had by that point. I nearly took a new day job the following month to replace, but in a moment of passion-driven risk and with support from my wife, I decided to pass on it to see if I could try to make an actual living in the music industry for the first time in my life.

We racked up debt for the next year or so, during which time I joined Ripple Music to handle production and a variety of logistical stuff, as well as launching the first PostWax series. In mid-2019, I was able to facilitate the purchase of Magnetic Eye Records by a larger label group, and part of the deal was that they’d keep me on as label director once the buyout took effect. So, after getting my start in the music industry in late 1997, it became my full-time career on January 1st, 2020, and that’s how I got where I am today, running two labels and working for a third, and not having to supplement what I do with having a traditional day job.

Describe your first musical memory.

I’ve got a few and can’t recall which one is first, but it’s one of these two:

jadd hit explosionThe first record I ever asked for and got which wasn’t a kid’s record was a vinyl compilation called Hit Explosion that came out in 1983 from K-Tel. It’s got tracks from Joan Jett, Rush, REO Speedwagon, Rod Stewart, the Steve Miller Band, and Survivor (yes, “Eye of the Tiger.” Hell yes.). I saw TV ads for it and my parents got it for me, and I would play it down in this big den with high ceilings and a red brick floor where the record player was set up on this wide wooden bookcase, and I’d lay in this brown beanbag chair on the floor with light streaming in from the huge sliding glass door and listen to those songs till I knew every word to every song, even the ones I liked less than others. I think it laid the groundwork for me to appreciate compilations and the idea of someone with a certain level of musical intelligence choosing songs from different artists to put together. It was also the first music I ever found for myself, instead of just listening to whatever my parents played. By the way, I still have this record, nearly 40 years later. It’s warped as hell and beat to shit, but it’s still with me.

My other early memory is listening to my Dad’s Neil Diamond records in that same den on that same stereo and record player. When you’re a kid and before you start to develop your own tastes, you just kind of absorb whatever those around you (like your parents) care about, and my God, did my Dad love Neil Diamond. So I was just kind of always around when he’d be listening to various albums and it got in my DNA. This was obviously not the beginning of my love affair with heavy rock, but it does give me a great connection to caring about music a ton from an early age, always having it playing, always spinning records, and listening to albums from start to finish and flipping the sides. I can still visualize that den and that record player and bean bag chair perfectly, better than I can remember a lot of other stuff from the past 20 years, haha.

Describe your best musical memory to date.

It’s impossible for me to pick just one as THE BEST, but here’s one I love: At the end of my sophomore year of high school, so May of 1990, my best friend Aaron and I went to see Motley Crüe on the Dr. Feelgood tour. It was my first concert. I’d never been to a real show before, and going inside after showing our tickets, we emerged from the tunnel at the far end of Tingley Coliseum and looked longways down the huge oblong auditorium. We were up in the area with the seats above the railing because we hadn’t paid for floor tickets (not sure why, maybe they were sold out, or maybe too expensive). So we were standing basically all the way down the other end of the place looking at the stage from about as far away as we could be. Just then, within like 90 seconds of us coming up from the stairwell and trying to decide what to do, we saw a fight erupt down on the floor between a concert-goer and several of the show’s security guys. All the other security people started running toward the fight, and as soon as they did, attendees on the other side of the auditorium started jumping the railing and pouring down onto the floor and running to go mix in with the rest of the crowd. Aaron and I looked at each other, and I don’t remember saying anything, we just jumped the railing and ran straight into the crowd. That was the start of our first concert – a risk of getting our asses kicked by security and a successful upgrade of where we’d see the show. The concert itself is a bit of a blur, but the two highlights I remember are Lita Ford, who was opening the show, playing “Close My Eyes Forever” and having the crowd sing the Ozzy part, which we did, and then Tommy Lee doing a drum solo during Crüe’s set where he rode some kind of suspended cable car drum kit out over the crowd, so he was basically hanging above us doing his solo as we watched from below. I don’t really ever think about Motley Crüe as a musical influence, but that concert was a great musical memory among many many many that I’ve got.

For good measure, another great music memory is when my old band Spiritu toured as an opener with Clutch and Spiritual Beggars in Europe in 2003. We shared the opening slot with Dozer, so every night for three weeks, we played all over Europe, trading the first and second slot with Dozer each night (and then getting to go watch Dozer, which was awesome), and then I would go out into the crowd and watch Clutch DESTROY. As a Clutch fan, getting to travel to dozens of cities across Europe and watch one of the greatest live bands of all time, who also happens to be one of your favorites, who you also happen to be opening for, is just indescribable. The highlight was somewhere in Germany when, during a short pause between songs when the noise briefly dropped, this giant 6′ 6″ dude yelled out, “Like Marlon Brando, but bigger!” in an almost comically-exaggerated German accent, carrying through the whole theater and making Neil and the whole band briefly crack up, then look at each other immediately launch into playing “John Wilkes Booth.” Three weeks of that! Amazing times.

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

Well, I’m not sure if this fits what you’re saying, and it’s going to sound like a sales pitch for PostWax, but it’s not, this actually happened: Maybe two months ago, my creative director Peder (from Lowrider) and I were talking about filling the last couple slots on PostWax, and he mentioned a band to me that basically has an all-star lineup but who I really don’t care for. I’m not going to say who they are because I don’t want to shit on them for those who dig what they do, but PostWax (to me) is about putting together a lineup of bands that at least one of the three of us choosing artists for the project absolutely loves, and never letting our decisions be guided by how big of a name someone is or whether having them on board might help sell the project. So I basically told Peder, if YOU love them, I might consider it, but if not, let’s not do it.

I’d consider this a test of a firm belief because otherwise, why don’t we go try to lure on some huge emo-metal band to join the project just so we can blow out another 2,000 signups? I’d rather pick bands we love that satisfy the ethic of only working with bands at least one of us deeply believes in and loves musically. And by the way, this belief was established quite a few years ago when I was running MeteorCity and put out a couple things that I did mainly based on the idea that they would sell, and not because I thought there were awesome bands. I did that Hermano record, and the Gallery of Mites record, and the Orquesta del Desierto albums, all first and foremost because of the names involved. There were moments on all of them that I enjoyed musically, but I didn’t go into them feeling moved or inspired as a listener, I was thinking of who the musicians were and how their names would get people to check out the records, not about what I thought of the actual music. So yeah, I’ll never do that again, and would much sooner get behind an unknown band with a niche sound and no fans but whose music I love than ever put my money or label name on something that’s coming from a place of, “people will buy this” ever again.

Where do you feel artistic progression leads?

Ha, probably to eventually making a record that not a ton of people besides the artist likes. Not trying to be cynical, but if you’re an artist, there are probably two paths: you make music you like and no one ever cares but you’re happy with what you’re doing, OR, you make something that some people like, and that sets an expectation for everything else you’ll ever do, and eventually, whether it’s your next album or your tenth album, you’ll be sick of trying to deliver something that lives up to what everyone else liked and just make a record you dig, and people will be like, “Too bad, I liked his old stuff better.” I think that’s inevitable, but not a bad thing really. You have to progress, even if followers and fans of your art aren’t always willing to stick with you while you go. I mean, if you just try to rehash what’s already been done, they’ll see through that as well and call you on it.

How do you define success?

Thank God you’re asking easy questions.

I’d probably say success is feeling great about what you’re doing. I’m earning less these days than in at least a couple of my previous “career” jobs, but I’m far happier with what I do and thus feel more successful. I know that being able to buy whatever you want, travel wherever you want to go, eat out every night probably feels pretty fantastic too, but I have a hard time imagining being able to do anything I didn’t love or believe in what I was doing in order to reach that point. If I could have that AND do something I feel great about, then awesome. But if they’re mutually exclusive, then for me the road to success will always need to be paved by personal and artistic satisfaction first and foremost.

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

Literally this morning I saw a dead dog, a pit bull, in a dumpster. It was in its crate, which means this was someone’s pet, and regardless of how it died, the idea that someone felt that the way to lay this dog to rest was to pick up the whole crate with the dog inside and drop it into a dumpster on the street is fucking revolting. Some human beings are just slime, and this world loves to remind us of that fact.

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

Well, I’d like to make a record with my band that I want to listen to from end to end without questioning whether it’s good or if I’m being objective or noticing the flaws. This is probably something that’s impossible for any musician, so I’m not holding my breath, but yeah. My old band only recorded and released a few things, so I’m hoping that Blue Heron is able to make a record that I can enjoy without caveats as a listener, and just dig musically and be proud of.

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

I love this question, because I think about this a lot: I think art is the only value humanity actually has. When I think about all the awful shitty things we do to the planet, animals, each other, etc., it’s hard not to wish for a comet to hit the planet and reset everything. But we create art, and that to me is our only saving grace. We transcend our urges and our pettiness and our destructive tendencies and tap into something more meaningful and lasting when we create art, whether that’s music or paintings or books, and if we didn’t do that, I’d have no hope for us whatsoever. So, I guess the specific answer to your question is, the most essential function of art is justifying humanity’s existence. A bit dark, I guess, but how I feel.

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

New Ghostbusters and Top Gun movies, which will probably both suck, but for the moment I’m excited. I know you said non-musical, but I have to say, being able to go to small-club shows again also. And my wife and I will be taking our first trip to Europe together later this year. She’s never been out of the country, and I haven’t been in fourteen years, so I basically haven’t been abroad as a grownup. Can’t wait.




Spiritu, “Throwback”

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Besvärjelsen Sign to Magnetic Eye Records; New Album Later This Year

Posted in Whathaveyou on April 9th, 2021 by JJ Koczan

I’m not saying it can’t happen or that I wouldn’t be stoked if it did, but unless they’re hitting the studio, like, next week, a 2021 timeline for Besvärjelsen‘s second album seems ambitious, especially if they’re also taking part in Magnetic Eye Records‘ upcoming AC/DC tribute (man, they just keep pumping out those reduxes). The PostWax veterans released their Frost EP (discussed here) in 2019 as a follow-up to 2018’s Vallmo (review here), and for sure the wintry aspects of their sound would be highlighted by a release in, say, November, but even if their songs are nailed down tight and all that, I guess it just seems like to go from zero to mastered-album, then give figure three months lead time for promo, preorders, all that stuff, that puts you into probably September at the earliest. Doable, yeah. But with a band like this, whose sound is so meditative and fleshed out, you’d almost rather they take their time.

Don’t hurry, is all I’m saying. Yes, I’m very much looking forward to what Besvärjelsen might do next. I guess maybe I’m just fretting over nothing. Such a worrier, this one.

More important, congrats to the band on the Magnetic Eye signing, though they were with Blues Funeral, so it’s Jadd either way. Distribution don’t hurt though.

PR wire brings details:

besvarjelsen (Photo by Stine Rapp)

BESVÄRJELSEN sign deal with Magnetic Eye Records

BESVÄRJELSEN have penned a multi-album deal with Magnetic Eye Records. The Swedish forest rockers will release their sophomore album via the label this year and also contribute a track to the forthcoming “Back in Black Redux” homage to AC/DC.

BESVÄRJELSEN comment: “We are extremely thrilled to be joining Magnetic Eye Records”, writes drummer Erik Bäckwall. “We know that we have come to the right team as we will be joining an amazing roster on this renowned label. In all modesty, we think that we have written our finest material yet for the new record, so we are very much looking forward to record and share it with the world as soon as possible!”

Jadd Shickler welcomes the Swedes: “I feel extremely privileged in welcoming Besvärjelsen onto our roster and I promise that the world of heavy music will be floored by what this amazing group does next”, comments the Magnetic Eye Records label director. “Having been part of the heavy rock underground for some time, I am fortunate to know many great musicians going back quite a few years. Sometimes such artists re-emerge with new bands and projects and I am lucky to be one of the first to hear about them. The very moment that original Dozer drummer Erik let me hear material from his new band Besvärjelsen, I knew they were something special and magical. Altareth, Heavy Temple, and now Besvärjelsen, 2021 is shaping up to be a hell of year for great bands joining Magnetic Eye Records.”

Spellbinding five-piece BESVA?RJELSEN take their name from the Swedish word for “conjuring”, which is a fitting description for their haunting approach to Northern heaviness. The Scandinavians carry melodic doom at their hearts, but lace their sound with subtle touches of prog as well as punk, folk, and classic rock.

The Swedes set out to with a clear vision to channel the vast Dalarna forests, a region otherwise famous for its painted wooden horses, instead of following the general trend among European riff-rock bands to try and evoke the American deserts.

The band was co-founded by guitarists and vocalists Andreas Baier and Staffan Stensland Vinrot in 2014, inspired by their magical geographic location. The musicians had both grown up on old Norse and Finnish grounds in Dalecarlia, Sweden surrounded by its lore, its mysticism, and its dark, droning musical traditions. The duo saw their new band as a means to create heavy music infused with all those elements.

Andreas, coming from a background in punk and hardcore, had realised that by constantly making his music faster, it finally hit a point where fast started to become slow. The timing of riffs would cut in half, even with blastbeats going underneath, and his instinctive pattern for slowing things down laid the foundation for BESVA?RJELSEN’s approach.

Initially Andreas and Staffan shared vocal duties, but they concluded that a full-time singer would free them to explore the complexity of their music further. While the duo never made a conscious decision to look for a female vocalist, Lea Amling Alazam arrived with a passion for punk and stoner rock that had started at age 13 at the local skate park. When, to the surprise of the guitarists, her distinctive voiced summoned the intimacy and charisma of singers like NINA SIMONE or AMY WINEHOUSE, Lea became the obvious choice.

BESVA?RJELSEN released their debut EP “Villfarelser” in 2015, which was followed quickly with the “Exil” EP in 2016. At this time, former DOZER and GREENLEAF drummer Erik Ba?ckwall joined the line-up. Both releases, though self-financed and released with minimal promotion, were well-received and even found airplay on Swedish National Radio.

Bass player Johan Rockner (DOZER, GREENLEAF) joined in 2018; just before their debut full-length “Vallmo” came out. The quintet merged crushing riffs and storming drums with increasingly sophisticated melodies and thoughtful themes. The album debut was greeted with great acclaim and even earned BESVA?RJELSEN a festival slot opening for DEEP PURPLE.

With Erik and Johan having played in various bands together and sharing a musical language, the rhythm section started to contribute to the songwriting for the mini-album “Frost”, which was released in late 2019. While BESVA?RJELSEN were forced into involuntary live performance hibernation like every band other during 2020, the Swedes kept themselves busy with intensive songwriting during all those months.

Having now joined Magnetic Eye Records, BESVA?RJELSEN will enter studio in spring 2021 to record their sophomore full-length to be released via the label this year.

Lea Amling Alazam- vocals
Staffan Stensland Vinrot – guitars, vocals
Andreas Baier – guitars, vocals
Erik Bäckwall – drums
Johan Rockner – bass


Besvärjelsen, Frost (2019)

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Heavy Temple Set June 18 Release for Lupi Amoris; “The Maiden” Posted

Posted in Whathaveyou on April 5th, 2021 by JJ Koczan

heavy temple

This is something to be excited about. I don’t think you need me to tell you that, but in case you do, I just did. Heavy Temple have been steadily working their way toward a full-length debut since well before their self-titled EP (review here) turned so many heads in 2014. In 2016, Chassit EP (review here) might’ve sufficed — sure sounded like an album to be, even at 28 minutes — but without that official “here you go this is an album” stamp, one tends to defer to whatever a band wants to call their own release.

Because of that, the impending Lupi Amoris feels even more like an event, since while Heavy Temple haven’t been at all absent — they’ve been through a couple lineups at this point, but a steady stream of short releases and live shows/fest appearances has kept their momentum going — they’ve specifically chosen this is as their moment to offer a first LP. June 18 is the release date, and preorders are up, as well as the streaming track “The Maiden,” which would seem to be an essential component of the narrative aspect of the songs.

I’ll hope to have more on this before it’s out. I haven’t heard the full thing yet, but it’s been one I’ve been looking forward to for a long time.

PR wire info follows:

heavy temple lupi amoris

HEAVY TEMPLE release first single ‘The Maiden’ and details of debut full-length “Lupi Amoris”

Preorder: http://lnk.spkr.media/heavy-temple-lupi-amoris

Release date: June 18

HEAVY TEMPLE crash forth like a roaring mastodon in a thunderstorm with their first official full-length, “Lupi Amoris,” and it has all the markings of a landmark record.

As progressive as BARONESS but unselfconscious, as heavy as FU MANCHU but more adventurous, this Philadelphia trio throw every lever in the riff-metal machine, yet also wield lyrical concepts that register on literary levels.

“Lupi Amoris” offers a one-way trip through wide-open spaces and deep forests. Its songs wind and deposit heavy flotsam like a mighty musical stream, pushing through swirling rapids, cutting through riff-mountains, and swelling with addictive grooves. Riding atop the sonic waves, singer and bass player High Priestess Nighthawk belts powerfully over the roaring din.

When HEAVY TEMPLE came into being on the 2012 winter solstice, the trio were after the pure fun and joy of playing heavy music, illustrated by each founding member’s chosen nom de guerre: High Priestess Nighthawk, Rattlesnake, and Bearadactyl.

At first playing shows locally in Philly, the band quickly gained an excellent live reputation, leading to tours alongside RUBY THE HATCHET, MOTHERSHIP, ROYAL THUNDER and CORROSION OF CONFORMITY. Invitations to notable festivals included The Maryland Doom Fest, Psycho Las Vegas, and Decibel Metal & Beer, among many others. It’s an impressive live showing made even more remarkable when considering that HEAVY TEMPLE have yet to release their debut full-length.

After their first self-released and self-titled EP “Heavy Temple” (2014) was picked up by esteemed German cult label Ván Records, the self-released single ” Love You To Death ” and sophomore EP “Chassit” followed in 2016. Second single “Key & Bone” arrived in 2018, and the split 7″ “From the Black Hole” with WOLFBLOOD materialized in 2020, but it took until 2021 for a full album to appear on the horizon at last. It speaks volumes about HEAVY TEMPLE’s talent and face-melting live impact that the invitations to attractive tours and prestigious festivals continued to roll in anyway.

Although HEAVY TEMPLE leverage all the trappings of traditionally male-oriented metal (to the point that their sound could proudly sport a full beard), the powerful presence of frontwoman and sole remaining founding member High Priestess Nighthawk merges their glorious heaviness with a strong thematic line of feminine strength.

“Lupi Amoris” is Latin for “Wolves of Love,” and takes strong inspiration from Angela Carter’s story “The Company of Wolves.” In it, the narrative of Red Riding Hood is flipped from a cautionary tale about the dangers of lust and desire, feelings young women were traditionally expected to stifle, to a story of female sexuality and power reclaimed. “Lupi Amoris” finds the Philly outfit aligning with a Red Riding Hood who is freed from the traditional bonds of what’s expected.

Proving that it’s quite possible to hammer out gargantuan stoner doom and still say something about life’s realities, HEAVY TEMPLE make a fierce and much-needed statement with “Lupi Amoris”, and at these volumes, the world is guaranteed to hear it.

1. A Desert through the Trees
2. The Wolf
3. The Maiden
4. Isabella (with Unrelenting Fangs)
5. Howling of a Prothalamion

Recorded & mixed by Will Spectre at Red Water Recordings
Mastered by Dan Randall at Mammoth Sound Mastering

Artwork by Alex Reisfar
Layout by Zach Thomas

High Priestess Nighthawk – vocals, bass
Lord Paisley – guitar
Baron Lycan – drums


Heavy Temple, “The Maiden”

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Video Interview: Martin Wegeland of Domkraft Talks Seeds, New Recordings, Crazy-Ass Cover Art and More

Posted in Bootleg Theater, Features on April 2nd, 2021 by JJ Koczan


Swedish trio Domkraft release their third long-player, Seeds, on April 30 through Magnetic Eye Records. Delivered with striking 3-D artwork by longtime associate Björn Atldax, it sees the band — bassist/vocalist Martin Wegeland, guitarist Martin Widholm, drummer Anders Dahlgren — actively working to grow their sound in new directions, building on impulses shown on their past LPs, 2018’s Flood (review here) and 2016’s The End of Electricity (review here), while giving light to new spaces and atmospheres. They still crunch, and hard, with noise-born purposes, but in from the formidable opening salvo of “Seeds” and “Perpetuator” onward, the band find escape and consolation alike in daring to take their material somewhere it hasn’t gone before. Those familiar with Domkraft will find it a natural shift, but it’s purposeful as well as a reaction to global pandemic and chaos beyond, as Wegeland explains in the interview that follows.

At the time I spoke to Wegeland, the three-piece had absconded from Stockholm to Gothenburg, returning to Welfare Sounds Studio for three days of tracking — that matched the amount of time they were there for the album — working domkraft seedswith producers Kalle Lilja (also Långfinger) and Per Stålberg (Division of Laura Lee) to capture their sound in a manner both organic and true to the richer nature of the material itself. The new tracks — for of them, as he says in the video — are to be divided between short releases, and hey, the more the merrier. In a time when a band can’t even get on stage and do a release show — that’s not questioning the validity of the reasons why not, mind you — more recording is pretty much what’s left as regards options, apart from some kind of livestream, which plenty of acts have done, plenty more will do, and is universally agreed to be a paltry substitute for the live experience. Not telling you anything you don’t already know.

But the point here was to talk about Seeds — also about how Karl Daniel Lidén is a genius mixer — and the concept of hope and new growth as related to having come through the trauma of 2020. I’ve been fortunate enough to see Domkraft live more than once, and they’re an act who deserve to be seen, even more as they enter this bizarre album cycle for what is their finest work to-date. Wegeland was kind enough to oblige the conversation, and you’ll find the uncut footage of the results below.

Thanks for reading and watching if you do:

Domkraft, Seeds Interview with Martin Wegeland, March 25, 2021

Seeds is available to preorder now ahead of the April 30 release. More info at the Bandcamp and other links below.

Domkraft, Seeds (2021)

Domkraft on Bandcamp

Domkraft on Thee Facebooks

Domkraft on Instagram

Magnetic Eye Records store

Magnetic Eye Records website

Magnetic Eye Records on Thee Facebooks

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