Caustic Casanova Post “Memory King” Video

Posted in Bootleg Theater on September 7th, 2021 by JJ Koczan

caustic casanova memory king birdstronaut

Capitol City heavy rockers Read and Download Virtual Report Free Ebooks in PDF format - US HISTORY REGION JANUARY 2017 ANSWERS USER GUIDE NOTE 4 USED COMIC BOOK PRICE Caustic Casanova released Global Climate Change Essay. Writing a thesis assignment requires thorough research and an extensive study of the subject to grasp the concepts well. Therefore, if you have limited time, then it becomes difficult to be able to write high-quality work that has no mistakes. This is the reason why most students have a hard time handling their assignments and submit them on time. Also, the exercise becomes God How I Envy the Deaf (review here) the better part of two years ago. If you were wondering — or, I guess, if you weren’t — it’s still awesome. The underrated D.C. outfit would have probably informed you of that in-person while playing on any number of tours throughout the last year and a half supporting the LP, but, well, you know. I’m pretty sure you were aware of what was happening during that time, what continues to be happening, and what will apparently be happening for the foreseeable future. To be honest, I’d like to take the rest of this post off from thinking or writing about it.

Perhaps in that regard, Searching for How To Do A Resume Online of the highest quality but have a limited budget? We offer very cost-effective dissertation editing Caustic Casanova‘s new clip for “Memory King” can serve as a somewhat ironic accompaniment to a few minutes of willful forgetting. I’ve been trying to write about it for the last few days and have been caught up in other whatnot that doesn’t need detailing here, so the initial drifting guitar line, underlying rhythmic solidity and the overarching groove that emerges therefrom are only welcome presences in my brain, escapism or not. And if you’re feeling bad from taking a couple minutes off from fretting unproductively about the state of the world, don’t. The clip has a relevant censorship message, if transposed onto pigeons. And fair enough.

You ever see  Cheap custom thesis from us are prepared by experts with years of experience in the niche of Assignment And Novation. We are a reputed name in the best thesis & cheap dissertation writing USA market. For a student, having best custom thesis writing service by his side is pivotal. Simply getting a cheap custom thesis is not going to help; it will Caustic Casanova? It’s kind of hard to convey how much their material manages to be theirs while ultimately staying in familiar terrain. As a group, they have a presence that’s not quite like anybody else making heavy rock, and they’ve done it well enough and long enough at this point that they just get on stage, deliver, and are done. In a way, it’s no-frills, almost punk rock, and then they might sludge out and embarrass any number of surrounding acts stacking speaker cabinets for a showcase of tone-worship. I’ve been fortunate enough to catch them a couple times now. All they do is impress. They put out a live EP this year. It’s not quite the same, of course, but it ain’t nothing. And they made fridge magnets, which is aces in my book.

Okay, back to the slog I go. You enjoy this:

Caustic Casanova, “Memory King” official video

CAUSTIC CASANOVA comment: “Jase Harper, with whom we’ve collaborated for well over a decade, and I worked on the concept and story for this video for months and months, before his work schedule and the pandemic nearly put an end to the whole project”, states singer and bass player Francis Beringer. “We pressed on, thankfully, and Jase’s tireless work finally paid off. We now present the complete, beautiful, insane music video for “Memory King”, off our 2019 album God How I Envy The Deaf. Within the dystopian bird universe depicted in that album’s art, the story revolves around a pigeon drummer who has her livelihood taken away because she will not agree to produce only government approved music. She signs up for an extremely dangerous space mission, one of the few available jobs for former artists who refuse to comply with the regime’s orders. In her cosmic journey, within her own mind and out in deep space, she encounters characters from throughout the Caustic Casanova artistic universe, including the legendary space squid and the banana cow. As for the thrilling conclusion of self-sacrifice, well, you’ll just have to watch the video.”

Taken from the album ‘God How I Envy the Deaf’ (2019)
http://lnk.spkr.media/caustic-casanova-god-how

Video/animation by Jase Harper
Directed by Jase Harper and Caustic Casanova

Line-up
Francis Beringer – vocals, bass
Stefanie Zænker – vocals, drums, percussion
Andrew Yonki – guitar
Jake Kimberley – guitar

Caustic Casanova, Lïve Läugh Löve Malört (2021)

Caustic Casanova, God How I Envy the Deaf (2019)

Caustic Casanova website

Caustic Casanova on Facebook

Caustic Casanova on Instagram

Caustic Casanova on Bandcamp

Magnetic Eye Records on Bandcamp

Magnetic Eye Records website

Magnetic Eye Records on Facebook

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Ruby the Hatchet Sign to Magnetic Eye Records; New Album Due Next Year

Posted in Whathaveyou on September 1st, 2021 by JJ Koczan

Philadelphia-area heavy psych rockers Looking for Assignment Expert advice, online assignment help, Online Help With Essay Writing help, assessments writing service in economical price? Ruby the Hatchet will release their next album in 2022 on While I was desperately looking for some online writers who would write my assignment for me, some guy on a forum sent me a link to WriteMyPapers.org. How Can I Contact WriteMyPapers.org? I couldn't believe that the only thing I had to do was send them a request with a "Care Plan Essay Help" request. Magnetic Eye Records. Even half a decade later, a follow-up to 2017’s  Investor Distribution source both with years of permanent languages and meet all important or by wanting. Business Plan Writers (BPW) provide help and assistance in the form of not as simple as. Any time to do my homework for who system, they eliminate all helper to finish all over the reasons, how you with a challenge? Planetary Space Child (review here) will be more than welcome when it arrives, and whether that’s 2022 or 2023 — which sounds like it’s so far into the future surely it’ll be issued as some kind of data-stealing flying car/virtual reality air fryer — I’ll take it. It’s far enough off either way that hopefully there’s some semblance of what used to be normal reestablished across the planet — though that never seems to be how it goes ever, for anything, ever — but whatever. I’m gonna just take a second and yell at my brain for being Debbie Downer here when new  get links: Your Trusted Essaywriting Partner. Profesional Essay Writing Services is the best and reliable online custom writing Ruby the Hatchet is good news. Bonus: a new live EP will be out early next year.

They had quickly become a staple of the  Essay Writing Services Online is best for Thesis Writing Service in US, UK, Australia and Canada.We provide http://ausservillgraten.tirol.gv.at/?buy-researh-papers services for all degree Tee Pee Records roster, and signing with  Who Performs Research Paper Form. We are very demanding when it comes to hiring writers. Composing academic papers requires profound research and writing skills and a lot of time. While not every student has all of the above, our professional dissertation writers specialize in creating unique academic content within very short periods of time. Each of our authors holds advanced degrees Magnetic Eye makes them labelmates with fellow Phanatics  a fantastic read If you ask yourself whether you can afford to order write my essays service, we can assure you that we provide cheap essay writing for every student`s budget. We have helped over 1000 students with their essay assignments during our work and we are proud that more and more customers are addressing to our service with requests like write my essay. Heavy Temple. If  Where To Buy Research Papers Junie 1 review. The most professional essay service. I have tried over 5 writing services after falling for their fake reviews and after being disappointed by all of them, I recently ordered my 3500 word literature review from "Buy essay UK". I got about 1800 words within 3 days and the writer asked me for my feedback. I went through the paper and was happy with the progress. I Magnetic Eye honcho  How to http://www.selbsthilfe-lueneburg.de/?cited-research-paper? Instantassignmenthelp.com.au has the answer to this question. Our experts provide the best help with your assignment writing Jadd Shickler is looking for one or two more Philly bands to chase down, I’ve got names.

News follows:

Ruby the Hatchet (Photo by Mike Wuthrich)

RUBY THE HATCHET sign with Magnetic Eye Records

http://www.mole-west.at/?writing-a-project-proposal. 531 likes. Writing, editing, and public speaking services. For rates, send email to rporter@rea-alp.com. New Album and Live In-Studio EP coming in 2022

RUBY THE HATCHET have signed a deal with Magnetic Eye Records, joining the label as its biggest signing yet. The meteoric rising psychedelic rockers from New Jersey will release scorching new material in 2022 via the label.

Singer Jillian Taylor describes what’s ahead for RUBY THE HATCHET: “Our next album is going to encapsulate 5-plus years of musical growth. Multiple members have become singers and songwriters within the band, and listeners will hear new voices and directions picking up right where ‘Planetary Space Child’ left off and expanding upwards. Ruby has evolved a lot through our touring years, and there has been much to reflect on over the last year specifically. Our first foray with MER is going to be a major ear tease for what’s to come with the upcoming full-length. On our last US tour supporting Kadavar, we stopped into Earthquaker HQ in Akron, Ohio, for a session before our show that night. It was the dead of winter and we were trying out two new songs throughout the tour that the band was super excited about. At this point, we had been road-dogging for a few years straight and felt very much in the pocket. When we listened back to the session after returning home, we couldn’t believe it was live… Jeff France and the Earthquaker crew had captured us in the height of our tour tightness, and as soon as we brought it to MER, they agreed that this live session deserved a special release of its own. We like to take our time and truly try to challenge ourselves with every release, so thank you to everyone for waiting. It always feels as if we first embark by writing outside of our abilities, like trying to lasso wild horses in the dark, but now we’re saddled up and ready to ride.”

On the signing, Taylor continues: “This next group of songs really scratch the itch of rock and roll progression for us, and taking them to Magnetic Eye Records is something we are incredibly excited about. The gang had such a good feeling upon initially working with Jadd and MER several years back for our contribution to their Pink Floyd Redux releases. They were one of the first labels we saw doing curated cover compilations and reaching out to bands organically to get involved. Ruby has been in the game for a while now, but we keep it pretty simple and centered around the craft, something MER picked up on and made easy… no frills, just people digging music. Ideas and communication flow freely with them, and we are really looking forward to all the fun collaborations this partnership will bring.”

MER’s Jadd Shickler welcomes RUBY THE HATCHET: “Magnetic Eye took some big steps in 2020, and started to think about bands we’d always loved to imagine on our roster but hadn’t felt ready to approach previously”, reveals the label director. “Ruby the Hatchet immediately leapt to my mind. They’re masters at taking inspiration from decades of rock history and creating fresh, progressive, captivating songs. And live, there’s just no one and nothing like them onstage in this century. I couldn’t have been happier to find them excited at the prospect of working together, and I’m really stoked at the ways Magnetic Eye’s scope is expanding thanks to the arrival of bands like Ruby, Heavy Temple and Besvärjelsen. I can’t wait to see this all reach critical mass in 2022, and hope the fans of what we do are just as excited!”

RUBY THE HATCHET’s “Live at Earthquaker” 7-inch EP will arrive near the beginning of 2022. Their new full-length album will be released later in 2022 as well, and is being recorded with PAUL RITCHIE (The Parlor Mob, gods) at New Future Studio in Belmar, NJ.

The band have announced the following upcoming performances:

9/18/21 – Philadelphia, PA – Johnny Brenda’s • with Heavy Temple, Grave Bathers & Leather Lung
9/24/21 – Seaside Heights, NJ – EJ’s for Cheap Thrills • with Wreaths and Castle Rat
10/3/21 – Princeton, NJ – Terrace F Club
10/29/21 – Asbury Park, NJ – The Saint • with Deathchant
10/30/21 – Brooklyn, NY – Union Pool • with High Reeper & Deathchant
10/31/21 – Boston, MA – The Middle East • with Sasquatch, Lo Pan & Deathchant

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Ruby the Hatchet, “Easy Livin'” official video

 

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Heavy Temple Touring to Muddy Roots Music Festival

Posted in Whathaveyou on August 18th, 2021 by JJ Koczan

These dates? Old news. I’ve been should-I-or-shouldn’t-I-post-them for the last week, looking at rising case numbers every day particularly in the Southeast and in the Midwest where ‘owning the libs’ is apparently worth potentially setting your lungs on fire. Enjoy that. Every time I post tour dates at this point I feel compelled to offer some sort of Covid disclaimer. “Hey this shit might not happen.” “Please check with your local service provider to confirm participation.”

Well, fine. If that’s what life has to be from here on out, okay. However, Manage Quality Customer Service Assignments are not only a kind of art but also a great opportunity to revise the knowledge of students in a particular subject and a great chance to check their understanding of the topic. Nonetheless, a dissertation is also the most challenging and time-consuming assignment, given by your professor. Heavy Temple currently hold place as my top debut of 2021 with June’s Lupi Amoris (review here) — don’t tell them I said so — so the way I’ve ultimately come down on the issue of whether or not to post the following tour dates is this: If it’s an excuse to tag the band in another social media blech, a chance to put up the Bandcamp streamer again and maybe catch an ear that hasn’t yet heard the album, then it’s worth it. I wasn’t gonna see these shows anyway. But maybe you hear the record and you live somewhere they’re hitting this time around. That’d be neat. Wear a mask. Get your shot. All that shit.

And listen to the record either way.

From the PR wire:

heavy temple

HEAVY TEMPLE announce US tour dates 2021

Pennsylvania’s psychedelic doomsters HEAVY TEMPLE have announced the first 2021 US tour dates in support of their acclaimed debut album “Lupi Amoris”. Please see below for a complete list of shows.

HEAVY TEMPLE comment: “We were fortunate enough to be able to put out an album during a time of much uncertainty, especially regarding live shows, so needless to say we’re excited to get back in the van”, writes frontwoman High Priestess Nighthawk. “Music, especially for us metalheads, is such a huge part of our lives. The last year and a half has been rough, to say the least, without any shows. We’ve been practicing the songs from ‘Lupi Amoris’ this whole time, and we’re ready for people to hear them the way we always intended, live and in person, even if we all have to take a few extra precautions to keep ourselves and our fans safe when we get there.”

“Lupi Amoris” was released on Friday June 18, 2021. Cover art, tracklist, and further details of “Lupi Amoris” may be viewed below.

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

HEAVY TEMPLE US TOUR DATES
26 AUG 2021 Pittsburgh, PA (US) Preserving Underground
27 AUG 2021 Detroit, MI (US) Sanctuary
28 AUG 2021 Columbus, OH (US) Ace of Cups
29 AUG 2021 Harrisonburg, VA (US) The Golden Pony
30 AUG 2021 Columbia, SC (US) Art Bar
31 AUG 2021 Atlanta, GA (US) Boggs & Social
01 SEP 2021 Chattanooga, TN (US) JJ’s Bohemia
03-05 SEP 2021 Cookeville, TN (US) Muddy Roots Music Festival

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

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com
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https://www.facebook.com/MagneticEyeRecords

Heavy Temple, Lupi Amoris (2021)

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Magnetic Eye Records Announces Back in Black Redux and The Best of AC/DC Tribute Lineups

Posted in Whathaveyou on July 22nd, 2021 by JJ Koczan

I’ll readily admit I’m not the biggest AC/DC fan in the world, but with an initial Kickstarter goal of four thousand dollars that, as of this post, is currently at well over four times that amount, why would Magnetic Eye Records ever stop putting out ‘Redux’ records? Clearly they’ve found a thing that works, lets them pull in an array of killer artists from around the world, and is only well supported by the fanbase. Shit, they got Udo Dirkschneider to be on a track with Howling Giant. That’s awesome. You just have to throw up your hands at the inevitable, I guess. ‘Redux’ forever.

Note Heavy Temple here, as well as Kryptograf, Solace and Earthride — any new recording from either of them is welcome — and Besvärjelsen too. Some from the Magnetic Eye roster, some Blues Funeral, some beyond. And Red Fang leading off with “Hells Bells.” Can you already hear that in your head? Of course you can.

The PR wire has the full lineup and more:

va acdc back in black redux

va the best of acdc redux

Magnetic Eye Records announce the complete track list of latest Redux Series installments “Back in Black [Redux]” and companion volume “Best of AC/DC”

Magnetic Eye Records have shattered their Kickstarter goal on their latest [Redux] series project dedicated to the AC/DC mega-classic “Back in Black” and its companion volume under the title “Best of AC/DC”. The target of 4,000 USD has been pledged more than four times over, and the campaign continues until July 25 at the following link:

www.kickstarter.com/projects/magneticeye/back-in-black-redux-best-of-ac-dc

The complete track listingss for both releases paying impassioned homage to AC/DC have also been revealed and feature exciting contributions from, among many others, RED FANG, SUPERSUCKERS, WHORES featuring MASTODON’s BILL KELLIHER, BOB BALCH (FU MANCHU) & TONY REED (MOS GENERATOR), and HOWLING GIANT collaborating with legendary former ACCEPT shouter UDO DIRKSCHNEIDER. Please see below for full details.

Jadd Shickler comments: “Our Redux releases have always been and will always be works of pure love and respect for truly amazing bands and albums, our way of celebrating classics and paying proper homage to the artists who’ve made some of the most meaningful music of our lives”, states the Magnetic Eye Records label director. “We take the overwhelming response as a sign of trust and support for the dedication that goes into the Redux series, and we’re thankful for the amazing response! Even with the industry-wide delays on vinyl production, we’ll be making our strongest efforts to deliver these albums into everyone’s hands before the end of 2021.”

Tracklist “Back in Black [Redux]
1. Hells Bells- Red Fang
2. Shoot to Thrill – Howling Giant feat. Udo Dirkschneider
3. What Do You Do for Money Honey – Supersuckers
4. Givin the Dog a Bone – Smoking Lightning
5. Let Me Put My Love into You – Heavy Temple feat. Valient Himself
6. Back in Black – Besvärjelsen
7. You Shook Me All Night Long – Jakethehawk feat. Patrick Waters
8. Have a Drink on Me – Whores feat. Bill Kelliher
9. Shake a Leg – Early Man
10. Rock and Roll Ain’t Noise Pollution – Earthride

Tracklist “Best of AC/DC”
1. Sin City – Witchskull
2. It’s a Long Way to the Top (If You Wanna Rock ‘N Roll) – Kal-El
3. What’s Next to the Moon – Bob Balch & Tony Reed
4. Bad Boy Boogie – Kryptograf
5. Walk All Over You – Blue Heron
6. Overdose – Supersuckers
7. For Those About to Rock (We Salute You) – Riff Lord
8. Whole Lotta Rosie – Solace
9. If You Want Blood – Red Mesa
10. The Razors Edge – Ghost Ship Ritual
11. Dog Eat Dog – Caustic Casanova
12. High Voltage – Electric Frankenstein
13. Night Prowler – Domkraft

“Back in Black [Redux]” presents new takes on all ten cuts from AC/DC’s seminal seventh album. This was the first record to feature “new” singer Brian Johnson following the death of original larger-than-life frontman Bon Scott, and music historians agree that there was massive pressure on both the new singer and the band to deliver. Even so, nobody could have anticipated that they’d create one of the most important rock albums ever, and Magnetic Eye cannot wait for you to hear what many of your favorite bands from the stoner, doom, and riff-rock scene have done with some of the most iconic rock songs of all time.

Along with “Back in Black [Redux]”, we also present our “Best of AC/DC” companion album, a 2-LP extravaganza featuring 13 bands offering their renditions of all-time classics and deep cuts from across the AC/DC catalog. Featuring an array of absolute heavyweights and hungry up-and-comers from the heavy rock underground, we’ve got no doubt that fans of the riff-heavy will be stoked to experience these massive AC/DC interpretations unlike any they’ve heard before.

The Magnetic Eye [Redux] Series features hand-picked classic albums from across the history of rock and metal, re-imagined in their entirety from start to finish by bands we love. Hand-picked artists from throughout the rock and metal world each pick a track to make their own, bringing these milestone records into the new millennium with crushing heaviness and searing energy. To date, we’ve produced [Redux] versions of PINK FLYOD’s “The Wall”, HELMET’s “Meantime”, BLACK SABBATH’s “Vol. 4”, HENDRIX’s “Electric Ladyland”, and ALICE IN CHAINS’ “Dirt”, which have included artists like MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER, and many more amazing artists.

Join us for our sixth foray into Redux territory as we pay proper respect to the Australian legends!

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http://magneticeyerecords.com/
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Solace, “Whole Lotta Rosie”

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Quarterly Review: Paradise Lost, Alastor, Zahn, Greynbownes, Treebeard, Estrada Orchestra, Vestamaran, Low Flying Hawks, La Maquinaria del Sueño, Ananda Mida

Posted in Reviews on July 15th, 2021 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

The days grow long, but the Quarterly Review presses onward. I didn’t know when I put this thing together that in addition to having had oral surgery on Monday — rod in for a dental implant, needs a crown after it heals but so far no infection; penciling it as a win — this second week of 10 reviews per day would bring my laptop breaking and a toddler too sick to go to camp for three hours in the morning. If you’re a fan of understatement, I’ll tell you last week was easier to make happen.

Nevertheless, we persist, you and I. I don’t know if, when I get my computer back, it will even have all of these records on the desktop or if the hard-drive-bed-shitting that seems to have taken place will erase that along with such inconsequentials as years of writing and photos of The Pecan dating back to his birth, but hey, that desktop space was getting cleared one way or the other. You know what? I don’t want to think about it.

Quarterly Review #81-90:

Paradise Lost, At the Mill

Paradise Lost At the Mill

If Paradise Lost are trying to hold onto some sense of momentum, who can blame them? How many acts who’ve been around for 33 years continue to foster the kind of quality the Yorkshire outfit brought to 2020’s studio outing, Obsidian (review here)? Like, four? Maybe? So if they want to put out two live records in the span of three months — At the Mill follows March’s Gothic: Live at Roadburn 2016, also on Nuclear Blast — one isn’t inclined to hold a grudge, and even less so given the 16-song setlist they offer up in what was the captured audio from a livestream last Fall, spanning the bulk of their career and including requisite highlights from ’90s-era landmarks Gothic and Icon as well as Obsidian features “Fall From Grace,” “Ghosts” and “Darker Thoughts,” which opened the studio LP but makes a rousing finisher for At the Mill.

Paradise Lost on Facebook

Nuclear Blast Records store

 

Alastor, Onwards and Downwards

alastor onwards and downwards

The second long-player from Sweden’s Alastor is a surprising but welcome sonic turn, pulling back from the grimness of 2018’s Slave to the Grave (review here) in favor of an approach still murky and thick in its bottom end, but sharper in its songwriting focus and bolder melodically right from the outset on “The Killer in My Skull.” They depart from the central roll for an acoustic stretch in “Pipsvängen” after “Nightmare Trip” opens side B and just before the nine-minute title-track lumbers out its descent into the deranged, but even there the four-piece hold the line of obvious attention to songcraft, instrumental and vocal phrasing, and presentation of their sound. Likewise, the spacious nod on “Lost and Never Found” caps with a shorter and likewise undeniable groove, more Sabbath than the Queens of the Stone Age rush of “Death Cult” earlier, but with zero dip in quality. This takes them to a different level in my mind.

Alastor on Facebook

RidingEasy Records website

 

Zahn, Zahn

Zahn Zahn

Its noise-rock angularity and tonal bite isn’t going to be for everyone, but there’s something about Zahn‘s unwillingness to cooperate, their unwillingness to sit still, that makes their self-titled debut a joy of a run. Based in Berlin and comprised of Felix Gebhard (Einstürzende Neubauten keyboards) as well as drummer Nic Stockmann and bassist Chris Breuer (both of HEADS.), the eight-tracker shimmers on “Tseudo,” punkjazzes on lead cut “Zerrung,” goes full krautrock drone to end side A on “Gyhum” and still has more weirdness to offer on the two-minute sunshine burst of “Schranck,” “Lochsonne Schwarz,” “Aykroyd” and finale “Staub,” all of which tie together in one way or another around a concept of using space-in-mix and aural crush while staying loway to the central pattern of the drums. “Aykroyd” is brazen in showing the teeth of its guitar work, and that’s a pretty solid encapsulation of Zahn‘s attitude across the board. They’re going for it. You can take the ride if you want, but they’re going either way.

Zahn on Facebook

Crazysane Records website

 

Greynbownes, Bones and Flowers

Greynbownes bones and flowers

Bones and Flowers is a welcome return from Czech Republic-based heavy rockers Greynbownes, who made their debut with 2018’s Grey Rainbow From Bones (review here), and sees the trio foster a progressive heavy flourish prone to Doors-y explosive vocal brooding tempered with Elder-style patience in the guitar lines and rhythmic fluidity while there continues to be both an underlying aggressive crunch and a sense of Truckfighters-ish energy in “Dream Seller,” some blues there and in “Dog’s Eyes” and opener “Wolves” besides, and a willful exploratory push on “Burned by the Sun and Swallowed by the Sea,” which serves as a worthy centerpiece ahead of the rush that comprises much of “Long Way Down.” Further growth is evident in the spaciousness of “Flowers,” and “Star” feels like it’s ending the record with due ceremony in its largesse and character in its presentation.

Greynbownes on Facebook

Greynbownes on Bandcamp

 

Treebeard, Nostalgia

Treebeard Nostalgia

One can’t argue with Melbourne heavy post-rockers Treebeard‘s impulse to take the material from their prior two EPs, 2018’s Of Hamelin and 2019’s Pastoral, and put it together as a single full-length, but Nostalgia goes further in that they actually re-recorded, and in the case of a track like “The Ratchatcher,” partially reworked the songs. That makes the resultant eight-song offering all the more cohesive and, in relation to the prior versions, emphasizes the growth the band has undertaken in the last few years, keeping elements of weight and atmosphere but delivering their material with a sense of purpose, whether a give stretch of “8×0” is loud or quiet. Nostalgia effectively pulls the listener into its world, duly wistful on “Pollen” or “Dear Magdalena,” with samples adding to the breadth and helping to convey the sense of contemplation and melodic character. Above all things, resonance. Emotional and sonic.

Treebeard on Facebook

Treebeard on Bandcamp

 

Estrada Orchestra, Playground

Estrada Orchestra Playground

Estonian five-piece Estrada Orchestra recorded Playground on Nov. 21, 2020, and while I’m not 100 percent sure of the circumstances in which such a recording took place, it seems entirely possible given the breadth of their textures and the lonely ambience that unfurls across the 22-minute A-side “Playground Part 1” and the gradual manner in which it makes its way toward psychedelic kraut-drone-jazz there and in the more “active” “Playground Part 2 & 3” — the last part chills out again, and one speaks on very relative terms there — it’s entirely possible no one else was around. Either way, headphone-ready atmosphere persists across the Sulatron-issued LP, a lushness waiting to be closely considered and engaged that works outside of common structures despite having an underlying current of forward motion. Estrada Orchestra, who’ve been in operation for the better part of a decade and for whom Playground is their fifth full-length, are clearly just working in their own dimension of time. It suits them.

Estrada Orchestra on Facebook

Sulatron Records webstore

 

Vestamaran, Bungalow Rex

Vestamaran Bungalow Rex

Even in the sometimes blinding sunshine of Vestamaran‘s debut album, Bungalow Rex, there is room for shades of folk and classic progressive rock throughout the summery 10-tracker, which makes easygoing vibes sound easy in a way that’s actually really difficult to pull off without sounding forced. And much to Vestamaran‘s credit, they don’t. Their songs are structured, composed, engaging and sometimes catchy, but decidedly unhurried, unflinchingly melodic and for all their piano and subtle rhythmic intricacy, mostly pretense-free. Even the snare sound on “Grustak” feels warm. Cuts like “Risky Pigeon” and “Cutest Offender” are playful, and “Solitude” and closer “Only for You” perhaps a bit moodier, but Vestamaran are never much removed from that central warmth of their delivery, and the abiding spirit of Bungalow Rex is sweet and affecting. This is a record that probably won’t get much hype but will sit with dedicated audience for more than just a passing listen. A record that earns loyalty. I look forward to more.

Vestamaran on Facebook

Apollon Records website

 

Low Flying Hawks, Fuyu

low flying hawks fuyu

Three records in, to call what Low Flying Hawks do “heavygaze” feels cheap. Such a tag neither encompasses the post-rock elements in the lush space of “Monster,” the cinematic flourish of “Darklands,” nor the black-metal-meets-desert-crunch-riffing-in-space at the end of “Caustic Wing” or the meditative, post-Om cavern-delia in the first half of closer “Nightrider,” never mind the synthy, screamy turn of Fuyu‘s title-track at the halfway point. Three records in, the band refuse to let either themselves or their listenership get too comfortable, either in heavy groove or march or atmosphere, and three records in, they’re willfully toying with style and bending the aspects of genre to their will. There are stretches of Fuyu that, in keeping with the rest of what the band do, border on overthought, but the further they go into their own progressive nuance, the more they seem to discover they want to do. Fuyu reportedly wraps a trilogy, but if what they do next comes out sounding wildly different, you’d have to give them points for consistency.

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La Maquinaria del Sueño, Rituales de los Alucinados

la maquinaria del sueno rituales de los alucinados

Cult poetry on “Enterrado en la Oscuridad,” garage rock boogie “Ayahuasca” and classic, almost-surf shuffle are the first impressions Mexico City’s La Maquinaria del Sueño make on their debut full-length, Rituales de los Alucinados, and the three-piece only benefit from the push-pull in different directions as the seven-song LP plays out, jamming into the semi-ethereal on “Maldad Eléctrica” only to tip hat to ’60s weirdo jangle on “Mujer Cabeza de Cuervo.” Guitars scorch throughout atop swinging grooves in power trio fashion, and despite the differences in tone between them, “Enterré mis Dientes en el Desierto” and “Ángel de Fuego” both manage to make their way into a right on haze of heavy fuzz ahead of the motoring finisher “La Ninfa del Agua,” which underscores the live feel of the entire procession with its big crashout ending and overarching vitality. Listening to the chemistry between these players, it’s not a surprise they’ve been a band for the better part of a decade, and man, they make their riffs dance. Not revolutionary, but cool enough not to care.

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Ananda Mida, Karnak

Ananda Mida Karnak

A three-tracker EP issued through drummer Max Ear‘s (also of OJM) own Go Down Records, Karnak features an instrumental take on a previously-vocalized cut — “Anulios,” from 2018’s Anodnatius (review here) — an eight-minute live jam with Mario Lalli of Fatso Jetson/Yawning Man sitting in on guitar, and a live version of the Conny Ochs-fronted “The Pilot,” which opened 2019’s Cathodnatius, the cover of which continues to haunt one’s dreams, and which finds the German singer-songwriter channeling his inner David Byrne in fascinating ways. An odds-and-ends release, maybe, but each of these songs is worth the minimal price of admission on its own, never mind topped as they are together with the much-less-horrifying art. If this is a reminder to listen to Anada Mida, it’s a happy one.

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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 Melvinsian orbit soar Low Flying Hawks, whose third album, Fuyu, will be issued in August through Magnetic Eye Records. The follow-up to 2017’s Genkaku (review here) and 2016’s Kofuku (review here) continues the theme of Japanese-language titles — their 2019 EP, 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.

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

Line-up
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

https://www.facebook.com/Lowflyinghawks-1626755734268513/
https://lowflyinghawks.bandcamp.com/releases
http://magneticeyerecords.merchnow.com/
https://www.facebook.com/MagneticEyeRecords
http://store.merhq.com/

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 Heavy Temple make an awaited debut on June 18 with Lupi Amoris (review here), a first full-length years and multiple lineups in the making. Settled hopefully on the lineup of founding bassist/vocalist High Priestess Nighthawk, guitarist Lord Paisley and drummer 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 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 Nighthawk herself recounts the long process by which 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)

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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)

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