Dream Unending to Release Debut Album Tide Turns Eternal Nov. 19; Track Streaming Now

Posted in Whathaveyou on September 24th, 2021 by JJ Koczan

dream unending

I don’t follow a lot of music-related stuff on Twitter. Mostly, to be honest, I’m there for the Star Trek. But among the several bands, outlets, etc., I do follow is the label  We are the best Custom Business Plan For Fashion & Dissertation Writers Service in UK. We are number 1 in Dissertation niche. 20 Buck Spin, and I’m continually glad I do. For example, I caught sight of  If you decide to follow the why Distributed Generation Thesis attitude, you will lack the knowledge that you are supposed to have. 4. You Get to Know What Responsibility Is. Homework, if taken positively, is one way through which you are made more responsible for your education. Dream Unending‘s cover art scrolling past all the Shatner the other day, checked out the track and, yeah, I am reaffirmed in my follow. With the combined efforts of You wont have to spend much time searching for answers to your most pressing questions about the manner we work, when you ask us if we can weblink. You may have the idea that you can only gain assistance from AccountingAssistanceHelp.net if you need financial accounting homework help. Tomb Mold‘s  Our best standards and practices are always implemented during every procedure. And thats the reason why we have a massive following of our service. College Essay Ideas Help Writing Services UK. With expert and cheap dissertation writing, our other services also come at genuinely reasonable rates. We know how a student is surrounded by tight Derrick Vella and  Myself Essay Writing In Mla - Dissertation proofreading | Best research proposal sample Luckily, and efficiency of plagiarism problems with our services of the former mining town at geddes. Students who lack of school, they need online. It may seem to the satisfaction, economic research paper or thesis is never be of fraudulent websites that . When looking for them, and nothing to do not have Justin DeTore — who’s also in  Best professional online essay writer company is at your service. . Buy essay Dissertation Qualitative Study online at professional essay writing service. Innumerable Forms but who I know from his work in  Need to find a good place to Order Argumentative Essay? This is just the right one with excellent writers, low rates, and quality guarantees. Give it a try today! Magic Circle — the two-piece are set to issue their debut album,  The steps in An Essay About Home versus hiring a custom writing company are similar so it is easy to see that the most secure choice is to go custom. When a student chooses to utilize the services of a custom writing company, they are then going to get more personalized attention to their project because specific writers are now involved. Once the customer decides to use a custom writing company, they Tide Turns Eternal, through  Homework Help For Teens; US ABOUT order an place you time every and each services writing essay outstanding provide to strive and writing academic 20 Buck Spin on Nov. 19, and if you’re not yet down with the imprint’s all-things-death renaissance, now might be a good time. The extremity of ‘lead-single’ (such as it is) “In Cipher I Weep” is its own best argument. Find it at the bottom of this post.

The PR wire followed up on the social media algorithm thusly:

dream unending tide turns eternal


I http://www.literacy.at/?dissertation-help-service-outlines - Online Term Paper Writing Service - We Provide Quality Essay Papers You Can Rely On Cheap Homework Writing Assistance - Get Help HEAR “IN CIPHER I WEEP” FROM THE 20 BUCK SPIN RELEASE

Releasing November 19th, 2021
Vinyl releasing February 4th, 2022

Dream Unending, a cleverly self-described “doom metal Postal Service” by founders Derrick Vella (Tomb Mold) and Justin DeTore (Innumerable Forms), release their debut album, Tide Turns Eternal on Nov. 19 via 20 Buck Spin.

The illustrious pair give listeners a taste of the seven-song, 45-minute album with today’s release of “In Cipher I Weep.”

“’In Cipher I Weep’ was the first song we wrote,” explains Vella of the sprawling track. “That must have been nearly 2 years ago now. Definitely the darkest song on the album. Intense lyrics. It leads off with that strange fretless bass, those dying flange harmonics, the vampiric harmonizing, the haunting organ (Thanks, Dad) and transforms into this spellbinding piece full of beauty only to be undone with the heaviest moment of the album. Justin’s vocals sound like the pillars of heaven crashing into the earth. It’s good stuff.”

Tides Turns Eternal sees the musicians expand into entirely new and unexpected directions, composing songs that drift between emotional states both forlorn and uplifting. Ascendant Floydian guitar textures and sparkling Cure-esque strumming lift the music out of the purely metal realm, where moody rock introspection allows for Elysian respite before DeTore’s world crushing roar assures no escape from earthly tumult is certain.

“Dream Unending and Tide Turns Eternal is a testament to the idea that music can be limitless,” continues Vella. “This album was created by Justin and I without ever being in the same room, city or country. It defied closed borders and acts as more than just a record. It’s an affirmation of life. It’s a vision quest. It poses questions pertaining to fear, discovery, the value of one’s soul and offers an answer. Dream Unending serves as an excellent outlet for a language that Justin and I speak that we can’t express elsewhere. It pays tribute to not just doom, but to all the styles of music we love, and the immersive/cinematic quality of fully realized albums. The songs are heavy, dreary, and dreamy. What more could you ask for?”

Tide Turns Eternal track list:
1. Entrance
2. Adorned In Lies
3. In Cipher I Weep
4. The Needful
5. Dream Unending
6. Forgotten Farewell
7. Tide Turns Eternal


Dream Unending, “In Cipher I Weep”

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Raibard Premiere “To the Dawn”; Dark Realm of the Daylight Out Dec. 3

Posted in audiObelisk, Reviews on September 22nd, 2021 by JJ Koczan


Boston progressive heavy rockers click here editor - Allow us to take care of your Bachelor or Master Thesis. top-ranked and affordable paper to ease your studying Raibard release their second album, Need Help On Research Paper Wizard Cracked Download | When you are looking for something on the web, search engines look at the code itsel Dark Realm of the Daylight, on Dec. 3. The record is as proggy as the day is long and probably then some, and twists itself readily around its contrasts — dark, daylight, etc. — via an overarching organic sensibility as manifest through the vocals of guitarist  Write My Professional Paper helps to ensure that your original work and your own ideas and information can be presented comprehensibly to a global audience. As the author of the dissertation manuscript, you are responsible for the critical thinking, reading, and composing that went into it. Daniel Gil, who doubles both as a folk composer/performer and music teacher, drawing on elements from Jewish traditionalism (he’s also a Talmudic scholar) and classical arrangements. His “Peacemaking in Three Movements” — not by Superior Dissertations aims to provide the Ikea Business Plan and professional assistance to all struggling students who need expert help. There are numerous benefits and features when you decide to opt for online help, whether you want a dissertation written, or just need yours improved, such as getting a paper tailored to your specific needs, getting the paper done by writers with the Raibard, but available to listen here — is gorgeous.

In  persuasive thesis statement examples Papers On Tornadoes doctoral dissertation help john nash dissertations and thesis database Raibard Gil is joined by bassist Greg Dellaria (also Oxblood Forge) and drummer Phil MacKay, both veterans of sludge metallers Ichabod, and across seven tracks, the three-piece weave together stretches of ’70s-style progressivism, jazzier fluidity, and indeed, flourishes of folk melodies. The PR wire’s noting of Opeth as an influence is apt given Gil‘s breathy vocal approach and some of the bouncing nuance of guitar, but from “Angel of the Clockwork” on through the seven-track/46-minute offering, Dark Realm of the Daylight sets its purpose across a range of styles and fluidly weaves between them.

At the core of Raibard‘s presentation in this follow-up to 2017’s The Queen of the Night, however, Raibard Dark Realm of the Daylightis the blend of the natural, as-sans-studio-trickery-as-can-be vibe — dry vocals, acoustic guitar, not trying to be huge sounding or anything like that — and the breadth of the material. This is a balance not so much walked as danced upon throughout, as “Angel of the Clockwork” and the catchier title-track give way to the electrified “Eternal Rise,” bringing Michele Morgan in for guest vocals over loosely Eastern scales and a more atmospheric feel, but still remaining consistent with the surroundings — though the sun-baked, near-Blind Melon twang at the outset of the subsequent “Visions of You” feels like a willful, playful contradiction as the centerpiece unfolds.

“Forever After” and “Walkin’ On” both dare more electric guitar, the former heavier, the latter jammier, both underscored by Dellaria and MacKay‘s it’s-cool-we-got-this surety as a rhythm section, right up to the drum-solo-into-wah-funk as “Walkin’ On” meanders through its second half, casual-like, making its way toward a minimal acoustic conclusion that leads into “To the Dawn,” which rounds out.

And the closer — which is premiering below — is a somewhat humbler affair, but brings a flourish of horn (or horn sounds) to its ending that hints at a George Martin arrangement influence as part of its progressive folk rock foundation. Melody carries through unencumbered by weight, but the structure beneath is solid and the chorus memorable just the same, and in that, “To the Dawn” is emblematic of Raibard‘s work here on the whole. They dig into the exploratory aspects of songcraft, but do not lose their footing as part of that, and even when they ‘walk on,’ as it were, they do so in contemplative rather than directionless fashion.

Track stream and comment from the band follows.

Please enjoy:

Raibard on “To the Dawn”:

The world has everything we need, and it has nothing we need. The human experience is full and complete, and it’s empty and meaningless. Between the fullness of life and the inevitability of death we find the most complete thing — a heart which is broken wide open to sing and make art.

Based out of Boston, Massachusetts, the dynamic rock trio, RAIBARD was founded in December 2015 by Daniel Gil and they draw upon musical inspiration from rock and metal bands including LED ZEPPELIN, THE BEATLES, and OPETH. Daniel also brings in his interest as a modern mystic; someone who experiences hidden realities and studies ancient texts on mysticism. The title track on the new album is inspired by author and teacher Tony Buzan who teaches about mind mapping and the genius of every single human being, promoting the advancement of consciousness through inner awareness and compassionate living.

Daniel Gil – guitar and voice
Phil MacKay – drums and percussion
Greg Dellaria – bass guitar

Raibard on Facebook

Raibard on Twitter

Raibard on Instagram

Raibard on Bandcamp

Raibard website

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Friday Full-Length: Olde Growth, Olde Growth

Posted in Bootleg Theater on August 27th, 2021 by JJ Koczan

It’s a pretty rare album that sounds better a decade after the fact. Don’t get me wrong, I liked the self-titled debut (review here) from Boston duo Olde Growth when I first heard it, and don’t get me wrong, it’s pretty raw either way, but even if you factor in that the two-piece were probably three or four years ahead of their time in sound and configuration, that’s still an admirable stretch for their first and, sad to say, only LP to have not only held up, but flourished in its earthy, sludgy way.

Initially self-released in 2010, the seven-song/46-minute offering was picked up in 2011 by MeteorCity for a CD release. Comprised of bassist/vocalist Stephen LoVerme (who also handled the artwork) and drummer Ryan Berry, they were arguably the last new-band release from the pivotal imprint, which had changed hands a year prior after being purchased by Dan “El Danno” Beland and Melanie “Hellmistress” Streko and tied in with the fate of the then-active stonerrock.com outlet and forum. Then married, the two had gone on a tear of adding label roster additions in in 2009-2010, and that saw releases from Freedom Hawk, New Keepers of the Water Towers, Snail, Flood, Ararat, Egypt, WhitebuzzSardoniS, Valkyrie — some you still hear about today, some you don’t — and Olde Growth were at the tail end of that bunch. Even the cardboard digipak, which the band still has available, was forward thinking, printed on recycled paper with soy ink used. The stamp-looking artwork and hand-scribbled fonts gave it a DIY look that suited the organic nature of the band’s sound and, well, moniker.

LoVerme and Berry were young at the time, and recorded in 2009 with guitarist AJ Peters of the band that was then called Riff Cannon and would soon become Summoner — a bit of irony there for a band without a guitarist making their album with one at the helm. Perhaps what’s most continually resonant about Olde Growth, however, is the sense of space in the tracks. As a unit, Olde Growth were maximally flexible, by which I mean they were able to make a song like the lead cut “The Grand Illusion” chargePhoto by Erin Genett, design by Stephen Loverme. ahead with a gallop that sounded haphazard without actually being so, pulling influence maybe from what High on Fire had done circa Blessed Black Wings but owning each progression as their own, much aided in that regard by LoVerme‘s malleable vocal approach, sludgy, shouted verse coursing into a more melodic chorus. Not by any means anything new for heavy music — such duality drove a surge of metalcore based in New England at the turn of the century — but few and far between were those who could pull it off 10-12 years later without sounding hackneyed, fewer still were those doing so in a heavy/stoner context, and I can’t think of another outfit who did it in a duo configuration. If I’m wrong about that, it doesn’t matter anyway. The point of rarity stands.

And as Olde Growth shoves through “The Grand Illusion,” it meets with the breadth and heft of “Life in the Present.” The tinny sound of Berry‘s snare, the wash of cymbals, the low-end effects as the song nears its melodic stretch in the midsection, it’s all a shift in structure that builds on the opener, so that as they turn it around into punker thrash it’s not a huge surprise, but ties together smoothly — or as smoothly as they want it to, anyhow — with a return to the lumbering (get it?) march at the end likewise setting up  the grimmer launch of the three-part “Cry of the Nazgul/The Second Darkness/To the Black Gate,” a Lord of the Rings-based lyric that saves Aragorn’s triumph for a layered-vocal in its third part, surprisingly soulful given the trudge through Middle Earth mud in most of the first five minutes. Some growls right at the end bring it together, and offer a resolution that, unlike the book or movies, didn’t require a slew of appendices or two hours of comedown epilogue.

“Sequoia,” however, might be called a comedown in itself. It is the slowest of pieces on Olde Growth at its outset, but nestles subtly into movement as it unveils a hook worthy of “The Grand Illusion,” and from there continues to add speed before cutting back again. The riff, low, slow, is rootsy stoner sludge idolatry, but well done with Berry‘s hi-hat keeping the nod punctuated as they cycle through the next verse, ahead of the ending slowdown and shouts, which end with amp hum and let the effects of minute-long interlude “Red Dwarf” arrive naturally and transition accordingly into the also-instrumental “Everything Dies,” which though it’s not as long or broad as the three-parter or the 10-minute finale “Awake” that follows is no less epic in its build, perhaps more so for the relative efficiency with which it’s brought to bear.

The closer opens righteously mellow following the intensity at the end of “Everything Dies,” and explodes with a snare hit for warning shortly before it’s four minutes deep. Yeah, there’s a ripper part in the middle and second half, and they plod to a finish with a lead line over top, but if you want to hear underscored just how much potential Olde Growth had, it’s in the methodical way they end the record. They could be brash, they could punk out, play fast, play slow, etc., but hearing “Awake” start out with such barely-there hypnotic minimalism while keeping that surge in its pocket is emblematic of what the two-piece might have accomplished going forward. Seems hard now to overstate the potential, in aesthetic, songwriting or performance.

So it goes. Olde Growth released the self-titled in 2012 on vinyl through the also-ahead-of-its-time Hydro-Phonic Records (that version had “Red Dwarf” and “Everything Dies” combined, which is fair), and would go on to play shows, tour a bit, and offer the Owl EP (review here) in 2012. Last I got to see them was in Boston in 2013, and they still made it worth the drive to the city. If you’ve never been to Boston, that is a significant compliment.

Also known for his video work with Treebeard Media and the Somerville, MA, venue ONCE Ballroom, LoVerme would reemerge circa 2014 as part of the more stylistically diverse SEA, and has recently been involved with the more extreme-minded Lunar Ark, who as it happened played a live show last week. How about that. What times we live in.

Nonetheless, this album could stand a reissue.

As always, I hope you enjoy. Thanks for reading.

I woke up this morning at 4:10AM. My program of training my body to get up earlier has resulted in the increase of productivity I sought. Not a magic bullet to get everything done in a day that I want to — it’s only an hour and 20 minutes different from my luxurious 5:30 days — but it helps. I’ll hope to have it to 4AM by Monday. I remember clearly now putting my head down at the kitchen table in Massachusetts and falling asleep at the keyboard.

Of course, the tradeoff is fatigue, decrease in patience with myself and others, a brutally long-feeling day, and things like not being able to find the new toothbrush I left right frickin’ there on the table for myself this morning when I got up. Coffee, as ever, provides the single set of footprints in the sand while carrying me.

I’d be further remiss if I didn’t again note the blow that was the death of Eric Wagner at the week’s outset. The Skull and Trouble have both since commented on his passing, but the level of shock through the heavy underground is a testament to the career and life he led. Why he didn’t get a vaccine before going on tour, I don’t know. Could’ve been politics, could’ve been additional health risks. It doesn’t matter now.

This morning I also found a message on Facebook from July from a kid I went to middle school with that one of our classmates apparently died in 2019 and I never knew. Seems like maybe he killed himself. We didn’t keep in touch or anything after going to different high schools, but he was a nice enough kid at that age. Troubled. Loved golf, which was odd in an eighth grader. But yeah. I’m not sure I’d be justified in grieving the loss since it happened two years ago and I hadn’t spoken to him in about two and a half decades, but it was a bookend to the week that I hadn’t expected. I didn’t really know Eric Wagner either, though we spoke a few times.

That brings to mind how Chris Peters from Fuzz Sagrado/Samsara Blues Experiment wrapped up that interview that went up yesterday. I don’t know that anybody will watch that in its 80-minute entirety (maybe I should learn video editing, but that just seems like something that would take away from time I’d otherwise want to spend writing), but in the last couple minutes, he encouraged anyone watching to speak to more people, to reach out, because it’s so amazing to interact with others. I admit that’s not the kind of advice I’m likely to take. I will rarely initiate conversation with someone I don’t already know. Introverted is a grown-up way of saying shy, but either way. The truth of the matter is that I have always believed that when someone meets me who might not’ve known before, they’ll either be put off by my physical appearance or something I say. It is better, then, to not engage.

Obviously I have never had many friends. Further, among the oh-let’s-say-a-few challenges of parenting is encouraging my son to be outgoing or teaching him how handle simple social interactions to when my own impulses and unconsciously-demonstrated behaviors are so contrary to that. It is not a thing I’m good at.

We’ll throw it on the list that hopefully I’m the only one keeping.

I need to turn in the playlist for the next Gimme Metal show. It’ll be all Eric Wagner. More on that next week, and stay tuned as well for premieres from Old Man Wizard, Embr, Lurcher, Wang Wen and an interview with Sons of Alpha Centauri, whose new LP is out today on Exile on Mainstream.

Today is The Pecan’s last day of summer daycamp. He had a good time. Next week he’s home with me, which is a thing that I’m sorry to say I’ve been dreading in terms of getting work done, but will probably be fine. It’s been 12 and a half years and I haven’t lost the thread yet, so seven business days with the kid won’t kill me, even with The Patient Mrs. back at her office for most of the week as her semester has also started. If I need to work before bed, I can. That would mean less tweeting about Star Trek, but we all have to make sacrifices sometimes.

Whatever your next week brings, I hope you have a great and safe weekend. Hydrate. Have fun. Watch your head. Hug someone who has consented to be hugged. Buy an Obelisk t-shirt. Life is short.


The Obelisk Forum

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The Obelisk merch


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Satanic Planet Self-Titled Debut out Now; Post “Strangers” Video

Posted in Whathaveyou on July 28th, 2021 by JJ Koczan

satanic planet

Who’s ready to get weird? And think before you answer, because Satanic Planet bring the bizarre hard on this self-titled debut full-length that came out in May on Three One G. With an industrial foundation, drums from Dave Lombardo, guests like Cattle Decapitation‘s Travis Ryan and the Satanic Temple’s Lucien Greaves as the founding principle of the band alongside producer Luke Henshaw and Justin Pearson of The Locust (and many others), I can just about guarantee that whatever you’re thinking this might sound like on its face, it still doesn’t sound like that thing. Though if you’re betting on a heaping dose of Satanic imagery and some “six-six-six” chants, you’re on the money there.

I like being surprised. I like being caught off guard. I like weird shit. If you’re feeling adventurous and maybe like bringing some cold air into your life, the new video and the Bandcamp stream of Satanic Planet in its entirety are both below, under the following background from the PR wire:

satanic planet satanic planet

SATANIC PLANET – “Strangers” from the band’s debut album available from Three One G and The Satanic Temple

Purchase here: https://threeoneg.com/archive/vinyl/self-titled-lp-2

SATANIC PLANET is the creation of Lucien Greaves (The Satanic Temple co-founder and spokesperson), Luke Henshaw (Planet B, Sonido de la Frontera), Dave Lombardo (Slayer, The Misfits, Mr. Bungle, Suicidal Tendencies, Dead Cross), and Justin Pearson (The Locust, Dead Cross, Swing Kids, Deaf Club). With the birth of Satanic Planet, hip-hop producer Henshaw and punk provocateur Pearson joined co-founder and spokesperson of The Satanic Temple, Lucien Greaves– the most prominent and outspoken contemporary Satanist in the world. Greaves has gained international attention as an advocate for religious liberty and the voice of the Satanic Reformation, delivering lectures nationwide and featured in national media outlets including MSNBC, NPR, Huffington Post Live, CNN, Harper’s Monthly, Newsweek, Fox News, Vice, Salon, Rolling Stone, and many more. As the trio were diligently working, and nearly completed with, the music for their debut album, the worldwide pandemic hit, seemingly bringing things to a halt. However, with the onset of this new way of living, the newly-formed band was in a unique position to enlist the legendary Dave Lombardo, who found himself not touring for the first time in years, and suddenly having more time to work in his home studio on projects that interested him. With the addition of this iconic drummer, Satanic Planet was complete.

Here, Greaves moves beyond spoken word and into lyricism, with the experimental musical backing of Henshaw, the demonic vocals of Pearson, and the diverse, score-like approach of Lombardo. Along the way, an eclectic range of guest appearances arise, including Cattle Decapitation’s Travis Ryan, Nomi Abadi, Silent’s Jung Sing, Shiva Honey, Eric Livingston (also known as his artist moniker, First Church of the Void), and Hexa’s Carrie Feller. This collaboration embraces the avant garde to create sci-fi sermons that range from doom and industrial to evil exotica. These dark musical soundscapes serve as a vessel to share the important messages that The Satanic Temple stands for, including religious freedom, highlighting the hypocrisy in dominant organized religions, and the horrific consequences of pseudoscience and malpractice still being utilized today in America.

Track listing:
Baphomet (feat. Jung Sing)
Grey Faction
Devil In Me (feat. Nomi Abadi)
Unbaptism (feat. Travis Ryan, Shiva Honey)
Vete al Infierno (feat. Jung Sing, Carrie Feller)
The Hell
Exorcism (feat. Travis Ryan, Shiva Honey)
Satanic Planet (feat. Eric Livingston)


Satanic Planet, Satanic Planet (2021)

Satanic Planet, “Strangers” official video

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Quarterly Review: Amenra, Liquid Sound Company, Iceburn, Gods and Punks, Vouna, Heathen Rites, Unimother 27, Oxblood Forge, Wall, Boozewa

Posted in Reviews on July 14th, 2021 by JJ Koczan


You’ll have to forgive me, what the hell day is it? The url says this is day eight, so I guess that’s Wednesday. Fine. That’s as good as any. It’s all just 10 more records to my brain at this point, and that’s fine. I’ve got it all lined up. As of me writing this, I still haven’t heard about my busted-ass laptop that went in for repair last Saturday, and that’s a bummer, but I’m hoping that any minute now the phone is going to show the call coming in and I’ll just keep staring at it until that happens and I’m sure that will be awesome for my already brutalized productivity.

My backup laptop — because yes, I have one and will gladly argue with you that it’s necessary citing this week as an example — is a cheapie Chromebook. The nicest thing I can say about it is it’s red. The meanest thing I can say about it is that I had to change the search button to a caps lock and even that doesn’t respond fast enough to my typing, so I’m constantly capitalizing the wrong letters. If you don’t think that’s infuriating, congratulations on whatever existence has allowed you to live this long without ever needing to use a keyboard. “Hello computer,” and all that.

Enough kvetching. Too much to do.

Quarterly Review #71-80:

Amenra, De Doorn

Amenra De Doorn

I’ve made no secret over the last however long of not being the biggest Amenra fan in the universe. Honestly, it’s not even about the Belgian band themseves — live, they’re undeniable — but the plaudits around them are no less suffocating than their crushing riffs at their heaviest moments. Still, as De Doorn marks their first offering through Relapse Records, finds them departing from their Mass numbered series of albums and working in their native Flemish for the first time, and brings Caro Tanghe of Oathbreaker into the songs to offer melodic counterpoint to Colin H. van Eeckhout‘s nothing-if-not-identifiable screams, the invitations to get on board are manifold. This is a band with rules. They have set their own rules, and even in pushing outside them as they do here, much of their ideology and sonic persona is maintained. Part of that identity is being forward thinking, and that surfaces on De Doorn in parts ambient and quiet, but there’s always a part of me that feels like Amenra are playing it safe, even as they’re working within parameters they’ve helped define for a generation of European post-metal working directly in their wake. The post-apocalyptic breadth they harness in these tracks will only continue to win them converts. Maybe I’ll be one of them. That would be fun. It’s nice to belong, you know?

Amenra on Facebook

Relapse Records website


Liquid Sound Company, Psychoactive Songs for the Psoul

Liquid sound company psychoactive songs for the psoul

A quarter-century after their founding, Arlington, Texas, heavy psych rockers Liquid Sound Company still burn and melt along the lysergic path of classic ’60s acid rock, beefier in tone but no less purposeful in their drift on Psychoactive Songs for the Psoul. They’re turning into custard on “Blacklight Corridor” and they can tell you don’t understand on “Who Put All of Those Things in Your Hair?,” and all the while their psych rock digs deeper into the cosmic pulse, founding guitarist John Perez (also Solitude Aeturnus) unable to resist bringing a bit of shred to “And to Your Left… Neptune” — unless that’s Mark Cook‘s warr guitar — even as “Mahayuga” answers back to the Middle Eastern inflection of “Blacklight Corridor” earlier on. Capping with the mellow jam “Laila Was Here,” Psychoactive Songs for the Psoul is a loving paean to the resonant energies of expanded minds and flowing effects, but “Cosmic Liquid Love” is still a heavy rollout, and even the shimmering “I Feel You” is informed by that underlying sense of heft. Nonetheless, it’s an acid invitation worth the RSVP.

Liquid Sound Company on Facebook

Liquid Sound Company on Bandcamp


Iceburn, Asclepius

iceburn asclepius

Flying snakes, crawling birds, two tracks each over 17 minutes long, the first Iceburn release in 20 years is an all-in affair from the outset. As someone coming to the band via Gentry Densley‘s work in Eagle Twin, there are recognizable elements in tone, themes and vocals, but with fellow founders Joseph “Chubba” Smith on drums and James Holder on guitar, as well as bassist Cache Tolman (who’s Johnny Comelately since he originally joined in 1991, I guess), the atmosphere conjured by the four-piece is consuming and spacious in its own way, and their willingness to go where the song guides them on side A’s “Healing the Ouroboros,” right up to the long-fading drone end after so much lumbering skronk and incantations before, and side B’s “Dahlia Rides the Firebird,” with its pervasive soloing, gallop and veer into earth-as-cosmos terradelia, the return of Iceburn — if in fact that’s what this is — makes its own ceremony across Asclepius, sounding newly inspired rather than like a rehash.

Iceburn on Facebook

Southern Lord Recordings website


Gods & Punks, The Sounds of the Universe

gods and punks the sounds of the universe

As regards ambition, Gods & Punks‘ fourth LP, The Sounds of the Universe, wants for nothing. The Rio De Janeiro heavy psych rockers herein wrap what they’ve dubbed their ‘Voyager’ series, culminating the work they’ve done since their first EP — album opener “Eye in the Sky” is a remake — while tying together the progressive, heavy and cosmic aspects of their sound in a single collection of songs. In context, it’s a fair amount to take in, but a track like “Black Apples” has a riffy standout appeal regardless of its place in the band’s canon, and whether it’s the classic punch of “The TUSK” or the suitably patient expansion of “Universe,” the five-piece don’t neglect songwriting for narrative purpose. That is to say, whether or not you’ve heard 2019’s And the Celestial Ascension (discussed here) or any of their other prior material, you’re still likely to be pulled in by “Gravity” and “Dimensionaut” and the rest of what surrounds. The only question is where do they go from here? What’s outside the universe?

Gods & Punks on Facebok

Abraxas on Facebook

Forbidden Place Records website


Vouna, Atropos

vouna atropos

Released (appropriately) by Profound Lore, Vouna‘s second full-length Atropos is a work of marked depth and unforced grandeur. After nine-minute opener “Highest Mountain” establishes to emotional/aural tone, Atropos is comprised mostly of three extended pieces in “Vanish” (15:34), “Grey Sky” (14:08) and closer “What Once Was” (15:11) with the two-minute “What Once Was (Reprise)” leading into the final duo. “Vanish” finds Vouna — aka Olympia, Washington-based Yianna Bekris — bringing in textures of harp and violin to answer the lap steel and harp on “Highest Mountain,” and features a harsh guest vocal from Wolves in the Throne Room‘s Nathan Weaver, but it’s in the consuming wash at the finish of “Grey Sky” and in the melodic vocal layers cutting through as the first half of “What Once Was” culminates ahead of the break into mournful doom and synth that Vouna most shines, bridging styles in a way so organic as to be utterly consuming and keeping resonance as the most sought target, right unto the piano line that tops the last crescend, answering back the very beginning of “Highest Mountain.” Not a record that comes along every day.

Vouna on Facebook

Profound Lore website


Heathen Rites, Heritage

heathen rites heritage

One gets the sense in listening that for Mikael Monks, the Burning Saviours founder working under the moniker of Heathen Rites for the first time, the idea of Heritage for which the album is titled is as much about doom itself as the Scandinavian folk elements that surface in “Gleipner” or in the brief, bird-song and mountain-echo-laced finish “Kulning,” not to mention the Judas Priest-style triumphalism of the penultimate “The Sons of the North” just before. Classic doom is writ large across Heritage, from the bassline of “Autumn” tapping into “Heaven and Hell” to the flowing culmination of “Midnight Sun” and the soaring guitar apex in “Here Comes the Night.” In the US, many of these ideas of “northern” heritage, runes, or even heathenism have been coopted as expressions of white supremacy. It’s worth remembering that for some people it’s actually culture. Monks pairs that with his chosen culture — i.e. doom — in intriguing ways here that one hopes he’ll continue to explore.

Heathen Rites on Facebook

Svart Records website


Unimother 27, Presente Incoerente

Unimother 27 Presente Incoerente

Some things in life you just have to accept that you’re never going to fully understand. The mostly-solo-project Unimother 27 from Italy’s Piero Ranalli is one of those things. Ranalli has been riding his own wavelength in krautrock and classic progressive stylizations mixed with psychedelic freakout weirdness going on 15 years now, experimenting all the while, and you don’t have to fully comprehend the hey-man-is-this-jazz bass bouncing under “L’incontro tra Phallos e Mater Coelestis” to just roll with it, so just roll with it and know that wherever you’re heading, there’s a plan at work, even if the plan is to not have a plan. Mr. Fist‘s drums tether the synth and drifting initial guitar of “Abraxas…il Dio Difficile da Conoscere” and serve a function as much necessary as grooving, but one way or the other, you’re headed to “Systema Munditotius,” where forward and backward are the same thing and the only trajectory discernible is “out there.” So go. Just go. You won’t regret it.

Unimother 27 on Facebook

Pineal Gland Lab website


Oxblood Forge, Decimator

Oxblood Forge Decimator

Not, not, not a coincidence that Massachusetts four-piece Oxblood Forge — vocalist Ken Mackay, guitarist Robb Lioy, bassist Greg Dellaria and drummer/keyboardist Erik Fraünfeltër — include an Angel Witch cover on their third long-player, Decimator, as even before they get around to the penultimate “Sorcerers,” the NWOBHM is a defining influence throughout the proceedings, be it the “hey hey hey!” chanting of “Mortal Salience” or the death riders owning the night on opener “Into the Abyss” or the sheer Maidenry met with doom tinge on “Screams From Silence.” Mackay‘s voice, high in the mix, adds a tinge of grit, but Decimator isn’t trying to get one over on anyone. This blue collar worship for classic metal presented in a manner that could only be as full-on as it is for it to work at all. No irony, no khakis, no bullshit.

Oxblood Forge on Facebook

Oxblood Forge on Bandcamp


Wall, Vol. 2

wall vol 2

They keep this up, they’re going to have a real band on their hands. Desert Storm/The Grand Mal bandmates and twin brothers Ryan Cole (guitar/bass) and Elliot Cole (drums) began Wall as a largely-instrumental quarantine project in 2020, issuing a self-titled EP (review here) on APF Records. Vol. 2 follows on the quick with five more cuts of unbridled groove, including a take on Karma to Burn‘s “Nineteen” that, if it needs to be said, serves as homage to Will Mecum, who passed away earlier this year. That song fits right in with a cruncher like “Avalanche” or “Speed Freak,” or even “The Tusk,” which also boasts a bit of layered guitar harmonies, feeling out new ground there and in the acousti-handclap-blues of “Falling From the Edge of Nowhere.” The fact that Wall have live dates booked — alongside The Grand Mal, no less — speaks further to their real-bandness, but Vol. 2 hardly leaves any doubt as it is.

Wall on Facebook

APF Records website


Boozewa, Deb

Boozewa Deb

The second self-recorded outing from Pennsylvania trio Boozewa, Deb, offers two songs to follow-up on Feb. 2021’s First Contact (review here) demo, keeping an abidingly raw, we-did-this-at-home feel — this time they sent the results to Tad Doyle for mastering — while pushing their sound demonstrably forward with “Deb” bringing bassist Jessica Baker to the fore vocally alongside drummer Mike Cummings. Guitarist Rylan Caspar contributes in that regard as well, and the results are admirably grunge-coated heavy rock and roll that let enough clarity through to establish a hook, while the shorter “Now. Stop.” edges toward a bit more lumber in its groove, at least until they punk it out with some shouts at the finish. Splitting hairs? You betcha. Maybe they’re just writing songs. The results are there waiting to be dug either way.

Boozewa on Instagram

Boozewa on Bandcamp


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Come to Grief Announce Debut Album Recording Plans

Posted in Whathaveyou on June 10th, 2021 by JJ Koczan

Reigniting one of sludge’s most extreme and vicious legacies is no minor ask, but Come to Grief — born from the cleaved skull of New England brutalizers Grief — have done precisely this thing. Their 2020 EP, Pray for the End, is enough to make your skin crawl, and it follows four years-plus of the band lurking and lurching around the Eastern Seaboard and beyond, honing their disgusting craft.

Time for a debut album? You betcha. The final Grief LP was 2000’s …And Man Will Become the Hunted, so if you want to say guitarist Terry Savastano and drummer Chuck Conlon — the carry-over contingent — are due, you’re not wrong. SavastanoConlon, bassist Randy Larsen (ex-Cable) and guitarist/vocalist Jonathan Hébert will enter GodCity next month to track their first full-length with Kurt Ballou (Converge, etc.) helming. There is nothing else one might possibly ask at this point, other than they please have mercy and make it quick once they start flaying their listenership.

They made the announcement through social media, as one will. No clue as to release date, label situation, or anything like that. An album will be recorded, and then it will exist.

There you go:

Come to Grief

In one month from today we will be entering New England’s own GodCity Studio in Salem, MA to finally record our first full length! ‘When the World Dies’ will be recorded, mixed and produced by Kurt Ballou! Stay tuned over the next few weeks/months for all the news and updates regarding the new album and maybe even a few tour dates later this year! Thank you to every one of you for your patience and support over the past several years! We’re very excited to finally unleash this new material on you all, and are looking forward to see you all again on the road once the album is complete!

Terry, Jonathan, Chuck, Randy


Come to Grief, Pray for the End (2020)

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The Obelisk Questionnaire: Dan Blomquist of Conclave & Benthic Realm

Posted in Questionnaire on May 27th, 2021 by JJ Koczan

dan blomquist

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: Dan Blomquist of Conclave & Benthic Realm

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

I currently play drums in two bands from Massachusetts, Conclave and Benthic Realm. I grew up in a musical family with both my parents being performing violinists. I took piano lessons first growing up, played hand bells at my Dad’s church, then trombone and saxophone in grade school band but ultimately found my sweet spot with smashing things in the drums around sophomore year of high school. Been my drug of choice since.

Describe your first musical memory.

How about my first musical memory of when my musical taste changed from what I was raised to listen to and learn to play, to the heavier side of music. Around 1979 or so, my Dad and I made our ritualistic trip to Radio Shack. He was an electronics engineer and a hi-fi nut so this was like his second home. This particular trip I had enough money that I bought myself a small handheld AM/FM radio. As soon as we got home I headed out to Anne’s Variety Store to go purchase some penny candy with my totally badass handheld radio.

dan blomquist radioI ran to the top of the hill on the way to the store and BOOM! I had FM Rock Radio on! KISS was playing and I’d never heard anything like them before. That was the moment my tastes changed. My Dad would break my balls after that about every single band I would introduce to him, but he always encouraged me to play… and to play “quieter.” When my Dad passed away five years ago and I had to go through his belongings at his house, I found the radio was still there in a box with all kinds of other radios and gear. I took it home and have it to this day.

Describe your best musical memory to date.

Being a kid helping my Dad by carrying his music stand into what ever music hall, conservatory or orchestra pit he was playing in. He always made me feel like I was part of the orchestra or ensemble he was playing with and it felt amazing, like I was 10 feet tall.

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

I’m actually coming up empty on this one. I suppose I could go back to when I stopped believing in God, but I’m not really sure that I ever truly believed in it to begin with. I’d like to be spiritual, but we’re all just organic matter that will rot away so what’s the point. My whimsical essence isn’t going to travel through the cosmos for eternity. Make the most of the time you’ve got. It’s all you’ve got. Believe that.

Where do you feel artistic progression leads?

Ultimately, where it’s supposed to I would say. Progression in the arts can be very different from one person or form to another. So how and where you progress is kind of organic, evolutionary and unavoidable. Plus progress is the route of all evil they say, so there’s bonus points for being evil.

How do you define success?

I’d define success as being able to take something positive away from everything you do even if you seem to fail at it. In other words, if you set a weight loss goal of dropping 50 lbs in a year and lose less than that in a year, you still succeeded in progressing towards your goal. If you don’t lose sight of that, you’ll continue on and reach your ultimate goal which was to lose the weight, even if it took a longer amount of time. To fall short of your goal and stop before finishing the journey is to be unsuccessful. Don’t stop, don’t give up and you’ll always succeed.

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

Family and friends die from alcohol, drug abuse and suicide.

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

Inner peace.

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

Feeling. Whether you’re creating it or taking it in, it’s about how it makes you feel. The artist, the viewer, the listener, the reader, all of it, all of them, everyone.

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

NON-musical in the immediate future would have to be my daughter and the youngest of my three, graduating high school in June and beginning her college stem classes this summer. She’s had more than her fair share of struggles and obstacles in her life leading up to this point and I couldn’t be more proud or grateful for the beautiful and incredible person she is.



Conclave, Dawn of Days (2021)

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Mother Iron Horse Sign to Ripple Music; Under the Blood Moon out Later This Year

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

If you’re not from Massachusetts or you’ve never lived there, you probably don’t know the difference between the North Shore and the South Shore. Well. As somebody who lived on the South Shore for nearly seven years, let me tell you, there’s a difference. You go north of Boston, it’s pretty nice up there. Salem — where Mother Iron Horse are from — is a cool town, and there’s some old-money-style New Englandy stuff to look at. South Shore? Yeah, it’s pretty much just whatever’s off the highway en route to Cape Cod.

So hey, congrats to North Shore denizens Mother Iron Horse on getting picked up for Blasko‘s curated series through Ripple Music. I saw this band one time, and they were pretty cool. Their first record came out through Electric Valley in 2019, and they’ll have their second, Under the Blood Moon out sometime later in 2021.

They join a swath of recent Ripple signees and keep the company of Holy Death Trio, Hail the Void and The Crooked Whispers in Blasko’s curated series. Dude would seem to have a particular affection for three-word bands. Either way, can’t argue with any of the picks at this point.

From the PR wire:

mother iron horse ripple

Salem occult sludge merchants MOTHER IRON HORSE sign to Ripple Music as part of special series curated by Blasko; watch “Old Man Satan” video now!

Ripple Music announces the signing of Salem, Massachusetts sleazy sludge rock cultists MOTHER IRON HORSE, for the release of their sophomore album “Under The Blood Moon” later this year. This comes as the fourth signing as part of Blasko’s special series on the Californian powerhouse.

Says the band: “Joining the Ripple family with some of the genres top artists is something we’re still wrapping our heads around! Working with Blasko and Ripple on our sophomore record has been an absolute honor and it’s pushed us to create our best work yet. We’re humbled and truly thankful for this opportunity. We look forward to hitting the road in both the US and abroad to celebrate this new partnership. With Blasko and Ripple backing us up, we truly feel unstoppable! Cheers!”

With a sound steeped in occult debauchery and esoteric rituals, MOTHER IRON HORSE stands out from the stoner rock pack by adding some sleazy grit and tongue-in-cheek blasphemy into the mix and adding a corrosive sludge punk twist that makes it all sound incredibly rousing and addictive. With years worth of touring canceled due to the pandemic, MOTHER IRON HORSE set out to create a fun video for their new single “Old Man Satan”, which will appear on their sophomore album and Ripple Music debut “Under The Blood Moon”.

MOTHER IRON HORSE was formed in 2018 by North Shore natives Adam Luca, Marco Medina, and Chris Kobialka. Shortly after forming, they found an old mill and began building their own recording studio, leading to the release of a 2-song demo on Halloween of 2018 (Hellmouth Records). Shortly afterward, the band was approached by Italy-based label Electric Valley Records, who released their debut album ‘The Lesser Key’ worldwide on May 17th, 2019. In support of the album, the band left for their first tour alongside Dutchguts up and down the American East Coast and throughout the Southern states in June 2019. After a summer of festivals and weekend shows, they hit the road again in September- with longtime friends and fellow Massachusetts natives Leather Lung. They played regionally throughout the rest of the year and appeared on the Boston-based TV show Heavy Leather Topless Dance Party.

2020 was shaping up to be their biggest year yet with a national tour booked around their appearance at Psycho SmokeOut in Los Angeles, followed by another summer of festivals leading up to a European tour in the fall. Unfortunately, the pandemic hit. Not one to waste time, MOTHER IRON HORSE began writing their second album ‘Under The Blood Moon’. The album’s debut single and video for “Old Man Satan” made an impression within the underground heavy scene and caught the attention of Blasko, who signed the band to Ripple Music for a 2021 release as part of his own curated series on the label.


Mother Iron Horse, “Old Man Satan” official video

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