Quarterly Review: Fuzz, Crippled Black Phoenix, Bethmoora, Khan, The Acid Guide Service, Vexing Hex, KVLL, Mugstar, Wolftooth, Starmonger

Posted in Reviews on December 23rd, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Day III of the Inexplicably Roman Numeralized Winter 2020 Quarterly Review, commence! I may never go back to actual numbers, you should know. There’s something very validating about doing Day I, Day II, Day III — and tomorrow I get to add a V for Day IV! Stoked on that, let me tell you.

You have to make your own entertainment these days, lest your brain melt like wax and drip from your nostrils.

Plurp.

Quarterly Review #21-30:

Fuzz, III

fuzz iii

Plenty of heavy rockers can come across sounding fresh. Most of the time all it takes is being young. In the case of Our Essay writing services UK at TrueEssayHelp is incredibly out class and if you need best see page then this should be your only choice. III, the third long-player from Professional Buy Book Reportss. We write articles from scratch. Plagiarism- free guarantee. Money back guarantee. Any deadline and any topic - we've Fuzz Management Of Change Faslane. De nieuwe voegmortel 333 UR+ van Weber Beamix is een polymeer gemodificeerde voegmortel. De uitgebalanceerde samenstelling van deze Charles Moothart, CustomThesis.org offers Best Thesis Writing Services & Best Best Dissertation Writers Kcl Services UK at affordable price. We provide professional Ty Segall and After You Tell Us, "Please Order Resume Online Swiss Chalet for Me" Our Experts will Ensure Your Happiness with Top-Quality Work. Our professional team consists of Chad Ubovich — they sound like they just invented it. Dig the hard- I want to pay someone to do my homework, homework help. Link for someone to do http://www.doubs.travel/email/?help-on-college-homework economics. Make your dreams become a. Bowie of “Time Collapse” or the made-for-the-stage opener “Returning,” or the surf-cacophony of “Mirror.” Or hell, any of it. The combination of this band and producer can you write my essay. Mba Admission Essay Services Motivation. website for essays. thesis write for me. Category : Other Hardware Snapshots Tags : Steve Albini — aka the guy you go to when you want your album to sound like your live show — is correct. That’s all you can say about it. From the ’70s snarl in “Nothing People” to the triumphant melody in the second half of “Blind to Vines” and the back and forth between gritty roll and fragile prog of “End Returning,” it’s an energy that simply won’t be denied. If Topics For Business Research Paper - Get started with dissertation writing and compose the best term paper ever forget about your worries, place your task here and receive Fuzz wanted to go ahead and do three or four more albums with How To Write A Personal Biography Essay Posts. Top Course Work Services In Ireland. Get link; Facebook; Twitter; Pinterest; Email; Other Apps; February 16, 2018 The writers at our top Literature paper writing service have mastered nearly all types of skills that are needed to write an excellent literature paper. You can contact them for any grade level whether you are in college, university or even high school Albini at the helm in the next five years, that’d be just fine.

In the Red Records on Thee Facebooks

In the Red Records on Bandcamp

 

Crippled Black Phoenix, Ellengæst

crippled black phoenix ellengaest

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Crippled Black Phoenix on Thee Facebooks

Season of Mist website

 

Bethmoora, Thresholds

Bethmoora Thresholds

Copenhagen’s Bethmoora served notice in a 2016 split with Dorre (review here) and their debut full-length, Thresholds hone destructive lumber across four low-toned tracks that begin with “And for Eternity They Will Devour His Flesh” and only get nastier from there. One imagines being in a room with this kind of rumbling, maddeningly repetitive, slow-motion-violence noise wash and being put into a flight-or-fight panic by it, deer in doomed headlights, and all that, but even on record, Bethmoora manage to cull, and when their songs explode in tempo, as the opener does late in its run, or “Painted Man” does, that spirit is maintained. Each side of the LP is two tracks, and all four are beastly, pile-driver-to-the-core-of-the-earth heavy. “Keeper”‘s wash of noise has willful-turnoff appeal all its own, but the empty space in the middle of “Lamentation” is where they go in for ultimate consumption. And yeah. Yeah.

Bethmoora on Thee Facebooks

Sludgelord Records on Bandcamp

 

Khan, Monsoons

khan monsoons

Khan‘s second album, Monsoons is a departure in form from 2018’s Vale, if not necessarily in substance. Heavy, psychedelic-infused post-rock is the order of business for the Melbourne trio either way, but as guitarist Josh Bills gives up playing synth and doing vocals to embark on an instrumental approach with bassist Mitchell Kerr (also KVLL) and drummer Beau Heffernan on this four-track/31-minute offering, the spirit is inescapably different. Probably easier to play live, if that’s a thing that might happen. Monsoons still has the benefit, however, of learning from the debut in terms of the dynamic among the three players, and Bills‘ guitar reaches for atmospheric float in “Orb” and attains it easily, as the midsection rhythm of the closing title-track nods at My Sleeping Karma and the back end of the prior “Harbinger” manages to shine and not sound like Earthless in the process, and quite simply, Khan make it work. The vocals/synth might be worth missing — and they may or may not be back — but to ignore the breadth Khan harness in little over half an hour would be a mistake.

Khan on Thee Facebooks

Khan on Bandcamp

 

The Acid Guide Service, Denim Vipers

the acid guide service denim vipers

Jammy, psychedelic in parts, Sabbathian in “Peavey Marshall (and the Legendary Acoustic Sunn Band)” and good fun from the doomly rollout of 11-minute opener and longest cut (immediate points) “In the Cemetery” onward, the second full-length from Idaho’s The Acid Guide Service, Denim Vipers, brings considerable rumble and nod, but these guys don’t want to hurt nobody. They’ve come here to chew bubblegum and follow the riff, and they’re all out of bubblegum. Comprised on average of longer songs than 2017’s debut, Vol. 11 (review here), the four-tracker gives the trio room to branch out their sound a bit, highlighting the bass in the long middle stretch of the title-track while the subsequent “Electro-Galactic Discharge” puts its guitar solo front and center before sludge-rocking into oblivion, letting “Peavey Marshall (and the Legendary Acoustic Sunn Band)” pick up from there, which is as fine a place as any to begin a gallop to the end. Genre-based shenanigans ensue. One would hope for no less.

The Acid Guide Service on Thee Facebooks

The Acid Guide Service on Bandcamp

 

Vexing Hex, Haunt

vexing hex haunt

Based in Illinois, Vexing Hex make their debut on Wise Blood Records with Haunt, and yes, playing catchy, semi-doomed, organ-laced cult rock with creative and melodic vocal arrangements, you’re going to inevitably run into some Ghost comparisons. The newcomer three-piece are distinguished by a harder edge to their impact, a theremin on “Planet Horror” and a rawer production sensibility, and that serves them well in “Build Your Wall” and the buildup of “Living Room,” both of which play off the fun-with-dogma mood cast by “Revenant” following the intro “Hymn” at the outset of Haunt. Not quite as progressive as, say, Old Man Wizard, there’s nonetheless some melodic similarity happening as bell sounds ensue on “Rise From Your Grave,” the title of which which may or may not be purposefully cribbed from the Sega Genesis classic Altered Beast. There’s a big part of me that hopes it is, and if Vexing Hex are writing songs about retro videogames, they sound ready to embark on a Castlevania concept album.

Vexing Hex on Thee Facebooks

Wise Blood Records on Bandcamp

 

KVLL, Death//Sacrifice

kvll death sacrifice

Proffering grueling deathsludge as though it were going out of style — it isn’t — the Melbourne duo KVLL is comprised of bassist/vocalist/guitarist Mitchell Kerr (also Khan) and drummer Braydon Becher. It’s not without ambient stretches, as the centerpiece “Sacrifice” shows, but the primary impression KVLL‘s debut album, Death//Sacrifice makes is in the extremity of crash and heavy landing of “The Death of All That is Crushing” and “Slow Death,” such that by the time “Sacrifice” ‘mellows out,’ as it were, the listener is punchdrunk from what’s taken place on the prior two and a half songs. There’s little doubt that’s precisely KVLL‘s intention here, as the cavernous screams, mega-lurch and tense undercurrent are more than ably wielded. If “Sacrifice” is the moment at which Death//Sacrifice swaps out one theme for another, the subsequent “Blood to the Altar” and nine-minute closer “Beneath the Throne” hammer the point home, the latter with an abrasive noise-caked finale worthy of standard-bearers Primitive Man.

KVLL on Thee Facebooks

KVLL on Bandcamp

 

Mugstar, GRAFT

mugstar graft

Not that the initial droning wash of “Deep is the Air” or the off-blasted “Zeta Potential” and warp-drive freneticism in “Cato” don’t have their appeal — oh, they do — but when it comes to UK lords-o’-space Mugstar‘s latest holodeck-worthy full-length, GRAFT, it’s the mellow drift-jazz of the 12-minute “Ghost of a Ghost” that feels most like matter dematerialization to me. Side B’s “Low, Slow Horizon” answers back later on ahead of the motorik linear build in the finale “Star Cage,” but the 12-minute vibe-fest that is “Ghost of a Ghost” gives GRAFT a vastness to match its thrust, which becomes essential to the space-borne feel. It’s 41 minutes, still ripe for an LP, but the kind of album that has a genuine affect on mood and mindset, breaking down on a molecular level both and remolding them into something hopefully more evolved on some level through cosmic meditation. Fast or slow, up or down, in or out, it doesn’t ultimately matter. Nothing does. But there’s a moment in GRAFT where the one-skin-on-another thing becomes apparent and all the masks drop away. What’s left after that?

Mugstar on Thee Facebooks

Centripetal Force Records website

Cardinal Fuzz Records BigCartel store

 

Wolftooth, Valhalla

Wolftooth Valhalla

Hooks abound in power-stoner fashion throughout Indiana four-piece Wolftooth‘s second album, Valhalla, which roughs up NWOBHM clarity in early-Ozzy fashion without going overboard to one side or the other, riffs winding and rhythms charging in a way not entirely unlike some of Freedom Hawk‘s more recent fare, but with a melodic reach of its own and a dynamism of purpose that comes through in the songwriting. Grand Magus‘ metallic traditionalism might be an influence on a song like “Fear for Eternity,” but “Crying of the Wolfs” has a more rocking swagger, and likewise post-intro opener “Possession.” With tightly constructed songs in the four-to-five-minute range, Valhalla never feels stretched out more than it wants to, but “Molon Labe” pushes the vocals deeper into the mix for a bigger, more atmospheric sound, and subtle shifts like that become effective in distinguishing the songs and making them all the more memorable. Recently signed to Napalm after working with Ripple, Ice Fall, Cursed Tongue and Blackseed, they seem to be poised to pay off the potential here and in their 2018 self-titled debut (review here). So be it.

Wolftooth on Thee Facebooks

Ripple Music on Bandcamp

Cursed Tongue Records BigCartel store

Ice Fall Records BigCartel store

 

Starmonger, Revelations

starmonger revelations

Parisian riff-blaster trio Starmonger have been piecemealing tracks out for the last five years as a series of EPs titled Revelation, and the full-length debut, Revelations, brings these nine songs together for a 49-minute long-player that even in re-recorded versions of the earliest cuts like “Tell Me” and “Wanderer” show how far the band has come. It’s telling that those two close the record out while “Rise of the Fishlords” and “Léthé” from 2019’s Revelation IV open sides A and B, respectively, but older or newer, the band end up with a swath of stylistic ground covered from the more straightforward and uptempo kick of the elder tracks to the more progressive take of the newer, with plenty of ground in between. Uniting the various sides are strong performances and strong choruses, the latter of which would seem to be the thread that draws everything together. Whether or not it takes Starmonger half a decade to put out their next LP, one can hardly call their time misspent while listening to Revelations.

Starmonger on Thee Facebooks

Starmonger on Bandcamp

 

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Honeybone to Release Spheres LP Nov. 27

Posted in Whathaveyou on November 23rd, 2020 by JJ Koczan

I may be 60 years old by the time I get there, but some day I will go to Australia. When I do, I’ll be sure to keep an eye out for whatever in the water it might be in the ecosystem that has currently caused so much quality and so much varied quantity of heavy to come from the country and Melbourne in particular. Could it be an interaction somehow between the Outback and the Coral Reef? If so, yet another reason to protect these threatened areas.

While I put the finishing touches on my research grant application, I humbly submit the following ellpee by Honeybone. Titled Spheres, it’s being released by Kozmik Artifactz and is a gem. What more do you need to know?

Dig:

honeybone spheres

Oz-Based Psych-Rockers, Honeybone, Release Brand New Album “Spheres” On Kozmik Artifactz This November 27th.

We couldn’t be more excited to welcome Oz psych-rockers, Honeybone, to the Kozmik fold. Honeybone are a three-piece psychedelic/garage rock band based in Melbourne, Australia, and hail from the city of Dunedin, in the deep south of New Zealand. Featuring drummer and vocalist Rachel Trainor, guitarist/vocalist Drew Handcock, and bass player Peter Jermakoff.

Honeybone has previously released one full-length album and two EPs since their formation in 2009, which caught the eye, or ears, of renowned Berlin based record label, Kozmik Artifactz. Having gigged and toured with the likes of Beastwars, Wo-Fat, The Datsuns, Dragon, and Luger Boa, the band have gradually built up a strong fanbase across Australia & New Zealand. Now with a Kozmik release imminent, they have set their sights on breaking through into European territory.

Spheres will be released on limited edition heavyweight vinyl on the 27th November on Kozmik Artifactz.

VINYL FACTZ
– Plated & pressed on high performance vinyl at Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Artificial Tears
2. Bruises
3. Sands
4. Metathesiophobia
5. Stratosphere
6. Thread the Needle
7. Bones
8. Mist

Honeybone is:
Vocals, Drums & Percussion: Rachel Trainor
Bass Guitar: Peter Jermakoff
Vocals, Guitar, Keys/Synth: Drew Handcock

https://www.facebook.com/honeybonemusic
https://honeybone.bandcamp.com/
http://www.honeybonemusic.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Honeybone, Spheres (2020)

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Oceanlord Premiere “Come Home” Video from Debut Demo

Posted in Bootleg Theater on September 2nd, 2020 by JJ Koczan

oceanlord

Melbourne, Australia’s Oceanlord posted their first demo — titled simply Demo — on June 26. Generally speaking, I’m not one for bands calling their initial short releases anything else, but if Oceanlord had gone the “debut EP” route instead, I don’t think I’d have been able to hold it against them. Certainly I’ve come across such “debut EPs” — demos by any other name — that are less coherent in style, less purposefully adventurous, patient in their craft and less aesthetically bold. Comprising just two songs — “Come Home” (7:41) and “Isle of the Dead” (7:56) — the offering takes aspects of emotive doom, heavy post-rock, and sludge in “Come Home” and, in the case of “Isle of the Dead,” latter-day Enslaved-style progressive black metal riffing. All of this is turned into an obscure and immediately individualized approach to craft. Each track showcasing a different look as they do, guitarist/vocalist Peter Willmott, bassist Jason Ker and drummer Jon May seem to have come into their demo with a clear idea of who they want to be as a band and, as their debut full-length is reportedly already in the works, the potential they show here only gives the impression that they’re ready to take on such a task.

“Come Home” is the more emotionally-focused of Demo‘s two inclusions, and the band would seem to have chosen to highlight it with the oceanlord demovideo premiering below in part for that reason. Sound-wise, the track starts off quiet and runs for about a minute before the echoing vocals enter with a longing echo that recalls Patrick Walker and Warning, and the strumming guitar and concurrent melodic hum (mellotron? keys?) add to the sense of space as the song unfolds and builds, a steady march of snare punctuating its motion. That snare sound, at least on my crap-tastic speakers, has a bit of bite to it in its place in the mix that might warrant keeping an eye on as they move into their album, but the crash and riffing that surrounds it is immersive in its flow such that it becomes almost like a matter of timekeeping for oars striking water. As “Come Home” progresses into its final movement, it does so with not only that continued rhythmic foundation, but with some additional swirl in Willmott‘s guitar and an increasingly hypnotic groove to coincide with the resonance on display lyrically and in the earlier vocal performance.

This? This right here? These guys are onto something.

Obviously I don’t know what the future is going to bring on any level, let alone what a band from the other side of the planet is going to sound like on their first record, but there are few things more exciting than a group who come together knowing what they want to do sound-wise and setting about doing it. Demo bleeds purpose. I look forward to the album hopefully soon to follow.

Enjoy the video premiere. Quote from the band and more info follow:

Oceanlord, “Come Home” official video premiere

Oceanlord on “Come Home”:

“Come Home” is about losing who we love, and the regret that haunts us. We launched Oceanlord in January, played some cool shows, recorded our demo in February, felt like things were really taking off, planned a launch gig in March, you can guess how that went! We were gutted, and we could see so many bands online hurting, losing hope. Weeks dragged on and “Come Home” spoke to me, I wasn’t ready to walk away and regret. Jon (drums) had a contact at an amazing space, so we came up with this story for the song, a macabre short horror. We worked out how to make it safe, and comply with the city-wide lockdown, we had a whole crew ready to go. Then a few weeks out the film crew bailed. We found some really talented people who liked the project, came on board at the last minute, and we filmed it in one massive day — everyone brought this creative energy and the darkness we wove was electric. We’re really proud of how it has come together. This is a video about enduring, surviving the horror.

Ghoul Bride: Kerryx
Produced by: Peter Willmott
Director: Brigid Morgan
Cinematographer: Samuel Young
Key Grip / Set Design: Miriam Grey
Assistant: Jessie Ribchester
Location: The Establishment Studios Fitzroy

Engineer, Mix, and Mastering: Lewcifer

Oceanlord are an Australian stoner rock trio formed in 2019 with a desire to take on the continent with a storm of riffs. Fusing the sounds of bands from Windhand to All Them Witches by way of Portishead and The Sword they just started to make waves in the Melbourne underground before the coronavirus shutdowns. Now, they’ve released a two track demo highlighting their progressive mix of doom with psychedelic sounds that they have dubbed ‘Stoner Gloom Rock’. Oceanlord have now started work on their debut full length, seeking to satisfy their love of all things heavy, dark, transcendent, and slow. Once more they are distilling the magic of the ‘Stoner Gloom’ sound.

Oceanlord is:
Jason Ker – Bass
Jon May – Drums
Peter Willmott – Guitar/Vox

Oceanlord, Demo (2020)

Oceanlord on Thee Facebooks

Oceanlord on Instagram

Oceanlord on Bandcamp

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Light Pillars Premiere Self-Titled Debut out Sept. 4 on Sound Effect Records

Posted in audiObelisk, Whathaveyou on July 31st, 2020 by JJ Koczan

If you’ve ever been in a band and had a moderately friendly conversation with someone else in a similar band, you’ve probably somewhere along the line heard the phrase “we should jam” used once or twice. Rarely does jamming result and even more rarely does it go any further than that. Melbourne two-piece Light Pillars — whose origins would seem to be based in similar proceedings — have beat the odds and will release their self-titled debut on Sept. 4 through respected Greek purveyor Sound Effect Records (sign up for their newsletter; doesn’t matter where you live). The outfit features Toby Wrecker (né Matthews) of Hotel Wrecking City Traders and Andrew Pana (né Panagopoulos) of Comacozer, and each offers a distinctive presence from within the increasingly populated sphere of Australian heavy psychedelia.

One might also think there’s nothing but self-indulgent chaos to come out of such an affair, but it actually seems like Wrecker and Pana meshed well in the studio, and had a fitting sense of where they were headed in their jams. They made the record in two days. Two days. And one was writing. How can you possibly mess with that? I can’t.

Here’s the announcement. Preorders are up today:

light pillars self titled

Light Pillars – Light Pillars – Sept. 4 2020

Australian noisy psych project LIGHT PILLARS consisting of Toby – Guitars (Hotel Wrecking City Traders) and Andrew – Drums (Comacozer) came together in June 2019 at Cellar Sessions Studios in Melbourne for an improved jam session. Both bands having played together previously and after some ideas and banter being thrown around the two decided to finally get together and see what the cosmos can produce and this release debut self-titled release resulting in 4 tracks of noisy dark heavy instrumental psych rock. Recorded in one session with Max behind the recording desk and mastered by Kent Stump (Crystal Clear Sound Studios, Dallas, Texas USA) and amazing artwork by Dora Wednesday, this is one journey taking diverse release.

Day 1: Go into a room and throw around some ideas. Day 2: Enter a studio and record. This is Light Pillars.

Album will be up on Sound Effect Records for Pre-Sale on Friday 31st July. www.soundeffect-records.gr

Street Date for release is 4th September 2020.

Light Pillars are:
Andrew Pana (Comacozer) – Drums
Toby Wrecker (Hotel Wrecking City Traders, GOUTS) – Guitars and Bass

www.facebook.com/LightPillars
www.instagram.com/lightpillarspsych
www.lightpillars.bandcamp.com
http://www.motljud.com/
https://www.facebook.com/SoundEffectRecords/
https://www.soundeffect-records.gr/

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Copper Feast Records Announces Hidden Noise Wildfire Benefit Compilation out Friday

Posted in Whathaveyou on March 25th, 2020 by JJ Koczan

In case you’ve forgotten how the world works, reality isn’t polite enough to wait for one global crisis to end before the next one begins, and though the media cycle spotlight worldwide may have moved on to brighter, shinier travesties, the fallout from Australia’s wildfires earlier this year is still being felt and will be for many years to come. Ecosystem damage like that doesn’t disappear in a day. Particularly when humans are involved. We suck at that stuff. Good destroyers, bad rebuilders.

Anyhoo, there are those who do what they can, and among them stand organizations like WIRES and the Australian Red Cross, who are the beneficiaries of Copper Feast Records‘ new compilation out March 27, titled Hidden Noise. Australia’s one-of-a-kind environment and wildlife can’t be replaced, or cloned by futures usses, and the planet needs that ecosystem and those animals now. And not to mention the cost to humanity too in lost homes, livelihoods and lives. If a comp with killer tracks by killer bands gets any dollars — Australian or otherwise — to those causes, then that’s only a good thing.

So here’s the info:

various artists hidden noise

Copper Feast Records – ‘Hidden Noise’ Charity Compilation

The world is on fire. Australia is on fire. Things will not get better until things change.

In late 2019 and early 2020, Australia was ravaged by bushfires which have destroyed vast expanses of its unique natural environment, pushing some species to the verge of extinction and causing the loss of many lives, livelihoods and homes. As our way of giving back, 100% of the profits from ‘Hidden Noise’ will be going to charity.

50% will be going to WIRES (www.wires.org.au)
50% will be going to The Australian Red Cross (www.redcross.org.au)

‘Hidden Noise’, a compilation from Copper Feast Records, showcases unreleased tracks from some of the best ‘hidden’ psych rock and stoner rock bands that Australia has to offer. In addition, a small number of previously released tracks from even more amazing bands completes the compilation.

Some of the artists that have contributed brand new songs include Planet of the 8s, Turtle Skull and The Black Heart Death Cult. We also have new mixes of existing tracks from the likes of Sleeping Giant and Narla.

The compilation title ‘Hidden Noise’ takes on a variety of different meanings in relation to this project. These are all Australian bands that are massively deserving of a greater following than they currently receive. Their music may be somewhat hidden for now, but I urge you to explore them all further. Albums, singles and even demos can be found on each band’s own Bandcamp page with links provided below.

‘Hidden Noise’ also references how at-risk persons and families have found their voice lost when requiring assistance before and after the bushfire crisis affecting the country. This is in addition to the vast number of wildlife voices that go unheard at this time as humans exploit their habitats causing their destruction.

Last but not least, the compilation title is in reference to the media obstruction and government inaction all over the world regarding climate change and the crisis affecting not only Australia, but every country in the world as a result of this.

We need change. Please enjoy the music and be a part of it.

narlamusic.bandcamp.com
theroyalartillery.bandcamp.com
planetofthe8s.bandcamp.com
turtleskullmusic.bandcamp.com
sonsofzoku.bandcamp.com
theblackheartdeathcult.bandcamp.com
cosmosmelbourne.bandcamp.com
numidia.bandcamp.com/releases
motemelbourne.bandcamp.com
theivoryelephant.bandcamp.com
footmelb.bandcamp.com
droiddoom.bandcamp.com
paulholden.bandcamp.com
sleepinggiantband.bandcamp.com

Thank you to all the artists above for their contribution and support to this project. Thank you to Carl Saff for ensuring such a broad-ranging sound compiled into one record sounds cohesive. Thank you to you, the listener, for your support.

https://copperfeastrecords.bigcartel.com/
https://www.facebook.com/CopperFeastRecords/
https://copperfeastrecords.bandcamp.com/

Foot, The Balance of Nature Shifted (2020)

Sleeping Giant, Sleeping Giant (2019)

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Child Post New Single “Free & Humble”; Announce Soul Merda LP

Posted in Whathaveyou on February 26th, 2020 by JJ Koczan

child

Lest one be accused of burying the lede, heavy blues rockers Child are doing dates in their native Australia this week with UK garage-doom forerunners Uncle Acid and the Deadbeats. That’s a damn good show, but it’s not a show I’ll be fortunate enough to see, so you’ll pardon me if my self-involved self is more taken with the release of the new single “Free and Humble” from the Melbourne-based trio and the accompanying word of a third long-player, Soul Merda, of which it’s serving as a first four-minute taste. Sign me right up, and if you don’t know why immediately, just listen to the track.

Child haven’t brought out anything but classic-groove right-on-ness since their 2013 self-titled (discussed here), and if you caught wind of that LP, its 2016 follow-up, Blueside (review here), or their 2018’s I EP (review here), you already know that fact well. I’ll assume you have, and therefore turn you over as quickly as possible to the info and the new song, with the thought that, if you saw the headline that said “new Child track,” you’re probably not reading this shit anyway. And fair enough.

So here you go:

child free and humble

CHILD – Free & Humble

The wait is over! Australia’s premier heavy blues act CHILD have surprised us with the first single titled “Free and Humble” from their much anticipated third LP “Soul Merda”. The band have been on a short break since September 2019 and have announced that this album “will be the last from the CHILD you know”. It is not known whether this means the band is expanding, changing direction creatively or returning to the mothership. We do know that this is the beginning of an exciting new path for the band and listeners alike. Remember to stay “Free and Humble.”

Recorded to 2 inch tape by Nao Anzai at Head Gap Studios, Preston Victoria
Mixed and Mastered by Nao Anzai at Rolling Stock Studios, Collingwood Victoria.

“Ball and Chain” artwork by Les Elefant

CHILD Live with UNCLE ACID AND THE DEADBEATS:
Feb. 28 The Brightside Brisbane
Mar. 01 Factory Theatre Sydney
Mar. 03 Max Watts Melbourne
Mar. 04 The Gov Adelaide

CHILD is:
Mathias Northway – Vocals/Guitar
Michael Lowe – Drums/Percussion
Danny Smith – Bass Guitar

https://www.facebook.com/childtheband
https://www.instagram.com/childtheband/
http://www.childtheband.com
https://childtheband.bandcamp.com
https://www.youtube.com/childtheband
http://kozmik-artifactz.com/artist/child/

Child, “Free and Humble”

Child, I EP (2018)

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Foot Premiere “Green Embers” from The Balance of Nature Shifted out May 1

Posted in audiObelisk, Reviews on February 24th, 2020 by JJ Koczan

foot

Foot release their third album, The Balance of Nature Shifted, on May 1 through Copper Feast Records. The follow-up to the Melbourne-based progressive heavy rocking four-piece’s 2018 LP, Buffalo, it comprises a nine-track and 46-minute run conjured seemingly at the songwriting behest of guitarist/frontman Paul Holden, whose resonant vocal harmonies are an essential characteristic of the band’s approach that have never sounded so full or lush as they do here. Whether it is in the pastoralism of later “Manic Progression” or the full-on riff-fueled push of “Despair on Hope Street” and “E-Sports” at the outset, it’s an Alice in Chains comparison well earned as Holden singly brings together both sides of the Staley/Cantrell dynamic that once set an entire generation of rockers singing from the bottom of their mouth, while somehow retaining an identity of his own throughout.

The wall of fuzz surrounding his voice, from his own guitar as well as that of Dave Pemberton and the thickened tonality of bassist Shaun Stolk, is satisfyingly rich and remains so across The Balance of Nature Shifted, but with drummer Jack Eddie punctuating their undulations and the next chorus never too far off, the listener doesn’t at all get lost in the wash. Foot find a rare balance between aesthetic and craft so as to build on the identity they began to forge on their 2016 self-titled and hold to a largely similar purpose while realizing their form to a new degree of effectiveness and scope. Even the high-low guitar chug interplay on “Break the Altar (Light Shade)” and the solo that caps the three-and-a-half-minute “Ride it Out” tie into this sense of who Foot are and the complexity of the sonic mission they’ve undertaken to best serve their own material.

foot the balance of nature shiftedThey succeed in that outright, and it’s difficult to imagine a form of The Balance of Nature Shifted that is more realized than that which the band present. As “Green Embers” shifts from its moody beginning into the sheer largesse of riff that takes hold, lurching in a way that seems to immediately contradict the first two tracks before it, there’s nonetheless a sense of continuity and unfolding that takes place on the LP as a whole, a flow that continues in “Ride it Out” and the (I-wish-)pop(-was-this)-tinged centerpiece “Investment,” as Foot find room for added dynamic in volume trades for what’s their longest cut at 6:28. The only other piece that touches six minutes is closer “High,” which sets its foundation in the blend of melogrunge and fuzzgaze — or was that melogaze and fuzzgrunge? — that has been at the core of the proceedings all along, but patiently digs in its heels and offers one final look at the world the band have created throughout, melodic and encompassing, but hardly serene or still.

Movement can be found underneath “High,” as in even the comparatively minimal “Neighbours,” and as there to some degree is across the entire span, but Foot provide a sure guiding hand — pun absolutely intended — and let the structures of their songs do the work they’re supposed to do in terms of carrying the audience from one end to the other, front to back. Vinyl release will be later in the year, but in linear, digital form, The Balance of Nature Shifted casts an immersive totality of an impression, its melodies and harmonic accomplishment working as a distinguishing factor that’s only bolstered by the thoughtful perspective and rhythmic push surrounding, and even as its title and cover art hint at nature rising to undo the various efforts (which isn’t to say horrors) wrought by humanity, it reminds that there is still beauty to be found in a world of seemingly endless violence and decay.

There is more than an edge of psychedelia to Foot‘s songwriting, but that doesn’t come at the expense of craft, and isn’t necessarily primary to the band’s purpose. Rather, it feeds into the atmosphere of the songs themselves even as it emerges from the attention to detail that’s given to tone, to the methodical execution of pace, and the vibrant melodicism showcased in Holden‘s echoing layers of voice. Thus it becomes another element of the progressiveness of their take overall, rather than simply exploration for its own sake — though of course nothing against that either, and certainly in listening to Buffalo and Foot, the band are nothing if not willful in their forward creative evolution. The Balance of Nature Shifted bears the fruit of that mindful engagement.

It’s my pleasure to host the premiere of “Green Embers.” Please find it on the player below, followed by some comment from Holden on the track and more release info from the PR wire.

And please enjoy:

Paul Holden on “Green Embers”:

In relation to the musical side of “Green Embers,” I think around that point I had been listening to a lot of My Sleeping Karma for inspiration on different sonic textures and in particular, the world music characteristics contained in their songs. I approached the intro of the song with these concepts in mind.

The remainder of the song is a pretty straightforward fuzz rock song. I recorded the heavy riff through an Earthquaker Devices Hoof V2 Fuzz Pedal straight into a Sovtek head. I have always dug the contrast of a heavy riff combined with a clean harmonised vocal sound. You don’t always have to go hard with your vocal even if the band are going hard.

Lyrically, I wrote the tune after reading about the findings of a royal commission into the misconduct of the four biggest banks in Australia. It confirmed what we pretty much already knew which is multinational banks are completely fucking corrupt. It’s that unbridled greed thing, which remains a pretty obvious message throughout the rest of the record too.

‘The Balance of Nature Shifted’ is the follow-up to Foot’s acclaimed second album ‘Buffalo’ and is due for release digitally May 1 2020 with a vinyl release slated for August.

Foot take their well-honed desert rock sound one step further on ‘The Balance of Nature Shifted’, with songs going harder than they ever have before on a Foot record. Fans that were on board for their self-titled debut and follow-up ‘Buffalo’ are sure to be satisfied while newer audiences will love this classic blend of Queens of the Stone Age meets Alice in Chains.’

NOTE: Copper Feast Records will be releasing The Balance of Nature Shifted as a double vinyl later in mid-2020, featuring vinyl exclusive bonus tracks and demos from the recording process.

Foot are:
Paul Holden (Vox, Guitar)
Dave Pemberton (Guitar)
Shaun Stolk (Bass)
Jack Eddie (Drums)

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Copper Feast Records BigCartel store

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Sleeping Giant Sign to Copper Feast Records

Posted in Whathaveyou on October 15th, 2019 by JJ Koczan

Always like good news, and a previously-independently-issued album getting picked up for a vinyl release is almost always that. Certainly so in the case of Aussie three-piece Sleeping Giant, who put out their self-titled full-length (review here) this summer have have been snagged by Copper Feast Records for an LP edition. Actually, to be more specific, a couple LP editions, as there will apparently be different regional variants. The label, founded last year with releases from HorsehunterSchool Disco, Pseudo Mind Hive and LowFlyingHawks under its belt, has also apparently relocated to Australia, so getting a band like Sleeping Giant on board may be a sign of a burgeoning regional focus. Certainly plenty of Oz heavy to go around. It’s like they grow on trees down there.

Preorders start at the end of the month for Sleeping Giant‘s Sleeping Giant, and I’m not sure when the release will actually be or what the band’s plans are for after, but in the interim, like I said at the outset, a vinyl version is good news for platterhounds of all stripes.

Of course, the record’s also streaming at the bottom of this post, because it’s the future and we can do that here:

sleeping giant

Copper Feast Records – Sleeping Giant

Sound the alarm…it’s announcement time!

I’m beyond excited to welcome the brilliant Sleeping Giant to the Copper Feast family. At the end of the month, we will be opening up pre-orders for the first and only vinyl pressings of the self-titled debut LP from these Melbourne/Bendigo based stoner metal riffheads.

‘Sleeping Giant’ will be our first release since my relocation to Australia, which means that this fantastic album will be available in both Australia and the UK/EU in two region exclusive variants (details to follow later).

Having been around for nearly 6 years now, formerly under the name Lowpoint, ‘Sleeping Giant’ is an absolutely, absolutely killer intro to the band and well worth the wait! Some of the most crushing moments in stoner rock this year alongside some gorgeously mellow soundscapes…Melbourne’s done it again.

Sleeping Giant is:
Steven Hammer – Guitars/Vocals
James Wright – Bass
Pali Emond-Glenn – Drums

https://www.facebook.com/sleepinggiantband/
https://www.instagram.com/sleepinggiantband/
https://sleepinggiantband.bandcamp.com/
https://copperfeastrecords.bigcartel.com/
https://www.facebook.com/CopperFeastRecords/

Sleeping Giant, Sleeping Giant (2019)

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