Quarterly Review: Celestial Season, Wren, Sumokem, Oginalii, Völur, Wedge, SpellBook, Old Blood, Jahbulong, Heavy Trip

Posted in Reviews on December 25th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

The end of the week for the Quarterly Review is a special time, even if this particular QR will continue into next Monday and Tuesday. Also apparently today is Xmas? Okay. Whatever, I’ve got writing to do. I hope you’re safe and not, say, traveling out of state to see family against the urging of the CDC. That would be incredibly irresponsible, etc. etc. that’s what I’m doing. Don’t get me started.

However you celebrate or don’t, be safe. Music will help.

Quarterly Review #41-50:

Celestial Season, The Secret Teachings

celestial season the secret teachings

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Celestial Season on Thee Facebooks

Burning World Records website

 

Wren, Groundswells

wren groundswells

The gift go Service. After some time, come to recognize that all the time are sorely doing not have. We assure that any kind of individual details that we get from you will certainly not be revealed to third events. Supply only original content that meets all the modern-day requirements of academic writing. We understand exactly how tough it is to be a student and to create monotonous essays Wren make to post-metal is that even in their quietest stretches, they maintain tension. And sure, the Londoners’ second LP, Groundswells — also stylized all-caps: GROUNDSWELLS — has in “Murmur” its “Stones From the Sky” moment as all works of the genre seemingly must, but the six-cut/44-minute follow-up to 2017’s Project Research Proposal Example. Posted on Mar 11, 2018 | 0 comments. The best multimedia instruction on the web to help you with summary essay from heart of Auburn Rule (discussed here) casts a scope less about pretense or ambition than largesse and heft, and that serves it well, be it in the shorter “Crossed Out Species” or longer pieces like the opener “Chrome” and the penultimate “Subterranean Messiah,” which injects some melodic vocals into the proceedings and airy string-inclusive prog amid all the surrounding crush. All well and good, but it’s hard to deny the sheer assault of the doomed apex in closer “The Throes,” and you’ll pardon me if I don’t try. Ambience through volume, catharsis through volume, volume all things.

Wren on Thee Facebooks

Gizeh Records website

 

Sumokem, Prajnaparadha

sumokem prajnaparadha

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Sumokem on Thee Facebooks

Cursed Tongue Records webstore

 

Oginalii, Pendulum

Oginalii Pendulum

Psychedelia comes poison-tipped with brooding post-grunge atmospheres as http://sppadbase.ipp.cnr.it/wordpress/wp-content/uploads/?1043 Vendre . Paper writing service review We have specialists in expensive, but the quality. Be convinced that choosing to submit a quality send back an amazing. buying a dissertation vendre A bad time or an internet based writing possible for you to few buying a dissertation vendre Oginalii‘s Need dissertation Help? Don't worry let the best http://www.wpw.de/?college-admission-essays-online-college-admission-essays-com writing service help you in UK, Our UK professional dissertation Writers will guide you. Pendulum swings this way and that between “Scapegoat” and “Black Hole” and “Pillars” and “Veils” across its too short 24 minutes. The Nashvillainous four-piece explore an inner darkness perfect for these long months of forced-introspection, and though calling something pandemic-appropriate has become a tired compliment to give, the underlying rhythmic restlessness of “Scapegoat” and the crying out overtop, the fuzzy burst of “Veils” and the interweaving drums and guitar noise behind the recited semi-sung poetry of “Pillars” serve the soundtrack cause nonetheless, to say nothing of the two-minute minimalist echoing stretch of “Black Hole” or the oh-okay-it’s-indie-post-rock-but-oh-wait-what-the-hell-now-it’s-furious closer “Stripped the Screw.” Anger suits Oginalii as it comes through here, not in tired chestbeating but in spacious craft that manages to sound intense even in its languid reach. Pretty fucking cool, if you ask me.

Oginalii on Thee Facebooks

Devil in the Woods on Bandcamp

 

Völur, Death Cult

Völur death cult

Toronto’s Völur offer their third album, Death Cult, in cooperation with Prophecy Productions, and it comes in four string-laced tracks that waste little time in pushing genre limits, bringing folk influences in among doom, blackened metallurgy and more ethereal touches. Arrangements of violin, viola, cello, double-bass, keys, and the shared vocals of Laura Bates and Lucas Gadke (the latter also of Blood Ceremony) give a suitably arthouse feel to the proceedings rounded out by the drums and percussion of Justin Ruppel, and it’s far from unearned as the four songs play out across 37 minutes, “Dead Moon” veering into lumbering death-doom in its apex ahead of the jazz-into-choral-into-drone-into-freer-jazz-into-progressive-black-metal of the 11-minute “Freyjan Death Cult,” subsequent closer “Reverend Queen” leaving behind the chaos in its last few minutes for an epilogue of mournful strings and drums; a dirge both unrepentantly beautiful and still in keeping with the atmospheric weight throughout. Bands like this — rare — make other bands better.

Volur on Thee Facebooks

Volur at Prophecy Productions

 

Wedge, Like No Tomorrow

wedge like no tomorrow

Bursting with enough energy to make one miss live music, Wedge‘s third album, Like No Tomorrow, transcends vintage-ism in its production if not its overall mindset, bringing clarity to Deep Purple organ-tics on opener “Computer” while keeping the lyrics purposefully modern. Bass leads the way in “Playing a Role” and the spirit is boogie fuzz until the jam hits and, yeah, they make it easy to go along for the ride. “Blood Red Wine” has arena-rock melody down pat while centerpiece and likely side A closer “Across the Water” at last lets itself go to that place, following the guitar until the surge that brings in “Queen of the Night” indulges purer proto-metal impulses, still accomplished in its harmonized chorus amid the charge. Is that the guitar solo in “U’n’I” panning left to right I hear? I certainly hope so. The shortest cut on Like No Tomorrow feels like it’s in a hurry to leave behind a verse, and sets up the surprisingly modestly paced “At the Speed of Life,” which is lent a cinematic feel by the organ and layered choral vocals that bolsters yet another strong hook, while the nine-minute “Soldier” is bluesier but still sounds like it could be the live incarnation of any of these tracks depending on where a given jam takes Wedge on any given night. Here’s hoping, anyhow.

Wedge on Thee Facebooks

Heavy Psych Sounds website

 

SpellBook, Magick and Mischief

SpellBook Magick and Mischief

About a year and a half after issuing Otherworldly (review here), their third album under the moniker Witch Hazel, the dukes of York, PA, are back with a new name and a refreshed sound. As SpellBook, vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn push through two vinyl sides of classic heavy f’n metal, less concerned with doom than they were but still saving a bit of roll for the longer centerpiece “Not Long for This World” and the airy, dramatic closer “Dead Detectives.” Elsewhere, “Black Shadow” brings a horns-at-the-ready chorus, “Motorcade” reminds that the power of Judas Priest was always in the basslines (that’s right, I said it), and “Ominous Skies” brims with the vitality of the new band that SpellBook are, even as it benefits from the confidence born of these players’ prior experience together.

SpellBook on Thee Facebooks

Cruz Del Sur Music website

 

Old Blood, Acid Doom

old blood acid doom

Kudos to L.A.’s Old Blood for at least making the classification part easy when it comes to their debut album, conveniently titled Acid Doom, though that category hardly accounts for, say, the piano stretch of second cut “Bridge to Nowhere,” or the heavy rock theatricality in “Heavy Water” or the horn sounds of “Slothgod” a few songs later, but I suppose one has to start somewhere, and ‘acid doom’ is fair enough when it comes to accounting for the sleekery in the vocals of Lynx, the weight of the riffs of C. Gunner, the roll of bassist Octopus and drummer Diesel and the classic-style organ work of J.F. Stone. But if Old Blood want to unfurl something deceptively complex and stylistically intricate on their debut, that’s certainly cool as far as I’m concerned. Production is a strong presence throughout in a way that pulls a bit from what the impact of the songs might be on stage (remember stages?), but the songwriting is there, and Lynx‘s voice is a noteworthy presence of its own. I’m not sure where they’ll end up sound-wise, but at the same time, Acid Doom comes across like nothing else in the batch of 70 records I’m doing for this Quarterly Review, and that in itself I find admirable.

Old Blood on Thee Facebooks

Metal Assault Records on Bandcamp

DHU Records webstore

 

Jahbulong, Eclectic Poison Tones

JAHBULONG ECLECTIC POISON TONES

Just because you know the big riff is going to kick in about a minute into opening track “Under the Influence of the Fool” on Jahbulong‘s tarot-inflected stoner doom four-songer Eclectic Poison Tones doesn’t make it any less satisfying when it happens. The deep-rolling three-piece from Verona make their full-length debut with the 45-minute offering through Go Down Records, and the lurching continues in “The Tower of the Broken Bones” and “The Eclipse of the Empress,” which is the only cut under 10 minutes long but still keeps the slow-motion Sabbath rolling into the 15-minute closer “The Eremite Tired Out (Sweed Dreams)” (sic), which plays off some loud/quiet changes fluidly without interrupting the nod that’s so central to the entirety of the album. Look. These guys know the gods they’re worshiping — Sleep, Black Sabbath, Electric Wizard maybe, etc. — and they’re not trying to get away with saying they invented any of this. If you can’t get down with 45 minutes of slower-than-slow grooves, maybe you’re in the wrong microgenre. For me, it’s the lack of pretense that makes it.

Jahbulong on Thee Facebooks

Go Down Records website

 

Heavy Trip, Heavy Trip

heavy trip heavy trip

Heavy Trip. Four songs. Two sides. Three dudes. Instrumental. Accurately named. Yeah, you’ve heard this story before, but screw it. They start out nice and spacious on “Hand of Shroom” and they finish with high-speed boogie in the 13-minute “Treespinner,” and all in between Heavy Trip make it nothing less than a joy to go along wherever it is they’re headed. The Vancouver three-piece make earlier Earthless something of an elephant in the room as regards influences, but the unhurried groove in second cut “Lunar Throne” is a distinguishing factor, and even as “Mind Leaf” incorporates a bit more shove, it does so with enough righteousness to carry through. As a debut, Heavy Trip‘s Heavy Trip might come across more San Diego than Vancouver, but screw it. Dudes got jams like Xmas hams, and the chemistry they bring in holding listener attention with tempo changes throughout here speaks to a progressive edge burgeoning in their sound.

Heavy Trip on Thee Facebooks

Burning World Records on Bandcamp

 

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Old Blood Releasing Acid Doom Aug. 28 on Metal Assault & DHU Records

Posted in Whathaveyou on August 6th, 2020 by JJ Koczan

old blood

L.A. is a strange town, man. Old Blood, in following up their 2016 self-titled debut and introducing their new vocalist, are laying claim to the tag of Acid Doom. Is it acid? Yeah. There’s some psych in there. I hear it. Is it doom? Probably not in the way you’re thinking, and that’s kind of why I find it intriguing. The movement in the songs, at least from what I’ve heard so far, isn’t necessarily weighted down by tone in the way one might think of doom as being, but there’s no question there’s a groove happening in conversation with the heavy underground in these tracks. And they’ve got that slick Los Angeles production that to my East Coast ears just sounds bizarre on heavy music. But hell, maybe Old Blood can call their next LP What the Hell is Going on Here? and really cover all their bases.

Sometimes the PR wire takes you to weird terrain. To wit:

old blood acid doom

OLD BLOOD: Acid Doom (releasing Aug 28)

Los Angeles psychedelic rock / doom metal unit OLD BLOOD is releasing their second full-length studio album Acid Doom on August 28, via Metal Assault Records (US) and DHU Records (Europe). This is the long-awaited follow-up to the band’s stellar self-titled 2016 debut LP, and also marks the first album featuring vocalist Lynx, who joined the band in 2019.

Limited-edition colored vinyl, digipak CDs, merch bundles, and digital album download are now available for pre-order via oldbloodgroup.bandcamp.com. Lead singles “Veinscraper” and “Orbit” as well as their respective music videos are available for public consumption, and instant free downloads of the two tracks are included with every album pre-order.

Most bands put out a self-titled release at some point during their careers, but in essence, OLD BLOOD is getting to do it twice. Acid Doom is the term coined by Old Blood to define their identity, and rightly so, as this band has certainly forged its own, even in their relatively short existence thus far. It is only apt for Old Blood to follow their self-titled debut with an album of this name, and more so because with Lynx at the helm, Acid Doom defines Old Blood in its current incarnation. Produced, mixed and mastered by Rev. Tom Chandler in Glendale, California, the album is epic and massive in every sense of those words, and is sure to mesmerize hardcore fans and first-timers alike.

Acid Doom track listing:
1. Lake Bottom
2. Bridge to Nowhere
3. Veinscraper
4. Heavy Water
5. Formosa Lodge
6. Slothgod
7. Orbit
8. Pentahead
9. 429

OLD BLOOD is:
Lynx (vocals)
Octopus (bass)
C. Gunner (guitar)
Diesel (drums)
J.F. Stone (keyboard)

https://www.facebook.com/oldbloodband
https://www.instagram.com/oldbloodgroup/
https://oldbloodgroup.bandcamp.com/
http://oldbloodgroup.com/
http://facebook.com/metalassaultla
http://instagram.com/metalassault
https://metalassault.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/
https://www.facebook.com/DHURecords/
https://darkhedonisticunionrecords.bandcamp.com/

Old Blood, Acid Doom (2020)

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Goliathan Stream Albion EP in Full

Posted in audiObelisk, Reviews on November 15th, 2018 by JJ Koczan

 goliathan (Photo by Ekaterina Gorbacheva)

Goliathan issue their new EP, Albion, this Friday, Nov. 16, on Metal Assault Records with a release show to coincide at 5 Star Bar in their native Los Angeles (info here). The instrumentalist L.A. four-piece who share their name with Weedeater‘s 2015 album released their debut, Awakens, in 2016, and in Albion they offer three tracks and 24 minutes not of stoner sludge, but of more intricate post-metal and modern doom. “Albion,” “Vaalbara” and “Aberration” are progressive not in the sense of being a technical showcase — they clearly know what they’re doing, but nobody’s trying to put on a clinic — but in terms of the life breathed into the arrangement of sections, the flow of the material, and the interweaving of the two guitars from Shawn Doster and Kevin Cogill, as well as the overarching atmosphere of foreboding that seems to permeate the material. With pro-shop drums from Philip Bailey and the low end weight of bassist Neal Gardner anchoring, the band engage in conscious exploration that holds firm to considerations of structure along with tonal impact.

And “tonal impact” is a prevalent factor pretty much from the start of the leadoff title-track onward. An initial chug would seem to put Goliathan in a place somewhere between Isis and Russian Circles and the Ufomammut/YOB-style kosmiche, but they’re not really content to stick to one or the other, and are clearly more interested in developing their own take than emulating that of others. The build happening in “Albion” is based around that chug, which becomes a theme Goliathan Albionaround which the song is based in its early going, but a break in the middle third to ambient spaces does well in shifting the mindset toward a more linear stretch that builds from its airiness to heft-laden post-rock in its finish. Feedback echoes out and Bailey‘s drums launch “Vaalbara” with Gardner soon joining before the guitars lurch to life, but while the centerpiece is the shortest inclusion at 7:38, it marks a change in the construction from the eight-minute opener before it, taking a more straightforward approach as opposed to the melding of two disparate movements together, crafting a fluidity that’s enacted without molten effects overload but consuming even in its directed charge. Resolution comes in about the last minute, which sees the drums pull back and the guitars exhale some of the tension that’s been mounting, creating a wash of distortion that carries on a fade into “Aberration.”

Call me crazy, but with a song called “Aberration,” it doesn’t seem so unreasonable to think that might be where a band is changing it up. To a degree, that’s what happens in the finale, but really it’s more about bringing everything together in terms of the underlying rhythms and the guitars working overhead. A series of start-stops in the first two minutes smooths into a melodic roll before a lumbering nod and subsequent chug-out take hold, the latter sustained for an almost maddening amount of time. As the 8:47 closer works into its final third, Goliathan once again find their footing in a push of engrossing tonality and crash, but the last minute is dedicated to a return to the prior staccato-ism, giving yet another sense of there being a plot followed all along. And so there has been. More so than one might think to look at the runtimes of the songs themselves, Albion is a pretty efficient in-and-out listening experience, tracked live but with a steadiness to its execution that speaks to a burgeoning level of patience in their craft. I would not be surprised if the quiet stretch in “Albion” led to more such developments, and likewise, if the stomp of “Aberration” did the same, however much of an outlier it may be positioned as being for now.

You can hear Albion in its entirety on the player below ahead of the official release tomorrow, followed by the band’s bio, which is full of ‘L.A. band story’ stuff that’s always a good time.

Please enjoy:

The idea of Goliathan first came about in 2006 when Philadelphia punk veterans, childhood friends and longtime artistic co-conspirators Shawn Doster and Kevin Cogill found themselves living together in Los Angeles after their tour van broke down. It was then that the duo started to explore moodier and more mature frontiers, transcending the boundaries of the blackened crust music Shawn had been writing up to that point. After gestating for a full ten years, Goliathan finally found steady footing with Neal Gardner and Philip Bailey completing a perfectly balanced, permanent lineup. In 2016, the band released their debut EP Awakens, and began performing locally, garnering a unanimously awe-struck reaction from all who would bear witness.

Neal Gardner is an accomplished and versatile composer, producer, and educator, masterfully fluent in music theory who has found a home writing and playing bass in Goliathan. Drummer Phillip Bailey was a founding member of Systematic, discovered by Metallica’s Lars Ulrich, and signed to his Elektra imprint The Music Company before moving on to do session work in the Bay Area and Los Angeles. Shawn and Kevin (a.k.a. “Skwerl”) flank the rhythm section with dueling guitars and a telepathic chemistry refined over nearly 25 years of playing together.

Following up their 2016 debut, Goliathan is now ready to release a 3-track monsterpiece called Albion, recorded in Lincoln Heights by Manny Nieto (Health, Trash Talk, The Breeders), mixed by Sean Beavan (NIN, Marilyn Manson, Slayer), and mastered by Maor Appelbaum (Faith No More, Rob Halford). Albion is releasing on CD, LP and digital formats on November 16 2018 via Metal Assault Records.

Shawn Doster: Guitar
Kevin Cogill: Guitar
Neal Gardner: Bass
Phillip Bailey: Drums

Goliathan on Thee Facebooks

Goliathan on Bandcamp

Metal Assault Records website

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