Quarterly Review: Maggot Heart, Catatonic Suns, Sacri Suoni, Nova Doll, Howl at the Sky, Fin del Mundo, Bloody Butterflies, Solar Sons, Mosara, Jupiter

Posted in Reviews on October 4th, 2023 by JJ Koczan

the obelisk winter quarterly review

Wednesday, huh? I took the dog for a walk this morning. We do that. I’ve been setting the alarm for five but getting up before — it’s still better than waking up at 4AM, which is a hard way to live unless you can go to bed at like 8 on the dot, which I can’t really anymore because kid’s bedtime, school, and so on — and taking Tilly for a walk around the block and up the big hill to start the day. Weather permitting, we do that walk three times a day and she does pretty well. This morning she didn’t want to leave the Greenie she’d been working on and so resisted at first, but got on board eventually.

In addition to physical movement being tied to emotional wellbeing — not something I’m always willing to admit applies to myself, but almost always true; I also get hangry or at least more easily overwhelmed when I’m hungry, which I always am because I have like seven eating disorders and am generally a wreck of a person — the dog doesn’t say much and it’s pretty early and dark out when we go, so I get a quiet moment out under the moon going around the block looking up at Venus, Jupiter, a few stars we can see through the suburban light pollution of the nearby thoroughfares. We go up part of the big hill, have done the full thing a couple times, but she’s only just three-plus months, so not yet really. But we’re working on it, and despite Silly Tilly’s fears otherwise, her treat was right where we left it on the rug when we got back. And she got to eat leaves, so, bonus.

There are minutes in your day. You can find them. You can do it. I’m not trying to be saccharine or to bullshit you. Life is short and most of it is really, really difficult, so take whatever solace you can get however you can get it. Let’s talk about records.

Quarterly Review #21-30:

Maggot Heart, Hunger

maggot heart hunger

This is Maggot Heart‘s third record and they’re still a surprise. It can be jarring sometimes to encounter something that edges so close to unique within the underground sphere, but the Berlin outfit founded/fronted by Linnéa Olsson (ex-The Oath, ex-Grave Pleasures, ex-Sonic Ritual) offer bleak and subversively feminine post-punk informed by black metal on Hunger, and as she, bassist Olivia Airey and drummer Uno Bruniusson (ex-In Solitude, etc.), unfurl eight tracks of arthouse aggro and aesthetic burn, one can draw lines just as easily with “Nil by Mouth” or the later “Looking Back at You” to mid-’70s coke-strung New York poetic no wave and the modern European dark progressive set to which Maggot Heart have diligently contributed over the last half decade. The horn sounds on “LBD” are a nice touch, and “Archer” puts that to work in some folk-doom context, but in the tension of “Concrete Soup” or the avant garde setting out across the three minutes of the leadoff semi-title-track “Scandinavian Hunger,” Maggot Heart demonstrate their ability to knock the listener off balance as a first step toward reorienting them to the atmosphere the band have honed in these songs, slightly goth on “This Shadow,” bombastic in the middle and end of “Parasite,” each piece set to its own purpose adding some aspect to the whole. You wouldn’t call it easy listening, but the challenge is part of the fun.

Maggot Heart on Instagram

Svart Records website

Rapid Eye Records on Bandcamp

Catatonic Suns, Catatonic Suns

Catatonic Suns Catatonic Suns

Adjacent to New Psych Philly with their homebase in Allentown, Pennsylvania, and with a self-titled collection that runs between the shoegazing shine of “Deadzone,” the full-fuzz brunt of “Slack” or “Inside Out,” the three-minute linear build of “Fell Off” made epic by its melody, and the hooky indie sway of advance single “Be as One,” the trio Catatonic Suns make a quick turnaround from their 2022 sophomore LP, Saudade, for the lysergic realization and apparent declaration of this eight tracks/31 minutes. With most cuts punkishly short and able to saunter into the noise-coated jangle of “Failsafe” or the wash of “Sublunary” — speaking of post-punk — Catatonic Suns eventually land at closer “No Stranger,” which tops eight minutes and comprises a not-insignificant percentage of the total runtime. And no, they aren’t the first heavy psych band to have shorter songs up front and a big finale, but the swirling layered triumph of “No Stranger” carries a breadth in its immersive early verses, mellow, sitar-laced midsection jam and noise-caked finish and comes across very much as what Catatonic Suns has been building toward all the while. The same might be true of the band, for all I know — it seems to be the longest piece they’ve written to-date — but either way, put them on the ‘Catatonic Voyage’ tour with Sun Voyager for two months crisscrossing the US and never look back. Big sound, and after three full-lengths, significant potential.

Catatonic Suns on Instagram

Agitated Records website

Sacri Suoni, Sacred is Not Divine

Sacri Suoni Sacred is Not Divine

Densely weighted in tone, brash in its impact and heavy, heavy, heavy in atmosphere, Sacri Suoni‘s second album together and first under their new moniker (they used to be called Stoned Monkey; kudos on the change), Sacred is Not Divine positions itself as a cosmic doom thesis and an exploration of the reaches and impacts to be found through collaborative jamming. Four songs make it — “Doom Perspection of the Astral Frequency 0-1” (8:15), “Six Scalps for Six Sounds” (10:28), “Cult of Abysmus” (13:15) and “Plutomb, Engraved in Reality” (8:02) — and as heavy has they are (have I mentioned that yet?) there is dynamic at play as well in the YOB-ish noodles and strums at the start of “Six Scalps for Six Sounds” or in “Cult of Abysmus” around the 10-minute mark, or in the opener’s long fade, but make no mistake, the mission here is heft and space and the Milano outfit have both in ready supply. I think “Plutomb, Engraved in Reality” has maybe three riffs? Might be two, but either way, it’s enough. The character in this material is defined by its weight, but there are three dimensions to their style and all are represented. If you listen on headphones, try really hard not to pulverize your brain in the process.

Sacri Suoni on Facebook

Zanns Records website

Nova Doll, Denaturing

nova doll denaturing

Earthy enough in tone and their slower rolling moments to earn an earliest-Acid King comparison, Barrie, Ontario’s Nova Doll are nonetheless prone to shifting into bits of aggro punk, as in “Waydown” or “Dead Before I Knew It,” the latter of which closes their debut album, Denaturing, the very title of the thing loaded with context beyond its biochemical interpretations. That is, if Nova Doll are pissed, fair enough. “California Sunshine” arrives in the first half of the seven-song/29-minute long-player, with rhythm kept on the toms, open drones and a vastness that speaks at least to some tertiary affect of desert rock on their sound. Psychedelia comes through in different forms amid the crunch of a song like “Mabon,” or “California Sunshine,” and the bassy centerpiece near-title-track feels willfully earthbound — not complaining; they’re that much stronger for changing it up — but the three-piece of guitarist/vocalist Casey Cuff, bassist Sean Alten and drummer Daniel Allen ride that groove in “Denaturation” like they already know the big spaceout in “Light Her Up” is coming. And they probably did, given the apparent care put into what is sometimes a harsh presentation and the variety they bring around the central buzz that seems to underscore the songs. Grown-up punk, still growing, but their sound is defined and malleable in its noisy approach on their first full-length, and that’s only encouraging.

Nova Doll on Instagram

Tarantula Tapes website

Black Throne Productions website

Howl at the Sky, In Line for the End Times

Howl at the Sky In Line for the End Times

With their self-released debut album, In Line for the End Times, hard-driving single-guitar four-piece Howl at the Sky enter the field with 12 songs and a CD-era-esque 55-minute run that filters through a summary of decades of heavy rock and roll influences. From their native state of Ohio alone, bands like Valley of the Sun and Lo-Pan, or Tummler and Red Giant a generation ago — these and others purveying straight-ahead heavy rock light on tricks and big on drive. More metal in their riffy underpinnings than some, certainly less than others, they foster hooks whether it’s a three-minute groover like “Stink Eye” and opener “Our Lady of the Knives” or the more spacious “Dry as a Bone” and the penultimate “Black Lung,” which has a bit more patience in its sway than the C.O.C.-circa-’91 “The Beast With No Eyes” and modernize ’70s vibes in the traditions of acts one might find on labels like Ripple or Small Stone. That is, rock dudes, rockin’. Vocalist Scott Wherle bears some likeness to We’re All Gonna Die‘s Jim Healey early on, but both are working from a classic heavy rock and metal foundation, and Wherle has a distinguishing, fervent push behind him in guitarist Mike Shope, bassist Scot “With One ‘T'” Fithen and drummer John Sims. For as long as these guys are together, I wouldn’t expect too many radical departures from what they do here. Once a band has its songwriting down like this, it’s really more just about letting grow on its own over time rather than forcing something, and the sense they give in listening is they know that too.

Howl at the Sky on Facebook

Howl at the Sky on Bandcamp

Fin del Mundo, Todo Va Hacia el Mar

Fin del Mundo Todo Va Hacia el Mar

The first two four-song EPs by Buenos Aires psych/post-rock four-piece Fin del Mundo — guitarist/vocalist Lucia Masnatta, guitarist Julieta Heredia, bassist Julieta Limia, drummer/backing vocalist Yanina Silva — wander peacefully through a dreamy apocalypse compiled together chronologically as Todo Va Hacia el Mar, the band’s Spinda Records first long-player. From “La Noche” through “El Fin del Mundo,” what had been a 2020 self-titled, the tones are serene and the melodies drift without getting lost or meandering too far from the songs’ central structure, though that last of them reaches broader and heavier ground, resonance intact. The second EP, 2022’s La Ciudad Que Dejamos, the LP’s side B, has more force behind its rhythms and creates a wash in “El Próximo Verano” to preface its gang-vocal moment, while closer “El Incendio” takes the Sonic Youth-style indie of the earlier material and fosters more complex melodicism around it and builds tension into a decisive but not overblown resolution. It’s 34 minutes long and even between its two halves there’s obvious growth on the part of the band being showcased. Their next long-player will be like a second debut, and I’ll be curious how they take on a full-length format having that intention in the first place for the material.

Fin del Mundo on Facebook

Spinda Records website

Bloody Butterflies, Mutations and Transformations

Bloody Butterflies Mutations and Transformations

A pandemic-born project (and in some ways, aren’t we all?), the two-piece instrumentalist unit Bloody Butterflies — that’s guitarist/bassist Jon Howard (Hordes) and drummer August Elliott (No Skull) — released their first album, Polymorphic, in 2020 and emerge with a follow-up in the seven tracks/27 minutes of the on-theme Mutations and Transformations, letting the riffs do their storytelling on cuts like “Toilet Spider” and “Frandor Rat,” the latter of which may or may not be in homage to a rat living near the Kroger on the east side of Lansing. The sound is punker raw and as well it should be. That aforementioned ratsong has some lumber to its procession, but in the bassy “Fritzi” that follows, the bright flashes of cymbal in opener “BB Theme” (also the longest inclusion; immediate points) and the noisy declaration of post-doom stomp before the feedback at the end of “Wormhole” consumes all and the record ends, they find plenty of ways to stage off monochromatism. Actually, what I suspect is they’re having fun. At least that’s what it sounds like, in a very particular way. Fair enough. It would be cool to have some clever lesson learned from the pandemic or something like that, but no, sometimes terrible shit just happens. Cool for these two getting a band out of it. Take the wins you can get.

Bloody Butterflies on Facebook

Bloody Butterflies on Bandcamp

Solar Sons, Another Dimension

solar sons another dimension

Whilst prone to NWOBHM tapping twists of guitar in the leads of “Alien Hunter,” “Quicksilver Trail,” etc. and burling up strains of ’90s metal and a modern heavy sub-burl that adds nuance to its melodies, Solar Sons‘ fifth album, Another Dimension, arrives at its ambitions organically. The Dundee, Scotland, everybody-sings three-piece of bassist/lead vocalist Rory Lee, guitarist/vocalist Danny Lee and drummer/vocalist Pete Garrow embark with purpose on a narrative structure spread across the nine songs/62 minutes of the release that unveils more of its progressive doom character as it unfolds its storyline about a satellite sent to learn everything it can about the universe and return to save a dying Earth — science-fiction with a likeness to the Voyager probes; “The Voyage” here makes a triumph of its keyboard-backed second-half solo — presumably with alien knowledge. It’s not a minor undertaking in either theme or the actual listening time, but hell’s bells if Another Dimension doesn’t draw you in. Something in the character has me feeling like I can’t tell if it’s metal or rock or prog and yes I very much like that about it. Plenty of room for them to be all three, I guess, in these songs. They finish with the swing and shred and stomp of “Deep Inside the Mountain,” so I’ll just assume everything works out cool for homo sapiens in the long run, conveniently ignoring the fact that doing so is what got us into such a mess in the first place.

Solar Sons on Facebook

Solar Sons on Bandcamp

Mosara, Amena

mosara amena

A 5:50 single to answer back to last year’s second long-player, Only the Dead Know Our Secrets (review here), the latest from Mosara — which is actually an older track given some reworking, vocals and ambience, reportedly — is “Amena,” which immediately inflicts the cruelty of its thud only as a seeming preface for the Conan-like grueling-ultradoom-battery-with-shouts-cutting-through about to take place. A slow, noise-coated roll unfolds ahead of the largely indecipherable verse, and when that’s done, a cymbal seems to get hit extra hard as though to let everyone know it’s time to really dig in. It is both rawer in its harshness and thicker in tone than the last album, so it puts forth the interesting question of what a third Mosara full-length might bring atmospherically to the mix with their deepening, distorted roil. As it stands, “Amena” is both a steamroller of riff and a meditation, holding back only for as long as it takes to slam into the next measure, with its sludge growing more and more hypnotic as it slogs through the song’s midsection toward the inevitable seeming end of feedback and drone. Noisy band getting noisier. I’m on board.

Mosara on Facebook

Mosara on Bandcamp

Jupiter, Uinumas

Jupiter Uinumas

Jupiter‘s Uinumas is a complex half-hour-plus that comprises their fourth full-length, running seven songs — that’s six plus the penultimate title-track, which is a psych-jazzy interlude — as cuts like “Lumerians” and “Relentless” at the outset see the Finnish trio reestablish their their-own-wavelength take on heavy and progressive sounds classic and new. It’s not so much about crazy structures or 75-minute-long songs or indulgent noodling — though there’s a bit of that owing to the nature of the work, if nothing else — but just how much Jupiter make the aural space they inhabit their own, the way “After You” pushes into its early wash, or the later “On Mirror Plane” (so that’s it!) spaces out and then seems to align itself around the bassline for a forward shuffle sprint, or the way that closer “Slumberjack’s Wrath” chugs through until it’s time for the blowout, which is built up past three minutes in and caps with shimmer that borders on the overwhelming. An intricate but recognizable approach, Jupiter‘s more oddball aspects and general cerebrality might put off some listeners, but as dug in as Jupiter are on Uinumas, on significantly doubts they were shooting for mass appeal anyhow. Who the hell would want that anyway? Bunch of money and people sweating everything you do. Yuck.

Jupiter on Facebook

Jupiter on Bandcamp

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Quarterly Review: Rotor, Seer of the Void, Moodoom, Altered States, Giöbia, Astral Hand, Golden Bats, Zeup, Giant Sleep, Green Yeti

Posted in Reviews on April 13th, 2023 by JJ Koczan

the-obelisk-qr-summer-2020

Oh hi, I’m pretending I didn’t see you there. Today the Spring 2023 Quarterly Review hits and — if Apollo is willing — passes the halfway point en route to 70 total records to be covered by the end of next Tuesday. Then there’s another 50 at least to come next month, so I don’t know what ‘quarter’ that’s gonna be but I don’t really have another name for this kind of roundup just sitting in my back pocket, so if we have to fudge one or expand Spring in such a way, I sincerely doubt anyone but me actually cares that it’s a little weird this time through. And I’m not even sure I care, to be honest. Surely “notice” would be a better word.

Either way, thanks for reading. Hope you’ve found something cool thus far and hope you find more today. Let’s roll.

Quarterly Review #31-40:

Rotor, Sieben

rotor 7

Seven full-lengths and a quarter-century later, it’s nigh on impossible to argue with Berlin instrumentalists Rotor. Sieben — or simply 7, depending on where you look — is their latest offering, and in addition to embracing heavy psychedelia with enough tonal warmth on “Aller Tage Abend” to remind that they’re contemporaries to Colour Haze, the seven-song/38-minute LP has room for the jazzy classic prog flashes of “Mäander” later on and the more straight-ahead fuzzy crunch of “Reibach,” which opens, and the contrast offered by the acoustic guitar and friendly roll that emerges on the closing title-track. Dug into the groove and Euro-size XXL (that’s XL to Americans) riffing of “Kahlschlag,” there’s never a doubt that it’s Rotor you’re hearing, and the same is true of “Aller Tage Abend,” the easy-nodding second half and desert-style chop of “Schabracke,” and everything else; the simple fact is that Rotor these 25 years on can be and in fact are all of these things and more besides while also being a band who have absolutely nothing to prove. Sieben celebrates their progression, the riffs at their roots, the old and new in their makeup and the mastery with which they’ve made the notion of ‘instrumental heavy rock’ so much their own. It’s a lesson gladly learned again, and 2023 is a better year with Sieben in it.

Rotor on Facebook

Noisolution website

 

Seer of the Void, Mantra Monolith

Seer of the Void Mantra Monolith

Athens-based sludge-and-then-some rockers Seer of the Void follow their successful 2020 debut, Revenant, with the more expansive Mantra Monolith, enacting growth on multiple levels, be it the production and general largesse of their sound, the songs becoming a bit longer (on average) or the ability to shift tempos smoothly between “Electric Father” and “Death is My Name” without giving up either momentum or the attitude as emphasized in the gritty vocals of bassist Greg “Maddog” Konstantaras. Side B’s “Demon’s Hand” offers a standout moment of greater intensity, but Seer of the Void are hardly staid elsewhere, whether it’s the swinging verse of “Hex” that emerges from the massive intro, or the punkish vibe underscoring the nonetheless-metal head-down chug in the eponymous “Seer of the Void.” They cap with a clearheaded fuzzy solo in “Necromancer,” seeming to answer the earlier “Seventh Son,” and thereby highlight the diversity manifest from their evolution in progress, but if one enjoyed the rougher shoves of Revenant (or didn’t; prior experience isn’t a barrier to entry), there remains plenty of that kind of tonal and rhythmic physicality in Mantra Monolith.

Seer of the Void on Facebook

Venerate Industries on Bandcamp

 

Moodoom, Desde el Bosque

Moodoom Desde el Bosque

Organic roots doom from the trio Moodoom — guitarist/vocalist Cristian Marchesi, bassist/vocalist Jonathan Callejas and drummer Javier Cervetti — captured en vivo in the band’s native Buenos Aires, Desde el Bosque is the trio’s second LP and is comprised of five gorgeous tracks of Sabbath-worshiping heavy blues boogie, marked by standout performances from Marchesi and Callejas often together on vocals, and the sleek Iommic riffing that accounts as well for the solos layered across channels in the penultimate “Nadie Bajará,” which is just three minutes long but speaks volumes on what the band are all about, which is keep-it-casual mellow-mover heavy, the six-minute titular opening/longest track (immediate points) swaggering to its own swing as meted out by Cervetti with a proto-doomly slowdown right in the middle before the lightly-funked solo comes in, and the finale “Las Maravillas de Estar Loco” (‘the wonders of being crazy,’ in English) rides the line between heavy rock and doom with no less grace, introducing a line of organ or maybe guitar effects along with the flawless groove proffered by Callejas and Cervetti. It’s only 23 minutes long, but definitely an album, and exactly the way a classic-style power trio is supposed to work. Gorgeously done, and near-infinite in its listenability.

Moodoom on Facebook

Moodoom on Bandcamp

 

Altered States, Survival

ALTERED STATES SURVIVAL

The second release and debut full-length from New Jersey-based trio Altered States runs seven tracks and 34 minutes and finds individualism in running a thread through influences from doom and heavy rock, elder hardcore and metal, resulting in the synth-laced stylistic intangibility of “A Murder of Crows” on side A and the smoothly-delivered proportion of riff in the eponymous “Altered States” later on, bassist Zack Kurland (Green Dragon, ex-Sweet Diesel, etc.) taking over lead vocals in the verse to let guitarist/synthesist Ryan Lipynsky (Unearthly Trance, Serpentine Path, The Howling Wind, etc.) take the chorus, while drummer Chris Daly (Texas is the Reason, Resurrection, 108, etc.) punctuates the urgency in opener “The Crossing” and reinforces the nod of “Cerberus.” There’s an exploration of dynamic underway on multiple levels throughout, whether it’s the guitar and keys each feeling out their space in the mix, or the guitar and bass, vocal arrangements, and so on, but with the atmospheric centerpiece “Hurt” — plus that fuzz right around the 2:30 mark before the build around the album’s title line — just two songs past the Motörheaded “Mycelium,” it’s clear that however in-development their sound may be, Altered States already want for nothing as regards reaching out from their doom rocking center, which is that much richer with multiple songwriters behind it.

Altered States on Facebook

Altered States on Bandcamp

 

Giöbia, Acid Disorder

giobia acid disorder

Opener and longest track (immediate points) “Queen of Wands” is so hypnotic you almost don’t expect its seven minutes to end, but of course they do, and Italian strange-psych whatevernauts Giöbia proceed from there to float guitar over and vocals over the crunched-down “The Sweetest Nightmare” before the breadth of “Consciousness Equals Energy” and “Screaming Souls” melds outer-rim-of-the-galaxy space prog with persistently-tripped Europsych lushness, heavy in its underpinnings but largely unrestrained by gravity or concerns for genre. Acid Disorder is the maybe-fifth long-player from the Italian cosmic rocking aural outsiders, and their willingness to dive into the unknown is writ large through the synth and organ layers and prominent strum of “Blood is Gone,” the mix itself becoming no less an instrument in the band’s collective hand than the guitar, bass, drums, vocals, etc. Ultra-fluid throughout (duh), the eight-songer tops out around 44 minutes and is an adventure for the duration, the drift of side B’s instrumental “Circo Galattico” reveling in experimentalism over a somehow-solidified rhythm while “In Line” complements in answer to “The Sweetest Nightmare” picking up from “Queen of Wands” at the outset, leaving the closing title-track on its own, which seems to fit its synth-and-sitar-laced serenity just fine. Band sounds like everything and nobody but themselves, reliably.

Giöbia on Facebook

Heavy Psych Sounds website

 

Astral Hand, Lords of Data

Astral Hand Lords of Data

Like everything, Milwaukee heavy psychedelia purveyors Astral Hand were born out of destruction. In this case, it’s the four-piece’s former outfit Calliope that went nova, resulting in the recycling of cosmic gasses and gravitational ignition wrought in the debut album Lords of Data‘s eight songs, the re-ish-born new band benefitting from the experience of the old as evidenced by the patient unfolding of side A capper “Psychedelicide,” the defining hook in “Universe Machine” and the shove-then-drone-then-shove in “End of Man” and the immersive heft in opener “Not Alone” that brings the listener deep into the nod from the very start of the first organ notes so that by the time they’ve gone as far out as the open spaces of “Navigator” and the concluding “God Emperor,” their emergent command of the ethereal is unquestionable. They work a little shuffle into that finale, which is an engaging touch, but Lords of Data — a thoroughly modern idea — isn’t limited to that any more than it is the atmospheric grandiosity and lumber of “Crystal Gate” that launches side B. One way or the other, these dudes have been at it for more than a decade going back to the start of Calliope, but Astral Hand is a stirring refresh of purpose on their part and one hopes their lordship continues to flourish. I don’t know that they’re interested in such terrestrial concerns, but they’d be a great pickup for some discerning label.

Astral Hand on Facebook

Astral Hand on Bandcamp

 

Golden Bats, Scatter Yr Darkness

Golden Bats Scatter Yr Darkness

Slow-churning intensity is the order of the day on Scatter Yr Darkness, the eight-song sophomore LP from now-Italy-based solo-outfit Golden Bats, aka Geordie Stafford, who sure enough sprinkles death, rot and no shortage of darkness across the album’s 41-minute span, telling tales through metaphor in poetic lyrics of pandemic-era miseries; civic unrest and disaffection running like a needle through split skin to join the various pieces together. Echoing shouts give emphasis to the rawness of the sludge in “Holographic Stench” and “Erbgrind,” but in that eight-minute cut there’s a drop to cinematic, not-actually-minimalist-but-low-volume string sounds, and “Breathe Misery” begins with Mellotron-ish melancholy that hints toward the synth at the culmination of “A Savage Dod” and in the middle of “Malingering,” so nothing is actually so simple as the caustic surface makes it appear. Drums are programmed and the organ in “Bravo Sinkhole” and other keys may be as well, I don’t know, but as Stafford digs into Golden Bats sonically and conceptually — be it the bareknuckle “Riding in the Captain’s Skull” at the start or the raw-throated vocal echo spread over “The Gold Standard of Suffering,” which closes — the harshness of expression goes beyond the aural. It’s been a difficult few years, admittedly.

Golden Bats on Facebook

Golden Bats on Bandcamp

 

Zeup, Mammals

zeup mammals

Straightforward in a way that feels oldschool in speaking to turn-of-the-century era heavy rock influences — big Karma to Burn vibe in the riffs of “Hollow,” and not by any means only there — the debut album Mammals from Danish trio Zeup benefits from decades of history in metal and rock on the part of drummer Morten Barth (ex-Wasted) and bassist/producer Morten Rold (ex-Beyond Serenity), and with non-Morten guitarist Jakob Bach Kristensen (also production) sharing vocals with Rold, they bring a down-to-business sensibility to their eight component tracks that can’t be faked. That’s consistent with 2020’s Blind EP (review here) and a fitting demonstration for any who’d take it on that sometimes you don’t need anything more than the basic guitar, bass, drums, vocals when the songs are there. Sure, they take some time to explore in the seven-minute instrumental “Escape” before hitting ground again in the aptly-titled slow post-hardcore-informed closer “In Real Life,” but even that is executed with clear intention and purpose beyond jamming. I’ll go with “Rising” as a highlight, but it’s a pick-your-poison kind of record, and there’s an awful lot that’s going to sound needlessly complicated in comparison.

Zeup on Facebook

Ozium Records store

 

Giant Sleep, Grounded to the Sky

giant sleep grounded to the sky

Grounded to the Sky is the third LP from Germany’s Giant Sleep, and with it the band hones a deceptively complex scope drawn together in part by vocalist Thomas Rosenmerkel, who earns the showcase position with rousing blues-informed performances on the otherwise Tool-ish prog metal title-track and the later-Soundgardening leadoff before it, “Silent Field.” On CD and digital, the record sprawls across nearly an hour, but the vinyl edition is somewhat tighter, leaving off “Shadow Walker” and “The Elixir” in favor of a 43-minute run that puts the 4:43 rocker “Sour Milk” in the closer position, not insubstantially changing the personality of the record. Founded by guitarist Patrick Hagmann, with Rosenmerkel in the lineup as well as guitarist/backing vocalist Tobias Glanzmann (presumably that’ll be him in the under-layer of “Siren Song”), bassist Radek Stecki and drummer Manuel Spänhauer, they sound full as a five-piece and are crisp in their production and delivery even in the atmospherically minded “Davos,” which dares some float and drift along with a political commentary and feels like it’s taking no fewer chances in doing so, and generally come across as knowing who they are as a band and what they want to do with their sound, then doing it. In fact, they sound so sure, I’m not even certain why they sent the record out for review. They very obviously know they nailed what they were going for, and yes, they did.

Giant Sleep on Facebook

Czar of Crickets Productions website

 

Green Yeti, Necropolitan

Green Yeti Necropolitan

It’s telling that even the CD version of Green Yeti‘s Necropolitan breaks its seven tracks down across two sides. The Athens trio of guitarist/vocalist Michael Andresakis, bassist Dani Avramidis and drummer Giannis Koutroumpis touch on psychedelic groove in the album-intro “Syracuse” before turning over to the pure post-Kyuss rocker “Witch Dive,” which Andresakis doing an admirable John Garcia in the process, before the instrumental “Jupiter 362” builds tension for five minutes without ever exploding, instead giving out to the quiet start of side A’s finish in “Golgotha,” which likewise builds but turns to harsher sludge rock topped by shouts and screams in the midsection en route to an outright cacophonous second half. That unexpected turn — really, the series of them — makes it such that as the bass-swinging “Dirty Lung” starts its rollout on side B, you don’t know what’s coming. The answer is half-Sleepy ultra-burl, but still. “Kerosene” stretches out the desert vibe somewhat, but holds a nasty edge to it, and the nine-minute “One More Bite,” which closes the record, has a central nod but feels at any moment like it might swap it for further assault. Does it? It’s worth listening to the record front to back to find out. Hail Greek heavy, and Green Yeti‘s willingness to pluck from microgenre at will is a good reason why.

Green Yeti on Facebook

Green Yeti on Bandcamp

 

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Toilet Snake to Release Self-Titled Debut on DHU Records

Posted in Whathaveyou on March 16th, 2023 by JJ Koczan

Being of a certain age, I recall distinctly walking as a child through the video store and seeing, among the VHS tapes available to rent, the 1985 horror flick Ghoulies. And I must’ve been just the right age for it to really make an impression, because even after well over three decades I still remember it and I never actually watched the film. I did, however, always watch the toilet with a bit of side-eye. So yeah, the cover of Toilet Snake‘s 2022 self-titled album hit a nerve.

Also, I feel the need to point out that compared to the sundry slimeball routes they could’ve gone in interpreting the band’s moniker in the artwork, this is comparatively not-slimeball in a way that is very much appreciated. It’s a snake in a toilet. Bam. Maybe some kid will see it and have it imprinted on their brain too.

That’s one reason I’m posting about it. Another is the record is a beast of classic heavy riffing and sludgier intention, the push of “Is This Fire?” seeming to answer its own question in theoretical emoji fashion. I missed the album last year — hey, it happens, pretty much all the time — so I’m glad to post about it now, and wish the band congratulations on signing to DHU Records to give it a vinyl issue. Here’s to not getting bit on the ass.

From the PR wire:

Toilet Snake self-titled

New Signing to DHU Records: Toilet Snake

DHU Records is excited to announce the signing of Italian Sludge Doomers TOILET SNAKE !!

“Toilet Snake is a sludge-doom power trio that delivers a raw and unapologetic sound.

With Marco ripping through vocals & guitar, Davide crushing the bass and Giacomo beating the drums like it owes him money, Toilet Snake deliver a no frills, no bullshit, straight-up, relentless groove.

Based in Milan, Italy, and drawing inspiration from the NOLA scene, Toilet Snake has been crafting their abrasive, filthy riffs since 2018 and released their self-titled debut digitally and on cassette (DIY) in 2022, and will soon become the latest, infamous addition to the DHU Records catalogue on Limited Edition Vinyl.”

DHU Records will release the self titled debut album by Toilet Snake in 2023

Test Press, DHU Exclusive and Band Editions will be available…

Side A:
A1. Night Vision
A2. Ashtray Mouth
A3. Into High Gear

Side B:
B1. Is This Fire?
B2. Bills Overdue
B3. Checkpoint

Recorded, mixed and mastered at Dirty Sound Studio, VR, Italy
Artwork by ZZ Corpse

Toilet Snake
Marco • Guitar/Vocals
Davide • Bass
Giacomo • Drums

https://www.instagram.com/toiletsnake666/
https://toiletsnake.bandcamp.com/
https://linktr.ee/toiletsnake/

www.darkhedonisticunion.bigcartel.com
https://www.facebook.com/DHURecords/
https://instagram.com/dhu_records

Toilet Snake, Toilet Snake (2022)

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Giöbia Set April 28 Release for Acid Disorder; New Song Posted

Posted in Whathaveyou on February 6th, 2023 by JJ Koczan

giobia

Is consciousness energy? If, on the most basic level, the human brain operates through a series of chemical reactions and electrical impulses, then yeah, maybe like fire itself, the non-physical portion of who we think we are is just energy created through these reactions. This seems like a pretty mundane idea, vaguely scientific as it is, at least as compared to the notion of a soul as it appears in any amount of religious doctrine, but if you think about it, it’s still a kind of magic, and all the more so since it relates to how the thing — in this case, consciousness — actually works. Cheers to Giöbia for the provocative thought.

The persistently and delightfully oddball Italian psych outfit will release their new album, Acid Disorder, in the early flower of Spring on April 28. “Consciousness Equals Energy” is the first single from the offering, following on from their 2021 split with The Cosmic Dead (review here) and 2020’s Plasmatic Idol LP, which, indeed was a mighty trip to take. One expects no less this time around, as Giöbia have really only ever gone in one direction, and that’s farther and farther out.

From the PR wire:

giobia acid disorder

Italy’s psychedelic rock pillars GIÖBIA share intoxicating first track off new album “Acid Disorder”, out April 28th on Heavy Psych Sounds.

Italian psychedelic and acid rock stalwarts GIÖBIA announce the release of their sixth album “Acid Disorted” this April 28th on Heavy Psych Sounds. Listen to the infectious and cosmic first single “Consciousness Equals Energy.”

GIÖBIA comments: “‘Consciousness Equals Energy’ is inspired to Ram Dass’ mind-expanding masterpiece ‘Be Here Now’ spiritual journey. We have always been fascinated by Dass’ study of drugs and the mystical experience, thus this song is our personal tribute to his genius and his courage to swim against the tide, as well as a kind of mantra, “a bridge on which you stand, looking down into the water in which you see your own life going by. It’s a training device to break you out of your attachments.”

“Acid Disorder” is the latest astonishing work of neo-psych acid-rock riffers GIÖBIA. With this surprising album, the four-piece invite us to enter their realm, that hidden place in the depths of their mind where anything can happen. Once again we abandon ourselves to altered states of consciousness, enchanted by the lysergic side of music that is both familiar and new. “Acid Disorder” was recorded at Elfo Studio in Piacenza, Italy, between March and October 2022, engineered and mixed by Daniele Mandelli and Bazu and mastered by Giovanni Versari at La Maestà Studio. The artwork was designed by Trevor Tipton.

GIÖBIA – New album “Acid Disorder”
Out April 28th on Heavy Psych Sounds – PREORDER: https://www.heavypsychsounds.com/shop.htm#HPS263

TRACKLIST:
1. Queen Of Wands
2. The Sweetest Nightmare
3. Consciousness Equals Energy
4. Screaming Souls
5. Blood Is Gone
6. Circo Galattico
7. In Line
8. Acid Disorder

https://www.facebook.com/giobiaband
https://www.instagram.com/psychgiobia/
http://www.giobia.com/
https://giobiagiobia.bandcamp.com/

https://www.facebook.com/HEAVYPSYCHSOUNDS
https://twitter.com/HEAVYPSYCHSOUND
https://instagram.com/heavypsychsounds_records/
https://heavypsychsoundsrecords.bandcamp.com/
www.heavypsychsounds.com/

Giöbia, Acid Disorder

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Stramonium Announce Debut Album Elder Moon on Argonauta Records

Posted in Whathaveyou on June 8th, 2022 by JJ Koczan

Funny story only I guess it’s not really that funny. I have apparently watched enough Argonauta Records clips on YouTube to have the algorithm know that I’m basically interested in whatever they’ve got going — which is true — and I actually saw the Stramonium single “Son of the Moon” on there before I found the press release. My phone, mind you, is either right next to me on the couch or actually in my pocket, so I didn’t have to go far to find the email, but it’s an unusual twist in the process for my brain. I hear there are some people who get all their music from YouTube. Sounds efficient if nothing else. Algorithms don’t make run-on sentences. Can’t really say the same of my out-of-date ass.

But you know what else isn’t cool and probably never will be? Heavy rock and roll. So you and me, we make our own cool, and “Son of the Moon” is a pretty rad soundtrack for our likely momentary righteous self-determinism. Got a little shuffle, got a little push. You can be the riff you want to see in the world, you know.

Album is out… sometime… but it’s called Elder Moon and you can see below it was recorded in 2019, so unless it’s been previously released by the band on their own — always possible and forgive my ignorance if that’s the case — it’s been waiting long enough for sure.

Gonna go look up Hardstaff Booking Agency as well. Always more homework.

From the PR wire:

STRAMONIUM

Stoner Doomers STRAMONIUM Announce Worldwide Deal With Argonauta Records!

Milan-based heavy stoner and doom metal act STRAMONIUM has announced their signing with Argonauta Records, who will proudly release the band’s upcoming debut album during 2022.

STRAMONIUM’s sound ranges from classic rock to 70’s psychedelia, modern stoner to old school doom and results from mixing all these references with heavy blues-styled jam sessions. Black Sabbath, Pentagram, Iron Maiden but also Jimi Hendrix, MC5, Motorhead, these are just some of the main references throughout the work. Their colossal and dark sound recalls themes and atmospheres dealing with occultism, esoteric doctrines, symbolism and specifically the cult of the Moon. Floating between melodic vocal lines, acid reverbs and hypnotic slow riffs; fast fuzzed solos and heavy-muff rhythmic lines, the Italian four-piece takes its listener on an introspective trip through a decadent and obscure landscape, made of pagan worship and a genuine passion for the 70’s heavy-rock scene. 2022 will see STRAMONIUM release their first full-length album, entitled Elder Moon, through Argonauta Records. Get a sneak peak and listen to the first album single, Son Of The Moon, here.

Stramonium is a Stoner/Doom band from Milan active since 2018. The idea of the band comes from Valeria and Corrado Carnevali and their desire to recreate the sounds and atmospheres typical of the American and British Doom and proto-metal bands of the early 70s.

At the first rehearsals Fabio Rizzuto joined them on rhythm guitar and Enzo Arcadi on drums, shortly after bassist Lorenzo Rossi completed the line-up. Thanks to Corrado’s riffs and Valeria’s lyrics take shape the first pieces that help to define the sound and spirit of the band, stimulating and involving also the other members in writing and arranging new songs.

In 2019, after Valeria’s departure, Stramonium are ready to record their debut album: through Real Sound Studio Milano they record “Elder Moon”, an energetic record where the pagan cult of the moon is accompanied by tribal sounds, sometimes obscure, with a
definitely massive sound.

In 2021, after the entry in the band of the new drummer Giacomo Recalcati, the guys intensify the live activity also thanks to the collaboration with Hardstaff Booking Agency. Towards the end of the same year comes the signing of the collaboration contract with the label Argonauta Records, under which they officially publish “Elder Moon” in 2022.

www.instagram.com/stramoniumband

www.argonautarecords.com/shop
www.facebook.com/argonuatarecords
www.instagram.com/argonautarecords

Stramonium, “Son of the Moon”

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Split Premiere & Review: Giöbia & The Cosmic Dead, The Intergalactic Connection: Exploring the Sideral Remote Hyperspace

Posted in audiObelisk, Reviews on October 26th, 2021 by JJ Koczan

Giobia & The Cosmic Dead - The Intergalactic Connection exploring the sideral remote hyperspace

Giöbia and The Cosmic Dead will release their new split LP, The Intergalactic Connection: Exploring the Sideral Remote Hyperspace, on Friday, Oct. 29, through Heavy Psych Sounds. And of course, the question isn’t so much whether or not you can hang with the 37-minute outward-tripping psychedelic wowness of it, but whether or not the transwarp pathway they’ve opened by routing aux power systems through a tertiary distortion matrix will continue to expand at an exponential rate, gradually swallowing, you, me, your dog Toto, both of our record players, and eventually the rest of the universe as we know it. I’m going with a solid “yes” on that.

And by the way, “going with” is precisely what The Intergalactic Connection — saving some time by shortening the title if you’ll pardon; I know time is a construct, and the Italian and Scottish four-pieces are only offering a reminder of that here; what is once more around the sun when you’ve left orbit at three times FTL? — is made for. As to how much direct collaboration of intent there was between Giöbia, who begin side A with the let’s-surf-in-antigrav “Canyon Moon,” drift peacefully through a take on Pink Floyd‘s “Julia Dream” and drone away three and a half earth minutes in the hypnotic “Meshes of the Afternoon,” and The Cosmic Dead, whose “Crater Creator” runs 19:40 and is a blunter instrument of blowout on its face but no less dynamic once it actually hits your auditory processors.

Can you believe there was a time when humans measured distance in miles instead of sound?

Anyhoozle, whatever psychic link may have been established across these international borders — I don’t know what kind of VAT one has to pay for such things in this post-Brexit era, or even how they’d tally it, or even if VAT applies to the dimension the bands are working in — the two acts are firmly united in the purpose of taking their audience from the place they are and putting them in the place they want them to be. That is to say, The Intergalactic Connection starts far out and proceeds on a course toward farther out. “Canyon Moon” is ignition. “Julia Dream” the organ-inclusive wistfulness of seeing Earth for the insignificant dot it is. “Meshes of the Afternoon” a float through background radiation, perhaps a state of suspended animation across decades or centuries or some other unknown stretch of depth and time. And “Crater Creator” is the fabric woven of interstellar indecencies against the galactical puritan square. Shred shred shred your conceptions and the rest will follow. What happens when? When happens what?

Preliminary data makes it hard to determine a proper rate of cellular decay across what translates as a deceptively-manageable full-length runtime, but let the takeaway from this briefing be that the advent alignment of Giöbia and The Cosmic Dead is not down to simple happenstance. They are drawn together in intent across a linear direction, a single arrow pointing all the way beyond known space (rock). These are not asteroids banging together at random. If you believe something as unknowable as the unknown itself could be working from a plan, well, this is a record and not actually the universe and that’s a pretty dumb idea, but hell’s bells, there’s certainly a plan at work here. And the rest? Screw the rest. If fucking Bill Shatner can go to space on a rocket shaped like a billionaire dingus, certainly you can with headphones and closed eyes and all the wah you can handle and probably then some.

Have at you!

the cosmic dead

Giobia

Preorder link: https://www.heavypsychsounds.com/shop.htm#HPS185

Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century!!

“The Intergalactic Connection – Exploring The Sideral Remote Hyperspace” it’s a split album that came from deep deep space !!! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite.

This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedelic vortex with no way out!

A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic… It’s a Space Ritual journey!!

Rad artwork by Branca Studio!

GIÖBIA
A01 Canyon Moon
A02 Julia Dream
A03 Meshes of the Afternoon

THE COSMIC DEAD
B04 Crater Creator

GIÖBIA are:
STEFANO ‘BAZU’ BASURTO – GUITARS
PAOLO ‘DETRJI’ BASURTO – BASS
MELISSA CREMA – ORGAN / SYNTHESIZERS / VOCALS
PIETRO D’AMBROSIO – DRUMS

THE COSMIC DEAD are:
OMAR ABORIDA – GUITARS / WAH
TOMMY DUFFIN – DRUMS / BIG GUITAR / WAH
LUIGI PASQUINI – SYNTHESIZERS / WAH
CALUM CALDERWOOD – FIDDLE / WAH

Giöbia on Facebook

Giöbia on Instagram

Giöbia website

Giöbia on Bandcamp

The Cosmic Dead on Facebook

The Cosmic Dead on Instagram

The Cosmic Dead on Bandcamp

The Cosmic Dead website

Heavy Psych Sounds on Facebook

Heavy Psych Sounds on Instagram

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

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Giöbia Announce Fall Tour Dates; Split w/ The Cosmic Dead Out Soon

Posted in Whathaveyou on October 13th, 2021 by JJ Koczan

Arriving just in time for your freaked-out Halloween, the new split between Italy’s Giöbia and Scotland’s The Cosmic Dead bears the cumbersome title The Intergalactic Connection: Exploring the Sideral Remote Hyperspace. It’s out Oct. 29 through Heavy Psych Sounds and I’ll be streaming it on Oct. 26 (shh…), but ahead of that, here’s more good news in that Giöbia are returning to playing live at a number of indoor shows and even a festival in Germany in December. Hey folks, baby steps, you know?

I’m not actually sure how much of their Spring 2020 tour the band played supporting their then-just-released LP Plasmatic Idol, but they were headed out right as the Covid-19 pandemic was laying waste to their home country, and their social media has any number of “sorry to cancel”-type posts. Obviously out of their control. In any case, they’re a bunch of weirdos and accordingly, I’m glad to see them get back out on the road and do the thing. One imagines and hopes that more performances will be scheduled for 2022. Not trying to jinx anything so I’ll leave it at that.

From the internets:

giobia tour

Friends we are super excited to announce the first indoor concerts for this fall.

Music lovers and live fans please help support, concerts, promoters and venues.

THE INTERGALACTIC CONNECTION FALL TOUR 2021
OCT 16 ZIGGY Club – Torino
OCT 23 Circolo Gagarin-Bust Arsice VA
NOV 19 Caracol Pisa – Pisa
NOV 20 Traffic Club Roma – Roma
DEC 4 Bloom – Mezzago MI w\Delving
DEC 16 BASIS Vinschgau Venosta-Silander, BZ
DEC 17 Astra Kulturzentrum Centro Culturale-Bressanone, BZ
DEC 18 NEKROPOLIS FEST 2021 – Munich, Germany

The mystical day 60s rock met neo-psych and krautrock, mixing up to the point of losing consciousness of their own essence in an overwhelming and incessant soundtrack with an unmistakable Italian taste, GIÖBIA’s acid rock was born. In a vortex that leaves no way out, the unique melodies of this quartet take the listener into a world where the boundaries of reality are no longer defined and anything can ever happen.

GIÖBIA is:
Bazu – Vocals and String Instruments
Saffo – Organs / Violins / Vocals
Detrji – Bass
Betta – Drums

https://www.facebook.com/giobiaband
http://www.giobia.com/
https://giobiagiobia.bandcamp.com/
www.heavypsychsounds.com
heavypsychsoundsrecords.bandcamp.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Giöbia, “Julia Dream”

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La Morte Viene Dallo Spazio to Release Trivial Visions March 26

Posted in Whathaveyou on January 19th, 2021 by JJ Koczan

La Morte Viene Dallo Spazio

The part that sold me on checking out La Morte Viene Dallo Spazio was the part where it says it’s a ‘solid departure from anything you will be listening to right now.’ I wasn’t actually listening to anything when I saw the press release, but the point was well-enough taken, and if you like your space rock hard-hitting and equal parts cosmic and weird, Trivial Visions will likely prove anything but. The Milano five-piece’s second record is due out in March through respected purveyor Svart Records, and while they’re not necessarily a second Big Bang, the ‘solid departure’ bit is an accurate description, if perhaps underselling the liquefaction of the record itself and its nebular swirl.

A five-minute post-Hawkwindian thrust called “Cursed Invader” is the first streaming audio to come from Trivial Visions and you can hear it at the bottom of this post.

For the sake of the universe, the PR wire:

La Morte Viene Dallo Spazio Trivial Visions

La Morte Viene Dallo Spazio – Trivial Visions

La Morte Viene Dallo Spazio (Death Comes From Space)’s name is taken from an a late 50s Italian sci-fi b-movie, and this ensemble’s cinematic odyssey of sound is like Argento, Fulci and Bava taking acid with Magma and Jodorowsky. A solid departure from anything you will be listening to right now, La Morte Viene Dallo Spazio’s free-form journeys leave you in unknown astral territory and bake your brain.

Composed of an open gathering of players, the Italian quintet combines flavours of Middle Eastern scales, droning theremin and guitars. Their flute-player’s frantic, progressive and abstract elements tear open the cosmic gates like Jethro Tull in a Giallo nightmare. The first album, ‘Sky Over Giza’, released in 2018, was a synth laden soundscape full of ancient mysticism and alien apparitions which gained them a rabid following in their home country of Italy and beyond.

La Morte Viene Dallo Spazio’s second album on Svart Records; ‘Trivial Visions’, is a wholly unique experience. An enthralling listen in a confluence of sound and ritual atmospheres that craft a both vibrant and hypnotic effect with nods to black metal and extreme ends of the sound spectrum. This vivid, dreamy and cosmic material will transfer the listener to vast sonic dimensions where one could easily lose the way back to reality. Is this Jazz, Stoner-Rock, Psych-Rock or Progressive Rock? This is La Morte Dallo Spazio and they’re in a universe of their own. Start receiving your deathly visions when the new album drops via Svart Records on the 26th of March 2021.

All songs written and composed by La Morte Viene Dallo Spazio

La Morte Viene Dallo Spazio are:
Melissa Crema – theremin, organ, synthesizers, vocals and lyrics
Stefano ‘Bazu’ Basurto – guitars, sitar and vocals
Camilla Chessa – bass
Angelo Avogadri – flute and guitars
Federico Rivoli – drums

https://www.facebook.com/lamortevienedallospazio/
https://www.instagram.com/lamortevienedallospazio/
https://lamortevienedallospazio.bandcamp.com/
http://www.lamortevienedallospazio.com/
www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords

La Morte Viene Dallo Spazio, Trivial Visions (2021)

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