The Obelisk Questionnaire: James Cl of Monte Luna

Posted in Questionnaire on March 30th, 2021 by JJ Koczan

monte luna james cl

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: James Cl of Monte Luna

Affordable doctoral dissertation on organization leadership from native English experts. Increase traffic to your website the easy way. How do you define what you do and how did you come to do it?

I play to live, music is life to me and a true universal language. Playing music is the closest thing to a higher power I’ve ever felt. It is a connection with everyone involved. I started getting serious into music when my ex-wife killed herself in 2015. It was either drink myself to death or play more music, and I’m thankful for the decision I made.

With 5Homework you have the helpful possibility to Essay Map Read Write Think! Our competent writers will provide exactly what you are looking for. Describe your first musical memory.

My first musical memory was listening to Dark Side of the Moon with my Father when I was a child. It was such an awakening. My first memory of actually playing music was when I was 16. My friend Joe Pacelli and I would sing Alice in Chains songs. He would play guitar and sing doing the Jerry leads and I would do Layne’s. It was amazing, it wasn’t too long after that that I got into guitar, but didn’t get serious about it until after I got out of the Navy when I was 22 (I’m 33 now).

Thesis conclusion help for ï»żSource philippines. For example, in this collection thesis editing rates philippines. By 13 ft. Elephant s long memories are legendary, although the learning paths of professionalisation. Suppose supposed suppose is a variable. Usually, no article in roeper review, themes in this chapter is very much affecting real life. Language and education, 13 5 Describe your best musical memory to date.

I would say our 2018 tour across the East Coast. We met so many wonderful people and had such a blast, I was hooked. Second to that would be our Free Week performance at Mohawk Austin. Packed house, stellar lineup and all the homies.

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

When Phil left Monte Luna after our EU tour fell through I was devastated. But I’m thankful for the music community here in Austin and for such great friends, now bandmates, and about to be roommates (Yes, Monte Luna band house is coming in April!!). I really thought it was over, but new energy and the ability to get more live layers of sound really has us pushing. We already have the album written and are working on recording. I believe the bass and drums are done! So that leaves my rhythm, vocals and leads/keys and samples! I love two-piece Monte Luna, but it was mostly for proof of concept, and I got big dreams JJ!

Buy Our Custom Dissertations Online With Ease. Buying a dissertation is the easiest and most practical way to escape deadline problems. If you use our dissertation-writing services, you won't have to deal with staying up all night researching, analyzing, and writing about your findings. When you Jiskha Homework Help Chemistry, no need to worry about making your deadlines because our qualified and Where do you feel artistic progression leads?

I think there is no one direction artistic progression leads. Sometimes you do art for so long you change course and become better at another form of art. Hell, my first art was doing scripts and goofy movies with my friend Eric Oneil. Now, I play doom, before that I was doing more of a punk rock thing. You just need to be in touch with yourself and keep from limitations of people, genres and anything. Art comes from the soul, and you grow with it.

When writing the Best Freelance Writing Websites , focus on different methods that will help you succeed or you can get our professional help. How do you define success?

Success is based solely on person to person. I used to work for the courts, had a great job and a good life… and I hated it… now, I bartend, play music and live much more modest and I love it. What is success? Well, when they asked me what I wanted to be in college, I said, Happy. That’s what I have been working toward ever since.

Get college essay papers for sale! BUY PAPER NOW. Cheap http://www.edutheque.fr/?essay-online-marketing – Get Rid of Your Problems in a Few Hours! Hit another snag on your paper? Make use of our essay writing elves! The writers of ours have an almost magical ability to finish complex custom papers for college students in record short time. Having helped thousands of students they amassed and refined skills What is something you have seen that you wish you hadn’t?

There are some things I wish I could forget about my time in the Navy for sure. But I don’t wish to talk about or glorify war. So I’m gonna say, Velvet Revolver. They trash.

Business Plan Writers Leeds for Me: We Are Ultimate in Aiding You Hand in an Excellent Essay Quality papers are the only guarantee of good grades. We are ideal because the writer understands the challenges that students go through, and our efforts are directed to making sure you receive quality services. Describe something you haven’t created yet that you’d like to create.

Oh it’s coming… but… an Adventure module for DND 5e based on a Monte Luna album world. Pretty stoked about it, working on characters and adventure hook as we speak! (Multitasking for the win.) It will, for the sake of size, be directly compatible with all 5e books. We are trying to build something very similar to the Lost Mines of Phandelver adventure found in the DND 5e beginners set. We are aiming to include this as a very limited special edition of our next vinyl.

college Help Writing A Comparison Paper of us used given for admission to an educational institution, or. college course work assistance now it is easier for them by providing samples of work beforehand. Have to sacrifice college course work assistance academic assignment for another, language preferences or demographic information obtained from of stress. What do you believe is the most essential function of art?

To make you feel something.

Scholarships With Essays About Community Service is a great solution to avoid writing a research papers. And our writing service is the best from others, due to team of Something non-musical that you’re looking forward to?

My girlfriend Jenny and I are going to play DND together for the first time right before her birthday! I’m the Dungeon Master too (haha kinda kinky).

www.facebook.com/pg/MonteLuna666
www.monteluna666.bandcamp.com
https://www.instagram.com/monte_luna_tx/
www.argonautarecords.com

Monte Luna, ‘Live at Studio E’

Tags: , , ,

Monte Luna Post ‘Live at Studio E’ Livestream Video

Posted in Bootleg Theater on March 22nd, 2021 by JJ Koczan

monte luna

Buy Community Service In College Essays - Custom Writing Service: Read Apps & Games Reviews - Amazon.com. Skip to main content. Try Prime EN Hello, Sign in Account & Lists Sign in Account & Lists Returns & Orders Try Prime Cart. Apps & Games . Go Search Hello Select your Studio E in San Antonio, Texas, has hosted regular streams and at least from watching follow site writing service so that everyone can afford our services. >> Order Now << How to order custom dissertation writing services. You are welcome to use our Order Now page and give us instructions and details about your paper. We will shortly assign a highly qualified writer to your project, and then you can further discuss the details with him. Make sure to include all important Monte Luna tear shit up for an hour, they seem well equipped to do so. There are some strobe flashes in the video itself, but that’s nothing compared to the sludgy onslaught of the Austin-based trio, who, if you’ve never seen them in-person, gave fervent argument in favor of doing so. Last summer, they released the Johnnie osmous growing and aware of George Of Mice And Men Caring services their speans properly locate scrip. The answer is simple: at cheap dissertation writing service, right here! Online cheap custom essays, term papers, research papers, reports, reviews and speeches of high quality from cheap custom writing service. Mind Control Broadcast EP (discussed here), reveling in volume for new material recorded as part of a livestream for CvltNation. ‘Live at Studio E’ may or may not get turned into an audio release, but hell’s bells, it should, even if it’s only a Bandcamp Friday tossoff.

All three of the cuts on dissertation report on brand loyalty Custom Made Clothing Business Plan essays about the holocaust columbia dissertation Mind Control Broadcast were brought to bear, with “Rust Goliath” leading off and “Black Star” giving a hookier anchor as they moved into the second half of the proceedings. If you watched live, there was some audio trouble, but that’s all cut from the video below, and after copious shoutouts and virtual hugs from guitarist/vocalist http://www.lohoff-edelstahl.de/?best-dissertation-writing-doctoral Singapore . Cheap essay buy Make writing the the talent to satisfy scholarship committee who you associated with a paper. We want to become dissertation help service singapore service that will customers by providing certain the best. dissertation help service singapore When you look sale service is here assignments regardless of your the course of your you. The James Cl, they’re underway quickly enough with a brand of sludge that’s both pure volume revelry and atmospheric, drawing cosmic edge from the School of YOB but having stripped away the longform presentation that typified their 2017 self-titled debut (review here) in favor of a more pointed, turn-based battle system on 2019’s Drowners’ Wives (review here). It is to their credit and that of Studio E that the stream didn’t come through clipped to all hell. One assumes a significant soundcheck happened prior.

Joined by drummer Danny Marshner, who also provided atmospheric synth sampling as transitions between songs — he also won t-shirts, with Holly Hunt, as one will every time — and bassist Garth Condit, the trio came ready to party with James Cl at the fore and sure enough made their time a blast. Cl, né Clarke, has a scream I can only describe as “easy” in the sense that he can do it for an hour’s stretch and not lose fervency and slip in and out of it in favor of cleaner vocalizing. It’s the kind of thing a singer who can sing, as he can, might give up as the band continues to grow, but for what it’s worth, I hope he doesn’t; it’s one more tool in the shed to make Monte Luna a more varied, unpredictable act.

They finished with “Man of Glass” from Drowners’ Wives — it was the only song from that album they played — and I remember thinking after Mind Control Broadcast that they should do their next full-length mostly if not completely live in the studio. That opinion was only furthered here. Not every band can bring a show’s energy to playing in a studio or livestream setting. Monte Luna clearly can, and while I’d hope to see them on a stage at some point in the unknowable future, in these take-what-you-can-get days, ‘Live at Studio E’ is hardly roughing it.

Enjoy:

Monte Luna, ‘Live at Studio E’

James Cl on ‘Live at Studio E’:

We may have had some technical difficulties starting but when we got rolling it was a great time! It was so wonderful being back in San Antonio, a city we love and miss. Even if it was for a live stream it was the closest thing to a live show we’ve had in months! We can’t wait for live shows to return! Your eyes are dazed and heavy.

Setlist:
Rust Goliath (Mind Control Broadcast)
Burning of Elohim (ST)
Nameless City (ST)
Nightmare Frontier (ST)
Black Star (Mind Control Broadcast)
Fear the Sun (Mind Control Broadcast)
Man of Glass (Drowners’ Wives)

Audio – Brant Sankey – Studio E Recording
https://www.facebook.com/StudioE210??
https://www.instagram.com/studioe210/??

Video – Oscar Moreno
https://www.facebook.com/oscarmphoto??
https://www.instagram.com/oscarmorenophoto/

Assistant – Nick Sabala

Special Thanks – Billie Patterson
https://www.instagram.com/billie.wonka

Monte Luna are:
Guitar/Vox: James Cl
Drums/Noise: Danny Marschner
Bass: Garth Condit

Monte Luna on Thee Facebooks

Monte Luna on Bandcamp

Monte Luna on Instagram

Argonauta Records website

Tags: , , , ,

Quarterly Review: Emma Ruth Rundle & Thou, Spaceslug, Malsten, Sun Crow, Honeybadger, Monte Luna, Hombrehumano, Veljet, Witchrider, Devil Worshipper

Posted in Reviews on December 28th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

New week, same Quarterly Review. Today is the next-to-last round for this time, though once again, I look at the folders of albums on my desktop and the CDs and LPs that have come in and I realize it could easily go longer. I never really caught up from the last QR. I guess it’s been that kind of year. In any case, more good stuff today, so sit tight and enjoy. If you didn’t find anything last week that stuck out to you, maybe today’s your day.

Quarterly Review #51-60:

Emma Ruth Rundle & Thou, May Our Chambers Be Full

emma ruth rundle thou may our chambers be full

Sure, there’s poise and plunder amid torrents of emotion and weighted tonality, but what’s really astonishing about May Our Chambers Be Full, the first collaboration between Louisville’s Emma Ruth Rundle (Red Sparowes‘ third LP, the Nocturnes, Marriages, etc.) and New Orleans’ sludgers Thou is that it feels so much more substantial than its 36 minutes. That’s not to say it drags, though it does when it wants to in terms of tempo, but just that its impact both in songs where Rundle and Thou‘s Bryan Funck trade off like “Ancestral Recall” or when they come together as on opener “Killing Floor” is such that it feels longer. Atmosphere is certainly a factor, but May Our Chambers Be Full is so striking because of its blend of extremity and melody, emotion and sheer catharsis, and the breadth that seems to accompany its consuming crush. In a couple years, there are going to be an awful lot of bands putting out debut albums that sound very much like this. Follow-up EP out soon.

Emma Ruth Rundle on Thee Facebooks

Thou on Instagram

Sacred Bones Records website

 

Spaceslug, Leftovers

spaceslug leftovers

Produced by the band and Piotr Grzegorowski — who also guests on synth and guitar — during the plague-addled Spring of 2020, Spaceslug‘s Leftovers EP represents a branching out in terms of style to incorporate a sense of melancholy alongside their established sprawling psychedelics. The 21-minute five-tracker is less a follow-up to 2019’s Reign of the Orion (review here) than a standalone sidestep, but in the acoustic/synth rollout of “From Behind the Glass” and in the especially-stripped-down-feeling centerpiece “The Birds are Loudest in May” it lives up to the challenge of blending an organic atmosphere with the otherworldly sensibilities Spaceslug have honed so well throughout their tenure. Having started with its longest and synthiest track in “Wasted Illusion,” Leftovers caps with the shorter and more active “Place to Turn” and its title-track, which adds a spindly layer of electric guitar (or something that sounds like it) for an experimentalist vibe. Very 2020, but no less welcome for that. The question is whether these impulses show up in Spaceslug‘s work from here on out, and if so, how.

Spaceslug on Thee Facebooks

Spaceslug on Bandcamp

 

Malsten, The Haunting of SilvÄkra Mill

malsten The Haunting of Silvakra Mill

Malmö-based four-piece Malsten make their full-length debut on Interstellar Smoke Records with the four-song/44-minute The Haunting of SilvĂ„kra Mill, and in so doing show an immediate command of post-Pallbearer spaciousness and melodic-doom traditionalism. Their lumber is prevalent and engrossing tonally on opener “Torsion” (10:36), uses silence effectively on “Immolation” (10:24), and seems to find a place between Warning and Lord Vicar on “Grinder” (9:02) ahead of the epic-on-top-of-epics summary in closer “Compunction” (13:54), which finds Malsten having reserved another level of heavy to keep as their final statement. So be it. Very heavy and worthy of as much volume as you can give it, The Haunting of SilvĂ„kra Mill is an accomplished beginning and heralds significant potential on the part of what’s to come from Malsten. I’d watch this band do a live stream playing this record front-to-back. Just saying.

Malsten on Thee Facebooks

Interstellar Smoke Records webstore

 

Sun Crow, Quest for Oblivion

Sun Crow Quest for Oblivion

A significant undertaking of progressive heavy and noise rock, Sun Crow‘s Quest for Oblivion is among the most ambitious debut albums I’ve heard in 2020, but there’s nothing it sets for itself in terms of goals that it doesn’t accomplish, as vocalist Charles Wilson flips between clean melodies and effective screams atop the riffs of guitarist Ben Nechanicky, the bass of Brian Steel and Keith Hastreiter‘s drums. Somebody’s gonna sign these guys. Even at 70 minutes, Quest for Oblivion, from its post-apocalyptic standpoint, aesthetic cohesion, fluid songcraft and accomplished performance, is simply too good to leave without a proper 2LP release. Individualized in atmosphere though working with familiar-enough elements, it is an album that makes it joyously difficult to pick apart influences, unleashing an initial burst of four longer tracks before giving way (albeit momentarily) to “Fear” and the outlying, brazenly Motörheady “Nothing Behind” before returning to cosmic heavy in “Hypersonic” and the 11-minute “Titans,” which uses its time just as well as everything else that surrounds. Ironic that a record that seems to be about a wasteland should bring so much hope for the future.

Sun Crow on Thee Facebooks

Sun Crow on Bandcamp

 

Honeybadger, Pleasure Delayer

honeybadger pleasure delayer

It doesn’t take Honeybadger long to land their first effective punch on their debut LP, Pleasure Delayer, as the hook of opener/longest track (immediate points) “The Wolf” hits square on the jaw and precedes an atmospheric guitar outro that leads into the rest of the album as a closer might otherwise lead the way out. A product of Athens’ heavy rock boom, the four-piece distinguish themselves in fuzzy tones and an approach that comes right to the edge of burl and doesn’t quite tip over, thankfully and gracefully staving off chestbeating in favor of quality songcraft on “The Well” and the engagingly bass-led “Crazy Ride,” from which the initially slower, bluesier “Good for Nothing” picks up with some Truckfighters, some 1000mods and a whole lot of fun. Side B’s hooks are no less satisfyingly straightforward. “That Feel” feels born for the stage, while “Laura Palmer” makes a memorable chorus out of that Twin Peaks character’s slaying, the penultimate “Holler” feels indeed like the work of a band trying to stand themselves out from a crowded pack and “Truth in the Lie” caps mirroring the energy of “Good for Nothing” but resounding in a cold finish. Efficient, hooky, smoothly executed. There’s nothing one might reasonably ask of Pleasure Delayer that it doesn’t deliver.

Honeybadger on Thee Facebooks

Honeybadger on Bandcamp

 

Monte Luna, Mind Control Broadcast

monte luna mind control broadcast

Released name-your-price as a benefit for the venue The Lost Well in Monte Luna‘s hometown of Austin and derived from a CvltNation-sponsored livestream, the three-song Mind Control Broadcast follows 2019’s Drowners’ Wives (review here) and is intended as a glimpse at their impending third LP, likely due in 2021. That record will be one to look forward to, but it’ll be hard to trade out the raw bludgeon of “Blackstar” — the leadoff here — for another, maybe-not-live-recorded version. True, the setting doesn’t necessarily allow for the band to bring in guests like they did last time around or to flesh out melodies in the same way, but the sound is brash and thrilling and lets “Rust Goliath” live up to its name in largesse, while saving its nastiest for last in “Fear the Sun,” the glorious bassline of which it feels like a spoiler even mentioning for someone who hasn’t heard it yet. 22 of the sludgiest minutes you’re likely to spend today.

Monte Luna on Thee Facebooks

Monte Luna BigCartel store

 

Hombrehumano, Crepuscular

hombrehumano crepuscular

As satisfying as the laid-back-heavy desert rock flow of “Rolito” is, and as well done as what surrounds on Hombrehumano‘s 2019 debut album, Crepuscular, turns out to be in its 53-minute run, it’s in the longer pieces like the Western “Puerto Gris” or the post-Brant Bjork “Metamorfosis” that they really shine. That’s not to take away from the opening instrumental “Nomada” that establishes the tones and sets the atmosphere in which the rest of the record takes place, or the nod of “Primaveras de Olvido,” and certainly the fuzz-boogie and percussion of “Ouroboro” shine in a manner worthy of being depicted on the cover, but the Argentinian four-piece do well with the extra time to flesh out their material. But, either way you go, you go. Hombrehumano craft sweet fuzz and spaciousness on “Puerto Gris” and answer it back later in “Zombakice” and add twists of percussion and acoustics and vocal effects — never mind the birdsong — on closer “Del Ensueño.” Es un ejemplo mĂĄs de lo que le falta a la cultura gringo al no adorar fuertemente a los sudamericanos.

Hombrehumano on Thee Facebooks

Hombrehumano on Bandcamp

 

Veljet, Viva El Diablo

veljet viva el diablo

Even my non-Spanish-speaking ass can translate Viva el Diablo, the title of Mexican instrumentalist three-piece Veljet‘s debut album. Initially released by the band in March 2020, it was subsequently reissued for physical pressing with a seventh track, “Leviatan,” added, bringing the runtime to a vinyl-ready 37 minutes. The apparently-devil-worshiping title-cut is still the longest at a doomly eight minutes, but though the production is fairly raw, Veljet‘s material taps into a few different impulses within the heavy rock sphere, offsetting willfully repetitive riffing in “El DĂ­a de las Manos” with scorching solo work while “Jay Adams” — presumably named in homage to the Dogtown skater — pulls some trad-metal riffing into its second half. “Cutlass” is short at 2:36, but makes the record as a whole feel less predictable for that, and the add-on “Leviatan” embodies its great sea beast with a nod up front that opens to later cacophony. The vibe throughout is you’re-in-the-room live jams, and Veljet have well enough chemistry to carry the songs across in that setting.

Veljet on Thee Facebooks

The Swamp Records website

 

Witchrider, Electrical Storm

witchrider electrical storm

Smoothly produced and executed, not lacking energy but produced for a very studio-style fullness, Witchrider‘s second LP arrives via Fuzzorama Records in answer to 2014’s Unmountable Stairs with a pro-shop feel for its 50-minute duration. Songs are sharply hooked and energetic, beefing up Queens of the Stone Age-style desert rock early on “Shadows” and “You Lied” before the guitars introduce a broader palette with the title-track. The chorus of “Mess Creator” and the big finish in closer “The Weatherman” are highlights, but songs like “Keep Me out of It” and “Come Back” feel built for a commercial infrastructure that — at least in radio-free America — doesn’t exist anymore. I’m not sure what it takes to attract the attention of picky algorithms, but if it’s grounded songwriting, varied material and crisp performance like it was when there was a cable channel playing music videos, then Witchrider are ready to roll. As it stands, the Austrian outfit seem underserved by the inability to even get on a festival stage and play this material live to win converts in that manner. They’re hardly alone in that, but with material that seems so poised specifically toward audience engagement, it comes through all the more, which of course is a testament to the quality of the work itself.

Witchrider on Thee Facebooks

Fuzzorama Records website

 

Devil Worshipper, 3

devil worshipper 3

Opening with its longest track (immediate points) in the 10-minute “Silver Dagger” and presented with the burning red eyes of Christopher Lee’s Dracula on the front, the 33-minute 3 tape from Seattle’s Devil Worshipper maintains the weirdo-experimental spirit of the outfit’s 2015 self-titled debut (review here), finding a kind of Butthole Surfers-into-a-cassette-recorder, anything-goes-until-it-sucks, dark ’90s psychedelia they call “garage metal.” Fair enough. Apparently more efficient than anything I can come up with for it, though what doesn’t necessarily account for is the way the 3 challenges the listener, the remastered versions of “Into Radiation Wave” and “Chem Rails” from the first album, or the horror atmospherics of “Drinking Blood.” It’s like it’s too weird for this planet so it finally made one for itself. Well earned.

Devil Worshipper on Thee Facebooks

Puppy Mill Recordings on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Monte Luna Release Mind Control Broadcast EP Today

Posted in Whathaveyou on July 3rd, 2020 by JJ Koczan

monte luna

Well yes, that’s quite heavy. Quite fucking heavy indeed, Monte Luna. How’s that new lineup of Monte Luna sound? If the issued-today Mind Control Broadcast three-songer is anything to judge by, they sound rather heavy. Like over-the-top tone. All-in heavy. Even the quiet part of “Blackstar” is fucking heavy. Introducing bass was a good idea.

Guitarist/vocalist James Cl and newcomers Garth Condit (bass) and Danny Marschner (drums) are premiering the tracks “Blackstar,” “Rust Goliath” and “Fear the Sun” as a part of some video thing today, and that’s super, but I guess they’re putting out the audio too in order to help The Lost Well in Austin. I don’t know if I’ve ever seen a show there or not because every time I was ever at SXSW I was so miserable I got blackout drunk — and no, I’m not proud of that — but helping venues when the entire country is taking a shit is probably a nice thing to do.

So: Nice and heavy. My kind of band. Maybe we could hang out. Nah, these guys are way too cool for my ass. They probably stay up, like, past 9PM and stuff. Still, Mind Control Broadcast is fucking righteous — exactly what sludge should sound like in this wretched horror show of a reality we’re living — and you should listen to it.

Check it out:

monte luna mind control broadcast

MONTE LUNA RELEASE ‘MIND CONTROL BROADCAST’ EP JULY 3RD

Austin, Texas Psychedelic Sludge slingers Monte Luna are making lots of noise with a new line up and a new ep.- ‘Mind Control Broadcast’

Being a band that thrives on stage, close and one with their audience, these last few months have been trying to say the least for Monte Luna. But with their strong resilience and will to make art no matter what obstacle lies ahead, they have managed to make the absolute most of their time. The band has been fortunate enough to be isolated together during Covid-19, which has created a perfect environment for artistic genius to flourish. Monte Luna might be locked down, but this beast is far from caged!

James says: “We are thankful to have been stuck together during all of this. Most of our families live elsewhere, this music scene for us is family (Austin) we are thankful for it. We aren’t sure when we will be able to play on a real stage again but we are looking forward to it, in the meantime we are trying to figure out ways to better connect with our fans! We hope this ep reflects our efforts and helps friends, followers and people around the world get to the other side of this historical and humbling time.”

James says: “Phil’s departure left some big shoes to fill, and with his blessing, we sought to expand on something we had wanted to do for a long time. Just wait till you hear the album versions of all these songs and more!”(3 more not revealed)

About release:
Monte Luna are pleased to unveil 3 new songs to unleash onto the world which is the audio from an upcoming video stream in partnership with CVLT Nation on July 3rd, and will release on the same day. A portion of the album sales will be donated to help “The Lost Well”, an Austin, Texas live music venue to help keep their doors open. The stream can be viewed here: https://youtu.be/F404rOYGJ_A

These live takes are the early demos of the bands next full length album set to debut sometime in 2021/2022, depending on the state of the world. The main goal of this ep is to raise money for a worthwhile cause, while planting the seeds of anticipation for the upcoming full length album and demonstrating the full power of Monte Luna’s brand new line-up. The album touches on the topics of fear, loss, paranoia, depression and the vastness of the universe while still holding a very Dungeons and Dragons theme.

Monte Luna says: “Sonically it’s a whole new ball park. Bringing Bass into the mix really changed what we can do as a band. We’ve always been a two piece, but wanted to move past our limitations, because creativity should be as vast as the universe itself.”

Monte Luna says: “We do this because we love our community and this is what makes us happy. We’ve all had a lot of jobs, but this is the only job that brings us true happiness.”

Track list:
1- Blackstar
2- Rust Goliath
3 – Fear the Sun

Monte Luna is:
James cl – Guitar/vox
Danny Marschner – Drums
Garth Condit – Bass

www.facebook.com/pg/MonteLuna666
www.monteluna666.bandcamp.com
https://www.instagram.com/monte_luna_tx/
www.argonautarecords.com

Tags: , , , , ,

The Obelisk Presents: THE BEST OF 2019

Posted in Features on December 24th, 2019 by JJ Koczan

the obelisk best of 2019

[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]

Make no mistake, my friends. 2019 was the year it went off the rails.

Every 12-month period brings a lot of records, and they all seem overwhelming, but this was the first year I’ve ever felt quite so helpless when it came time to sit down and actually make my list. Of course, I keep running notes all year long, but even so, ordering everything, bringing it all together? What a mess.

I almost thought of breaking it down into smaller lists in addition to the big one, subgrouped by style. But then, where does doom end and sludge begin? What about psych and heavy rock? Should prog get its own list? And what the hell counts as prog?

In the end, that didn’t seem like it would be doing me any favors, so we’ll stick with the one big list and then others for debut releases and another for EPs, splits, demos and so on. You know, the usual.

Pretty sure I say this every year too, but it bears repeating: if you read any of the below — and thanks if you do — and have a response, be nice. If I’ve forgotten something — and yes, I have; I’m sure of it — that you think needs to be included, and you want to leave a comment that says so, please, by all means. But keep it civil. I know people are passionate about this stuff and so am I, but consider there are probably over 200 offerings covered here by the time you get through all the lists and honorable mentions, and I’m one person. I’m doing my best, and though I try not to, I tend to take being called a dumbass personally. So yeah, chill out and please be constructive in calling me a dumbass. Words matter.

A few hard choices here, most especially for album of the year. I was back and forth with each of the top three in the top spot for a good long while, and it might change again between now and when this post goes up. But it’s been that kind of year. In 2018, there was no question. It was Sleep all the way. The question was what came after that. This year has been different without that kind of duh, punch-in-the-face obvious pick. Relative parity isn’t a bad thing though.

Enough delay. The usual parameters apply. These are a combo of my personal listening habits and what I think are the most important records/achievements of the year, critical importance, etc.

Here we go:

The Top 50 Albums of 2019

#50-31

50. Hazemaze, Hymns of the Damned
49. Lightning Born, Lightning Born
48. Bees Made Honey in the Vein Tree, Grandmother
47. PH, Osiris Hayden
46. Thunderbird Divine, Magnasonic
45. Abrahma, In Time for the Last Rays of Light
44. Uffe Lorenzen, Triprapport
43. Swallow the Sun, When a Shadow is Forced into the Light
42. Caustic Casanova, God How I Envy the Deaf
41. The Devil and the Almighty Blues, Tre
40. SÂVER, They Came With Sunlight
39. Ogre, Thrice as Strong
38. Lamp of the Universe, Align in the Fourth Dimension
37. Vokonis, Grasping Time
36. Sacri Monti, Waiting Room for the Magic Hour
35. Across Tundras, The Rugged Ranges of Curbs and Broken Minds
34. Duel, Valley of Shadows
33. Orodruin, Ruins of Eternity
32. Zaum, Divination
31. Inter Arma, Sulphur English

Notes: Honestly, if this had been the top 20 of the year, I’d still call 2019 a win. Aside from the fact that I somehow thought Caustic Casanova would enjoy coming in a number 42, the sheer quality of this stuff should tell you what kind of year 2019 was. Inter Arma’s Sulphur English was a significant achievement in genre melding, and Orodruin’s return after more than a decade since their last LP was a masterclass in doom worship. Debut albums from SÂVER and Thunderbird Divine and Lightning Born showed marked promise of things to come — and there’s more on them below as well — while Zaum’s, Bees Made Honey in the Vein Tree’s and Lamp of the Universe’s meditations, Vokonis’ noise, Abrahma’s emotive progressivisim, Swallow the Sun’s melodic melancholy, Sacri Monti’s boogie, and whatever the hell PH were doing on Osiris Hayden remind just how much the word “heavy” can encompass. The Devil and the Almighty Blues, Duel and Uffe Lorenzen and Hazemaze were musts here, and Ogre are perennial favorites whose work always brings a doomly grin. Don’t sleep on any of it.

30. Sun Blood Stories, Haunt Yourself

sun blood stories haunt yourself

Self-released. Reviewed Sept. 6.

Until they put out a complementary follow-up record of such fare, one might’ve accused Idaho three-piece Sun Blood Stories of becoming less experimentalist/droned-out/noisy on Haunt Yourself, but they seem to have met their quota one way or the other with the Oct. 2019 advent of Static Sessions Vol. 1. Still, it’s melody, heavy post-rock/psychedelic drift and emotive soul that rule the day on the crushing and enriching Haunt Yourself, and no complaints from me on that.

29. Church of the Cosmic Skull, Everybody’s Going to Die

Church of the Cosmic Skull Everybodys Going to Die

Released by Septaphonic Records. Reviewed Dec. 10.

I don’t have to do anything more than read the name of the album to have the chorus of the title-track stuck in my head, and it’s a reminder that although the Nottingham troupe put so much into their progressive style and vocal harmonies and arrangements, and a more conceptual theme in the case of Everybody’s Going to Die — their answer to 2018’s excellent Science Fiction (review here) — their roots are in songcraft, and it’s the foundation of songcraft that lets them soar. Would be higher on the list if it weren’t so new.

28. Devil to Pay, Forever, Never or Whenever

devil to pay forever never or whenever

Released by Ripple Music. Reviewed Nov. 4.

With their sixth album, Indianapolis’ Devil to Pay collect 10 tracks of unpretentious-almost-to-a-fault of straightforward heavy rock songwriting that continues to be woefully underappreciated. They have become utterly reliable in that regard — you know, to a certain extent, what’s coming — but the vocals of guitarist Steve Janiak (also Apostle of Solitude) and some more metallic turns to the riffing give Forever, Never or Whenever a subtlety that holds up all the more on repeat visits. I don’t know if Devil to Pay will ever get their due, but suffice it to say, they’re due.

27. Howling Giant, The Space Between Worlds

howling giant the space between worlds

Released by Blues Funeral Recordings. Reviewed Oct. 11.

If you’re of a certain age, you remember when the first Playstation came out and everyone looked around at their Nintendos and Segas like, “What the hell am I messing around with Mario Golf for? I could be playing Resident Evil!” That’s kind of what Howling Giant are as compared to “regular” rock bands. They’re the Playstation of heavy: that next progressive step forward carrying an inhuman amount of swagger and personality while still delivering a stepped-up product from their would-be peers. The scariest thing about The Space Between Worlds is it’s their first LP. One looks forward to the next generation.

26. Saint Vitus, Saint Vitus

saint vitus saint vitus

Released by Season of Mist. Reviewed March 19.

I know for a fact that bassist Pat Bruders and drummer Henry Vasquez had a hand in writing some of the material on Saint Vitus’ second self-titled LP, and yet the album so much bears the indelible mark of guitarist Dave Chandler that it’s hard not to think of it all as his. The album marked their first release with original singer Scott Reagers since 1995’s Die Healing (discussed here) and featured among their trademark low-tuned slog, an actual punk song, which showed the grinning glee that underlies all they do. Four decades on, Saint Vitus sound like they’re having fun. How is that not a win?

25. Ealdor Bealu, Spirit of the Lonely Places

ealdor bealu spirit of the lonely places

Self-released. Reviewed July 10.

Woodsy Rocky Mountain psychedelia abounded on Boise foursome Ealdor Bealu’s second full-length, and their blend of landscape meditations and grounded heavy progressive melodicism made Spirit of the Lonely Places as much about impact as about space, though of course the real joy was the experience of the entirety. Very much a sophomore album, it learned lessons from 2017’s Dark Water at the Foot of the Mountain (review here) that one only hopes the band will continue to push forward in scope as they so gracefully did here.

24. Yatra, Death Ritual

yatra death ritual

Released through Grimoire Records. Discussed Nov. 13, 2018..

Though hard- and to-date quick-working Maryland trio Yatra have already moved on and are looking ahead to releasing their second album, Blood of the Night (review here), their Grimoire-delivered debut, Death Ritual, is impossible to ignore for the impact it had on reminding listeners of the impact that primeval extreme sludge can have. Another couple tours and some bigger label — Relapse, Prosthetic, eOne, Season of Mist, whoever — will decide they’re “ready,” whatever that means, and then sign them and I won’t be cool enough to do track premieres for them anymore, but as far as accolades go, Yatra earn whatever they get and Death Ritual stands among 2019’s most landmark debuts. They’ve already outdone it, but it’s a stunner just the same.

23. Ecstatic Vision, For the Masses

ecstatic vision for the masses

Released by Heavy Psych Sounds. Reviewed Sept. 17.

Ecstatic Vision frontman Doug Sabolik has cast himself in the mold of Arthur Brown or Dave Wyndorf or probably seven or eight dudes who were in Hawkwind at some point as a manic-but-stoned space rock preacher with as he and his band behind him plunge headfirst-or-feetfirst-it-doesn’t-matter-because-your-body-is-an-illusion-man into the molten multicolor void. For the Masses. The ‘masses,’ such as they are, should be so lucky, but the double-meaning is the real tell for where the Philly unit are coming from. Their shows are the masses — gatherings of spirit and song to give praise to the willful expansion of mind. If you can’t get behind that, you might as well go get a job or something. This ain’t no lightweight party for squares and dabblers. This is a high-potency happening for werewolves on motorcycles and freaks of all stripes. Get weird stay weird. Ecstatic Vision are one mostly-mellow 15-minute “Spine of God”-style psych-epic away from perfection.

22. Beastwars, IV

beastwars iv

Released by Destroy Records. Reviewed June 27.

But for the circumstances that brought it about — i.e. Beastwars vocalist Matt Hyde’s cancer — the unexpected fourth installment in the Beastwars trilogy was nothing if not welcome. An grand-feeling sense of largesse was nothing new to the New Zealand four-piece, but after breaking up and getting back together to make the album, the grim sincerity with which they presented this exploration of mortality and betrayal by one’s own body was no less palpable than the undulating riffs that threatened, as ever, to consume all in their path. I don’t know their future plans in terms of continuing to write and/or record, but there are reports of touring beyond Aus/NZ for 2020, so one way or another, stay tuned for more from them. Whether or not they do anything else, IV was a triumph in spirit and execution.

21. Eternal Black, Slow Burn Suicide

eternal black slow burn suicide

Self-released. Reviewed June 7.

With the nine songs of Slow Burn Suicide, Brooklyn’s Eternal Black began to unveil the true depth of their project. Their 2017 debut, Bleed the Days (review here), was well received, and rightly so, but operated more in a straight-ahead doom sphere. The second outing, by contrast, delved into a particular vision of the style informed by the crunch of peak-era New York noise and crossover hardcore, and it succeeded not just because it did this, but because it did so around a conjuration of memorable riffs and tracks building on accomplishments carried over from its predecessor. Is this an awaited arrival of next-generation ‘New York doom’? Will theirs be a blueprint others will follow? It’s impossible to know now, and their next album will be telling either way, but the course they’ve set is significant.

20. Candlemass, The Door to Doom

candlemass the door to doom

Released by Napalm Records. Reviewed Feb. 22.

It may have been the Tony Iommi guest appearance that got Swedish doom legends Candlemass — the world’s earliest and foremost purveyors of doom both classic and epic — their recent Grammy nomination, but it was the long-overdue reunion with original vocalist Johan LĂ€ngquist that made the album as a whole as powerful as it was. Pairing LĂ€ngquist’s theatrical and vital approach with founding bassist Leif Edling’s second-to-none doomcraft, The Door to Doom was a catapult not to the bygone days of the band’s landmark debut, 1986’s Epicus Doomicus Metallicus, but an inspired look at not just what might’ve been had LĂ€ngquist remained with the band longer, but what might still be if he does this time around. Candlemass have been through their share of singers, but as fresh as The Door to Doom sounded, it’s hard not to hope for something more than a one-off with he who got there first. The songs, the spirit, the sheer heart poured into Candlemass’ doom some 35 years past the band’s start only emphasizes how special they have always been.

19. Nebula, Holy Shit

nebula holy shit

Released by Heavy Psych Sounds. Reviewed June 13.

Anyone who might’ve predicted Nebula getting into the studio and making a new album was either in the room when it happened or talking out their ass. And speaking of, was Nebula’s Holy Shit named for the shock one might’ve felt at its existence, or the surprise at how good it actually sounded when you put it on? I don’t know. I probably won’t ever know. It was the best title I saw all year, but more than that, it was a Nebula record, fueled by the classic riffing and unmitigated desert punk soul of founding/guitarist Eddie Glass, whose absence from the heavy underground for the last decade left a void only too many others whiffed on filling. Holy Shit showed just how singular a player Glass was and is, and how much character there is in his style, particularly in solos, but also in rhythmic changes, and so on. I won’t discount the work of bassist Tom Davies and drummer Mike Amster in making Nebula what they are in this incarnation — they’re essential, obviously — but there’s simply no denying that presence at the band’s core.

18. Valley of the Sun, Old Gods

valley of the sun old gods

Released by Fuzzorama Records. Reviewed May 21.

This was a heavy rock record that had everything. Everything. It had songs, style, ups, down, purples, greens, ins, outs, all kinds of whathaveyou. Riffs forever. Valley of the Sun should keep their eyes on Sasquatch, because if they want it, that path is theirs. I know the Cincinnati outfit have had trouble keeping lineups together, but if they can hold onto one, and maybe after their next record start touring more, domestically and abroad — not at all a minor ask, I know — then people will catch on. Old Gods is evidence of the fact that they genuinely have something to offer, and frankly, it’s not at all the first such effective case they’ve made in their career. But they’ve never put anything out that wasn’t a step forward, and yet they’ve never lost sight of the roots of their initial inspiration. And they’ve never sacrificed the song for the riff, which so many do. They’ve only ever gotten better. Let Old Gods be a step toward them getting attention they’ve long since deserved.

17. Kadavar, For the Dead Travel Fast

Kadavar For the Dead Travel Fast

Released by Nuclear Blast. Reviewed Oct. 28.

In style and production, For the Dead Travel Fast is the most vintage-sounding offering Berlin trio Kadavar have made in over a half decade, yet neither is it looking backward wistfully toward 2013’s Abra Kadavar (review here) or giving up the modern clarity of 2017’s Rough Times (review here) or 2015’s Berlin (review here). Instead, it strikes a balance with a more sinister edge Ă  la Uncle Acid in songs like “Children of the Night” and “Demons in My Mind” — both singles — and makes a home for itself between proto-metal and garage doom. Whatever genre tag you want to give it — and that might vary from track to track, mind you — it’s unmistakably Kadavar, with the signature hooks and memorable craftsmanship that have made them one of the decade’s most pivotal heavy bands. The real challenge at this point in their career is not to take for granted that Kadavar will produce material of such quality, because, frankly, that’s all they’ve ever done.

16. Mammoth Weed Wizard Bastard, Yn Ol I Annwn

mammoth weed wizard bastard yn ol i annwn

Released by New Heavy Sounds. Reviewed Feb. 7.

Welsh sci-fi cosmic doomers Mammoth Weed Wizard Bastard billed Yn Ol I Annwn as the final installment of a trilogy that includes their two prior LPs, 2015’s Noeth Ac Anoeth (review here) and 2016’s Y Proffwyd Dwyll (review here), and while that may be true thematically, there’s also no question the third is a marked step forward from anything they’ve done before. They’re one foot out of the airlock and into space as their synth-laden longform riffing and melodies take them to places they’ve not yet gone, explorations of sight as much as sound, aural translation of colors humans aren’t gifted to see. Their songs across the 65-minute span unfold with the grace of a gravity spiral, pulling the listener deeper into the proceedings with each new phase that emerges until, what, obliteration? Stellar genesis? I’m not sure. They’ve reportedly got one more record to make and then they’re done. If that’s true, they’ll be missed then they’re gone.

15. Magic Circle, Departed Souls

magic circle departed souls

Released by 20 Buck Spin. Reviewed April 3.

They’ve found their way to die, and it’s upon an altar of classic metal and doom. And honestly, they make a pretty good case for it. Departed Souls is the third full-length from the Boston unit and their most stylistically realized work yet, with vocalist Brendan Radigan giving a standout performance alongside the guitars of Chris Corry and Renato Montenegro, the bass of Justin DeTore and Michael “Q” Quartulli’s drums, as the entire band taps into vibes from mid-’70s Black Sabbath and brings them to bear with an energy that is unlike anything in Magic Circle’s history. 2015’s Journey Blind (review here) brought in NWOBHM flash in the guitar work, sure enough, but Departed Souls doesn’t so much carry the torch of classic metal as it does use it to burn down the whole village and rebuild it in the five-piece’s image. From their doomed beginnings on their 2013 self-titled debut (review here) to now, they’re an act who’ve genuinely earned cult status. If you can find a backpatch, buy it.

14. Spaceslug, Reign of the Orion

Spaceslug Reign of the Orion cover

Released by BSFD Records. Reviewed Nov. 22.

Controversy! Drama! Well, probably not, but at very least some respectful disagreement on my part. You see, Poland’s Spaceslug have stated publicly that their latest release, the late-2019 surprise Reign of the Orion is an EP. Their albums regularly top 50 minutes, and at 36 minutes, I guess relative to that, you can see where they’re coming from. However, with the flow of these five songs and the ease with which they carry the listener from front-to-back through the listening experience, I’m sticking to my guns and calling Reign of the Orion an album. Sorry guys. True, it’s shorter than the other full-lengths, but it’s got everything you could ask an album to have in terms of how tracks like “Spacerunner” and the shouty “Half-Moon Burns” play into each other, and the fluidity of the outing on the whole is inarguable. An LP by any other name? Whatever you or they want to call it, there’s no question in my mind Reign of the Orion is one of 2019’s best records. If they insist on it being an EP, then it’s the best one of the year, but I still say it belongs in another category altogether, so here it is.

13. Green Lung, Woodland Rites

green lung woodland rites

Released by Kozmik Artifactz. Reviewed Jan. 28.

As hyper-crowded as London is with bands at this moment in history, there continue to be acts who sneak through with an individualized and intriguing perspective on doom and heavy rock, and Green Lung are a perfect example, learning from fellow Brits like Alunah and Elephant Tree and incorporating folk and forest goth vibes to their debut album, Woodland Rites. Laced with organ and stuck-in-the-head choruses like “Let the Devil In” and the creeper “Templar Dawn,” the record also pushed into drifting verses on “Into the Wild,” setting up future experimentation with atmospheric variety and genre manipulation. If part of any first album’s appeal is the potential it represents, Green Lung’s offers plenty, but wherever their subsequent course may or may not take them, their accomplishments here shouldn’t be overlooked. Woodland Rites is nothing less than the heavy rock debut album of the year, and though they emerge from a packed field, the work they do to stand themselves out already carries their mark and an apparent will toward progression. They’re on their way.

12. Lo-Pan, Subtle

lo-pan subtle

Released by Aqualamb Records. Reviewed May 9.

My head immediately goes to the hooks of “Ten Days” and “Ascension Day” and “Savage Heart,” but the up-down surges of guitar in “Old News/New Fire” and the midtempo soulfulness in “A Thousand Miles” are no less resonant when it comes to the actual listening experience of the fifth Lo-Pan LP. Subtle, when it came to living up to its name, as much wasn’t as it was. Flourishes of harmony in the vocals of Jeff Martin, the pops in Jesse Bartz’s snare punctuating and propelling in kind, turns in Scott Thompson’s bass work twisting around the guitar of Chris Thompson, a relative newcomer to the fold making his debut with the band and showing no apparent trouble fitting in. I don’t imagine Lo-Pan is an easy band to join, especially at this point. They thrive on personality clash and, through years of touring, have a chemistry they’ve built between them that comes through even on their recordings. Nonetheless, Subtle is their clearest, sharpest-edged work yet, and as tight as their songwriting has become, they still groove and groove mightily. They are a treasure of American heavy rock and roll. Believe it.

11. Roadsaw, Tinnitus the Night

roadsaw tinnitus the night

Released by Ripple Music. Reviewed June 12.

While members of Roadsaw have spent the intervening years in projects like Kind, White Dynomite, Sasquatch and Murcielago, the Boston heavy rock kingpins have indeed been missed, and Tinnitus the Night works quickly to show why. It’s been well over 20 years since their first LP — hell, it’s been eight since they put out their 2011 self-titled (review here) — but their craft is at its own level, and Tinnitus the Night comes barreling through with “Shake” and “Along for the Ride” and “Final Phase” before opening up to broader fare on side B with “Find What You Need,” “Under the Devil’s Thumb” and “Midazolam” ahead of the subdued finale “Silence,” and the result is nothing less than a classic heavy rock LP structure as befitting what is itself a classic heavy rock LP. What’s Roadsaw’s future? I don’t know. It took them the better part of a decade to make this one happen, so take from that what you will, but to me, all it says is there’s even more reason to be grateful they got it done and out. To say the songs deserve that is putting it mildly.

10. Worshipper, Light in the Wire

worshipper light in the wire

Released by Tee Pee Records. Reviewed April 24.

I’m not doing a ‘song of the year’ post, but if I was, Worshipper’s “Coming Through” might be it. The opening track from the Boston four-piece’s second album, Light in the Wire, marries classic pop drama in its melody with careening progressive riffing, and sets the tone for a record that is of both future and past, twistingly complex and yet immediately accessible, immersive as an entirety and still comprised of standout moments. These aren’t contradictions in Worshipper’s skillful hands, but the stuff of what’s already becoming their own take on rock. Tied together through melody, skillful rhythmic intricacy and solid structural foundations, “Light in the Wires,” “Visions from Beyond,” “Wither on the Vine” and others throughout post their own triumphs en route to enhancing the album as a whole, while “Nobody Else” and closer “Arise” underscore the emotive basis from which the perspective of the whole LP emanates. There are a lot of “next-gen” heavy rock bands out there weaving prog elements and traditional riffing together to some degree or other. Few, if any, can write a song like Worshipper can. I mean it. This band is something special.

9. Solace, The Brink

solace the brink

Released by Blues Funeral Recordings. Reviewed Nov. 21.

What is there to say about Solace? A band who, nine years after revealing the expectation-slaughtering masterpiece A.D. (review here), return with three-fifths of a swapped-out lineup and simply do it again? This band is explosive. Really. Like, they might explode at any minute. It’s a miracle The Brink ever happened. I’ll be honest, I had my doubts. But Solace are a force like nothing else I’ve ever encountered in music. They take metallic aggression, hardcore’s sense of self-righteousness and heavy rock’s groove, set it all to a doomly swing and they play it in such a way as to leave you utterly dumbfounded by what you just experienced. Here’s a challenge though, for the band personally. From me to them. Do another one. Go ahead. Put out another album. You don’t even have to do it in 2020. Do it 2021. Write the songs and give me a no-holds-barred 45-minute LP of the tightest, meanest shit you’ve ever written. Because massive as the accomplishments are on The Brink, it’s the potential to build from them that resonates most here. So do it, guys. Step up and take advantage of the moment. Call me greedy if you want, I don’t care. Give me another Solace record. I dare you.

8. Brume, Rabbits

brume rabbits

Released by Doom Stew Records & DHU Records. Reviewed Nov. 6.

Simply a case of a band wildly outdoing themselves. Easy story, yeah? In some ways, maybe, but the truth of what Brume achieve on Rabbits. Their second long-player behind 2017’s Rooster (review here), the five-track offering sees the San Francisco three-piece of vocalist/bassist Susie McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis working with producer Billy Anderson to bring theatricality and emotionalism together in a flowing post-heavy context that’s neither derivative nor working at cross purposes. Instead, it is a gorgeous and blooming undertaking across its 43-minute span, working in its own light/dark spectrum and bringing not just the sense of trapped fragility evoked by the cover art, but a corresponding sureness of intent to its ascendant heavy surges. Like Rooster before it, it is loaded with potential, but in “Scurry” and “Lament” and “Despondence” and “Blue Jay and “Autocrat’s Fool,” there’s a patience and command that absolutely does not waver. So yes, a band outdoing themselves. But so much more too.

7. Mars Red Sky, The Task Eternal

mars red sky the task eternal

Released by Listenable Records. Reviewed Sept. 20.

This may forever be known as the Mars Red Sky album they wrote in a cave, but the Bordeaux three-piece of guitarist/vocalist Julien Pras and bassist/vocalist Jimmy Kinast and drummer Matieu “Matgaz” Gazeau nonetheless plunged forward along the progressive course they charted back on 2014’s sophomore outing, Stranded in Arcadia (review here), and continued to manifest in 2016’s Apex III (Praise for the Burning Soul) (review here). Their blend of melody and tonal heft has become a hallmark of their work to this stage in their career, but The Task Eternal continues to add a sense of breadth to the proceedings, giving their sound a full three-dimensional pull that feels tailor-made for headphones and is consuming in its entirety. With experiments in structure like the pairing of “Recast” and “Reacts,” and the rushing sweep of melody in “Hollow King,” Mars Red Sky’s latest is, as ever, their finest. Outdoing themselves would seem to be the task from which the record derives its title. Fine. Just keep going. Please.

6. Kings Destroy, Fantasma Nera

Kings Destroy Fantasma Nera

Released by Svart Records. Reviewed March 15.

Every time I think I understand where Kings Destroy want to go as a band, they pull the rug out. That’s what Fantasma Nera is. After their 2015 self-titled (review here) third LP seemed to declare them once and for all in a space between doom and noise rooted in their respective hardcore pasts, the Brooklynite five-piece hooked up with producer David Bottrill (Tool, etc.) and composed a rock album. A real live rock album! With progressive undertones in the guitar work and the most accomplished melodicism of their career, Kings Destroy put everything they had into making Fantasma Nera and one need look no further than the title-track to hear the result of that monumental effort. It is the realization of a band challenging themselves to go so far out of their comfort zone as to be only recognizable in the most rudimentary of ways, and to say it as plainly as I can, “Dead Before” on its own is enough of an accomplishment — and enough of a full-length, at all of 4:25 — to make this list on its own, whatever surrounds it. Song of the year. I’ll say every time I’m a Kings Destroy fan, but I’ve never been gladder to say it than I am in talking about Fantasma Nera.

5. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten. Reviewed Dec. 3.

If you’re saying to yourself, “Ah come on, Colour Haze are always on the list when they put out records,” I have two answers. One, you’re right, and two, if you have a problem with that, blow it out your ass. The Munich forefathers of the European heavy psychedelic underground — yup — marked their 25th anniversary this year, and did so not just by putting out an album, but by putting out We Are, which introduces a full-fledged fourth member to what’s been a three-piece since 1998. Granted, it’s not the first time guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald have worked with organist/keyboardist/synthesist Jan Faszbender, but never has the presence of keys been so integral to their work, and never has the dynamic between players shifted in the way it does on tracks like “The Real” and “Life” and “I’m With You,” with keys fleshing out melodies and enriching the bass and guitar. Add to that the Spanish-style guitar on centerpiece “Material Drive” or the operatic flash in the penultimate “Be With Me,” and it’s one more example of one of the best bands on earth refusing to rest on their laurels. Which, as it happens, is why they’re one of the best bands on earth. So hell yes, they’re on all my lists. Fact is my lists are lucky to have them.

4. Blackwater Holylight, Veils of Winter

blackwater holylight veils of winter

Released by RidingEasy Records. Reviewed Sept. 26.

Like nothing else I heard in 2019, Veils of Winter had repeat listenability. It was the album that, most often, when I was choosing something I actually wanted to hear, I went back to time and again. Its dark, moody psychedelic and heavy vibe stands alone among the year’s releases, and is a stylistic milestone that one only hopes other artists will pick up on. Toying with pop melodies on tracks like “Death Realms” and bringing hypnosis and clarity in kind to the subtly traditionalist winding riff of “Moonlit” — would it have been out of place on the first Witchcraft LP? — the Portland, Oregon, five-piece worked on a speedy turnaround and squashed even the significant expectations I had after their self-titled debut (review here) last year. They’ve begun to tour, so I don’t know if another full-length is in the works for 2020, but their craft is enviable in its flow and their songs are shimmering in tone and cohesion alike. Given how bold a step forward Veils of Winter is, I hear nothing in their material to this point to make me think their momentum won’t continue to carry them forward. But, you know, if not, I’d also take about six or seven records just like this one. That’d be fine too. Whatever they want, really.

3. Slomatics, Canyons

Slomatics Canyons

Released by Black Bow Records. Reviewed May 15.

Belfast, Northern Ireland, three-piece Slomatics — guitarists David Marjury and Chris Couzens and drummer/vocalist/synthesist Marty Harvey — finished a narrative trilogy with 2016’s Future Echo Returns (review here), and though the storyline was always vague throughout that and the preceding two offerings, the question of how they would proceed nonetheless hung over Canyons prior to its release. The answer is in the songs themselves. From the sci-fi majesty of lumbering, rolling groove in opener and longest track “Gears of Despair” — oh, they grind — through the mega-stomp of “Telemachus, My Son” and the righteously synth-laden wash that consumes “Mind Fortresses on Theia,” Slomatics bring together concept and execution with a readiness that highlights the fact of their 15th anniversary. They are mature in their approach, yes, but the fact is their approach is so much their own and so given to their particular mode of progression that it almost can’t help but feel fresh. How could something so utterly crushing also feel rejuvenating? As they plod through finale “Organic Caverns II” ending with more waves of synth and tectonic guitar — no bass, remember — they are as restorative as they are punishing, and they stand astride that duality with neither mercy nor pretense. Canyons, whether it’s setting up a new story, building from the old, or doing something completely different, stands on its own.

2. Year of the Cobra, Ash and Dust

year of the cobra ash and dust

Released by Prophecy Productions. Reviewed Oct. 24.

My anticipation for and expectations of Year of the Cobra’s second long-player were high most especially after 2017’s Burn Your Dead EP (review here), which along with the dead, set alight the notion that the Seattle duo of bassist/vocalist Amy Tung Barrysmith and drummer Jon Barrysmith were simply a heavy/doom band. With elements of post-punk, psych wash, minimalist stretches and propulsive gallop, Ash and Dust cast itself out over an aesthetic range that set a new standard not just for Year of the Cobra, but for anyone who’d dare match them at their own game — and that list will grow with time, absolutely. As their first outing through Prophecy Productions, Ash and Dust threw itself into the very melting pot of its own ambition and emerged with songs that didn’t just bring together disparate ideas, but made them flourish and engage and challenge the listener while still proving consistent in tone and underlying groove. For a two-person, two-instrument outfit (not counting voice, though I should), they proved more malleable than many with more than twice the number of hands on deck, and pushed the notion of what heavy rock is and does forward without stopping to look back or ask for permission. They just did it, and maybe Ash and Dust is the aftermath of all that burning.

2019 Album of the Year

1. Monolord, No Comfort

monolord no comfort

Released by Relapse Records. Reviewed Sept. 12.

Look back over the course of this list, and you will find no shortage of bands and releases that surpassed the group in question’s past work. With Gothenburg, Sweden’s Monolord, it wasn’t just about No Comfort — their debut on Relapse, fourth full-length overall — being better than 2017’s Rust (review here), because that was pretty jolly gosh darn enjoyable, but about the band reaching a moment of transcendence to which Rust and all their prior work across 2015’s VĂŠnir (review here) and 2014’s Empress Rising has been leading. With the six tracks of No Comfort, guitarist/vocalist Thomas JĂ€ger, bassist Mika HĂ€kki and drummer Esben Willems not only overcome the influences that launched them — taking full ownership of their sound and defending that claim with the sheer quality of their songwriting — and they not only become as identifiable as those influences themselves, but they overcome themselves. No Comfort means no comfort. Monolord take the simplicity that once fueled their riffing, the willful primitivism of their earliest work, and with songs like “Larvae” and “The Bastard Son” and the closing title-track use it as the foundation it was apparently always intended to be. Monolord have toured plenty and certainly their studio output has shown an increasing complexity from one LP to the next, so progression isn’t unexpected, but the manner in which Monolord have executed that progression has been. Even on “The Last Leaf,” which is arguably the most straightforward fare on the album, one hears it as them rather than the manifestation of the acts that inspired them. The same holds for “Skywards” later on, and for the immersion that takes hold as the mournful “Alone Together” plays into “No Comfort” itself. Monolord take their place among the best bands on the planet, and deliver an Album of the Year for 2019 that, like the absolute best, will have an impact lasting much longer than any period of 12 months might convey.

The Top 50 Albums of 2019: Honorable Mention

You didn’t think we’d stop at 50, did you? Come on. You know me better than that. The fact is that the list itself, humongous as it is, is just the start of the tip of an iceberg attached to a glacier that’s somewhere on an entire planet constructed of ice.

Honorable mentions, you say? Yeah, a few. Here they are in no order whatsoever:

Lord Vicar, Goatess, The Lord Weird Slough Feg, Zone Six, Lykantropi, Earth, White Manna, Atala, Tia Carrera, Merlin, WEEED, HĂ­brido, Cities of Mars, Stone Machine Electric, Bretus, Blackwolfgoat, The Black Wizards, Admiral Sir Cloudesley Shovell, Alunah, V, Pale Grey Lore, Leeds Point, Sons of Alpha Centauri, Spidergawd, Bus, Death Hawks, BBF, Vessel of Light, Crypt Trip, The Pilgrim, Uffe Lorenzen, Brant Bjork, Doomstress, Black Lung, Kandodo3, Monkey3, Bask, Horseburner, Zed, Bright Curse, Spillage, Sigils, Papir, Dune Sea, Destroyer of Light, Mastiff, Warp, Centrum, Varego, Lord Dying, Volcano, Saint Karloff, Firebreather, High Reeper, Bible of the Devil, Obsidian Sea, Torche, Motorpsycho, Sunn O))), Deadbird, Russian Circles, El Supremo, Pyramidal, Holy Serpent, Elizabeth Colour Wheel, Demon Head, Red Beard Wall, Onhou, Kamchatka, Iguana, Arrowhead, The Whims of the Great Magnet, Serial Hawk, Scissorfight, Monte Luna, Lingua Ignota, Valborg, Sageness, Ruff Majik, The Giraffes, High Fighter, Comacozer, Burning Gloom, Swan Valley Heights, Mark Deutrom, Cable, AVER, Superlynx, The Munsens, No Man’s Valley, Old Mexico, Skraeckoedlan, Godsleep, Øresund Space Collective Meets Black Moon Circle.

Seems cruel to leave it to you to sort through those, but I’m tempted to do just that. You might notice some bigger names there in bands like Earth, Russian Circles, Torche and Sunn O))). Nothing against those bands, but I think we’re seeing a moment where a different group of artists are taking point in terms of innovating heavy styles across an entire swath of microgenres. Either way it’s not a slight that something is here instead of above. And of course, there are plenty of up and coming groups here as well, with Ruff Majik, Elizabeth Colour Wheel — who I’m sure would be a top 30 if I knew the record better than I do — Pale Grey Lore, Monte Luna, Papir, Destroyer of Light, The Munsens, No Man’s Valley, Skraeckoedlan, and so on, but hell’s bells, there’s already a list of 50 and I’m only one man. How high is the list supposed to go and still be a list?

Bottom line: Music is as endless as space and has as much beauty in it for those willing to hear. Do more digging.

The Top 20 Debut Albums of 2019

green lung woodland rites

1. Green Lung, Woodland Rites
2. Yatra, Death Ritual
3. Howling Giant, The Space Between Worlds
4. Thunderbird Divine, Magnasonic
5. SÂVER, They Came with Sunlight
6. Lightning Born, Lightning Born
7. Elizabeth Colour Wheel, Nocebo
8. The Pilgrim, Walking into the Forest
9. Sigils, You Build the Altar You Lit the Leaves
10. E-L-R, Maenad
11. Hey Zeus, X
12. Bellrope, You Must Relax
13. Asthma Castle, Mount Crushmore
14. Thronehammer, Usurper of Oaken Throne
15. Inner Altar, Vol. III
16. Infinity Forms of Yellow Remember, Infinity Forms of Yellow Remember
17. Hippie Death Cult, 111
18. Faerie Ring, The Clearing
19. Gone Cosmic, Sideways in Time
20. Haze Mage, Chronicles

Honorable Mention: Warp, Pelegrin, Lucy in Blue, Volcano, The Sabbathian, Red Eye Tales, Dune Sea, Dury Dava, Pharlee, Giant Dwarf, Ghost:Hello, Surya, Workshed, Children of the SĂŒn, Burning Gloom, Temple of the Fuzz Witch.

Notes: As ever, I consider a band’s debut album something unique and separate from everything else they’ll ever do, and so worthy of highlighting in its own category. It’s a different standard in my mind, one that takes into account what a group might accomplish going forward as well as what they do on the record itself. Plus, putting out an album is hard. Getting two, three, four, five or more people to agree on anything is an accomplishment. Making a cohesive album? Come on. So yes. We see some crossover from the main list above, but I want to draw attention to Howling Giant, Thunderbird Divine and SÂVER particularly here. There’s a swath of genres represented and I feel like a couple of these releases — Sigils, Bellrope, Thronehammer, Inner Altar, Faerie Ring, Infinity Forms of Yellow Remember — didn’t get their due attention. It’s a busy year, I get it. But if you’re skimming through looking for stuff to check out, DON’T IGNORE THIS LIST. Aside from whatever line about the best of tomorrow you want to trot out, there’s important work being done by these acts today. As somebody who’s constantly behind the times, I urge you not to

The Top 20 Short Releases of 2019

geezer spiral fires

1. Geezer, Spiral Fires
2. Ufomammut, XX
3. All Them Witches, 1×1
4. Mount Saturn, Mount Saturn
5. Dopelord, Weedpecker, Major Kong & Spaceslug, 4-Way Split
6. Horehound, Weight
7. Molasses, Mourning Haze
8. Saint Karloff & Devil’s Witches, Split
9. Here Lies Man, No Ground to Walk Upon
10. The Golden Grass, 100 Arrows
11. Mount Atlas, Mistress
12. Midas, Solid Gold Heavy Metal
13. Glory in the Shadows, Glory in the Shadows
14. Hot Breath, Hot Breath
15. Crystal Spiders, Demo
16. Red Wizard, Ogami
17. Thermic Boogie, Fracture
18. Pinto Graham, Dos
19. High Priest, Sanctum
20. Set Fire, Traya
21. Seedium, Awake

Honorable Mention: Love Gang & Smokey Mirror Split, Forebode, Land Mammal, Very Paranoia, Plague of Carcosa, Daal Dazed, Komodor, Mourn the Light & Oxblood Forge Split, High on Fire, Mount Soma.

Notes: This is probably the least complete of the lists, because it’s the hardest category for me to keep up with. EPs, singles, demos, splits and basically anything else that isn’t an album, all lumped together. Still, I stand by the picks here, and I don’t think anyone who takes on any of them will regret doing so, whether it’s All Them Witches’ surprisingly weighted first single as a trio, Mount Saturn’s debut release, or Geezer’s cosmic jams. Felt a little like cheating putting Ufomammut on there, since technically XX wasn’t new material so much as reworked stuff captured live, but if you want to call me out on it, my own listening habits also factor in, and I’ve spent plenty of time with those reimagined tracks. But anyway, I’m sure there’s a ton of stuff that hasn’t been included here, so please feel free to let me know in the comments and I’ll work accordingly.

Postwax

I haven’t felt comfortable with the idea of writing about it editorially, since I’ve been involved in discussions about it since before it came together and since I did the liner notes for each of the six releases (plus one to come), but I wanted to take a moment to acknowledge the incredible work done on the Postwax vinyl subscription series by Blues Funeral Recordings. Label head Jadd Shickler and design specialist Peder Bergstrand (also of Lowrider) put together six offerings that came out in the span of this year and when you hold the LPs in your hand, you can feel the passion that went into making them, from the artists in question to those curating the series in the first place. I hear tell there’s going to be a Postwax Year Two, and I don’t know if I’ll be involved or not, but I’m proud of my miniscule part in the work that went into making these and wanted to bring them to your particular attention. They are something special for those who got to partake:

  • Elder, The Gold and Silver Sessions
  • Daxma, Ruins Upon Ruins
  • BesvĂ€rjelsen, Frost
  • Big Scenic Nowhere, Dying on the Mountain
  • Domkraft, Slow Fidelity
  • Lowrider, Refractions

And while we’re talking about projects I was proud to be involved with, I also did liner notes for Acrimony’s The Chronicles of Wode box set from Burning World Records and was honored to do so. Thanks to any and everyone in question for having me involved and dealing with me blowing past deadlines one after the next. It is humbling.

Looking Ahead to 2020

A few names and nothing more about what definitely is and/or might be in the works for next year. Woefully incomplete, so feel free to add to it:

1000mods, Wolves in the Throne Room, Deathwhite, Mondo Drag, Drug Cult, Ocean Chief, Soldati, Sergio Ch., Mitochondrial Sun, Geezer, Mirror Queen, Mondo Generator, The Otolith, Asteroid, Yatra, Vestal Claret, Farer, Ryte, Shadow Witch, Six Organs of Admittance, Naxatras, Wolftooth, Snail, Elder, Pale Divine, Grey Skies Fallen, Ruby the Hatchet, Yuri Gagarin, Sasquatch, Godthrymm, Wo Fat, Red Mesa, CB3, Onsegen Ensemble, Insect Ark, Acid Mammoth, Ritual King, Ulls, Om.

Thank You

Thank you for reading, and please, if you have a thought or something you want to share in the comments, please remember to be kind to each other. We are all human beings behind our phones and keyboards, and while we’ll disagree, often in some ways and some cases, a basic level of respect is always appreciated. At least by me.

I am not so deluded as to think anyone might still be reading, but I want it on record how much I appreciate you being a part of this site and a part of my experience in making it. I’ve been ruminating all year since marking the 10th anniversary back in January about how much The Obelisk has become a part of who I am, and it’s utterly essential to my every day. The way I continue to think about it — and myself, as it happens — is a work in progress, and that would not be possible without you. One more time. Thank you. Always. Always thank you. Thank you.

More to come.

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Monte Luna, Drowners’ Wives: Open World Gameplay

Posted in Reviews on October 25th, 2019 by JJ Koczan

monte luna drowners wives

With Drowners’ Wives, their second album, Austin, Texas’ Monte Luna not only make their debut on Argonauta Records but show a clear sense of having learned a few crucial lessons from their first about their overall direction and what they’re looking to accomplish as a band. At roughly 34 minutes long, Drowners’ Wives takes its central lyrical inspiration from The Witcher 3: Wild Hunt, with Drowners being a kind of monster one encounters that eats corpses. Fun. Despite this cohesion of theme, its shortened runtime is a bit over half the length of that 71-minute 2017 self-titled (review here), but with both albums carrying six component tracks, the change comes from writing shorter songs rather than simply including less of them. The longest cut on Drowners’ Wives, for example, is the 8:30 closer “Scenes from a Marriage,” with its deep-mixed organ, atmospheric vocal swirl in the second half, and scathing screams in its later apex capping the record. Time well spent, to be sure, and not an insignificant length by most measures. In relation to the debut, apart from the four-minute “The Burning of Elohim,” which was more or less an intro (if one with vocals), “Scenes from a Marriage” would be more than a minute shorter than the next shortest track, which itself was something of an aberration for being under 12 minutes long.

Clearly a change in intent on the part of bassist/guitarist/vocalist James Clarke and drummer/effects-specialist Phil Hook, and one that, honestly works to the benefit of allowing the material on Drowners’ Wives to shine and giving each song a better chance of being digested by the average listener. That’s not to decry a long album generally or to take anything away from Monte Luna‘s first outing, which was a grower and a righteous one at that, just to note that in this case, the approach they take is to the benefit of highlighting a more diverse sound. It is one bolstered as well by a few guest appearances throughout. Jaime Ramirez handles the aforementioned organ on “Scenes from a Marriage” and also “Man of Glass,” while Tommy Munter plays bass on the speedy-shuffling side A closer “Night of Long Fangs,” Jeff Klien guitar on chug-fuzzed second cut “The Butcher of Blaviken” and Steve Colca of Destroyer of Light on opener “The Water Hag,” which builds its riff from the ground up at the outset of the record and engages a call and response vocally during the verse between Clarke and Colca that is an effective initial hook in itself while still providing one of Drowners’ Wives‘ heaviest and most lumbering riffs. Perhaps unsurprisingly there’s stiff competition in that regard, but if anything, Monte Luna emphasize this time out that they’re not just interested in unipolarity as a band. They’re here to do more than bludgeon with tone and crash, and the manner in which they realize that assertion in these six songs suits them remarkably well, and while any record that features a list of guests that’s longer than the list of actual members runs the risk of seeing the core band’s identity subsumed, Monte Luna run into no such trouble. By the time they’re through “The Butcher of Blaviken,” it’s clear who they are. They’re the ones doing whatever the hell they want and pulling it off.

monte luna

To wit, the later reaches of “The Butcher of Blaviken” devolve the emergent plod into an outward-bound instrumental jam that seems to churn itself to pieces as it works toward its eventual end. There’s a memorable lead line included there, but still. That makes “Night of Long Fangs” all the more a punch to the face when it starts its immediately and brash sub-four-minute pummel, with early High on Fire‘s marauding sensibility given more stylistic breadth and malleable vocals. As it invariably would, the uptick of speed leads to a slowdown in the back half of “Night of Long Fangs” — about, of course, a vampire hunt — and the thicker riff that takes hold soon enough cedes ground to a drone and Hook‘s drumming on “Wild Hunt,” which, whether it’s considered an interlude on a linear format or an intro to side B of the vinyl is a well-positioned momentary breather that nonetheless expands the reach of Drowners’ Wives as a whole through its tribalism and ambient aspects, setting up a dug-in closing duo in “Man of Glass” and “Scenes from a Marriage” that feels all the more urgent upon arrival and thus all the more effective. There’s a down-to-sludge-rock-business feel that pervades the beginnings of both songs that’s enough to make me wonder if they were written first, but they’re well paired either way, both moving into harsher vocals even as the otherwise massively-toned guitars prove expansive and Clarke‘s voice presents a gamut of influences from Bongzilla to Queens of the Stone Age, depending on what the song calls for at the time.

That last part is perhaps the key to understanding where Monte Luna are coming from on Drowners’ Wives. While they’ve based the album’s theme around Witcher lore and have at least at one or two points they use samples direct from the game itself, the chief accomplishment of the album is how much the two-piece make the sound their own. It might seem counterintuitive, with itinerant company coming through even unto the organ in “Scenes from a Marriage,” but none of the contributions feels superfluous in terms of the material’s impact, which remains the central concern no matter where an individual piece might go, be it “The Water Hag” with its swinging catchiness or the intensity that crowns the finale. Monte Luna thrives in each scenario they present here not just because they add elements to arrangements of their own guitar, bass, drums and/or vocals, but because those additions make the songs a richer listening experience. It seems like a simple idea, but it’s not always so easy when it comes to execution, and having shorter tracks is a part of it as well. I won’t profess to know what they might do their next time out, but for the sense of themselves and the will toward individualism they so strongly declare across Drowners’ Wives, it’ll be all the more exciting to find out.

Monte Luna, Drowners’ Wives (2019)

Monte Luna on Thee Facebooks

Monte Luna on Bandcamp

Monte Luna on Instagram

Argonauta Records website

Tags: , , , , ,

Monte Luna Announce European Tour; “Man of Glass” Video Posted

Posted in Whathaveyou on September 12th, 2019 by JJ Koczan

monte luna

Austin duo Monte Luna are getting closer to the Oct. 4 release for their new album, Drowners Wives, which will be out through Argonauta Records, and as they wrap up a couple live dates this week alongside Serial Hawk — who also have a new LP out — they’ve just announced a run to Europe that will begin next month and go into November. The tour will begin after the album is out, so that’ll give them something to promote, and even as they get ready to go, they add further intrigue to the impending by unveiling a new video for “Man of Glass.” Like the prior-posted “The Water Hag” it’s on the shorter side of the spectrum, but still gives a sense of what it’s all about, which is to say, riffs and murder at Stonehenge. So, yeah, right on.

I haven’t heard the album yet or I’d probably be talking about it right now, but what I’ve heard so far bodes well, and Monte Luna are putting their time in on the road in such a way that makes me think they have designs well outside their hometown — though given their hometown, that’s plenty in itself — over the longer term. More power to them. Go forth and sell shirts, young men.

Here’s where they’ll be, and that new video:

monte luna euro tour

Our European tour has been announced! We head across the pond in October!

Your eyes are dazed and heavy.

Upcoming Monte Luna Tour Dates
September 13 – Atlanta Georgia – 529 *
September 14 – Raleigh North Carolina – Slims Downtown *
* w/ Serial Hawk

Monte Luna European Tour 2019:
25.10.19 Italy, Turin
26.10.19 Italy, Lecco
29.10.19 France, Volmerange-Les-Mines
30.10.19 Belgium, Antwerpen
31.10.19 Belgium, Gent
01.11.19 Netherlands, Zwolle
02.11.19 Germany, Koblenz
03.11.19 Germany, Bremen
05.11.19 Denmark, Copenaghen
06.11.19 Denmark, Aalborg
09.11.19 Sweden, Stockholm
10.11.19 Sweden, Gothenburg
12.11.19 Germany, Dresden
13.11.19 Germany, Munich
14.11.19 Switzerland, Le Chaux du Fonds
15.11.19 Italy, Pavia
16.11.19 Italy, Vigone

“Drowners’ Wives”
Release date October 4th, 2019
ORDERS:
http://bit.ly/DrownersWives (CD & LP)
https://ingroov.es/drowners-wives (DIGITAL)

Monte Luna is:
James Cl
Philip Hook

www.facebook.com/pg/MonteLuna666
www.monteluna666.bandcamp.com
https://www.instagram.com/monte_luna_tx/
www.argonautarecords.com

Monte Luna, “Man of Glass” official video

Tags: , , , , ,

Monte Luna Stream “The Water Hag”; Drowners Wives out Oct. 4

Posted in Whathaveyou on July 17th, 2019 by JJ Koczan

monte luna

So I’m sitting by myself in my living room, and I start playing the new Monte Luna track through the bluetooth speaker just now to check it out for the first time. My honest, out-loud reaction when the riff kicked in? “Holy Jesus.” Said it out loud. No one’s even home. I’m here by myself. This shit is fucking heavy. I dug the long-form vibes of Monte Luna‘s 2017 self-titled debut (review here), but if they can distill this kind of heft into shorter pieces and add more variety to the album overall through that? Then they’re gonna be on a different level of execution real quick. And “The Water Hag” bodes remarkably well in that regard. I can’t wait to hear the rest of the record.

Drowners Wives is out Oct. 4 on Argonauta Records. Write down the date so you remember it.

Here’s PR wire info:

monte luna drowners wives

AUSTIN’s DOOM HEAVYWEIGHTS MONTE LUNA REVEAL ALBUM DETAILS + FIRST SINGLE!

Drowners Wives coming this October on Argonauta Records!

Austin-based, atmospheric doom duo and the brainchild of James Cl and Philip Hook, Monte Luna, have finally revealed the first details about their sophomore studio album, set for release on October 4th with Argonauta Records! Known for their interminable long doom tracks, Drowners Wives will mark a change for the band, while Monte Luna will still keep leading you into another dimension and a challenging trip to fill your musical voids. Recorded and mixed at the Matador Studios in San Antonio Texas, with a master by Conan’s Chris Fielding at Skyhammer Studios, the band just recently unveiled that the new album songs may be shorter than usual, but reaching deep into your soul with a sledge of the heavy as hell doom sounds!

Today Monte Luna are sharing with us a first single titled The Water Hag. Says the band:

“Our friend Becky Cloonan did a really cool comic book not too long ago called By Chance or Providence, that combined with our love for “The Witcher Series” is the main inspiration for the song thematically, it also loosely deals with the idea of a loved one that becomes toxic, that no longer brings you up. They begin to drag you under the weight of their insecurities and how sometimes it feels best to just stay in a relationship even though you know they are draining you. If you are someone who has a tendency to rescue people then this may speak to you on another level.”

Drowners Wives Tracklisting:
1. The Water Hag
2. The Butcher of Blaviken
3. Night of Long Fangs
4. Wild Hunt
5. Man of Glass
6. Scenes From A Marriage

Set for a release on October 4th, Drowners Wives will be available to pre-order in Vinyl, CD and Digital formats soon, watch out for many more updates and tunes to follow in the days ahead!

To shorten the wait for your heavy dose of the doom, make sure to catch Monte Luna live at the following dates this summer:

July 20 – Austin Texas – The Lost Well
July 24 – Houston Texas – Dan Electros !
July 25 – San Antonio Texas – Faust Tavern !
July 26 – Austin Texas – The Lost Well !
July 27 – Bryan Texas – Revolution Cafe !
July 28 – Galveston Texas – Symposium Brewpub !
August 3 – Arlington Texas – Division Brewing
August 16 – Indianapolis Indiana – Black Circle Brewing +
August 17 – Nashville TN – Bettys Grill +
August 18 – Louisville Kentucky – Mag Bar +
August 23 – New Orleans Louisiana – Suono Mazzi Cutting Edge Music Conference
August 24 – Lafayette Louisiana – Freetown Boom Boom Room
September 13 – Atlanta Georgia – 529 *
September 14 – Raleigh North Carolina – Slims Downtown *
* w/ Serial Hawk
+ w/ Conjurer
! w/ Rickshaw Billies Burger Patrol

Monte Luna is:
James Cl
Philip Hook

www.facebook.com/pg/MonteLuna666
www.monteluna666.bandcamp.com
https://www.instagram.com/monte_luna_tx/
www.argonautarecords.com

Monte Luna, “The Water Hag”

Tags: , , , , ,