I didn’t realize, but it’s been over a year now since I started putting together podcasts regularly again. Almost 14 months, actually. Goes quick. I’m still having a good time doing them though. It’s become kind of a late-night ritual for me, assembling the audio and putting the tracklisting together and uploading everything the night before it goes live. It’s heading toward one in the morning as I type this. Long since asleep, The Patient Mrs.calls it “JJ time.” Fair enough.
A few twists and turns in this one, so watch out. I was all getting on some rocking vibes with Brant Bjork and that He Whose Ox is Gored, but after The Golden Grass things took a pretty wild turn. You may not have heard Atomikylä yet, but it’s players from Dark Buddha Rising and Oranssi Pazuzu, so it gets pretty bleak pretty quick. From there, it’s just further into doom with Moss, Apostle of Solitude and The Sabbathian before Godflesh — as only they can — provide a slap back to reality. The second hour, as habit dictates, is a full-on freakout. That Olson/Shively/Barry track is members of Across Tundras and the album was just released, so if you get the chance to check it out, I’d say go for it. In the meantime, enjoy:
First Hour:
Brant Bjork and the Low Desert Punk, “Stokely up Now” from Black Power Flower (2014)
He Whose Ox is Gored, “Buried Twice” from Rumors 7” (2014)
Weed is Weed, “Eat Cookies” from Blunt Force Trauma (2014)
The Golden Grass, “The Robin Song” from Realisations (2014)
Atomikylä, “Ihmiskallo” from Erkale (2014)
Moss, “Carmilla (Marcilla)” from Carmilla (2014)
Apostle of Solitude, “Luna” from Of Woe and Wounds (2014)
The Sabbathian, “Nightshade Eternal” from Ritual Rites (2014)
Godflesh, “Life Giver Life Taker” from A World Lit Only by Fire (2014)
Lords of Beacon House, “Cool Water Blues” from Lords of Beacon House (2014)
Second Hour:
Geezer, “Tales of Murder and Unkindness” from Gage (2014)
Olson/Shively/Barry, “Jagged Cliffs” from Tierra del Fuego Blues (2014)
Dead Sea Apes, “Threads” from High Evolutionary (2014)
Pigs Pigs Pigs Pigs Pigs Pigs Pigs, “Psychopomp” from Psychopomp (2014)
Posted in Whathaveyou on August 22nd, 2014 by JJ Koczan
UK purveyors of aged and crawling miseries Moss have announced a new EP due out on Halloween. Carmilla (Marcilla)/Spectral Visionswill be the first Moss outing since last year’s Horrible Nightfull-length (review here), and it is set to emerge via Stone Tapes, an imprint helmed by the band born out of their own Buried and Forgotten Productions, through which they’ve periodically issued offerings every couple years or so. The last one was the Never Say Livetape in 2010.
Carmilla (Marcilla)/Spectral Visionsearns further distinction by being the first vinyl Moss has self-released on their own label, whatever that label might be called. I don’t know if this portends future LPs coming from the band’s own hands, but it’s a noteworthy jump one way or another.
They sent the following down the PR wire:
NEW MOSS 10″ EP, preview streaming now
UK doom metal veterans MOSS return with a new EP released on the 31st of October on 10″ vinyl and digital, via their own label Stone Tapes.
Consisting of two tombstone classics, Carmilla (Marcilla)/Spectral Visions is nearly 20 minutes of pure, horror-obsessed doom metal, dragging the endless atmospheres found on 2013’s ‘Horrible Night’ even deeper and further down into unfathomable depths.
A 100% DIY release in the truest sense and coming on gimmick-free black 10″ vinyl limited to 500 copies, Carmilla (Marcilla)/Spectral Visions is available to pre-order now from MOSS’s official bandcamp pagehttp://www.mossdoom.bandcamp.com
Since they emerged from Hampshire’s catacombs in late 2000, MOSS have tirelessly dragged intimidating amplification and metaphysical malignance down a murky and overgrown path to oblivion. Whilst their sound has morphed slowly from lengthy and devastating exorcisms of psychic horror to a comparatively traditional form of sermonising, the last decade and a half has only seen them draw closer to a motherlode of ceremonial ambience and otherworldly dread. Fuelled by classic doom metal and British horror yet in thrall to no-one but their own wayward co-ordinates, these three seers have created a formidable collection of audial documents that bear testimony to an unflinching fascination with the ghastly and esoteric.
However, Hallowe’en 2014 sees the triuvirate encroaching on territory anew. Having released an album on Aurora Borealis and two more on Rise Above alongside untold EPs, live recordings and split releases, they now embark on their first release for their own imprint, Stone Tapes, having chosen not to renew their association with Rise Above after the release of 2013’s ‘MOSS’s Horrible Night’. A 10” double A-side EP limited to 500 copies, it sees the band in splendid isolation, expanding on the gruesome Grand Guignol atmosphere of their last opus in suitably monomaniacal fashion, and deploying grimly earthen guitar tone, death-knell battery and stentorian oratory to conjure otherworldly malice from beyond with deadly fortitude.
These two tracks draw on a sphere of influence that includes classic horror fiction, arrive swathed in unearthly feedback, and volley forth at a funereal pace. Yet they manage to effortlessly waylay both the preponderance of humdrum cliches and the needless barrage of volume and excess that frequently hold sway in contemporary doom-laden circles. Always a band out of time, the trio operate impervious to fashion or most any outside influence bar certain personal pecadiloes and the demons lurking in their own subconscious. These twenty minutes of tumult, recorded at the Cro’s Nest in Purley, by Sam Thredder, only underline the uncompromising and bloody-minded attitude that have rendered MOSS a primal force that transcends trappings of genre and scene.
The dawning of a new chapter in an uncanny saga, ‘Carmilla (Marcilla)’ and ‘Spectral Visions’ function as both an imtimdating document in their own right and as portents of all manner of unimaginable entities lurking in the furthermost reaches of everyday perception. Yet as MOSS’s power grows stronger, one can only wonder aghast at the consequences for all…
Posted in audiObelisk on July 15th, 2013 by JJ Koczan
Already the announcements have started up for Roadburn 2014 — as demonstrated last week by the landmark revelation that a reunited Loop will headline — but in the meantime, there are still more audio sets from the 2013 fest to unveil, and the latest batch has a little something for everyone. From the ambient post-everything of Eternal Tapestry to the crushing tonality of Switchblade and the trad-doom plod of Penance, it’s like a sampler platter that still only begins to give some hint of the stylistic ground the highly-varied festival has come to cover in recent years.
As always, these recordings were overseen by Marcel van de Vondervoort and it’s through the courtesy of Walter and the rest of the Roadburn crew that I’m able to host them here for your streaming pleasure. Much thanks to all involved.
Please enjoy:
Eternal Tapestry – Live at Roadburn 2013
Insahn – Live at Roadburn 2013
Moss – Live at Roadburn 2013
Mournful Congregation – Live at Roadburn 2013
Penance – Live at Roadburn 2013
Switchblade – Live at Roadburn 2013
Keep up with the latest Roadburn 2014 announcements here or by checking out roadburn.com. Check out the rest of 2013’s streams here.
Posted in Features on April 19th, 2013 by JJ Koczan
04.20.13 — 00.52 — Saturday morning — Hotel Mercure, Tilburg
I was early to Het Patronaat for the start of day two of Roadburn 2013. Stupid early, as the kids might say. Dread Sovereign — the new and doomly trio from Primordial vocalist Alan Averill and drummer Simon O’Laoghaire, also with Bones on guitar — were going on until 14.00, and I rolled up to the old church roughly an hour before. It was in time to catch their soundcheck, as it happens, which I watched from the door into the upstairs of the venue as a prelude to their actual set, which followed a much-needed cup of coffee. I had thought of bringing a book to read and ultimately decided against it. Can’t say it was the right choice, but there you go.
Averill handles bass in Dread Sovereign as well, and dialing his stage makeup back to some eyeliner but keeping the hood — Bones had one as well — his stage presence was a far cry from what it had been the night before, less interaction with the crowd, less rousing to fit with the music, which in turn was less rousing. There’s a 12″ they’re selling here, limited, whathaveyou, that I’ve had my eye on for two days now, and watching Dread Sovereign live did nothing to dissuade a purchase. Bones was a ripper on guitar, thrashing out like the kids do while he tossed off lively solos to counteract the songs’ marked plod. For his part, Averill‘s vocal style was roughly the same as in Primordial — after a point, you’re going to sing how you’re going to sing, no matter the context — but he had room to breathe between lines for the slower tempos.
Less adrenaline all around, then, but that was to be expected, and there were still a couple flashes of more uptempo groove to be had. “Pray to the Devil in Man” may have beat out its anti-Christian miseries, but “13 Clergy to the Fire” had some swing to it, with a chorus pattern distinctly in Averill‘s sphere that was immediately memorable. Solid beginning as it was, though, even Dread Sovereign‘s fastest stretch was little indicator of what German retro rockers Kadavar had on offer, playing songs from their two albums, 2012’s self-titled debut and the brand new Abra Kadavar (review here). I think for lack of material, as they’re a pretty recent band, Dread Sovereign ended their 45-minute set early, so there was a break in between, but as soon as Kadavar started checking their sound, it was clear things were about to take a turn in a much different direction.
One thing about the German three-piece: They’ve got the look down. Also the sound. Between two songs early into their set, someone in back shouted out, “Hair metal!” and received a couple boos. I can see the point of the critique, that Kadavar are so much leading with their aesthetic, the vintage production, the shirts, necklaces, beards, the bellbottoms and so on, and I guess if they sucked, it would be an issue, but they clearly take it seriously, and they’d more or less melted Het Patronaat by the time they were through their third song. Wolf Lindemann‘s vocals were spot on, and Tiger (drums) was responsible for a good bit of the energy they exuded from the stage. Say what you want about their haircuts, a drummer who can headbang like that to his own rhythms is something special to watch. They had a fill-in bassist, but once they got going, there was really no stopping their momentum.
The drums were set up toward the front of the stage, off the riser, so I don’t know how it looked from the back, but from where I was, people ate up “All Our Thoughts,” “Doomsday Machine” and Abra Kadavaropener “Come Back Life,” and rightfully so. In their tones, in Lindemann‘s vocals, in Tiger‘s riotous playing, Kadavar delivered an early highlight to the day and rounded out with a massive jam, bringing up DJ/filmmaker/psychedelic manipulator/etc. Shazzula Vultura — who was also showing a movie in Stage01 at 013 today — to add swirl via a Theremin run through a Moogerfooger. Shit got real wild real quick, and it was a stretch that brought to mind the later moments of Abra Kadavar. True to the record, they held it together live as well and crashed to a finish as crisply and vibrantly as they’d started, having played their full hour.
At that point, I’d been standing in the same spot at the front of the stage for about two full hours, but I knew I didn’t want to move until I got to watch at least part of Witch Mountain, who were playing Europe for the first time and on the road for four weeks with Cough, who played later tonight. It was another abrupt change in vibe, but neither did Witch Mountain disappoint. The abundance of talent in that band is nigh on ridiculous, and between drummer Nate Carson‘s work with Nanotear Booking (he’s giving a master class tomorrow on touring the US, which he knows both ends of, having done it a few times himself at this point as well as sending others on their way), guitarist Rob Wrong‘s history of reviewing albums for StonerRock.com and penchant for counteracting lumbering riffs with shredding solos, vocalist Uta Plotkin‘s intense range as she varies from growls to soaring, clean high notes (while actually hitting them; I don’t know if she’s a trained singer, but she certainly sounds like one) and bassist Neal Munson‘s tonal heft and nod-out rhythms, it’s hard not to root for them both here and in general.
“The Ballad of Lanky Rae” and “Beekeeper” from last year’s Cauldron of the Wild(review here) and the extended build of “Aurelia” were welcome, and as they seemed really glad to be playing, there resulted the kind of wholesome atmosphere that emerges when doom gathers to celebrate itself. I dug it, which was doubly fortunate because watching Kadavar and Witch Mountain meant missing out on Dream Death. There was some strategy involved in this, as staying at Het Patronaat instead of going over to the 013 Main Stage for Dream Death freed up scheduling conflicts to come and I’ll be able to catch Dream Death in June at Days of the Doomed III in Wisconsin — most assuredly about as “in their element” as they’re going to get. So I felt bad for missing out on Dream Death, but will make up for it later. Every Roadburn brings hard choices, and every attendee has to carve out his or her own path through the crowded lineup. You know, like life.
Already at Het Patronaat the temperatures were reaching unseasonable highs. Witch Mountain had started early on account of this, and it was largely the thermostat that had me split partway through their set — still fun to start today with two full sets, as opposed to yesterday with all the running around early on — to head across the alleyway to the 013 and check out the “The Electric Acid Orgy” curated lineup by Electric Wizard guitarist/vocalist Jus Oborn. The Wizard‘s own set was still a ways off, but as I walked in, the Green Room was just starting to fill up for upstart doomers Witchsorrow, who soon came on with their peculiarly British kind of traditional crushing riffage. At some point I’m going to have to sit down and really hammer out the differences between British trad doom and American trad doom and see what I can come up with, but watching Witchsorrow after Witch Mountain underscored how wide the margin between two doom acts can be, however similarly witchy their names might wind up.
They too seemed glad to have been asked to play — who wouldn’t be? — and the Green Room did indeed pack out for them, guitarist/vocalist Nick Ruskell craning his neck upwards to a high microphone as though to invoke Lemmy’s occult powers and further drive the band’s Cathedral-inspired take into wretched oblivion. And so on. Ruskell, bassist Emily Witch and drummer David Wilbrahammer also had a limited-edition cassette for sale over in the merch area to mark the occasion of playing Roadburn 2013, but I didn’t see it over there when I went today to pick up the new Toner Low CD from the Exile on Mainstream table (one of these years, I’ll introduce myself to Andreas from the label, but frankly, people with taste in music that good intimidate me) and must have missed my shot at one. Too bad, but I’m glad I got to catch them for a bit before I headed into the Main Stage area for the start of Uncle Acid and the Deadbeats.
It was plain even before they played one note that Uncle Acid were a major draw for the day, and in the five Roadburns that I’ve been fortunate enough to attend, I can think of very few times that room has been that crowded. Sleep last year, Saint Vitus in ’09, and oh yeah, Electric Wizard later in the evening. Usually there’s somewhere to go in the Main Stage area, whether it’s up front in a corner on the floor, or up in back on one of the raised steps, or even up on the balcony, but not for Uncle Acid. There was just no corner that didn’t have someone already there. I knew that a lot of people were looking forward to seeing them play, and so was I, but I suppose I hadn’t realized how that would translate to the actual numbers. They had their work cut out for them in living up to expectation.
But that, they didn’t fail. Opening with “I’ll Cut You Down” from their landmark 2011 sophomore outing, Blood Lust, they had the place immediately in their grip, the song’s psychotic verse swing and chorus hook delivered by both of the UK four-piece’s guitarists, Uncle Acid himself front and center, with backing in the chorus and here and there throughout from the bassist. People watched from out the side door as “I’ll Cut You Down” led to “Mt. Abraxas” from their third album, Mind Control(review here), the stomp in the finish winning favor readily even though the record is still pretty recent, as is, I’m told, the drummer. “Valley of the Dolls” provided a slowdown and “Death’s Door” was a highlight, the band playing mostly in the dark but for a few flashes here and there. I guess as regards the light show, I expected Uncle Acid and the Deadbeats to come bathed in psychedelic purples, oranges and pinks the whole time — they were for flashes in the beginning — but they did just as well in hair-down-lights-down blue and there was little I could’ve reasonably asked for that they didn’t deliver. My one per year, I stood on the side of the stage to watch for a few minutes. Not too long, but long enough.
From there, I popped out to grab a quick bite to eat — roasted chicken, potatoes au gratin and a couple piece of fried fish; I’ve always been a cheap date — and figured I’d get a spot for Moss in the Green Room after. No such luck. By the time I got there, not only was the room itself full, but the space in the hallway outside where one would be able to see the band through the open doorway was also full. My loss, this Moss. They also had some tapes for sale. I should’ve bought everything. Didn’t. Hazards of doing a Roadburn sober, it seems. Back to Het Patronaat, then, my mind still reeling from the Uncle Acid set, to catch the start of French post-black metallers Les Discrets. Roadburn 2013 artist-in-residence, Neige of Alcest, played bass alongside guitarist, vocalist, visual artist and principle songwriter Fursy Teyssier and in comparison to Les Discrets‘ albums, of which I’ll make no bones about saying I’m a fan, the live incarnation was much heavier. This could just as easily be a byproduct of the house P.A., or of Neige‘s bass along with Teyssier and the second guitar, but it added to the dynamism of the band’s already dynamic material.
Also, but for Witch Mountain‘s Plotkin, Les Discrets also had the best vocals I’ve heard so far into the fest, Teyssier harmonizing with his fellow six-stringer and resting just under the lush wash of melody in the guitar and bass. It was gorgeous. Painfully so. I thought the mix on last year’s Ariettes Oubliées(review here) was stronger than that of their 2010 debut, Septembre et Ses Dernières Pensées (semi-review here), but even the heaviest moments on record didn’t really prepare me for seeing them live, and while they may share a lot in terms of style with Alcest, it was never quite so apparent as it was watching them how different the two acts actually are and just how much of himself Teyssier puts into his work. I was really, really glad I got to see them, which as usual was becoming kind of a theme for the fest as a whole.
By the time they were really dug in, I could feel the day starting to wear on me, so I came back to the hotel for a few minutes to regroup, take my shoes off, drink a bottle of water, etc., so that when I got back to the 013 for Electric Wizard, I was good and ready. There was some hubbub about the band saying they didn’t want any photographers or something, an email sent to some people apparently, but there was still a decent population in the photo pit by the time the headliners started. I don’t know and I suppose it doesn’t matter anyway at this point, though I was worried Jus Oborn would stop the set and tell everyone to get the fuck out for breaking the rules. I tried to ask him while he was setting up his gear, but if he heard me, there was no indication.
Once more, Oborn had curated the day, so it was only fitting that Electric Wizard should headline — it would be fitting anyway, honestly — and the chance to see them for the first time was a considerable percentage slice for why I came. They toured the States over a decade ago (speaking of hubbubs, I seem to recall something about the Oborn‘s pants? I don’t know), but I didn’t see them then, so they were a must and a major cross-off for my must-see-before-I-die-in-a-fiery-plane-crash list. Yes, I have one, and it’s shorter by one band following Electric Wizard‘s set, which they launched with “Come My Fanatics,” Oborn stepping right into the cult leader role that he more or less legitimately is now, considering how many bands have followed in his drugged-out horrordelic footsteps. Joined by guitarist Liz Buckingham, returned drummer Mark Greening, who came back to the band following the dissolution of Ramesses, and bassist Glenn Charman, Oborn led the way through “Witchcult Today,” “Black Mass,” “Drugula,” “Legalise Drugs and Murder” as the packed crowd willingly went into something like a simultaneous nod trance, chanting lyrics back as screams entered the fray with extended verses and endings for the songs. I stood by the far-left side of the stage and watched riff after pot-addled riff met corresponding clouds of smoke in the crammed-in audience. I didn’t, but if you were ever gonna, this would’ve been the time.
I managed to get back to the other side of the stage by something I’ll just call “Roadburn magic” and ran by the Green Room to watch a few minutes of Finnish weirdo acid rockers Seremonia. Perhaps because everyone was either in the Main Stage space or over at Het Patronaat anticipating the arrival of Goat, the Green Room wasn’t overly crowded and I was able to walk right in. Kind of a bummer spot for Seremonia to have, competing with stoner legends and fascinating newcomers at once, but at least they were here. They just have one record out and from what I saw, I wouldn’t be the slightest bit surprised if they made another appearance down the line sometime. Their self-titled debut (track stream here) is better than people seem to have caught on to yet, perhaps intimidated by the many syllables of the Finnish lyrics. Couldn’t say for sure.
And though I wanted to stay and bask in the sort of folksy traditionalism of Seremonia, Goat beckoned. The Swedish outfit will apparently release a new 7″ on Sub Pop in the US in June, so somebody’s taken note following the critical tornado of fuckyessery that surrounded their 2012 World Musicdebut. Fine. I’m still not sure I’m really down with Goat. Maybe this is an all-too-American perspective, but you’ve got a bunch of people in masks running around playing psychedelic Afrobeat flailing arms and shouting whooping chants, I guess my big question as regards the band is what part of it isn’t minstrelsy. Obviously Sweden doesn’t have the history of troubled race relations that the US does, and I’ll be straight, I liked the record for what it was musically, it’s the theory behind it that has so far left me scratching my head.
Nonetheless, I ended the day same as I started it — standing in the doorway of Het Patronaat — only this time it was because the room was so full that there was nowhere else for me to go. The line to get in to see Goat stretched out the door and down the alley, and security was letting people in as others came out, so clearly the band was a major lure. Again, they’re good at what they do — I’m not saying they’re not — it’s all the other stuff besides the music I’m talking about. That said, judging by the smiles on the faces of those around me and the expectant/impatient looks of those waiting on line outside (far more wanting to go in than coming out), they probably made quite a few peoples’ day.
Late-night Tilburg echoes with the throb of the dance club across from the Mercure and drunken aus uur blijfts on the street below my open window. It’s just past four in the morning as I finish this post and if last night is anything to go by, it’ll be another two hours sorting photos [actually it was only an hour and a half!]. So be it. Roadburn 2013 day three kicks off tomorrow at 14.30 and I’ll be there.
Thanks (again) for reading. More pics after the jump.
It’s been five long years since Southampton, UK, doomers Moss debuted on Rise Above Records with their sophomore album, Sub Templum, and though the band issued a couple EPs and the Never Say Live live album since that release, they’ve been silent since 2010 and emerge now with a new outlook on the full-length Horrible Night. Still aligned to Rise Above, the trio of Olly Pearson (vocals), Dominic Finbow (guitar) and Chris Chantler (drums) have shifted away from the deathly influences that typified their many earlier works in favor of cleaner singing and a darkly psychedelic, cultish sprawl. Where Sub Templumwas comprised of four tracks totaling nearly 74 minutes, Horrible Nightis more efficient on the whole, clocking in at just over 54 with six tracks, none of which go much past 11. That’s quite a change from songs like “Gate III: Devils from the Outer Dark,” which closed the prior outing at an insurmountable 35:31, but the bigger shift is in Moss‘ actual aesthetic, which is more atmospheric than in the past and echoing its abysmal feel rather than bludgeoning with volume. In some ways, Horrible Nighthas more in common with latter-day Electric Wizard than did Sub Templum, which was produced by that band’s vocalist, Jus Oborn, but Moss show comparatively little of the same psychotic pop fascination. Songs here like “Dark Lady” and opener “Horrible Nights” have choruses that are memorable and engaging as much as this kind of feedback-drenched morass can be or wants to be, but they’re never rushing to get to them. Or to anywhere else, for that matter.
That’s one factor that Moss have kept consistent with their prior output — they are slow. Moss take ultra-thick plod and let it ride for however long they feel it needs to, and while one could easily consider Horrible Nightan overall more manageable or accessible record than its predecessor, it’s hardly a comfortable listen. Weary, sluggish groove pervades the verse of “Horrible Nights” (note the ‘S’ at the end, where the title of the album is singular) as Pearson tops Finbow‘s guitar with Sabbathian lines, buried deep but still cutting through the mix, caked in reverb. I suppose compared to some of what Moss has done, this is fast, but put to the scale of most anything else, its lurching still qualifies as extreme — and it’s also probably the most accessible moment of the record — even as it moves into wailing guitar leads and malevolent screams in the second half, feedback setting a bed for chaos reminiscent of early The Wounded Kings at their bleakest or the first Cough full-length. If I’m comparing Moss, who’ve been around for over a decade, to bands getting their start, it’s because they essentially are. Horrible Nightcovers new ground for them, and even if on paper, their latest work shares elements they’ve used in the past, the reality of the situation makes for a much, much different listen, “Horrible Nights” even going so far as to return to its verse at the end, giving the second half’s chaos a sense of purpose and symmetry as the fadeout leads to the beginning of “The Bleeding Years,” even slower and more ill-meaning.
Posted in Features on March 12th, 2013 by JJ Koczan
…Yeah, I know, 24 is a buttload of records to buy in the span of about a month and a half. To do the division, it would mean buying a new album every 2.04 days. Probably not feasible in terms of time, let alone budget, but hell, it’s a nice thought and seeing the onslaught of new stuff coming between now and the end of April, I thought maybe a list would help keep it all straight. Even if I’m only helping myself, I could probably spend my time in worse ways.
Worth noting that even with 24 albums, presented below in order of release, I feel like there’s stuff I’m forgetting. Frankly, it’s an overwhelming amount of material, so if I’ve missed something or there’s something you’d like to see added to the list, as always, that’s why there’s a comments feature.
Okay. These are numbered just for fun, but listed by date:
1. Orange Goblin, A Eulogy for the Fans (March 12)
My understanding is that London’s foremost doom scoundrels, none other than Orange Goblin, have been selling copies of A Eulogy for the Fans since starting their US tour with Clutch on March 8 in Cincinnati, Ohio, but today is the official release date, and I can think of no better place to start than with the four-piece’s ferocious performance at the 2012 Bloodstock festival, captured audio and video in all its bloodsoaked glory. Not to be missed or taken lightly because it’s a live record. Album review here.
2. Borracho, Mob Gathering 7″ (March 13)
Even though it’s comprised of older tracks, the new Mob Gathering 7″ from Borracho is welcome by me for two reasons: I’ve never heard the songs before and Borracho rocks. The Washington D.C.-based riffers recorded “Mob Gathering” and “Short Ride (When it’s Over)” in 2009 and are set to release the cuts on a limited platter in black and orange swirl through Spain’s Ghost Highway Recordings and Germany’s No Balls Records. They’ve been playing live as a mostly-instrumental outfit while guitarist/vocalist Noah is out of the country on what I can only assume is an awesome spy mission, so if you need a Borracho fix — and it’s obvious from the way your hands are shaking that you do — this might be the way to go. More info here.
3. Inter Arma, Sky Burial (March 15)
Like Windhand below, Inter Arma are recent Relapse Records signees from Richmond, Virginia, and Sky Burial will serve as their first release for the label. Literally and figuratively, the album is expansive, topping 69 minutes and pummeling the whole way through with a genre-transcending concoction of bleakness that’s not so much aligned to any particular heavy aesthetic so much as it is set to its own atmospheric purposes. Through this, Inter Arma emerge terrifyingly cohesive where many others would falter, and their second LP behind 2010’s Sundown (review here) leaves a progressive impression despite an almost complete lack of sonic pretense. Mostly, it’s fucking heavy. Track stream and info here.
4. Clutch, Earth Rocker (March 19)
If 2013 ended tomorrow, Clutch‘s Earth Rocker would be my album of the year. That’s not saying the situation will be the same nine months from now when I actually start putting that list together (already dreading it), but as of March 12, it’s the cat’s pajamas and no foolin’. The long-running Marylanders outdid themselves and put together a surprisingly fast, energetic collection of songs that don’t forsake the bluesy tendencies of their last album, 2009’s Strange Cousins from the West, so much as they put some of the jamming on lockdown in favor of all-out pro-grade heavy rock and roll. The velocity is crucial and the wolfman is out, but it feels like the party’s just starting. Look for them on tour sometime between now and forever. Album review here.
5. Black Mare, Field of the Host (March 20)
Black Math Horseman and Ides of Gemini frontwoman Sera Timms (who’s also recently collaborated with Yawning Man‘s Gary Arce in the new outfit Zun) steps further out on her own with the solo-project Black Mare, from whom Field of the Host is the first album. Due March 20 on LP through The Crossing and on cassette through Breathe Plastic, limited in both cases and sure to be gone shortly after release if they’re not already taken through pre-orders. Fans of Timms‘ past works will be glad to hear the misty wash of melody and dreamy, somehow sad, languid roll of “Blind One,” for starters. Audio and info on the forum.
6. Kvelertak, Meir (March 26)
Short of setting themselves on fire, Norwegian triple-guitar six-piece Kvelertak did just about everything they could to get noticed in support of their 2010 self-titled debut LP (review here), and sure enough, their work paid off in getting signed to Roadrunner Records for all territories outside their native Scandinavia (where Indie Recordings holds sway) and trumpeting up a wave of anticipation for their second full-length, Meir. Their energetic, genre-crossing approach might not be for everybody, but the band have turned a lot of heads and I wouldn’t at all be surprised to find them on bigger tours this year with Roadrunner behind them. More info on the forum.
7. Black Pyramid, Adversarial (April 2)
This is actually the first time the Eli Wood cover art for Black Pyramid‘s Adversarial has been seen in full, so you know. The Hydro-Phonic Records release of the third Black Pyramid album and first to be fronted by guitarist/vocalist Darryl Shepard along with bassist David Gein and drummer Clay Neely punctuates the beginning of a new era for the Massachusetts trio. If the advance listen to closing track “Onyx and Obsidian” is anything to go by, they could very well be at their most potent yet, and though I’d hardly consider myself an impartial observer, as a fan of the band, this is one I’ve been looking forward to for a while now. More to come. Track stream here.
8. Moss, Horrible Night (April 2)
I’ve yet to hear the complete album, but UK trio Moss seem poised to surprise with a cleaner vocal approach on Horrible Night, their first offering since 2008’s impressive Sub Templum LP and two EPs in 2009, so in addition to wondering how they’ll pull it off, the level of the shift remains to be seen. That is, how big a deal is it? Should I call my mom? Is this something grandma needs to know about? Time will tell, but for it having been five years since the last time a Moss record reared its doomly head, it seems only fair to give the band a little breathing room on their evolution. More info and video here.
9. Mars Red Sky, Be My Guide EP (April 8)
How glad am I that French fuzz rockers Mars Red Sky have a new EP coming? Well, I’m not as happy that it’s coming as I am that it’s frickin’ awesome. The trio keep the weighted bass tones that gave so much depth to their 2011 self-titled debut (review here), but they’ve also clearly set to work expanding the formula as well, adding stomp to second track “Seen a Ghost” and an eerie repetitive sense to side B closer “Stranger,” while also broadening their melodic reach and taking claim of whichever side of the line they want between fuzz rock and heavy psychedelia while remaining so much more to the ears than either genre descriptor can offer to the eyes. At half an hour, my only complaint with it is it’s not a full-length album. Video trailer and info here.
10. Blaak Heat Shujaa, The Edge of an Era (April 9)
A sample of the poet Ron Whitehead — who also featured on Blaak Heat Shujaa‘s late-2012 debut EP for Tee Pee Records, The Storm Generation (review here) — comes to clarity just in time for the gonzo Boomer poet to let us all know that, “America is an illusion” (that may be, but it’s an illusion with an army of flying killer robots), and from there, the youngin’ desert transplants embark on a low-end-heavy freakout topped with sweet surf rock guitars and set to use in intricate, sometimes surprisingly jagged, rhythmic dances. Mario Lalli of Fatso Jetson guests, Scott Reeder produced. Review is forthcoming, but till then, there’s more info here.
11. Devil to Pay, Fate is Your Muse (April 9)
Fate is Your Muse serves not only as Indianapolis rockers Devil to Pay‘s Ripple Music debut, but also as the double-guitar foursome’s first outing since 2009’s Heavily Ever After. With tales of lizardmen attacks and the alleged end of the world, it’s got its fair share of personality, and set to the chugging riffs, melodic vocals and straightforward heavy grooves, that personality still goes a long way. I’ll have a review up before this week is out (I hope), but still, I wanted to make sure to include Devil to Pay here too, since their songs command both attention and respect. To wit, I just can’t seem to get “This Train Won’t Stop” out of my head. Video and info here.
12. Cough & Windhand, Reflection of the Negative Split (April 15)
Virginian doomers Cough and Windhand share a hometown in Richmond, a love of volume, a bassist in Parker Chandler and now a label in Relapse Records, so yeah, a split makes sense. Reflection of the Negative will be Windhand‘s first release through Relapse ahead of their sophomore full-length, scheduled for later this year (info here). For Cough, this split marks their first outing since 2010’s An Introduction to the Black Arts split with UK masters The Wounded Kings (review here), and they’ll present the 18-minute “Athame,” while Windhand bring forth “Amaranth” and “Shepherd’s Crook.” More info here.
13. Uncle Acid and the Deadbeats, Mind Control (April 15)
What the last Uncle Acid and the Deadbeats album, 2011’s Blood Lust (semi-review here), did so well was capture the atmosphere and the grainy imagery of late ’60s/early ’70s psychedelic horror and put it into audio form. For that, Blood Lust earned massive praise, but I still think that without the central core of songwriting underneath the genre trappings, it would’ve fallen flat. When it comes to Mind Control, the question waiting to be answered is if the band wants to stick to the blueprint they’ve established or go brazenly into uncharted weirdness. I’m not really sure they can lose, either way. Info and music here.
14. Kadavar, Abra Kadavar (April 16)
Their debut on new label Nuclear Blast and the quick-arriving answer to my pick for 2012 debut of the year, Abra Kadavar arrives with plenty of anticipation leading the way. The retro-rocking German trio have their work cut out for them in following that self-titled, but however it turns out in the comparison, it will be fascinating to learn how Kadavar develops the band’s sound and whether or not they prove able to push the boundaries of their aesthetic while simultaneously setting a new standard for promo photos. New video here.
15. Spiritual Beggars, Earth Blues (April 16)
I guess when it comes to these long-running Swedes, everybody’s got their favorite lineup, their favorite tunes, etc., but for me, I’m just impressed that Michael Amott — now more than 20 years on from starting Spiritual Beggars as a side-project while still in grindcore pioneers Carcass — still has any interest in keeping the classic rock Hammond-loving outfit grooving. Their last outing, 2010’s Return to Zero (review here), was the first to feature vocalist Apollo Papathanasio, formerly of Firewind, and though those songs were solid, I wouldn’t be surprised if they’re more settled in on Earth Blues when it drops via InsideOut Music on April 16. More info on the forum.
16. Beastwars, Blood Becomes Fire (April 19)
Alternating between periods of brooding intensity and all-out crushing heaviness, the second full-length from New Zealand’s Beastwars, Blood Becomes Fire, is nasty, nasty, nasty. It’s nasty when it’s quiet and it’s nasty when it’s loud. It’s the kind of record you put on and you’re like, “Damn that’s nasty.” And you’re not wrong. The four-piece — touring shortly with Unida — upped their game even from 2011’s self-titled debut (review here), and for anyone who heard that record, you know that’s saying something. I’m still in the “getting to know it” phase, but so far all that nasty feels pretty right on. More info here.
17. Ghost, Infestissumam (April 19)
Man, this one just kind of happened, huh? I suck — and I mean S-U-C-K suck — at keeping up with band hype. I’m the dude who hears the record three months later and goes, “Yeah, I guess that’s cool,” as countless reviews here can attest, including the one for Ghost‘s 2010 debut, Opus Eponymous, but with the Swedish cult heavyweights, all of a sudden I turned around and blamo, major label deal, semi-name change to Ghost B.C., and enough slathering over the impending Infestissumam to make the first album seem like less than the hyperbole it was treated to initially. Funny how that happens. Out in April? I’m sure I’ll review in June and go, “Yeah, I guess that’s cool.” More info on the forum.
18. One Inch Giant, The Great White Beyond (April 19)
Now signed to Soulseller Records, Swedish heavy rockers One Inch Giant will unveil their debut full-length on April 19 and as three of my favorite words in the English language are “Swedish heavy rockers,” I’m excited to find out how this Gothenburg four-piece follow-up their Malva EP, and if they can capture some of the extreme dynamic they brought to their live show when they toured the US last summer — a run of shows that included a stop at SHoD. Hard not to pull for a band after they come over to play club dates. More info and music here.
19. The Heavy Co., Midwest Electric (April 20)
It was actually the other day writing about The Heavy Co.‘s Midwest Electric that I had the idea for this feature, so however high the profile might be for some of these albums — Ghost walks by on their way to cash a check — it was these unpretentious Hoosier rockers and their new outing, Midwest Electric, that started me off. From what I’ve heard so far, the new collection sounds a little more confident in exploring psychedelia than did the trio’s 2011 debut EP, The Heavy (Please Tune In…) (review here), so I’m looking forward to hearing if and how that plays out over the course of the whole thing. Video trailer here.
20. Gozu, The Fury of a Patient Man (April 23)
I have an interview slated for later this week with Gozu guitarist/vocalist Marc Gaffney, and I’m even more excited for this time than I was when we last spoke, around their 2009 Small Stone debut, Locust Season (review here), since in everything but its goofball song titles, the sophomore outing marks a huge developmental step in the band’s melodic reach and songwriting chemistry. Stay tuned for that interview and check out the Bandcamp stream included with the album review here.
21. Yawning Man & Fatso Jetson, European Tour Split 7″ (April 26)
Note: I don’t actually know that April 26 is the day that what’s sure to be 2013’s most desert-rocking split is due to arrive, I just know that it’s Fatso Jetson and Yawning Man‘s European tour split, and that’s the day the Euro dates start — with performances at Desertfests London and Berlin, to be more specific. Given both the greatness of Fatso Jetson‘s last record, 2010’s Archaic Volumes (review here), and of Yawning Man‘s own 2010 outing, Nomadic Pursuits (review here), the bands’ shared lineage and the relative infrequency of their touring, it doesn’t seem unreasonable to hope that, even for a single, they pull out all the stops. And starts. And riffs. More info on the forum.
22. Serpent Throne, Brother Lucifer (April 29)
Philly-based instrumental heavy rockers Serpent Throne will follow-up 2010’s White Summer/Black Winter (review here) with Brother Lucifer, and while no one can ever really know what to expect, it’s a safe bet that the dual-guitar outfit will have the solos front and center once again. Having seen them do a couple new songs back in December, I can’t blame them in the slightest. Looking forward to letting these songs sink in for a while and having those solos stuck in my head. Track stream here.
23. Melvins, Everybody Loves Sausages (April 30)
Hey wow, a Melvins covers album. Finally, an opportunity for the band to let their hair down and go wild a bit, right? I mean, at long last, they can really feel free to indulge a little and explore their musical roots in a free and creative way. Okay, you get the point. In all seriousness, it’s a pretty cool idea and anything that teams the Melvins with Scott Kelly to do a Venom song is probably going to be a worthy cause. The most amazing part of it is they haven’t already done a version of “Black Betty.” More info on the forum.
24. Revelation, Inner Harbor (April 30)
Their most progressive outing yet and their first album since 2009, Revelation‘s Inner Harbor (review here) is bound to surprise some who thought they knew what to expect from the Maryland doom stalwarts who double as the classically rocking Against Nature. Good thing Inner Harbor had a digital release last year through the band’s Bland Hand Records to act as a precursor to this Shadow Kingdom CD issue. Rumor has it vinyl’s on the way as well, so keep an eye out, since John Brenner‘s guitar tone should be heard on as natural-sounding an apparatus as possible. More info here.
—
Okay, so you’re saying to yourself, “Golly, that’s a lot of stuff.” You’re absolutely right. But even as I was typing up this feature, I got word of a new Queen Elephantine full-length coming in April, so even as much as this is, it’s not everything. And that’s not even to mention May, which will bring a new Shroud Eater EP, a new Kylesa record and a new Mark Lanegan collaboration, among however much else. Tons of stuff to keep your ears out for, and like I said way back at the top of this thing, if you have something to add, a comment’s always appreciated.
Posted in Whathaveyou on February 5th, 2013 by JJ Koczan
Continuing Rise Above‘s partnership with Metal Blade in the US, British doomers Moss will release Horrible Night on April 2. For anyone who heard their last full-length, 2008’s Sub Templum, take a listen to “Horrible Nights” below and you might be surprised at the cleaner vocals and less general blownout-ness, but the current of extreme doom nonetheless runs strong within the track and presumably the album as a whole. It’s been five years, but some stuff never changes.
The PR wire hath decreed:
Southampton, UK doom trio, MOSS, set to release “Horrible Night” on April 2nd
First gathered together in Southampton in the year 2000 – with the formative ambition of being slower and heavier than the slowest, heaviest band you can think of – MOSS is known for unleashing true audial darkness and claustrophobia upon their listeners. The crypt-crushing, drug-crazed occult horror sound of 2005’s Cthonic Rites, 2008’s Sub Templum, 2009’s Tombs Of The Blind Drugged 10″ and the Eternal Return 12″ gradually refined and redefined their suffocating underground doom with impenetrable esoteric themes, and gained them a fearsome reputation as one of the world’s foremost purveyors of what is unequivocally heavy. After 13 years, where does such a band go from there? How can they push the envelope any further than it has already been pushed? Enter 2013’s Horrible Night…
“We wanted to write something that would stand up over time…no disrespect to our earlier recordings – we feel the essence and atmosphere of those is still very much with us, but they were of a time and place that we’re no longer part of…” – MOSS
Moss’s Horrible Night track listing: 1. Horrible Nights 2. The Bleeding Years 3. Dark Lady 4. Dreams from the Depths 5. The Coral of Chaos 6. I Saw Them That Night
About Moss’s Horrible Night: Recorded during the summer and autumn of 2012 at Hampshire’s Earth Terminal and London’s Earthworks studios, Horrible Night is the sound of MOSS emerging from its cocoon a much more savage, intelligent and all the more terrifying beast. While no longer obsessed with extremity for its own sake – with weirdly infectious riffs, eccentric vocal melodies and no song over 12 minutes – MOSS remain heavier-than-thou, broadening their horror beyond any imposed ‘scene’ expectations. This mastery of the craft is evident from the opening moments of first track “Horrible Nights” – written back in 2010 it sets the course for the album, taking the twisting death-crawl of MOSS mini-epics such as “Tombs of the Blind Drugged” and administering a lethal dose of addictive melody, cooked up by the colossal riffs of Dominic Finbow and the Ozzy-via-seance vocalizations of Olly Pearson. Cuts such as “The Coral of Chaos” and “Dark Lady” expand further upon this potent formula, dragging the Black Sabbath blueprint to its most nightmarish conclusion and ushering MOSS further into their newest dark age.
Posted in Whathaveyou on October 1st, 2012 by JJ Koczan
Well, I guess we’re in the thick of it now. Once you break the news that Primordial is headlining one of the days and the likes of Cult of Luna and Pallbearer are showing up, you’ve pretty much got yourself a festival going. I’m sure there’s till a ton more to come, but god damn, Roadburn never fails to deliver.
I know it’s not the highest-profile announcement contained in here, but if you missed it, I recently did a track stream for Finnish weirdo rockers Seremonia, and they’re pretty awesome, so if you haven’t heard them yet, definitely worth checking out.
Alright, here’s the news. There’s a lot of it:
PRIMORDIAL TO HEADLINE ROADBURN THURSDAY DATE; UNCLE ACID & THE DEADBEATS, MOSS, WITCHSORROW AND SEREMONIA CONFIRMED FOR JUS OBORN’S CURATED ROADBURN EVENT, THE ELECTRIC ACID ORGY, CULT OF LUNA, PALLBEARER AND ROYAL THUNDER AND MORE CONFIRMED
Only three more days to go! Roadburn Festival 2013 pre-sales start on Thursday, 4 October 2012, at 8:30pm CET. In the meantime, here are the latest updates from Roadburn headquarters:
We’re elated to announce that Ireland’s epic, pagan metallers Primordial will headline the Thursday Roadburn date, Thursday, April 18th at the 013 venue in Tilburg, Holland. Primordial are truly a band unlike no other; over the last two decades, they have passionately carved a niche of their own, without compromise!
We at Roadburn would like to pay tribute to Primordial‘s massive and melancholic art by inviting them as our Thursday headliners, the band is simply stunning, from their powerful songwriting to the amazing performances. More info on Primordial here: http://wp.me/p1m0FP-6pO
The Electric Wizard is proud to present the 1st confirmed ‘Heavy Friends’ for The Electric Acid Orgy at Roadburn 2013 on Friday, April 19th: “Ladies and Gentlemen, hack your resin filled lungs for our very good friends and Britain’s No1 Super Slo-Mo Doom Kings Moss, who will perform selections from their eagerly awaited new LP plus all their classic tombstone(d) liturgies”, says Jus Oborn.
“Also raise your bongs for these awesome new highs: We have our fellow witchfinders and medieval throwbacks Witchsorrow upholding traditional values with solid Fuckin DOOM!! Finnish Occultists Seremonia promise to deliver an acid-fried heavy metal ride and we have the hotly tipped horrorock phenomenon Uncle Acid & The Deadbeats!!! Alrite!!”
“Now if this doesn’t burst your stoned skulls”, says Jus, “we also have the ELECTRIC GRINDHOUSE CINEMA inside the 013 showing demented,sick,weird and grotesque exploitation films from our own collection. Never seen on DVD, the very darkest creations of the Sick Sick Sixties and Seventies projected for one nite only with special guests performing live soudtracks that will burn your retinas and destroy your minds !!”
More Very, Very Special Guests will be announced soon! PREPARE TO MEET YOUR MAKERS!!!” More info on The Electric Acid Orgy here http://wp.me/p1m0FP-6pX
More info on Uncle Acid & The Deadbeats making their live debut in mainland Europe at Jus Oborn’s The Electric Acid Orgy here: http://wp.me/p1m0FP-6pt
Cult of Luna is a Swedish post-metal band from Umeå. After 5 years away, they will return to play Roadburn Festival on April 20th 2013. On October 5th 2012, they will announce some more news about what they have been doing, and what they have planned. More info on Cult of Luna here: http://wp.me/p1m0FP-6pq
Pallbearer will bring their classic doom sound to Roadburn 2013 on Thursday, April 18th at the 013 venue in Tilburg, Holland. Pallbearer’s epic, timeless riffs and modern production have been taking the music world by storm with their recently released debut album Sorrow and Extinction, no small feat for a doom band. More info on Pallbearer: http://wp.me/p1m0FP-6pd
We’re extremely pleased to welcome Atlanta heavy hitters Royal Thunder to Het Patronaat in Tilburg, Holland on Thursday, April 18. Following up on the critical acclaim their debut Relapse Records’ full-length, CVI received, Royal Thunder bring their uniquely heavy, enthralling, and enveloping rock to European shores for the first time. More info on Royal Thunder here: http://wp.me/p1m0FP-6p8
Sweden’s My Brother The Wind, led by Anekdoten’s Nicklas Barker, will bring their improvised experimental psychedelia to Roadburn Festival 2013 on Saturday, April 20th at the 013 venue in Tilburg, Holland. More info on My Brother The Wind here: http://wp.me/p1m0FP-6oU
Roadburn Festival 2013 Ticket Pre-Sales Start Thursday, 4 October 2012 at 20:30 CET.
There will be a 2 ticket limit (per order) for 3-day and 4-day passes and Afterburner tickets. The following creditcards will be accepted: American Express, Mastercard and Visa. As with previous years, there will be a designated campsite at De Beekse Bergen. More info on the ticket sales here: www.roadburn.com/roadburn-2013/tickets
Roadburn Festival 2013, including Electric Wizard, Godflesh playing Pure in its entirety for the first time ever, Neige (Alcest) as Artist-in-Residence, Goat and Die Kreuzen reunion among others, will run for four days from Thursday, April 18th to Sunday, April 21st, 2013 (the traditional Afterburner event) at the 013 venue in Tilburg, Holland.
