Friday Full-Length: Naam, Kingdom EP

Posted in Bootleg Theater on December 4th, 2020 by JJ Koczan

Looking back now,  phd thesis in economics How To Get A 2 1 Dissertation offers one or more writing prompts for each category listed below For each prompt, we also provide an Naam were probably a couple years ahead of their time. Three or four, at least. They formed as the three-piece of guitarist/vocalist Is it possible to Go Here cheap and get outstanding results? Only at Buy Essays Cheap. Get personal academic assistance from real experts Ryan Hamilton, bassist/sometimes vocalist  Best Dissertation Writers Online for Assistance Music Homework Help from the Best Dissertation Writers Online. You will have to complete so many tasks and John Bundy and drummer  Looking for the best Before you make the final choice, check out our independent reviews. Compare prices, quality & more! Eli Pizzuto — or at least that’s who they were when they got around to putting out their debut EP,  Getting the best from visit here is the dream of every client, but there are traits to consider in order to achieve this Kingdom (review here), first on their own and then through But overall, the Paper Store earned its writers have a price you can afford f this pages. Dont Let the writing service support for the expecta Tee Pee Records. Running a special-edition 12″-worthy 23 minutes, the three-songer positioned High School Essays That Provide That Video Games Cause Violence by the Best Writing Service and Research Writers. The assignments students get during their education in college are unlikely to be radically different from the tasks assigned in schools or universities. Usually, the range of your academic assignments will look roughly the same. Book reviews ; Presentations; Essays; Research papers; Lab reports; Theses; Term papers; And Naam at the vanguard of a new generation of heavy psychedelic rock.

They weren’t necessarily the first, or even the first psych act in Brooklyn, but they brought a fresh take with a focus as much on depth as expanse tonally and their songs even in this initial batch were undeniable in their groove. There was a reason  CV Master Careers - and consultancy services delivered by CV Consultants with almost 14 years of CV writing and recruitment Tee Pee snagged the band and released the EP on the quick — I mean, it was months, and not that many of them. January 6, 2008. Most of you know that I successfully defended my PhD research in December. What Im going through now is pretty typical (at least for my institution): Im revising and refining parts of the document according to comments and suggestions from committee members. My dissertation comprises three chapters, each of which is a stand-alone paper designed to Naam had “New York hometown weirdo heroes” written all over them.

That blend of elements made  This essay writing service has years of experience in the market and has We have chosen only and deeply researched Naam feel like something of an East Coast complement to Here at, we make it clear clients are crucial to the process itself. You get to choose the professional, and you gain unlimited access to them. You are the guiding voice of your written assignment. Now you may be wondering , Youre just saying that because you want to Term Paper Help 100 Non Plagiarized for me. No we mean it. Our people are trained to incorporate all of your suggestions into your project. Its a collaboration between you and the person you hire, but you always Ancestors, whose demo-turned-debut  The Search for Graduate Admission Essay Help Engineering Services UK Based! The main dilemma for students who feel like they need professional academic help is not if they should do it or if it is secure. The main dilemma for them is whether or not they can afford the insane prices some companies are charging for even the smallest things. Instead of searching for dissertation help UK based, they are now Neptune with Fire, was issued by  A Trustworthy Homework Help On Helping Verbs: Why Students Choose Us. If you need cheap essay writing services, contact our company today. Fill out the order form on our website or simply write a short message to the support team. For instance, Write essay for me. A manager will get back to you as soon as possible. Over the years of operation, we have provided our services to thousands of Tee Pee in 2008, but the two bands’ paths would quickly-enough diverge. And really, epic neo-stoner was hardly limited to either act, but it was the generational turnover they represented that really set them apart. Going to gigs in Manhattan or Brooklyn at this point, one was bound to run into the band on some stage or other, and listening to  Dont be afraid to ask real paper gurus - Masters Dissertation For Sale for me online! They are always ready to lend a hand when needed. Will You Do My Homework for Me? Yes, Sure! You Can Count on Us. Our customers know that they can always count on our experts to complete their research papers, reports, book reviews, and other types of papers. We are aware that getting a degree is a difficult mission. Not Kingdom, one hardly knew that they were woodshedding a progression that would carry them across their two full-lengths and the next five years of international touring, before their eventual disbanding in 2014, but that’s how it turned out.

When customers decide to, they should address a series of relevant questions, especially concerning the specialty of original thesis writing services. This suggests that the authors of the thesis need to possess corresponding education and high professional qualifications. Moreover, it is essential that the customers run the received theses through plagiarism detection software. Kingdom still bleeds that original potential. It takes lack of pretense to an extreme in its fuzzy cause. The 11-minute closing title-track soars, sure, but opener “Skyling Slip” manages to pack its breadth into a five-minute run, rumbling with low-end threat at the outset but unfurling a nod that is so warm as to be genuinely welcoming in its atmosphere. Welcoming and dusty, anyhow. A shuffle takes hold in “Skyling Slip,” all proto-space rock and winding as it is, but psychedelic and heavy in like portion, the guitar and bass and drums urgent, driving,naam kingdom in the first half only to split out with wah-drenched soloing and effects for a midsection jam that leads to a slowdown and eventual plus-keys boogie buildup finish. They go far, but never seem to be all the gone on “Skyling Slip,” and that would prove to be emblematic of the band  Naam would become: a deceptive sense of control underscoring material that seemed to swirl beyond grasp.

“Fever if Fire” is slightly longer than “Skyling Slip,” though both would becomes staples of live sets, and eases its way into the verse with a shimmering riff and Pizzuto‘s drumming as the secret weapon holding it together. I won’t take anything away from any one of these players, but the post-Sleep intricacy of what Pizzuto brings to “Fever if Fire” still rings as a call to worship, pulling off multiple tempo changes with apparent ease and bolstering guitar and bass alike, mellowing out later to give the final push-off-the-cliff its due dynamic. Or its dynamic due. Whatever.

And when you go off the cliff from “Fever if Fire,” you land in “Kingdom” itself. If you were ever so fortunate as to see Naam play this live, with Bundy howling upward on the mic to join Hamilton‘s recitations of the title in the apex of the massive, hypnotic jam that the song became, well, then you already know the deal. But consider the beginning of “Kingdom” as well. HamiltonBundy and Pizzuto are locked in from the start, and though its 2:40 before the first verse even starts — barely discernible as it is through the morass of echo that surrounds; like a bullhorn really far away spouting stoned gnosticism — you wouldn’t call the track patient. There’s just that much moving to be done. Circa 4:30, Bundy‘s bass leads a speedier charge, but within a minute the slowdown lands big, big, big, and “Kingdom” begins its outward excursion, coming to a stop only at the lines, “Kingdom of heaven/Twelve by six/Christ is born on the crucifix…,” etc. as the vocals lead the tension mounting toward the song’s and the EP’s payoff. “This is freedom. This is my birthright. Kingdom.” Fuck yes.

I won’t claim to know what the hell “Kingdom” is actually about, but I know when I hear that line of sitar or keys or whatever melodic thing it is backing Hamilton‘s fuzzed-beyond-fuzz solo, I still get chills up my spine. And why the hell not? If you’re listening to EP now and thinking “wow they could really ride that groove much longer” at the end, you’re right. “Kingdom” became 16 minutes when it led off their 2009 self-titled full-length debut (discussed here), and was no less captivating for the additional time. Naam toured and did local support gigs in New York, growing spacier all the while. Next outings like 2012’s The Ballad of the Starchild EP (review here), 2013’s Vow (review here), and their 2014 split with Black RainbowsWhite Hills and The Flying Eyes (review here) found Naam not only working as a four-piece with John Weingarten added to the fold on keys, but becoming ever more identifiable in their take on cosmic heft.

It was a bummer when they broke up, but so it goes. Pizzuto was playing in Virginia’s Sinister Haze a couple years back, but I don’t think Hamilton or Bundy have gotten anything going at this point. That’s a bummer, and in another world, Naam would be ripe for reunion, getting back on stage and hopefully picking up the added experimentalism with which they left off and taking it even further into the unknown. 2020 isn’t that world, to say the least. What Kingdom still stands for, though, is the possibilities that Naam would explore in the next few years, as well as the special grit that only existed in their sound at the moment it was captured. They were never the same twice, but Naam was always a special band.

As ever, I hope you enjoy. Thanks for reading.

Maybe not the least productive morning ever, but definitely on the list. I got a text from my wife at 4AM. She was next to me in bed, mind you, but sending me the text so I’d see it when my alarm went off an hour later so I’d know what was up. The phone buzz woke me from whatever anxiety dream I was having — who can remember? — and I saw her note that the internet was out. It was back on by the time I actually got up an hour later, but has continued to be in and out since. I’m supposed to do a video interview in an hour that’s been rescheduled like three times already. Here comes number four!

So, when I should’ve been writing this post, I was instead trying to chase down wifi problems, to no frickin’ frackin’ avail. Yes, I turned everything off and on again. Yes, twice. No, I didn’t burn the router to the ground so the soil would be richer for the next connection. Should I try that?

Meantime, the dog’s already up and The Pecan is up early circa 6:10 and that’s pretty much the end of my time. I got all the way to the Ancestors comparison above before I had to go get the kid. Normally, I’d finish the first half of the post, if not the whole thing. Frustration.

I went to bed last night cursing the internet for something else entirely. Today I feel all the more justified for that.

I don’t know what’s up this weekend. Nothing? We’re pretty much under lockdown here, what with the rampant plague and all — oh that old thing! — and it’s cold anyway. I’ve stopped going running since I hurt my ankle and kind of gave up on life. I need to go grocery shopping and I’ll go by myself even though it makes no sense since, what, I’m gonna get covid and my wife isn’t? I’m gonna quarantine for 10 days upstairs in the guest room while she runs The Pecan around full-time, trying to work all the while? I’d better be dead before we get there, though there were plenty of times this week where I’d have taken that bargain.

Anyway, if anyone needs me, I’ll be here, being bummed out that no one cares about my Star Trek tweets, waiting for bedtime.

Great and safe weekend. Wear your mask. Hydrate. Don’t make eye contact. I hear that’s how it travels.


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Sanhedrin Sign to Metal Blade Records; New Album in 2021

Posted in Whathaveyou on December 1st, 2020 by JJ Koczan

It’s not every day you run into a Lost Goat connection. Sanhedrin, newly signed to Metal Blade for their upcoming third album, is fronted by Erica Stoltz, whose pedigree includes not only that largely-lost three-piece from the pre-social media, turn-of-the-century days of heavy rock, but also to Amber Asylum, the pioneering chamber-doom outfit from whence also sprang Worm Ouroboros, Giant Squid, Grayceon, Culper Ring, etc. A not insignificant CV.

Guitarist Jeremy Sosville and drummer Nathan Honor have their own lineages, between Black Anvil and Vermefug, respectively, but as 2019’s The Poisoner readily demonstrates, Sanhedrin‘s sound is more singularly indebted to the classic metal end of doom. One imagines seeing them share a stage with Magic Circle and bringing forth roughed-up NWOBHM gods with copious spells of summoning.

Oh yeah, and I guess Metal Blade‘s pedigree is pretty good too. Remember that time they put out Show No Mercy?

Info from the PR wire:


Metal Blade Records is proud to welcome Brooklyn’s Sanhedrin to its worldwide roster!

Formed in 2015, Sanhedrin have released two albums to-date: A Funeral For The World (2017) and The Poisoner (2019). The trio (which consists of former Amber Asylum/Lost Goat bassist/vocalist Erica Stoltz, Black Anvil guitarist Jeremy Sosville and drummer Nathan Honor) blends doom and classic metal into gripping, instantaneously memorable songs with lyrics that delve into the darker elements of humanity and the cyclical nature of destructive ideas. Thought-provoking and inherently catchy at the same time, Sanhedrin is unafraid to venture into unchartered territory.

The band will enter the studio to record their third full-length – and Metal Blade Records debut – in spring 2021.

Sanhedrin comments: “We are excited and humbled to join Metal Blade Records! Their legacy spans four decades and countless amazing artists, many of whom have inspired us over the years. We are proud to be part of its future, and look forward to what this new partnership will bring for Sanhedrin.”

Stay tuned for more news about Sanhedrin coming soon!

Sanhedrin line-up:
Jeremy Sosville – Guitar
Erica Stoltz – Bass, Vocals
Nathan Honor – Drums

Sanhedrin, The Poisoner (2019)

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End of Hope Announce March 2021 Release for Cease & Destroy LP

Posted in Whathaveyou on October 19th, 2020 by JJ Koczan

end of hope

I’ve written about End of Hope a couple times before. When their demo came out in 2018, when they released their first album, Cease and Destroy (discussed here) in 2019, so now that the latter is coming out on vinyl through Colorado’s Chain Reaction Records, I’m more than glad to follow-up and let anyone who might see this know about it, even though since it’s hardcore, it’s not exactly what generally gets covered around here.

As to the question of why not, well, I’m not really into hardcore. And as to the next question of why I’m covering End of Hope as an exception to that rule, it’s both because their songs are pretty cool even if they’re not my thing and because they’re relevant by proximity, if not directly so. Dude up on the right there is Ken Wohlrob from Eternal Black. Hanging out in back is Davis Schlachter from Reign of Zaius, and both of those groups have been covered here many times, so yeah, relevant. In any case, you haven’t spent any money on vinyl yet today — unless you have, in which case, you’ve already got the ball rolling — so it seems to me you might as well put that itchy trigger finger to good use and at least check out the record if not preorder the LP.

Details came down the PR wire:

end of hope cease and destroy

End of Hope’s Cease & Destroy to get vinyl release via Chain Reaction Records

Pre-orders available now via the label and band sites.

END OF HOPE — comprised of members from several well-known New York City acts including Kraut, St. Bastard, Reign of Zaius, and Eternal Black — will release their debut album, Cease & Destroy, on vinyl for the first time via CHAIN REACTION RECORDS. The vinyl version of Cease & Destroy will be released in early March 2021. Fans can pre-order the limited-edition vinyl via the band’s Bandcamp page ( and Chain Reaction Records site (

Cease & Destroy features nine songs in the band’s trademark Motörhead-meets-Black Flag style — a potent cocktail of high-volume speed rock and anthemic choruses. It was first released on CD and as a digital download on November 19, 2019 via the band’s Arc of Movement Records. The limited-edition vinyl will be available on green vinyl and limited to 300 copies. The music was mastered for vinyl by Joe Kelly of Suburban Elvis Studios who produced Cease & Destroy along with Kol Marshall.

According to guitarist Ken Wohlrob, “We’re super damn excited to be working with Josh and Justin at Chain Reaction Records.” He added, “They’ve already helped spread the word about us through their shop and it means a lot that they’re willing to step-up and help us to finally release a vinyl version of Cease & Destroy.” Josh Lent of Chain Reaction Records says of the band, “With Sabbath reeking riffs, End of Hope pushes Hardcore forward while respecting their Punk Rock roots. Black Sabbath. NYHC. END OF HOPE.”

Cease and Destroy track listing:
1. Hypocrisy
2. Last Night
3. Guilt Trip
4. The Hardest Thing
5. What Was I Thinking?
6. End of Hope
7. Excessive Fortune
8. The Deal
9. Arc of Movement

End of Hope is:
Davey Gunner: Vocals
Dave Richman: Drums
Davis Schlachter: Bass
Ken Wohlrob: Guitars

End of Hope, Cease and Destroy (2019)

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Endless Boogie Releasing The Gathered and Scattered 4LP Box Sept. 24

Posted in Whathaveyou on July 14th, 2020 by JJ Koczan

You know, I wouldn’t necessarily have thought so, but Endless Boogie put it all on the line when they say “you most certainly need this thing,” and I think they might be right. The Gathered and Scattered is the New York jammers’ upcoming collection of rehearsal improvisations. It reportedly runs three hours long and spans four 12″ records. It is limited to 1,000 copies.

Am I ever going to have three hours solid to sit and listen to four Endless Boogie LPs in a row, back to back, for that stretch of time? Given what my life is as of today, I can’t think of any way it would happen in at least probably the next 15 years. Just doesn’t seem feasible. But maybe stretched out over time, an LP here, an LP there, I could make my way through, and maybe that’d be an alright way to go. The preorders are up and they’re $58, so that ain’t nothing, but it’s about $3.41 per jam, and certainly seems like a fair ask on the band’s part.

They posted some of this material on Bandcamp back in March, and you’ll find it below, along with the info for the box set, which I expect will sell out on preorders long before I get up the nerve to pull the trigger and get it myself. Such is Mango.


endless boogie the gathered and scattered

Endless Boogie – The Gathered and Scattered

Lord have mercy! 4xLP boxset of archival crude EB rehearsal jams from 1999-2012?!? Strictly NoFi! You most certainly need this thing. Preorder today at:

**Digital album releases August 1st**

“Since the pandemic has made it impossible for the Endless Boogie gentlemen to gather in order to finally finish their new studio album they thought this an appropriate time to dig through the basement for some ancient fierce jams for you to relish and devour.

These recordings were made mostly during the first decade of this century and it’s mostly entirely improvised rehearsal recordings, a couple of 3am jams after falling out of the bar, and hints of aborted and despairing recording sessions. Besides the core line-up of Gray/Druzd, Eklow, Major and Mark O during this era we get glimmers of double Sweeneys (both Matt and Spencer), as well as Tim Evans, and, whoop dee, Andrew WK?!

This collection of unrelenting Pre-Music comprise some selections previously only available on limited edition CDRs, almost half is entirely previously unreleased and NONE of the tracks in this box have ever appeared on vinyl before. 4 LPs, 3 hours of CRUDE TRUTH. It’s a one-time vinyl-only edition of 1,000 copies.”

1. Life and Legend
2. Basement Jam Ritual III
3. Cretan Miniatures
4. Crude Truth
5. Bob Murphy Control
6. Surplus to Requirements
7. Ruin Art
8. Basement Jam Ritual V
9. Hadrian’s Fall
10. Magic Square
11. Red Cloaks, Stained Shields
12. Fat Man Loop ?
13. Rattlesnake Shake
14. Electioneering
15. Basement Jam Ritual I
16. Mother Fury
17. Reconstruction

Endless Boogie, Basement Jam Ritual (2020)

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Swarm of Flies Post New Single “The Jaunt”

Posted in Whathaveyou on July 8th, 2020 by JJ Koczan

swarm of flies group jaunt

If the vibe of the second Swarm of Flies single strikes you as having a different vibe from the first, that’s at least in part because it’s also got something of a different lineup. While project-spearhead/guitarist Ken Wohlrob and bassist Davis Schlachter make a return — they’re bandmates in End of HopeWohlrob also fronts Eternal BlackSchlachter doubles (triples?) in Reign of Zaius — they’re joined by a Philadelphia contingent of Thunderbird Divine‘s Erik Caplan and Clamfight‘s Andy Martin.

It’s Martin to whom the vocal duties fall on “The Jaunt,” and he weaves a tale of sci-fi paranoia and conspiracy that’s only suited to whatever clever name history will someday give what we’re now calling “this moment” that we’re living through. It’s a spoken word piece, and the music behind is correspondingly atmospheric, which itself is a departure from the prior “Mine All Along” (posted here), but if the end-goal of Swarm of Flies is to create an album’s worth of collaborations, the Wohlrob and Schlachter serve a vital function in tying it all together.

But really, what’s a guy gotta do to get an invite to do a track, huh? Is it ‘sit here and be jealous?’ Because that I can do.

Here’s info and audio:

Swarm of Flies The Jaunt

Pandemic-project Swarm of Flies releases second single, “The Jaunt,” featuring members of Eternal Black, Clamfight, Thunderbird Divine, Reign of Zaius, and End of Hope.

A few words from Ken Wohlrob (Eternal Black, End of Hope):

Swarm of Flies is a collaborative musical project made up of musicians from well-established underground bands. The goal is to continue to release new music during the coronavirus pandemic. Our second single, “The Jaunt,” is now available as a name-your-price download on Bandcamp ( and is also available via online streaming services including Spotify and Apple Music.

The Song

As always, the S.O.F. lineup changes with each track. “The Jaunt,” features Andy Martin from Clamfight on vocals, Erik Caplan from Thunderbird Divine on guitar, drones, and harmonica, Davis Schlachter from Reign of Zaius and End of Hope on bass, synthesizer, and piano, and myself on guitar, Moog, and programming. This song is a strange one and the journey it went through from a somewhat minimalist dirge into a sort of space-rock epic speaks to the collaborative process. Erik is a flurry of creative ideas and threw so many layers at me that the challenge became finding the sonic bandwidth to make all the parts fit. The piano part added by Davis became an important counterpoint to all the electronic noise and his bassline anchors the whole thing in the Bad Seeds tradition. Andy had the idea for a spoken word part early on, but when we finally heard what he cooked up, we were stunned. It sets this dark tone and then builds to a great revelation. We handed it over to our good friend Joe Kelly, of Suburban Elvis Studios, to mix and master it, as well as add some additional percussion. It is a headphones song. You’ll keep hearing different layers every time you listen to it.

Comments from Erik:

“‘The Jaunt’ initially arrived as a sort of a puzzle challenge from Ken. The song is in an awkward key, and it’s in a janky time signature. It’s gloomy and moody. Once I figured out the progression, I had to figure out where I fit into the equation. This isn’t a song for guitar shredding, and it’s not a rocker or a doom jam. So I did a little Doors surf guitar and added some drone manipulations. I think the end result is simultaneously trippy, intense and organic.”

Comments from Andy:

“Lyrically, ‘The Jaunt’ was born of a collision between astrological alignments of Neolithic monuments, the Space Race during the Cold War, and the Repo Man soundtrack. The world we currently exist in is one that’s both isolated and unintentionally intimate. People are cut off from each other yet we can broadcast every moment of our lives to the those in our social circles. That made it easy to imagine being isolated from someone while having intimate access to their last moments.”


Here is a list of musicians who have participated in the Swarm of Flies project so far:
Andy Martin from Clamfight
Erik Caplan from Thunderbird Divine
Davis Schlachter from Reign of Zaius, Clothesline, and End of Hope
Earl Walker Lundy from Shadow Witch
David Richman from Witch Taint, St. Bastard, and End of Hope
Joe Kelly and Kol Marshall from Suburban Elvis Studios
And myself (if you don’t know who I am) from Eternal Black and End of Hope

Swarm of Flies, “The Jaunt”

Swarm of Flies, “Mine All Along”

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Friday Full-Length: Type O Negative, World Coming Down

Posted in Bootleg Theater on July 3rd, 2020 by JJ Koczan

It had been probably a decade since I put on World Coming Down, the fifth album from Brooklyn, New York’s Type O Negative, but I still knew every word to every song. That’s a special record.

Type O Negative — principal songwriter Peter Steele on bass/vocals, Johnny Kelly on drums, Kenny Hickey on guitar/some vocals and Josh Silver on those oh-so-essential keys — were coming off an absolute masterpiece in their prior offering, 1996’s October Rust (review here), which saw them transcend the goth metal stereotype to which they’d been lumped in part rightly and truly bask in the possibilities for what they might offer in their impossibly-individualized blend of Black Sabbath and The Beatles. In a time when metal was beating its chest to the Panteras of the universe, Type O Negative was apologetically sexually transgressive, and they defined their own course and their own career on October Rust.

Yeah, all well and good, but then you have to make another record, right? Throw that pressure, Steele‘s well-under-way cocaine addiction, various personal losses and traumas, and the result is probably the darkest work Type O Negative ever released. Sure, songs like “Who Will Save the Sane?” and “Creepy Green Light” and “All Hallows Eve” seemed to speak to some of the same post-goth elements as October Rust, but when you put those alongside “Everyone I Love is Dead,” “Everything Dies” — who the hell let both of those on the same record? — and the slog of an opening that the album gets with “White Slavery,” and the affect is just miserable from the outset. Type O Negative had certainly trafficked in downerism to this point, but World Coming Down — even its 11-minute title-track, which is high among the best songs this band ever produced — felt more real, more personal, and at times the weight it seemed to put on the listener could be a lot to take.

A product of its era, it runs 13 songs and 74 minutes long with a Beatles medley at its conclusion after “All Hallows Eve” and “Pyretta Blaze” — which one might accuse of being a cynical redux/answer to the likes of “My Girlfriend’s Girlfriend” or even “Be My Druidess” from the prior album — and is peppered with death in the three interludes “Sinus,” “Liver” and “Lung,” which of course allude to cocaine, drinking and smoking. If this was the band’s excesses catching up with them, then fair enough, but the difference on World Coming Down is that what was gallows humor is instead just misery. If that seems like a fine line, Type O Negative demonstrate clearly by the end of “White Slavery” that it isn’t. Of course, Steele was still a songwriter at heart, so the clever chorus, “Let me say, Pepsi Generation/A few lines of misinformation/Watch your money flow away oh so quick/To kill yourself properly coke is it,” is just that — clever. And catchy. But the underlying message isn’t lost just for being couched in an accessible package, and, even the uptempo piano lines of “Everything Dies” can’t mask the plainness with which Steele delivers, “Now I hate myself, wish I’d die.” This, right before the flatlining of “Lung.” A radio hit about hair dye, it ain’t.

type o negative world coming down

There was no question that World Coming Down was informed by both the creative and the audience success of October Rust. From “Skip It” at the outset pulling a prank on the listeners to the lushness of melody in “Everything Dies” and “Pyretta Blaze.” The pre-medley closer “All Hallows Eve” seems to echo the sparseness (at least initially) of “Haunted” from the album before it as well. Each Type O Negative record was its own beast, from 1991’s Slow, Deep and Hard to 2007’s Dead Again, but neither were they ever shy about self-awareness, and that manifest throughout World Coming Down as much as anywhere. Even with the title-track as the centerpiece, it’s not a record I’d reach for before, say, 1993’s Bloody KissesOctober Rust, or maybe even Dead Again or 1992’s still-formative The Origin of the Feces, famous as much for its cover art as for any of the songs it actually contained. That’s not to say World Coming Down doesn’t have an appeal, just that, again, it can be a lot to take in. It is an album of meta-heaviness. They sound no less weighted down than the guitar or bass tones.

When Type O Negative were at their most ‘goth,’ on Bloody Kisses, they were tongue-in-cheek about it. There are some moves made to have the same perspective on World Coming Down, but somehow the humor is undone by the surrounding sincerity. As Steele intones during a break in the the title-track, “It’s better to burn quickly and bright/Then slowly and dull without a fight,” paraphrasing Neil Young in the process, it’s hard to know whether he’s working to convince himself or the listener of what he’s saying. World Coming Down is a gorgeous record, make no mistake, but its beauty has the arduous task of finding expression through a range of pains that comprise the recurring themes: death, addiction, inability to cope, etc.

The Beatles medley, with pieces of “Day Tripper,” “If I Needed Someone” and “I Want You (She’s So Heavy),” is fair enough ground for Type O Negative to tread, having made no bones throughout their career of being influenced by — or as they might put it, “ripping off” — that group at various points. They also did a number of Beatles songs live, including “Back in the USSR.” And their penchant for matching parts of different songs together could easily be seen as an extension of the individualized takes they brought to “Hey Pete” or their version of “Paranoid” earlier in their career. It’s a little out of place on the album, tacked onto the end, but if I’m not mistaken, Roadrunner Records had a mandate at one point that everything they put out had to have a cover on it. Fear Factory did “Cars.” Type O Negative did “Day Tripper.” Fair enough.

Thinking about Nine Inch Nails‘ The Fragile (discussed here) last week — which came out the same day as World Coming Down; Sept. 21, 1999 — prompted a revisit here, and while the context of Steele‘s death in 2010 adds a spin of tragedy to everything Type O Negative did, as someone who was a fan of the band at the probably-too-tender age of 11, and who called Q104.3 so many times to request “Black No. 1” that they knew my name, I’m glad for any excuse to listen to them when an excuse to do so happens along.

We’re in Connecticut, came up yesterday. I’ve got to wrap this up in like 10 minutes so we can hit the road. Dropping off The Patient Mrs. and The Pecan at her mother’s, then driving north into Rhode Island about an hour and a half to buy chicken from a farm up there, then back down to grab them and back down again to NJ, hopefully all by naptime, but we’ll see. It’ll be a busy day.

Next week — Quarterly Review. I’m supposed to watch the Candlemass live stream this afternoon and review that too. It starts at 2PM. That should be up Monday, but other than that, it’s QR all the way. Not much news lately, so it’s a good time for it. Of course I say that and next week will probably be flooded. Whatever.

But since I haven’t even managed to brush my teeth yet — already changed a poopy diaper, made the kid breakfast (admittedly half-assed), and got two posts up! — and there’s still packing to do, I’m gonna call it. The Gimme show is a repeat this week, but if you feel like listening, it’s always appreciated.

It’s 4th of July weekend. I don’t have much to say about it, but if you’re proud to be an American in 2020, you’re either fooling yourself or an asshole. We should hang our heads and mourn the unnecessary dead this year. Have fun at the fireworks.

Whatever you do with it, a day off is a day off. I hope you have a great and safe weekend. Enjoy yourself from a safe distance.


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Human Impact Release New Two-Songer Transist / Subversion

Posted in Whathaveyou on June 29th, 2020 by JJ Koczan

human impact

Terminology hasn’t really caught up yet with modern the two-song release. The tradition, obviously, comes from a single’s A and B sides, and very often, that tradition is upheld, and a band releases a single as a 7″. As both songs on Human Impact‘s new foray, Transist / Subversion, run near/at six and a half minutes, they’re a little long to fit on a 7″, and unless they’re feeling cheeky and want to do an 8″ — they wouldn’t be first — and if they’re just leaving it digital, it is what it is. When it comes to this kind of thing, I like “two-songer.” Says what it is, gives the B-side a bit of validity, and lets the audience know they’re getting more than just a “single.” If you have to specify, you might as well be specific.

So hey, Human Impact have a new two-songer. It’s not an EP. It’s not just a single — the second track, “Subversion” is a noise wash but lacks nothing for substance in that — but for those who dug the band’s 2020 self-titled debut (review here), it’s an appreciated check-in from the corporeal-chaos noisemakers.

It’s pick-your-apocalypse these days, so we might as well take joy as it comes, huh? Here you go:

human impact transist subversion


To find out more, visit:

Following the release of their debut self-titled album, Human Impact have been releasing brand new material, including the recent single, “Contact” which was written and recorded shortly before the outbreak of Covid-19. The band share two further standalone singles “Transist” and “Subversion.”

About these latest singles the band remark, “Transist” was from a group of songs that we recorded and mixed just prior to the current pandemic. The song is a reflection on what the world looks like as things fall apart. Our broken ideals, the unstable foundations of our civilization, our trusting dependence on technology and our subservience to the ruling governments/corporations. The shining object held up by society that will never be realized. All creating a pressing need for change.”

They continue, ““Subversion” emerged from a 30 minute intro from our last live show (on March 14). We started that show with a 30 minute improv noise/ambient set. All members of the band have varied histories in soundtrack work and scoring music to picture. We look forward to getting back to live shows and expanding on this more.”

Chris Spencer (Unsane, UXO): Vocals/Guitar
Jim Coleman (Cop Shoot Cop): Electonics
Chris Pravdica (Swans, Xiu Xiu): Bass
Phil Puleo (Cop Shoot Cop, Swans): Drums

Human Impact, Transist / Subversion (2020)

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Video Premiere: Kings Destroy Make the Most of Quarantine with “Fantasma Nera” Video

Posted in Bootleg Theater on May 19th, 2020 by JJ Koczan

kings destroy

By now the ‘quarantine video’ is fast becoming a genre of its own, and one that will, when the planet has reopened to whatever new reality awaits our pitiful species — back to burning working class labor and fossil fuels we go, merrily cutting taxes and learning nothing — be a marker of this time and experience. It speaks to the simple need to create that, even isolated from each other, the members of bands can’t help but collaborate on projects like this new video from Kings Destroy. There are so many working on new material during this lockdown, and as we seem to be at least telling ourselves we’re through the worst of it — maybe we are, I don’t know — the baby-boom of records to come might indeed be another marker of COVID-19’s aftermath. So be it. In the meantime, locked in their homes in New York, Kings Destroy put together a clip for “Fantasma Nera” from their 2019 album of the same name (review here), which Svart delivered and you should’ve listened to if you didn’t. There’s time now, to paraphrase Burgess Meredith at the end of the world.

But whatever. The album’s fanatically melodic, and a boldly rock and roll reaction to the confrontationalism of their past work. More than anything, it was the record where they perhaps once and for all shrugged off the expectations of others and took the course they wanted to take. No two Kings Destroy releases have ever been the same — all the more reason to listen — so I wouldn’t count on them repeating this process next time, even should they return to work again with producer David Bottrill (ToolKing Crimson, etc.). But though I’m sure guitarists Carl Porcaro, who bursts into the room at one point in the video with his freshly-shaved head carrying his guitar like he’s on Smackdown, and Christopher Skowronski, who hates run-on sentences like this one and recently did a days of rona talking about his own plague experience, have been chipping away at new riffs and during their stuck-at-home time, the band as a whole aren’t probably there yet. It would probably help things along though if they could get in the same room. Remember when that used to happen?

And as the opening lyrics of the song say, “Remember when we were alive?/Neither do I.”

On that fun note, a few highlights: We see drummer Rob Sefcik‘s dog and child and he gives a good shrug in addition to a righteous performance on some pretend drums. At one point, vocalist Steve Murphy points at the camera. Bassist/backing vocalist Aaron Bumpus fades in with some ’80s metal effects on the harmonies and, later, enjoys a drink, as does much of the band. And of course, that Porcaro entrance. It’s a good one.

The video was edited by Skowronski and he offers some quick comment below, and the Bandcamp stream of Fantasma Nera is down there too. Have at it.

And please enjoy:

Kings Destroy, “Fantasma Nera” official video

Christopher Skowronski on “Fantasma Nera”:

“I was just looking for a project to keep me busy during the lockdown. I realized we never made a video for any song off of Fantasma Nera, so why not make one. Of course all of us being in isolation posed a problem. I also didn’t want to do one of those videos of a band playing “live” via Zoom or whatever. I mean, I’ve seen some cool ones, but it’s been done, and not all of us have the technology to pull that off anyway. So I just asked everyone to film themselves playing the song, as well as some footage of them in isolation doing whatever they chose. I got a ton of footage back from everyone, went through it, and cut it together. It wasn’t until I began making it that I realized the lyrics — especially the first few lines of the song — fit the overall situation so well. Anyway, it at least gave us all something creative to do.”

Fantasma Nera is out now on Svart Records:

Kings Destroy, Fantasma Nera (2019)

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