Video Interview: Stephen Flam of Göden on Continuing Winter’s Legacy, Pushing Beyond Darkness

Posted in Bootleg Theater, Features on August 19th, 2021 by JJ Koczan

Göden stephen flam

Punishingly heavy and bleak in its atmospheric density to a point of being oblique, how to write a phd dissertation abstract http://www.hoell-rothenburg.de/mla-essay-header/s Illegal el segundo high school homework help english research proposal example Göden‘s years-in-the-making debut album,  Are you looking for dynamic & compelling content from a UK cat writer & Homework Help Area Code 650 with an international client base? contact@emilyfowlerwrites.com. Beyond Darkness (review here), arrived amid the somehow-fitting chaos of Spring 2020 through respected purveyors  Looking for a qualified writer who can show you how to craft a custom book report? Our http://www.fawo.de/secondary-school-homework-help/ puts safety, Svart Records. The band, led by guitarist/songwriter  FREE Revisions & FREE reference professional http://cpalettre.unepassion.fr/?student-assignment-sheet for university page! Essays from professional writing service, get the Stephan Flam, has been intended since the outset — really, since before the outset — to function as a spiritual successor to Our Best Essay Makers provide a platform for college students to improve the content their written essay according to given guidelines. Flam‘s prior unit, New York death-doom trailblazers Here you can buy Apex Mba Eassy Writing written within high academic standards. The Right Place to Order Essay Online Some students find writing essays easy and enjoyable, while other students torture themselves to write even one single sentence. To get a good grade for the assignment, the student needs to fulfill a great list of requirements: follow accepted formatting standards, show brilliant Winter, and the truth of the matter is DLTK's http://www.comelec.telecom-paristech.fr/?sample-book-reports Paper. Looking for a way to create themed writing paper? The next few steps will allow you to choose a theme for the top and bottom Göden is simply on another level altogether. Yes,  Here you will find http://www.insitu-linz09.at/?i-need-to-do-homework writing services and reliable guarantees for affordable price. Buy high quality paper and forget about troubles. Flam is joined by former  http://controlinterno.unal.edu.co/?resume-writing-services-prices - Why be concerned about the review? apply for the necessary guidance on the website modify the way you fulfill your homework Winter keyboardist  Admission to Mary Baldwin University Forums Arts cheap Ghostwriter Imdb websites for masters This topic contains 0 replies, has 1 voice, and was last updated by Davinpact 2 years, 6 months ago. Viewing 1 post (of 1 total) Author Posts February 23, 2018 at 2:19 am #197944 Reply Davinpact Edgardo Ball [] Tony Pinnisi, who doubles as narrator for the eight spoken interludes — dubbed “Manifestations” — spread across the 2LP, but with an array of drummers and fellow guitarists, violinist  Are you thinking, Literature Review Customer Service online! If your hands are full and you cant get to your homework and class assignments Margaret Murphy and vocalist  Want to get a degree? Social Work Courses Scotland writing services and start working on your own projects! Writing is no more a problem for you. Call us now and get Vas Kallas (best known for her work as a founding member of industrialists shelby county homework help http://www.haunschmidt.at/?a-business-plan-for-a-restaurant business plan custom home builder a thesis for an essay should Hanzel und Gretyl), the entire scope of the project is different.

Are you looking for Phd Thesis Interviews Online? We provide plagiarism-free online dissertation help services for the UK students by Ph.D. experts at the best Beyond Darkness is an encompassing, engrossing, massive narrative slab of extreme doom, telling the story of humanity’s hubris and downfall in the face of an uncaring universe. It is not easy listening or reading, and in line with the amount of composition and effort that’s gone into its realization is the awareness and forcefulness of its purpose. These songs, as  That is why our cheap dissertation writing services should be your only choice when you need http://www.eiga.eu/?online-writing-sites. Since 2010, we have helped hundreds of students to write their thesis. Our PhD writers provide original dissertations that are custom written based on the unique specifications of your assignment. Use the order form below to request for dissertation writing help online. Best Flam tells it from his home studio in the interview below, push nearly as far back as 30 years to Winter‘s landmark 1990 full-length, Into Darkness (discussed here), and I can remember running into Flam at Roadburn 2011 (review here) when he was there to play the Main Stage with Winter and having him talk about the next phase of the project. In the vein of Triptykon modernizing and expanding on the skeleton that was Celtic Frost, so too does Göden flesh out the devastating possibilities of what could’ve been into what is.

And, of course, what still might be.

Because there is more Göden in the works, continuing the storyline of Beyond Darkness, which ends at a point of death-as-rebirth. Flam is guarded in talking about what might be in store sound-wise, but the basic template for what one might expect is there in the first album, waiting to swallow you entirely for its brazenly grandiose 76-minute span. Heavy like collapsing buildings, it is.

Flam talks past, present and future in the video chat that follows.

Please enjoy:

Göden, Interview with Stephen Flam, Aug. 10, 2021

Göden‘s Beyond Darkness is out now on all formats through Svart Records. More info at the links.

Göden, Beyond Darkness (2020)

Göden on Facebook

Göden on Instagram

Göden website

Svart Records on Facebook

Svart Records on Instagram

Svart Records on Bandcamp

Svart Records website

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King Buffalo Announce Second Part of Album Trilogy

Posted in Whathaveyou on August 10th, 2021 by JJ Koczan

King Buffalo recorded their next album, the second in the pandemic-era trilogy previously announced, in a cave. They don’t say which specific cave, but I know it was a cave, because I was there. I took notes that I’ve been sitting on posting for a couple months now. It was a nice cave. I helped them load in, hung around while various technical difficulties were sorted through and sat with headphones on by the control board while they recorded what will serve as the opener and title-track of the next record.

I won’t say much more about it than that, but if you heard The Burden of Restlessness (review here) and were surprised at the shift in sonic persona away from the kind of progressive heavy psychedelic nature-communion of the prior 2018 sophomore album, Longing to Be the Mountain (review here), then surely this is a cave in which you’ll want to spend some time. As they note, the record is four songs and they’re all over 10 minutes long.

They have more news besides the coming of the next record. It’ll be out in late Fall, while the third of the three has been pushed to 2022 in accommodation with the ubiquitous production delays. Foreseeable. They’ve also got new ideas brewing that they tease, and they made Live at Freak Valley (review here) free. You’re gonna want to snag that if you’re interested in anything in this post whatsoever.

And dig this list of tour dates. Hope they happen. I want to hit that Connecticut show with them, Clutch and Stöner. That sounds like my kind of party.

Here’s news of varying sorts:

king buffalo cave

Friends, We have good news, bad news, and more good news.

Good news: We recorded our second record LIVE in a cave! It will only have one single because it’s four 10-minute songs. If you like our long-form stuff (and caves), you’ll love this record! Swipe to see a sneak peek.

Bad news: As you’ve probably seen, the whole world is experiencing massive vinyl production delays, so the second record won’t be released until late Fall of 2021. This also means we are pushing the third part of this album-trilogy into 2022.

But MORE good news: Because of this delay we’ve started on MORE ideas! We came up with a killer one recently and it’s going to be really unique. We can’t wait to reveal more in the coming months.

Bonus: ‘Live at Freak Valley’ is now FREE on Bandcamp! Hopefully this will hold you over until we get closer to revealing more about the second record. -KB

King Buffalo on tour:
9/9 Greeley, CO @ Moxi Theater
9/10 Denver, CO @ Larimer Lounge
9/11 Denver, CO @ Larimer Lounge
9/14 Los Angeles, CA @ Moroccan Lounge
9/15 San Francisco, CA @ Bottom of the Hill
9/17 Seattle, WA @ Barboza
9/18 Seattle, WA @ Barboza
9/19 Portland, OR @ Lola’s Room
9/29 FT. Wayne, IN @ Piere’s Guys*
10/1 Albany, NY @ Empire Live*
10/2 New Haven, CT @ College Street Music Hall*
10/3 Portland, ME @ State Theater*
10/5 Buffalo, NY @ Town Ballroom*
10/7 Long Island, NY @ Paramount Theater*
10/8 Burlington, VT @ Higher Ground*
10/9 Hampton Beach, NH @ Hampton Beach Casino*
10/11 Washington, DC @ 930 Club*
11/5 Philadelphia, PA @ Johnny Brenda’s
11/6 New York, NY @ Mercury Lounge
11/11 Pittsburgh, PA @ Club Café
11/12 Detroit, MI @ Loving Touch
11/13 Indianapolis, IN @ HI-FI
11/14 St. Louis, MO @ Off Broadway
11/16 Madison, WI @ The Bur Oak
11/17 Minneapolis, MN @ 7th St. Entry
11/18 Milwaukee, WI @ The Back Room at Colectivo Coffee
11/19 Chicago, IL @ Lincoln Hall
11/20 Cleveland, OH @ Beachland Ballroom
1/20/22 Ottawa, ON @ Club Saw
1/21/22 Montreal, QC @ Bar Le Ritz
1/22/22 Toronto, ON @ Velvet Underground
* w/ Clutch & Stoner

King Buffalo is:
Sean McVay – Guitar, Vocals, & Synth
Dan Reynolds – Bass & Synth
Scott Donaldson – Drums & Percussion

kingbuffalo.com
facebook.com/kingbuffaloband
instagram.com/kingbuffaloband
kingbuffalo.bandcamp.com
stickman-records.com
facebook.com/Stickman-Records-1522369868033940

King Buffalo, The Burden of Restlessness (2021)

King Buffalo, “Silverfish” official video

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Judas Knife Premiere “Hit it and Hit it and Hit It” from Death is the Thing with Feathers

Posted in audiObelisk, Reviews on August 10th, 2021 by JJ Koczan

the judas knife

The Judas Knife have set a Sept. 24 release for their debut album, Death is the Thing with Feathers, through Translation Loss Records. The title is derived from an Emily Dickinson poem: ‘Hope is the thing with feathers/That perches in the soul/And sings the tunes without the words/And never stops at all.’ It goes on from there. The effect of replacing one word with the other — trading hope for death, literally — gives the 10-track/36-minute collection a grim cast from the outset, and I suppose between the pedigree of drummer Drew Thomas (Youth of Today, Into Another, etc.), and multi-instrumentalist/vocalist Joseph “Sid Jagger” Grillo (Garrison, the our-moniker-didn’t-age-well Gay for Johnny Depp, etc.) and the fact that they recorded with Converge‘s Kurt Ballou at Godcity and got him to guest on guitar for a track, there’s bound to be immediate interest. Not from me, to be honest. I’ve never really been big on late-’90s/early-’00s emo and post-hardcore, the Revelation Records and earlier Warped Tour stuff to me was just what replaced metal when WSOU changed formats when I was there. That’s my association.

So in taking on Judas Knife‘s tracks, I’m not thinking of the duo as a legacy band or something like that. I get that these dudes have both been in successful acts for decades — and that goes a long way toward explaining why they so very much have their shit together throughout this debut — but instead of putting into the headline above what they did 20 years ago, I’m taking Death is the Thing with Feathers on its own merits. And those are plentiful. The songwriting is varied and top notch throughout, and even the shortest of the sub-three-minute set of cuts like “Don’t Know Me” early on — sandwiched as part of a righteous opening salvo with “Lumbering Giant” before and “Hit it and Hit it and Hit It” (premiering below) after — or the later “Circus Circus” finds room for textures of keys and a sense of atmosphere that can only be purposeful. I’ve likened the record before to Cave In, and I stand by that, thinking in terms of the post-hardcore/heavy stylistic blend and some of Grillo‘s vocal melodies in highlights like “Dance in the Pale Glow” or the piano-led, melancholic stretch of the penultimate “New York’s Not My Home,” the latter of which is in fact so New York that it’s alienated by being there and wants to leave (which is how everyone feels about New York all the time) and sounds like John Lennon too. Though I don’t know the actual circumstances, it is easy to think of that song being composed last year among makeshift tent hospitals set up in various parks to accommodate the crush of COVID-19 patients.

Judas Knife Death is the Thing with FeathersBut before you go thinking of Grillo and Thomas coming together as a “pandemic project” — which has become kind of a dirty word cliché as though finding solace through creativity in a crisis is something to be looked down upon — I’ll note that Death is the Thing with Feathers was preceded by 2015’s The Coney Island EP, as well as a prior demo, and the band played their first show in 2012. So while this first full-length arrives perhaps after some realignment of thinking in terms of the band’s activity level, vis a vis doing anything, and certainly the pandemic may have and probably did play at least a passive role in that since it did in everything else for the last 18 months, they’re nonetheless not a new band. Fair enough. I’m still not sure why it matters, but now I’ve wasted a paragraph talking about it. Like the Judas Knife were otherwise short on cred. Kill me.

With “The Years Go by Like a Broken Record” following the memorable standout “Warm Hands, Cold Heart” as a presumed opener for side B, the context of Death is the Thing with Feathers begins to shift. Thomas holds the song together with quieter rim shots clicking and a jazzy wash of ride cymbal while the verses build to a chorus payoff, and an instrumental wash of psychedelic guitar ensues, somewhere between heavy post-rock and who-cares-about-genre-anyhow. They immediately complement with the 1:17 “A Moment of Clarity,” with keys accompanying stomping drums and a chugging riff, come and gone quickly en route to the more angular start of “Circus Circus,” but it’s a ruse since that song returns to the wash, this time adding vocal melodies atop, as it moves through its own 2:55, efficient and resonant in kind. After “New York’s Not My Home,” the two-piece, as well as Ballou on guest guitar, return to more progressive depth-making with “Her Feathers,” repeating lyrics over a flowing movement that borders on patient but still carries over the momentum of the album before it, even with the brick-wall-slam of the track immediately preceding represents in terms of volume drop.

Repeated lyrics overlap, turn and echo out into the breadth cast by the guitar, and a long fadeout leaves Grillo‘s voice as the final element to go, emphasizing the human root behind all that’s gone before. True to its name, Death is the Thing with Feathers is not an especially hopeful record, but it ends on a hopeful note, not so much giving the listener back to the realities of the world surrounding as offering a moment of otherness like staring at the intertwining colors of a painting and seeing them begin to move as your vision adjusts to the hypnotic effect. Maybe Judas Knife isn’t gonna be everyone’s thing. I don’t care. To my ears, taking it as it is, it’s one of the best debuts I’ve heard in 2021. A complete, concise and admirable execution of a stylistic vision likewise consuming in performance and engaging in craft. If you want to argue with that, I’ll be too busy with headphones on to hear you anyway.

PR wire info and preorder link follow the player below.

Enjoy:

Joseph Grillo on “Hit it and Hit it and Hit It”:

Hit It and Hit It and Hit It was written after listening to Funkadelic’s MaggotBrain in between rehearsals for Death is the Thing with Feathers and lyrically the song is discussing a bubbling sense of self loathing that exists in the artist’s mind as they construct and deconstruct in an attempt to make sense of the human condition.

Pre-order now HERE: https://translationloss.com/

JUDAS KNIFE, featuring members of YOUTH OF TODAY, INTO ANOTHER, GARRISON, GAY FOR JOHNNY DEPP, and more will deliver the bands debut album, Death Is The Thing With Feathers, on September 24, 2021 via Translation Loss Records. The NY duo features Sid Jagger (Joseph Grillo) on vocals, guitars, bass, and keys, and Drew Thomas on drums and percussion. Death Is The Thing With Feathers also features guest guitar contributions from Kurt Ballou (CONVERGE, GodCity Studios) and piano/keys from Justin Williams.

With Death Is The Thing With Feathers, post-hardcore veterans JUDAS KNIFE fuse grungy space-rock and emotive alchemy with dynamically catchy and moody cerebral psychedelia that digs deep into the scars of loss, abandonment, addiction, desperation, and loneliness. Dreamy, shoe-gazy textures and soaring vocals build the platform for the stories to shine through as personal anthems of recovery.

JUDAS KNIFE will release Death Is The Thing With Feathers on LP and digital on Translation Loss Records on September 24th. Two vinyl variants are available.

JUDAS KNIFE is:
Sid Jagger (Joseph Grillo) – vocals, guitars, bass, keys
Drew Thomas – drums, percussion

Judas Knife on Facebook

Judas Knife on Instagram

Judas Knife on Bandcamp

Translation Loss Records on Facebook

Translation Loss Records on Instagram

Translation Loss Records website

Translation Loss Records webstore

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Video Interview: Pat Harrington of Geezer on Groovy, Jamming, Family, Kitchen Furniture and More

Posted in Bootleg Theater, Features on August 9th, 2021 by JJ Koczan

geezer pat harrington saint vitus bar hat

Geezer are gigging. Maybe not right this second, but now-ish. The Kingston, New York, heavy trio of guitarist/vocalist Pat Harrington, bassist Richie Touseull and drummer Steve Markota released the says-it-all-really Groovy (review here) full-length last year as their label debut through Heavy Psych Sounds — it was their fifth record overall — and hit a new echelon for the band in terms of both crafted material and the flowing jams that have always been at root in their sound. Not to mention cover art. I interviewed Harrington last year when the album was coming out, so the impetus for chasing down a chat now wasn’t so much to deep dive into the songs or anything like that.

And yeah, I wanted to talk about gigs, how he felt about playing songs on a stage again after everything that’s gone down in the last year and a half. People avoid saying ‘Covid-19’ now. It’s become this unspoken presence in our lives, I don’t know if that’s out of fear, or fatigue, or if the very idea of thinking about it has become a cliché apart from either bragging that you did or didn’t get vaccinated as a gesture toward establishing political perspective, each side chastising the other.

But shows are happening and Geezer have announced a few — ideally their next album would take them back to Europe on tour, but they’re not quite thinking that grand a scale yet — so I was interested in Harrington‘s opinion on playing now and if the mindset has shifted at all. Dude’s been in bands for a long time; I figured he’d have an interesting viewpoint and I was right.

Also wanted to talk about his recent collaboration with Scott “Dr. Space” Heller on the synth-master’s solo album Alien Planet Trip Vol. 5: Search in Of… — joining the esteemed ranks of Suzuki Junzo in so doing — and to lobby as hard as I could for bringing Heller on board for a future contribution to Geezer. Make it happen! And with the synth overlays that Harrington put on the band’s 17-minute jam-single Solstice (review here), I would say the groundwork is well laid out for it. That’s a good track. You’re not going to regret getting lost in it.

Harrington is also visible on social media as a parent, and since I am too, we talked a bit about that, about sharing passions with kids while letting them find their own way, trying to strike that balance between giving space and being like, “Check out this sick-ass riff!” with our children. Other highlights include an entire section of the recorded conversation about the kitchen table and chairs behind him in the video. Yeah, that’s right. We actually do talk about the furniture. Because I am a fucking professional, no matter how much money I don’t make doing this.

And since we’re reaching the end, I’ll say too that a big part of wanting to talk to Harrington was simply that. He’s a nice guy, we’ve spoken a bunch over the years, and I just wanted to check in. So I did. Easy peasy.

Enjoy:

Geezer, Pat Harrington Interview, July 30, 2021

Geezer‘s Groovy is out on Heavy Psych Sounds and “Solstice” is available through Bandcamp. Both are streaming and more info is at the links below.

Geezer, “Solstice”

Geezer, Groovy (2020)

Geezer on Instagram

Geezer on Facebook

Geezer on Bandcamp

Heavy Psych Sounds on Bandcamp

Heavy Psych Sounds website

Heavy Psych Sounds on Facebook

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Video Interview: Amber Burns of Guhts & Witchkiss on Blood Feather and More

Posted in Bootleg Theater, Features on August 6th, 2021 by JJ Koczan

guhts

This Friday, Aug. 6, marks the release date of Blood Feather, the debut four-song/25-minute EP from New York atmospheric heavybringers Guhts. At the core of the band is the pairing of vocalist Amber Burns and guitarist/synthesist Scott Prater, both also of the atmospheric sludge/post-metal outfit Witchkiss. As Burns explains it in the interview below, Prater was writing music for Witchkiss and began to embark on a separate project during pandemic lockdown last year. When she came aboard — at her insistence, again, to hear her tell the story — the roots of Guhts were set, and though she also drums in their “main outfit,” Blood Feather‘s programmed drumming allows for the exploration of new melodic ideas and textures without having to essentially be in two places at once in terms of headspace.

The four songs included on the EP — “Eyes Open,” “Handless Maiden,” “The Mirror” and 10-minute closer “The Forest” — are rounded out by the guitar/synth of Dan Shaneyfelt and the bass GUHTS blood featherof Jesse Van Note, both of Asheville, North Carolina’s Black Mountain Hunger (the latter also plays in Bask), and like many newcomer outfits in 2021, Guhts seem to have emerged as a result of reaching out in new ways during a time when reaching out via live performance was an impossibility. Not gonna say I haven’t been there. Like many, Guhts, and Burns as lyricist and vocalist — the one putting words and melodies to the instrumental processions — seems to have used the opportunity to exorcise ideas and perhaps some of the existentialist tension that living through the last year-plus has wrought. Who are we when we’re denied crucial parts of who we think we are? Where to go from there.

I’m not sure what genre you’d put Guhts in on Blood Feather aside from a catchall word like “heavy,” which the EP most certainly is. There are shades of ambient doom and post-heavy rock in the intertwining keys and guitars, and certainly plenty of heft bearing down in the material, but that’s paired with an ethereality of purpose as well that, should Guhts continue to develop alongside Witchkiss, already feels like a direction of its own worth a deeper dive. In the meantime, this is a debut EP that listens an awful lot like a debut album, and I was glad to have the chance to talk to Burns about it.

Please enjoy:

Guhts Interview with Amber Burns, July 29, 2021

Guhts’ debut EP, Blood Feather, is out Aug. 6 and will be available direct from the band. More info at the links.

Guhts, Blood Feather (2021)

Guhts on Bandcamp

Guhts on Facebook

Guhts on Instagram

Guhts on Twitter

Guhts website

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Human Impact Announce Nov./Dec. Tour Dates

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

human impact (Photo by Jim Coleman)

First, blah blah, it’s nice to see a list of tour dates. Specifically, it’s nice to see Human Impact, who released their self-titled debut (review here) in March 2020 and did one gig before the shutdown, get out and about. Third, it’s nice to see venues like Metro Gallery, Kung Fu Necktie, The Pyramid Scheme and so on resurface having in one way or the other weathered the hard times that were and may yet be again, depending on variants, vaccinations, politics, whatever else. Thinking about that last part I guess isn’t so nice.

But hey, the bulk of the news here is good. Given just how ‘New York’ Human Impact are, speaking aesthetically as well as in geography, I’m curious to know how they play to other regions, but certainly their pedigree precedes them, blah blah Unsane, Cop Shoot Cop, Swans, blah blah. You don’t need me to tell you about it, I’m sure.

The PR wire has dates and at the bottom you’ll find the stream of EP01, a compilation Human Impact released in March of this year, as well as their video for “Recognition” from it.

Here you go:

human impact tour

HUMAN IMPACT ANNOUNCE DEBUT U.S. TOUR

SELF-TITLED DEBUT ALBUM FROM MEMBERS OF UNSANE, COP SHOOT COP & SWANS ARRIVED IN MARCH 2020

Human Impact, the noise rock MVPs featuring Jim Coleman (Cop Shoot Cop), Chris Spencer (Unsane), Chris Pravdica (Swans, Xiu Xiu) and Phil Puleo (Cop Shoot Cop, Swans), have announced a U.S. tour kicking off on Nov. 26 at Brooklyn’s Market Hotel.

“After our debut album being released on the eve of pandemic lockdown, we are extremely happy to finally get out and start doing some live shows,” says Coleman of the band’s debut U.S. trek. “We love our recorded material, but Human Impact is meant to be experienced live and in person. This fall US tour will kick off an ongoing effort to tour through the US and Europe through 2021 and 2022.”

Human Impact issued their self-titled debut album via Ipecac Recordings in March of 2020. A tour was due to follow a week later. The foursome eked out one live performance before the international lockdowns began: March 14 at Brooklyn’s Saint Vitus, in what would be the venerable venue’s final pre-COVID performance as well.

In March of this year, Human Impact released the eight-song EP01. The EP features a mix of singles and unreleased B-sides that were recorded simultaneously to the debut album. A video for the track “Recognition” (https://youtu.be/lwYh9W1RYxA) arrived simultaneously. The vinyl version of EP01 arrives on Aug. 13.

Human Impact tour dates:
November 26 Brooklyn, NY Market Hotel
November 27 Baltimore, MD Metro Gallery
November 28 Philadelphia, PA Kung Fu Necktie
November 30 Pittsburgh, PA Club Café
December 1 Indianapolis, IN HiFi
December 2 Detroit, MI PJ’s Lager House
December 3 Grand Rapids, MI The Pyramid Scheme
December 4 St. Louis, MO Off Broadway Night Club
December 5 Kansas City, MO Record Bar
December 6 Minneapolis, MN 7th Street Entry
December 8 Chicago, IL Empty Bottle
December 9 Louisville, KY Headliner’s Music Hall
December 10 Newport, KY Southgate House Revival Room
December 11 Cleveland, OH Grog Shop

Child Bite open on the Dec. 1 to 11 dates.

HUMAN IMPACT is
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

https://www.facebook.com/humanimpactband/
https://www.instagram.com/humanimpactband/
https://humanimpact.bandcamp.com/
https://www.humanimpactband.com/
https://www.facebook.com/ipecac/
http://ipecac.com/
https://blixtmerchandise.shop/ipecac-music-store

Human Impact, EP01 (2021)

Human Impact, “Recognition” official video

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Quarterly Review: Geezer, Spaceslug, Expo Seventy, Boss Keloid, Bong-Ra, Zebu, Los Disidentes del Sucio Motel, LáGoon, Maha Sohona, The Bad Sugar Rush

Posted in Reviews on July 13th, 2021 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

Oh my breaking heart as we move into day seven of the Summer 2021 Quarterly Review and I am reminded that the wages of hubris are feeling like a dumbass later. I was loading up my laptop on Saturday — so pleased with how ahead-of-the-game I was able to stay all last week — when the thing decided it was gonna give itself some time off one way or the other.

I dropped it for repair about 20 minutes before the guy I’ve come to trust was closing shop. He said he’d be in touch on Monday. Needless to say, I’m on my backup cheapie Chromebook, reviewing off Bandcamp streams, eagerly awaiting that call which I can only hope has come in by the time this is posted. I’ll keep you in the loop, of course, but putting together the reviews for yesterday? That was not pretty.

I expressly thank The Patient Mrs., through whom all things are possible.

Onward.

Quarterly Review #61-70:

Geezer, Solstice

Geezer Solstice

Geezer‘s ambition could hardly be clearer in their 17-minute “Solstice” jam. It was the Solstice — Winter 2020, to be specific — and the Kingston, New York, trio jammed. Guitarist/vocalist Pat Harrington (who doesn’t sing on the track) added some dreamy synth after the fact, and the affect is all the more hypnotic for it. Harrington, bassist Richie Touseull and drummer Steve Markota are no strangers to exploratory fare, as they showed on 2020’s righteous Groovy (review here), and as a Bandcamp Friday-era stopgap offering, “Solstice” brings a sampling of who they are in the rehearsal space, willing to be heavy, willing to not, ready to go where the music leads them. If Geezer wanted to do a whole full-length like this, I wouldn’t fight them, so you most definitely will not find me arguing against a digital single either. With jams this tasty, you take what you can get.

Geezer on Facebook

Heavy Psych Sounds website

 

Spaceslug, The Event Horizon

spaceslug the event horizon

Issued less as a stopgap, which a digital-only single might normally be, than as a response to the band having lost gear in a practice space flood, the 8:52 single-song outing The Event Horizon was recorded at the same time as Spaceslug‘s late 2020 EP The Leftovers (review here) and in a way acts to bridge the melancholy beyond-genre push of that release with the more weighted, spacious roll that has typified the Polish outfit’s work to-date — their latest full-length was 2019’s Reign of the Orion (review here), and they recently finished a new one. So perhaps “The Event Horizon,” with its hypnotically languid rhythm and concluding drift, is a stopgap after all, but between helping the band recoup their losses and thinking of what might be coming next, it’s an exciting if not-unalloyed listening experience, and the three-piece move deeper into a signature sound even as they continue to bring the definition of what that means to new places.

Spaceslug on Thee Facebooks

Spaceslug on Bandcamp

 

Expo Seventy, Evolution

Expo Seventy Evolution

Creating sometimes-scorching, droning psychedelic soundtracks to all your favorite classic sci-fi films that never existed, Kansas City’s Expo Seventy offer a call to worship for freaks and converted heads on their new album, Evolution. Still headed by guitarist James Wright as on late-2016’s America Here and Now Sessions (review here), the band offer new glories celestial and terrestrial instrumental chemistry throughout the six tracks (seven on the CD) of Evolution, lumbering away on “Echoes of Ether” only after floating in brass-section antigrav conditions on “The Slow Death of Tomorrow.” Can you hang? You’ll know one way or the other as the culminating duo “Second Vision, First Sight” and “First Vision, Second Sight” are done with you, having altered dimensions so thoroughly that the ethereal will either come to feel like home or you will simply have melted. In any case, lash yourself to it. Own that shit.

Expo Seventy on Facebook

Essence Music on Bandcamp

 

Boss Keloid, Family the Smiling Thrush

boss kelod family the smiling thrush

Peak-era Faith No More reborn in progressive heavy fuzz? What stoner rock might’ve been if it went to college instead of spending all that time hanging around talking about old cars? I don’t know where UK four-piece Boss Keloid ultimately stand on their admirable fifth LP, Family the Smiling Thrush — the follow-up to 2018’s also-well-received Melted on the Inch (review here) — but they most certainly stand on their own. Across seven tracks, the band careen, crash, lumber, rush and ponder — lyrics no less worth a close read than any other component — and from opener/longest track (immediate points) “Orang of Noyn” on, they make it abundantly clear that their style’s unpredictability is an asset, and that just because you might not know where they’re going next doesn’t mean they don’t. Melodic, complex and cerebral, there’s still a human presence here, a sense of a plan unfolding, that makes the album seem all the more masterful.

Boss Keloid on Facebook

Ripple Music on Bandcamp

 

Bong-Ra, Antediluvian

BONG-RA Antediluvian

Though it’s ultimately less electric-kool-aid than endless-churning-abyss-with-psychdelic-saxophone-screaming-up-at-you-like-free-jazz-trapped-in-the-downward-tonal-spiral, Bong-Ra‘s four-tracker Antediluvian is duly experimentalist in being born out of the mind of Jason Köhnen, whose work on this project not only extends more than 20 years, but who has been a part of landmark Dutch outfits like Celestial Season, The Kilmanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation, among scores of others. The procession on this full-length, originally released in 2018 through Svart Lava, is wild times indeed, but immersive despite feeling at times like a litmus for how much you can take, with Köhnen‘s bass/keys/etc. and Balazs Pandi‘s drums meeting with Colin Webster‘s saxophone and Chloe Herrington‘s bassoon, willfully plodding through long-ish form improv-seeming movements of atmospheric heft creation.

Jason Köhnen website

Tartarus Records store

 

Zebu, Reek of the Parvenu

zebu reek of the parvenu

A coherent and forceful debut full-length, Reek of the Parvenu quickly shows the metallic undercurrent from Athens-based four-piece Zebu on opener “The Setting Dust,” and pushes from there in groove metal fashion, taking some impulses from heavy rock but holding largely to a central aggressive stance and tension in the rhythm that is a backdrop even as the later “Nature of Failure” breaks from its chugging shove for a quieter stretch. That is to say, the next punch is always coming, and Zebu‘s blows are effectively delivered — looking at you, “Burden” — though some of the slower, sludgier cuts like “Our Shame” or the doomier finale “The City” bring a welcome atmosphere to go with the coinciding burl. I’m not sure if “People Under the Stairs” wants to kick my ass or crack a beer, but the songwriting is air tight and the thrashy threat only contributes to the immediacy of the release on the whole. They’re not screwing around.

Zebu on Facebook

Zebu on Bandcamp

 

Los Disidentes del Sucio Motel, Polaris

Los Disidentes Del Sucio Motel Polaris

It’s been 11 years since France’s Los Disidentes del Sucio Motel debuted with Soundtrack From the Motion Picture (review here), an engaging, kind of silly play on stoner rock and B-movie tropes. Beneath that, however, it was also a concept album, and the band — who now seem to prefer LDDSM for a moniker — still work from that foundation on their fourth full-length, Polaris. The difference scope and sonic maturity. Rife with vocal harmonies and progressive flourish, the 10-track answer to 2016’s Human Collapse (review here) smoothly shifts between the patient and the urgent, the intimate and the grand — and that’s in the first two minutes of “Blue Giant” alone — finding their way into a proggy post-heavy rock that’s too clearheaded to be psychedelic, but that balances the crunch of “Horizon” with a sense of the otherworldly just the same.

Los Disidentes del Sucio Motel on Facebook

Klonosphere Records website

 

LáGoon, Skullactic Visions

LáGoon skullactic visions

With their fourth long-player, guitarist/vocalist Anthony Gaglia and drummer Brady Maurer of Portland, Oregon’s LáGoon welcome bassist Kenny Combs to the fold and dive as a trio — their first three-piece outing was last year’s Father of Death EP — headfirst into murky riffing and heady heavy rock, made all the more spacious through cavern echo and the garage doom vocals Gaglia brings on the title-track, as well as the synth that surfaces on the subsequent interlude “Buried” and elsewhere throughout. The earlier “Beyond the Trees” is particularly bleak and otherworldly, but I won’t take away from the further-down procession of “Hill Bomb” and “The Slow Down” into “Final Ride,” the last of which closes out with scummer doom that’s familiar but distinct enough to be their own. There are moments on Skullactic Visions where, for as much as they could sound like Electric Wizard given the ingredients, I’m all the gladder they don’t.

LaGoon on Facebook

Interstellar Smoke Records webstore

Forbidden Place Records on Bandcamp

 

Maha Sohona, Endless Searcher

Maha Sohona endless searcher

Maha Sohona‘s second album comes some seven years after their self-titled debut, but who cares about time when you’ve got your headphones on and you’re surrounded by the richness of tone on offer throughout Endless Searcher‘s five rolling tracks? Heavy and laid back, the trio of guitarist/vocalist Johan Bernhardtson, bassist Thomas Hedlund and drummer David Lundsten finding some kinship with Polish three-piece Spaceslug in their post-Sungrazer blend of weight and flow, a jam like “Luftslot” nodding and conjuring depth even as it soars. Can’t argue with the quicker push of “A Black Star” or the purposefully straightforward “Scavengers” (where the title-line is delivered) but some of the mellow moments in opener “Leaves” and especially the building instrumental finisher “Orbit X” are even more satisfying for how effectively they move you place to place almost without your realizing it. I’ve got nothing for you if you can’t dig this vibe.

Maha Sohona on Facebook

Made of Stone Recordings on Bandcamp

 

The Bad Sugar Rush, Liar/Push Me

The Bad Sugar Rush Liar Push Me

Keen observers will recognize The Bad Sugar Rush vocalist René Hofmann from his work with Wight, but the work here alongside guitarist Josko Joke-Tovic, bassist Minyeong Fischer and drummer Peter Zettl is distinct from that other unit here, even as the Humble Pie-esque “Push Me” and semi-sleeze “Liar” both have some shade of funk to their procession. Both cuts circa four minutes makes for a suitable debut 7″ with respected purveyor H42 Records doing the honors, and the results are an encouragingly catchy display of what a first full-length might accomplish when and however such a thing emerges. There’s classic heavy rock as the foundation, but more than outright ’70s worship — though some of that too — it’s the organic feel of the songs that leaves an impression on the listener, though the background singers on “Push Me” don’t hurt in that regard, certainly. An auspicious and intriguind first showing.

The Bad Sugar Rush on Facebook

H42 Records website

 

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Judas Knife Set Sept. 24 Release for Death is the Thing with Feathers

Posted in Whathaveyou on June 15th, 2021 by JJ Koczan

the judas knife

Not gonna claim any great knowledge of the pedigree here, but I dig what Judas Knife are doing on their debut album, Death is the Thing with Feathers, a lot. Yeah, of course I’ve heard Into Another — their Seemless full-length was required reading at the Academy — and Youth of Today, but mostly I’m appreciating these songs on their own merits, whether that’s the Cave In-but-mixed melodic post-hardcore of the earlier cuts or the purposefully Lennon-styled piano of “New York’s Not My Home.”

Translation Loss has the album out in September, and I’ve put in to do a review with a premiere — not sure I’m cool enough, to be honest — but you can read more about the two-piece and the record they’ve made below courtesy of the PR wire. I don’t always go in for this kind of thing but this one hit a nerve. Songwriting is songwriting, at the end of the day.

Preorders are up and all that whatnot:

Judas Knife Death is the Thing with Feathers

JUDAS KNIFE ANNOUNCE NEW FULL LENGTH – DEATH IS THE THING WITH FEATHERS

JUDAS KNIFE, featuring members of YOUTH OF TODAY, INTO ANOTHER, GARRISON, GAY FOR JOHNNY DEPP, and more will deliver the bands debut album, Death Is The Thing With Feathers, on September 24, 2021 via Translation Loss Records. The NY duo features Sid Jagger (Joseph Grillo) on vocals, guitars, bass, and keys, and Drew Thomas on drums and percussion. Death Is The Thing With Feathers also features guest guitar contributions from Kurt Ballou (CONVERGE, GodCity Studios) and piano/keys from Justin Williams.

JUDAS KNIFE have unveiled the first single from Death Is The Thing With Feathers titled, “Lumbering Giant”. The spacey and dynamic track is streaming now.

With Death Is The Thing With Feathers, post-hardcore veterans JUDAS KNIFE fuse grungy space-rock and emotive alchemy with dynamically catchy and moody cerebral psychedelia that digs deep into the scars of loss, abandonment, addiction, desperation, and loneliness. Dreamy, shoegazy textures and soaring vocals build the platform for the stories to shine through as personal anthems of recovery.

About the new album, vocalist Sid Jagger (Joseph Grillo) comments: “Half the reason I make records these days is to catch up and spend time with old friends, exchanging stories of the present and the past and remembering to check myself against some of the people I have respected for long periods of time. This time was no different. The intention for “Death Is The Thing With Feathers” was to make an LP where you could enjoy it if you chose to pay attention or not. something that feels cool and sexy, winding around your throat like a snake and something that can be considered if you have the time and the inclination.”

JUDAS KNIFE will release Death Is The Thing With Feathers on LP and digital on Translation Loss Records on September 24th. Two vinyl variants are available. Pre-order now HERE: https://translationloss.com/products/death-is-the-thing-with-feathers

Track Listing:
1. Lumbering Giant
2. Don’t Know Me
3. Hit It and Hit It and Hit It
4. Dance In The Pale Glow
5. Warm Hands, Cold Heart
6. The Years Go By Like Broken Records
7. A Moment Of Clarity
8. Circus Circus
9. New York’s Not My Home
10. Her Feathers

Album Details:
Recorded and mixed by Kurt Ballou in February of 2021 at GodCity Studio, Salem, MA.
Mastered by Magnus Lindberg at Redmount Studios.

“Her Feathers” features Kurt Ballou on guitar.

Album artwork and promotional photos by Nathaniel Shannon.
nathanielshannon.com

https://www.facebook.com/TheJudasKnife/
https://www.instagram.com/judasknife/
http://judasknife.bandcamp.com/
https://www.facebook.com/TranslationLossRecords/
https://www.instagram.com/translationlossrecords/
https://translationloss.com/
http://translationlossrecords.bigcartel.com/

Judas Knife, Death is the Thing with Feathers (2021)

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