Quarterly Review: Mrs. Piss, Ulcerate, Shroom Eater, Astralist, Daily Thompson, The White Swan, Dungeon Weed, Thomas V. Jäger, Cavern, Droneroom

Posted in Reviews on October 9th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Today is what would be the last day of the Fall 2020 Quarterly Review, except, you know, it’s not. Monday is. I know it’s been a messed up time for everybody and everything, but there’s a lot of music coming out, so if you’re craving some sense of normalcy — and hey, fair enough — it’s right there. Today’s an all-over-the-place day but there’s some killer stuff in here right from the start, so jump in and good luck.

And don’t forget — back on Monday with the last 10 records. Thanks for reading.

Quarterly Review #41-50:

Mrs. Piss, Self-Surgery

mrs piss self surgery

If “Nobody Wants to Party with Us” as the alternately ambient/industrial-punk fuckall of that song posits, most likely that’s because they’re way too intimidated to even drop a text to invite more - diversify the way you cope with your homework with our professional service Benefit from our cheap custom essay writing services and Mrs. Piss over. The duo comprised of vocalist/guitarist see post The best way to write an autobiographical essay wikihow, how to write an autobiographical essay "i searched the internet to find Chelsea Wolfe and guitarist/bassist/drummer/programmer Can someone check my blog? Sure we can. Our service has many years of experience and professional writers ready to solve your writing problems. Jess Gowrie issue Need a trustworthy essay General Thesis Statement? Then you are in the right place and at the right time! We employ only academics and follow a strict Self-Surgery as an act of sheer confrontation. The screams of “You Took Everything.” The chugging self-loathing largesse of “Knelt.” The fuzzed mania of ‘M.B.O.T.W.O.,” which, yes, stands for “Mega Babes of the Wild Order.” The unmitigated punk of “Downer Surrounded by Uppers” and the twisted careen-and-crash of the title-track. The declaration of purpose in the lines, “In the shit/I’m sacrosanct/I’m Mrs. Piss” in the eponymous closer. Rage against self, rage against other, rage and righteousness. Among the great many injustices this year has wrought, that 2nd Law: How To Do Business Plan For Small Business Online custom order assignment online essays, term papers, research papers, reports, reviews and homework assignments. Get Wolfe and Excellent Quality Papers. Starting from .98 per page. Get DISCOUNT Now! Best Writing Service - Best in California, Dissertation Abstract International Section A Service Gowrie aren’t touring this material, playing 20-something-minute sets and destroying every stage they hit has to be right up there. It’s like rock and roll to disintegrate every tired dude cliché the genre has. Yes. Fuck. Do it.

Mrs. Piss on Instagram

Sargent House website

 

Ulcerate, Stare into Death and Be Still

Ulcerate Stare into Death and Be Still

As progressive/technical death metal enjoys a stylistic renaissance, New Zealand’s best paper writing services 10 Reasons Best American Essays 2009 Online buy book report online dissertation services uk umi Ulcerate put out their sixth full-length, Terrific academic solution to http://www.lubersacpompadour.fr/?business-plan-for-buying-an-existing-restaurant from! Unbeatable prices, superb writing, and research quality! Constant discounts for devoted customers! Stare into Death and Be Still and seem right in line with the moment despite having been around for nearly 20 years. So be it. What distinguishes Professional blog link. Expert resume writers help develop a custom resume that get results for your jobs search Stare into Death and Be Still amid the speed-demon wizardry of a swath of other death metallers is the sense of atmosphere across the release and the fact that, while every note, every guitar squibbly, every sharpened turn the 58-minute album’s eight tracks make is important and serves a purpose, the band don’t simply rely on dry delivery to make an impression. To hear the cavernous echoes of the title-track or “Inversion” later on, Custom Essay is a premium This Site service with over 20 years of experience providing quality essays by expert writers to satisfied clients. Ulcerate seem willing to let some of the clarity go in favor of establishing a mood beyond extremity. In the penultimate “Drawn into the Next Void,” their doing so results in a triumphant build and consuming fade in a way that much of their genre simply couldn’t accomplish. There’s still plenty of blast to be found, but also a depth that would seem to evoke the central intention of the album. Don’t stare too long.

Ulcerate on Thee Facebooks

Debemur Morti Productions on Bandcamp

 

Shroom Eater, Ad.Inventum

shroom eater ad inventum

Nine songs running an utterly digestible 38 minutes of fuzz-riffed groove with samples, smooth tempos and an unabashed love for ’90s-style stoner rock, Typing Service - If you are striving to know how to compose a perfect research paper, you are to study this forget about your fears, place Shroom Eater‘s debut album, Buy Essay. Looking to buy Why choose Ultius when Phd Dissertation Database Proquests? Ultius deeply understands your frustration when it comes to buying essays for reference Ad.Inventum feels ripe for pickup by this or that heavy rock label for a physical release. LP, CD and tape. I know it’s tough economic times, but none of this vinyl-only stuff. The Indonesian five-piece not only have their riffs and tones and methods so well in place — that is, they’re schooled in the style they’re creating; the genre-converted preaching to the genre-converted, and nothing wrong with that — but there are flashes of burgeoning cultural point of view in the lead guitar of “God Isn’t One Eyed” or the lyrics of “Arogant” (sic) and the right-on riffed “Traffic Hunter” that fit well right alongside the skateboarding ode “Ride” or flourish of psychedelia in the rolling “Perspective” earlier on. Closing with “Dragon and Tiger” and “Friend in the High Places,” more uk - Making a custom research paper is go through many steps 100% non-plagiarism guarantee of unique essays & papers. Entrust Ad.Inventum feels like the work of a band actively engaged in finding their sound and developing their take on fuzz, and the potential they show alongside their already memorable songwriting is significant.

Shroom Eater on Instagram

Shroom Eater on Bandcamp

 

Astralist, 2020 (Demo)

astralist 2020 demo

I’m not usually one to think bands should be aggrandizing their initial releases. It can be a disservice to call a demo a “debut EP” or album if it’s not, since you only get one shot at having an actual first record and sometimes a demo doesn’t represent a band’s sound as much as the actual, subsequent album does, leading to later regret. In the case of Cork, Ireland’s 1-1-2007 Buy Algebra 1: My HRW - My.hrw.com is website that caters to both holt Essay Writing 101 9gag students somatization disorder case studies and Astralist, it’s the opposite. A Purchase Essay Papers is your way out. Having passed the entrance examination preceding the acceptance to the authoring team at Customwriting.com, 2020 (Demo) is no toss-off, recorded-in-the-rehearsal-space-to-put-something-on-Bandcamp outing. Or if it is, it doesn’t sound like it. Comprised of three massive slabs of atmospheric and sometimes-extreme doom, plus an intro, in scope and production value both, the 36-minute release carries the feel and the weight of a full-length album, earning its themes of cosmic destruction and shifting back and forth between melodic progressivism and death-doom or blackened onslaught. In “The Outlier,” “Entheogen” and “Zuhal, Rise” they establish a breadth and an immediate control thereof, and their will to cross genre lines gives their work a fervently individualized feel. Album or demo doesn’t ultimately matter, but what they say about Astralist‘s intentions does.

Astralist on Thee Facebooks

Astralist on Bandcamp

 

Daily Thompson, Oumuamua

daily thompson oumuamua

Lost in the narrative of initial singles released ahead of its actual arrival is the psychedelic reach Dortmund trio Daily Thompson bring to their fourth album, Oumuamua. Yes, “She’s So Cold” turns in its second half to a more straightforward heavy-blues-fuzz push, but the mellow unfurling that takes place at the outset continues to inform the proceedings from there, and even through “Sad Frank” (video posted here) and “On My Mind” (video posted here), and album-centerpiece “Slow Me Down,” the vibe remains affect by it. Side B has its own stretch in the 12-minute “Cosmic Cigar (Oumuamua),” and sandwiched between the three-minute stomper “Half Thompson” and the acoustic, harmonized grunge-blues closer “River of a Ghost,” it seems that what Daily Thompson held back about the LP is no less powerful than what they revealed. It’s still a party, it’s just a party where every room has something different happening.

Daily Thompson on Thee Facebooks

Noisolution website

 

The White Swan, Nocturnal Transmission

The White Swan Nocturnal Transmission

Following up 2018’s Touch Taste Destroy (review here), Ontario’s The White Swan present their fourth EP in Nocturnal Transmission. That’s four EPs, in a row, from 2016-2020. If the trio — which, yes, includes Kittie‘s Mercedes Lander on vocals, drums, guitar and keys — were waiting to figure out their sound before putting out a first full-length, they were there two years ago, if not before. One is left to assume that the focus on short releases is — at least for now — an aesthetic choice. Like its predecessor, Nocturnal Transmission offers three circa-five-minute big-riffers topped with Lander‘s floating melodic vocals. The highlight here is “Purple,” and unlike any of the other The White Swan EPs, this one includes a fourth track in a cover of Tracy Bonham‘s “Tell it to the Sky,” given likewise heft and largesse. I don’t know what’s stopping this band from putting out an album, but I’ll take another EP in the meantime, sure.

The White Swan on Thee Facebooks

The White Swan on Bandcamp

 

Dungeon Weed, Mind Palace of the Mushroom God

Dungeon Weed Mind Palace of the Mushroom God

A quarantine project of Dmitri Mavra from Skunk and Slow Phase, Dungeon Weed is dug-in stoner idolatry, pure and simple. Mavra, joined by drummer Chris McGrew and backing vocalist Thia Moonbrook, metes out riff after feedback-soaked, march-ready, nod-ready, dirt-toned riff, and it doesn’t matter if it’s the doomier tolling bell of “Sorcerer with the Skull Face” or the tongue-in-cheek hook of “Beholder Gonna Fuck You Up” or the brash sludge that ensues across the aptly-named “Lumbering Hell,” all layered solos and whatnot, the important thing is that by the time “Mind Palace” comes around, you’re either out or you’re in, and once you make that choice there’s no going back on it. Opener “Orcus Immortalis/Vox Mysterium” tells the tale (or part of it, as regards the overarching narrative), and if ever there was a band that could and would make a song called “Black Pudding” sound heavy, well, there’s Dungeon Weed for you. Dungeon Weed, man. Don’t overthink it.

Dungeon Weed on Thee Facebooks

Forbidden Place Records website

 

Thomas V. Jäger, A Solitary Plan

thomas v jager a solitary plan

The challenge of rendering songcraft in the nude can be a daunting one for someone in a heavy band doing a solo/acoustic release, but it’s a challenge Thomas V. Jäger of Monolord meets with ease on the home-recorded A Solitary Plan, his solo debut. Those familiar with his work in Monolord will recognize some of the effects used on his vocals, but in the much, much quieter context of the seven-song/29-minute solo release — Jäger plays everything except the Mellotron on the leadoff title-track — they lend not only a spaciousness but a feeling of acid folk serenity to “Creature of the Deep” and “It’s Alright,” which follows. Mixed/mastered by Kalle Lilja of Långfinger, A Solitary Plan is ultimately an exploration on Jäger‘s part of working in this form, but it succeeds in both its most minimal stretches and in the electric-inclusive “The Drone” and “Goodbye” ahead of the buzzing synth-laced closer “The Bitter End.” It would be a surprise if this is the only solo release Jäger ever does, since so much of what takes place throughout feels like a foundation for future work.

Thomas V. Jäger on Bandcamp

RidingEasy Records website

 

Cavern, Powdered

CAVERN POWDERED

Change has been the modus operandi of Cavern for a while now. They still show some semblance of their post-hardcore roots on their new full-length, Powdered, but having brought in bassist/vocalist Rose Heater in 2018 and sometime between then and now let out of Baltimore for Morgantown, West Virginia, their sonic allegiance to a heavier-ended post-rock comes through more than ever before. Guitarist/synthesist Zach Harkins winds lead lines around Heater‘s bass on “Grey,” and Stephen Schrock‘s drums emphasize tension to coincide, but the fluidity across the 24-minute LP is of a kind that’s genuinely new to the band, and the soul in Heater‘s vocals carries the material to someplace else entirely. A song like “Dove” presents a tonal fullness that the title-track seems just to hint at, but the emphasis here is on dynamic, not on doing one thing only or locking their approach into a single mindset. As Heater‘s debut with them, Powdered finds them refreshed and renewed of purpose.

Cavern on Thee Facebooks

Cavern on Bandcamp

 

Droneroom, …The Other Doesn’t

droneroom the other doesnt

Droneroom is the solo vehicle of guitarist Blake Edward Conley and with …The Other Doesn’t, experiments of varying length and degree of severity are brought to bear. The abiding feel is spacious, lonely and cinematic as one might expect for such guitar-based soundscaping, but “Casual-Lethal Narcissism” and “The Last Time Someone Speaks Your Name” do have some measure of peace to go with their foreboding and troubling atmospherics. An obvious focal point is the 15-minute dronefest “This Circle of Ribs,” which feels more forward and striking than someone of Droneroom‘s surrounding material, but it’s all on a relative scale, and across the board Conley remains a safe social distance away from structural traditionalist. Recorded during Summer 2020, it is an album that conveys the anxiety and paranoia of this year, and while that can be a daunting thing to face in such a way or to let oneself really engage with as a listener — shit, it’s hard enough just living through — one of the functions of good art is to challenge perceptions of what it can be. Worth keeping in mind for “Home Can Be a Frightening Place.”

Droneroom on Thee Facebooks

Humanhood Recordings on Bandcamp

 

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Daily Thompson Post “On My Mind” Video; Oumuamua Limited Vinyl Preorder Available

Posted in Bootleg Theater on July 24th, 2020 by JJ Koczan

daily thompson (Photo by Dennis Treu)

It’s almost hard to believe it’s real life, what with a band putting out videos, getting ready to release an album and, most surreal of all, preparing to go on tour. The latter, of course, is pending further outbreaks of COVID-19 and lockdown — speaking from the disease-infested hellscape that is the United States of America, I wish them the best — but Daily Thompson have it all worked out. The whole plan. Same goes for their sound too on the new single “On My Mind,” a two-stage blues rocker that in the video below gives listeners a six-minute sampling of the kind of right-on grooves and vibe one can expect from the upcoming Oumuamua album being released next month by Noisolution.

While circumstances might make the trio playing in a room seem like a novelty — at least from my point of view; I haven’t been to a show since January — Daily Thompson‘s ease in portraying “On My Mind” speaks to the natural foundation from which their style stems. They’re steeped in classic heavy blues rock but not really a retro-minded band, instead bringing what was together with what is and forging their sonic persona from it. As guitarist Danny and bassist Mercedes come together on vocals in the song’s second half, it brings the track to a different stage of its progression  and adds to the already palpable swing and energy behind it. Like the preceding single “Sad Frank” (posted here), it also demonstrates the songwriting progression on which the band have embarked since their last outing, 2018’s Thirsty (review here).

Noisolution are taking preorders for the limited-to-1oo ‘Club 100’ edition of the album as of today, and you’ll find that link as well as more info under the video below.

Please enjoy:

Daily Thompson, “On My Mind” official video

++ NOISOLUTION – CLUB 100 ++
– Daily Thompson – Oumuamua –
24.07. /// 12:00 /// 100 Copies /// 4 weeks before release

Only @ Noisolution:

https://www.noisolution.de/shop/Vinyl/Daily-Thompson-Oumuamua-Club-100-strictly-limited::264.html
(link will go online 24.07., 12:00 CET)

– 100 copies / strictly limited
– each copy in a unique color
– 180g heavy weight champion
– ecological re-vinyl
– gatefold cover
– signed bandphoto & certificate
– hand numbered

Daily Thmpson European Tour:
11.09.2020 – DE Forum / Bielefeld
18.09.2020 – DE Live Club / Bamberg
19.09.2020 – DE Südsternhaus / Landau
24.09.2020 – ES La Triangu / Sopelana
25.09.2020 – ES Paruqe Municipal / Burlada
26.09.2020 – ES La Ley Seca / Zaragoza
27.09.2020 – ES Anvil Live Pub / Castellón
29.09.2020 – ES ZZ Pub / Malaga
30.09.2020 – ES Louie Louie Rock / Estepona
01.10.2020 – ES Ambigú Axerquía / Córdoba
02.10.2020 – ES Tebernas Desert Rock Fest / Alméria
10.10.2020 – DE Hagenbusch / Marl
17.10.2020 – DE Turbojugend Party at Zukunft / Chemnitz
13.11.2020 – DE Diemelkult Festival / Marsberg
26.-28.11.2020- PIN Music Conference / Skopje MKD
06.12.2020 – DE Cadillac / Oldenburg*
08.12 .2020 – DE Markthalle Marx / Hamburg*
09.12.2020 – DE Museumskeller / Erfurt*
10.12.2020 – DE Piano / Dortmund*
12.12.2020 – DE Zauberberg / Passau*?
14.12.2020 – DE Backstage / München*
15.12.2020 – DE Instant / Budapest HU?*
17.12.2020 – DE Sputnik Café / Münster*
18.12.2020 – DE Treibsand / Lübeck*
*w / Kamchatka

Daily Thompson are:
Danny – guitar and vocals
Mercedes – bass and vocals
Matze – drums

Daily Thompson on Thee Facebooks

Daily Thompson on Instagram

Daily Thompson on Bandcamp

Daily Thompson website

Noisolution website

Noisolution on Thee Facebooks

Noisolution on Instagram

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Daily Thompson Post “Sad Frank” Video; Oumuamua out Aug. 21

Posted in Whathaveyou on June 11th, 2020 by JJ Koczan

DAILY THOMPSON (Photo by Dennis Tre)

Dortmund, Germany’s Daily Thompson didn’t exactly make it hard to dig what they were up to on their 2018 full-length, Thirsty (review here), and their new single, “Sad Frank,” brings more subtlety of nuance in craft and outward charm to bear that’s only well complemented by the video you can see for the track below. Noisolution will have the full-length, titled Oumuamua, out in August, so the single is something of an early look at what it’s all about, and it’s a lightness of spirit I can get behind, with a touch of boogie blues that doesn’t lose its modern aspects in the name of searching out a vintage aesthetic.

And to make matters ever-so surreal, there are tour dates! That’s right, live shows. They’re for this Fall and they’re in Germany and Spain. Will they happen? Maybe. Pretty impressive that the list exists either way. It’s been a while since I posted a tour. I’ve missed looking at the names of cities and venues and fests and whatnot. So hey, drink it in with me, and enjoy.

From the PR wire:

daily thompson oumuamua

DAILY THOMPSON – Oumuamua – Noisolution

The machine starts rolling. DAILY THOMPSON present “Sad Frank” on June 12th. The first song from their new album “Oumuamua”. A powerful work, heavy, rolling, full of hits, full of riffs and full of melodies.

And there is a fine video! Was John Waters involved in this and turned into Hairspray Two? A terrific work that perfectly stages the trio’s joy of playing and burns a colorful fireworks display with this single that leaves no doubt about its qualities. And the album still has a lot to offer!

Official single release June 12th
Taken from the new album “Oumuamua” , release August 21st via Noisolution

Directed by Daniel Hacker und Dirk Rosenlöcher
www.danielhacker.de

DAILY THOMPSON live:
11.09.2020 – DE Forum / Bielefeld
18.09.2020 – DE Live Club / Bamberg
19.09.2020 – DE Südsternhaus / Landau
24.09.2020 – ES La Triangu / Sopelana
25.09.2020 – ES Paruqe Municipal / Burlada
26.09.2020 – ES La Ley Seca / Zaragoza
27.09.2020 – ES Anvil Live Pub / Castellón
29.09.2020 – ES ZZ Pub / Malaga
30.09.2020 – ES Louie Louie Rock / Estepona
01.10.2020 – ES Ambigú Axerquía / Córdoba
02.10.2020 – ES Tebernas Desert Rock Fest / Alméria
10.10.2020 – DE Hagenbusch / Marl
17.10.2020 – DE Turbojugend Party at Zukunft / Chemnitz
13.11.2020 – DE Diemelkult Festival / Marsberg
26.-28.11.2020- PIN Music Conference / Skopje MKD
06.12.2020 – DE Cadillac / Oldenburg*
08.12 .2020 – DE Markthalle Marx / Hamburg*
09.12.2020 – DE Museumskeller / Erfurt*
10.12.2020 – DE Piano / Dortmund*
12.12.2020 – DE Zauberberg / Passau*?
14.12.2020 – DE Backstage / München*
15.12.2020 – DE Instant / Budapest HU?*
17.12.2020 – DE Sputnik Café / Münster*
18.12.2020 – DE Treibsand / Lübeck*
*w / Kamchatka

Daily Thompson are:
Danny – guitar and vocals
Mercedes – bass and vocals
Matze – drums

https://www.facebook.com/dailythompson.band/
https://www.instagram.com/dailythompson_/
https://dailythompsonband.bandcamp.com/
https://difymusic.com/daily-thompson
http://www.noisolution.de/
https://www.facebook.com/noisolution
https://www.instagram.com/noisolution/

Daily Thompson, “Sad Frank” official video

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Days of Rona: Behrang Alavi, Andreas Voland & Stephan Voland of Samavayo

Posted in Features on April 16th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

samavayo

Days of Rona: Behrang Alavi, Andreas Voland & Stephan Voland of Samavayo (Berlin, Germany)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

Luckily everyone is healthy in our band and crew. Basically, we are continuing to write songs for our new album, which is planned to be released in 2021.

We had to cancel some shows in May, which is sad, but we were lucky again, that we had no tour planned in early 2020. We are still working on plans for autumn 2020, but no one knows what will happen in the next months.

What are the quarantine/isolation rules where you are?

In Germany we have to stay home but can go out for a walk or for running some errands. We are allowed to meet family members (living in the same household) or to meet up with one person (not living in the same household). We are also allowed to go out to work… that means for us we can meet for rehearsals.

How have you seen the virus affecting the community around you and in music?

People are acting very differently. Basically everybody accepts the situation and the rules. Some people are drifting into conspiracies, which is very annoying, because they spread this shit in social medias, etc. We have a lot of contacts with friends and we keep us informed and encourage each other.

Some bands are starting to play online concerts. And well it is fun. I don’t know if that would be something for Samavayo, maybe later in May, as a substitute for the canceled shows.

Of course we have a lot of friends working in the music business and they are heavily affected at the moment. They are struggling really hard to make ends meet. We hope they will overcome this period: bookers, promoters, drivers, tour managers, club owners, festival managers, etc.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

We hope people are seeing the whole situation as a chance. That people are finding back to the important things in life. The system of constant growing, the philosophy of capitalism and growing markets are not everything that counts. More important is a good working friendship, family, social life in general, to help and encourage each other and to value a good working government and social system.

Our thoughts are with our friends around the globe fighting to survive in places being in a much more difficult situation than Germany like USA, Italy, Iran, Spain and many more. We hope to meet each other soon on one of those festivals!

https://www.facebook.com/samavayo/
https://www.instagram.com/samavayo/
https://www.samavayo.com/
https://www.youtube.com/user/samavayo

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Quarterly Review: Slift, IIVII, Coogans Bluff, Rough Spells, Goblinsmoker, Homecoming, Lemurian Folk Songs, Ritual King, Sunflowers, Maya Mountains

Posted in Reviews on March 26th, 2020 by JJ Koczan

quarterly review

Thursday. Everyone doing well? Healthy? Kicking ass? Working from home? There seems to be a lot of that going around, at least among the lucky. New Jersey, where I live, is on lockdown with non-essential businesses shuttered, roads largely empty and all that. It can be grim and apocalyptic feeling, but I’m finding this Quarterly Review to be pretty therapeutic or at least helpfully distracting at a moment when I very much need something to be that. I hope that if you’re reading this, whether you’ve been following along or not, it’s done or can do the same for you if that’s what you need. I’ll leave it at that.

Quarterly Review #31-40:

Slift, Ummon

slift ummon

The second album from French space/psych trio Slift is a 72-minute blowout echoshred epic — too aware not to be prog but too cosmic not to be space rock. Delivered through Stolen Body Records and Vicious Circle, Ummon is not only long, it speaks to a longer term. It’s not an album for this year, or for this decade, or for any other decade, for that matter. It’s for the ongoing fluid now. You want to lose yourself in the depths of buzz and dreamy synth? Yeah, you can do that. You want to dig into the underlying punk and maybe a bit of Elder influence in the vocal bark and lead guitar shimmer of “Thousand Helmets of Gold?” Well hell’s bells, do that. The mega-sprawling 2LP is a gorgeous blast of distortion, backed by jazzy, organic drum wud-dum-tap and the bass, oh, the bass; the stuff of low end sensory displacement. Amid swirls and casts of melodic light in “Dark Was Space, Cold Were the Stars,” Slift dilate universal energy and push beyond the noise wash reaches of “Son Dong’s Cavern” and through the final build, liftoff and roll of 13-minute closer “Lions, Tigers and Bears” with the deft touch of those dancing on prior conceptions. We’d be lucky to have Ummon as the shape of space rock to come.

Slift on Thee Facebooks

Stolen Body Records store

Vicious Circle Records store

 

IIVII, Grinding Teeth/Zero Sleep

Two LPs telling two different stories released at the same time, Grinding Teeth/Zero Sleep (on Consouling Sounds) brings Josh Graham‘s aural storytelling to new cinematic reaches. The composer, guitarist, synthesist, programmer, visual artist, etc., is joined along the way by the likes of Jo Quail, Ben Weinman (ex-The Dillinger Escape Plan), Dana Schecter (Insect Ark), Sarah Pendleton (ex-SubRosa) and Kim Thayil (Soundgarden) — among others — but across about 90 minutes of fluidity, Graham/IIVII soundtracks two narratives through alternatingly vast and crushing drone. The latter work is actually an adaptation from a short sci-fi film about, yes, humanity losing its ability to sleep — I feel you on that one — but the former, which tells a kind of meth-fueled story of love and death, brings due chaos and heft to go with its massive synthesized scope. Josh Graham wants to score your movie. You should let him. And you should pay him well. And you should let him design the poster. And you should pay him well for that too. End of story.

IIVII on Thee Facebooks

Consouling Sounds store

 

Coogans Bluff, Metronopolis

coogans bluff metronopolis

Following the initial sax-laden prog-rock burst and chase that is opener “Gadfly,” Berlin’s Coogans Bluff bring a ’70s pastoralia to “Sincerely Yours,” and that atmosphere ends up staying with Metronopolis — their fifth album — for the duration, no matter where else they might steer the sound. And they do steer the sound. Sax returns (as it will) in the jabbing “Zephyr,” a manic shred taking hold in the second half accompanied by no-less-manic bass, and “Creature of the Light” reimagines pop rock of the original vinyl era in the image of its own weirdness, undeniably rock but also something more. Organ-inclusive highlight “Soft Focus” doesn’t so much touch on psychedelics as dunk its head under their warm waters, and “The Turn I” brings an almost Beatlesian horn arrangement to fruition ahead of the closer “The Turn II.” But in that finale, and in “Hit and Run,” and way back in “Sincerely Yours,” Coogans Bluff hold that Southern-style in their back pocket as one of several of Metronopolis‘ recurring themes, and it becomes one more element among the many at their disposal.

Coogans Bluff on Thee Facebooks

Noisolution store

 

Rough Spells, Ruins at Midday

rough spells ruins at midday

An underlying current of social commentary comes coated in Rough Spells‘ mysticism on Ruins at Midday, the Toronto unit’s second LP. Recorded by Ian Blurton and presented by Fuzzed and Buzzed and DHU Records, the eight-track LP has, as the lyrics of “Chance Magic” say, “No bad intentions.” Indeed, it seems geared only toward eliciting your participation in its ceremony of classic groove, hooks and melodies, even the mellow “Die Before You Die” presenting an atmosphere that’s heavy but still melodic and accessible. “Grise Fiord” addresses Canada’s history of mistreating its native population, while “Pay Your Dues” pits guitar and vocal harmonics against each other in a shove of proto-metallic energy to rush momentum through side B and into the closing pair of the swaggering “Nothing Left” and the title-track, which is the longest single cut at five minutes, but still keeps its songwriting taut with no time to spare for indulgences. In this, and on several fronts, Ruins at Midday basks in multifaceted righteousness.

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Fuzzed and Buzzed store

DHU Records store

 

Goblinsmoker, A Throne in Haze, A World Ablaze

goblinsmoker a throne in haze a world ablaze

Upside the head extreme sludgeoning! UK trio Goblinsmoker take on the more vicious and brutal end of sludge with the stench of death on A Throne in Haze, A World Ablaze (on Sludgelord Records), calling to mind the weedian punishment of Belzebong and others of their decrepit ilk. Offered as part two of a trilogy, A Throne in Haze, A World Ablaze is comprised of three tracks running a caustic 26 minutes thick enough such that even its faster parts feel slow, a churning volatility coming to the crash of “Smoked in Darkness” at the outset only to grow more menacing in the lurch of centerpiece “Let Them Rot” — which of course shifts into blastbeats later on — and falling apart into noise and echoing residual feedback after the last crashes of “The Forest Mourns” recede. Beautifully disgusting, the release reportedly furthers the story of the Toad King depicted on its cover and for which the band’s prior 2018 EP was named, and so be it. The lyrics, largely indecipherable in screams, are vague enough that if you’re not caught up, you’ll be fine. Except you won’t be fine. You’ll be dead. But it’ll be awesome.

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Sludgelord Records on Bandcamp

 

Homecoming, LP01

homecoming lp01

Progressive metal underpins French trio Homecoming‘s aptly-titled first record, LP01, with the guitars of second cut “Rivers of Crystal” leading the way through a meandering quiet part and subsequent rhythmic figure that reminds of later Opeth, though there’s still a strong heavy rock presence in their tones and grooves generally. It’s an interesting combination, and all the more so because I think part of what’s giving off such a metal vibe is the snare sound. You don’t normally think of a snare drum determining that kind of thing, but here we are. Certainly the vocal arrangements between gruff melodies, backing screams and growls, etc., the odd bit of blastbeating here and there, bring it all into line as well — LP01 is very much the kind of album that would title its six-minute instrumental centerpiece “Interlude” — but the intricacy in how the nine-minute “Return” develops and the harmonies that emerge early in closer “Five” tell the tale clearly of Homecoming‘s ambitions as they move forward from this already-ambitious debut.

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Homecoming on Bandcamp

 

Lemurian Folk Songs, Logos

lemurian folk songs logos

Tracked in the same sessions as the Budapest outfit’s 2019 album, Ima (review here), it should not come as a major surprise that the six-track/49-minute Logos from Lemurian Folk Songs follows a not entirely dissimilar course, bringing together dream-drift of tones and melodies with subtle but coherent rhythmic motion in a fashion not necessarily revolutionary for heavy psych, but certainly well done and engaging across its tracks. The tones of guitar and bass offer a warmth rivaled only by the echoing vocals on opener/longest cut (immediate points) “Logos,” and the shimmering “Sierra Tejada” and progressively building “Calcination” follow that pattern while adding a drift that is both of heavy psych and outside of it in terms of the character of how it’s played. None of the last three tracks is less than eight minutes long — closer “Firelake” tops nine in a mirror to “Logos” at the outset, but if that’s the band pushing further out I hear, then yes, I want to go along for that trip.

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Para Hobo Records on Bandcamp

 

Ritual King, Ritual King

ritual king ritual king

Progressive heavy rockers Ritual King display a striking amount of grace and patience across their Ripple Music-issued self-titled long-player. Tapping modern influences like Elder and bringing their own sense of melodic nuance to the proceedings across a tightly-constructed seven songs and 42 minutes, the three-piece of vocalist/guitarist Jordan Leppitt, bassist Dan Godwin — whose tone is every bit worthy of gotta-hear-it classification — and drummer/backing vocalist Gareth Hodges string together linear movements in “Headspace” and “Dead Roads” that flow one into the next, return at unexpected moments or don’t, and follow a direction not so much to the next chorus but to the next statement the band want to make, whatever that might be. “Restrain” begins with a sweet proggy soundscape and unfolds two verses over a swaying riff, then is gone, where at the outset, “Valleys” offers grandeur the likes of which few bands would dare to embody on their third or fourth records, let alone their first. Easily one of 2020’s best debuts.

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Ripple Music on Bandcamp

 

Sunflowers, Endless Voyage

sunflowers endless voyage

You know what? Never mind. You ain’t weird enough for this shit. Nobody’s weird enough for this shit. I have a hard time believing the two souls from Portugal who made it are weird enough for this shit. Think I’m wrong? Think you’re up for it and you’re gonna put on SunflowersEndless Voyage and be like, “oh yeah, turns out mega-extreme krautrock blasted into outer space was my wavelength all along?” Cool. Bandcamp player’s right there. Have at it. I dare you.

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Stolen Body Records store

 

Maya Mountains, Era

maya mountains era

Italian heavy rockers Maya Mountains formed in 2005 and issued their debut album, Hash and Pornography, through Go Down Records in 2008. Era, which follows a narrative about the title-character whose name is given in lead cut “Enrique Dominguez,” who apparently travels through space after being lost in the desert — as one does — and on that basis alone is clearly a more complex offering than its predecessor. As to where Maya Mountains have been all the time in between records — here and there, in other bands, etc. But Era, at 10 tracks and 44 minutes, is the summation of five years of work on their part and its blend of scope and straight-ahead heavy riffing is welcome in its more heads-down moments like “Vibromatic” or in the purposefully weirder finale “El Toro” later on. Something like a second debut for the band after being away for so long, Era at very least marks the beginning of a new one for them, and one hopes it continues in perhaps more productive fashion than the last.

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Go Down Records store

 

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Quarterly Review: Mos Generator, Psychic Lemon, Planet of Zeus, Brass Hearse, Mother Turtle, The Legendary Flower Punk, Slow, OKO, Vug, Ultracombo

Posted in Reviews on January 6th, 2020 by JJ Koczan

quarterly review

I’d like to hope y’all know the drill by now. It’s the Quarterly Review. We do it (roughly) every quarter. The idea is 10 reviews per day for a Monday to Friday span, running 50 total. I sometimes do more. Sometimes not. Kind of depends on the barrage and how poorly I’ve been doing in general with keeping up on stuff. This time is ‘just’ 50, so there you go. You’ll see some bigger names this week and some stuff that’s come my way of late that I’ve been digging and wanting to check out. It’s a lot of rock, which I like, and a few things I’m writing about basically as a favor to myself because, you know, self-care and all that.

But staring down the barrel of 50 reviews over the next few days has me as apprehensive and how-the-hell-is-this-gonna-happen as ever, so I think I’ll just get to it and jump in. No time to waste.

Quarterly Review #1-10:

Mos Generator, Exiles

mos generator exiles

Worth it just for the Sabbath cover? Most definitely. As Mos Generator take on “Air Dance” from Never Say Die as part of the Glory or Death Records LP compilation release, Exiles, they blend the proggy swagger of later-’70s Iommi leads with the baseline acoustic guitar fluidity that makes those final Ozzy-era records so appealing in hindsight. It’s just one of the six reasons to take on Exiles however. The A side comprises three outtakes from 2018’s Shadowlands (review here), and guitarist/vocalist Tony Reed‘s Big Scenic Nowhere bandmate Bob Balch sits in on “Battah,” while a duly manic reworking of Van Halen‘s “Light up the Sky,” the Black Sabbath track and a live version of Rush‘s “Anthem” from 2016 make up side B. It’s a quick listen and it’s Mos Generator. It may be a stopgap on the way to whatever they’re doing next, but if you think about it, so is everything, and that’s no reason not to jump in either for the covers or the originals, both of which are up to the band’s own high standard of output.

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Glory or Death Records on Bandcamp

 

Psychic Lemon, Freak Mammal

psychic lemon freak mammal

The distorted wails of Andy Briston‘s guitar echo out of Freak Mammal — the five-track/46-minute third LP from London’s Psychic Lemon — like a clarion to the lysergic converted. A call to prayer for those worshiping the nebulous void, not so much kept to earth by Andy Hibberd‘s bass and Martin Law‘s drums as given a solidified course toward the infinite far out. Of course centerpiece “Afrotropic Bomb” digs into some Ethiopian groove — that particular shuffling mania — and I won’t take away from the lower buzz of “Free Electron Collective” or the tense hi-hat cutting through all that tonal wash or the ultra-spaced blowout that caps six-minute finale “White Light,” but give me the self-aware mellower jaunt that is the 13-minute second track “Seeds of Tranquility” any day, following opener “Dark Matter” as it does with what would be a blissful drift but for the exciting rhythmic work taking place beneath the peaceful guitar, and the later synthesized voices providing a choral melody that seems all the more playfully grandiose, befitting the notion of Freak Mammal as a ceremony or at very least some kind of lost ritual. Someday they’ll dig up the right pyramid and call the aliens back. Until then, Psychic Lemon let us imagine what might happen after they return.

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Drone Rock Records website

 

Planet of Zeus, Faith in Physics

PLANET OF ZEUS FAITH IN PHYSICS

There’s a context of social commentary to Planet of ZeusFaith in Physics that makes one wonder if perhaps the title doesn’t refer to gravity in terms of what-goes-up-must-come-down as it might apply to class hierarchy. The mighty, ready to fall, and so on. Songs like the post-Clutch fuzz roller “Man vs. God” and “Revolution Cookbook” (video premiere here) would seem to support that idea, but one way or the other, as the later “Let Them Burn” digs into a hook that reminds of Killing Joke and the dense bass of eight-minute closer “King of the Circus” provides due atmospheric madness for our times, there’s a sense of grander statement happening across the album. The Athens-based outfit make a centerpiece of the starts and stops in “All These Happy People” and remind that whatever the message, the medium remains top quality heavy rock and roll songcraft, which is something they’ve become all the more reliable to deliver. The more pointed perspective than they showed on 2016’s Loyal to the Pack suits them, but it’s the nuance of electronics and arrangements of vocals and guitar on cuts like “The Great Liar” that carry them through here. If you believe in gravity, Planet of Zeus have plenty on offer.

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Heavy Psych Sounds website

 

Brass Hearse, Oneiric Afterlife

brass hearse oneiric afterlife

Experimentalist keyboard-laced psychedelic goth your thing? Well, of course it is. You’re in luck then as Brass Hearse — an offshoot of once madly prolific Boston outfit Ice Dragon — unveil three new songs (plus an intro) with the Oneiric Afterlife and in 10 minutes work to unravel about 30 years of genre convention while still tying their material to memorable hooks. “Bleed Neon,” “Indigo Dust” and “Only Forever” seem simple on the surface, and none of them touch four minutes long, let alone “A Gesture to Make a Stop,” the 26-second introduction, but their refusal of stylistic constraint is as palpable as it is admirable, with a blend of folk guitar and dark-dance-party keys and percussive insistence on “Bleed Neon” and a ’60s Halloweeny rock organ line in “Only Forever” that’s complemented by low-end fuzz and a chorus that would rightly embarrass Ghost if they heard it. In comparison, “Indigo Dust” is serene in its presentation, but even there is a depth of arrangement of keys, guitar, bass and drums, and the skill tying it all together as a cohesive sound is not to be understated. A quick listen with a lot to unpack, it’s not going to be everyone’s thing, but those who get it will be hit hard and rightly so.

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Brass Hearse on Bandcamp

 

Mother Turtle, Three Sides to Every Story

mother turtle three sides to every story

The first of three tracks on Greek progwinders Mother Turtle‘s fourth LP, Three Sides to Every Story, “Zigu Zigu,” would seem to cap with a message of congratulations: “You’ve listened to three musicians indulging themselves with some kind of weird instrumental music.” It then goes on to question its own instrumentalism, because it has the words presently being spoken, continuing in this manner until a long fadeout of guitar leads to the funky start of the 15-minute-long “Notwatch.” Good fun, in other words. Mother Turtle maybe aren’t so weird as they think they are, but they are duly adventurous and obviously joyful in their undertaking, bringing chants in over drifting guitar and synth swirl in “Notwatch” before building to a crescendo of rock guitar and organ, ultimately dominated by a solo as it would almost have to be, before intertwining piano lines in 16:46 closer “A Christmas Postcard from Kim” lead to further shenanigans, vocal experimentation, plays on metal, holiday shimmer, and a fade into the close. At 38 minutes, Three Sides to Every Story doesn’t at all overstay its welcome, but neither is it an exercise looking for audience engagement in the traditional sense. Rather, it resonates its glee through its offbeat sensibility and thus works on its own level to craft a hook. One can’t help but smile while listening to the fun being had.

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Sound Effect Records website

 

The Legendary Flower Punk, Wabi Wu

The Legendary Flower Punk Wabi Wu

It is something to consider, perhaps as you dive into the nine-minute “Prince Mojito” on The Legendary Flower Punk‘s Wabi Wu, that the band started as a psych-folk solo-project. Currently working as a core trio plus a range of guests, the Russian troupe make their debut on Tonzonen with the brazenly prog seven-tracker, totaling just a 44-minute run but with a range that would seem to be much broader. Alternately jazzy and synth-laden, technically intricate but never overly showy, pieces like the bass-led “Azulejo” and the penultimate “Trance Fusion På Ryska” present a meeting of the minds with founding guitarist Kamille Sharapodinov at the center of most compositions, he and bassist Mike Lopakov and drummer Nick Kunavin digging into nothing’s-off-limits textures from fusion onward through New Wave and dub. The abiding rule followed seems to be whatever moves the band about a given track is what they roll with, and though The Legendary Flower Punk has evolved well beyond its origins, there’s still a bit of flower and still a bit of punk amid all the legends being made. Good luck keeping up with it.

The Legendary Flower Punk on Bandcamp

Tonzonen Records website

 

Slow, VI – Dantalion

Slow VI Dantalion

With the follow-up to 2018’s V – Oceans (review here), Belgian duo Slow rattle off another 78 minutes of utterly consuming, crushing, atmospheric and melancholic funeral doom like it’s absolutely nothing. Well, not like it’s nothing — more like it’s a weight on their very soul — but even so. Issued through Aural Music, VI – Dantlion brings the two-piece of guitarist/vocalist/drummer Déhà and bassist/lyricist Lore B. once again into the grueling, megalithic churn of self-inflicted riff-punishment that’s so encompassing, so dark, so deep and so dramatic it almost can’t help but also be beautiful. To wit, second track “Lueur” is a 17-minute downward journey into ambient brutalism, yet as it moves toward the midsection one can still hear melodic elements of keyboard and orchestral sounds peaking through. There is letup in the lush finale “Elégie,” but to get there, you have to make your way through “Incendiaire,” which is possibly the most extreme movement of the seven inclusions. Though frankly, after a while, you’re buried so far down by Slow‘s glorious miseries that it’s hard to tell. The world needs this band. They are what humanity would sound like if it was ever honest with itself.

Slow on Thee Facebooks

Aural Music on Bandcamp

 

OKO, Haze

oko haze

Adelaide, Australia, newcomers OKO present their debut EP in the form of Haze, a 14:44 single-song outing that sees the instrumental three-piece of guitarist Nick Nancarrow, bassist Tyson Ruch and drummer Ash Matthews tap into organic heavy psych vibes while working cross-planet with Justin Pizzoferrato (known for his work with Elder, among others) on the mix and master. The resulting one-tracker has a clarity in its drum sound and clean feel that one suspects might speak of more progressive intentions on the part of OKO in the longer term, but as they are here they have a sense of tonal warmth that serves them well across the unpretentious span of “Haze” itself, the winding riff inevitably bringing to mind some of Colour Haze‘s jammier work but still managing to find its own direction. I hear no reason OKO can’t do the same, regardless of the influences they’re working under in terms of sound. Further, the longform modus suits them, and while future work will inherently develop some variety in general approach, the natural exploration they undertake on this first outing easily holds attention for its span and is fluid enough that, had they wanted, they could have pushed it further.

OKO on Thee Facebooks

OKO website

 

Vug, Onyx

vug onyx

Vug are not the first European heavy rock band to blend vintage methods with modern production. They’re not the first band to take classic swagger and drum urgency and meld it with a pervasive sense of vocal soul. I’m not sure I’d tell them that though, because frankly, they’re doing pretty well with it. At its strongest, their Tonzonen-released sophomore outing, Onyx, recalls Thin Lizzy via, yes, Graveyard, but there’s enough clarity of intention behind the work to make it plain they know where they’re coming from. Such was the case as well with their 2018 self-titled debut (review here), and though they’ve had some lineup turnover since that first offering, the self-produced four-piece bring a character to their material on songs like “Tired Of” and the penultimate boogier “Inferno” before closing with the acoustic “Todbringer” — a mirror of side A’s “On My Own” — that they carry the classic-style 39-minute long-player off without a hitch, seeming to prep the heavy ’10s for a journey into a new decade.

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Noisolution webstore

 

Ultracombo, Season 1

Ultracombo Season 1

As the title hints, the Season 1 EP is the debut from Italy’s Ultracombo, and with it, the five-piece of vocalist Alessio Guarda, guitarists Alberto Biasin and Giordano Tasson, bassist Giordano Pajarin and drummer Flavio Gola work quickly to build the forward momentum that brings them front-to-back through the 23-minute five-track release. “Flusso” and opener “The King” feel particularly drawn from an earlier Truckfighters influence, but Guarda‘s vocals are a distinguishing factor amidst all that ensuing fuzz and straight-ahead drive, and in “Sparatutto” and the closer “Il Momento in Cui Non Penso,” they seem to strip their approach to its most basic aspects and bring together the tonal thickness and melodicism that’s been at root in their sound overall. The subtlety, such as it is, is to be found in their songwriting, which results in tracks that transcend language barriers through sheer catchiness. That bodes better for them on subsequent outings better than a wall o’ fuzz ever could, though of course that doesn’t hurt them either, especially their first time out.

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Ultracombo on Bandcamp

 

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Coogans Bluff Post “Gadfly” Video; Metronopolis out Jan. 24

Posted in Bootleg Theater on December 3rd, 2019 by JJ Koczan

coogans bluff

In the interim since German horn-laced progressive heavy rockers Coogans Bluff issued their last full-length in 2016’s Flying to the Stars, the five-piece outfit celebrated 15 years since the origin of the band in 2003. 2017 brought the release through Noisolution of their Bluff Live collection recorded over the course of their touring to support the year prior’s studio LP, and on Jan. 24, 2020, the same imprint will stand behind their next studio album, Metronopolis. Fun to say, hard to type, the fifth album from the now-Berlin-I-guess?-based troupe was first introduced to the universe at large at the beginning of November with a teaser and so on, but to my knowledge, “Gadfly” is the first full-track to make its way to public ears.

Sound like a nifty proposition? Well, it turns out to be exactly that, so, you know, good instincts and whatnot. In “Gadfly,” which runs a usually paltry 3:23, Coogans Bluff offer a head-spinning array of kraut-laced executions, timing mathy guitars, bass and drums with King Crimson-y Mellotron, and yes, a goddamn wild sax solo, all the while meting out coherent verses and melodies to somehow manage to tie it together. They’re in a rush to get through it, to be sure, but when that sax solo comes around, check out the bass tone underneath — yes, I know; always the bass tone with me, but still — and dig the Mellotron grandiosity that comes out of it. At very least, it’s less than three and a half minutes. What’ve you got to lose?

Though when it comes to what you might actually gain by taking on “Gadfly” — the video for which features the band in a studio setting running through the track and making it look almost obnoxiously easy to play — that’s probably a list that should include whiplash, so keep that in mind as well.

They’re on tour with intermittent runs starting in January after Metronopolis hits. Dates and LP preorder link follow here, as posted by the band.

Good luck, and enjoy:

Coogans Bluff, “Gadfly” official video

Taken from COOGANS BLUFF‘s new album ‘METRONOPOLIS’ available January 24th 2020

Preorder the album here: https://www.flight13.com/coogans-bluff-metronopolis/138010

METRONOPOLIS TOUR 2020
30.01.2020 – Hamburg, Knust
31.01.2020 – Köln, Blue Shell
01.02.2020 – Bielefeld, Forum
13.02.2020 – Dortmund, Musiktheater Piano
14.02.2020 – Oldenburg, Cadillac
15.02.2020 – Hannover, Lux
28.02.2020 – Dresden, Groovestation
29.02.2020 – Leipzig, Noels Ballroom
12.03.2020 – München, Feierwerk
13.03.2020 – Stuttgart, Goldmarks
14.03.2020 – Jena, KuBa
26.03.2020 – Nürnberg, Z-Bau
27.03.2020 – Olten, Coq D’Or
28.03.2020 – Frankfurt a. Main, The Cave
24.04.2020 – Rostock, Peter-Weiss-Haus
25.04.2020 – Berlin, Lido

Coogans Bluff website

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Coogans Bluff on Instagram

Noisolution webstore

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Nap to Release Ausgeklingt Oct. 4; New Song Streaming

Posted in Whathaveyou on July 31st, 2019 by JJ Koczan

nap

Okay, so before you go ahead and dig into the album announcement for Nap‘s second record, Ausgeklingt, below, you should understand that it’s been run through a social media translation algorithm, so even the most basic level of idiomatic expression is more or less lost, and it should be read really for confirmation of the most basic details — title, release date, etc. — rather than the description of what the record’s like, where Facebook clearly muddled the verbiage. Sadly, I don’t speak German, so I couldn’t do my own translation, but the news is that Nap are following up their 2016 debut album, Villa (review here), and that they have a song from the new outing streaming now that you can hear at the bottom of this post. That’s pretty neat as far as I’m concerned. As for the rest, with the word matrices and AI grammar and all that, it’s secondary at best.

I’ll hope to have more to come on Ausgeklingt as we get closer to the release date — I’ll be working on spelling it as well — but in the meantime, here’s the art and announcement:

nap Ausgeklingt

Finally! The Oldenburger Trio Nap is ready for their second release: the new album will be named Ausgeklingt (“for sounds”) and will be released on October 04th.

If nap has managed to create a great successor album that doesn’t stand up to the predecessor in anything, but still puts a shot on it. Extensive psychedelic jams meet heavy doom riffs, catchy hooks, and isolated surf sounds. Rounded off by almost ghost-looking vocals. A diverse and varied album that you can fall into and which breastfeeding the heavy needs as well as those after quiet-dreamy parts.

A true trip through darker and lighter corners of space… and we are happy that we will be able to take you with you soon!

So eyes and ears up. More news and tour dates coming soon…

Until then, you can listen to the pre-track “VoiGo” Also nice, right?

The Limited first edition comes in colorful vinyl, including poster and download code or as CD.

https://www.facebook.com/napband/
https://napofficial.bandcamp.com/
http://www.noisolution.de/
https://www.facebook.com/noisolution
https://www.instagram.com/noisolution/

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