Posted in Whathaveyou on July 26th, 2024 by JJ Koczan
Okay, so if you’re going to put me in a corner and force me to admit it, I will say that perhaps Norwegian folk-influenced atmospheric post-rock isn’t going to be universally relatable. Not everyone who hears it is going to be like, “Oh shit that rules!” and set their preorder with an eye toward securing a good time while they can. The vibe here is more melancholic, more introverted despite the expansive melodies of Lindy-Fay Hella‘s vocals — accompanied by spoken parts from Kristian Espedal (ex-Gorgoroth, Gaahls Wyrd, Trelldom, etc.), guest fiddle, and so on — and fluid in a different way. It’s not a party. Don’t expect a party. But if you’re in just the right kind of contemplative, looking-for-something-obscure-in-style-but-emotionally-resonant spirit, there’s resonance in the video for “Vi finnes” to be had. It’s there waiting for you if and when you feel like you’re ready to find it.
If the involvement of Espedal piqued your interest coming from a more extreme metal side, I’ll note as well Hella‘s work in Wardruna, Ronny “Valgard” Stavestrand also having been in Trelldom and Iver Sandøy‘s status as drummer/vocalist in Enslaved in addition to drumming for Relentless Aggression, Trinacria and recording and playing with scores of others. It’d be a contradiction in mood to call them a supergroup, but nobody here is lacking in pedigree.
And if this turns out to be a note to myself later to check out the album when the time comes, I’m satisfied with that too. Certainly the reason I’m posting “Vi finnes” here is because it made me want to hear more.
From the PR wire:
WHISPERING VOID reveal first video single ‘Vi finnes’ and details of forthcoming debut album “At the Sound of the Heart”
The collective of renowned musicians from Norway’s west coast henceforth known as WHISPERING VOID is releasing their first ever video single ‘Vi finnes’ (‘We Exist’) taken from their forthcoming debut full-length “At the Sound of the Heart”. The album has been slated for release on October 18, 2024.
WHISPERING VOID comment: “The main lyrics in this song are in Norwegian, more specifically in an Eastern dialect of Norwegian, and this creates a slippery and almost untrustworthy character”, vocalist Kristian Espedal writes. “The title, ‘Vi finnes’ means ‘we exist’, but the lyrics are about us never existing. The words are about the morning, which is an opportunity, and about the hours, which are the repetition of everything that happens all the time but is never the same. There is much hopefulness in this song, and at the end even a bit of suffering. When the lyrics move into English, they steer into a different direction. Ferrucio came up with the idea for the video. The lady in this film is observing life from the past. I like the very subtle connection to the lyrics.”
Lindy-Fay Hella adds: “I love the vibe of the video”, the vocalist enthuses. “I like that there is a connection with the song’s lyrics, but it also adds a new dimension to it. The haunted house in this video is situated in my neighbourhood and the lady in the video is one of my best friends. She really fits this song. I feel somewhat reminded of the fairy tale ‘Goldielocks and the Three Bears’.”
Tracklist 1. Vinden vier 2. Vi finnes 3. Whispering Void 4. At the Sound of the Heart 5. Lauvvind 6. We Are Here 7. Flower
Recording by Iver Sandøy at Solslottet Studio, Bergen (NO) Additional recording by Ronny Stavestrand at Home Studio, Bergen (NO) Mix by Iver Sandøy at Solslottet Studio, Bergen (NO) Mastering by Iver Sandøy at Solslottet Studio, Bergen (NO) Artwork by Tor Ola Svennevig Layout by Øivind Myksvoll
Guest musicians: Ole André Farstad – guzheng, Indian slide guitar on ‘Vinden Vier’,’Lauvvind’ Matias Monsen – cello on ‘Whispering Void’, ‘At the Sound of the Heart’, ‘We Are Here’ Silje Solberg – Hardanger fiddle on ‘Vi finnes’, ‘The Vines’
I’m not trying to play Mr. Cool here or anything like that, but I’m just not sure how much of an announcement there is to coincide with Slomosa’s new video for “Battling Guns.” I was hoping the PR wire would have word of their new album to coincide with the single/clip’s release, but no such luck as yet. The band I think put it up at midnight last night CET, and it’s still early AM on the US East Coast, so maybe the press release will be along.
The Norwegian four-piece are due to confirm a release date for their second album, of which “Battling Guns” is a highlight, among other things around that. They’ve already lined up their first-ever US touring, in odd-fit-but-whatever support of Alkaline Trio this September, and after that they’re set to return to Europe on the quick to co-headline with Greenleaf as Psychlona open. A concurrent album release doesn’t seem unreasonable as expectations go, but until I see it, I’m not saying it. Record could show up in December for all I know.
Whenever it’s due, Slomosa‘s sophomore outing will have received significant lead-in. “Battling Guns” follows behind two other singles in “Rice” and “Cabin Fever” (video premiere here), and last I heard both of those were also on the record. That’s nearly half of the tracklisting by the time you get past the intro and interlude, so a not-insubstantial portion. But it’s the shows and the touring that are going to keep propelling this band, and the songs that are going to get heads out to the shows, so yes, the more the merrier, however grim and Europe-at-war the theme is around “Battling Guns.”
Crazy catchy, though, and a sweet encapsulation of how Slomosa have been able to put so much of the heavy underground in their corner since the release of their 2020 self-titled debut (review here). There ain’t no secret to it. It’s the songs themselves.
If an album or anything-else announcement does come through, I’ll add it in here and make a note. Until then, the video is worth enjoying on its own merits, so by all means, have at it.
Tour dates and such follow, as well as players for “Cabin Fever” and “Rice” [EDIT: Yeah, that press release came in. Album is called Tundra Rock, will be out through MNRK Heavy and Stickman Records on Sept. 13. More below.]:
Slomosa, “Battling Guns” official video
Slomosa Sign to MNRK Heavy; Band to Release New LP, ‘Tundra Rock’, September 13
Stream New Video “Battling Guns” Now; U.S. Tour Dates Announced
Norwegian riff-rock regalers, Slomosa, have signed with independent music group MNRK Heavy (High on Fire, Escuela Grind, Crowbar). The Bergen-based band will release its new LP, ‘Tundra Rock’, on September 13. Boasting a brazen backbone of groove-bitten punch and silken melodic hooks heavily inspired by the Palm Desert music scene, Slomosa showcases a hibernating sound that has been reawakened for a new generation. Pre-order/save ‘Tundra Rock’ at this location: https://slomosa.ffm.to/tundrarock
In celebration of its new label home, Slomosa today releases a video for the new track “Battling Guns”.
“Slomosa is an absolute riff powerhouse with an amazing live show,” comments MNRK Heavy SVP, Rock & Metal, Scott Givens. “They are an incredible band and all of us at MNRK are thrilled they have picked us to be their label partners.”
Expansive mountains constitute nearly two-thirds of Norway. This breathtaking grandeur gives the country a sense of natural splendor and mystique as if its topography has held secrets for millennia. ‘Tundra Rock’ is, quite simply, ‘Desert Rock’ on Slomosa’s terms.
“A desert doesn’t have to be warm”, observes vocalist/guitarist Ben Berdous. “If you think about it, the biggest desert in the world is Antarctica. In this respect, the tundra is our desert. We thought it would be cool to coin a genre, and it’s stuck. You could certainly say the grandiosity of nature is evident in the songs of Slomosa.”
‘Tundra Rock’ is also advanced by the superbly heavy track, ‘Rice’, a cavernous cut soaked in sunbaked groove.
Since the release of its self-titled debut album in 2020, SLOMOSA has performed upwards of 130 shows and high-profile festival appearances in over twenty countries alongside bands such as High on Fire, Graveyard, Elder, Ufomammut, and Witch; its explosive live performances have earned the band an enthusiastic global fanbase. SLOMOSA’s music has even captured the attention of rock greats like Tool guitarist Adam Jones, who shared his enthusiasm for the band on his social media, and Kyuss legends Brant Bjork and Nick Oliveri, who expressed their love for SLOMOSA’s sound.
In the end, Slomosa welcome everyone into their world on ‘Tundra Rock’.
“If you listen to this album, I just hope you feel something,” Berdous adds. “This is my life project. It means a lot to me. It’s given me a chance I never thought I’d have. I’m fortunate to be here. I want you to take away that “Tundra Rock” is here to stay.”
‘Battling Guns’ Music Video: Director: Yorick S. Gontarek DP: Jon Hunnålvatn Tøn & Finn Burrows Editor: Yorick S. Gontarek & Jon Hunnålvatn Tøn Producer : Yorick S. Gontarek, Jon Hunnålvatn Tøn & Finn Burrows Executive Producer: Slomosa / Benjamin Berdois Production Company: Front Film Photography : Sverre Hjørnevik Drone: UAS VOSS Lighting : SPRiLT Backline : Backline Voss Additional : HB Lyd og Lys
US tour w/ Alkaline Trio:
11.09 – San Antonio, TX 12.09 – New Orleans, LA 15.09 – Charleston, SC 17.09 – Wilmington, DE 19.09 – Wallingford, CT 20.09 – Wantagh, NY 21.09 – Sayreville, NJ 22.09 – Hampton Beach, NH 24.09 – Buffalo, NY 26.09 – Grand Rapids, MI 27.09 – Milwaukee, WI 28.09 – Columbus, OH 29.09 – Newport, KY
GREENLEAF & SLOMOSA w/ PSYCHLONA 30 SEP 2024 Leipzig (DE) Werk2 01 OCT 2024 Berlin (DE) Lido 02 OCT 2024 (DE) Hamburg (DE) Gruenspan 03 OCT 2024 Köln (DE) Club Volta 04 OCT 2024 Bielefeld (DE) Forum 05 OCT 2024 Leeuwarden (NL) Into the Void 06 OCT 2024 Pratteln (CH) Up in Smoke 07 OCT 2024 Innsbruck (AT) PMK 09 OCT 2024 Wien (AT) Arena 10 OCT 2024 Zagreb (HR) Vintage Industrial Bar 11 OCT 2024 Graz (AT) PPC 12 OCT 2024 München (DE) Keep It Low
Slomosa are: Benjamin Berdous – Vocals/guitar Marie Moe – Vocals/bass Tor Erik Bye – Guitar Jard Hole – Drums
Posted in Whathaveyou on July 17th, 2024 by JJ Koczan
Bittersweet for me to be posting about Høstsabbat 2024 this Fall in Oslo, as I know for a fact I won’t be there — friggin’ again — to see it. The weekend of Oct. 25-26 falls on what will be my daughter’s seventh birthday, and, well, she’s old enough now that if I go jetting off to Norway to have my skull caved in by The Body & Dis Fig or to revel in trad-doomly weirdness with Strange Horizon, find new and exciting blisters after experiencing Ni up close, or even just getting to witness Inter Arma in a suitably churchy setting, she’d probably remember it. So it goes. So it went last year, too.
Høstsabbat‘s second lineup announcement for this year emphasizes the creative growth that’s led to a blossoming stylistic reach for the festival over the last several years, mirrored by their expansion into other venues around the central Kulturkirken Jacob — you’ll note Verkstedet Bar mentioned below. I doubt the two-dayer has completely emptied its sleeve of tricks lined up for this October, either, so keep an eye out. I’ll do the same, though I’ve heard a couple other names bandied about — not gonna give anything away, no — and it will be an emotional labor on my part. Life, huh?
From social media. I love the line about Disney princesses in Crocs:
Sabbathians!
The Norwegian summer gives us no choice but to look ahead to the dark and gloomy Octobers, filled with crushing sludge, aggressive noise, groovy jams and fuzzthrone-galore.
To shed some light through the heavy and gloomy weather, and as a mid-summer gift to you, we’re psyched to present the next batch of bands to join this years lineup.
The genres vary a lot, but all bands fit the Høstsabbat staple perfectly, like crocs on a disney-princess’ feet.
Hardcore? Sure. Aggressive experimental noise? Absolutely. Norwegian black metal? Hell yes. 80’s witchery doom? Count us in!
Bubblewrap your head to survive the crushing, nightmarish wall of sound that is The Body & Dis Fig (US). Danish hardcore with masterfull penmanship, extreme energy and aggressive style from EYES (DK). Absolute systematic chaos from the french ear-abusive butchers of sound Ni (FR). Dense, desolate and sorrowful black metal from one of the most promising acts from the ever growing Norwegian forest of black metal, SYN (NO).
And lastly, from beyond the mountains, comes the conjurers of 80s doom magic, ghost stories and riff-wizards: Strange Horizon (NO).
This wicked, twisted and occult bouquet of bands join our already phenomenal lineup.
This year’s Høstsabbat is gonna be loud, grim and diabolical.
We can’t wait for us all to regroup and meet in the Church of Riffs, the Crypt and Verkstedet Bar late October.
Posted in Whathaveyou on July 9th, 2024 by JJ Koczan
Yeah, this came out a bit ago at this point, a week or two, fine. It’s been kind of a busy time, so maybe a bit of slack could be cut. And I know the nature of the internet and music right now is a thing exists for about a week before it’s released and maybe three days thereafter before the next whatever comes along, but this collaborative track between Norwegian trio Kanaan and countrymen neofolk troupe Ævestaden, a take on the traditional song “Habbor og Signe,” is vibrant enough that I wanted to put it here regardless of time, if only to say I hope they do a full record together.
It wouldn’t be the first time Kanaan as a whole turned into another entire band — see also Full Earth — but either way, the way they give a sense of classic shuffle, Nordic folk, and tight progressive turns is engrossing for only being a five-minute jaunt. Maybe it’s a one-off thing, and if so, fine, but it’s vibrant enough that I don’t imagine you’ll have any trouble hearing what I mean about the potential. You’ll find the stream under the links.
The info came from Bandcamp, I’m pretty sure:
Here’s a new collaboration that should arouse attention and excite music lovers with open ears. The psychedelic power trio Kanaan and the neo-folk innovators Ævestaden are both among Norway’s busiest and most critically lauded bands. Now, the two powerful young bands combine musical forces, with an altogether unique outcome.
The medieval ballad “Habbor og Signe” has been updated and showcases new musical sides of both Kanaan and Ævestaden.
Produced by Kanaan and Ævestaden. All arrangements by Kanaan and Ævestaden. Mix and master by Hans Martin Rundberg Austestad. Rose painting by Eir Vatn Strøm and layout by Jakob Skøtt. This release was supported by Norsk kulturråd.
Ask Vatn Strøm – guitar, vocals Eir Vatn Strøm – vocals, kravik lyre Eskild Myrvoll – bass, vocals Ingvald André Vassbø – drums, vocals Kenneth Lien – vocals, electric guitar Levina Storåkern – vocals, fiddle, octave fiddle
Posted in Whathaveyou on June 11th, 2024 by JJ Koczan
As regards the popular demand for ambitious Norwegian heavy rockers Slomosa — which is real, to be sure — I have to wonder how many of those sending messages and leaving comments in the band’s direction might ever have called it that their first US shows would take place in the company of veteran pop-punkers Alkaline Trio. Not me, obviously, but the odd pairing aside, Slomosa‘s ascent to the forefront of the heavy rock underground continues with this significant step, and as I was fortunate enough to see them for the first and hopefully not last time just a couple weeks ago in Germany at Freak Valley 2024 (review here), where they headlined the first night in everything but name, I’ll note that as significant a step as this tour is, the band are ready to take on bigger stages and broader geographies even ahead of releasing their second record.
As to that, no, I don’t have a release date. It was supposed to be this Fall (read: September), but whether or not that’s happening I don’t know since it’s not mentioned here and hasn’t really been confirmed elsewhere. Whatever the plan ends up being, early singles “Rice” and “Cabin Fever” (video premiered here) speak well of the follow-up to their 2020 self-titled debut (review here), and the mark on heavy rock and roll songwriting that Slomosa are just beginning to make. They’ll likely learn a few things on this tour, certainly about the differences between being on the road in Europe and in the States, among who knows what else, but emerging stronger is part of the point.
They’ve got dates listed for when Ripplefest Texas is happening, but I guess the potential for their squeezing in a stop at Desertfest New York is there, though that might be a logistical nightmare. The routing follows here, as posted on socials. See what you think:
Finally!!! A million begging messages and comments later, we can finally tell you that we are coming over the damn dam to tour the US for the first time ever!!
Catch Spanish Love Songs & us supporting Alkaline Trio on any (or several) of these 13 dates in September:
11.09 – San Antonio, TX 12.09 – New Orleans, LA 15.09 – Charleston, SC 17.09 – Wilmington, DE 19.09 – Wallingford, CT 20.09 – Wantagh, NY 21.09 – Sayreville, NJ 22.09 – Hampton Beach, NH 24.09 – Buffalo, NY 26.09 – Grand Rapids, MI 27.09 – Milwaukee, WI 28.09 – Columbus, OH 29.09 – Newport, KY
Another milestone for us, still sinking in. Thanks for bringing us along, Alkaline Trio. And who knows, there might even be some more gigs added to our schedule🤷♂️
This is going to be a blast, hoping to see y’all somewhere along the road🐫🐫
Tickets on sale this Thursday, 12pm NYC time, on our website and elsewhere!
SLOMOSA are: Benjamin Berdous – Vocals/guitar Marie Moe – Vocals/bass Tor Erik Bye – Guitar Jard Hole – Drums
Posted in Whathaveyou on June 11th, 2024 by JJ Koczan
Names, names, names! As the Høstsabbat team is fresh off executing the first-ever Desertfest Oslo last month, perhaps after a week or two of “rest” that was more likely continuing the behind-the-scenes coordination that makes these festivals possible in the first place, Høstsabbat itself has unveiled the first five names of bands who will take part in the annual Oslo-based gathering this October. It’s late this year, Oct. 25-26, which is fair enough as Norway moves inexorably toward the cold and darkness of its ultra-Scandinavian winter without actually tipping over into the can’t-support-life-until-April depths, and this first announcement is headed up by Virginian progressive death metallers Inter Arma, who so far as I can recall have never played Høstsabbat before but whose cross-genre extremity makes them just about the perfect band to feature. I mean really. It’s like why-didn’t-I-think-of-that forehead-slap level appropriate.
SÂVER, who issued their righteous second album, From Ember and Rust (review here), through Pelagic Records late last year and who are also partly aligned in making Høstsabbat, will also make a return appearance, and the doomly Purple Hill Witch, Buskas and Feral Nature round out the first lineup reveal with more to come. Last year, Høstsabbat did announcements one at a time and that made it hard for the likes of me to keep up, but I’ll do my best in 2024, whether I end up grouping bands together or what. We’ll have to see how it goes as more names show up.
But generally speaking, how good a time is Høstsabbat? Well, when last I was there I tore my meniscus and had to have surgery but still retain overwhelmingly positive memories of the weekend, so yes, I feel relatively comfortable recommending it as a way to spend your time. If that requires travel, so much the better.
From social media:
Sabbathians, let’s get this train rollin!🔥
If anyone of you attended Desertfest Oslo a few weeks back, you might have noticed. If you’ve had a drink, nap, coffee or just snagged a vinyl at any of the institutions supporting our underground in the Oslo area, you might have noticed. If not – here it is: The first announcement for this year’s Høstsabbat!
Appropriately, the weather these days is way more reminiscent of an October night outside the church, rather than a BBQ in June – so the timing feels stupidly on point.
The first 5 names from this years lineup is is a batch of talent spanning from veterans to rookies. Proto-doom to modern sludge, synthscapes to the use of silence.
We feel these five bands represent the core ethos of Høstsabbat, and we are dead proud and psyched to go live with them, and aim our headlights towards the festival in the end of October.
Please welcome US-legends INTER ARMA, Norwegian KVLT-band Purple Hill Witch, Atmospheric post-metal crushers SÂVER, duo-demolishers BUSKAS, and buzzing, ultra-energetic riff-mongers Feral Nature!
What a sick bunch of bands!🖤🤘
Further introductions will follow, but we have a feeling this does it for now, Make sure to get your tickets – they are limited and then some this year🤝
Posted in Whathaveyou on May 30th, 2024 by JJ Koczan
Equal parts moody and melodic, the new Pia Isa single bodes well for Dissolve, which is the second solo-ish full-length from Norwegian heavy singer-songwriter Pia Isaksen, also bassist and vocalist for Superlynx, and since it’s the title-track of the album as the first piece unveiled, somehow that’s so much the better. If you have headphones, I’d say that might be your best bet to let some of the psychedelic nuance of the guitar — and bass! — and the intricacy of the layers of her voice shine through, as well as the post-grunge moodiness, though that’s certainly resonant through speakers as well. Her first record under the Pia Isa banner, Distorted Chants (review here), came out in 2022, also on Argonauta, and worked in similar textures, but it seems likely that “Dissolve” was chosen to represent Dissolve as the lead single in part because you can hear growth in terms of arrangement and flourish elements along with the core fluid groove and melody. Sounds cool, in other words.
Also kind of sad, but this too is part of the thing. There’s a mention for it below, but in addition to having put out her Burning Time EP (review here) earlier this year, Isaksen also recently announced the advent of SoftSun, building on her prior collaboration with guitarist Gary Arce (Yawning Man, etc.), who appeared on “Trauma” (video premiere here) from Distorted Chants, as well as drummer Dan Joeright, who doubles as producer at Gatos Trail Recording Studio in Yucca Valley, California. No idea when anything’s coming out from that three-piece, but don’t forget Superlynx had their own LP, 4 10 (review here), out just this past Fall. So, you know, plenty going on one way or the other, if you’re looking to keep up.
Speaking of keeping up, this news came through like last week and I’m still getting caught up. Recall that at no point in the last 15-plus years did I say I was any good at this.
From the PR wire:
Heavy Psych Dronegazer PIA ISA Unveil “Dissolve” Full Album Details; First Single Out Now
Norwegian psychedelic drone rocker PIA ISA, also known as a member of Superlynx, is set to release a new full-length album titled ‘Dissolve’ on June 28th via Argonauta Records on vinyl.
“The new album feels like a further walk on the path I started with my first solo album but with a few different turns. This time I worked more with layers of vocal harmonies and gave my old dark sounding acoustic nylon guitar some space among the heavy distorted guitars. I am super stoked to have Gary Arce once again laying his stunning guitar tones on most of the songs and about Ole Teigen’s brilliant drums and sound work. Dissolvement is a recurring theme on the album, but so is the idea of reassembling the pieces back together in new and different ways.” – says Pia.
Today is also the day Pia Isa presents the title track in the form of a lyric video, now available.
Pia about the single: “The first single Dissolve is the title track and I guess it tries to capture the feeling of falling apart but also holding on to the pieces of your- self for when the time comes that you feel able to start putting them back together. Knowing that they won’t fit the same way they used to, but maybe a different way could be even better. Musically I wanted the song to catch a heavy sad feeling but also a lot of hopefulness.“
“Dissolve” album tracklisting and cover art are as follows: Side A: 1. Transform 2. Into the Fire 3. Dissolve 4. One Above Ten Below Side B: 5. New Light 6. Emerald 7. Tide 8. Drown or Float
On the new album Pia has worked more with layers of vocal harmonies and has given an old dark sounding nylon acoustic guitar more space in her massive distorted soundscape. In addition to singing she plays bass, riff guitars and minimalistic guitar leads while Gary Arce (Yawning Man, Fatso Jetson, Big Scenic Nowhere, Ten East etc) plays additional guitar melodies on six of the album’s eight songs. The drums are played by Ole Teigen (Superlynx etc) who also record- ed, mixed and produced the album with Pia co producing at Crowtown Recordings.
Pia’s lyrics are always personal and honest. She wrote Dissolve at a time where a lot of major things in her own life, but also in the world, changed, were uncertain and seemed to dissolve. Dissolvement is a recurring theme in the songs, but so is the idea of moulding things back together in a new form. As Pia often writes what she needs to hear herself, and needs to tell herself, in her lyrics she wonders if there are others out there needing to hear similar things. On this album she is trying to create hope that no matter how scary major changes and the unknown is it can also be an opportunity for new and better ways and ideas.
In addition to her solo project Pia has spent a decade playing bass and doing vocals in heavy psych band Superlynx and recently started the new project SoftSun with Gary Arce and Dan Joeright (Earth Moon Earth, The Rentals etc).
Welcome back to the Quarterly Review. Good weekend? Restful? Did you get out and see some stuff? Did you loaf and hang out on the couch? There are advantages to either, to be sure. Friday night I watched my daughter (and a literal 40 other performers, no fewer than four of whom sang and/or danced to the same Taylor Swift song) do stand-up comedy telling math jokes at her elementary school variety show. She’s in kindergarten, she likes math, and she killed. Nice little moment for her, if one that came as part of a long evening generally.
The idea this week is the same as last week: 50 releases covered across five days. Put the two weeks together and the Spring 2024 Quarterly Review — which I’m pretty sure is what I called the one in March as well; who cares? — runs 100 strong. I’ll be traveling, some with family, some on my own, for a bit in the coming months, so this is a little bit my way of clearing my slate before that all happens, but it’s always satisfying to dig into so much and get a feel for what different acts are doing, try and convey some of that as directly as I can. If you’re reading, thanks. If this is the first you’re seeing of it and you want to see more, you can either scroll down or click here.
Either way, off we go.
Quarterly Review #51-60:
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Pelican, Adrift/Tending the Embers
Chicago (mostly-)instrumentalist stalwarts Pelican haven’t necessarily been silent since 2019’s Nighttime Stories (review here), with a digital live release in Spring 2020, catalog reissues on Thrill Jockey, a couple in-the-know covers posted and shows hither and yon, but the stated reason for the two-songer EP Adrift/Tending the Embers is to raise funds ahead of recording what will be their seventh album in a career now spanning more than 20 years. In addition to that being a cause worth supporting — they’re on the second pressing; 200 blue tapes — the two new original tracks “Adrift” (5:48) and “Tending the Embers” (4:26) reintroduce guitarist Laurent Schroeder-Lebec as a studio presence alongside guitarist Trevor Shelley de Brauw, bassist Bryan Herweg and drummer Larry Herweg. Recorded by the esteemed Sanford Parker, neither cut ranges too far conceptually from the band’s central modus bringing together heavy groove with lighter/brighter reach of guitar, but come across like a tight, more concise encapsulation of earlier accomplishments. There’s a certain amount of comfort in that as they surf the crunching, somehow-noise-rock-inspired riff of “Adrift,” sounding refreshed in their purpose in a way that one hopes they can carry into making the intended LP.
Something of a harsher take on A Mortal Binding, which is the 15th full-length from UK death-doom forebears My Dying Bride, as well as their second for Nuclear Blast behind 2020’s lush The Ghost of Orion (review here. The seven-song/55-minute offering from the masters of misery derives its character in no small part from the front-mixed vocals of Aaron Stainthorpe, who from opener “Her Dominion” onward, switches between his morose semi-spoken approach, woeful as ever, and dry-throated harsher barks. And that the leadoff is all-screams feels like a purposeful choice as that rasp returns in the second half of “The 2nd of Three Bells,” the 11-minute “The Apocalyptist,” “A Starving Heart” and the ending section of closer “Crushed Embers.” I don’t know when the last time a My Dying Bride LP sounded so roiling, but it’s been a minute. The duly morose riffing of founding guitarist Andrew Craighan unites this outwardly nastier aspect with the more melodic “Thornwyck Hymn,” “Unthroned Creed” and the rest that isn’t throatripper-topped, but with returning producer Mark Mynett, the band has clearly honed in on a more stripped-down, still-room-for-violin approach, and it works in just about everything but the drums, which sound triggered/programmed in the way of modern metal. It remains easy to get caught in the band’s wretched sweep, and I’ll note that it’s a rare act who can surprise you 15 records later.
Masonic Wave‘s self-titled debut is the first public offering from the Chicago-based five-piece with Bruce Lamont (Yakuza, Corrections House, Led Zeppelin II, etc.) on vocals, and though “Justify the Cling” has a kind of darker intensity in its brooding first-half ambience, what that build and much besides throughout the eight-song offering leads to is a weighted take on post-hardcore that earlier pieces “Bully” and “Tent City” present in duly confrontational style before “Idle Hands” (the longest inclusion at just under eight minutes) digs into a similar explore-till-we-find-the-payoff ideology and “Julia” gnashes through noise-rock teethkicking. Some of the edge-of-the-next-outburst restlessness cast by Lamont, guitarists Scott Spidale and Sean Hulet, bassist Fritz Doreza and drummer Clayton DeMuth reminds of Chat Pile‘s arthouse disillusion, but “Nuzzle Up” has a cyclical crunch given breadth through the vocal melody and the sax amid the multiple angles and sharp corners of the penultimate “Mountains of Labor” are a clue to further weirdness to come before “Bamboozler” closes with heads-down urgency before subtly branching into a more spacious if still pointedly unrelaxed culmination. No clue where it might all be headed, but that’s part of the appeal as Masonic Wave‘s Sanford Parker-produced 39 minutes play out, the songs engaging almost in spite of themselves.
There are shades of latter-day Conan (whose producer/former bassist Chris Fielding mixed here) in the vocal trades and mega-toned gallop of opening track “Sky Father,” which Bismarck expand upon with the more pointedly post-metallic “Echoes,” shifting from the lurching ultracrush into a mellower midsection before the blastbeaten crescendo gives over to rumble and the hand-percussion-backed whispers of the intro to “Kigal.” Their first for Dark Essence, the six-song/35-minute Vourukasha follows 2020’s Oneiromancer (review here) and feels poised in its various transitions between consuming aural heft and leaving that same space in the mix open for comparatively minimal exploration. “Kigal” takes on a Middle Eastern lean and stays unshouted/growled for its five-plus minutes — a choice that both works and feels purposeful — but the foreboding drone of interlude “The Tree of All Seeds” comes to a noisy head as if to warn of the drop about to take place in the title-track, which flows through its initial movement with an emergent float of guitar that leads into its own ambient middle ahead of an engrossing, duly massive slowdown/payoff worthy of as much volume as it can be given. Wrapping with the nine-minute “Ocean Dweller,” they summarize what precedes on Vourukasha while shifting the structure as an extended, vocal-inclusive-at-the-front soundscape bookends around one more huge, slow-marching, consciousness-flattening procession. Extremity refined.
That fact that Sun Moon Holy Cult exist on paper as a band based in Tokyo playing a Sabbath-boogie-worshiping, riff-led take on heavy rock with a song like “I Cut Your Throat” leading off their self-titled debut makes a Church of Misery comparison somewhat inevitable, but the psych jamming around the wah-bass shuffle of “Out of the Dark,” longer-form structures, the vocal melodies and the Sleep-style march of “Savoordoom” that grows trippier as it delves further into its 13 minutes distinguish the newcomer four-piece of vocalist Hakuka, guitarist Ryu, bassist Ame and drummer Bato across the four-song LP’s 40 minutes. Issued through Captured Records and SloomWeep Productions, Sun Moon Holy Cult brings due bombast amid the roll of “Mystic River” as well, hitting its marks stylistically while showcasing the promise of a band with a clear idea of what they want their songs to do and perhaps how they want to grow over time. If this is to be the foundation of that growth, watch out.
Dortmund, Germany’s Daily Thompson made their way to Port Orchard, Washington, to record Chuparosa with Mos Generator‘s Tony Reed at the helm, and the three-piece of guitarist/vocalist Danny Zaremba, bassist/vocalist Mercedes Lalakakis and drummer/vocalist Thorsten Stratmann bring a duly West Coast spirit to “I’m Free Tonight” and the grunge-informed roll of “Diamond Waves” and the verses of “Raindancer.” The former launches the 36-minute outing with a pointedly Fu Manchuian vibe, but the start-stops, fluid roll and interplay of vocals from Zaremba and Lalakakis lets “Pizza Boy” move in its own direction, and the brooding acoustic start of “Diamond Waves” and more languid wash of riff in the chorus look elsewhere in ’90s alternativism for their basis. The penultimate “Ghost Bird” brings in cigar-box guitar and dares some twang amid all the fuzz, but as “Raindancer” has already branched out with its quieter bassy midsection build and final desert-hued thrust, the album can accommodate such a shift without any trouble. The title-track trades between wistful grunge verses and a fuller-nodding hook, from which the three-piece take off for the bridge, thankfully returning to the chorus in Chuparosa‘s big finish. The manner in which the whole thing brims with purpose makes it seem like Daily Thompson knew exactly what they were going for in terms of sound, so I guess you could say it was probably worth the trip.
Kicking off with the markedly Graveyardian “Hangtime,” Mooch ultimately aren’t content to dwell solely in a heavy-blues-boogie sphere on Visions, their third LP and quick follow-up to 2023’s Hounds. Bluesy as the vibe is from which the Montreal trio set out, the subsequent “Morning Prayer” meanders through wah-strum open spaces early onto to delve into jangly classic-prog strum later, while “Intention” backs its drawling vocal melody with nylon-stringed acoustic guitar and hand percussion. Divergence continues to be the order of the day throughout the 41-minute eight-songer, with “New Door” shifting from its sleepy initial movement into an even quieter stretch of Doors-meets-Stones-y melody before the bass leads into its livelier solo section with just a tinge of Latin rhythm and “Together” giving more push behind a feel harkening back to the opener but that grows quiet and melodically expansive in its second half. This sets up the moodier vibe of “Vision” and gives the roll of “You Wouldn’t Know” an effective backdrop for its acoustic/electric blend and harmonized vocals, delivered patiently enough to let the lap steel slide into the arrangement easily before the brighter-toned “Reflections” caps with a tinge of modern heavy post-rock. What’s tying it together? Something intangible. Momentum. Flow. Maybe just the confidence to do it? I don’t know, but as subdued as they get, they never lose their momentum, and as much movement as their is, they never seem to lose their balance. Visions might not reveal its full scope the first time through, but subsequent listens bring due reward.
The narrative — blessings and peace upon it — has it that guitarist/vocalist Bobby Spender recruited bassist Loz Fancourt and drummer Harry Flowers after The Pleasure Dome‘s prior rhythm section left, ahead of putting together the varied 16 minutes of the Liminal Space EP. For what it’s worth, the revamped Bristol, UK, trio don’t sound any more haphazard than they want to in the loose-swinging sections of “Shoulder to Cry On” that offset the fuller shove of the chorus, or the punk-rooted alt-rock brashness of “The Duke Part II (Friends & Enemies),” and the blastbeat-inclusive tension of “Your Fucking Smile” that precedes the folk-blues finger-plucking of “Sugar.” Disjointed? Kind of, but that also feels like the point. Closer “Suicide” works around acoustic guitar and feels sincere in the lines, “Suicide, suicide/I’ve been there before/I’ve been there before/On your own/So hold on,” and the profession of love that resolves it, and while that’s at some remove from the bitter spirit of the first two post-intro tracks, Liminal Space makes its own kind of sense with the sans-effects voice of Spender at its core.
A solid four-songer from Birmingham’s Slump, who are fronted by guitarist Matt Noble (also Alunah), with drummer David Kabbouri Lara and bassist Ben Myles backing the riff-led material with punch in “Buried” after the careening hook of “Dust” opens with classic scorch in its solo and before the slower and more sludged “Kneel” gets down to its own screamier business and “Vultures” rounds out with a midtempo stomp early but nods to what seems like it’s going to be a more morose finish until the drum solo takes off toward the big-crash finish. As was the case on Slump‘s 2023 split with At War With the Sun, the feel across Dust is that of a nascent band — Slump got together in 2018, but this is their most substantial standalone release to-date — figuring out what they want to do. The ideas are there, and the volatility at which “Kneel” hints will hopefully continue to serve them well as they explore spaces between metal and heavy rock, classic and modern styles. A progression underway toward any number of potential avenues.
What dwells in Green Hog Band‘s Fuzz Realm? If you said “fuzz,” go ahead and get yourself a cookie (the judges also would’ve accepted “riffs” and “heavy vibes, dude”), but for those unfamiliar with the New Yorker trio’s methodology, there’s more to it than tone as guitarist/producer Mike Vivisector, bassist/vocalist Ivan Antipov and drummer Ronan Berry continue to carve out their niche of lo-fi stoner buzz marked by harsh, gurgly vocals in the vein of Attila Csihar, various samples, organ sounds and dug-in fuckall. “Escape on the Wheels” swings and chugs instrumentally, and “In the Mist of the Bong” has lyrics in English, so there’s no lack of variety despite the overarching pervasiveness of misanthropy. That mood is further cast in the closing salvo of the low-slung “Morning Dew” and left-open “Phantom,” both of which are instrumental save for some spoken lines in the latter, as the prevailing sense is that they were going to maybe put some verses on there but decided screw it and went back to their cave (presumably somewhere in Queens) instead, because up yours anyhow. 46 minutes of crust-stoned “up yours anyhow,” then.
