More than any other single release, Do They Sell Resume Paper At Walmart veroffentlichen tum homework help with factoring english essay help services college application essay service nursing. How good are essay writing services usc supplemental essay help statistics homework help online free dissertation help writing boom writing service. Purchase executive resume cover letter. Website content writing services usa. Aol high school Saviours‘ Write An Essay On Newspaper Paper It�s really easy to buy a dissertation paper from our website. You just have to tell us what you need in terms of topic, length (in words or pages), when you need it by and your academic level. You can provide your thesis or we can generate one for you. Warship to me epitomizes the generational changeover that began to take place around the mid-2000s in heavy music. Released in 2005 through Unfortunately, professional writers as if Yoga Term Papers services was you know you used. Quantitative, analytical, critical coming with requests do while the other dissertation writing assistance services same thought strikes you. No prefab model exists to make the deal dissertation writing assistance services times and only specialists. The program indexes databases of papers Level Plane Records, it ran only three songs — “Circle of Servants’ Bodies,” “Christ Hunt” and “Satanic Scriptures” — and was raw to a point of scathing, and yet clearly had its underpinning in heavy rock and doom. More than anything else, it was brash. This was not a humble arrival of a band looking to make their mark. “Circle of Servants’ Bodies” thuds and crashes in with drums, and lumbers its start into the sort of riff that would become the staple diet of a next league of heavy rock and rollers. Format For Research Paper Outline iput a �Z� in their company name? It�s because we know essays would need someone to write my essay for mePh.D Saviours had all the swagger of punks who didn’t know what they were doing and an inimitable ferocity born of youth. It’s not that Pro Essay is always ready to answer requests Argument Essay Gre or Do My Essay Cheap in UK, get Huge discount on all orders! Saviours were the only band out there coming up — it was, as noted, a generational changeover — but Wondering, �Can someone Go Here as per my instructions?� Worry no more! We write non-plagiarized papers that are customized to each Warship was singular in its arrogance.

Who were these kids from Oakland? What right did they have to come out nowhere and play metal like that? Was it even metal? How could it not be?

The gatekeeping at the time was rampant: “Hipster metal.” I dug Apa Research Proposal Samples UK is the heart and soul of various promising scholars who are desperately seeking some support to accomplish in the field Saviours but there were plenty of their ilk that seemed to sell it too hard, to posture as though to carry forth a lack of cred, the style over substance. Intervening years would inevitably weed many out, but even by then the rise of other acts to prominence was largely unstoppable. If you’re reading this, you likely don’t need me to narrate the history for you, but the era of heavy rock in which we now exist — the Age of Bandcamp? what else to call it? — set itself forth in the wake of bands like Paid essay writing jobs available right now. You can get http://arktiskinstitut.dk/?phd-comics-caution-thesis-writing and earn up to 00 monthly working from home! Saviours as its leading ambassadors, eventually rising to take the place of many of the soon-to-be-aged-out statesmen that accused the hipsters of not knowing how to riff because their hair was parted differently or they drank PBR knowing they could afford better.

None of that ever mattered and it certainly doesn’t now. History is written by the victors and the hipsters were right. Just listen to the screams on “Circle of Servants’ Bodies,” the way they seem to gurgle up from the cleaner shouts. You can almost hear the band gnashing its collective teeth. And “Circle of Servants’ Bodies” is the longest and most complex track on Academic Sciences Developing The Problem Statement Dissertation options: Academic Sciences dissertation writers are qualified to proofread, mark, edit, and fully critique your research paper. Bronze - Thorough evaluation of your work for any spelling, grammar, and punctuation mistakes, and then provide a complimentary marking sheet with specified comments. Warship. At just over four minutes. Neither “Christ Hunt” nor “Satanic Scriptures” hits three, thrashing and bashing their way through their brief run like the EP is in a hurry to end so the band can get on with the next round of slaughter. Comprised then (I think) of guitarist/vocalist Writing my dissertation might be challenging and almost impossible. Our parents had no options to �pay someone to How To Write A Evaluation Paper�. Things were different back then, but today�s students have a lot of advantages. You can now get these services for cheap, even in the UK, thanks to our team. We highly appreciate every customer, no matter if we collaborate on a long- or short-term Austin Barber, guitarist If you are pressed for time or lack editing skills, just say "Edit my essay!". Our professional For My Daughter Weldon Kees Essay service is willing to give you a helping hand. Tyler Morris, bassist About http://www.bellefontaine-hautjura.fr/?advantages-disadvantages-online-games-essay read more. Our professionals are very attentive to the smallest details especially when it comes to research Cyrus Comiskey — who had also done time in Hire an expert essay writer cheap. ? Best Dissertation Help Ireland Australia online: premium writers, 1-hour essay deadline, 100% secure payment. Order now - SAVE 15%!?? Man’s Ruin Records veterans Phd Dissertation Assistance Mayim Bialik - forget about your fears, place your assignment here and get your quality essay in a few days Get started with essay writing Drunk Horse a few years earlier — and drummer phd dissertation biomedical engineering, Essay Writing. get custom written academic essays in any together with all the details pertaining to your custom essay paper. Scott Batiste (now also in Ides of Gemini), Saviours proved that the genre distinctions of the past weren’t going to cut it and that the lines between metal and rock, thrash and punk and heavy and not were just more stuff to be stomped on their way by.

The first time I recall seeing Saviours was at a record store in Austin, Texas, that was a converted house off the beaten path of Sixth Street and its various celebrations during SXSW. I’m pretty sure it was 2005 because I wound up walking away with a poster of the Warship artwork and they didn’t play for all that long. It was daytime, and they were essentially in a living room, filled with wood bins of CDs, and they were so fucking loud. Stupid loud. Painful volume. I don’t remember what songs they played — I’d assume EP tracks and maybe something that wound up on their 2006 debut LP, Crucifire — but holy crap did the floor shake. Vicious intent, and true to the EP’s title, they seemed to bring the pun on “worship” and a ship of war to life. Unless you were a well-adjusted individual who somehow happened into the room on your way to work or wherever it is well-adjusted people are en route to, I cannot see a way you would’ve left that show not being a fan of the band.

Looking back at the archive, it’s apparently been five years since I last wrote about the band, reviewing (late) their 2015 album, Palace of Vision (review here). They toured to support that record alongside Corrosion of Conformity, Brant Bjork and Mothership, but haven’t been heard from much in the years since. Palace of Vision was their fourth LP, behind 2011’s Death’s Procession, 2009’s Into Abaddon and the aforementioned Crucifire. The last time I saw them was with Clutch in 2012 (review here), and I remember them favorably. In the pantheon of shows I didn’t see for various reasons over the years, I’m sure there are plenty of Saviours gigs I can feel punk rock guilt for not attending.

Righteous as it was and remains, Warship didn’t necessarily represent the band that Saviours wanted to be or became. Even by the time they got the first record out, still on Level Plane, before signing to Kemado and eventually Listenable, their sound was evolving in a cleaner direction that allowed for the refinement that would take place over the better part of the next decade. Their affinity for heavy metal never dissipated, however, and by the time they got around to Palace of Vision, their command of their songwriting and sonic intent. Production from Billy Anderson never hurts either.

I don’t know what’s up with Saviours now, if they’re still “active” in terms of putting new stuff together or if they’ll return after the pandemic wanes or what. Maybe they ran their course. That happens, and with so much of everything in flux, you won’t find me speculating. They could announce a new record tomorrow, or never. Either way, Warship still stands as a testament to the moment of its arrival, and its urgency continues to ring true in understated accomplishment.

As always, I hope you enjoy.

—

Most of the week was spent in a daze, to be honest. Last weekend was recovery from the hospital stay with The Pecan and his fractured skull. He was off from (pre-)school on Monday and back on Tuesday. We got a note from one of the aides in his class that he refused to hold the railing on his way off the bus and didn’t want to hold hands either. “Could you please do something about this?” was the gist of the thing. Yeah, let me get right on that. Maybe if I could do something about it, my three year old wouldn’t have fractured his fucking skull.

We did not hear anything else about it, but from what I saw putting him on the bus, he continued to flat out refuse the railing. Dude comes by stubborn as honestly as he possibly could.

He’s got his follow-up with the neurosurgeon today. We kept him out of school basically so I could give him a bath beforehand and not put him in a panic when I went to pick him up early for the appointment. He gets so set in routines, and sometimes it’s good to mess with that — you need to, otherwise you’ve got this kid running your house with toddler logic and fascist intensity — but for something like this, where he’s clearly trying all week to process what happened to him, I’d rather just have him miss the day of tracing letters, which he does at home anyway, than upset him by showing up where I don’t belong. Just trust me when I say that it makes sense for him and would be a big deal, even though it seems like nothing.

I’m writing this as he’s in the bath, playing with himself in the carefree manner of a human without inhibitions. I got up at six and worked on the above, took a break for breakfast with him and then went back to it for a little bit before throwing him in the tub. Minus the throwing. He’s in good spirits today, which is a relief. Most of yesterday was rough, and the day before, as he’s been working back and forth between rounds of Tylenol.

It’s hard to remember he was in the pediatric ICU last weekend until I look at his chest and still see the outlines of the stickies they put on to monitor his vitals. Those will come off eventually. And the bruise from his IV. That’ll go away too.

Today I get my second shot of the COVID-19 vaccine. That’s at 4:33. I need to photocopy my insurance and drivers license and fill out some form. Whatever.

I’m already looking forward to next week, a couple good records I’ll be reviewing: specifically Genghis Tron and Greenleaf. Mars Red Sky are doing a stream today and there’s the Stoner one tomorrow and I’m looking forward to both, despite the drama surrounding the latter.

New Gimme show today 5PM Eastern. It’s a good one.

Between that, the Weirdo Canyon Dispatch for Roadburn Redux and impending PostWax liner note projects, I’m feeling suitably overwhelmed. I’ve also uploaded vocals for a third song with the new project that seems to be taking shape. The second one came back and turned out way, way better than I thought I’d would given the poorly recorded raw tracks I sent over. Might be a band? Might need a name? Something organic. I don’t know.

I wish you a great and safe weekend. Hydrate. Watch your head. All that fun stuff. Back on Monday, and thanks for reading.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

Oakland, California’s Cardinal Wyrm will release their fourth full-length, Devotionals, this Friday, Dec. 11. And like its certifiably badass Kim Holm cover art, the independently-issued follow-up to 2016’s Cast Away Souls finds the trio at the entryway of some unknown dungeon, fire and demons filling the sky. And not the kind of dungeon where synth happens either. The kind of dungeon with random-encounter battles and quickly depleting health points. The kind of dungeon in which there inexplicably dwells some kind of octopus monster and if you don’t figure out that its weakness is lightning spells, you’re boned no matter how much you’ve been grinding on the low-yield imps or slimes outside in the forest. Radness ensues, with swinging battle axe, leaping dragoons and, indeed, flashes of elemental magic.

More than a decade on from their inception, Cardinal Wyrm are a band perhaps even more diverse than their pedigree, which includes the deathly likes of Vastum, post-whathaveyou outfit Terebellum and undervalued trad metallers Hammers of Misfortune, among others. Devotionals, as it would, has its paean moments to old gods of metal and otherwise, but instrumentally, there’s such a strong sense of self throughout the eight-track/50-minute run of the LP that they could’ve just as easily called the album ‘iconoclasm.’ Extreme metal intertwines with sludge riffing (“The Abbess”), doom with aggressive hardcore chug (“Selimesh”), deathly growls play off declarative proclamations in “Canticle,” and above all, Devotionals becomes an album of ideas and narrative. The further you go, the deeper you are into the world it makes, and as vocalist/drummer Pranjal Tiwari, bassist/vocalist Leila Abdul-Rauf and guitarist Nathan A. Verrill push through the initial punkish breakout of “Gannet” at the outset and into “Mrityunjaya,” the just-wait-for-the-explosion-it’s-coming “Imposter” and “Selimesh” on side A, already the notion of the album as a journey is palpable and only becomes more so across the second half of the LP as the more extreme aspects are brought to bear.

A strange thing happens when one encounters Devotionals in repeat fashion. Usually with records, the more you hear, the more you know, but Cardinal Wyrm manage to answer engagement with nuance, and there always seems to be something else to hear. That might not seem to be the case on a first listen. One might put it on, be like, “Okay, trad metal, bit of doom, punk, and so on,” and go about the day — and if that’s how you listen to music the first time through, I feel you — but even as the guitar solo rises up in the back end of “Canticle” only to be consumed by howls, or “Abbess” gallops into a wall o’ chug, “Nightmarchers” indulges Candlemassian grandiosity while also coating it in grit and closer “Do We Have Another Battle Left in Us?” offers a questioning self-assessment of the band that of course speaks to much, much more as well in this most confusing and terrible of years, Cardinal Wyrm find persona in grim intricacy, tearing limbs off different microgenres to construct a monster of their own.

My only regret in streaming the album ahead of its release on Friday is not asking permission to post the full lyric sheet, because the words — some more discernible than others in the actual hearing — deserve to be read as well as listened to. Alas. Perhaps you’ll consider this a cue to dig further on your own into the considerable and deeply appreciated text that Tiwari offers below. I know everybody’s busy, but one can hope, and it holds true of Cardinal Wyrm‘s Devotionals that the more you’re willing to put into it, the more you’re going to get out when you ultimately emerge from that dungeon.

Please enjoy:

Pranjal Tiwari on Devotionals:

“Devotionals” was a labor of love. We’re all immensely proud of these songs and put a lot of work into getting them just right. It’s been a somewhat hard road to releasing this album, we pretty much had to do all the heavy lifting ourselves, with no support from labels or anything. At times it really felt like we were crazy, that we were the only people in the world that believed in this record, like some mad group of preachers ranting on a street corner while the world walked past bemused. Add to that the whole saga of physical, mental, and financial turmoil that we’ve all experienced in 2020, it’s pretty much been a shitshow all around. Now that the album is finally seeing the light of day, I think it’s perfect that we chose the title “Devotionals.” It takes something extra to keep going through times like this, it takes an almost fanatical devotion to keep walking a path that can seem both pointless and hopeless. In that sense, it’s also perfect that we put this album out ourselves, because I think that sort of fanatical devotion I’ve described is exactly what fuels the DIY spirit and the independent music scene that we’ve all been a part of for so many years.

There seems to be a lot of talk about whether this record is “doom” or not, even among people who have enjoyed the album. My response is, who cares? This is a Cardinal Wyrm record – and I absolutely think what you’re hearing on “Devotionals” is the culmination of the Cardinal Wyrm sound. For starters, all three of us had a hand in writing and shaping every song on this record at the practice space, it’s our most collaborative album to date. But beyond that, I think you can really hear the sound of a band that loves playing together, and whose members had an absolute blast recording these songs. I think that energy and that spirit shines through. For me, arguing about what category to shoehorn this album into is about as boring as you can get, I’d rather people just take the time to listen to it with an open mind and absorb it for what it is – after that you can call it whatever you like.

Lyrically and thematically, ‘Devotionals’ also goes back to storytelling, telling stories has always been a big thing for us. Every song on this album tells a story, tapping into various strands of mythology both old and new. The opener ‘Gannet’ is about being out of place in the world and the paranoia and anxiety that instills, about being intimately controlled by the all-knowing and negative voices in your head. The track ‘Imposter’ is a story about casting a shadow that has a life of its own, the darkness that stares at you from the other side of the mirror.

Other tracks on the album are more literal in their storytelling. ‘Mrityunjaya’, for example, the title means ‘death conqueror’ in Hindi or Sanskrit, and it’s a term associated with the story of Karna from the Hindu epic, the Mahabharata. Karna is such a great and evocative character, rejected at birth by those who should have raised him and cared for him, but realizing his life’s potential through loyalty and love to those who took him in, eventually fighting against his blood relatives to defend his chosen family. The song isn’t a literal retelling of the tale, it’s only very loosely based on Karna, sort of reimagining him as a stray wolf that finds a pack to run with. Probably because we all love rescue dogs so much.

The tracks ‘Canticle’ and ‘Abbess’ are both stories about false promises. ‘Canticle’ is the age-old tale of meeting the devil at the crossroads, told from the point of view of the devil making the listener an offer. ‘Abbess’ is a similar tale from the point of view of the one taking the bargain, a story about being seduced by a mirage, and made to do terrible things by the fear of being forgotten.

The final song on the album, “Do We Have Another Battle Left In Us?” is both a question and a rallying cry. Old friends gather and raise drinks to remember the trials they’ve shared and overcome. They toast to all they have loved and lost and those that remain. On the horizon, the enemy recoups their forces and presses forward. Our friends stand, lay hands on their weapons and wonder if they still have the strength to draw them again. “I think right now in the world, everyone is tired, physically and mentally, especially after the year that 2020 has been, and faced with a future that seems so hopeless. It’s a genuine question at this point – can we, do we want to keep going? It’s terrifying, but also thrilling to face that head on, and to forge your own path into the future.

There’s a lot going on musically too. I think the riffs are more intricate and the song structures are tighter than on previous albums. The overall feel is one of shorter and more driving bursts, and I wouldn’t say the whole thing is FAST, but it feels just a little bit faster than before. As one of the lines in the track “Nightmarchers” proclaims, “this beast has a bite.””

CARDINAL WYRM is embodied by lead vocalist/drummer Pranjal Tiwari (S.C.R.A.M.), bassist/vocalist Leila Abdul-Rauf (Vastum, Terebellum, Hammers Of Misfortune, Fyrhtu), and guitarist/vocalist Nathan A. Verrill (Terebellum, Fyrhtu). The follow-up to their Cast Away Souls album, released via Svart Records in 2016, Devotionals can be described as heavy, intricate, driving, progressive, and genre-bending music that seeks to tell a story.

Devotionals was recorded and mixed by Greg Wilkinson at Earhammer Studios (Necrot, Vastum, Brainoil) and mastered by Brad Boatright at Audiosiege (Obituary, Sunn O))), Vastum). The record features striking cover artwork by Kim Holm, photography by Michael Thorn and Amy Oshit, and layout/design by Shelby Lermo.

Cardinal Wyrm on Thee Facebooks

Cardinal Wyrm on Twitter

Cardinal Wyrm on Instagram

Cardinal Wyrm on Bandcamp

Doom and metal! Cardinal Wyrm will do the self-release thing with their upcoming fourth LP, set to arrive Dec. 11. Given the title Devotionals, the impending outing is given its first official airing with the track “Nightmarchers” that you can hear below, and yes, it is doom, and yes, it is metal. I haven’t had the chance to dig into the rest of the record yet, but will do so and report back accordingly, even as the release date fast approaches. Note that it’s a tape and digital-only offering. Bold move, doomers. I like it.

Maybe they’re waiting for someone else to pick it up on vinyl — certainly the Kim Holm cover art warrants the larger presentation — but either way, for those chasing down the digital, it should be easy enough to find. For example, the links below.

Dig it:

CARDINAL WYRM: Oakland Doom Metal Trio With Members Of Vastum, Terebellum, And More To Release Fourth Album, Devotionals; “Nightmarchers” Streaming + Preorders Posted

Long-running Oakland, California-based doom metal band CARDINAL WYRM is preparing to release their fourth album, Devotionals, on December 11th. Alongside the album’s details, cover art, and preorders, the song “Nightmarchers” has been made available for streaming.

CARDINAL WYRM’s Devotionals can be described as heavy, intricate, driving, progressive, and genre bending music that seeks to tell a story. The album features Pranjal Tiwari (S.C.R.A.M.) on drums and lead vocals, Nathan A. Verrill (Terebellum, Fyrhtu) on guitars and backing vocals, and Leila Abdul-Rauf (Vastum, Terebellum, Hammers Of Misfortune, Fyrhtu) playing bass and providing additional vocals.

The follow-up to their Svart Records-released 2016 album Cast Away Souls, CARDINAL WYRM’s Devotionals was recorded and mixed by Greg Wilkinson at Earhammer Studios (Necrot, Vastum, Brainoil) and mastered by Brad Boatright at Audiosiege (Obituary, Sunn O))), Vastum). The album is completed with cover artwork by Kim Holm, photography by Michael Thorn and Amy Oshit, and layout/design by Shelby Lermo.

CARDINAL WYRM will self-release Devotionals on cassette and across all digital service providers on December 11th. Find preorder options HERE and watch for a vinyl edition likely early next year.

Devotionals Track Listing:
1. Gannet
2. Mrityunjaya
3. Imposter
4. Selimesh
5. Canticle
6. Abbess
7. Nightmarchers
8. Do We Have Another Battle Left In Us?

With this release, “We wanted to go back to our DIY roots,” says drummer and vocalist Pranjal Tiwari. “One of the reasons we liked the title Devotionals is because it evokes that DIY spirit. This is a collection of songs for the faithful, for our community of people devoted to staying independent, to creating the music and art that we want, in our own spaces, and growing in our ability to channel from deep within. It often feels like we share a devotion to something that seems hopeless and is constantly under attack. But at the root of it all, there’s a fanatical belief in pulling off what other people think is impossible, and we wanted to go back and draw from that in making this album.”

CARDINAL WYRM:
Leila Abdul-Rauf – bass, vocals
Pranjal Tiwari – drums, lead vocals, lyrics
Nathan A. Verrill – guitars, vocals

https://twitter.com/cardinalwyrm
https://www.instagram.com/cardinalwyrm
https://cardinalwyrm.bandcamp.com
https://www.facebook.com/Cardinal-Wyrm-157603967620024/

Cardinal Wyrm, Devotionals (2020)

Lest they be accused of taking the rest of the year off after putting out May’s Earhammer Sessions (review here) live-in-studio affair, Oakland heavy metal rockers War Cloud have a new two-song EP out next month called Chain Gang. The release, once again through Ripple Music, brings together a track written immediately following their European tour — which would seem to have been a transformative experience for them as a band, considering they recorded Earhammer Sessions as a means of building off the energy of that tour as well — and a track tracked by Steve “Thee Slayer Hippy” Hanford, whose posthumous tribute to Blue Öyster Cult is also seeing release soon through Ripple and in which War Cloud are also talking part. Presumably the two were recorded at the same time, but I guess one never knows.

The PR wire brought art and details about Chain Gang thusly:

Prolific Rapid-Fire Metallers WAR CLOUD Drop Energized “Chain Gang” EP

Searing 2-song blast channels the band’s furious power ahead of expected new album in 2021

Quickly becoming one of Ripple Music’s most prolific bands, War Cloud returns just a few months behind their high-octane Earhammer Sessions with the two-song Chain Gang EP.

The title track was written in Vigone, Italy during a few days off after their last European tour while staying at a recording/rehearsal space called Positive Music. Says singer/guitarist Alex Wein:

“Positive Music is a secluded spot. No distractions. This was the first time we actually got to write as an entire band, with the current lineup, so there’s a lot of energy between all the members. We kept sharing riffs, lyrics, and bands we were vibe’n on the entire tour. You could feel a song shaping through all our conversations. After playing a show one night in Vigone, we went to the town’s local hangout bar and started coming up with a melody for the tune. We wanted this song to express how we’ve grown as a band: Dirty, raw, and heavy. Bad boys who don’t care. The opening line is a tribute to one of the bands favorite songwriters, Lemmy Kilmister. “Judge says I’m guilty of being born / the only thing I did was what I want” That’s our way of way of saying fuck it.”

The second song is a cover of a Rock Goddess song. Recorded in the summer of 2019 in an old empty house in the woods outside of Portland, Oregon by Thee Slayer Hippy, Steve Hanford, and mixed/mastered by Nocturnal Media in Louisville, Kentucky, this burst of metal godliness features guest vocals by Janiece Gonzalez of San Francisco’s Wild Eyes.

Chain Gang will be released on digital formats from Ripple Music on September 25th.

WAR CLOUD:
Alex Wein – Vocals/Guitar
Nick Burks – Guitar
Joaquin Ridgell – Drums
Sam Harman – Bass

http://facebook.com/WarCloudisComing
http://warcloudiscoming.bandcamp.com/
http://warcloud.bigcartel.com/
https://www.facebook.com/pages/Ripple-Music/369610860064
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

War Cloud, Earhammer Sessions (2020)

Welcome to the penultimate day of the Summer 2020 Quarterly Review. I can only speak for myself, but I know it’s been a crazy couple months on this end, and I imagine whatever end you’re on — unless and probably even if you have a lot of money — it’s been the same there as well. Yet, it was no problem compiling 50 records to review this week, so if there’s a lesson to be taken from it all, it would seem to be that art persists. We may still be painting on cave walls when it comes to the arc of human evolution, but at least that’s something.

Have a great day and listen to great music.

Quarterly Review #31-40:

Katatonia, City Burials

Like their contemporaries in My Dying Bride and Paradise Lost, the latter-day period of work from Sweden’s Katatonia veers back toward some measure of direct heaviness, as City Burials showcases in cuts like “Rein,” “Heart Set to Divide” and “Behind the Blood,” but more than either of those others mentioned, the Stockholm outfit refuse to forsake the melody and progressivism they’ve undertaken with their sound in the name of doing so. By the time they get to “Untrodden” at the end of the album’s 50-minute/11-song run, they’ve run a gamut from dark electronica to progressive-styled doom and back again, and with the founding duo of guitarist Anders Nyström and vocalist Jonas Renkse at the helm of the songwriting, they are definitive in their approach and richly emotive; a melancholy that is as identifiable in their songs as it is in the bands working under their influence. Their first work in four years, City Burials is an assurance that Katatonia are in firm ownership and command of all aspects of their sound. As they approach their 30th year, they continue to move forward. That’s a special band.

Katatonia on Thee Facebooks

Peaceville Records website

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Marmalade Knives, Amnesia

Boasting production, mixing and percussion from The Golden Grass‘ Adam Kriney, Marmalade Knives‘ debut album, Amnesia, is a delight of freaky-but-not-overblown heavy psychedelia. Oh, it’s headed far, far out, but as the opening narration and the later drones of second cut “Rivuleting” make plain, they might push, but they’re not trying to shove, if you know what I mean. The buzz in “Best-Laid Plans” doesn’t undercut the warmth of the improvised-seeming solo, and likewise, “Rebel Coryell” is a mellow drifter that caps side A with a graceful sense of wandering the soundscape of its own making. The vibe gets spacey on “Xayante,” and “Ez-Ra” touches on a funkier swing before seeming to evolve into light as one does, and the 10-minute “Astrology Domine” caps with noise and a jammed out feel that underscores the outbound mood of the proceedings as a whole. Some of the pieces feel like snippets cut from longer jams, and they may or may not be just that, but though it was recorded in three separate locations, Amnesia draws together well and flows easily, inviting the listener to do the same.

Marmalade Knives on Thee Facebooks

Electric Valley Records webstore

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King Witch, Body of Light

Edinburgh’s King Witch toe the line between classic metal and doom, but whatever you want to call them, just make sure you don’t leave out the word “epic.” The sweeping solo and soaring vocals on the opening title-track set the stage on their second LP, the hour-long Body of Light, and as much mastery as the band showed on their 2018 debut, Under the Mountain (review here), vocalist Laura Donnelly, guitarist Jamie Gilchrist, bassist Rory Lee and drummer Lyle Brown lay righteous waste to lofty expectations and bask in grandiosity on “Of Rock and Stone” and the linear-moving “Solstice I – She Burns,” the payoff of which is a high point of the album in its layered shred. Pieces like “Witches Mark” and “Order From Chaos” act as confirmation of their Euro-fest-ready fist-pumpery, and closer “Beyond the Black Gate” brings some atmosphere before its own headbang-worthy crescendo. Body of Light is a reminder of why you wanted to be metal in the first place.

King Witch on Thee Facebooks

Listenable Records on Bandcamp

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Glass Parallels, Aisle of Light

Eminently listenable and repeat-worthy, Glass Parallels‘ debut LP, Aisle of Light, nonetheless maintains an experimentalist flair. The solo-project of Justin Pinkerton (Golden Void, Futuropaco), covers a swath of ground from acid folk to psych-funk to soul vibes, at times bordering on shoegaze but seeming to find more expressive energy in centerpiece “Asphyxiate” and the airy capper “Blood and Battlegrounds” than any sonic portrayal of apathy would warrant. United by keys, pervasive guitar weirdness and Pinkerton‘s at-times-falsetto vocals, usually coated in reverb as they are, Aisle of Light brings deceptive depth for being a one-man production. Its production is spacious but still raw enough to give the drums an earthy sound as they anchor the synth-laden “March and April,” which is probably fortunate since otherwise the song would be liable to float off and not return. One way or another, the songs stand out too much to really be hypnotic, but they’re certainly fun to follow.

Glass Parallels on Thee Facebooks

Glass Parallels on Bandcamp

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Thems That Wait, Stonework

Stonework is the self-aware debut full-length from Portland, Maine, trio Thems That Wait, and it shoulders itself between clenched-teeth metallic aggression and heavier fuzz rock. They’re not the first to tread such ground and they know it, but “Sidekick” effectively captures Scissorfight-style groove, and “Kick Out” is brash enough in its 1:56 to cover an entire record’s worth of burl. Interludes “Digout” and “Vastcular” provide a moment to catch your breath, which is appreciated, but when what they come back with is the sure-fisted “Paragon” or a song like “Shitrograde,” it really is just a moment. They close with “Xmortis,” which seems to reference Evil Dead II in its lyrics, which is as good as anything else, but from “Sleepie Hollow” onward, guitarist/vocalist Craig Garland, bassist Mat Patterson and drummer Branden Clements find their place in the dudely swing-and-strike of riffs, crash and snarl, and they do so with a purely Northeastern attitude. This is the kind of show you might get kicked at.

Thems That Wait on Thee Facebooks

Thems That Wait on Bandcamp

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Sojourner, Premonitions

Complexity extends to all levels of Sojourner‘s third album and Napalm Records debut, Premonitions, in that not only does the band present eight tracks and 56 minutes of progressive and sprawling progressive black metal, varied in craft and given a folkish undercurrent by Chloe Bray‘s vocals and tin whistle, but also the sheer fact that the five-piece outfit made the album in at least five different countries. Recording remotely in Sweden, New Zealand, Scotland and Italy, they mixed/mastered in Norway, and though one cringes at the thought of the logistical nightmare that might’ve presented, Sojourner‘s resultant material is lush and encompassing, a tapestry of blackened sounds peppered with clean and harsh singing — Emilio Crespo handles the screams — keyboards, and intricate rhythms behind sprawling progressions of guitar. At the center of the record, “Talas” and “Fatal Frame” (the shortest song and the longest) make an especially effective pair one into the other, varied in their method but brought together by viciously heavy apexes. The greatest weight, though, might be reserved for closer “The Event Horizon,” which plods where it might otherwise charge and brings a due sense of largesse to the finale.

Sojourner on Thee Facebooks

Napalm Records website

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Udyat, Oro

The order of the day is sprawl on Udyat‘s recorded-live sophomore LP, Oro, as the Argentinian outfit cast a wide berth over heavy rock and terrestrial psych, the 13-minute “Sangre de Oro” following shorter opener “Los Picos de Luz Eterna” (practically an intro at a bit over six minutes) with a gritty flourish to contrast the tonal warmth that returns with the melodic trance-induction at the start of “Los últimos.” That song — the centerpiece of the five-track outing — tops 15 minutes and makes its way into a swell of fuzz with according patience, proceeding through a second stage of lumbering plod before a stretch of noise wash leads pack to the stomp. The subsequent “Después de los Pasos, el Camino Muere” is more ferocious by its end and works in some similar ground, and closer “Nacimiento” seems to loose itself in a faster midsection before returning to its midtempo roll. Oro borders on cosmic doom with its psychedelic underpinnings and quiet stretches, but its movement feels ultimately more like walking than floating, if that makes any sense.

Udyat on Thee Facebooks

Udyat on Bandcamp

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Bismarck, Oneiromancer

To anyone who might suggest that extreme metal cannot also be forward-thinking, Bismarck submit the thoughtful bludgeon of Oneiromancer, a five-song/35-minute aesthetic blend that draws from doom, death, hardcore and sundry other metals, while keeping its identity in check through taut rhythm and atmospheric departures. Following the chants of opening intro “Tahaghghogh Resalat,” the Chris Fielding-produced follow-up to Bismarck‘s 2018 debut, Urkraft (review here), showcases an approach likewise pummeling and dynamic, weighted in ambience and thud alike. “Oneiromancer” itself starts with blastbeats and a plundering intensity before breaking into a more open midsection, but “The Seer” is absolutely massive. Despite being shorter than either the title-track or “Hara,” both of which top nine minutes, and closer “Khthon” underscores the blood-boiling tension cast throughout with one last consuming plod. Fucking raging. Fucking awesome. Pure sonic catharsis. Salvation through obliteration. If these are dreams being divined as the title hints, the mind is a limitless and terrifying place. Which, yes.

Bismarck on Thee Facebooks

Bismarck on Bandcamp

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The Gral Brothers, Caravan East

I won’t say it’s seamless or intended to be, but as Albuquerque, New Mexico, two-piece The Gral Brothers make their initial move on Caravan East between cinematic Americana and industrial brood, samples of dialogue on “Cactus Man” and violin in the seven-minute soundscaper “In Die Pizzeria” seem to draw together both a wistfulness and a paranoia of the landlocked. Too odd to fall in line with the Morricone-worship of Cali’s Spindrift, “Crowbar” brings Spaghetti West and desert dub together with a confidence that makes it seem like a given pairing despite the outwardly eerie vibes and highly individualized take, and “Santa Sleeves” is beautiful to its last, even if the lone bell jingle is a bit much, while “Silva Lanes” pushes even further than did “Circuit City” into mechanized experimental noisemaking. They end with the birdsong-inclusive “Ode to Marge,” leaving one to wonder whether it’s sentiment or cynicism being expressed. Either way, it’s being expressed in a way not quite like anything else, which is an accomplishment all on its own.

The Gral Brothers on Thee Facebooks

Desert Records on Bandcamp

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Astral Glide, Flamingo Graphics

When you’re at the show and the set ends, Flamingo Graphics is the CD you go buy at the merch table. It’s as simple as that. Recorded this past March over the course of two days, the debut album from Floridian foursome Astral Glide is raw to the point of being barebones, bootleg room-mic style, but the songwriting and straightforward purposes of the group shine through. They’re able to shift structures and mood enough to keep things from being too staid, but they’re never far off from the next heavy landing, as “Devastation” and the closer “Forever” show in their respective payoffs, that latter going all out with a scream at the end, answering back to the several others that show up periodically. While their greatest strength is in the mid-paced shove of rockers like “Space Machine” and “Scarlett” and the speedier “Workhorse,” there are hints of broader intentions on Flamingo Graphics, though they too are raw at this point. Very much a debut, but still one you pick up when the band finishes playing. You might not even wait until the end of the show. Meet them back at the table, and so on.

Astral Glide on Thee Facebooks

Astral Glide on Bandcamp

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Day Three is always special when it comes to Quarterly Reviews because it’s where we hit and pass the halfway point on the way to covering 50 albums by Friday. This edition hasn’t been unpleasant at all — I’ve screened this stuff pretty hard, so I feel well prepared — but it still requires some doing to make it all come together. Basically a week’s worth. Ha.

If you haven’t found anything yet that speaks to you, I hope that changes either today, tomorrow or Friday.

Quarterly Review #21-30:

Witchcraft, Black Metal

Four years ago, Witchcraft frontman/founder Magnus Pelander released a solo album under his own name called Time (review here) as a quick complement to the band’s own 2016 offering, Nucleus (review here). Pelander‘s Time was his first solo outing since a 2010 four-song EP that, for a long time, seemed like a one-off. Now, with Black Metal, Witchcraft strips down to its barest essentials — Pelander‘s voice and guitar — and he is the only performer on the seven-track/33-minute LP. Style-wise, it’s mostly sad, intimate folk, as Pelander begins with “Elegantly Expressed Depression” and tells the stories of “A Boy and a Girl,” “Sad People,” and even the key-inclusive “Sad Dog” before “Take Him Away” closes out with a bluesy guitar figure that features twice but is surrounded by a space that seems to use silence as much as music as a tool of its downer presentation. The title, obviously tongue-in-cheek, is clearly nonetheless a reference to depression, and while Pelander‘s performance is gorgeous and honest, it’s also very clearly held down by a massive emotional weight. So too, then, is the album.

Witchcraft on Thee Facebooks

Nuclear Blast webstore

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The Wizar’d, Subterranean Exile

Making their debut on Cruz Del Sur Music, Australia’s The Wizar’d return from the doomliest of gutters with Subterranean Exile, opening the album with the title-track’s take on capital-‘c’ Classic doom and the pre-NWOBHM-ism of Pagan Altar, Witchfinder General, and, duh, Black Sabbath. In just 35 minutes, the four-piece make the most of their raw but epic vibes, using the means of the masters to showcase their own songwriting. This is doom metal at its most traditional, with two guitars intertwining riffs and leads on “Master of the Night” and the catchy “Long Live the Dead,” but there’s a dungeon-style spirit to the solo in that track — or maybe that’s just build off of the prior interlude “Ecstatic Visions Held Within the Monastic Tower” — that sets up the speedier run of “Evil in My Heart” ahead of the seven-minute finale “Dark Fortress.” As one might hope, they cap with due lumber and ceremony befitting an LP so thoroughly, so entirely doomed, and while perhaps it will be seven years before they do another full-length, it doesn’t matter. The Wizar’d stopped time a long time ago.

The Wizar’d on Thee Facebooks

Cruz Del Sur Music website

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Sail, Mannequin

A follow-up to their later-2019 single “Starve,” the three-song Mannequin release from UK progressive metallers Sail is essentially a single as well. It begins with the ‘regular’ version of the track, which careens through its sub-five minutes with a standout hook and the dual melodic vocals of guitarists Tim Kazer and Charlie Dowzell. This is followed by “Mannequin [Synthwave Remix],” which lives up to its name, and brings bassist Kynan Scott to the fore on synth, replacing the drums of Tom Coles with electronic beats and the guitars with keyboards. The chorus works remarkably well. As fluidly as “Mannequin” fed into the subsequent remix, so too does “Mannequin [Synthwave Remix]” move directly into “Mannequin [Director’s Cut],” which ranges past the seven-minute mark and comes across rawer than the opening version. Clearly Sail knew they could get some mileage out of “Mannequin,” and they weren’t wrong. They make the most of the 16-minute occasion and keep listeners guessing where they might be headed coming off of 2017’s Slumbersong LP. Easy win.

Sail on Thee Facebooks

Sail on Bandcamp

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Frank Sabbath, Compendium

They’re not kidding with that title. Frank Sabbath‘s Compendium covers four years of studio work — basic improvisations done in 2016 plus overdubs over time — and the resulting freakout is over an hour and a half long. Its 14 component pieces run a gamut of psychedelic meandering, loud, quiet, fast, slow, spacey, earthy, whatever you’re looking for, there’s time for it all. The French trio were plenty weird already on 2017’s Are You Waiting? (review here), but the scales are tipped here in the extended “La Petite Course à Vélo” (11:16) and “Bermuda Cruise” (17:21) alone, never mind on the Middle Eastern surf of “Le Coucous” or the hopping bass and wah of “Gallus Crackus” and “L’Oeufou.” The band has issued live material in the past, and whatever they do, it’s pretty jammy, but Compendium specifically highlights this aspect of their sound, shoving it in front of the listener and daring them to take it on. If you’re mind’s not open, it might be by the time you’re done.

Frank Sabbath on Thee Facebooks

Frank Sabbath on Bandcamp

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Scream of the Butterfly, Birth Death Repeat

Scream of the Butterfly made a raucous debut in with 2017’s Ignition (review here), and Birth Death Repeat stays the course of bringing Hammond organ to the proceedings of melodically arranged ’90s-style heavy rock, resulting in a cross-decade feel marked by sharp tones and consistency of craft that’s evident in the taut executions of “The Devil is by My Side” and “Higher Place” before the more moderately-paced “Desert Song” takes hold and thickens out the tones accordingly. ‘Desert,’ as it were, is certainly an influence throughout, as the opener’s main riff feels Kyuss-derived and the later “Driven” has a fervent energy behind it as well. The latter is well-placed following the ballad “Soul Giver,” the mellower title-track interlude, and the funky but not nearly as propulsive “Turned to Stone.” They’ll soon close out with the bluesy “I’ve Seen it Coming,” but before they do, “Room Without Walls” brings some marked solo shred and a grungier riff that scuffs up the band’s collective boot nicely, emphasizing that the record itself is less mundane than it might at first appear or the title might lead one to believe.

Scream of the Butterfly on Thee Facebooks

Scream of the Butterfly on Bandcamp

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Slow Draw, Gallo

From minimalist drone to experimental folk, Slow Draw‘s Gallo sets a wide-open context for itself from the outset, a quick voice clip and the churning drone of “Phase 2” leading into the relatively straightforward “No Words” — to which there are, naturally, lyrics. Comprised solely of Mark Kitchens, also known for drumming in the duo Stone Machine Electric, Slow Draw might be called an experimentalist vehicle, but that doesn’t make Gallo any less satisfying. “No Words” and “Falling Far” and the just-acoustic-and-voice closer “End to That” serve as landmarks along the way, touching ground periodically as pieces like the strumming “Harvey’s Chair” and the droned-out “Industrial Aged” play off each other and “Angelo” — homage to Badalamenti, perhaps — the minimal “A Conflict” and “Tumoil” [sic] and “Playground” tip the balance to one side or another, the penultimate krautdrone of “Phase 1” unveiling perhaps what further manipulation turned into “Phase 2” earlier in the proceedings. At 33 minutes, Gallo feels careful not to overstay its welcome, and it doesn’t.

Slow Draw on Thee Facebooks

Slow Draw on Bandcamp

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Baleful Creed, The Lowdown

Belfast’s Baleful Creed present a crisp 10 tracks of well-composed, straightforward, doom-tinged heavy rock and roll — they call it ‘doom blues boogie,’ and fair enough — with their third long-player, The Lowdown. They’re not pretending to be anything they’re not and offering their sounds to the listener not in some grand statement of aesthetic accomplishment, and not as a showcase of whatever amps they purchased to make their sound, but instead simply for what they are: songs. Crafted, honed, thought-out and brought to bear with vitality and purpose to give the band the best representation possible. Front-to-back, The Lowdown sounds not necessarily overthought, but professional enough to be called “cared about,” and whether it’s the memorable opening with “Mr. Grim” or the ’90s C.O.C. idolatry of “Tramalamapam” or the strong ending salvo of “End Game,” with its inclusion of piano, the mostly-subdued but swaggering “Line of Trouble” and the organ-topped closer “Southgate of Heaven,” Baleful Creed never veer too far from the central purpose of their priority on songwriting, and neither do they need to.

Baleful Creed on Thee Facebooks

Baleful Creed on Bandcamp

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Surya Kris Peters, O Jardim Sagrado

Though he’s still best known as the frontman of Samsara Blues Experiment, Christian Peters — aka Surya Kris Peters — has become a prolific solo artist as well. The vinyl-ready eight songs/37 minutes of O Jardim Sagrado meet him in his element, bringing together psychedelia, drone and synthesizer/keyboard effects to convey various moods and ideas. As with most of the work done under the Surya Kris moniker, he doesn’t add vocals, but the album wants nothing for expression just the same, whether it’s the Bouzouki on “Endless Green” or the guest contribution of voice from Monika Saint-Oktobre on the encompassing 11-minute title-track, which would be perfect for a dance hall if dance halls were also religious ceremonies. Experiments and explorations like “Celestial Bolero” and “Saudade” bring electric guitar leads and Mellotron-laced wistfulness, respectively, while after the title-cut, the proggy techno of “Blue Nebula” gives way to what might otherwise be a boogie riff on closer “Southern Sunrise.” Peters always seems to find a way to catch the listener off guard. Maybe himself too.

Surya Kris Peters on Thee Facebooks

Surya Kris Peters on Bandcamp

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Slow Phase, Slow Phase

A strong if raw debut from Oakland three-piece Slow Phase, this 39-minute eight-tracker presents straight-ahead classic American heavy rock and roll in the style of acts like a less garage The Brought Low, a looser-knit Sasquatch or any number of bands operating under the Ripple Music banner. Less burly than some, more punk than others, the power trio includes guitarist Dmitri Mavra of Skunk, as well as vocalist/bassist Anthony Pulsipher of Spidermeow and vocalist/drummer Richard Stuverud, the rhythm section adding to the blues spirit and spiraling manic jangle of “Blood Circle.” Opener “Starlight” was previously issued as a teaser single for the album, and stands up to its position here, with the eponymous “Slow Phase” backing its strength of hook. “Psychedelic Man” meanders in its lead section, as it should, and the catchy “Silver Fuzz” sets up the riotous “Midnight Sun” and “No Time” to lead into the electric piano of “Let’s Do it Again (For the First Time),” which I’d kind of take as a goof were it not for the righteous jam that finishes it, referencing “Highway Star” during its fadeout. Some organizing to do, but they obviously know what they’re shooting for.

Slow Phase on Thee Facebooks

Slow Phase on Bandcamp

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Rocky Mtn Roller, Rocky Mtn Roller

This band might actually be more cohesive than they want to be. A double-guitar four-piece from Asheville, North Carolina, with a connection to cult heroes Lecherous Gaze via six-stringer Zach Blackwell — joined in the band by guitarist Ruby Roberts, bassist Luke Whitlatch and drummer Alex Cabrera — they’re playing to a certain notion of brashness as an ideal, but while the vocals have a drunk-fuckall stoner edge, the construction of the songs underlying is unremittingly sound on this initial EP. “Monster” opens with a welcome hook and “When I’m a Pile” sounds classic-tinged enough to be a heavy ’70s nod, but isn’t so easily placed to a specific band as to be called derivative. The longest of the four cuts at 5:30, “Bald Faced Hornet” boasts some sting in its snare sound, but the Southern heavy push at its core makes those dueling solos in the second half all the more appropriate, and closing out, “She Ran Off with the Dealer” has both charm and Thin Lizzy groove, which would basically be enough on their own to get me on board. A brazen and blazing candidate for Tee Pee Records‘ digital annex, if someone else doesn’t snag them first.

Rocky Mtn Roller on Thee Facebooks

Rocky Mtn Roller on Bandcamp

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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

Days of Rona: Nick Burks of War Cloud, Stonecutters & Cryptic Hymn (Ft. Wayne, Indiana)

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How are you dealing with this crisis as a band?

Honestly, War Cloud has been staying really busy despite the pandemic. We have a new album coming out on May 22nd through Ripple Music. It’s been tricky to promote when the world has shut down. Plus, you see more and more bigger bands pushing back their releases indefinitely. Our logic is that we want to give everyone new music during this time. Who knows? It would make my day to hear someone get inspired by this new release, so why wait?

All the members of War Cloud live in different parts of the US so we have been checking in on each other. The quarantine has gotten us writing and recording songs. It’s a weird time to be creative but I guess there’s no “on/off” switch for inspiration. NO, we are not writing a song about the pandemic. I’ve been listening to a ton of Judas Priest. Their music always gets me stoked to kick some ass and I want War Cloud’s new music to honor the metal gods.

Have you had to rework plans at all?

It’s hard to say. War Cloud was supposed to tour this April and play the Hell’s Heroes pre-party, but that has been canceled unfortunately. We would love to play Hell’s Heroes pre-party 2021!

I was so stoked to play with Helstar at Hell’s Heroes. Their album, Nosferatu, is a guitar bible. Our appearance at Legions of Metal is currently being rescheduled. A lot of things are up in the air. We have a European tour in May through June but once again, it’s tough to predict when this will all be over. The entire world is suffering.

How is everyone’s health so far?

So far, everyone is in good health. Taking a ton of vitamins and drinking a lot of water. It’s kind of funny. Stonecutters ended their tour with Lich King and Toxic Ruin due to COVID-19. Our last show was Thursday, March 12th in Worcester, Massachusetts. Then we live streamed our show the next night from Sonic Titan Studios. Stonecutters are from Kentucky; Lich King is from Massachusetts; Toxic Ruin is from Wisconsin; so you had three bands from different states traveling the US together, and I think a lot of us were trying not to cough so no one would get nervous.

What are the quarantine/isolation rules where you are?

Currently, I live in Ft. Wayne, Indiana. The state of Indiana has all music venues, bars/restaurants, churches, and every other non-essential business closed. Gas is $1.57 per gallon. Grocery stores are insane. All the frozen pizzas, toilet paper, and canned goods are always out of stock.

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

It’s a weird vibe. If you go on a walk, the residents that normally wouldn’t talk to you, now will give you a wave and a smile, and maybe even start some small talk. I think it helps. The grocery store is a war zone. It seems like everyone is on edge and has a short temper. The pandemic has flipped the music community on its head. My death metal band, Cryptic Hymn, has had to cancel shows. War Cloud has had to cancel shows. Stonecutters has had to cancel shows. EVERY band has lost something in this. It can be a real downer when you spend January and February booking the entire year with your bands and then everything in the music world has been postponed or rescheduled.

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

I want to thank the people that work in grocery stores and hospitals the most. They are putting themselves out there everyday and a lot times it is thankless job. The music community is suffering. Everyone is suffering. Be excellent to each other, and when this is all over, let’s get back to the rock ‘n’ roll.

http://facebook.com/WarCloudisComing
http://warcloudiscoming.bandcamp.com/
http://warcloud.bigcartel.com/
https://www.facebook.com/pages/Ripple-Music/369610860064
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/
https://stonecuttersmusic.bandcamp.com/music
https://cryptichymn.bandcamp.com/

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. — JJ Koczan

Days of Rona: Gary Wendt of The Ghost Next Door (Oakland, California)

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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?

Well, we are presently short a drummer so we haven’t been rehearsing anyways. We were also minus a bassist when this whole thing started. Fortunately, we found someone amidst the chaos. We are currently having her learn the tunes on her own and plan to get together one-on-one next week. We had just finished prepro demos for the new record, so I’m in the studio all by my lonesome tracking guitars for our follow-up.

No one in our camp is ill, thankfully.

What are the quarantine/isolation rules where you are?

Shelter in place. Social distancing. Leave home only for necessities. That sort of thing.

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

Folks on the street are a bit tense, it seems. On edge.

I have not witnessed any bad actors, thus far, however. Stood in my first line for the grocery store yesterday. That was kinda strange. It’s difficult to keep six feet apart from folks in those aisles, I tell ya!

In music, well, hopefully folks are practicing and/or writing at home. Now’s the time to create, my friends!

Obviously, no shows, no rehearsals. Some I know are in big enough bands to actually help raise money for specific causes. Robb (MH) has been using social media to raise funds for medical masks as well as using profits of merch sales to help out. Way ta go, dude!

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

My wife, Bekki and I had our very first virtual happy hour with our friends, Snake and Allison the other night. The three hours we spent together online, just flew by! Love those cats!

So far, I’ve been keeping super busy. I like being home with the wife and kitties. My company has tagged on an extra two weeks sick time for everyone, so, I’m in a good place, monetarily, for the time being. She’s working from home. Still, the looming recession is not something I’m taking lightly. Probably my number one concern, right there.

Everyone, stay calm, don’t hoard, keep a safe distance and please, don’t fear monger.

Not helpful at all.

Triple check those “facts” before you go haphazardly posting on Facebook too.

https://www.facebook.com/theghostnextdoor/
https://www.instagram.com/theghostnextdoorband/
http://theghostnextdoorband.com/
https://www.facebook.com/theripplemusic/
ripplemusic.bandcamp.com
http://www.ripple-music.com/