The seventh installment of Ripple Music‘s Turned to Stone split series, featuring Windsor, Ontario’s Gypsy Chief Goliath and Lancaster, Pennsylvania’s End of Age, will be released this Friday, Jan. 20. Curated this time by Bucky Brown of Doom Charts fam, the coming together of the two acts represents roads taken and arrivals in unexpected places, drawn around a 39-minute listening experience that’s more like two coinciding EPs than either a front-to-back linear outing or the hodgepodge sampler platter that splits sometimes are. That it isn’t haphazard should be no grand surprise — it is the seventh chapter of Turned to Stone, and Turned to Stone is Ripple‘s second split series — but both bands are newer embodiments for some familiar players, be it Gypsy Chief Goliath‘s Al “The Yeti” Bones, of Mister Bones, Georgian Skull and The Mighty Nimbus, or End of Age‘s Ben McGuire and Mark Hanna, who used to play together in a called Black Cowgirl.

Gypsy Chief Goliath bookend their five tracks with an intro and outro, starting with “Loup Garou” and ending with a mellow figure at the close of “Shadows of a Solar Love.” Between those, they’re likely to fill any quota you’ve got for piss and vinegar with “Demons Suffer” and the hard-hitting instrumental “Black Dwarf,” while “High Priest” takes a less gutted-out approach vocally and “Shadows of a Solar Love” ties it all together with force and groove, the five-piece making the most of their opportunity to showcase some variety in their take on heavy, be it the Sabbathian initial rollout of “Demons Suffer” or the bruiser dudeliness that follows, the band who were last heard from studio-wise with 2019’s Masters of Space and Time (discussed here) finding an organic sense of breadth without sacrificing traditional songwriting for atmosphere.

It just so happens they’re an act who can write more than one kind of song. Tense in its chug, “High Priest” is less metal ultimately than either the lead lines atop the beginning of “Demons Suffer” before or the nodding impact of “Black Dwarf” after, and even if the combination of the intro “Loup Garou,” “Black Dwarf” and the final stretch of “Shadows of a Solar Love” — dig that fuzz, kids — makes the band seem less grounded than they otherwise might be, it’s a ruse. Whatever else they have going on, Gypsy Chief Goliath are songwriters, and the variety is on purpose. In just 19 minutes, they present a style that’s classically heavy but not beholden to any single notion of what that means. Bones is a distinct frontman presence, but the band behind him are more than able to hold their own for the instrumentals and in standing up to the challenge of the verse/chorus tunes. Solid band. Hard-hitting, no pretense, no bullshit. Rock for rockers.

Over on side B, End of Age also present five songs, and while one can listen to Hanna‘s snare on “Want to Go” and “Yelling Tree” and hear roots in self-titled Queens of the Stone Age, there’s a decided punk rock undercurrent to the band on the whole. Not so much in McGuire‘s vocals, which in themselves are more clenched-throat and would fit just as well over sludge, but in the combination of riffs and grooves on “Cat’s Blood,” I just can’t escape a hint toward Social Distortion or maybe even Bad Religion — that kind of punk that the metal kids liked in high school. True to Gypsy Chief Goliath on side A, End of Age don’t just do one thing for 19 minutes and punch out, but their sound is more united by McGuire‘s vocals at least until they get around to “Aestivation,” which builds on the psychedelic emergence later in the penultimate “Dormant Hibernation” with acoustic and far-back electrics, synth, and a higher-register voice that, if it’s McGuire at all, is a pointed departure from some of the shout-derived-but-not-shouting prior.

Respect for that, either way. In addition to the previous ’90s allusions, there’s some Thin Lizzy swing to “Cat’s Blood” as well, while “Want to Go” is more forward push, poppy in its backing vocals (there they are; that’s the setup to “Aestivation”), and “Yelling Tree” makes a rawer, in-the-room studio feel part of its direct listening experience. According to the narrative (blessings and peace upon it), part of the reason this is End of Age‘s first outing after Black Cowgirl‘s final release in 2014 is because McGuire and Hanna spent years building their own recording space, and if this is the level of output they’re able to hone there, then their time has not been wasted. The chemistry throughout, the spaciousness and psychedelic lean in the back half of “Dormant Hibernation” and the shift between that and “Aestivation” are all emblematic of the duo’s past playing together, and while I don’t know what their next step is or how many songs they might already have in the can after so many years, they sure as shit sound ready to make a record. Hopefully sooner than later.

So, like I said at the outset, “unexpected places.” Keep that in mind as you dig into the tracklisting below, and take some time with each half of Turned to Stone Ch. 7. The release earns that, I think, through the quality of its songwriting from both groups, from the differences between them, and the fluidity of style they share without actually sharing much in terms of style beyond basics like, “have riffs, have songs,” and so on. In the interest of straightforwardness, this is a worthy inclusion in a series that’s already produced a few gems, and will surely help put Gypsy Chief Goliath and End of Age‘s music into the ears of those most likely to appreciate it being there.

 

Gypsy Chief Goliath / End Of Age ‘Turned To Stone Chapter 7’
Out January 20th on Ripple Music
US preorder – https://ripplemusic.bigcartel.com/product/turned-to-stone-ch-7-gypsy-chief-goliath-and-end-of-age-deluxe-vinyl-editions
World preorder – https://ripplemusic.bandcamp.com/album/turned-to-stone-chapter-7

North American heavy rock units GYPSY CHIEF GOLIATH and END OF AGE join forces for the release of the ‘Turned To Stone Chapter 7’ split album, to be issued this January 20th on Ripple Music. Listen to a gritty first track now with GCG’s “Demons Suffer”!

Get ready to welcome the seventh chapter of Ripple Music’s ‘Turned To Stone’ series of thematic split releases, curated here by Bucky Brown (Doom Charts). Combining the multi-faceted talents of Ontario-based heavy mongers GYPSY CHIEF GOLIATH and Pennsylvania’s proto-metal duo END OF AGE, ‘Turned To Stone Chapter 7’ offers a generous 10-track journey through the ages of heavy. GCG effortlessly sprinkle their loud stoner metal assaults with adventurous 70s hard rock, in a rowdy Corrosion Of Conformity-meets-Thin Lizzy approach. On side B, END OF AGE delivers a frenzy of 70s-infused heavy drenched in unforgettable melodies and exquisitely progressive at times.

TRACKLIST:
1. Gypsy Chief Goliath – Loup Garou
2. Gypsy Chief Goliath – Demons Suffer
3. Gypsy Chief Goliath – High Priest
4. Gypsy Chief Goliath – Black Dwarf
5. Gypsy Chief Goliath – Shadows Of A Solar Love
——————–
6. End Of Age – Want To Go
7. End Of Age – Yelling Tree
8. End Of Age – Cat’s Blood
9. End Of Age – Dormant Hibernation
10. End Of Age – Aestivation

Gypsy Chief Goliath:
Al “The Yeti” Bones (The Mighty Nimbus, Georgian Skull, Mister Bones) – vocals/guitar
Adam Saitti (Georgian Skull, Ol Time Moonshine) – drums
John Serio – lead guitar
Jeff Phillips (Thine Eyes Bleed, Kittie) – lead guitar
Jagger Benham – Bass

End of Age:
Ben McGuire – vocals/guitar
Mark Hanna – drums

Gypsy Chief Goliath on Instagram

Gypsy Chief Goliath on Facebook

Gypsy Chief Goliath on Bandcamp

End of Age on Instagram

End of Age on Facebook

End of Age on Bandcamp

Ripple Music on Facebook

Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music website

There was some pretty good stuff this week, I gotta say. Feels self-congratulatory to be like, ‘hey good job slating reviews, me!’ but there it is. I don’t regret hearing anything I have thus far into the Winter 2023 Quarterly Review, and sometimes that’s not the case by the time we get to Friday.

Of course, there’s another week to go here as well. We’ll pick it back up on Monday with another 10 records and proceed from there. If you’ve been following along, I hope you’ve found something you dig as well.

Winter 2023 Quarterly Review #41-50:

Astrosaur, Portals

This is what happens when you have virtuoso players writing songs rather than paeans to their own virtuosity. Led by founding guitarist Eirik Kråkenes, with drummer Jonathan Eikum (also Taiga Woods) and bassist Steinar Glas (also Einar Stray Orchestra), Astrosaur are blindingly progressive on their third full-length, Portals (on Pelagic), operating with post-metallic atmospheres as a backdrop for stunning instrumental turns, builds and crashes, willful repetition and the defiant denial of same. There’s more scope in the intro “Opening” than on some entire albums, and what “Black Hole Earth” begins from there is a dizzying array of sometimes cosmic sometimes earthborn riffing, twisting bass and mindfully restless drums. “The Deluge” hitting into that chase after four minutes in, that seemingly chaotic swirling noise suddenly stopping “Reptile Empire” and the false start to the 23-minute epic “Eternal Return” — these details and many besides give the overarching weight of Portals at its heaviest a corresponding depth, and when coupled with the guitar’s ability to coast overhead, they are genuinely three-dimension in their sound. You’d be right to want to hear Portals for “Eternal Return” alone, but there’s so much more to it than that.

Astrosaur on Facebook

Pelagic Records on Bandcamp

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Kvasir, Sagittarius A* Star

Kvasir‘s Sagittarius A* Star is named for the black hole at the center of the galaxy, and the 21-minute single-song EP is the follow-up to their 2021 debut album, 4 (review here), a dug-in proto-metallic exploration composed in movements that flow together as a whole organic work. The Portland-based four-piece of guitarists Christopher Lee (also vocals) and Gabriel Langston, bassist Greg Traw and Jay Erbe work on either side between traditional metal and heavy rock riffing, inhabiting both here as “Sagittarius A* Star” launches into its initial verses over the first four minutes, a solo emerging after 5:30 to set the pattern that will hold for the remaining three-fourths of the song. A slowdown takes hold about a minute later and grooves until at about nine minutes in when the bass comes forward and things get funkier. The vocals return at about 11:30 to complement a galloping riff that’s fleshed out until just after the 14-minute mark, when a jazzier instrumental movement begins and the band makes it known they’re going out and not coming back, the swaying finish with more insistent guitar, first interjecting then satisfyingly joining that sway, capping with a (still plotted) jammier feel. If that’s the Milky Way succumbing to ultragravity and being torn apart molecule by molecule en route to physics-defying oblivion, then fair enough. Worse ways to go, certainly.

Kvasir on Facebook

Kvasir on Bandcamp

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Bloodshot, Sins of the Father

Though the leadoff Sins of the Father gets reminds of circa-’90s noise metal like Nailbomb, Marylander four-piece Bloodshot lean more into a hardcore-informed take on heavy rock with their aggressively-purposed debut album. Comprised of vocalist Jared Winegardner, guitarist Tom Stacey, bassist Joe Ruthvin (ex-Earthride) and drummer JB Matson (ex-War Injun, organizer of Maryland Doom Fest, etc.), the band push to one side or the other throughout, as on the more rocking “Zero Humility” and the subsequent metallic barker “Uncivil War,” the mid-period Megadeth-style riffer “Beaten Into Rebellion,” the brooding-into-chugging closing title-track and “Fyre,” which I’m pretty sure just wants to kick my ass. The 10-track entirety of the album, in fact, seems to hold to that same mentality, and there’s a sense of trying to recapture something that’s been lost that feels inherently conservative in its theme — “Faded Natives,” “Visions of Yesterday,” the speedier “Worn and Torn,” and so on — but gruff though it is, Sins of the Father offers a pissed-off-for-reasons take on heavy that’s likewise intense and methodical. That is to say, they know what they’re doing as they punch you in the throat.

Bloodshot on Facebook

Half Beast Records on Bandcamp

Nervous Breakdown Records store

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Tons, Hashension

A second release through Heavy Psych Sounds and Tons‘ third full-length overall, Hashension wears its love of all things cannabian on its crusty stoner sludge sleeve throughout its six-track/39-minute run, begun with the riffnotic “Dope Dealer Scum” before “A Hash Day’s Night” introduces the throatripper vocals and backing growls and a more heads-down, speedier tempo that hits into a mosh of a slowdown. “Slowly We Pot” — a play on Obituary‘s Slowly We Rot — to go along with the Beatles, Rolling Stones and Pink Floyd (and Gummo) titular references — follows in a spirit as angry as one imagines Bongzilla might be if someone un-freed their weed. Yes, “Hempathy for the Devil” and “Ummagummo” precede the sample-topped slamming march of “Hashended,” and lo, the well-baked extreme sludge they’ve wrought rumbles and thuds its way out, not so much gnashing in the way of “A Hash Day’s Night” or the roll after the midpoint in “Ummagummo” — though the lyrics there seem to be pure weed-worship — but lumbering in such a way as to ensure the point gets across anyhow. I’m not going to tell you you should be stoned listening to it, because I don’t know, maybe you’re driving or something, but I doubt Tons would argue if you brought some edibles to the gig. Enough to share, perhaps.

Tons on Facebook

Heavy Psych Sounds store

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Mothman & the Thunderbirds vs. World Eaters, Split

In the battle of Philly solo-project Mothman and the Thunderbirds vs. Ontario-based duo World Eaters, the numbers may be on the side of the latter, but each act offers something of its own on their shared 18-minute EP. Presenting two tracks from each band, the outing puts Mothman and the Thunderbirds‘ “Rusty Shackleton” and “Nephilim” up front, the latter particularly reinforcing the Devin Townsend influence on the part of multi-instrumentalist/vocalist Alex Parkinson, while “Flash of Green” and “The Siege” from World Eaters — drummer Winter Stomp and guitarist/bassist/vocalist/synthesist David Gupta — present an atmospheric death metal, more than raw bludgeoning, but definitely that as well. As a sampler platter for both bands, there’s more time to get to know World Eaters since their songs are markedly longer, but the contrast from one to the other and the progression into the mire of “The Siege” gives the split an overlaid personality, almost a narrative, and the melodies in Parkinson‘s two cuts have a lingering presence over the masterful decay that follows in World Eater‘s material. One way or the other, these are both relatively upstart projects and their will toward progression is clear, as pummeling as its form may be. Right on.

Mothman & The Thunderbirds on Bandcamp

World Eaters on Bandcamp

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Deer Lord, Dark Matter Pt. 1

Preceded by the two-song single Witches Brew/Psychedelic Roadkill, the six-song/24-minute Dark Matter Pt. 1 is short but feels nonetheless like a debut album from Sonoma County, California (try the cabernet), three-piece Deer Lord, who present adventures like getting stoned with witches on a mountaintop, riding free with an out-on-bail “Hippie Girl” in the backseat of presumably some kind of roadster, going down the proverbial highway and, at last, welcoming you to “Planet Earth” after calling out and casting off any and all “Ego” along the way. It is a modern take on stonerized heavy, starting off with “Witches Brew” as the opener/longest track (immediate points) with a languid flow and psychedelic underpinnings that flesh out even amid the apex soloing of “Planet Earth” or the fervent push of the earlier “Ride Away,” that tempo hitting a wall with the intro of “Ego” (don’t worry, it takes off) so as to support the argument in favor of Dark Matter Pt. 1 as an admittedly brief full-length, the component tracks working off each other to enhance the entirety. The elements beneath are familiar enough, but Deer Lord put an encouraging spin of their own on it, and especially as their debut, it’s hard to imagine some label or other won’t get on board, if not for pressing this, then maybe Pt. 2 to come. Perhaps both?

Deer Lord on Facebook

Deer Lord on Bandcamp

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IO Audio Recordings, Awaiting the Elliptical Drift & VVK

Compiling two 2022 EPs into a single LP and releasing through a microcosm of underground imprints in various terrestrial locales, IO Audio Recordings‘ Awaiting the Elliptical Drift & VVK is my first exposure to the Orange, CA, out-there-in-space unit, and from the blower kosmiche rocking “Awaiting the Elliptical Drift” to the sitar meditation “Luminous Suspension,” and the hazy wash of “Sunrise and Overdrive” (that’s side A) to the experimentalist consumption of “VVK” and “Gramanita” rounding out with its heartbeat rhythm giving over to a hardly-flatlined drone after shuffling cool and bassy and fuzzy with jangly jam strum overtop, I tell you in all sincerity it won’t be my last. There’s a broad cross-section stylistically, which suits a compilation mindset, but I get the feeling that if you called it an album instead, the situation would be much the same thanks to an underlying conceptualism and the adventuring purpose beneath the open-structured fluidity. That’s just fine, as IO Audio Recordings‘ sundry transformations only enhance the anything-that-works-goes and shelf-your-expectations listening experience. Not that there’s no tension in their groovy approach, but the abiding sensibility advises an open mind and maybe a couple deep breaths in and out before you take it on. But then definitely take it on. If you need me, I’ll be spending money I don’t have on Bandcamp.

Weird Beard Records store

Fuzzed Up and Astromoon Records on Bandcamp

We Here & Now on Bandcamp

Ramble Records on Bandcamp

Echodelick Records on Bandcamp

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Bong Voyage, Feverlung

While “bong” in a band name usually connotes dense sludge in my head, Oslo four-piece Bong Voyage defy that stereotype with their Dec. 2022-released second single, “Feverlung” — the first single was October’s “Buzzed Aldrin” — and no, the song isn’t about the pandemic, it’s about getting high. The six-minute rocker hoists jammy flourish mostly in its second half, in a break that, in turn, shifts into uptempo semi-space rock post-Slift pulsations atop a progression that, while I’ll readily admit it sounds little like the song on the whole still puts me in mind of Kyuss‘ “Odyssey” in its vocal patterning and melody. That ending is a step outward from the solidified early verses, which are more straight ahead heavy rock in the vein of Freedom Hawk or a less-directly-Ozzy take on Sheavy, and while one listening for them to bring it back around to the initial riff will find that they don’t, the band’s time isn’t necessarily misspent in terms of serving the song by letting it push beyond exospheric traps. They won’t catch me by surprise next time aesthetically, and it wouldn’t be a shock to find Bong Voyage in among the subset of up and coming heavy rockers that’s put Norway on the underground radar so much these last couple years. Either way, I’ll look forward to more here.

Bong Voyage on Facebook

Bong Voyage on Bandcamp

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Sun Years, Sun Years (Demo)

IMG

In its early going, Sun Years‘ “Codex” stagger-sludges like Eyehategod with guitarist Dalton Huskin‘s shouty echoing vocals on top, but as it moves into its second half, there’s a pickup in tempo and a bit of swirling lead guitar emerges in the 4:37 song’s closing stretch as Asechiah Bogdan (ex-Windhand, ex-Alabama Thunderpussy) makes his presence felt. Alongside bassist Buddy Bryant and drummer Erik Larson (once-and-again guitarist for Alabama Thunderpussy, drummer of Avail, Omen Stones, ex-Backwoods Payback, the list goes on), Bogdan and Huskin explore mellower and more melodic reaches the subsequent “Teeth Like Stars,” still holding some of their demo’s lead track’s urgency as a weighted riff takes hold in trade with the relatively subdued verse. That’s a back and forth they’ll do again, moving the second time from the more weighted progression into a solo and build into a return of the harsher vocals, some double-kick drumming and a last shove that lasts until everything drops out except one guitar and that riffs for a few seconds before being cut off mid-measure. Well, that’s a band with more dynamic in their first two tracks than some have in their entire careers, so I guess it’s safe to say it’ll be worth following the Richmond, Virginia, foursome to see where they end up next time out.

Sun Years on Bandcamp

Minimum Wage Recording on Facebook

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Daevar, Delirious Rites

Recorded by Jan Oberg (Grin, Slowshine, EarthShip) at Hidden Planet Studio in Berlin, Daevar‘s five-track/32-minute 2023 debut album, Delirious Rites, arrives likewise through Oberg‘s imprint The Lasting Dose Records and finds the man himself sitting in for guest vocals on the 10-minute “Leviathan” alongside the band’s own bassist/vocalist Pardis Latif, who leads the band from the depths of the rhythm section’s lurch on the gradually unfolding Windhand-vibing leadoff “Slowshine,” the particularly Monolordian “Bloody Fingers” with Caspar Orfgen‘s guitar howling over a marching riff, and “Leila” where Moritz Ermen Bausch‘s drums offer a welcoming grounding to Electric Wizardly nod and swirl. Thus, by the time his spot in the aforementioned “Leviathan” rolls (and I do mean rolls) around, just ahead of closer “Yellow Queen,” the layers of growling and screaming he adds to the procession are a standout shift well placed to play off the atmosphere established by the previous tracks. Shortest at 5:10, “Yellow Queen” lumbers through more ethereal doom and hints at a psychedelic current that might continue to develop in a midsection drifting break that builds back into the catchy plod from whence it came. Not necessarily innovative at this point — they’re a new band — but they seem to know what they want in terms of sound and style, and that only ever bodes well.

Daevar on Facebook

The Lasting Dose Records on Bandcamp

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Here’s mud in yer eye. How are you feeling so far into this Quarterly Review? The year? How are things generally? How’s your mom doing? Everybody good? Hope so. Odd as it is to think, I find music sounds better when you’re not distracted by everything else going to shit around you, so I hope you don’t currently find yourself in that situation.

Today’s 10 records are a bit of this, bit of that, bit of here, but of there, but I’ll note that we start and end in Greece, which wasn’t on purpose or anything but a fun happenstantial byproduct of slating things randomly. What can I say? There’s a lot of Greek heavy out there and the human brain forms patterns whether we want it to or not. Plenty of geographic diversity between, so let’s get to it, hmm?

Winter 2023 Quarterly Review #31-40:

The Temple, Of Solitude Triumphant

Though they trace their beginnings back to the mid-aughts, Of Solitude Triumphant (on the venerable I Hate Records) is only the second full-length from Thessaloniki doom metallers The Temple. With chanting vocals, perpetuated misery and oldschool-style traditionalism metered by modern production’s tonal density, the melodic reach of the band is as striking as profundity of their rhythmic drag, the righteousness of their craft being in how they’re able to take a riff, slog it out across five, seven, 10 minutes in the case of post-intro opener “The Foundations” and manage to be neither boring nor a drag themselves. There’s a bit of relative tempo kick in “A White Flame for the Fear of Death” and the tremolo guitar (kudos to the half-time drums behind; fucking a) at the outset of closer “The Lord of Light” speaks to some influence from more extreme metals, but The Temple are steady in their purpose, and that nine-minute finale riff-marches to its own death accordingly. Party-doom it isn’t, and neither is it trying to be. In mood and the ambience born out of the vocals as much as the instruments behind, The Temple‘s doom is for the doomly doomed among the doomed. I’ll rarely add extra letters to it, but I have to give credit where it’s due: This is dooom. Maybe even doooom. Take heed.

The Temple on Facebook

I Hate Records website

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Dead Man’s Dirt, Dead Man’s Dirt

Gothenburg heavy rockers Dead Man’s Dirt, with members of Bozeman Simplex, Bones of Freedom, Coaster of Souls and a host of others, offer their 2023 self-titled debut through Ozium Records in full-on 2LP fashion. It’s 13 songs, 75 minutes long. Not a minor undertaking. Those who stick with it are rewarded by nuances like the guitar solo atop the languid sway of “The Brew,” as well as the raucous start-stop riffing in “Icarus (Too Close to the Sun),” the catchy “Highway Driver” and the bassy looseness of vibe in the penultimate “River,” which heads toward eight minutes while subsequent endpoint “Asteroid” tops nine. It is to the band’s credit that they have both the material and the variety to pull off a record this packed and keep the songs united in their barroom-rocking spirit, though some attention spans just aren’t going to be up to the task in a single sitting. But that’s fine. If the last couple years have taught the human species anything, it’s that you never know what’s around the next corner, and if you’re going to go for it — whatever “it” is — go all-in, because it could evaporate the next day. Whether it’s the shuffle of “Queen of the Wood” or the raw, in-room sound of “Lost at Sea,” Dead Man’s Dirt deserve credit for leaving nothing behind.

Dead Man’s Dirt on Facebook

Ozium Records store

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Witchfinder, Forgotten Mansion

Big rolling riffs, lurching grooves, melodies strongly enough delivered to cut through the tonal morass surrounding — there’s plenty to dig for the converted on Witchfinder‘s Forgotten Mansion. The Clermont-Ferrand, France, stoner doomers follow earlier-2022’s Endless Garden EP (review here) and 2019’s Hazy Rites (review here) full-length with their third album and first since joining forces with keyboardist Kevyn Raecke, who aligns in the malevolent-but-rocking wall of sound with guitarist Stanislas Franczak, bassist Clément Mostefai (also vocals) and drummer Thomas Dupuy. Primarily, they are very, very heavy, and that is very much the apparent foremost concern — not arguing with it — but as the five-song/36-minute long-player rolls through “Marijauna” and on through the Raecke-forward Type O Negative-ity of “Lucid Forest,” there’s more to their approach than it might at first appear. Yes, the lumber is mighty. But the space is also broad, and the slow-swinging groove is always in danger of collapsing without ever doing so. And somehow there’s heavy metal in it as well. It’s almost a deeper dive than they want you to think. I like that about it.

Witchfinder on Facebook

Mrs Red Sound store

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Fumata, Días Aciagos

There’s some whiff of Conan‘s riffing in “Acompáñame Cuando Muero,” but on the whole, Mexico City sludge metallers Fumata are more about scathe than crush on the six tracks of their sophomore full-length, Días Aciagos (on LSDR Records). With ambient moments spread through the 35-minute beastwork and a bleak atmosphere put in place by eight-minute opener and longest track (immediate points) “Orgullo y Egoísmo,” with its loosely post-metallic march and raw, open sound, the four-piece of Javier Alejandre, Maximo Mateo, Leonardo Cardoso and Juan Tamayo are agonized and chaotic-sounding, but not haphazard in their delivery as they cross genre lines to work in some black metal extremity periodically, mine a bit of death-doom in “Anhelo,” foster the vicious culmination of the bookending seven-minute title-track, and so on. Tempo is likewise malleable, as “Seremos Olvidados” and that title-track show, as well as the blasting finish of “Orgullo y Egoísmo,” and only the penultimate “No Engendro” (also the shortest song at 4:15) really stays in one place for its duration, though as that place is in an unnamed region between atmosludge, doom and avant black metal, I’m not sure it counts. As exciting to hear as it is miserable in substance, Días Aciagos plunges where few dare to tread and bathes in its own pessimism.

Fumata on Facebook

LSDR Records on Bandcamp

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Sumerlands, Dreamkiller

Sumerlands‘ second album and Relapse debut, Dreamkiller finds Magic Circle‘s Brendan Radigan stepping in for original vocalist Phil Swanson (now in Solemn Lament), alongside Eternal Champion‘s Arthur Rizk, John Powers (both guitar), and Brad Raub (bass), and drummer Justin DeTore (also Solemn Lament, Dream Unending, several dozen others) for a traditional metal tour de force, reimagining New Wave of British Heavy Metal riffing with warmer tonality and an obviously schooled take on that moment at the end of the ’70s when metal emerged from heavy rock and punk and became its own thing. “Force of a Storm” careens Dio-style after the mid-tempo Scorpions-style start-stoppery of “Edge of the Knife,” and though I kept hoping the fadeout of closer “Death to Mercy” would come back up, as there’s about 30 seconds of silence at the finish, no such luck. There are theatrical touches to “Night Ride” — what, you didn’t think there’d be a song about the night? come on. — and “Heavens Above,” but that’s part of the character of the style Sumerlands are playing toward, and to their credit, they make it their own with vitality and what might emerge as a stately presence. I don’t know if it’s “true” or not and I don’t really give a shit. It’s a burner and it’s made with love. Everything else is gatekeeping nonsense.

Sumerlands on Facebook

Relapse Records store

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Expiatoria, Shadows

Shadows is the first full-length from Genoa, Italy’s Expiatoria — also stylized with a capital-‘a’: ExpiatoriA — and its Nov. 2022 release arrives some 35 years after the band’s first demo. The band originally called it quits in 1996, and there were reunion EPs along the way in 2010 and 2018, but the six songs and 45 minutes here represent something that no doubt even the band at times thought wouldn’t ever happen. The occasion is given due ceremony in the songs, which, in addition to being laden with guest appearances by members of Death SS, Il Segno del Comando, La Janera, and so on, boasts a sweeping sound drawing from the drama of gothic metal — loooking at you, church-organ-into-piano-outro in “Ombra (Tenebra Parte II),” low-register vocals in “The Wrong Side of Love” and flute-and-guitar interlude “The Asylum of the Damned” — traditional metal riffing and, particularly in “7 Chairs and a Portrait,” a Candlemassian bell-tolling doom. These elements come together with cohesion and fluidity, the five-piece working as veterans almost in spite of a relative lack of studio experience. If Shadows was their 17th, 12th, or even fifth album, one might expect some of its transitions to be smoothed out to a greater degree, but as it is, who’s gonna argue with a group finally putting out their debut LP after three and a half decades? Jerks, that’s who.

ExpiatoriA on Facebook

Black Widow Records store

Diamonds Prod. on Bandcamp

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Tobias Berblinger, The Luckiest Hippie Alive

Setting originals alongside vibe-enhancing covers of Blaze Foley and Commander Cody, Portland’s Tobias Berblinger (also of Roselit Bone) first issued The Luckiest Hippie Alive in 2018 and it arrives on vinyl through Ten Dollar Recording Co., shimmering in its ’70s ramble-country twang, vibrant with duets and acoustic balladeering. Berblinger‘s nostalgic take reminds of a time when country music could be viable and about more than active white supremacy and/or misappropriated hip-hop, and boozers like “My Boots Have Been Drinking” and the Hank Williams via Townes Van Zandt “Medicine Water” and “Heartaches, Hard Times, Hard Drinking”, and smokers like the title-track and “Stems and Seeds (Again)” reinforce the atmosphere of country on the other side of the culture war. Its choruses are telegraphed and ready to be committed to memory, and its understated sonic presence and the wistfulness of the two-minute “Crawl Back to You” — the backing vocals of Mariya May, Marisa Laurelle and Annie Perkins aren’t to be understated throughout, including in that short piece, along with Mo Douglas‘ various instrumental contributions — add a sweetness and humility that are no less essential to Americana than the pedal steel throughout.

Tobias Berblinger website

Ten Dollar Recording Co. store

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Grandier, The Scorn and Grace of Crows

Based in Norrköping, Sweden, the three-piece Grandier turn expectation on its head quickly with their debut album, The Scorn and Grace of Crows, starting opener/longest track (immediate points) “Sin World” with a sludgy, grit-coated lumber only to break after a minute in to a melodic verse. The ol’ switcheroo? Kind of, but in that moment and song, and indeed the rest of what follows on this first outing for Majestic Mountain, the band — guitarist Patrik Lidfors, bassist/many-layered-vocalist Lars Carlberg, (maybe, unless they’re programmed; then maybe programming) drummer Hampus Landin — carve their niche from out of a block of sonic largesse and melodic reach. Carlberg‘s voice is emotive over the open-feeling space of “Viper Soul” and sharing the mix with the more forward guitars of “Soma Goat,” and while in theory, there’s an edge of doomed melancholy to the 44-minute procession, the heft in “The Crows Will Following Us Down” is as much directed toward impact as mood. They really are melodic sludge metal, which is a hell of a thing to piece together on your first record as fluidly as they do here. “Smoke on the Bog” leans more into the Sabbathian roll with megafuzz tonality behind, and “Moth to the Flames” is faster, more brash, and a kind of dark heavy rock that, three albums from now, might be prog or might be ’90s lumber. Could go either way, especially with “My Church of Let it All Go” answering back with its own quizzical course. Will be very interested to hear where their next release takes them, since they’re onto something and, to their credit, it’s not immediately apparent what.

Grandier on Facebook

Majestic Mountain Records store

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Subsun, Parasite

Doomers will nod approvingly as Ottawa’s Subsun cap “Proliferation” by shifting into a Candlemassian creeper of a lead line, but that kind of doomly traditionalism is only one tool in their varied arsenal. Guitarist/vocalist/synthesist Jean-Michel Fortin, bassist/vocalist Simon Chartrand-Paquette and drummer Jérémy Blais go to that post-Edling well (of souls) again, but their work across their 2022 debut LP, Parasite, is more direct, more rock-based and at times more aggressive on the whole. Recorded at Apartment 2 by Topon Das (Fuck the Facts), the seven-songer grows punkish in the verse of “Mutation” and drops thrashy hints at the outset of “Fusion,” while closer “Mutualism” slams harder like noise rock and punches its bassline directly at the listener. Begun with the nodding lurch of “Parasitism” — which would seem as well to be at the thematic heart of the album in terms of lyrics and the descriptive approach thereof — the movement of one song to the next has its underlying ties in the vocals and overarching semi-metal tonality, but isn’t shy about messing with those either, as on the lands-even-harder “Evolution” or the thuds at the outset of “Adaptation,” the relative straightforwardness of the structures allowing the band to draw together different styles into a single, effective, individualized sound.

Subsun on Facebook

Subsun on Bandcamp

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Bazooka, Kapou Allou

The acoustic guitar of opener “Kata Vathos” transitions smoothly into the arrival-of-the-electrics on “Krifto,” as Athens’ Bazooka launch the first of the post-punk struts on Kapou Allou, their fourth full-length. Mediterranean folk and pop are factors throughout — as heard in the vocal melody of the title-track or the danceable “Pano Apo Ti Gi” — while closer “Veloudino Kako” reimagines Ween via Greece, “Proedriki Froura” traps early punk in a jar to see it light up, and “Dikia Mou Alithia” brings together edgy, loosely-proggy heavy rock in a standout near the album’s center. Wherever they go — yes, even on “Jazzooka” — Bazooka seem to have a plan in mind, some vision of where they want to end up, and Kapou Allou is accordingly gleeful in its purposed weirdoism. At 41 minutes, it’s neither too long nor too short, and vocalist/guitarist/synthesist Xanthos Papanikolaou, guitarist/backing vocalist Vassilis Tzelepis, bassist Aris Rammos and drummer/backing vocalist John Vulgaris cast themselves less as tricksters than simply a band working outside the expected confines of genre. In any language — as it happens, Greek — their material is expansive stylistically but tight in performance, and that tension adds to the delight of hearing something so gleefully its own.

Bazooka on Facebook

Inner Ear Records store

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In many ways, this is my favorite kind of Quarterly Review day. I always place things more or less as I get them, and let the days fill up randomly, but there are different types that come out of that. Some are heavier on riffs, some (looking at you, Monday) are more about atmosphere, and some are all over the place. That’s this. There’s no getting in a word rut — “what’s another way to say ‘loud and fuzzy?'” — when the releases in question don’t sound like each other.

As we move past the halfway point of the first week of this double-wide Quarterly Review, 100 total acts/offerings to be covered, that kind of thing is much appreciated on my end. Keeps the mind limber, as it were. Let’s roll.

Winter 2023 Quarterly Review #21-30:

White Hills, The Revenge of Heads on Fire

The narrative — blessings and peace upon it — goes that White Hills stumbled on an old hard drive with 2007’s Heads on Fire‘s recording files on it, recovered them, and decided it was time to flesh out the original album some 15 years after the fact, releasing The Revenge of Heads on Fire through their own Heads on Fire Records imprint in fashion truer to the record’s original concept. Who would argue? Long-established freaks as they are, can’t White Hills basically do whatever the hell they want and it’ll be at the very least interesting? Sure enough, the 11-song starburster they’ve summoned out of the ether of memory is lysergic and druggy and sprawling through Dave W. and Ego Sensation‘s particular corner of heavy psychedelia and space rocks, “Visions of the Past, Present and Future” sounding no less vital for the passing of years as they’re still on a high temporal shift, riding a cosmic ribbon that puts “Speed Toilet” where “Revenge of Speed Toilet” once was in reverse sequeling and is satisfyingly head-spinning whether or not you ever heard the original. That is to say, context is nifty, but having your brain melted is better, and White Hills might screw around an awful lot, but they’re definitely not screwing around. You heard me.

White Hills on Facebook

White Hills on Bandcamp

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Dystopian Future Movies, War of the Ether

Weaving into and out of spoken word storytelling and lumbering riffy largesse, nine-minute opener and longest track (immediate points) “She Up From the Drombán Hill” has a richly atmospheric impact on what follows throughout Dystopian Future Movies‘ self-issued third album, War of the Ether, the residual feedback cutting to silence ahead of a soft beginning for “Critical Mass” as guitarist/vocalist Caroline Cawley pairs foreboding ambience with noise rocking payoffs, joined by her Church of the Cosmic Skull bandmate Bill Fisher on bass/drums and Rafe Dunn on guitar for eight songs that owe some of their root to ’90s-era alt heavy but have grown into something of their own, as demonstrated in the willfully overwhelming apex of “The Walls of Filth and Toil” or the dare-a-hook ending of the probably-about-social-media “The Veneer” just prior. The LP runs deeper as it unfurls, each song setting forth on its own quiet start save for the more direct “License of Their Lies” and offering grim but thoughtful craft for a vision of dark heavy rock true both to the band’s mission and the album’s troubled spirit. Closer “A Decent Class of Girl” rolls through volume swells in what feels like a complement to “She Up From the Drombán Hill,” but its bookending wash only highlights the distance the audience has traveled alongside Cawley and company. Engrossing.

Dystopian Future Movies on Facebook

Dystopian Future Movies store

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Basalt Shrine, From Fiery Tongues

Though in part defined by the tectonic megasludge of “In the Dirt’s Embrace,” Filipino four-piece Basalt Shrine are no more beholden to that on From Fiery Tongues than they are the prior opening drone “Thawed Slag Blood,” the post-metallic soundscaping of the title-track, the open-spaced minimalism of closer “The Barren Aftermath” or the angular chug at the finish of centerpiece “Adorned for Loathing Pigs.” Through these five songs, the Manila-based outfit plunge into the darker, denser and more extreme regions of sludgy stylizations, and as they’ve apparently drawn the notice of US-based Electric Talon Records and sundry Euro imprints, safe to say the secret is out. Fair enough. The band guide “From Fiery Tongues,” song and album, with an entrancing churn that is as much about expression as impact, and the care they take in doing so — even at their heaviest and nastiest — isn’t to be understated, and especially as their debut, their ambition manifests itself in varied ways nearly all of which bode well for coming together as the crux of an innovative style. Not predicting anything, but while From Fiery Tongues doesn’t necessarily ring out with a hopeful viewpoint for the world at large, one can only listen to it and be optimistic about the prospects for the band themselves.

Basalt Shrine on Facebook

Electric Talon Records store

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Psychonaut, Violate Consensus Reality

Post-metallic in its atmosphere, there’s no discounting the intensity Belgium trio Psychonaut radiate on their second album, Violate Consensus Reality (on Pelagic). The prog-metal noodling of “All Your Gods Have Gone” and the singing-turns-to-screaming methodology on the prior opener “A Storm Approaching” begin the 52-minute eight-tracker with a fervency that affects everything that comes after, and as “Age of Separation” builds into its full push ahead of the title-track, which holds tension in its first half and shows why in its second, a halfway-there culmination before the ambient and melodic “Hope” turns momentarily from some of the harsher insistence before it, a summary/epilogue for the first platter of the 2LP release. The subsequent “Interbeing” is black metal reimagined as modern prog — flashes of Enslaved or Amorphis more than The Ocean or Mastodon, and no complaints — and the procession from “Hope” through “Interbeing” means that the onslaught of “A Pacifist’s Guide to Violence,” all slam and controlled plunder, is an apex of its own before the more sprawling, 12-minute capper “Towards the Edge,” which brings guest appearances from Brutus‘ Stefanie Mannaerts and the most esteemed frontman in European post-metal, Colin H. van Eeckhout of Amenra, whose band Psychonaut admirably avoid sounding just like. That’s not often the case these days.

Psychonaut on Facebook

Pelagic Records on Bandcamp

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Robot God, Worlds Collide

If you’re making your way through this post, skimming for something that looks interesting, don’t discount Sydney, Australia’s Robot God on account of their kinda-generic moniker. After solidifying — moltenifying? — their approach to longform-fuzz on their 2020 debut, Silver Buddha Dreaming, the three-piece of guitarist/vocalist Raff Iacurto, bassist/vocalist Matt Allen and drummer Tim Pritchard offer the four tracks of their sophomore LP, Worlds Collide, through Kozmik Artifactz in an apparent spirit of resonance, drawing familiar aspects of desert-style heavy rock out over songs that feel exploratory even as they’re born of recognizable elements. “Sleepwalking” (11:25) sets a broad landscape and the melody over the chugger riff in the second half of “Ready to Launch” (the shortest inclusion at 7:03) floats above it smoothly, while “Boogie Man” (11:24) pushes over the edge of the world and proceeds to (purposefully) tumble loosely downward in tempo from there, and the closing title-track (11:00) departs from its early verses along a jammier course, still plotted, but clearly open to the odd bit of happy-accidentalism. It’s a niche that seems difficult to occupy, and a difficult balance to strike between hooking the listener with a riff and spacing out, but Robot God mostly avoid the one-or-the-other trap and create something of their own from both sides; reminiscent of… wait for it… worlds colliding. Don’t skip it.

Robot God on Facebook

Kozmik Artifactz store

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AAWKS, Heavy on the Cosmic

Released in June 2022 and given a late-in-the-year vinyl issue seemingly on the strength of popular demand alone, AAWKS‘ debut full-length, Heavy on the Cosmic sets itself forth with the immersive, densely-fuzzed nodder riff and stoned vocal of longest track (immediate points) “Beyond the Sun,” which finds start-with-longest-song complement on side B’s “Electric Traveller” (rare double points). Indeed there’s plenty to dig about the eight-song outing, from the boogie in “Sunshine Apparitions,” the abiding vibe of languid grunge and effects-laced chicanery that pervade the crashouts of “The Woods” to the memorable, slow hook-craft of “All is Fine.” Over on side B, the momentum early in “Electric Traveller” rams headfirst into its own slowdown, while “Space City” reinforces the no-joke tonality and Elephant Tree-style heavy/melodic blend before the penultimate mostly-instrumental “Star Collider” resolves itself like Floor at half-speed and closer “Peeling Away” lives up to its title with a departure of psychedelic soloing and final off-we-go loops. The word-of-mouth hype around AAWKS was and is significant, and the Ontario-based four-piece tender three-dimensional sound to justify it, the record too brief at 39 minutes to actually let the listener get lost while providing multiple opportunities for headphone escapism. A significant first LP.

AAWKS on Facebook

AAWKS on Bandcamp

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Smokes of Krakatau, Smokes of Krakatau

The core methodology of Polish trio Smokes of Krakatau across their self-titled debut seems to be to entrance their audience and then blindside them with a riffy punch upside the head. Can’t argue if it works, which it does, right from the gradual unfurling of 10-minute instrumental opener “Absence of Light” before the chunky-style riff of “GrassHopper” lumbers into the album’s first vocals, delivered with a burl that reminds of earlier Clutch. There are two more extended tracks tucked away at the end — “Septic” (10:07) and “Kombajn Bizon” (11:37) — but before they get there, “GrassHopper” begins a movement across four songs that brings the band to arguably their most straightforward piece of all, the four-minute “Carousel,” as though the ambient side of their persona was being drained out only to return amid the monolithic lumber that pays off the build in “Septic.” It’s a fascinating whole-album progression, but it works and it flows right unto the bluesy reach of “Kombajn Bizon,” which coalesces around a duly massive lurch in its last minutes. It’s a simplification to call them ‘stoner doom,’ but that’s what they are nonetheless, though the manner in which they present their material is as distinguishing a factor as that material itself in the listening experience. The band are not done growing, but if you let their songs carry you, you won’t regret going where they lead.

Smokes of Krakatau on Facebook

Smokes of Krakatau on Bandcamp

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Carrier Wave, Carrier Wave

Is it the riff-filled land that awaits, or the outer arms of the galaxy itself? Maybe a bit of both on Bellingham, Washington-based trio Carrier Wave‘s four-song self-titled debut, which operates with a reverence for the heft of its own making that reminds of early YOB without trying to ape either Mike Scheidt‘s vocal or riffing style. That works greatly to the benefit of three-piece — guitarist/vocalist James Myers, bassist/vocalist Taber Wilmot, drummer Joe Rude — who allow some raucousness to transfuse in “Skyhammer” (shortest song at 6:53) while surrounding that still-consuming breadth with opener “Cosmic Man” (14:01), “Monolithic Memories” (11:19) and the subsequent finale “Evening Star” (10:38), a quiet guitar start to the lead-and-longest track (immediate points) barely hinting at the deep tonal dive about to take place. Tempo? Mostly slow. Space? Mostly dark and vast. Ritual? Vital, loud and awaiting your attendance. There’s crush and presence and open space, surges, ebbs, flows and ties between earth and ether that not every band can or would be willing to make, and much to Carrier Wave‘s credit, at 42 minutes, they engage a kind of worldmaking through sound that’s psychedelic even as it builds solid walls of repetitive riffing. Not nasty. Welcoming, and welcome in itself accordingly.

Carrier Wave on Facebook

Carrier Wave on Bandcamp

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Stash, Through Rose Coloured Glasses

With mixing/mastering by Chris Fielding (Conan, etc.), the self-released first full-length from Tel Aviv’s Stash wants nothing for a hard-landing thud of a sound across its nine songs/45 minutes. Through Rose Coloured Glasses has a kind of inherent cynicism about it, thanks to the title and corresponding David Paul Seymour cover art, and its burl — which goes over the top in centerpiece “No Real” — is palpable to a defining degree. There’s a sense of what might’ve happened if C.O.C. had come from metal instead of punk rock, but one way or the other, Stash‘s grooves remain mostly throttled save for the early going of the penultimate “Rebirth.” The shove is marked and physical, and the tonal purpose isn’t so much to engulf the listener with weight as to act as the force pushing through from one song to the next, each one — “Suits and Ties,” “Lie” and certainly the opener “Invite the Devil for a Drink” — inciting a sense of movement, speaking to American Southern heavy without becoming entirely adherent to it, finding its own expression through roiling, chugging brashness. But there’s little happenstance in it — another byproduct of a metallic foundation — and Stash stay almost wholly clearheaded while they crash through your wall and proceed to break all the shit in your house, sonically speaking.

Stash on Facebook

Stash on Bandcamp

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Lightsucker, Stonemoon

Though it opens serene enough with birdsong and acoustic guitar on “Intro(vert,” the bulk of Lightsucker‘s second LP, Stonemoon is more given to a tumult of heavy motion, drawing together elements of atmospheric sludge and doom with shifts between heavy rock groove and harder-landing heft. And in “Pick Your God,” a little bit of death metal. An amalgam, then. So be it. The current that unites the Finnish four-piece’s material across Stonemoon is unhinged sludge rock that, in “Lie,” “Land of the Dead” and the swinging “Mob Psychosis” reminds of some of Church of Misery‘s shotgun-blues chaos, but as the careening “Guayota” and the deceptively steady push of “Justify” behind the madman vocals demonstrate, Lightsucker‘s ambitions aren’t so simply encapsulated. So much the better for the listening experience of the 35-minute/eight-song entirety, as from “Intro(vert)” through the suitably pointy snare hits of instrumental closer “Stalagmites,” Lightsucker remain notably unpredictable as they throw elbows and wreak havoc from one song to the next, the ruined debris of genre strewn about behind as if to leave a trail for you to follow after, which, if you can actually keep up with their changes, you might just do.

Lightsucker on Facebook

Lightsucker on Bandcamp

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This past summer, Canadian singer, guitarist, and songwriter Chad Ross released the solo album, Skull Creator (review here), through Ramble Records, Echodelick Recordings and NoiseAgonyMayhem, working under the all-caps moniker C.ROSS. He’s probably best known as the vocalist/guitarist of Toronto drift-psych heroes Quest for Fire, whose two full-lengths, 2009’s Quest for Fire and 2010’s Lights From Paradise (discussed here, review here), remain treasures to be sought, and the subsequent Comet Control, which has expanded the scope the prior outfit laid out, working in elements of space rock and other styles on 2014’s Comet Control (review here), 2016’s Center of the Maze (review here) and 2021’s Inside the Sun (review here), all of which, like Quest for Fire‘s albums, were issued through Tee Pee Records.

But his mostly-off-again-not-so-much-on-again incarnation, Nordic Nomadic, actually precedes or at least coincides even Quest for Fire, releasing this self-titled debut on CD in 2007 via Blue Fog Recordings. At that point, Ross was coming off his time in the more indie-minded The Deadly Snakes, so the unplugged-grunge vibe of Nordic Nomadic was something of a departure on the purposefully quiet, mostly-unplugged grunge of “Living Arrangements” and the presciently nodding proto-roll in album opener “The World’s Slowest Man,” on which Paul Vernon‘s drums are a spacious highlight behind Ross‘ own exploratory guitar and soft vocals. Volume swells on “A Child’s Eyes,” which feels a little hurried in comparison to the leadoff it directly follows, and hand-percussion on “Elk Horn Pyramid,” string sounds on “The Weather in Your Mind” and the standalone guy-and-guitarism of “Grey” assure that the 10-song/43-minute offering, touching on Americana in “Nice Young Man” and the pedal steel (credited to Dale Murray)-inclusive closer “Clouds That Spell My Name,” which is the longest inclusion at 6:25 and rises to an understated but engrossing jam before it’s done.

Through it all, flow remains central. The songs, recorded by Paul Aucoin at Hallamusic and Josh Bauman at 206 Dunn, both in Toronto, are drawn together despite varying intents through Ross‘ voice and the contemplative feel of the guitar work that’s mostly at their foundation, but they work outward from there to be sure, and along multiple paths, be it the woodsy fingerpicking of “Grey” or the full-band, organ-driven, multiple-vocal-layered “Ruby Rose,” which along with “The World’s Slowest Man” feels like a direct precursor to some of what Quest for Fire would offer a few years later. Nordic Nomadic‘s tunes are warm if not always completely molten and acid-soaked, and the subtle shifts in arrangement throughout the self-titled make it feel all the more like the material was built up in the studio, the songs worked on and pushed forward — Aucoin is also credited with “vibes” on the Bandcamp page from whence the player above comes, and that might be what that means (it also might not) — and set in motion patiently following after an ideal sound that’s neither too much nor too little, except where it wants to be one or the other, as in the incoming tide of distortion at the end of “Elk Horn Pyramid” or the door-left-open far-back feel of “The Weather in Your Mind,” contrasted almost immediately by the penultimate “NxNx” with its brighter guitar, emergent pedal steel and straightforward kit drums.

And in light of Skull Creator, as well as his work this past decade in Comet Control, there are hallmarks of Ross‘ style that pop up throughout Nordic Nomadic, whether it’s the declining progression of guitar at the two-minute mark in “NxNx” or the overarching patience with which the material is brought forth, each cut given its space and placed well to make the entire front-to-back experience more fluid. I don’t know the timing on Ross and his The Deadly Snakes bandmate Andrew Moszynski — who released an LP this year with the more garage-minded Strange Colours called Future’s Almost Over — joining Quest for Fire, but there are seeds throughout Nordic Nomadic‘s self-titled of what would become that group’s hallmarks, and the mellow and melodic procession of these songs, though none of them is especially long in itself with the opener and closer bookending as the two longest, manage a delicate balance of sounding fleshed out but not indulgent. They have what they need and not much more, and that need changes almost on a per-song basis, as it would if they were people, needing and wanting different things with different perspectives. Maybe that’s what it means for an album to sound alive. If so, this one does.

In covering the new record, I sprung for a CD of Nordic Nomadic‘s Nordic Nomadic — the project also released Worldwide Skyline (review here) in 2011 through Tee Pee — and it’s been waiting to close out a week ever since. When it came down to it, I didn’t want to let this year end without writing about it. I found it interesting that Ross, who discussed leaving Toronto a bit in an interview here last year, opted to put Skull Creator in his name rather than under the Nordic Nomadic moniker, since that seemed to be the place he returned to between one band and the next, whether it was The Deadly Snakes and Quest for Fire or Quest for Fire and Comet Control, whose future after three records and the aforementioned move I don’t know, but the mood-heavy spirit of Nordic Nomadic remains distinct atmospherically, whatever it might share in common with what came after, and the intimacy of its tracks imbued by the mostly quiet, light-on-effects vocals creates a quiet conversation that rewards repeat listens, even these 15 years after the album’s initial release. What is time anyway.

As always, I hope you enjoy if you’re reading this. I know it’s not exactly the most raucous of closures to have it as the last post for the year, but to be honest with you, it’s the kind of party I’m looking for right now and it’s something I’ve enjoyed getting to know better in the months since I picked it up. Maybe you’ll find yourself feeling similar. If not, there’s always next year, and if you didn’t hear Skull Creator, that’s on Bandcamp here.

Thanks for reading.

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Kid’s been up early all week. Like, pre-5AM. And he’s come downstairs, plopped himself on the couch next to me, and said each time, “Daddy, can we watch Sesame Street now?” because he knows that if he doesn’t specify when the action is taking place, I’ll keep trying to sneak out sentences writing. I’ve been putting him back to bed if it’s 5:30 or earlier, because otherwise he’s basically done with the day at 2PM and the stretch from then until 7:30PM bedtime is a wreck. As I write this, it’s 6:20AM and he’s still asleep. Yesterday we went for a long walk in the relatively nice weather and played on the playground. I’ve never known someone whose well-being is almost singularly placed on whether or not they’re able to move their body. Dude needs to go, and has, basically since he was conscious enough to need anything other than oxygen and sustenance.

He’s been off from school as well, so that’s been a throwoff of routine. He goes back on Tuesday, which means I need to get through Monday and Tuesday on the two-week Quarterly Review to come while balancing that with taking care of him. Nothing I haven’t done before, but still gonna see if the babysitter (whom he loves) can come hang out on Monday for a while. They wreck shit together and my cleaning up afterward is worth the tradeoff of being able to get a couple good hours of writing in. You have to find ways to make these things work or they simply won’t.

Here he comes downstairs. Fine. I’ll take it.

I also hope to have the year-end poll results up on Monday, so please look for that.

You’ll pardon me if I’m light on grand reflections on the year’s end. This year had its ups and downs, like everything. I’m glad to have live music back, and I said earlier this year that I was worried that I was living the best times of my life right now, something I’ve always considered in the future. I’m working to appreciate these times as they happen. I remind myself all the time, and more often I still fail. I’m overwhelmed, I’m tired or I’m sad, or the persistent feeling-wrong in my own body is just too much. But I’ve got this house, I’m alive, my family is mostly healthy, myself included even with that knee surgery and the residual discomfort. These are things to appreciate. Blessings that in my better moments I remember to count, even though sometimes it feels like there’s a barrier between me and feeling good about any of it. That’s life.

So, Quarterly Review for the next two weeks. I’ve timed it poorly. There are a couple premieres that were already slated that I’ll need to do as well — it’s a different mindset going from doing 10 reviews at 150-200 words and digging into a video or something else; I’ve found that transition difficult at times in the past — but they’ll happen and survival is all but assured, even as I expect starting next Tuesday a whole bunch of album and tour announcements for Spring will happen as the music industry picks up after its general holiday break. So it goes. I’ll do my best.

No Gimme show today, but I’ll have ep. 101 next Friday. Pretty wild they keep letting me do that.

If you do up New Year’s as a thing, I wish you good times and safe celebrating, and I hope you have a great weekend either way. I’ll be glad to be in bed by 9PM on Saturday, maybe vacuum at some point in the next couple days. That’s how we (or at least I) party down these days: lightly stoned, probably doing dishes.

I need to check in with Dave MiBK, but I’m hoping to have some new merch at some point. My Bandcamp funds are nil and I didn’t have the PayPal credit I thought I did when I bought Quest for Fire’s demo off Discogs yesterday for $35 with money from my account that I don’t really have to spare. So it goes.

Great and safe weekend. Again, thanks for reading and here’s to more to come. See you next year.

FRM.

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The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Ian Blurton of Ian Blurton’s Future Now, UWUW & More

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How do you define what you do and how did you come to do it?

Guitarist/vocalist/engineer/producer/mixer/arranger/song and dance man. I’ve been doing it since I started singing into a skipping rope pretending it was a microphone at the age of five.

Describe your first musical memory.

The Banana Splits and Monkees tv shows had a profound effect on me and were my first exposure to music. I didn’t realize it at the time but I was watching Zappa and Tim Buckley guest on Monkees and listening to songs written by some of the best writers of all time. It also gave me a lifelong love of Michael Nesmith.

Describe your best musical memory to date.

Tough to pick just one but guesting with Randy Bachman was a highlight. I have been a Guess Who/BTO fan since I was a youngin’ and even use the same fuzz (Garnet Herzog) that he used on American Woman. Not Fragile is a total jam!! Seeing Sonny Sharrock (who is one of my fav guitarists) in the 90s was huge too.

When was a time when a firmly held belief was tested?

Ummm…… every day.

Where do you feel artistic progression leads?

I think if you leave yourself free to experience everything, artist progression should take you into unexpected areas. I try not to edit myself while writing so I’m open to the unknown.

How do you define success?

To me success is a series of small victories so…..writing a good song, having a great show and connecting with people because of that is success. I would also add following and being true to the path in life you feel comfortable on is success.

What is something you have seen that you wish you hadn’t?

Everything bad I’ve seen has shaped my life experience so while I would have rather not seen some things I also realize they are part of what life offers.

Describe something you haven’t created yet that you’d like to create.

And give away my secret project I hope to do soon? I don’t think so.

What do you believe is the most essential function of art?

Communication of ideas. I also love how different people can see the same piece of art/hear the same song and come away with their own idea of what it means or how the idea of a piece can change for the artist over time.

Something non-musical that you’re looking forward to?

Big fan of Honey’s ice cream (Toronto) and in general good food and good times with good people.

http://www.facebook.com/ianblurton.futurenow/
http://twitter.com/ianblurton
http://www.instagram.com/ianblurton

http://www.seeingredrecords.com
http://www.seeingredrecords.bandcamp.com
http://www.instagram.com/seeing_red_records
http://www.facebook.com/seeingredrecords

https://www.instagram.com/uwuw_abh
https://uwuw.bandcamp.com/

https://www.facebook.com/wearebusybodies
https://linktr.ee/wearebusybodies

Ian Blurton’s Future Now, Second Skin (2022)

UWUW, UWUW (2022)

I like that John Gist‘s curated Ripple splits — this’ll be the third I know of, though if you told me he’s helmed the whole series to-date, I’d only be able to say job well done — work in themes. The theme that brings together Windsor, Ontario’s Gypsy Chief Goliath and Pennsylvania’s End of Age? ‘Dudes you might know from other bands.’ In the case of Gypsy Chief Goliath, that’s frontman Al “Yeti” Bones, formerly of Mister Bones, as well as The Mighty Nimbus and Georgian Skull. For End of Age, it’s Ben McGuire and Mark Hanna, who stopped operating as Black Cowgirl in the middle of the last decade — probably a good idea — and have apparently spent the last few years building a studio in which to create.

Both outfits are proven in my mind as regards songwriting, and if you managed to read that review today of Turned to Stone Ch. 6, you already know I hold this series in pretty high esteem. I expect this to be nothing of cool and encourage you to do the same. Gypsy Chief Goliath have a song streaming at the bottom of this post, as though to prove the case outright.

From the PR wire:

Gypsy Chief Goliath and End Of Age to release ‘Turned To Stone Chapter 7’ split on Ripple Music; stream first track “Demons Suffer” now!

North American heavy rock units GYPSY CHIEF GOLIATH and END OF AGE join forces for the release of the ‘Turned To Stone Chapter 7’ split album, to be issued this January 20th on Ripple Music. Listen to a gritty first track now with GCG’s “Demons Suffer”!

Get ready to welcome the seventh chapter of Ripple Music’s ‘Turned To Stone’ series, the thematic split releases curated by John Gist (Vegas Rock Revolution, Doomed & Stoned Show). Combining the multi-faceted talents of Ontario-based heavy mongers GYPSY CHIEF GOLIATH and Pennsylvania’s proto-metal duo END OF AGE, ‘Turned To Stone Chapter 7’ offers a generous 10-track journey through the ages of heavy. GCG effortlessly sprinkle their loud stoner metal assaults with adventurous 70s hard rock, in a rowdy Corrosion Of Conformity-meets-Thin Lizzy approach. On side B, END OF AGE delivers a frenzy of 70s-infused heavy drenched in unforgettable melodies and exquisitely progressive at times.

‘Turned To Stone Chapter 7’ will be available on January 20th in two limited vinyl editions as well as on digital, with preorders available now through Ripple Music.

Gypsy Chief Goliath / End Of Age ‘Turned To Stone Chapter 7’
Out January 20th on Ripple Music
US preorder – https://ripplemusic.bigcartel.com/product/turned-to-stone-ch-7-gypsy-chief-goliath-and-end-of-age-deluxe-vinyl-editions
World preorder – https://ripplemusic.bandcamp.com/album/turned-to-stone-chapter-7

TRACKLIST:
1. Gypsy Chief Goliath – Loup Garou
2. Gypsy Chief Goliath – Demons Suffer
3. Gypsy Chief Goliath – High Priest
4. Gypsy Chief Goliath – Black Dwarf
5 – Gypsy Chief Goliath – Shadows Of A Solar Love
——————–
6. End Of Age – Want To Go
7. End Of Age – Yelling Tree
8. End Of Age – Cat’s Blood
9. End Of Age – Dormant Hibernation
10. End Of Age – Aestivation

Among the most bizarre names in Rock & Roll, GYPSY CHIEF GOLIATH has much more dynamic chemistry, fused with pure electric potency and enough volume to make the eardrums crumble. This Canadian five-piece has been ripping stages apart since 2009. Often described as a stoner metal band, there are simply too many layers to classify them as such, when with each year that passes, G.C.G seem to evolve into a greater beast than the last inception. Charged by the creative forces of soulful meets primal vocals, dual harmony guitar lines, a massively heavy rhythm section, and rustic keys from time to time, the band showcases their brand of hard rock, heavy metal, and blues all rolled into one masterful delivery. Fronted by Canadian stoner rock notable, vocalist/guitarist AL The Yeti Bones (The Mighty Nimbus, Georgian Skull, Mister Bones), the band also consists of Adam Saitti on drums (Georgian Skull, Ol Time Moonshine), John Serio lead guitar, Jeff Phillips lead guitar (Thine Eyes Bleed, Kittie) and Jagger Benham on Bass.

END OF AGE was formed by vocalist/guitarist Ben McGuire and drummer Mark Hanna formerly of the band Black Cowgirl. Soon after Black Cowgirl ceased to exist in 2015, McGuire began construction of a recording studio within a 150-year-old barn in Lancaster County Pennsylvania with the sole purpose of having a place to record without the time constraints of a traditionally paid studio session. Unfortunately on the first day of renovations the barn was discovered to be structurally unsound and needed to be entirely torn down. Distraught and defeated McGuire briefly considered using gasoline to solve the problem after finding a newspaper article dated 1885 under the floorboards that detailed a local arson from 130 years prior but wisely ignored the “sign” and decided against it making the decision to disassemble the cursed barn and immediately start the slow process of collecting material to build a new structure. This unforeseen obstacle coupled with multiple other unexpected life events delayed End of Age from recording and playing more than a few shows for a couple of years while the new studio took shape. The pair recorded 5 songs for Ripple Music with a makeshift studio set up in 2020 during lockdown as construction continued on the permanent location.

Finally, to the elation of Hanna and McGuire the final studio they are calling Wilderness Exile was completed in early 2022. What first appeared to be a crippling misfortune proved to be a blessing in disguise. McGuire and Hanna now have a place that provides limitless experimentation and creativity for their projects as well as other musicians. END OF AGE already knew they could lay the musical foundation for a tune and construct a real doozy of a ditty. Now they know they can literally lay the foundation for a physical building and construct the piss out of one as well. They temporarily traded their drums and guitars for hammers and nails assuming the role of blue-collar warriors on the warpath for riffcraft. Now that their fortress of sonic excess has been realized auditory experimentation can begin.

https://instagram.com/gypsychiefgoliath
https://facebook.com/GypsyChiefGoliath/
https://gypsychiefgoliath1.bandcamp.com/

https://instagram.com/end_of_age_band
https://www.facebook.com/blackcowgirl1989
https://endofage.bandcamp.com/

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

Gypsy Chief Goliath & End of Age, Turned to Stone Ch. 7 (2023)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Jérémy Blais of Subsun

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How do you define what you do and how did you come to do it?

In its rawest way, I play drums in a rock band. Despite all the genres, sub-genres, and whatever you wanna call or define what we do with Subsun, at the end of the day, we play heavy music for fans of rock n’ roll. I think it comes from the dream of a little boy who wanted to imitate the people he saw on stages from shows he went to, thinking, yeah, I can do that as well! Nowadays, it comes from hard work, practice and dedication to the art and the desire to perform with friends.

Describe your first musical memory.

I would say that even at a young age, I was already fascinated by the music that was playing on the television (90’S kid in Québec, Canada), or when my parents would play a disc. As a kid, I would always play the drums on the table, the desk, my books, everything I could get my hands on. One day, I came to my room and my parents had bought me my first drum kit, a white Intex 5-piece kit. Couple years later, I met with a friend’s friend because he was playing guitar. The first song we ever jammed was “Crazy Train” by Ozzy.

Describe your best musical memory to date.

Every time that I have the opportunity to go on the road with friends, to play a gig or to go into the studio to record music, I feel blessed. You have to make the opportunity to do it, it’s not easy, but it’s always worth it. As life goes by, it’s a lot of sacrifices to continue to do music and I’m glad that I’m still doing it past 30 years old.

When was a time when a firmly held belief was tested?

As a band and as a group, we wanted to establish some ground rules regarding the decision we would take. One of them was to never accept a pay-to-play gig, that shit is stupid.

Where do you feel artistic progression leads?

It leads hopefully to more progression and to ultimately, self-discovery as a group. I think every band has to discover who they are as a whole, as an entity. The members come from different backgrounds and musical heritage. You have to discover together what you are becoming as a whole by building your sounds from those heritages and taking from every member.

How do you define success?

It would be easy to define success with numbers, we sold as many albums, we have that many streams. Sure, numbers are a tool to monitor progressions but it can’t be all about that. I think you have to stay true to yourself and to have a strong belief that you create something awesome and at the best of your capabilities.

What is something you have seen that you wish you hadn’t?

I don’t have a specific example in mind but, it is always sad to see an artist that you listen to and admire performing live and realizing that they are not as good as in the studio. The live performance are where it’s at.

Describe something you haven’t created yet that you’d like to create.

I’m fascinated by cartoon voice acting, and sound effects. Being part of a cast of voices for a cartoon would be a project I want to be part of.

What do you believe is the most essential function of art?

I would define art as the materialization of the personal expression of every art form that came before it. In a world moving so fast and leaving next to nothing for the individual, art is the truest and most sincere form of expression and the only timeless mark someone can leave behind from his journey into this universe.

Something non-musical that you’re looking forward to?

Video games are a medium that I’m a big fan of. This December, the physical edition of the game Cuphead is getting released and I can’t wait to play that game for the first time. That game is a great example that videogames are a form of art. Cuphead is using a rubber hose style of animation. Popular back in the 1920s and 1930s, every frame of animation is hand drawn and it’s simply gorgeous visually. The soundtrack to the game is also interesting as its live originally composed jazz and big band-inspired music.

https://www.instagram.com/subsunrock/
http://www.facebook.com/subsunrock
https://subsunrock.bandcamp.com/
http://www.subsunrock.com/

Subsun, Parasite (2022)