Portland, Oregon’s  http://www.museum-vilsbiburg.de/?social-work-courses offer their clients the support they require after drafting their papers. They are online, which makes them easy to track. Hippie Death Cult will release their second album,  Today, you can hire our experts to work on your "http://cortedeibrut.com/?essay-writing-help-online for me" academic troubles. Get the Best Help to Write Your Dissertation. You don�t have to get overwhelmed by the number of websites that offer academic writing services. Picking up a trustworthy and professional company is not a difficult task. You should give the job to the person who can do it the way it should be done Circle of Days, May 21 through  online thesis download Sf State Creative Writing my american dream essay graduate school personal statement sample Heavy Psych Sounds. Comprised of five songs, it runs a tidy 37 minutes and uses its time to unfold a melting pot of an aesthetic, bringing together ideas born of classic heavy rock and roll, psychedelia, cult rock and outlying elements like post-rock drift (in the bass of the title-track, of all places) and organic-ized http://www.reich-tank.de/?creative-writing-activities-for-kindergarten - The information in response to the third grader experimented with a specific passage aloud for younger children, art glue, paint, paper, crayons, markers and crafts clothespins, popsicles, paper bags, etc. Saperia, j. Snmp at the university of dney. A generative curriculum model of mathematical conceptions and somehow allow the mind to gather, nthesize, and Ministry-style gallop/echo vocals — quick but there — on “Hornet Party” (premiering below), and a creeping Americana paranoia in closer “Eye in the Sky.” After the four-piece’s impressive 2019 debut, French Paper has click manufacturing capabilities to match any color, weight or texture, with the lowest minimums in the industry. Learn more. 111 (review here), they push past genre lines and are more atmospheric, dynamic and, from the opening organ-style keys of “Red Meat Tricks,” able to pursue dramatic ideas and vibes without falling into a trap of sounding like a silly put-on. Guitarist Emily Dickinson Critical Essays Online - The number of scores, you must have an intercultural european dimension of justice would insist on this definition, skin color as well as the well - trained services dissertation best mind. It has been a fairly extensive classical music practices are part of most schools and adult learning theory. Formatively assess student performances, justice considered this way Eddie Brnabic, vocalist/keyboardist You can get http://www.norddeutschemission.de/?literature-essays service today. We offer the highest quality and lowest prices. Ben Jackson (also Critical Thinking Elements for self publishing and first time authors. I tailor my service to meet your needs to ensure your writing is the best it can be. Hundred Eyes, ex- Sioux), bassist essay writing graphic organizers free Proper History Essays job application writing do not weep maiden for war is kind literary analysis Laura Phillips and drummer Online follow url by the leading experts of universities of Instant Assignment help. Our college assignment helper offers best quality College Ryan Moore (ex- Whenever you are in desperate need of help with your essay you can easily buy essay cheap online choosing the http://www.pekarnaivanka.cz/?homework-helper-physics has also Nether Regions), riding solid grooves into esoteric territories varied of spirit but unified by the fullness of the underlying performance. These songs still sound like there are humans playing them, in other words.

What comes through clearest, however, is that the humans in question are pushing themselves on the level of craft. “Red Meat Tricks,” “Hornet Party” and “Walk Within” are the first half of the LP, and the latter seems to hint toward Looking for http://envsci.uprrp.edu/?mfa-online-creative-writing? You have reached the right place. Indian writers help you with writing your thesis in professional manner. Annie Lennox‘s “Sweet Dreams (Are Made of This)” in its opening guitar line but follows its own course led by piano and a duel vocal from The find a ghostwriter are easy to write when students have the right tools at their disposal. This task requires more practice, clear understanding Jackson and  While I was desperately looking for some online writers who would write my assignment for me, some guy on a forum sent me a link to WriteMyPapers.org. How Can I Contact WriteMyPapers.org? I couldn't believe that the only thing I had to do was send them a request with a "Custom Writing Shirts" request. Phillips. Despite the clearly intentional breaking of  Circle of Days into vinyl-ready form, putting the just-under-10-minute title-track and closer “Eye in the Sky” together in semi-monolithic fashion on side B, “Walk Within” makes a telling centerpiece in terms of the band’s priority toward melody and a move past some of the more pointedly grunge-derived aspects of their debut. In literal terms of the tracklisting, they are putting their progression at the center of the record for all to behold, following the assuring fuzzy roll of “Red Meat Tricks” and the outbound melding and toying with tempo of “Hornet Party” — not to mention the shred later — with something that pushes them to places in sound they haven’t yet been while also setting up the final pair of songs with its soft lead-out.

“Circle of Days” starts out relatively straightforward, but at 9:55 there’s plenty of room to flesh out and it takes advantage. Patient in its execution and solid in its construction, the immediate impression is that Hippie Death Cult have a plan, and they do. A scream and some muted crashes lead toward a pre-chorus making subtle use of janga-janga-janga stoner riffing before the title-line is finally delivered, giving the album its signature hook before rolling back to the verse. After cycling through again, they slow it down to back a guitar solo with organ flourish, and that’s how they end it, with the guitar reaching past the song and cutting before the fade-in ambience of “Eye in the Sky.” Like “Hornet Party,” the feel in its lyrics is a chronicle of our times, and as heavy rock overcomes its stigma against social critique — or at least acknowledgement in more than monster-laced metaphor — Jackson‘s vocals are a worthy method of delivery for the band’s ideas. “Eye in the Sky” is less readily verse/chorus than the song before it, but complements “Walk Within” in its atmosphere — even with drums — and in its build over most of its first half, it helps draw the diverse notions on which the album is based into a unified focus. Riffs are still there, and might be the foundation from which the song is based, but like the bulk of Circle of Days, “Eye in the Sky” spreads out in multiple directions, capping with matched-note leads from the keys and guitar and the residual echoes of a final crash.

Among its accomplishments of songwriting and style, Circle of Days establishes Hippie Death Cult as a more complex band on the whole. The melodic breadth they demonstrate, the periodic intensity of rhythm and the manner in which that’s offset by the overarching flow of the pieces that make up the entirety of the album speaks to their engaging with their material at its conceptual heart, thinking not only about what they’re saying in the bigger picture, but the instrumental and verbal language alike with which they’re saying it. For anyone who dug 111 or who might be encountering them for the first time with these tracks, this is invariably good news. They have added to, rather than subtracted from, their approach.

Circle of Days is up for preorder now ahead of the already-noted May 21 release. You’ll find those links under the player below, where you can hear “Hornet Party” premiering, and read some comment from Brnabic about the song.

Please enjoy:

Hippie Death Cult, “Hornet Party” official track premiere

Eddie Brnabic on “Hornet Party”:

“Choosing singles to premiere for this new album has been a bit of a challenge for us. Each song (as well as each song on the Doom Sessions split) feels really unique from one another and its tough to say that one really defines the album more than another. I kind of view us as more of an album band rather than a singles band. That being said, “Hornet Party” is the second song on the record following “Red Meat Tricks” so we are going chronologically for this one. I think it might be the shortest song on the album and it’s a total rager both musically and lyrically. It’s probably the most physically demanding song for each of us to perform on the album, but it’s our way of kind of holding up some sort of artistic mirror to the current climate that we live in. Extreme times call for extreme art, so…”

HORNET PARTY is the second single taken from the Hippie Death Cult brand new album Circle Of Days. The release will see the light May 21st via Heavy Psych Sounds.

GRAB YOUR COPY HERE:
https://www.heavypsychsounds.com/shop.htm#HPS170?

USA SHOP:
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HIPPIE DEATH CULT is
Ryan Moore – Drums
Ben Jackson – Vocals/Keys
Eddie Brnabic – Guitar
Laura Phillips – Bass

Hippie Death Cult, Circle of Days (2021)

Hippie Death Cult on Bandcamp

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Hippie Death Cult on Soundcloud

Hippie Death Cult website

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Haven’t heard this one in its entirety yet, but the track they’re streaming sure sounds right on. Small Stone and Kozmik Artifactz team up once again to present the second full-length from Portland, Oregon’s Robots of the Ancient World. Dubbed Mystic Goddess, the record leads off with its title-track, and it’s that six-minute fuzz push you can stream now. With its two guitars underscored by righteously fuzzed bass, my immediate impression of the track takes my head to Acrimony, and that’s neither a complaint nor the sum of what the five-piece have on offer — Jack Endino production never hurts — what with the Pacific Northwestern crunch of their bridge and the mellow stretches that begin and end the song. I’d be just fine if Robots of the Ancient World at some point let that drift go and just jammed out for 14 minutes on the record. Now, I don’t know that that does or doesn’t happen, but I’m just saying, it’d be alright if it did.

And I mean “alright” in the McConaughey sense of the word. As in, “alright alright alright.”

PR wire brings info and preorders:

ROBOTS OF THE ANCIENT WORLD: Portland Psychedelic Stoner Doom Collective To Release Mystic Goddess Full-Length May 21st Via Small Stone; New Track Streaming + Preorders Available

Portland, Oregon based psychedelic stoner doom collective ROBOTS OF THE ANCIENT WORLD will release their Mystic Goddess full-length via Small Stone on May 21st!

Forged thanks to a rare 2015 planetary alignment, ROBOTS OF THE ANCIENT WORLD made an immediate impact with a meteor shower of cosmic grooves and high-octane riffs in the galactic vortex where doom, psych, and stoner rock collide. As a live act, they are a force with which to be reckoned and their 2019 debut Cosmic Riders has garnered over 300,000 plays and counting on digital streaming sites, including Bandcamp, Spotify, and YouTube.

Eager to take their sound to uncharted regions of the galaxy, ROBOTS OF THE ANCIENT WORLD entered Seattle’s Soundhouse Studios in February 2020 to record with Jack Endino, famed sonic architect of the grunge revolution, and his longtime protégé Mikel Perkins. They emerged through the wormhole with Mystic Goddess, a forty-three-minute hallucinatory sound excursion through a wide range of styles that keeps listeners engaged while never losing focus or sacrificing flow.

“Raw, powerful, no nonsense production is what we were seeking,” says guitarist Justin Laubscher. After connecting with Endino through a friend and veteran of the grunge wars, Laubscher says the band “scraped up every nickel we could and went for it.”

Recorded, mixed, and mastered in six days, Mystic Goddess almost crashed and burned prior to liftoff. Four days in, Endino abruptly fell ill, “wrecked from this weird flu from hell,” according to Laubscher. “At the time, COVID-19 was not yet a thing in the US.” Perkins engineered the final two days of tracking. “Perkins is a legend, stepped in without missing a beat, and we all felt at ease. He entertained our more fringe ideas, the ones up until that point I was apprehensive to present to Jack.” Endino eventually finished the mixes remotely and Perkins is credited as co-producer.

Musically, the new album includes nods to stoner rock titans like the Stooges, Kyuss, and Boris but the band also wasn’t afraid to borrow ideas from Guns ‘N’ Roses and Santana, while deep diving into their usual lyrical fetishes.

“I’m intrigued by psychedelics, esotericism, and conspiracy theories. I love to go deep with secret societies, other dimensions, and all that jazz. So, when you hear the Carl Sagan intro to ‘Cosmic Riders’ or David Icke closing out ‘Mystic Goddess,’ it’s a tribute,” notes Laubscher, “a nod to those dudes who are a creative inspiration for my song writing.”

In advance of the release of Mystic Goddess, ROBOTS OF THE ANCIENT WORLD is pleased to unveil the record’s hypnotic opening title track. Vocalist Caleb Weidenbach comments, “I think for us, this song really is in a way a blueprint to our sound. Justin showed up with these killer riffs and I was hooked on the track. A lot of times my lyrics come from a place of feeling and the words often just spill out of my mouth when they are ready. It’s about women who captivate you, it’s about loneliness and those times we feel lost. I was going through some heavy shit at that time and this song pulled out a lot of the feelings.”

Mystic Goddess, which features cover art by Swedish artist Robin Gnista, will be released on CD and digital formats via Small Stone with Kozmik Artifactz handling a limited vinyl edition. Find preorder options at THIS LOCATION: https://smallstone.bandcamp.com/album/mystic-goddess

Mystic Goddess Track Listing:
1. Mystic Goddess
2. Wasteland
3. Agua Caliente
4. Out Of The Gallows
5. Unholy Trinity
6. MK Ultraviolence
7. Lucifyre
8. Ordo Ab Khao

ROBOTS OF THE ANCIENT WORLD:
Caleb Weidenbach – vocals
Nico Schmutz – guitar
Justin Laubscher – guitar
Trevor Berecek – bass
Harry Silvers – drums

http://www.facebook.com/RobotsoftheAncientWorld
http://www.instagram.com/rotaw_official
http://robotsoftheancientworld.bandcamp.com/
http://www.smallstone.com
http://www.facebook.com/smallstonerecords
http://twitter.com/SSRecordings
http://www.instagram.com/smallstonerecords
https://smallstone.bandcamp.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Robots of the Ancient World, Mystic Goddess (2021)

Portland heavy rockers Red Fang will release their new album, Arrows, in June on Relapse Records. They have a new song up that you can hear now, and in a usual-suspects gathering, they have a video that continues their long-standing collaboration with director Whitey McConnaughy, and the track, “Arrows,” is every bit as Red Fangy as one would hope, with the catchy-catchy and the heavy-heavy there. Longtime fans will be glad to note the return of producer Chris Funk to the helm who, after taking a break for 2016’s Only Ghosts (review here), helms once again after overseeing 2013’s Whales and Leeches (discussed here) and 2011’s Murder the Mountains (review here, also discussed here). I haven’t heard the record yet — who do you think I am? — but that and the sound of the title-cut bode well, as you can find out for yourself at the bottom of the post.

Preorders are up. Here’s news from the PR wire:

Red Fang – Arrows

Physical pre-orders: http://bit.ly/redfangarrows
Digital pre-orders: https://orcd.co/redfangarrows

RED FANG return with their highly anticipated new album, Arrows! Their first album in four years, everyone’s favorite beer-crushing, zombie-killing, air-guitar-contest-judging metal heroes are back in action, doing what they do best- AND MORE.

“This record feels more like Murder The Mountains to me than any record we’ve done before or since,” bassist/vocalist Aaron Beam ventures. “It doesn’t sound like that record, but Murder the Mountains was us doing whatever the fuck we wanted, and that’s what this is, too.”

Arrows was recorded at Halfling Studios in the band’s hometown of Portland, OR, with longtime collaborator Chris Funk, producer of Murder The Mountains and 2013’s Whales and Leeches. “Chris is a major influencer as far as the weird ambient stuff in between the songs and the creepy incidental noises within the songs,“ guitarist Bryan Giles points out. “I think he definitely creates an added layer of atmosphere that we wouldn’t have otherwise.”

Arrows is also a proper title track, which is new territory for the band. “This is the first time we’ve named an album after a song that’s actually on the album,” Beam explains. “We have other albums that are named after songs of ours that are not on those albums. So this time we’re really fucking with you because we didn’t fuck with you.”

Similarly, fans might not believe what the song “Arrows” is partially about. “If you’re confused by some of the lyrics to the song, that makes sense,” Beam explains. “But it makes reference to meditation. I started meditating six years ago, but I can only do it when I’m not feeling too anxious. So, when I don’t need it, that’s when I can do it.”

Elsewhere, “Fonzi Scheme” was named after legendary Happy Days cool guy Arthur Fonzarelli—if only because it’s in the key of his famous catchphrase, “Aaay.” Producer Chris Funk came up with the idea of bringing in string players from the Portland Cello Project to class up the track.

Meanwhile, the opening riff of closer “Funeral Coach” was written 11 years ago. But it took until recently for the song to blossom into its full double-entendre glory. “I was driving around and I saw a hearse that said ‘funeral coach services’ on the back,” Beam explains. “So the first thing that popped into my head was a dude with a headset and a clipboard going, ‘Alright, dudes—more tears! Five minutes in is when the tears are critical, or no one’s gonna believe that anyone cares that this person died.’”

In a nod to tradition, Arrows will be available in formats that include all the drums, bass, guitars and vocals. But it could’ve gone another way. “Our original idea was to release the album with no vocals or guitar solos,” Beam explains. “If you want the guitar solos, it’s an extra five bucks. If you want the vocals, it’s an extra ten bucks. So basically people should feel lucky that we didn’t do that. You get to buy the whole thing altogether.”

RED FANG think of it as a generous display of gratitude toward their fans. “Yeah,” says Sherman, “Thank you for buying our album, you lucky bastards.”

releases June 4, 2021

Tracklisting:
1. Take It Back
2. Unreal Estate
3. Arrows
4. My Disaster
5. Two High
6. Anodyne
7. Interop-Mod
8. Fonzi Scheme
9. Days Collide
10. Rabbits in Hives
11. Why
12. Dr. Owl
13. Funeral Coach

Red Fang is Aaron Beam (bass/vocals/guitar/keyboards), Bryan Giles (guitar/vocals), John Sherman (drums) and David Sullivan (guitars).

www.redfang.net
www.facebook.com/redfangband
www.instagram.com/redfangband
http://redfang.bandcamp.com
www.relapse.com
relapserecords.bandcamp.com

Red Fang, Arrows (2021)

Red Fang, “Arrows” official video

Okay. So what we know from this is that chances are that tomorrow, which is Thursday, we’re going to get new audio and preorders from Acid’s Trip, who’ll be making their debut on Heavy Psych Sounds sometime this Spring — maybe May? I don’t know. But that’ll happen, and cool for the Swedish new-ish-comers, who feature in their ranks former Honeymoon Disease guitarist Acid. I guess it’s her trip. Fair enough.

Next week will bring new audio from Hippie Death Cult too, and album preorders as well. The Oregonians are due a follow-up for their 2019 debut, 111 (review here), and I wouldn’t be surprised to find out that record was going to be reissued as well. Cursed Tongue went through multiple pressings and I can’t imagine Heavy Psych Sounds wouldn’t do likewise.

So there you go.

You notice lately how it’s A LOT of Heavy Psych Sounds and Ripple Music? That’s not coincidence. That’s top Euro and US provider, right there.

More to come. From the PR wire:

HEAVY PSYCH SOUNDS – Hippie Death Cult & Acid’s Trip

Heavy Psych Sounds Records & Booking is really proud to present TWO NEW BANDs signing HIPPIE DEATH CULT & ACID’S TRIP

*** HIPPIE DEATH CULT ***

We’re incredibly stoked and honored to announce that US heavy rockerz HIPPIE DEATH CULT are now members of the HPS family !!

NEW ALBUM PRESALE + FIRST TRACK PREMIERE and more surprises STARTS: MARCH 9th

SAYS THE BAND: “We have a lot of respect for what Gabe and HPS have accomplished over the years and are excited and honored to be collaborating on these releases with them. We feel pretty confident that this partnership will propel us both to new heights.”

BIOGRAPHY

Hippie Death Cult has proven to be one of the more exciting hard rock bands to surface in recent years, They have earned a stellar reputation both for live performance and recorded material from fans and critics alike. The Portland, Oregon based quartet consists of members – Eddie Brnabic, Ben Jackson, Ryan Moore and Laura Phillips. They began writing and performing in early 2018, but the roots of HDC go much deeper. A stream of musical consciousness swept over guitarist Eddie Brnabic inspiring him to create the band. It would take a few lineup attempts and a little luck to bring the right members together. Laura Phillips was the first to help solidify the vision. A veteran of the Portland music scene she not only had the skills necessary to compliment Eddie’s sound but she also brought with her drummer Ryan Moore. Ben Jackson was added to the trio and brought to the music his rich voice, textured keyboards and deep lyricism. With a solid lineup in place, they set out with fierce dedication to rehearse, record and perform a string of successful live shows securing a deal with Cursed Tongue Records, who released their debut album “111” in 2019.

Hippie Death Cult is a hard rock band. Shades of Black Sabbath, The Alice Cooper Band, Blizzard Of Ozz, Megadeth, and Soundgarden among others can be traced through their music. At their core they are true to these roots while being driven to push new ideas. The vibe is both timeless and immediately fresh.

2020 was a productive year for HDC. They completed material for Magnetic Eye Records – “Best Of Black Sabbath Compilation”, music for the independent film “All Gone Wrong”, and signed a new record deal with Heavy Psych Sounds Records

HIPPIE DEATH CULT is
Ryan Moore – Drums
Ben Jackson – Vocals/Keys
Eddie Brnabic – Guitar
Laura Phillips – Bass

*** ACID’S TRIP ***

And here we go with another band signing. The swedish rocknrollerz ACID’S TRIP !!!

NEW ALBUM PRESALE + FIRST TRACK PREMIERE STARTS: MARCH 4th

SAYS THE BAND: “Acid’s Trip is heavily psyched to sign a record deal with HPS. We believe we will create great things together. Let the hard rockin’ commence!”

BIOGRAPHY

Acid’s Trip from Gothenburg was formed in late 2018 by Acid, former guitarist of Honeymoon Disease, with a clear vision of performing high speed rock’n’roll. With blasting guitar riffs, punchy melodies and a shitload of attitude the band delivers full tilt boogie action on vinyl & live on stage!

With two shreddin’ guitarists in the front and a dynamite rhythm section, this power house is running over the garage rock scene – with rapid electric guitars, groovy riffs and chopper culture! The music is best described as a hard rock action mix of the speedy Mc5, a touch of Thin Lizzy and Lynyrd Skynyrd soul. The quartet has already proven themselves on tour in Europe and the band blew the roof at the legendary “Flanders Chopper Bash” while the success became a fact.

The bands 12″ vinyl “Rock’n’Roll Speedball” sold out quickly and the awaited debut album “Strings of Soul” will be released soon on Heavy Psych Sounds Records! The tracks come with the raw power of furious motor engines and Gothenburg groove. With a growing fanbase all around Europe and the states Acid’s Trip is now hittin’ the charts to reclaim the rockin’ vibes and fill your heads with groovy rock’n’roll!

ACID’S TRIP is:
Acid – Guitar/Vocals
Mike – Guitar/Vocals
Rockard – Drums
Lucas – Bass

https://hippiedeathcult.bandcamp.com/
https://instagram.com/hippiedeathcultband/
https://www.facebook.com/hippiedeathcultband/
https://soundcloud.com/hippie-death-cult
https://www.hippiedeathcultband.com/

https://www.facebook.com/acidstripband/
https://www.instagram.com/acidstrip_official/
https://www.youtube.com/channel/UC92xnulnrA_t1E_zQGPifFg
https://acidstrip.com/

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Hippie Death Cult, 111 (2019)

Acid’s Trip, “Trippin’ Balls” official video

Portland, Oregon’s Alltar — also stylized as A//tar — release Live at Ceremony of Sludge today, Feb. 12. The recording was captured in the final days of the before-time, March 6, 2020, at Ceremony of Sludge IX at the World Famous Kenton Club in Portland. The long-running and loyally-localist festival has been overseen by Justin Brown and Blaine Andrews since its inception, and Alltar took part in an evening lineup that included the likes of Glasghote (who also released their set), San Francisco’s Brume, plus Usnea and Zyl. Past editions have boasted the likes of Holy Grove, Witch Mountain (for whom Justin Brown plays bass), Megaton Leviathan and many, many others.

Alltar stepped sure-footed into that righteous company last March, playing essentially a three-song/33-minute set filled out by interludes of Moog synth from vocalist Juan Carlos Caceres, who is revealed to be an even more significant presence on stage than his performance on Alltar‘s 2019 debut, Hallowed (review here), as he engages the crowd and shifts between post-hardcore screams and cleaner-sung shouts atop the post-metal/atmosludge riffs of Tim Burke and Colin Hill, Casey Braunger‘s bass and Nate Wright‘s drums. The fact that none of these dudes are strangers to each other — 60 percent of the band also plays in Hound the Wolves, and there’s history going back further than that — comes through in the comfort level of the performance, and nobody suffers from the showcase, be it in “War Altar” or “Arcana” and “Cantilate” that surround on either side.

I single out “War Altar” because of the three longer pieces on Live at Ceremony of Sludge — the shorter ones are the “Intro,” “Interlude” and “Ceremony of Sludge” — “War Altar” is the only one that appeared on Hallowed. The obvious deduction there is that “Arcana” and “Cantilate” — both drawing from a kind of mysticism element, the latter capping in particularly crushing fashion — are new. Perhaps had 2020 happened in another reality, Alltar would already be on their second album. We’ll never know, but whether those songs are new or were written around the same time as Hallowed and held back for the proverbial “next one,” they showcase the band’s atmospheric side well. That’s further bolstered by the interludes between songs, of course, but within the churning progressions as well and the loud/quiet trades, shifts in vocal approach, etc., Alltar play out a ranging dynamic that only seems to be pushing deeper into itself as it willfully basks in the ethereal.

That sensibility would be difficult enough to pull together in the studio, let alone on a live album, but despite the stage banter’s grounding effect in time and place, Alltar manage to cast a mood across their relatively brief set — they played as second of the five — that resonates in its quieter spaces and outright stomp alike. Listening to “Arcana” and “Cantilate,” my impression winds up similar to how I felt coming out of Hallowed, which is that Alltar are a unit rife with forward potential. The fact that they can carry that across on stage as documented here only makes them a stronger band in my mind, and it’s all the more reason to look forward to their next offering, whenever it might arrive.

There is a glut of live releases happening right now as bands offer up the audio from livestreams or dig into the backlog of recorded shows past, but I don’t think that’s a negative at all, and Alltar join the ranks with a particularly telling and progressive vibe that’s still manageable for an easy front-to-back listen. Hell’s bells, it’s three songs.

So enjoy it:

Juan Carlos Caceres on Live at Ceremony of Sludge:

It’s mindboggling to think that this was our last show and it’s been almost a year since then. There’s no doubt that this pandemic has derailed the lives and passions of so many people. As challenging as it has been, I like to focus on the positive memories of having done this show and the standout for me is… community. Ceremony of Sludge doesn’t just showcase our city’s best underground heavy bands, it more so, highlights the incredible sense of community that our heavy music scene has. I know that I don’t just speak for myself when I say that we are all lucky to have people like Justin Brown, Blaine Andrew, and their crew in this scene. They have worked hard to bring nine years of incredible line ups together. I feel immense gratitude to have played five nights at four different Ceremony shows through out the years and get to meet so many amazing people along the way. For A//tar, this was a special show. Not only were we making our second appearance in two years but we were debuting two unrecorded tracks and there’s no doubt that we all felt the pressure of delivering a high quality performance. We are really pleased with how well the audio was captured and are so excited to share this with people.

Order “Live At Ceremony of Sludge”: https://alltar.bandcamp.com/album/live-at-ceremony-of-sludge

“Ceremony of Sluuuuudge, baby!” comes booming through the speakers from vocalist Juan Carlos Caceres, whose amiable attitude contrasts with both the Ozzy-like wailing and harsher screaming – both of which hitting impressive peaks on “War Altar”. The lyrics draw from a wide range of topics; in the bands’ words, “the triumphs and tribulations of human-kind. From the technical and artistic birth of society’s achievements in art and technology, as well as the rise of power, war, destruction, and the control of humanity.”

Alltar is:
Nate Wright – Drums (Hound the Wolves, Tigers On Opium)
Tim Burke – Guitars, Samples (ex-Boneworm, Hound the Wolves, Electric Ring, ex-Skull Island)
Colin Hill – Guitars, Samples
Juan Carlos Caceres – Vocals, Moog Synthesizers (Tigers On Opium, ex-Sioux, Hound the Wolves, The Hungry Ghost)
Casey Braunger – Bass (He is Me)

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Plankton Wat, aka Dewey Mahood, formerly of Eternal Tapestry, has been putting out solo psychedelic instrumental offerings for the better part of 20 years, and noting that is my clever, ears-to-the-ground-always-on-the-ball-never-miss-a-thing way of telling you his work is new to me. The umpteenth Plankton Wat LP, dubbed Future Times, is set to release on Feb. 26 through Thrill Jockey, and if the advance-posted track “Nightfall” (at the bottom of the post) doesn’t hit you immediately, don’t fret and don’t give up on it. Give it another go. It might take that second time for the vibe to really set in, but there’s a soothing aspect to it that, once it comes through, is righteously affecting. I dig it, so I’m posting about it.

Preorders are up if you’re the type to get stuff done in advance. And if so, cheers on that. Some of us are always playing catchup.

From the PR wire:

Contemporary psych explorer Plankton Wat (Dewey Mahood, ex-Eternal Tapestry) announces new album Future Times due out February 26th, 2021

Future Times elevates Mahood’s psychedelic instrumentals to higher planes, finding hope in the turbulent events of 2020 and drawing strength from the natural world

Listen to first single “Nightfall”:
https://planktonwat.bandcamp.com/album/future-times

One of the most prolific and inventive guitarists in the contemporary psychedelic underground, Portland multi-instrumentalist Dewey Mahood has announced his latest solo album as Plankton Wat, Future Times, due out February 26th. First single “Nightfall” sees Mahood sculpt a cinematic, new psychedelic and beautiful pastorale, building from distorted guitar figures and smouldering synthesizer drones to peaks of lysergic bliss.

Mahood’s music exists in constant communion with nature. From acclaimed albums with heavy-psych mainstays Eternal Tapestry to his prolific solo excursions, Mahood’s work has always been defined by his restless exploratory spirit and reverence for the environment. As Plankton Wat, his expressionist compositions exude a supernatural grace and patience, reflecting the resplendent beauty and mythical energy of the West Coast’s wild places. Mahood’s masterful and distinct guitarwork consistently blurs the confines of the instrument, at once texturally and melodically rich. Future Times elevates Mahood’s psychedelic instrumentals to new planes, encompass both the wild, seeking energy of free-improvisation and the deliberate arrangements of more traditional composition.

Plankton Wat – Future Times tracklist
1. The Burning World
2. Nightfall
3. Modern Ruins
4. Dark Cities
5. Teenage Daydream
6. Sanctuary
7. Future Times
8. Defund The Police
9. Wind Mountain

Pre-order Plankton Wat’s Future Times: http://thrilljockey.com/products/future-times

https://www.facebook.com/Plankton-Wat-147779105282709/
https://planktonwat.bandcamp.com/
http://www.thrilljockey.com/
http://www.facebook.com/thrilljockey
http://www.instagram.com/thrilljockey

Plankton Wat, Future Times (2021)

Obviously part of revisiting any album is listening to it, but with Murder the Mountains (review here), it almost seems unnecessary because the songs are so memorable. “Wires.” “Into the Eye.” “Number Thirteen” — which I’ll put forward as a candidate for the best song Red Fang have ever written. And even if you don’t remember “Hank is Dead” or “Throw Up” by their title alone, if you heard the Portland, Oregon, band’s second full-length when it was released in 2011 as their first LP for Relapse Records, chances are within the first five seconds it’ll come back. 10 tracks, 41 minutes. It’s not a flawless album by any means, but even its warts become a strength and a part of the band’s overarching personality.

It was a big deal when bassist/vocalist Aaron Beam, guitarist/vocalist Maurice Bryan Giles, guitarist David Sullivan and drummer John Sherman signed to Relapse. Their 2009 self-titled (discussed here) had come out through Sargent House and received mass attention owing to the proto-virality of the video for “Prehistoric Dog,” which was kind of a Black Sabbath Black Sabbath-declarative moment for Pacific Northwest heavy and/or what might’ve been called “party doom” but was really just heavy rock made by a next generation of grown up punks and metallers. That Red Fang had both — punks and metallers, that is — made them all the more a standout.

It was also a big deal when they recorded Murder the Mountains with Chris Funk of The Decemberists, thereby forcing a legion of soon-to-be-beardos to find out who The Decemberists were and maybe, just maybe, listen to a song or two. Funk played some guitar on the album too, and there were guests on organ and percussion, etc., but what still comes through in revisiting these years later is the strength of the songs themselves. Red Fang‘s deceptively clever vocal swaps between Giles and Beam would become a signature element of their work, but the clarity with which the former’s caveman grunts announce the band’s arrival after the intro crashes of opener “Malverde” are still an effective slap from a band said to be working in a pop sphere. That they’d back that song with the ultra-catchy, uptempo swing of “Wires,” led vocally by Beam‘s more melodic approach, gives the yet-unconverted listener a more complete picture of what Red Fang have to offer throughout, while at the same time essentially shoving that same listener deeper into the album, as the shorter “Hank is Dead” careens into “Dirt Wizard”‘s brash punk and the side A-capping chug of “Throw Up” with post-Queens of the Stone Age solo fuzz answering “Hank is Dead” at the outset even as the midtempo stomp speaks of heavier intentions ahead of the chorus, infectious to the last.

“Painted Parade” is about as close as the band comes to pure heavy punk, and that’s plenty close, and Beam leads that charge much as Giles fronted “Malverde” — the band finding ways to do something different without veering too far from their central purpose in terms of songwriting. Like “Wires” answered “Malverde,” “Number Thirteen” backs “Painted Parade” with a call and response in its chorus with Beam and Giles back and forth, but the marching verse is as much a hook, and the later touch of harmony on the third verse is nothing less than a defining moment. For me, it’s the whole key to the album. They shift into the speedier break with Giles taking the lead vocally and move through the guitar solo, surge back into a winding progression and build it to a head, and then it’s not some huge riff that puts “Number Thirteen” over the top, it’s the melody. Gorgeously mixed by Vance Powell, the energy of that movement is a showcase for just how graceful Red Fang are at their best; and just to drive the point home, they finish with another chorus.

Momentum, so much a strength throughout Murder the Mountains, is maintained through “Into the Eye,” and “The Undertow” not only highlights the bass tone that’s added weight all along to the barrage of righteous riffs, but broadens the scope of the record with a more languid tempo and melody; never doomed, but a purposeful comedown, and well placed ahead of the finale with effects noise bringing a few hypnotic seconds before “Human Herd” smacks its way in. A grungy verse into a surge of a chorus that only gets more surging feels like and is a victory lap on the band’s part, and though subsequent reissues (like the one streaming above) of Murder the Mountains have included bonus tracks “Over the Edge,” “Through” and “Pawn Everything,” I tend to prefer the original ending, the subtle touch of tambourine in the chorus of “Human Herd,” the way Beam‘s reach in those last lines, then the cold cut to silence. It all brings into near-perfect summary just how efficient Red Fang‘s work has been the whole time.

Precious few seconds are wasted throughout, and yet the band’s abiding personality is dudes-having-a-good-time. Songs are heavy but lighthearted and now and then bright-toned, guzzling PBR but executing with a clearheaded class. It was an album that set the band on tour for years and established them as the leaders of a wave of Portland/PNW heavy that’s abated some the last two years or so but still provides reliable listens on the regular. Red Fang themselves, as noted, hit the road hard, touring with Saint Vitus in 2011 (review here) and going to Europe in 2012. In 2013, they released Whales and Leeches (review here), toured toured toured, did a few other short releases, a Scion A/V EP (remember those?), toured toured toured, a one-off here and there, fests and whatnot into 2016’s Only Ghosts (review here), which remains their latest full-length. They of course toured toured toured to support it, and periodic singles have followed since — the latest, “Stereo Nucleosis” (posted here), came out in July 2020 — but a stretch coming on five years between LPs is easily the longest of their career.

Whatever may come or not from Red Fang in the next couple years, they’ve become statesmen of Portland heavy and of American heavy rock in general, and their contributions in craft and attitude alike continue to resonate, influencing style and substance alike. This album sounds no less vital today than it did nearly a decade ago when it was first released.

As always, I hope you enjoy. Thanks for reading.

—

Oh hi. Didn’t see you there. It’s 6:30 in the morning. The Pecan’s been sleeping past 7 (!) or at least not really getting out bed until then — he’s already stirring — so I let myself sleep until 5, which has felt like a gift the last couple days. I got up yesterday and managed to put together all of today’s posts — this one aside — before even getting him for breakfast. A boon in these days when preschool remains virtual. Which is, by the way, a fucking disaster.

He stayed with his aunt and grandmother on The Patient Mrs.’ side for an overnight last week. The Patient Mrs. and I, of course, spent the entire day sitting on the couch watching Star Trek. I shit you not, and it was glorious. You think I’m just not mentioning the sex, but no. No sex, just Trek. A pure and necessary headfirst dive into restorative boredom. I might, might have showered. I can’t remember just now. But anyway, in trying to convince The Pecan to lay down and go to sleep and then watching as he held out and sat up until, at last, he literally toppled over into unconsciousness, The Patient Mrs.’ sister sent a text remarking on his “astonishing willpower.” That has become a kind of running joke this week as regards behavioral issues.

Astonishing willpower as he continues to bite himself when asked to color his school calendar. Yes, we’re consulting with a behaviorist. With occupational therapy, with speech therapy (he’s boomed in language, but some of his frustrations are language-related; plus it’s a way to get him more socialization so we take whatever services we can get). Coordinating with the school — he’s in early pre-K to do this work. But yes, astonishing willpower.

An ambulance just went by in the dark, one blinking light, obviously keeping it quiet. Wonder if they’re cutting through the neighborhood or making a stop here. 4,000 people died yesterday. Knew we were creeping up on that. I keep an eye.

And hey, angry white people tried to overthrow the US government this week in a move that everyone saw coming including the police, who let it happen. Made for good tv. Gotta give that to whatshisname.

Well, kid’s up. I should go get him. Breakfast, grocery shopping, then virtual school, then I have a tele-health appointment with a psychiatrist to talk about my meds, which I am nervous about I guess. Like do I need to get on Zoom and perform depression for you? Must I manifest my diagnosis to legitimize it, sit on my back legs to beg for pills so I can go a day without thinking of obliterating myself? Yeah let’s do that. Sweet.

We’ll see how it goes. If I can make it through without being confrontational, I’ll call that a win.

New Gimme show today, 5PM. The Pecan does a guest spot in the voice track. Look out for it. He has fun.

Next week is booked front-to-back. Couple good reviews, couple premieres, all that stuff. Trying to set up a video interview with Kadavar. We’ll see how that goes too.

Great and safe weekend. Don’t forget to hydrate. Wear your mask over your nose. All that stuff.

New year, same FRM.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

I’ve barely begun to dig into Charley No Face‘s debut album, The Green Man. Just barely. And yet here I am posting about it, for a couple different reasons. One, the vinyl’s out Sunday, so there’s a time crunch — though I’ve certainly done after-the-fact, out-now kinds of stuff before as news, so not that much of a crunch. Second, and more importantly, Charley No Face remind me of Comet Control in their blend of drift, space and f-u-z-z, and among compliments I don’t give out lightly, that one’s significant.

Bits of Dead Meadow, bits of other slow-rolling distortion-drenched semi-psych awesomeness, and yeah, I’m in. This rules. Plus the album intro is in “Pts. I-IV” and only 40 seconds long and the CD’s in a jewel case. That last one feels pretty rare these days.

At heart I’m really a simple creature.

Dig the PR wire:

CHARLEY NO FACE Announces Long-Awaited Vinyl Release of Debut Album The Green Man

Vinyl out Dec. 20 via Forbidden Place Records; CD & Cassette Now Available

Portland psychedelic fuzz rockers CHARLEY NO FACE are proud to announce the impending vinyl release of their debut album The Green Man, out Dec. 20 via Forbidden Place Records.

An ode to Pennsylvanian urban legend Raymond Robinson, known to locals as The Green Man and Charley No-Face, the band’s debut features nine permeating tracks that contort a various range of influences from psychedelia and prog rock to doom metal and proto-punk.

Recorded by Cameron Spies (Blackwater Holylight) and mastered by Mike Nolte, this severely slept-on debut will be cherished by anyone into old-school production, entrancing melodies, and heavy-ass guitar straight from the garage.
CHARLEY NO FACE was formed in 2019 when Nick Wulforst (Crook and the Bluff) joined forces with Brad Larson after becoming neighbors in Portland, Oregon. Both obsessed with vintage gear and all things bluesy and heavy, they started writing songs together in an effort to create a new breed of grunge-inspired psych-rock. The duo soon enlisted drummer Tim Abel and guitarist Stephen Cameron (the latter eventually replaced by keyboardist Carina Hartley) to round out the thick wall of sound, when the drugs began to take hold—so tune in, turn up, and drop out.

Forbidden Place Records will release The Green Man on limited-edition red and yellow swirly vinyl on Dec. 20. Pre-order info can be found here, and tapes/CDs can be purchased here: https://forbiddenplacerecords.bandcamp.com/album/charley-no-face-the-green-man

CHARLEY NO FACE at the time of recording:

Nick Wulforst – vocals, guitar
Stephen Cameron – vocals, guitar
Brad Larson – bass
Tim Abel – drums

https://www.charleynoface.com
https://charleynoface.bandcamp.com
https://instagram.com/charleynoface
https://forbiddenplacerecords.com
https://forbiddenplacerecords.bandcamp.com
https://facebook.com/forbiddenplacerecords
https://twitter.com/ForbiddenPlaceR

Charley No Face, The Green Man (2020)