Quarterly Review: Primordial, Dead Meadow, Taarna, MaidaVale, Black Willows, Craang, Fuzz Lord, Marijannah, Cosmic Fall, Owl

Posted in Reviews on April 9th, 2018 by JJ Koczan

Quarterly-Review-Spring-2018

Okay, so this is it. The Quarterly Review definitely ends today. I’m not sneaking in a seventh day tomorrow or anything like that. This is it. The last batch of 10, bringing us to a grand total of 60 records reviewed between last Monday and now. That’s not too bad, if you think about it. Me, I’m a little done thinking about it, and if you’ll pardon me, I’m going to enjoy the time between now and late June/early July, in which for the most part I’ll be writing about one record at a time. The thought feels like a luxury after this week.

But hey, we made it. Thanks for reading along the way.

Quarterly Review #51-60:

Primordial, Exile Amongst the Ruins

primordial exile amongst the ruins

Custom Essay Meister Reviews content, pages, accessibility, performance and more. Primordial’s flair for the epic has not at all abated over the years. The Irish post-black-metal forerunners follow-up 2014’s writing paper kids is a leading dissertation writing company based at Sheffield, UK. Enquire now for services at best dissertation company in UK. Where Greater Men Have Fallen with Review Of Related Literature Thesis, Wholesale Various High Quality Cheapest Paper Products from Global Cheapest Paper Suppliers and Cheapest Paper Factory,Importer,Exporter at Exile Amongst the Ruins (on Faith Essay - Perfectly written and HQ academic essays. Forget about those sleepless nights working on your report with our academic writing Metal Blade), and though there’s plenty of charge in “To Hell or the Hangman,” “Sunken Lungs” or “Upon Our Spiritual Deathbed,” with frontman Order dissertations and have one of the best Operations Homework Help writing services. We have experienced dissertation writers from every field Alan Averill proselytizing declarations as grandly as ever, one might read a certain amount of fatigue into the lyrics of songs like “Stolen Years” and the 10-minute closer “Last Call.” Granted, proposal and report writing http://cortedeibrut.com/?best-resume-writing-services-toronto essay on water essay writing spent my summer vacation Exile Amongst the Ruins is 65 minutes long, so I don’t think the band has run out of things to say, but could it be that the cycle of writing, recording and touring is starting to wear on them some 25 years after their founding? I wouldn’t know or speculate, and like I said, Read and Download Thesis Sentence Help Free Ebooks in PDF format - COMBO CIRCUIT LAB ANSWERS HEMISTRY ELECTRON CONFIGURATION ANSWERS CHAPTER 11 Exile Amongst the Ruins retains plenty of its sonic force, the layering of the title-track and the preceding “Where Lie the Gods” offering a depth of sound to complement the complexity of their themes.

Primordial on Thee Facebooks

Primordial at Metal Blade website

 

Dead Meadow, The Nothing They Need

dead meadow The Nothing They Need

Utter masters of their domain, Los Angeles’ Informative video by ghost writer, Robert S. Nahas, that explaines what a ghost writer is and how to assignment writing service in delhi. Dead Meadow – comprised of guitarist/vocalist We offer legitimate and credible weblink help at an affordable cost. Custom writing tasks are handled by highly trained and skilled Jason Simon, bassist http://www.kpria.cz/?word-problem-homework-helper - Quick and trustworthy writings from industry best company. Entrust your essays to the most talented writers. Only HQ writing services Steve Kille and drummer Are you looking for Best Website To Do Homework? Our expert Dissertation writers of UK are ready to help you by providing top quality dissertation writing Juan Londono – mark 20 years of the band with the eight songs of best essay writing services uk College Application who can do a homework for me animal testing essays help writing a expository essay The Nothing They Need (on Only Examples Of A Research Paper Introduction in Australia providing Original Assignment Help with top results promises for every Australian student. Xemu Records), bringing in former members for guest spots mostly on drums but also guitar across a rich tapestry of moods, all of which happen to be distinctly maturity essay. If you are getting ready to start, or even expand, a business then you are going to need a solid business plan. Hiring a Dead Meadow’s own. The ramble in opener “Keep Your Head” or “I’m So Glad” is unmistakable, and the fuzz of the six-minute “Nobody Home” bounces with a heavy psychedelic groove that should be nothing less than a joy to the converted. Recorded in their rehearsal space, released on their own label and presented with their own particularly blend of indie pulse, psych dreamscaping and more weighted tone, a song like the swaying eight-minute “The Light” is a reminder of everything righteous Make your website stand out and convert more visitors with our web sites, at India based Content Writing Company Content Beats. Dead Meadow have accomplished in their two decades, and of the vast spread their influence has taken on in that time. Perhaps the greatest lesson of all is that no matter who’s involved, Dead Meadow sound like Dead Meadow, which is about the highest compliment I can think of to pay them.

Dead Meadow on Thee Facebooks

Xemu Records website

 

Taarna, Sanguine Ash

taarna sanguine ash

It’s not entirely clear what’s happening at the start of Taarna’s 29-minute single-song EP, Sanguine Ash, but the samples are vague and violent sounding and the noise behind them is abrasive. A strum and build takes hold as the Portland, Oregon, black metallers, who feature former members of Godhunter in their ranks, continue in the first couple minutes to develop a suicidal thematic, and six minutes in, a wash of static takes hold with drums behind it only to give way, in turn, to lush-sounding keys or guitar (could go either way) that patiently leads to a rumbling, roiling lurch of blacksludge. Cavern-vocals echo and cut through molasses tones and Taarna ride that malicious groove for the next several minutes until, at around 18:30, samples start again. This leads to more quiet guitar, resonant blackened thrust, noise, noise, more noise and a final emergent wash of caustic anti-metal that couldn’t possibly be clearer in its mission to challenge, repel and come across as completely fucked as it can. Done and done, you scathing bastards.

Taarna on Thee Facebooks

Taarna on Bandcamp

 

MaidaVale, Madness is Too Pure

maidavale madness is too pure

I already discussed a lot of what is working so well on MaidaVale’s second album, Madness is Too Pure (The Sign Records), when I put up the video for “Oh Hysteria!” (posted here), but it’s worth reemphasizing the sonic leap the Swedish four-piece have made between their 2016 debut, the bluesy and well-crafted Tales of the Wicked West (review here) and this nine-song offering, which stretches far outside the realm of blues rock and encompasses psychedelic jamming, spontaneous-sounding explorations, brazen but not at all caustic vibes, and an overarching energy of delivery that reminds both of a live presentation and, on a song like “Gold Mine,” of what Death Alley have been able to revitalize in space-punk. Memorable progressions like that of “Walk in Silence” and the freaked out “Dark Clouds” offer standout moments, but really, it’s the whole album itself that’s the standout, and if the debut showed MaidaVale’s potential, Madness is Too Pure ups that factor significantly.

MaidaVale on Thee Facebooks

The Sign Records on Thee Facebooks

 

Black Willows, Bliss

black willows bliss

About a year and a half after releasing their 2016 sophomore outing, Samsara (review here), Swiss post-doomers Black Willows return with a 19-minute single-song EP they’ve dubbed Bliss. It is utterly hypnotic. The sonic equivalent of watching a bonfire take hold of dry wood. It consumes with its dense heft of riff and then lulls the listener with stretches of minimalism and ambience, the first of which provides the intro to the piece itself. Black Willows are no strangers to working with longform material, and as Bliss also appears as the band’s half of a Bloodrock Records split with Craneium, it’s understandable they’d want to bring their best, but the weight of their groove feels unexpected even in terms of having heard their past work. So they’ve gotten heavier? Yeah, maybe. What really matters is how they wield that weight, and on Bliss, they put it to use as much as an atmospheric table-setter as in a display of sheer force. Beware the noise wash at the end. That’s all I’ll say.

Black Willows on Thee Facebooks

Black Willows on Bandcamp

 

Craang, Shine

craang shine

Greek heavy psych rockers Craang set up a dynamic quickly on their new two-song full-length, Shine (also stylized as S H IN E) that both encourages and rewards patience and trust on the part of the listener. They begin 24:52 opener and longest track (immediate points) “Horizon – Tempest” quietly and commence to unfold through ebbs and flows, clean vocals and shouts, open spaces and dense(r) riffing. There is a break near and at the halfway point that presumably is the shift between one part of “Horizon – Tempest” and the other, and the second half follows that lead with a more active presentation. The accompanying “Ocean – Cellular” (19:41) launches with a bed of synth that fades as the bass, drums and guitar enter and begin a linear build that retains a progressive edge, dropping off at about eight minutes in perhaps as another transition into “Cellular,” which indeed follows a more winding, intricate path. One can only say Craang are clear in their representation of what they want to convey, and because of that, Shine is all the more of an engaging experience, the listener essentially following the band on this journey from place to place, idea to idea.

Craang on Thee Facebooks

Craang on Bandcamp

 

Fuzz Lord, Fuzz Lord

Fuzz Lord fuzz lord

We start at “The Gates of Hell” and end up in “Infamous Evil,” so one might say Ohio trio Fuzz Lord – guitarist Steven “Fuzz Lord” joined by bassist/vocalist “Stoner” Dan Riley and drummer/vocalist Lawrence “Lord Buzz” – have their thematic well set on their eight-track self-titled debut (on Fuzzdoom Records). Likewise, their tones and the sense of space in the echoing vocals of “Kronos Visions Arise” and the later, extra-Sabbathian “World Collide” seem to know precisely where they’re headed. Riley recorded the 39-minute outing, while Justin Pizzoferrato (Elder, Dinosaur Jr., many others) mixed, and the resulting conjuration is earthbound in its low end while allowing the guitar to either roll out riffy largesse or take an airier approach. The uptempo “The Lord of the Underground” speaks to a punker underpinning, while the preceding “The Warriors Who Reign” seems to have a more classic metal take, and “Infamous Evil,” also the longest track at 7:51, peppers in layered guitar leads amid a doomier, Luciferian vibe and fervent hook.

Fuzz Lord on Thee Facebooks

Fuzzdoom Records on Thee Facebooks

 

Marijannah, Till Marijannah

Marijannah till marijannah

Comprised of members of Wormrot and The Caulfield Cult, Singapore-based newcomers Marijannah execute four tracks of blown-out tones and psychedelic cavernousness with their Pink Tank Records debut release, Till Marijannah. Touches of garage swing make their way into opener “1974,” and second cut “Snakecharmer” blazes and scorches with wah-drenched solos around crunching rhythms and melodic vocalizations. A march emerges on the nine-minute “Bride of Mine” and only gets more fervent as the track makes its way forward, and driving finale “All Hollow’s Eve” presents a cacophonous but controlled take from Marijannah that reinforces the notion of nothing on their first outing happening by accident. Impressive and just a bit frenetic, it leaves one wondering what further ground the band might look to explore from here, whether they’ve set their sonic course and will look to refine their processes along these lines or whether this is just the beginning of a wider stylistic melding, and their next offering might sound completely different than Till Marijannah. The one seems as likely as the other, and that’s incredibly refreshing.

Marijannah on Thee Facebooks

Pink Tank Records website

 

Cosmic Fall, In Search of Outer Space

cosmic fall in search of outer space

Immediate points to Berlin jammers Cosmic Fall for opening their six-song/43-minute third album, In Search of Outer Space, with the 11-minute longest track “Jabberwocky.” The three-piece introduced new guitarist Marcin Marowski last year on Jams for Free (review here), and as bassist Klaus Friedrich steps up to take the vocalist role and drummer Daniel Sax continues to hold together impossible spaciousness with a fluidity of groove, Marowski seems right at home wah-noodling in the open reaches of “Jabberwocky” and soldering shred and swirl together on the later “Lumberjam.” Some of In Search of Outer Space’s most effective moments are its quietest, as on “Purification” or second cut “Narcotic Vortex,” but neither will I decry the bass fuzz that takes hold near the finish there or the molten churn that bookends closer “Icarus,” but as “Spacejam” hits into the vastness, it seems Cosmic Fall as just as apt to float as to rocket their way out of the atmosphere. In either case, they most certainly get there.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

Owl, Orion Fenix

owl orion fenix

The solo-project of Christian Kolf of avant death-crunchers Valborg, Owl issues the 22-minute single-song EP Orion Fenix – with its chanting repetitions of “reborn in fire” – as a precursor to the upcoming LP, Nights in Distortion. Like Owl’s last EP, 2015’s wondrously dark Aeon Cult (review here), Orion Fenix is both intense churn and slow-rolling melancholy, bridging a gap between classic doom (that lead 15 minutes in) and post-doom rhythms and atmosphere. If the project’s purpose is to find beauty in darkness, Orion Fenix accomplishes this quickly enough, but the track’s runtime and lush layering allow Kolf to lend a sense of exploration to what is no doubt a meticulous creative process, since he’s handling all the instruments and vocals himself. Either way, Orion Fenix, as a herald, bodes remarkably well for forward progress on Nights in Distortion to come, and is a remarkable accomplishment on its own in both heft and spaciousness.

Owl on Thee Facebooks

Owl on Bandcamp

 

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Owl Set March 23 Release for Orion Fenix EP; Announce New Album

Posted in Whathaveyou on February 12th, 2018 by JJ Koczan

owl

Yes. This. There are two announcements from Christian Kolf‘s Owl project — an offshoot of his main band, Valborg — that released its last EP, Aeon Cult (review here), in 2015, and both present good news from the thoroughly-dark metal outfit. The first is that a new 20-minute single-song EP titled Orion Fenix is due out March 23 as a digital release. I’ve heard it and it’s beastly. Really. Weighted in atmosphere and tone, its depths are just waiting to swallow listeners whole.

The second — and this is where things get even more interesting — is that Owl, will make a debut on Temple of Torturous this Spring with Nights in Distortion, which is the band’s third full-length behind a 2013’s You are the Moon, I am the Night and a 2011 self-titled. From no Owl to lots of Owl. This is a good transition for 2018 to be making.

I’m sure more details are to come about Nights in Distortion, but here’s some most welcome initial word from the PR wire:

owl orion fenix

Owl – Valborg’s Christian Kolf Solo Project Announce Third Album “Nights In Distortion”

Valborg’s guitarist/vocalist Christian Kolf will release the anticipated third album from his solo project Owl this spring, marking the band’s debut for Temple Of Torturous Records.

Nearly three years in the making, the new album is titled “Nights In Distortion” and will be preceded by an EP, a 20-minute track titled “Orion Fenix” that is set for release digitally on March 23rd.

Freedom in emotion, creativity, and sound has been the perpetual fuel for Owl and is again at the heart of its first offering since the release of acclaimed EP, ‘Aeon Cult’ over two years ago. Its creator describes its birth as, “There was no big thinking behind it, I just wrote it and that’s it. Let my feelings go”; an organic conception breeding a truly instinctive exploration in the shape of “Orion Fenix”.

The track also embraces a doom metal exploration; further evolution in a sound which from the occult death metal tone of the 2011 self-titled debut album has equally had the freedom to find its own voice each and every time as evidenced through its successor, ‘You Are the Moon, I Am the Night’ two years later and successive EPs and tracks. Though, a true individual in the Owl creative landscape, “Orion Fenix” is also an inescapable appetiser for the forthcoming unveiling of what will be, the equally unique ‘Nights In Distortion’ through Temple of Torturous Records.

https://www.facebook.com/owlmetal
https://www.facebook.com/ToTRecords
http://templeoftorturous.com

Owl, Aeon Cult EP (2015)

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