Absolute ripper. You wouldn’t have called Heavy Temple timid as a band on their 2021 debut, Lupi Amoris (review here), but Garden of Heathens is confident in its stride from the first clarion riff in leadoff “Extreme Indifference to Life” and throw-elbows brash through the head-spinning, double-kick-propelled instrumental thrash finish in “Psychomanteum”; less about playing to style than doing what feels right in the songs, dynamic, heavy, and charged. Now more than a decade on from their start, the Philadelphia trio led by bassist/vocalist High Priestess Nighthawk with Baron Lycan on drums and, here, Lord Paisley making his final appearance on guitar — Christian Lopez (also Sun Voyager) has stepped into the role — present a clear vision of who they are across eight songs and 45 minutes brimming with attitude, righteous intent, groove and swagger as they bounce back and forth between longer and shorter cuts, building momentum fast and never quite letting it go even in the later reaches of the near-nine-minute “Snake Oil (And Other Remedies)” with its abundant layers of shred, emphatic physical push and willfully noisy apex.

Maybe you’ve seen them on stage in the last couple years. Maybe you haven’t. Either way, that’s the likely origin point of the urgency they offer to underpin whatever a given piece might be doing, as with “Hiraeth” following the declarative hook and roll (actually there’s some double-kick there too, and elsewhere; don’t be scared) of the opener with an internalized worship that brings together Queens of the Stone Age and Slayer, or the tension wrought in the three minutes comprising the ambient, hypnotic “In the Garden of Heathens,” marked by cymbal wash and guest cello from John Forrestal, who also produced at The Animal Farm in the idyllic countryside of Flemington, New Jersey. That semi-title-track is the only real comedown provided, and the breather is all the more appreciated in complementing “Snake Oil (And Other Remedies)” as the band make ready to topple the gatekept walls of metal in the penultimate “Jesus Wept,” hitting hard with a heroic dose of lead guitar and a scorch that by that point in Garden of Heathens has already left no shortage of blisters.

But if ‘over the top’ is where it’s at — and no, you’re not wrong if you’re picturing Sylvester Stallone arm wrestling in the 1987 movie of the same name — then Heavy Temple are at home in the excess, and what most brings the material on Garden of Heathens together is the fuckall fury and tightness of their execution. The proverbial band on fire, as demonstrated through the seven minutes of “Divine Indiscretion” as it courses fluidly through a twisting verse and a chorus that only grows more melodic with the additional vocal layer the second time through. Nighthawk‘s increased command-of-instrument as a singer is given due punctuation by the stomping, headbang-worthy riff and solo from Paisley that follow said verse/chorus as they gallop into the song’s midsection, toy with a flash of ’70s Motörheadular shuffle and stop to give the crowd — whatever, wherever, whoever — a chance to shout back in response before the noise wash circa 4:30 brings it to a standalone, maybe-part-improv Hendrix meander backed by a layer of effects that soon enough rises to earth-consuming proportion before the shred goes full-Iommi and they turn back to the central riff for a fast, loud, big, big, big crash to end.

Movement, a heavy immediacy in the songwriting, has been wheelhouse for Heavy Temple since their 2014 self-titled EP (review here) and has carried them through multiple lineup changes, but with Garden of Heathens, they are sharper and more focused than they’ve yet been on record. While the strut is still there in “Hiraeth” and the not-actually-slow-but-still-a-nod “House of Warship,” some of the funk that rested beneath the fuzzy surface of their earlier work has been traded out in favor of more direct intensity. Given the unenviable positioning between “Divine Indiscretion” and “Snake Oil (And Other Remedies),” “House of Warship” announces itself with a standalone harmonized vocal sweep joined shortly by creeper guitar, and gets bombastic as Lycan‘s drums give pulse to the dug-in riff, while Nighthawk gets theatrical in the multi-layered hook and pushes to higher notes in the song’s consuming midsection. Ready to noiseblast at a moment’s notice, they make “House of Warship” a highlight, touching on doom and toying with goth and metal in ways that make the careful balances in their approach sound as organic as they likely are. To me, it most sounds like Heavy Temple stepping forward creatively and bending genre to their increasingly individualized purposes.

Because it’s loud regardless of actual volume, because it varies tempos, departs and returns, shoves, swings, bobs and weaves, and ultimately because it has so much energy behind its delivery, Garden of Heathens reveals more of its complexities on repeat listens, whether that’s the okay-here-we-go transition into the shredding finish of “Extreme Indifference to Life” or the High on Fire-informed push in “Jesus Wept.” The finer details are worth it, to put it mildly, as is the raw force with which the tracks land, each contributing something of its own to the broadened scope of the entirety. That they choose to end with “Psychomanteum,” the fastest and most brazen attack, teasing a slowdown but finishing with a suitable defiance of expectation both in style and lack of vocals, sends the message (expedited) that Heavy Temple aren’t done. It may or may not hint at future dives into thrash and other more aggressive styles to be melded with their weighted tones, but at a certain point it’s moot to speculate since, aside from whatever progression or whims may manifest, their next release will invariably present some shift in dynamic as a result of the personnel change.

That too is part of the story of Heavy Temple and Garden of Heathens, but the bloodlust in these songs isn’t out of the blue, and one can only hope remains as much a piece of who they will become as it is of who they are today. Few and far between on this wretched earth are bands who can inhabit both the wrecking ball and the afterparty dancing atop the rubble. Now mosh, ye pagans.

Heavy Temple, Garden of Heathens (2024)

Heavy Temple on Facebook

Heavy Temple on Instagram

Heavy Temple on Bandcamp

Magnetic Eye Records store

Magnetic Eye Records website

Magnetic Eye Records on Facebook

Magnetic Eye Records on Instagram

Crypt Sermon dance all over the border between classic doom and trad metal, and accordingly there are times where I feel like they’re more of a fit here than others, but listening to the push of melody in their new single “Heavy is the Crown of Bone” and the tonal density of the groove alongside Brooks Wilson‘s gutted-out vocals, I’m less concerned with the lines betwixt microgenres than I am the realized nature of what the Philadelphia troupe are doing in the song itself.

Their new album is called The Stygian Rose, was produced by Arthur Rizk, who also engineered and did most of the mixing for 2019’s The Ruins of Fading Light (review here), will be out June 14 through Dark Descent Records, and is being heralded alongside some bona fide landmarks in the PR wire announcement below, but if you’d see the names dropped and bristle at the hyperbole, I’ll point out that I think they’re less talking about hit records than moments where the bands in question figured out who they were and what they wanted to be. If that’s what’s unfolding in “Heavy is the Crown of Bone” — and I have no reason to think it isn’t after listening — then the arrival of their third long-player is all the more something to look forward to.

No shortage of blue text below, and here I’ll reiterate my general philosophy that learning what artists and those promoting them are saying about their own work is crucial to creating an understanding of it — it’s why I cut and paste press releases in a different color rather than try to fool you into believing those are my ideas via paraphrase — but I’ll advise you head down to the bottom first and hit play on the “Heavy Lies the Crown of Bone” video for accompaniment to your perusal, as well as motivating to dive deeper into where they’re coming from.

Off you go, then:

Crypt Sermon Unveil Details for New Album, The Stygian Rose

Out June 14 on Dark Descent Records. // Watch the stunning music video for first single “Heavy is the Crown of Bone.”

Pre-order here: https://www.darkdescentrecords.com/shop/

Black Sabbath changed the world we know and love with Paranoid. Candlemass defined their career with Ancient Dreams. Pantera were four albums in before they heavily shifted paradigms on Cowboys from Hell. And Mayhem weren’t even a band when De Mysteriis Dom Sathanas slithered into metaldom’s cellar. Now, Crypt Sermon stand at their crossroads with The Stygian Rose, out June 14 on Dark Descent. It’s their time—the culmination of their journey.

Featuring guitarist Steve Jansson (Daeva, Unrest), vocalist Brooks Wilson (Unrest), drummer Enrique Sagarnaga (Daeva, The Silver), guitarist Frank Chin (Daeva), bassist Matt Knox (Horrendous, The Silver), and keyboardist Tanner Anderson (Obsequiae, Majesties), the Philadelphia-based sextet parlayed their time away into a grander, more mysterious Crypt Sermon. The interflow of doom and heavy metals underpins The Stygian Rose, but these boundaries are effortlessly transcended. “We feel unrestrained now,” Wilson says. “We thought, if the word ‘epic’ in doom metal means anything, it’s without constraint. What’s more vast than being unconstrained?” Sagarnaga continues, “There’s a lot of variety on the album, and I think that’s not just because we get bored easily—which we do, actually—but rather this is who we are.”

From the commanding rhythm of “Heavy is the Crown of Bone”— which premieres today alongside a ravishing music video by The C.O.I.N..— Crypt Sermon brandish their musical and conceptual prowess. The song thunders in on cloven hoof before giving way to Crypt Sermon’s muscular doom and stomp.

Singer Brooks Wilson shares, “This song follows our unnamed protagonist summon an entity from ‘The Ars Goetia’ as he seeks sacred consummation with the Divine Feminine. We were happy to work with The C.O.I.N. in achieving our concept, adding a visual element to our music that incorporates much of the esoteric symbolism embedded in ‘The Stygian Rose.'”

The songwriting for The Stygian Rose started in late 2022. Sagarnaga says, “This is the most prepared our band has been, especially going into the studio. It’s about respect for each other’s time. We were more patient with one another regarding how we expressed musical ideas. We committed to practicing on a regular schedule—that was important. And as we get older, we hopefully have become better musicians. ‘The Stygian Rose’ is also the longest time we’ve had with Arthur Rizk in the studio. Every little detail you hear in the final result of the record is very deliberate.”

The Stygian Rose tracklist:
1. Glimmers in the Underworld
2. Thunder (Perfect Mind)
3. Down in the Hollow
4. Heavy is the Crown of Bone
5. Scrying Orb
6. The Stygian Rose

Crypt Sermon tracked The Stygian Rose at Redwoods in Philadelphia. Arthur Rizk produced, mixed, and mastered, and Aidan Elias (Blood Incantation, Wayfarer) engineered. Since the band and Rizk had previous history, they dialed in sounds quickly and got to work. In contrast to the sporadic two-month process of their last album, The Ruins of Fading Light, Crypt Sermon had just over a week to capture their The Stygian Rose. “We knew we wanted an aggressive sound,” says Wilson. “‘The Stygian Rose’ has way more depth than anything we’ve done before.”

The Stygian Rose follows a character inspired by Paschal Beverly Randolf, an early American spiritualist and sex magician. In The Stygian Rose, the unnamed character seeks to reconnect with his now maybe dead, definitely lost (though intentionally left vague) idealized female, embodying the Sophia/Shakti/Persephone divine wisdom/feminine concept. This lost love is believed to be waiting for him, calling for him from ‘the hollow.’ Conceived by Wilson, the protagonist’s harrowing jaunt starts with album opener “Glimmers in the Underworld” and ends naturally with the title track. The story, as unfurled in the lyrics, is directly connected to the album’s artwork and booklet, painstakingly painted and illustrated by Wilson. Clearly, The Stygian Rose and its lyrical and artistic regalia were thought through from the onset.

“I didn’t want to feel burdened by heavy metal tropes,” reveals Wilson. “I wanted to be able to use them but not be bound by them.” Jansson continues, “We wanted The Stygian Rose to scratch a lot of itches that aren’t being scratched. That’s my goal when I make music. I want to make things that I don’t hear other people doing or at least don’t hear others doing all in one package. I agree, it also has to have staying power and replay value. That addictive feeling you had when you listened to records as a teenager.”

The Stygian Rose showcases Crypt Sermon’s mastery of dark and heavy metal— dive in and experience its rich rewards. Pre-order here: https://www.darkdescentrecords.com/shop/

Crypt Sermon, record release shows:
June 14 Philadelphia, PA @ Johnny Brenda’s
June 15 Washington, DC @ Pie Shop

Produced, mixed, and mastered by Arthur Rizk at Redwoods Studio in Philadelphia, PA
Engineered by Aidan Elias
Photos by Scott Kinkade
Art by Brooks Wilson

Lineup:
Brooks Wilson (Vocals)
Steve Jannson (Lead Guitar)
Frank Chin (Rhythm Guitar)
Matt Knox (Bass Guitar)
Tanner Anderson (Synths)
Enrique Sagarnaga (Drums)

facebook.com/CryptSermon/
instagram.com/cryptsermon/
cryptsermon.bandcamp.com/

darkdescentrecords.com
facebook.com/darkdescentrecords
darkdescentrecords.bandcamp.com

Crypt Sermon, The Stygian Rose (2024)

Crypt Sermon, “Heavy is the Crown of Bone” official video

One-of-a-kind heavy-jazz weirdo insurgents Stinking Lizaveta were announced for Desertfest London 2024 back in November, and they’ll do dates around that appearance in the UK before crossing over into continental Europe for a five-date German stint that includes a stop at Freak Valley — where, barring disaster between now and then, I’ll see them — as well as the Dresden-based Sankt Piechen Festival before wrapping with a second night in Berlin alongside Acid Mothers Temple. The Philadelphia-based trio go in herald of 2023’s Anthems and Phantoms (review here), and whether you’re seeing them at a fest or a club show or anywhere you possibly can, I urge you to do what it takes to put your body in front of wherever they’re standing as they play. Some creativity is just inspiring.

For the UK shows — England, Scotland, Wales, as you can see below — they’ll be hooked up with no less than Maryland audio/visual drone experimentalists Darsombra, and if that doesn’t result in some kind of Stinksombra Big Band collaboration, well, it’ll be the universe’s loss as usual.

There wasn’t really so much an announcement as a posted poster on social media, but between the dates and a few words below, you get the point anyhow, and for a refresher, Anthems and Phantoms streams at the bottom. Go see Stinking Lizaveta:

Stinking Lizaveta – UK & Germany Tour

Stinking Lizaveta hitting the road in the old country!

14 May Bristol ENG The Gryphon w/ Darsombra
16 May Sowerby Bridge ENG Puzzle Hall Inn w/ Darsombra
17 May Cardigan WAL The Cellar w/ Darsombra
19 May London ENG Desertfest London w/ Darsombra (and many more)
22 May Newcastle ENG The Lubber Fiend w/ Darsombra
23 May Glasgow SCO Bloc w/ Darsombra
24 May Edinburgh SCO St. Vincent’s Chapel w/ Darsombra
25 May Inverness SCO Tooth & Claw w/ Darsombra
27 May Jena DE Cafe Wagner
28 May Berlin DE Schokoladen
31 May Netphen DE Freak Valley Festival
1 June Dresden DE Sankt Piechen Festival
4 Berlin DE Neue Zukunft w/ Acid Mothers Temple

Stinking Lizaveta is Yanni Papadopoulos on guitar, Alexi Papadopoulos on upright electric bass, and Cheshire Agusta on drums.

https://www.facebook.com/Stinking-Lizaveta-175571942466657/
http://www.stinkinglizaveta.com/
https://stinkinglizaveta.bandcamp.com

https://www.facebook.com/SRArecords
https://www.instagram.com/srarecords/
https://srarecords.bandcamp.com/
https://srarecords.com/

Stinking Lizaveta, Anthems and Phantoms (2023)

Philadelphia-based heavy transcendentalists Rope Trick released their two-songer Red Tide EP at the start of February. Recorded live, it’s their first output since 2017’s Red Tape EP (discussed here), which was also their debut, and with Indy Shome and Nate Totushek from Queen Elephantine (yes, both) comprising the lineup, it should be little surprise that they dig in as deeply as they do across “Crescent” (12:28) and “Neptune” (8:39), the former of which is well broiled in its tense rhythm before the vocals even start circa five minutes in, and the latter of which dares more melody in its culmination and feels more straightforward perhaps for the fuzz in Shome‘s guitar, but on closer inspection is no less exploratory than the cut before it.

It’s not what you’d call a lush production — and Queen Elephantine have never been really about that either, so it makes sense — but there’s plenty enough clarity for Red Tide to establish a meditative vibe and argue in favor of following where the music flows, whether that’s the crashes and raw vocal plead of “Crescent,” which is somehow still also mathy-jazzy in its comedown tumult, or the chunk-chug in the outset of “Neptune” building up like an extrapolation of Melvins in their oddball heyday. Yeah, it’s been seven years. Time is imaginary.

Except, maybe, for marking shows on your calendar. Those you’ll find below as Rope Trick head out to support Red Tide live as they also did for its ruby-hued predecessor, courtesy of the PR wire:

ROPE TRICK release RED TIDE and announce Northeast US shows

ROPE TRICK is an experimental heavy psych rock duo from Philadelphia, consisting of Indy Shome on guitar and vocals and Nate Totushek on drums (also of Queen Elephantine). Listeners have compared them to Neil Young, Soundgarden, Jandek, Fela Kuti, and Black Midi.

RED TIDE was released digitally on February 1st. The artwork was done by Josh Yelle and it was recorded by Bruce Howze at Red Planet Studios.

ROPE TRICK is supporting it with a series of shows this Spring 2024 through the Northeast US, ranging from Virginia to New Hampshire.

TOUR
Spring 2024 ▼ East Coast

3/29 – Clinton CT, Scottish Dave’s Pub
3/30 – Southbridge MA, Starlite Gallery
4/12 – Somerville MA, The Rockwell
4/13 – Providence RI, AS220
4/21 – Queens NY, Trans-Pecos
4/27 – Dover NH. Flight
5/04 – Philadelphia PA, Haus of Yarga
5/10 – Baltimore MD, The Crown
5/11 – Richmond VA, Fuzzy Cactus

Rope Trick are:
Guitar + Vocals by Indy Shome
Drums by Nate Totushek

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

Rope Trick, Red Tide (2024)

The news that Philadelphia heavy rockers Thunderbird Divine have been picked up by Black Doomba Records for their next album is already a win even before you get to the manner of their delivery, which is with the charm-drenched video below filmed on what seems to have been a day like any other in the rehearsal space until it wasn’t pizza at the door. Good fun, and a Pulp Fiction reference at the end to boot.

Early last year, Thunderbird Divine unveiled standalone covers of The Osmonds‘ “Crazy Horses” (premiered here) and Barry White‘s “I’m Gonna Love You Just a Little More, Babe” (premiered here), following on from their take on The Yardbirds‘ “Happenings Ten Years Time Ago” that featured among the originals on 2020’s The Hand of Man EP (review here). 2024 puts us at five years and at least a partial lineup swap’s remove from their debut full-length, 2019’s Magnasonic (review here), so even seeing mention of “Fall of 2024” as a potential arrival date for their sophomore LP is welcome. I haven’t heard it yet, but I hear good things about it and the stretch after the first has only found them growing funkier, so here’s looking forward.

The PR wire makes it official, but don’t forget to watch the clip as well for a highlight 90 seconds of your day:

THUNDERBIRD DIVINE Rocks the Scene: Signs with Black Doomba Records for Explosive Fall 2024 Album Release

In an electrifying new partnership, the esteemed Philadelphia-based band THUNDERBIRD DIVINE has inked a deal with Black Doomba Records, signaling a bold new chapter in their already illustrious journey. This collaboration promises to unleash an album in the fall of 2024 that will further cement THUNDERBIRD DIVINE’s place in the pantheon of riff-heavy psychedelic/stoner/doom music.

Since their formation in March 2017, THUNDERBIRD DIVINE has captivated audiences with their unique blend of sonic textures and musical experimentation, drawing inspiration from the likes of Monster Magnet, Hawkwind, and The MC5. Their journey has seen them release critically acclaimed albums such as Magnasonic and The Hand of Man, alongside memorable singles and covers that showcase their versatility and creative prowess.

The upcoming album, set for release in the fall of 2024, is eagerly anticipated by fans and critics alike. It promises to be a testament to the band’s relentless pursuit of musical innovation, featuring compositions that are both emotionally compelling and sonically adventurous. This new project will not only highlight THUNDERBIRD DIVINE’s mastery of traditional rock songwriting but will also delve into complex textures and sounds, further pushing the boundaries of their genre.

THUNDERBIRD DIVINE comprises Erik Caplan, Michael Stuart, Joshua Adam Solomon, and Jack Falkenbach – a lineup of multi-instrumentalists known for their musical virtuosity and experimental approach. The band’s dedication to in-house recording and embracing technological advancements in search of the perfect sound has set them apart in the music world.

The partnership with Black Doomba Records, a label renowned for its dedication to the heavy music scene, marks a significant milestone for THUNDERBIRD DIVINE. This alliance is set to amplify the band’s reach and introduce their groundbreaking music to a wider audience.

Stay tuned for more updates on THUNDERBIRD DIVINE’s forthcoming album and their journey with Black Doomba Records. In the meantime, fans can connect with the band through their official social media pages and Bandcamp profile.

https://www.facebook.com/thunderbirddivine
https://www.instagram.com/thunderbird_divine/
https://thunderbirddivine.bandcamp.com/

https://www.blackdoomba.com/
https://blackdoombarecords.bandcamp.com/
https://www.facebook.com/blackdoombarecords/
https://linktr.ee/BlackDoomba

Thunderbird Divine, Black Doomba Records signing announcement

Greeting listeners with its opening track positioned as the first single, Heavy Temple‘s second long-player, Garden of Heathens, is set to arrive on April 22 through Magnetic Eye. One will find the self-recording Philly hard fuzzers’ twisting grooves intact from where they left off on 2021’s Lupi Amoris (review here), with High Priestess Nighthawk bringing a refined post-Homme croon to the verses before shifting soulfully into the second chorus. What was true then would seem to remain true now. If you’ve got the itch, Heavy Temple are the scratch.

So be it. “Extreme Indifference to Life” streams below and I count this near if not at the top of my most anticipated records of 2024 list. Note the band toured with Howling Giant for a first European run last Fall, and that I’m pretty sure Garden of Heathens was already recorded before that; guitarist Lord Paisley has been replaced by Christian Lopez, whose nom de plume I’d imagine is pending.

From the PR wire:

HEAVY TEMPLE unleash first single ‘Extreme Indifference to Life’ and details of new album “Garden of Heathens”!

Psychedelic doom fast-risers HEAVY TEMPLE have released the booming opening track ‘Extreme Indifference to Life’ as the first single taken from their forthcoming sophomore full-length “Garden of Heathens”, which has been slated for release on April 12, 2024 via Magnetic Eye Records. The pre-sale is now available at http://lnk.spkr.media/heavy-temple-garden

HEAVY TEMPLE comment: “The lyrics of our new record ‘Garden of Heathens’ are rather personal”, singer and bass player High Priestess Nighthawk reveals. “They are always the last thing to get done, but these nearly wrote themselves. The words came from the darkest parts of my mind that I usually don’t want to confront. Coincidentally, ‘Extreme Indifference to Life’ deals with the imposter syndrome to the extreme: the anxiety of overthinking everything, always wondering if you’re good enough, or even if you were ever any good to begin with.”

Tracklist
1. Extreme Indifference to Life
2. Hiraeth
3. Divine Indiscretion
4. House of Warship
5. Snake Oil (and Other Remedies)
6. In the Garden of Heathens
7. Jesus Wept
8. Psychomanteum

Wherever HEAVY TEMPLE are heading on this diverse and dynamic record, they always stay real with both feet on the ground. Except, that is, when it comes to the lyrics. With her words, the High Priestess admits to peddling a version of things that isn’t real – with a grim smile and quite deliberately so. In fact, that’s the theme running through “Garden of Heathens” as a red thread. From the American Dream to relationships, below the surface there is anxiety, betrayal, and doubt. And while some of the lyrical metaphors might at first glance seem to focus on religion, they are definitely not that literal. Rather, these are Nighthawk’s most personal lyrics ever.

Recording line-up
High Priestess Nighthawk – vocals, bass
Lord Paisley – guitar
Baron Lycan – drums

Guest musician
John Forrestal – cello

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com

http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords
https://www.instagram.com/magneticeyerecords/

Heavy Temple, “Extreme Indifference to Life”

This Friday, Jan. 12, marks the release of Turned to Stone Ch. 9, the latest installment of the ongoing split series from Ripple Music highlighting deep-underground talent in heavy rock, doom, psych, and related styles. Bringing together Ritual Earth from Philadelphia, Pennsylvania, with Italian duo Kazak, the seven-song offering follows behind the Southwesterly-focused Turned to Stone Ch. 8 (review here), which arrived in May 2023 with new material from Blue Heron and High Desert Queen, and in prior editions the series has highlighted works from Howling Giant, Saturna, Planet of the 8s, Merlin, Wizzerd, and of course plenty of others.

Ritual Earth aren’t without influence from desert-style heavy, but they can’t escape that Northeastern urbane tonal crunch either, and it stays resonant even as they depart the roll in “Through the Interstellar Medium” for a first-half exploratory jaunt. To be sure, the nod returns. Vocalist George Chamberlin carries rock melodies informed by grunge and traditionalist heavy, and in Steve Mensick‘s guitar, Chris Scott‘s bass, Chris Turek‘s drumming and maybe organ from Mark Boyce, there is expansive complement. Offering three songs to Kazak‘s four, Ritual Earth first present the organ-laced blues nod of “In the Wake,” which weaves into and around its central riff through moody, open verses that seem to make the ensuing chorus take off all the more.

“Through the Interstellar Medium” brings psychedelic flourish to this riffy ideology, and in the eight-minute “Ominous Aurorae,” they take their time getting there and offer an impact in the drums that’s well worth the trip as they embrace a more linear structure rising from a contemplative, atmospheric start into more terrestrial chorus-making, not quite as over-the-top as Green Lung, but not far off, and underscore the triumph with a guitar solo before capping with a last chorus. Kazak — the two-piece configuration of guitarist/vocalist/synthesist Daniele Picchi and drummer Matteo Gherardi branched off of the decidedly more raucous unit Fish Taco — arrive at Turned to Stone with four cuts, shorter on average than Ritual Earth‘s in terms of runtime, but expansive in their own way, fostering a meditative sound that, like what Ritual Earth brought to side A, is adjacent to desert rock without actually being it.

Instead, the primary touchstone for Kazak, particularly once Picchi‘s vocals start on “Geometrical Alchemy,” is earlier Om, but the difference of impact thought Picchi‘s guitar is apparent even earlier than that, and the flexibility in terms of frequency from the six-stringed instrument gives “Geometrical Alchemy” a sense of reach that “Haze,” which is still plenty rich in terms of low end, but that finds its fluidity in the interplay with Gherardi‘s drumming. At 7:11, “Sunset Symphony” is as far out as Kazak go, its groove is melodic and resonant thanks to vocal layering as it approaches the middle, though by that point, Kazak have immersed the listener in the fog they’ve conjured through the first two songs, so it’s not such a leap when they take that next step.

And suitably enough, it’s the guitar riffing away in the nod of closer “The 25th Hour” that lets Kazak ride to its more percussive ending with such flow, hypnotic repetition easing the way as Picchi and Ghererdi find ground beneath the ether. Their sound and Ritual Earth‘s are varied, but each belongs to the band in question, and while they might not at first seem like the most intuitive pairing — as opposed to bands who sound the same, that is — they make each other’s material stronger through their shared elements and are all the more divergent for the individual takes they present. Once again, the Turned to Stone series delivers a quality sampling of wares from two acts who will only have earned whatever recognition they garner from taking part in it. You’d think eventually the label would run out of bands to spotlight, but I’m certainly glad it hasn’t happened yet.

The split LP streams in full below, followed by more from the PR wire.

Please enjoy:

Preorder link: https://ripplemusic.bandcamp.com/album/turned-to-stone-chapter-9

“Turned To Stone Chapter 9” will be available on January 12th, 2024 in various vinyl formats as well as digitally, with preorders available now on Ripple Music.

RITUAL EARTH & KAZAK “Turned To Stone Chapter 9” split album Out January 12th on Ripple Music – PREORDER: https://ripplemusic.bandcamp.com/album/turned-to-stone-chapter-9

TRACKLIST:
1. Ritual Earth – In The Wake
2. Ritual Earth – Through Interstellar Medium
3. Ritual Earth – Ominous Aurorae
4. Kazak – Geometrical Alchemy
5. Kazak – Haze
6. Kazak – Sunset Symphony
7. Kazak – The 25th Hour

Ritual Earth are:
George Chamberlin – Vocals
Steve Mensick – Guitars
Chris Scott – Bass
Chris Turek – Drums
Keys & Synths by Mark Boyce

Kazak are:
Matteo Gherardi – drums, pads
Daniele Picchi – guitar, voice, synth

Ritual Earth on Facebook

Ritual Earth on Instagram

Ritual Earth on Bandcamp

Kazak on Facebook

Kazak on Instagram

Kazak on Bandcamp

Ripple Music on Facebook

Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music website

This is a ‘make it official’ kind of announcement from Philadelphia’s Heavy Temple, who’ve already appeared at Desertfest New York 2023 (review here) and subsequently banged out a European tour with Christian Lopez on guitar, as well as, you know, probably hung out a whole bunch at rehearsal and stuff. Lopez takes the place of Lord Paisley, who joined Heavy Temple in time to play on 2021’s debut full-length, Lupi Amoris (review here), be a part of their continuing emergence as a touring act, and take part in tributes, splits, the whole thing.

It’s only been a few years, but Heavy Temple have been through a couple of guitarists and drummers around founding bassist/vocalist High Priestess Nighthawk, so it’s not the craziest thing in the world to think they’d be trading out personnel again. Lopez, meanwhile, had been playing with Sun Voyager — I got to see him with them this Spring (review here) and they were awesome — and they’re in NY and Heavy Temple are in Philly and that seems like a heck of a commute, so I’m not sure what the status with Sun Voyager is, but I’ll tell you from personal experience that Lopez tore it up as the new guy in both bands, has shred and apparently will travel.

And while I’m a little sad to know there’s new Heavy Temple somewhere on the planet and I haven’t heard it — at least I think so if I read the implication below correctly — I’m glad to learn the three-piece’s second album will be out in 2024. I have no doubt it will be a highlight.

From socials:

You may have noticed some changes in the HT camp. @calivibescustom started as a fill in for Lord Paisley on our Euro tour but has quickly cemented himself as in invaluable member of the Temple consort. While we are sad that our paisley prince will no longer be shredding with us, he leaves behind his contributions to arguably the best record we’ve ever made, due in no small part to his talent and ability. We wish him all the best in his new endeavors and look forward to whatever this new iteration may be.

This is the tl;dr part. When I started the band 11 years ago, I always wanted a permanent line up, but wanted to be realistic when it came to commitments and time. So I modeled the band after Queens of the Stone Age, meaning I viewed it as sort of an open collective. Having now had more than a handful of line up changes, it truly shows me what I’ve always known, which is that there is no growth without change.

I’m once again eternally grateful for all the creativity and inspiration I’ve found with everyone I’ve been fortunate enough to call a bandmate. Never stop not stopping.

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com

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Heavy Temple, Lupi Amoris (2021)